Monday, October 01, 2007

Boogie Nights Workprint

There was a Workprint of the film that Paul talks about extensively on the commentary. It was basically ripped off by one the editing companies that was putting together one of the trailers and it was circulated around town before Paul had locked down the print. He was very disappointed by this and even called up some of the people who had gotten a hold of the workprint and asked them where they got it. Paul was extremely flattered that people about the "buzz" the movie was creating, but he wanted people to see the film the way that it was intended (i.e. finished and in the theater). It's quite a murky mess (because it's not a first or second generation) but it does have many additional bits of dialogue, and scenes (some not included on the DVD or Laserdisc). It follows the script a little more closely and includes many of the dialogue cuts that were probably mandated by the MPAA in order to achieve an R rating.

But please remember that the film that was released was Paul’s director’s cut. Let’s hope that someday he puts together a Special Edition longer cut just for diehard fans that want to see some of the extra bits.

To make things easier I am using the timing of the DVD version so you will know where the scenes would fit into the film.
The Workprint adds to the opening credits after New Line Cinema presents:
A Lawrence Gordon production
In Association with Ghoulardi Film Company
A P.T. Anderson Picture

Small dialogue exchange between Reed, Becky & Buck discussing what to do. Little Bill comes along & they all decide to head home (See deleted scene "Ham and Cheese" on the Boogie Nights DVD)


Little Bill opens the door to his bedroom
Workprint adds
Wide shot of Little Bill’s wife grinding on the stud.
Little Bill: What the fuck are you doing?
Little Bill’s Wife: What the fuck does it look like I’m doing?                                             I’ve got a cock in my pussy, you idiot!
(This line was probably cut at the request of the MPAA as was the fact that during the whole conversation she is continuing to fuck the stud, in the theatrical version she stops grinding during the conversation).

This montage is in a different order
Rollergirl in school
Buck at the stereo store
Eddie and Cheryl Lynn
Buck at the stereo store
Rollergirl in school
Eddie and Cheryl Lynn

After Rollergirl says “Don’t fucking come in me” Workprint adds:
Jack (off camera): Aim it towards her face, Eddie.
Rollergirl: Fuck you Jack!
Then to the Jack line “aim it at her tits Eddie."
Eddie and Mom fight
Eddie: I’m not stupid!
Mom: Yes, you are
Workprint omits the following:
Eddie: Please don’t’ fucking do that! Please don’t be mean to me!
Mom: I’m not being mean to you, you’re just too stupid to see it!
First Sex Scene
Workprint has a different shot selection (due to MPAA mandated cuts)
Wide angle shot of Dirk laying Amber on the desk and a full view of Dirk’s ass as he is pumping repeatedly into Amber. Their dialogue here is indistinct.
The theatrical version uses a close-up of them and the following dialogue before he lays her on the desk:
Amber: OK, we’re gonna go down now. OK. No, do it again. No, OK.
1st Awards Ceremony
The following lines were added before Dirk comes up to accept his award:
Jessie: I can’t wait to get that big cock inside my mouth, my ass, my pussy or any which way he’ll give it to me. (Probably cut by MPAA request).
New Years Eve
When Little Bill walks into the room, the camera follows him inside and we see Little Bill’s wife leaning over a desk or bed getting it from behind by another young stud. She turns and looks up at him and then turns back around and continues.
The camera follows Little Bill into the room and we see him fire off three shots that hit Little Bill's Wife and the young stud as they collapse onto the floor.
Amber’s Documentary
Brock Landers (Dirk) slaps girl
Workprint adds:
Girl: Do it again, maybe I’ll get my pussy we next time!
[Cut back to Dirk doing interview with Amber]
Dirk: Strength is sexy, you know. My whole thing about being sexy is it has to be masculine, you know?
[Cut to Additional shots of Rollergirl giving him head]
Dirk Voiceover: You can ask any person I’ve ever worked with, any actress I’ve never ever put my hand on her. Unless it’s in a way they wanted me to.
[Cut back to Dirk doing interview with Amber]
Dirk: In that’s just how it is and I think it’s very sexy because it’s between the two characters, you know? And even though I know you’re bad, and you know I’m good, we still get it on.
Dirk trying to get hard in the bathroom
In the Workprint this was one long take of Dirk stroking his thing. Scotty opens up the door (you see this in the mirror) and kinda of takes a long pause and then shuts the door. Dirk looks up and says:
Dirk: What the fuck?!
Then he turns around and opens the door (It’s not clear if he saw that it was Scotty or someone else).
Theatrical version adds dissolves of Dirk stroking and the following lines:
Dirk: Your ready, you were born ready. Come on!
(A little karate pose) and then opens the door and exits the bathroom
This section has radically different sequencing and added scenes from the theatrical version.
Johnny Doe shooting his scene with Jack directing and the Colonel behind him on the couch.
Shot of a house in with the title underneath “Bakersfield, CA”
Jerome: (looks real different know as his head is shaved) Fucking Whore! You’re a fucking whore!
Becky (meekly): Jerome, you’d better stop it.
Jerome: (coming at her with a belt) You like big dicks!
Becky: Stop it!
Jerome: I bet you wish my dick was bigger!
Becky: Don’t you….
[Jerome hits her in the face]
Buck and Jessie at the bank.
Rollergirl and Amber doing coke in the bedroom.
Summer and Skye in the hot tub
Rock Harders (Johnny Doe) footage Johnny can clearly be heard saying:
Rock (Johnny): Lick my balls, bitch!
Todd entering Dirk’s with the coke
Back to the bank.
Back to Rollergirl and Amber
Dirk and Reed trying to get the demo tapes
Back to Rollergirl and Amber
Back to studio (“It’s not an MP, it’s a YP – your problem”)
Back to bank (Buck turned down for loan).
Dirk snorting cocaine
Jack walking through the warehouse.
Added shots of Jack opening the door to receptionist area where two cops are waiting:
Jack: Hello there.
Cops: You Jack Horner.
Jack: Yeah.
Cops: There was an accident the other day.
Cut to Reed walking in to and Dirk lying on the couch.
Reed: Oh fuck Dirk! Remember that kid, Johnny Doe?
Dirk: No.
Reed: The kid from Jack…….
Dirk: What about him?
Reed: (kind of grinning) He died. He got in a car accident a couple of days ago and he died. He like went through the windshield or something. Fucking shit.
Dirk: Are you serious?
Reed: Yeah, he’s dead, can you believe it?
Dirk: Tough luck. Going through the windshield, that’s gotta hurt.
[Phone Rings]
[Fleetwood Mac’s Tusk starts playing the background]
Cut to Becky crouched in the corner of the kitchen holding phone (visibly beat up)
Becky: Dirk, I need you to come and get me. I need you to come and see me Dirk.
[Jerome pounding on the door]
Jerome: Open the fucking door! I’m giving you one more chance!
Dirk: Calm down and tell me where you are.
Becky: Me..Meet me at the Denny's in Bakersfield.
Dirk: OK, I’ll be there right now, just calm down and wait for me. I’m coming right now, right now.
Becky: Please don't do anything to me, Jerome. Please. Please. I ask.
Jerome: Think your Miss Fuckin Movie Star with a dick in your mouth? Huh? You're gonna tell me - tell it me or I'm gonna break your fuckin' jaw.
Becky: I don't know what you want me - 
Jerome: I want you to tell me that you liked getting fucked by those men in those movies. I want you to tell me that you loved getting shit in your face - You fucking say it, cunt.
Becky: I liked it...........
Jerome: Do you like big dicks?
Becky: I don't know what you want me to..
Jerome: Say it.
Becky: Yes, I like big dicks.
Cut to Jerome punching Becky in the face.
Dirk: (to Reed) I gotta go kick some ass!
Reed: whose ass?
Dirk: Don’t worry about it.
Reed: Becky? Like our Becky? I want know.
Cut to Becky as Jerome walks away
Becky grabs a frying pan and hits him over the head repeatedly and then runs out of the house and down the streets as the camera pulls back and up (crane shot).
Cut to Dirk driving down the street, snorting coke, fixing his hair in the mirror as he loses control of the steering wheel and crashes the Corvette into a telephone pole.
Cut to Becky sitting at the diner drinking coffee and waiting for Dirk.
[Judge (Veronica Hart) voiceover]: Do you have a lawyer with you?
Amber: No, I don’t

Theatrical version
Dirk and Reed in the studio
Johnny Doe shooting his scene with Jack directing and the Colonel behind him on the couch.
Rollergirl and Amber doing coke in the bedroom.
Buck and Jessie at the bank.
Summer and Skye in the hot tub.
Rock Harders (Johnny Doe) footage. Johnny says:
Rock (Johnny): Yes, Bitch!
Todd entering Dirk’s with the coke.
Back to bank
Back to Rollergirl and Amber
Dirk and Reed trying to get the demo tapes
Back to Rollergirl and Amber
Back to studio (“It’s not an MP, it’s a YP – your problem”)
Back to bank (Buck turned down for loan).
Jack walking through the warehouse.
Dissolve to Amber in Court
Theatrical Version adds:
Judge: You must be Maggie, I’m Kathleen O’Malley, the judge.
Long shot holding on Amber.
Final Montage
Workprint adds:
Cut to Becky working in a retirement home serving food to some elderly patients.

Final Note: Don't forget there are many other scenes that did not make the cut. Some which were filmed & others that were not. To read the additional scenes with Maurice & Rollergirl, Dirk's visit back at his parents house where Cheryl Lynn is now married & living, etc.,

1 comment:

  1. Wow, this finally answers a nagging question for me. I saw “Boogie Nights” in the theater during its initial release, and I remember Scotty walking in on Dirk during the 1:35:50 scene, but of course, that moment is missing from the video/DVD releases. I’ve always wondered if I just imagined the scene playing out that way, or if the movie had been re-edited before it was released for home viewing. I even wrote to Roger Ebert’s “Movie Answer Man” column, telling him about this scene and asking if it was common practice for directors to re-edit their films prior to home video release (he didn’t respond).

    Not a major thing, but thanks to C&RV, mystery solved.

    But now I’m wondering how the Scotty/Dirk moment ended up in the print I saw in 1997 because I don’t remember any of the other workprint sequences you describe. Or *did* PTA retweak “Boogie Nights” before it was released on video/DVD?

    Great site. Keep up the good work, and say hi to Paul for me.