15.05 - action cut with alternative material
At this part both versions have alternative material
Director’s Cut (62 Sec)
When Rorschach looks at the framed picture both versions are different the fist time. Rorschach says “Somebody knows” again and then hears the elevator. He looks towards the direction where the noise came from.
Two policemen enter the appartment because they assume to have heard a noise. They both separate and look around. One Policeman checks the window when suddenly Rorschach stands behind him. With a fast punch the cop is knocked out. His colleague finds his unconscious body and sees Rorschach standing in the window frame. He shoots at him but seems not to hit. When he looks again Rorschach has disappeared.
Theatrical Version (7,21 Sec)
In an alternate take Rorschach says again „Somebody knows“, then the dialogue between Hollis and Dan starts offscreen and the scene with Rorschach is finished.
54,79 Sec Difference
17.48 / 16.53 - action cut
The first scene with Dan and Hollis ends in the theatrical version when Dan puts on the coat. In the Director’s Cut a TV report about Rorschach is shown. Dan and Hollis watch this report, then Hollis says that the Keane Act didn’t stop Rorschach.
21,83 Sec
18.49 / 17.33 - action cut
Dan’s walk through the city got extended with a nice, long take, in which he leaves the subway.
12,79 Sec
20.15 / 18.45 - cut at the Director’s Cut
The shot of Dan starts earlier, while he unbuttons his coat .
+0,96 Sec
20.16 / 18.47 - action cut with alternative material
At this part both version show alternative material
Director’s Cut (12,17 Sec)
Dan confronts Rorschach with the TV report and also that he had attacked a Cop. Rorschach replies that Dan shall take a look at something.
Theatrical Version (4,25 Sec)
Rorschach says “Daniel” and looks at the table. Daniel puts off his wet glasses.
7,92 Sec Difference
20.31 / 18.54 - cut at the Director’s Cut
Dan puts his glasses back on.
+2,25 Sec
20.32 / 18.58 - action cut with less than 5 seconds
The take of Dan is a bit longer.
0,8 Sec
20.45 / 19.10 - action cut
After he had said „Let’s talk downstairs“ only the Director’s Cut shows how Dan moves bookshelves aside, freeing a leaving and turns on the light.
8,29 Sec
23.24 / 21.40 - action cut
Rorschach walks around the streets and you can hear out of the Off a digest from his diary. He talks about war and is wondering why one death (the one of the Comedian) counts something compared with all the dead ones a war would cause. He justifies it with that there are good and bad and the bad needs to get punished even close before the Armageddon. The following take also starts a little later.
22,5 Sec
34.21 / 32.15 - action cut with alternative material
At this part both version show alternative material
Director’s Cut (13,38 Sec)
After he had helped Laurie into the taxi Dan notices that they are being watched. He asks Laurie if she always gets escorted to dinner by members of the government. Sie replies that they probably just want to make sure that she does not meet harm to the “most powerful weapon”.
Theatrical Version (3,21 Sec)
Laurie turns down the window of the taxi and smiles at Dan.
10,17 Sec Differenz
35.37 / 33.21 - action cut with alternative material
At this part both version show alternative material
Director’s Cut (16,25 Sec)
The casket bearers lift the casket out of the car, then Walter passes the cemetery with a sign that says “The End is Nigh”. In an closer take, Dr. Manhattan leaves the car.
Theatrical Version (2,83 Sec)
The long shot starts much earlier, Dr. Manhattan leaves the car in this take.
13,42 Sec Differenz
35.59 / 33.30 - cut at the Director’s Cut
In the theatrical version is also the end of this take longer. The casket bearers carry the casket longer out of the picture.
+1,5 Sec
39.50 / 37.22 - violence cut
Eddie hits Sally who already went down to the ground with the fist into the face again.
3 Sec
41.50 / 39.19 - action cut / violence cut
A helicopter flies in an extreme slow-motion past „Giant Dr. Manhattan“. The Comedian shoots out of the helicopter. Then you see an apparently hurted Vietnamese crawl over the ground, when the helicopter is landing in the background. The next take shows that the Vietnamese has lost a leg. The Comedian walks to him, the Vietnamese tries to escape. With the close up of the cigar the theatrical version starts again.
29,33 Sec
45.00 / 42.00 - action cut with less than 5 seconds
The takes of the casket and of Adrian each got extended.
3,38 Sec
45.09 / 42.06 - cut at the Director’s Cut
Therefor the end of the take of Adrian is a little longer in the theatrical version.
+1,17 Sec
45.09 / 42.07 - action cut
The briefing of Ozymandias is longer. At first you see a map in close-up, then the camera moves away of it and shows more and more Watchmen. Ozymandias thinks, that the briefing will start soon since they still have to wait for one. They all wait for Dr. Mahattan, who teleports himself und Janey into the room. Dr. Manhattan tells Janey, that he told her she wouldn’t be the only one who comes in complete overall. Janey smiles, then Ozymandias greets Dr. Manhattan and says that they can start now. With a take of the newspaper the scene starts in the theatrical version.
32,96 Sec
45.42 / 42.07 - cut at the Director’s Cut
The take of the newspaper therefor starts earlier in the theatrical version.
+0,58 Sec
46.34 / 43.00 - action cut with alternative material
At this part both version show alternative material
Director’s Cut (18,88 Sec)
The speech of the Comedian is different in both version. At the Director’s Cut he mocks the Watchmen. Rorschach takes a step forwards and says that justice is important. Nite Own II stops him. The Comedian grins and says that it does not matter for jusitce what they do.
Theatrical Version (3,17 Sec)
Here they used an alternative take of Ozymandias and the shoulder of the Comedian instead.
15,71 Sec Differenz
47.29 / 43.38 - action cut with less than 5 seconds
Edgar looks longer to the cementery, the following take of Dan also starts a little later. 2,13 Sec
47.41 / 43.47 - action cut with less than 5 seconds
The close-up of Dan also is a bit longer in the Director’s Cut.
1,63 Sec
48.24 / 44.29 - action cut
Nite Owl II keeps trying to calm the mob. They just want to get the order back, till the police strike is over. The Comedian says cool that the people shall get back into their holes before someone gets hurt. People out of the mob insult him and say that he is no cop. One woman calls him a “fucking faggot”. A man throws a can at the comedian and hits him on the head.
18,88 Sec
49.31 / 45.17 - action cut with less than 5 seconds
The take ends a little earlier, before the Comedian fires off the grenade.
0,63 Sec
49.34 / 45.19 - cut at the Director’s Cut at the frame range
The end of the take is longer by one single frame in the theatrical version
+0,04 Sec
50.30 / 46.15 - action cut with less than 5 seconds
Dan strokes with his finger along the emblem of the Comedian longer.
2,71 Sec
50.49 / 46.31 - action cut
After Dan has thrown the emblem into the grave a part of the funeral service isn’t there. Someone shakes the hand of Dr. Manhatten, then the mourners go and leave the cemetary. The theatrical version restarts belated with the take the last picture is from.
17,58 Sec
51.12 / 46.38 - action cut
The take in the Director’s Cut is a bit longer, then Edgar walks to the grave of the Comedian and kneels down there.
5,88 Sec
51.28 / 46.47 - action cut at the frame range
The take of Edgar is longer by two single frames in the Director’s Cut.
0,08 Sec
51.36 / 46.56 - action cut with less than 5 seconds
Edgar walks longer away of the cemetery, Walter with the „The End is Nigh“ sign watches him.
0,63 Sec
51.44 / 47.02 - action cut
Edgar unlocks the front door of his house and empties the mail box. In the theatrical version he checks his mail at the next scene.
14,79 Sec
1:04.10 / 59.14 - action cut with alternative material
At this part both version show alternative material
Director’s Cut (22,79 Sec)
One very long and well made take will only get shown in the Director’s Cut. A man sprays „Fallout Shelter“ on a wall and leaves with his ladder. The camera moves backwards and shows two men whochat with each other (one of them is Walter with the „The End is Nigh“ sign), the camera keeps moving and you can see someone who reads in the „Tales of the Black Freighter“ comic.
Theatrical Version (2,92 Sec)
Here they show an alternate take of Dan and Laurie.
19,88 Sec Differenz
1:04.35 / 59.20 - cut at the Director’s Cut
The aerial view is longer. Some newspapers fall to the ground, Dan and Laurie keep on walking.
+1,92 Sec
1:04.35 / 59.22 - action cut
A package of newspapers falls down to the ground in close-up, then two men greet each other.
6,17 Sec
1:04.43 / 59.23 - action cut with less than 5 seconds
When Dan turns in the Director’s Cut you can see an interim cut to Walter with the sign. At the following take of Dan the last frames which got already seen get repeated.
2,58 Sec
1:04.47 / 59.24 - cut at the Director’s Cut
An interim cut to Walter with the sign gets shown in the theatrical version at the part where Dan had turned.
+2,88 Sec
1:04.47 / 59.27 - action cut
Laurie und Dan walk longer. Dan says they should organize a taxi because they are underway in a bad area. Laurie replies that this does not matter to her since she is in a bad mood.
10 Sec
1:07.53 / 1:02.23 - action cut with less than 5 seconds
Two takes of the TV recording are only shown in the theatrical version. The host asks the audience to calm down.
3,46 Sec
1:08.02 / 1:02.28 - cut at the Director’s Cut
The two takes of the TV show (see the last cut) are used slightly shortened now in the theatrical version.
+3,08 Sec
1:08.02 / 1:02.31 - re-cut
At this part the scene at the talk show gets continued in the Director’s Cut. In the theatrical version this happens at 1:09.54 / 1:02.40. The biggest part of the scene is identical in both version, the end is different though.
Details in the insertion
1:09.30 / 1:04.09 -
alternative material
At this part both version show alternative material
Director’s Cut (14,54 Sec)
After Dr. Manhattan has yelled “I said leave me alone” the picture becomes brighter, then the camera moves through the TV studio. Sparkles spray and Dr. Manhattan is really alone.
Theatrical Version (1,88 Sec)
The take of Dr. Manhattan gets brightened different than in the Director’s Cut, the first single picture of the moon is also still bright.
12,67 Sec Differenz
1:09.45 / 1:02.31 -
action cut with less than 5 seconds
The take of Dan and Laurie (right after the scene with Dr. Manhattan gets shown in the Director’s Cut gezeigt wurde) starts a little earlier.
0,67 Sec
1:09.54 / 1:02.40 -
action cut
Dan puts on his glasses and fixes his hairdo. He and Laurie groan because of the exhausing fight they just had. Them both of them set off and walk past the wailing defeated. Laurie says that she won’t accompany Dan to Hollis, she is tired and had played the hero enough for one evening. During the chat the camera moves slowly away of them both. Lauri says that talking to Dan has helped her. She says he shall take care and then sets off.
Dan knocks on Hollis’ door. He opens and Dan says that he won’t believe what just had happened. Hollis informs him that Dr. Manhattan just lost composure live on TV. Dan says that he was together with Laurie and that she doesn’t know about that yet. Then you can see on the TV how Dr. Manhatten yells „I said leave me alone“ and then the camera breaks.
85,04 Sec
1:11.19 / 1:04.11 -
alternative material / cut at the Director’s Cut
At this part both version show alternative material
Director’s Cut (5,5 Sec)
The planet gets shown in a little brighter colors.
Theatrical Version (6,92 Sec)
Here the planet is darker, also the take is longer than in the Director’s Cut.
+1,42 Sec Differenz
1:11.35 / 1:04.35 -
action cut with less than 5 seconds
The take of Dr. Manhattan starts a little earlier.
0,67 Sec
1:12.31 / 1:05.23 -
action cut with less than 5 seconds
The take of Wally and his wife from Dr. Manhattan’s cutback to the year 1958 is longer.
0,58 Sec
1:12.55 / 1:05.45 -
erotic cut
The first take of the sex scene between Jon and Janey starts a bit earlier.
1,13 Sec
1:13.10 / 1:06.01 -
action cut with less than 5 seconds
The clock laying on the bible can be seen longer.
0,46 Sec
1:13.24 / 1:06.14 -
action cut with less than 5 seconds
The take of a walking scientist starts earlier.
0,67 Sec
1:14.33 / 1:07.24 -
action cut with less than 5 seconds
The close-up of Jon’s face is longer.
1,13 Sec
1:14.39 / 1:07.27 -
action cut with less than 5 seconds
The take where Janey walks up to Jon from behind starts later in the theatrical version.
3,75 Sec
1:15.10 / 1:07.55 -
action cut with less than 5 seconds
The camera move over the parts of the clock is longer.
1,17 Sec
1:15.42 / 1:08.25 -
action cut with less than 5 seconds
The shot in which the photo is being placed on the dresser starts earlier.
0,79 Sec
1:15.54 / 1:08.37 -
action cut at the frame range
The take of the photo is a little longer .
0,21 Sec
1:16.34 / 1:09.16 -
action cut with less than 5 seconds
The take of Janey starts earlier.
1,04 Sec
1:16.42 / 1:09.23 -
action cut with less than 5 seconds
Ehe end of the take got expanded in the Director’s Cut as well.
0,5 Sec
1:17.04 / 1:09.44 -
action cut
Dr. Manhattan hovers in the air and then turns around in another scene. He moves one finger to his forehead and when he draws the sign the theatrical version starts. Offscreen he tells something about him and says that the marketing guys said he needs a logo.
21,42 Sec
1:17.38 / 1:09.57 -
action cut with less than 5 seconds
The end of the take of Dr. Manhattan is a little longer as well.
2,13 Sec
1:18.05 / 1:10.22 -
action cut with less than 5 seconds
The take of the people bowing down starts a little earlier.
1,38 Sec
1:18.10 / 1:10.26 -
action cut at the frame range
The end of the take is a little longer.
0,17 Sec
1:18.16 / 1:10.31 -
alternative material
An dieser Stelle zeigen beide Fassungen alternatives Material
Director’s Cut (7,63 Sec)
The camera moves to Holis and his book, in the background Dr. Manhattan tells that Hollis has written this book and that he calls his appearance „The Dawn of the Superhero“.
Theatrical Version (6,71 Sec)
The text spoken offscreen is the same, but you see another camera move to Hollis.
0,92 Sec Differenz
1:18.38 / 1:10.52 -
violence cut
The bloody mass on the ceiling can be seen longer.
1,67 Sec
1:19.41 / 1:11.54 -
cut at the Director’s Cut
The take in which Jon strokes over Janey’s face is a little longer in the theatrical version.
+0,33 Sec
1:19.41 / 1:11.54 -
action cut
Dr. Manhattan strokes longer over Janey’s face, she takes his hand. In the background Dr. Manhattan tells that he lies to Janey.
5,71 Sec
1:19.58 / 1:12.06 -
action cut with less than 5 seconds
The take in which Dr. Manhattan and Silk Spectre II sit on the roof starts a bit earlier in the Director’s Cut.
3,25 Sec
1:21.44 / 1:13.48 -
action cut
Two men wearing protective suits check a bra for radioactive rays and then let it fall into a specially shielded container. Then the camera moves into a room where Laurie gets asked out next to a ping pong table. At the question if she and Dr. Manhattan had a fight she answers friendly „That’s none of your fucking business“. When they imply that she does not make her work right Laurie gets even friendlier and bangs the head of the questioner on the table. The man becomes friendlier and offers her a cigarette. She says no and he puts one in his mouth. Then he explains that Dr. Manhattan is very important for national security and that Laurie will surely understand how important the matter is. The questioner lights the cigarette and Laurie remembers the briefing, where the Comedian lit up the map.
The vehicle of the Watchmen sets off.
Silk Spectre II stands in a floor and in the background Dr. Manhattan teleports himself away. Then she turns around and sees the Comedian. They introduce themselves to each other and the Comedian says that he had known her mother. He says, she has her eyes and then suddenly hears Sally’s voice. She orders him to keep his fingers away of her dauther, sends Silk Spectre II into the car and asks if there is no depth which he wouldn’t sink to.
Back at the hearing. Two men run into the room and tell that they have spotted Dr. Manhattan on Mars
The following scene starts at few frames later.
137,71 Sec
1:24.14 / 1:14.00 -
action cut with less than 5 seconds
The tak that got shortened at the beginning frames of the advisor and the president also got shortened a bit at the end.
0,54 Sec
1:24.14 / 1:14.00 -
alternative material
At this part both version show alternative material
Director’s Cut (3,75 Sec)
You see a take of the militaries, one of them turns his head and looks at the table.
Theatrical Version (2,88 Sec)
The militaries are to see as well, the foremost one turns his head less and slower.
0,88 Sec difference
1:24.24 / 1:14.09 -
cut at the Director’s Cut
The take of the advisor is a bit longer in the theatrical version.
+0,79 Sec
1:24.24 / 1:14.10 -
action cut with less than 5 seconds
The take of the president starts earlier.
2,38 Sec
1:24.30 / 1:14.14 -
cut at the Director’s Cut
The take of the president is longer at the end in the theatrical version.
+1,38 Sec
1:24.30 / 1:14.15 -
action cut
The advisor informs the president that the scientists had set the Doomsday-Clock to two minutes before midnight. The president yells „get this shit off the screen“ and says that he is the one who has to say when the end of the world will be close. The president lets the militaries then enlighten him about what the other states do at the moment and then says to his advisor that they should not let the „fuckers“ think that they are weak. His advisor whispers something incomprehensible to him and the president wants to know when they will be ready for the first strike.
63,5 Sec
1:25.34 / 1:14.15 -
cut at the Director’s Cut at the frame range
The take of the militaries starts a little earlier in the theatrical version.
+0,29 Sec
1:25.36 / 1:14.18 -
alternative material
At this part both version show alternative material
Director’s Cut (4,63 Sec)
The president turns towards the screen in a more distant take
Theatrical Version (4,63 Sec)
The president turns towards the screen in an obviously closer take.
No time difference
1:25.42 / 1:14.24 -
alternative material
At this part both version show alternative material
Director’s Cut (6 Sec)
The president asks the militaries how big their own losses would probably be.
Theatrical Version (2,08 Sec)
The face of the president is longer to see in the close-up.
3,92 Sec difference
1:25.51 / 1:14.28 -
cut at the Director’s Cut
The end of the take of the president is longer in the theatrical version.
+0,79 Sec
1:25.51 / 1:14.29 -
action cut with less than 5 seconds
The take of the display starts earlier in the Director’s Cut.
0,5 Sec
1:25.53 / 1:14.31 -
cut at the Director’s Cut
The same take is therefor longer at the end in the theatrical version. The following take also starts a little earlier.
+0,75 Sec
1:26.13 / 1:14.51 -
cut at the Director’s Cut at the frame range
The militaries are a little longer to see in the theatrical version.
+0,33 Sec
1:26.13 / 1:14.52 -
action cut at the frame range
The take of the president starts a little earlier.
0,21 Sec
1:26.16 / 1:14.54 -
cut at the Director’s Cut
The take of President Nixon is longer in the theatrical version.
+0,46 Sec
1:26.17 / 1:14.57 -
cut at the Director’s Cut at the frame range
The take of the militaries is longer by a frame at the end in the theatrical version.
+0,04 Sec
1:26.49 / 1:15.28 -
action cut
At this part a complete action scene got removed from the theatrical version. The scientists lay down pictures of the Mars on the ping pong table. Laurie says that she needs to go to the toilette and gets escorted to it by the questioner. Suddenly Laurie turns, gives the man some hard punches and kicks, so that he flies through the door into the toilet and bangs his head on the wash bowl. When he wakes up he is shackled on a pipe and Laurie discharges his colt. She says that Jon is the only one who can bring back Jon and that she was imprisoned for long enough. She leaves the toilet.
38,79 Sec
1:30.33 / 1:18.33 -
action cut at the frame range
The weapon is onscreen a little longer.
0,17 Sec
1:30.38 / 1:18.38 -
violence cut / alternative material
At this part both version show alternative material
Director’s Cut (3,04 Sec)
In the Director’s Cut an additional shot gets fired off. The projectile amputates a few fingers of Adrian Veidt’s assistant in a very bloody way.
Theatrical Version (0,92 Sec)
The leg slug is longer to see by a single picture, then a second shot gets fired off in an alternative take. The following take also starts a little earlier.
2,13 Sec difference
1:32.41 / 1:20.39 -
action cut
Offscreen, Rorschach describes a cold side street, explains that his stuff was to be found exactly there, where he had left it. He opens a container and finds his outfit in it. He gets dressed and says that he became himself without the outfit and because of that without fear, weakness and mood became. He describes how he had heard a woman screaming in the side street, which gets attacked at the moment. Offscreen, Rorschach speaks about the attempted rape, mugging or maybe both. He clears his throat and the criminal turns towards him. Rorschach sees something rewarding in the eyes of the bad guy. Sometimes, the night is generous to him.
The camera moves up from an erotic magazine and shows a letter to Roy Chess, which Rorschach holds in his hand. He shines with a flashlight through Roy’s home and says that he had found evidence. Rorschach finds out where Roy works and then takes a closer look at the matches which get stored in a glass.
79,54 Sec
1:40.13 / 1:26.52 -
action cut
Walter speaks a bit longer to the psychologist about his reasons. He speaks about the compromised world and says that other people shows and even extermer behavior. But that these people are not famous, unlike him.
21,08 Sec
1:40.41 / 1:26.58 -
cut at the Director’s Cut at the frame range
The next take of Walter that is available in both versions is a bit longer in the theatrical version.
+0,33 Sec
1:40.41 / 1:26.58 -
action cut
Walter keeps explaining. He talks about a danger for mankind you should never turn your back to. Which you can’t just hush up, like the psychologist does. One you can’t claim it doesn’t exist. No matter which authorities are looking the other way. The Watchmen don’t do „it“ because it is allowed but because it needs to be done.
26,17 Sec
1:42.37 / 1:28.28 -
action cut
The drunken killer walks through a side street and calls for his dogs. When he realizes that the door is open he pulls his weapon.
20,33 Sec
1:45.10 / 1:30.41 -
violence cut
Rorschach hacks more often into the head of his victim.
3,33 Sec
1:45.51 / 1:31.19 -
cut at the Director’s Cut
The last take of Walter in this scene is longer in the theatrical version.
+0,96 Sec
1:45.51 / 1:31.20 -
action cut
The door to the interrogation room gets opened and the psychologist leaves the room. He takes a box and says, while he is walking past a cop, that he can’t help Walter anymore. The cop walks to Walter. The following scene at the food distribution starts much earlier. The cooks distribute food and someone addresses Walter from the side.
21,88 Sec
1:46.13 / 1:31.20 -
cut at the Director’s Cut
The next take that is included in both versions in the food distribution starts earlier in the theatrical version.
+1 Sec
1:46.54 / 1:32.02 -
action cut
Laurie sees the costume of Nite Owl II. She turns and walks down a few stairs.
17,38 Sec
1:49.16 / 1:34.07 -
action cut with less than 5 seconds
The take of Laurie is longer, she looks at Dan.
1,88 Sec
1:49.18 / 1:34.07 -
cut at the Director’s Cut
In the theatrical version the following take of Dan starts earlier.
+1,88 Sec
Because of the last two cuts, you see the other person in both versions at one part of the dialogue. Put together there is no time difference, though.
1:49.23 / 1:34.14 -
action cut
Dan says that there are already enough people which are doing „it“ (being a super hero) and that he didn’t feel ashamed doing it because of that. Laurie asks „Like Hollis?“ and Dan agrees. He says that Hollis is his hero. He and Hollis already felt close to each other when they have met the first time.
23,92 Sec
1:51.18 / 1:35.45 -
cut at the Director’s Cut
The theatrical version zaps through different TV channels.
+5,08 Sec
1:51.18 / 1:35.50 -
action cut with less than 5 seconds
Dan turns the TV on.
2,67 Sec
1:53.15 / 1:37.44 -
cut at the Director’s Cut
The last take included here at the end of the scene is longer, Laurie places a hand on Dan’s cheek.
+1,33 Sec
1:53.15 / 1:37.46 -
action cut / erotic cut
Laurie says that it is not a problem at all that Dan couldn’t satisfy her. They have been going at it too fast but they have all the time on earth to try it again. She gasps in between and strokes his face. Then they both kiss.
32,42 Sec
1:54.56 / 1:38.53 -
erotic cut
The take of Dan starts a little earlier.
1,83 Sec
1:55.00 / 1:38.56 -
erotic cut
Also at the end of the take you see Dan a bit longer.
1,42 Sec
1:55.04 / 1:38.59 -
cut at the Director’s Cut
A take of Laurie (and a small part of Dan) is therefor longer in the theatrical version.
+0,38 Sec
1:55.04 / 1:38.59 -
erotic cut
Dan and Laurie walk towards each other longer.
4 Sec
1:59.45 / 1:43.36 -
action cut
After Silk Spectre II said „Let’s go“ she already puts people in the vehicle in the theatrical version. In the Director’s Cut she still rushes the people through the floor, while Nite Owl II opens the door of the vehicle. A little girl asks her mother if the man in the vehicle is Jesus. The mother hugs the kid and says no.
20,04 Sec
2:00.24 / 1:43.55 -
cut at the Director’s Cut
The take of the vehicle starts earlier in the theatrical version. Here the vehicle is still surrounded by flames while it is immediately out of danger in the Director’s Cut.
+0,96 Sec
2:00.26 / 1:43.59 -
action cut with less than 5 seconds
The vehicle flies longer and absents itself from the camera.
0,46 Sec
2:01.13 / 1:44.45 -
erotic cut
Dan opens Laurie’s zipper longer.
0,54 Sec
2:01.21 / 1:44.52 -
erotic cut
Laurie opens one zip on Dan’s costume, then the camera moves a while longer around them and they put each others costumes off.
3,58 Sec
2:01.38 / 1:45.06 -
erotic cut
Laurie rides Dan a bit longer.
2,46 Sec
2:01.45 / 1:45.11 -
erotic cut
In the long shot, Laurie rides longer in the Director’s Cut. The following take is completely missing in the theatrical version.
6,92 Sec
2:01.57 / 1:45.16 -
erotic cut
The take of Laurie starts much earlier.
2,5 Sec
2:02.18 / 1:45.33 -
erotic cut
Laurie makes another push and both groan in full pleasure.
FETT]1,67 Sec
2:02.20 / 1:45.33 -
cut at the Director’s Cut at the frame range
The following take of the boots therefor starts earlier in the theatrical version.
+0,25 Sec
2:02.39 / 1:45.54 -
erotic cut
The take of Laurie’s face starts earlier.
0,54 Sec
2:02.43 / 1:45.57 -
erotic cut at the frame range
The take of Laurie is longer by a few frames at the end.
0,17 Sec
2:02.56 / 1:45.59 -
erotic cut
Again a take of Laurie starts earlier in the Director’s Cut.
0,46 Sec
2:02.58 / 1:46.01 -
cut at the Director’s Cut at the frame range
The take of Laurie is longer by two single frames in the theatrical version.
+0,08 Sec
2:04.22 / 1:47.36 -
violence cut
The prisoner gets his arm removed in an additional but not really explicit take.
0,96 Sec
2:04.25 / 1:47.37 -
cut at the Director’s Cut at the frame range
The following take in which blood splashes on a wall is therefor minimal longer at the end in the theatrical version.
+0,08 Sec
2:06.25 / 1:49.37 -
action cut / violence cut
Silk Spectre II and Nite Owl II walk down a stariway. Silk Spectre II asks how they can know if Rorschach is still alive. They both find the body with the removed arms laying on the ground and Nite Owl II says that Rorschach sure is alive.
11,29 Sec
2:09.27 / 1:52.28 -
action cut
After you saw a hint of what Rorschach did on the toilette, the vehicle already flies away from the prison in the theatrical version. In the Director’s Cut they inserted a complete new scene.
Rorschach, Nite Owl II and Silk Spectre II step on the roof of the prison. Rorschach says that Dan should have known that the motivation which he needs is to be found in some nice legs (in this case Laurie’s respectively Silk Spectre II’s). He imediatey gets called an asshole for that. Rorschach says that he hates it to be patriotic and when the chat between Rorschach and Silk Spectre II almost becomes a fight, the vehicle appears and Nitw Owl II barges in. He says that they both shall stop – they could easily keep on fighting later on, since most likely they soon will get shot at. The three step into the vehicle and like ordered three cops come and start shooting. Rorschach closes the hatch and the vehicle flies away.
At this part there is a little continuity mistake in the theatrical version by the way. Though the cops did not appear here when you looks close you can see them staying on the roof when the vehicle starts.
49,46 Sec
2:10.16 / 1:52.28 -
alternative material
At this part both version show alternative material
Director’s Cut (4 Sec)
The spot light behind the vehicle is aimed at it and follows it. The second spot light also follows the vehicle when it flies away.
Theatrical Version (4 Sec)
The rear spot light scans the street, only the second spot light also follows the vehicle.
No time difference
2:10.34 / 1:53.46 -
action cut at the frame range
The vehicle is a little longer to see in it’s parking position.
0,33 Sec
2:12.00 / 1:54.11 -
action cut
Someone reads in „Tales of the Black Freighter“ (that guy already have been in the Director’s Cut), then a gang appears behind him. One of the gang members says that Rorschach got freed out of the prison and reminds his buddies that Rorschach (or someone else from the Watchmen, since they are not really sure anymore) got his cousin into the wheel chair. The guy of course also knows where Nite Owl (Hollis) lives and because of that the gang imediately sets off.
You see a TV (material already used a while ago in the theatrical version), then a phone call betrween Sally and Hollis. Sally says that Hollis has her number for ages but waited till now to call her. Hollis says that is because it’s a special occasion. Hollis informs Sally that “someone who looks like an owl” (Nite Owl II) and Laurie saved people out of a burning house. Sally is proud of her daughter and says that she finally shows gratefulness for that Sally brought her into the row of the Watchmen. They both cajole each other for a while, until it knocks on Hollis door. They both say goodbye (extensively), then Hollis gets up and opens the door.
Hollis sees that the gang is on the outside and qucikly closes the door. But that helps just a bit, since the door gets kicked in, he gets tossed to the ground. Hollis gets back up and tries to defeat himself against the gang. Though he makes a few good hits (always combined with flashbacks) he finally loses and gets hit to death with a statue. The gang leaves the flat. Hollis’ complete death is not included in the theatrical version.
Rorschach says that he hates needing to hide in caves from the police. Nite Owl II replies that the cops search for him and it – if he doesn’t want to go back into prison – would be dumb to show up in public. Then Nite Owl II explains that he had found out how to break into the Pyramids. Rorschach said that he had done that already but didn’t find any evidences. They can not prove who is behind everything. Rorschach sits down, puts his hat down and runs a hand over his head. While he does this the theatrical version starts again.
231,29 Sec
2:17.46 / 1:56.06-
action cut with less than 5 seconds
The take of Nitw Owl II is a little longer, the following take of a man who drinks a sip, you can only see in the Director’s Cut.
1,92 Sec
2:18.36 / 1:56.54 -
cut at the Director’s Cut
The take of Rorschach at the end of the scene in the bar is longer in the theatrical version.
+0,38 Sec
2:18.36 / 1:56.54 -
action cut / violence cut / erotic cut
Rorschach and Nite Owl II want to leave the bar, then they see a TV report about Hollis’ death. Nite Owl II is shocked and walks closer and closer towards the TV. He looks at the ground and then shifts his attention to one member of the gang – the one you have seen drink a sip exclusively in the Director’s Cut almost a minute ago. Nite Owl II walks towards him and aks who has killed Hollis. The man says that he doesn’t know and is mad that he just gets accused by Nite Owl II – he appoints to his civil rights. Nite Owl II tosses the table asside, yanks the man to the ground and punches him into the face several times. Meanwhile he asks him loudly, or just yells at him After a few punches the man spits blood, after more high speed contacts with Nite Owl II’s fist he even spits out some of his teeth. But he still does not answer this questions, respectively can’t give them. Nite Owl II wants to punch again but Rorschach yanks him away of his victim and says that Watchmen shall not attack civilians. Then he yanks him out of the bar.
The following scene also starts earlier with a long shot of Laurie and the naked Dr. Manhattan waling towards the camera
59,5 Sec
2:19.36 / 1:56.54 -
cut at the Director’s Cut
The distant rearward view where Laurie and Dr. Manhattan stepping up a stairway starts earlier in the theatrical version.
+1,04 Sec
2:19.40 / 1:57.00 -
action cut with alternative material
At this part both version show alternative material
Director’s Cut (106,63 Sec)
A pretty funny chat between Dr. Manhattan and Silk Spectre II got re-added here in the Director’s Cut. Dr. Manhattan says that this is the place, where they will talk and also the place where Laurie will admit, that she had slept with Dan. Laurie asks unbelieving, that Dr. Manhattan knows that about her and Dan. He answers that he doesn’t know it – not yet. Laurie will tell him about it in a short while. Silk Spectre II says why he, though he can predict the future, was surprised when she had left him or when the reporter took him to task for the TV show. Why should they both discuss this subject anyway when he already knows how the chat will end. Dr. Manhattan says that he has no choice and that everything is predetermined – even his surprises. Silk Spectre II replies that this way even the most powerful being is though just a doll. Dr. Manhattan says that all are just dolls and he is just a doll, who can see the strings. Laurie says that his way to see the time drives her crazy and she does not feel well around him because of that. After a short speech break Laurie says that she does not want to fight and apologizes for sleeping with Dan. Dr. Manhattan asks unaware „You slept with Dan?“ and makes a disappointed facial expression. Silk Spectre II says that he had said not long ago that he knows this already. He replies that he had said that she has been his only connection to the earth and asks why he should try to save a world to which he has no connection.
Theatrical Version (10,88 Sec)
Dr. Manhattan just says here that this is the place where the chat will happen and that Laurie will ask him during this chat to prevent an atomic war. But he does not know why he shall help a world to which he has no connection.
95,75 Sec Differenz
2:22.46 / 1:58.29 -
cut at the Director’s Cut
The view of the vehicle is minimal longer in the theatrical version.
+0,38 Sec
2:22.46 / 1:58.29 -
erotic cut
Rorschach asks Nite Owl II, if he will work together with him. He says yes and then asks Rorschach what he will do. Nite Owl II replies that he will take a look at his itinerary. When he starts to walk away the theatrical version starts again.
14,5 Sec
2:29.47 / 2:05.15 -
cut at the Director’s Cut
The flash back to the meeting of Silk Spectre II and the Comedian got extended in the theatrical version. Here they both introduce themselves to each other (the introducing hasn’t been shown in the theatrical version yet), then you see a take where the Comedian turns around in the briefing. With the next take of the Comedian’s face this part of the flash back starts at the Director’s Cut.
+7,38 Sec
Verfasst von Playzocker am 13.07.2009
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