However it turns out - THE SNYDER CUT is now going to be one of the most unique cinematic case studies we’ve ever had.

As a teen, the @Criterion of BRAZIL was an crucial tool towards my understanding the power of editing & studio interference.

Why was that DVD set so special?

It contained three cuts of Terry Gilliam’s masterpiece. The studio butchered theatrical version, his wildly different directors cut, and the amalgam European version.

It’s remarkable how different these variations are and any aspiring filmmaker should study the sweeping changes.

There are many other other instances of Directors Cuts being vastly different from a theatrical release, but none quite like BRAZIL.

The Snyder Cut adds a completely different and fascinating layer to this in the age of blockbuster cinema.

Making tentpole films is always a rush to a release date. Sometimes the most obvious improvements or fixes can’t be accomplished due to the fog of war as barrel to the finish line.

So now we have a film that has the near nonexistent ability within Hollywood to reopen an edit with hindsight and to see the forest from the trees.

Nearly 4 years later a director returns to a film with a new budget for reshoots, reshaping, and the gift of 20/20 vision.

Not to mention that entirely new sequences, shots, moments etc can be created from the ground up with VFX.

It’s just simply not a situation or circumstance that has ever transpired before within Hollywood.

So, that’s a long way of saying - consider me excited.

However, I do wish at some point we’re able to see the directors cut /assembly (in whatever broken form) before Zach left the project.

Then it would truly elevate itself to a type of cinematic case study we’ve never had access to before.

I doubt that will ever happen though.