This is an article based on an episode of Manhattan Edit Workshop’s “Talkin’ MEWShop.” You can watch the conversation by following or subscribing to the show HERE.
Joanna Naugle, ACE, has become a standout editor in the world of television, particularly for her work on the critically acclaimed series The Bear. But her journey is anything but typical, encompassing animation, live action, and a deep appreciation for the craft of sound. Speaking with MEWShop, Naugle opened up about her diverse editing background and how each experience has sharpened her storytelling instincts.
Her venture into animation began with Big Mouth (season six) and the spinoff Human Resources. While many people assume animation requires little editing—just drawing what’s needed—Naugle explained that it’s actually a layered and sound-driven process. “We’d build a radio play first,” she shared, describing the audio-first approach where dialogue, music, and sound effects lay the foundation before visuals are created. “It taught me so much about storytelling with just sound,” she said. Even something as small as a door slam became a comedic decision: creaky or quick, loud or subtle—every choice shaped the scene's tone.
This sound sensitivity has translated into her work on The Bear, where audio design plays a vital role. In the now-famous one-take episode from season one, Naugle emphasized how temporary sound design helped preserve the show’s signature tension, even in a single uninterrupted shot. “The stress had to come from sound, not cuts,” she explained. Her attention to sonic detail paid off when sound mixer Major Giammaria praised her temp mix as the best he'd ever received.
Her journey into film wasn’t a given. Raised in Scotch Plains, New Jersey, with no family ties to the industry, Naugle originally leaned toward architecture or math. But a high school film class changed everything. At NYU’s Tisch School of the Arts, she found her calling through a rigorous hands-on course—cutting 16mm film on a Steenbeck. “It was like writing the final draft of the script with every cut,” she recalled. That tactile experience instilled a discipline that still shapes how she edits today, even with the conveniences of digital tools.
Naugle's professional evolution also coincided with the shift to remote workflows during the pandemic. As a partner at Brooklyn-based post house Senior Post, she adapted quickly. Tools like LucidLink and Adobe Productions enabled her team to collaborate seamlessly across locations. “Now we can work from home or in-person without skipping a beat,” she said. “It’s the best of both worlds.”
Currently editing The Bear’s upcoming season, Naugle works under tight timelines—typically February to June—cutting episodes while production is still underway. It's a high-pressure process, but one she clearly thrives in.
From animated comedies to raw kitchen drama, Naugle’s editorial fingerprint is defined by precision, adaptability, and an intuitive ear. Whether building tension through chaos or landing a laugh with the perfect sound effect, she’s proof that great editing is more than just cuts—it's storytelling at its finest.