Films recut by studio

[Ghoul]

Films recut by studio

Feature films are sometimes re-edited by the producing studio against the director's wishes. Reasons for recutting may include simplification of plot, elimination of some profanity, sex and/or violence, reduction of running time, or in select cases, to add back footage deleted from original release. A so-called director's cut may be reassembled after the theatrical run and released on video or DVD. In some cases, however (as noted below), a film may be re-edited by a director or star and not by a studio.

Silent era
•   Greed (1924) - Recut for length, from 8-9 hours to 140 minutes. 239 minute version released in 1999. Director's cut impossible - footage destroyed; stills of the missing scenes filled in for the 239-minute version.
•   Metropolis (1927) - Recut from 159 or 153(?) minutes in its original 1927-version release to 139 minutes, 123 minutes, 117 minutes, 115 minutes and 94 minutes in several versions over the decades. A version featuring a soundtack by Giorgio Moroder and color-tinted frames was released in 1984 runs 87 minutes. A restored version was released in 2001 and runs 147 minutes (the closest possible to the original director's cut, which ran approximately 150 minutes.


Sound era
1930s
•   All Quiet On The Western Front (1930) - Originally 131 minutes; heavily re-edited for theatrical reissue to 105 minutes, with music to film's ending added against the wishes of director Lewis Milestone; restored in 1998 in a version closer to the original release and removing the music to the final scene.
•   King Kong (1933) - Several minutes of objectionable footage deleted for subsequent reissue; one other sequence (the "Spider Sequence") shot but deleted, that footage has been lost permanently. Approximate director's cut now available on DVD and television.
•   Lost Horizon (1937) - Recut for subsequent reissue to remove subtext reference of the times; negatives to missing scenes deteriorated in the 1960s. Current restored version contains complete soundtrack and some of the cut footage; for the still-missing scenes, its original soundtrack plays against stills representing the lost footage.



1940s
•   Fantasia (1940) - Originally edited for general release to 83 minutes, eliminating Deems Taylor interstitials and the opening Toccata and Fugue in D Minor segment; re-edited and altered (both visually and aurally) over the decades; complete original version reconstruction no longer possible due to some Taylor dialogue lost; current DVD release (altering shots in the Pastoral Symphony segment and redubbing all of Taylor's dialogue, but otherwise visually restoring all footage seen in the original 1940 release) is most complete version that exists.
•   The Magnificent Ambersons (1942) - Recut for simplification, from 132 minutes to 88 minutes. Director's cut impossible - footage destroyed.
•   The Big Sleep (1946) - Altered and partially reshot after preview screening to showcase Lauren Bacall; both versions still exist and are available on DVD.
•   Macbeth (1948) - Shortened from 107 minutes to 89 minutes, removing key scenes and redubbing dialog to remove Scottish accents. Original 107 minute version restored and re-released in the 1980s, now available on video.



1950s
•   The Seven Samurai (1954) - Recut for length, from the complete 207 minutes to 160 minutes, 150 minutes, and 141 minutes in three different abridged versions. A longer version (190 minutes) was released in 1981. The complete director's cut was finally released in 2002.
•   A Star Is Born (1954) - Recut from 181 minutes to 150 minutes after premiere engagements. 176 minute reconstruction released in 1983 (the closest possible to the original version). Director's cut impossible - some footage lost (but exists only in audio form); stills of some missing scenes had to be used.
•   Touch of Evil (1958) - Recut to 95 minutes, then expanded to 108 minutes. Approximate director's cut (111 minutes) released in 1998.
•   South Pacific (1958) - Cut from 171 minutes to 157 minutes three weeks after the premiere. Director's cut discovered in a faded 70mm print in England in 2005 and is being restored.


1960s
•   The Alamo (1960) - Cut from original 202-minute roadshow version to 167 minutes for general release; original negative to the roadshow release either missing or lost permanently. 70mm print of the longer version was discovered in the 1990s and used for digital video transfer (the roadshow version continues to air on cable TV) before being mishandled by studio. Both versions continue to circulate on video although the general release version is the one available on DVD.
•   Lawrence of Arabia (1962) - Originally 222 minutes, recut considerably twice for later theatrical and television releases due to time; current restored version (overseen by director David Lean and re-edited by Robert A. Harris and James C. Katz) runs 216 minutes (including intermission).
•   It's a Mad, Mad, Mad, Mad World (1963) - Cut from original release length of 192 minutes to 154 minutes for general release; approximate director's cut of 182 minutes (using some 70mm footage discovered in a warehouse slated for demolition) released to video in the 1990s. Some footage still exists in some form, while others are presumed lost; attempt being made by Robert A. Harris to reconstruct the roadshow version.
•   Major Dundee (1965) - Recut to 123 minutes. Approximate director's cut (136 minutes) released in 2005. Director's cut impossible - some footage either lost or never shot.
•   Il buono, il brutto, il cattivo (aka The Good, the Bad, and the Ugly) (1966) - 15 minutes deleted by United Artists for 161-minute domestic release; full original Italian version painstakingly restored in 2003 and is available on DVD.
•   The Fearless Vampire Killers (1967) - Originally entitled Dance of the Vampires and recut from 107 minutes to approximately 90 minutes for the US market and released under the new title, The Fearless Vampire Killers, or Pardon Me, But Your Teeth are in My Neck. Director's cut released in 1995.
•   The Happiest Millionaire (1967) - Cut from preview length of 172 minutes to premiere length of 160 minutes, then to 144 minutes, then again to 118 minutes. Complete version released on DVD in 1999.
•   Star! (1968) - Cut from premiere length of 181 minutes to 150 minutes, then again to 120 minutes under a new title, without the approval of director Robert Wise. Director's cut released on video in 1993.
•   2001: A Space Odyssey (1968) - 19 minutes of its original 160-minute premiere engagement were deleted after initial release, in this case the editing was done not by the studio but by director Stanley Kubrick himself. Fate of the deleted footage unknown, but the Overture, Intermission, Entr'acte and Exit Music (all from the premiere version) remains on most prints of the film.
•   Yellow Submarine (1968) - Revised for U.S. release with alternate animation to replace the "Hey, Bulldog!" sequence seen in European version; restored in 1999 with remixed soundtrack and the "Hey, Bulldog!" scene reinstated.
•   The Wild Bunch (1969) - Recut for length, from 145 minutes to 135 minutes for the American version. Director's cut released in 1995.


1970s
•   The Private Life of Sherlock Holmes (1970) - Cut from nearly 3 hours to 125 minutes. Director's cut impossible - footage destroyed.
•   Città violenta (aka The Family & Violent City) (1970) - Eight minutes of explicit footage edited by U.S. distributor United Artists; footage recently restored for DVD release.
•   Bedknobs and Broomsticks (1971) - Cut before release from approximately 140 minutes to 117 minutes, and cut from that to 97 minutes when reissued in 1979. "Special Edition" running 139 minutes released in 1996, believed to be as close as possible to director's cut.
•   A New Leaf (1971) - Cut from three hours to 102 minutes by producer Robert Evans. Director's cut never released, it is unknown whether the missing footage still exists.
•   1776 (1972) - Recut by producer Jack L. Warner from 181 minutes to 142 minutes. 181 minute version released on laserdisc in 1992, but director Peter H. Hunt considers the 169 minute DVD version to be the director's cut.
•   Lost Horizon (1973) - Slightly re-edited after premiere engagement; complete version has been issued on LaserDisc.
•   Pat Garrett and Billy the Kid (1973) - Recut to 107 minutes. Approximate director's cuts released in 1988 (122 minutes) and 2005 (115 minutes).
•   The Exorcist (1973) - Recut for length to 121 minutes; director William Friedkin considers the theatrical release his director's cut, but recut the film (known as the "Version You've Never Seen") as a writer's cut/favor to William Peter Blatty. The new cut was released in 2000, and runs 134 minutes.
•   American Graffiti (1973) - Originally released at 110 minutes; three minutes of footage featuring then-up-and-coming stars restored for 1979 reissue.
•   Two Minute Warning (1976) - Re-edited and substantially altered for network television by Universal Pictures to replace violent footage with new subplot to supplement existing one; 45 minutes of footage specifically shot for television added with new cast; TV version disowned by original director Larry Peerce, "Gene Palmer" credited as director of TV version, which has never been released to video.
•   New York, New York (1976) - Originally released at 153 minutes, then cut for reissue at 136 minutes. Extended 163-minute version (with some deleted footage and "Happy Endings" number restored) availble on video and DVD.
•   Pete's Dragon (1977) - Cut after release from 134 minutes to 121 minutes, then to 105 minutes for the 1984 reissue. The current version is 128 minutes.
•   Close Encounters of the Third Kind (1977) - Recut numerous times since original 135-minute release in 1977; 132-minute "Special Edition" (replacing certain footage with previously cut scenes and newly-shot "Mothership Finale") released in 1980; syndicated/LaserDisc version (essentially the original release but replacing 30 seconds of footage with five seconds of a UFO shot from the "Special Edition") also runs 135 minutes; 1982 network version (combining all known footage available at the time) runs 143 minutes; 1998 137-minute "Collector's Edition" (also essentially the original version but with differently edited material and without "Special Edition"'s "Mothership Finale") is what's widely seen today.
•   Saturday Night Fever (1977) - Re-edited for 1979 reissue as a 108-minute PG-rated version to broaden its young audience; similar network television version adds back outtakes deleted from original release. Original R-rated version available on video and DVD.



1980s
•   The Watcher in the Woods (1980) - Cut from 100 minutes to 84 minutes with a new ending shot. Anchor Bay Entertainment attempted to persuade The Walt Disney Company to restore the director's cut to DVD but were refused.
•   Heaven's Gate (1980) - Recut for length, from 325 minutes to 219 minutes, then to 139 minutes. 219 minute version released in the mid 1980s.
•   Superman II (1980) - Never completed and edited as intended due to Richard Donner's firing from the picture; much of film re-shot by credited director Richard Lester. Approximate director's cut ("...The Richard Donner Cut") due for DVD release in November 2006.
•   Cruising (1980) - Cut for explicit sex and violence, from 140 minutes to 96-106 minutes. Director's cut never released.
•   Blade Runner (1982) - Recut with new ending, simplification and sound mixing (voice-overs); original international cut runs 117 minutes, with U.S. release two minutes shorter. Director's cut released in 1992 was done by the studio with notes from Ridley Scott. An authoritative "final cut" will be released as a Special or Anniversary Edition in 2007.
•   Firefox (1982) - Originally 136 minutes, recut not by the studio but by star/director Clint Eastwood to 124 minutes following initial release; full version available on video and DVD.
•   Smokey and the Bandit Part 3 (1983) - Shot as "Smokey is The Bandit," with Jackie Gleason in a dual role as Sheriff Buford T. Justice and the bandit. It was heavily reshot and rewritten with Jerry Reed as Cletus (from the first 2 films) when test audiences couldn't follow the original story.
•   Once Upon a Time in America (1984) - Recut for length and simplification, from 229 minutes to 139 minutes for the American version. Director's cut released in the late 1990s.
•   Supergirl (1984) - Recut for length from 124 minutes (European version) to 105 minutes (U.S. version); out-of-print Anchor Bay Entertainment DVD contained two versions--the 124-minute edition and a never-seen 138-minute "director's cut" prepared prior to original UK release.
•   Dune (1984) - Recut for length in part by Dino De Laurentiis (with reluctant help from director David Lynch) from four hours-plus to 137 minutes for theatrical release; two television versions (with additional and altered footage, extended solely by Universal without Lynch's authority) run approx. 3 hours.
•   Swing Shift (1984) - Recut and partially re-shot at the request of star Goldie Hawn, in order to enhance her role. Jonathan Demme's director's cut exists on bootleg VHS only. Both cuts run 100 minutes.
•   Lifeforce (1985) - For U.S. release, 15 minutes were edited by Tri-Star Pictures and most of Henry Mancini's music re-scored by Michael Kamen; uncut 116-minute international version available on DVD.
•   Legend (1985) - Severely recut and rescored from nearly two hours-plus to 89 minutes for 1986 American release; approximate director's cut released on DVD in 2002 with original Jerry Goldsmith score restored.
•   Brazil (1985) - Re-edited from original European 142-minute length at the behest of Universal studio head Sid Sheinberg to a 96-minute "Love Conquers All" version that wasn't released theatrically but seen on syndicated television; later expanded by director Terry Gilliam (also at the behest of Sheinberg) for U.S. release to 131 minutes. Full European version subsequently released for limited theatrical reissue; all three versions have been released to video.
•   The Black Cauldron - Two minutes of finished animation was cut from the film by Jeffrey Katzenberg to tone down the violence.
•   The Abyss (1989) - Recut for length and simplification, from 171 minutes to 146 minutes. Director's cut (Special Edition) released in 1992.


1990s
•   Dances with Wolves (1990) - Edited from 236-minute European length to 181 minutes for domestic release. Longer version also shown on network television; both versions available on video and DVD.
•   Wild Side (1995) - Recut from 111 to 96 minutes and rearranged in chronological order. Director Donald Cammell committed suicide on the day of the film's video premiere in 1996. Director's cut was reassembled by editor Frank Mazzola in 2000 and released on DVD in the United Kingdom only.
•   Waterworld (1995) - Re-edited considerably by Universal Pictures and star Kevin Costner against the will of director Kevin Reynolds, leaving out key scenes to enhance subplot; network television version restores approx. 40 minutes of this key footage.
•   Halloween: The Curse of Michael Myers (1995) - Recut by studio prior to release truncating, altering, or replacing many scenes (especially the ending) that helped to explain the subplot; bootleg video/DVDs of this original "Producer's Cut" has circulated among fans.


šta je po vama ovde najveći zločin?

mene najviše nervira skrnavljenje originalnog exorcista u novoj, mnogo lošijoj verziji,
kao i sečenje (i današnja nenabavljivost) cruisinga.
isto to i za ovde nepomenuti THE DEVILS.

[Death Wish]

slazem se za exorcista!

mada po meni u 95% slucajeva, bioskopska tj. producentska verzija jeste bolja... reditelj neretko suvise voli svoj film, pa mu je zao da izbaci bilo sta.

npr. spilbergu bi dobro doslo da mu neko malo skrati one njegove ljigavstine...

npr. T2 director's cut mi je tezak shit. takođe i Aliens.
npr. Smrtonosno oruzje dir. cut - besmisleno!

meni je skoro sve sa liste ok. (od onoga sto sam gledao)

hvala ti boze sto su Greed skratili - mada mi je i ovako najmucnije filmsko iskustvo u zivotu - zamalo harikiri da izvrsim.

radujem se Supermenu II vise nego icemu, a veseli me i vest da ce da izadje nova verzija Blade Runnera, ali to bih pogledao cisto informativno. Mislim da ce scene sa Holdenom u bolnici i ostale izbacene scene (koje se nisu nasle u director's cut) samo usporiti film. Verzija iz 1992. je po meni finalna!

iskoristio bih priliku i da se podsetimo najveceg kasapljenja jednog filma u istoriji - HIGHLANDER II.
Renegade version je potpuno drugi film. Iako nista ne moze da izvuce koncept njihovog porekla ipak mi se kao nezavistan film prilicno dopao!

[Ghoul]

pa dobro sad, director's BLADE RUNNER je ipak bolji (znatno), a u principu je zločin šta su uradili sa velsom, iako ambersonove nisam gledo ni u jednoj verziji...

[taurus-jor]

Aliens je zaista bolji u bioskopskoj verziji (koja sa izlaskom Alien Quadrilogy konacno postoji na DVD-u). "Special edition" bi bio superiorniji da je Kameron umeo da stane, to jest da je ukljucio samo momenat kad Ripli saznaje da je imala kcher i njeno potonje priznanje maloj Njut. Sve ostalo je suvisno. Scena na planeti LV426, iz vremena dok su kolonisti jos bili zivi, potpuni je promasaj. T2 SE takodje je sranje.

Director's Cut verzije precesto se pretvore u slobodna izdrkavanja rezisera, ili su naprosto marketinski trik producenata/studija. Blade Runner DC iz 1992. ima razloga za postojanje. Ridley Scott se ogorceno borio za njega, uglavnom sa punim pravom. Ali, Alien DC je isforsiran i nepotreban, Scott ga je napravio na pritisak Foxa povodom godisnjice filma, a sam je na DVD-u priznao da je verzija iz 1979. godine konacna, bar ako se on pita. Alien DC je u sustini Special Edition, ali Foxova pohlepa je beskonacna.

Donnie Darko DC je ubio gotovo svu car koju je imala originalna, bioskopska verzija. Totalna budalastina od ideje - objasniti sve sto je bilo tajanstveno.

[Alex]

Upravo sam u procesu nabavljanja Blade Runnera na DVDu u klasičnoj verziji. Verziju iz 92 - e nisam još gledao, ali prema tekstu gore sumnjivo je koliko je to D. Cut, kad ju je radio studio na osnovu navodnih napomena R. Skota.

Poznato mi je da u toj verziji nema glasa naratora, a negde sam pročitao da je od početka bilo zamišljeno da glas u off-u postoji. Ne znam da li je to tačno i koliko su neke nove verzije ponekad rezultat naknadnih rediteljskih predomišljanja.

Što se tiče Alien i T2 - SE verzija, meni se čini da se znatno ne razlikuju od originala. Pogotovo Alien, gde sam jedino primetio par kadrova gde se alien bolje vidi u pozadini i sl. Možda ima i većih promena, ali pošto nisam gledao klasičnu verziju neposredno pre nove, ne mogu da ih registrujem,

[Rommel]

niko kleopatru da spomene od 8h na 4h - to je prava tragedija....bilo je predvidjeno 4h za doba gaja julija cezara a 4h za oktavijana i augusta...nazalost nis od toga...jedan od filmova za koji uz greed najvise zalim

[Rommel]

a imamo i ten seconds to hell koji je skracen za kojih pola sata na 85 minuta i nikad nece biti restauriran...
twilight's last gleaming je od 142 min. skracen na 85
last days of sodom & gommorah je isto iskasapljen - od gotovo 3h na 156 - ja imam verziju od 142 min    

[Rommel]

interesantna je prica i sa the wicker manom - kojega je samo cudo i roger corman spasilo da bude restaurirano u 15 minuta dužoj verziji jer su orginalne trake završile kao zadnje smeće u asfaltu autoputa      

[Rommel]

film Williama Reicherta Winter Kills zasluzuje pricu za sebe...u stvari zato je i snimljen dokumentarac WHO KILLED WINTER KILLS

[Rommel]

možemo svratiti malo i na domachi teren - BITKA NA NERETVI sa 170+ minuta skračena za yankee tržište na 90+ minuta - no po meni je čak i takva bila bolja od recimo paper moona koji je odnio oscara
Partizanska eskadrila je kao DUEL OF EAGLES opet katastrofalno kracena i to prilicno nekriticki
LA BATTAGLIA DI EL ALAMEIN - sa 116 na 94 za Yankee tržište opet - scene opet nevjerojatno besmisleno izbačene -
ima toga k'o u priči - tako da početni izbor nije ni vrh ledene sante

[Rommel]

peckinpah bjese spomenut....s razlogom ali pat garret je s vremenom postao manji razlog....
ostermanov vikend - nikada ali nikada necemo vidjeti pravi samov film...mozda bi i dalje bio los jer je covjek predao bitku davno prije....a opet na osnovu vidjenoga sa neke beta snimke rekao bih da je film zasluzio sansu....
Major Dundee - dobili smo extended cut - a nikada necemo dobiti punu verziju jer je stavljeno sve sto se dalo naci
Deadly Companions - i on je strahovito sjecen a nazalost nikad ni pokusan restaurirati
sto se divlje horde tice postoji i neka japanska 3h verzija - koja granici s parodijom - udovi lete na sve strane

[Rommel]

bio je jednom i film VELIKA PRVA DIVIZIJA - Big red One - osim sto ga 3 godine nitko nije htio objaviti (prikazati, whatever) zato je od 1977 prijavljen u godini 1980 - prikazan je u duzini od kojih 110-115 minuta...no znamo da je fuller htio 3h verziju pa smo dobili reconstructed jer je fuller umro - bliže orginalnoj zamisli a opet ....opet fali i nikada neće biti nadopunjeno nažalost!!!!

[Death Wish]

Upravo sam u procesu nabavljanja Blade Runnera na DVDu u klasičnoj verziji. Verziju iz 92 - e nisam još gledao, ali prema tekstu gore sumnjivo je koliko je to D. Cut, kad ju je radio studio na osnovu navodnih napomena R. Skota.

Poznato mi je da u toj verziji nema glasa naratora, a negde sam pročitao da je od početka bilo zamišljeno da glas u off-u postoji. Ne znam da li je to tačno i koliko su neke nove verzije ponekad rezultat naknadnih rediteljskih predomišljanja.

Warner Bros i pre svega Tandem, zahtevali su da se izvrše izvesne izmene u pokušaju da se film približi ukusu publike. Jedna od tih promena podrazumevala je da se olakša praćenje radnje. Unutrašnji monolog Harisona Forda tj. Rika Dekarda, kojim on objašnjava radnju,  postao je kontroverzna legenda sam po sebi.
Po toj legendi Ridli nikad nije želeo da se u film stavi unutrašnji monolog, što nije tačno, jer je Ridli taj koji je i inicirao da se ubaci unutrašnji monolog u scenario Hemptona Fenčera.  Ridliju se sviđao taj narativni mehanizam filmova iz četrdesetih, čiju je i atmosferu želeo da oživi u svom filmu. Dejvid Pipls je takođe zadržao taj aspekat kada se pridružio ekipi. Međutim, Ridli i Pipls su odlučili da, kako se snimanje približavalo, reduciraju upotrebu unutrašnjeg monologa na minimum, da bi bili sigurni da priča filma ne zavisi od monologa. Ideja je bila da se film snimi kao da neće biti unutrašnjeg monologa, ali da se na kraju ipak stavi, doduše u doteranom obliku, obzirom da je bilo jasno da će pojedine scene pretrpeti izmene tokom snimanja.
Unutrašnji monolog snimljen je još u novembru 1981. kada su to zahtevali Jorkin i Perenčio posle prve interne projekcije. Međutim, taj tekst nisu napisali ni Pipls ni Fenčer, već scenarista po imenu Deril Poniksen (Daryl Ponicsan), kojeg je angažovao Jorkin da napiše veoma jednostavne fraze da bi bile što razumljivije. Ridli nije bio zadovoljan, pa je Pipls pozvan da reši stvar. Pipls je iskombinovao delove svog scenarija sa delovima Fenčerovog, a pri tom je morao da reši određene probleme odvijanja priče koja sama po sebi ipak nije bila toliko razumljiva. U januaru 1982. je snimljena druga verzija unutrašnjeg monologa. Harison Ford, kao najveći protivnik upotrebe unutrašnjeg monologa, ali obavezan ugovorom da je snimi, izmumlao je tekst najlošije što je mogao da bi bio siguran da se ipak neće koristiti. Ta verzija bila je prikazana Jorkinu i Perenčiu na drugoj projekciji posle koje su imali oštre negativne komentare.
To je uticalo na Ridlija da u potpunosti izbaci unutrašnji monolog, osim jednog malog dela, na kraju filma, kada Rutger Hauer umire. Takvu verziju je videla test publika. Posle utiska publike da je film nerazumljiv, i panike među ekipom, a naročito među čelnicima Tandema, The Ladd Company i Warner Brosa, odlučeno je da se vrati naracija Harisona Forda. Ridli i Dili proglašeni su nepoželjnima i bilo im je zabranjeno da prisustvuju snimanju treće verzije unutrašnjeg monologa. Treću verziju napisao je televizijski scenarista Roland Kibi (Roland Kibbee), kojeg je Jorkin zadužio da spoji elemente svih prethodnih verzija. Smatrajući je najlošijom verzijom, Ford je ponovo loše izrecitovao tekst u nadi da se neće koristiti. Treća verzija unutrašnjeg monologa je ona koja se našla na zvaničnoj bioskopskoj verziji filma.
Anegdota u vezi ovog aspekta filma vezana je za dvojicu scenarista, Fenčera i Piplsa, koji su zajedno gledali film u vreme kada je već počeo da se prikazuje. I jedan i drugi su bili mišljenja da je ovaj drugi pisao unutrašnji monolog, ali pošto su ga obojica smatrali toliko lošim i sramotnim nisu ništa komentarisali jedan drugom.
Još jedna velika izmena koja je proistekla iz reakcija publike iz Denvera i Dalasa jeste srećan kraj – nakon što se zatvore vrata lifta, Dekard i Rejčel odvoze se u sumrak putujući predivnim pejzažom, dok Dekard objašnjava da Rejčel nema rok trajanja i da će ostati zajedno. Iako je ovakav alternativni kraj bio predviđen knjigom snimanja i planom, u trenucima skraćivanja snimanja zbog probijanja budžeta, od ove scene se odustalo. Posle loših reakcija test publike, Ridli je bez mnogo odbijanja prihvatio zahtev studija da se dosnimi srećan kraj.
"To je bio prvi put da sam doživeo proces test projekcija, i bio sam veoma zaplašen negativnim i podeljenim reakcijama. Nisam se više borio. Mislio sam da sam možda zaista preterao. Bio sam povučen mislima da ipak treba objasniti sve!"

[Ghoul]

death wish, ne znam koji su tvoji izvori, i ja nisam u poziciji da ih demantujem jer ni ja ne znam kompletnu, pouzdanu, nesumnjivu istinu o legendama glede voice-over naracije, ali evo šta kažu na imdb-u:

•   It has been rumored for years that Harrison Ford purposefully gave a bad reading of the voiceover narration added during post production in hopes that the studio wouldn't use it. Ford has denied this vehemently, stating that he gave the voice over six different readings and neither version came out sounding right and that the narration didn't work simply because the film wasn't originally made to have one.

naravno, ja bih voleo da vidim konkretan intervju u kome ford to 'žestoko negira', ali do tada… evo druge strane medalje.

u svakom slučaju, ja preferiram Skotov cut (bez naracije, sa jednorogom), mada je to toliko nezdravo dobar film da je odličan čak i u prvobitnoj bioskopskoj verziji.

što se tiče drugih bogohuljenja i svetogrđa po radovima velikih režisera, pomenuću čuveni slučaj Marija Bave, kome je imbecilni producent Alfredo Leone premontirao film LISA E IL DIAVOLO i dosnimio neke neopisivo kretenske scene 'isterivanja đavola', ubacio ih u film s kojim nemaju nikakve veze, i to narodu prodavao kao KUĆA ISTERIVAČA ĐAVOLA.
mislim da u istoriji filma ne postoji veći i bezočniji zločin producenta prema filmu nekog autora: mislim, fuck, šta bi moglo da bude gore od ovoga? da je uzeo samu filmsku traku i posrao se na nju?
srećom, originalni negativi su sačuvani i danas LISA postoji u obliku koji je Bava i zamislio.

[Джон Рейнольдс]

A šta tek reći za sudbnu Planete Bur (AKA Planet of Storms)? Sasvim solidan (za '62 godinu) ruski SF film na kome je radio niz sovjetskih naučnih konsultanata sa Lenjingradskog univerziteta, otkupio je Korman i od delova (uglavnom gde su specijalni efekti i animacije praistorijskih životinja) napravio dve kolaž-varijante:

- Voyage to the Prehistoric Planet sa dosnimljenim scenama sa Basilom Rathbone-om i Faith Domergue;

- Voyage to the Planet of Prehistoric Women sa dosnimljenim scenama sa Mamie Van Doren (!) i još nekolicinom ribica. Ovaj drugi ima drpljene scene i iz još jednog ruskog filma, Nebo zovyot. Inače, ovaj božanstveni crap-fest je pod pseudonimom odradio Peter Bogdanovich.

[Ghoul]

ok, i ovo spada u skrnavljenje, ali je njegova priroda malkice drugačija od teme topika, a to je kad ti ROĐENI STUDIO/PRODUCENT zasere film.
dakle, onaj koji te je unajmio, onaj koji je prvo kazao 'ok, momak, dobra ti je ta ideja, idi i snimaj, evo ti pare itd.'
to je mnogo bolnije, jer se u nekim slučajevima odrazi na celokupnu recepciju filma, koji postane unavailable u originalnoj (režiserovoj) verziji.

ja namerno nisam pominjao zločine od strane DISTRIBUTERA (dario argento reče onomad u beogradu da do danas nije prežalio sečenje svojih filmova u pojedinim zemljama, i da bi LIČNO voleo da se obračuna sa cenzorima...).

ovo što ti pominješ, o skrnavljenju ruskog filma, ima makar minimum legitimnosti utoliko što:
a) originalni film ostaje netaknut;
b) imena njegovih tvoraca ni na koji način nisu povezana sa osakaćenim travestijama;
c) producent je taj film PRODAO kormanu, pa postoji makar legalno pokriće za kormana, odnosno finansijsko za producenta (nadam se i ostatak ekipe filma).

nego, kad smo već kod te vrste (zlo)upotrebe filma, znate li da je na istu foru korman iskoristio hrvatski film OPERACIJA TICIJAN, kupio ga, uzeo scene koje mu se dopale, i oko njih snimio nešto sasvim deseto, nekakav vampirski film (trenutno mi izmiče naslov, ionako nije bitan sem kao fusnota, zbog TICIJANA).

''vidi šta su mi uradili od filma, mama!
izmenili ga, promenili i nešto sasvim drugo snimili!
vidi šta su mi uradili od filma, mama!''

[taurus-jor]

Stradao je i rimejk Rolerbola, mada je i "nesecena" verzija - nikad prikazana - imala ocajnu koncepciju. Valjalo bi pomenuti i nultog Exorcista, sa Shraderovom i Harlinovom verzijom (pogledati odgovarajuci topic). Posebna prica je Alien3 (takodje postoji topic).

Najvechi zlocin: Night Of The Living Dead: 30th Anniversary Edition.

[Alex]

Hvala na informacijama Death Wish, čak i da nisu apsolutno tačne.

I ja jedva čekam Superman 2, ali se nadam da će i Lesterova verzija ostati dostupna.

Najveću glupost napravio je Džordž Lukas povukavši prvobitne verzije originalne SW trilogije. Čovek se zapita odakle mu prava na tako nešto, pa makar zvanično i imao sva prava.

[Death Wish]

informacije su 99,9% tacne.

izvor je moj diplomski, oslonjen na podatke Paul M. Sammona koji je napisao knjigu Future Noir, nadetaljnije i najiscrpnije delo o Blade Runneru.

on je pratio razvoj nastanka filma kao novinar od samog pocetka

preporucujem knjigu. ima u platou

[Death Wish]

prvo izlazi lesterova verzija supermena II special edition, a zatim donerova

[Джон Рейнольдс]

Najvechi zlocin: Night Of The Living Dead: 30th Anniversary Edition.

  , indeed. Originalni NotLD je public domain, pošto prava nikad nisu bila do kraja rešena. Zbog toga se još uvek pojavljuju ovakve, još gore, kasapnice - http://www.imdb.com/title/tt0496361/  

Koristim ovu priliku za jedno pitanje - ima li ko prvu kolorizaciju NotLD, onu sa zelenim zombijima? Ja sam je pre mnogo mnogo vremena gledao na VHS-u. Sa neta sam skinuo neku od dve kasnije kolorizovane verzije, ali se dobro sećam da su zeleni zombiji bili totalno freaky.

[Ghoul]

Najvechi zlocin: Night Of The Living Dead: 30th Anniversary Edition.

ma čak ni to nije najveći!

najveći je NIGHT OF THE DAY OF THE DAWN OF THE RETURN...BLA BLA BLA...
http://www.imdb.com/title/tt0230575/


tu su neki frajeri uzeli romerov film, a onda ga skroz redubbovali, tj ubacili neke sasvim nove dijaloge i muziku i sve okrenuli na zajebanciju.

e, to se zove skrnavljenje!

mada, tu romera treba jebati kad je bio toliki zevzek da napravi film a ne reguliše copyright, i dozvoli da mu film ode u public domain!
ajd da je s planine sišo pa ne zna kako biznis izgleda, ali čoek je godinama ranije snimao reklame za TV i šta sve ne, bem ga blesavog...

ja sam imao, a možda još imam, na vhsu tu kolorisanu verziju NOĆI...

[Lurd]

Za mene je public domain Noći jedna od stvari koja daje toliki šmek legendi o tom filmu, savršeni i sastavni deo velike aure.

[Ghoul]

Za mene je public domain Noći jedna od stvari koja daje toliki šmek legendi o tom filmu, savršeni i sastavni deo velike aure.

više bih voleo PUBIC domain, ali šta je tu je gde je