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Total Recall


  • Theatrical Version
  • Extended Director's Cut
Release: Dec 30, 2012 - Author: Jason - Translator: Sebbe - external link: IMDB
Original and "Fake"?

Total Recall

The remake mania of Hollywood. The first big mistake of announcing a remake is often the announcement itself. In the case of the sci-fi action classic of cult director Paul Verhoeven, it apparently drives many movie and genre fans close to the edge of what they can psychologically endure.
This also applies to the Robocop remake, being still in early production (and of which only a few pictures from the set caused shitstorms in internet forums). Plans for a remake of Starship Troopers with considerably fewer depiction of violence are being ridiculed; and with Total Recall, they picked out a favorite of countless people admiring the theatrical entertainment for grown-ups of the cinema of the 90s. This flic shouldn’t be missing in any respectable movie collection; the sometimes excessively used word “cult” is more than justified in this case.

The simple announcement of such a remake would have been enough to rouse at least anxious feelings; the fact that Len Wiseman would direct it didn’t quite raise the spirits. At least since his involvement in "Die Hard 4.0" aka "Live Free Or Die Hard", a considerable part of the target group includes him on the personal list of “lousy directors”, for sometimes more, sometimes less comprehensible reasons. Kurt Wimmer as screenplay writer was also not a good portent; neither was the later withdrawn statement to stick more closely to the short story "We Can Remember It for You Wholesale" by Philip K. Dick, upon which the movie is based; the apparently inevitable announcement to aim at a PG-13 rating; or the seemingly forced incorporation of Wiseman’s wife Kate Beckinsale or character expert Bill Nighy. The famously cast box office poison Colin Farrell in the leading role as well as a Director's Cut which was announced long before the theatrical release also wouldn’t have been necessary to raise doubts.
But all of the above helped in the end. It helped by lowering the expectation and creating full-blown prejudices against the movie before seeing it in the cinemas, if at all; so the people absolutely condemned it beforehand. The result of all of this was that "Total Recall" completely bombed at the box office with an almost unanimous consensus of both critics and audiences.

Objectively speaking, the theatrical cut of Total Recall is nothing more and nothing less than a slightly above average movie.

A lot was done right. The planet Mars, which doesn’t come up at all in the original story by author Dick, was abolished and the action now takes place on the -post apocalyptic- earth again. The classic theme of the two-class society already used by Verhoeven is presented here on a global scale, symbolized by the two last remaining and opposing states of the earth and their connection to each other, a huge system of elevators and tunnels straight through the planet. This is also the bone of contention for the resistance movement, which denounces the on-going exploitation of one nation by the other with the help of this giant means of transportation.
Current topics like national police control or the overpopulation are woven into the story; in fact, the remake is rather a dark dystopia than a tongue-in-cheek sci-fi actioner. It’s not about saving another world, but saving the own existence on the home planet. Different, but in a good way and absolutely legitimate to present it thus.

The same goes for replacing the bloody depiction of violence by “set-focused action”. While they used animatronics, matte painting or miniature models in the original, which certainly cost a lot of effort, but looks quite ridiculous from today’s point of view when they had to demolish sets made of cardboard (e.g. the taxi drive to Venusville), the set designers can nowadays draw on unlimited resources by the help of computers - which they do quite impressively.
Although, they sometimes openly took stuff from movies like "Minority Report" or "Blade Runner" (which are also based on stories by author Philip K. Dick) and at some points it seems that the plot was constructed around the above-mentioned action settings, and not the other way around. Nevertheless, there are to be found a lot of impressive and creative visions of the future, including some technical gadgets.

But objectively, there are also some obvious weaknesses. This is not because back in the day a muscle man of 6.23ft and 100kg called Schwarzenegger was probably the perfect depiction of a secret (!!) agent, while Colin Farrell can’t live up to this role at all in the remake. Neither is it because a giant elevator with a gravity compensation function going through the core of the planet is a completely illogical, weird fantasy construct, while a huge amount of oxygen escaping from a mountain on Mars scientifically correctly creates a perfectly fine atmosphere for humans to live in within two or three minutes…
A different focus on the characters isn’t the problem, either. But that Mr. Wiseman again had to present his wife Kate Beckinsale just as optically appealing as flat, in terms of her character, certainly is a problem. Partially, she really seems to try to represent the ice-cold Lori, but, as usual, she drifts into her already known pseudo-cool overacting. Bill Nighy disappears from the plot as suddenly as he was involved and it really is beyond explaining how the "female Matthew Broderick" Jessica Biel could get the part of Melina. Even a well-acting Bryan Cranston as Cohaagen can’t fully compensate that.

The biggest problem aren’t the bad decisions in terms of casting or other trifles, like more than just now and again used stylistic devices, but rather overwhelmingly often used lens flare effects (often even in dark corners without any source of light, which are necessary for this effect…), or dialogues taken straight from Verhoeven’s original.
The final death stab is probably the fatal decision of sacrificing the multilayered and complex plot of Wiseman’s initial version for a predictable and not overly challenging popcorn action movie for the theatrical release.

Are you interested in another double bottom?

Theatrical Version VS. Extended Director's Cut

The original Total Recall is built upon two major story lines. On the one hand, there's the misery, which Douglas Quaid brings upon himself by going to Rekall which was planned by his former self Carl Hauser and his employer and friend Vilos Cohaagen. Of course, Hauser willingly got all memories of his former self erased and replaced by a new identity.
On the other hand, the audience is left out in the cold over an explanation to whether all incidents that happen after Quaid visiting Rekall are real or just part of his "ordered" identity as a secret agend.

BOTH of these key elements are almost entirely absent f rom the Theatrical Version of the Total Recall-Remake. The audience was not amused and criticized this absence of complexity. Director Wiseman, however, apparently seemed to know his audience better than they knew themselves. During an early interview, in which he explains the differences between the Theatrical Version and the Extended Cut he said:

“This is more of a director’s cut, this is closer to my original cut. I’m not saying anything that’s unknown, but movies are always cut down and there’s a lot of complexity within the film that is not always widely accepted by the general audience, which is just a reality; a movie of a certain size, they don’t want people to be too—it’s a balance of how deep to keep going with these ideas.”

In the Theatrical Version Carl Hauser was actually converted to the resistance by Melina. Cohaagen wants his (ex) best agent back via a memory backup that is supposed to revive his former self Hauser. Simple as that.
This probably alienated audiences worldwide, especially since three authors - Ronald Shusett, Dan O'Bannon, and Jon Povill - who also wrote the original script from 1990 were involved in the production of the remake. This is (positively) noticeable in the final result - unfortunately not in the Theatrical Version which was edited "for the masses". Here, Hauser - who appears in video messages - was played by Farrell - just as his alter ego Douglas Quaid.

In the Extended Director's Cut, Carl Hauser is played by Ethan Hawke, who transforms into Douglas Quaid via having his memory erased and replaced AND a plastic surgery, in order to get to the leader of the resistance so that it could be defeated. Thus, Hauser's usage of other fake identities is stressed much stronger.

The link to the possibility that everything which Quaid experiences might all just happen in his own fantasy isn't entirely absent from the Theatrical Version. However, it is downplayed to a minimum, so that a lot of viewers didn't even notice it. Still, you could search for, collect and evaluate several details (visual, audible, and concerning the plot or the dialogues) in order to come to an answer. Apart from people panning ans bashing the movie (most of the time with nothing but stock phrases) there were some internet users who were debating these small details.
The Extended Director's Cut offers a more complex plot, especially because of Harry's attempt to get Doug out of his (alleged) illusion. The German Blu-Ray even calls the final sequence an "alternate ending". Only this version gives you a chance to witness the whole complexity of the script which gives you a lot of hints which are supposed to be discovered and decoded.

Apart from that, the differences between the two versions - concerning the scenario which right from the beginning was planned by Cohaagen and Hauser - are the most important ones, since many dialogues had to be changed in order to fit to the Theatrical Version. As a result, the Extended Director's Cut (among other things) offers a few interesting details such as the father-daughter-relationship between Matthias and Melina, as well as (thankfully) more screentime for Brian Cranston as Cohaagen.
Last but not least, some material that had to be taken out due to censorship (which in the following report will be written inred letters) was cut back into the EDC. It pushes Total Recall slightly towards an R-Rating, however, it's hardly worth mentioning. For example, there are a few additional/alternative shots of the woman with three breasts, a reminiscence to Verhoeven's original which was not done well.

IN nthe end, there's no way around the Extended Director's Cut, respectively the Blu-Ray if you think about watching the remake of Total Recall at all. This version might be a second chance for cinema goers worldwide who felt let down by the Theatrical Version - the Extended Director's Cut deserves it!

97 Changes:

- 51 extended scenes in the Extended Director's Cut
- 8 extended scenes in the Theatrical Version
- 22 alternative shots
- 7 alternatively arranged scenes
- 8 altered dialogues
- 1 changed scene

Doug is trying to open the grid longer, Melina keeps aiming at the door. She lowers the gun, Doug turns around.
3 sec.

The pursuers shoot at Doug and Melina, they take cover at first. Doug reloads his gun and tells Melina he loves her. For a short time she is surprised that of all moments, he tells her at this one, then they kiss.
After Melina replied that she loves him too, Doug shoots a few times at the grid’s locks, towards the pursuers, who then go into cover. As Doug runs to the grid and rips it open, Melina covers him with more shots towards the pursuers.
38 sec.

Alternate shot
The Extended Director’s Cut shows a picture of Carl Hauser during the TV-report on the bomb attacks (the news anchor notes ”…to this man…” as it’s being shown), the Theatrical Version does not have this. Additionally, the latter cuts to a frontal shot of Doug drinking from his coffee mug, the Extended Director’s Cut keeps showing the shot from behind.
0.5 sec. (Theatrical Version longer)

Theatrical Version:Extended Director's Cut:

Doug passes an ID-check and an electronic scanner.
13 sec.

The camera moves across the soldier who turns around and looks into the crowd.
2.5 sec.

Doug and Harry ascend the steps. Harry says that he also can’t get used to the new shifts, but that the extra money sort of compensates for it. Doug is amused a little about Harry’s early-morning optimism.
10.5 sec.

Theatrical Version
"The Fall" falls a little earlier in this shot.
0.5 sec.

Since nobody wants to break in the new guy, the shift supervisor looks at Harry. He argues that he had instructed the last new guy who, in subsequence, was fired by the supervisor. The latter annoyedly orders Doug to do so and leaves, Doug sarcastically thanks grinning Harry.
18 sec.

Dialogue change
Each version shows two entirely different scenes here.
First, the call at the production-line differs:
In the Extended Director’s Cut, the entire working level is called to HR, in the Theatrical Cut, Doug is personally called to the Factory Operations.
No time difference

Theatrical Version
Doug gets into the shift supervisor’s office. He explains to him, that somebody from outside is getting the promotion that was initially intended to be Doug’s. Doug points out his overtime and his increaded quota and adds that he is going to lose his mind if he is being kept in the production line.
The shift supervisor replies that he would’ve preferred Doug, too, but that the other applicant is from the U.F.B. and not, like him, from the colony and that he offers the necessary education as well as good connections to the right people. Nevertheless, Doug thanks his superior for his efforts and leaves.
54 sec.

Extended Director's Cut
The workers are sitting in front of the office of a government official. Harry steps outside and says that the guy was a real loser. Doug is next, walks into the office and sits down. The official sporadically states that Doug works in production and is from the colony; Doug interrupts him and asks who the man is, anyway. He replies that he is part of the Cohaagen administration.
He then explains Doug that, in these politically inflammatory times, they have to check the workers’ loyalty as they have to deal with classified police synthetics on a daily basis. The official tells Doug to sign a document in which he explains that he does not make he technology at his hand or information about it available to other parties and that he is in no way involved in coup d’état activites.
From the beginning of the conversation on, Doug behaves very hostile, since on the one hand he believes that this treatment has something to do with his colonial origin, and on the other hand that he doubts this document would make any potential terrorist out themselves. He sarcastically asks whether anybody questions the pencil pushers in this facility, e.g. the official himself, or whether any terrorists had been caught due to this document. The official annoyedly explains that he still has got 75 more workers to interrogate on this day and fairly openly threatens to fire Doug, should he not sign. Doug indulges and signs, quirkily asking whether the official likes his job. He replies that he is a social person. Doug stands up and leaves.
131 sec.

(Partly) Alternate shot
In the Theatrical Version, Doug is sitting inside “The Fall” with open eyes, on his way home. In the Extended Director’s Cut, he is sleeping in a longer, alternate shot, followed by pieces of the frequently recurring dream.
Theatrical Version: 2 sec. / EDC: 15 sec.

Alternate shot
A different shot of Doug sitting down next to Harry at the bar.
No time difference

Theatrical Version:Extended Director's Cut:

Alternate Shot
Harry adresses Doug’s discussion with the shift leader. The EDC cuts earlier to Harry, answering "Yeah, exactly." to Doug’s passive "What?"
0.5 sec. (Theatrical Version longer)

Theatrical Version:Extended Director's Cut:

Alternate Shot
The Theatrical Version cuts one more time to Harry, the EDC does not. In addition, Doug’s explanation about his dreams is a bit different in the beginning – he seems to be a bit more serious in the EDC.
0.5 sec. (Theatrical Version longer)

Theatrical Version:Extended Director's Cut:

Doug grabs for his glass, the shot of Harry starts a moment earlier.
1 sec.

Harry asks why he shouldn’t be happy with his life. Doug replies with the question if Harry was serious.
3 sec.

(Partly) Alternate Shot
In the Theatrical Version, Harry only sits down smilingly. In the EDC he asks who “the girl” is. At first, Doug reacts confusedly and then explains that there is no “girl”. Harry replies that this is good because women like Lori don’t just fall from the sky. Doug says he could consider himself lucky, he lives “the dream”. He laughs and repeats this with a slightly ironic tone of voice.
Theatrical Version: 2.5 sec. / EDC: 29 sec.

Harry adds " your wife." to his "And you go home...".
1 sec.

Two more shots in the red light district.
1.5 sec.

(Partly) Alternate Shot
In the Theatrical Version, there is only one close shot of the club’s entrance, Doug is shown passing it. In the EDC a man speaks to a very scandily clad robot woman and takes her with him.
Theatrical Version: 1.5 sec. / EDC: 5 sec.

Theatrical Version:Extended Director's Cut:

Alternate Shot
Typical MPAA-cut: The Theatrical Version cuts to Doug a few frames earlier, the EDC shows the three powerful arguments a moment longer.
No time difference

Theatrical Version:Extended Director's Cut:

Alternate Shot(s)
An alternate, zoomed shot in the Theatrical Version to hide the breasts.
No time difference

Theatrical Version:Extended Director's Cut:

The bare-breasted woman asks if Doug wouldn’t decide to be with her instead – after all, she was much more attractive. Doug laughes a little ashamedly and replies that he bets she is.
6.5 sec.

Alternate Shot
Again, the shot of the woman is zoomed-in in the Theatrical Version -> no onscreen-breasts.
No time difference

Theatrical Version:Extended Director's Cut:

Doug’s way to Rekall is a little longer, another, sparsely clad robot woman is shown.
5 sec.

The pan across the next room at Rekall starts a little earlier, the reason for that should be the scantily clad lady in the background.
2.5 sec.

The Rekall-co-worker goes down in a closer shot (no blood, no bullet holes, though...).
0.5 sec.

The shot runs for a bit longer, Dough says"Oh Jesus.".
0.5 sec.

(Partly) Alternate Shot
Hammond tells Doug that his name is actually Henry. Doug would also like to know the last name.
In addition, Hammond is shown in different shots during the following line “Look, there isn’t any time.”
4.5 sec.

Theatrical Version:Extended Director's Cut:

Theatrical Version
Talking to Cohaagen, Lori adds "He's clearly regaining some memory fragments.
2.5 sec.

Alternative Shot(s) / Change of Dialogue
Cohaagen’s orders differ in the two versions. The Extended Director’s Cut here runs a little longer.
Theatrical Version: "No lethal force. I want him alive, do you understand?"
Extended Director’s Cut: "Neutralize only, do you understand me? No lethal force. I want him alive for re-implantation."
Theatrical Version: 5 sec. / EDC: 9.5 sec.

In amazement, Doug looks at his data record saved at the bank.
2 sec.

At first, the bank employee leads Doug into an anteroom, where he has to carry out a routine signature match. Confused Doug is standing in front of the electronic document and, naturally, doesn’t really know how exactly he is supposed to sign. Just at the right moment, the bank employee asks "Is there a problem, Mr. Reed?". Now luckily provided with a last name, Doug says no, signs and hands back the document. The bank employee opens the huge safe door, they walk through.
34.5 sec.

Doug observes the ID of his “current Alter-Ego” Henry Reed a moment longer.
0.5 sec.

Doug gets more money out of the box.
2 sec.

Alternate Order of Scenes
Doug’s explanation to himself that “he is not he” is a little more thorough.
Theatrical Version: "...but you are not the person you think you are now."
EDC: "...but this is not your face. I've been captured and resculpted into this, this person you think, you are now."
Theatrical Version: 2.5 sec. / EDC: 7.5 sec.

Theatrical Version:Extended Director's Cut:

Alternate Shot
Doug enters his Apartment with unconscious Melina in his arms. In the Extended Director’s Cut slightly longer alternative shot, during which a computer voice greets him with the words Worten "Welcome home Mr. Reed. Did you have a nice day?" Doug answers, a little laconicly "Great, thanks."
Theatrical Version: 5 sec. / EDC: 7.5 sec.

Alternate Order of Scenes
In the Extended Director’s Cut, Doug is playing a longer piece on the piano. In between, a shot of the Theatrical Version/an alternate shot is being used (not pictured in the following.
Theatrical Version: 6 sec. / EDC: 20.5 sec.

(Partly) Alternate Shot
Doug is playing the piano longer again. In the Theatrical Version there is only a short alternative shot of this; the shot during which he presses the “silent key” also starts a moment earlier, though.
Theatrical Version: 3 sec. / EDC: 9 sec.

Theatrical Version:Extended Director's Cut:

Alternate Shot
In the Extended Director’s Cut, Doug is shown putting in the “key” in an additional, more distant shot into the piano. In the Theatrical Version, the following shot with Doug playing the piano starts earlier again, though.
Theatrical Version: 5.5 sec. / EDC: 10 sec.

Theatrical Version:Extended Director's Cut:

Alternative Order of Scenes
The entire dialogue between Doug and his former self is basically the same in the two versions. The holographic record in the Theatrical Version shows his former self Carl Hauser, logically looking just like him. In the Extended Director’s Cut, his Alter Ego Henry Reed is shown and as he says his real name – resp. both of theirs – Carl Hauser, he takes off the electronic necklace, the false face holograph disappears and the former Carl Hauser appears (played by Ethan Hawke in the Extended Director’s Cut).
The conversation is much longer in the EDC compared to the Theatrical Version. Carl takes his time for his explanations, talks slowly, precise and to the point. Also, only here is it that he mentions the recordings of his activities on a black box behind his head. In the Theatrical Version, Carl becomes a little wistful towards the end of his recording about his former deeds, in the Extended Director’s Cut he remains fairly factual.
In direct comparison, Hawke’s acting is, compared to Farrell’s, a real plus, too.
Theatrical Version: 150 sec. / EDC: 202.5 sec.

Theatrical Version:Extended Director's Cut:

Harry adds "Brought on by the trauma of a chemical fantasy."
3 sec.

Harry explains a little more thoroughly "When we were back at the bar, you had me worried. So, i followed you. And by the time i got there, it was to late. You were unresponsive."
10 sec.

Harry talks much longer to Doug and explains to him that they are basically only in his head and that he merely tries to get him out of his psychosis before it reaches a point at which he falls into a coma. Melina tries to oppose that Harry doesn’t even sound like him, Doug himself notices the bulletproof west and he asks why Harry is wearing it.
He replies that he sounds exactly like Doug’s subconscious tells him, just like the west, which he generates to guard Harry so he can lead him safely out of this hallucination. Melina assures that Harry is as real as she is and that he works for Cohaagen. Doug is confused the whole time and doesn’t know who to believe.
79 sec.

Harry adds that he is not afraid and Doug doesn’t have to be, either. Melina loses her patience and utters angrily that Harry should tell Doug the truth or otherwise she would kill him. Doug, who doesn’t know what to believe any more at all, keeps Melina from doing so.
18.5 sec.

Harry adds "She represents all your frustration, all your unhappiness.".
4.5 sec.

Harry adds "The real me.", therefore the shot of Melina is a moment longer. The rest of the dialogue "Your old pal Harry." was put over the following shot of Doug.
0.5 sec.

Melina wants Doug to look at her, which he does. In the meantime, Harry keeps on explaining "Turn, and you'll see your beautiful..." This line of dialogue is featured in the Theatrical Version during the following shot of Doug at Min. 1:13:24.
4.5 sec.

Doug is shown two frames longer after the Harry is being shot, the cut to him is shown two frames earlier – therefore, the bullet hits his forehead slightly earlier.
4 frames

In the same shot, Harry’s drop backwards is three frames longer.
3 frames

Theatrical Version
Lori adds "All we heard in the agency was how brilliant Carl Hauser was."
2.5 sec.

Alternative Shot(s)
In the Theatrical Version, the frontal and back shot of the people fleeing out of the elevator are shown in a way that there are no visible bullet wounds, and the cut to Doug and Melina takes place earlier.
No time difference

Theatrical Version:Extended Director's Cut:

The guidless elevator falls onto a street resp. crashes into a car driving on it.
4.5 sec.

Changed Dialog
In the Theatrical, the rebel asks "You sure you can trust him? (mostly heard from the off in the following shot of Doug and Melina), whereas he says "Who is he?" in the Extended Version. The guy can also seen a bit longer, then there is an additional shot of Doug and Meline.
4 sec.

Changed Dialog
Melina answers "Yes, i'm sure." in the Theatrical, in the EDC it is "It's Hauser." and she can also be seen a bit longer.
1,5 sec.

The frontal shot of Doug is a bit longer, the following shot of the rebel also starts a bit earlier. He says "Unbelievable."
3,5 sec.

The rebel tells Melina that they would tell her father that she is there. Doug looks confused, the group walks into the subway wagon. A small chat between Doug and Melina clarifies that Matthias is Melina's father. It ends with Doug stating that this is good to know.
24 sec.

Changed Dialog
Matthias' line is slightly different.
Theatrical: "The firewall to the memory banks."
EDC: "The firewall to the black box."
No difference in running time

Alternative Shot
The earlier Carl Hauser is depicted differently due to the earlier changes in the EDC.
No difference in running time

Theatrical Version:Extended Director's Cut:

Alternative Shot
No difference in running time

Theatrical Version:Extended Director's Cut:

Two rebels die with visible entry wounds.
1,5 sec.

A rebel is being shot quite excessively by a police robot, the victim falls over a railing and down onto a table one floor below.
3,5 sec.

Alternative Footage
The two versions differ drastically after Matthias' execution.

Theatrical Version:
Meline wants to run to Matthias but is held back by her guard. Doug is hit in the back and goes down. Matthias is on the ground and dies quite fast. Cohaagen is asking for his lieutenant in a closer shot.
13 sec.

Extended Director's Cut:
Melina screams "Father!", breaks loose and sits down next to Matthias. Doug is being held back. Matthias, lying in Melina's arms, says "We knew this day would come.", and dies after mumbling "There's something more...".
Melina quickly becomes angry and runs towards Cohaagen. However, Lori hits her in the face with her gun and Meline goes down. Doug wants to help but is hit in the back and also lands on the floor. Melina is arrested again, in this shot from further away Cohaagen asks for his lieutenant.
34 sec.

Alternative Footage
The Theatrical shows a shot of Melina and one of Doug asking "What are you talking about?". The EDC shows a shot of Doug looking surprised first and then cuts to Cohaagen starting his monolog with "What is that? Modesty? No, no, no.".
KF: 3,5 sec. / EDC: 6 sec.

Theatrical Version:Extended Director's Cut:

Cohaagen adds that he never doubted Doug's sticking to the plan. Doug asks what he means by that. After the comment that Doug's memories probably are not very reliable, Cohaagen explains that the plan was rather simple: To infiltrate the rebels, find Matthias' daughter, win her trust. Cohaagen tells Melina that they knew exactly who to concentrate on after finding out that she was Matthias' daughter.
Doug tells Melina that Coohagen is lying, the latter contradicts him and says that her seduction was the easy part, after all that is Doug's strenght. Lori smiles diabolically after that comment.
Coohagen goes on to say that they had to get to Matthias and that a man with a background like Carl Hauser would probably have never been able to do it. Luckily, it was Hauser's idea to fake the imprisonment and volunteered to have his memories erased. Doug begs Melina not to listen to Cohaagen.
68 sec.

Alternative Shot
Melina can be seen in slightly different shots.
No difference in running time

Theatrical Version:Extended Director's Cut:

Alternative Footage
In the Theatrical Version, Cohaagen opens the suitcase and takes the syringe saying "What better than a double agent who doesn't realize he is one?" The first two shots of him and Doug are identical in both versions, but they differ when Cohaagen comes towards Doug afterwards.
In the EDC his line is diffferent: "What better way to convince the old man that you that you really and truly turned against me." He gives the syringe to one of his men. Doug insists that he is lying, but Cohaagen just states that this is incorrect.
Theatrical: 1 sec. / EDC: 13,5 sec.

Pictures from the Director's Cut only

Alternative Scene Order / Alternative Shot(s)
The Theatrical already shows the scene in which Doug angrily tries to break loose and Cohaagen laughs saying that this is Hauser's old spirit and that Carl would still need it. Afterwards, Coohagen explains that there were some setbacks like the burst memory capsule at Rekall. In the EDC, this is the other way around.
Additionally, the Extended only features one continuing longshot of Doug when Cohaagen talks about the problems instead of the multitude of shots of Cohaagen, Doug and Lori in the Theatrical.
0,5 sec. (EDC longer)

Theatrical Version:Extended Director's Cut:

Changed Dialog
Cohaagen says something different here.
KF: "You helped us win this, and for that, i'm going to give you a second chance."
EDC: "You held up your part of the deal, and now i'm going to hold up mine."
The shot of Melina is longer in the Theatrical Version.
2,5 sec. (KF longer)

Changed Dialog
Doug already screams "What are you doing?" a second time when Cohaagen goes to the syringes in the Theatrical Version. When he is being fixated in a close-up, Cohagen can be heard from the off "Bringing back the old you." In the EDC he only asks another time in the said close-up: "What are you doing?".
No difference in running time

Cohaagen explains in an additional shot: "What you and i had been planning all along.", Doug is speechless.
6 sec.

Theatrical Version
The shot of Cohaagen starts a bit earlier, he looks at Doug first.
1 sec.

Theatrical Version
Cohaagen adds during an additional shot of Melina: "Before it became corrupted."
1,5 sec.

Changed Dialog
Only the Theatrical Verison shows Doug saying "No.".
No difference in running time

Cohaagen explains that this was exactly what Doug wanted. The latter still cannot believe it.
3 sec.

Alternative Shot
Cohaagen's following line "Just think of it." can be heard during a side shot of Doug in the Theatrical Version. The Extended shows the frontal shot of Cohaagen earlier instead and he can actually be seen speaking.
No difference in running time

Theatrical Version:Extended Director's Cut:

Alternative Shot
Doug relatively quietly says "You leave her out of this." in the Theatrical, in the Extended he screams "Leave her out of this, i'm in the fucking chair!".
1 sec. (EDC longer)

Theatrical Version:Extended Director's Cut:

Alternative Footage
The Theatrical cuts rather early to Lori during Cohaagen's dialog with Melina because he says "Matthias lieutenant" instead of "Matthias daughter". Cut to Melina answering "Never!".
In the EDC, Cohaagen says "Matthias daughter" onscreen and adds "Denouncing her father and the Resistance." Melina spits in his face and answers "FUCK you!". Then the shot of Lori follows, afterwards Cohaagen wipes the spit out of his face.

Theatrical: 4 sec. / EDC: 11 sec.

Theatrical Version:Extended Director's Cut:

Theatrical Version
A countdown of 15 minutes can be seen briefly after Doug removed the cap of the explosive.
2 sec.

Doug sneaks through "The Fall" longer and goes past two policemen. A computer voice informs that the colony is only 17 minutes away now.
The following shot of the Theatrical starts 1 sec. earlier.
18,5 sec.

Theatrical Version
Short cut to Doug's wristband showing the countdown.
1 sec.

Doug tells Meline that he is sorry for her father. She wants to know what she should think of all the things Cohaagen told them. Doug answers that those were all lies, that he could never betray her and that he promised to find her. He then answers that there is only one thing in his life he remembers that no one could have ever deledeted (short flashbacks of their flight at the beginning of the movie can be seen at the same time).
37,5 sec.

Doug and Melina kiss longern and more intensively. The shot from the side now also shows him lifting her up. The shots before and after that were shortened/lengthenend a little in both versions.
3 sec.

Melina enters "The Fall" throuag an access below the upper platform.
11,5 sec.

Melina notices two attackers and shoots them with the cannons.
8 sec.

Doug gets up again and attacks the police robot again. After a short fight he goes to the ground again..
7,5 sec.

Doug looks down and removes the bandage from the spot where the injection tattoo was burned in at Rekall – it cannot be seen anymore. Doug looks confused, Melina asks whether everything is alright. (A part of the diaog in the EDC can be seen at the end of the shot which is also included in the Theatrical Version).
18,5 sec.