Payback - The Hybrid Cut

9.3 (11)
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Payback - The Hybrid Cut
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Brief Synopsis:
This edit melds the elements of the Theatrical Cut and the Director’s Cut into a new version of the film. Also converted into black and white, Neglify’s Hybrid cut gives you one of Gibson’s most underrated movies in an entirely new, and more gritty light.
To blend together the best elements of the theatrical cut and director’s cut of Payback and give it more of a film noir feel by making it black & white.
Special Thanks:
Thanks to AvP for his cover art. Thanks to bleujayone for giving me the perfect song to end with. Thanks to bondukkevin and Dwight Fry for giving me the idea to do it in Black & White. Thanks to blueyoda, Dwight Fry and L8wrtr for previewing my workprint and giving feedback. Thanks to my buddy Ryan G. for giving me the perfect font for the opening titles.
Release Information
  • NTSC DVD-5
  • NTSC DVD-9
Special Features
- Scene Comparison feature, showing the different versions of a key scene, with comments by Neg.
- FanEdit Trailer Gallery, with a total of seven trailers for upcoming edits.
- Drinking Game subtitle track.
- 2 Easter Eggs

- Drinking Game subtitle track.
- 1 Easter Egg (different than what’s on the DL disc).
Editing Details:
I used the director’s cut as the main source as the picture quality is better than the theatrical cut. I went through it scene by scene and added back deleted elements from the theatrical cut. Sometimes I just added the audio from the TC and kept the video from the DC. Other scenes I used both TC and DC video with TC audio. In some cases the narration ruined a good scene in the TC so I stuck with the audio from the DC. And in a few scenes the editing of the two were so different I had to choose which one was better and stick with that.
Cuts and Additions:
Entire film in Black & White and each scene’s brightness and contrast levels adjusted.

The main source used was the Director’s Cut (DC) with scenes added or replaced from the Theatrical Cut (TC).

If I don’t comment on a particular scene or segment of the film then it means I kept it intact the way it is in the DC.

Added video logo
Replaced the “Principle” title card (red lettering) with white lettering.

Opening Credit Sequence:
Added Main Theme from the TC by Chris Boardman. Replaced all audio with TC audio.
All opening credits were re-created in Vegas using the same font and size (or as close as I could get to it) and overlaying them on top. Some aren’t perfect but it’s as good as I could get them.
Added shots of Porter jumping the turn style and the train approaching. (But all narration in the opening sequence was deleted.)
Deleted the lines “Shut up. I cured you.” when Porter chokes the bum.
Used TC footage of Porter stealing Edward Johnson’s wallet to better match the audio.
Used TC footage of Porter in the bathroom to include Kris Kristofferson and Chris Boardman’s credits.
Added “Additional Music by Scott Stambler” credit.
Used TC footage of Porter in the pawn shop to match the audio.
Trimmed shot of Porter watching Lynn arrive home to match the audio.

Porter and Lynn scenes:
Used DC audio when Porter walks up to Lynn’s door. Switch to TC audio when he kicks the door in.
Used TC footage of Porter looking for Val in Lynn’s apartment to match the audio.
Porter beating Lynn scene is included.
Used TC footage and audio when Porter puts Lynn to bed and takes away her heroin. Switched to DC footage after he leaves her room, but kept the TC audio.
Slightly trimmed the TC audio in one shot to match the footage.
Switched back to DC audio when Porter wakes up the next morning.

Flashback/Chow Heist/Betrayal:
Used DC footage and audio for the most part. After Val’s line, “Yeah, rule number one,” switched to TC audio.
Trimmed TC audio slightly to match DC footage.
Switched to TC footage when Val leans down to show Porter the picture. This was to match the audio.

Drug Dealer:
Used TC footage and audio for close-up of Porter then switched back to DC footage and audio for the wide shot of him getting out of bed.
Used DC footage and audio for drug dealer scene, until right before Porter says “Thanks” when I switched to TC audio (to include the James Brown song “It’s a Man’s Man’s Man’s World”).

Stegman’s Introduction:
Used DC footage and TC audio when Porter asks the guy at the desk where Stegman is. Trimmed a few frames off the TC audio to match the footage.
Switched to DC audio when the scene goes to the back room.
Switched back to TC audio when Porter leaves to talk to Stegman.
Used DC footage and TC audio for the scene with Porter and Stegman outside.
Trimmed the TC audio to delete a line to match the footage.

Pearl’s Introduction/Val’s Phone Call:
Used DC footage and TC audio throughout.
Trimmed a few frames off the TC audio before Pearl goes up to Val’s apartment to match the footage.
Deleted the “Woof” sound one of the guys makes when he sees Pearl.
Switched to TC footage after Val says “Make it uh…”

Added scene from TC of Porter talking to a prostitute to get information about Rosie.

Porter & Rosie (#1):
Used DC footage and audio throughout.
Deleted the last part of the scene where Rosie gets mad at Porter.
Switched to TC audio during the end of Rosie’s line “The Oakwood Arms, Union & 17th” to segue way into next scene.

Porter & Val & Pearl:
Used DC footage throughout. Used TC audio for start of scene. Switched to DC audio right after Porter’s line “You look like a pro. You keep your mouth shut and you’ll walk out of here.”

Val & Carter:
Kept the scene from the DC at the start (frisking Val). Switched to TC footage and audio once he enters Carter’s office.
Trimmed end of scene with Carter talking to Phil to remove Carter telling Phil to get rid of Porter.

Val on the phone with Pearl:
I did not add the fat guy screaming from the TC. Also, I did not add back the Jimi Hendrix song in the next scene.

Porter & Rosie (#2):
Used DC footage throughout. Used DC audio for majority. Switched to TC audio when the picture falls on the floor and Rosie picks it up. Switched back to DC audio when it cuts to Val outside.

Porter & Carter:
Used DC footage and audio when Porter is frisked outside Carter’s office.
Switched to TC footage and audio when he enters the office.
Cut out Carter saying “Yes” in response to Porter’s line, “One man. You go high enough, you always come to one man. Who?”
Added Kris Kristofferson as Bronson.
Rest of scene plays out the same as in the TC.

Porter and the Cops outside Carter’s Office (#2):
Used DC footage throughout. Used TC audio until after the line “Might be enough to be a nutcracker” and switched to DC audio.

Added back in the subplot of Kidnapping Johnny.

Porter & Fairfax & Bronson:
Used TC footage and audio for the majority of this segment.
Deleted Bronson’s line “I’ll swat you with $130,000”. Cuts from Bronson saying “You’ve proven to be a real pain in the ass. A mosquito.” to Porter shooting Carter’s suitcase.
After Fairfax says “Man that’s just mean…” cut to a short bit from the DC (but kept the rest of Fairfax’s line). Porter tells Bronson to send one man to King’s Cross Station with a blue backpack full of cash.
Cut to Bronson saying “You’re one hell of an optimist.”
Cut to Porter saying “Well, if you don’t, you’ll never see little Johnny again…”
Rest of scene plays out the way it is in the TC.

After Porter leaves Fairfax, the rest of the film is the DC.

Added “Recut by Neglify” and some thank yous before the end credits.
Replaced end credit music.
Cover art by AvP (DOWNLOAD HERE)

Trailer 1

Trailer 2

User reviews

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9.0  (5)
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9.2  (5)
9.2  (5)
9.3  (11)
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Cracking good edit, turning Payback into gritty Noir from the 40s.
Audio work, great. Nothing sounded out of place or jumps around with gain issues.
Video work, also solid. Lot of transitions to Black n White end up losing sharpness, or the blacks pixilate. Not here. Black n White is a pain in the ass to replicate, but Neglify scores big here.

This edit utilizes material from the original Payback, as well as the Straight Up cut.
The ending hews toward Straight Up - which I really do not like.
Writer / director Helgeland seems to have his own conception of Parker, excuse me, Porter, and he knows jackshit about Don Westlake's actual creation.
Anyway, the ending pissed me off, mostly at Helgeland.

As an overall work, though, this edit was terrific and warmly applauded.

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Owner's reply

Awesome, thanks for the review! Glad you liked the B&W treatment.

The ending was the hardest issue to overcome and overall I settled with the one I liked best. I think if I ever do an HD version I'll make 2 cuts, use theatrical ending and cut down a bit.

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(Updated: August 30, 2012)
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May 12, 2012

A superb looking and very enjoyable edit.
Must have been as fun for the faneditor to make (playing with all alternate scenes) as for the audience to watch :)
Great job. 9/10

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(Updated: August 30, 2012)
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March 28, 2012
*This rating was given before reviews were required*

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(Updated: August 30, 2012)
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March 3, 2012

$70,000? Shit, my suits cost more than that!”

We aren’t talking some crazy Adywan style treatment hear, but this movie didn’t need that. What it needed was exactly what Neglify gave it. In addition to some small tweaks and atmospheric improvements with the black & white and music, he integrated the best of different versions of this movie into one “hybrid”.

This is the definitive version of this movie and worth anyone’s time to watch. Neglify has taken an already solid movie and cleaned it up to make it as good as it is probably ever going to get.

Payback gets a:

Fanedit rating of 8/10.
(Fanedit rating focuses on technical and creative criteria that pertain specifically to the scope and depth of changes made from the source material by the faneditor. In other words, I might hate the movie but still give a high fanedit rating if I really respect the re-editing work done to it.)

Movie rating of 9/10.
(Movie rating judges on traditional criteria of quality/enjoyment as if this were an original theatrical release being seen for the first time.)

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