THE ONLY WAY TO MAKE YOUR FILM WITHOUT COMPROMISE
As a filmmaker you have a vision of what you want your film’s end product, i.e., director’s cut, to be. Notice that we said, director’s cut and not final cut/theatrical cut.
There are major differences between the two. Of the clearest is that the director’s cut is the director’s vision of the movies being played on screen. Whereas the final cut/theatrical cut is the studio (executives) vision of your film.
Many movies are made today, if not all, when it comes to major studios, without valid consideration for the director’s cut. Director’s cut is almost non existent today, especially when your talking about movies being directed for studios. Unless of course you’re in the ranks of Martin Scorcese, Stephen Spielberg and a few others…very few others.
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If anything most directors aren’t directing movies. They are directly giving orders to their cast and crew that have been given to them by studios or whoever is financing the movie they’re filming.
If you think you’re ever going to make a studio movie or a movie heavily financed by big shot producers and keep your vision intact, you’re so wrong! The amount of say they will have over your film is guaranteed to overwhelm you, to say the least.
As a matter of fact, your vision may not even come into consideration at all. Think of that ending that you want for your film. Is it a happy ending? No. Then unfortunately the executives over at the studio or the big shot producer will have a problem with and have it be changed and most likely without your consideration or consent.
Don’t think they can or will? Ask Ridley Scott about “his” Blade Runner movie, 1982.
In 1982 Blade Runner was released and he was not a fan of the movie because the executives at the studio chopped it up to make it more “theatre friendly.”
In 2007 Blade Runner, the director’s cut, was released. It’s the version that best represents Ridley Scott’s original vision of the movie.
REVIEW: BLADE RUNNER – HOW DO THE VERSIONS DIFFER?
Therefore, how do you avoid studios, executives and big shot producers from infringing on your vision for your movie? Only one way to do so, to finance your movie yourself. That is, to put up your own money. Or that of someone’s who will not infringe on your artistic vision for your film.
When you do so, you’re in total control of your movie. You decide if a particular shot stays or goes. You decide what the score is going to be. You extend the scenes that you want. You keep the ending that you want.
Putting up your own money for your movie is thee only way to make it without compromise, just ask Tyler Perry.
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