SCOTT: This is fundamentally the director’s cut. But there will be
half an hour of stuff on the menu because people are so into films—how
they’re made, how they’re set up, and the rejections in it. That’s why
it’s fascinating. So this will all go on to the menu.
Well I’m curious about the deleted scenes. Specifically in this
film, Noomi [Rapace] mentioned maybe there was a fight scene with her
and an Engineer.
SCOTT: The Engineer fight scene was pretty good. It will definitely
go on the menu. It won’t go on the long version. The problem about it
is, while she gives as good as she gets with an axe (she’s very
physical), he’s so big, for him to be clouted with a conventional weapon
somehow diminished him. It’s subtle. It’s drama. I didn’t want to
diminish him by having this person who has a weapon to be able to back
him off. It minimized him. That’s why when he deals with people inside
his cockpit, it’s over. Wham, wham, wham. Even the shot doesn’t mean
anything. And so all she has time for is introducing him to the big boy
inside the lab.
You’re going to do an extended cut on the Blu-ray/DVD. Is it a lot longer?
SCOTT: Twenty minutes.
So there’s, like, twenty minutes that will be added back in for a longer version?
SCOTT: Maybe. But I’m so happy with this engine, the way it is
right now. I think it’s fine. I think it works. It can go in a
section where, if you really want to tap in, look at the menu. To see
how things are long, and it’s too long. Dramatically, I’m about putting
bums on seats. For me to separate my idea of commerce from art—I’d be a
fool. You can’t do that. I wouldn’t be allowed to do the films I do.
So I’m very user friendly as far as the studios are concerned. To a
certain extent, I’m a businessman. I’m aware that’s what I have to do.
It’s my job. To say, “Screw the audience.” You can’t do that. “Am I
communicating?” is the question. Am I communicating? Because if I’m
not, I need to address it.