A Quote by Fede Alvarez
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
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I always really curious to see how people interpret things. I know my version, and I'm kind of bored with my version so I want to see their version.
Washington Attorney General Bob Ferguson says he believes that same ruling that stopped the first version of the ban should still apply to the second version of the ban because it is basically the same ban. It is basically the same policy.
I feel like writing a book there's always a version in your head that's an amazing version, but then you write the version that you can write.
I loved the extended version of 'Aliens' because it shows just a little bit more that you don't see and what they always show on television.
My first drafts are always terrible, and I hate them, but the process for me is all about writing the bad version until it tells you what the good version is. And then you write that.
I didn’t and don’t want to be a ‘feminine’ version or a diluted version or a special version or a subsidiary version or an ancillary version, or an adapted version of the heroes I admire. I want to be the heroes themselves.
There will always be a replacement coming along very soon - a newer version, a crazier version, a louder version. So if you haven't got a long-term plan, then you are merely a passing phase, the latest trend, yesterday's event.
There will always be a replacement coming along very soon - a newer version, a crazier version, a louder version. So if you haven’t got a long-term plan, then you are merely a passing phase, the latest trend, yesterday’s event.
The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.
All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.
For my first movie, I think my first cut was like three hours, because when you first direct a movie, you want to keep everything. But I'm not one of those directors who falls in love with the stuff they've done. Already when I'm doing my first cut, I'm willing to cut out everything that is necessary.
It only took me two weeks to build the first version of Facebook because I had so much stuff before then.
A good story isn't the one that shuts everyone down and sort of leaves them in silent awe. A good story is one that, even before you finish the anecdote, you can see their eyes shining because it has so resonated with something from their own lives that everyone in the group has a version of the same story and they cannot wait to tell it, and that they're going to compete to make their version even more extreme than your version. So your version is just a seed.
I've always approached screenplays and so forth with, "How would it really happen?" Not "What's the movie version?" but "What's the real-life version?" Then I just follow my nose.
The things had been made a half a dozen times from silent pictures through the '30s and '40s. In fact, I think there's a version in the '50s. And then, of course, Spielberg eventually did a version of The Lost World, but this [filming] was '91, I think. And we shot it in Zimbabwe.
I've never been that uncomfortable talking about it. Things come out [in the media] about me. When it's out, it's someone else's version of what's the matter with me. I want it to be my version of what it is. My recourse is to do my version.
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