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Create a "Director's Cut" for GHOST IN THE SHELL (2017) #GITSDC

This petition had 273 supporters

What We Want:

  1. Unedited directors cut of "Ghost In The Shell 2017" that presents the film in its original narrative structure.
  2. Supplementary discs for the theatrical cut and bonus disc featuring behind the scenes, deleted scenes, and all media detailing the work of varied artists responsible for what is an undeniably inspired and faithful work of passion in fully realizing the world of GITS.
  3. An informed and a thorough Audio Commentary track for the Director, Screenwriters,  VFX Supervisor, and parties directly involved with the production.

Why Do We Want This?:

It's because we cannot help but wonder...Was "Ghost In The Shell (2017)" stripped bare from a screenplay more faithfully resembling the original 1995 anime?

How extensive were the production studio cuts and rewrites? Are they responsible for the film losing a sharp screenplay, burgeoning with inquiring philosophical and intellectual challenge, tech-laden cyberpunk motifs, and technologies, which lent the 1995 Anime it's thematic weight?

What We Know Suggests The Original Cut Was A Bold Version:

It seems the studio had a heavy and forceful hand in cutting the film apart. There is evidence online from "Larry Sandwiches" who saw an original cut of the film that was narratively stronger. His account suggests the theatrical cut of 'Ghost In The Shell' was drastically different from an earlier Pre-Visualization original cut, which was screened for a focus group.

The original cut was reported to include:

- The Major's underwater swimming scene being markedly longer, allowing the atmosphere of the scenes moment to permeate our senses.

- The Trash Man / Skinny Man interrogation scene was longer and described as better.

- Major didn't have a full brain. Initially, she only had a partial piece of her brain, which further suggested the question "with every successive loss of our physical being, at what point do you stop being human?"

- The prostitute Major hires has an earlier scene where they interact, which hands over fluidly into Major's intimate scene with her devoid of them kissing as seen in the film trailer.

- The original ending saw Kuze and Major initiate a cyber-brain to digital mind meld and transference. It's been described to illustrate the concept of the scene visually in an aesthetically stimulating sequence, similar to 'Shelling Sequence' in the film's opening, Kuze was said to live on in some degree in Major's memories before the vision of two minds merging to a new entity digitally birthed inside Majors shell.
Batou comes in hurriedly after and carries Major away, his concerned and contemplative gaze upon her suggesting whether or not she's the same person he knew.

These points made by 'Larry Sandwiches' were shared after viewing the incomplete original film the focus group. This account further supports printed evidence from "The Art of Ghost In The Shell".

- The book contains multiple outright descriptions of characters and situations in roles and circumstances completely opposite of what was presented in the film's final cut. It's safe to assume haphazardous cuts to the film are responsible for any number of pacing issues, screenplay logical inconsistencies, and absent plot details. The production team clearly demonstrated commitment accountably worldbuilding with a massive breadth of detail incorporated visually (presumably narratively if the reports of drastic changes prove monumental)  and off-screen conceptually

- The film's antagonist, Hanka Robotics CEO, "Cutter", was originally described as "Secretary Cutter of Section 6". Given the established canonical rivalry between Public Security sections, Cutter's sinister motivation would have felt natural rather than boorishly typecast from the start.

An observational eye for cinematography and just plain intuition can sense uneven pacing issues related to the films editing around connecting scenes intended for two distinct stories into a single coherent film.

A supporting list of points as evidence for the existence of the director's unedited original film can go on if not for the sake of brevity.


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