Show Notes
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...
How Harrison Atkins found his way into editing through directing and making his own films
Why he thinks of editing as a holistic, dramaturgical part of filmmaking rather than a purely technical role
Reuniting with director John Patton Ford after Emily the Criminal
What drew him to the multi-tonal mix of crime, satire, dark comedy, and violence in How to Make a Killing
How voiceover created both opportunity and endless editorial possibilities in the cut
The difference between an indie sprint like Emily the Criminal and the extended timeline of a studio feature
How test screenings and audience response helped refine comedy, pacing, and emotional momentum
Why the first reel was crucial to getting audiences aligned with a charismatic but morally gray lead
The editorial challenge of shaping an underdog around Glenn Powell’s natural confidence and charm
How Premiere’s Productions workflow supported a collaborative feature edit with multiple people working simultaneously
What it was like cutting the film in London with assistant editors adapting from an Avid-heavy post environment
How temporary VFX comps in After Effects and Photoshop helped solve story and joke-building problems inside the edit
Harrison’s philosophy of leadership, collaboration, intuition, and staying present as both an editor and director
His advice to emerging filmmakers: fail boldly, work small if necessary, and keep making things instead of waiting for permission
Memorable Quotes:
“I never really considered myself an editor. I still kind of weirdly don't.” (01:19)
“The calendar is really a myth.” (06:59)
“The difference between a joke that lands and one that doesn't is often microscopic.” (13:30)
“Perfection is the enemy of good.” (33:50)
Guests:
Harrison Atkins
Resources:
How to Make a Killing
Emily the Criminal
Total Filmmaker by Jerry Lewis
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