First off, filmmaking is really a miracle or a total disaster … For every amazing film, there is a flick that goes so far off the track that the director wishes it could be swallowed by a black hole. Perhaps the problem was interfering corporate executives, endless reshoots, or creative ideas clashing more violently than cymbals, yet some directors have become so angry that they have removed their names entirely from the credits. Ten films that directors were watching, cringing, and in some cases, turning their backs on the catastrophe, are listed here.
10. Arthur Hiller – An Alan Smithee Film: Burn Hollywood Burn
Arthur Hiller went out to create a satirical comedy on directors disowning their films using the pseudonym “Alan Smithee.” Irony of fate? When the studio fought off control of the film and re-edited it, Hiller himself added “Alan Smithee” to it. The joke was on him.
9. Jim Sheridan – Dream House
On paper, a psychological thriller headlined by Daniel Craig and Rachel Weisz is the stuff of dreams. In life, it became a production nightmare of rewrites, reshoots, and last-minute changes Jim Sheridan never signed on to. He even requested the Directors Guild to remove his name from the final film — when the director walks out, you know something’s very wrong.
8. Paul Schrader – The Dying of the Light
Paul Schrader, who is most famous for the scriptwriting of Taxi Driver, saw his spy thriller featuring Nicolas Cage decimated by studio meddling. After submitting a version he had faith in, Schrader was excluded, and the film was reedited yet again without his knowledge. He disowned the final product publicly — evidence that even Nic Cage can’t save some catastrophes.
7. Robert Towne – Greystoke: The Legend of Tarzan
Robert Towne spent nearly a decade developing his dream Tarzan movie, only to step away after creative trouble. The final film, directed by Hugh Hudson, strayed far from Towne’s vision. To make matters weirder, Andie MacDowell’s voice was dubbed over by Glenn Close — not exactly the legacy Towne had in mind.
6. Matthieu Kassovitz – Babylon A.D.
French director Matthieu Kassovitz fought studio interference from beginning to end on this Vin Diesel sci-fi movie. By the time the film came out, he was openly badmouthing his film, saying it was “pure violence and stupidity” and likening it to a terrible TV show. If the director’s already lost his faith, the audience doesn’t stand much of a chance.
5. David Lynch – Dune
David Lynch’s effort to bring Frank Herbert’s classic to the big screen was undermined by one dead giveaway: no final cut rights. The studio hacked and re-edited his work until the result was a box office and critical disaster. Lynch has never been shy about “selling out” on the film — and he still doesn’t want any part of it.
4. Walter Hill – Supernova
Walter Hill, known for action hits like 48 Hrs., took over this troubled sci-fi film mid-production, only to find himself bogged down by budget cuts and studio interference. After disastrous test screenings, he bailed entirely. Sometimes, the smartest move is to abandon ship.
3. Kevin Yagher – Hellraiser: Bloodline
Special effects designer Kevin Yagher wished to steer the Hellraiser series in a radical direction, but fought with the studio over the changes. When he refused to have reshoots, he sat while 25 minutes were trimmed and the ending rewritten. His name was substituted with the notorious pseudonym “Alan Smithee.”
2. Dennis Hopper – Catchfire
Dennis Hopper directed and appeared in this thriller, but you’d never know it — his credit is “Alan Smithee.” When the studio trimmed 20 minutes and sent it straight to video, Hopper figured anonymity was preferable to association.
1. Noah Baumbach – Highball
Before his Oscar nods, Noah Baumbach directed Highball, an indie made on a shoestring budget so cheaply and quickly that it could not be completed adequately. He was ashamed of the finished product and replaced his name with “Ernie Fusco” and moved on. He now refers to it as nothing more than “a mess.”
Directors give their heart and soul to movies, but there are times when the final cut is miles away from what they have envisioned, and all they can do is walk away. Be it meddling executives, shattered budgets, or creative explosions, these films establish one thing: sometimes the harshest critics are those standing behind the camera.
