Andre Betz

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Not a big fan of boards, Andre Betz likes to let the film itself tell him where the story is. "I look at the film when it comes in and see it as a giant puzzle," says the owner and founder of New York's Bug Editorial. "You look for certain clues that you can build an entire story on. If there's a quirky little reaction, I can take that and say, 'This is my first stone, this is what I'm going to build the story on.' It sets the tone, how all the characters are going to interact. It could be the first shot, the last shot, the middle one, but once I've put it in, it almost never changes."

Rest assured, "There's always a storyboard, and I can always put that together," he says. "But it's about showing the creatives or the director something that they hadn't thought of." Betz's preferred method has paid off in a long relationship with Arnold Worldwide. He's cut a ton of the agency's Volkswagen spots, including the acclaimed "Synchronicity," as well the elegant "Milky Way."

He's also worked on the film of directors like Tony Kaye and Hungry Man's Bryan Buckley. He cut the latter's memorable Super Bowl spot "When I Grow Up" for, and also Buckley's recent "Beauty Pageant," for the Oxygen channel. He edited together scenes of various women from different eras reading the same script, but as if their words were pieced together from different speeches. "It was like a reverse ransom note," he describes. "Obviously, it looked like it was edited together. You had what you wanted to say, but you had to make it look like it was taken out of context."

Meanwhile, Bug is reproducing, as it were. Within the next six months Betz says he'll be launching Larvae, an editorial facility and training ground where he'll help to guide the work of aspiring Bug people.

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