Spectre: The LS Cut
Oh, plus I've added a slight colour correction to try to add a few red midtones, as the picture always seemed to have a very yellow/sandy palette.
- Trimmed long tracking shot during opening pre-credits sequence
- Added new title song “007nside” by Lara George over title sequence
- Cut scene where Bond sees the order of temporary guardianship notice and the burnt photograph from the artifacts recovered from Skyfall
- Trimmed scene where Bond looks over the old Aston Martin DB5 when visiting Q
- Cut brief scene where Bond gazes down at the special gadget buttons on the new DB10 after he has arrived in Rome
- Trimmed scene at funeral
- Trimmed the meeting of operatives for Spectre, as Blofeld is introduced for the first time, to remove any personal links between Bond and Blofeld, such as the “Cuckoo” remark
- Trimmed car chase scene – removing comedy moments such as the Frank Sinatra song and when the airbag is deployed on the car Bond has been ramming
- Trimmed Madeline and Bond at L’American, removing her line “I see 3 James’”
- Cut scene of Madeline and Bond having sex after the fight with Mr Hinx ends
- Shortened scene of Bond and Madeline waiting to be picked up after they get off the train… also removed her line “I’m scared James” as they are on their way to Blofeld’s secret HQ (I feel Bond just gentle holding her hand is enough)
- Scenes at Blofeld’s HQ trimmed to remove any indication that Blofeld actually knew Bond from when they were kids (including the torture scene). Now it appears that Bond has just been a nuisance to him instead. Also removed the “You can touch it if you want” line when Bond and Madeline are looking at the meteorite
- Finale at the old MI5 building trimmed – Bond no longer comes across pictures of Le Chifre, Vesper, Silva, Mr White and M, which always seemed way too much in my opinion
- End scene of Bond and Madeline driving off in the DB5 now cut. Film ends with Bond walking to Madeline as Blofeld is arrested by M
The audio and video quality are exactly what I'd expect from and HD file at this size.
The visual editing was great and if all I had were eyes and subtitles I wouldn't have picked up on much of anything. Here's some nitpicking: The opening shot felt a bit off due to the lack of audio leading into it. It's exactly the same (minus the on screen text) as the source so this is more an interesting by-product of the new sound design. The original version of this movie has a pretty ugly color grade. I like what you were able to achieve in a lot of the interior shots, especially the color grade of the interior shots of M's office and at Q's new underground facility. These scenes now have a great vibrance and the darks actually look dark instead of a very dark shade of blue. I also like how you were able to remove some yellows from the funeral scene. Only other real nitpicky things I could say is that when they leave the train there is a jump in placement of Bond from away from the building to leaning against it and the view is from behind him, a flash frame occurs at 2:10:28 and there's a "Enter Text" that fades in at the very end of the film 2:15:50.
As noted above, the jump into the Dia De Los Muertos scene felt a bit abrupt without the fade in of the crowd. It works, but for me personally I'd prefer the fade in. The restored 007nside theme music was a vast improvement over Sam Smith's track. The transition did feel a little abrupt as Bond looked at the ring and the shift in the music occurs. I think this could be smoothed out by using a bit of a longer audio transition through a more gradual cross fade and/or using the first percussive lines to bring us fully into the new track. I honestly don't know why they didn't use this track in the theatrical release. It nails that iconic Bond feeling. Great choice! I did notice most of the audio cuts in the movie as they have a jump feeling to them due to the omitted portions causing the music to jump out of rhythm with the scene. Again, I think some crossfading or reworking of the audio tracks could smooth those out and then there'd be no issue.
I personally didn't have an issue with the connection between Bond and Blofeld, but it was interesting to see how you were able to turn Blofeld into a classic Bond villain by omitting a handful of lines. It tightens up the movie and makes it more of a classical stand alone Bond adventure. Great job!
I enjoyed seeing how these slight adjustments brought the story more in line with the classic Bond formula. While I'm not a classic Bond fan, I do like the Daniel Craig era with its ongoing story line. I thought this edit might hurt that storyline, but LastSurvivor retained just enough of the previous connections as to keep the story connected and moving whilst also eliminating a twist that perhaps didn't need to be there in the first place. I'd say I enjoyed the narrative of this movie as much as I did the original. The only real issues I had with this edit were the audio transitions during the cuts. I'm a bit obsessive in that area. My enjoyment would be a solid 9 if a few audio edits were smoothed out. A handful of crossfading and soundtrack rebuilding could do the trick.
A special shout out bonus for your awesome editor video diary. The fact that you create these is awesome and I hope one day to have the courage to get in front of a camera to talk about what I did. I always enjoy and learn from editors that share the "why" of what they do :)
Say what you will about Spectre – Lord knows I have, in places other than this – the real question is this: How does Last Survivor’s cut compare to the original?
The differences are immediate, in fact. The pre-titles sequence skips some of the uninterrupted single take and gets to the action faster; the titles song focuses on the mystique surrounding 007, rather than the epic romance song that Sam Smith wrote for a decidedly non-epic romance. We don’t have to endure a scene wherein Bond rifles through a box of childhood knick-knacks while sitting at home in his pajamas. Later on, the embarrassing “author of all your pain” line is gone, and the old MI6 building is no longer decorated with photocopied production stills of characters from Craig’s previous movies.
In addition, the entire movie’s colour grading is improved, as the original’s washed-out look is replaced with a higher contrast look and the pervasive yellow tint is lessened.
The edit’s greatest accomplishment, however, is the removal of all references to Bond’s secret: that he and Blofeld are foster brothers. This improves the film immeasurably. In the original cut, Bond is aggressively pursuing a secret suspicion – so secret his colleagues and not even the audience get to know about it. We follow the character closely, but never close enough to reveal his emotional stakes. When the “ghost” he’s been chasing is finally revealed, Bond doesn't register a single thought or feeling about any of it.
The result is a cold, confusing movie that turns the character into a near-psychopathic liability who pursues personal missions on the government’s dime, all while disrespecting his boss and endangering his colleagues' livelihoods every chance he gets.
With 007’s secret cut from the movie, all of this weirdness is almost entirely sidestepped. Now, he is simply carrying out an assignment left by his old boss, and then following lead after lead to see where it goes. Does it hold up as a story? Not really, but Bond films aren’t famous for their airtight plotting. For example, the first half of Thunderball is written in the same way. And all of Octopussy. And all of Quantum of Solace. I could go on. Is he still a bit of an asshole along the way? Maybe being disrespectful to superiors and reckless in general? Sure, but again, it’s nothing we haven’t seen before. For example, in Thunderball. I can accept Bond’s rather bratty attitude just so long as he doesn’t also take the liberty of assigning himself a secret personal mission.
As should be clear, I was delighted with the removal of Bond’s secret. However, I did notice that Bond randomly still has the name “Franz Oberhauser” on his mind when he calls Moneypenny to ask for help. And when Q shows up in Austria to tell Bond that Oberhauser is dead, Bond insists that he saw Oberhauser at the SPECTRE meeting. It’s not clear where Bond gets this name, but at least it’s no longer implied that he and Blofeld knew each other as children.
The film is now generally enjoyable. Not quite engaging the viewer emotionally or intellectually like Craig’s other outings, but instead rising more to the level of fare like Tomorrow Never Dies or For Your Eyes Only. Decent, but never transcendent.
The editing is nearly flawless. I noticed only two hiccups, which are easily corrected: there are no subtitles to translate the terrorists’ conversation in Mexico City, and there’s a quick flash frame right before the end credits.
Once again, Last Survivor reveals himself to be a tasteful, skilled editor with a clear love for Bond. Recommended.
What a wonderful fanedit of a movie I remember being sorely disappointed with. The pacing and tone of the whole movie felt like a Bond movie should feel. I couldn't tell when changes had been made from the orginal it was a enjoyable watch with my wife. This is my go-to edit of Spectre, great job LS!
A rip-roaring, dynamic update on what I always felt was a very underrated Bond film. Spectre is probably my least favorite of the Daniel Craig-starring Bond films, but I still love the hell out of it regardless. That being said, this edit elevates the film to being just as good as Casino Royale or Skyfall. The audio and visual editing, from beginning to end, is flawless, and the choices made regarding what should be cut out to make for a better experience are very, very smart choices. Amazing work.
It is always a pleasure to watch a fan edit by a master craftsman such as Last Survivor. Particularly a Jame Bond fan edit. As the song goes, Nobody Does It Better! LS's passion for the Bond franchise is legendary on this Forum, and with SPECTRE, the 24th installment in the movie series, LS once again demonstrates a loving and deft editing touch. Meticulously edited, the cuts were seamless to my eye and audio work smooth to my ear. On the technical side, this edit is excellent.
On the narrative side, which is always subjective for the viewer, LS has done his best to elevate this last entry from a mediocre Bond to a Better Bond. Joyfully gone is the most offensive moment in entire Bond saga -- the truly king of bad/lazy writing ideas -- the Brother Blofeld plot line! It is cleanly erased from this version and the movie does not lose a beat. So instantly this makes this a better movie in my book. However, it is still a movie with a generic action third act and an uninspired musical score, and while LS does his best to improve this, there is only so much an editor can do with the material. But I think LS has done an amazing job considering what little there is to work with and still keep the plot coherent.
And then we come to the crown jewel of this edit, Last Survivor's commentary track. Always a joy to listen to! The honesty and insightfulness LS shares about his creative process is a delight and his Bond knowledge is always an education for me. I have said it before, the "professionals" could take lessons from LS on how to deliver an informative and interesting commentary track.
So a great edit, though still not a great Bond movie. But absolutely BETTER than the original and highly recommended.