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Brian Smedley-Aston

Editor and producer, also actor · Edgware, Middlesex, England, UK

Brian Smedley-Aston was born in 1935 in Edgware, Middlesex, England, UK. He is an editor and assistant director, known for Rollerball (1975), Holocaust (1978) and Paul Raymond's Erotica (1981).

Biography from IMDb.

From
Edgware, Middlesex, England, UK
Works as
Editor and producer, also actor
Titles
17 on MovieCove · 34 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 37 days to Oct 26Down 29% in 30 days

What are Brian Smedley-Aston's films like?

Across their 17 MovieCove titles with a thematic analysis, their films lean Morality and Survival.

Genres

Drama6 titlesTypical Midcredits score: 46th percentile, at or above their average across these genres
: browse their Drama movies
Horror4 titlesTypical Midcredits score: 32nd percentile, at or above their average across these genres
: browse their Horror movies
Comedy3 titlesTypical Midcredits score: 2nd percentile
: browse their Comedy movies
Crime3 titlesTypical Midcredits score: 44th percentile, at or above their average across these genres
: browse their Crime movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Morality
21%
Survival
20%
Power
19%
Self
18%
Society
8%
Ideas
7%
Bonds
7%
Deception4 titles, browse their movies with this themeSurvival4 titles, browse their movies with this themeIdentity3 titles, browse their movies with this themeClass2 titles, browse their movies with this themeFreedom3 titles, browse their movies with this themeTruth2 titles, browse their movies with this themeJustice2 titles, browse their movies with this themeViolence2 titles, browse their movies with this theme

What they feel like to watch

their average across 17 films
ToneFeelDemandtheir average · filled zone: the category
Serious: How heavy the subject matter and outlook get. Browse their serious movies.
Tone · Weight
lightdark

A split, not a type: Light 2 · Serious 6 · Dark 9

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

Grounded 7 · Stylized 7 · Heightened 3

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

Gentle 2 · Charged 10 · Intense 5

Shifting: How much it swings between very different feelings. Browse their shifting movies.
Feel · Swings
steadyswings

Steady 6 · Shifting 7 · Whiplash 4

Some laughs: How much of the runtime is played for laughs. Browse their some laughs movies.
Feel · Humor
noneconstant

A split, not a type: Straight-faced 11 · Some laughs 3 · Funny 3

Even-paced: How fast it moves from scene to scene. Browse their even-paced movies.
Demand · Pace
slowrelentless

Slow burn 7 · Even-paced 10 · Relentless 0

Engaged: How much focus it asks of you — look away and lose the thread? Browse their engaged movies.
Demand · Attention
casualfull focus

Casual 7 · Engaged 9 · Full focus 1

Resolved: How much is left for you to interpret. Browse their resolved movies.
Demand · Resolution
resolvedambiguous

Resolved 11 · Open-ended 3 · Ambiguous 3

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Tense
12
Absurd
5
Dread
5
Melancholic
5
Contemplative
3
Other
10

How their films linger

Thought-provoking7 titles, browse their movies with this aftertasteUnsettling7 titles, browse their movies with this aftertasteHaunting4 titles, browse their movies with this aftertasteBittersweet4 titles, browse their movies with this aftertasteFun3 titles, browse their movies with this aftertasteHopeful3 titles, browse their movies with this aftertaste

How their films end · 4 with a twist

  • Happy4
  • Bittersweet7
  • Tragic2
  • Ambiguous3
  • Cyclical1

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Brian Smedley-Aston's films?

As of October 24, 2026, 7 of their 17 MovieCove titles stream on a subscription or free service, most on Tubi (6).

Also on these channels

Subscription and free streaming for Brian Smedley-Aston's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

34 credits, 17 with a MovieCove page; 1 appearance as themselves is hidden until asked for.

  • Intimate with a Stranger(1994)

    Editor

    Midcredits score: 2nd percentile of all films (provisional, few ratings)

  • Diana: Her True Story (not in the MovieCove catalog yet)(1993)

    Editor

  • Diary of a Hitman(1991)

    Editor

    Midcredits score: 18th percentile of all films

  • Jeeves and Wooster (not in the MovieCove catalog yet)(1990)

    Show 6 episodes · Second Unit

  • Deadly Manor (not in the MovieCove catalog yet)(1990)

    Producer · Writer

  • Tiger Warsaw (not in the MovieCove catalog yet)(1988)

    Editor

  • Rest in Pieces (not in the MovieCove catalog yet)(1987)

    Editor

  • Deceptions (not in the MovieCove catalog yet)(1985)

    Editor

  • Memed My Hawk(1984)

    Producer

    Midcredits score: 56th percentile of all films

  • Pope John Paul II(1984)

    Editor

    Midcredits score: 57th percentile of all films

  • Paul Raymond's Erotica (not in the MovieCove catalog yet)(1980)

    Director · Writer

  • The Wildcats of St. Trinian's(1980)

    Producer

    Midcredits score: 2nd percentile of all films

  • The Music Machine (not in the MovieCove catalog yet)(1979)

    Editor · Producer

  • Let's Get Laid(1978)

    Producer

    Midcredits score: 2nd percentile of all films

  • Holocaust (not in the MovieCove catalog yet)(1978)

    Show 4 episodes · Editor

  • Blue Sunshine(1977)

    Editor

    Midcredits score: 42nd percentile of all films

  • Hardcore (not in the MovieCove catalog yet)(1977)

    Producer

  • Squirm(1976)

    Editor

    Midcredits score: 17th percentile of all films

  • Trauma(1976)

    Producer · as Simon Hindstatt

    Midcredits score: 21st percentile of all films

  • Vampyres(1974)

    Producer

    Midcredits score: 41st percentile of all films

  • Symptoms (not in the MovieCove catalog yet)(1974)

    Editor

  • Girl Stroke Boy (not in the MovieCove catalog yet)(1971)

    Editor

  • The People Next Door(1970)

    Supervising Editor

    Midcredits score: 46th percentile of all films

  • Performance(1970)

    Editor

    Midcredits score: 74th percentile of all films

  • The Strange Affair(1968)

    Editor

    Midcredits score: 44th percentile of all films

  • Sebastian (not in the MovieCove catalog yet)(1968)

    Editor

  • The Shuttered Room(1967)

    Editor

    Midcredits score: 45th percentile of all films

  • The Sailor from Gibraltar(1967)

    Editor

    Midcredits score: 46th percentile of all films

  • Good Times, Wonderful Times (not in the MovieCove catalog yet)(1966)

    Editor

  • I Was Happy Here (not in the MovieCove catalog yet)(1966)

    Editor

  • Oysters Are in Season (not in the MovieCove catalog yet)(1966)

    Editor

  • The Loved One(1965)

    Editor

    Midcredits score: 75th percentile of all films

  • The Uncle (not in the MovieCove catalog yet)(1964)

    Editor

  • Girl with Green Eyes(1964)

    Editor

    Midcredits score: 78th percentile of all films

Career shape

A full career of 31 titles from 1964 to 1993.

Biggest box office

Performance (1970)

$93K worldwide

Highest rated

Girl with Green Eyes (1964)

Midcredits 78th

Most popular right now

Diary of a Hitman (1991)

Film career

By role

only this rolewith another role
Acting1 of 31: 0 only acting, 1 with another roleDirecting1 of 31: 0 only directing, 1 with another roleWriting2 of 31: 0 only writing, 2 with another roleProducing7 of 31: 4 only producing, 3 with another roleEditing23 of 31: 22 only editing, 1 with another role · typical Midcredits score46thOther crew1 of 31: 1 only other crew, 0 with another role

31 titles, 4 with more than one role — editing and producing overlap on 1 of them.

By decade

1960s9 · crew1970s12 · 1 acting · 12 crew1980s6 · crew1990s4 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Brian Smedley-Aston's films land?

Their typical MovieCove film has a Midcredits score in the 44th percentile, the median of all 17; across their 17 films with reception data, the typical film sits in the 40th percentile for acclaim.

Acclaim · how much people like their films

40thpercentile
Typical film, the median of 17

Approval · how many liked their films

45thpercentile
Typical film, the median of 17

Reach · how many have seen their films

52ndpercentile
Typical film, the median of 17

Midcredits score across 17 titles, by percentile

  • 75th and up2
  • 50th to 74th3
  • 25th to 49th6
  • Below 25th6

Shape of the crowd

7 of their 17 titles are Mixed.

  • Universally Panned3
  • Cult Classic3
  • Crowd Pleaser4
  • Mixed7

Most divisive · editor

Pope John Paul II (1984)

86th percentile spread · 26% rated it 4 or lower

Most loved · editor

Girl with Green Eyes (1964)

Midcredits 78th · 68% liked

Reviewers score the pacing 38/100 in their films, across 14 reviewed titles; fans 47, detractors 23. The element that speaks to their work as an editor.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Is Brian Smedley-Aston's work okay for kids?

Across up to 5 MovieCove titles with content scores, sex & nudity runs heavier than most films.

Their medianMedian of all filmsMiddle 80% of their titles
Violence & Gore3 titlesmedian 82 · severeMedian of all films: 44
Sex & Nudity5 titles43–79 · median 69 · intenseheavier than most filmsMedian of all films: 32
Alcohol & Drugs3 titlesmedian 68 · intenseMedian of all films: 33
Frightening / Intense3 titlesmedian 75 · intenseMedian of all films: 39

Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.

Who does Brian Smedley-Aston work with?

People who share at least 2 of Brian Smedley-Aston's MovieCove titles, grouped by what they did on them; Antony Gibbs shares the most, 5.

Directors

Writers

Actors

Composers, cinematographers and editors

Producers