The amazing 1981 BBC Radio-4 13-part adaptation of The Lord of the Rings edited into one long 12-hour "audiobook" version, for convenient iTunes listening.

I wanted to watch the much shorter, "sacrilegious" US Theatrical Cut in HD, with clear sound, not in the terrible quality, 4:3 cropped and (towards the end) unlistenable VHS tape capture, which seems to be the only proof that this version really existed. So I edited the standard Blu-Ray version, shot by shot, or frame by frame, to match the VHS video. Then tried to reconstruct the audio as closely as possible, only using the VHS audio for unique sections of music, dialogue and soundFX (which thankfully were few and far between). I've also recreated the opening and closing credits in HD, although the latter could not be remade using the on-set photos used on the VHS, since I could not find all of them in anything like acceptable, or consistent quality. I wanted to only use HD material, so a few unique VHS shots have been replaced with analogous spare blu-ray shots.

The main source for this edit is the Director's Cut blu-ray, with all unique footage of the Theatrical Cut put back in, while also retaining the small amount of unique DC footage. The HD DC footage looks fantastic but the SD TC footage looks extremely poor, however, I've attempted to grade it to match and added film grain to try and make it look a bit more like terrible 16mm or 8mm footage, rather than terrible videotape. Not wanting to crop the already blurry TC footage any further, I've elected to letterbox the DC footage to match the 1.66:1 ratio of the TC. The difference is still obvious though.

The main source is the 'Director's Cut' workprint blu-ray, with every possible extra shot/scene added from the 'Broadcast Version' blu-ray.

This isn't a heavy edit, it's mostly a restructure. The 10-minute 'Second Battle of the Somme' sequence, which occurs 3/4 of the way through and does not feature Joey, derails the movie. So the Somme sequence is shifted to the start, to form a new flashback/prologue and is now in black & white with an added old-fashioned vignette, further separating it visually from the main body of the movie, suggesting something of the past about it and creating a contrast with the vibrant colourful countryside of the first Devon scenes. The fact that the Somme sequence already featured no score, unlike the lushly orchestrated John Williams scenes that follow it, was a bonus distancing factor. We will now not really see Albert again until the end of the film, just a brief glimpse of his face, lit by the guns that Joey is dragging, only informing us that Albert has joined up. The 2-minute cutaway back to Albert in England disrupted the otherwise entirely Joey focused narrative, so that is simply deleted. There are a few more minor cuts to massage the new continuity and to slightly delay certain aspects of the story. On-screen chapter titles are added (in the same style and font as the existing time/place titles), acknowledging the episodic nature of the story and who owns, or cares for Joey in those episodes.

'The Penultimate Cut' is named because it's supposed to be one step back from 'The Final Cut'. Ridley Scott's final/ultimate version of 'Blade Runner' but how it used to look and feel.

'The Exorcist: The Devil and Father Karras' aims to shift the focus of the film away from Chris and Regan and onto Father Karras, Kinderman and the other priest characters. 18-minutes is cut but enough is retained to chart Regan's possession. Much of those scenes are a "wild goose chase" anyway, showing the Doctors trying unsuccessfully to cure Regan.

The 'Entirely Respectable Editions' seek to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

The 'Entirely Respectable Editions' seek to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

A short seasonal edit that refocuses the story away from Santa and onto BZ, Patch, Joe, Cornelia and the magic-candy/Christmas-2 sub-plot.

The 'Entirely Respectable Edition' seeks to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

This project takes the Criterion blu-ray for Orson Welles' 1968 film 'The Immortal Story' and conforms it frame-by-frame to the longer cut, blending in the missing 4-minutes of footage, re-framing every shot and attempting to upscale and grade it to match.

This edit takes the HD transfer on the 'Ultimate Director's Cut' blu-ray and goes in and fixes, alters, or replaces every single changed shot to "Reconstruct" the original 'Theatrical Cut' in almost the same HD quality. So we can once again enjoy the film the way it was meant to be seen 1979, without compromising on visual quality.

'Where Rebels Dare' takes an already decent Star Wars movie and makes it a bit more Star-Warsy. We now open with a traditional crawl and scene wipes are used. The amount of "fan service" is reduced and the plot is reordered.

My main problem with 'Blade Runner 2049' was the insanely slow pace of the editing/cutting. Every line had a vast gap after it and every shot lingered for too long, even if nothing whatsoever was happening in the shot and the camera was motionless. I love long movies but when a film is nearly 3-hours, careless and lax editing is a crime. It's like they assembled all the footage and forgot to go through and tighten everything up like a good editor should. So I was interested in making a cut of this film that focused (almost) entirely on improving the pace of the cuts. The same film/experience but edited properly. An experiment in doing a fanedit that doesn't actually remove anything!

'Man of Steel: A Symbol of Hope' does not try to radically reshape MOS because I liked most of it already. I just wanted to tweak the character of Superman to make him feel more heroic. So if you hated everything about the original MOS, then this isn't the FanFix for you. There are several 10-minute chunks of this edit that are unchanged (aside from the regrade) but when I did change something, I hope it feels significant.

The original 160-minute 'Theatrical Cut' of 'Amadeus' that won multiple Oscars and BAFTAs in 1984 only exists on an old poor quality 1998 PAL "flipper" DVD (and Laserdisc and VHS). Every release since then (including all blu-rays) has been the 180-minute 'Director's Cut'. I simply wanted to cut the DC blu-ray to match the TC DVD, so I have both cuts as an option.

'John Wick: Point Blank Cut' is black & white with new simple credits for a more classic "timeless" feel. Every bit of dialogue that wasn't needed to advance the plot and inform character is gone, so the gaps between the action sequences are minimal. The Perkins/Marcus/Henry subplot is removed from the last act, to stay focused on John. The flashback/forward framing device is gone, it's all linear.

'Ghostbusters (2016)' recut to remove 75% of the improv jokes, so the film stays on script and on character. Less is more... less jokes... more funny.

I liked 'Star Trek Into Darkness' a lot but from the first viewing I could see the flaws and could see ways to fix them. So this is an attempt to create my ideal version, a version that brings out the best of what was always there. The "plot holes" remain (Removing them would be like trying to make a bowl, out of a sieve) but the emotional impact and character motivations are now what I think they should have been.

The ninth Consecution features ten shorts by seven editors, all exploring the themes of love and romance. They take many forms. Some serious. Some silly. Some beautiful in their warmth. Some outright terrifying. Come join us and spread the love!

Mark is a lonely guy with a romantic soul, when suddenly one day a girl called Helen says hello.

Mr Miyagi and Daniel go to Japan to learn about love, life, and loss during the Festival of the Dead.

Brian Wilson biopic 'Love and Mercy' with the John Cusack 1980s half removed, leaving just the Paul Dano 1960s material.

This "Hybrid Cut" combines as much HD material from the CGI "Enhanced" 2004 Blu-Ray Director's Cut, with as little SD material from the 1978 Laserdisc cut as possible, while still trying to recreate the original version very closely.

A preservation of 'The Gamechangers', a BBC TV-Movie drama going behind the scenes of the hit video game 'Grand Theft Auto', arguably the greatest British coding success since Bletchley Park. It stars Daniel Radcliffe and Bill Paxton and covers a three year period of intense controversy in the history of this iconic game's development.

This double DVD set features 4-hours of only the very best sketches, culled from all four series of the early 90s comedy show 'A Bit Of Fry & Laurie'.

This is the uncensored Japanese SD-DVD cut of 'Kill Bill Vol.1', reconstructed using the censored HD-Blu-Ray cut as the basis.

I love the hilarious spoof 80s Horror/Sci-Fi/Action TV show 'Garth Marengi's Darkplace' but I always wondered what it would be like to view it without any of the mock interviews which make up a quarter, to a third, of the runtime. Then I also thought it would be nice to make a movie-length edit of the remaining material.

This is a recreation of the rarely seen "Theatrical Cut" or "2nd Director's Cut" of 'Heaven's Gate' using the beautiful HD Blu-Ray transfer of the "Preview/Premiere/1st Director's Cut". The much shorter cut is not a studio-imposed hatchet-job but the result of 6 months of Director Michael Cimino's further work in the cutting room, trying to perfect the film. It's 67 minutes shorter, features a voiceover, radically rearranged scenes, altered dialogue, music and SoundFX and 18 minutes of new footage.

For whatever reason he did not chose to restore this cut of the film for Blu-Ray and opted to present his first much longer cut that he himself had withdrawn. So here is my attempt to recreate that "2nd Director's Cut" in the best quality possible.

It's Christmas, so I fancied doing a seasonal edit and what better than a Victorian Christmas with Sherlock Holmes and Dr Watson!

This is a cut of 'The Motion Picture' that attempts to get a little closer to the excitement and pacing of the Original-Series and the five Original-Crew films that followed it.

On 30th October 2014 BBC3 screened a new version of Nicholas Winding Refn's 2011 film 'Drive' with an all-new score of original music. It was curated by Radio 1 DJ Zane Lowe with the full co-operation of the Director. So it's one of those rare "Official Fanedits".

Zane Lowe has insisted that it's not meant to be an improvement on the original, only an alternate take while Refn has stated "You can't own creativity. Rather than say 'Drive' is mine, I'd prefer to say it's everyone else's". Good idea or not, it's a brave experiment, so Lowe and his pick of artists deserve points for having the bottle to even attempt this in the first place.

The eighth consecution project features a whopping total of 14 short fanedits, spread across two-discs (a first for these consecutions). Come join us as we travel through space and time...

The ill-advised 1999 reunion special of celebrated BBC historical comedy Blackadder was never very funny but the time-travel plot was a hoot. So what if all the jokes were cut? Would it make the plot stronger and also would it become oddly funnier? The time-travel consecution seemed the ideal way to find out!

I wanted to take the 3 time-travel episodes of Babylon 5 ('Babylon Squared' and 'War Without End' P1 and P2) and includes just the scenes from Zathras' perspective.

I wanted to tell a beautiful story of first-love through the prism of time-travel, incorporating a musical finale and maintaining a highly condensed version of the original film's mirrored story structure.

I've been a lifelong Marx Brothers fan from my earliest memories but all of their films come with certain baggage...

Due to the commercial neccesities of the time and due to the radical nature of their comedy they usually peppered the popular songs of the day throughout the films, to keep people happy. At the time, this formula was boxoffice dynamite but some of these songs have not aged well and I almost always fast-forward through them. Also sometimes the plots, subplots and supporting talent isn't up to the match of The Brothers' firecracker humour. So wouldn't it be wonderful to have a collection of these films with all the killer and none of the filler?

With a well publicised troubled production Terry Gilliam's 'The Brothers Grimm' is in Terry's own words "Not the film they wanted and it's not quite the film I wanted". The "They" in this case would be The Brothers Weinstein, the film's producers, whose on-set arguments with Terry got so bad that production was even shut down while things calmed down.

Still what remains is by most other Director's standards, a great film. A decade later it's stood the test of time and it reflects well on Gilliam that he cast actors like Matt Damon and the late Heath Ledger against-type in the lead roles, at a time when they perhaps weren't taken as seriously as today. Plus giving future 'Game Of Thrones' star Lena Headey the female lead, seems like genius in retrospect. I felt it was time to take another look at this wonderfully loopy and fanciful film through the prism of fanediting...

Using all the available 'Deleted Material' and hints provided in Terry's Director's Commentary, I've tried to bring this film a little closer to the longer and
crazier cut that Terry originally might have wished to have seen the light of day. Hopefully this cut is also better, less mainstream and more like Terry's other work.

The available 'Deleted Material' was excellent but only available in a very poor and largely unfinished state. So as much as was possible, I've tried to finish VisFX, complete the Soundmix and Colour-Grade the footage to match the body of the movie. However, the scenes are still in a less than perfect state, which is why I call this...

"The Fairytale Workprint"

Those who can't... teach. Dana Marschz (Pronounced Marschz) can't act, so what else could he do to follow his dream but teach Highschool drama.

When his world begins to fall apart he has no choice but to try to stage the most insane musical every conceived. A sequel to Shakespeare's 'Hamlet' with a little help from a time-machine plot device.

This is the extended edition. This Mr. Marschz's Opus.

Steven Soderbergh made a fanedit of Michael Cimino's much maligned 1980 epic 'Heaven's Gate' back in 2006 (For his own amusement). This year he decided to release it onto the internet via his blog, but the visual quality was very poor, as it was cut from the un-restored DVD (Also compressed for streaming).

I really wanted to enjoy Soderbergh's dramatic slashing-in-half of this overlong but beautiful film but the poor quality stopped me. So now I've recreated 'The Butcher's Cut' frame-by-frame based on the restored 2012 'Heaven's Gate' Blu-Ray. It's Steven Soderbergh's fanedit with me just presenting it in the best possible light.

'Heaven's Gate' has many strengths, including some the most beautiful cinematography you're likely to see, a wonderfully poetic script and one of the greatest scores ever recorded. But pacing, strict editing, character motivation and narrative clarity weren't among them. I think Soderbergh has addressed many of these flaws and also reduced the inflated running time down to almost exactly a half.

When I first saw the 3-part/3-hour 2009 'Moses Jones' BBC mini-series, I was blown away by how good it was. However, it was not what I had expected from the promotional material, it was a multi-layered, multi-character exploration of immigrant identity. But I'd thought it would be a familiar Police Drama, focusing primarily on the two Cops played by Shaun Parkes and Matt Smith. So this is my attempt to create the movie that I'd expected.

'Thor - The Dark World' with the narrative in a more logical order, so scenes now flow from one to the other naturally. A new ending has been created more in keeping with the narrative thrust of both this film and the first 'Thor' movie. Repetitious exposition scenes either removed, truncated or used at a point in the story where they actually make sense. Also two deleted scenes have been colour corrected and added back.

This is the 2nd of TM2YC's fanedits of the 'Pirates of the Caribbean' movies. An attempt to slim down the interminable nearly-3-hour third 'At World's End' film by as much as possible.

The two 1965/1966 Peter Cushing 'Dr. Who' films stand apart from the 'Doctor Who' BBC TV show (Of the same period) in several respects. They were in colour, the Doctor was human and the TARDIS was his eccentric "Garden-Shed" invention rather than a time-machine he had stolen from the Timelords. I set out to reverse or omit these elements.

I've been a lifelong Marx Brothers fan from my earliest memories but all of their films come with certain baggage...

Due to the commercial neccesities of the time and due to the radical nature of their comedy they usually peppered the popular songs of the day throughout the films, to keep people happy. At the time, this formula was boxoffice dynamite but some of these songs have not aged well and I almost always fast-forward through them. Also sometimes the plots, subplots and supporting talent isn't up to the match of The Brothers' firecracker humour. So wouldn't it be wonderful to have a collection of these films with all the killer and none of the filler?

I'm an obsessed Orson Welles fan (He's the greatest Director that ever lived after all), collecting all his films and re-buying them repeatedly when a better quality release comes along. So 2008's 'Orson Welles and I' sounded like a great idea. A film chronicling the final week that lead to his New York production of Caesar (A show that put him on the cover of Time). A staging with modern Fascistic dress and lit like the Nuremburg rally (A recent event in 1937), it was designed to take Shakespeare's play and fashion it into a warning about a world already slipping toward world war.

But while the scenes devoted to this play were perfection with Christian McKay delivering an astonishing performance as Welles, it was fatally flawed. Because about a third of the film was focused on a romance between two fictional characters played by Zac Efron and Claire Danes, that had nothing to do with the reality of the situation. So that Orson didn't even get top billing in a film about him!

Since it was broadcast, I've been meaning to do a "Preservation DVD" for my own convenience collecting together the entire BBC 2007 'Comics Britannia' documentary season. It's about 9 hours of documentaries about comic books that have never been commercially released (And probably never will be). Apart from the material covering the British industry, there are also superb films about Herge/Tintin, Jean Giraud Moebius, Steve Ditko/Spiderman and Superman.

All 22 deleted scenes (23 minutes) have been restored to the second 2007 'The Thick Of It' Special to create the second of two feature length films. This extended cut includes both the deleted scenes and the 'Oposition Extra' footage.

I've been a lifelong Marx Brothers fan from my earliest memories. I could debate with myself all day about which of their 13 films is the best ('A Day At The Races'?). But I can say with no doubt that most of their films come with certain baggage...

Due to the commercial neccesities of the time and due to the radical nature of their comedy they usually peppered the popular songs of the day throughout the films, to keep people happy. At the time, this formula was boxoffice dynamite but some of these songs have not aged well and I almost always fast-forward through them (Other songs are
still masterpieces, 'Cosi-Cosa' for example). Also sometimes the plots, subplots and supporting talent isn't up to the match of The Brothers' firecracker humour. But fast-forwarding through that material isn't really possible, so wouldn't it be wonderful to have a collection of these films with all the killer and none of the filler?