Blogsylvania recently went hairy ape shit (read all about it at The Playlist) when Sharon Waxman randomly claimed in a piece in The Wrap that Harvey Weinstein and Universal were pushing Quentin Tarantino to trim 40 minutes out of Inglourious Basterds after it premiered to mixed reviews at Cannes.
During the festival, Anne Thompson had said that after 3 months of editing Tarantino delivered “a dripping-wet print to Cannes…at a running time of two hours, 27 minutes…19 minutes less than he needed to retain final cut.” She said Tarantino would be returning to the editing room where he’d likely add a scene and then do some “fine-tuning and tweaking and timing” with editor Sally Menke.
Well, in an interview in GQ, Harvey Weinstein says it’s all B.S. and he should probably know. Read Harvey’s own words after the jump.
Those stories are all untrue. There’s no fucking way. Here, read my lips: That is nuts. Please don’t even write that, it’s insanity. There’s not even a question of that. Whatever you’re reading, it’s like some insane blogger… There’s no truth to any of this. He’s not gonna cut. What he’s doing is just reorganizing some scenes. I mean, the guy had six weeks to cut his movie [for Cannes]; most guys take six months. Most guys take a year. When I worked with Martin [Scorsese], we’d do eighteen months in post-production. Quentin Tarantino cuts a movie in six weeks? Come on, there’s shit on that cutting-room floor that’ll blow your brains out. I was telling Quentin the opposite—”You should put that shit back in the movie.” There’s scenes with Brad Pitt and the Basterds, and I’m praying he puts that shit back in, ‘cause it’s un-fucking-believably great. Listen—this movie will be between two hours and twenty minutes and two hours and twenty-seven minutes. I don’t think it’s going to be shorter—it’s just a question of rearranging. I know he’s putting footage back into the movie. I know he’s got some cool shit that he didn’t get time to address.
What’s funny is that I was pointed to this interview by none other than Sharron Waxman’s The Wrap.