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- The Producers 2005: The Wraith Edit
The Producers 2005: The Wraith Edit
Updated
Faneditor Name:
Original Movie/Show Title:
Fanedit Type:
Original Release Date:
2005
Original Running Time:
134 minutes
Fanedit Release Date:
Fanedit Running Time:
90 minutes
Time Cut:
44 minutes
Time Added:
5 minutes
Subtitles Available?
Available in HD?
Additional Links:
Synopsis:
To re-edit the 2005 version of The Prodecers to resemble the structure, look and feel of the 1967 original but to run to the 90 mins of the original by retaining the musical numbers which work for the narrative, and removing the ones that really only work on stage.
Intention:
I always felt that the 2005 version was a missed opportunity, despite that fact I do actually like it. I wanted to salavage as much of the original dialogue that was reused, and the situations, to create a version without the additional musical numbers to see if it would improve the feel of the movie. I think it has. I hope you do too. This version has 5 extra songs in the mix.
Other Sources:
The Producers 1967 Soundtrack CD.
Freesound.org
Freesound.org
Special Thanks:
ParanoidAndriod and BionicBob for previewing and quality control.
Release Information:
Digital
Special Features:
None
Editing Details:
Many micro trims were deployed throughout to improve performances, comic timing and pacing. Many jokes that either did not land or were overplayed have either been trimmed or removed, especially if NOT in the 1967 version.
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
Cuts and Additions:
THE PRODUCERS CONFORMED EDIT 2005 as 1968
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
Faneditor Name:
Original Movie/Show Title:
Fanedit Type:
Original Release Date:
2005
Original Running Time:
134 minutes
Fanedit Release Date:
Fanedit Running Time:
90 minutes
Time Cut:
44 minutes
Time Added:
5 minutes
Subtitles Available?
Available in HD?
Additional Links:
Synopsis:
To re-edit the 2005 version of The Prodecers to resemble the structure, look and feel of the 1967 original but to run to the 90 mins of the original by retaining the musical numbers which work for the narrative, and removing the ones that really only work on stage.
Intention:
I always felt that the 2005 version was a missed opportunity, despite that fact I do actually like it. I wanted to salavage as much of the original dialogue that was reused, and the situations, to create a version without the additional musical numbers to see if it would improve the feel of the movie. I think it has. I hope you do too. This version has 5 extra songs in the mix.
Other Sources:
The Producers 1967 Soundtrack CD.
Freesound.org
Freesound.org
Special Thanks:
ParanoidAndriod and BionicBob for previewing and quality control.
Release Information:
Digital
Special Features:
None
Editing Details:
Many micro trims were deployed throughout to improve performances, comic timing and pacing. Many jokes that either did not land or were overplayed have either been trimmed or removed, especially if NOT in the 1967 version.
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
Cuts and Additions:
THE PRODUCERS CONFORMED EDIT 2005 as 1968
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
Faneditor Name:
Original Movie/Show Title:
Fanedit Type:
Original Release Date:
2005
Original Running Time:
134 minutes
Fanedit Release Date:
Fanedit Running Time:
90 minutes
Time Cut:
44 minutes
Time Added:
5 minutes
Subtitles Available?
Available in HD?
Additional Links:
Synopsis:
To re-edit the 2005 version of The Prodecers to resemble the structure, look and feel of the 1967 original but to run to the 90 mins of the original by retaining the musical numbers which work for the narrative, and removing the ones that really only work on stage.
Intention:
I always felt that the 2005 version was a missed opportunity, despite that fact I do actually like it. I wanted to salavage as much of the original dialogue that was reused, and the situations, to create a version without the additional musical numbers to see if it would improve the feel of the movie. I think it has. I hope you do too. This version has 5 extra songs in the mix.
Other Sources:
The Producers 1967 Soundtrack CD.
Freesound.org
Freesound.org
Special Thanks:
ParanoidAndriod and BionicBob for previewing and quality control.
Release Information:
Digital
Special Features:
None
Editing Details:
Many micro trims were deployed throughout to improve performances, comic timing and pacing. Many jokes that either did not land or were overplayed have either been trimmed or removed, especially if NOT in the 1967 version.
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
The additional 5 musical numbers are:
THE KING OF BROADWAY (as a flashback)
WE CAN DO IT
REPRISE of I WANT TO BE A PRODUCER
FLAUNT IT
KEEP IT GAY
THIS is my go to version!
Cuts and Additions:
THE PRODUCERS CONFORMED EDIT 2005 as 1968
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
THE PRODUCERS 2005: THE WRAITH EDIT
*** Four musical numbers have been removed.
001 ADDED FE WARNING, FE LOGO, WRAITH LOGO and RAC MEMBER Logo.
005 Open with extended shot and fade in on MAX’s door, overlaid with “internal room dialogue.
034 Created new opening title sequence based on the 1967 version,
048 Elements are trimmed and re-timed to fit the music.
053 Leo is re-edited to appear to walk in on Max during the opening credits, as per the 1967 version.
058 Leo’s dialogue about walking in on Max has been moved to when Max screws up the paper. Full audio rebuild required.
060 Scene is intercut with a flipped shot from the deleted original Leo Max meeting to permit Leo’s introduction to Max to play naturally
078 “blue blanket”, “I’m Hysterical” and “Im Wet” all get micro trims due to the dialogue being repeated too often, which made it less funny. If its funny, don’t overdo it!.
079 Leo’s ”what scheme” is reduced to a single utterance, for the same reasons.
080 Jump cut to the pair reading scripts at Max’s “the world turns on such thoughts…”
084 Franz intro is reworked and no uses music from 67 original.
088 Franz dialogue is trimmed and now jumps to “what do you want” with less shtick.
090 Franz telling his birds is removed and repurposed for later in the edit.
092 Two unnecessary outbursts are removed from Franz
097 The acceptance is reworked to exclude dialogue that is not funny and does not further the narrative.
101 A cutaway to his birds is used to mask further dialogue removal in the run up to the oath.
104 A further trim about “you know who” being “descended from a long line of queens” is removed.
105 Jump cut to Carmen Ghia opening the door, now set to 67 music. Ghia does not answer the phone in the 67 version, and its NOT funny IMHO
106 Added back “Walk this way”. It was not possible to color correct this due to the balance in the original material.
119 A new cut away to permit a dialogue time jump is added with Franz telling his birds he can clear “you know who’e name”. This is also set to 67 music.
121 Musical segue and J cut permits continuity and pacing of flow to next scene.
125 Addded shot of Max’s door with custom zoom and crop for transition smoothness, with 67 music added, and slowed by 10%.
132 Custom crop and time jump discuised with custom crop and zoomed shot to permit Ulla to remove her coat and thus not notice the removal of the musical number.
134 Ulla answering the phone now plays with the original 67 music.
147 Max raising the money is a NEW SEQUENCE, created from 2005 outakes and 67 music, edited to look like the 67 version.
151 Transition to white office is reworked with new door shot and Ull’s dialogue minimised.
153 Leo’s reaction to Ulla are minimised, to just hint at the attraction
158 Scene ends before the unnecessary “erection” joke.
165 Transition to auditions now emulates the 67 version, with Ghia’s “ballet” removed and a flipped shot is used to maintain continuity of Ghia’s actions and outburst, all set to 67 music.
169 Extened exchange between Max and Leo at theatre is shortended.
172 Leo does not wish everyone “good luck”.
179 Added back DLETED ASTOR BAR SCENE, which is modified to remove the RIO song. The scene now plays with 67 music and is split into two sections.
185 Retun to office for REVIEWS is rewoirked and now plays over 67 music
187 “One “Leo” from Max is removed.
196 Carmen and Roger’s entrance no longer includes THAT joke. It’s obvious and purile.
198 “two “FAT”s are removed, and 4 micro trims to the action applied to increase the frenetic pace.
199 Franz entrance now plays over 67 music.
211 11 micro trims to the action with the shooting are applied to remove overexposition and keeping the pace frenetic. This also makes Franz more threatening and decisive.
213 Franz’s fall now plays over 67 music.
213 The whole Irish joke sequence is removed, with a jump cut to the courtroom.
217 Leo’s entrance in court is reworked
223 The end of the courtroom scene is reworked for pacing and narrative consistence, removing the songs (obviously) and the faux pathos.
229 Transition to Sing Sing is reworked with 67 music, and edited to be just like the 67 version.
230 Remainder of the film plays out unaltered to permit all the treads to come together, despite its difference to the 67 version.
253 Custom end credits created to emulate the 67 version, with 67 music.
255 Closing red bars caption with THANKS and WARNING, are in the style of the 67 version
262 Logos added to the end.
“THE PRODUCERS WRAITH” EDIT DIFFERNCES TO ABOVE:
Songs added back are
“THE KING OF BROADWAY” (as a flashback)
“KEEP IT GAY”
“FLAUNT IT”
“REPRISE of I WANT TO BE A PRODUCER”
“WE CAN DO IT”
The second time jump Franz scene is deleted completely.
The finale of “Springtime…” and the ASTOR BAR DELETED SCENE are no longer split.
THIS is my go to version, much as I did for A STAR IS BORN and SUPERMAN...which both exist as 3 versions, depending on one’s mood.
User reviews
1 review
Overall rating
9.0
Audio/Video Quality
10.0(1)
Audio Editing
10.0(1)
Visual Editing
8.0(1)
Narrative
8.0(1)
Enjoyment
9.0(1)
Overall rating
9.0
Audio/Video Quality
10.0
Audio Editing
10.0
Visual Editing
8.0
Narrative
8.0
Enjoyment
9.0
Full disclosure: I LOVE the 2005 version of The Producers. LOVE! IT! lol
So when Wraith announced his multi-release project I was instantly curious.
Thus far I have watched this version and his 1967 Conformation Edit, and of the two, this my preferred version.
Wraith's Conformation Edit does an admirable job emulating the structure of the 1967 film but for me it played off key as the excised musical numbers were essential in elevating the material, propelling the plots forward and fleshing out some key character moments.
However, if you are a fan of the '67 Gene Wilder film, then I think the 2005 Conformation Edit will still tickle your funny bone.
As for The Producers 2005: The Wraith Edit, it is a remarkable affair. First and foremost, I give Wraith a standing ovation for even attempting to fan edit a Mel Brooks production. Brook's films have a definite and discernable comedic cadence, rhyme and rhythm -- everything serves a purpose -- and to tamper with that, one risks throwing the whole experience off balance. For the most part, I think Wraith succeeds in retaining Brook's signature flavour and meets most of his fan edit objectives.
Technically, the cut work is very good. No flash frames or sync issues. Occasionally, due to a cut or scene rearrangement, altered character geography is noticeable but not detrimental. There is a very clever flopped shot that I only noticed on repeated viewing that seamlessly sells a key piece of introductory dialogue.
The new opening credits are delightful, instantly injecting a fun, ridiculous tone that sets up the film nicely. I am uncertain if the flashback fully worked for me? I am of two minds on it. One, it is a fantastic number that really shines a light on Max's character but at the same time, in terms of pacing, it plays too long for a traditional flashback. But the transition swipe and sound fx is stylistically spot on!
From this point on into the second act the fan edit moves at lovely and entertaining pace and I was fully entranced. All the cuts through this section were unnoticeable to me and the new version of Max raising the money for his little old lady investors using alternate material was brilliant.
Once we enter the third act, some of the cuts and changes did not completely work for me. One of the elements lost in this version is the fleshing out of Leo and Ulla's relationship, which I missed and does feel a wee bit sudden when we arrive at the courthouse scene. Also the jump cut to the courtroom scene did not work for as it almost felt like freeze frame cut on the cop. I think it would have played better keeping the two books joke. Also Leo and Ulla's courtroom entrance was a bit jarring. But I give Wraith points for his editing the conga musical notes. And then there is the cutting of "Til Him". To me, this is an essential song that speaks deeply to Leo and Max's relationship. Without it, the scene plays a bit choppy and too short. But once the courthouse transitions to Sing Sing, the fan edit ties everything up nicely in a wonderful Broadway finish.
I think the real star of this fan edit is the Audio Editing. As the audio work throughout this fan edit is exceptional!!!! From sound removal to rescoring, it is all truly impressive. Bravo!
In the end, I believe Wraith met his set goal of rearranging the 2005 version into a facsimile of the 1967 version but I just wish his parameters had been slightly less rigid as I think some key character beats were lost in the translation. Still, an exceptionally entertaining ride and I do recommend it.
Thumbs Up!
So when Wraith announced his multi-release project I was instantly curious.
Thus far I have watched this version and his 1967 Conformation Edit, and of the two, this my preferred version.
Wraith's Conformation Edit does an admirable job emulating the structure of the 1967 film but for me it played off key as the excised musical numbers were essential in elevating the material, propelling the plots forward and fleshing out some key character moments.
However, if you are a fan of the '67 Gene Wilder film, then I think the 2005 Conformation Edit will still tickle your funny bone.
As for The Producers 2005: The Wraith Edit, it is a remarkable affair. First and foremost, I give Wraith a standing ovation for even attempting to fan edit a Mel Brooks production. Brook's films have a definite and discernable comedic cadence, rhyme and rhythm -- everything serves a purpose -- and to tamper with that, one risks throwing the whole experience off balance. For the most part, I think Wraith succeeds in retaining Brook's signature flavour and meets most of his fan edit objectives.
Technically, the cut work is very good. No flash frames or sync issues. Occasionally, due to a cut or scene rearrangement, altered character geography is noticeable but not detrimental. There is a very clever flopped shot that I only noticed on repeated viewing that seamlessly sells a key piece of introductory dialogue.
The new opening credits are delightful, instantly injecting a fun, ridiculous tone that sets up the film nicely. I am uncertain if the flashback fully worked for me? I am of two minds on it. One, it is a fantastic number that really shines a light on Max's character but at the same time, in terms of pacing, it plays too long for a traditional flashback. But the transition swipe and sound fx is stylistically spot on!
From this point on into the second act the fan edit moves at lovely and entertaining pace and I was fully entranced. All the cuts through this section were unnoticeable to me and the new version of Max raising the money for his little old lady investors using alternate material was brilliant.
Once we enter the third act, some of the cuts and changes did not completely work for me. One of the elements lost in this version is the fleshing out of Leo and Ulla's relationship, which I missed and does feel a wee bit sudden when we arrive at the courthouse scene. Also the jump cut to the courtroom scene did not work for as it almost felt like freeze frame cut on the cop. I think it would have played better keeping the two books joke. Also Leo and Ulla's courtroom entrance was a bit jarring. But I give Wraith points for his editing the conga musical notes. And then there is the cutting of "Til Him". To me, this is an essential song that speaks deeply to Leo and Max's relationship. Without it, the scene plays a bit choppy and too short. But once the courthouse transitions to Sing Sing, the fan edit ties everything up nicely in a wonderful Broadway finish.
I think the real star of this fan edit is the Audio Editing. As the audio work throughout this fan edit is exceptional!!!! From sound removal to rescoring, it is all truly impressive. Bravo!
In the end, I believe Wraith met his set goal of rearranging the 2005 version into a facsimile of the 1967 version but I just wish his parameters had been slightly less rigid as I think some key character beats were lost in the translation. Still, an exceptionally entertaining ride and I do recommend it.
Thumbs Up!
B