Fant4stic: The Unaired TV PilotFeatured
- Added aome alien desert ambience to go along with a much more vibrant Marvel logo
- Brand new color overhaul (to each individual scene) over the entire project for a brighter and more pleasant experience
- We now start out on Planet Zero to kick things off for a better pacing
- Added title cards for 20th Century Fox as well as each cast member over the previously mentioned scene for a proper TV feel
- Various trims to the scene, removing poor humor attempts (Instagram anyone?) and tightening things up for better pacing
- After the explosion re entry and New York's subsequent blackout, we cut to the "Fantastic Four" title card
- Following the above change, we then cut to several months earlier to Reed and Ben's high school science fair
- The library scene, which is the first meeting between Reed and Sue was axed. It has a very awkward feeling all throughout and the two have a much better scene later on
- Several sfx of telephones, cars passing by and whispering board members were added to the meeting between Franklin Storm and his financiers, to give the feeling of some life to a rather boring scene
- Reduced and trimmed out the terrible CG test monkey wherever I could to the first testing of the Gateway at Baxter
- After our four male leads enter the Gateway for a test run, we cut right back to the beginning re entry explosion where things continue on in the present
- Subtle ambience of a bio hazard alarm was added to the remains of the gateway test site after our leads return
- After Tim Blake Nelson (apparently cast officially as mole man) offers his deal to Ben, now the Thing we cut to the credits, where the Pilot comes to an end
Josh Trank's disastrous movie repurposed as a television pilot is an idea that sort of demands you pay attention to it against your better judgements...but the key to fanediting is to bring you to make a better judgement of the material being tweeked and twisted. I'm pleased to say ironnman has managed to succesfully reformat this otherwise doomed effort into something substantially stronger. Sequences are given a lot more commotion to elevate them, the narrative jumps between the present and the past and back again in ways that do not intrude too, and what would be an otherwise cliched moment in the film concerning a character's dillema allows the edit to end on a compelling cliffhanger.
I'd watch more to see where it goes, this edit, to quote Timmy Mallet, is ''the show your telly was made for''