The Movies

[lspr_93]

I'm looking for recommendations on 80s, 90s and 00s mafia movies. I have been watching a few lately. Last one I watched was Goodfellas.

Already watched quite a few: Godfather, Scarface, Casino, The Departed, Reservoir Dogs, American Gangster...

I already thought of "Once Upon a Time in America" and "The Untouchables", but they're unavailable on streaming around here.

[Jason Donaldson]

Idea for the next Rip and Musser Movie podcast: Studio interference, and whether on the whole, it helps or hinders movies.

Obviously everyone knows the movies that the Directors Cut are far better. But what about the movie's that were improved upon editing? Harder to find because the directors cut is rarely released if it's worse, but a few definitely come to mind where the final release is better than the initial shoots. Alien, Toy Story and American History X come to mind.

It's hard to estimate if the final tally is positive or negative for studio interference but it's definitely not one all one way traffic.

A cynical man might note that, if the director is a big name, then people will go see, and eventually buy copies of the theatrical release no matter what. Many of them will then turn around and buy the director's cut as well, once that's released at a future time. This being the case, why wouldn't the studios do this over and over, since they're benefiting? Especially since they usually screen different versions in advance - which should give them an idea whether there is likely to be a market for a different cut after the initial release or not...

[Jenni]

I'm looking for recommendations on 80s, 90s and 00s mafia movies. I have been watching a few lately. Last one I watched was Goodfellas.

Already watched quite a few: Godfather, Scarface, Casino, The Departed, Reservoir Dogs, American Gangster...

I already thought of "Once Upon a Time in America" and "The Untouchables", but they're unavailable on streaming around here.

Road to Perdition, I'll Sleep When I'm Dead*, Gangs of New York, Layer Cake, Lucky Number Slevin.

*possibly not meeting the chategory of mafia film as opposed to a revenge film with a mobster character?

[Subby]

A cynical man might note that, if the director is a big name, then people will go see, and eventually buy copies of the theatrical release no matter what. Many of them will then turn around and buy the director's cut as well, once that's released at a future time. This being the case, why wouldn't the studios do this over and over, since they're benefiting? Especially since they usually screen different versions in advance - which should give them an idea whether there is likely to be a market for a different cut after the initial release or not...

Genuine question.

When there is a directors cut released after the fact. How is this actually accomplished and who pays for it/makes money? I'm assuming all Directors would release a directors cut if it were an option. Doubly so if they'd profit from it.

[Mark Rippetoe]

I guess it would depend on how the contract for the job was written. I assume some big directors retain more control of the finished product/distribution that others do.

[lspr_93]

Road to Perdition, I'll Sleep When I'm Dead*, Gangs of New York, Layer Cake, Lucky Number Slevin.

*possibly not meeting the chategory of mafia film as opposed to a revenge film with a mobster character?

"Why do they call you the boss?"
"Because I am the boss."

Already watched Gangs of New York and Lucky Number Slevin. Couldn't find the other ones on streaming.

Decided to watch Public Enemies.

[Nick Delgadillo]

Not yet but it's next on the list. I've heard it's almost a different movie. Why do they do this to film makers? Just let the men cook and it is what it is, length, rating, whatever. Studios always trying to mess with the vision.

It's a COMPLETELY different movie. The PG version is not worth watching at all. Snyder was talking about the structure of the deal he made with Netflix - they'd release the sanitized version first as long as he had full creative control of the director's cut. Very cool contrast to how a studio who is going to be taking a creative product through a ridiculous committee process with competing interests and incentives vs the director just getting to do whatever he wants.

[Nick Delgadillo]

Late Night with the Devil was incredibly well done. There are some great references to Bohemian Grove and Stanford Research Institute that will be interesting to some of you folks who pay attention to things.