Before he became one of the preeminent directors of New Hollywood with films like Harold and Maude (1971) and The Last Detail (1973), Utah-born Hal Ashby was one of the most sought-after cutters of the late ’60s, being nominated for an Academy Award for Film Editing with The Russians are Coming, the Russians are Coming (1966), and winning the next year for In the Heat of the Night. Bringing together these and other Ashby-cut works, this series spotlights a lesser-known aspect of its subject’s storied career, recognizing one of the most inventive editors in a period of unusual experimentation in American popular cinema.