It's the treatment. I'm Elvis Mitchell. You can also hear the show at KCRW.com.

An editor is as important a component of a movie as the director.

The often serve the function of sounding board and collaborator.

Sally Manky was just that person.

She worked with Quentin Tarantino on all of his films, starting with Reservoir Dogs.

He was fond of saying that their teamwork was

such that they finished each other's sentences. I got to be friends with Sally and admired her

talent and her taste. She was a sensualist, which gave her the ability to add an emotional narrative

to films. We taped an interview in 2010, which she was a little anxious about.

She was in the studio at KCRW, and I was in New York. She would like to have had another go

with the interview, and we talked about that, but unfortunately, we never got around to it. She

passed away last fall. Thanks to the work of another editor with Taste, my producer, Jemad Macy.

I'm pleased to present this interview with Sally Menke.

It's not new the idea of women editing movies.

The first time the category is introduced to the Oscars in 1935, a woman was nominated.

Of course, there are great editors going back to Margaret Booth.

To my guest today, editor Sally Menke, who has edited all Quentin Tarantino's films, including his latest in Glory Spasserts, which she's nominated for an Oscar. Sally, thanks so much for being here.

It is my pleasure to be here. Thank you.

You've also worked with Billy Bob Thornton twice. You did Daddy and Them and His Version of the adaptation of all the pretty horses.

And it's interesting because that was such an emotional, in both cases, those are things that are really close to him.

And it seems like you seem to be attracted to directors who are really emotionally invested

in there were.

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