History ExecutiveMeddling / Film

26th Jun '16 3:57:09 PM KingClark
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** ''Film/ThorTheDarkWorld'' was originally planned to focus more on the Dark Elves, especially Malekith, but those scenes were cut in favor of more of EnsembleDarkhorse Loki. (Fan reaction was mixed.) Director Alan Taylor also [[http://www.huffingtonpost.com/2013/10/24/thor-2-credits-scene_n_4159190.html?utm_hp_ref=entertainment publicly complained]] about TheStinger that set up [[spoiler: the Film/GuardiansOfTheGalaxy]], feeling that it clashed with what was otherwise a fantasy film; Marvel ''loves'' these stingers and had this one done without Taylor's involvement.

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** ''Film/ThorTheDarkWorld'' was originally planned to focus more on the Dark Elves, especially Malekith, but those scenes were cut in favor of more of EnsembleDarkhorse Loki. (Fan reaction was mixed.) Director Alan Taylor also [[http://www.huffingtonpost.com/2013/10/24/thor-2-credits-scene_n_4159190.html?utm_hp_ref=entertainment publicly complained]] about TheStinger that set up [[spoiler: the Film/GuardiansOfTheGalaxy]], ''Film/GuardiansOfTheGalaxy, feeling that it clashed with what was otherwise a fantasy film; Marvel ''loves'' these stingers and had this one done without Taylor's involvement.
26th Jun '16 3:51:11 PM KingClark
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** In ''Film/IronMan2'', studio execs clashed with Creator/TerrenceHoward's agents, leading to him [[TheOtherMarty being replaced]] by Creator/DonCheadle. They also re-cut BigBad Ivan Vanko/Whiplash's scenes to make him less sympathetic. And they insisted on adding story elements that would help set up ''Film/{{TheAvengers|2012}}'', which director Creator/JonFavreau thought made for a much less coherent story overall. Favreau was so put off by the studio that he refused to return for ''Film/IronMan3''.

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** In ''Film/IronMan2'', studio execs clashed with Creator/TerrenceHoward's agents, leading to him [[TheOtherMarty being replaced]] by Creator/DonCheadle. They also re-cut BigBad Ivan Vanko/Whiplash's scenes to make him less sympathetic. And they insisted on adding story elements that would help set up ''Film/{{TheAvengers|2012}}'', ''Film/{{The Avengers|2012}}'', which director Creator/JonFavreau thought made for a much less coherent story overall. Favreau was so put off by the studio that he refused to return for ''Film/IronMan3''.
26th Jun '16 3:50:49 PM KingClark
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** In ''Film/{{TheAvengers|2012}}'', Creator/JossWhedon wanted Loki to have a muscular [[TheDragon Dragon]] intimidating enough to go up against the Hulk. Marvel said no, not wanting too many Asgardian or fantasy elements in the movie. Marvel also replaced Creator/EdwardNorton with Creator/MarkRuffalo as the Hulk, although this one worked out as fans liked Ruffalo's portrayal (and Norton was notoriously difficult to work with).

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** In ''Film/{{TheAvengers|2012}}'', ''Film/{{The Avengers|2012}}'', Creator/JossWhedon wanted Loki to have a muscular [[TheDragon Dragon]] intimidating enough to go up against the Hulk. Marvel said no, not wanting too many Asgardian or fantasy elements in the movie. Marvel also replaced Creator/EdwardNorton with Creator/MarkRuffalo as the Hulk, although this one worked out as fans liked Ruffalo's portrayal (and Norton was notoriously difficult to work with).
24th Jun '16 4:05:54 PM Adept
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* During filming of ''Film/TheBluesBrothers'', Universal kept pressuring John Landis to replace some of the African American musical stars in the cast like CabCalloway and ArethaFranklin with acts like Rose Royce who were more contemporary and successful (the notable exception was RayCharles). Such changes would have [[LifeImitatesArt contradicted]] much of the {{Aesop}} behind the movie, to give respect and attention to blues, jazz and R&B's rich history and traditions, which were being neglected as new trends in music were emerging and traditional black musicians were being forgotten. Landis refused the changes, but as a result some theater chains refused to book it into their theaters in white neighborhoods.

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* During filming of ''Film/TheBluesBrothers'', Universal kept pressuring John Landis to replace some of the African American musical stars in the cast like CabCalloway Music/CabCalloway and ArethaFranklin Music/ArethaFranklin with acts like Rose Royce who were more contemporary and successful (the notable exception was RayCharles). Such changes would have [[LifeImitatesArt contradicted]] much of the {{Aesop}} behind the movie, to give respect and attention to blues, jazz and R&B's rich history and traditions, which were being neglected as new trends in music were emerging and traditional black musicians were being forgotten. Landis refused the changes, but as a result some theater chains refused to book it into their theaters in white neighborhoods.
19th Jun '16 1:47:07 PM KenKevinStriker
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** And he really wanted Superman to fight a GiantSpider, as [[http://www.youtube.com/watch?v=vgYhLIThTvk he discusses here]]. It completely befuddled Kevin Smith, who could only surmise that it was an homage to ''Film/KingKong''. This became Peters' most infamous request; it would be parodied by the animated ''WesternAnimation/SupermanDoomsday'', where Superman does fight a giant mechanical spider, which a bystander -- resembling and voiced by Creator/KevinSmith -- calls "lame". (''ComicBook/SupermanBirthright'' did the same but made it [[RuleOfCool awesome]].) Peters, undeterred, would bring his GiantSpider obsession to other projects, including an abortive adaptation of ''ComicBook/TheSandman'', before finally getting his wish in ''Film/WildWildWest''.

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** And he really wanted Superman to fight a GiantSpider, as [[http://www.[[https://www.youtube.com/watch?v=vgYhLIThTvk com/watch?v=WOwJaAQtOa8 he discusses here]]. It completely befuddled Kevin Smith, who could only surmise that it was an homage to ''Film/KingKong''. This became Peters' most infamous request; it would be parodied by the animated ''WesternAnimation/SupermanDoomsday'', where Superman does fight a giant mechanical spider, which a bystander -- resembling and voiced by Creator/KevinSmith -- calls "lame". (''ComicBook/SupermanBirthright'' did the same but made it [[RuleOfCool awesome]].) Peters, undeterred, would bring his GiantSpider obsession to other projects, including an abortive adaptation of ''ComicBook/TheSandman'', before finally getting his wish in ''Film/WildWildWest''.
13th Jun '16 11:07:42 PM GoldenSeals
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[[ExecutiveMeddling Executives involve themselves in project direction!]] Film at eleven!

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[[ExecutiveMeddling Executives involve themselves in project direction!]] Film at eleven!



** He also did this to ''Film/VampireAcademy'', much to the chagrin of its screenwriter, Daniel Waters.
* ''Film/{{Scream 4}}'' was another victim of Harvey Weinstein's tampering, with both Creator/HaydenPanettiere and director Creator/WesCraven reportedly complaining about script changes. The DVDCommentary brings up a number of instances, particularly noting that the film originally ended with [[spoiler: a "We got a heartbeat!" scene involving Panettiere's character Kirby]]. Given that the finished version has the most [[DownerEnding downbeat ending]] of the series and was the least successful at the box office, [[spoiler: and given both audiences and critics gave Panettiere major props, leaving Kirby writhing on the ground in agony with her fate left in the air might have been a mistake]].



* The planned ending of the 2007 film of ''Film/IAmLegend'' tested poorly and, at the studio's insistence, was replaced with one that was both nothing like the book and completely against the point of the original film. Among other things, it introduces serious plot holes, skips the shocking twist that made the book so successful (while still heavily foreshadowing the now-nonexistent twist), and even removes the reason for the movie to be called "I Am Legend" -- Which, really, seems to be par for the course for every adaptation of the book.

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* The planned ending of the 2007 film of ''Film/IAmLegend'' tested poorly and, and was replaced at the studio's insistence, insistence. The new ending was replaced with one that was both nothing like the book book's and also completely against the point of the original film. Among other things, it introduces serious plot holes, skips the shocking twist that made the book so successful (while still heavily foreshadowing the now-nonexistent twist), and even [[InNameOnly removes the reason reason]] for the movie to be called "I Am Legend" -- Which, really, seems to be par for the course for every adaptation of the book.Legend".



* The movie of Creator/RobertAHeinlein's ''The Puppet Masters'' suffered from this. Executives who wanted to change the slugs to spores from space and other disgraces are listed in [[http://www.wordplayer.com/columns/wp15.Building.the.Bomb.html this essay]] by the script writer.
* ''Film/BabylonAD'', which evidently made sense at some point, was reportedly disowned by its director over an {{egregious}} example of this. The full story can be found [[http://blogs.amctv.com/scifi-scanner/2008/08/babylon-ad-mathieu-kassovitz.php here]]. The studio in question? Fox.
-->"The film's production was reportedly riddled with problems, from vast delays to budgetary concerns to weather setbacks. Kassovitz points to the studio, 'Fox was sending lawyers who were only looking at all the commas and the dots,' he says. 'They made everything difficult from A to Z.' The last stroke, Kassovitz says, was when Fox interfered with the editing of the film, paring it down to a confusing 93 minutes. Diesel too was astounded at the film's length. Having just completed production of the fourth installment of ''The Fast and the Furious,'' he had not seen a cut of the film in six months. 'Am I even in the movie any more, or am I on the cutting room floor?' the actor joked. Fox could not be reached for comment on this story."
* The ''Film/{{Hitman}}'' movie was severely meddled with, at least according to [[http://www.cinematical.com/2007/11/06/timothy-olyphant-says-hitman-director-was-maybe-sort-of-fir/ well-substantiated rumors]]. If you watch the trailers (and promotional stills) carefully, you can see the remains of a different "train station" scene. It is said that the producers ordered the editor (Nicolas de Toth) to actually direct the re-shoot (the infamous swordfight scene) without even notifying the director Xavier Gens about it. Also, the leaked near-final script contains scenes that could be matched to the remains seen in trailers and promotional photos. The studio in question? Fox. Again.
* Shusuke Kaneko originally wanted to use Varan and Anguirus for a ''Franchise/{{Godzilla}}'' film he was directing. However, the Executives at Toho Studios made him use two more popular monsters instead. And, thus, we ended up with the awkwardly-named ''Film/GodzillaMothraKingGhidorahGiantMonstersAllOutAttack'': One of the ''Godzilla'' series's more infamous {{Special Effect Failure}}s is the incredibly obvious strings holding up the prop for the titular airborne antagonist of ''Film/GodzillaVsMegaguirus'' - made much worse by the fact that the film was made in 2000, even though Toho's [[{{Kaiju}} giant monster]] [[{{Tokusatsu}} movies]] have hid their the wires very well ever since ''the early 1960s''. As it turns out, the effect is perfectly convincing in the Japanese print of the film; when Sony released it on DVD in America, however, they used a much brighter print for some reason, rendering the strings extremely visible.
* The original plans had Creator/ArnoldSchwarzenegger in ''Film/ConanTheBarbarian1982'' being the narrator. The suits didn't like that, therefore {{Creator/Mako}} became the narrator. Which, again, just goes to show that ExecutiveMeddling can have positive effects, because Mako's narration is so [[LargeHam high on pork content]] it's ''impossible'' not to like it. Plus, [[TheAhnold Arnold's voice would be much worse as the narrator]].
* ''Film/LogansRun'' had [[http://www.snowcrest.net/fox/loganmovie/index.htm loads of important scenes cut]]. The reason? The studio suddenly decided it had to be a PG movie. ''A PG-rated movie based on Literature/LogansRun.''

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* The movie of Creator/RobertAHeinlein's ''The Puppet Masters'' suffered greatly from this. Executives who wanted to change the slugs to spores from space and other disgraces are listed meddling, as expounded in [[http://www.wordplayer.com/columns/wp15.Building.the.Bomb.html this essay]] by the script writer.
scriptwriter. Among other things, the execs wanted to change the slugs to space spores.
* ''Film/BabylonAD'', which evidently made sense at some point, was reportedly disowned by its director over an {{egregious}} example because of this. The full story can be found Fox's meddling, as described [[http://blogs.amctv.com/scifi-scanner/2008/08/babylon-ad-mathieu-kassovitz.php here]]. The studio in question? Fox.
-->"The film's production was reportedly riddled with problems, from vast delays to budgetary concerns to weather setbacks. Kassovitz points to
They cut the studio, 'Fox was sending lawyers who were only looking at all the commas and the dots,' he says. 'They made everything difficult from A to Z.' The last stroke, Kassovitz says, was when Fox interfered with the editing of the film, paring it film down to a confusing 93 minutes. Diesel too was astounded at the film's length. Having just completed production of the fourth installment of ''The Fast and the Furious,'' he had not so much that Creator/VinDiesel, who hadn't seen a cut of the film in six months. 'Am I even for months, jokingly wondered if he was still in the movie any more, or am I on the cutting room floor?' the actor joked. Fox could not be reached for comment on this story."
at all.
* The ''Film/{{Hitman}}'' movie was severely meddled with, at least according to [[http://www.cinematical.com/2007/11/06/timothy-olyphant-says-hitman-director-was-maybe-sort-of-fir/ well-substantiated rumors]]. If you watch the trailers (and promotional stills) carefully, you can see the remains of a different "train station" scene. It is said that the producers ordered the editor (Nicolas editor, Nicolas de Toth) Toth, to actually direct the re-shoot (the infamous swordfight scene) -- without even notifying the director director, Xavier Gens about it. Also, the Gens. The leaked near-final script contains scenes that could be matched to the remains seen in trailers and promotional photos. The studio in question? Fox. Again.
photos.
* ''Film/GodzillaMothraKingGhidorahGiantMonstersAllOutAttack'' owes its existence to executive meddling. Director Shusuke Kaneko originally Kaneko's original plan was to use Varus and Anguirus, but execs at Creator/{{Toho}} wanted him to use Varan and Anguirus for a ''Franchise/{{Godzilla}}'' film he was directing. However, the Executives at Toho Studios made him use two more popular monsters instead. And, thus, we ended up with the awkwardly-named ''Film/GodzillaMothraKingGhidorahGiantMonstersAllOutAttack'': One of the ''Godzilla'' series's more infamous {{Special Effect Failure}}s is the incredibly obvious strings holding up the prop for the titular airborne antagonist of ''Film/GodzillaVsMegaguirus'' - made much worse by the fact that monsters, leading to the film was made in 2000, even though Toho's [[{{Kaiju}} giant monster]] [[{{Tokusatsu}} movies]] have hid their (and its awkward title).
* In ''Film/ConanTheBarbarian1982'',
the wires very well ever since ''the early 1960s''. As it turns out, the effect is perfectly convincing in the Japanese print of the film; when Sony released it on DVD in America, however, they used a much brighter print for some reason, rendering the strings extremely visible.
* The
original plans had plan was for Creator/ArnoldSchwarzenegger in ''Film/ConanTheBarbarian1982'' being to be the narrator. The suits didn't like that, therefore {{Creator/Mako}} so Creator/{{Mako}} became the narrator. Which, again, just goes to show that ExecutiveMeddling can have positive effects, because TropesAreNotBad; Mako's narration is so [[LargeHam high on pork content]] that it's ''impossible'' impossible not to like it. Plus, [[TheAhnold Arnold's voice would be much worse as the narrator]].
it.
* ''Film/LogansRun'' had [[http://www.snowcrest.net/fox/loganmovie/index.htm loads of important scenes cut]]. The reason? The studio suddenly decided it had to be rated PG. Even though the [[Literature/LogansRun book it was adapted from]] was set in a PG movie. ''A PG-rated movie based on Literature/LogansRun.''dark, {{crapsack|world}}, TeenageWasteland.



* ''Film/EnemyMine'' suffered from this one. The studio executives believed [[ViewersAreMorons the title would confuse audiences]] who wouldn't realize "mine" was the first person possessive, and so insisted on the addition of a subplot [[ExactlyWhatItSaysOnTheTin involving a mine. Run by the enemy.]]
* While the Creator/EdWood "masterpiece" ''Film/GlenOrGlenda'' would have been a horrible movie regardless, the suits [[{{Pun}} pulled the strings]] behind the scenes, adding softcore bondage so the film could draw more publicity as an adults-only extravaganza. Ironically this meant that the film didn't make much of a profit and only gained national attention when it was re-released in theatres in the coming decades.
* The Orange Cinema adverts reference this. In one example, Macaulay Culkin (the actor who played the boy from ''Film/HomeAlone'') is acting in a deep-sounding film about a guy in jail writing a diary/letter about his experiences/history. Then a director comes on, and pitches a ''HomeAlone'' sequel. Next thing we know people are thumping into each other and paint cans are knocking their heads (like in the movies). Mac is not amused. (The advert could also be in reference to ''Home Alone's'' {{Sequelitis}}.)
* Creator/{{Disney}}'s fantasy-based production of ''Film/SuperMarioBros'' that predated the second, sci-fi-oriented production had already drained $10 million of the total budget in the six months under former director Greg Beeman. The producers scrambled for nearly a year to get another director before finally settling on Rocky Morton and Annabel Jankel (formerly of MaxHeadroom fame) because they were the ''only'' directors interested in the property. With already $10 million in the can, the new writers working with Rocky and Annabel were dictated to severely limit any action sequences or concepts that would require special effects. They ignored this mandate and wrote a very hardcore version of the film that was later re-written ''twice'', the second time actually being filmed. Faced with a massive delay, the producers had over half the shooting script trimmed of sub-plots and backstory to save time. Rocky and Annabel were also rarely allowed to direct under their own style and forced to send daily updates to the producers so they could dictate further changes. In the end, over 20 minutes of deleted scenes were removed to get Mario and Luigi into the parallel world quicker and to get the rating down, including a scene at the Boom Boom Bar where Iggy and Spike rap while {{Stripperiffic}} girls dance around them. Finally, the producers had the atrocious animated intro made to make-up for the backstory clarified in the deleted scenes.
** It's been said that all this [[LaserGuidedKarma came back to bite Disney's ass later on]]. When Nintendo decided to venture into theme parks by giving the license to use Nintendo properties to Creator/UniversalStudios, said rumors say Nintendo remembered Disney's behavior and were cautious into ensuring Disney '''not''' touch that pizza pie.
* ''Film/AStreetcarNamedDesire'' had a fair amount of this going on during production. Some of the jazzy, brass-heavy music was deemed "too suggestive" and re-scored with strings. The ending was also changed, to show Stella leaving Stanley after he rapes Blanche. Blanche's monologue about her husband was also toyed around, making it nearly impossible to realize he was homosexual if you hadn't read or seen the play. In fact, it ruins the reason ''why'' he kills himself.
** These changes were justified since TheHaysCode was in effect and the studio had to comply. 40 years later, a Director's Cut was released that made up for it.
* The movie version of the stage musical ''SeventeenSeventySix'' -- which was actually commissioned by the US government as part of the runup to the bicentennial -- was subjected to ''executive branch'' meddling: UsefulNotes/RichardNixon disliked the modern-day parallels/implications of the VillainSong (or at least Antagonist Song) "Cool Considerate Men," which was an ode to the wealthy, risk-averse conservatives who opposed the Independence movement ("To the right, ever to the right! Never to the left, forever to the right!"). He pressured his old buddy movie producer Jack Warner to not only expunge the number from the film but to ''destroy the footage'' as well. However, Warner was no longer directly in charge at the studio and the negatives were simply packed into unmarked boxes. The song was restored to its rightful place in the movie for the Special Edition DVD release.
** And it wasn't the first time he'd tried to have the song killed. Nixon had earlier attempted to pressure playwright Sherman Edwards into removing the number after seeing a performance of the play at the White House, but Edwards refused.
** WordofGod later claimed that Warner would later regret cutting "Considerate Men" from the film, as the number was necessary to advance the plot and thus ruined the impact of the film.
* According to the commentary on the extended edition DVD, the creative team behind ''Film/{{Underworld}}'' was pressured by the studio to keep Viktor a sympathetic character throughout, and have Lucian be a straight villain. (One wonders what would have actually ''happened'' in said meddled-with movie, since that would have negated the story and the bulk of the action.) The writing/directing team luckily prevailed, keeping the revelation of Lucian as a sympathetic figure and Viktor as a lying murderous jerk.
* ''Film/{{Brazil}}''. ''Brazil'' probably stands out as one of the most contentious and publicly played-out instances of Executive Meddling ever. Universal's COO, Sid Sheinberg, tried to hack the Creator/TerryGilliam film -- which is now considered one of the best fantasy films ever made (currently it is 54th on the BFI's list of Top 100 British films) -- down from it's original run time of 142 minutes to 97. He also wanted to replace Michael Kamen's orchestral score with contemporary rock music hits so it would "attract the teens", spin its tone from a sci-fi epic into a love story, and lastly, to use a dream sequence scene filmed for earlier in the film literally to turn its bleak last scenes into an cuddly, romantic happy ending. Gilliam fought back-and-forth with Sheinberg, who was holding him to a clause on the length of the film, but even after the director edited 10 minutes from the film to fall under his contract's agreed-upon running time, Sheinberg continued to fight Gilliam on the film's Orwellian-like content. Gilliam then set up clandestine screenings for students & critics, which began to drum up buzz for the film. Film critics in both New York and L.A. began putting it on their top 10 lists -- without the film having yet been officially released. Finally, frustrated, Gilliam bought [[http://img.gawkerassets.com/img/18lpen71y9yhwjpg/ku-medium.jpg a full-page ad]] in ''Variety'' asking Sheinberg, 'When are you going to release my film, Brazil?'. Gilliam eventually secured a theatrical release of his 132-minute cut. Sheinberg worked with outside editors to create his shorter cut (dubbed the 'Love Conquers All' version) which was also released theatrically, to massive indifference. Gilliam's original 142-minute cut was eventually released by Criterion on home video, side-by-side with the shorter 'Love Conquers All' cut, which actually still occasionally crops up on television in syndication.
** ''Brazil'' was considered one of the more prominent examples of ExecutiveMeddling in recent years so much that a ''whole book'', ''The Battle Of Brazil'', was written by L.A. Times' film critic Jack Matthews on how much Sheinberg & Universal screwed Terry Gilliam over. A documentary based on the book, hosted by Matthews, appears on Criterion's home video releases.
** Gilliam wouldn't work with Universal Studios again for nearly ten years, until he directed ''Film/TwelveMonkeys'' to nearly-unanimous critical acclaim. During the film's shoot, Gilliam has a documentary team recording everything in case things went sideways as they did with ''Brazil''. The resulting film, ''The Hamster Factor and Other Tales of Twelve Monkeys'', was included on the film's release on home video.
** It should be noted that the entire situation was affecting the American release of ''Brazil'', as Universal owned distribution rights only for that territory. Executives over at 20th Century Fox, the film's European distributor, harbored no issue with the picture whatsoever.

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* ''Film/EnemyMine'' suffered from this one. ''Film/EnemyMine'': The studio executives believed [[ViewersAreMorons the title would confuse audiences]] who wouldn't realize that "mine" was the first person possessive, and so insisted on the addition of a subplot [[ExactlyWhatItSaysOnTheTin involving a mine. Run by the enemy.]]
* While the Creator/EdWood "masterpiece" ''Film/GlenOrGlenda'' would have been a horrible movie regardless, the suits [[{{Pun}} pulled the strings]] behind the scenes, adding softcore bondage so the film could draw more publicity as an adults-only extravaganza. Ironically Ironically, this meant that the film didn't make much of a profit and only gained national attention when it was re-released in theatres in the coming decades.
* The Orange Cinema adverts reference this. In one example, Macaulay Culkin (the actor who played the boy from ''Film/HomeAlone'') is acting in a deep-sounding film about a guy in jail writing a diary/letter about his experiences/history. Then a director comes on, and pitches a ''HomeAlone'' sequel. Next thing we know people are thumping into each other and paint cans are knocking their heads (like in the movies). Mac is not amused. (The advert could also be in reference to ''Home Alone's'' {{Sequelitis}}.)
* Creator/{{Disney}}'s fantasy-based production of
''Film/SuperMarioBros'' that predated the second, sci-fi-oriented production had already drained $10 million of the total budget movie was originally a Creator/{{Disney}} production. Disney wanted a more fantasy-based production, but they were in the six months under former a hole early when they were forced to fire director Greg Beeman. The producers Beeman after spending $10 million in just six months. They scrambled for nearly a year to get another director before finally settling on hiring Rocky Morton and Annabel Jankel (formerly of MaxHeadroom (of ''MaxHeadroom'' fame) because they were -- the ''only'' only directors interested in the property. With already $10 million in the can, it. They told the new writers working with Rocky and Annabel were dictated to severely strictly limit any new action sequences scenes or concepts that would require anything requiring special effects. They ignored this mandate and wrote a very hardcore version of the film that was later re-written ''twice'', the second time actually being filmed. Faced with a massive delay, the producers had over half the shooting script trimmed of sub-plots and backstory to save time. Rocky and Annabel effects; they were also rarely allowed to direct under their own style ignored, resulting in two re-writes before filming began. Then the execs micromanaged the heck out of Morton and forced to send daily updates to the producers so they could dictate further changes. In the end, over 20 minutes of Jankel, deleted scenes were removed to get Mario 20 minutes' worth of footage, and Luigi into the parallel world quicker and to get the rating down, including a scene at the Boom Boom Bar where Iggy and Spike rap while {{Stripperiffic}} girls dance around them. Finally, the producers had the created an atrocious animated intro made to make-up make up for the backstory clarified in the deleted scenes.
**
it. It's been said that all this [[LaserGuidedKarma came back treatment was a big reason why Creator/{{Nintendo}} refused to bite Disney's ass later on]]. When Nintendo decided license its characters to venture into Disney for its theme parks by giving the license to use Nintendo properties to Creator/UniversalStudios, said rumors say Nintendo remembered Disney's behavior and were cautious into ensuring Disney '''not''' touch that pizza pie.
(going with Creator/UniversalStudios instead).
* ''Film/AStreetcarNamedDesire'' had a fair amount of this going on during production. Some of the jazzy, brass-heavy music was deemed "too suggestive" and re-scored with strings. The ending was also changed, to show Stella leaving Stanley after he rapes Blanche. Blanche's monologue about her husband was also toyed around, with, making it nearly impossible to realize he was homosexual if you hadn't read or seen the play. In fact, it ruins the reason ''why'' he kills himself.
**
play and ruining his motivation for killing himself. These changes were justified since TheHaysCode was in effect and the studio had to comply. 40 years later, mandated by TheHaysCode; a Director's Cut was released that made 40 years later would make up for it.
* The movie version of the stage musical ''SeventeenSeventySix'' -- which was actually commissioned by the US U.S. government as part of in the runup to the bicentennial -- was subjected to Bicentennial. As such, it suffered from ''executive branch'' meddling: meddling, in particular regarding the VillainSong "Cool Considerate Men". It detailed the motives of what were then "conservatives" -- ''i.e.'' the wealthy, risk-averse colonists who opposed the independence movement. Then-president UsefulNotes/RichardNixon disliked hated the modern-day parallels/implications of song for its implied parallels to ''his'' conservative movement. He was unsuccessful in getting it removed from the VillainSong (or at least Antagonist Song) "Cool Considerate Men," which play, but he was an ode to the wealthy, risk-averse conservatives who opposed the Independence movement ("To the right, ever to the right! Never to the left, forever to the right!"). He pressured his old buddy movie friends with producer Jack Warner to not only expunge the number and got it removed from the film but film. He went so far as to ask Warner to ''destroy the footage'' as well. However, Warner was footage''; Warner, no longer directly in charge at of the studio and studio, could only have the negatives were simply packed into unmarked boxes. He would later regret cutting the song from the film, feeling it was essential to the plot. The song was restored would make it to its rightful place in the movie for the Special Edition DVD release.
** And it wasn't the first time he'd tried to have the song killed. Nixon had earlier attempted to pressure playwright Sherman Edwards into removing the number after seeing a performance of the play at the White House, but Edwards refused.
** WordofGod later claimed that Warner would later regret cutting "Considerate Men" from the film, as the number was necessary to advance the plot and thus ruined the impact of the film.
* According to the commentary on the extended edition DVD, the creative team behind ''Film/{{Underworld}}'' was pressured by the studio to keep Viktor a sympathetic character throughout, and have Lucian be a straight villain. (One One wonders what would have actually ''happened'' in said meddled-with such a movie, since that would have negated the story and the bulk of the action.) action. The writing/directing writing and directing team luckily prevailed, keeping the revelation of Lucian as a sympathetic figure and Viktor as a lying murderous jerk.
* ''Film/{{Brazil}}''. ''Brazil'' probably ''Film/{{Brazil}}'' stands out as one of the most contentious and publicly played-out instances of Executive Meddling ever. Universal's COO, It was a battle between the director, Creator/TerryGilliam, and Universal Studios and its COO Sid Sheinberg, tried to hack the Creator/TerryGilliam film -- which is now considered one of the best fantasy films ever made (currently it is 54th on the BFI's list of Top 100 British films) -- down from it's original run time of 142 minutes to 97. He also Sheinberg.
** Sheinberg
wanted to replace Michael Kamen's orchestral score with contemporary rock music hits so it would (to "attract the teens", spin teens"), change its tone from a sci-fi epic into to a love story, and lastly, to use repurpose a dream sequence scene filmed for DreamSequence from earlier in the film literally to turn its bleak last scenes into an cuddly, romantic serve as a real-life happy ending. Gilliam fought back-and-forth with Sheinberg, who was holding him ending (instead of its planned DownerEnding). He also tried to a clause on the length of the film, but even after the director edited 10 minutes from the film to fall under his contract's agreed-upon running time, Sheinberg continued to fight Gilliam on cut the film's Orwellian-like content. running time from 142 minutes to 97. Gilliam then set up fought back, but could only get some of the footage back; only ten minutes were edited out. Then he started clandestine screenings for students & and critics, which began to drum up buzz for the film. Film critics in both New York who liked it and L.A. began putting it on their top 10 lists -- without got the film having yet been officially released. Finally, frustrated, positive vibes. Sheinberg wasn't impressed. Then a frustrated Gilliam bought [[http://img.gawkerassets.com/img/18lpen71y9yhwjpg/ku-medium.jpg a full-page ad]] in ''Variety'' asking Sheinberg when he would release the film. Sheinberg, 'When are you going to release my film, Brazil?'. Gilliam eventually secured a theatrical release of undeterred, finished his 132-minute cut. Sheinberg worked version with outside editors to create his shorter cut (dubbed the 'Love Conquers All' version) editors. This version, which was also released theatrically, to massive indifference. is known as the "Love Conquers All" version; it was not well received.
**
Gilliam's own, original 142-minute cut has since been recognized as a classic and is now available on home video. It was eventually also the version released by Criterion on home video, side-by-side in Europe, where distributors had no problem with the shorter 'Love Conquers All' cut, which actually still occasionally crops up on television in syndication.
**
original content. Gilliam swore off working with Universal for a decade until ''Film/TwelveMonkeys'', also a critically acclaimed film -- he was so wary about what happened with ''Brazil'' was considered one of the more prominent examples of ExecutiveMeddling in recent years so much that a ''whole book'', ''The Battle Of Brazil'', was written by L.A. Times' film critic Jack Matthews on how much Sheinberg & Universal screwed Terry Gilliam over. A documentary based on the book, hosted by Matthews, appears on Criterion's home video releases.
** Gilliam wouldn't work with Universal Studios again for nearly ten years, until
he directed ''Film/TwelveMonkeys'' to nearly-unanimous critical acclaim. During the film's shoot, Gilliam has had a documentary team recording crew record everything in case things went sideways as they did with ''Brazil''. The resulting film, behind the scenes (which eventually became the documentary ''The Hamster Factor and Other Tales of Twelve Monkeys'', was included on the film's release on home video.
** It should be noted that the entire situation was affecting the American release of ''Brazil'', as Universal owned distribution rights only for that territory. Executives over at 20th Century Fox, the film's European distributor, harbored no issue with the picture whatsoever.
Monkeys'').



** The film's original screenplay, which was written by Brian Clemens, was deemed too intense by Disney; the company hired first Rosemary Anne Sisson and then Gerry Day to revise it.
** It didn't help the film that producers Ron Miller and Tom Leetch would argue over some of the film's scenes, with Miller wanting to tone down some of the film's more intense moments. An example of this includes a scene where the film's heroine receives a BrightSlap from her mother, which was toned down to have the mother shake her shoulders instead.
** The film's intended ending was to have [[spoiler: the Watcher appear and take the heroine to his spaceship, which contained the girl who was haunting the heroine throughout the film.]] However, Disney wanted to rush the film's release to coincide with the 50th anniversary of Bette Davis's acting career (Bette Davis played the role of the missing girl's mother). As a result, the scenes involving the spaceship, which weren't even finished at the time, were left out of the film, and the ending became unintelligible. After receiving a poor response by critics, the film was pulled from theaters and wouldn't be officially released for over a year.
** Rather than finish the special effects shots required for the film's intended ending, Disney instead changed the ending in which [[spoiler: the Watcher is now a pillar of light (instead of an insectoid alien), with the events of the missing girl's disappearance and the Watcher's presence being explained by the heroine's younger sister (who is possessed by the Watcher).]] In the process, Disney also cut twenty minutes off the film's run time and changed the film's opening credits sequence (the original sequence was darker and featured the Watcher scaring a girl and incinerating her doll, with the credits appearing on screen while the doll's head was melting).
** When Anchor Bay was releasing Disney films on DVD, the company enlisted the film's director, John Hough, to re-edit the film, with the plans being to release a two-disc version of the film that would contain the original 1981 release and a director's cut, which would include the original opening credits sequence and a finished version of the film's intended ending. Disney showed great resistance to this (with most of it probably being because Anchor Bay's releases of Disney films were of much better quality than Disney's own DVD releases). In the end, while Anchor Bay was eventually able to release ''The Watcher in the Woods'' on DVD, only the original 1981 version of the film was used, with a rough cut of the [[spoiler: spaceship]] ending appearing on the DVD as an "alternate ending" (along with a second "alternate ending" that is an approximation of the ending that appeared in the original version of the film). Both endings would eventually appear on the Disney DVD version of the film.
* ''Times Square'' was a victim of this. The original cut contained lesbian content, which the producers wanted removed. Additionally, the producers wanted additional songs added so that the soundtrack would be a double album. Director Allan Moyle resisted, and ended up getting fired. The deleted footage is apparently lost.
* Music/RobZombie's 2003 horror film ''Film/HouseOf1000Corpses'' was initially filmed while Rob was negotiating for Universal Pictures to distribute it. When Universal execs saw the final cut, they turned pale and refused to release it, though it was eventually picked up by Lionsgate. Rob groused to ''Guitar World'' magazine shortly thereafter, "I called it ''House of 1,000 Corpses''; what did they '''think''' it was going to be about?"
* ''Film/{{Dune}}'' had its runtime pared down by hours and the result was a confusing mess to many people who didn't read the book.
** The 137 minute version of Dune that was released to theatres in 1984 is actually David Lynch's preferred cut of the film. In fact, David Lynch was so displeased with the 3 hour version that aired on TV, that he had his director's credit on the TV version replaced with Main/AlanSmithee and his screenwriting credit changed to Judas Booth.
* A rare good case occurred with ''Film/MontyPythonsLifeOfBrian''. The initial studio abandoned the film just as the Pythons were getting ready to shoot ("when they finally read the script," according to Michael Palin). Enter former [[Music/TheBeatles Beatle]] GeorgeHarrison, who happened to be a) extremely rich and b) a total Python fanboy. He founded a production company for the sole purpose of financing the film and more or less let the Pythons do whatever they wanted. When asked why, Harrison said, "Well, I wanted to see the movie." Eric Idle later called it "the most expensive movie ticket ever purchased."
** The company Harrison founded, Handmade Films, had quite a few successes after ''Brian'', including Film/TheLongGoodFriday, Film/TimeBandits, ''Monty Python At The Hollywood Bowl'', and Film/WithnailAndI. The company was sold in 2004, but it still exists today.
** Another good case of TropesAreNotBad is during the ''Python'' TV series, they wanted to use a ''[[ShockSite screamer]]'' in one of their sketches. Over the course of the sketch, the sound volume would gradually grow quieter so that TV viewers would then turn the volume to the maximum. After that, they wanted to produce a very loud sound. They weren't allowed to do so...
* The original ''Film/ArmyOfDarkness'' ending had Ash drinking too much of a sleeping potion and, instead of waking up in the present, arriving in the [[AfterTheEnd post-apocalyptic future]] and screaming through the credits. When test audiences complained about the ending, meddling executives stepped in to request a new, much happier ending be filmed in its place. It does make a case for TropesAreNotBad, though, as the theatrical ending is counted by many fans as one of Ash's defining moments.
** It also benefits from the lack of a fourth ''Franchise/EvilDead'' movie. The original ending has a very obvious SequelHook, while the S-Mart ending gives Ash some closure.
*** The original ending was used in the international release. Most people outside the US don't even know about an alternate ending.

to:

** The Disney thought that the film's original screenplay, which was written by Brian Clemens, was deemed too intense by Disney; the company intense. They hired first Rosemary Anne Sisson and then Gerry Day their own people to revise it.
** It didn't help the film that producers Ron Miller and Tom Leetch would argue over some of
it. They also cut 20 minutes off the film's scenes, with Miller wanting to tone down some of run time and changed the film's more intense moments. An example of this includes a scene where the film's heroine receives a BrightSlap opening credits sequence from her mother, which was toned down to have the mother shake her shoulders instead.
its original, much darker incarnation.
** The film's intended original ending was to have [[spoiler: the Watcher appear and take the heroine to his spaceship, which contained the girl who was haunting the heroine throughout the film.]] However, Disney wanted to rush the film's release to coincide with the 50th anniversary of Bette Davis's the acting career (Bette Davis of Bette Davis, who played the role of the missing girl's mother). As a result, the mother. The scenes involving the spaceship, which spaceship weren't even finished at the time, so they were left out of the film, and the ending became unintelligible. After receiving a poor response by critics, the film was pulled from theaters and wouldn't be officially released for over a year.
**
Rather than finish the special effects shots required for the film's intended ending, Disney instead changed the put in a new ending in which [[spoiler: the Watcher is now a pillar of light (instead of an insectoid alien), with the events of the missing girl's disappearance and the Watcher's presence being explained by the heroine's younger sister (who is possessed by the Watcher).]] In the process, ]]
**
Disney also cut twenty minutes off the film's run time and changed the film's opening credits sequence (the original sequence was darker and featured the Watcher scaring a girl and incinerating her doll, with the credits appearing on screen while the doll's head was melting).
** When Anchor Bay was releasing Disney films on DVD, the company enlisted the film's director, John Hough, to re-edit the film, with the plans being to release a two-disc version of the film that would contain the original 1981 release and a director's cut, which would include the original opening credits sequence and a finished version of the film's intended ending. Disney showed great resistance to this (with most of it probably being because
fought Anchor Bay's releases of Disney films were of much better quality than Disney's own DVD releases). In the end, while Anchor Bay was eventually able attempt to release ''The Watcher in the Woods'' on DVD, only restore the original 1981 version of cut on the film was used, DVD; they did eventually allow a release with a rough cut of the [[spoiler: spaceship]] never-filmed ending appearing on the DVD shown as an "alternate ending" (along ending", along with a second "alternate ending" that is an approximation of the ending that appeared in meant to approximate the original version of the film).cut's ending. Both endings would eventually appear on the Disney DVD version of the film.
* ''Times Square'' was a victim of this. The original cut contained lesbian content, which the producers wanted removed. Additionally, of ''Film/TimesSquare'' tried to remove the producers wanted additional original cut's lesbian content and added songs added so that the soundtrack would be a double album. Director Allan Moyle resisted, resisted and ended up getting was fired. The deleted footage is apparently lost.
* Music/RobZombie's 2003 horror film ''Film/HouseOf1000Corpses'' was initially filmed while Rob was negotiating for Universal Pictures to distribute it. When Universal execs saw the final cut, they turned pale and refused to release it, though it was eventually picked up by Lionsgate. Rob groused to ''Guitar World'' magazine shortly thereafter, "I called it ''House of 1,000 Corpses''; what did they '''think''' ''think'' it was going to be about?"
* ''Film/{{Dune}}'' had its runtime pared down by hours hours, and the result was a confusing mess to many people who didn't read the book.
** The 137 minute version of Dune that was released to theatres in 1984 is actually
book. Oddly, though, that's David Lynch's preferred cut of the film. In fact, David Lynch He was so displeased with the 3 hour three-hour TV version that aired on TV, that he had asked for his director's credit on name [[AlanSmithee removed from the TV version replaced with Main/AlanSmithee and his screenwriting credit changed to Judas Booth.
credits]].
* A rare good case occurred with ''Film/MontyPythonsLifeOfBrian''. The initial studio original producer of ''Film/MontyPythonsLifeOfBrian'' abandoned the film just as the Pythons were getting ready to shoot ("when (or, as Michael Palin put it, "when they finally read the script," according to Michael Palin). Enter script"). The film was left without a producer, but then in stepped former [[Music/TheBeatles Beatle]] GeorgeHarrison, who was a total Python fanboy who also happened to be a) extremely rich and b) a total Python fanboy. enough to finance the film on his own. He even founded a his own production company just for the sole purpose this film, although it went on to produce a number of financing the film and more or less let the Pythons do whatever they wanted. later successes as well. When asked why, Harrison just said, "Well, I "I wanted to see the movie." Eric Idle would later called call it "the most expensive movie ticket ever purchased."
** The company Harrison founded, Handmade Films, had quite a few successes after ''Brian'', including Film/TheLongGoodFriday, Film/TimeBandits, ''Monty Python At The Hollywood Bowl'', and Film/WithnailAndI. The company was sold in 2004, but it still exists today.
** Another good case of TropesAreNotBad is during the ''Python'' TV series, they wanted to use a ''[[ShockSite screamer]]'' in one of their sketches. Over the course of the sketch, the sound volume would gradually grow quieter so that TV viewers would then turn the volume to the maximum. After that, they wanted to produce a very loud sound. They weren't allowed to do so...
* The original ''Film/ArmyOfDarkness'' ending had Ash drinking too much of a sleeping potion and, instead of waking up in the present, arriving in the [[AfterTheEnd post-apocalyptic future]] and screaming through the credits. When test audiences complained about the ending, meddling executives stepped in to request a new, much happier ending be filmed in its place. It does make a case for TropesAreNotBad, though, as However, TropesAreNotBad; the theatrical ending is counted by many fans widely considered better, as one of Ash's defining moments.
** It also benefits from the lack of a fourth ''Franchise/EvilDead'' movie. The original ending has a very obvious SequelHook, while the S-Mart ending
it gives Ash some closure.
***
closure. The original ending ending, though, was used in the international release. Most people outside the US don't even know about an alternate ending.release.



** ''Film/HalloweenTheCurseOfMichaelMyers'' has the most stunning example of this trope. Apparently, the film ran over time and budget, so the suits decided to take it over to see how they could "salvage it". Their version is the Theatrical Cut. When the film was shown on TV, someone got a hold of the now infamous Producer's Cut. While the violence and cursing were trimmed, an assload of alternate takes and different opening narration were shown, and the entire last 20 minutes of the film is RADICALLY different from the Theatrical Cut. The main change is that the explanation for Michael's killing ways is altered: The Theatrical version offered a scientific reason, but the Producer's Cut says the reason is supernatural (which also explains why Michael is also growing bigger in each previous film. It's because his power is growing). It also shows a final scene with Dr. Loomis realizing that he has been cursed by Thorn. This was likely altered when Donald Pleasance died. An early trailer showed that the film was originally going to called "Halloween 666: The Curse of Michael Myers." This version is only available through bootleg video releases.
** ''Film/HalloweenII1981'' to a lesser extent. Creator/JohnCarpenter didn't want to do a sequel, but when the producers said that they were doing one with or without him, he figured that if someone was going to be paid to write the script, it might as well be him. Rick Rosenthal was then brought in to direct, but the producers didn't like his decision to make it more of a thriller than a slasher, so they got Carpenter to shoot some extra scenes, mostly involving killings. As a result, Rosenthal is not a fan of the released version.
* ''Film/BatmanReturns'' did relatively worse than the original film thanks to the one-two punch of a [[DarkerAndEdgier mature, depressing]] story that didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. Burton's replacement for ''Film/BatmanForever'' and ''Film/BatmanAndRobin'', JoelSchumacher, was plagued by Executive Meddling and lamented that the higher-ups used ''Batman'' as a series of toy commercials. As a matter of fact, as a [[OneOfUs lifelong comic fan]] he ''wanted'' to take the series into DarkerAndEdgier territory; his first movie was a planned adaptation of Creator/FrankMiller's ''Batman: Year One''. Unfortunately, this was shot down by the studio in favor of the aforementioned toy-and-kid-friendly films.
** Schumacher's planned screenplay had assistance from '''Creator/FrankMiller''', and some cut scenes from the original version appear in the promotional music videos, namely an encounter with a giant bat.
* ''Film/XMenOriginsWolverine'': The Fox executives decided that it would be a '''brilliant''' idea to take {{Deadpool}}, the Merc with the Mouth and possibly one of the most popular characters appearing in the movie, introduce him and then remove him quickly, and then ''sew his mouth shut''. Because he would be too entertaining and take attention away from Wolverine or something (no-one knows the exact reason).
** Director Gavin Hood and top Fox executive Tom Rothman reportedly had clashes over the film's creative direction. One infamous incident happened while Hood was off-set, at which point Rothman took it upon himself to have one of the sets repainted from Hood's original DarkerAndEdgier theme into something more LighterAndSofter.
*** Hood has also stated that the scripting process was a mess, and that portions of the screenplay were hastily rewritten ''as the movie was filming''.
** Because of all this ''Film/Deadpool2016'' had a a lot of trouble just getting of the ground and it wasn't until Tom Rothman left that it was finally green lit, and even then many exec wouldn't put their name anywhere close feeling it was doomed to fail. Luckily they were all wrong.

to:

** ''Film/HalloweenTheCurseOfMichaelMyers'' has had so much meddling that it resulted in two different altered cuts of the most stunning example of this trope. Apparently, film. One way or another, the executives took over the film after it ran over time and budget, so the suits decided to take it over to see how they could "salvage it". budget. Their version first attempt to salvage it became the "Theatrical Cut". The "Producer's Cut" is the Theatrical Cut. When the film was shown on TV, someone got a hold of the now infamous Producer's Cut. While other version, which trims the violence and cursing were trimmed, an assload cursing, has a ton of alternate takes and different takes, changes the opening narration were shown, narration, and the entire last cuts 20 minutes of the film is RADICALLY different from the Theatrical Cut. The main change is that the explanation two also have very different explanations for Michael's killing ways is altered: The ways; the Theatrical version offered a scientific reason, but the Producer's Cut says the reason is supernatural (which also explains why Michael is also growing bigger in each previous film. It's because his power is growing). It also shows a final scene with Dr. Loomis realizing that he has been cursed by Thorn. This said it was likely altered when Donald Pleasance died. An early trailer showed that the film was originally going to called "Halloween 666: The Curse of Michael Myers." This version is only available through bootleg video releases.
supernatural.
** ''Film/HalloweenII1981'' to a lesser extent. ''Film/HalloweenII1981'': Creator/JohnCarpenter didn't want to do a sequel, but when the producers said that they were doing one with or without him, he him. He figured that if someone was going to be paid to write the script, it might as well be him. Rick Rosenthal was then brought in to direct, but the producers didn't like his decision to make it more of a thriller than a slasher, so they got Carpenter to shoot some extra scenes, mostly involving killings. As a result, Rosenthal is not a fan of the released version.
* ''Film/BatmanReturns'' did relatively worse than ''Film/BatmanForever'' and ''Film/BatmanAndRobin'' both suffered from executive meddling after the original relative failure of ''Film/BatmanReturns''. That film thanks to the one-two punch of a [[DarkerAndEdgier mature, depressing]] story that was DarkerAndEdgier and didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. Burton's replacement for ''Film/BatmanForever'' and ''Film/BatmanAndRobin'', JoelSchumacher, The studio thus replaced Creator/TimBurton with Creator/JoelSchumacher. Schumacher was plagued by Executive Meddling and lamented that the higher-ups used ''Batman'' as a series of toy commercials. As a matter of fact, as a [[OneOfUs lifelong comic fan]] he ''wanted'' fan himself and wanted to take continue the series into DarkerAndEdgier territory; his first movie was a planned trend, even planning an adaptation of Creator/FrankMiller's ''Batman: Year One''. Unfortunately, this was shot down by the The studio in favor of said no, telling him to make it kid-friendly and MerchandiseDriven. Schumacher long lamented the aforementioned toy-and-kid-friendly films.
** Schumacher's planned screenplay had assistance from '''Creator/FrankMiller''', and some cut scenes from the original version appear in the promotional music videos, namely an encounter with
series being used as a giant bat.
toy commercial.
* ''Film/XMenOriginsWolverine'': The Fox executives decided that it would be a '''brilliant''' idea to take {{Deadpool}}, the Merc with the Mouth and possibly one of the most popular characters appearing in the movie, introduce him and then remove him quickly, and then ''sew his mouth shut''. Because he would be too entertaining and take attention away from Wolverine or something (no-one knows the exact reason).
** Director Gavin Hood and top
Fox executive Tom Rothman reportedly had clashes over didn't like the film's creative direction. One infamous incident happened while Hood was off-set, at which point Rothman took it upon himself to have one of the sets repainted from Hood's original DarkerAndEdgier theme into something more LighterAndSofter.
***
direction director Gavin Hood has also stated that was going with the scripting process was a mess, and movie, forcing so many rewrites that portions of the screenplay were hastily rewritten ''as even after filming had started. He also decided that ComicBook/{{Deadpool}}, a {{Medium Aware|ness}} EnsembleDarkhorse in the movie comics who [[MotorMouth can't shut up]], should only make a brief appearance before his mouth gets sewn shut, obviating any reason for people to want to see him. The reaction to that one was filming''.
** Because of all this
so negative that even after Rothman left, no other execs were confident in Deadpool's theatrical success; the eventual ''Film/Deadpool2016'' had movie was a a lot of trouble just getting of the ground and it wasn't until Tom Rothman left pleasant surprise on that it was finally green lit, and even then many exec wouldn't put their name anywhere close feeling it was doomed to fail. Luckily they were all wrong.front.



* Erich von Stroheim's ''Greed'' reduced from five hours and a half (!) to 2 hours by MGM.
** It's worse than that. The first cut of the film was ''nine and a half hours!'' And it's all gone as far as we know.
* There were two cuts of Michael Cimino's ''Film/HeavensGate''; a 5 hour cut and a studio-mandated 3 1/2 hour cut. This was the only successful implementation of this trope; all others were either considered and dropped or rebuffed by Michael Cimino.
* The [[Film/BuffyTheVampireSlayer film]] of ''Series/BuffyTheVampireSlayer'' was intended to be entirely different. Apparently, a version of the original script is available in one form or another, and is considered canon in the continuity of the series. However, the meddling was so bad that Creator/JossWhedon reportedly walked off set one day and never went back. As several entries in the TV section suggest, Whedon is a regular target for ExecutiveMeddling.
** Specifically, the ''Origin'' comic miniseries is, according to Joss, still not ''quite'' right, but close enough to be accepted as canon.
** [[WordOfGod Joss]] has stated in interviews that Frans Kazui purposely played up the comedy aspect of the script into the movie as opposed to the B Movie Horror aspect, as originally intended by Whedon.
* ''TheTVSet'' takes executive meddling as its focus. A fellow whose brother has just committed suicide wants to make a thoughtful {{Dramedy}} TV show that would serve as a fictional account of their relationship, and a way of coming to terms with suicide in general. A particularly pushy executive gets involved, and it gets turned into a LowestCommonDenominator comedy called ''Call Me Crazy!'' Oh, and does the brother ''have'' to commit suicide?

to:

* The theatrical cut of Erich von Stroheim's ''Greed'' reduced from five hours and a half (!) ''Film/{{Greed}}'' was cut to 2 two hours by MGM.
** It's worse than that.
MGM. The first original cut of the film was ''nine and a half hours!'' And it's all gone as far as we know.
half'' hours. Most of the cut material is deemed lost.
* There were two cuts of Michael Cimino's ''Film/HeavensGate''; ''Film/HeavensGate'': a 5 hour five-hour cut and a studio-mandated 3 1/2 hour 210-minute cut. This was the only successful implementation of this trope; all others were either considered and dropped or rebuffed by Michael Cimino.
time during the film's production that Cimino would capitulate to studio demands.
* The [[Film/BuffyTheVampireSlayer film]] of ''Series/BuffyTheVampireSlayer'' was intended to be entirely different. Apparently, Creator/JossWhedon wanted a version BMovie feel to it; the execs much preferred the comedy aspects of the original script is available in one form or another, and is considered canon in the continuity of the series. However, the script. The meddling was so bad that Creator/JossWhedon reportedly Whedon -- himself no stranger to executives meddling in his TV series -- walked off set one day and never went came back. As several entries in A version of the TV section suggest, original script apparently still exists and is considered canon in series continuity. Whedon is a regular target for ExecutiveMeddling.
** Specifically,
claims that the ''Origin'' comic miniseries is, according to Joss, still not ''quite'' right, but close enough to be accepted as canon.
** [[WordOfGod Joss]] has stated in interviews that Frans Kazui purposely played up
is the comedy aspect of the script into the movie as opposed closest publicly available thing to the B Movie Horror aspect, as originally intended by Whedon.
it.
* ''TheTVSet'' takes executive meddling as its focus.{{discuss|edtrope}}es this trope. A fellow whose brother has just committed suicide wants to make a thoughtful {{Dramedy}} TV show that would serve as a fictional account of their relationship, and a way of coming to terms with suicide in general. A particularly pushy executive gets involved, and it gets turned into a LowestCommonDenominator comedy called ''Call Me Crazy!'' Oh, and does the brother ''have'' to commit suicide?



* Creator/RomanPolanski's ''Film/TheFearlessVampireKillers'' suffered terribly from this when it was released in America. For starters, America is the only country in which that was the title. In Europe, it was released under Polanski's original title, ''Dance of the Vampires''. But the executives didn't stop there: they also cut out 20 minutes of footage (from a film that was only 107 minutes to begin with), gave all the characters bad dubbing to make them sound American, and added a cheerful little slapstick cartoon short to the beginning, which clashed badly with the tone Polanski was reaching for. The finished product was so bad that Creator/RogerEbert would simply say that, in the screening he attended, no one laughed even once, although a couple of people cried.
* ''Film/IndependenceDay'' removed a very important scene where Creator/JeffGoldblum's character explained a bit about what was going on with the TV signal, as it gave an early hint as to how the aliens are going to attack Earth, because Harvey Fierstein's character placed an ad-libbed kiss on Jeff Goldblum's character. Apparently, this was Roland Emmerich's decision as it would have apparently angered the [[MoralGuardians MPAA]] if he kept it in, despite the fact that the kiss in question wasn't even close to being long enough to carry ''any'' romantic implications from Fierstein's character and [[TheSimpsons another acting job that he did]] allowed him to get away with kissing another guy despite TV stations being even stricter in regards to content than Movies.
* Averted with ''Film/{{Gremlins}}'', in a similar case to ''Film/BackToTheFuture''. Creator/WarnerBrothers thought that the movie focused too heavily on the gremlins and wanted most of their scenes cut. Creator/StevenSpielberg, the movie's producer, asked the studio why they didn't just cut every scene with a gremlin in it and call the movie ''People'', and they wisely backed down.
* The classic FilmNoir ''Film/TheBigSleep'' had positive executive meddling. The film was completed in 1944, but then shelved so the studio could push through its backlog of WWII movies. It was finally released in 1946. In the meantime, stars HumphreyBogart and LaurenBacall had married, and the pair's first film, ''To Have and Have Not'', had been released, demonstrating their bankable chemistry. ''Film/TheBigSleep'' was recut and new scenes, mainly featuring the two leads flirting, were inserted. This made the movie even more confusing, but the results were worth it.
** The original 1944 version survives because it was shown to US troops overseas during the war. The modern DVD release features both versions on a double-sided disc.
** There are rumors that less beneficial executive meddling occurred during the original shoot, because the actress playing the younger sister of Bacall's character was upstaging the lead.
* ''Film/ScoobyDoo'': Writer James Gunn wrote a PG-13 movie around urban legends and WildMassGuessing developed by fans. Despite these elements being filmed, Warner Bros. forced many of them to be cut to get a PG rating. Later on, Gunn's contract mandated that he write a sequel and he was forced to leave the ''Film/DawnOfTheDead2004'' remake as a result (that script ended up being finished by Scott Frank and Michael Tolkin).
* ''Film/RedDawn2012'': The plot of the movie was originally centered around a Chinese invasion of America. After the movie was completed, the executives decided to change the villain from China to North Korea, and went so far as to digitally alter every Chinese symbol into a North Korean one and add additional scenes. It was later stated that the idea of the Chinese invading scared off distributors, and no one would touch the film until the changes were made.

to:

* Creator/RomanPolanski's ''Film/TheFearlessVampireKillers'' suffered terribly from this when it was released in America. For starters, America is the only country in which that was the title. In Europe, it was released under Polanski's original title, ''Dance of the Vampires''. But the executives didn't stop there: they Executives also cut out 20 minutes of footage (from a film that was only 107 minutes to begin with), gave all dubbed over the characters bad dubbing to make them sound American, American (and not very well), and added a cheerful little slapstick cartoon short to the beginning, which clashed badly with the tone Polanski was reaching for. The finished product was so bad that Creator/RogerEbert would simply say that, in the screening he attended, no one laughed even once, although a couple of people cried.
* ''Film/IndependenceDay'' removed a very important scene where Creator/JeffGoldblum's character explained a bit about what was going on with the TV signal, as it gave an early hint as to how the aliens are going to attack Earth, because Harvey Fierstein's character placed an ad-libbed kiss on Jeff Goldblum's character. Apparently, this was Roland Emmerich's decision as it would have apparently angered the [[MoralGuardians MPAA]] if he kept it in, despite the fact that the kiss in question wasn't even close to being long enough to carry ''any'' romantic implications from Fierstein's character and [[TheSimpsons another acting job that he did]] allowed him to get away with kissing another guy despite TV stations being even stricter in regards to content than Movies.
* Averted with
With ''Film/{{Gremlins}}'', in a similar case to ''Film/BackToTheFuture''. Creator/WarnerBrothers Creator/WarnerBros thought that the movie film focused too heavily much on the gremlins and wanted most of their scenes cut. Producer Creator/StevenSpielberg, the movie's producer, asked in a move reminiscent of ''Film/BackToTheFuture'''s response to meddling, suggested that the studio why they didn't just could cut every scene with a ''every'' gremlin in it scene and call the movie ''People'', and they ''People''. The studio wisely backed down.
* The classic FilmNoir ''Film/TheBigSleep'' had positive executive meddling. The film was completed in 1944, but then shelved so the studio could push through its backlog of WWII movies. It was finally released in 1946. In the meantime, stars HumphreyBogart and LaurenBacall had married, and the pair's first film, ''To Have and Have Not'', had been released, demonstrating their bankable chemistry. ''Film/TheBigSleep'' was recut and new scenes, mainly featuring the two leads flirting, were inserted. This made the movie even more confusing, but the results were worth it.
**
it. The original 1944 version survives because survives, though, as it was shown to US U.S. troops overseas during the war. The modern DVD release features war; both versions on a double-sided disc.
** There
are rumors that less beneficial executive meddling occurred during the original shoot, because the actress playing the younger sister of Bacall's character was upstaging the lead.
available on DVD.
* ''Film/ScoobyDoo'': Writer James Gunn wrote a PG-13 movie around urban legends and WildMassGuessing developed by fans. Despite these elements being filmed, Warner Bros. forced many of them to be cut to get a PG rating. Later on, Gunn's contract mandated that he write a sequel and he was forced to leave the ''Film/DawnOfTheDead2004'' remake as a result (that script ended up being finished by Scott Frank and Michael Tolkin).
result.
* ''Film/RedDawn2012'': The plot of the movie was originally centered around a Chinese invasion of America. After the movie was completed, the executives decided to change the villain from China to North Korea, and went so far as to digitally alter every Chinese symbol into a North Korean one and add additional scenes. It was later stated Theories abound, from suggesting that distributors were unnerved by the idea prospect of the a Chinese invading scared off distributors, and no one would touch invasion, to the risk of the film until being BannedInChina itself, which would leave a lot of money on the changes were made.table.



* During the casting process for ''Film/{{Tremors}}'', the studio suggested Michael Gross to play Burt Gummer. Gross was practically a household name due to ''Series/FamilyTies'', which was why the studio wanted him. However, production was nervous because Gross was known for playing a laid back father with a hippie past - a far cry from the paranoid, trigger-happy Gummer. All that nervousness changed, though, when Gross auditioned - reportedly blowing production away with his range. A truly positive example of the trope, as production was thrilled to have Gross and Burt Gummer became the EnsembleDarkHorse of the franchise.
** Reba McEntire's casting was also suggested by the studio. Considering she was an established country singer, but she never acted in any movie before, the production was even more nervous about it. However, her audition went very well and McEntire turned out to be a decent actress, launching a separate acting career.

to:

* During ''Film/{{Tremors}}'' had some positive meddling regarding the casting process for ''Film/{{Tremors}}'', the casting. The studio suggested that Michael Gross to play Burt Gummer. Gross was practically Gross, then a household name due to ''Series/FamilyTies'', which should play Burt Gummer. The crew was why worried, as this would be PlayingAgainstType for Gross, but Gross did so well in the role that he made the character an EnsembleDarkhorse. Similarly, the studio wanted him. However, production was nervous because Gross was known for playing a laid back father with a hippie past - a far cry from the paranoid, trigger-happy Gummer. All that nervousness changed, though, when Gross auditioned - reportedly blowing production away with his range. A truly positive example of the trope, as production was thrilled to have Gross and Burt Gummer became the EnsembleDarkHorse of the franchise.
** Reba McEntire's casting was
also suggested by the studio. Considering she was an established casting country singer, but she singer Reba [=McEntire=], who had never acted in any a movie before, before; she was successful enough in the production was even more nervous about it. However, role to launch her audition went very well and McEntire turned out to be a decent actress, launching a separate own acting career.



** In ''Film/IronMan2'', [[TheOtherMarty Terrence Howard was replaced by Don Cheadle]] due to a number of disagreements between the studio and Howard's agents.
*** Scenes that have Mickey Rourke portraying [[BigBad Ivan Vanko / Whiplash]] as a sympathetic antagonist were cut from the final film, which paints him as a straight-up villain. This may a reason why Rourke has stated [[OldShame he is not fond of his experience working on the film]].
*** Director Creator/JonFavreau clashed with Marvel over the elements added to set up the events of ''Film/{{The Avengers|2012}}'', which made for a messier and less-coherent story overall. Favreau had such a bad experience working on the movie that he refused to return as director for ''Film/IronMan3''.
** Similarly, Marvel decided not to have Edward Norton reprise his role as ''Film/TheIncredibleHulk'' in ''Film/{{The Avengers|2012}}'' film, replacing him with Mark Ruffalo. This is because Norton is reputed for being notoriously difficult to work with. However, this ended up being a positive example, as Ruffalo's portrayal as the Hulk was praised by critics and audiences.
*** Creator/JossWhedon has stated that in ''Film/{{The Avengers|2012}}'', Loki was going to have a muscular [[TheDragon co-villain]] (rumored to be Skurge the Executioner) that was intimidating enough to go toe-to-toe with someone like the Hulk. Marvel ordered Whedon to cut the character from the screenplay, as they didn't want an overabundance of Asgardian or fantasy elements in the movie.
** ''The Avengers'' and ''Film/IronMan3'', unlike the previous Marvel Studios movies [[note]]excluding ''The Incredible Hulk'', as that was distributed by Universal[[/note]], are distributed by parent company Disney, but with Creator/{{Paramount}}'s marketing materials. ''The Avengers'' and ''Iron Man 3'' were part of a film distribution deal Marvel made with Paramount prior to Disney's acquisition of Marvel. As part of the acquisition, Disney purchased the distribution rights to those two films, but Paramount's logo appears instead of any Disney logo as part of the deal transferring the distribution rights. In addition, Paramount also received a small take in both films' box office grosses: 9% for ''The Avengers'' and 8% for ''Iron Man 3''. \\
\\
Needless to say, it's quite jarring watching ''The Avengers'' on home video, where Paramount's logo is everywhere... but the box and menu layout resembles Disney [=DVDs=], the trailer that plays is for ''WesternAnimation/{{Frankenweenie}}'', and the print ads inside the box are for [[CashCowFranchise Avengers kids toys]] and ''VideoGame/EpicMickey 2'', showing that Disney is calling the shots from behind the scenes. Interesting enough, starting with ''Film/ThorTheDarkWorld''--the first Marvel film distributed by Disney without any participation from outside studios--Disney simply decided to use the Marvel brand itself as a separate film division-outside of a cursory mention in the end credits, Marvel Studio films do not bear ''any'' indication that Disney distributes those films. (One notable example of this instance is the exclusive use of the Disney brand in marketing materials for ''[[Disney/BigHero6 Big Hero 6]]'', despite that film being an adaptation of the existing Marvel comic of the same name).
** Alan Taylor, the director of ''Film/ThorTheDarkWorld'', [[http://www.huffingtonpost.com/2013/10/24/thor-2-credits-scene_n_4159190.html?utm_hp_ref=entertainment publicly complained]] about TheStinger that Marvel added to the film, meant to act as set-up for [[spoiler: the Film/GuardiansOfTheGalaxy]]. He claims that the [[spoiler: sci-fi]] elements clashed with the tone of what was otherwise a fantasy film, and that he had no involvement in its creation.
*** ''Film/ThorTheDarkWorld'' also had more to tell about the Dark Elves, especially Malekith, but those scenes were cut in favor of Loki, who has become ''the'' EnsembleDarkhorse of the films. YMMV on whether it hurts the film or not.
*** Music/CarterBurwell was going to score ''Film/ThorTheDarkWorld'', but stepped down in the middle of post-production due to creative differences and was replaced by Music/BrianTyler.

to:

** In ''Film/IronMan2'', studio execs clashed with Creator/TerrenceHoward's agents, leading to him [[TheOtherMarty Terrence Howard was replaced being replaced]] by Don Cheadle]] due Creator/DonCheadle. They also re-cut BigBad Ivan Vanko/Whiplash's scenes to a number of disagreements between the studio and Howard's agents.
*** Scenes
make him less sympathetic. And they insisted on adding story elements that have Mickey Rourke portraying [[BigBad Ivan Vanko / Whiplash]] as a sympathetic antagonist were cut from the final film, would help set up ''Film/{{TheAvengers|2012}}'', which paints him as a straight-up villain. This may a reason why Rourke has stated [[OldShame he is not fond of his experience working on the film]].
*** Director
director Creator/JonFavreau clashed with Marvel over the elements added to set up the events of ''Film/{{The Avengers|2012}}'', which thought made for a messier and less-coherent much less coherent story overall. Favreau had such a bad experience working on was so put off by the movie studio that he refused to return as director for ''Film/IronMan3''.
** Similarly, Marvel decided not to have Edward Norton reprise his role as ''Film/TheIncredibleHulk'' in ''Film/{{The Avengers|2012}}'' film, replacing him with Mark Ruffalo. This is because Norton is reputed for being notoriously difficult to work with. However, this ended up being a positive example, as Ruffalo's portrayal as the Hulk was praised by critics and audiences.
***
In ''Film/{{TheAvengers|2012}}'', Creator/JossWhedon has stated that in ''Film/{{The Avengers|2012}}'', wanted Loki was going to have a muscular [[TheDragon co-villain]] (rumored to be Skurge the Executioner) that was Dragon]] intimidating enough to go toe-to-toe with someone like up against the Hulk. Marvel ordered Whedon to cut the character from the screenplay, as they didn't want an overabundance of said no, not wanting too many Asgardian or fantasy elements in the movie.
** ''The Avengers'' and ''Film/IronMan3'', unlike the previous
movie. Marvel Studios movies [[note]]excluding ''The Incredible Hulk'', as that was distributed by Universal[[/note]], are distributed by parent company Disney, but also replaced Creator/EdwardNorton with Creator/{{Paramount}}'s marketing materials. ''The Avengers'' and ''Iron Man 3'' were part of a film distribution deal Marvel made with Paramount prior to Disney's acquisition of Marvel. As part of Creator/MarkRuffalo as the acquisition, Disney purchased Hulk, although this one worked out as fans liked Ruffalo's portrayal (and Norton was notoriously difficult to work with).
** ''Film/ThorTheDarkWorld'' was originally planned to focus more on
the distribution rights to Dark Elves, especially Malekith, but those two films, but Paramount's logo appears instead scenes were cut in favor of any Disney logo as part more of the deal transferring the distribution rights. In addition, Paramount EnsembleDarkhorse Loki. (Fan reaction was mixed.) Director Alan Taylor also received a small take in both films' box office grosses: 9% for ''The Avengers'' and 8% for ''Iron Man 3''. \\
\\
Needless to say, it's quite jarring watching ''The Avengers'' on home video, where Paramount's logo is everywhere... but the box and menu layout resembles Disney [=DVDs=], the trailer that plays is for ''WesternAnimation/{{Frankenweenie}}'', and the print ads inside the box are for [[CashCowFranchise Avengers kids toys]] and ''VideoGame/EpicMickey 2'', showing that Disney is calling the shots from behind the scenes. Interesting enough, starting with ''Film/ThorTheDarkWorld''--the first Marvel film distributed by Disney without any participation from outside studios--Disney simply decided to use the Marvel brand itself as a separate film division-outside of a cursory mention in the end credits, Marvel Studio films do not bear ''any'' indication that Disney distributes those films. (One notable example of this instance is the exclusive use of the Disney brand in marketing materials for ''[[Disney/BigHero6 Big Hero 6]]'', despite that film being an adaptation of the existing Marvel comic of the same name).
** Alan Taylor, the director of ''Film/ThorTheDarkWorld'',
[[http://www.huffingtonpost.com/2013/10/24/thor-2-credits-scene_n_4159190.html?utm_hp_ref=entertainment publicly complained]] about TheStinger that Marvel added to the film, meant to act as set-up for set up [[spoiler: the Film/GuardiansOfTheGalaxy]]. He claims Film/GuardiansOfTheGalaxy]], feeling that the [[spoiler: sci-fi]] elements it clashed with the tone of what was otherwise a fantasy film, film; Marvel ''loves'' these stingers and that he had no involvement in its creation.
*** ''Film/ThorTheDarkWorld'' also had more to tell about the Dark Elves, especially Malekith, but those scenes were cut in favor of Loki, who has become ''the'' EnsembleDarkhorse of the films. YMMV on whether it hurts the film or not.
*** Music/CarterBurwell was going to score ''Film/ThorTheDarkWorld'', but stepped down in the middle of post-production due to creative differences and was replaced by Music/BrianTyler.
this one done without Taylor's involvement.



** Edgar Wright left the production of ''Film/AntMan'' which he is originally attached to back in 2006. This caused Marvel to hire Peyton Reed after he left. Originally, Wright wanted ''Ant-Man'' to be a standalone film, similar to the first Iron Man, but by the looks of it, Marvel still has to tie this movie to the MCU by including Howard Stark and Peggy Carter in it. After he left the project, Wright explicitly compares himself to Buster Keaton, and cites his difficulties working with the big studios.
** Ultimately, it was revealed that a lot of Marvel Studios' meddling was from a Creative Committee within Marvel Entertainment as a whole, with notable people being Creator/JoeQuesada and Creator/BrianMichaelBendis, with Marvel CEO Ike Perlmutter being an additional meddler. In the end, Marvel Studios president Kevin Feige grew tired of this and talked to Disney, leading to Marvel Studios being pulled aside and being answerable only to Disney, leading to the dissolution of the Creative Committee.

to:

** Edgar Wright left the production of This got ''Film/AntMan'' which he is stuck briefly in DevelopmentHell. Edgar Wright signed on in 2006 and originally attached to back in 2006. This caused Marvel to hire Peyton Reed after he left. Originally, Wright wanted ''Ant-Man'' it to be a standalone film, similar to like the first Iron Man, but by the looks of it, ''Iron Man'' film. Marvel still has to tie this movie insisted on some sort of tie-in to the MCU rest of the MCU, such as a cameo by including Howard Stark and Peggy Carter in it. After he Stark. Wright left the project, Wright explicitly compares himself to Buster Keaton, and cites his difficulties working with the big studios.
project as a result.
** Ultimately, it was revealed that a lot Much of Marvel Studios' meddling was came from a Creative Committee within Marvel Entertainment as a whole, with whole. Meddlers included such notable people being Creator/JoeQuesada and names as Creator/JoeQuesada, Creator/BrianMichaelBendis, with Marvel and CEO Ike Perlmutter being an additional meddler. In the end, Perlmutter. Marvel Studios president Kevin Feige grew increasingly tired of this and talked them, eventually convincing Disney to Disney, leading to Marvel Studios being pulled aside and being answerable dissolve the Committee (and make themselves the only to Disney, leading to the dissolution of the Creative Committee.meddler).



* DreamWorks decided that Cameron Crowe's original vision of ''Film/AlmostFamous'' as a 'band on the road' movie wouldn't appeal to audiences, so the theatrical version removed a large amount of Stillwater material in order to reshape the film as a love story between William and Penny. To compensate for tampering with the film, Dreamworks later released the "Almost Famous Untitled: The Bootleg Cut" DVD, which features the film as Crowe intended.

to:

* ''Film/AlmostFamous'':
**
DreamWorks decided that Cameron Crowe's original vision of ''Film/AlmostFamous'' the film as a 'band "band on the road' road" movie wouldn't appeal to audiences, so the theatrical version removed a large amount of Stillwater material in order to reshape the film as a love story between William and Penny. To compensate for tampering with the film, Dreamworks later released the "Almost Famous Untitled: The Bootleg Cut" DVD, which features the film as Crowe intended.



** The brief topless shot of Joey Lauren Adams was not part of the script, but insisted upon by Universal. When Adams refused to be filmed topless, Universal threatened to fire her from the film. Director (and Adams' boyfriend at the time) Kevin Smith had to persuade her to do the scene.
** The 'semen as hair gel' joke was removed for being deemed too gross, and almost resulted in the replacement of Jason Mewes with Seth Green as Jay.

to:

** The brief topless shot of Joey Lauren Adams was not part of the script, but insisted upon by Universal. When Adams refused to be filmed topless, Universal threatened to fire her from the film. Director (and Adams' boyfriend at the time) Kevin Smith Creator/KevinSmith had to persuade her to do the scene.
** The 'semen "semen as hair gel' gel" joke was removed for being deemed too gross, and almost resulted in the replacement of Jason Mewes with Seth Green as Jay.



* James Brooks' ''I'll Do Anything'' was originally written and filmed as an Old Hollywood-style musical. Then it was shown to test audiences, who believed the musical numbers should be cut. Brooks was forced to remove the songs and shoot several new scenes in their place, releasing the film months later as a non-musical.
** As Creator/NathanRabin points out in his review of the original bootleg for his ''My Year of Flops'' book, one of the film's themes consists of "...test screenings and Hollywood's pathological need for approval." The irony was not lost on him.
* This is the reason why Pete Travis was fired from the post-production of ''Film/{{Dredd}}'', and replaced with screenwriter Alex Garland. Reportedly, Travis's cut was not the action-filled film that the studio and producers wanted so he was locked out of the editing room and eventually let go. Garland could even seek co-director credit, but he and Travis managed a deal.
* This occurred heavily in ''Film/TheCore'', John Rogers originally wanted to have a magnetic reversal occur but was told that it was [[http://en.wikipedia.org/wiki/Geomagnetic_reversal too far fetched]]. The capsule that drilled into the core was also expected to have a window.

to:

* James Brooks' ''I'll Do Anything'' ''Film/IllDoAnything'' was originally written and filmed as an Old Hollywood-style musical. Then it was shown to test audiences, who believed the musical numbers should be cut. Brooks was forced to remove the songs and shoot several new scenes in their place, releasing the film months later as a non-musical.
**
non-musical. As Creator/NathanRabin points out in his review of the original bootleg for his book ''My Year of Flops'' book, Flops', one of the film's themes consists of "...test "test screenings and Hollywood's pathological need for approval." The irony was not lost on him.
* This is the reason why Pete Travis was fired from the post-production of ''Film/{{Dredd}}'', ''Film/{{Dredd}}'' and replaced with screenwriter Alex Garland. Reportedly, Travis's cut was not the action-filled film that the studio and producers wanted wanted, so he was locked out of the editing room and eventually let go. Garland could even seek co-director credit, but he and Travis managed a deal.
* This occurred heavily in ''Film/TheCore'', ''Film/TheCore''. John Rogers originally wanted to have a magnetic reversal occur occur, but he was told that it was [[http://en.wikipedia.org/wiki/Geomagnetic_reversal too far fetched]]. The capsule that drilled into the core was also expected to have a window.



* ''Film/TheLordOfTheRings'' almost suffered this fate. Peter Jackson originally came up with a two-movie treatment since he knew a proper trilogy was going to be a hard sell. He showed it to Miramax and, while they agreed to it, Disney, at the time its parent company, under then-CEO Michael Eisner, balked at the estimated cost of the two films, said that expensive films like it weren't the sort of films Miramax were supposed to be making, and thus vetoed it.\\
\\
Their suggestions were to, among other things, "use or lose" Saruman, combine Rohan and Gondor (so that Éowyn would be Boromir's sister), and mash everything into a single film. So Harvey Weinstein went back to Peter Jackson and told him to do it one film, with all the changes noted above including a few other things: The Mines of Moria sequence was completely cut out, and the Fellowship just [[{{Infodump}} info dumped]] on how bad going through the mines had been; and them not seeing a need for their being four Hobbits, and to get rid of two of them. Even then, Miramax even wanted to kill off one of the Hobbits, though it's not clear if that order came down before or after it was demanded they do the story in one movie. Peter Jackson flatly refused to make the one-film-only version Miramax was demanding, so Miramax only gave him four weeks to get another studio to bite, thinking that no other studio would. If he failed, they would just replace Jackson with another director if Jackson still refused to do the one-film version.\\
\\
However, New Line ''did'' bite, told Jackson to do it in three, and the rest is history. When the films ended up being a smash hit, the loss of it was one of the main reasons Harvey Weinstein left Miramax (because he felt Michael Eisner's veto of projects like LOTR was holding him and the company back); and Michael Eisner losing his position as CEO of the Disney company because he had passed on too many hit projects like LOTR. So, in this case, the Executive Meddling ended up ''backfiring'' on the executives.
** The battle to make ''[=LotR=]'' into the trilogy it deserved to be is quite ironic considering the next Middle-Earth story ''Film/TheHobbit'' ended up being expanded from two films into three with little fuss from executives.
*** Or so many people presumed. According to the cast and crew including actor Graham McTavish and Peter Jackson himself, the studio forced Peter Jackson to edit the third film and the overall trilogy in a way he didn't approve of, including forcing Legolas into Kili and Tauriel's love story (which was meant to be in there from the beginning with Legolas and Tauriel's relationship being more LikeBrotherAndSister), imposing tons of things onto Jackson for the third film which led to more then one AdaptationInducedPlotHole and demanding more Alfrid scenes. The extended editions are closer to what was originally intended but considering the aforementioned meddling with LOTR, it's not far-fetched to assume the studio made more changes then what were first thought.
*** All this was preceded by the fact that the studio only gave Peter Jackson six months to do pre-production and to start filming or else. Then there was the whole debacle involving New Line Cinema and Warner Bros. not paying the Tolkien Estate the money that was owed them along with the complete DevelopmentHell the film suffered from. Suffice it to say, the trilogy had a TroubledProduction to say the least.
* ''Film/{{Zulu}}'' on a ''governmental'' level. The film company was forbidden to actually pay the Zulus acting as extras, under [[TheApartheidEra apartheid]] laws. Director Cy Enfield, who'd struck up a friendship with the Zulus acting in the film, was upset with this and decided to leave them the cattle used in the film, which was more valuable to them than money anyway.
* ''Series/MysteryScienceTheater3000 [[ThisIslandEarth The Movie]]''. Hoo, boy. The movie was originally envisioned as an origin movie meant to reveal how Joel got stuck on the Satellite of Love beyond what was mentioned in the theme, but the executives wanted very little to none movie riffing, which would be one of the reasons why creator Joel Hodgson left the series. Universal insisted on only using their collection of movies, they were forced to "dumb down" various riffs, wanted more cursing (which [[TropesAreNotBad wasn't too bad]] - one good riff had Tom utter "What kind of shithole planet is this?!" upon seeing Metaluna), was forced to rewrite the ending which made the scene where Crow finds the chainsaw a one-off gag (he was supposed to use the chainsaw to resume digging to Earth) and for the biggest slap in the face, they ended up with InvisibleAdvertising as distributor Gramercy chose to put more attention on ''Film/BarbWire'' over this.
* ''Film/BlazingSaddles:'' They tried. Mel Brooks was called into a meeting with the film company executives where they had a long list of changes that they wanted to make, including removing all instances of the N-word, and cutting the beans scene entirely. Mel took careful notes of all their requests, and when the meeting was over he dumped his notes in the garbage, because his contract gave him final cut on the film.
* Remember the infamous ''Film/{{Predator}}'' scene where the group freaks out and fires their guns wildly into the jungle? This was put into the film after the studio told John Mctiernan that they felt the movie needed more 'gun shooting scenes'. So he added a scene where [[TakeThat the gun shooting was pointless.]]
* ''Film/GIJoeRetaliation'' became a victim of this. Just weeks before its scheduled release, the film was [[http://blogs.indiewire.com/theplaylist/g-i-joe-retaliation-reshoots-to-add-more-channing-tatum-20120530# pulled for reshoots]] to give Channing Tatum's character, Duke, more screentime (as a response to Tatum's increased box-office draw). It is also believed that the film was, in part, rescheduled over the studio's fears of the film bombing in an already-crowded fall 2012 movie market.
* Happened with ''Film/TheWizardOfOz''. In the original script, Oz was indeed a real place that Dorothy had really visited, but execs thought that audiences would be too "sophisticated" to accept a fantasy land like Oz, so they changed it to its now famous AllJustADream ending. Whether this was a good thing depends on your interperetation.
** The execs also pressured the director to cut the 'Over The Rainbow' song, not liking the idea of their star singing in a farmyard. Fortunately, the song stayed in.
* ''Film/BattlefieldEarth'' is an interesting case. [[http://www.nypost.com/p/entertainment/movies/penned_the_suckiest_movie_ever_sorry_MdXedZpTMWJmfpw80Xc7aO According to the original screenwriter]] it had a chance at being good, and the studio was behind that version, at least initially. Then the [[ChurchOfHappyology fans of the book's author]] got extensively mixed up with the process. Apparently their founder, who had written [[Literature/BattlefieldEarth the original novel]], had a ''very'' precise idea of how he wanted the film adaptation to turn out, and had left behind plenty of notes on the subject. And the rest is history.
** Related to screenwriters, one of the credited ones for ''Film/ConanTheBarbarian2011'', [[http://www.quora.com/Whats-it-like-to-have-your-film-flop-at-the-box-office answering ďWhatís it like to have your film flop at the box office? Donít they know how bad it is before it comes out?Ē]]:
-->I know that those who have read my Conan shooting script agree that much of the work I did on story and character never made it to screen. I myself know that given the difficulties of rewriting a script in the middle of production, I made vast improvements on the draft that came before me.

to:

* ''Film/TheLordOfTheRings'' almost suffered this fate. fate.
**
Peter Jackson originally knew a proper trilogy would be a hard sell, so he came up with a two-movie treatment since he knew a proper trilogy was going to be a hard sell. treatment. He showed it to Miramax and, while Miramax; they agreed to it, Disney, at the time its parent company, under then-CEO Michael Eisner, but their then-parent company Disney balked at the estimated cost of the two films, said that expensive films like it weren't the sort of films projected cost. They leaned on Miramax were supposed to be making, and thus vetoed it.\\
\\
Their suggestions were to, among other things,
suggest changes, which included: mash it into a single film; "use or lose" Saruman, Saruman; combine Rohan and Gondor (so that (and make Éowyn would be Boromir's sister), and mash everything into a single film. So Harvey Weinstein went back to Peter Jackson and told him to do it one film, with all sister); cut the changes noted above including a few other things: The Mines of entire Moria sequence was completely cut out, and describe it in an InfoDump; and pare down the Fellowship just [[{{Infodump}} info dumped]] on how bad going through the mines had been; and them not seeing a need for their being four Hobbits, Hobbits to two and to get rid of two of them. Even then, Miramax even wanted to kill off one of the Hobbits, though it's not clear if that order came down before or after it was demanded they do the story in one movie. Peter them at some point. Jackson flatly refused to make the one-film-only version Miramax was demanding, refused, so Miramax only gave him four weeks to get for another studio to bite, thinking that no other studio would. If he failed, they would after which they'd just replace Jackson with hire another director if Jackson still refused to do the one-film version.\\
\\
However,
director. Then New Line ''did'' bite, told Jackson to do make it in three, a full trilogy, and the rest is Oscar-winning history. When the films ended up being a smash hit, the loss of it was one of the main reasons Harvey Weinstein left The fallout at Miramax (because he felt Michael Eisner's veto of projects like LOTR was holding him and the company back); and led to Harvey Weinstein's departure (and indirectly to Disney ousting CEO Michael Eisner losing his position as CEO of well).
** Ironically,
the Disney company because he had passed on too many hit projects like LOTR. So, in this case, the Executive Meddling ended up ''backfiring'' on the executives.
** The battle to make ''[=LotR=]'' into the trilogy it deserved to be is quite ironic considering the next Middle-Earth story
prequel series ''Film/TheHobbit'' ended up being expanded suffered much more from two films into three with little fuss from executives.
*** Or so many people presumed. According to the cast and crew including actor Graham McTavish and Peter
executive meddling. Now Jackson himself, presented New Line a two-film treatment which the studio forced Peter insisted should be ''expanded'' to three (even though the [[Literature/TheHobbit source material]] was much shorter than ''Literature/TheLordOfTheRings'' was). The studio originally threw the series into DevelopmentHell when it refused to pay Creator/JRRTolkien's estate its due; when they finally cleared that up and got the green light to start filming, they gave Jackson to edit the third film only six months of pre-production. They also forced a lot of added plot threads, which caused more than one AdaptationInducedPlotHole -- in particular, they wanted more Alfrid scenes and the overall trilogy in a way he didn't approve of, including forcing forced Legolas into Kili and Tauriel's love story (which was meant to be in there from the beginning with Legolas and Tauriel's relationship being more LikeBrotherAndSister), imposing tons of things onto Jackson for the third film which led to more then one AdaptationInducedPlotHole and demanding more Alfrid scenes. The extended editions are closer to what was originally intended but considering the aforementioned meddling with LOTR, it's not far-fetched to assume the studio made more changes then what were first thought.
*** All this was preceded by the fact that the studio only gave Peter Jackson six months to do pre-production and to start filming or else. Then there was the whole debacle involving New Line Cinema and Warner Bros. not paying the Tolkien Estate the money that was owed them along with the complete DevelopmentHell the film suffered from. Suffice it to say, the trilogy had a TroubledProduction to say the least.
story.
* ''Film/{{Zulu}}'' on a ''governmental'' governmental level. The film company was forbidden under [[UsefulNotes/TheApartheidEra Apartheid law]] to actually pay the Zulus acting as extras, under [[TheApartheidEra apartheid]] laws.extras. Director Cy Enfield, who'd struck up a friendship with the Zulus acting in the film, was upset with this and decided to leave them the cattle used in the film, which was more valuable to them than money anyway.
* ''Series/MysteryScienceTheater3000 [[ThisIslandEarth The Movie]]''. Hoo, boy. The movie Movie'' was originally envisioned invisioned as an origin movie meant to reveal story of how Joel got stuck on the Satellite of Love beyond what was mentioned in the theme, but the Love. The executives also wanted very little to none (if any) movie riffing, which would be one riffing (obviating the point of the reasons why creator Joel Hodgson left the series. Universal series), insisted on only using their only Universal's collection of movies, they were forced asked them to "dumb down" various riffs, wanted the riffs and add more cursing (which [[TropesAreNotBad wasn't too bad]] - one good riff had Tom utter "What kind cursing, rewrote the ending, imposed InvisibleAdvertising, and pared down the movie thinking people wouldn't get why it's so long -- leading to a film ''shorter'' than most episodes of shithole planet is this?!" upon seeing Metaluna), the original series. It was forced bad enough to rewrite contribute to Joel Hodgson leaving the ending which made the scene where Crow finds the chainsaw a one-off gag (he was supposed to use the chainsaw to resume digging to Earth) and for the biggest slap in the face, they ended up with InvisibleAdvertising as distributor Gramercy chose to put more attention on ''Film/BarbWire'' over this.
series.
* ''Film/BlazingSaddles:'' They tried. Mel Brooks was called into a meeting with the film company executives where they had a long list of changes that they wanted to make, including removing all instances of the N-word, [[NWordPrivileges N-word]], and cutting the [[{{Gasshole}} beans scene scene]] entirely. Mel took careful notes of all their requests, and when the meeting was over he dumped his notes in the garbage, because his contract gave him final cut on the film.
* Remember the The infamous scene from ''Film/{{Predator}}'' scene where the group freaks out and fires their guns wildly into the jungle? This jungle was put into the film after solely because the studio told John Mctiernan that they felt the movie needed more 'gun "gun shooting scenes'.scenes". So he added a scene where [[TakeThat the gun shooting was pointless.]]
* ''Film/GIJoeRetaliation'' became a victim of this. Just ''Film/GIJoeRetaliation'', just weeks before its scheduled release, the film was [[http://blogs.indiewire.com/theplaylist/g-i-joe-retaliation-reshoots-to-add-more-channing-tatum-20120530# pulled for reshoots]] to give Channing Tatum's character, Duke, more screentime (as a response to Tatum's increased box-office draw). It is also believed that the film was, in part, rescheduled over the studio's fears of the film bombing in an already-crowded fall 2012 movie market.
* Happened with ''Film/TheWizardOfOz''. In the ''Film/TheWizardOfOz'''s original script, Oz was indeed a real place that Dorothy had really visited, but execs visited. Executives thought that audiences would be too "sophisticated" to accept a fantasy land like Oz, so they changed it Oz (in odd contrast to its now today's ViewersAreMorons mentality), thus enforcing the famous AllJustADream ending. Whether this was a good thing depends on your interperetation.
** The execs
They also pressured the director tried to cut the 'Over The Rainbow' song, not liking song "Over the Rainbow" just because they didn't like the idea of their star singing in a farmyard. Fortunately, the song stayed in.
* ''Film/BattlefieldEarth'' is an interesting case.
farmyard. [[http://www.nypost.com/p/entertainment/movies/penned_the_suckiest_movie_ever_sorry_MdXedZpTMWJmfpw80Xc7aO According to the original screenwriter]] it had a chance at being good, and the studio was behind that version, at least initially. Then the [[ChurchOfHappyology fans of the book's author]] got extensively mixed up with the process. Apparently their founder, who had written [[Literature/BattlefieldEarth the original novel]], had a ''very'' precise idea of how he wanted the film adaptation to turn out, and had left behind plenty of notes on the subject. And the rest is history. \n** Related to screenwriters, one of the credited ones for ''Film/ConanTheBarbarian2011'', [[http://www.quora.com/Whats-it-like-to-have-your-film-flop-at-the-box-office answering ďWhatís it like to have your film flop at the box office? Donít they know how bad it is before it comes out?Ē]]:\n-->I know that those who have read my Conan shooting script agree that much of the work I did on story and character never made it to screen. I myself know that given the difficulties of rewriting a script in the middle of production, I made vast improvements on the draft that came before me.



* During filming of ''Film/TheBluesBrothers'', Universal kept pressuring John Landis to replace some of the African American musical stars in the cast like CabCalloway and ArethaFranklin with acts like Rose Royce who were more contemporary and successful (The notable exception was RayCharles). He refused, but as a result some theater chains refused to book it into their theaters in white neighborhoods.
** Which, of course, [[LifeImitatesArt would go against]] much of the {{Aesop}} behind the movie, to give respect and attention to blues, jazz and R&B's rich history and traditions, which were being neglected as new trends in music were emerging and traditional black musicians like James Brown and Cab Calloway were being forgotten about.
* ''Film/{{Scream 4}}'' was another victim of Weinstein tampering, with both Creator/HaydenPanettiere and director Creator/WesCraven reportedly complaining about script changes; the DVDCommentary brings up a number of instances, particularly noting that the film originally ended with [[spoiler: a "We got a heartbeat!" scene involving Panettiere's character Kirby]]. Given that the finished version has the most/only [[DownerEnding downbeat ending]] of the series and was the least successful at the box office, [[spoiler: and given both audiences and critics gave Panettiere major props, leaving Kirby writhing on the ground in agony with her fate left in the air might have been a mistake]].

to:

* During filming of ''Film/TheBluesBrothers'', Universal kept pressuring John Landis to replace some of the African American musical stars in the cast like CabCalloway and ArethaFranklin with acts like Rose Royce who were more contemporary and successful (The (the notable exception was RayCharles). He refused, but as a result some theater chains refused to book it into their theaters in white neighborhoods.
** Which, of course,
Such changes would have [[LifeImitatesArt would go against]] contradicted]] much of the {{Aesop}} behind the movie, to give respect and attention to blues, jazz and R&B's rich history and traditions, which were being neglected as new trends in music were emerging and traditional black musicians like James Brown and Cab Calloway were being forgotten about.
* ''Film/{{Scream 4}}'' was another victim of Weinstein tampering, with both Creator/HaydenPanettiere and director Creator/WesCraven reportedly complaining about script changes;
forgotten. Landis refused the DVDCommentary brings up changes, but as a number of instances, particularly noting that the film originally ended with [[spoiler: a "We got a heartbeat!" scene involving Panettiere's character Kirby]]. Given that the finished version has the most/only [[DownerEnding downbeat ending]] of the series and was the least successful at the box office, [[spoiler: and given both audiences and critics gave Panettiere major props, leaving Kirby writhing on the ground result some theater chains refused to book it into their theaters in agony with her fate left in the air might have been a mistake]].white neighborhoods.



* SamPeckinpah's ''Major Dundee'' also got this treatment. He wanted to make the film similar to his later ''Film/TheWildBunch'', but the studio wanted a regular "Cavalry vs. Indians"-like Western and Peckinpah lost out.
* This is commonly referred to in regards to the TroubledProduction of ''Film/{{Prometheus}}'':
** The film was [[http://www.filmschoolrejects.com/opinions/the-8-worst-parts-of-prometheus-explained-in-the-original-script-jsarg.php originally intended]] to be much closer to a true ''Film/{{Alien}}'' prequel, with Jon Spaihts' original script ("Alien: Engineers") being much more coherent and logical - among other things, it gave many of the supporting characters much clearer motivations, answered commonly-addressed moments of idiocy (the expedition team keeps their helmets on inside the ship at all times) and tied in much better to the ''Alien'' canon ([[spoiler:the team originally discovered the Engineer outpost on LV-426, and Holloway gave birth to a proto-chestburster]]). Midway through pre-production, 20th Century Fox brought Damon Lindelof (''{{Series/LOST}}'') onboard as a "name" writer to rework Spaihts' script, jettisoning a large amount of context, explanation and connections with the main franchise in the process. Interestingly, the Blu-Ray special features have the cast and crew explicitly describing the film as an ''Alien'' prequel, despite the marketing and trailers distancing the film from the source material.
** The character of Shaw was originallly going to be named Elizabeth Watts, but this was changed by executives for fear of confusion with 20th Century Fox's President of Production, Emma Watts.

to:

* SamPeckinpah's ''Major Dundee'' also got this treatment. He wanted to make the film similar to his later ''Film/TheWildBunch'', but the studio wanted a regular "Cavalry vs. Indians"-like Western Western, and Peckinpah lost out.
* This is commonly referred to in regards to the TroubledProduction of ''Film/{{Prometheus}}'':
**
''Film/{{Prometheus}}''. The film was [[http://www.filmschoolrejects.com/opinions/the-8-worst-parts-of-prometheus-explained-in-the-original-script-jsarg.php originally intended]] to be much closer to a true ''Film/{{Alien}}'' prequel, with Jon Spaihts' original script ("Alien: Engineers") being much more coherent and logical - logical; among other things, it gave many of the supporting characters much clearer motivations, answered commonly-addressed moments of idiocy (the expedition team keeps their helmets on inside the ship at all times) and tied in much better to the ''Alien'' canon ([[spoiler:the team originally discovered the Engineer outpost on LV-426, and Holloway gave birth to a proto-chestburster]]). Midway through pre-production, 20th Century Fox brought Damon Lindelof (''{{Series/LOST}}'') of ''{{Series/LOST}}'' onboard as a "name" writer to rework Spaihts' script, jettisoning a large amount of context, explanation explanation, and connections with the main franchise in the process. Interestingly, the Blu-Ray special features have the cast and crew explicitly describing the film as an ''Alien'' prequel, despite the marketing and trailers distancing the film from the source material.
** The character of Shaw was originallly going to be named Elizabeth Watts, but this was changed by executives for fear of confusion with 20th Century Fox's President of Production, Emma Watts.
material.



* Creator/SergioLeone's ''Film/OnceUponATimeInAmerica'' deserves mention. The initial US release was cut by '''more than an hour and a half''' from 229 minutes to 139 minutes, and re-edited from an original non-linear story line that would have given ''Pulp Fiction'''s editor nightmares into straight chronological sequence - with the result that the film's stars (Robert De Niro and James Woods) don't even show up on-screen until something like forty minutes in.
** The European release, however, remained the same length. The original cut was critically acclaimed throughout the world. James Woods stated at one point that one American critic watched the US cut and called it the worst film of 1984. He saw the European cut years later and called it one of the best films of the 1980s.

to:

* The initial U.S. release of Creator/SergioLeone's ''Film/OnceUponATimeInAmerica'' deserves mention. The initial US release was cut by '''more more than an hour and a half''' half from 229 minutes to 139 minutes, and re-edited from an original non-linear story line that would have given ''Pulp Fiction'''s editor nightmares into straight chronological sequence - -- with the result that the film's stars (Robert De Niro and James Woods) don't even show up on-screen until something like forty minutes in.
**
in. The European release, however, remained release was the same length. The original cut original, and it was critically acclaimed throughout the world. James Woods stated at one point that one American critic watched the US cut and called it the worst film of 1984. He saw the European cut years later and called it one of the best films of the 1980s.acclaimed.



* ''Franchise/PlanetOfTheApes'' very nearly got a [[DarkerAndEdgier gritty reboot]] in 1995. Titled ''Return of the Apes'', the movie would have been as bizarre as violent, with a plot centered around two scientists that travel to Africa 102,000 years before the present looking for a cure to a disease that is ravaging humanity in the future, only to run into a war between primitive humans and advanced [[FrazettaMan gorilla-like apemen]]. It had a $100 million budget approved, Creator/ArnoldSchwarzenegger had signed as the lead, Creator/StanWinston was making the special effects, [[Film/MadMax2TheRoadWarrior Terry Hayes]] was writing and [[Film/PatriotGames Phillip Noyce]] was directing. So, how come you've never heard of it? Enter Fox executive Dylan Sellers, who thought that the script needed comedy. In particular, he though that the film needed a scene where Schwarzenegger ''would teach the evil killer gorillas how to play baseball.'' When Hayes turned in the revised script without this scene, mere months before shooting, Sellers fired him, Noyce quit the project in response and the film went back into DevelopmentHell. In the words of fellow producer Don Murphy, "Terry wrote a ''{{Franchise/Terminator}}'' and Fox wanted ''WesternAnimation/TheFlintstones''."
* ''Frankenstein Must Be Destroyed'', the second-to-last of Creator/PeterCushing's Franchise/{{Frankenstein}} [[Film/HammerHorror movies]], has an particularly insane example that ''everyone'' except the one person who held the money hated from filming all the way to this day: the rape of Anna by Doctor Frankenstein. He had done many villainous things throughout the movie, from blackmailing the young couple to do his bidding through all the way to the murder of several innocent people -- but all these things could all be traced back to Frankenstein's [[ForScience insane and hyperfocused amoral dedication to scientific progress]]. This was what had always made Cushing's Frankenstein an interesting and complex villain. Then the rape scene was thrown in because the producer demanded "More sex!" Cushing [[MeanCharacterNiceActor is visibly shaken during the entire scene]] and took the actress Veronica Carlson out for dinner afterwards in order to talk through what they had just experienced. Carlson in turn asked her friend Creator/RogerMoore to be present on the set for moral support. And just to make it official - director Terence Fisher [[ScrewThisImOuttaHere stormed off the set in the middle of shooting the scene]] and the producer had to finish it himself.
* The existence of ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' is due to this trope. Steven Spielberg wanted to end the series with ''Last Crusade'', but both Harrison Ford and George Lucas insisted that a fourth film be made. After ''20 years'' of negotiation and DevelopmentHell, caused mostly by Lucas being set on very specific scenes and plot points that had to be used in the movie, and writers like Creator/FrankDarabont and Creator/MNightShyamalan quitting or being fired by Lucas, the film was finally made and released in 2008, when Spielberg had no other projects in sight and Ford had given an ultimatum demanding the movie to be done now or never. The finished film proved to be a BaseBreaker with fans and critics alike.

to:

* ''Franchise/PlanetOfTheApes'' very nearly got a [[DarkerAndEdgier gritty reboot]] in 1995. Titled ''Return of the Apes'', the movie would have been as bizarre as violent, with a plot centered around two scientists that travel to Africa 102,000 years before the present looking for a cure to a disease that is ravaging humanity in the future, only to run into a war between primitive humans and advanced [[FrazettaMan gorilla-like apemen]]. It had a $100 million budget approved, Creator/ArnoldSchwarzenegger had signed as the lead, Creator/StanWinston was making the special effects, [[Film/MadMax2TheRoadWarrior Terry Hayes]] was writing and [[Film/PatriotGames Phillip Noyce]] was directing. So, how come you've never heard of it? Enter Fox executive Dylan Sellers, who thought that the script needed comedy. In particular, he though that the film needed a scene where Schwarzenegger ''would teach the evil killer gorillas how to play baseball.'' When Hayes turned in the revised script without this scene, mere months before shooting, Sellers fired him, Noyce quit the project in response response, and the film went back into DevelopmentHell. In the words of fellow producer Don Murphy, "Terry wrote a ''{{Franchise/Terminator}}'' and Fox wanted ''WesternAnimation/TheFlintstones''."
* ''Frankenstein Must Be Destroyed'', the second-to-last of Creator/PeterCushing's Franchise/{{Frankenstein}} [[Film/HammerHorror movies]], has an particularly insane example that ''everyone'' except the one person who held the money hated from filming all the way to this day: the rape of Anna by Doctor Frankenstein. He had done many villainous things throughout the movie, from blackmailing the young couple to do his bidding through all the way to the murder of several innocent people -- but all these things could all be traced back to Frankenstein's [[ForScience insane and hyperfocused amoral dedication to scientific progress]]. This was what had always made Cushing's Frankenstein an interesting and complex villain. Then the rape scene was thrown in because the producer demanded "More sex!" Cushing [[MeanCharacterNiceActor is visibly shaken during the entire scene]] and took the actress Veronica Carlson out for dinner afterwards in order to talk through what they had just experienced. Carlson in turn asked her friend Creator/RogerMoore to be present on the set for moral support. And just to make it official - official, director Terence Fisher [[ScrewThisImOuttaHere stormed off the set in the middle of shooting the scene]] and the producer had to finish it himself.
* The existence of ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' is due to this trope. Steven Spielberg wanted to end the series with ''Last Crusade'', but both Harrison Ford and George Lucas insisted that a fourth film be made. After It went through ''20 years'' of negotiation and DevelopmentHell, caused mostly by Lucas being set on very specific scenes and plot points that had to be used in the movie, and writers movie. Writers like Creator/FrankDarabont and Creator/MNightShyamalan quitting either quit or being were fired by Lucas, the Lucas. The film was finally made and released in 2008, when Spielberg had no other projects in sight and Ford had given an ultimatum demanding that the movie to be done now or never. The finished film proved to be a BaseBreaker with fans and critics alike.



* [[http://insidemovies.ew.com/2011/08/13/disney-halts-johnny-depp-lone-ranger/ Disney delayed production]] on ''Film/TheLoneRanger'' after the underperformance of ''Film/CowboysAndAliens''. Ironically, it didn't help at all.
* The original screenplay for ''Film/RobinHood2010'' was a very sought script titled ''Nottingham''. It was about the Sheriff of Nottingham trying to investigate some murders in his city, with his efforts frequently being hindered by a brigand who lived in the local forest. Then the studio that bought the script decided that one can't make a Robin Hood movie in which Robin Hood isn't the main character and threw away the script completely, turning the movie into yet another film about how Robin of Locksley became the famous outlaw of Sherwood Forest.

to:

* [[http://insidemovies.ew.com/2011/08/13/disney-halts-johnny-depp-lone-ranger/ Disney delayed production]] on ''Film/TheLoneRanger'' after the underperformance of ''Film/CowboysAndAliens''. Ironically, it It didn't help at all.
* The original screenplay for ''Film/RobinHood2010'' was a very sought sought-after script titled ''Nottingham''. It was about the Sheriff of Nottingham trying to investigate some murders in his city, with his efforts frequently being hindered by a brigand who lived in the local forest. Then the studio that bought the script decided that one can't make a Robin Hood movie in which Robin Hood isn't the main character and threw away the script completely, turning the movie into yet another film about how Robin of Locksley became the famous outlaw of Sherwood Forest.



** His ''Film/AFineMess'' was originally intended as a heavily improvised ''homage'' to Creator/LaurelAndHardy's 1932 short ''Film/TheMusicBox'' with Creator/RichardPryor and Burt Reynolds as the leads, in the spirit of Edwards' ''Film/TheParty''. Problems with the studio are among the reasons why it eventually turned into the scripted chase comedy that was released.

to:

** His * Edwards' ''Film/AFineMess'' was originally intended as a heavily improvised ''homage'' to Creator/LaurelAndHardy's 1932 short ''Film/TheMusicBox'' ''Film/TheMusicBox'', with Creator/RichardPryor and Burt Reynolds as the leads, in the spirit of Edwards' ''Film/TheParty''. Problems with the studio are among the reasons why it eventually turned into the scripted chase comedy that was released.



* In ''Film/TheThing2011'', the executives chickened out and changed many animatronic effects to the cheapest CGI they could find. That awful looking alien tetris tower inside the otherwise well made starship was there to hide a completed animatronic alien pilot that remained from a better ending the writers had created but would be more expensive to produce.

to:

* In ''Film/TheThing2011'', the executives chickened out and changed many animatronic effects to the cheapest CGI they could find. That awful looking awful-looking alien tetris tower inside the otherwise well made starship was there to hide a completed animatronic alien pilot that remained from a better ending the writers had created but would be more expensive to produce.



* Some horror filmakers whose works lean towards the atmospheric and character-driven types had have issues with distributors "wanting to open the film with a kill" to "to get the feel for the movie". Note that those deaths would likely be the only deaths to not elicit an emotional reaction from the other characters. And that inserting two people dying in a film not intended for splatter fans, of a type that usually forty minutes or longer character building, probably wouldn't make the film any more marketable to splatter fans.
* The director of ''Film/BookOfShadowsBlairWitch2'' wanted to make the film more psychological thriller exploring the relationship between medial, fiction and reality that would also be a commentary on the media frenzy and fan community around the first film. The film would start out lighthearted, and slowly grow stranger and darker, with the end remaining vague about whether the main characters committed horrible acts due to actually being under the influence of the Blair Witch or if they lost touch with reality while getting too deep into the fiction. The studio initially liked this take, but upon seeing the director's first cut they wanted to add more gore and violence earlier on in the film, which included scattering around some revealing scenes from the end, and adding a completely new scene where the characters massacre a foreign group who's come to visit the site of the first film. To make the mood of the film darker, the studio also changed the soundtrack to hard rock. Finally, that "Book of Shadows" in the title which is nowhere to be seen in the actual movie? Added by the studio.

to:

* Some horror filmakers whose works lean towards the atmospheric and character-driven types had have issues with distributors "wanting to open the film with a kill" to "to get the feel for the movie". Note that those deaths would likely be the only deaths to not elicit an emotional reaction from the other characters. And that inserting two people dying in a film not intended for splatter fans, of a type that usually forty minutes or longer character building, probably wouldn't make the film any more marketable to splatter fans.
* The director of ''Film/BookOfShadowsBlairWitch2'' wanted to make the film more psychological thriller exploring the relationship between medial, fiction and reality that would also be a commentary on the media frenzy and fan community around the first film. The film would start out lighthearted, and slowly grow stranger and darker, with the end remaining vague about whether the main characters committed horrible acts due to actually being under the influence of the Blair Witch or if they lost touch with reality while getting too deep into the fiction. The studio initially liked this take, but upon seeing the director's first cut cut, they wanted to add more gore and violence earlier on in the film, which included scattering around some revealing scenes from the end, and adding a completely new scene where the characters massacre a foreign group who's come to visit of foreigners visiting the site of the first film. To make the mood of the film darker, the studio also changed the soundtrack to hard rock. Finally, that "Book of Shadows" in the title which is nowhere to be seen in the actual movie? Added movie was added by the studio.



* The ''[[Film/RoboCop2014 RoboCop]]'' reboot fell victim to this big time. The director and star both pushed for a hard R tribute to the beloved cult classic. Sony executives were more interested in ripping off iconic moments from Ironman and Batman to try and build a new superhero franchise. Reportedly, the director complained that for every ten ideas he had, nine were cut by the studio.

to:

* The ''[[Film/RoboCop2014 RoboCop]]'' reboot fell victim to this big time. The director and star both pushed for a hard R tribute to the beloved cult classic. Sony executives were more interested in ripping off iconic moments from Ironman ''Iron Man'' and Batman ''Batman'' films to try and build a new superhero franchise. Reportedly, the director complained that for every ten ideas he had, nine were cut by the studio.



* The original cut for ''Film/EventHorizon'' was 130 minutes long, but executives at Paramount were unsure about this, given that the film would be rated NC-17. After a disastrous test screening, Paramount told director Paul W.S. Anderson to remove thirty minutes and cut some of the violence in order for the film to be rated R. Because of this, the running time was shortened from 130 to 95 minutes and the film was a critical and commercial disaster. Anderson has since regretted shortening the running time of the film.
** The 35 minutes of deleted footage were presumed lost until 2012, when [[WordOfGod Anderson himself]] said that a videotape containing the original cut was found while he was being interviewed at the San Diego Comic-Con.
* Mostly averted in the case of ''Film/DropDeadGorgeous'', but not for lack of trying by New Line late in the production, according to ''[=BuzzFeed=]'''s [[http://www.buzzfeed.com/louispeitzman/drop-dead-gorgeous-15-year-anniversary 15th-anniversary piece on the film]]. After principal photography was over, while the film was being edited, New Line, which hadn't really paid much attention during shooting, looked at its tracking numbers and found that not only were very few potential viewers aware of the film, fewer still planned to see it. Panicking, they asked the filmmakers to recut the film LighterAndSofter, more like a conventional teen comedy along the lines of ''Film/{{Clueless}}''. But there wasn't much existing material to do that with, by then it was already too late to get the cast back together for reshoots, and most of the editing was done.[[note]]Not that the studio ever realized that, as the screenwriter put it, it was a movie for girls who saw ''Clueless'' and said "Fuck ''them''!"[[/note]]

to:

* The original cut for ''Film/EventHorizon'' was 130 minutes long, but executives at Paramount were unsure about this, given that the film would be rated NC-17. After a disastrous test screening, Paramount told director Paul W.S. Anderson to remove thirty minutes and cut some of the violence in order for the film to be rated R. Because of this, the running time was shortened from 130 to 95 minutes and the film was a critical and commercial disaster. Anderson has since regretted shortening the running time of the film.
**
film. The 35 minutes of deleted footage were presumed lost until 2012, when [[WordOfGod Anderson himself]] said that a videotape containing the original cut was found while he was being interviewed at the San Diego Comic-Con.
* Mostly averted in the case of ''Film/DropDeadGorgeous'', but not for lack of trying by New Line late in the production, according to ''[=BuzzFeed=]'''s [[http://www.buzzfeed.com/louispeitzman/drop-dead-gorgeous-15-year-anniversary 15th-anniversary piece on the film]]. After principal photography was over, while the film was being edited, New Line, which hadn't really paid much attention during shooting, looked at its tracking numbers and found that not only were very few potential viewers aware of the film, fewer still planned to see it. Panicking, they asked the filmmakers to recut the film LighterAndSofter, more like a conventional teen comedy along the lines of ''Film/{{Clueless}}''. But there wasn't much existing material to do that with, by then it was already too late to get the cast back together for reshoots, and most of the editing was done.[[note]]Not that the The studio ever never realized that, as the screenwriter put it, it was a movie for girls who saw ''Clueless'' and said "Fuck ''them''!"[[/note]] ''them''!"



* [[http://www.cinemablend.com/new/Why-Last-Airbender-Was-Terrible-It-Maybe-Wasn-t-Night-Fault-66676.html This CinemaBlend article]] suggests that ''Film/TheLastAirbender'' may have been more a case of this trope than solely the fault of M. Night Shyamalan. Nepotism, script rewrites, cut-out scenes to keep the movie under 100 minutes long, etc. seem to have ultimately killed Shyamalan and company's enthusiasm for the project, leading them to phone it in just to get their paychecks.
* ''Film/TheBridgeOnTheRiverKwai'', specifically the commando storyline. While present in Pierre Boulle's novel, it was a minor subplot compared to the prison camp story. Hoping to boost box office appeal, producer Sam Spiegel (over David Lean's objections) beefed up this storyline. William Holden's character Shears, a British officer in the book, becomes an escaped American POW shanghaied into helping destroy the titular bridge. Spiegel also demanded Lean add not one but two [[TokenRomance token love interests]] - a British nurse Shears meets at a Ceylon hospital, and Siamese women who join the commando team. Spiegel's meddling certainly didn't ruin ''Kwai'', though most critics consider the commando story weaker than the main plot.
** Which at least was an improvement over Carl Foreman's early drafts, which featured more elaborate and outlandish action scenes like a submarine battle and elephant stampedes!

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* [[http://www.cinemablend.com/new/Why-Last-Airbender-Was-Terrible-It-Maybe-Wasn-t-Night-Fault-66676.html This CinemaBlend article]] suggests that ''Film/TheLastAirbender'' may have been more a case of this trope than solely the fault of M. Night Shyamalan. Nepotism, script rewrites, cut-out and cut scenes to keep the movie under 100 minutes long, etc. long seem to have ultimately killed Shyamalan and company's enthusiasm for the project, leading them to phone it in just to get their paychecks.
* ''Film/TheBridgeOnTheRiverKwai'', specifically the commando storyline. While present in Pierre Boulle's novel, it was a minor subplot compared to the prison camp story. Hoping to boost box office appeal, producer Sam Spiegel (over David Lean's objections) beefed up this storyline. William Holden's character Shears, a British officer in the book, becomes an escaped American POW shanghaied into helping destroy the titular bridge. Spiegel also demanded Lean add not one but two [[TokenRomance token love interests]] - interests]]: a British nurse Shears meets at a Ceylon hospital, and Siamese women who join the commando team. Spiegel's meddling certainly didn't ruin ''Kwai'', though most critics consider the commando story weaker than the main plot.
** Which
plot. This was at least was an improvement over Carl Foreman's early drafts, which featured more elaborate and outlandish action scenes like a submarine battle and elephant stampedes!



* According to the film's Screenwriter, Daniel Waters, ''Film/VampireAcademy'' was victim of this because of the rushed and choppy editing at the request of Weinstein. Cutting out more than what he and his brother would have wanted.
* ''Film/DragonballEvolution'' suffered ''immensely'' from executive meddling. Ben Ramsey's original script was a much more faithful adaptation of the original source material from the manga, complete with Pilaf and his gang, Oolong, Pu'ar, the Nimbus and even a cameo from Krillin. Then the executive meddling of 20th Century Fox kicked in. The higher ups didn't want a kids movie, so the concept of the movie being based in the early portions of Dragon Ball was scrapped in favor of having the movie set during Goku's teen years, modernizing the Dragon Ball world and making the story more adult, much more like a coming of age film, so that the casual audience wouldn't feel alienated by Dragon Ball's original premise. Needless to say, the script was changed a lot once it was out of Ben Ramsey's hands.

to:

* According to the film's Screenwriter, Daniel Waters, ''Film/VampireAcademy'' was victim of this because of the rushed and choppy editing at the request of Weinstein. Cutting out more than what he and his brother would have wanted.
* ''Film/DragonballEvolution'' suffered ''immensely'' from executive meddling. Ben Ramsey's original script was a much more faithful adaptation of the original [[Manga/DragonBall source material from the manga, material]], complete with Pilaf and his gang, Oolong, Pu'ar, the Nimbus and even a cameo from Krillin. Then the executive meddling of 20th Century The higher-ups at Fox kicked in. The higher ups didn't want a kids kids' movie, so the concept of the movie being based in the early portions of Dragon Ball ''Dragon Ball'' was scrapped in favor of having the movie set during Goku's teen years, modernizing the Dragon Ball ''Dragon Ball'' world and making the story more adult, much more like of a coming of age film, so that the casual audience wouldn't feel alienated by Dragon Ball's ''Dragon Ball'''s original premise. Needless to say, the script was changed a lot once it was out of Ben Ramsey's hands.



* Creator/JohnWoo allegedly suffered this ''twice'' in his works.

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* Creator/JohnWoo allegedly suffered this ''twice'' in his works. twice:



** Seven years later it happened again, with ''Film/MissionImpossibleII''. Allegedly, both Woo and star Creator/TomCruise got into an argument toward Woo's cut of the movie. Once editing started, Cruise, under order from Paramount executives, locked Woo out from the offices, again to keep him from protesting the studio's treatment of the film. Needless to say, it was the failure of ''Film/{{Paycheck}}'', which too suffered from executive meddling, that was the straw that broke the camel's back, as Woo gave up on Hollywood after that.
* Shortly after acquiring distribution rights, Lionsgate took ''Dying of the Light'' away from writer/director [[Creator/PaulSchrader Paul Schrader]] and cut the film down. The end result was critically panned and Schrader has [[CreatorBacklash disowned this version]].
* According to [[http://www.completevca.com/bio_exclusive_bloom.shtml this]] interview with director Jeffrey Bloom, ''Film/FlowersInTheAttic'' had many conflicts between him and the producers on how the movie should have gone. Bloom wanted to remain faithful to the book, including more suggestions BrotherSisterIncest, but many scenes were either cut or never filmed due to time restraints. During post production, Bloom walked away from filming the new ending for the final cut [[spoiler: in which Corrine is hung from her wedding veil]] because he felt it was dumb (He speculates that, had author Creator/VCAndrews lived to see the film, she would've hated the ending too). The new ending was filmed without Bloom's involvement, and the original ending was thrown out.
* Originally ''Film/{{Paddington}}'' was suppose to come out in America on Christmas Day 2014, but because the Christmas Day was already crowded it was changed to January 16th for a wider audience. Despite opening the same weekend as ''American Sniper'', it's done rather well considering (especially since there are no new other family friendly films out).

to:

** Seven years later it happened again, with ''Film/MissionImpossibleII''. Allegedly, both Woo and butted heads with star Creator/TomCruise got into an argument toward over Woo's cut of the movie. Once editing started, Cruise, under order from Paramount executives, locked Woo out from the offices, again to keep him from protesting the studio's treatment of the film. Needless to say, it was the failure of ''Film/{{Paycheck}}'', which too suffered from executive meddling, that was the straw that broke the camel's back, as Woo gave up on Hollywood after that.
* Shortly after acquiring distribution rights, Lionsgate took ''Dying of the Light'' away from writer/director [[Creator/PaulSchrader Paul Schrader]] and cut the film down. The end result was critically panned panned, and Schrader has [[CreatorBacklash disowned this version]].
* According to [[http://www.completevca.com/bio_exclusive_bloom.shtml this]] interview with director Jeffrey Bloom, ''Film/FlowersInTheAttic'' had many conflicts between him and the producers on how the movie should have gone. Bloom wanted to remain faithful to the book, including more suggestions BrotherSisterIncest, but many scenes were either cut or never filmed due to time restraints. During post production, Bloom walked away from filming the new ending for the final cut [[spoiler: in which Corrine is hung from her wedding veil]] because he felt it was dumb (He dumb. He speculates that, had author Creator/VCAndrews lived to see the film, she would've hated the ending too). too. The new ending was filmed without Bloom's involvement, and the original ending was thrown out.
* Originally ''Film/{{Paddington}}'' was suppose to come out in America on Christmas Day 2014, but because the Christmas Day was already crowded it was changed to January 16th for a wider audience. Despite opening the same weekend as ''American Sniper'', it's done rather well considering (especially since there are no new other family friendly films out).
out.



* "Film/JohnCarter" is infamous for how Disney botched so much of its release. They first dropped the title of "John Carter of Mars," as they somehow reasoned that the "Mars" name was the reason their movie "Film/MarsNeedsMoms" was a huge box office bomb. They failed to properly develop word of mouth buzz and also saddled the movie with a terrible marketing campaign that completely failed to mention how the property influenced virtually every sci-fi story of the last century. It all ended with a massive box office bomb.

to:

* "Film/JohnCarter" ''Film/JohnCarter'' is infamous for how Disney botched so much of its release. They first dropped the title of "John Carter of Mars," Mars", as they somehow reasoned that the "Mars" name was the reason their movie "Film/MarsNeedsMoms" was a huge box office bomb. They failed to properly develop word of mouth word-of-mouth buzz and also saddled the movie with a terrible marketing campaign gave it InvisibleAdvertising that completely failed to mention how the property influenced virtually every sci-fi story of the last century. It all ended with a massive box office bomb.



** Ironically, according to sources who have spoke out in articles about the production, Fox tried to keep their distance from the project as a response to the perception of Fox as micromanaging taskmasters due to ''Film/XMenOriginsWolverine''[='=]s own TroubledProduction and just let their new auteur work. However, by the time the production was going off the rails and they started to meddle, it was too late to save the project, which now had a disorganized vision '''and''' executive meddling.
* In the lead-in to UsefulNotes/WorldWarII, Hollywood executives and censors were extremely leery about offending Nazi Germany and Fascist Italy, albeit less for political reasons than fear of losing these lucrative markets. For ''Film/TheLifeOfEmileZola'', Jack Warner personally ordered producers to cut references to Alfred Dreyfus's Judaism and French anti-Semitism.[[note]]The only acknowledgment is a brief close-up of Dreyfus's military record, [[GettingCrapPastTheRadar listing his religion as "Jew."]][[/note]] Another example from Warners was ''Blockade'', a UsefulNotes/SpanishCivilWar epic which excised all references to fascism. This continued even after the war began: censor Joseph Breen tried to ban ''Creator/FritzLang'''s film ''Man Hunt'' as a "hate film" for depicting a near-assassination of Adolf Hitler. In this case, Fox studio head Daryl Zanuck sided with Lang and the film was released intact.
** This contradicts documented information in the book "An Empire Of Their Own", which chronicles the rise of Hollywood by German and Eastern European Jewish studio magnates. While some German Jews ranking as film execs or studio owners were carefully walking the line about not criticizing anti-semitism, the Eastern European Jews running their own large studios in Hollywood were adamant on not just bringing German anti-semitism to the fore, but also highlighting the American Fascist Party and their brown shirt march through New York. In short Hollywood executives and censors weren't of a collective mind on this topic, but rather two camps with two separate agendae.

to:

** Ironically, according to sources who have spoke out in articles about the production, Fox tried to keep their distance from the project as a response to the perception of Fox as micromanaging taskmasters due to ''Film/XMenOriginsWolverine''[='=]s own TroubledProduction and just let their new auteur work. However, by the time the production was going off the rails and they started to meddle, it was too late to save the project, which now had a disorganized vision '''and''' ''and'' executive meddling.
* In the lead-in to UsefulNotes/WorldWarII, Hollywood executives and censors were extremely leery about offending Nazi Germany and Fascist Italy, albeit less for political reasons than fear of losing these lucrative markets. markets:
**
For ''Film/TheLifeOfEmileZola'', Jack Warner personally ordered producers to cut references to Alfred Dreyfus's Judaism and French anti-Semitism.[[note]]The anti-Semitism. (The only acknowledgment is a brief close-up of Dreyfus's military record, [[GettingCrapPastTheRadar listing his religion as "Jew."]][[/note]] Another example from Warners was "]])
** Warner also took
''Blockade'', a UsefulNotes/SpanishCivilWar epic which epic, and excised all references to fascism. fascism.
**
This continued even after the war began: began; censor Joseph Breen tried to ban ''Creator/FritzLang'''s film ''Man Hunt'' as a "hate film" for depicting a near-assassination of Adolf Hitler. In this case, Fox studio head Daryl Zanuck sided with Lang and the film was released intact.
** This contradicts documented information in the book "An ''An Empire Of Their Own", Own'', which chronicles the rise of Hollywood by German and Eastern European Jewish studio magnates. While some German Jews ranking as film execs or studio owners were carefully walking the line about not criticizing anti-semitism, the Eastern European Jews running their own large studios in Hollywood were adamant on not just bringing German anti-semitism to the fore, but also highlighting the American Fascist Party and their brown shirt march through New York. In short Hollywood executives and censors weren't of a collective mind on this topic, but rather two camps with two separate agendae.



* ''Film/HussarBallad''. Soviet authorities weren't pleased with Igor Ilyinsky, famous for playing in comedies, portraying such an iconic figure as Field Marshal Kutuzov, and tried to force the director to replace him, even after the film was already finished. The director managed to show the film to Nikita Khrushchev's son in law, who liked it a lot and arranged for it to be released.
* Gee Malik Linton wrote, produced, and directed ''Film/HijaDeDios'' as a psychological social drama treating abuse of women and children in the New York Dominican community with Ana de Armas in the central role. Lionsgate Premiere tried to reshape the film as a New York cop procedural thriller starring Keanu Reeves under the title "Exposed", and the director had his name removed, using the alias "Declan Dale" instead. An alternate version that follows the director's vision was edited by Roman Polanski's longtime editor, Hervé de Luze under the original name.
* The Franchise/TexasChainsawMassacre franchise has been victim to much meddling throughout its history. Of note was the [[Film/LeatherfaceTheTexasChainsawMassacreIII third]] in the original film series, which was altered so much in production and post-production that director Jeff Burr tried to have his name removed from the credits.

to:

* ''Film/HussarBallad''. Soviet authorities weren't pleased with Igor Ilyinsky, famous for playing in comedies, portraying such an iconic figure as Field Marshal Kutuzov, and tried to force the director to replace him, even after the film was already finished. The director managed to show the film to Nikita Khrushchev's son in law, son-in-law, who liked it a lot and arranged for it to be released.
* Gee Malik Linton wrote, produced, and directed ''Film/HijaDeDios'' as a psychological social drama treating abuse of women and children in the New York Dominican community with Ana de Armas in the central role. Lionsgate Premiere tried to reshape the film as a New York cop procedural thriller starring Keanu Reeves under the title "Exposed", and the director had his name removed, using the alias "Declan Dale" instead. An alternate version that follows the director's vision was edited by Roman Polanski's longtime editor, Hervé de Luze Luze, under the original name.
* The Franchise/TexasChainsawMassacre franchise has been victim to much meddling throughout its history. Of note was the [[Film/LeatherfaceTheTexasChainsawMassacreIII third]] in the original film series, which was altered so much in production and post-production that director Jeff Burr tried to have his name removed from the credits.
name.
13th Jun '16 10:34:15 PM Coenobium
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Added DiffLines:

* The Franchise/TexasChainsawMassacre franchise has been victim to much meddling throughout its history. Of note was the [[Film/LeatherfaceTheTexasChainsawMassacreIII third]] in the original film series, which was altered so much in production and post-production that director Jeff Burr tried to have his name removed from the credits.
12th Jun '16 2:13:30 AM NightShade96
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** Ultimately, it was revealed that a lot of Marvel Studios' meddling was from a Creative Committee within Marvel Entertainment as a whole, with notable people being Creator/JoeQuesada and Creator/BrianMichaelBendis, along with Marvel CEO Ron Perlmutter being an additional meddler. In the end, Marvel Studios president Kevin Feige grew tired of this and talked to Disney, leading to Marvel Studios being pulled aside and being answerable only to Disney, leading to the dissolution of the Creative Committee.

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** Ultimately, it was revealed that a lot of Marvel Studios' meddling was from a Creative Committee within Marvel Entertainment as a whole, with notable people being Creator/JoeQuesada and Creator/BrianMichaelBendis, along with Marvel CEO Ron Ike Perlmutter being an additional meddler. In the end, Marvel Studios president Kevin Feige grew tired of this and talked to Disney, leading to Marvel Studios being pulled aside and being answerable only to Disney, leading to the dissolution of the Creative Committee.
11th Jun '16 8:16:54 AM bombadil211
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** [[http://www.ew.com/article/2015/08/07/fantastic-four-josh-trank-tweet Entertainment Weekly later revealed]] that [[PrimaDonnaDirector Josh Trank]] lost the dressing room because he was combative and abusive toward the cast, producers, and crew, at one point [[http://www.cinemablend.com/new/Miles-Teller-Josh-Trank-Almost-Got-Fistfight-Fantastic-Four-Set-77277.html almost getting into a fistfight with Miles Teller.]] This, combined with personal issues (such as Trank trashing his rental house in response to a landlord's complaint), led Fox to pull Trank from the film's production prior to the reshoots. The same article also mentions that Fox insisted that Trank include Kate Mara as Sue Storm and as a result, the two didn't get along during principal photography.

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** [[http://www.ew.com/article/2015/08/07/fantastic-four-josh-trank-tweet Entertainment Weekly later revealed]] that [[PrimaDonnaDirector Josh Trank]] lost the dressing room because he was combative and abusive toward the cast, producers, and crew, at one point [[http://www.cinemablend.com/new/Miles-Teller-Josh-Trank-Almost-Got-Fistfight-Fantastic-Four-Set-77277.html almost getting into a fistfight with Miles Teller.]] This, combined with personal issues (such as Trank trashing his rental house in response to a landlord's complaint), complaint[[note]]the damage was so severe that, in order to stave off a pricey lawsuit, a Fox executive had to fly out to New Orleans to personally apologize for Trank's behavior[[/note]]), led Fox to pull Trank from the film's production prior to the reshoots. The same article also mentions that Fox insisted that Trank include Kate Mara as Sue Storm and as a result, the two didn't get along during principal photography.
8th Jun '16 10:27:21 PM GoldenSeals
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* ''Film/TheEx'': According to screenwriters David Guion and Michael Handelman, executives completely changed this Zach Braff comedy when it didn't test well, and then changed it again for DVD. Guion later said in an interview, "That movie was a bit of a cautionary story for screenwriters in terms of that it was a movie that struggled a little bit and didnít test well initially, and the financers panicked and said, 'We better show a lot of people getting hit in the balls.'"

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* ''Film/TheEx'': According to screenwriters David Guion and Michael Handelman, executives completely changed this Zach Braff comedy when it didn't test well, and then changed it again for DVD. Guion later said in an interview, interview:
--->
"That movie was a bit of a cautionary story for screenwriters in terms of that it was a movie that struggled a little bit and didnít test well initially, and the financers panicked and said, 'We better show a lot of people getting hit in the balls.'"



* ''Film/KingdomOfHeaven'': The movie was originally more than 3 hours, and cut after the studio forced Creator/RidleyScott to do so. Fox wanted a ''Film/{{Gladiator}}'' style action movie with a romance subplot, rather than the political drama Scott and co created. The cut led to elements of the story being dropped, such as Sibylla's character motivation, the character of King Baldwin V, and Balian's backstory. Thankfully averted in the critically acclaimed director's cut.
* ''Film/BladeRunner''. Amongst the things the executives tried to change was adding narration by the protagonist, Deckard, to explain the story, because they felt the viewers wouldn't understand the movie otherwise. Executive meddling also changed the ending to have Deckard and Rachael driving off into the mountains, ''using footage from [[Film/TheShining a different movie]]''. Several versions have since been released that removed all these changes.
* Michael Mann's ''Film/TheKeep'' is a rather severe example. Running over three hours originally, it was haphazardly cut down to 96 minutes by the studio, resulting in an often incongruous, Creator/DavidLynch type film with characters speaking in fragmented conversations that seem to skip ahead of themselves (you can actually hear the mid-sentence cuts to the audio track in places). Michael Mann has disowned the film, and author F. Paul Wilson has since refused to allow any further film adaptations of his novels.
* Creator/GuillermoDelToro's ''Film/{{Hellboy}}'' was almost a victim of Executive Meddling. While the movie was in its infant stages, executives felt that Hellboy should be changed from an out-and-out demon to a ''human'' who was somehow inexplicably born in Hell, or a human who turned into Hellboy when he got angry, a la the [[Comicbook/IncredibleHulk Hulk]]. Thankfully, the director vetoed all attempts to change the character.
** Executive Meddling succeeded in destroying Del Toro's earlier film, ''Film/{{Mimic}}''. He compared it to "... having a beautiful daughter and watching her arms get cut off," possibly a ''Theatre/TitusAndronicus'' reference.
** ...and has now managed to obliterate Del Toro's adaptation of ''[[Creator/HPLovecraft At the Mountains of Madness]]'' before filming even started. The reason? ''Film/TheWolfman2010'' got poor reviews (itself a victim of heavy meddling, see below), and executives assumed this meant there was no market at all for gothic horror films.
*** Also because there's no TokenRomance to draw in a typical female demographic and they feared a modern audience would lack ability to relate to the period setting.
*** And due to the rise of franchises like Paranormal Activity or Insidious, studio execs think that audiences can't handle a horror film that either isn't found footage, or doesn't have a jump scare/gore shot/nude scene every five minutes...
** Creator/GuillermoDelToro has got a pretty good track record for sticking to his guns whatever the executives try and tell him. He almost couldn't make ''Film/PansLabyrinth'' because studios wanted him to [[SmallReferencePools set the story in Nazi Germany instead of Franco's Spain.]]
** He's not the only one: He's Mexican and Mexican directors are famous for sticking to their guns (or at least trying), especially toward higher-ups and very especially towards American movie companies due to cultural, racial and historical reasons. That's the reason why only three Mexican directors (the other two are Creator/AlfonsoCuaron and Alejandro González Iñárritu) work in Hollywood. Other Mexicans either didn't accept any kind of American meddling or hate Hollywood with a passion.
** ''Film/PacificRim'' is a VERY rare case of good executive meddling. Creator/GuillermoDelToro didn't think 3D would add much to the movie or could even detract from the experience. They managed to convince Del Toro to do the conversion and the movie became a better experience due to it. But he accompanied the entire process to make sure the conversion wouldn't be half-assed. As many scenes are made in CGI the conversion of these was much faster and easier.
* Creator/AlanMoore has had no direct involvement with film adaptations of his [[ComicBook comics]]. However, film executives have made changes, to the point where, early on Mr. Moore has not only distanced himself from any further attempts to make film translations of his works, he has also ''voluntarily relinquished all rights to the profits from them''. (He has also asked to have his name taken off the adaptations. Starting with ''Film/{{Watchmen}}'', they seem to be listening.)
** Speaking of ''Film/{{Watchmen}}'', Fox's version certainly counts here. The film was updated to take place during the War on Terror, it went from a character study to a straight action flick, and [[spoiler:Ozy's big plot went from killing half of New York to bring about world peace to simply going back in time to kill Dr. Manhattan, thus somehow transporting the characters into the "real world", where they're known as comic-book characters]]. Be thankful for DevelopmentHell, folks; LoveItOrHateIt, WB's version is certainly more faithful, challenging, and involved than it could have been.
*** Even that movie was close to suffering extreme ExecutiveMeddling. Originally, they wanted to set it today, and Snyder said "If you change anything, I'm out." He was also the one who insisted on using DavidHayter's script (which was endorsed by Creator/AlanMoore while he still believed that Hollywood could make a good movie), though it was amended slightly by Alex Tse.
* This happened to Creator/WoodyAllen 's first film, ''Film/WhatsUpTigerLily'', when producer Richard T. Saperstein had concert footage of Music/TheLovinSpoonful randomly edited into the film - presumably to pad the running time.
* After almost finishing production on ''Film/SupermanII'', director Creator/RichardDonner was fired by producer Alexander Salkind, who wanted a lower-budget movie with more {{camp}}. The result on the franchise was disastrous -- many of the stars, including Creator/MarlonBrando and Creator/GeneHackman, refused to work with new director Richard Lester, and the [[Film/SupermanIII third]] and [[Film/SupermanIVTheQuestForPeace fourth]] movies in the series were so critically disliked that the pseudo-reboot/sequel ''Film/SupermanReturns'', [[FranchiseKiller released almost twenty years after]] ''Superman IV: The Quest For Peace'', [[CanonDiscontinuity ignores them entirely]].
* The production of what would eventually become ''Film/SupermanReturns'' was similarly fraught with meddling from above. When Creator/KevinSmith was recruited to write a screenplay for the film in 1997, he was met with a number of increasingly bizarre demands by producer Jon Peters, among which were that Superman not fly or wear the iconic tights (this latter on the grounds that it was "too faggy"), that the film's villain, Brainiac, speak with a "homosexual lisp" and have a robot sidekick (described by Peters as "a gay R2-D2 with attitude"), in addition to a fight scene between Brainiac and two polar bears and a marketable space dog pet, [[StarWars Chewbacca a la mode]]. His choice for the actor to portray the Man of Steel? Creator/SeanPenn, based on Penn's performance as a violent death row inmate in Dead Man Walking saying that Penn had the eyes of a "caged animal, a fucking killer." And, the infamous GiantSpider; [[http://www.youtube.com/watch?v=vgYhLIThTvk listen to him talking about it all here]]. Creator/JJAbrams, also at Peters' instruction, created a treatment featuring Superman as an ordinary human being who got his powers from his suit, a living creature that crawled out of a tennis ball tube. (It is said that Peters is not a fan of comic books, which may explain his apparent unawareness that he had ordered Superman to be turned into ComicBook/{{Venom}}.) It wasn't until Creator/BryanSinger was handed the project in 2003, and steadfastly refused to make any alterations to the mythos, that production actually got underway.
* Speaking of Jon Peters' involvement in ''[=Superman=]'', there's the legendary Saga of the GiantSpider. He seems to have something of an [[AuthorAppeal obsession]] with monstrous arachnids:
** Peters had requested of Creator/NeilGaiman that Dream fistfight a Giant Spider, among others, in the proposed and quickly abandoned original ''ComicBook/TheSandman'' adaptation attempt.
** According to Kevin Smith, Peters had wanted Superman to fight a giant spider in an homage to ''King Kong''.
** Peters finally got his Giant Spider fix when he produced the movie of ''Film/WildWildWest''.
** The saga of the giant mechanical spider would later be spoofed in the animated movie ''WesternAnimation/SupermanDoomsday''. ''Supes really does'' [[http://www.youtube.com/watch?v=TF-1tbhHK6w fight a giant mechanical spider while a bystander who resembles Kevin Smith (and is voiced by him) calls the whole affair "lame".]]
** In ''Comic Book The Movie'', MarkHamill's character at one point interviews Kevin Smith about the film adaptation of his favorite superhero, where Smith mentions how executives wanted him to add a scene with a giant mechanical spider. Later, he acquires a copy of the shooting script with one shot of him looking up after reading "Scene 37: The Giant Mechanical Spider".
** The giant spider would also make a brief appearance in the comic ''ComicBook/SupermanBirthright'', which managed to make it '''''spectacular.'''''
** And possibly due to Jon Peters' ridiculous request for Brainiac to fight a polar bear, the miniseries ''Superman: Kryptonite'' has perhaps a ''very'' subtle joke where Superman is outside his Fortress of Solitude, talking about his relationship problems with Lois Lane. His lone listener, as it turns out, is a resting polar bear. Strangely enough Jon Peters produced Tim Burton's Batman which ironically has neither a giant spider, nor any executive meddling beyond the Prince songs.
** One could argue the World Engine in ''Man Of Steel'' resembles a spider, too...
*** An even better reference to Brainiac fighting a polar bear would be the ''WesternAnimation/SupermanTheAnimatedSeries'' episode in which Superman meets Brainiac for the first time and steals an orb with all information about Krypton which he places in the Fortress of Solitude and jokingly says to a polar bear next to it he should guard it.
* After four years of work on his dream project, ''Film/TheIslandOfDoctorMoreau'', up-and-coming director Richard Stanley had attracted enough star power (Creator/MarlonBrando, Creator/ValKilmer) to make his picture... only for star Kilmer, going through a divorce at the time, to request a role swap with Rob Morrow (playing the part of Montgomery), so as to make his load a little easier. To make matters worse, Kilmer ended up coming on set two days late, right in the middle of filming scenes ''his'' character was required for, and due to all this pressure, the dailies the studio received were abysmal; as a result, Stanley ''was fired from his own project''.
** Rob Morrow left shortly thereafter, to be replaced by David Thewlis. The studio subsequently handed the film over to veteran director Creator/JohnFrankenheimer, who rewrote the entire screenplay and managed to make enemies out of both Thewlis and Kilmer. The shoot became a disorganized mess; not surprisingly, the finished film bombed horribly.
* Russell Mulcahy, the director of ''Film/HighlanderIITheQuickening'', has blamed the incredible crappiness that is the film on the fact that the film's insurance company took over production after he repeatedly came in late and over-budget. They made numerous changes to the movie, including changing the Immortals' BackStory, and merging together the two fight scenes between [=MacLeod=] and the villainous Katana. Mulcahy tried to salvage the movie later by re-cutting it to match his original vision as best he could and releasing it as ''Highlander II: The Renegade Version''.

to:

* ''Film/KingdomOfHeaven'': The movie was originally more than 3 hours, and cut after the studio forced Creator/RidleyScott wanted to do so. make a political drama, but Fox wanted a ''Film/{{Gladiator}}'' style ''Film/{{Gladiator}}''-style action movie with a romance subplot, rather than suplot. They also weren't enamored with the political drama Scott and co created. The cut original cut's three-hour length. This led to some elements of the story being dropped, such as including Sibylla's character motivation, the character of King Baldwin V, and Balian's backstory. Thankfully averted backstory, and King Baldwin V's entire character. They would be restored in the critically acclaimed director's cut.
* ''Film/BladeRunner''. Amongst the things the executives tried to change was adding narration by the protagonist, Deckard, to explain the story, because they felt the viewers wouldn't understand the movie otherwise. Executive meddling also changed the ending to have Deckard and Rachael driving off into the mountains, ''using using footage from [[Film/TheShining a different movie]]''.movie]]. Several versions have since been released that removed all these changes.
* Michael Mann's ''Film/TheKeep'' is a rather severe example. Running over three hours originally, it was the studio haphazardly cut it down to 96 minutes by the studio, minutes, resulting in an often incongruous, Creator/DavidLynch type film with characters speaking Creator/DavidLynch-type film. Characters spoke in fragmented conversations that seem seemed to skip ahead of themselves (you -- you can actually hear the mid-sentence cuts to the audio track in places).some places. Michael Mann has disowned the film, and author F. Paul Wilson has since refused to allow any further film adaptations of his novels.
* This happened a lot to Creator/GuillermoDelToro's ''Film/{{Hellboy}}'' was almost films. He's notorious for sticking to his guns, like a victim lot of Executive Meddling. While the movie was in its infant stages, executives felt Mexican directors, meaning that Hellboy should be changed from an out-and-out demon to a ''human'' who was somehow inexplicably born in Hell, or a human who turned he would often run into Hellboy when he got angry, a la problems; in fact, he's one of the [[Comicbook/IncredibleHulk Hulk]]. Thankfully, the director vetoed all attempts few to change the character.
even want to work in Hollywood to begin with.
** Executive Meddling succeeded in destroying ''Film/{{Mimic}}'' was left unrecognizable by executive meddling. Del Toro's earlier film, ''Film/{{Mimic}}''. He compared Toro likened it to "... having "having a beautiful daughter and watching her arms get cut off," possibly a ''Theatre/TitusAndronicus'' reference.
** ...** ''Film/PansLabyrinth'': Executive felt that viewers [[SmallReferencePools wouldn't get]] the setting, Franco's Spain, and has now managed to obliterate wanted the film set in Nazi Germany instead. Del Toro's Toro stuck to his guns here and won out.
** ''Film/{{Hellboy}}'': Executives felt that Hellboy should be changed from an out-and-out demon to a human who was (somehow, inexplicably) born in Hell who would turn into Hellboy when he got angry, a la the [[Comicbook/IncredibleHulk Hulk]]. Del Toro vetoed all attempts to change the character and again eventually won out.
** ''Film/PacificRim'': Del Toro resisted the studio's insistence on 3-D, thinking it wouldn't add anything to the movie (if it didn't detract from the experience outright). He eventually conceded to the conversion, but he oversaw the whole process to make sure it was done right. Fortunately, this wasn't hard to do, as many scenes were already in CGI.
** His
adaptation of ''[[Creator/HPLovecraft At Creator/HPLovecraft's ''Literature/AtTheMountainsOfMadness'' never got off the Mountains of Madness]]'' before filming even started. The reason? ground; executives killed it because ''Film/TheWolfman2010'' got poor reviews (itself a victim of heavy meddling, see below), and executives assumed as seen below) got poor reviews, taking this meant to mean that there was no market at all for gothic horror films.
*** Also because there's no TokenRomance to draw in a typical female demographic and they feared a modern audience would lack ability to relate to the period setting.
*** And due to the rise of franchises like Paranormal Activity or Insidious, studio execs think that audiences can't handle a horror film that either isn't found footage, or doesn't have a jump scare/gore shot/nude scene every five minutes...
** Creator/GuillermoDelToro has got a pretty good track record for sticking to his guns whatever the executives try and tell him. He almost couldn't make ''Film/PansLabyrinth'' because studios wanted him to [[SmallReferencePools set the story in Nazi Germany instead of Franco's Spain.]]
** He's not the only one: He's Mexican and Mexican directors are famous for sticking to their guns (or at least trying),
films, especially toward higher-ups and very especially towards American movie companies due to cultural, racial and historical reasons. That's the reason why period films with no TokenRomance.
* Creator/AlanMoore, because of this trope, not
only three Mexican directors (the other two are Creator/AlfonsoCuaron and Alejandro González Iñárritu) work in Hollywood. Other Mexicans either didn't accept any kind of American meddling or hate Hollywood with a passion.
** ''Film/PacificRim'' is a VERY rare case of good executive meddling. Creator/GuillermoDelToro didn't think 3D would add much to the movie or could even detract from the experience. They managed to convince Del Toro to do the conversion and the movie became a better experience due to it. But he accompanied the entire process to make sure the conversion wouldn't be half-assed. As many scenes are made in CGI the conversion of these was much faster and easier.
* Creator/AlanMoore has had no
refuses direct involvement with film adaptations of his [[ComicBook comics]]. However, film executives have made changes, to the point where, early on Mr. Moore has not only distanced himself from any further attempts to make film translations of his works, he has {{comic|book}}s, but also ''voluntarily relinquished voluntarily relinquishes all profit rights to the profits from them''. (He has them. He also asked asks to have his name taken off removed from adaptations' credits, which the adaptations. Starting studios only really started doing with ''Film/{{Watchmen}}'', they seem to be listening.)
''Watchmen''.
** Speaking of ''Film/{{Watchmen}}'', Fox's ''Film/{{Watchmen}}'' had a TroubledProduction with two versions by different studios. The earlier Fox version certainly counts here. saw a lot of changes. The film setting was updated to take place during the War on Terror, UsefulNotes/WarOnTerror, it went from a character study to a straight action flick, and [[spoiler:Ozy's big the plot went from killing half of New York to bring about world peace to simply was changed [[spoiler:to Ozymandias going back in time to kill Dr. Manhattan, thus which somehow transporting transported the characters into the "real world", where they're known as comic-book comic book characters]]. Be thankful for DevelopmentHell, folks; LoveItOrHateIt, WB's That one languished in DevelopmentHell. The subsequent WB version is certainly more faithful, challenging, and involved than it could have been.
*** Even that movie
similarly tried a SettingUpdate, only for Creator/ZackSnyder to threaten to quit if anything was close to suffering extreme ExecutiveMeddling. Originally, they wanted to set it today, and Snyder said "If you change anything, I'm out." He was also the one who insisted on using DavidHayter's script (which was endorsed by Creator/AlanMoore while he still believed that Hollywood could make a good movie), though it was amended slightly by Alex Tse.
changed.
* This happened to Creator/WoodyAllen 's first film, ''Film/WhatsUpTigerLily'', when producer Richard T. Saperstein had concert footage of Music/TheLovinSpoonful randomly edited into the film - film, presumably to pad the running time.
* After almost finishing production on ''Film/SupermanII'', director Creator/RichardDonner was fired by producer Alexander Salkind, who wanted a lower-budget movie with more {{camp}}. The result on the franchise was disastrous -- many disastrous. Many of the stars, including Creator/MarlonBrando and Creator/GeneHackman, refused to work with new director Richard Lester, and the [[Film/SupermanIII third]] and [[Film/SupermanIVTheQuestForPeace fourth]] movies in the series were so critically disliked that the pseudo-reboot/sequel ''Film/SupermanReturns'', [[FranchiseKiller released almost twenty years after]] ''Superman IV: The Quest For Peace'', [[CanonDiscontinuity ignores them entirely]].
* The production of what would eventually become ''Film/SupermanReturns'' was similarly fraught with meddling meddling, most of it from above. When producer Jon Peters. Creator/KevinSmith was originally recruited to write a the screenplay for the film in 1997, but he was met backed out after being inundated with a number of increasingly bizarre demands by producer Jon Peters, among Peters' demands, which were bizarre to say the least. The film as we know it didn't emerge until 2003, when Creator/BryanSinger was handed the project and steadfastly refused to alter the mythos. Among Peters' changes:
** He demanded
that Superman not fly or wear the his [[SuperheroesWearTights iconic tights (this tights]], the latter on the grounds that it was "too faggy"), that faggy". On the other hand, he wanted the film's villain, Brainiac, to speak with a "homosexual lisp" and have a robot sidekick (described by who would be a "gay [[Franchise/StarWars R2-D2]] with attitude".
** His choice to play Superman was Creator/SeanPenn, on the basis of his performance in ''Film/DeadManWalking'', where he had what
Peters as "a gay R2-D2 with attitude"), in addition called the eyes of a "caged animal, a fucking killer".
** He wanted Superman
to be an ordinary human being who got his powers [[ClothesMakeTheSuperman from his suit]], which was itself [[LivingClothes a living being]] which crawled out of a tennis ball tube. Peters is said not to like comic books, which may explain why he was unaware that he had ordered Superman to be turned into ComicBook/{{Venom}}.
** He wanted
a fight scene between Brainiac and two polar bears bears. This was ridiculous enough to be parodied in ''WesternAnimation/SupermanTheAnimatedSeries'', where Superman steals something from Brainiac, hides it in the Fortress of Solitude, and jokes that he should guard it with a marketable polar bear.
** He wanted a [[MerchandiseDriven marketable]]
space dog pet, [[StarWars Chewbacca TeamPet, whom he described as "[[Franchise/StarWars Chewbacca]] a la mode]]. His choice for the actor mode".
** And he really wanted Superman
to portray the Man of Steel? Creator/SeanPenn, based on Penn's performance fight a GiantSpider, as a violent death row inmate in Dead Man Walking saying that Penn had the eyes of a "caged animal, a fucking killer." And, the infamous GiantSpider; [[http://www.youtube.com/watch?v=vgYhLIThTvk listen to him talking about it all he discusses here]]. Creator/JJAbrams, also at It completely befuddled Kevin Smith, who could only surmise that it was an homage to ''Film/KingKong''. This became Peters' instruction, created a treatment featuring most infamous request; it would be parodied by the animated ''WesternAnimation/SupermanDoomsday'', where Superman as an ordinary human being who got his powers from his suit, a living creature that crawled out of a tennis ball tube. (It is said that Peters is not a fan of comic books, which may explain his apparent unawareness that he had ordered Superman to be turned into ComicBook/{{Venom}}.) It wasn't until Creator/BryanSinger was handed the project in 2003, and steadfastly refused to make any alterations to the mythos, that production actually got underway.
* Speaking of Jon Peters' involvement in ''[=Superman=]'', there's the legendary Saga of the GiantSpider. He seems to have something of an [[AuthorAppeal obsession]] with monstrous arachnids:
** Peters had requested of Creator/NeilGaiman that Dream fistfight a Giant Spider, among others, in the proposed and quickly abandoned original ''ComicBook/TheSandman'' adaptation attempt.
** According to Kevin Smith, Peters had wanted Superman to
does fight a giant spider in mechanical spider, which a bystander -- resembling and voiced by Creator/KevinSmith -- calls "lame". (''ComicBook/SupermanBirthright'' did the same but made it [[RuleOfCool awesome]].) Peters, undeterred, would bring his GiantSpider obsession to other projects, including an homage to ''King Kong''.
** Peters
abortive adaptation of ''ComicBook/TheSandman'', before finally got getting his Giant Spider fix when he produced the movie of wish in ''Film/WildWildWest''.
** The saga of the giant mechanical spider would later be spoofed in the animated movie ''WesternAnimation/SupermanDoomsday''. ''Supes really does'' [[http://www.youtube.com/watch?v=TF-1tbhHK6w fight a giant mechanical spider while a bystander who resembles Kevin Smith (and is voiced by him) calls the whole affair "lame".]]
** In ''Comic Book The Movie'', MarkHamill's character at one point interviews Kevin Smith about the film adaptation of his favorite superhero, where Smith mentions how executives wanted him to add a scene with a giant mechanical spider. Later, he acquires a copy of the shooting script with one shot of him looking up after reading "Scene 37: The Giant Mechanical Spider".
** The giant spider would also make a brief appearance in the comic ''ComicBook/SupermanBirthright'', which managed to make it '''''spectacular.'''''
** And possibly due to Jon Peters' ridiculous request for Brainiac to fight a polar bear, the miniseries ''Superman: Kryptonite'' has perhaps a ''very'' subtle joke where Superman is outside his Fortress of Solitude, talking about his relationship problems with Lois Lane. His lone listener, as it turns out, is a resting polar bear. Strangely enough Jon Peters produced Tim Burton's Batman which ironically has neither a giant spider, nor any executive meddling beyond the Prince songs.
** One could argue the World Engine in ''Man Of Steel'' resembles a spider, too...
*** An even better reference to Brainiac fighting a polar bear would be the ''WesternAnimation/SupermanTheAnimatedSeries'' episode in which Superman meets Brainiac for the first time and steals an orb with all information about Krypton which he places in the Fortress of Solitude and jokingly says to a polar bear next to it he should guard it.
* After four years of work on his dream project, ''Film/TheIslandOfDoctorMoreau'', up-and-coming already a TroubledProduction, saw the studio make things worse when they fired director Richard Stanley had attracted enough star power (Creator/MarlonBrando, Creator/ValKilmer) to make his picture... only for star Kilmer, going through a divorce at the time, to request a role swap with Rob Morrow (playing the part of Montgomery), so as to make his load a little easier. To make matters worse, Kilmer ended up coming on set two days late, right in the middle of filming scenes ''his'' character was required for, and due to all this pressure, the dailies the studio received were abysmal; as a result, Stanley ''was fired from his own project''.
** Rob Morrow left shortly thereafter, to be
dream project because Creator/ValKilmer was notoriously unreliable. They replaced by David Thewlis. The studio subsequently handed the film over to veteran director Stanley with Creator/JohnFrankenheimer, who rewrote the entire screenplay and managed to make enemies out of both Thewlis Kilmer and Kilmer. The shoot became Creator/DavidThewlis, leading to a disorganized mess; not surprisingly, shoot and a BoxOfficeBomb.
* ''Film/HighlanderIITheQuickening'': After production ran late and over-budget,
the finished film bombed horribly.
* Russell Mulcahy, the director of ''Film/HighlanderIITheQuickening'', has blamed the incredible crappiness that is the film on the fact that the film's
insurance company took over production after he repeatedly came in late and over-budget. production. They made numerous changes to the movie, changes, including changing the Immortals' BackStory, BackStory and merging together the two fight scenes between [=MacLeod=] and the villainous Katana. together. Director Russell Mulcahy blamed this for the film's incredible crappiness and tried to salvage the movie later it by re-cutting it recutting into something closer to match his original vision as best he could and releasing vision; it would be released as ''Highlander II: The Renegade Version''.



** The film ''Film/{{Fanboys}}''. You can listen to its director recount the entire spectacular debacle in [[http://www.slashfilm.com/2009/08/23/the-filmcast-after-dark-ep-63-what-happened-to-fanboys-and-the-revenge-of-the-nerds-remake-guest-director-kyle-newman/ this podcast]]. The version of the film on [=DVD=] is as close as we'll ever get to the original cut -- which the director ''still has'' a print of that he is ''not allowed to show anyone''. It is unspeakably frustrating. The version on [=DVD=] is still pretty good, but it is ridiculously obvious which scenes survive from the original version and which scenes were ordered from the executives; there are whole swathes of subplot that make zero sense unless you ignore them.
** The 2013 South Korean film ''Snowpiercer'' nearly went through Weinstein's editing machine as well, ignoring protests from the film's director. The film in its unedited version was a box-office smash in its native country and also garnered positive reviews from screenings in the UK. Weinstein had made a cut of the film that was 25 minutes shorter, edited to play up the action at the expense of character development. Director Bong Joon-Ho (TheHost), who had no input in the new cut, continued to tell fans he'd hope the film would play unedited, and considering the negative press Weinstein's edit was generating, Joon-Ho eventually won out. However, it now appears Weinstein is [[http://io9.com/us-release-of-snowpiercer-will-be-uncut-but-its-still-1518265822 scaling back]] the number of theaters the film will play.
* The original ending of ''Film/StarTrekIITheWrathOfKhan'' did not have Spock performing a mind-meld on [=McCoy=], and did not have the shot of Spock's casket having soft-landed on the Genesis planet. It was implied that he was DeaderThanDead. This tested poorly, with Harve Bennett noting in Shatner's book "Star Trek Movie Memories" that there was "a silence, a heavily funereal silence" as the test audience left the theater. As a result, over Nick Meyer's vehement objections, the [[SequelHook "Remember" shot and the tracking shot resting on Spock's casket]] were added to the final theatrical cut. Particularly sharp-eyed viewers will note the change in film quality during the "Remember" shot.
* The traitorous Lt. Valeris in 1991's ''Film/StarTrekVITheUndiscoveredCountry'' was originally written to be Lt. Saavik from the three previous films, so that her betrayal would have a more profound impact. However, GeneRoddenberry overruled writer/director Nicholas Meyer in what was by all accounts an epic battle of rank-pulling, and forced the creation of a "new" protégé for Spock. In this case, it was Creator Meddling!
** The supreme irony being, as Nicholas Meyer is reported to have pointed out in Leonard Nimoy's book ''I am Spock'', was that Roddenberry was pontificating over the storyline of a character ''he did not create.'' Nicholas Meyer ''wrote'' ''Film/StarTrekIITheWrathOfKhan'', and that is the first instance of Saavik appearing.
** However, Roddenberry had been a victim of pretty extreme executive meddling himself after the quasi-failure of ''The Motion Picture'' in 1979. Creator/{{Paramount}} execs, enraged by the first film's price tag (Charles Bludhorn (an important man at the studio in that he owned Paramount's then-parent company Gulf + Western), when interviewing Harve Bennett for the job of replacing Roddenberry as Executive Producer, flat out asked "Can you make it for less than forty-five-[[PrecisionFStrike fucking]]-million dollars?") and outraged by a script Roddenberry was shopping which would have had the ''Enterprise'' crew have to ensure the assassination of John F. Kennedy, kicked Roddenberry upstairs, taking him completely out of the day-to-day running of the next three movies. Helmed by two people unfamiliar with ''Star Trek'', they are commonly considered some of the best movies in the series. Consider it the yang to the ''Franchise/StarWars'' prequels' yin.
* Because the script for ''Film/StarTrekVTheFinalFrontier'' went through so many hands, and because its production time-frame & budget were restrained so tightly that Creator/IndustrialLightAndMagic couldn't be used for effects, meddling is considered to be one of the major factors in why the movie is so overwhelmingly unpopular.
* In WebSite/SFDebris's review of ''Film/StarTrekInsurrection'', he pointed out a TropesAreNotBad case of ExecutiveMeddling. Executives at Paramount actually sent a message to the movie's production team about certain {{plot hole}}s that they had noticed, as well as asking why the {{Designated Villain}}s were the bad guys for wanting access to a planet's miraculous healing powers. The part of the memo as follows:
--> We would like to better establish why the future of six hundred Ba'Ku is so important. Currently it is unclear why Picard is so passionate about the future of this particular race. The "Blood Feud" between a few hundred Son'a and six hundred Ba'Ku seems like nothing more than a gang fight. Numerous civilizations have been eliminated by previous Star Trek megalomaniacs, so what makes the Ba'Ku special? To be blunt, with only six hundred people in the gene pool, The Ba'Ku would inbreed themselves into extinction in a few generations.
** They were ignored.
*** Ironically, that last argument actually supports Picard's position - the Ba'ku would only have inbred themselves into extinction if they were removed from the planet, too bad it's not mentioned in the movie proper.
* Another example of Executive Meddling having a positive effect; when he completed ''Film/{{Clerks}}'', first-time director Creator/KevinSmith initially experienced a lot of trouble raising interest from a distributor in order to sell it. It was suggested that he remove the [[DiabolusExMachina unnecessary and out-of-place]] DownerEnding in which Dante is killed by a robber. The rest is [[TheViewAskewniverse history]].
* ''Film/SpiderMan3'': Creator/SamRaimi wanted to do a movie focusing on a hero with negative qualities and a villain with positive qualities, while wrapping up sub-plots involving Mary Jane and Harry "Goblin Jr." Osborn. The story was packed as it was, but producer Avi Arad insisted that fan-favorite Venom also be added into the film. Sam Raimi, who disliked the character, at first refused but eventually gave in and shoehorned Eddie Brock ''and'' Venom into the script. Gwen Stacy was also shoehorned into the film, filling a role originally to have been played by a random woman.
** After ''Spider-Man 3'' was released to commercial success in spite of mixed reviews, Sony was eager to start production on a fourth ''Spider-Man'' film...only for them to cancel the project right before filming started. As Raimi was dissatisfied with how ''Spider-Man 3'' turned out (as seen above) and was pressured to make the fourth film the best he could, he was not satisfied with the scripts offered and ultimately quit the project, feeling he wasn't able to produce a good film by the 2011 release date deadline Sony had set for the film. Since Sony wanted a new ''Spider-Man'' no matter what (so that the rights to their CashCowFranchise [[ChannelHop wouldn't fall into Marvel Studios's hands]][[note]]Sony even went as far as to sell off the televisions rights to Marvel (who around this time was undergoing their acquisition by Creator/{{Disney}}) so they could keep the movie rights, which consequently resulted in the latter two [[ScrewedByTheNetwork cancelling]] ''WesternAnimation/TheSpectacularSpiderMan'' [[InternetBackdraft to the chagrin of many fans of that show]].[[/note]]), [[FranchiseKiller Raimi's Spider-Man film series was discontinued]] in favor of [[ContinuityReboot a new]] ''[[Film/TheAmazingSpiderMan Spider-Man]]'' [[Film/TheAmazingSpiderMan film series]].
** Creator/AndrewGarfield stated in [[http://www.theguardian.com/film/2014/sep/11/andrew-garfield-studio-the-amazing-spider-man-2-sequel an interview]] that ''Film/TheAmazingSpiderMan2'' was a victim of this, as the studio cut out parts of the script that explored Peter's personal life in order to shoe-horn in new characters and plot threads for future films (in order to turn the series into a [[Franchise/MarvelCinematicUniverse sprawling Marvel-style universe]]). As revealed in the December 2014 Sony leaks, the studio bosses were reportedly so unhappy with Garfield's comments that they were considering replacing him with a new actor in their future Spider-Man films a la Creator/ValKilmer in ''Film/BatmanForever''. However, Sony and Marvel have since made a deal and Spidey is getting rebooted with a new movie set in the Franchise/MarvelCinematicUniverse.
* As part of the movie's general spoofing of "underdog sports hero" movies, the script for ''Film/DodgeballATrueUnderdogStory'' originally had the likable underdog heroes lose the final dodgeball round to the {{Jerkass}} villain, but nevertheless recover some of their losses thanks to one of their number winning big in Vegas. The suits forced them to change this to an ending where the heroes ended up winning after all. In response, the director turned this into an over-complicated DeusExMachina-strewn ending, and later had a scene over the credits with the villain whining about how he only lost because "audiences can't cope with anything challenging, can you?" It's also spoofed on the DVD, which features an "alternate ending" which, if it had been genuine, would have been the cruelest ending ''ever''.
** They even play with the DeusExMachina ending: the movie even puts a small sign that says "Deus Ex Machina" on the treasure chest at the end!
* The ''Film/{{Daredevil}}'' film is a pretty clear version of this: the director filmed one version of the movie, only for Fox executives to think that Jennifer Garner's ''Film/{{Elektra}}'' had potential as a spinoff once they saw early footage. So the movie had a hacksaw taken to it as a result, with a lengthy subplot revolving around Matt Murdock defending a murder victim removed (with the consequence of the movie's ending now making no sense and leaving virtually no mention of the iconic Nelson & Murdock law firm in the movie), Elektra given prominence, and most of Daredevil's origins shunted to the side. As a result, the theatrical cut was panned, and then ''Elektra'' also didn't do well in theaters. Thankfully, the director's cut has become quite popular on DVD, and holds up as one of the better Marvel movies.
* Quite a lot of the film adaptation of ''Film/TheGoldenCompass'' resides somewhere on the cutting room floor, mainly because the studio was dead set on making this their new PG-13-rated fun-for-the-whole-family blockbuster franchise (''Literature/HisDarkMaterials'' fans take a minute and let that sink in).
** Chris Weitz's initial cut of ''The Golden Compass'' ran approximately three hours. New Line was banking on this new ''His Dark Materials'' trilogy to be their next ''Film/TheLordOfTheRings''. Unfortunately, the studio got cold feet at the 11th hour. They felt that not only was the film running too long (ironic considering how long each of the ''The Lord of the Rings'' films ran in their theatrical cuts), but they were worried about the DownerEnding in which [[spoiler:Lord Asriel kidnaps Roger and tears him apart from his daemon, effectively killing him in the process in order to rip open the barrier between worlds]]. Without Weitz's involvement, the studio cut this ending out along with approximately 45 minutes' worth of other scenes.
** This created such glaring gaps in the storyline that reshoots were promptly made to help smoothen these out, including an extremely self-conscious SequelHook. Scenes (particularly during the last third) were re-ordered since the real climax of the film had been excised, resulting in the battle of Bolvangar becoming the climax when it was meant to be a skirmish. To help drive home that this was their next ''The Lord of the Rings'', Creator/ChristopherLee was given a cameo during the reshoots as one of Magisterium leaders, and Creator/IanMcKellen was brought in to voice Iorek Byrnison despite Nonso Anonzie having already completed his work in the role. The film had gone so far over budget that they sold the foreign distribution rights in order to finish post-production.
** All of this [[HoistbyHisOwnPetard blew up in New Line's face]] when the film did poorly domestically but was a smash hit internationally, [[LaserGuidedKarma resulting in the studio getting swallowed up]] [[CreatorKiller by parent company Warner Bros]]. When asked if we'll ever see his original director's cut for the film, Chris Weitz answered that it's not likely as the missing hour of footage requires another $2 million of effects to complete. All this happened ''after'' the ditching of a fine screenplay by Creator/TomStoppard.
* Creator/RobertZemeckis and Bob Gale bowed down to a lot of Executive Meddling in order to get ''Film/BackToTheFuture'' made, but they stopped short of renaming the movie ''Spaceman from Pluto''. Creator/StevenSpielberg handled this by answering the memo that suggested the new title with another one that read: "Thanks for the joke memo, guys: it's the funniest thing ever. We're still laughing about it." It actually worked, as the executive behind this was too proud to admit he was serious.
** As a TitleDrop, the same executive wanted to change Marty's line during George's "nightmare" from "[[ImMrFuturePopCultureReference My name is Darth Vader. I'm an extra-terrestrial from the planet Vulcan!]]" to "I'm a spaceman from Pluto!" Because that's so much funnier, isn't it?
** At least some of the ExecutiveMeddling was positive. The budget forced the change from a Nevada nuclear test to [[AwesomeYetImpractical a more practical]] hometown lightning bolt, to power the flux capacitor. And imagine ''Film/BackToTheFuture'' without "Doc" Brown![[note]]Originally "Professor" Brown.[[/note]]
** The sequels only exist because of this. After the runaway success of the first film, Zemeckis and Gale were told "We're making more and either you'll make them or we'll get someone else." They opted to do the sequels.
* In ''Film/TheMatrix'', the Wachowski siblings had wanted to have the machines use the humans plugged into the Matrix as a gigantic neural network computer. However, executives thought that [[ViewersAreMorons the audience wouldn't understand this]], so they changed it to using the humans to generate electricity, even though this violates the laws of thermodynamics and creates several plot holes (though some fans find it decent as a metaphor).
* In the stoner flick ''Film/HaroldAndKumarGoToWhiteCastle'', one of the main focuses in the movie is about the subtle but ever-present racial issues that the racial minorities face in a hilarious manner. The execs wanted the director to change their ethnicity to them both being Jewish, which would have effectively nullified the central concept of the characters and, at the same time, ironically proven the point of the film. The director/writer said no and, as a compromise, placed a Jewish buddy duo into the movie as the lead characters' close friends.
** Perhaps as a reaction to this, the film's sequel places the racial issues completely front and center, with a plot that involves Harold and Kumar being arrested as terrorists.

to:

** ''Film/{{Fanboys}}'': The film ''Film/{{Fanboys}}''. You can listen to its executives ordered so many changes that whole swathes of supblot make no sense unless you ignore them. The DVD version is a better, but it's still ridiculously obvious which scenes the executives demanded. The original still exists, and the director recount still has a print of it, but he's not allowed to show it to anyone. The director recounts the entire spectacular whole debacle in [[http://www.slashfilm.com/2009/08/23/the-filmcast-after-dark-ep-63-what-happened-to-fanboys-and-the-revenge-of-the-nerds-remake-guest-director-kyle-newman/ this podcast]]. The version of the film on [=DVD=] is as close as we'll ever get to the original cut -- which the director ''still has'' a print of that he is ''not allowed to show anyone''. It is unspeakably frustrating. The version on [=DVD=] is still pretty good, but it is ridiculously obvious which scenes survive from the original version and which scenes were ordered from the executives; there are whole swathes of subplot that make zero sense unless you ignore them.
podcast]].
** The 2013 South Korean film ''Snowpiercer'' nearly went through Weinstein's editing machine as well, ignoring protests from the film's director. director, Bong Joon-Ho (famous for ''Film/TheHost''). The film in its original unedited version film was a box-office smash hit in its native country Korea, and it also garnered got positive reviews from after screenings in the UK. Weinstein had made a cut of the film that was by 25 minutes shorter, and edited it to play up the action at the expense of character development. Director Bong Joon-Ho (TheHost), who had no input in fought for the new original cut, continued pointing to tell fans he'd hope the film would play unedited, and considering the negative press Weinstein's edit was generating, Joon-Ho eventually won out. However, it now appears surrounding the recut, and he got his wish -- but Weinstein is [[http://io9.com/us-release-of-snowpiercer-will-be-uncut-but-its-still-1518265822 scaling scaled back]] the number of theaters the film will play.that would show it.
* The ''Franchise/StarTrek'' films:
** ''Film/StarTrekTheMotionPicture'' was a quasi-failure with a big price tag. Creator/{{Paramount}} tried to avoid this in the future by removing Creator/GeneRoddenberry as executive producer. They were also outraged by a script he wrote in which the ''Enterprise'' crew had to ensure the Kennedy assassination. But since Roddenberry made ''Star Trek'' to begin with, they had to [[KickedUpstairs kick him upstairs]], where he could become his own meddling executive.
**
The original ending of ''Film/StarTrekIITheWrathOfKhan'' did not have Spock performing a mind-meld on [=McCoy=], and did not have the shot of Spock's casket having soft-landed on the Genesis planet. It was implied that he was DeaderThanDead. This tested poorly, with Harve Bennett noting in Shatner's book "Star ''Star Trek Movie Memories" Memories'' that there was "a silence, a heavily funereal silence" as the test audience left the theater. As a result, over Nick Meyer's vehement objections, the [[SequelHook "Remember" shot and the tracking shot resting on Spock's casket]] were added to the final theatrical cut. Particularly sharp-eyed viewers will note the change in film quality during the "Remember" shot.
* ** The traitorous Lt. Valeris in 1991's ''Film/StarTrekVITheUndiscoveredCountry'' was originally written to be Lt. Saavik from the three previous films, so that her betrayal would have a more profound impact. However, GeneRoddenberry overruled writer/director Nicholas Meyer in what was by all accounts an epic battle of rank-pulling, and forced the creation of a "new" protégé for Spock. In this case, it was Creator Meddling!
** The supreme irony being, as Nicholas
Meyer is reported to have even pointed out in Leonard Nimoy's book ''I am Spock'', was that Roddenberry was pontificating over the storyline of a character ''he did not create.'' Nicholas Meyer he ''wrote'' ''Film/StarTrekIITheWrathOfKhan'', and that is the first instance of Saavik appearing.
** However, Roddenberry had been a victim of pretty extreme executive meddling
himself after the quasi-failure of ''The Motion Picture'' in 1979. Creator/{{Paramount}} execs, enraged by the (as she first film's price tag (Charles Bludhorn (an important man at the studio appeared in that he owned Paramount's then-parent company Gulf + Western), when interviewing Harve Bennett for the job of replacing Roddenberry as Executive Producer, flat out asked "Can you make it for less than forty-five-[[PrecisionFStrike fucking]]-million dollars?") and outraged by a script Roddenberry was shopping which would have had the ''Enterprise'' crew have to ensure the assassination of John F. Kennedy, kicked Roddenberry upstairs, taking him completely out of the day-to-day running of the next three movies. Helmed by two people unfamiliar with ''Star Trek'', they are commonly considered some of the best movies in the series. Consider it the yang to the ''Franchise/StarWars'' prequels' yin.
* Because the script for
''Film/StarTrekIITheWrathOfKhan'').
**
''Film/StarTrekVTheFinalFrontier'' went through so many hands, is one of the least popular ''Star Trek'' films, and because its production time-frame & fans largely blame executive meddling. Among the problems were that the script changed hands numerous times, and the budget and schedule were restrained so tightly tight that Creator/IndustrialLightAndMagic couldn't be used for effects, meddling is considered to be one of make the major factors in why special effects.
** They tried with ''Film/StarTrekInsurrection''; many observers, including Website/SFDebris, claim this would have improved
the movie is so overwhelmingly unpopular.
* In WebSite/SFDebris's review of ''Film/StarTrekInsurrection'', he pointed out a TropesAreNotBad case of ExecutiveMeddling. Executives at
movie. Paramount actually sent a message executives wanted to fix some of the movie's production team about certain film's {{plot hole}}s that they had noticed, hole}}s, such as well as asking why the {{Designated Villain}}s DesignatedVillains were the bad guys for wanting access to a planet's miraculous healing powers. The part of the memo as follows:
--> We would like to better establish why the future of six hundred Ba'Ku is so important. Currently it is unclear
powers, and why Picard is was so passionate about the future of this intent to save a particular race. The "Blood Feud" between a few hundred Son'a and six hundred Ba'Ku seems like nothing more than a gang fight. Numerous civilizations have been eliminated by previous Star Trek megalomaniacs, so what makes the Ba'Ku special? To be blunt, with race of only six hundred people in (thus well below the gene pool, The Ba'Ku would inbreed themselves into extinction in a few generations.
** They were ignored.
*** Ironically, that last argument actually supports Picard's position - the Ba'ku would only have inbred themselves into extinction if they were removed
threshold for avoiding [[TangledFamilyTree dangerous inbreeding]]).
* ''Film/{{Clerks}}'' improved
from the planet, too bad it's not mentioned in the movie proper.
* Another example of Executive Meddling having a positive effect; when he completed ''Film/{{Clerks}}'', first-time
executive meddling. First-time director Creator/KevinSmith initially experienced a lot of had trouble raising interest from finding a distributor in order to sell it. It distributor, when it was suggested that he remove part of the problem was that it had an [[DiabolusExMachina unnecessary and out-of-place]] DownerEnding in which Dante is killed by a robber. The He changed the ending, and the rest is [[TheViewAskewniverse history]].
* ''Film/SpiderMan3'': The ''Film/SpiderMan'' films:
** ''Film/SpiderMan3'' director
Creator/SamRaimi wanted to do a movie focusing on a hero with negative qualities and a villain with positive qualities, while wrapping up sub-plots involving Mary Jane and Harry "Goblin Jr." Osborn. The story was packed as it was, but when producer Avi Arad insisted that fan-favorite Venom also be added into to the film. Sam Raimi, who Raimi disliked the character, character and at first refused refused, but eventually gave in and shoehorned Eddie Brock in. This left the movie with Venom ''and'' Venom into the script. Eddie Brock shoehorned in. Gwen Stacy was also shoehorned into the film, in, filling a role that was originally to have been played by just a random woman.
** After ''Spider-Man 3''
woman. It was released to commercial success in spite of mixed reviews, commercially successful, but reviews were mixed, and Raimi was dissatisfied with the final product.
**
Sony was eager to start production on a fourth ''Spider-Man'' film...only for them to cancel the project right before filming started. As film and asked Raimi was dissatisfied with how ''Spider-Man 3'' turned out (as seen above) to direct, but he didn't find a script he liked and was pressured to make the fourth film the best he could, he was not satisfied with the scripts offered and ultimately quit the project, feeling he wasn't able to produce a good film by the 2011 release date walked away. Sony had an internal deadline Sony had set for the film. Since Sony wanted a new ''Spider-Man'' no matter what (so that the rights to film; if they didn't make one, their CashCowFranchise [[ChannelHop wouldn't would fall back into Marvel Studios's hands]][[note]]Sony even went as far as to sell off the televisions rights to Marvel (who around this time was undergoing their acquisition by Creator/{{Disney}}) so they could keep hands of Creator/MarvelStudios. They wound up ending the movie rights, which consequently resulted in the latter two [[ScrewedByTheNetwork cancelling]] ''WesternAnimation/TheSpectacularSpiderMan'' [[InternetBackdraft to the chagrin of many fans of that show]].[[/note]]), [[FranchiseKiller Raimi's Spider-Man film Raimi series was discontinued]] in favor of and [[ContinuityReboot a new]] ''[[Film/TheAmazingSpiderMan Spider-Man]]'' [[Film/TheAmazingSpiderMan rebooting the film series]].
series]] with ''Film/TheAmazingSpiderman''.
** Creator/AndrewGarfield stated For ''Film/TheAmazingSpiderman2'', the studio cut out bits that explored Peter's personal life, preferring to shoehorn in new characters and plot threads to keep the film series going and compete with the Franchise/MarvelCinematicUniverse. Creator/AndrewGarfield, who played Spiderman, was not pleased and said so in [[http://www.theguardian.com/film/2014/sep/11/andrew-garfield-studio-the-amazing-spider-man-2-sequel an interview]] that ''Film/TheAmazingSpiderMan2'' was a victim of this, as the studio cut out parts of the script that explored Peter's personal life in order to shoe-horn in new characters and plot threads for future films (in order to turn the series into a [[Franchise/MarvelCinematicUniverse sprawling Marvel-style universe]]). As revealed in the December 2014 interview]]. Sony leaks, the studio bosses were reportedly was so unhappy with Garfield's comments that they were considering considered replacing him with a new actor TheOtherDarrin (we know this because it was in their future Spider-Man films a la Creator/ValKilmer in ''Film/BatmanForever''. However, the massive 2014 leak). The film was not successful, and Sony gave in and Marvel have since made struck a deal and allowing Spidey is getting rebooted with a new movie set in to migrate to the Franchise/MarvelCinematicUniverse.
* As part of the movie's general spoofing of "underdog sports hero" movies, the script for ''Film/DodgeballATrueUnderdogStory'' originally had is a spoof of the likable underdog {{Sports Story}}Tropes. This was reflected in the original ending, which spoofed the trope UnderdogsNeverLose by having the heroes lose the final dodgeball round to the {{Jerkass}} villain, but nevertheless only for one of their number to win big in Vegas and recover some of their losses thanks to one of their number winning big in Vegas. losses. The suits forced them to change didn't like this to an ending where and insisted that the heroes ended up winning after all. win. In response, the director turned this into created an over-complicated DeusExMachina-strewn ending, overly-complicated ending with an obviously labeled DeusExMachina, and later had a scene over in the credits with shows the villain whining about how that he only lost because "audiences can't cope with anything challenging, can you?" It's also spoofed on the DVD, which features challenging." The DVD has an "alternate ending" which, which gives insight into how the original might have gone; if it had been were genuine, it would have been the cruelest ending ''ever''.
** They even play with the DeusExMachina ending: the movie even puts a small sign that says "Deus Ex Machina" on the treasure chest at the end!
* The ''Film/{{Daredevil}}'' film is a pretty clear ''Film/{{Daredevil}}'''s original version of this: the director filmed one version of the movie, only for didn't survive when Fox executives to think that saw spinoff potential in Jennifer Garner's Elektra. They recut the film to give Elektra more prominence, cutting off most of Matt Murdock's backstory, his legal career, and any sense to the ending. The result was heavily panned, as was the eventual ''Film/{{Elektra}}'' had potential as a spinoff once they saw early footage. So the movie had a hacksaw taken to it as a result, with a lengthy subplot revolving around Matt Murdock defending a murder victim removed (with the consequence of the movie's ending now making no sense and leaving virtually no mention of the iconic Nelson & Murdock law firm in the movie), Elektra given prominence, and most of Daredevil's origins shunted to the side. As a result, the theatrical cut was panned, and then ''Elektra'' also didn't do well in theaters. Thankfully, the film. The director's cut has become quite popular on DVD, DVD and holds up as one of the better Marvel movies.
* Quite a lot of the film adaptation of ''Film/TheGoldenCompass'' resides somewhere was left with much of its content on the cutting room floor, mainly because the studio was dead set on making this their new PG-13-rated fun-for-the-whole-family blockbuster franchise (''Literature/HisDarkMaterials'' fans take a minute and let that sink in).
**
floor. Chris Weitz's initial original cut of ''The Golden Compass'' ran approximately was three hours. hours long, in line with New Line was banking on this new ''His Dark Materials'' trilogy to be their Line's desire for the next ''Film/TheLordOfTheRings''. Unfortunately, Then they changed their mind, worrying about the studio got cold feet at the 11th hour. They felt that not only was the film running too long (ironic considering how long each general darkness of the ''The Lord of the Rings'' films ran in their theatrical cuts), but they were worried about ''Literature/HisDarkMaterials'' series, and tried to lighten it up, doing so by cutting the DownerEnding in which [[spoiler:Lord Asriel kidnaps Roger and tears him apart from his daemon, effectively killing him in the process in order to rip open the barrier between worlds]]. Without Weitz's involvement, the studio cut this ending out along with approximately 45 minutes' worth of other scenes.
**
scenes. This created such glaring gaps in the storyline that they needed reshoots were promptly made to help smoothen these out, including an extremely self-conscious smooth them out. They also added a very strange and obvious SequelHook. Scenes (particularly during the last third) were re-ordered since the real climax of the film had been excised, resulting in the battle of Bolvangar becoming the climax when it was meant to be a skirmish. To help drive home that this was their next ''The Lord of the Rings'', They even insisted on cameos from ''Film/TheLordOfTheRings'' actors like Creator/ChristopherLee was given a cameo during and Creator/IanMcKellen, the reshoots as one latter of Magisterium leaders, and Creator/IanMcKellen was brought in to voice Iorek Byrnison despite Nonso Anonzie having whom voiced over a character already completed his work in the role. being played by someone else. The film had gone went so far over budget that they New Line sold the foreign international distribution rights in order to finish post-production.
** All of this [[HoistbyHisOwnPetard
post-production. This [[HoistByHisOwnPetard blew up in New Line's face]] when spectacularly]], as the film did poorly domestically but was a smash hit internationally, [[LaserGuidedKarma resulting in internationally. As for the studio getting swallowed up]] [[CreatorKiller by parent company Warner Bros]]. When asked if we'll ever see his original director's cut for the film, Chris Weitz answered that cut, it's not likely as unlikely to see the missing hour light of footage requires another day; Weitz claims it still needs $2 million worth of effects to complete. All effects.
* ''Film/BackToTheFuture'' suffered from
this happened ''after'' extensively. Some of it worked; for instance, the ditching of mechanism that would take Marty back to the future was originally a fine screenplay by Creator/TomStoppard.
*
nuclear test in Nevada, which was changed to the ordinary lightning bolt. Others didn't, and Creator/RobertZemeckis and Bob Gale bowed down to a lot of Executive Meddling in order to get ''Film/BackToTheFuture'' made, but pressure. But they stopped short of renaming naming the movie film ''Spaceman from Pluto''. Creator/StevenSpielberg handled this by answering the memo that suggested the new title with another one that read: memo: "Thanks for the joke memo, guys: it's the funniest thing ever. We're still laughing about it." It actually worked, as the The executive behind this who suggested it was too proud to admit he was serious.
** As a TitleDrop, the same executive wanted to change Marty's line during George's "nightmare" from "[[ImMrFuturePopCultureReference My name is Darth Vader. I'm an extra-terrestrial from the planet Vulcan!]]" to "I'm a spaceman from Pluto!" Because that's so much funnier, isn't it?
** At least some of the ExecutiveMeddling was positive. The budget forced the change from a Nevada nuclear test to [[AwesomeYetImpractical a more practical]] hometown lightning bolt, to power the flux capacitor. And imagine ''Film/BackToTheFuture'' without "Doc" Brown![[note]]Originally "Professor" Brown.[[/note]]
** The sequels only exist because of this. After the runaway success of the first film, Zemeckis and Gale were told "We're making more and either you'll make them or we'll get someone else." They opted to do the sequels.
* In ''Film/TheMatrix'', the Wachowski siblings had wanted to have the machines use the humans plugged into the Matrix as a gigantic neural network computer. However, executives thought that [[ViewersAreMorons the audience wouldn't understand this]], so they changed it to using the humans to generate electricity, even though this violates the laws of thermodynamics and creates several plot holes (though some fans find it a decent as a enough metaphor).
* In the stoner flick ''Film/HaroldAndKumarGoToWhiteCastle'', one of the main focuses in the movie is about The ''Film/HaroldAndKumarGoToWhiteCastle'' centers around the subtle but ever-present racial and omnipresent (yet hilarious) issues that faced by the racial minorities face in a hilarious manner. ethnic minority Indian and Asian main characters. The execs wanted the director to change their ethnicity to them to both being Jewish, which not only would have effectively nullified negated the central concept of the characters and, at the same time, ironically but also have proven the entire point of the film. The director/writer said no and, as a compromise, placed director refused, but he did place a Jewish [[ThoseTwoGuys buddy duo into duo]] in the movie as the lead characters' close friends.
** Perhaps as a reaction to this, the
film. The film's sequel places sequel, perhaps trying to avoid this, put the racial issues completely front and center, with a plot that involves and has Harold and Kumar being arrested as terrorists.



** The scene where the narrator severely beats another member of the club out of jealousy for the apparent attention he was getting from Tyler Durden originally focused more on the beating. Censors deemed this unacceptable, so the scene was altered to focus more on the narrator's face, and the reactions of the onlookers. Many considered the alteration to be more disturbing than the original scene.
** During the scene where Tyler is discussing with the narrator the night of sex he has just had with Marla Singer, there was originally a flashback line where she intimately whispers to Tyler that she "wants to have [his] abortion". Studio executives were outraged by this line and demanded director Creator/DavidFincher that it be changed. Fincher complied under the executives' promise that he would change the line only once, and the studio executives begged for it to be changed back when it turned into Marla nostalgically exclaiming that "[she] hadn't been fucked like that since grade school".
*** [[WordOfGod According to the commentary track]], Helena Bonham Carter (who played Marla) didn't quite realize the implications of the line, since the term "grade school" is never used in England. When someone pointed out that she was implying that Marla had had sex before the age of thirteen, she was horrified.

to:

** The scene where the narrator severely beats another member of the club out of jealousy for the apparent attention he was getting from Tyler Durden originally focused more on the beating. Censors deemed this unacceptable, unacceptable so the scene was altered to focus more on the narrator's face, and the reactions of the onlookers. Many considered the alteration to be [[GoryDiscretionShot more disturbing disturbing]] than the original scene.
** During the scene where Tyler is discussing with the narrator the night of sex he has just had with Marla Singer, there was originally a flashback line where she intimately whispers to Tyler that she "wants to have [his] abortion". Studio executives were outraged by this line and demanded director Creator/DavidFincher that it be changed. Fincher complied under the executives' promise that he would change the line only once, and the once. The studio executives begged for it to be changed back when it turned into Marla nostalgically exclaiming that "[she] hadn't been fucked like that since grade school".
*** [[WordOfGod According to the commentary track]], Helena
school". (Helena Bonham Carter (who played Marla) herself only said the line because being English, she [[SeparatedByACommonLanguage didn't quite realize the implications of the line, since the term realize]] how young "grade school" is never used in England. When someone pointed out that she was implying that Marla had had sex before the age of thirteen, she was horrified.would be.)



* The ''Film/{{Alien}}'' series has the distinct honor of having one example of this spread over two media: with both the original movie's Adult Alien action figure and the "Newborn" Alien in ''Alien: Resurrection'', the sculptors and director, respectively, wanted to add actual genitals to them, but were slapped down as being "too much". [[http://www.cracked.com/article_16716_7-terrible-early-versions-great-movies.html Heavy meddling]] by Creator/WalterHill and David Giler turned the Dan O'Bannon/Ronald Shusett version from crap to great.
** ''Alien³'''s production problems are the stuff of industry legend, and are chronicled in interviews and the "Wreckage And Rage" documentary on the Alien Anthology set[[note]]Even ''this'' is the result of ExecutiveMeddling. The original title was the much more emotive and accusatory "Wreckage and ''Rape''"[[/note]]. 20th Century Fox spent millions of dollars (over a period of four years) to try and get the script up and running - and every director who signed up ended up leaving due to creative differences and/or Fox attempting to stifle their creative process (Creator/RennyHarlin and Vincent Ward both expressed concerns when the studio tried to micromanage their planned directorial efforts) by forcing mandates (like the inclusion of Sigourney Weaver) onto them. Fox executives then brought on rookie director Creator/DavidFincher, who they believed they could control. Fincher had other plans, and what resulted were back-and-forth battles between the two parties. Fox prevented Fincher from shooting key scenes (which he shot anyway), sent him back for reshoots after a deliberately botched test screening (using, as actor Ralph Brown put it, "brain-dead kids from Southern California"), insulted him on several occasions and eventually locked him out of the editing room. They even attempted to hide the story of the film's production from the public for years - DVD producer Charles Lauzirika was barred from featuring the original version of "Wreckage and Rage" on the Alien Quadrilogy set by Fox executives. Fincher has stated numerous times that "no one hates Alien³ more than [him]," being the only director of one of the movies to refuse to do a commentary for the quadrilogy set, and was even so discouraged from directing that he almost turned down ''Film/{{Se7en}}''.

to:

* The ''Film/{{Alien}}'' series has series:
** This happened in two media regarding
the distinct honor alien designs. The makers of having one example of this spread over two media: with both the original movie's Adult Alien adult alien's action figure and the "Newborn" Alien in ''Alien: Resurrection'', the sculptors and director, respectively, wanted to add actual genitals to them, but were slapped down as being them; the director of ''Film/AlienResurrection wanted to do the same to the "newborn" alien. Both times, the producers said no, saying it was "too much". [[http://www.cracked.com/article_16716_7-terrible-early-versions-great-movies.html Heavy meddling]] by Creator/WalterHill and David Giler turned the Dan O'Bannon/Ronald Shusett version from crap to great.
much".
** ''Alien³'''s production problems are the stuff of industry legend, and are chronicled in interviews and the "Wreckage And Rage" documentary on the Alien Anthology set[[note]]Even ''this'' is the result of ExecutiveMeddling. The original title was the much more emotive and accusatory "Wreckage and ''Rape''"[[/note]]. ''Film/Alien3'' had a legendarily TroubledProduction. 20th Century Fox spent millions of dollars (over over a period of four years) years trying to try and get the script up and running - and -- every director who signed up ended up leaving left, either due to creative differences and/or Fox attempting to stifle their creative process (Creator/RennyHarlin and Vincent Ward both expressed concerns when the studio tried to micromanage their planned directorial efforts) by forcing or refusing Fox's mandates (like (such as the inclusion of Sigourney Weaver) onto them. Weaver). Fox executives then brought on rookie director Creator/DavidFincher, who whom they believed they could control. Fincher had other plans, plans and what resulted were back-and-forth started several battles between with the two parties.producers. Fox prevented Fincher from shooting key scenes (which he shot anyway), sent him back for reshoots after a deliberately botched test screening (using, as actor Ralph Brown put it, "brain-dead kids from Southern California"), insulted him on several occasions and eventually locked him out of the editing room. They even attempted The producers would also try to hide the story of the film's production from the public for years - DVD producer Charles Lauzirika was barred from featuring production, blocking the original version of "Wreckage the making-of documentary ''Wreckage and Rage" on Rage'' (itself originally titled ''Wreckage and Rape'', telling you what the Alien Quadrilogy set by Fox executives. creators thought of it). Fincher has stated numerous times that "no one hates Alien³ more than [him]," being hated the only director of one of the movies to refuse to do a commentary for the quadrilogy set, final product and was even so discouraged from directing that he almost turned down ''Film/{{Se7en}}''.



* TropesAreNotBad! Sort of. Inadvertently. The Nazi propaganda film ''Der ewige Jude'' (''The Eternal Jew'') was envisioned by Joseph Goebbels as an understated and subtle (by the standards of Nazi Propaganda) demonstration of the "evils" of Jewry, in keeping with Goebbels' (mostly correct) theory that the best propaganda was primarily entertainment and not obviously political. However, Hitler demanded more polemical material, such as laughably (even to the Nazis) crude comparisons of Jews to rats. It was a box-office flop, and some viewers fainted at the crudity. Inadvertently, executive meddling transformed what might be a chilling piece of propaganda into an embarrassing farce. Unfortunately, Goebbels had got his way with the much more effective and successful ''Jud Suss'' which was re-released to compensate for the failure of ''Der ewige Jude.''

to:

* TropesAreNotBad! Sort of. Inadvertently. The Nazi propaganda film ''Der ewige Ewige Jude'' (''The ("The Eternal Jew'') Jew") was envisioned by Joseph Goebbels as an understated and subtle (by the standards of (well, by Nazi Propaganda) demonstration propaganda standards) demonstrations of the "evils" of Jewry, in keeping with Goebbels' (mostly correct) theory Jewry. Goebbels believed that the best propaganda was primarily entertainment and not obviously political. However, propaganda. Hitler disagreed and demanded more polemical material, such as including laughably crude (even to the for Nazis) crude comparisons of Jews to rats. It was a box-office flop, and some viewers fainted at the crudity. Inadvertently, executive meddling transformed what might be a chilling piece of propaganda into an embarrassing farce. Unfortunately, Goebbels had got would get his way with the much more effective and successful ''Jud Suss'' which was re-released to compensate for the failure of ''Der ewige Jude.''Suss''.



* The same thing happened with ''Film/TriumphOfTheWill'' but in reverse. Nazi officials (including Goebbels, though for reasons of personal rivalry with Leni Riefenstahl) complained there wasn't enough propaganda in it. Hitler however allowed Riefenstahl to make the movie her way, creating the classic propaganda movie of the era. On ''Triumph'' and her subsequent films, Riefenstahl had AuteurLicense, where most other German filmmakers were answerable to Goebbels.
* The planned ending of the 2007 film of ''Film/IAmLegend'' tested poorly and, at the studio's insistence, was replaced with one that was both nothing like the book and ''completely against the point of the original film''. Among other things, it introduces some serious plot holes, skips the shocking twist that made the book so successful (while still heavily foreshadowing the now-nonexistent twist), and ''removes the reason for the movie to be called "I Am Legend"'' -- Which, really, seems to be par for the course of ''every'' adaptation of the book.
* A planned adaptation of Creator/TerryPratchett's ''Discworld/{{Mort}}'' was nixed when producers wanted to "lose the Death angle". Here is Pratchett's comment about it:

to:

* The same thing happened with ''Film/TriumphOfTheWill'' but in reverse. Nazi officials (including Goebbels, though for reasons of personal rivalry with Leni Riefenstahl) complained there wasn't enough propaganda in it. Hitler however Hitler, however, allowed Riefenstahl to make the movie her way, creating the classic propaganda movie of the era. On ''Triumph'' and her subsequent films, Riefenstahl had AuteurLicense, where most other German filmmakers were answerable to Goebbels.
* The planned ending of the 2007 film of ''Film/IAmLegend'' tested poorly and, at the studio's insistence, was replaced with one that was both nothing like the book and ''completely completely against the point of the original film''. film. Among other things, it introduces some serious plot holes, skips the shocking twist that made the book so successful (while still heavily foreshadowing the now-nonexistent twist), and ''removes even removes the reason for the movie to be called "I Am Legend"'' Legend" -- Which, really, seems to be par for the course of ''every'' for every adaptation of the book.
* ''Franchise/Discworld'':
**
A planned adaptation of Creator/TerryPratchett's ''Discworld/{{Mort}}'' was nixed when producers wanted to "lose the Death angle".angle". The book can largely be described as "Death takes an apprentice". Here is Pratchett's comment about it:



** Thankfully, the adaptions of ''Discworld/{{Hogfather}}'' and ''Discworld/TheColourOfMagic'' remained faithful to the material.
** There was also a film version of ''Discworld/TheWeeFreeMen'' in the pipes, but according to Terry the script he was shown "had all the hallmarks of something that had been good, and then the studio had got involved," and the project is now mired in DevelopmentHell.
** The BBC wanted to do seven series of thirteen episodes of the Watch novels. Unfortunately, according to Terry, they had the attitude "We cannot be bound by anything in the books because we are the BBC." So a Bible was written, which contained the absolute immutables. And back came the letter "Thank you for the Bible. If we feel the need to change anything in it, we'll be sure to let you know afterwards." The Watch-Novels-as-BBC-series has been canned.

to:

** Thankfully, the adaptions of ''Discworld/{{Hogfather}}'' and ''Discworld/TheColourOfMagic'' remained faithful to the material.
** There was also a film version of ''Discworld/TheWeeFreeMen'' in the pipes, but according to Terry Terry, the script he was shown "had all the hallmarks of something that had been good, and then the studio had got involved," and the involved." The project is now mired in DevelopmentHell.
** The BBC wanted to do seven series of thirteen episodes of the Watch novels. Unfortunately, according to Terry, they had the attitude "We cannot be bound by anything in the books because we are the BBC." So a Bible was written, which contained the absolute immutables. And back came the letter "Thank you for the Bible. If we feel the need to change anything in it, we'll be sure to let you know afterwards." The Watch-Novels-as-BBC-series has been canned.
DevelopmentHell.



* Another positive example: Forbidding Creator/IngridBergman's character to leave her husband for the Bogart character in ''Film/{{Casablanca}}'' led to its classic BittersweetEnding.
** Although this was a product of UsefulNotes/TheHaysCode, and was not specifically directed at ''Casablanca''.
** Creator/IngridBergman was always going to get on the plane; the ending that was changed was Bogart's character getting arrested by his French police friend (changed to him saying: "Round up the usual suspects" instead.)

to:

* Another positive example: Forbidding Creator/IngridBergman's character to leave her husband for the Bogart character in ''Film/{{Casablanca}}'' was barred by the HaysCode from having Ilsa leave her husband for Rick at the end; this led to its classic BittersweetEnding.
** Although this was a product of UsefulNotes/TheHaysCode, and was not specifically directed at ''Casablanca''.
** Creator/IngridBergman was always going to get on
the plane; the ending that was changed was Bogart's character getting film's famous BittersweetEnding. The execs also refused to let Rick be arrested by his French police friend (changed at the end, leading instead to him saying: the famous line, "Round up the usual suspects" instead.)suspects."
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http://tvtropes.org/pmwiki/article_history.php?article=ExecutiveMeddling.Film