- IFDB
- Fanedit Listings
- FanFix
- The Producers: The 1967 Conformation Edit
The Producers: The 1967 Conformation Edit
Updated
Faneditor Name:
Original Movie/Show Title:
Genre:
Fanedit Type:
Original Release Date:
2005
Original Running Time:
134
Fanedit Release Date:
Fanedit Running Time:
65
Time Cut:
69
Time Added:
5
Subtitles Available?
Available in HD?
Additional Links:
Brief Synopsis:
To re-edit the 2005 version of The Prodecers to resemble the structure, look and feel of the 1967 original.
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.
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.
Cuts and Additions:
THE PRODUCERS CONFORMED EDIT 2005 as 1968
*** ALL NEW MUSIC COMPOSITIONS HAVE BEEN REMOVED, with the exception of LEO & MAX REPRISE, which is the same melody as PRISONERS OF LOVE and “HABEN SIE GEHORT DAS DEUTSCHES BAND”.***
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.
*** ALL NEW MUSIC COMPOSITIONS HAVE BEEN REMOVED, with the exception of LEO & MAX REPRISE, which is the same melody as PRISONERS OF LOVE and “HABEN SIE GEHORT DAS DEUTSCHES BAND”.***
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.
Faneditor Name:
Original Movie/Show Title:
Genre:
Fanedit Type:
Original Release Date:
2005
Original Running Time:
134
Fanedit Release Date:
Fanedit Running Time:
65
Time Cut:
69
Time Added:
5
Subtitles Available?
Available in HD?
Additional Links:
Brief Synopsis:
To re-edit the 2005 version of The Prodecers to resemble the structure, look and feel of the 1967 original.
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.
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.
Cuts and Additions:
THE PRODUCERS CONFORMED EDIT 2005 as 1968
*** ALL NEW MUSIC COMPOSITIONS HAVE BEEN REMOVED, with the exception of LEO & MAX REPRISE, which is the same melody as PRISONERS OF LOVE and “HABEN SIE GEHORT DAS DEUTSCHES BAND”.***
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.
*** ALL NEW MUSIC COMPOSITIONS HAVE BEEN REMOVED, with the exception of LEO & MAX REPRISE, which is the same melody as PRISONERS OF LOVE and “HABEN SIE GEHORT DAS DEUTSCHES BAND”.***
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.
User reviews
There are no user reviews for this listing.