Sasha Dylan Bell

Gallery Unavailable

Birthplace:
Australia

Sasha Dylan Bell is an Australian film unit stills photographer and Emmy Award-nominated film and television editor. He is known for his work on David Makes Man (2019), The Rendezvous (2016), The Assassin's Code (2018), Face to Face (2011), That Sugar Film (2014), The Dream Children (2015) and Blackmail (2017). He was named one of "Five Editors To Watch" by Moviemaker Magazine and featured in the magazine Shoutout LA for his work as a unit stills photographer. He lives in Los Angeles, California.

Additional information:

The Search Form


Additional Editor:
2014  Bound By Blue
2014  That Sugar Film

Assistant Director:
2011  Keeper
2014  Bound By Blue
2014  That Sugar Film

Editor:
2011  Face to Face
2011  Keeper
2014  Bound By Blue
2014  Emo (The Musical)
2014  That Sugar Film
2015  The Dream Children
2016  The Rendezvous
2017  Blackmail

Editorial Consultant:
2011  Face to Face
2011  Keeper
2014  Bound By Blue
2014  Emo (The Musical)
2014  That Sugar Film
2015  The Dream Children
2016  The Rendezvous
2017  Blackmail
2018  A Boy Called Sailboat

Still Photographer:
2011  Face to Face
2011  Keeper
2014  Bound By Blue
2014  Emo (The Musical)
2014  That Sugar Film
2015  The Dream Children
2016  The Rendezvous
2017  Blackmail
2018  A Boy Called Sailboat
2022  Nite Flirt
2023  A Christmas Frequency
2023  Dante's Hotel
2023  Maya
2023  Megalodon: The Frenzy
2023  Night of the Missing
2023  The Exorcists
2023  Top Gunner: America vs. Russia
2024  Double Exposure
2024  Dying for Fame
2024  Monster Mash
2024  Prepare to Die
????  If It Bleeds
????  Mob Cops
????  Stiletto

Still Photographer:
2000  WOW - Women of Wrestling

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.