10 Director's Cuts We'd Rather See Than Snyder's Justice League

As long as we're in the process of redressing errors that only a time machine can really fix, there's much of Orson Welles' career that could stand to be rectified. After Citizen Kane, newspaper mogul William Randolph Hearst largely lived up to his promise to tarnish Welles' career, but he didn't do himself any favours, often fighting against the very system that once financed his every whim.

It's no surprise that Welles struggled both personally and professionally, turning in solid pictures for years after Kane but only seeing a few not horrifically tampered with by studio interference. His immediate follow-up to Kane, The Magnificent Ambersons, was edited without his permission, the original cut now the stuff of cinema folklore. But Ambersons, while not living up to Welles' vision, is still considered a masterpiece. And though he tried to reshoot it with still-living cast members in the 70s, he never saw that opportunity with The Deep.

Based on Charles William's novel Dead Calm, which would eventually be adapted by Phillip Noyce with Sam Neill, Billy Zane and an unknown Nicole Kidman, The Deep was plagued by financial issues. Welles grew more and more withdrawn. Though actor Peter O'Toole recalls reading the script for the project and calling it "beautiful", Welles saw the picture as more commercial work, a popcorn movie to bring in money to finance his more art-house projects. Shooting began in 1966 off the coast of Yugoslavia and would wrap in 1969, but several scenes were left incomplete. Hopes of the project being completed evaportated when actor Lawrence Harvey died in 1973.

Today, however, we live in an era that's oddly accepting of the uncanny valley, creepy Peter Cushing stand-ins aside, so Harvey's death and those unfinished scenes would hardly be an issue. Based on the amount of footage available in both colour and black and white, it would cost less than Justice League.