History Main / ReCut

* ''TheAdventuresOfPeteAndPete'': The first season (1993) was eight episodes long, and succeeded by five "special" half-hours made over the span of three years (1991-1993). These were used to fill out the first season, and therefore had the opening credits sequence edited in. Mike Marrona, Big Pete's actor, had gone through puberty in between the first special and first season, meaning that the theme song depicted him as much taller and more-mature looking than he was in the actual episode. Vey jarring.

* Disney made Special Editions of both ''Disney/BeautyAndTheBeast'' and ''TheLionKing'' for IMAX theaters (and prepared ''Disney/{{Aladdin}}''). Along with remastering the films for the larger IMAX format, each film got an additional musical number; in both cases the songs were taken from the stage versions, although ''Beauty'''s "Human Again" was really a CutSong from the movie. Unlike ''StarWars'', Disney had the foresight of making both the original and special editions included on the DVD releases, although neither "original" one was the original animation. (In the case of ''Beauty and the Beast'', a third version was added, a work-in-progress print shown on the New York Film Festival prior to the film's release, previously available as a separate laserdisc.)
** ''{{Pocahontas}}'' also had a special edition, although it was not released theatrically. It added "If I Never Knew You", a CutSong that did poorly in test screenings but better-establishes the lovers' relationship as the film's climax approaches.

->''Ah yes, the snake. One of the legendary bad effects of ''[[{{Recap/DoctorWhos19E3Kinda}} Doctor Who]]'' - one so bad that they redid it in CGI for the DVD. Surely by 2011, when the DVD came out, we can simply be at peace with the fact that ''Doctor Who'' had some crap effects in its time. I mean, let’s CGI out [[TheScrappy Matthew Waterhouse]] while we’re at it.''

* One of the earliest examples is ''CloseEncountersOfTheThirdKind''. After the film's successful initial release in 1977, Creator/StevenSpielberg convinced Columbia Pictures to re-edit the film and shoot new footage for scenes he never got to finish -- though in exchange, he ''also'' had to shoot a sequence that took place inside the mothership, and that became the focus of the 1980 promotional campaign. For years this was the official final cut until the 1998 Collector's Edition, which includes most of the new footage and adds shots cut from the original release, but drops the inside-the-mothership ending. A list of the various cuts and the differences between them is [[http://us.imdb.com/title/tt0075860/alternateversions here]]. All three cuts can be found in the film's Blu-ray release.

* ''Film/StarTrekTheMotionPicture'' has gone through a few editions. Director RobertWise considered the original theatrical release a "rough cut", due to it being rushed to meet Paramount's premiere date (to the point where the film reels were still wet from developing when they were shipped out). An extended cut appeared on ABC TV and was released on [=VHS=] as a "Special Longer Edition" in 1983. Wise would later revisit the work, supervising the "Special Director's Edition" [=DVD=] release in 2001, which allowed him to complete the film closer to what he had intended in 1979, had he had more time. Interestingly enough, the first Blu-Ray release of ''The Motion Picture'' is the theatrical cut.

* The ''ThreeTwoOneContact'' series was condensed and re-edited into ''3-2-1 Classroom Contact'' in 1992.

* The films ''Planet Terror'' and ''Death Proof'' were filmed with the specific purpose of cutting large chunks out of them, and were in their theatrical release bundled as the [[AffectionateParody faux]] BMovie feature ''{{Grindhouse}}''. The DVD releases restore (most) of the scenes cut for the theatrical version. ''Death Proof'' in particular actually suffers from this, because the theatrical release takes a good 40 minutes before anything interesting happens. In the extended cut, it's a ''full hour'' before it picks up. And the lap dance doesn't count. It was [[TakeOurWordForIt much more interesting when you didn't see it]]. Plus, the original theatrical cut of ''Grindhouse'' [[NoExportForYou wasn't released overseas, and is only on DVD in Japan]] (it was released on Blu-Ray in America, though); the intermission's trailer spoofs (save ''Machete'') were dropped in the process. However, in the U.S. the pay-cable Encore movie networks have shown this cut.

** ''Film/{{Legend}}'' was substantially cut and altered for its U.S. release in 1986 (this included an entirely different music score) -- the original U.K. cut wasn't available in the U.S. until 2002's [=DVD=] release (and was in fact believed lost until the one surviving print was found in 2000).

* The ''{{Dune}}'' movie. The 1984 theatrical version was not director DavidLynch's Director's Cut--the producers not only made him cut a lot of material from his script, they also cut a lot of scenes that had been shot out as well--but it's the only one he's very happy with. Then in 1988, an Extended Cut was made to be shown on TV, referred to as "The AlanSmithee Cut". It used deleted scenes, but reused more footage than ''Series/{{Battlestar Galactica|Classic}}''. David Lynch hated it, demanding his name be removed from the writer and director credit. ''Then'', in 1992, a San Francisco TV station made a mix of a cut between the original theatrical version of the movie and the Alan Smithee cut, which kept the new scenes but also put the violence back in. Finally, a cut known as the Extended Edition came out on DVD, which was a 177-minute edit of the Alan Smithee version. David Lynch is now a bitter arthouse director. Go figure.

** ''[[Series/KamenRiderDouble Double]] and [[Series/KamenRiderDecade Decade]]: Movie Wars'' gets an important revision in its Director's Cut. In the theatrical version, the ''Double'' segment comes between ''Decade'' and the team-up. The problem here is that the finale has more to do with ''Decade'', meaning the ''Double'' segment breaks the narrative flow. The Director's Cut rectifies this by putting the ''Double'' segment first.

Not related to GeorgeLucasAlteredVersion, in which the changes go beyond simply editing the film.

* ''[[Film/DawnOfTheDead Dawn of the Dead]]'' is another legendary example of this. There are three "official" cuts of the film: the Romero-cut, the Argento-cut and the so-called Director's Cut. The Romero-cut was prepared for the American and UK theatrical releases by director George A. Romero himself. It has some comedic elements and an ironic, "comic-book like" feel. It uses a combination of soundtrack produced by the band Goblins and royalty-free library music. Romero censured a lot of gore he believed to be superfluous from this version. It is Romero's final and preferred cut of the film. The Argento-cut (sometimes referred to as Zombi after it's Italian title) was edited by DarioArgento for the mainland European theatrical releases. Compered to Romero's cut it is grimmer with a more serious mood. Argento made it shorter than Romero's cut to be more action oriented and have tighter pacing, but also lost a lot of character development in the proses. The gore however is left intact.[[hottip:*:It does however not future the infamous chopper scene that the two other cuts have. Probably because of the scene's humors undertones.]] It uses the Goblins score through-out, utilizing none of the library music. The Director's Cut (sometimes refereed to as the Cannes-cut or the extended cut) is usually assumed to be the cut that Romero prepared for film's screening at Cannes. It is similar to Romero's final cut, but have uncensored gore and is even longer. Because of this it have the most content of any of the cuts, but also is the one with the worst pacing. Furthermore it completely lacks the Goblins score and use only the library music. As none of these cuts were created from any of the other cuts, but rather made (to some degree) independently, each version have unique scenes and they sometimes use different shots of the same scene. Of these three cut fans usually prefer the cut they watched first. In addition there are many cuts produced for more specific international screenings, TV and home releases based on these three cuts. Most of these was made for censorship, but some merge content from two or more of the "official" cuts or add scenes to explain the source of the zombie outbreak and there is even one version that [[CompressedAdaptation cuts the film down to only 48 minutes.]] There's a box set going by the name of "Dawn of the Dead, The Ultimate Edition" which features the three "official" cuts described above (Romero-cut, Argento-cut and the "Director's Cut").

* Every ''KamenRider'' movie since ''[[KamenRiderAgito Project G4]]'' has had a Director's Cut released, adding at least a bit of new footage. In the case of ''[[{{Kamen Rider Den-O}} I'm Born!]]'', it also added new songs for both hero and villain.
** ''[[KamenRiderDouble Double]] and [[KamenRiderDecade Decade]]: Movie Wars'' gets an important revision in its Director's Cut. In the theatrical version, the ''Double'' segment comes between ''Decade'' and the team-up. The problem here is that the finale has more to do with ''Decade'', meaning the ''Double'' segment breaks the narrative flow. The Director's Cut rectifies this by putting the ''Double'' segment first.

* ''[[Film/DawnOfTheDead Dawn of the Dead]]'' is another legendary example of this. There are three "official" cuts of the film: the Romero-cut, the Argento-cut and the so-called Director's Cut. The Romero-cut was prepared for the American and UK theatrical releases by director George A. Romero himself. It has some comedic elements and an ironic, "comic-book like" feel. It uses a combination of soundtrack produced by the band Goblins and royalty-free library music. Romero censured a lot of gore he believed to be superfluous from this version. It is Romero's final and preferred cut of the film. The Argento-cut (sometimes referred to as Zombi after it's Italian title) was edited by DarioArgento for the mainland European theatrical releases. Compered to Romero's cut it is grimmer with a more serious mood. Argento made it shorter than Romero's cut to be more action oriented and have tighter pacing, but also lost a lot of character development in the proses. The gore however is left intact.[[hottip:*:It does however not future the infamous chopper scene that the two other cuts have. Probably because of the scene's humors undertones.]] It uses the Goblins score through-out, utilizing none of the library music. The Director's Cut (sometimes refereed to as the Cannes-cut or the extended cut) is usually assumed to be the cut that Romero prepared for film's screening at Cannes. It is similar to Romero's final cut, but have uncensored gore and is even longer. Because of this it have the most content of any of the cuts, but also is the one with the worst pacing. Furthermore it completely lacks the Goblins score and use only the library music. As none of these cuts were created from any of the other cuts, but rather made (to some degree) independently, each version have unique scenes and they sometimes use different shots of the same scene. Of these three cut fans usually prefer the cut they watched first. In addition there are many cuts produced for more specific international screenings, TV and home releases based on these three cuts. Most of these was made for censorship, but some merge content from two or more of the "official" cuts or add scenes to explain the source of the zombie outbreak and there is even one version that [[CompressedAdaptation cuts the film down to only 48 minutes.]]

* The French 1980s art-house classic, "Film/Betty Blue" was re-released in a Director's Cut that added over [i]one hour[/i] of additional footage to the film. While this may seem excessive (for a film that already seemed to revel in excess), the extra scenes shed considerable light on various plot points; Betty's descent into madness, for example, is better contextualised in this new version.

* Russell Elavedo originally mixed TheDandyWarhols' 2003 album ''Welcome To The Monkey House'', but Capitol Records had it given a glossier mix by Peter Wheatley without the band's permission and released that instead. In 2009, The Dandy Warhols released the album as originally intended under the title ''The Dandy Warhols Are Sound'': Aside from the different mix, the tracks are presented in a different order, the song titles are sometimes slightly different, and the song "Welcome To The Monkey House" itself is cut, while the previously unreleased song "Pete Int'l Spaceport" is added.

* Spielberg later caught some flack from his re-cut of ''E.T. the Extra-Terrestrial'', which like the ''StarWars'' special editions, have redone special effects (mostly CG expressions added to the E.T. puppet) and some cut scenes. Fans were especially upset that the FBI agents [[FamilyFriendlyFirearms had their guns replaced with walkie-talkies]], an obvious difference made all the more obvious by the FBI agents holding their walkie-talkies in both hands... with their index fingers extended.
** With the new release of the Blu-Ray, Spielberg has gone in the opposite direction, only releasing the original version. He's changed the stance to an "anti-Lucas" feeling old films should be left alone as they were.

* Ditto ''Film/BladeRunner'', which is now available in ''five'' versions: the Domestic and International Theatrical Cuts (both with voiceover by Harrison Ford and a happy ending -- the Domestic version has about 30 seconds of violence from the International version trimmed off); the "Workprint" (a rough cut which preceded the theatrical cuts, notably put together before scoring); the "Director's Cut" (created with Ridley Scott's notes but without his actual involvement); and the newly released "Final Cut" (Ridley Scott's ''actual'' director's cut, complete with digital restoration -- he wanted to just call it ''Blade Runner'', but was overruled).

* Russell Elavedo originally mixed the Dandy Warhols' 2003 album ''Welcome To The Monkey House'', but Capitol Records had it given a glossier mix by Peter Wheatley without the band's permission and released that instead. In 2009, The Dandy Warhols released the album as originally intended under the title ''The Dandy Warhols Are Sound'': Aside from the different mix, the tracks are presented in a different order, the song titles are sometimes slightly different, and the song "Welcome To The Monkey House" itself is cut, while the previously unreleased song "Pete Int'l Spaceport" is added.

* ''[[Franchise/EvilDead Army of Darkness]]'' is especially odd in that there are several cuts depending on whether it's the theatrical release, domestic television broadcast, overseas market release or the Director's Cut. Some include the original ending (which was the one preferred by director SamRaimi, but [[ExecutiveMeddling was changed at the request of the studio]], which considered it "too depressing"), some include the theatrical ending, some include the extended windmill scene (strangely enough, the television broadcast has it, but the theatrical version didn't), some change the dialogue between Ash and Bad Ash, and some include other minor differences. Fans could have a field day just editing in their favorite versions of each scene, though the theatrical ending, where Ash [[spoiler:confronts a Deadite in S-Mart]] usually ranks as just one more CrowningMomentOfAwesome for fans of the series.

* ''Music/TheBeatles'', after recording ''The White Album'', tried to [[RevisitingTheRoots get back to their roots in spontaneous, energetic rock-n-roll]] with a film/album titled ''Get Back''. Internal tensions and creative differences prevented ''Get Back'' from being completed; instead, material from these sessions was released as the film and album ''Film/LetItBe.'' PhilSpector produced the album and added overdubs to some songs. PaulMcCarney (who was the main advocate of the "back to the roots" approach in the first place) wasn't happy with Spector's production. Decades later, when opportunity arose to re-edit ''Let It Be'', Paul jumped at it. This new version (titled ''Let It Be... Naked'') stripped away Phil Spector's overdubs, featured a different song selection and track order, and used different takes of some of the songs. ''Naked'' also used digital editing (which obviously hadn't been available when ''Let It Be'' was originally released) to remove tape noises and to pitch-correct a few of the vocals.