A Quote by Guillermo del Toro

As a first-time director, you cannot have final cut. But as a producer, you can have final cut. — © Guillermo del Toro
As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
Final cut is overrated. Only fools keep insisting on always having the final word. The wise swallow their pride in order to get to the best possible cut.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
My first cut is always pretty similar to the final cut.
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
There's no such thing as a non-final cut director.
I think we were the first picture to cut on Final Cut Pro. So we were the guinea pigs, because we got a deal on the system. But with that comes all sorts of technological problems I couldn't begin to describe.
I never liked the extended cut personally because I like...we spend a lot of time figuring out our final cut. We test and test and test it, whatnot. Having said that, there's one sequence we're adding back into the movie for the extended cut that is pretty amazing that I think people are going to love.
In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.
I'm an unusual director in that my cut is usually shorter then the final released film. I like short films.
'Zubaan' is the first film I had signed as a lead. It was an opportunity I was waiting for, coming at a time when I was getting shortlisted for roles but was unable to make the final cut.
I was going to be credited as Wray Nerely, my role in Con Man. It got cut in the reshoots. I was like, "Wait a second. I'm cut." It's a better telling of the story, but unfortunately, Wray Nerely gets cut, which is actually exactly right because if Wray Nerely was ever in Star Wars, he wouldn't make it to the final edit.
Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.
No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.
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