The No Film School Podcast The Best Distillation of Filmmaking: An A24 Edit Case Study
In this episode, GG Hawkins speaks with editor Harrison Atkins about shaping A24’s How to Make a Killing with director John Patton Ford. Atkins breaks down his path into editing, his holistic “total filmmaker” approach to storytelling, and the editorial challenges of balancing dark comedy, violence, voiceover, and audience empathy around a morally compromised protagonist. The conversation also explores the realities of studio post-production, from long edit timelines and test screenings to cutting in Adobe Premiere’s Productions workflow while collaborating with a London-based post team more accustomed to Avid.
In this episode, No Film School's GG Hawkins and guest Harrison Atkins discuss...
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How Harrison Atkins found his way into editing through directing and making his own films
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Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role
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Reuniting with director John Patton Ford after Emily the Criminal
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What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing
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How voiceover created both opportunity and endless editorial possibilities in the cut
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The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature
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How test screenings and audience response helped refine comedy, pacing, and emotional momentum
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Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead
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The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm
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How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously
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What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment
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How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit
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Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director
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His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission
Memorable Quotes:
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“I never really considered myself an editor. I still kind of weirdly don't.” (01:19)
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“The calendar is really a myth.” (06:59)
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“The difference between a joke that lands and one that doesn't is often microscopic.” (13:30)
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“Perfection is the enemy of good.” (33:50)
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📩 Send us an email with questions or feedback: podcast@nofilmschool.com
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