Julian Gomez

On his early life and influences; on television shows he watched while growing up, and discovering he wanted to work in television; on his college education and on learning to edit

On his college internship, and on his first editing job; on editing video tape before the advent of digital editing; on editing music videos early in his career, and what he learned about editing in that time

On editing Damon Wayans: The Last Stand, and on giving his creative input on projects he's editing; on editing Stuntmasters and World of Wonder; on the switch over to digital editing in the 1990s

On editing Intimate Portrait, and on working with a co-editor; on his editing style; on editing Intimate Portrait for Actuality, and on working for various production companies

On editing the World Trade Center episode of Modern Marvels, later repurposed into The World Trade Center: Rise and Fall of an American Icon; on his personal experience of 9/11, and on television's function in the face of tragedy

On editing Modern Marvels, and on editing for specific audiences; on editing A Baby Story, and on working with an assistant editor; on a typical work week on a show like A Baby Story, and comparing it to working on The Amazing Race

On editing Paradise Hotel; on the way editing on shows like Paradise Hotel is used to tell the story in a compelling way

On the number of editors typically on a show like Paradise Hotel and Big Brother, and on working with story producers; on being assigned to edit various elements of The Amazing Race like the "Detour" or the "Roadblock"

On being hired to edit The Amazing Race; on the editing challenges he faced when he joined The Amazing Race; on working with The Amazing Race creators Bertram Van Munster and Elise Doganieri

On the casts of The Amazing Race; on collaborating with the editorial staff of The Amazing Race; on the logistics and details of editing for The Amazing Race

On the process of editing an episode of The Amazing Race from start to finish

On the challenges of dealing with sound when editing The Amazing Race; on working with graphics and text on The Amazing Race

On his favorite episode of The Amazing Race; on winning Emmy Awards for The Amazing Race; on the legacy of The Amazing Race

On becoming an editor on Big Brother, and on what he liked about the show; on learning to conform to the editing style of Big Brother; on the process of editing Big Brother, and on the show's then-recent switch to HD

On the camera setup for the Big Brother house; on how work is divided between editors on Big Brother; on the decision-making process when selecting shots to use for the show

On dealing with product placement on The Amazing Race; on his favorite season of Big Brother; on the "Jeff and Jordan" season of Big Brother, and on the challenges of keeping the show fresh each year

On Big Brother and CBS Standards and Practices; on the legacy of Big Brother

On what he likes about editing, and on the possibility of his getting into scripted television; on how the field of editing has changed since he started, and on technological advancements in editing

On his mentors in editing; on his proudest career achievements, and on finding the right path in his career; on his then-future career, and on wanting to teach