An interesting example of this is in Chinatown. In the first scene, detective Jake Gittes has just shown a working class client named Curly pictures of his wife having an affair, then told Curly he should probably forget about it. In the finished movie, we cut away from the scene to the office outside, where the secretary waits, then Gittes and Curly emerge with Curly explaining that he can’t pay right away. Gittes says he understands, but he was just trying to make a point.
Huh? What point? Did we miss something? Yes we did. The missing chunk of dialogue from Robert Towne’s original screenplay reveals all:
Why was this cut? I think it was because the filmmakers belatedly realized that Gittes couldn’t say this yet because it’s a correct statement of philosophy. If Gittes already understands this, then he has no arc.
The whole point of the movie is for Gittes and the audience to learn this. The movie will show this to us, so they don’t need to tell us as well. Like many screenwriters, Towne was giving the game away too soon by giving Gittes a correct statement of philosophy in the very first scene.
If they had caught this problem in the script phase, they could have re-written it so that Gittes offers an incorrect statement of philosophy instead, but they didn’t, so they just chopped out the middle of the scene in the editing room. As you’ll see in tomorrow’s First 15 Minutes round-up of the movie, Gittes doesn’t get a false statement of philosophy until much later in the movie.