Lepselter's first editing credit was for Nicole Holofcener's Walking and Talking (1996), which was also Holofcener's first film as a director. Since Sweet and Lowdown (1999), she has edited all of Woody Allen's films; she succeeded Susan E. Morse, who edited Allen's films for the previous 20 years.
Frazer, Bryant (Dec 29, 2005). "Match Point". Deep Focus. Archived from the original on 2006-10-20. I can’t help but think that if Allen’s editor Alisa Lepselter, who he’s been working with since 1999, would rule his cutting room with an iron fist, his recent movies would be about 20 percent shorter and maybe 50 percent better.
Caranicas, Peter (January 7, 2009). "Directors play favorites with editors: Eastwood, Allen stick with usual collaborators". Variety. Retrieved 2010-10-28. Personality plays a key role in Lepselter's relationship with Allen. 'I'm pretty diplomatic, and I didn't come in there to challenge him,' she says. 'It took him awhile to trust me. He had worked with (editor) Susan Morse for many years and I'm sure they finished each other's sentences.'
Kasman, Daniel (October 15, 2010). "Tailor Made (On "Hereafter" and "You Will Meet a Tall Dark Stranger")". mubi.com. Dark Stranger fits like a too-tight, synthetic blouse—the actors having to punch out of their claustrophobic, nearly television-like frames (the film should have been shot in 1.33), the awkward long takes of Allen's previous film abandoned by DP Vilmos Zsigmond and editor Alisa Lepselter for shot/reverse-shot scenes which pin everyone a bit too close.