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The Covenant



The People Under the Stairs

The War of the Worlds

So I Married An Axe Murderer

Almost Famous


  • Theatrical Version
  • Extended Version
Release: Sep 21, 2011 - Author: FeuRenard - Translator: Mr Miau - external link: IMDB
Compared are the uncut Theatrical Version and the Extended Version.

100 differences:
- 44 scenes with alternate footage
- 49 additional/extended scenes in the Extended Version
- 7 additional/extended scenes in the Theatrical Version
Plus 3 altered dialogs

Running time difference 36,45m:
- Running time footage exclusively in the Extended Version: 39,18m
- Running time footage exclusively in the Theatrical Version: 2,28m

"Almost Famous" is a music film about the fictional band 'Stillwater'. Director Cameron Crowe accounted for his past as teen editor autobiographically and even got an Oscar for it. In his day, he accompanied the Allman Brothers Band and got his first title story in the Rolling Stone Magazine with it.
Almost Famous stars Billy Crudup (Watchmen) as front man Russell Hammond, Kate Hudson as groupie Penny Lane and Patrick Fugit as soon-to-be music journalist William Miller. It co-stars many well-known faces like Philip Seymour Hoffman, Frances McDormand or Anna Paquin.
The story in the short version: 15-year-old William gets hired by the Rolling Stone Magazine to write an article about the little-known band Stillwater. To accomplish that, he goes with them on tour and grows up during the tour.

The Extended Version contains entirely new scenes, extended scenes and last but not least alternate scenes. The Theatrical Version contains exclusive footage as well but we're usually talking about extensions of a couple of frames or (in most cases) shorter alternate shots. That's why the Extended Version ought to be preferred if you got the time.

Conspicuous optical effect: the extended scenes in the Extended Version can be recognized by a different brilliance plus a blurred image. Looks like the footage exclusively in the Extended Version has been altered differently.

Please note:
  • Time index on the left refers to the Theatrical Version, the one on the right to the Extended Version.

  • Underlined words explain the current setting which is only being mentioned when it has changed.

  • Cursively-written textes have nothing to do with the plot within the cutscene.

  • '+' = Footage exclusively in the Extended Version; '-' = Footage exclusively in the Theatrical Version. About the presentation: if one took the running time of the Theatrical Version and added / subtracted the running times of the differences, one would get the running time of the Extended Version:

  • The amount of screens is not proportional to the length of the scene. A single screenshot only illustrates a single shot, that's all.

  • 0.00/0.00
    Opening credits
    Extended Version: longer black screen

    Extended Version: longer black screen

    0.57/0.59 - no difference
    The title of the version is being written down with a pencil.
    Theatrical Version: "Almost Famous"

    Extended Version: "Untitled"

    William and his mother in town.
    Theatrical Version: The following scene starts earlier.

    Extended Version: They stop in front of a shop window which gets redecorated.
    Mother to the redocorator: "Excuse me! - I'm a teacher. 'Xmas' is not a word in the English language. It's either 'Merry Christmas' or 'Happy Holidays'."
    Redecorator: "Thank you."

    Extended Version: William is taking a shower at school.
    Another student wants to know: "Are you really in our grade?"
    William replies: "Yeah."
    Tall student: "Hey, guys! Check it out. William doesn't have any pubes."
    Two further students arrive at the shower and eye up William.
    Tiny student: "How old are you, man?"
    Tall student: "He's not a man. He's a little baby kid."
    Fat student: "Bet he doesn't get any zits, yet."
    Tiny student: "Everyone has hair. What's wrong with you?"
    The three students are yelling at the same time. Here's the non-inaudible text (taken from the subtitles):
    (Presumably the tall) student: "How old are you, like two?"
    (Presumably the tiny) student: "How pathetic!"
    Tall student: "Where are your pubes?"
    William: "I had 'em. I shaved them off."
    The three others start laughing.
    Fat student (points at William): "He's a funny guy!"
    Change of scenery
    After school, William gets in his mom's car and one student yells "See you, pubes." after him.
    In the car - Mom: "Hey, noodle!"
    William: "Hi, guys."
    Mom: "Put on your seat belt."
    William's sister wonders why the mom doesn't tell them to buckle up.
    William: "We got our annuals today."
    Mutter: "'Received' your annual."
    William: "Right, 'received'."
    William skims the yearbook.

    In the car. William wants to know his real age because his mom hasn't told him so far.
    Extended Version:Daughter: "This will scar him forever."
    Mom: "Don't be Cleopatra. We have to be both, his mother and his dad."
    Daughter: "You put too much pressure on him."
    William: "How old-"
    Daughter: "And when he rebels in some strange and odd way, don't blame me."
    William: "-am I?"
    Mom: "I skipped you an extra grade."

    Extended Version: Shot of William in the rear view mirror.

    Extended Version: Mom: "You also skipped kindergarten because I taught it to you when you were four."

    Extended Version: Mom: "You're two years ahead of everybody."

    Extended Version: The daughter turns around to the front. While doing that, she says: "Well, somebody's gotta be normal around here."
    William is still startled: "Eleven." Mom and daughter look at him.

    William is checking out his sister's records in his room.
    Extended Version: William "browses" through the record collection.

    William's High School
    Theatrical Version: William goes to a balustrade and has a look at a magazine called "Creem".
    With the last shot, the Extended Version is back in the game.

    Extended Version: William strolls across the courtyard. While doing that, other students make fun of him.

    Lester Bangs is doing a live interview for the radio. William looks into the studio from outside.
    Theatrical Version: Radio host: "It's quite an honor to have the world's greatest rock critic and editor of 'Creem'-magazine back home in San Diego for a few days, Lester Bangs."
    Lester Bangs: "The Doors? With Jim Morrison? He's a drunken buffoon, posing as a poet."
    Radio host: "I like The Doors."
    Lester Bangs: "Aaah, give me The Guess Who. C'mon they got the courage to be drunken buffoons, which makes them poetic."

    Extended Version: Lester Bangs: "Did you know, that 'The Letter' by The Box Tops was a minute and 58 seconds long? It means nothing. Nil. But it takes them less than two minutes to accomplish what Jethro Tull takes hours to not accomplish. You see that this is fatuous, pseudo blubber. You know, I mean which is fine, but to foist it off as art. Or The Doors? With Jim Morrison? He's a drunken buffoon, posing as a poet."
    Radio host: "I like them."
    Lester Bangs: "Aaah, give me The Guess Who. C'mon they got the courage to be drunken buffoons, which makes them poetic."
    Radio host: "It's quite an honor to have the world's greatest rock critic and editor of 'Creem'-magazine back home in San Diego for a few days, Lester Bangs."
    Lester Bangs: "Live, 'American Woman'? Have you ever--? The most brilliant piece of gobbledygook ever!

    Lester Bangs talks to William on the street.
    Theatrical Version: The previous shot is longer.

    Extended Version:
    Lester Bangs: "But if Bowie is doing Lou, and Lou is still doing Bowie, Lou is still doing Lou."
    William: "If you like Lou."

    Extended Version: William: "Okay."
    Lester Bangs: "Goodbye."
    William: "Yeah, goodbye."
    They're standing at a street corner without saying a single word and intend to end this encounter, which seems kind of awkward to me.
    Lester Bangs: "Bye."
    William: "Bye." -Silence- "You need a ride?"
    Lester Bangs: "No, man, I took the bus."

    William and Lester Bangs keep talking at a bar.
    Both versions begin equally: Lester Bangs: "[These are people want you to write sanctimonious stories about the genius of rock st]ars. And they will ruin rock'n'roll and strangle everything we love about ..."
    Theatrical Version: William looks at Lester Bangs and nods.
    Lester Bangs: "... it, right?"

    Extended Version: Extended shot of Lester Bangs William writes sth. down.
    Lester Bangs: "... it. You know, they are tryring to buy respectability for a forum that is gloriously and righteously dumb. I mean you are smart enough to know that. And the day it ceases to be dumb is the day it ceases to be real, right?"
    With the last shot, the Theatrical Version is back in the saddle.

    Extended Version:
    Lester Bangs: "I mean, the war is over. They won. And 99% of what passes for rock'n'roll these days silence is more compelling."

    William is being taken to the Black Sabbath concert by his mom.
    Mom: "[An entire] generation of Cinderellas and there's ..."
    Theatrical Version: Shot from the inside of the driving car. Some kids are running next to the car.
    Mom: "... no [slipper coming.]"

    Extended Version: Shot from the inside of the car. Some kids are standing around. One of them approaches the car with the intention to offer sth.
    Mom: "... no slipper coming. You just remember, you wanted to be Abraham Lincoln. You wanted to be Atticus Finch."

    Theatrical Version: The previous scene is longer here plus the following scene starts earlier.

    William is talking to the groupies Penny Lane and Estrella Starr near the entrance to the backstage area.
    Theatrical Version: Penny Lane: "We don't have intercourse with these guys."

    Extended Version: Penny Lane: "We don't have intercourse with these guys. We support the music."
    The content of the comment is equal but the take is different. With the last shot, the Theatrical Version is back on the field.

    Extended Version: Estrella Starr: "Marc Bolan broke her heart, man. It's famous."
    Penny Lane: "It's a long story. I'm retired now. Visiting friends."

    Estrella Starr: "You know, she was the one who changed everything."
    Theatrical Version: Medium shot of William.

    Extended Version: Estrella Starr in the foreground. Earlier beginning of the following shot (8 frames).

    Polexia Aphrodisia arrives, the others welcome him.
    Extended Version: The previous shot is longer.

    Theatrical Version: William watches the three women who happily „squeal“.

    Extended Version: William smiles. Penny introduces William to the two women.
    Polexia Aphrodisia: "It's all happening."
    Penny Lane: "This is our journalist friend. Journalist friend, meet Polexia Aphrodisia, Estrella Starr and you are ..."
    William: "... William Miller."
    Die following shot starts earlier (10 frames).

    William and the band Stillwater enter the backstage area. Russell Hammond: "Hey, Red Dog!" 'Red Dog': "Hey, hey!"
    Theatrical Version : The previous shot is longer. Russell Hammond welcomes 'Red Dog'. William looks around.

    Extended Version: Russel Hammond calls for 'Red Dog' from the distance, then he starts running over.
    Red Dog also says: "We're hearing you tomorrow night, man."
    Russell Hammond: "Yeah?"
    Red Dog: "How you doing, brother?"
    They welcome each other / hug not until now (same angle like the one in the Theatrical Version but with an additional comment:) Red Dog: "Good to see you."
    Jeff Bebe explains to William: "That's The Allman Brothers Band's number one roadie."
    (Possibly Russell:) "How are the guys?"
    Red Dog: "Having a ball, man. Having a ball. Yeah, you know we are forty. We have an Allman Brother's Band party, man. Everybody's boogying, everybody's getting off. It's like family, man. (zeigt ein Tattoo auf seinem Arm) Hey, we got these now. Check that out. You can taste the colour with your mind, brother. You all gonna be in Maryland, right?"
    Russell: "Yeah."
    Red Dog: "All right. (indistinctly mumbling) Dickey and Gregg send you love, boy."
    Russell (from the off): "Take it easy."
    Red Dog (from the off): "Take it easy, brother."
    They leave. Russell joins the other gangmembers and William.

    Extended Version: Russell Hammond: "Come here, man. I wanna tell you something. - It's er ... It's not what you put into it. It's what you leave out. You listen er ... listen to Marvin Gaye, a song like 'What's Happening Brother?' There's a single 'woo' at the end of - er - second verse. You know that woo, that single woo?"
    William: "I know that woo! Yeah, 'woo' 'woo'."
    Russell Hammond: "Yeah! That's what you remember, man. It's the little things, the silly things. The mistakes. There's only one of them and it makes the song. It's what you leave out. Yeah, that's rock'n'roll, what you leave out. (schaut sich kurz um) And you're supposed to be the enemy. What are you, 18?"
    William: "Yes."
    Russell Hammond: "There you go, still young enough to be honest." Russel leaves.

    Extended Version: Stillwater keeps playing until the audience applaudes.

    William is sitting at the desk. He has a tape player and a typewriter to write down his conversations with Stillwater.
    William plays the tape: "And the chicks are great, right."
    Theatrical Version : He starts typing.

    Extended Version: He tries to start writing but a friends climbs through is window and interrupts.
    William: "Hey, Darryl."
    Darryl: "Hey. (looks around in the room) So, your sister's a stewardess now."
    William: "Yeah, yeah. She and Mom are still sort of ... I would say not speaking, but I don't know that they ever did."
    Darryl: "The things your sister and I used to do inside these four walls."
    William: "That's okay, that's okay. I don't wanna know. It is my room now."
    Darryl: "We flew the friendly skies."
    William: "Okay, okay."
    Darryl: "You seem cooler."
    William: "I am, I am thinking about going to Morocco."
    Darryl: "Let me know if you need a little help with your mom."
    William: "A little may not be enough."
    Darryl: "She still freaks me out. She's famous."
    William: "Listen, em I ..."
    Darryl: "Go ahead and do whatever you were doing. I'm just gonna hang in here for a moment."
    William: "Okay."
    Darryl lies down on the bed and skims over it while William is still typing.
    Change of scenery
    His mom talks to William and digs out some bills out of a can.
    Mutter: "I worry about drunk drivers."
    William: "Mom, I'm 15. Right?"
    Mutter: "Yeah. Yes. You're 15. And here is that money I owe you. (drückt ihm die Geldscheine in die Hand) Your father's favourite joke. I don't do that as well."
    William: "No, I thought that was pretty good."

    William leaves to meet Penny Lane.
    Theatrical Version: The previous shot is longer: William is running across the street.

    Extended Version: William‘s mom watches William leave sorrowfully and takes a deep breath.

    Penny Lane and William are walking across the hotel lobby.
    Extended Version: Penny Lane: "These guys are with Alice Cooper. I'll pretend like I don't know them."
    Fan of Alice Cooper: "Hey! Does Alice know you're here?"
    Penny Lane: "Oh I'm just showing my very dear very wonderful friend William Miller around. He's a very important writer, he knows Lester Bangs. And I'm responsible for his moral conduct."
    Fan #2: "Penny Lane! God's gift to rock'n'roll."
    Penny Lane: "I'm retired. And don't argue with me!"
    Fan #2: "Retired? Again?"
    With the last shot, the Theatrical Version is back in the game.

    The previous shot is longer (7 frames).
    Reg welcomes Penny Lane.
    Extended Version: Penny Lane: "(screams) Oh it's Reg! (to William) Humble Pie's road manager."

    Meanwhile, fan #1 and #2 have arrived.
    Extended Version: Penny Lane: "Have we met?"
    Reg: "Have we met?!"
    Penny Lane: "I've made a decision. I'm going travelling to India. And then I'm going to learn to play the violin. And then I'm going to college - for one year."
    Reg: "There's nothing they can teach you in college, darling."
    Fan #2: "Call Alice ???, under the name Bob Hope."
    Reg: "I heard you're with Russell Hammond."
    Penny Lane: "Please, I throw the little ones back! - I lost my head!"
    Polexia arrives: "Martin Bell's a fucking asshole. And I'm in love with Jeff Bebe."
    William: "Polexia!" She hugs him.
    Penny Lane: "You're okay?" Polexia shakes her head.
    William on the phone at the hotel: "Harry Houdini, please. - Houdini. Harry Houdini!"
    Polexia to Penny: "It was Sable and ..."
    Penny Lane: "Who is Sable?"
    Polexia: "We had this really great night ..."
    William on the phone: "Houdini."
    Polexia: "... and he said it was going to mean something. And I'm in love with Jeff! I mean ..."
    Penny Lane: "Jeff ..."
    Penny and Polexia diverges from William who hangs up and tries to grab some pads without attracting attention but he stumbles over a suitcase.

    Extended Version: The previous shot is longer (10 frames).
    In the hotel hallway, William has an encounter with a guy: "Hey, you're that comedian. Leonard!"
    Leonard: "Blow me!"
    Penny Lane drags him away: "Okay, time to put on the lampshade."
    The previous shot starts earlier (6 frames)

    32.08/41.36 - no difference
    Penny Lane enters the room where Stillwater and others are in. Penny: "Ladies [and gentlemen!]"
    Theatrical Version: Shot of Russell Hammond.

    Extended Version: The previous shot is longer: Penny comes rushing in the room.

    William sticks with Polexia when Russell Hammond and Penny Lane cut themselves off.
    Extended Version: Polexia: "I'm just worried about people using her. Cause she brings out the good side in everybody else but what does he do for her? It kills me. Do you have any pot?"
    William: "No. Not on me."
    Polexia: "Do you smoke?"
    William: "No. - But, er, I ... I grow it. Yeah. Grow."
    Polexia: "You're funny. Funny. "If you were only taller and English and rich and a guitar player and older."
    William: "I'd ... I'd be somebody else."
    Polexia: "Yeah, good point."
    Jeff Bebe arrives: "(to William) The Enemy. I'm always around if you wanna talk some more."
    William: "Okay."
    Jeff Bebe: "All right."
    Polexia to William: "Bless me, Father, for I may sin tonight."
    Jeff goes with Polexia.
    Change of scenery
    Russell Hammond and Penny Lane enter an empty room. Russell closes the door, then he starts touching Penny.
    Penny Lane: "How does it end?" She breaks away from Russell.
    Russell Hammond: "What?"
    Penny Lane: "The story about the girl who dumps the guy who has the ex, ex-wife. Calls her a hundred, okay five times and doesn't even leave a pass in San Diego. Wake up! I'm retired. I never believed you anyway. You're too good-looking and too talented to be trusted and everybody knows that."
    Russell Hammond: "You're retired like Frank Sinatra is retired. Miss Penny Lane, let me tell you what rock'n'roll will miss. The day that you truly retire. The way that you turn a hotel room into a home. The way that you pick up strays wherever you go. The way that you, you know the words to every song. Every song. Especially the bad ones. Mostly the bad ones. That green coat in the middle of summer. The real name that you won't reveal. I could keep going on, but my glass is full."
    Penny Lane: "Damn."
    Russell comes closer to Penny again. They kiss.
    Russell Hammond: "Come to Arizona?"
    Penny Lane: "Never."
    Russell Hammond: "We leave Thursday morning at 9 a.m., and pack light this time. Jesus."

    Theatrical Version: The following scene starts earlier.

    In the Tourbus, William tries to get an appointment for an interview with Russell.
    William: "Because I've got a thing in a couple days."
    Theatrical Version: The previous shot is longer (11 frames).
    Russell Hammond: "We'll figure out something better later."

    Extended Version: Russell Hammond: "What?"
    William: "Oh, it's a, a thing. Where you go there to graduate. School."
    Russell Hammond: "I never graduated and look what happened. You're here interviewing me."
    William wants to make a note.
    Russell Hammond: "No, no, no ... Don't put that in 'Rolling Stone'. I mean in our bios, we all graduated. Him with honours. We'll figure out something better later, okay?"
    With the last shot, the Theatrical Version is back on the field.

    Theatrical Version: Panorama shot of the bus.

    Extended Version: William goes back to his seat. Penny Lane arrives.
    Penny Lane: "I may need to stay in your room tonight. Russell's in a bad mood. He's very Bob Dylan in 'Don't Look Back' today. He's trying to write."
    William: "Yeah. Sure."
    Penny Lane: "Yeah?"
    William: "Sure."
    Penny Lane: "You okay?"
    William: "Yeah."
    Penny Lane leaves. William looks out of the window and sees a kid waving from a car. He seems to be satisfactory.

    A hotel employee delivers a message to William. The message is from is mom.
    Extended Version: Hotel employee: "Tell her to stop."

    A couple of groupies with William at the hotel room.
    Beth from Denver: "Simon Kirke from Bad Company is by the pool."
    Theatrical Version: Beth from Denver leaves the balcony and enters the actual room.

    Extended Version: Beth from Denver on the balcony. She spots a musican at the pool "Oh, my God."

    39.27/53.19 William has just been trying to talk to Russell Hammond in front of his hotel room.
    Extended: William takes a pen, a box of matches and an ashtray from the cleaning lady'S tray and leaves.
    Scene Change
    Stillwater goes with William and Penny Lane to a radio interview (moderator: Quince Allen). They are in a good mood.
    Quince Allen: "The guitar and songwriting of Russell Hammond. The vocal stylings of Jeff 'Bebay.' 'Babey', Jeff 'Babey.' 'Babay.'"
    Jeff Bebe: "Er, 'Bebe.'"
    Quince Allen: "Bebe. 'Fever Dog.' The band is Stillwater. Watch with your mind as they materialize. Look at the dogs wearing the funny hats juggling just for you freaks and family. It's Quince with Stillwater, here, live. It's the Night Circus. Every minute a baby is born somewhere. Life. Death. Hermetically sealed bags of human emotion. Bags of love. Bags of kindness. - How'd y'all get together?"
    Jeff Bebe: "Well, not to get into a me thing, but I did start the band sometime actually ago and I placed an ad in a magazine called Peaches. And Russell Hammond answered."
    Quince Allen: "Peaches."
    Jeff Bebe: "I think it was a gift from God actually. Nobody plays like Russell Hammond."
    Russell Hammond: "Aaah, shit, man. Thank you." Beide lachen.
    Jeff Bebe: "You might wanna hit that delay button there, Quincy."
    Russell Hammond: "Quince?"
    Quince seems to have fallen asleep, which is funny for everybody else in the room. Russell sees his chance.
    Russell Hammond: "Now we're talking, right?"
    Jeff Bebe: "Right."
    Russell Hammond: "Why the fuck do you have to wait for an interview in Arizona to say something nice about me? Why don't you say it to my fucking face sometimes? Cause I tell you every time I think you nail something."
    Jeff Bebe: "Everybody pays you compliments. It's not my fucking job to kiss your fucking ass."
    Russell Hammond: "Seriously, then whose fucking job is it? Because my ass is dying for a kiss, man. And I know yours is too."
    Dick Roswell approaches the microphone from behind: "Er, it's, er, my fucking job. And I think you're all geniuses. And I just like to say that folks out there: ??? smegma."
    (Probably) Jeff: "Nice. Fellas."
    Larry Fellows talks into the microphone: "Feces."
    Quince "wakes up" and the band behaves again.
    Quince Allen: "The name of the song is 'Love Thing'. And your mind is starting to take effect. They've all come to watch you swallow fire. You scream, soundlessly, on the Night Circus."
    Russell claps. Quince Allen: "I thought that went well."
    A band member: "Yeah, absolutely."

    Stillwater celebrates with groupies at the pool. William talks to Russell.
    Theatrical: Next shot starts earlier.

    Extended: Russell Hammond: "They say you're dangerous. You see everything. Most people are just waiting to talk. But you listen."

    Theatrical: Next shot starts earlier.

    Extended: The shot in which the Theatrical started earlier (see 41.57), is longer here.

    Theatrical: Previous shot runs longer.

    Extended: In the background, the rest of the band is celebrating with the groupies.
    Russell Hammond: "Forget what it's like to be a fan. It doesn't sound like music anymore. You know, it sounds like ... lifestyle maintenance or something."
    William: "'Lifestyle maintenance.' That's ..." Russell takes his notepad and pen.
    Russell Hammond: "I used to be able to hear ... the sounds of the world, everything. To me, it sounded like music. And now, I don't hear it ... you know, anymore. - Did you understand what I'm trying to say?"
    William: "Yeah. Yeah..."
    Russell Hammond: "What am I doing?"

    Extended: William interviews Larry Fellows on the concert area.
    William: "Larry Fellows, how would you describe your role in Stillwater? What is the chemical you add to the chemistry?"
    Larry Fellows: "I'm the bass player."
    William: "Right. And when you take that away what would be missing stylistically? What chemical?"
    Larry Fellows: "A bass?"

    Russell is being carried off stage after he got electrocuted.
    Extended: The organizer tries to calm the audience down.

    The organizer and Dick Roswell have an argument in front of the tour bus.
    Theatrical: Next shot starts earlier.

    Extended:Organizer: "I'll go to talk to Frank Barcelona."
    Dick Roswell: "You don't know Frank Barcelona."
    organizer: "You're all amateurs! Come on!"
    They attack each other.
    Dick Roswell: "You want it?"
    Organizer: "What do you got? What do you got? (incomprehensible screaming) Watch the shirt, fuck!"
    They stop for a moment, Dick enters the bus.
    Organizer: "Now I'm gonna kick your ass."
    Dick Roswell: "Take it easy! Take it easy, man."
    Organizer: "All I hope is you got a good lawyer, buddy. Hey, you better make a live album! This is your last fucking tour!"
    Dick leaves the bus again and attack the organizer. Organizer: "What?"

    Extended: Jeff Bebe and two others watch them from the bus.
    Jeff Bebe: "Come on."
    Dick Roswell kicks into empty space twice. Organizer: "Take it easy."

    In the tour bus.
    Theatrical: Next shot starts earlier.

    Extended: William takes a picture of Russell Hammond and Penny Lane sleeping. The flash wakes them up.
    Penny Lane: "Hey. Give that to me, William." William goes away, Penny follows him to get the picture.
    Penny Lane: "Give me that." Sie gets the picture, looks at it, laughs and gives it back.

    William and Penny talk about Russell.
    William: "But that's between us. Because I am a professional." Alternative shots of this statement.
    Theatrical: Penny Lane: "You're coming to Cleveland, right?"
    The Extended starts again with the last shot of this.

    Extended: Penny Lane: "You should give him a break. There are real problems in the band. Off the record." She turns off the audio recorder.
    William: "What problems?"
    Penny Lane: "Okay, I got it. Your name should be Spencer, and mine will be Jane."
    William: "I can't keep up with you."
    Penny Lane: "No one can. You're coming to Cleveland, right?"
    William: "Cleveland, Ohio?"

    Extended: The previous shot runs longer.

    Extended: William interviews Ed Vallencourt in front of the Topeka Arena.
    William: "So, Ed Vallencourt, what do you love about music?"
    Ed thinks, plays around with his drum sticks and then shakes his head.
    William: "Okay."

    Extended: Shots of band members and women in some kind of green room before William intervies Russell.

    49.50/1:11.01 Jeff and Russell argue about the fan shirt.
    Theatrical: The previous shot runs longer.

    Extended: Russell Hammond: "Are you doing coke again?"
    Jeff Bebe: "Oh, yeah, all the time. This is big stuff, man."

    Extended: Previous shot runs longer.
    Jeff Bebe to Russell: "Blackmore, Gillan."

    The band leaves.
    Theatrical: Previous shot runs longer.

    William and Russell are at a house party.
    Extended Version: Blonde guy: "Can I have that bitchin' belt?"
    Russell Hammond: "Take it." He takes off his belt.
    Blonde guy: "Thanks, man."
    Long-haired spectacle wearer: "Thank you, brother."

    Extended Version: Russell makes music with a teenager. William writes down something.

    Russell just jumped from the roof of the house into the pool.
    Extended Version: Previous shot is longer (29 Frames). The people become silent. Soft murmurs.
    Attendant: "Somebody help him."
    Woman’s voice: "I'll save you, Russell!"
    You can hear a man’s voice in the Theatrical Version instead: "Russell!"

    Extended Version: William interviews Jeff Bebe in the tour bus.
    Jeff Bebe: "On the whole I would say most of the fuckups in the world come from the brain, and not the instincts. My whole thing is to try and make my-- ... My whole thing is to make my brain go away. But I can't, except on stage. The brain, I think, should be a softening influence on the instincts but the instincts should drive. Trying to reconcile the brain with urges that come out of a million of years ago. The way the brain interprets these instincts is ... a heavy trip."
    Now there’s a scene of the band and their company leaving a hotel and bringing baggage to the bus. In this scene, Dick Roswell shouts:"Vallencourt, are you getting on the fucking bus or what? - Come on, come on, let's get on the fucking bus." The group talks in front of the bus.
    The following answer of Jeff addressed to William is lying over the last-mentioned scene at the beginning, then over an external shot of the bus and finally there’s a cross-fade to the interior of the bus again.
    Jeff Bebe: "Usually I'm brain and Russell is instincts. But on the day that we are both instinct that's when we've made the music people know the best, because it's the best. - Show me any guy who ever said he didn't wanna be popular and I'll show you a scared guy. I've studied the entire history of music. Most of the time, the best stuff is the popular stuff. It's much safer to say popularity sucks because that allows you to forgive yourself if you suck. And I don't forgive myself. Do you?"
    William is distracted several times by the actions of the others in the bus. He shakes his head upon Jeff’s question.

    Extended Version: Shot on the TV in the hotel room of the groupies. A performance of a rock band is on. Voiceover of a groupie: "All dressed up and no place to go."

    Penny Lane leaves the room: "I have to pee." This is depicted in particular different shots.
    Theatrical Version

    Extended Version:One of the groupie says "Wow! Cute." about a member of the rock band on TV.

    William walks down the hotel corridor.
    Bellboy to a pair: "Excuse me, sir, would you like to sign this?" William walks by and greets them.
    This action is depicted in slightly different shots in the two versions, in other words two different shots from the same perspective.
    Theatrical Version: Voiceover of the bellboy. This sentence lies over the previous one, identical picture in both versions.

    Extended Version: William sees Jeff Bebe playing guitar before. Then you can see the bellboy while he’s talking.

    1:07.11/1:30.42 - No runtime difference
    William sits crying in a chair.
    Theatrical Version: The picture runs on, followed by a hard cut on the following scene.
    ca. 2s

    Extended Version: The picture darkens and dissolves in a black screen.
    ca. 2s

    Theatrical Version: Next shot starts earlier.

    Extended Version: Russell Hammond takes a photo of William. The flash wakes him up.
    Russell Hammond: "We'll do the interview in Cleveland."
    William shakes his head: "No. No, no, no, no. I can't go to Cleveland."
    Russell Hammond: "Come on, man, we'll have more time there. (William gesticulates negating) Don't be tense."
    Penny Lane joins, Russell Hammond puts his hands on William’s shoulders.
    Russell Hammond: "Come to Cleveland."
    Penny Lane: "Come to Cleveland."
    Russell Hammond: "Come to Cleveland."
    Russell and Penny slowly: "Come to Cleveland."
    William: "I can't go to Cleveland."
    Russell Hammond: "Hey! Can we help it if we like having you around?"
    Russell and Penny together in a hypnotizing tone: "Come to Cleveland. Come--"
    William annoyed: "Look, I don't wanna go to Cleveland, okay? I want to go home."
    Russell Hammond: "That's good man. I like it when you yell. I'm not gonna let you miss out on the rock mecca of the Midwest. Hey, you're with us. Rock'n'roll."
    Penny Lane: "Rock..."
    Russell Hammond: "...'n'roll."
    Penny Lane: "It's all--"
    William: "I know. I know. 'It's all happening.'"
    A soft cross-fade to the next shot follows.

    A man and a woman are standing in a hotel lobby among other people.
    Extended Version: Man: "It's Memory of a Free Festival while they were at Free Club and you know that's vintage Bowie, you know. I mean the new stuff, I mean Ziggy Stardust is good but it's ... it's mass media, you know. It's hamburgers for the apocalypse."
    Somebody runs through the lobby, covert by a bodyguard.

    Extended Version: Penny Lane enters Russell Hammond‘s hotel room, puts down her coat and sits down on the bed.

    Theatrical Version: The previous shot is longer. The text from the next scene lies over this one at the beginning, so you can hear the opening of the phone conversation between William and his mother in the Theatrical Version.
    William: "[Hi, Mom.] I'm in Cleveland. - Oh, I'm fine, I'm fine. I'm ... [I'm gonna fly back Monday morning.]"

    Extended Version: Dick Roswell sits on a stage and talks with some fans: "Jeff and Russell are the figureheads of the band but ... I think the true Stillwater fan, you know absolute Stillwater fan, knows the purity, the essence, the core of Stillwater's music comes from Ed Vallencourt.

    Theatrical Version: The next shot starts earlier.

    Stillwater gives a concert
    Extended Version:The audience cheers and the band takes a bow thereupon.

    Dennis Hope offers to be the manager of the band, so he talks to the band in a backstage room to convince them.
    Dennis Hope: "Your manager here needs a manager." This statement is placed at the end in both versions, each with another shot.
    Theatrical Version

    Extended Version: Dennis Hope: "I will tell you the truth. I may enrage some ... and enthral others. I don't give a fuck."

    Theatrical Version: Next shot starts earlier.

    Extended Version: Dennis Hope goes on: "But on the distasteful subject of money ... just know that you're all making it, right now ... and it's all out there. I'm just talking about bringing it back here."

    Theatrical Version: Next shot starts earlier.

    Extended Version: Previous shot is longer.

    1:13.50/1:39.26 – Dialogue Alteration
    Theatrical Version: Dennis Hope: "You know how to get a record not, not pressed, but played?"
    Extended Version: Dennis Hope: "Do you know Claire Rothman, at the L.A. Forum? Do you know Bobby Cowan, Danny Marcus, ..."
    Picture for arrangement

    Extended Version: Dennis Hope goes on: "... Lisa Robinson? Do you know Frank Barcelona? This is Cleveland! Where's Kid Leo? Where is he?"
    Next shot starts earlier (15 frames).

    1:13.53/1:39.39 – Dialogue Alteration
    Theatrical Version: Dennis Hope: "You gotta take what you can, when you can, [while you can and you gotta do it now.]"
    Extended Version: Dennis Hope: "You know how to get a record not, not pressed, but played?"
    Picture for arrangement

    Theatrical Version: Previous shot is longer.

    Extended Version: Dennis Hope goes on: "I didn't invent the rainy day, man. I just own the best umbrella. And as much as you may believe that this is gonna last forever. It does not. Your biggest fan right now-- Your biggest fan soon will gonna go to college, gonna wanna buy some clothes, spend that money some otherwhere. And you know what? They'll tape your record from a friend."

    Theatrical Version: Next shot starts earlier.

    1:13.58/1:40.11 - No runtime difference
    Dennis Hope (voiceover): "That's what the big boys do."
    Theatrical Version: Jeff Bebe watches how Dick Roswell takes off his hat in the foreground.
    This scene can also be seen in the Extended Version.

    Extended Version: Jeff Bebe turns his head to Dennis Hope’s direction.

    Theatrical Version: Previous shot is longer (5 frames).
    Dennis Hope goes on: "I didn't invent the rainy day, man. I just own the best umbrella."

    Extended Version: Dick Roswell: "Yes, well er, thank you Dennis! We'll, er ... we'll think about what you said."
    Dennis Hope: "Oh, no. You er ... you don't understand. I'll ... I'll think about it. I'm not, er, auditioning. I came here to decide whether I want to represent you. So I'll stand outside for a moment and think about whether I wanna stay. It was a good show."
    Dennis Hope leaves the room. The band members are bewildered.
    Larry Fellows: "I miss him already."

    Penny Lane dances alone in an empty hall.
    Extended Version: The scene starts earlier. Thus the musical piece in the background starts earlier too, so in total it is longer in the Extended Version (also because of the following extension).

    Extended Version: Penny Lane throws a rose.

    Extended Version: Previous shot is longer.

    Extended Version: Previous shot is longer (12 frames).
    Penny Lane sits on the floor of the hall, looks around and plays with the rose.

    William walks down the hotel corridor.
    Extended Version: Man at the table: "Donkey dick, man! A donkey dick is funny."
    The room where Russell Hammond plays with other cards is shown for a moment.

    Russell Hammond sits at the table with members of Stillwater and of other bands and they play poker.
    Theatrical Version: Dick Roswell: "We're developping a system of poker over years, so you can play in any condition."

    Extended Version: Dick Roswell: "We're developping a system of poker over years, so you can play in any condition, which helps."
    Guy from the circle: "We let Russell in because he brought the hash."
    Another guy: "Easy, easy! The press is here."
    Sunglass wearer (to William): "Don't mention me, or The Eagles."He hands William a drink can which was primed for smoking.
    - "Oh, I'm done."
    - "Er, I'm out."
    William hands on the can.

    Theatrical Version: Previous shot is longer.

    Extended Version: Scene change
    Stillwater is in a camp. Dick Roswell brings a birthday cake and the people sing Happy Birthday for Penny Lane.
    Penny Lane: "I'm making a wish." She blows out the candles.
    Russell Hammond reads out: "So ... 'Penny, our friend has gained another year; But long ago she threw it in gear; She rocked the south, the east, the west; Could we please get off this endless tour, where we are Black Sabbath's fucking special guests; (Laughter) She says she's retired but we've heard that before; She chose us, in Penny Lane we trust; She is a fan of this band; Much more so than us.'"
    Applause. They sing and Penny Lane starts sharing out her cake.
    Penny Lane: "Who wants the 'P' in 'Penny'?"
    Dennis Hope (to Penny Lane): "Happy birthday."
    Penny Lane: "Oh, thank you."
    Dennis Hope: "I'm sorry the plane isn't bigger."
    Penny Lane seems puzzled thereupon and she exchanges glances with Russell Hammond and William.
    Penny Lane: "Who didn't get cake? - Any extra plates? Anybody?"

    Stillwater gets off a limousine in front of a hotel .
    This action is depicted in slightly different shots in the two versions, in other words two different shots from the same perspective.
    Theatrical Version: Russell Hammond gets addressed by a fan: "I'm from the Church of Lenny." Dick Roswell pays the chauffeur.
    Next shot starts earlier (13 frames).

    Extended Version: Russell Hammond gets addressed by a fan: "I'm from the Church of Lenny. We bow to his will and all-- He is the king of kings. Can I get an autograph?"
    Russell Hammond: "Who should I make it out to?"

    Extended Version: William takes his bag out of the trunk of the limousine. The bag tears and his stuff falls on the sideway.
    William: "Oh, God." He starts picking up his stuff.
    Dick Roswell helps him: "There are lighter souvenirs, you know."
    William: "Well, I kept thinking I was gonna go home the next day."
    Dick Roswell: "So did I, 15 years ago."

    William arrives at a bar.
    Theatrical Version: William (over the previous scene): "Guys, I have some good news!"
    Voice in the bar: "I don't know why every time I'm here--"

    Extended Version: Bouncer (over the previous scene): "As soon as a couple of people leave, I can fit you right in, okay?"
    Bouncer to William: "Excuse me. Got an I.D.?"
    William: "Ah, no thanks. I'm fine."
    Bouncer: "No, no, no, no."
    Dennis Hope joins them: "Hey, man, he's cool. He's cool."
    Bouncer: "Hey Dennis, how you do?"
    Dennis Hope: "Great. Everything's great."
    Bouncer: "Well, enjoy."
    William walks through the bar. Polexia Aphrodisia surprises him: "Opie."
    William: "Hey."
    Polexia Aphrodisia: "I'm going to England with Deep Purple and we leave in an hour. - Don't forget me, okay? - It's all happening. But, I must vamoosh."
    She gives him a kiss and leaves.
    Dennis Hope meets William again: "Hey, the Enemy. We got a table right there. Come on. They're all looking for you."
    They walk over to the table.

    Extended Version: Previous shot is longer.

    The headmsaster of William's school is giving a speech. "[...]Full of hope, and the dream that everything is possible."

    Extended: Headmaster: "... And remember this, 20 years from now when we all own home computers and we all travel in shiny electrical cars that move swiftly, high above our city, that the key to the future, is keep today alive forever! Forever! Forever!"

    1:29.36/2:02.02 – Dialog Alteration
    Theatrical: Penny Lane: "So I guess what I'm trying to say is I've done twice the things I said I've done."
    Extended: William: "You've never done half the things you said you did."
    Image for Orientation

    William and Penny go through a park.
    Extended: Penny Lane: "It was in the middle of "Midnight Rambler. Keith Richards saw me, came to the front of the stage. He pulled me out and he took me backstage and gave me a Coke, with ice and a lemon. And I never went home. I've done twice the things I said I did."

    William says goodbye to Penny at the airport.
    Extended: Penny Lane lets go of William and goes towards the airplane. She loses her jacket and has to pick it up.
    William gazes after her and then calls out: "Hey, lady!" Three other women turn around to him.
    Stewardess (from the off/in the plane): "Ladies and gentlemen, welcome to Eastern Airlines nonstop service [to San Diego.]"

    In the headquarters of the Rolling Stone magazine.
    Extended: Receptionist: "Leave your package on the desk."
    William: "Oh, I'm not a messenger, I'm one of your writers ... William H. Miller."
    The receptionist takes the phone, whispers: "He's just a kid." She hangs up and tells William to: "Go right on in."
    William goes into the rooms of the magazine and passes some of the employees, which look at him.
    Ben Fong-Torres waits for him at the end of the corridor: "You're William Miller?" (which can be heard already from the off in the Theatrical Version)

    William calls Lester Bangs.
    Theatrical: Previous scene runs longer.

    A editor takes William's note from Ben Fong-Torres.
    Theatrical: With this shot the Extended starts again.

    Extended: Previous shot runs longer: The notes get partially ripped.

    Stillwater argue about William's journalist work.
    Theatrical: Previous shot runs longer.

    Extended: Dick Roswell: "We never took him seriously. Now it's serious."
    Russell Hammond: "I liked him as a person."

    Theatrical: Previous shot runs longer.

    Extended: Russell Hammond: "You! You had the right idea all along."
    Dennis Hope: "How about the plane flight?"
    Dick Roswell: "It's all there. Don't worry. It's unspecific who says what. No names are mentioned in the more embarrassing sequences. It's just completely obvious who's who and we're fucked!"
    Russell Hammond: "I, I told him he could write what he wanted."
    Dennis Hope: "Hey, hey. They haven't talked to Russell, yet. You can always deny the key stuff to the fact checker. One phone call. Then they can't print."
    Jeff Bebe: "Is that true?"
    Dennis Hope: "This is war, my friend. You did mad met me earlier, he would've never been around. He'll live. Let's identify the goals here: T-shirts, foreign markets, renegotiating your contract, merchandising, happiness, realizing your dreams, money, cool, meeting the Beatles. Let's put all of that in the pot. It all depends on mystique. Not giving too much away. I'm going to L.A. Call me if you need me. And before I go, let me give you a lesson in mystique. You can only have one. Which one do you want? Which one do you gonna choose? As long as you can't see what's in this hand you'll always want it more."

    Stillwater and others are in a dining room.
    Theatrical: PRevious scene runs longer (21 Frames).
    Sapphire sits down next to Russell Hammond.

    Extended: Jeff Bebe and Russell Hammond sit at a table together and eat.
    Jeff Bebe: "All right, so I didn't like you much. Do we have to like each other?"
    Russell Hammond: "I sort of thought so."
    Jeff Bebe: "I think it would've worked against us, I really do. You know what they say: all the great partnerships hated each other."
    Russell Hammond: "We didn't hate each other that much, did we?"
    Jeff Bebe: "No, maybe not. I could work on it, though."
    Both laugh.
    Russell Hammond: "I just can't picture you with Leslie."
    Jeff Bebe: "I'm the you they get, when they can't get you." He has to laugh when saying this.
    They want to hug, Jeff knocks a drink off the table.
    Jeff Bebe: "Sorry."
    Russell Hammond: "Forget it. It's cool. I'll see you later on, all right?"
    Jeff Bebe: "See you."
    Jeff Bebe takes his bag and goes. Sapphire sits down next to Russell (different shot than in the Theatrical).
    Theatrical starts again with this shot.

    Theatrical: Previous shot runs longer.

    Extended: Sapphire: "Something tells me, 20 years from now we'll remember her. And not much else."