Inside the cutting room of ELVIS

  • Date 6 December 2022
  • Time
    6:30 pm
    Program Commences
  • Location HOYTS Entertainment Quarter, Sydney


Multi Award-winning Australian editor Matt Villa takes ScreenFest audiences on a visual journey through his work on the biggest Australian film of the year – ELVIS.

In a world exclusive, Matt will deconstruct some of the most iconic scenes from the film on screen, and present a selection of never-before-seen rough cuts, dailies, and even some rejected scenes to show the evolution of the project, and to give audiences a greater understanding of how editing is used to create drama, emotion, action and empathy. 

Join us for this exclusive masterclass from one of Australia’s best editors, exclusive to AACTA Professional Members.



MATT VILLA, ASE ACE (Editor) has worked in the Australian film industry for nearly three decades. He recently completed work on Baz Luhrmann’s  Elvis which marked his third time collaborating with the director. For his work on Luhrmann’s screen adaptation of The Great Gatsby, Villa won Best Editing Awards from both the Australian Academy of Cinema and Television Arts (AACTA) and the Film Critics Circle of Australia (FCCA) and earned a nomination from the Australian Screen Editors (ASE) Guild for Best Editing on A Feature Film. He also worked on Luhrmann’s Moulin Rouge! and Australia, for which he received a second ASE Guild nomination. 

Villa has worked on numerous films with genre directors The Spierig Brothers, including WinchesterDaybreakers and their sci-fi thriller Predestination, for which he again won a Best Editing Award from both AACTA and the FCCA. 

In addition, he was nominated for the AACTA and FCCA Best Editing Award for Russell Crowe’s The Water Diviner. 

He also has a list of family and animated films to his name, having worked on Happy Feet, Happy Feet Two, Legend of The Guardians: The Owls Of Ga’hoole. Peter Rabbit 2 (for which he was nominated for an ACCTA award) and The Lego Batman Movie, for which he was nominated for an American Cinema Editors (ACE) award and an Annie Award, both for Outstanding Achievement in Editing for an Animated Feature Production.


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