Abrams clips, it took off when Shaun of the Dead and Hot Fuzz director Edgar Wright re-tweeted him, sparking an avalanche of emails. Resisting the urge to go all out with the J.J. His first big hit, which he’s not crazy about, looking back, was a supercut of lens flares in the movies. These days it’s a fine line, but I think what many supercutters are doing is to improve the film industry, not hurt it in any way.”
“When I was making these videos, to begin with it was literally to showcase film techniques while still in school. “There’s a fair use that states you can use footage for criticism or education,” he says. The actual clips themselves, sourced from his own encyclopaedic collection of DVDs and Blu-Rays, have proven far less problematic. When he started out, Swinney grabbed most of his clips from YouTube but soon found his supercuts getting flagged for copyright issues, not because of the movie scenes used, but instead because of the accompanying music he selected, a favourite element of his work. That took about two months, harvesting films.” I wanted two shots that reflected each other or gave a new meaning when you see them next to each other. “It was probably the easiest to edit, being that it’s just finding the first and last shot and putting them next to each other, but it took so long to find films that fit the criteria. While each supercut generally takes around a week or so to pull together, with the clip gathering usually accounting for the lion’s share (the editing stage is a bit swifter), Swinney acknowledges that First and Final Frames, a labour of love, was a slightly longer process. Pretty soon editors started contacting him directly with supercut requests of their own accompanied by a paycheque for his troubles. Swinney’s ability was backed up when early supercut attempt, which he insists he’s now too embarrassed to look at – began attracting big hits and a slew of comments on his Vimeo channel. His teacher pulled him aside at the end of class, having recognised the flair for editing that he’s built upon ever since. Finding himself too broke to attend a prestigious film school like NYU, he instead opted to study film theory and filmmaking at Maryland’s Salisbury University.Īt the time he was more focused on cinematography than editing, but when a lecturer set a final paper that could be turned in as a video essay – an option Swinney plumped for – his path changed. Swinney, 24, had attempted to take the “practical, smart, low-risk approach,” to school and future career prospects but dropped out of business college after two miserable years.
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