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The War of the Worlds

Thelma & Louise

To Live and Die in L.A

Scream 6




  • Theatrical Version
  • Director's Cut
Release: Mar 11, 2016 - Author: Muck47 - Translator: DaxRider123 - external link: IMDB
Alternative Scene
15:49-16:06 / 19:08-19:45

In the Theatrical Version the woman goes along the hallway much longer. Then we see two short shots of Shane making out.

In the Director's Cut he instead follows her through the other rooms. The Kissing is shown in more passionate and longer alternative takes. Before this happens, there are a few scenes of the lascivious events in the club.

Director's Cut 18.4 sec longer

Alternative Scene / Partially Re-Cut
17:29-17:35 / 21:08-23:14

After the conversaion inside the cafe the Director's Cut shows an interview with Steve, which Shane watches in fascination while his father sits in the background looking rather sceptical. A minor fight breaks out: The father does not want him to work around all those weird people (he again also mentions the "niggers"). Additionally, Shane is supposed to stay home to take care of his sister. Shane gets aggressive and in the end runs out.
The Theatrical Version uses the interview in a different context at 46:13-47:27 / 55:31-55:41.

After this, we can see him in the club with Greg and playing around/consuming drugs with his friends. These scenes were trimmed down and split to several other scenes in the Theatrical Version.

The Theatrical Version instead just cuts to an exterior shot before showing Anita during her singing rehearsal.

Director's Cut 120.2 sec longer

During the following scene the Director's Cut still includes "Love Machine", while the Theatrical Version gives us a voice-over about Anita's musical talents and Greg's career-plans that do not include an idea of HOW to make them happen. Apart from that, there is no sound.

Alternative Scene
18:39-18:42 / 24:18-24:21

Only the Director's Cut shows Shane during Anita's performance, while the Theatrical Version constantly stays with her.

No difference in runtime.

Theatrical VersionDirector's Cut

19:08 / 24:47-24:50

Another shot of Shane after Anita downplayed his compliment.

2.7 sec

Alternative Scene / Partially Re-Cut
19:34-20:21 bzw 25:31-30:26 / 25:15-32:56

At this point, the two versions are very different: The Theatrical Version offers a compilation of scenes with Shane in the club and the business inside Studio 54 that in the Director's Cut were not shown together. The Director's Cut instead includes a giant block of scenes that the Theatrical Version – in a rearranged version – includes roughly five minutes later.

The details:

In the Theatrical Version we see Shane and Greg inside the room, followed by shots where Shane takes pictures of Anita. The Director's Cut includes the latter in a more extensive version with dialog at 39:04-45:25 / 49:34-52:58.
Then follow a few friendship moments, which the Director's Cut included in a different order at 17:29-17:35 / 21:08-23:14. There, the scene where Shane jumps around behind the bar (which comes across as a little homosexual) is shown in more detail!
In the end there is a montage of the money laundering that takes place in the club. The same scene was already shown in the Director's Cut, yet the Theatrical Version adds additional shots of the bar (which came earlier in the Director's Cut - at 07:33-07:42 / 08:45-10:00 to be exact). Additionally, the entire sequence is accompanied by Shane's voice-over.

The Director's Cut instead shows two exterior shots (Shane's apartment and him sitting on the roof with a thoughtful facial expression), which are postponed to a different spot in the Theatrical Version. After that, he puts his clothes off and talks to Grace in the car, which in the Theatrical Version happens a few minutes later – after Greg's conversation with Steve (at this point completely drunk).

Only here you can see Shane moving into a new apartment (or rather the room at Greg's and Anita's place) where he seems to feel comfortable.

We then see (just as in the Theatrical Version immediately after the scene with Grace and Shane in the car) the conversation in Steve's office as well as Steve's subsequent nightshift in the club while he is high on pills. The Director's Cut includes a few rather unimportant mini-cuts.

29:24 / 29:29-29:51

After Shane took the pill, the Director's Cut starts earlier inside the club.
He laughs and passes Dottie. Then he puts down the dirnks next to Anita. When she looks in his face, she realizes that he is on drugs.

20.6 sec

Theatrical Version longer
30:22-30:26 bzw 30:59-31:31 / 30:49-31:21

After Shane snorted some coke from Anita's hand, he is shown longer in the Theatrical Version.

+ 4 sec

The subsequent scenes were switched around: The Director's Cut first shows Shane introducing himself to Billie, while the Theatrical Version at first shows Steve standing in front of the club.
During the latter scene, only the Theatrical Version includes voice-overs about the fact that Steve had crossed out Shane's friends on the guestlist.

The Theatrical version shows Shane snorting some coke with Billie right after the introduction sequence. The Director's Cut instead shows it after the sequence of Steve in front of the club.

In between this chaotic „recut within a recut“ there is yet another differing sequence:

Theatrical Version longer / Re-Cut
30:50-30:59 / 31:45

In the Theatrical Version Shane walks down the stairs inside the club, while Steve sits on the sofa downstairs. Only the later part of this was shown in the Director's Cut at 15:11-15:42 / 18:42-19:01.

+ 9 sec

Only in the Theatrical Version does Shane explain the money laundering system with Anthony who waits outside (via voice-over, of course).

Alternative Scene / Re-Cut
21:23 bzw 33:21-34:04 / 33:59-35:27

In the Director's Cut we now see Shane having sex with Billie. In the Theatrical Version this happens 12 minutes later – curiously enough mainly with alternative takes (apart from one short shot of Shane) that use the same camera perspective. The Director's Cut shows the intercourse a little more extensive – Billie is on top a little longer, while Shane moans more intense.

The dialog stays the same (despite different takes), yet it is a little more extensive in the Director's Cut: There, Billie at first tells him to suppress his orgasm a little longer and praises his quick learning abilities. Regarding the job, she seductively asks him, what he would do for it. At this point, both versions are completely different:
- In the Theatrical Version Billie solely comments that Shane should get the things he desires from others; all he needs to figure out is what the others want.
- In the Director's Cut Shane reacts by changing the position, yet Billie does not seem to be too eager and soon falls asleep. Shane tries to wake her up, but then decides to rather watch his moves in the mirror.

Director's Cut 45 sec longer

Theatrical VersionDirector's Cut

Theatrical Version longer
21:30-21:31 / 35:34

In the Theatrical Version Steve is carried into the room slightly longer.

+ 0.8 sec

22:43 / 36:46-37:02

Steve talks to Greg a little longer and interrogates him about his origin (New Jersey). He says that for a Jersey boy he made it pretty far.

16.6 sec

22:52 / 37:12-37:14

In the Director's Cut, the shot of Greg is interrupted by a cut to Steve.

2.1 sec

Alternative Scene / Partially Re-Cut
25:25-25:33 / 39:47-40:12

As mentioned above, the Theatrical Version shows Shane taking off his clothes after Steve sexually approached Greg (there are no images, since both scenes are identical). The only difference is the shot of the Skyline towards the beginning which was not included during this scene in the Director's Cut. Additionally, the first shot inside begins a little earlier in the Theatrical Version.

In the Director's Cut Shane is already naked and thus gets an additional scene: He is sitting on the rooftop (still naked) and cheers while thinking about the club.

The first part of the club scene follows a little in the Theatrical Version (at 39:04-39:12). However, the shot of his naked butt had to be taken from the VHS-tape and thus is entirely new.

Director's Cut 17 sec longer

In the 33rd (Theatrical Version) / 41st Minute (Director's Cut) only the Theatrical Version includes a voice-over by Shane talking about Billy. He says, he had learned that he has all the power to get whatever he desires.

33:21-34:04 / 40:49

As a quick recap for the following differences: After the flirt with Billie in the changing room, the Theatrical Version shows a sex scene with her, which the Director's Cut already included at 21:23 / 33:59-35:27, where the two scenes were compared in rich detail.

Alternative Scene
34:04-34:09 / 40:49-41:06

Before Shane nervously stands around in Steve's office wearing his new jacket, the Director's Cut shows him with Billie again.
Onscreen she says exactly what the Theatrical Version made her say towards the end of the sex scene: Shane should get whatever he wants from others; all he needs to figure out is what they want.

In the Theatrical Version, the following shot of Shane in front of the door begints a little earlier. He hesitates a bit before knocking (not illustrated).

Director's Cut 11.9 sec longer

Theatrical Version longer
34:25-34:30 / 41:22

In the Theatrical Version, Shane walks around inside the room a little longer.

+ 4.4 sec

Theatrical Version longer
35:32-35:34 / 42:25

Steve's speech to the staff begins a moment earlier in the Theatrical Version – in the Director's Cut he starts talking while the previous shot is still visible.

+ 1.8 sec

Roughly 10 seconds later, we get to know about Greg being fired. Only the Theatrical Version includes a voice-over: Shane says he felt bad.

Alternative Scene / Re-Cut
35:51-36:09 / 42:41-43:20

Now follow individual scenes inside the club.

In the Theatrical Version Shane excessively parties with his colleagues.
These scenes are included in the Director's Cut shortly after the conversation between Greg and Anita, yet the cut to Steve is Theatrical Version exclusive. After the shot of Shane on the bar, the image turns to a shot of the sun (while the Director's Cut shows additional shots later, see next documented difference).

The Director's Cut shows him (introduced by the same shot of the sun as well as the shot of a goat in the club which follows much later in the Theatrical Version; here and there, there are dance sequence that originate from the VHS-tape) getting a sexual offer from Disco Dottie. Soon hereafter, the Theatrical Version also shows this, howver Dottie makes his offer much earlier in the Director's Cut, She says that she knew that Shane is a "winner". Shane offers her a free drink, which she in the Theatrical Version returns with the offer for the "best fuck of his life".

Director's Cut 20.3 sec longer

Alternative Scene / Partially Re-Cut
36:33-36:56 / 43:44-46:08

Now, the Director's Cut shows the just mentioned party scene with Shane. At the end there are additional shots of other dancers.

Then we see a conversation of Shane and Greg inside their apartment: The former apologizes for stealing the job. Greg complains a bit about Steve, and Shane emphasizes that the both of them (= Anita & Greg) for him are like a new family, therefore he wishes to help the both of them. This calms Greg down and during the following conversation Shane wants to encourage him to try – for Anita's sake. Greg cynically summarizes that he should give his boss a blowjob – for Anita's sake. Shane walks away while commenting that Greg should not always take everything literally.

In the end, there are several scenes inside the club that are pretty sexual. Some of the sequences were already shown during the Theatrical Version's montage at 36:33-36:56 / 43:44-46:08.

In the Theatrical Version we at first see the ongoings at the party and Disco Dottie's "best fuck"-offer.
Subsequently, there is a slow motion shot of Shane and while the pretty unnecessary voice-over explains what is going on, the versions are back in synch when he dances with Dottie.

Director's Cut 121.5 sec longer

Soon, he walks in the cellar and only the Theatrical Version includes some voice-overs that explain Studio 54's specialities.

Theatrical Version longer
37:54-37:58 / 47:06

Only in the Theatrical Version Billie comments that Shane probably understood it by now.

+ 3.8 sec

Alternative Scene / Partially Re-Cut
37:58-38:22 / 47:06-47:46

When Steve welcomes Andy Warhol, this happens in alternative takes. In the Director's Cut, the scene is a little longer towards the end and Billie's business associate solely has eyes for Shane. Billie says that Shane might look like a kid, yet is the best lover the club had to offer.
In retur, the Theatrical Version shows a short differing shot from further away without any dialog, followed by some dancing around which the Director's Cut already showed earlier.

Director's Cut 16.2 sec longer

Theatrical VersionDirector's Cut