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** Creator/JoshTrank envisioned his film as being between 2 hours and 20 minutes long; the studio cut that down significantly to a little over 1 hour and 30 minutes, plus about 10 minutes for credits. Judging by Josh Trank's Twitter comment that he disliked the final cut, it also appears that the rumors that he wasn't very involved in editing and reshoots are true, meaning that the studio took over. Numerous reviews noted that the reshot scenes (in which Creator/KateMara wears a noticeable wig) are primarily in the second half, which feels like it belongs to a different movie than the first half.

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** Creator/JoshTrank envisioned his film as being between 2 hours and 20 minutes long; the studio cut that down significantly to a little over 1 hour and 30 minutes, plus about 10 minutes for credits. Judging by Josh Trank's Twitter comment that he disliked the final cut, it also appears that the rumors that he wasn't very involved in editing and reshoots are true, meaning that the studio took over. Numerous reviews noted that the reshot scenes (in which Creator/KateMara wears a noticeable wig) are primarily in the second half, which feels like it belongs to a different movie than the first half.


* ''Film/{{Goodfellas}}'': Creator/MartinScorsese's choice for Karen Hill was Creator/LorraineBracco, however, [[Creator/WarnerBros the studio]] pressed Marty to cast Creator/EllenBarkin, Creator/MelanieGriffith, Music/{{Madonna}}, or Creator/MichellePfeiffer for the role. However, Scorsese refused, and kept Bracco on the project.

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* ''Film/{{Goodfellas}}'': Creator/MartinScorsese's choice for Karen Hill was Creator/LorraineBracco, however, [[Creator/WarnerBros the studio]] pressed Marty Scorsese to cast Creator/EllenBarkin, Creator/MelanieGriffith, Music/{{Madonna}}, or Creator/MichellePfeiffer for the role. However, Scorsese refused, and kept Bracco on the project.


* Creator/AlanMoore, because of this trope, not only refuses direct involvement with film adaptations of his {{comic|books}}s, but also voluntarily relinquishes all profit rights to them. He also asks to have his name removed from adaptations' credits, which the studios only really started doing with ''Watchmen''. ''Film/{{Watchmen}}'' had a TroubledProduction with two versions by different studios. The earlier Fox version saw a lot of changes. The setting was updated to take place during UsefulNotes/TheWarOnTerror, it went from a character study to a straight action flick, and the plot was changed [[spoiler:to Ozymandias going back in time to kill Dr. Manhattan, which somehow transported the characters into the "real world", where they're known as comic book characters]]. That one languished in DevelopmentHell. The subsequent WB version similarly tried a SettingUpdate, only for Creator/ZackSnyder to threaten to quit if anything was changed.

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* Creator/AlanMoore, because of this trope, not only refuses direct involvement with film adaptations of his {{comic|books}}s, but also voluntarily relinquishes all profit rights to them. He also asks to have his name removed from adaptations' credits, which the studios only really started doing with ''Watchmen''. ''Film/{{Watchmen}}'' had a TroubledProduction with two versions by different studios. The earlier Fox version saw a lot of changes. The setting was updated to take place during UsefulNotes/TheWarOnTerror, it went from a character study to a straight action flick, and the plot was changed [[spoiler:to [[spoiler: to Ozymandias going back in time to kill Dr. Manhattan, which somehow transported the characters into the "real world", where they're known as comic book characters]]. That one languished in DevelopmentHell. The subsequent WB version similarly tried a SettingUpdate, only for Creator/ZackSnyder to threaten to quit if anything was changed.



** ''Film/Alien3'' had a legendarily TroubledProduction. 20th Century Fox spent millions of dollars over a period of four years trying to get the script up and running -- every director who signed up left, either due to creative differences or refusing Fox's mandates (such as the inclusion of Creator/SigourneyWeaver), and there wasn't even a finished script when filming started, so rookie director Creator/DavidFincher, whom they believed they could control, had to make up the plot of the film as he went along by piecing together parts of the other unfinished scripts and improvising the rest. And Fincher had other plans regarding being a simple workman, and started several battles with the producers. Fox prevented Fincher from shooting key scenes (which he shot anyway, and made it into the final cut), 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. The producers would also try to hide the story of the film's production, blocking the original version of the making-of documentary ''Wreckage and Rage'' (itself originally titled ''Wreckage and Rape'', telling you what the creators thought of it). Fincher hated the final product and was even so discouraged from directing that he almost turned down ''Film/{{Se7en}}''. \\

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** ''Film/Alien3'' had a legendarily TroubledProduction. 20th Century Fox spent millions of dollars over a period of four years trying to get the script up and running -- every director who signed up left, either due to creative differences or refusing Fox's mandates (such as the inclusion of Creator/SigourneyWeaver), and there wasn't even a finished script when filming started, so rookie director Creator/DavidFincher, whom they believed they could control, had to make up the plot of the film as he went along by piecing together parts of the other unfinished scripts and improvising the rest. And Fincher had other plans regarding being a simple workman, workman and started several battles with the producers. Fox prevented Fincher from shooting key scenes (which he shot anyway, and made it into the final cut), 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. The producers would also try to hide the story of the film's production, blocking the original version of the making-of documentary ''Wreckage and Rage'' (itself originally titled ''Wreckage and Rape'', telling you what the creators thought of it). Fincher hated the final product and was even so discouraged from directing that he almost turned down ''Film/{{Se7en}}''. \\



As a measure of how much it afflicted the film, no fewer than ''eight'' people attempted to claim credit for the screenplay during the WGA arbitration process, with a further four not bothering for various reasons. In particular, Rex Pickett, who wrote a significant portion of the shooting script, ended up being one of the ones not wanting credit largely due to how unpleasant the whole experience had been. This was so bad, even Creator/HRGiger - the original designer for the first Xenomorph -- [[http://en.wikipedia.org/wiki/Alien_%28creature_in_Alien_franchise%29#Concept_and_credit_controversy was shafted in favor of Tom Woodruff and Alec Gillis' designs.]] This didn't stop Giger [[{{Determinator}} from faxing his designs to his client, David Fincher, after he disembarked from the project.]]

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As a measure of how much it afflicted the film, no fewer than ''eight'' people attempted to claim credit for the screenplay during the WGA arbitration process, with a further four not bothering for various reasons. In particular, Rex Pickett, who wrote a significant portion of the shooting script, ended up being one of the ones not wanting credit largely due to how unpleasant the whole experience had been. This was so bad, even Creator/HRGiger - the original designer for the first Xenomorph -- [[http://en.wikipedia.org/wiki/Alien_%28creature_in_Alien_franchise%29#Concept_and_credit_controversy was shafted in favor of Tom Woodruff and Alec Gillis' Gillis's designs.]] This didn't stop Giger [[{{Determinator}} from faxing his designs to his client, David Fincher, after he disembarked from the project.]]



** The original film itself has a ''positive'' version of this trope, according to some sources. The film's executive producers, Creator/WalterHill and David Giler, ended up writing the final shooting script on the film, modifying Dan O'Bannon's and Ronald Shusett's original treatment. Among the changes they made was the introduction of the character Ash and making the characters' dialogue flow more naturally, befitting their role as "truckers in space."

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** The original film itself has a ''positive'' version of this trope, according to some sources. The film's executive producers, producers Creator/WalterHill and David Giler, Creator/David Giler ended up writing the final shooting script on the film, modifying Dan O'Bannon's and Ronald Shusett's original treatment. Among the changes they made was the introduction of the character Ash and making the characters' dialogue flow more naturally, befitting their role as "truckers in space."



** Crowe also planned for the film to be released as "Untitled," but Dreamworks demanded a more unique name. Extras were allowed to submit potential titles ("Saving William's Privates" was one), until Crowe settled on "Almost Famous."

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** Crowe also planned for the film to be released as "Untitled," but Dreamworks demanded a more unique name. Extras were allowed to submit potential titles ("Saving William's Privates" was one), one) until Crowe settled on "Almost Famous."



* The original ''Film/ArmyOfDarkness'' ending had Ash drinking too much 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. However, Administrivia/TropesAreNotBad; the theatrical ending is widely considered better, as it gives Ash some closure and eventually allowed the francise to return with Ash vs. Evil Dead. The original ending, though, was used in the international release.
* ''Baby It's You'': Creator/JohnSayles' choice for Jill was Creator/RosannaArquette, however, executives at [[Creator/TwentiethCenturyStudios 20th Century-Fox]], the studio that was supposed to finance the film, wanted [[YoungerAndHipper the younger]] Creator/BrookeShields, who, ironically, was closer to the character's age. Sayles eventually cut ties with Fox and chose to finance the film indepently by keeping Arquette on the project and selling the North American theatrical distribution rights to Creator/{{Paramount}}.

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* The original ''Film/ArmyOfDarkness'' ending had Ash drinking too much 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. However, Administrivia/TropesAreNotBad; the theatrical ending is widely considered better, as it gives Ash some closure and eventually allowed the francise franchise to return with Ash vs. Evil Dead. The original ending, though, was used in the international release.
* ''Baby It's You'': Creator/JohnSayles' Creator/JohnSayles's choice for Jill was Creator/RosannaArquette, however, executives at [[Creator/TwentiethCenturyStudios 20th Century-Fox]], the studio that was supposed to finance the film, wanted [[YoungerAndHipper the younger]] Creator/BrookeShields, who, ironically, was closer to the character's age. Sayles eventually cut ties with Fox and chose to finance the film indepently independently by keeping Arquette on the project and selling the North American theatrical distribution rights to Creator/{{Paramount}}.



* ''Film/BatmanForever'' and ''Film/BatmanAndRobin'' both suffered from executive meddling after the relative failure of ''Film/BatmanReturns''. That film was DarkerAndEdgier and didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. Warner Bros. thus replaced Creator/TimBurton with Creator/JoelSchumacher. Schumacher was a comic fan himself and wanted to continue the DarkerAndEdgier trend, even planning an adaptation of Creator/FrankMiller's ''Batman: Year One''. Warner Bros. said no, telling him to make it kid friendly and MerchandiseDriven. Schumacher long lamented the series being used as a toy commercial.

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* ''Film/BatmanForever'' and ''Film/BatmanAndRobin'' both suffered from executive meddling after the relative failure of ''Film/BatmanReturns''. That film was DarkerAndEdgier and didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. Warner Bros. thus replaced Creator/TimBurton with Creator/JoelSchumacher. Schumacher was a comic fan himself and wanted to continue the DarkerAndEdgier trend, even planning an adaptation of Creator/FrankMiller's ''Batman: Year One''. Warner Bros. said no, telling him to make it kid friendly kid-friendly and MerchandiseDriven. Schumacher long lamented the series being used as a toy commercial.



* The original cut of ''Film/{{Cobra}}'' ran for about 120 minutes with full blown X rating. Afraid the movie would be overshadowed by the then recently released ''Film/TopGun'' though, Creator/WarnerBros told Creator/SylvesterStallone to edit it down to an R rating and shorten it to its final theatrical length of 87 minutes to allow for more screenings per day, both in an attempt to attract a greater audience.

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* The original cut of ''Film/{{Cobra}}'' ran for about 120 minutes with full blown a full-blown X rating. Afraid the movie would be overshadowed by the then recently released ''Film/TopGun'' though, Creator/WarnerBros told Creator/SylvesterStallone to edit it down to an R rating and shorten it to its final theatrical length of 87 minutes to allow for more screenings per day, both in an attempt to attract a greater audience.



* 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 of 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 hanged with 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.

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* 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 of BrotherSisterIncest, but many scenes were either cut or never filmed due to time restraints. During post production, post-production, Bloom walked away from filming the new ending for the final cut [[spoiler: in which Corrine is hanged with 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.



** ''Film/{{Fanboys}}'': The 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 still has a print of it, but he's not allowed to show it to anyone. The director recounts the 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]].

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** ''Film/{{Fanboys}}'': The executives ordered so many changes that whole swathes of supblot subplot 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 still has a print of it, but he's not allowed to show it to anyone. The director recounts the 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 first victim was ''Film/HardTarget''. According to several crew accounts (including one [[http://books.google.com/books?id=xSnpNoth_SsC&pg=PA240&lpg=PA240&dq=John+Woo+locked+from+editing+room&source=bl&ots=5mcGehsGir&sig=8HHuXtBRfoTZ-c06oKptgf6yLDs&hl=en&sa=X&ei=vcF8VPvYFMqkNv-Cg-gD&ved=0CCAQ6AEwAA here]]), Woo was locked out from the post production offices by Creator/JeanClaudeVanDamme under order from Universal executives to keep Woo from protesting the studio's treatment of his film.

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** The first victim was ''Film/HardTarget''. According to several crew accounts (including one [[http://books.google.com/books?id=xSnpNoth_SsC&pg=PA240&lpg=PA240&dq=John+Woo+locked+from+editing+room&source=bl&ots=5mcGehsGir&sig=8HHuXtBRfoTZ-c06oKptgf6yLDs&hl=en&sa=X&ei=vcF8VPvYFMqkNv-Cg-gD&ved=0CCAQ6AEwAA here]]), Woo was locked out from the post production post-production offices by Creator/JeanClaudeVanDamme under order from Universal executives to keep Woo from protesting the studio's treatment of his film.



* [[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 Creator/MNightShyamalan. Nepotism, script rewrites, and cut scenes to keep the movie under 100 minutes 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.

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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 Creator/MNightShyamalan. Nepotism, script rewrites, and cut scenes to keep the movie under 100 minutes long seem to have ultimately killed Shyamalan and the company's enthusiasm for the project, leading them to phone it in just to get their paychecks.



* Creator/BenAffleck's fourth directorial effort ''Film/LiveByNight'' was hit by this. Affleck envisioned and filmed the movie as a three hour long character driven drama, with Joe's brother Danny Coughlin (Creator/ScottEastwood was cast in this role) even appearing in a supporting role. But Warner Bros. thought audiences wouldn't want to sit through a three hour movie (despite the success of ''Film/TheLordOfTheRings'' and ''Film/TheHobbit'') and wanted it to be a crowd pleasing action film so Affleck was forced to cut it down to 129 minutes with Danny Coughlin's entire character and another role played by Affleck's regular Titus Welliver being axed. Affleck's schedule also likely proved to be an issue as he had been cast as Batman during pre-production and would have to do ''Film/JusticeLeague2017'' right after ''Live by Night''. This also is probably the reason why many character arcs feel incomplete or rushed, which was a complaint among critics along with the pointless ''Film/BladeRunner''-esque narration, which may have been added to fill the gaps left in the story. Affleck's real life divorce from Creator/JenniferGarner and his alcoholism probably didn't help things either. It ended up a very mixed reception and a massive box-office bomb.

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* Creator/BenAffleck's fourth directorial effort ''Film/LiveByNight'' was hit by this. Affleck envisioned and filmed the movie as a three hour long character driven three-hour-long character-driven drama, with Joe's brother Danny Coughlin (Creator/ScottEastwood was cast in this role) even appearing in a supporting role. But Warner Bros. thought audiences wouldn't want to sit through a three hour movie (despite the success of ''Film/TheLordOfTheRings'' and ''Film/TheHobbit'') and wanted it to be a crowd pleasing crowd-pleasing action film so Affleck was forced to cut it down to 129 minutes with Danny Coughlin's entire character and another role played by Affleck's regular Titus Welliver being axed. Affleck's schedule also likely proved to be an issue as he had been cast as Batman during pre-production and would have to do ''Film/JusticeLeague2017'' right after ''Live by Night''. This also is probably the reason why many character arcs feel incomplete or rushed, which was a complaint among critics along with the pointless ''Film/BladeRunner''-esque narration, which may have been added to fill the gaps left in the story. Affleck's real life real-life divorce from Creator/JenniferGarner and his alcoholism probably didn't help things either. It ended up with a very mixed reception and a massive box-office bomb.



* Not even the much lauded [[Franchise/MarvelCinematicUniverse Marvel superhero movies]] by Creator/MarvelStudios are immune to this.

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* Not even the much lauded much-lauded [[Franchise/MarvelCinematicUniverse Marvel superhero movies]] by Creator/MarvelStudios are immune to this.



*** Disney were responsible for the first example (to the plot) - Creator/ShaneBlack originally intended to adapt the Demon in a Bottle comic book storyline[[note]]this storyline dealt with Tony Stark's alcoholism[[/note]], but Disney objected as children would be watching it and Creator/RobertDowneyJr was [[WagTheDirector reluctant to explore alcoholism on screen]] because he felt it could take him back to a mental state he'd worked hard to move beyond. Black complied if only for concluding that Iron Man facing both a villain and alcoholism would lead the two threats to be underdeveloped.
*** Marvel's corporate arm were responsible for the second one - The BigBad was originally female, but they insisted it be a male character, as toys based on female characters wouldn't sell. As a result, the entire script had to be changed, and led to the downsizing of both Ellen Brandt's and Maya Hansen's roles.

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*** Disney were was responsible for the first example (to the plot) - Creator/ShaneBlack originally intended to adapt the Demon in a Bottle comic book storyline[[note]]this storyline dealt with Tony Stark's alcoholism[[/note]], but Disney objected as children would be watching it and Creator/RobertDowneyJr was [[WagTheDirector reluctant to explore alcoholism on screen]] because he felt it could take him back to a mental state he'd worked hard to move beyond. Black complied if only for concluding that Iron Man facing both a villain and alcoholism would lead the two threats to be underdeveloped.
*** Marvel's corporate arm were was responsible for the second one - The BigBad was originally female, but they insisted it be a male character, as toys based on female characters wouldn't sell. As a result, the entire script had to be changed, and it led to the downsizing of both Ellen Brandt's and Maya Hansen's roles.



** Ever wonder why ''{{Film/Black Panther|2018}}'' and ''Film/{{Captain Marvel|2019}}'' were stuck in DevelopmentHell until 2014? Well you can blame Marvel Entertainment CEO Ike Perlmutter, a racist and misogynistic PointyHairedBoss who believed, [[IRejectYourReality and could conceivably still believe]], that audiences wouldn't want to watch movies with non-{{White Male Lead}} heroes (a belief that rings rather hollow given the success of ''Film/TheHungerGames'' and ''Film/{{Wonder Woman|2017}}''). Perlmutter himself would only allow Marvel Studios president Creator/KevinFeige to make ''Black Panther'' and ''Captain Marvel'' on the condition that Feige would make an ''Inhumans'' movie[[note]]Feige had no interest in adapting the Inhumans in the MCU, but Perlmutter wanted the Inhumans to replace the X-Men in the MCU. However, thanks to Marvel [[https://www.hollywoodreporter.com/news/marvel-shake-up-film-chief-819205 agreeing to take Perlmutter out of the picture]] after Feige convinced them that Perlmutter's meddling was dangerously close to causing a DorkAge, that movie never did end up happening, instead being made into a [[Series/{{Inhumans}} TV series]], which unfortunately turned out absolutely awful and [[FranchiseKiller may have ended up the death knell for all Marvel TV properties]] besides the well-established and beloved ''Series/AgentsOfSHIELD''[[/note]]. This issue, among many other questionable decisions Perlmutter made, led to Disney sacking him as Marvel CCO in October 2019 in favor of Feige.
** Much of Marvel Studios' meddling came from a Creative Committee within former parent company Marvel Entertainment as a whole. Meddlers included such notable names as Creator/JoeQuesada, Creator/BrianMichaelBendis, and the aforementioned Perlmutter. Kevin Feige grew increasingly tired of the meddling, and eventually convinced Disney to dissolve the Committee and completely separate Marvel Studios from Marvel Entertainment (making Disney themselves the only meddler).
** Even once the Creative Committee was dissolved, this reared it's head again when Disney Studios president Alan Horne went over Creator/KevinFeige's head and fired Creator/JamesGunn from ''Guardians of the Galaxy Vol. 3'' following online trolls uncovering some offensive tweets Gunn posted a decade prior (and which he had previously apologized for). While Gunn was eventually rehired after continued requests from Feige, the cast, crew, and fans of the franchise, production is still delayed until Gunn can finish working on ''The Suicide Squad'' for the Franchise/DCExtendedUniverse.

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** Ever wonder why ''{{Film/Black Panther|2018}}'' and ''Film/{{Captain Marvel|2019}}'' were stuck in DevelopmentHell until 2014? Well Well, you can blame Marvel Entertainment CEO Ike Perlmutter, a racist and misogynistic PointyHairedBoss who believed, [[IRejectYourReality and could conceivably still believe]], that audiences wouldn't want to watch movies with non-{{White Male Lead}} heroes (a belief that rings rather hollow given the success of ''Film/TheHungerGames'' and ''Film/{{Wonder Woman|2017}}''). Perlmutter himself would only allow Marvel Studios president Creator/KevinFeige to make ''Black Panther'' and ''Captain Marvel'' on the condition that Feige would make an ''Inhumans'' movie[[note]]Feige had no interest in adapting the Inhumans in the MCU, but Perlmutter wanted the Inhumans to replace the X-Men in the MCU. However, thanks to Marvel [[https://www.hollywoodreporter.com/news/marvel-shake-up-film-chief-819205 agreeing to take Perlmutter out of the picture]] after Feige convinced them that Perlmutter's meddling was dangerously close to causing a DorkAge, that movie never did end up happening, instead of being made into a [[Series/{{Inhumans}} TV series]], which unfortunately turned out absolutely awful and [[FranchiseKiller may have ended up the death knell for all Marvel TV properties]] besides the well-established and beloved ''Series/AgentsOfSHIELD''[[/note]]. This issue, among many other questionable decisions Perlmutter made, led to Disney sacking him as Marvel CCO in October 2019 in favor of Feige.
** Much of Marvel Studios' meddling came from a Creative Committee within former parent company Marvel Entertainment as a whole. Meddlers included such notable names as Creator/JoeQuesada, Creator/BrianMichaelBendis, and the aforementioned Perlmutter. Kevin Feige grew increasingly tired of the meddling, meddling and eventually convinced Disney to dissolve the Committee and completely separate Marvel Studios from Marvel Entertainment (making Disney themselves the only meddler).
** Even once the Creative Committee was dissolved, this reared it's its head again when Disney Studios president Alan Horne went over Creator/KevinFeige's head and fired Creator/JamesGunn from ''Guardians of the Galaxy Vol. 3'' following online trolls uncovering some offensive tweets Gunn posted a decade prior (and which he had previously apologized for). While Gunn was eventually rehired after continued requests from Feige, the cast, crew, and fans of the franchise, production is still delayed until Gunn can finish working on ''The Suicide Squad'' for the Franchise/DCExtendedUniverse.



* ''Film/Passengers2016'': Sony chief Tom Rothman wasn't thrilled with film's pricey budget, an estimated $120 million, and tried to reduce it by one-and-a-half, to $80 million. Producer Neal Moritz, who never saw eye-to-eye with Rothman, threatened to sell the project to another studio in response, forcing Sony to back off. When ''Passengers'' got mediocre reception and bombed at the box office, Moritz's already-deteriorating relationship with Sony collapsed, resulting in him ending his first-look contract with the studio after nearly 20 years and signing with Paramount.

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* ''Film/Passengers2016'': Sony chief Tom Rothman wasn't thrilled with the film's pricey budget, an estimated $120 million, and tried to reduce it by one-and-a-half, to $80 million. Producer Neal Moritz, who never saw eye-to-eye with Rothman, threatened to sell the project to another studio in response, forcing Sony to back off. When ''Passengers'' got mediocre reception and bombed at the box office, Moritz's already-deteriorating relationship with Sony collapsed, resulting in him ending his first-look contract with the studio after nearly 20 years and signing with Paramount.



* ''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. Theories abound, from suggesting that distributors were unnerved by the prospect of a Chinese invasion, to the risk of the film being BannedInChina itself, which would leave a lot of money on the table.

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* ''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, Korea and went so far as to digitally alter every Chinese symbol into a North Korean one and add additional scenes. Theories abound, from suggesting that distributors were unnerved by the prospect of a Chinese invasion, to the risk of the film being BannedInChina itself, which would leave a lot of money on the table.



** ''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.

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** ''Film/BladeRunner''. Amongst the things the executives tried to change was adding narration by the protagonist, Deckard, to explain the story, 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.



** 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 of ''{{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.
** Ridley Scott wanted to cast Creator/ChristopherPlummer as J. Paul Getty in ''Film/AllTheMoneyInTheWorld'', but the studio insisted on the more bankable Creator/KevinSpacey (also requiring an elaborate makeup job as unlike Plummer he was a few decades too young for the role). This backfired in a ''huge'' way when Spacey's long history of sexual abuse was revealed just a couple months before the film's release, turning his name so toxic overnight that it was decided the ''more cost-effective'' option was to bring in Plummer like Scott wanted in the first place, get back all the cast and crew involved in Getty's scenes, and reshoot them all in just a few weeks while still aiming for the same release date. The kicker? It worked so well that Plummer received an Academy Award nomination for his performance in the movie.

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** 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 ([[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 of ''{{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.
** Ridley Scott wanted to cast Creator/ChristopherPlummer as J. Paul Getty in ''Film/AllTheMoneyInTheWorld'', but the studio insisted on the more bankable Creator/KevinSpacey (also requiring an elaborate makeup job as unlike Plummer he was a few decades too young for the role). This backfired in a ''huge'' way when Spacey's long history of sexual abuse was revealed just a couple of months before the film's release, turning his name so toxic overnight that it was decided the ''more cost-effective'' option was to bring in Plummer like Scott wanted in the first place, get back all the cast and crew involved in Getty's scenes, and reshoot them all in just a few weeks while still aiming for the same release date. The kicker? It worked so well that Plummer received an Academy Award nomination for his performance in the movie.



* ''Film/{{Scarface|1983}}'': Creator/{{MCA}}, Creator/{{Universal}}'s then parent company, wanted a more recognizable actress like Creator/GoldieHawn or Creator/SigourneyWeaver to play Elvira Hancock. Creator/BrianDePalma refused, and he demanded that an unknown actress should play Elvira. His effort paid off, and Creator/MichellePfeiffer, a relatively unknown actress, was cast.

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* ''Film/{{Scarface|1983}}'': Creator/{{MCA}}, Creator/{{Universal}}'s then parent then-parent company, wanted a more recognizable actress like Creator/GoldieHawn or Creator/SigourneyWeaver to play Elvira Hancock. Creator/BrianDePalma refused, and he demanded that an unknown actress should play Elvira. His effort paid off, and Creator/MichellePfeiffer, a relatively unknown actress, was cast.



* InUniverse in ''Film/{{Scrooged}}''. Frank's boss runs into him in the hallway, and orders him to shoehorn some scenes with small animals into the production of ''Literature/AChristmasCarol'' to appeal to household pets, thinking that pet appeal would be The Next Big Thing.

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* InUniverse in ''Film/{{Scrooged}}''. Frank's boss runs into him in the hallway, hallway and orders him to shoehorn some scenes with small animals into the production of ''Literature/AChristmasCarol'' to appeal to household pets, thinking that pet appeal would be The Next Big Thing.



** Sonic's first, more "realistic" design was an active decision by Paramount executives, with them hoping to imitate the aesthetics of the live action ''Transformers'' and ''Teenage Mutant Ninja Turtles'' films. They openly knew that fans would hate it but they believed that it would be liked and accepted by the general public, similarly to how the aforementioned franchises had been received. However, the massive, almost universal backlash that followed the first trailer led them to immediately delay the film to have Sonic be redesigned to look more like his cartoony game design.
* ''Film/{{Spartacus}}'': During post-production, Creator/KirkDouglas received detailed memos from Universal Studios and [[CensorshipBureau Production Code offices]] demanding heavy cuts. Having received the instruction "Any implication that Crassus is a sex pervert is unacceptable," the producers excised the notorious [[HoYay "snails and oysters" scene]] between Olivier and Tony Curtis. More seriously, Universal trimmed several action scenes, along with political content that was deemed subversive. Apparently the studio feared that if Spartacus had a chance of winning, viewers would perceive the film as Communist! Nearly 30 minutes were cut, most of which was restored to the 1991 re-release.

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** Sonic's first, more "realistic" design was an active decision by Paramount executives, with them hoping to imitate the aesthetics of the live action live-action ''Transformers'' and ''Teenage Mutant Ninja Turtles'' films. They openly knew that fans would hate it but they believed that it would be liked and accepted by the general public, similarly to how the aforementioned franchises had been received. However, the massive, almost universal backlash that followed the first trailer led them to immediately delay the film to have Sonic be redesigned to look more like his cartoony game design.
* ''Film/{{Spartacus}}'': During post-production, Creator/KirkDouglas received detailed memos from Universal Studios and [[CensorshipBureau Production Code offices]] demanding heavy cuts. Having received the instruction "Any implication that Crassus is a sex pervert is unacceptable," the producers excised the notorious [[HoYay "snails and oysters" scene]] between Olivier and Tony Curtis. More seriously, Universal trimmed several action scenes, along with political content that was deemed subversive. Apparently Apparently, the studio feared that if Spartacus had a chance of winning, viewers would perceive the film as Communist! Nearly 30 minutes were cut, most of which was restored to the 1991 re-release.



** ''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, when producer Avi Arad insisted that fan-favorite Venom be added to the film. Raimi at first refused on the basis that he didn't understand the character of Venom that well, but eventually gave in. This left the movie with Venom ''and'' Eddie Brock shoehorned in. Gwen Stacy was also shoehorned in, filling a role that was originally just a random woman. It was commercially successful, but reviews were mixed. Raimi was dissatisfied with the final product, outright calling it "awful" in later interviews and blaming himself for its failure, while Avi Arad would [[https://screenrant.com/spider-man-3-venom-bad-blame-avi-arad/ apologize himself]] for forcing Raimi to do the character despite knowing the director's misgivings.

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** ''Film/SpiderMan3'' director Creator/SamRaimi wanted to do a movie focusing on a hero with negative qualities and a villain with positive qualities, qualities while wrapping up sub-plots involving Mary Jane and Harry "Goblin Jr." Osborn. The story was packed as it was, when producer Avi Arad insisted that fan-favorite Venom be added to the film. Raimi at first refused on the basis that he didn't understand the character of Venom that well, but eventually gave in. This left the movie with Venom ''and'' Eddie Brock shoehorned in. Gwen Stacy was also shoehorned in, filling a role that was originally just a random woman. It was commercially successful, but reviews were mixed. Raimi was dissatisfied with the final product, outright calling it "awful" in later interviews and blaming himself for its failure, while Avi Arad would [[https://screenrant.com/spider-man-3-venom-bad-blame-avi-arad/ apologize himself]] for forcing Raimi to do the character despite knowing the director's misgivings.



** ''Film/StarTrekVTheFinalFrontier'' is one of the least popular ''Star Trek'' films, and fans largely blame executive meddling. Among the problems were that the script changed hands numerous times, and the budget and schedule were so tight that Creator/IndustrialLightAndMagic couldn't be used to make the special effects.

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** ''Film/StarTrekVTheFinalFrontier'' is one of the least popular ''Star Trek'' films, and fans largely blame executive meddling. Among the problems were was that the script changed hands numerous times, and the budget and schedule were so tight that Creator/IndustrialLightAndMagic couldn't be used to make the special effects.



* The production of what would eventually become ''Film/SupermanReturns'' was similarly fraught with meddling, most of it from producer Jon Peters. Creator/KevinSmith was originally recruited to write the screenplay in 1997, but he backed out after being inundated with 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:

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* The production of what would eventually become ''Film/SupermanReturns'' was similarly fraught with meddling, most of it from producer Jon Peters. Creator/KevinSmith was originally recruited to write the screenplay in 1997, but he backed out after being inundated with Peters' Peters's demands, which were bizarre 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' Peters's changes:



* ''Film/TeenageMutantNinjaTurtles2014'' was hit by executive meddling, but many of the details are still unclear. Before the movie came out it was indicated that Eric Sachs (William Finchtner's character) was going to be the Shredder. Fans of TMNT accused the film of whitewashing Shredder, a Japanese villain, and the studio forced them to do reshoots to make the Shredder a Japanese man whose face is always in shadow. As a result of these last minute changes, the Shredder's motivation and goals in the movie are pretty much non-existent, while Eric Sachs has a much clearer motivation for being a villain.

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* ''Film/TeenageMutantNinjaTurtles2014'' was hit by executive meddling, but many of the details are still unclear. Before the movie came out it was indicated that Eric Sachs (William Finchtner's character) was going to be the Shredder. Fans of TMNT accused the film of whitewashing Shredder, a Japanese villain, and the studio forced them to do reshoots to make the Shredder a Japanese man whose face is always in shadow. As a result of these last minute last-minute changes, the Shredder's motivation and goals in the movie are pretty much non-existent, while Eric Sachs has a much clearer motivation for being a villain.



** Averted with the original ''[[Film/TheTerminator Terminator]]''. The film's backer, Hemdale, wanted Creator/JamesCameron to end the film when [[spoiler:Reese destroys the tanker truck with the Terminator inside, completely eliminating the memorable show-off between Sarah Connor and the now-skeletal Terminator in the factory]]. Hemdale would have most likely succeeded had Cameron not stuck to his guns.
** ''Film/Terminator2JudgmentDay'' goes to great lengths in its introduction to imply that Creator/ArnoldSchwarzenegger is the bad guy again and Creator/RobertPatrick John's protector. The production crew were rather disappointed when the advertisers decided to make a point of stating outright that Arnold was the good guy in every trailer.

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** Averted with the original ''[[Film/TheTerminator Terminator]]''. The film's backer, Hemdale, wanted Creator/JamesCameron to end the film when [[spoiler:Reese [[spoiler: Reese destroys the tanker truck with the Terminator inside, completely eliminating the memorable show-off between Sarah Connor and the now-skeletal Terminator in the factory]]. Hemdale would have most likely succeeded had Cameron not stuck to his guns.
** ''Film/Terminator2JudgmentDay'' goes to great lengths in its introduction to imply that Creator/ArnoldSchwarzenegger is the bad guy again and Creator/RobertPatrick John's protector. The production crew were was rather disappointed when the advertisers decided to make a point of stating outright that Arnold was the good guy in every trailer.



* In-universe example in ''Film/ThePentagonWars''. The film is about the incompetent development of the [[https://en.wikipedia.org/wiki/Bradley_Fighting_Vehicle Bradley Fighting Vehicle]], where the top brass change their minds several times over what features and performance they want the vehicle to have. This causes DevelopmentHell and budget overruns, and eventually it gets to the point where ''they criticise features they previously requested'' i.e demanding a tall turret (so it can double as a scout) and a big gun and then complaining that it makes the vehicle look like a tank (which will encourage the enemy to target it first as it is the biggest threat).

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* In-universe example in ''Film/ThePentagonWars''. The film is about the incompetent development of the [[https://en.wikipedia.org/wiki/Bradley_Fighting_Vehicle Bradley Fighting Vehicle]], where the top brass change their minds several times over what features and performance they want the vehicle to have. This causes DevelopmentHell and budget overruns, and eventually eventually, it gets to the point where ''they criticise features they previously requested'' i.e demanding a tall turret (so it can double as a scout) and a big gun and then complaining that it makes the vehicle look like a tank (which will encourage the enemy to target it first as it is the biggest threat).


* ''Film/{{Tremors}}'' had some positive meddling regarding the casting. The studio suggested that Michael Gross, then a household name due to ''Series/FamilyTies'', should play Burt Gummer. The crew was 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 also suggested casting country singer Music/RebaMcEntire, who had never acted in a movie before; she was successful enough in the role to launch her own acting career.

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* ''Film/{{Tremors}}'' had some positive meddling regarding the casting. The studio suggested that Michael Gross, Creator/MichaelGross, then a household name due to ''Series/FamilyTies'', should play Burt Gummer. The crew was 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 also suggested casting country singer Music/RebaMcEntire, who had never acted in a movie before; she was successful enough in the role to launch her own acting career.


** 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) Creator/KevinSmith had to persuade her to do the scene.

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** The brief topless shot of Joey Lauren Adams Creator/JoeyLaurenAdams 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) Creator/KevinSmith had to persuade her to do the scene.


* ''Film/BatmanForever'' and ''Film/BatmanAndRobin'' both suffered from executive meddling after the relative failure of ''Film/BatmanReturns''. That film was DarkerAndEdgier and didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. The studio thus replaced Creator/TimBurton with Creator/JoelSchumacher. Schumacher was a comic fan himself and wanted to continue the DarkerAndEdgier trend, even planning an adaptation of Creator/FrankMiller's ''Batman: Year One''. The studio said no, telling him to make it kid-friendly and MerchandiseDriven. Schumacher long lamented the series being used as a toy commercial.

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* ''Film/BatmanForever'' and ''Film/BatmanAndRobin'' both suffered from executive meddling after the relative failure of ''Film/BatmanReturns''. That film was DarkerAndEdgier and didn't appeal to parents who still thought that [[WhatDoYouMeanItsNotForKids Batman was for kids]]. The studio Warner Bros. thus replaced Creator/TimBurton with Creator/JoelSchumacher. Schumacher was a comic fan himself and wanted to continue the DarkerAndEdgier trend, even planning an adaptation of Creator/FrankMiller's ''Batman: Year One''. The studio Warner Bros. said no, telling him to make it kid-friendly kid friendly and MerchandiseDriven. Schumacher long lamented the series being used as a toy commercial.

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* Creator/UnitedArtists pressured director Creator/RobertAldrich into shooting a more optimistic ending to ''Film/{{Apache}}'' in the final days of shooting. Aldrich reluctantly agreed and was dismayed when the film was released with this alternate ending. He later concluded that "if you shoot two endings, they will always use the other one, never yours".


* Producer/distributor [[Creator/TheWeinsteinCompany Harvey Weinstein]] is infamous for recutting films without the consent of their directors, to the point that he has been nicknamed "Harvey Scissorhands" and "Darth Weinstein".

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* Producer/distributor Before being MeToo'd, producer/distributor [[Creator/TheWeinsteinCompany Harvey Weinstein]] is infamous for recutting films without the consent of their directors, to the point that he has been nicknamed "Harvey Scissorhands" and "Darth Weinstein".


* During filming of ''Film/TheBluesBrothers'', Universal kept pressuring Creator/JohnLandis to replace some of the African American musical stars in the cast like Music/CabCalloway and Music/ArethaFranklin with acts like Rose Royce who were more contemporary and successful (the notable exception was Music/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 Creator/JohnLandis to replace some of the African American musical stars in the cast like Music/CabCalloway and Music/ArethaFranklin with acts like Rose Royce who were more contemporary and successful (the notable exception was Music/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 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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* ''Film/TheTrip1967'' was not originally intended as an anti-drug movie, but Creator/AmericanInternationalPictures insisted on an OpeningScroll warning viewers of the dangers of taking LSD, as well as a FreezeFrameEnding of Paul's face shattering, symbolizing his broken and traumatized mind. This completely conflicts with the rest of the movie, which [[DoNotDoThisCoolThing makes taking LSD look incredibly fun]] and has nothing to suggest that Paul was harmed by his trip.


*** Ultimately, the film wasn't nearly as successful as hoped, due to the mixed reception, the marketing troubles of having to exclude Superman on all advertising, and the behind-the-scenes issues. The film itself had many clear signs of interference from the inconsistent tone to the poor effects.
*** After nearly three years of speculation and [[SendingStuffToSaveTheShow fan campaigns]] to release it, a director's cut, ''Film/ZackSnydersJusticeLeague'', was announced for release on Creator/HBOMax in 2021. Executives from [=AT&T=] (Warner Bros.' new parent company) noticed the fan campaigns and gave a budget to Snyder so he can finish the film as close to his original vision as he can.
** In general, much of the clashes between Zack Snyder and Warner Bros. stemmed from disagreements over the direction of the DCEU given how Snyder started out the ''de facto'' architect of the franchise. The studio wanted the DCEU to be a ModularFranchise similar to that of the rival Franchise/MarvelCinematicUniverse, thereby allowing it to reach a wide audience. Snyder, however, wanted to make a 5 EpicMovie arc that adhered to his own DarkerAndEdgier interpretation, while leaving said films somewhat open-ended for other directors to follow when making their own (such as Creator/PattyJenkins on ''Film/{{Wonder Woman|2017}}'' -- he also collaborated with her on the project). This difference in creative visions, coupled with his own personal family troubles, lead to Snyder leaving directing duties in the franchise, and his original 5-movie plan getting scrapped.
** To avoid further studio interference, the Creator/DCFilms division was overhauled with new management that led to producer Walter Hamada becoming president of the studio. As Hamada had previously worked with directors Creator/JamesWan and Creator/DavidFSandberg on Film/TheConjuringUniverse, neither ''Film/Aquaman2018'' nor ''Film/Shazam2019'' experienced the behind-the-scenes shenanigans and abrupt production changes that afflicted the other DCEU movies. The productions of ''Film/WonderWoman1984'' and ''Film/BirdsOfPrey2020'' (the latter being the first project to be produced solely under his leadership), also went smoothly.
** As related to the above, Hamada and the new studio head Toby Emmerich gave ''Wonder Woman 1984'' the okay to be pushed back seven months. The old executive team had wanted the movie to be rushed to meet a Thanksgiving 2019 date against the creative team's wishes. Director Creator/PattyJenkins and producer Charles Roven have both since stated in interviews that they had wanted a June 2020 release all along and were worried about running out of time (the exact reason is rumored to be to fine-tune the CGI model for ComicBook/{{Cheetah}}) with the old date. Hamada and Emmerich both agreed with the creative team once they came on board and looked at the schedule. Thanksgiving 2019 ended up being busy and Summer 2020 pretty bare, especially once ''Guardians of the Galaxy 3'' was pulled from release, which gave the film the room to move.

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*** Ultimately, the film wasn't nearly as successful as hoped, due to the mixed reception, the marketing troubles of having to exclude Superman on all advertising, and the behind-the-scenes issues. The film itself had many clear signs of interference from the inconsistent tone to the poor special effects.
*** After nearly three years of speculation and [[SendingStuffToSaveTheShow fan campaigns]] to release it, a director's cut, ''Film/ZackSnydersJusticeLeague'', was announced for release on Creator/HBOMax in 2021. Executives from [=AT&T=] (Warner Bros.' new parent company) noticed the fan campaigns and gave Snyder was given a budget to Snyder so he can finish the film as close to his original vision as he can.
could without executive interference this time around.
** In general, much of the clashes between Zack Snyder and Warner Bros. meddling stemmed from disagreements over the direction of the DCEU given how Snyder started out the ''de facto'' architect of the franchise. The studio wanted the DCEU to be a lighthearted ModularFranchise similar to that of the rival Franchise/MarvelCinematicUniverse, thereby allowing it to reach a wide audience. Snyder, however, wanted to make a 5 EpicMovie arc that adhered to his own DarkerAndEdgier interpretation, while leaving said films somewhat open-ended for other directors to follow when making their own (such as Creator/PattyJenkins on with ''Film/{{Wonder Woman|2017}}'' -- he also collaborated with her on the project). This difference in creative visions, coupled with his own personal family troubles, lead to Snyder leaving directing duties in the franchise, and his original 5-movie plan getting scrapped.
** To avoid further studio interference, the Creator/DCFilms division was overhauled with new management that led to producer Walter Hamada becoming president of the studio.its president. As Hamada had previously worked with directors Creator/JamesWan and Creator/DavidFSandberg on Film/TheConjuringUniverse, neither ''Film/Aquaman2018'' nor ''Film/Shazam2019'' experienced the behind-the-scenes shenanigans and abrupt production changes that afflicted the other DCEU movies. The productions of ''Film/WonderWoman1984'' and ''Film/BirdsOfPrey2020'' ''[[Film/BirdsOfPrey2020 Birds of Prey]]'' (the latter being the first project to be produced solely under his leadership), also went smoothly.
** As related to the above, Hamada and the new studio head Toby Emmerich gave ''Wonder Woman 1984'' the okay to be pushed back seven months. The old executive team had wanted the movie to be rushed to meet a Thanksgiving 2019 date against the creative team's wishes. Director Creator/PattyJenkins and producer Charles Roven have both since stated in interviews that they had wanted a June 2020 release all along and were worried about running out of time (the exact reason is rumored to be to fine-tune the CGI model for ComicBook/{{Cheetah}}) with the old date. Hamada and Emmerich both agreed with the creative team once they came on board and looked at the schedule. Thanksgiving 2019 ended up being busy and Summer 2020 pretty bare, especially once ''Guardians of the Galaxy 3'' was pulled from release, which gave the film the room to move.
smoothly.


** Sony was eager to start production on a fourth ''Spider-Man'' film and asked Raimi to direct once again. However, while Raimi wanted to do a story revolving around Peter and Mary Jane's wedding and the Vulture as the main villain, the studio wanted to do a TimeSkip that involved Dr. Connors becoming The Lizard, as well as Peter [[YourCheatingHeart cheating on her]] with Black Cat (reworked to be the Vulture's daughter) and leaving his wife and child. Raimi loathed the idea of the studio interfering once again and refused to do it, telling Sony to just cancel his project and do the ContinuityReboot that they wanted to create anyway.

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** Sony was eager to start production on a fourth ''Spider-Man'' film and asked Raimi to direct once again. However, while Raimi wanted to do a story revolving around Peter and Mary Jane's wedding and the Vulture as the main villain, the studio wanted to do a TimeSkip that involved Dr. Connors becoming The Lizard, as well as Peter [[YourCheatingHeart cheating on her]] her with Black Cat (reworked to be the Vulture's daughter) and leaving his wife and child. Raimi loathed the idea of the studio interfering once again and refused to do it, telling Sony to just cancel his project and do the ContinuityReboot that they wanted to create anyway.


* The theatrical cut of Erich von Stroheim's ''Film/{{Greed}}'' was cut to two hours by MGM. The original cut was ''nine and a half'' hours. Most of the cut material is deemed lost.

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* The theatrical cut of Erich von Stroheim's ''Film/{{Greed}}'' was cut to two hours by MGM. The Creator/{{MGM}}. Creator/ErichVonStroheim's original cut was ''nine and a half'' hours. Most of the cut material is deemed lost.



*** Disney were responsible for the first example (to the plot) - Shane Black originally intended to adapt the Demon in a Bottle comic book storyline[[note]]this storyline dealt with Tony Stark's alcoholism[[/note]], but Disney objected as children would be watching it and Creator/RobertDowneyJr was [[WagTheDirector reluctant to explore alcoholism on screen]] because he felt it could take him back to a mental state he'd worked hard to move beyond. Black complied if only for concluding that Iron Man facing both a villain and alcoholism would lead the two threats to be underdeveloped.

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*** Disney were responsible for the first example (to the plot) - Shane Black Creator/ShaneBlack originally intended to adapt the Demon in a Bottle comic book storyline[[note]]this storyline dealt with Tony Stark's alcoholism[[/note]], but Disney objected as children would be watching it and Creator/RobertDowneyJr was [[WagTheDirector reluctant to explore alcoholism on screen]] because he felt it could take him back to a mental state he'd worked hard to move beyond. Black complied if only for concluding that Iron Man facing both a villain and alcoholism would lead the two threats to be underdeveloped.



** This got ''Film/AntMan1'' stuck briefly in DevelopmentHell. Edgar Wright signed on in 2006 and originally wanted it to be a standalone film, like the first ''Iron Man'' film. Marvel insisted on some sort of tie-in to the rest of the MCU, such as cameos by Howard Stark and Peggy Carter. Wright left the project as a result.

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** This got ''Film/AntMan1'' stuck briefly in DevelopmentHell. Edgar Wright Creator/EdgarWright signed on in 2006 and originally wanted it to be a standalone film, like the first ''Iron Man'' film. Marvel insisted on some sort of tie-in to the rest of the MCU, such as cameos by Howard Stark and Peggy Carter. Wright left the project as a result.



* The original producer of ''Film/MontyPythonsLifeOfBrian'' abandoned the film just as the Pythons were getting ready to shoot (or, as Michael Palin put it, "when they finally read the script"). The film was left without a producer, but then in stepped former [[Music/TheBeatles Beatle]] Music/GeorgeHarrison, who was a total Python fanboy who also happened to be rich enough to finance the film on his own. He even founded his own production company just for this film, although it went on to produce a number of later successes as well. When asked why, Harrison just said, "I wanted to see the movie." Eric Idle would later call it "the most expensive movie ticket ever purchased."

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* The original producer of ''Film/MontyPythonsLifeOfBrian'' abandoned the film just as the Pythons were getting ready to shoot (or, as Michael Palin Creator/MichaelPalin put it, "when they finally read the script"). The film was left without a producer, but then in stepped former [[Music/TheBeatles Beatle]] Music/GeorgeHarrison, who was a total Python fanboy who also happened to be rich enough to finance the film on his own. He even founded his own production company just for this film, although it went on to produce a number of later successes as well. When asked why, Harrison just said, "I wanted to see the movie." Eric Idle Creator/EricIdle would later call it "the most expensive movie ticket ever purchased."



* The initial U.S. release of Creator/SergioLeone's ''Film/OnceUponATimeInAmerica'' 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 (Creator/RobertDeNiro and Creator/JamesWoods) don't even show up on-screen until forty minutes in. The European release was the original, and it was critically acclaimed.

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* The initial U.S. release of Creator/SergioLeone's ''Film/OnceUponATimeInAmerica'' 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 ''Film/PulpFiction'''s editor nightmares into straight chronological sequence -- with the result that the film's stars (Creator/RobertDeNiro and Creator/JamesWoods) don't even show up on-screen until forty minutes in. The European release was the original, and it was critically acclaimed.



* Director James Whale's original cut of ''The Road Back'' (1937), a sequel to ''Film/AllQuietOnTheWesternFront'' (1930), received generally favorable reviews. Charles R. Rogers, head of Universal Studios, bowed to threats from Nazi Germany and had re-edited the film, including having out-of-place comedic scenes filmed and inserted. The resulting film was a critical and commercial failure and was banned in Germany anyway.
* The original screenplay for ''Film/RobinHood2010'' was a very 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.

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* Director James Whale's Creator/JamesWhale's original cut of ''The Road Back'' (1937), a sequel to ''Film/AllQuietOnTheWesternFront'' (1930), received generally favorable reviews. Charles R. Rogers, head of Universal Studios, bowed to threats from Nazi Germany and had re-edited the film, including having out-of-place comedic scenes filmed and inserted. The resulting film was a critical and commercial failure and was banned in Germany anyway.
* The original screenplay for ''Film/RobinHood2010'' was a very 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 Myth/RobinHood 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.



* ''Film/{{Scarface|1983}}'': Creator/{{MCA}}, Creator/{{Universal}}'s then parent company, wanted a more recognizable actress like Creator/GoldieHawn or Creator/SigourneyWeaver to play Elvira Hancock. Director Creator/BrianDePalma refused, and he demanded that an unknown actress should play Elvira. His effort paid off, and Creator/MichellePfeiffer, a relatively unknown actress, was cast.
* ''Film/ScoobyDoo'': Creator/JamesGunn 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.
* ''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]].
* InUniverse in ''Film/{{Scrooged}}''. Frank's boss runs into him in the hallway, and orders him to shoehorn some scenes with small animals into the production of ''A Christmas Carol'' to appeal to household pets, thinking that pet appeal would be The Next Big Thing.

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* ''Film/{{Scarface|1983}}'': Creator/{{MCA}}, Creator/{{Universal}}'s then parent company, wanted a more recognizable actress like Creator/GoldieHawn or Creator/SigourneyWeaver to play Elvira Hancock. Director Creator/BrianDePalma refused, and he demanded that an unknown actress should play Elvira. His effort paid off, and Creator/MichellePfeiffer, a relatively unknown actress, was cast.
* ''Film/ScoobyDoo'': Creator/JamesGunn wrote a PG-13 movie around urban legends and WildMassGuessing developed by fans. Despite these elements being filmed, Warner Bros. Creator/WarnerBros 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.
* ''Film/{{Scream 4}}'' ''Film/Scream4'' 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]].
* InUniverse in ''Film/{{Scrooged}}''. Frank's boss runs into him in the hallway, and orders him to shoehorn some scenes with small animals into the production of ''A Christmas Carol'' ''Literature/AChristmasCarol'' to appeal to household pets, thinking that pet appeal would be The Next Big Thing.



* ''Film/SonicTheHedgehog2020''

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* ''Film/SonicTheHedgehog2020''''Film/SonicTheHedgehog2020'':



* ''Film/TankGirl'' suffered badly from this according to Rachel Talalay. They fought over the film and the studio cut out a ton of stuff. Like ''Blade Runner'', it had an opening narration tacked on (which Lori Petty hated), and the studio also insisted on removing scenes of Tank Girl in bed with Booga from the video releases. The studio interference may have been the main reason why Talalay hasn't helmed a feature film since and now mostly works in TV. Large chunks of the plot and dozens of jokes (including the ones best-loved by test audiences) were cut, and the producers kept asking, "''Who'' is Tank Girl? ''What'' is her motivation? What is the ''origin story'' of Tank Girl?", proving that film studios only understand these movies through the lens of ''Batman''.

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* ''Film/TankGirl'' suffered badly from this according to Rachel Talalay. They fought over the film and the studio cut out a ton of stuff. Like ''Blade Runner'', it had an opening narration tacked on (which Lori Petty Creator/LoriPetty hated), and the studio also insisted on removing scenes of Tank Girl in bed with Booga from the video releases. The studio interference may have been the main reason why Talalay hasn't helmed a feature film since and now mostly works in TV. Large chunks of the plot and dozens of jokes (including the ones best-loved by test audiences) were cut, and the producers kept asking, "''Who'' is Tank Girl? ''What'' is her motivation? What is the ''origin story'' of Tank Girl?", proving that film studios only understand these movies through the lens of ''Batman''.



** ''Film/Terminator2JudgmentDay'' goes to great lengths in its introduction to imply that Arnold is the bad guy again and Robert Patrick John's protector. The production crew were rather disappointed when the advertisers decided to make a point of stating outright that Arnold was the good guy in every trailer.

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** ''Film/Terminator2JudgmentDay'' goes to great lengths in its introduction to imply that Arnold Creator/ArnoldSchwarzenegger is the bad guy again and Robert Patrick Creator/RobertPatrick John's protector. The production crew were rather disappointed when the advertisers decided to make a point of stating outright that Arnold was the good guy in every trailer.


* ''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. Oddly, though, that's Creator/DavidLynch's preferred cut of the film. He was so displeased with the three-hour TV version that he asked for his name [[AlanSmithee removed from the credits]].

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* ''Film/{{Dune}}'' ''Film/Dune1984'' had its runtime pared down by hours, and the result was a confusing mess to many people who didn't read the book. Oddly, though, that's Creator/DavidLynch's preferred cut of the film. He was so displeased with the three-hour TV version that he asked for his name [[AlanSmithee removed from the credits]].


As a measure of how much it afflicted the film, no fewer than ''eight'' people attempted to claim credit for the screenplay during the WGA arbitration process, with a further four not bothering for various reasons. In particular, Rex Pickett, who wrote a significant portion of the shooting script, ended up being one of the ones not wanting credit largely due to how unpleasant the whole experience had been. This was so bad, even Creator/HRGiger - the original designer for the first Xenomorph - [[http://en.wikipedia.org/wiki/Alien_%28creature_in_Alien_franchise%29#Concept_and_credit_controversy was shafted in favor of Tom Woodruff and Alec Gillis' designs.]] This didn't stop Giger [[{{Determinator}} from faxing his designs to his client, David Fincher, after he disbanded from the project.]]

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As a measure of how much it afflicted the film, no fewer than ''eight'' people attempted to claim credit for the screenplay during the WGA arbitration process, with a further four not bothering for various reasons. In particular, Rex Pickett, who wrote a significant portion of the shooting script, ended up being one of the ones not wanting credit largely due to how unpleasant the whole experience had been. This was so bad, even Creator/HRGiger - the original designer for the first Xenomorph - -- [[http://en.wikipedia.org/wiki/Alien_%28creature_in_Alien_franchise%29#Concept_and_credit_controversy was shafted in favor of Tom Woodruff and Alec Gillis' designs.]] This didn't stop Giger [[{{Determinator}} from faxing his designs to his client, David Fincher, after he disbanded disembarked from the project.]]



* 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.

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* 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 of 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 hanged with 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.



* In his commentary on the 20th-Anniversary DVD release of ''Film/{{Hellraiser}}'', Creator/CliveBarker says that the suggestions made by executives ''improved'' the film. Ironic, since they were trying to tone it down. The same cannot be said however for the fourth film, ''Film/HellraiserBloodline''. Which was edited and rewritten by the studio to such a degree, Barker cut ties with the film franchise and director Kevin Yagher [[AlanSmithee refused to be credited for it.]]

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* In his commentary on the 20th-Anniversary DVD release of ''Film/{{Hellraiser}}'', Creator/CliveBarker says that the suggestions made by executives ''improved'' the film. Ironic, since they were trying to tone it down. The same cannot be said however for the fourth film, ''Film/HellraiserBloodline''. Which This was edited and rewritten by the studio to such a degree, Barker cut ties with the film franchise and director Kevin Yagher [[AlanSmithee refused to be credited for it.]]



* 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.

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* 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 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.



* The reason the prologue for ''Film/TheWolfman2010'' is so short and why a good chunk of character development and establishment are left out is because the execs thought the audience would want more Wolfman and less storytelling. The DirectorsCut reinserts many of the removed scenes.

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* The reason why the prologue for ''Film/TheWolfman2010'' is so short and why a good chunk of character development and establishment are left out is because the execs thought the audience would want more Wolfman and less storytelling. The DirectorsCut reinserts many of the removed scenes.

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