Director' S cut is a term Cinéma tographic English, but also used in French, fault of an adequate translation. The term qualifies a Film of which the Montage with the approval of the Réalisateur.

The recourse in this term comes from American cinema industry : the American environment legal makes that the film as an end product, belongs completely to its producing S, which is also distributers. They thus have a total right on film, including on the assembly which will be exploited in room (indicated in English under the final term of cut ), even if it means modifying this one in order to optimize the profitability of film.

For this reason, and in this environment, the realizer as a creator thus sees himself recognizing a priori no right on the contents of the exploited work (right which is recognized in several EU law), and it cannot be opposed to the made modifications, even if they denature the matter of them, the range, etc

Only the power struggle resulting from the notoriety of the realizer, or the repurchase of the rights by this one, makes it possible if necessary to the realizer to obtain an exploitation according to an assembly in conformity with its wishes. One then qualifies the version resulting from Director' S cut .

Historical reference marks

• the first case most famous of a savage opposition between filmed work and its renunciation of property for the producer was the Raptors , of Erich von Stroheim in 1924, that the owner of then of the MGM, Irving Thalberg, went up to his own way by reducing considerably the duration (8:00 with 2:00…) and slightly the range of film. Stroheim could never assemble film such as it would have wished it. In 1999, a version of 4:00 could be established starting from found files and of its documents.

• In the Years 1980, Blade Runner (1982) and Brazil (1985), are transfered to impose ends exactly opposite of those desired (and turned) by Ridley Scott and Terry Gilliam. The notoriety of those and especially the success of films allowed the later exits of Director' S cut with the ends initially filmed and envisaged.

• Towards the end of the Years 1990, the qualifier evolves to a commercial argument, in particular for films having met success. The film arises then, almost always in lengthened version, the distributers leaving the support to the realizer to leave it freer assembly. But this last seldom calls in question in a fundamental way the range of film in its initial version.

• to be noted, the specific case of arisen in 2001 of the version known as redux of Apocalypse Now , of Francis Coppola (1979), which reinstated 50 minutes of sequences not retained at the time of the presentation in the Cannes festival then in commercial exploitation. Criticisms agree to recognize that the matter of film is some thorough.

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