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RE: Perhaps it doesn't occur to you and the other guy that

"directors produce films KNOWING that the producer will weigh in with cuts, therefore they put in some filler"

Knowing they "will," and knowing they "can" are two different things. Knowing "what" will be cut is another can of worms. But we are not talking about that, really. Your original post was about the director's cut being "bogus", and whether the director knows that the studio will, might, can, etc. has nothing to do with the director's cut being bogus.

"Bogus" is a judgment word. Calling the director's cut "bogus" necessarily means that the studio's theatrically released version is "not bogus." Scott, as was I, simply pointed out that, in most cases, the director's cut is not bogus, rather it is the studio's theatrically released film.

A few director have final cut privelage. How is that when a studio which releases a film from a director who has final cut release theatrically is not bogus, but when the director's final cut is released on D.V.D. it is bogus? I doubt you can see the hypocrisy here. Either a director's cut is bogus or not. Whether released on D.V.D. or theatrically.

"I think we might acknowledge that the human body is not made to sit still for three hours in silence, without getting up and moving around. In the "old days," longer films like "Ben Hur" had intermission. That's gone now as films typically extend over 2 hours."

I am not saying that releasing a three hour film is good. Only that the studio is editing the film not for artistic reasons, but for commerce, which would seem to make the theatrical release bogus. By the way, The Right Stuff had an intermission. Intermissions were used in order to allow the projectionist to change the reel in the old cinemas. The director's cut allows you see the film the director intended - for artistic reasons. He or she may have asked the audience from the studio. But is not that what all great directors do?

"Director's cuts would kill the film; producers are more logical. No ego involved."

Huh? No ego? You mean like those producers that demand that in exchange for their cash they get their name on the screen? Or on the stage common awards time? You misunderstand the role of producers. I'll be happy to defer to Scott, but producers bring in the money, and provide the accoutrements necessary for the film. But they are not the creative force in the film. Everybody's green is the same color. Change a producer with the same funding, the film still goes off.

On the other hand, would Vertigo have been the same without Hitch?

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