The Brood is one of my favorite movies ever. I liked the films by Nicolas Roeg, Atom Egoyan, and David Cronenberg. And then art stuff like Michael Snow’s Wavelength which is just one shot zooming in. Jon Philpot: To pinpoint filmmakers that pushed me along it would be The Coen brothers especially with Raising Arizona with the tempo. Jason: What examples of filmmaking and filmmakers spoke to you? Editor Jon Philpot at his editing work station.

I’m a musician so I think about sound a lot in the edit.

When I read the Murch book, that made me feel a little more sane about my position in that he focused on sound. When I read the book by Walter Murch (legendary sound designer/editor of THX 1138 and Apocalypse Now) titled The Conversations: Walter Murch and the Art of Editing Film I was like, ‘okay.’ I mean, Star Wars has great editing but I pay attention to filmmaking and filmmakers. I’m not saying that I don’t pay attention to editors. Jon Philpot: I was inspired not by one editor but filmmakers. Were you inspired by a single editor in particular?

I consider this place home although I’m a bit beat down after this last year (laughs). Jason: I can imagine it was quite the culture shift coming from Georgia to New York. I came to New York and was thrown into the world of pop culture. I wanted to follow where the art was, like Tony Conrad and that whole Velvet Underground scene. Slowly I worked my way up, then moved to New York and started freelancing. I liked art and music and I learned a tremendous amount about structural filmmaking and also minimalism and experimental music. Part of the day I was putting experiments together on tape to tape editing machines, and I thought ‘this is super cool.’ And then I got an internship at a record label that put out early minimalism and the biggest artist that they put out was Tony Conrad. Then I got a job at a laboratory in the speech communications department at the University of Georgia. I’d make tapes from recording songs off the radio doing my own intros. Jon Philpot: When I was a little kid, I wanted to be like a disc jockey. So how did you got involved in such a cool profession? In this interview Jon offers loads of stories and industry insight such as transitioning from TV to film, why he considers editing just a part of the collaborative process, and finding just the right fart sound for Awkwafina. More recent projects include his editing work on the Tina Fey executive produced Peacock series Girls5Eva and Comedy Central’s Akwafina Is Nora from Queens. In 2015, Philpot won a Daytime Emmy for single camera editing on the PBS show, The Mind of a Chef. Some of his other credits include Search Party, Wonder Showzen, and Anthony Bourdain: Parts Unknown. Philpot continues to showcase his talent and versatility on a wide variety of projects. Glazer and her Broad City collaborator John Lee (who also directed) wrote the film which also stars Justin Theroux, Pierce Brosnan, Gretchen Mol, and Zainab Jab in a thriller about a couple whose relationship hits the rocks after they visit a fertility specialist, resulting in sinister events occurring. Emmy Award-winning film and TV editor Jon Philpot is perhaps best known for his work on three seasons of Broad City and as a result has become Ilana Glazer’s go-to editor, most recently working on her new film False Positive (A24) premiering at this year’s Tribeca Film Festival.

Broad city title sequence