Synopsis:

This is the story of Boxer Santaros, and his journey down the road not taken. Set in the slight future, Boxer Santaros (played by Dwayne Johnson) becomes caught in the struggle for political power, love, and ultimately his own existence, in this darkly humored, sci-fi thriller. With an ensemble cast including Sarah Michelle Gellar and Seann William Scott, “a beautiful nightmare” is the tale of greed, deception and what happens when egos meddle with the 4th dimension. This is the way the world ends. Not with a whimper, but with a bang….. and a handshake.

Intentions:

On a budget of 16 million, Southland Tales only grossed $374,743 at the box office. First screened at the Cannes Festival with a runtime of 2hr 34min, it was then heavily edited down in scenes, plot and tone into a 2hr 20min theatrical release. While many people praised director Richard Kelly’s vision, both versions were universally panned by audiences and critics. I found that to be a travesty, so I set out to right that wrong. There’s some great scenes, great actors, and an excellent score in Richard Kelly’s Southland Tales, but both versions (Theatrical and Cannes cut) were commercial failures that get lost in the epic scope and story. There were too many characters and plot points not properly fleshed out. There was even a three-part prequel graphic novel that was supposed to provide insight (it did not). I think what Southland Tales needed to reach any commercial success was a 3rd edit. This Chrispy Edit, now titled “a beautiful nightmare” is that edit. It combines all the soul of the 2hr 34min Cannes cut with all the best scene improvements of the 2hr 20min Theatrical cut, and combines them into a perfectly delicious 1hr 48min movie that earns your time and hopefully pays off a few emotional arcs.

Change List:

-General edit: reorganized all movie scenes to fix plot confusion -created an entirely new intro scene, that establishes a better character hook and mystery relating to the main plot, layering audio from original TC intro -added new title card “a beautiful nightmare” - narrator intro with audio dub -realigned narrative introduction of boxer, overlappings audio from different scenes together, as well as repurposing footage - newly establishes Krista Now character, streamlines flow, combines different scenes together, added background audio from different scenes, creates different element of mystery to boxer’s confusion - creates new neo-marxis group1 intro that combines both TC and CC audio - fixed pronoun use by editing in boxer’s name to establish the subject. -improves pace by transitioning directly to Frost group and USIDent - newly edited Nana Mae Frost introduction, dubbing ‘usident’ over ‘nsa’, with a scene sandwich of newly edited USIDENT introduction that keeps focus on Nana Mae, then transitions into Frost campaign team introduction. - combines two separate Frost team scenes together as one new scene, streamlining neo Marxist1 interaction and dialog. - Newly edited intro of Ronald, adding scene sandwich of newly edited neo marxis group 2 introduction, simplifies plot, then streamlined introduction into Boxer’s pitch. - added wave background sound from end credits to the Pitch Meeting. Super easy, barely an inconvenience. -Edits into improved intro of fluid karma and Treer group, streamlined narration. -new transition to boxer and roland on patrol, scene trimmed to simplify plot -newly edited and streamlined Neo Marxis group2 hideout scene, introduction of Kenny -newly edited Starla scene, beautifully combining two separate scenes into one coherent scene. - newly edited scene of Nana Mae watching team Krista, combining the subtle crunch of an incessant snack between two separate characters. - extended establishing shot of next scene, made audio dub between TC and CC, to maintain plot clarity. Streamlined Neo marxist2 preparation scene. - streamlined café scene and small world books scene. - new and improved raid scene, combining TC and CC scene together, edited and reorganized shots, with better UPU3 entry and approach. Includes edited version of the CC scene with UPU3 finding cache of severed thumbs. -new transition to boxer and ronald on the road, getting the call. -tightened up Dion and Dream psyching themselves into character. - sparingly trimmed scene leading to entry of domestic call. The entry scene and use of Moby song is one of my favorite cinematic moments and is part of what endears me to this film. Slight echo effect of “who am I?” taken from when it’s said again at the end of movie and layered on this scene. - strategically trimmed and spliced Wave of Mutation song and scene. -added momentary lake meade flashback. -included trimmed CC scene of officer Bart planting evidence. -edited and streamlined Treer commercial and party intro. Trimmed phone call. Combined audio and video from two different parts of CC and TC to establish new narrative cutaway shot added CC Treer after-party scene. - streamlined boxer meeting his ride - streamlined Ronald confronting Zora, and edited departure. - edited together smoother transition between twins and then roland’s meeting of the armorer, shortened scene. - trimmed boxer’s arrival and entry to the after party. Removed entirely the narration, and adding looped audio from another part of the scene. Realigned jump scenes leading up to Krista’s arrival. -edited zora and bart’s interaction, audio transition into next scene. - edited the “Melrose Place” scene to streamline plot. -newly edited Boxer’s drive away from the party. Using the CC take, multiple other scenes were edited into the departure song, better pacing the plot, and better placement of boxer behind the wheel for a slightly more emotional ride, and smoothly combined the TC and CC transitional scenes of Baron and Simon moving the paladin body, while maintaining the departure song throughout. Better transition into the second arc of the story. -removed krista’s energy drink can clanking on the ground while meeting zora - tightened dialog between Krista and sheena -tightened the flow of Ronald approaching Martin and getting in his truck. - new and improved interaction between Cindy and Von Smallhouse, tightens the plot, including the removal of cindy originally saying “I don’t work in distribution” (only to then later say she’s going to distribute her upcoming movie). -tightened up Starla’s stalking, and Zora and Cindi’s phone call. -Tweaked narrator’s premonition scene -Used CC beach scene including “through he looking glass” comment, added the same mystery shot from the movie’s new intro during mental break moment. -massaged audio of CC scene of Krista driving to the poop deck, into TC scene of Zora and Bart arriving city center, keeping the music flowing through. - mixed TC and CC scenes together to make a better bar fight scene and narrative flow, particularly relating to the audio track and rapid scene cuts of the girls fleeing the bar. - blended together the cut from Nana Mae’s office to boxer on the strip meeting Fortunio. -Trimmed boxer’s abduction - Edited together the transitional scene of cindy, with narrative overdub of armourer seamlessly mixing and blending right into a delicious plot propelling combo of Simon talking to Cindy from another scene. Repurposed and looped in-movie soundtrack over the scene. -reorganized plot advancing shots - mixed CC video with TC audio of roland and martin drive scene - tightened and edited Boxer and wife’s penthouse interaction - streamlined Krista and the baron. - Edited the mega zepplin intro scene mixing CC and TC audio. -Created an entirely new and improved scene structure for the final act. -added music to rising zepplin shot -much better edit of roland and martin driving and then accessing ATM, tightened flow, including a fun little audio dub. - Immediately goes into a newly edited National Anthem scene, skillfully combining the best of both TC and CC anthem scenes together to improve the start of the scene as well as end of the scene. It’s beautiful. - tightened up boxer and wife scene. Also removing the extra kiss. -reorganized short scenes to keep narrative flow. -edited the lead-up shots of boxer heading to the marx suite, layering CC narrative audio, trimming as needed. -made slight tweak so boxer doesn’t flinch until after Simon draws the gun -new establishing shot for marx suite scene, mixed shots to change the order of dialog and more accurately accentuate Boxer’s pimpness. -tightened scene of boxer confronting serpentine, using CC audio with TC footage to create the best narrative flow, eliminating mid-scene cut away. Added music to final segment of scene with TC and CC audio layered. -Edited together a proper sequence of timing for the twins collision. -mixed TC footage with CC audio as boxer exits lounge, mixing news cast while keeping music. -Trimmed street fighting scenes. Tightening up Roland and Ronald meeting. -Added both TC and CC audio for introduction of Memory Gospel scene. This scene is also one of my favorite scenes filmed, and the main emotional peak. -removed orgy comment. boss edit. -Total realignment of all final scenes, mixing TC and CC footage. Used CC scenes to explain Baron’s plan and ultimate betrayal. Mixing a new flow of Martin’s ascension, and ballroom confrontation. -adds back the second best emotional arc with cindy and von smallhouse. -new narrative ending, new order of all scenes, creating new emotional stakes, mixing TC and CC together, while creating a mystery of what is real and what is just a nightmare. Combining multiple different audio layers. -fade to white and song. Looped and extended song intro.

Additional Notes:

The rules I gave myself were simple but specific: 1) Only use the audio and video from both the Cannes cut and Theatrical cut, and nothing else. No external audio or video sources or even soundtrack would be used. 2) Create a transformative and unique experience out of the source material while making the viewer feel invested in the characters. 3) Get it all done in less than two hours.

Other Sources:

Nothing else. Just the audio and video from the Theatrical cut and Cannes cut of Southland Tales.

Special Thanks:

This edit has been a labor of love for over two years. Being my first foray into the world of fanedits, I was apprehensive when approaching the Academy. What I found was professional and positive support from two individuals. @ArtisDead welcomed me into the community and provided clear direction and encouragement, especially in pushing me to update the original audio from stereo to much needed 5.1. Thanks to him the entire cinematic experience leveled up with that upgrade. And an extra special thanks to @PedanticContrarian, who dived right into my original edit and provided the fine toothed comb, moment by moment, study of every scene and transition, helping to ensure the final version reflected the most professional experience. More importantly, for me, fanediting kept me in a creative bubble, where feedback and outside perspectives were rare. @PedanticContrarian asked the real tough questions regarding plot and motivations that forced me to analyze my own intentions and helped ensure the final vision stayed true to my original intentions.