Knowledge

Final cut privilege

Source 📝

165:. This authority is not absolute. If a director goes over budget, exceeds runtime, misses the production schedule, or otherwise does not stick to the agreed upon terms, he or she can lose final cut. Should the director no longer be an employee, the authority vested in the director is passed to a pre-determined individual that was approved by the director and the studio prior to production. Although all parties are obligated to meaningfully consult with each other on all aspects of the film, when it gets down to final cut, it can cause conflict, which usually occurs between the director and the studio. 192:
of the film, which is a version of the film as the director would have cut it or more closely follows their vision of the project. A promise of a release of a director's cut can sometimes entice a director to join a project or help smooth over creative differences. These versions of a film can act as
74:
Studios are typically reluctant to give final-cut rights to an individual who is not financially vested in the project and therefore often hold on to this authority or grant it to studio executives. In some instances, a studio may have a subsidiary that is a production company which retains final
168:
Independent directors and those working outside of the major US film studios have other metrics to determine if final cut authority is granted to the director. For instance in France, directors whose reputations are built on artistic merit, as opposed to bankability, frequently have final cut
197:
is used only for marketing purposes and has nothing to do with what the director actually wanted. Director's cuts are usually released via digital distribution, such as on DVDs or through
137:
Directors will seek final cut authority for creative reasons; however, the right is usually only granted to established directors who have been determined by their record to be
169:
privilege for their films. In the United States there are directors that are considered acclaimed, but not necessarily bankable directors, such as
456: 188:
When a film is released with a final cut made by someone other than the director, sometimes producers will subsequently release a
517: 375: 536: 402: 244: 321: 274: 427: 97: 111: 84: 477: 129:
sided with Raimi's changes, Costner's changes were made because he contractually held the authority.
541: 449: 465: 348: 376:"Matt Damon On 'Manchester By the Sea' & Why He Had Final Cut Approval – Produced By NY" 8: 299: 486: 436: 126: 117: 47: 513: 189: 154: 43: 31: 210: 142: 102: 26:) is the right or entitlement of an individual to determine the final version of a 16:
Right of a director to decide how a film is ultimately released for public viewing
460: 198: 182: 178: 35: 158: 80: 51: 27: 530: 505: 306: 216: 162: 150: 146: 138: 106: 55: 221: 59: 39: 174: 170: 76: 193:
an additional marketing tool for film distribution, and often the term
92: 122: 88: 66:. The authority can also be shared between any of the above parties. 105:. Actors can also negotiate for final cut authority. The actor 63: 349:"From Script to Screen: What Role for Intellectual Property?" 125:
had creative disputes over the finished product. Although
101:, had final cut authority instead of the film's director, 480:Film Has Two Versions; Only One Is Julie Taymor's 528: 503: 322:"Director v studio: Who should have final cut?" 275:"Director v studio: Who should have final cut?" 91:will often have final cut authority. The actor 355:. World Intellectual Property Organization 213:, the same term when applied to musicians 38:. The final cut on a film can be held by 367: 239: 237: 529: 394: 373: 95:, who was a producer on the 2016 film 268: 266: 234: 403:"Fade-out on final-cut privileges?" 340: 293: 13: 497: 452:Michel Gondry talks Be Kind Rewind 400: 346: 263: 14: 553: 430:Fade-out on final-cut privileges? 319: 272: 185:, who enjoy final cut privilege. 115:due to the worldwide success of 512:. AFI Film Readers. Routledge. 471: 109:had final cut on the 1999 film 75:cut. Studio executives such as 443: 421: 313: 1: 227: 69: 251:. Directors Guild of America 132: 7: 204: 121:. Costner and the director 10: 558: 537:Film and video terminology 24:final cutting authority 466:North by Northwestern 459:9 August 2011 at the 98:Manchester by the Sea 504:Gerstner, David A.; 112:For Love of the Game 510:Authorship and Film 48:executive producers 20:Final cut privilege 487:The New York Times 374:Brownfield, Paul. 199:streaming services 127:Universal Pictures 118:Dances with Wolves 519:978-0-415-93994-2 401:Siegal, Tatiana. 245:"Creative Rights" 155:Quentin Tarantino 44:studio executives 549: 523: 491: 490:(20 March 2007). 475: 469: 447: 441: 425: 419: 418: 416: 414: 398: 392: 391: 389: 387: 371: 365: 364: 362: 360: 344: 338: 337: 335: 333: 317: 311: 297: 291: 290: 288: 286: 270: 261: 260: 258: 256: 241: 211:Artistic control 143:Steven Spielberg 103:Kenneth Lonergan 85:Kathleen Kennedy 62:, and sometimes 557: 556: 552: 551: 550: 548: 547: 546: 542:Film production 527: 526: 520: 508:, eds. (2002). 500: 498:Further reading 495: 494: 476: 472: 461:Wayback Machine 448: 444: 426: 422: 412: 410: 399: 395: 385: 383: 372: 368: 358: 356: 347:Jewell, Cathy. 345: 341: 331: 329: 318: 314: 298: 294: 284: 282: 271: 264: 254: 252: 243: 242: 235: 230: 207: 183:Terrence Malick 179:Alexander Payne 135: 72: 22:(also known as 17: 12: 11: 5: 555: 545: 544: 539: 525: 524: 518: 506:Staiger, Janet 499: 496: 493: 492: 470: 442: 420: 393: 366: 339: 312: 292: 262: 232: 231: 229: 226: 225: 224: 219: 214: 206: 203: 195:director's cut 190:director's cut 159:The Wachowskis 134: 131: 81:Marvel Studios 71: 68: 52:film producers 28:motion picture 15: 9: 6: 4: 3: 2: 554: 543: 540: 538: 535: 534: 532: 521: 515: 511: 507: 502: 501: 489: 488: 483: 481: 474: 468: 467: 462: 458: 455: 453: 446: 439: 438: 433: 431: 424: 408: 404: 397: 381: 377: 370: 354: 350: 343: 327: 323: 316: 309: 308: 307:History Today 303: 302: 296: 280: 276: 269: 267: 250: 246: 240: 238: 233: 223: 220: 218: 217:Auteur theory 215: 212: 209: 208: 202: 200: 196: 191: 186: 184: 180: 176: 172: 166: 164: 163:Coen brothers 160: 156: 152: 151:Peter Jackson 148: 147:James Cameron 144: 140: 130: 128: 124: 120: 119: 114: 113: 108: 107:Kevin Costner 104: 100: 99: 94: 90: 86: 82: 78: 67: 65: 61: 60:screenwriters 57: 53: 49: 45: 41: 37: 33: 29: 25: 21: 509: 485: 479: 473: 464: 451: 445: 435: 429: 423: 411:. Retrieved 406: 396: 384:. Retrieved 379: 369: 357:. Retrieved 352: 342: 330:. Retrieved 325: 320:Brock, Tom. 315: 305: 301:Citizen Kane 300: 295: 283:. Retrieved 278: 273:Brook, Tom. 253:. Retrieved 248: 222:Alan Smithee 194: 187: 167: 136: 116: 110: 96: 73: 40:film studios 32:distribution 23: 19: 18: 175:David Lynch 171:Woody Allen 77:Kevin Feige 531:Categories 382:. Deadline 228:References 141:, such as 93:Matt Damon 70:Background 36:exhibition 409:. Variety 161:, or the 133:Directors 123:Sam Raimi 89:Lucasfilm 56:directors 457:Archived 380:Deadline 205:See also 139:bankable 437:Variety 407:Variety 516:  413:28 May 386:28 May 359:28 May 332:29 May 285:28 May 255:28 May 181:, and 64:actors 328:. BBC 281:. BBC 514:ISBN 415:2021 388:2021 361:2021 353:WIPO 334:2021 287:2021 257:2021 87:for 83:and 79:for 34:and 30:for 484:at 463:at 434:at 326:BBC 304:at 279:BBC 249:DGA 533:: 405:. 378:. 351:. 324:. 277:. 265:^ 247:. 236:^ 201:. 177:, 173:, 157:, 153:, 149:, 145:, 58:, 54:, 50:, 46:, 42:, 522:. 482:" 478:" 454:" 450:" 440:. 432:" 428:" 417:. 390:. 363:. 336:. 310:. 289:. 259:.

Index

motion picture
distribution
exhibition
film studios
studio executives
executive producers
film producers
directors
screenwriters
actors
Kevin Feige
Marvel Studios
Kathleen Kennedy
Lucasfilm
Matt Damon
Manchester by the Sea
Kenneth Lonergan
Kevin Costner
For Love of the Game
Dances with Wolves
Sam Raimi
Universal Pictures
bankable
Steven Spielberg
James Cameron
Peter Jackson
Quentin Tarantino
The Wachowskis
Coen brothers
Woody Allen

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.