Some Films Need to Cut Their Losses; Directors Can Get Closer to Their Original Vision in Definitive Versions of Their Movies, but Shouldn't Some Scenes Stay On the Cutting-Room Floor?
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Summary
The news that Wong Kar-Wai is not, after all, ready to share his long-awaited opus, 2046, with Edinburgh International Film Festival audiences will not have come as a total shock to those familiar with the visionary Hong Kong director's recent form.
As EIFF artistic director, Shane Danielsen, ruefully concluded when the film was pulled from the closing night slot, "This is just one of the pitfalls of working with eccentric artistic geniuses". But even the common run of eccentric artistic geniuses aren't in the habit of continuing to shoot new scenes for their films four years into the production process, or finally delivering a still unfinished print to Cannes by private jet two hours before its red- carpet screening.See the full content of this document
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Some Films Need to Cut Their Losses; Directors Can Get Closer to Their Original Vision in Definitive Versions of Their Movies, but Shouldn't Some Scenes Stay On the Cutting-Room Floor?
Some might conclude that EIFF's faith in Wong was always a little misplaced; but then, they did have a precedent for trusting him. In August 2000, In The Mood For Love - to which 2046 is a sequel of sorts - closed the Festival to rapturous acclaim, despite a troubled production process that prefigured 2046's epic gestation period, and culmi...
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