This version shows all scenes from the original cut in chronological order, changing the movie from a mostly intellectual experience into a more straightforward and emotional one.

To create fifteen 60 mins TV Episodes from Clint Eastwwods NON-WESTERN catalogue in the style of a 1970s/80s TV Series

While Squid Game (2021) is by far the most popular TV show in Netflix's history, boasting well over two billion streaming hours, it is not without flaws. The core story is stretched out by complicated subplots involving police infiltrations and organ harvesting, disapproving mothers and missing brothers, ex-wives and estranged children, cringe-inducing English-speaking characters, and more, crowding out our emotional connections and the inventive games.

I wanted Squid Game: The Movie to focus more clearly on our ensemble cast and their struggle to survive a deadly competition. I painstakingly cut 7.5 hours of material down to a feature-length film that tells that story in a consistent tone with no distractions (and no English).

Don't forget to stick around for the mid-credits scene!
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This is an HD recreation of a VHS recording of the 1981 NBC Halloween broadcast, which was only available in very low quality. I sourced the highest-definition elements I could find and remade the broadcast, complete with commercials from the era.

To create a version of Inglourious Basterds, which is less self-indulgent, at 102 mins, without any music and then add back in a single score from another movie to change the entire tone.

Comparison documentary between the fan edit In A Kingdom by the Sea and the original film Play Misty for Me. Contains behind-the-scenes audio & video of the making of the original film from the actors and producers and commentary on making the fan edit. On-screen text and images appear to explain further details.

This is my first documentary as a video editor. I talk in it about how I made the edit, about fanedit.org, about editors, and about Red Apple Crew. The edit also contains behind-the-scenes commentary by Clint Eastwood (the director), other actors in the film, as well as producers and film critics. It has behind-the-scenes photos and information that appears as you watch.

The edit goes back and forth between the bluray version of the original film and my edit, comparing and contrasting them. Commentary plays sometimes, text appears on-screen throughout, and I talk in a few spots.

Dave, a local DJ living along the beautiful coast of a small California town enjoys following live bands & reading poetry live on-AIR. But some of his fans want a little too much from the good looking, suave, and increasingly paranoid DJ.

Since the disappearance of his son, Jon Anderton has dedicated his life to fighting crime BEFORE it happens. but when the system designed to predict crimes identifies him as a future murderer, he is put on a time limit to prove his innocence before he can be arrested.

Nick Lassiter, an American jewel thief living in London on the brink of WWII, is forced into a job with no pleasant foreseeable outcome for himself. Can he and his allies succeed in their task and outwit everyone who wishes him imprisoned or dead?

In 1984, a terminator was sent from Skynet to kill Sarah Connor, who would give birth to the leader of the opposition. In 1991, Skynet sent a new terminator. A T-1000 unit designed to kill John himself. And it is up to a reprogrammed T-800 unit, as well as Sarah Connor, to stop the T-1000 from succeeding in its mission.

To create a version of Inglourious Basterds, which is less self-indulgent, at 102 mins, without any music and then add back in a single score from another movie to change the entire tone.

The goal of this edit was to rearrange the first 36 minutes of the film so as to create more mystery around Ordell (Samuel L Jackson) and his intentions with Beaumont (Chris Tucker) and Jackie (Pam Grier). In the original, it's obvious what's going to happen with Beaumont, due to the discussion between Ordell and Max (Robert Forster) in the scene prior, but now that is no longer the case. Otherwise, the film plays out in the same way.

In 1979, an aspiring English actress is recruited to infiltrate a network plotting terrorism in Europe.

TV to movie edit of Park Chan-wook's 2018 miniseries, based on the 1983 novel of the same name by John le Carré.

“Year of the Dragon” is a great ride. The worldbuilding, the cinematography, Michael Cimino’s direction, Mickey Rourke’s gritty performance as NYC police Captain Stanley White, his balanced contrast with smooth-talking Chinese gangster Joey Tai (John Lone); it all equates to one seriously entertaining film. The flack that Rourke (and Cimino) got for this movie is unfortunate, but understandable. There’s a key issue that makes our flawed protagonist too unlikable, jarringly disrupts the core crime-thriller narrative, involves bad acting, and pushes dopey sexploitation: White’s adulterous pursuit of local Chinatown reporter, Tracy Tzu (Ariane Koizumi; AKA “Ariane”).

By removing the White/Tracy adulterous relationship subplot entirely, I’ve attempted to redeem Mickey Rourke’s character in “Year of the Dragon” as much as possible. I’ve also streamlined the plot to keep focus on what matters: ‘renegade cop who doesn’t follow the rules is on a fanatic moral crusade to clean up crime in Chinatown, colored by his past as a Vietnam vet, and ultimately accelerated by personal vengeance.’

I have been working on a wild Stars Wars edit of Rogue One (2016). This is a Short for IFDb. It took a great deal of time to make even though it is 5 minutes long. I color graded. I added some softening and sharpening effects. I reframed some shots. Added heavy grain and subtle film damage effects. I wrote the script using official references from games and films.. I timed the music to the scene perfectly, I think.

Stephen King’s 11/22/63 is a feature film edit of the Hulu miniseries with a new opening credits and a heavily streamlined story centering on Jake Epping’s traumatic events leading up to the assassination of President John F. Kennedy.

Second Scribbling Cut revisits a previously light edit of mine and indulges in significantly heavier trims for pacing, as well as to songs and humour. The Taxidermist scene has been re-scored to aid the new tone and there is a slight shift to the order of some scenes. The result is the removal of an additional 30 minutes (39 minutes in total), without sacrificing any of the core narrative. Optional audio is included for a crisper recording of the opening and closing themes, as well as the iconic Albert Hall sequence.

The overly long, over-edited Best Picture award-winning film by Christopher Nolan has been cut down to an hour-and-a-half-long story focused on The Manhattan Project. The oppressive omnipresent score by Ludwig Göransson was removed, with only three tracks put back in. The rest of the music is from other artists. For scenes with no music, new sound effects have been added. Intercutting of shots and scenes has been greatly reduced.

A mentally unstable photo developer targets an upper middle-class family after his obsession with them becomes more sick and disturbing than any of them could imagine.

The ReWorkedPrint recuts the film as closely to an early version of the film, with an alternate opening/ending, new narration, removed the wraparound story, and some reinserted deleted moments.

Bruce Wayne is forced to confront his dual nature as Batman as a brilliant megalomaniac and a psychotic district attorney wreak havoc over Gotham.

This is for people who think “Please don’t edit Andor, it’s already perfect… I’d take it as movies though.”

This is Andor season one, rearranged into four movies of roughly two hours each, removing no content whatsoever, just focused on smoothly presenting each major A-plot as a movie whilst moving the supporting B-plots around to keep each movie as focused as possible, so each movie is self-contained and easily digestible.

I wanted to make a different version of this quite boring remake that Gus Van Sant gave us.
Cut out a lot of scenes to speed things up and rescore it with a 80's vibe.

A three-part horror anthology hosted by Boris Karloff.

1. The Telephone. Giallo-style thriller in which a woman is terrorised by her former pimp after his escape from prison, and tries to escape him with the help of her lesbian lover, who has a dark secret of her own.
2.The Wurdalak. A vampire-like monster who preys on his family
3. The Drop of Water. A nurse steals a ring from the corpse of a dead spiritualist, which naturally tries to get it back.

This is the story of Boxer Santaros, and his journey down the road not taken. Set in the slight future, Boxer Santaros (played by Dwayne Johnson) becomes caught in the struggle for political power, love, and ultimately his own existence, in this darkly humored, sci-fi thriller. With an ensemble cast including Sarah Michelle Gellar and Seann William Scott, “a beautiful nightmare” is the tale of greed, deception and what happens when egos meddle with the 4th dimension. This is the way the world ends. Not with a whimper, but with a bang….. and a handshake.

The purpose of this restoration is to partially recreate the theatrical IMAX version of No Time To Die by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.78:1 sequences from the Open Matte WEB-DL.

Rogue One reformatted and rescored entirely as the finale arc of Andor.

I'm calling this The Bass Reeves Cut of HBO's Watchmen. It turns the 9 episode miniseries into a 2 hour and 22 minute movie. My edit primarily concentrates on the mystery of what happened to Judd Crawford and the origin story of Hooded Justice. It centers on Angela Abar and Will Reeves. There's no Adrian Veidt, no Dr. Manhattan and just a bit of Laurie Blake.

This edit Removes the scenes taking place in 2035 to create doubt about Coles’ mental state.

After reports of flooded mines, the small town of Kitamatsu is shaken by reports of the death of multiple miners by mysterious circumstances. What was the cause of death? Why are the mines flooding? What is the secret hiding in the heart of the mountain?

Cult classic "Hackers" from '95, but with some augmented VFX, improved sounds, and 15 sourced songs to complement the music you already know and love from the soundtrack. Less Boswell, and more Massive Attack, Underworld, Leftfield, Hooverphonic, Tricky.

The purpose of this restoration is to recreate the IMAX 1.43:1 presentation of The Dark Knight Rises by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.43:1 sequences from the Special Features of The Dark Knight Trilogy Blu-ray (Special Edition).
That way, throughout the film, the IMAX scenes expand top and bottom showcasing the full IMAX 1.43:1 frame (instead of the cropped 1.78:1 IMAX frame) while maintaining constant width as it would on an IMAX GT 1.43:1 screen.

The purpose of this restoration is to recreate the IMAX 1.43:1 presentation of The Dark Knight by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.43:1 sequences from the Special Features of The Dark Knight Trilogy Blu-ray (Special Edition).
That way, throughout the film, the IMAX scenes expand top and bottom showcasing the full IMAX 1.43:1 frame (instead of the cropped 1.78:1 IMAX frame) while maintaining constant width as it would on an IMAX GT 1.43:1 screen.

"In the not too distant future,
police are powerless to stop
gangs of criminals
from terrorising good citizens.

But in Gotham City,
in the heart of urban America
it is the criminals who live in fear...
OF THE BAT-MAN"

Enjoy this noir classic as it was originally presented in the 1940s, and see if you can solve the mystery:
Who is the Bat-Man?

This edit gives Reservoir Dogs a little TLC, without altering the structure or the chronology of the original film. Taking inspiration from Tarantino films that were released after Reservoir Dogs, I have introduced some subtle editing techniques relating to pans, zoom and cuts. Colour correction has helped reduced the magenta over saturation in the original and exposure has been bumped up very slightly. Perhaps the biggest change compared to the original film, is Mr Blonde’s cop torture scene. For this scene I have switched some aspects of this scene to monochrome, as a nod to Kill Bill Vol 1. Where new music has been introduced or changed, it is period correct, i.e. 1970’s. A couple of continuity errors have also been corrected

A film noir classic that originated the trope of "I've been poisoned and I have to figure out who poisoned me before I die".

This version differs in that I have removed a silly inclusion of a slide whistle doing a wolf call whenever our "hero" sees a pretty lady.

Recut The Last of Us into a 3-part miniseries solely focused on Joel and Elli's journey. A 4th "special episode" includes the majority of the cut content as short films.

In the last days of 1999, Los Angeles has become a dangerous war zone, as a former cop turned street-hustler accidentally uncovers a conspiracy that is set to bring the city to its knees.

Two new and extended scenes have been upscaled, colour corrected and reintegrated into the film, adding over 4 minutes of new footage.

A mysterious blonde woman kills one of a psychiatrist's patients, and then goes after the high-class call girl who witnessed the murder.A mysterious blonde woman kills one of a psychiatrist's patients, and then goes after the high-class call girl who witnessed the murder.

After I finally saw the theatrical cut of No Time To Die (NTTD) I wanted to create a new version so Bond lives, and also be much, much shorter overall.
I thought NTTD was an over-bloated mess. It has beautiful imagery yes. Some of the shootouts and tense scenes are awesome to watch in the environments they're happening in. The callback to On Her Majesty's Secret Service (OHMSS) was actually nice to see, but the Dr. No callback not so much. I know Bond's wife dies in OHMSS so someone dying at the end of NTTD makes sense, like poetry. But I thought the poetry was kind of bad, so I rewrote it and made them all live in a wholesome Bond sort of way.
Also, the original death scene where we get all the various character's reactions to Bond being obliterated by hellfire had me laughing. I was cringing. The music was swelling! Had me dying... The story is mostly very full of itself, but the cinematography and action was fantastic.

This is Tarantino's adaptation of Rum Punch with some changes to narrative and a fresh take on the music

I made this for my own personal use a while back since seeing this movie in IMAX was one of the most impressive theater experiences I've ever had, and I'm a sucker for IMAX/Open Matte movies. This takes multiple sources, including a German Open Matte HDTV broadcast and the official opening credits by the company that made them, and blends them together to replicate as best as possible what I remember that experience to be.

This is a refined fanfix of Steven Soderbergh's "Unsane" that is more fully committed to the question at the centre of the film - is Sawyer delusional, or is her stalker working at the healthcare facility where she is being held for observation? This is achieved primarily by sticking to Sawyer's point of view wherever possible.

The next in my series of Hitchcock micro-edits, "Marnie: The Evan Hunter Cut" is an attempt to showcase the 1964 Sean Connery/Tippi Hedren thriller without the sexual assault scene between the two married lead characters which appeared in the source material, to which original screenwriter Evan Hunter (aka crime novelist Ed McBain) objected.

Hitchcock insisted upon including the scene, saying "Evan, when he sticks it in her, I want that camera right on her face."

Hunter pleaded with Hitchcock not to use that scene, which lead to Hunter's dismissal from continued work on the film.

Although Hunter is no longer credited as the screenwriter on the finished film, I was nevertheless curious to see how this still-controversial and divisive Hitchcock classic played without that particular scene.

For my next act of film blasphemy, noir classic Double Indemnity is stripped of its iconic narration and given a linear chronology. This is not intended as a fan-fix per se, but as an experiment in seeing how the film functions when its main storytelling device is removed and limited to an implicit visual narrative, rather than an explicit voice-over. In addition, moving the opening scene to the end allows for a little more mystery as to exactly how things play out.

There was a story about 2 brothers who had a natural talent for alchemy called Fullmetal Alchemist. This story was originally told in a manga, but before the manga was finished an anime was put out. The anime had to change and create some original story elements because the manga was still ongoing at the time.

After the manga had finished they wanted to revisit the anime with a version closer to the actual story told in the manga. This would be known as Fullmetal Alchemist: Brotherhood. The only thing was due to retreading some story elements told in the original anime, they shortened some story beats for FMAB.

Wages of Fear improves the original structure of Sorcerer by introducing the prologue vignettes in a complimentary way, that feels more meaningful and purposeful, to help move the story along whilst also revealing important information about key characters, as their story in the present unfolds. Wages of Fear remains faithful to the original film in terms of editing style, music and overall pace but also layers some much-needed TLC over areas of the original edit that felt rushed or were jarring.

This cut rearranges the scene order to tell a thought provoking, subtle, compelling story. The result is more of a slow burn-- with gradually escalating conflict (and a little less Hannibal).

Quantum of Solace but with Black & White flashbacks to Casino Royale in order to make it more emotionaly involving.
The first hour of Casino Royale is skipped over so the first flashback is of Bond meeting Vesper on the train.

In my view this movie suffers from a narrative which aims to tell a complex political and sociological aspect. By no way i condem this approach but it isn´t told in a proper way and jumps back, forth between narrative locations and merge at the end.

So how i want to tackle this in hope that the movie becomes more interesting?
My approach is similiar to @L8wrtr ´s in his American Gangster - Two Tales edit (definitely a recommandation!) amd inspired me to try the same, kind of. Telling two stories separately before they flow into each other.

I have a strange relationship with this film, I really enjoy the scenes in the warehouse, but get bored to death with the flashbacks. So, I've decided to remove them. The end result is a much tighter film.