This is spinal tap workprint

This is spinal tap workprint


  • Hissing Contest: the ‘What We Do In The Shadows’ Review
  • Workprints
  • Spinal Tap - All The Way Home Lyrics
  • WORKPRINTS – Master List
  • Hissing Contest: the ‘What We Do In The Shadows’ Review

    Casino [TV Version]. This includes but is not limited to the couch scene, a portion of the Kupkake-inator scene and several omitted pop culture references.

    The alternate ending occurs when Oliver corners the panther that was Irena on the bridge. In the theatrical version the Irena panther jumps off the bridge and escapes. The last scene in the movie has Oliver petting and feeding the Irena panther in a cage at the zoo. This eliminated the need to edit down the steamy last lovemaking scene. Another additional scene in the syndicated version has Irena accidently scaring a bird in a cage to death just by her presence.

    Syndicated TV version also features brief shots of the animatronic leopards that were ultimately cut from the theatrical release. Cat People, The [TV Version] This version runs around 25 minutes shorter than the DVD version, it is cut for language, violence and sexual references but contains some extra scenes not present in any other version. Gusto breaking out of jail; in this scene you see M. Gusto and a white inmate in a golf course and the white guy says dumb comments and subsequently gets knocked out.

    Center Stage [Workprint] Letterboxed and timecoded workprint. It misses many scenes that were shot at a later date and cuts off before the ending, as they did not have enough money to finish the movie. For this reason it was not possible to complete a Workprint Guide. It also misses some shots and shows many in a different order. This is not the version that suffers from Macrovision colour faults, it is a new version made by myself using the DVD and TV scenes. Whilst it contains most of the TV Version scenes, there are a few missing.

    It is cut for violence and swearing and also misses several scenes. It is cut for violence and swearing but it does not miss scenes like Version A. It contains one additional scene not present in Version A but the quality is much lower than Version A. However it is cut for violence and swearing in places. It does also miss some scenes. This version runs around 7 minutes longer than the DVD version and it contains some additional scenes and shots. Chiller [TV Version] This version runs around 7 minutes longer than the DVD version and it contains some additional scenes and shots.

    This version runs about 9 minutes shorter but has a few alt. Citizen Toxie [Workprint] This version runs around 3 minutes longer than the DVD version; it contains some extra scenes, an alternate ending, extra shots and alternate dialogue.

    It also contains an alternate soundtrack and incomplete special effects. It contains several extra scenes and shots. Thanks for ADigitalMan for creating this version.

    It incorporated all the scenes from the O. This version has never been released to video. Close Encounters of the Third Kind [TV Version] Original minute tv broadcast Cobra [TV Version] This version runs around 4 minutes longer than the DVD version, it is cut in places for language and violence but it contains several extra scenes not present in any other version.

    Here is the list of differences between normal version and TV edit: 1. Opening hostage scene: Alternate shot when gang member shoots with his shotgun.

    He shoots 2 times on fruits,but in TV cut one of these is close up shot of fruits exploding. Alternate dialogue. Aftermath of first murder: Extra scene after the first Nightslasher murder in which young Asian kid brings box in police station.

    Cop tell the kid to stay inside and go pick himself one of the toys from the box on the other side of the room. While kid is checking the toys,cop takes the box and sees blood dripping from bottom. Cop tells some other cop to trace the call and scene cuts to the regular autopsy scene. Gang during the day: After Cobra shoots paper target,extra scene is shown. Nightslasher is at his day job cutting fish in some factory,sniper guy is working is some garage and there is a shot of him loking at electric wires.

    In police precinct where Cobra shoot the target,sideview of some police officers hands and forearms is shown while they are shooting paper targets. Music during these scenes is the same one that was used for opening credits. Rashe the photographer talks with her a bit,and Ingrid requires security guard presence to go with her to her car,cause she feels nervous.

    Death scene of guy with the glasses is cut. Death scene of security guard is cut. He is not shown getting hit by the van. Attack on Cobra: Extended version of apartment attack. They continue to climb and then cut the light while sniper is looking from his car.

    Later when he sees one of the guys shot by Cobra falling down,sniper starts the car and escapes. Some violence and blood are cut during the fight between Cobra and gang members. Hospital attack: Shot of Slasher walking across the hallway with blood on his glove holding the knife is cut.

    After the chase: Extended scene where Cobra says that there is leak in the police,bald cop asks him a question. After Cobra and Ingrid start to kiss,there is extra shot showing some old guy watching the motel from his house across the street and pulling the curtain.

    Some wires are shown being cut. Woman is washing dishes in a kitchen. Sniper is shown behind the window. Sniper breaks window with axe,old guy is strangled quickly,his pipe falls down to the ground, close up shot of a parrot getting nervous is shown,and then zoom on sniper face. Final showdown: Death scene of sniper is cut.

    Shots of him burning alive are cut. He is only shown impaled for a few seconds,but the parts of him hanging on hook,screaming,going into fire and getting burned are cut. Extra scene after the shootout. Cobra and Ingrid are walking out of the factory when three cops show up and point shotguns at them. Cobra [Workprint] There is uncut,about 2 hour long work print of Cobra.

    This work print contains many scenes not shown in any other versions. Cocktail [TV Version] Some TV versions have some alternate takes of some scenes with no harsh language, such as the scene when Brian and Doug have their bar fight.

    Thanks to bcountyjr for creating this version. Letterboxed workprint with deleted scenes. The TV version also includes a scene during the opening credits where Nicolas Cage is in prison writing letters to his daughter.

    The theatrical version only shows a quick shot of mattresses and such on fire in the prison hallway. He does not appear in the theatrical release. In deleted scenes shown in the television version, Brian Morrison appears again for the third time as Joseph Patroni, Jr, having previously been seen as Joe Jr. Jessica Walter is also seen in a deleted flashback scene as Helen Patroni. The first, which is the theatrical version, has Harrison, on his private plane, after seeing that Maggie is still alive after the Concorde crashes in the mountains, shooting himself.

    The alternate scene, which airs on the network television version, which airs a further nineteen minutes of footage discarded from the theatrical version, has him shooting himself in a crowd of reporters while being asked about the Concorde incident. When this film was re-edited for showing on the ABC network in , nearly 20 minutes of additional footage was added, most of it specially shot more than two years after the original film completed production.

    Coneheads [TV Version] This version runs around 7 minutes longer than the DVD version, it is cut for violence but contains some extra scenes not present in any other version. A cable-TV version includes a scene with Beldar and Primat chatting with friends shortly after their return to Remulac.

    It also misses some major scenes. Creep [German Version] Details Creepshow [Workprint] This version runs around minutes longer than the DVD version and contains twenty seven alternate and extended scenes. In the original theatrical release, Richard Pryor is seen meeting the loan shark in a sex shop.

    But the TV version has the meeting in an old warehouse. The theatrical version just had standard titles over a black background. It is also cut in places for language and sexual references. The scenes are based on the screenplay even in the first 2 drafts.

    He barks at it, then cuts to the store sign with the dog yelping. Cindy is secretly carrying an easter basket as she was hidden as shes hunt for a small bit of eggs before the services to cheat kind of.

    However, a baby critter has hatched and is searching around from POV. Charlie is smiling at her, holding the playboy centerfold with staple shining in the sun then Charlie stares at her like he is in love.

    Critters 3 [TV Version]. Crocodile Dundee [Extended Version] This version runs around 7 minutes longer than the normal version and is taken from the Australian DVD; it contains some extra scenes, shots and alternate dialogue. It also misses some scenes and shots. Crow: City of Angels, The [TV Version] The following scenes were in the original minutes long workprint version of the film, but were cut from the theatrical version by Miramax in order to make The Crow: City of Angels more like The Crow: — Sarah had a longer voice over in the beginning of the film.

    Scared Ashe than runs away as in theatrical version. Then as Spidermonkey approaches, Ashe gets up, scaring Spidermonkey. Ashe tells one of them that if he the thug has a gun he should shoot him Ashe. The thug hesitates, and Ashe takes his gun, scaring the thugs and forcing them to flee. Ashe grabs her and looks into her eyes.

    With the finish line finally in sight, the film was taken from him and completed by other hands. Worst of all, it was completed in ways antithetical to his intentions. Williams never wanted to make a Disney movie. But after the popularity of The Little Mermaid , and with Aladdin on the cusp of release — its themes very similar to The Thief and the Cobbler — musical numbers were added to his film without his consent. The cobbler Tack, intended to be a mute tribute to silent film stars like Chaplin, Keaton, and Langdon, was now given a celebrity voice.

    The movie had become Disney-fied. Yet it could never be that kind of movie fully, and the body rejected the transplant. Even Roy E. Disney, always a champion for animation history inside an increasingly corporate behemoth, lobbied for its proper restoration and completion. Finally, in , the original workprint — the last version of the film over which Williams had complete creative control — was screened in Los Angeles and London, with the new title The Thief and the Cobbler: A Moment in Time, words that acknowledge its incomplete state.

    The Princess Yum-Yum: sketch used in place of an unfinished animated scene. When Williams initiated the project in , it was something quite different, an adaptation of the tales of the 13th century Sufi wise man Mulla Nasrudin as collected by the 20th century Sufi author and scholar Idries Shah.

    Williams was forced to begin almost from scratch, but he persisted, working from a much simpler, original story by composer Howard Blake to be re-written by Williams and Margaret French , retaining the Persian influence.

    His studio, with Ken Harris How the Grinch Stole Christmas as the lead animator and contributions from other noted animators including Grim Natwick who drew Betty Boop and Art Babbitt Snow White and the Seven Dwarfs, Pinocchio, Fantasia , continued working on the film whenever they could, but without a consistent source of financing, it was a side project, a labor of love. The film grew elaborately and wildly in all directions, like a strange fungus overflowing from its petri dish.

    This exquisitely animated setpiece was completed with financing from a Saudi Arabian prince in The thief and the cobbler, Tack. A distribution deal was struck with Warner Bros. When Williams failed to meet this deadline, the film was taken away by the Completion Board Company in Miramax acquired the film, and under Harvey Weinstein further slashed its length and released it as an afterthought in , now calling it Arabian Knight.

    But viewing the workprint, The Thief and the Cobbler: A Moment in Time, is to witness a delightfully inventive animated film that is tantalizingly close to completion.

    Of the incomplete sequences, most are expository or dialogue-driven, as though Williams was far more interested in the intricate slapstick moments, which contain very little dialogue at all. Only a few of the unfinished scenes, such as the collapse of a mountain shaped of hands, suggest the same level of show-stopping hyper-detail, but then again, most of the film is rendered with an absurd amount of loving attention. If Williams found a moment to be too straightforward, he would eventually find a way to complicate it, to heighten it.

    What makes Thief and the Cobbler so appealing to animation fans is that Williams was pushing for the purest possible form of hand-drawn animation. Williams then warps this style into the realm of optical illusions and M. Escher, notably in the scene in which Tack the Cobbler chases the Thief through the black-and-white palace, swept along through endlessly spiraling stairs and continually thwarted by the baffling dimensions and disguised pitfalls of the backgrounds.

    And later he tries to find his way free of the grounds where a polo match is taking place, but the ball keeps following him, luring a stampede of polo players to thwack him and launch him skyward over and over again.

    But both he and the princess who inexplicably falls for him are less compelling than the Thief, who sneaks along the edges of the story in pursuit of the latest prize. The Thief has a doggedness which makes him as appealing as any of the classic Looney Tunes characters. ZigZag the Grand Vizier Price is also a unique creation, his long shoes uncoiling before each step like party blowers, always accompanied by his faithful vulture Phido Pleasence.

    Surely he was an inspiration for Jafar and his parrot in Aladdin. Much of the film is dazzling and funny, but the narrative and pacing are hopelessly clumsy. It goes on too long, but every moment is rich with detailed gags. One could say the same thing for The Thief and the Cobbler as a whole. None of its flaws are inherent in the animation itself. As a craftsman, Williams had perfected his craft, even if the object was evolving over three decades of his life as an artist and never properly finished.

    It feels particularly relevant and important in an age when almost all animation is accomplished within computers. Williams demonstrates the breadth of imagination and the degree of perfection that can be achieved entirely by hand — assuming, of course, that one has the time.

    By actually one of the most refreshing vampires I seen on screen in a good while- Nadja Natasia Demetriou. She has a temper with Laszlo because these entwined romantic, charismatic blood sponges have an voracious appetite, so, all in all. Correction, they are harlots… Oh, did I cite romantic and charismatic? There is one that that stands out for me the most and makes the most genius premise. Vampires drain, as they are wont to do, but who ever said they only have to drain physical life?

    Workprints

    We round out the roomies with Colin Robinson Mark Prokscha resent energy vampire. In contrast to the maybe sartorially questionable choices the rest make, Colin is the most dangerous. So, the table is set, but do we know the course? You set out the Red Carpet. In the meantime, Nadja is possibly stepping out on her beloved, as she believes one of her past loves bears the resemblance of possibly a human she continually stalks.

    Ultimately, after a funny scene of Nandor wanting to by all that he can to welcome the Highest in a dollar store with Guillermo in tow and wanting Baron to see him as the prettiest and most willing Vamp, we realize that him and his familiar are not to unfamiliar.

    Spinal Tap - All The Way Home Lyrics

    I love this concept. The housemates get the Virgins together, the clock is set. Sometimes, in the case of X-Men Origins: Wolverine, a workprint for a major Hollywood tentpole blockbuster wannabe gets leaked to the Internet days or weeks in advance of its theatrical release. Even with the advancement of cutting edge home entertainment technology that allows deleted scenes to be included as extra features on DVDs and Blu-rays of the films they were cut from, these alternate cuts are highly sought out by collectors and hardcore film buffs for the footage they contain that has never been publicly released.

    You can typically find workprints for many a classic work of cinema hiding out on the web among the torrent sites and bootleg DVD retailers. But most of the time you have to search high and low to find one that is snatched from the clutches of the studio that financed it, digitized, and set free for all eternity online.

    Case in point…. Few filmmakers make their directorial debut with a bonafide masterpiece, but that is exactly what Rob Reiner did when he made Spinal Tap. It was released to critical acclaim in and over the years became a highly quotable cult classic.

    WORKPRINTS – Master List

    There are good comedies, great comedies, and comedy classics. Spinal Tap is all three and then some. The characters had been developed for years even before the film was made, and by the time cameras the actors were so ensconced with their respective creations that they were able to ad-lib most of their dialogue.


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