It is one of the most prized prerogatives of directors. Revered British filmmaker Mike Leigh maintains that without it filmmaking just “wouldn’t be worth doing”. For Turkish director Nuri Bilge Ceylan, whose movie Winter Sleep just won the Palme d’Or at Cannes, the freedom he enjoys by having it is central to his being as a filmmaker. “My motivation comes from that freedom only,” he says.
Both are referring to ‘final cut’ which is the cherished right of a filmmaker to control the content of their film so that their approved edit is the one that the public gets to see.百佳家品店
2014 has witnessed some bitter rows over final cut. Director Darren Aronofsky ultimately prevailed with his version of the biblical epic Noah but that was only after intense exchanges with executives from Paramount Pictures, who had made their own cuts which they felt might be more audience friendly. French director Olivier Dahan’s edit of Grace of Monaco, the opening night picture at Cannes, put him at odds with a displeased Harvey Weinstein, the film’s American distributor, who reportedly thought it was too dark. Harvey Weinstein also took issue with South Korean auteur Bong Joon-ho’s graphic novel adaptation Snowpiercer – to be released in the US on 27 June – allegedly because of concerns over pace and length.
Having final cut used to be commonplace for filmmakers in Hollywood, but that’s hardly the case nowadays – especially when it comes to studio films. “There are fewer directors now that have it than don’t have it,” says Hollywood entertainment lawyer Matt Galsor.
There are of course exceptions – industry heavyweights Steven Spielberg and James Cameron can expect to get it. In some instances stars will have final cut. 史雲遜 收費
Letzte Einträge: Life is too short , so laugh