Cameron Samurai

I’ve been working on a new Deadpool 2 edit. Instead of making use of deleted scenes, I made use of some of the promotional material, some of which was also in widescreen, which allowed for easier integration.

X-Tra Dead includes the following

-The “No Good Deed” Short as the opening scene
-Celine Dion in person performing “Ashes” (the music video has been edited to reduce the amount of film scenes)
-Cameo from Diplo, French Montana and Lil Pump
-Alternative end credits sequence using a TV spot
-Some footage lifted from “X-Men: Dark Phoenix” (not that much, just enough for an additional McAvoy cameo)

Here’s a sample utilising the Dark Phoenix footage. Password to access is fanedit.

https://vimeo.com/403963178

A brand new extended cut is coming called The Definitively Dead Phoenix (update: decided not to go through with it)

I decided to re-edit the Eleventh Hour, and for a bit of fun, inserted the promotional trailer they ran for series five (the one where 11 and Amy are pulled into the vortex) into the episode in place of what Amy is actually dreaming about (her waiting on The Doctor as a child), it works surprisingly well as a replacement dream.

I recently rewatched WhoFlix’s edit of this episode, looking to see what he had done here that I could differently, he had used all five instalments of the minisode series Pond Life as well as the DVD exclusive Asylum prequel to create an extensive pre-title sequence. I came away from the edit thinking not all of Pond Life ought to have been used, particularly the nonsense with the Ood on the Loo and his housekeeping role, or the bits that led into Dinosaurs on a Spaceship.

I made the decision to use the first and the last of the Pond Life shorts, in this case reversing them in order so as to create a brand new ending for the episode. The months that date the shorts can easily be interpreted as being part of a prior year and the early stages of the next, seeing as no actual year is specified.

The changes

-Added Pond Life episode 5. Removed credits at the end
-Titles now come after Amy says she needs The Doctor.
-Asylum prequel plays after the titles
-Narration and shots of the Dalek statue from the original pre-titles of Asylum have been cut
-First few moments with Oswin removed to omit producer and director credits
-Episode carries on as normal until we see The Doctor operating the console uttering the words “Doctor Who?”
-First episode of Pond Life plays

CamSMurph said:

But there are no more X-Men movies after Dark Phoenix, lol.

New Mutants: I exist.

Watching Picard, I thought up a concept for a non-essential episode one edit. This would not be an ‘go-to version’ that replaces the original episode, but an alternative viewing experience.

Intention

-Use Short Trek’s ‘Children of Mars’ as the pre-titles
-Remove the attack that kills Djaq, keep her alive
-Imply Picard has no problem with getting a mission approved by Starfleet
-Use footage of episode seven to have Picard visit Riker and Troy at the end of the episode, where they see him off.

That’s what I’ve got so far.

There are virtually no attempts to smooth over the hard cuts in this…it makes for a tough watch.

Anakin Starkiller said:

Not worth re-editing for something so minor, honestly, but you do you.

Well…that and removing the line “I’ve had an upgrade”

I thought of a minor trim to Spyfall part one…just have the cliffhanger sting come right on the shot of the plane in free-fall.

Edit is now available

Edit is now available through PM request. Have fun, and happy new year.

Thanks, I’ll let you know when it’s up.

I’m still ironing out the time travel bit at the end, I tried to rewrite young Jean’s past but the footage wasn’t there with the film to sustain that concept. This required simply opting to change the most recent past.

The first version of it still has it at the end, I could change that with an update.

CamSMurph said:

Sounds awesome.

Thanks, I was trying to be a bit more radical with the ending, I knew I wanted to end the film on the shuttle rescue rather than begin it with it, but it meant keeping Raven alive the whole film and there wasn’t much footage for it, plus I’d lose a lot of character motivation at the same time if she were alive. The Deadpool 2 stuff allows me to keep my ending while staying true to most of the film

Months back, clickbait merchants and rumour mongers were keen to share news that there would be some kind of Deadpool connection in the ill-fated Dark Phoenix movie. While this somewhat manifested a year earlier in Deadpool 2 with the X-Men’s cameo in that film, there was no surprise cameo from Wade for this.

So while binging both movies the other day I worked out a way of integrating four choice scenes from Deadpool 2 into a cut of Dark Phoenix. One of those scenes you’ll have to stay 'till the end credits to see

Two other minor tweeks aside, I left the rest of the movie alone

Intention:
Dark Phoenix is a pretty downbeat movie, with barely any humour, so short bursts of Wade provide some light relief.

Cutlist

-Cut the ‘X-Women’ lines from Raven

-Integrated the Deadpool and Colossus scene from Deadpool 2 where the X-Men narrowly avoid being seen by Wade

-Just after we meet the aliens , I Integrated the scene where Colossus tries to persuade Wade into joining the team on a mission, with Wade saying bad things will happen, this leads directly into the scene the X-Men first confront Jean and Raven is killed

-End credits feature a very special performance of Celine Dion’s ‘Ashes’ from Deadpool 2

-Deadpool uses Cable’s time device to change history and undo the events of the film.

-Post-credits is Cable time-jumping from the future to the present to set that part up. The saga continues

I uploaded it to Vimeo (download option disabled and password protected) and am currently hosting this on Archive of Our Own, which allows for edited fanvids

Current Cutlist

-Film opens with SONY HOME ENTERTAINMENT Logo, and end credits repurposed as opening credits
-Molly’s childhood retained
-Main title card comes after she helps the alien escape
-Flash forward to T and H’s mission together against the Hive
-Molly’s civilian life and failed job interviews cut completly
-Molly discovering MIB completely cut, we next see her already accepted as a recruit
-Agents M’s attempts to become Agent H’s back-up for his mission goes a lot smoother
-Agent H mucking about with his shirt outside the nightclub cut
-The alien friend of H no longer wants to seduce Agent M
-H and M arguing in the nightclub cut
-Alien poisoned by dagger retained
-Alien telling M that H has changed cut
-References to something being wrong in MIB cut.
-Meeting in High T’s office trimmed to remove references to the mole within MIB
-Agent H and M no longer discuss the mole when analysing the poison
-More minor mentions of M being told not to let the weapon fall into MIB hands and the mole cut, the edit indicates Molly has trust issues with the london branch per Emma Thompson telling her there was a problem in London (this could mean anything though)
-M and H’s early arguments in the desert trimmed
-High T’s heel turn and final battle completly cut
-First scene with the updated flying car repurposed as the final scene
-Only one minor tweek to the end credits, the use of Will Smith’s “Just Cruising”

The team-up between Dregg, Shredder and Krang should have been the finale, it tied up virtually every loose end, even Carter. Had the last part of that arc ended with Splinter telling the Turtles they had ‘graduated’ then it would have been perfect.

So that’s just what I did. Took the last scene of the actual series finale “Divide and Conquer” and integrated it into the episode “Turtles To The Second Power” to serve as a more fitting conclusion to the original series.

Also, the actual final scene of “Turtles to the Second Power” annoyed me, it doesn’t end on a punch line or something from the Turtles, the last word goes to Carer, he is transported to the future and then it just abruptly ends, so the new ending I find adds a lot more closure to things.

This edit is based off of ideas by Hadam10Rose (mainly just the ending with T being the good guy) and a lot of other tweeks by me.

The edit is 1 hour, 23 minutes (plus credits) and includes no mention of the mole sub plot, now the weapon is kept from everyone because of M’s inexperience as an agent, and she learns to trust MIB only at the end (this stems from her childhood when she kept the alien safe), I also removed any scenes with her as a civilian and we’re introduced to her as an adult when she is recruited into MIB.

Hemsworth’s character is a lot different, his bungling has been scaled back quite a bit, now he’s more of an egotist who got lucky that one time he saved the world from the Hive, and needs to prove himself. Liam Neeson is now merely a long-suffering mentor who’s faith in H is tested, and then has his fears quashed the more the mission goes on. Lastly, there is a brand new ending that still involves the flying car (the scene where they first use it, in the original cut they’re on their way to stop T, but in this edit they’re using it for yet another mission)

I wanted to use footage from the NBA promo trailers but they proved to be too long, unfunny and made H look really dense.

Over time, I’ve come to look down a little on series three and four of BBC’s Sherlock, even if they are the basis for three very well-received edits of mine (Little That Remains, Adventure of Cam, and The Lies of Sherlock), they, to me, feel like the encore performance of an exhausted choir who have played all of their big hits and probably should have packed up and headed home by now.

Taking a few things here and there from “The Empty Hearse” I have created “The Reichenbach Fall: The B*llocks Edition”, or, for anyone who likes to romanticise, The Sherlolly Cut, where I’ve made Anderson’s theory at the beginning of Empty Hearse official as the climax to this particular story, and thus canonising Sherlock and Molly, with Sherlock hanging out with her in exile, the edit ends with Sherlock looking to get back into the game after two years of laying low, he wants Molly to help him, Molly wants dinner…and we leave it there at that. The end. Toss seasons three and four aside, and go down with this 'ship!

With hindsight, I probably will end up rendering my Last Jedi fanedit “non-canon” in my trilogy and just leave that middle portion alone (you can pretend Han is alive throughout it though) and focus on book-ending it with “The Ford Awakens” and “Rise of Skywalker”

Here’s my outine

-Movie opens the same way, only with Palpatine’s fortnite message playing over the massacre that Kylo leads
-After The Emperor talks with Kylo, cut to the Falcon arriving at the first port of call in the Wayfinder quest with Rey and the others. Cut out Rey training.
-Cut a reference to Han being killed when Rey and Kylo bridge minds
-Cut Rey and Kylo’s lightsabre duel in Kylo’s quarters. 
-Try to keep Chewie’s fate unknown to the audience until Rey senses him on Kylo’s Destroyer
-During the Death Star duel, Leia contacts Ben, Rey wounds him, Leia doesn’t die. Felt unnecessary to drain her life force just to give him a phone call
-As noted above, cut C3-PO getting his memory restored. CONSEQUENCES
-Cut Kylo entirely from the final battle with the Emperor. Now when Rey defies Palpatine and puts her sabre away, he tries to cut her down in anger, the Jedi tell her to rise and she destroys him
-Conclude the film with Rey and her friends heading out into a free galaxy, Leia knows Rey will return one day once she figures herself and her powers out, they embrace one final time
-End the movie on Kylo at the Death Star ruins reuniting with Han and throwing away his lightsabre. The Skywalker line lives on and is redeemed

Any thoughts on this?

I might hold back revealing Chewie is alive a bit longer, so we learn he’s alive when Rey and the others do.

After the Emperor talks with Kylo, I’d suggest cutting from that to the Falcon arriving at the first stop on the journey to find the wayfinder, dropping all the info dumping at the start of the film with the Resistance and trusting what we see in the initial crawl.

Now, this works fine for me, because I left Luke alive at the end of my LJ edit, so I can keep the line “this is the co-ordinates master luke left us” to indicate he’s helping the resistance (and then use footage of his death from The Last Jedi that I cut so he dies simultaneously with Leia awakening Ben), so I can retain his conversation with Rey later on his island.

I would be satisfied with a 2-in-1 edit of both Abrams movies, with maybe a little bit from Last Jedi to plug some gaps. Maybe I could have Luke die at the same time as Leia so both Skywalkers are trying to reach Ben.

I’d like to see this, your idea of how to include Sam intrigues me.

I just finished a cut of part thirteen of Trial of a Time Lord, removing the references to the Valeyard being a manifestation of the Doctor’s darker side, now he’s absolutely a future Doctor, and also removed references to Peri being alive and married to Brian Blessed.