“我需要最终剪辑权，从第一部电影开始就是如此。对我来说，这是导演必须承担的道德责任，演员们把他们的情感、身体，乃至一切交付给导演，我们共同创作了一部电影，而我必须为他们在最终成片中所呈现的东西负责。在我看来，坐在制片厂、只负责投资的人不应该决定这一切。艺术不是这样创造的……我对摄影师也有道德责任，他们可能连续数月远离家人来实现我作为导演与团队共同构思的视觉呈现。如果外部的金钱力量随意干涉素材，那会破坏我们之间的信任。”

约阿希姆·提尔补充说：“我并非要指责他人，因为拍电影实在艰难，每年都有无数没有最终剪辑权的导演，拍出了精彩绝伦的作品。”
约阿希姆·提尔也承认，坚持最终剪辑权让融资过程“艰难”：“我的整个职业生涯都在欧洲的融资体系下进行，我对此非常满意。”

“I need final cut, I’ve had it since film one,” he began. “To me, it’s a moral implication of taking responsibility for what the actors give a director — if they show their emotions, their bodies, whatever — we created a movie [and] I carry the responsibility of what they bring to the final product. No one that sits in some studio capacity and invests money should decide that, in my opinion. That’s not how art is made… [I have] a moral responsibility towards the cinematographer, maybe being away from his or her family for months on end to work on the vision that me, as a director, and all the others in the team created. To have an external power of financial interest come fuck around with that material diminishes the trust between us and the group.”

“I’m not going to shame people,” he added, “because it’s damn hard to make a film and many, many, many films are made every year where the director didn’t have final cut, and they’re wonderful films.”
Trier admitted that demanding final cut made it “tough” to get a film financed and while some U.S. producers showed immense support, Reprise was made out of Oslo, Norway and in collaboration with France. “I’ve worked in the European financing system my whole career and I’m super happy about it,” he added.