Final cut privilege is a film industry term usually used when a director has contractual authority over how a film is ultimately released for public viewing. On nearly all occasions, only established and bankable directors are given such a privilege (such as Stanley Kubrick, Steven Spielberg, and Ridley Scott). The film director, on the right, gives last minute direction to the cast and crew, whilst filming a costume drama on location in London. ... Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director. ... Steven Spielberg Steven Allan Spielberg KBE (born on December 18, 1946 in Cincinnati, Ohio but raised in the suburbs of Haddonfield, New Jersey and Scottsdale, Arizona) is an Oscar winning Jewish American film director and producer whose films range from science fiction to historical drama to horror. ... Ridley Scott Sir Ridley Scott (born November 30, 1937 in South Shields) is an influential British film director and producer. ...
Before a film is released, studios will usually make changes for commercial purposes, or to remove any controversial content. Sometimes such practices can cause conflict between the director and studio releasing the film (see American History X). This article needs to be cleaned up to conform to a higher standard of quality. ...
Even after a film is completed by a director with final cut privilege it may still be altered. The film Eyes Wide Shut was completed by Stanley Kubrick, who died before its release. Background actors were added digitally to an orgy scene to obscure sex acts, because the film had originally received an NC-17 rating while Kubrick was contractually obliged to deliver and R rating. Eyes Wide Shut (1999) is a film by Stanley Kubrick based on the novella Traumnovelle by Arthur Schnitzler. ... The MPAA film rating system is a system used in the United States and instituted by the Motion Picture Association of America to rate a movie based on its content. ...
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A decade ago, finalcut -- the right of a director to edit a film exactly as he pleases and have it released in theaters that way -- was almost mandatory for any filmmaker who wanted to prove that he had arrived.
Today, many directors say it is almost impossible to get finalcut from a major studio, and if they are lucky enough to get it, it is a concession laced with provisos, often stipulating that the director's cut will stay in place only if test screenings prove highly successful.
Among producers, Scott Rudin had sole finalcut on last year's "The Hours." Yet when director Stephen Daldry was asked recently about the finalcut issue, it was so far from his thoughts that he initially thought the question referred to the computer program rather than the contractual matter.
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