A Quote by Kenneth Lonergan
To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.
Related Quotes
I'm an unusual director in that my cut is usually shorter then the final released film. I like short films.
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.
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.
The thing with 50 Words of Snow is that it was literally back-to-back from Director's Cut [also released in 2011]. It was more or less that I got to make two albums in one hit. I was already in this space in my mind to be writing and making an album.
It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
Ultraconservatism is, to me, so illogical. Everywhere you go, conservatives want to cut, cut, cut, cut - cut money for powerless people. So, that's the biggest problem I have with them.
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.
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.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
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.
We were doing this close-up of my character on a cell phone, and the director's just like "Cut! Can we get somebody else's hand in there?" I do bite my fingernails, and you don't want to see a fat, bitten thumbnail on a 30-foot movie screen, so I get somebody with really nice, sexy hands and put 'em in there.
Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
Once committed to fight, cut. Everything else is secondary. Cut. That is your duty, your purpose, your hunger. There is no rule more important, no commitment that overrides that one. Cut. Cut from the void, not from bewilderment. Cut the enemy as quickly and directly as possible. Cut decisively, resolutely. Cut into the enemy’s strength. Flow through the gaps in his guard. Cut him. Cut him down utterly. Don’t allow him a breath. Crush him. Cut him without mercy to the depths of his spirit." -Richard Rahl
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
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