A Quote by Jason Reitman

I don't believe in director's cuts where you make things longer. The coolest thing was when the Coen brothers did a director's cut of 'Blood Simple,' and they made it shorter.
I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.
As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.
Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.
It's so odd because I don't even know if I'm cut out for it, but being a movie star guy, I sort of end up gravitating toward the Coen brothers. That's one of the reasons my wife and I moved to L.A.: that however much of a pipe dream that would be, I moved to L.A. because I'd love to work with the Coen brothers.
I'm an unusual director in that my cut is usually shorter then the final released film. I like short films.
Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!
Anything that is absurd I see as a Coen brothers' influence! The Coen brothers are my favorite people period.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
I'm so consistent that my director's cuts are usually 20-25 minutes longer than the released version of the movies.
I've always laughed at the term "female director" or even "black director." A director's a director.
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