Synopsis by Josh Ralske
At a meeting after the disastrous test screening of The Battle of Shaker Heights, both producer Chris Moore and the Miramax executives tell directors Kyle Rankin and Efram Potelle that their next cut of the film should push the comedic elements. They disagree, and claim that they didn't shoot anything they could now add to boost the comedy, but they could boost the drama, which they think would help the overall tone. Moore says that after the test screening, Miramax is ready to release the movie straight to video. Ben Affleck expresses concerns about the future of Project Greenlight. As the directors work on a new cut, editor Richard Nord says they're just "rearranging the deck chairs on the Titanic." Screenwriter Erica Beeney works on writing a comedic voice-over, which doesn't seem to fit the film. The directors add more dramatic scenes, and show the new cut to Moore and Miramax's Rick Schwartz. Moore says the new cut flows better, but expresses concern that it's still a family drama. Schwartz takes his time getting back to them, and then, in a conference call, expresses extreme displeasure with the direction they've gone in. He tells them they've made the film "less commercial," and Moore concurs. With 48 hours left to lock the picture, Moore heads to the editing suite to help the directors get back on track. Potelle expresses disappointment that Moore didn't defend their dramatic cut to Schwartz, at which point Moore essentially throws up his hands. Jeff Balis implores Moore to use his powers of persuasion to get The Battle of Shaker Heights into theaters. With Balis' and Beeney's help, the directors scramble to come up with a cut that pleases the suits.