I'm a huge fan of Coppola and I didn't know anything about this either. Thanks for informing me. I'm going to go read the articles on it now.

I always thought he should've went with his original title of Twixt Now and Sunrise. This new title isn't quite that but it's close enough.

If you find any details, please let me know!

I didn't find many details. I read about six articles and they all said pretty much the same things.

It's 9 minutes shorter than the original which at first sounds disappointing but it doesn't mean that there aren't new scenes added or that there isn't a drastic rearranging of scenes.

There's a quote from Coppola saying this version is more personal to him so this suggests that it's very different from the original.

One thing I found disappointing is that the cover art is basically the same as the original, just with the new title added. I wish they had taken this opportunity to come up with some striking new cover art.

There's a mildly amusing tagline: A new twist on the film Twixt.

Thanks, but yeah, that's all I found, too.

My impression was that the Coppola quote about the film being personal was in regards to the original cut, but I may be mistaken.

And I've seen various running times listed in different articles. Blu-Ray.com says it's 95 minutes. Amazon says 2 hours 19 minutes. Most articles say 79 minutes but I think I saw ones that said 88 or 89, which is about the same as the first cut (88 minutes).

I saw one article mention a revised ending. That's the only specific thing I've heard about what has changed.

If it's 79 minutes and has a revised ending, I'm hoping the entire movie has been tinkered with. Tightened up, maybe some rough edges sanded down, maybe some improvements in editing here and there, maybe new color grade.

The more changes, the better. I find recuts by auteur directors fascinating.

Was this the film thst he experimented with lived editing, like a performance, played at comicon that time?

Yeah, Coppola's quote about the film being personal probably was about the original cut; but I know what scene he's referring to when he says the film's personal and maybe he added to that scene in this new cut.

I didn't know there were a whole bunch of different runtimes listed. All the ones I saw were 79 minutes and that's probably what it is which is disappointing because I'd definitely like it if the film were longer.

I also find recuts by auteur directors fascinating. I have almost every cut Oliver Stone made of Alexander (just need to get the theatrical version) and I plan on finally watching all the different cuts of Blade Runner. And of course I'll eventually be getting all of Coppola's new cuts of his films. I already have The Cotton Club- Encore.

Another disappointing thing about this new version of Twixt is that there won't be new special features released with it.

But I'm very glad it exists and I'll be buying it as soon as I can.

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That's the one. I think he even went on tour (or at least wanted to) with composer Dan Deacon, who did the score live along with a live-edit of the movie. And Coppola would sometimes just press a button to randomize scenes. Something like that. Truly a unique presentation in film history and something people don't talk about enough. Some people felt like Coppola's powers kind of declined a bit towards the end, but I dare them to find a director who was that sharp and that innovative at Coppola's age. Aside from maybe Godard, I don't think that director exists.

The different cuts of Alexander are fascinating. I know some people thought it was ridiculous, but each new cut was making millions of dollars in profit in the home video market of that era. It was the perfect scenario for Oliver Stone to use trial-and-error to find the best cut. And honestly, a film of that size probably needed to be edited for ten years.

It's similar with Apocalypse Now, which was such a huge editing job that Coppola had to try out at least four different cuts (Cannes, theatrical, Redux, Final) before he felt like he had addressed all of the challenges. And Final Cut really feels like he finally found the right balance and smoothed everything out. I think there was an awkward jump cut at one point in every edit until Final Cut, where he finally, decades later, figured out how to fix it.

Maybe most impressive to me is The Godfather Coda: The Death of Michael Corleone, because it's the most extensively revised. It's a complete overhaul of the movie, a complete re-think of the structure and focus of the movie. It doesn't feel as perfectly-honed as Apocalypse Now: Final Cut, but it feels like it works a lot better than the previous cuts. With more skill and more distance, he really addressed the core issues in an editorially insightful way.

Coppola is a very clever editor. So is Stone. Their recuts are fascinating.

With Blade Runner, I think I slightly prefer the work print to the theatrical/international cut, but generally, you can see each cut improving over the last. Final Cut > Director's Cut > Workprint > Theatrical/International. I'm a little surprised that there is any controversy about the Final Cut being the best one. That seems obvious to me. Same with the Final Cut of Apocalypse Now.

Too bad there isn't a bigger market for recuts like in the golden age of DVD. I wish there was more support and incentive for filmmakers to recut their movies if they want to. As long as the original version is available, I say keep remixing and refining all day long.