No Sushi is expanding its filmmaker-first editorial roster with Eric Kissack, the Emmy-winning editor behind some of the sharpest comedy work in film and television.
Kissack, whose credits include The Studio, Spider-Noir, Veep, The Good Place, Pam & Tommy, Brüno, The Dictator, Horrible Bosses 2, Role Models, Daddy’s Home, Instant Family, Barb & Star Go to Vista Del Mar, and Bottoms, has signed with No Sushi for commercial representation.
In 2025, Kissack won the Primetime Emmy Award for Outstanding Picture Editing for The Studio, followed by the 2026 ACE Eddie Award for Best Edited Comedy Series.
The signing is part of No Sushi’s broader strategy to bring top film and television editors into advertising, giving agencies, brands, directors, and production companies access to editorial talent with deep experience in performance, character, and cinematic storytelling.
For Kissack, comedy is where those instincts have been sharpened most.
Over more than two decades, he has edited performances from Seth Rogen, Sacha Baron Cohen, Julia Louis-Dreyfus and Kristen Bell, developing the kind of timing and restraint that can make the difference between a joke that exists on the page and one that actually lands.
“Eric has spent years solving one of the hardest problems in filmmaking: how to make something genuinely funny,” said Alexander Jamieson, founder and managing director of No Sushi. “That requires an incredible understanding of performance, rhythm, character and restraint.”
Kissack’s path into editorial began while studying film at Brown University during a semester abroad at the Czech Film Academy in Prague. After writing and directing a short film in the city’s main train station in the middle of winter, he found himself drawn to the edit room.
Production had been exhausting. Post was different.
It gave him time to sit with the material, experiment, and improve the film one decision at a time.
That instinct eventually led him to David Wain, who gave Kissack one of his first major breaks editing The Ten before bringing him from New York to Los Angeles to cut Role Models.
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“Role Models was my first Hollywood movie, and it pretty much changed my life,” Kissack said. “I learned how to build and pace big comedy set pieces, how to understand audience feedback and integrate it into the film, and how to work with the studio system.”
From there, the résumé grew quickly.
Kissack moved across features and television, but his core process stayed focused on performance and instinct.
He often begins by rereading the script, then pays close attention to his own first reactions while watching dailies: where he laughs, where his pulse changes, where something surprises him or creates an emotional response.
“The thing I’m always looking for in the footage is something that moves me,” Kissack said. “That first reaction is incredibly valuable.”
That sensitivity extends to dialogue.
A drummer through high school and college, Kissack approaches speech rhythmically, adjusting pauses, overlaps and individual frames until a scene feels spontaneous rather than constructed.
This craft becomes especially important in comedy, where timing can live in fractions of a second.
Kissack credits work on Brüno with producer Jay Roach as an important lesson in understanding why jokes fail. Sometimes the issue is missing information. Sometimes it is clarity. Sometimes a performance simply needs more room.
Over time, that diagnostic process became editorial muscle memory.
And that is part of what makes his move into advertising interesting.
“In today’s world, advertising takes more and more varied forms, but the constant is still a good story or a good joke,” Kissack said. “Film and television editors have an enormous amount of experience helping story, character and comedy land.”
He has already started putting that experience to work at No Sushi, most recently editing KFC x IShowSpeed’s “Hot Ranch,” directed by No Sushi co-founder Daps.
For No Sushi, Kissack’s signing reinforces the company’s argument that the line between narrative and commercial editorial talent is becoming less meaningful.
A 30-second spot still depends on performance. A 60-second piece still needs rhythm. A branded film still has to hold attention.
“Eric brings a huge amount of experience, but more importantly he brings perspective,” Jamieson said. “He knows what makes a performance feel real, why a joke is working and what to do when it isn’t.”
Kissack joins a No Sushi roster that includes editorial talent behind The Bear, Severance, Shōgun, Past Lives, The White Lotus, Atlanta, The Last Dance, Industry and Hacks.
That is a lot of serious storytelling experience for people who know exactly when to cut to the punchline.
REEL 360 News wishes Eric the best of luck at No Sushi.
