This looks like a really fun idea! I also need to find that edit that inspired this idea lol
I’ve sent you that fella’s edit via PM
Thanks for the interest.
I’ll probably have to sort out the boarder differences between the Hush and TKJ footage, maybe crop the whole thing to widescreen.
…Or The Kitty Kitty cut if you prefer.
Yes, this is a bit of a different type of Killing Joke edit…I’m merging it with a small percentage of the Catwoman romance from Batman: Hush to replace the entirety of the Batgirl sub-plot from the original.
Here’s the timeline
-Bruce talks with Nightwing and meets Selina and Thomas Elliot at the party
-Battle with Bane. We cut the beginning of Bruce’s investigation into Ivy as she’s not in the cut
-Bruce and Selina attend the opera. Harley Quinn attacks, Thomas is killed by A ‘Joker’ (who pleads innocence) who Batman almost kills, but is ultimately incarcerated. This Joker indeed turns out to be an imposter (Killing Joke) and doesn’t desire another Bat-beating
-Killing Joke plays out as normal
-After the Joker’s song and dance number, we find Bruce and Dick in the Batcave, Selina calls Bruce
-Bruce rendevouz with the cops and aqquires the final clue to Joker’s lair. Remainder of Killing Joke plays out
-New mid-credits scene is Bruce and Selina sleeping together.
As a bonus, I’m also putting together a two-part 20 to 25 minute version complete with the intro and outro of Batman: The Animated Series. The TV cuts will have a few things omitted that you can find in the feature version.
Recently, the fan editor whose Brainiac Attacks edit inspired my own put out an extended edit of the Superman TAS episode “Little Girl Lost”, which featured a few minutes or so of footage from the animated movie “Superman/Batman: Apokolips” chronicling Kara’s arrival, reaction and adaption to Earth.
Now, obviously the animation and voice actors for these sequences were notably different…but it actually worked seamlessly with the narrative, so I figure, if it doesn’t intrude on the established story all that much, should sequences like that be integrated?
I have given strong consideration to structuring “Public Enemies” as a Superman TAS episode, it helps because the voice actors for the DCAU lend their talents to the film, and with a few trims here and there, you can make it ‘fit’.
It helps that there’s virtually no mention of Clark and Power Girls’ relationship to one another, probably this was done to make the film more ‘accessible’, I mean, you could easily mistake her for Kara with a different haircut or just a generic heavy of Lex that acts as Bruce and Clark’s ‘mole’.
All references to Hiro being the Toyman have been cut.
Currently the idea is that the story opens with Lex’s inauguration where he introduces Power Girl as part of her team, so it’s established who she is, then we see the team try to recruit Superman, who refuses. In this cut, Lex takes Superman’s refusal and connects it to the “irrationality” brought on by the radiation of the Kryptonite meteor, and then places the bounty on his head. There is no murder of John Corbin (Metallo), but it still means Superman is a wanted man. The remainder of the cut is the last 20 or so minutes where it becomes a race against time to infiltrate Luthor’s stronghold, get the info, and stop the meteor, with Luthor getting in the way.
Just had an excellent consultation with Musiced over on Fanedit.org regarding improvements to the edit.
PM sent!
PM sent.
Looks like you cut out some parts of “motherbox clip” to replace it with some other footage, I’d rather extend it with this additional footage without losing parts of the clip (and use longer/full version of the song).
When I uploaded the current version of the intro to Youtube, it automatically listed the song title and artist in the copyright information so that’s already proven handy.
What’s the aspect ratio?
EDIT: Nevermind, I’ve just realized this looks familiar and I already know the answer.
Nice to see you. I appreciate any help you can give me on improving the intro.
I enjoyed this edit. Definitely had a warmer touch, which the original lacked.
Not the most inspired title, but to give it context, I had made a previous ‘studio cut’ in widescreen, but I wasn’t satisfied with how it flowed, so I tried again, this time keeping to the original aspect ratio throughout to make it more authentic
This cut doesn’t rock the boot too much, but here are the changes
Changes
-Movie now opens with Bruce’s knightmare from the epilogue. Bruce’s meeting with Martian Manhunter cut
-Diana’s meeting with Bruce and her Age of Heroes history lesson moved directly to just after Bruce wakes up from the knightmare
-After Diana asks where the others are, we cut to titles (a mix of the Whedon cut intro, the beginning of the official Snyder cut, and the “It’s Time” motherbox promo, as well as shots of Steppenwolf slaughtering the Amazons to detail his arrival much more swiftly)
-Bruce meets Arthur
-Steppenwolf learning of Atlantis’ location moved to directly after Arthur refuses to join Bruce
-Lois grieving Clark moved to after this scene, from there movie plays as normal until…
-…Clark is resurrected, he does not fight the League and leaves with Lois for the farm
-All reference to Clark coming back ‘wrong’ removed
-Movie resumes as normal until the end of Professor Stone’s speech
-Lex Luthor and Deathstroke scene removed
Available now.
Running Time: 2 hours 50 minutes
Some updates
-The original version recieved feedback from both musiced of Faneit.org and Fanedit895 (not 796, my mistake) himself, both were very encouraging, they gave me a few points on how to best approach it. As a result, a great deal of it has changed and it is now much more ‘conclusive’ than my original attempt was. Superman gets a win over Brainiac in the new cut, where as before he got beaten up twice pretty soundly with no real resolution. This was because I intended to do a follow-up episode but when I watched the movie once again for footage I found the continuity a little too problematic to work around in order to pull that off convincingly.
Feronstost, if you’re looking for the other version, I’ll link you to it
…No, not a comic book movie edit, just a comic book edit
I decided to spend the morning tackling a timeless Spider-Man classic (issue 121), and seeing if I could enhance the original story. Using pages from “Dead No More: The Clone Conspiracy”, I’ve pieced together such an attempt, occasionally rearranging panels here and there to tighten the bolts.
And no, I didn’t add anything from Sins Past, just in case you were going to ask…
Richard Lester gets a bad rep. In the 1980s he was very much the Joss Whedon to Richard Donner’s Zack Snyder, a man tasked with working on a troubled production and producing a film that proved to be quite divisive amongst fans, who fought tooth and nail to see the ‘true’ vision restored.
Lester’s Superman movies have their place in history, but are all too often frowned upon, and yet, there is still so much to admire about both his version of Superman II and the film he had 100% control over, Superman III.
Superman II has the pink bear reveal (much more grounded, sweet, and humane than Lois firing blanks at Clark), the Paris bomb threat, Lois making orange juice for herself, scenes that I feel you can throw into virtually any of the four movies, even the first one, and it wouldn’t make a difference.
So to this extent, I decided to create a unique edit…a Superman III cut which retains almost all the familiar elements, but not they are ‘strengthened’ by the addition of as much non-story essential moments from Lester’s Superman II as I can find. To make the edit even more unique, I have rearranged some scenes and used one of Lester’s Superman II sequences to close out an important plot point of the third film.
Here’s the timeline (spoilers ahead for a near 40-year old movie)
-Classic 1980s Warner Bros movie logo
-Jor-El narration/Krypton’s destruction from Superman Returns
-Opening titles (Superman III outer space titles)
-Establishing shot of Metropolis (Superman IV)
-Junkyard Fight now a dream sequence to kick things off
-Clark wakes up, gets call from Lois (Superman IV)
-Clark heads off to the Planet, we see Gus at work
-Clark and Lois arrange their travel plans, we cut Lois mentioning Bermuda.
-Gus at work and taking money out of the company
-Lois makes orange juice (Superman II LC)
-Superman III plays unaltered for a while
-Gus’ fall from Webster’s apartment cut
-Superman III plays unaltered for a while
-Lois at the Eiffel Tower (Superman II LC)
-Drunken Evil Superman hears Lois in distress and snaps out of his funk to rescue her, disposes of the bomb
-Superman III resumes as normal until Clark visits Lana and Ricky, and a drunken Brad is humiliated
-Pink Bear reveal for Lois, her referring to jumping in the river is cut. Instead you’re led to believe she’s talking about her Paris assingment
-End scene of Superman III/Flyby
-End Credits
I’d like a link too
This divisive little piece of now-obscure Superman media was released around the peak of marketing for Superman Returns. It’s been widely criticised by fans of Superman: The Animated Series for, amongst other things, inconsistent continuity and characterisations (particularly with Lex Luthor) as well as bait-and-switch storytelling revolving around Clark wanting to share his secret with Lois Lane.
Many fans were disappointed that this film felt more like an Elseworlds tale and not an authentic ‘bridge’ between Superman: TAS and Justice League.
I’ve gone back and forth on whether or not I should do this for a while, but recently I watched a pretty good 50 or so minute version of it from an editor called Fanedit895, who hosts it on the Internet Archive. This version realized the potential of the story by rearranging scenes and deleting all sequences with Lex Luthor to avoid even touching on his characterizations, as well as removing the bait-and-switch so Lois knows.
So impressed was I that I decided the time had come to tackle this head on, but I wanted to set it apart from what this editor had managed, and have decided to try to cut it down to a TV episode length. Right now I’m testing out a 35-minute trim, but I’d like to cut at least ten more minutes.
Plans for this include
-Very little of Lex
-Rearrange some earlier scenes
-Have Lois learn Clark is Superman
Custom opening titles
password: fanedit
Now finished and available.
The second season of Transformers Generation One is the only one of the four seasons to not have something truly climatic or high-stake for a season finale, concluding on one of the worst entries in the series in “B.O.T”. The series bridged the gap between seasons two and three with the movie (or Scramble City and the Movie in some markets), and that feature was later broken up into parts for syndication.
I figured I’d give the second season something of a high-note to end on, so I took twenty or so minutes of the movie (the majority of the first act), using the 30th anniversary blu-ray and repurposed them to function as a standalone season two finale.
Changes
-Upscaled Transformers G1 season two intro and end credits added at the beginning and end
-Transformers G1 commercial bumpers inserted upon a shot fading to black
-No appearances or hints of Unicron
It’s out.
With a few weeks left until Loki, I figured I’d kill time approaching Wandavision again, to see if I could shift the entirety of the blame on to Wanda and not have Agatha as anything other than ‘just another victim’.
So far, things are going great. Monica, Darsy and Jimmy do still have their roles, minimalist as they are, but their story is wrapped by the episode five mark. I skip over the 60s episode as well as any to feature ‘Ralph Bonner’, yes, this edit is entirely free of Quicksilver.
Without Agatha or Quicksilver, Wanda resolves her own situation with the help of Vision by the end of the 90s episode, we still have our flashbacks, just without Agatha or Wanda present for them.
There’s also a new ending. I split up Wanda’s visit to Vision’s remains…in the part used for the flashback, she leaves without saying goodbye to him, in the final scene, after leaving Westview, she journeys back to S.W.O.R.D headquarters to say goodbye.
No chaos magic, no Scarlet cosplay, no Agatha, no Quicksilver, Wanda owns it, and there’s a much more grounded, less goofy and bombastic tale of overcoming grief as a result.
Coming soon.
Very interested, any more details?
And it’s out. PM for link.
Final draft of the version that includes episode six clocks in at 2 hours, 58 minutes. Nice lean theatrical length.
Nice! Would I be able to get a copy of this?
Also, did you see that they’re going to go and make a Captain America 4 with Sam in the role and the same guy who wrote this series writing it?
I did see that article, it’s nice to see the news serving as a book-end of sorts to my announcement of a feature edit for the show.
And yes, you’ll get a copy as soon as it’s uploaded.
Final draft of the version that includes episode six clocks in at 2 hours, 58 minutes. Nice lean theatrical length.
Episode Six.
Spoilers. Spoilers everywhere.
Yori does indeed turn up and the scene is very good, the characters all just kind of grieve quietly and move on from one another, I think I could afford to use this one sequence out of all the ones they have together from episode one because it does get to the point much quicker, and since in my edit we’ve only seen Yori referenced, having us meet him just as he has his heart broken brings more impact to Bucky’s choice upon listening to Sam’s advice.
Would probably take out more of John accepting the Countesses’ offer, just so he comes off looking better for putting in an effort to help out Sam and Bucky.