Alternative Cuts of Dolph's films

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Alternative Cuts of Dolph's films

Postby Scifibuff5 on 20 May 2021, 04:30

Just a general discussion of the man's films which contain alternate footage or cuts depending on the region. I own the producers cuts of Punisher and Johnny Mnemonic and I got's to say that they're both much improved with those intended edits inserted back into either films.
"No, I haven't seen any of [the new 'Punisher' movies]," - Dolph in 2009 MTV News Interview
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Re: Alternative Cuts of Dolph's films

Postby Jox on 20 May 2021, 14:19

An interesting topic...!
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Re: Alternative Cuts of Dolph's films

Postby Jox on 29 May 2021, 10:45

https://www.instagram.com/p/CPZKk1NFv-D/
robert_longo_studio

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26 years after the original release of Johnny Mnemonic I’ve converted the film into black & white. It will premiere at the Tribeca Film Festival on June 11th, co-hosted by Rockaway Film Festival. This black & white version is a bit closer to my original intention, but in 1995 the film industry “powers that be” weren’t ready, so this version is a bit of a redemption for me. I’m thrilled that William Gibson and Keanu both like it too. Can’t wait for everyone to see it.


https://tribecafilm.com/films/johnny-mnemonic-2021
FEATURE | 96 MINUTES
JOHNNY MNEMONIC

The first and only feature film from visual artist Robert Longo, Johnny Mnemonic is a sci-fi prophecy of the current world. Johnny, played by a pre-Matrix Keanu Reeves, is a human data courier in the dystopic future 2021. He battles corrupt corporations and internet overlords during a global pandemic, all to recover the memories he exchanged for data storage.

26 years after its original release Robert Longo has revisited his cult classic Johnny Mnemonic, converting it into black & white. This marks the premiere of Longo’s black & white version of the film.
Co-hosted by Rockaway Film Festival
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Re: Alternative Cuts of Dolph's films

Postby Jox on 10 Jun 2021, 21:29

Interview:
Room Service Redeemed: Robert Longo Revisits Johnny Mnemonic
https://www.screenslate.com/articles/ro ... y-mnemonic

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Excerpts:
Patrick Dahl: I watched the black-and-white cut last night. It's really fantastic and I'm excited for other people to see it. What led you to consider doing this now?
Robert Longo: Well, I always had this fantasy that on the 25th anniversary I would try to get some redemption in relation to this film, because making it was really difficult. And I, at one point, thought about re-editing, but then I realized if I just turned it black-and-white that would be the best, easiest thing to do, and the most radical way of kind of imprinting how I really wanted it, because I wanted to make it in black-and-white originally. I wanted it to be like a contemporary version of Alphaville or something like that. Anyway, the movie, by dealing with Hollywood, had gotten out of control. Keanu had just blown up with Speed. Tristar wanted it to be their summer movie. It was kind of crazy. For me, for William, and for Keanu, this is a bit of redemption. They really love this new black-and-white conversion. And it looks like a shitty, million-dollar movie. It has a bit of a grunge to it and an attitude to it, which I think is really great.

Completely. The black-and-white knocks several million dollars off of the price tag.
Yes, it does, in a good way.

Originally, when I decided to make this black-and-white conversion, I ripped a Blu-ray and turned it black-and-white. I contacted one of the film’s original producers who was also a good guy, Don Carmody. I said to him, "I'm doing this, and I'm going to dump it on the 25th anniversary. I'm going to dump it on YouTube,” or something like that. And he said, "Wait, let me see it." So, I sent it to him, and he got really excited. "This is really great. We should show this to Sony." I hesitated to get Sony involved at first, but the problem with the Blu-ray version is that the quality would not be good enough to project it in a theater. So, Sony gave us the footage to work from, and they may release this new version on Blu-ray There's never been a director's cut. Ironically, there is a version that some people misunderstand to be a “director's cut,” the Japanese version of it, but it's not a director's cut. It's basically got more Takeshi Kitano in it. That's basically what it is.

So, I got the hi-res footage from the studio, and we graded it into black-and-white. I worked with Cyrus Stowe, who was the colorist on this version. Basically, we went through it scene-by-scene, and he was really great. He's really a very talented guy.
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