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Comparison between the original version (as 6-parter e.g. included on the German DVD from Universal / BBC / Amazon) and the Director's Cut (exclusively included in Korea as Blu-ray-/4K-UHD).
Original version: 55:26 (54:53) min // Director's Cut: 57:49 (55:26) min
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| Original version | Director's Cut |
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Shortly thereafter, a text insert in the DC was once again designed differently and split in two.
00:56 / 00:56-00:59
Kurtz looks at the photo a little longer and also from a different perspective.
2.4 sec
01:33 / 01:35-02:20
Kurtz emphasizes in another scene that they also need a decoy and that Charlie would be the right one for this. He mentions the principle that "our fiction has to match their reality" and also points out that Western girls are exactly the terrorist group's usual prey.
44.7 sec
01:33-01:34 / 02:20
The following shot of Charlie starts a moment earlier in the original version.
+ 0.7 sec
01:38 / 02:24-02:32
In the DC, it's a long tracking shot around Charlie. People thank her for coming. In addition, the reference to London already appears here, which comes in the original version in the seconds after.
7.4 sec
Alternativ
01:44-01:46 / 02:38-03:15
The original version remains for a little longer in the frontal view (not illustrated).
In the Director's Cut it changes to a sideways perspective and Kurtz says that he only needs Gadi for an hour. He then also goes into the room with Gadi earlier and sits with him while Charlie's tape plays in the background.
Director's Cut 34.6 sec longer
Alternativ
01:54-01:56 / 03:23-03:36
The original version inserts a cut to Gadi pouring coffee, shortening the dialogue a bit. Kurtz makes a joking comment about the next project in the DC.
Director's Cut 11.8 sec longer
| Original version | Director's Cut |
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In the shots after that, there are some trivial mini-deviations that even themselves out.
02:30-02:32 / 04:10
At the beginning of the shot, only in the original version, Gadi remarks that Charlie is actually a man's name.
+ 2.5 sec
Alternativ
02:37-02:53 / 04:15-04:32
The original version shows Gadi, the DC a distant shot. The subsequent views also differ insignificantly.
Director's Cut 1.2 sec longer
| Original version | Director's Cut |
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Alternativ
02:56-03:00 / 04:35-04:40
When Kurtz gets up, the DC starts insignificantly earlier. Again, this is partially matched by the following shots starting earlier in the original version. Total nonsense.
Director's Cut 1.3 sec longer
03:08-03:11 / 04:48
Kurtz hesitates for a moment in the original version.
+ 2.7 sec
Alternativ
03:14-03:29 / 04:51-05:17
How Kurtz walks to the door and turns back after a comment from Gadi is seen entirely in alternate takes. The DC is a bit more leisurely.
Director's Cut 10.6 sec longer
| Original version | Director's Cut |
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During 03:39-04:41, nefore the scene with Charlie, the original version once again has the opening credits: + 61.8 sec
04:41-04:42 / 05:27
The first shot of Charlie after the opening credits starts a moment earlier in the original version.
+ 1.3 sec
04:46 / 05:31-05:32
Kurtz is seen a moment earlier.
0.9 sec
Audio change
05:13 / 05:59
At the end of the shot inside, Kurtz comments at some length in the original version: "(Friends who must do the unavoidable from time to time,) but friends nonetheless."
During 07:10 / 07:56 once again a text overlay is missing in the DC.
| Original version | Director's Cut |
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07:51 / 08:37-08:48
Kurtz is seen one more time and briefly cleans his glasses.
10.8 sec
08:07-08:09 / 09:04
Kurtz stands in front of Charlie with his hand outstretched for a little longer in the original version.
+ 1.7 sec
Alternativ
09:31-09:38 / 10:26-10:33
Charlie stammers in an alternate take, "I--, I just want--"
No runtime difference
| Original version | Director's Cut |
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Alternativ
10:03-10:16 / 10:58-11:14
The original version has a long shot of Charlie sitting down and leaning back.
The DC has a shorter shot of her, then Kurtz is briefly shown, followed by the short moment where she leans back. The follow up shot of Kurtz also starts insignificantly earlier.
Director's Cut 3 sec longer
| Original version | Director's Cut |
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Alternativ / Audio change
10:18-10:20 / 11:16-11:19
After "Put in its simplest form--" Kurtz says in the original version "--we are mounting a production."
In the DC, this has been replaced with "--we are offering you a part." The DC stays in close-up longer, the original version switches to Charlie earlier.
Director's Cut 0.9 sec longer
| Original version | Director's Cut |
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10:26-10:28 / 11:25
The original version switches to Charlie's reaction a little earlier.
+ 2 sec
11:21-11:27 / 12:18
After Kurtz has hinted at a few final questions, Charlie is seen much earlier in the original version. Thus, she hesitates here for a moment.
+ 6.1 sec
Alternativ
11:30-11:36 / 12:21-12:28
After Charlie asks who she should play, the DC has an additional wide shot. We then see Kurtz saying "It's a terrorist" in an alternate take. The DC then shows Kurtz again from the side. In the original version, Charlie hesitates again a bit earlier instead.
Director's Cut 1.4 sec longer
| Original version | Director's Cut |
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Audio change
13:28 / 14:20
The words "Let's begin with your family" have been re-recorded.
14:42-14:43 / 15:34
A shot of Charlie starts insignificantly earlier in the original version.
+ 1 sec
15:04 / 15:56-16:10
Charlie tells of a few more months that she didn't really like, but ultimately got her the equity card.
14.4 sec
Alternativ
15:38-15:45 / 16:44-16:53
When Charlie narrates "The bailiffs coming in--" the original version switches briefly to Kurtz. The DC stays with Charlie throughout.
Director's Cut 3 sec longer
| Original version | Director's Cut |
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15:56-15:58 / 17:04
Charlie is seen a moment longer in the original version, and the follow-up shot of Becker begins insignificantly earlier.
+ 1.5 sec
The next shot of Charlie was also slightly reduced by 0.7 sec in the DC.
16:01-16:04 / 17:07
Again, worth a single mention is that Charlie originally opined in more detail above the follow-up shot of Kurtz that began earlier: "(My childhood,) our home, our happiness."
+ 3.7 sec
16:06-16:08 / 17:09
Shortly after that, she hesitates a bit again at first.
+ 1.7 sec
Alternativ
17:50-18:04 / 18:50-18:53
The original version still has a close-up of Charlie and one over Becker's shoulder.
In the DC, the following frontal shot of Becker and Kurtz starts a bit earlier.
Original version 11.1 sec longer
| Original version | Director's Cut |
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Alternativ / Re-cut
18:12-18:19 / 19:01-19:15
The original version shows Becker and Kurtz a little longer, then again the shot over Becker's shoulder.
In the DC, a tracking shot from Becker's point of view of Charlie is shown instead. Then the close-up of Charlie follows here as well.
Director's Cut 6.6 sec longer
| Original version | Director's Cut |
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Alternativ / Re-cut
19:14-19:24 / 20:10-20:21
At the end of the scene, the original version first shows Miss Bach and after a cut to Michel, he says from off-camera: "I call in every three days."
The DC shows Michel a bit longer first and then changes the order of shots a bit. Here there is another blurry, closer shot of Miss Bach where she responds, "Oh."
Director's Cut 1.6 sec longer
| Original version | Director's Cut |
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Alternativ
22:55-23:02 / 23:52-24:03
After an astonishing 3.5 minutes without any change at all, there is an alternate take here, with Charlie asking what it's all about. Becker then hesitates a bit in additional shots.
Director's Cut 3.7 sec longer
| Original version | Director's Cut |
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Alternativ
23:42-23:49 / 24:43-24:53
At Becker's "We understand how you--" the original version switches briefly to Charlie. Instead, the DC stays in the shot throughout, driving slowly toward Becker, who also pauses a bit longer before this sentence.
Director's Cut 3.2 sec longer
| Original version | Director's Cut |
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In various subsequent shots up to the whistle for Becker, the original version is insignificantly longer several times in short succession, which together make up for 5 sec.
Alternativ
24:34-24:41 / 25:33-25:43
The DC initially shows a close-up of Becker telling Charlie that she has the part. Then it switches to the rest of the wide shot where you saw this moment in the original version.
Director's Cut 2.4 sec longer
| Original version | Director's Cut |
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27:36-27:41 / 28:38
Charlie is seen a bit earlier on the bed here in the original version, before she says "If I'm going to do this--".
+ 5.3 sec
Alternativ
31:16-31:32 / 32:13-32:29
When looking back at the night together at the Acropolis, alternate takes were used. The first follow-up shot of Charlie in the car also deviates.
Director's Cut 0.7 sec longer
| Original version | Director's Cut |
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32:18-32:30 / 33:15
Before Becker reacts in close-up, a shot in the original version is much longer and Charlie opines: "Chauvinist, then, this Michel? Or some sort of wicked stereotype you lot have cooked up? Well, he is, isn't he?"
+ 12.7 sec
32:53-32:54 / 33:37
Die letzte Aufnahme von Charlie im Auto läuft einen Moment länger.
+ 1,5 sec
33:12 / 33:55-33:56
Several shots in quick succession are a few frames longer in the DC - most noticeable here in the close-up of the stamp.
1.3 sec
33:29-33:31 / 34:13
The original version switches to Miss Bach a little earlier.
+ 1.8 sec
The next shots were all shortened a bit in the DC as well, overall 7 sec.
37:21 / 37:56-37:57
Before Becker says "If children can be born--" you see him a little earlier in the DC.
1 sec
Alternativ
37:59-38:02 / 38:34-38:37
An alternate shot of Charlie as Becker talks about the eyes.
Original version 0.2 sec longer
| Original version | Director's Cut |
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Alternativ
38:12-38:21 / 38:47-38:57
When Charlie looks at the photo and asks where Michel is now, whereupon it briefly switches to him in captivity, several shots in the DC are arranged slightly differently.
Director's Cut 0.3 sec longer
| Original version | Director's Cut |
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Alternativ
38:35-38:39 / 39:11-39:15
A shot of Charlie and Becker at the table starts insignificantly earlier in the DC. However, the following close-up of their hands makes up for this.
Director's Cut 0.3 sec longer
Alternativ
39:24-39:26 / 40:00-40:02
After Becker has paid and commented "Keep the tip.", the original version changes to a close-up of Charlie thanking the waiter in Greek.
Instead, the DC remains in the medium long shot throughout, and here Charlie instead comments jokingly: "Said the leper to the prostitute."
Director's Cut 0.2 sec longer
| Original version | Director's Cut |
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Alternativ
39:35-39:43 / 40:11-40:21
The DC switches to Kurtz here when Anna Witgen is mentioned. Instead, the original version has a brief flashback to Michel and Anna in the room. The shots around this also deviate insignificantly.
Director's Cut 1.9 sec longer
| Original version | Director's Cut |
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40:04 / 40:42-40:55
Salim is seen a little longer after "My help?" and Shimon hands him his notepad first. Michel flips through the pages briefly.
12.8 sec
Audio change
41:24 / 42:15
Part of Salim's questioning, which can still be heard off-screen, was deleted from the soundtrack.
Shimon: "Who was going to pick it up, and when?"
Salim: "I want to see Khalil."
41:31 / 42:22-42:26
Instead, the same shot is a bit longer in the DC and you can hear Salim whimpering a bit off-screen. The euphoric mood in the room becomes a bit more serious again.
3.8 sec
43:33-43:35 / 44:28
A shot of Becker is insignificantly longer in the original version.
+ 1.7 sec
44:05 / 44:58-45:02
After Charlie asks if Becker is really divorced, there are first reaction shots of the two.
3.7 sec
44:35 / 45:32-45:37
The last shot of the scene is a moment longer. Then Becker and Charlie walk through the stairwell a little earlier.
5.2 sec
Audio change
45:54 / 46:56
Charlie's drawn-out "Sooo" before "We fuck." was deleted from the soundtrack.
46:21-46:23 / 47:23
In the original version, the shot starts a little earlier, before Charlie gets up.
+ 1.7 sec
47:14-47:16 / 48:15
Becker listens into his headphones for a moment longer.
+ 1.2 sec
Alternativ
47:24-47:31 / 48:23-48:29
How Charlie slips under her comforter is seen in an alternate take. For whatever reason, it looks very similar.
Original version 1.4 sec longer
| Original version | Director's Cut |
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Right after there is an audio change: Only in the original version you can hear a song (guitar strumming) while Becker listens to the conversation.
48:32 / 49:31
Before Becker hangs up, the DC is insignificantly longer.
0.7 sec
Audio change
50:30 / 51:29
The dialogue that plays over a shot of Charlie has been changed somewhat.
Original version
Dr. Alexis: "Are you saying I've been given false information?"
Kurtz: "No. I have."
Director's Cut
Dr. Alexis: "Are you saying she's been there before?"
Kurtz: "Forget it."
Alternativ
50:59-51:49 / 51:58-52:44
How Charlie comes into the room and tells Becker that his real name is Salim can be seen in various alternate takes. The wording is identical and for mere mortals it is once again difficult to see through what the intention of the makers was to use Take A here and Take B there.
Original version 4 sec longer
| Original version | Director's Cut |
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52:41-52:47 / 53:36
Before his concluding remark, Becker says in the original version: "And once you reach Salzburg Train Station, I'll find you again."
Charlie agrees, muttering.
+ 5.9 sec
53:55-54:02 / 54:44
Charlie first asks in the original version, "Is this real?"
Becker replies, "It's real."
For this, the comments in the periphery were shifted a bit on the soundtrack.
+ 7.3 sec
Alternativ
54:23-54:42 / 55:05-55:14
In the original version, Becker says in somewhat more detail: "For me. For love. For our great revolution. To prove that you are as special as I believe."
All that remained of that in the DC was "For me" in an alternate take.
With the identical follow-up comment, "This is your debut in the theater of the real." the DC is then earlier in the shot over Charlie's shoulder.
Original version 10.1 sec longer
| Original version | Director's Cut |
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54:45 / 55:17-55:18
This medium long shot is insignificantly longer in the DC.
1 sec
As in episode 1, the credits again deviate completely.
Director's Cut 120.5 sec (= 2:00 min) longer