Paul Rogers

Paul Rogers might not be a household name for everyone, but if you’ve seen “Everything Everywhere All at Once,” you’ve already witnessed his editing genius in action. This guy has a knack for taking total chaos—like multiverse-jumping, hot-dog-fingered weirdness—and somehow making it feel coherent and even, dare I say, emotional. That’s not easy. Not even close. He’s the kind of editor who can wrangle a wild script and a million scenes into a tight, punchy story that actually makes you care about the characters. Before that, he worked on “The Death of Dick Long,” which is one of those dark comedies that sneaks up on you. It’s weird, funny, and a little bit tragic, and Rogers’ editing keeps the tone walking a tightrope. He’s not just about the flashy stuff either. He knows when to let a scene breathe, when to cut quick, and when to just let a moment land. And then there’s “The Eric Andre Show.” If you’ve ever watched that fever dream, you know it’s all about insane, unpredictable energy, and Rogers helped craft that madness. Basically, this guy doesn’t just cut film; he shapes chaos into something that sticks in your brain long after the credits roll. He’s the kind of editor directors want in their corner—someone who can make sense of the senseless and turn it into pure, watchable gold.