Comparison between the Theatrical Cut (R-Rated) and the Director's Cut (Unrated) (both were taken from the US-DVDs from Sony Pictures)

Theatrical Cut: 96:41 min without credits (105:31 min with credits) in NTSC
Unrated DC: 110:21 min without credits (119:01 min with credits) in NTSC

94 altered scenes, which include
* 42x "alternative footage"
* 14 re-cuts
* 5x "longer Theatrical Cut"
* 3x "change of speed"

- difference: 820 sec (= 13:40 min) consisting of
* additional footage from the Director's Cut: ca. 21:10 min
* additional footage from the Theatrical Cut: ca. 7:30 min

The Movie

In 2007, Rob Zombie, who had already thrilled horror fans with two movies about the Fireflies, took the horror classic Halloween and re-interpreted it according to his vision. As in his previous movies curse words were uttered every second and some of his ideas probably disappointed fans of the original. On the other hand, they were considered the strength of the new movie by some.

Two years later, Zombie brought a sequel to the audience. Anyone who did not like the first movie has to be warned. Again, the F-word dominates and the movie has almost nothing to do with the original from 1981. Indeed, the movie begins with Laurie in the hospital. However, this setting, which dominated the original, is left after a couple of minutes and the following escape turns out to be a delusion - Laurie only had a nightmare. In fact, she lives in a house together with her friend Annie and is still traumatized. Of course, her brother Michael escaped back then and on Halloween he is on his way to Haddonfield. In the course of the surreal story, Young Michael as well as their mother Deborah (Sheri Moon Zombie) appear in similar visions from time to time.

The Versions

For the DVD release, Rob Zombie created a Director's Cut of the first movie, which is noticeably different from the regular Theatrical Cut and gives some parts of the movie a whole new direction. Same is true for the sequel. Shortly after its theatrical release, Rob Zombie announced, e.g. on Twitter, that he was already working on a Director's Cut that would be closer to his original vision. As we reported back then this version was supposed to change Laurie Strode's character significantly.



In America the movie was released on DVD and Blu-Ray on January 12 2010. Both versions were released on DVD, although seperately. On Blu-Ray, one can only buy the Director's Cut.
And really, the Director's Cut re-integrates several scenes, in which her devastated state of mind becomes even more obvious. She argues with Annie, has delusions and curses more often.
In the audio commentary, Rob Zombie explains this with character traits that Laurie and Michael share. Both have problems to control their tempers. Furthermore, he thinks it's more realistic that she is suffering a severe trauma caused by the prevoius events.
At the same time, some of the more emotional scenes with her are now missing. There are more changes. For example, Malcom McDowell alias Dr. Loomis gets more screen-time and comes across even meaner than in the Theatrical Cut.

Another important fact is that both versions contain almost completely different endings. In the Director's Cut, the final scenes in the psychatric clinic have a totally different meaning. At this point Laurie has just died and this is her last vision. That's why everybody has to decide for themselves which version they prefer.

In addition to that,the Director's Cut contains some minor changes. It has to be noted that the Director's Cut does not offer any additional sex scenes or scenes that contain more violence.
Therefore it's true that the movie got the R-rating without any changes as Rob Zombie claimed in an interview when the movie was released in cinemas. Nevertheless, fans probably expected at least some explicit nudity and more blood.

Due to its violence, a censored version will be released in Germany. Whether there will be censored versions in other countries is not yet known. However, the US releases are completely uncensored.


Running-time references are given as follows:
Theatrical Cut in NTSC / Unrated Director's Cut in NTSC

04:04 / 04:04-04:27

The Director's Cut (DC) shows how Laurie is lifted off the stretcher in the hospital.
"On my count we're gonna move her. Ready? And one, two, three. We need CBC chem panel."
After that sheriff Brackett is shown. He is outside the hospital and asks somebody whether the security for Michael's transport is tight enough.
"Hooks. How many?"
Hooks says: "Two."
Brackett: "They heavy?"
He steps aside, Hooks looks puzzled, behind him his rather lanky partner Gary is visible.

22,7 sec

alternative
06:15-06:17 / 06:38-06:44

In the Theatrical Cut (TC), Hooks is shown longer behind the wheel of the police truck.
(1,3 sec)

In the DC Gary says one more sentence, "Technically, five guys and a girl." (They are talking about the fact that Michael had to be lifted into the truck by six men)
Hooks answers, "Whatever."
(5,9 sec)

the DC is 4,6 sec longer

16:58 / 17:25-18:32
Laurie wanders through the rooms much longer and falls into a bucket with body parts (from the hospital staff). Michael is following her and after she has finally escaped the trap, she tries to take an emergency axe, but she doesn't succeed. When she enters the door next to the axe, the Theatrical Cut continues.

In the audio commentary (=AC), Zombie portrays the incident with the axe as joke because when Michael passes by the axe he easily crushes the emergency box and takes the axe without any problems.
66,6 sec

alternative
23:48-23:53 / 25:22-25:28
The captions are different. The Theatrical Cut takes place one year after the incident. the Director's Cut takes places two years after the incident.

no time difference

Theatrical Cut	DC

25:49 / 27:23-27:56
The conversation at the dining table is slightly longer in the DC. Laurie argues with Annie because of her frustration and gets a chilling response.
Laurie (the same shot, her facial expression changes): "One fucking day at a time. You know what, if I hear that fucking phrase one more fucking time... She just fucking sits there in her fucking leather chair and judges me like she's fucking God."
Annie: "It's her job, Laurie. My God. What am I supposed to say? Boo-fucking-hoo for you."
Laurie: "See? You don't fucking care."
Annie: "Right, I don't fucking care. I don't understand, Laurie."
She does something in the background and notices that the coffee pot is empty, "Oh, nice. Thanks for leaving me some coffee, Dad."

33,2 sec

26:27 / 28:34-28:37
The shot is longer and Laurie explains why she knows that Michael Myers is dead, "I shot him in the fucking head."

2,5 sec

26:39 / 28:49
The shot from above begins slightly earlier in the DC.

0,3 sec




alternative
26:45-27:36 / 28:55-31:04

When the psychiatrist (Margot Kidder) says, "So that's the reality that we have to heal you from", the TC shows Laurie with her hair in front of her face. After that, we find out that Laurie misses her parents.

Psychiatrist (P): "Is there anything else, or anything out of the ordinary, that's happening here?"
Laurie, after some sobbing: "I've been thinking about my parents a lot. I really miss them. I miss them so much!"
P: "Here you go."
Laurie: "I don't know, without them, I don't...even know who I am anymore."
P: "Go on, Laurie."
Laurie starts to cry, "Can we just talk about something else, please? Please?"

The shot of Loomis' limousine at the of the scene begins slightly earlier.
(50,6 sec)

Here, the DC contains a different shot when Laurie says her first sentence, which is identical to the TC. The following conversation is different from the TC and deals with Laurie's friendship to Annie.

P: "Which is why I say you're still in recovery."
Laurie: "So, basically, I just have to wait until my brain heals?"
P: "Well, let's try and help your brain heal a little bit today, oKay?"
Laurie: "Okay."
P: "Okay. How's your relationship with Annie going?"
Laurie: "Annie?"
P: "Yeah."
Laurie: "Not good. I don't know, I feel kind of shitty by saying this, but... She's a constant reminder. Every time I see her face, and I see those scars...I know that it's my fault. And I get angry. And there's something in my body that snaps. And I get this zero to a hundred rage, and I just wanna go up to her...and I just wanna... Fuck, I don't know."
P: "Finish the thought. Finish that thought. It's important."
Laurie: "I'd rather not. You'll send me away."
P: "I would never send you away. We're here to keep you out of the hospital. The last place you're gonna heal is in a hospital."

Laurie sees a picture at the wall and says, "What is that?"
P: "That? That's whatever you think it is is what that is. The theory is that this ambiguous stimuli here will bring your subconscious thoughts into the light. Illuminate them. So, what do you see?"
Laurie: "White horse. So, what does that tell you? Am I crazy or sane?"
P: "It tells me you're a girl who likes white horses."

At the end of the scene, there is an additional pan shot of the outside of the building. After that the limousine passes by.

(129,5 sec)

the DC is 78,9 sec longer




27:40 / 31:09

The first shot of Loomis inside the building begins slightly earlier.

0,2 sec




27:46 / 31:15-31:25

Only the DC shows the conversation after Dr. Loomis has answered the phone, "Hello. Yes, hello, darling. No. How are you? Hello? Hello? Damn. Hello?"
The following shot begins earlier.

10,2 sec

28:23 / 32:02-32:14

The conversation between Dr. Loomis and his publicist Nancy in the hallway is longer.

Loomis: "I mean, look at you. Are you color-coordinated? Pink clogs and this orange thing. Are you a clam digger or something? I don't mean that in a lesbian sense."
Nancy: "I think you mean carpet muncher."
Loomis: "I'm not judging. I'm not..."

The TC continues when she is welcomed by a reporter and asks him not to get too personal.

12,4 sec

31:32 / 35:23-36:01

After Dr. Loomis has welcomed the audience he tells them something about Michael. This is only shown in the DC. The TC continues with him asking whether somebody has a question.

"I think you can all see quite clearly here that Michael's psychotic perception is in complete denial about his own mother's suicide. Freud would certainly have a field day with that little one, wouldn't he?"
He smiles but the audience doesn't show any reaction.

"So it is the fate of all of us to direct our first sexual impulses towards our mothers and our first murderess hatred against our fathers. Now, in Michael's case, I became the surrogate father. The last father in a long series of fathers."

38,4 sec

31:34 / 36:03-36:50
The DC shows the first question from the audience here. Dr. Loomis elaborates his answer with a quote.

Loomis: "Yes, sir. Yes. Please."
Man: "You never really made it clear whether you believe it was nurture or nature that contributed to Michael's condition."
Loomis: "I would like to answer it, in part, by quoting the great George Bernard Shaw with a little Loomis twist at the end. He says: In the arts of life, man invents nothing. But in the arts of death, he outdoes nature herself and produces, by chemistry and machinery all the slaughter of plague, pestilence, famine...and Michael Myers."
Again he smiles and says, "Well, sorry, but I like that little one. That's my own little twist."

47 sec

37:48 / 43:04-43:08

Before Brackett mentions Cat Ballou, he names some other movies with Lee Marvin to convince the young girls, "Paint Your Wagon. The Professionals. Lee Marvin!"

3,8 sec

37:51 / 43:11-43:12

The following shot begins earlier as well and the title of the movie Cat Ballou is repeated.

0,8 sec

39:12 / 44:33

Again, some frames are missing before a longer shot.

0,2 sec




39:13 / 44:34-44:43

After Laurie has run to the bathroom, the DC shows how Annie's and her father's eyes meet.
Annie: "What?"
Vater: "Come on, Annie!"
Annie is annoyed and says, "I'll go. I always go..." and her father sighs with relief.

8,9 sec

alternative
39:36-39:43 / 45:06-45:18

The scene in the bathroom is slightly different at the end.

In the TC, Annie gives the towel to Laurie, who then wraps it around her head. She is sad and puts her head to Annie's chest.
(7 sec)

In the DC, there are different shots before that. Laurie grimaces and says, "Sorry I was such a bitch earlier."
Furthermore, she puts her head to Annie's chest in the same shot. Then the DC continues with a shot from the TC.
(11,7 sec)

the DC is 4,7 sec longer




only the TC is longer
39:46 / 45:21

The moon is shown a couple of frames earlier.

+ 0,2 sec




42:09 / 47:44-47:47

Loomis explains under what conditions he would stay longer,
"It depends on if there's something or someone that motivated me."

3,7 sec

42:54 / 48:32-48:37

Nancy adds, "It's just gonna add fuel to the lynch mob fire."
Loomis repeats her words in disbelief, "Bad taste? Bad taste?"

The TC continues when he says that it would be about business only.

5 sec

alternative
43:08 / 48:51-49:00

In the TC, this shot is a bit longer and Loomis puts down his cup.
Instead, the DC continues to portray him as rather unlikable by showing how he gives the cup to Nancy and then makes her leave,
"Here. Now, take that and go sit in the car. Go on. Get your ass in there."
Then he turns to the reporter and says, "Okay. Hi, where do you want me?"
(8,9 sec)

the DC is 8,5 sec longer

alternative / re-cut
45:06-45:37 / 50:57-53:43

Laurie wakes up from the nightmare differently. Moreover, the DC shows an additional scene in which Laurie screams at the psychiatrist.

Theatrical Cut:
The atmosphere is calm. She gets scared and says, "Fuck...". Then she takes her teddybear and says to him, "Buddy, I'm going crazy!"
Now, she has him answer or rather waves with her hand and says in a different voice, "Don't worry. That fucking cocksucker Michael Myers is dead. He won't get you." Then she pets him and says, "You always know what to say, buddy."
(31,3 sec)

DC:

A couple of scenes (165,3 sec in total):

First, she wakes up, swollows some pills and throws away the box. She looks significantly worse.

Then the DC continues with "Frankenstein" or rather Big Lou and a few kids who walk by.

Now, Laurie is at the psychiatrist's office.

Laurie tells the psychiatrist hectically about the meeting. Those shots are mixed with rapid inter-cuts to her on the street, "So I was going through the park and there was this really crazy Frankenstein. And he was, like, yelling at the kids. And he was yelling at them, like, perverted things and stuff. And I really thought it was funny and I stopped and watched. And then I saw this, like, farm."
Psychiatrist: "Laurie?"
She ignores the psychiatrist and continues her story, P: "What are you feeling right now, Laurie?"
Laurie: "The pig really liked me and she said that the pig..."
P: "Laurie?"
Laurie: "...liked me. I wanted to take it home."
P: "Sit down, Laurie. Come on, Laurie. Stay centered. What's going on?"
Laurie: "I had this really, really, really crazy attack. And not while I was asleep, while I was awake. Look, I just need you to prescribe me something, please."
P: "Laurie, according to my notes, you should have a lot of medication."
Laurie: "I don't. I'm out. Look, I need you to get your magic pen and your magic piece of paper and I need you to write me up a prescription, please."
P: "Laurie, that's not the answer. Are you doing your breathing exercises?"
Laurie asks angrily: "Breathing exercises?"
P: "Yes, it helps."
Laurie: "Breathing exercises aren't gonna cut it."
P: "They help, Laurie."
Laurie: "And I can't deal with this!"
P: "Oh, honey."
Laurie: "I'm not strong enough and I'm tired of pretending that I am."
P: "Look, Laurie, listen to me. Stay with me. You are so much stronger than you think you are. You are. Now, go on, sit down. Sit down."
Laurie gets angry: "You better fucking let me go and give me some fucking prescriptions!"
P: "I'm gonna give you some Haldol to tide you over."
Laurie: "Haldol?"
P: "Yes, Haldol. It'll take some of these thoughts away."
Laurie: "I don't want Haldol. I want my prescription!"
P: "I'm so sorry you're going through this."
Laurie is fed up: "Fuck, you know what? Fuck you and fuck this! I'm tired of your: How are you, Laurie? I'm so concerned at 100 bucks an hour. You know what? I would be fucking concerned at 100 bucks an hour!"
P: "I'm really concerned right now."
Laurie: "Bullshit."
P: "No, it's not bullshit."
Laurie: "You're more fucked up than I am...you crazy bitch!"

the DC is 134 sec longer


alternative
45:55-45:58 / 54:01-54:04

In the TC, the TV interview with Loomis is shown on a real TV set at the beginning, whereas the DC shows a shot of the house from the outside.

no time difference (both are 3,4 sec)

Kinofassung	DC

only the TC is longer
46:21-46:26 / 54:27

The TC shows Brackett longer and switches to the TV set earlier. That's why a cynical commentary by Loomis is missing from the DC, "It's more wasted taxpayer's money due to police incompetence. I mean..."

The DC continues when Loomis says, "how you can lose a body, transporting it from A to B")

+ 5,3 sec

alternative
46:37-46:44 / 54:38-54:45

Loomis says the same things in both version but in the TC only Laurie is shown, whereas the DC shows Backett first and then switches back to Loomis earlier.

no time difference (both are 6,8 sec)

Theatrical Cut	DC

46:47 / 54:48-56:04

After the interview the DC shows another meeting between Laurie, who is in a really bad state and Annie. Both shout at each other.

Laurie drinks alcohol and a music video is shown on TV. Annie enters the room and asks her, "What's up with the booze?"
Laurie: "Oh, yeah. Meet my new best friend."
Annie says jokingly, "Oh, is this how your new work friends roll?"
Laurie: "Maybe. Jealous?"
Annie: "Whatever."
Laurie gets serious: "You know what, Annie? I don't need your shit."
Annie: "You don't need my shit? You don't need my shit? I put up with your shit, 24-7."
The atmosphere gets more tense and Laurie says: "You better back the fuck off!"
Annie: "Or what, huh? The fuck are you gonna do? You know what, you act like you're the only one whose life got fucking trashed. I'm so not buying the new Laurie act. I'm not putting up with your moaning shit."
Laurie shouts at her: "Get the fuck out of my room! Get the fuck out of my room!"
Annie says, "I'm not impressed" and leaves.
Laurie curses one more time, "Fuck!"

After that a first shot of the strip-club from further away is shown.

75,6 sec

re-cut
46:54-46:57 / 56:10

Said shot is also included in the TC but it is shown after two shots of the advertisement board. The shots were re-arranged.

+ 3 sec




alternative
48:00-48:10 / 57:13-57:43

Alternative sequencing before Howard has to leave.

TC:

Big Lou says, "Would you just fucking take out the trash?"
Howard laughs and Big Lou adds, "Hit the road, come on!"
Misty: "Yeah, take out the trash. You need a bag, honey?"
(9,8 sec)

DC:

Big Lou: "Hey, Howard, let me ask you a question. I got a riddle for you. What does a stripper do with her asshole before she dances?"
Howard: "I don't know."
Big Lou: "She gives him 10 bucks and she tells him to take out the trash!"
Howard laughs, "That's a good one."
Misty sists on Big Lou's lap and says, "Here, Howard. Take out the trash."
And again Big Lou says, "Take out the trash, Howard."
Howard leaves reluctantly und Big Lou says to Misty: "He's good at taking out the trash. I'm funny."
Angrily, Howard comments, "Yeah, I'm the big joke..."
(30 sec)

the DC is 20,2 sec longer


only the TC is longer
48:12 / 57:45

Harold is shown slightly earlier in the TC.

+ 0,4 sec




50:54 / 60:27-61:00

In the DC, there is another vision with Deborah Myers in the strip-club. She tells Michael, "We're done waiting. Only a river of blood can bring us back together. It's up to you. It's always been up to you, Michael."

After that Lou is shown in the club earlier, "Hey, baby, you know what? It's after midnight."
Misty: "So? I don't think my pussy is gonna turn into a pumpkin."

32,8 sec

50:56 / 61:02

Big Lou is shown slightly longer.

0,3 sec




only the TC is longer
50:57-50:58 / 61:04

The following shot from above begins slightly earlier in the TC.

+ 0,3 sec




alternative / re-cut
53:25-54:06 / 63:31-63:46

After the caption "October 31st", the TC shows the scene with Laurie and the pig, which she had told in the DC (at min. 51') while she was in a confused state. The DC showed the scene in an unstructured way with lots of jump-cuts, whereas the TC shows the scene in a coherent way without any inter-cuts. She takes the animal into her arms and pets it. Furthermore, sheriff Brackett is shown from above a little earlier than in the DC.
(41,2 sec)

In order to have a smooth transition to the next scene, the DC shows two shots of the outside and two shot of the interior of Backett's office.
(15 sec)

the TC is 26,2 sec longer




alternative
54:31-54:34 / 64:11-64:14

A couple of different shots of Laurie on the street, while Backett is on the phone with Annie to ask where Laurie is.

no time difference (both 2,7 sec)

Theatrical Cut	DC

alternative
54:38-54:41 / 64:18-64:21

ditto.

no time difference (both 2,6 sec)

Theatrical Cut	DC

alternative / re-cut
54:45-54:48 / 64:25-64:28

Here, the TC shows part of the shot that was shown in the DC at (64:11-64:14)

no time difference (both 2,7 sec)

Theatrical Cut	DC

alternative
55:12-55:17 / 64:52-65:45

A change that has already been widely criticized. In the DC Michael is shown walking across a street and looking at posters of Loomis during daytime and Deborah comments on that, "He's still out there. Rich and famous. All because of our pain. I hope he's having fun." The last sentence was put over the shot with Loomis and the reporter, which accordingly begins earlier than in the TC.
(53,3 sec)

Instead, the KF shows the door slightly longer after Laurie has entered the store. This is followed by a different part of the shot in which people are waiting on the street.
(5,8 sec)

the DC is 47,5 sec longer




57:19 / 67:46-67:52

After the autograph session, the DC shows two more shots of Michael wandering around during daytime.

5,8 sec

alternative
59:57-59:58 / 70:30-70:33

In the TC, Backett is shown longer and a sound bite of the cop (Andy) is played, "Oh, boss...".
(0,9 sec)

In the DC, the shot of Andy begins earlier and he says his words on screen and adds, "Last year she tried to kick me in the nuts."
(2,8 sec)

the DC is 1,9 sec longer

Theatrical Cut	DC

alternative
60:06-60:07 / 70:41-70:43

A similar change. Again, Backett says some more words - see the bold part of the dialog.
"...you just sit outside with a shotgun on your lap like you did last year, all right?"
(1,9 sec)

Therefore, the DC shows Brackett longer, whereas the TC shows the next shot earlier. ("all right?" from the off).
(0,8 sec)

The change makes sense, since the Theatrical Cut takes place only one year after the first movie. That's why there would not have been any reason for Andy to guard the front door of the house one year before.

the DC is 1,1 sec longer

Theatrical Cut	DC

In the DC, the band plays a longer version of the song. Therefore the whole scene had to be shortened , which explains the minor changes.

65:05 / 75:41-75:42

The pan shot is a little longer. The DC shows more shots of the party and the band.

0,9 sec

65:07 / 75:44

After the shots of the three girls, the band is shown slightly earlier.

0,5 sec




65:07 / 75:44-75:45

Another close up of the band.

1,2 sec

alternative / re-cut
65:09-65:10 / 75:47-75:49

After the next shot of the girls, the shot of the band, which wasn't shown before, is also shown in the TC. (1,2 sec, this change, as well as the following changes, are not shown twice in this report) The DC shows the girls slightly longer. and female hips are shown in front of the stage (1,8 sec).

the DC is 0,6 sec longer

alternative / re-cut
65:12-65:13 / 75:51-75:53

The same situation: The TC shows the shot that was shown in the DC before(1,3 sec). The DC shows a different one (1,8 sec).

the DC is 0,5 sec longer

alternative / re-cut
65:15-65:16 / 75:55-75:56

Again: The TC shows the previous shot (1,2 sec). The DC shows a longer one (1,8 sec).

the DC is 0,6 sec longer

alternative / re-cut
65:18-65:21 / 75:58-76:02

TC: Previous shots and some parts of the girls' dance are shown. (no pictures).
DC: The previous shot of the girls is longer and again the band is shown.

no time difference (both 3,1 sec)

alternative / re-cut
65:22-65:24 / 76:03-76:14

KF: A previous shot from the DC is shown (2,1 sec).
DC: The missing dance of the girls from the party is shown (10,7 sec).

the DC is 8,6 sec longer

alternative / re-cut
65:26-65:27 / 76:15-76:17

TC: One of the previous shots from the DC (1,2 sec, picture 2).
DC: Pan shot to the bare breasts (2,2 sec).

the DC is 1 sec longer

alternative / re-cut
65:32-65:34 / 76:22-76:24

TC: the previous shot from the DC (2,2 sec).
DC: Some people do crowd surfing in front of the stage (2,4 sec).

the DC is 0,2 sec longer

65:36 / 76:26

Laurie drinks slightly longer.

0,4 sec




alternative / re-cut
65:41-65:42 / 76:31-76:32

KF: Two shots of people in the crowd from the DC (1,6 sec).
DC: Band (1,1 sec).



the TC is 0,5 sec longer

only the TC is longer
65:44-65:47 / 76:34

After Laurie is shown with Zombie in the crowd, two shots of the band follow. (only in the TC)

+ 2,8 sec

65:49 / 76:36-76:48

Only the DC shows more shots of the party before the song ends.

12 sec

66:14 / 77:13-77:32

After Annie has asked Andy to leave (her last words were,"What the fuck are you gonna do, jackhole?"), their dialog in front of the door is longer. While leaving Andy says, "You'll find out."
Annie mocks him, "I'll find out? I'm shaking in my boots."

After that, the scene in the club begins earlier. Uncle Seymour says more, "Okay, why don't we get back to the music. I get another drink. Good idea, huh?"

18,5 sec

66:18 / 77:36-77:37

Uncle Seymour is shown slightly longer.

0,8 sec

alternative
66:20-66:22 / 77:39-77:40

The TC shows an additional shot of the stage (2,2 sec). The DC shows the next shot earlier. (1 sec).

the TC is 1,2 sec longer

Theatrical Cut	DC

66:26 / 77:43-77:44

Laurie dances longer.

1,1 sec

66:28 / 77:46-77:47

Harley and Wolfifie are shown slightly earlier.

0,6 sec



alternative
66:31-66:32 / 77:50-77:52

Alternative shots of the band. (TC 1,5 sec / DC 2,3 sec).

0,6 sec

Theatrical Cut	DC

alternative
66:35-66:38 / 77:55-77:56

In the DC, Harley walks away longer, then the band is shown earlier (1,1 sec, no pictures).
The TC shows a dancer and then how Harley walks away with Wolfifie. (3,1 sec).

0,6 sec

alternative / re-cut
66:40 / 77:58-78:02

TC: The singer is shown slightly longer (0,5 sec).
DC: The previous two shots from the TC are shown and are slightly longer. (4 sec).

the DC is 3,5 sec longer




66:43 / 78:05

Laurie dances slightly longer.

0,6 sec

Before Harley enters the "shagging wagon" the DC shows a steady pan shot and a shot in which the two walk toward the van.

In addition to that, we are given some sex talk.
Harley: "A blowjob? Is that what you guys call them still? I call them sucking a dick."
Wolfifie: "There she is. She's a beauty."
Harley: "She is, isn't she?"
Wolfifie: "I had a lot of fun in this van. And a lot of pussy."

12,2 sec

67:54 / 79:28-79:37

We are back in the club earlier. Uncle Seymour gives a real life example of the joke he has told before. He gives the jack o'latern to the blonde girl, "Hey, hold this, Blondie. Now Blondie and jack-o'-lantern both have three holes."

9 sec

68:04 / 79:47-80:14
Harley throws himself onto Wolfifie in the TC immediately, whereas in the DC, the guy mumbles something and unlce Seymour is shown.

Wolfifie: "You look very pretty tonight, by the way. Very pretty. I like your tattoos. Are they real?"
Harley: "Oh, yeah. They're real."
Wolfifie: "They're real? That's cool. I was thinking about getting...
Harley touches her breasts, "These are real too."
She guides his hand to her breasts and he stutters, "They are real. May I? That's... They feel real. That's-- That's nice. That's nice." He takes his hand away again and Harly is cleary disappointed, "That's it?"

Now, unlce Seymour, who is already pretty drunk by now, shouts at the audience, "You big baby! Go home!"

27,3 sec

70:49 / 82:59-83:13

First some shots of the club are shown. (After Loomis has had his devastating talk show appearance)
The band plays and some first shots of Laurie and her blurry sight are shown.

13,5 sec

alternative
70:52-70:54 / 83:16-83:18

After Laurie has turned around,the TC shows the blurry shot of the singer, which was shown in the DC in the scene before (1,6 sec). The DC shows a different but also blurry shot. (1,7 sec).

the DC is 0,1 sec longer

Theatrical Cut	DC

alternative
70:56-70:57 / 83:20-83:21

The TC shows the blurry shot from the DC (1,4 sec). In the DC, a new shot from further away is shown (1,3 sec).

the TC is 0,1 sec longer

Theatrical Cut	DC

alternative
70:58-70:59 / 83:22-83:23

And again some irrelevant changes were made. When the band leader is shown, the DC begins slightly earlier.

no time difference (both 1,6 sec)

Theatrical Cut	DC

alternative
75:53-76:05 / 88:17-89:19

After Mya and Laurie have entered the house, each version continues differently for some time.

Theatrical Cut:

The shot after the door has been closed is longer.The two shots of the outside with scary music are shown. The second one shows Michael Myers shadow moving in front of the window.
(12,1 sec)

DC:

First, a very short shot of the porch is shown. After that, the DC shows a conversation between Mya and Laura inside the house.

Laurie: "The place is, like, spinning."
Sie goes to the closet and asks, "Want some tea?"
Mya: "Yeah. What you got?"
Laurie looks at her skeptically: "Blended black/green tea? Berry blossom..."
Mya: "Yeah, berry. Does it have caffeine in it?"
Laurie tries to read the label; "Yeah... No... Dude, I can't fucking read that? Oh, yeah, it does."
Mya: "It's okay. I'll sleep like a baby after what we went through tonight."
The dialog is shown from the room next door and here Michael Myers shadow is shown.
Mya eats with joy, "These cookies are so good. You should have a cookie. It'll help soak up all that alcohol rotting in your gut."
Laurie: "Don't think a cookie is gonna save me."

the DC is 50 sec longer




alternative
81:46-81:53 / 95:00-95:08
When Brackett enters the room in which his dead daughter is, the TC continues the scene with the long shot.

The DC shows a different shot, in which Brackett sobs, "Oh, God...oh, no, Annie!"
(8,3 sec)

the DC is 0,9 sec longer

Theatrical Cut	DC

In the DC, Brackett also sobs in the following inter-cut to Annie's dead body on the floor, which is shown in both versions.

alternative
81:56-82:02 / 95:11-95:22

The TC only shows the grieving Brackett from the front side.
(6 sec)

The DC shows two more shots of Backett. Out of pain, he slams his fist onto the ground and says, "God, please. Oh, God. No! No!"
(11,8 sec)

the DC is 5,8 sec longer

Theatrical Cut	DC

82:05 / 95:25-95:44

The DC shows some more shots of Brackett - probably the ones that were shown in the TC before but they are inter-cut with flashbacks to Annie's childhood.

19,2 sec

82:14 / 95:54-96:05

In the DC, the camera pans out longer and shows the sobbing Brackett in another shot.

11 sec

alternative
91:26-94:29 / 105:17-106:39

Now, the alternative ending or rather a part of it follows. A cut was made when the same shots are used in both versions.

Theatrical Cut:

Michael attacks Loomis in the barn from the very beginning and kills him with several stabs of his knife. At the same time Laurie is still flailing with her arms because she thinks that Young Michael is holding her.

Michael pulls up Loomis again. While doing that he stands at the window and is seen by Brackett and the snipers. They start shooting at him. He staggers backwards and is gored by the tools at the wall. Laurie wakes up from her delusions and goes to her heavily wounded (or already dead?) friends. She kneels down in front of Michael.

Laurie says, "I love you, brother". Michael lifts his knife behind her back as a response - but then he collapses and his hand sinks to the ground. Laurie takes the knife out of his hand and stabs him several times. After two shots from above, the door of the barn opens and after a short shot of Brackett Laurie steps out.

(182,9 sec in total)

Director's Cut:

After a couple of shots in which the policemen that are waiting outside of the barn are shown, Loomis and Michael fall out of the barn immediately. Michael's mask is taken off and Loomis says, "Michael, for God in hell..." Michael!!! replies, "Die!", and stabs him to death. Brackett gives the order to fire and Michael is killed by several bullets.
(81,7 sec)

the TC is 101,2 sec longer




alternative
94:34-94:38 / 106:44-106:48

The pan shot of Brackett and his female colleague is interrupted by alternative footage:
The TC shows a long shot of Laurie in front of the barn (4,2 sec). The DC shows a close up of her from the back.

the TC is 0,2 sec longer

Theatrical Cut	DC

alternative
94:40-94:41 / 106:50-106:55

Now, the TC shows Laurie in front a police car. She is carrying Michael's mask.
(1,7 sec)

The DC shows two different shots. (The first shot shows Young Michael lying on the floor).
(5,4 sec)

the DC is 3,7 sec longer

Theatrical Cut	DC

alternative
94:43-94:45 / 106:57-107:02

And of course, alternative footage is shown after the next part of the pan shot of the policemen.

Again, the TC shows Laurie in front of the car.
(2 sec)

The DC shows a pretty long shot of her legs. She stops in front of Michael.
(5,2 sec)

the DC is 3,2 sec longer

Theatrical Cut	DC

alternative
94:47-94:50 / 107:04-107:11

Again there is a change after the camera has zoomed in on Brackett.
In the TC, she collapses. This is shown in a long shot (2,9 sec). In the DC she takes the knife out of Michael's hand (6,4 sec).

the DC is 3,5 sec longer

Theatrical Cut	DC

alternative
94:53-95:06 / 107:13-107:24

The reason for the puzzled look on Brackett's face is of course different. In the TC, Lauries pulls the torn mask off Michael's face (13,4 sec). In the DC, she turns to Loomis with the knife in her hand (10,4 sec).

the TC is 3 sec longer

Theatrical Cut	DC

change of speed
95:06-95:12 / 107:24-107:26

The last part of the shot of Brackett is shown in slow motion in the TC in order to match the speed of the previous shots.

the TC is 3,8 sec longer




alternative
95:12-95:50 / 107:26-109:11

After that, completely alternative footage is shown again.

Theatrical Cut:

Laurie looks at the mask in her hand. "Laurie's Theme" starts to play. Then the long cross-fading to the pan shot toward Laurie in the psychiatric hospital begins.
(48,2 sec)

DC:

Bullets are fired at Laurie because Brackett shouts, "Hold your fire!" too late. Laurie sinks to the ground (some of the shots are shot as "freeze frame") and "Love Hurts" starts to play. The pan shot toward her in the psychiatric hospital begins significantly earlier and the the cross-fading to the pan shot of Laurie, who is lying on the floor, begins earlier respectively.
(115 sec)

the DC is 66,8 sec longer

The different background music is played till the credits start.

96:00 / 109:21-109:23

The close up of Laurie is longer and the following shot from behind begins earlier.

2,3 sec

96:04 / 109:28-109:29

Laurie is shown in the DC earlier.

0,4 sec

alternative footage
96:07-96:13 / 109:32-109:40

...which is longer at the end. Furthermore, alternative shots of the corridor are shown. Only the TC shows Deborah and a horse now.
(TC 5,9 sec / DC 7,9 sec)

the DC is 2 sec longer

Theatrical Cut	DC

change of speed
96:13-96:18 / 109:40-109:51

When Laurie starts to smile or rather raises one of the corners of her mouth, the shot was slowed down in the DC.

the DC is 5,5 sec longer



re-cut
96:18 / 109:51-110:02

Now, the DC shows the long shot of Deborah und the horse.(It's longer in the DC and is shown without any interruption, The TC only shows the second part of the scene.

11,4 sec

96:22-96:24 / 110:06

Now the TC is longer at end.

+ 1,5 sec

change of speed
96:24-96:37 / 110:06-110:17

The other corner of the mouth is also raised in slow motion.
In the TC this shot is longer and only in the TC does the screen fade to black.
(TC 13,2 sec / DC 10,8 sec)

the TC is 2,4 sec longer