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He worked with Marc Webb in '500 Days of Summer', which caused him to get the job to edit 'The Amazing Spider-Man' because Webb really liked the way they worked together.
On their connection:
FILMMAKER: Were there elements of (500) Days that Marc was hoping you’d provide some continuity with, or was it just the two of you guys both doing something radically different?
BELL: Well, obviously it’s quite a different movie than (500) Days. I can’t speak for Marc, but I think he would agree with me on this: whether you’re on a small movie or a huge movie, it’s all about the characters — being able to identify with them, how they connect with one another and what their journey is.
For 'Little Manhattan' he used GenArts' Sapphire Plug-in during the editing stage to create effects within FCP (used creative tool- Blur Motion- to develope the unique look of a 'post card') as well as the finishing stage of the film.
-Saved him hours because he didn't have to create a complex matte from scratch.
-Integrated right into FCP.
"Versatile"--
Snappy and frenetic or smooth and invisible, whatever fits the movie best.
Assistant Editor for films (80s): Heathers, Lord of the Flies, Misery, A Few Good men.
Editor: Little Manhattan, The Story of Us, Water for Elephants, (500) Days of Summer, The Hunger Games: Catching Fire, Mockingjay Part 1 and 2 (post-production)