I hear you, but we can't just chop scenes like we’d trim a plant. Every cut has to feel earned, like a line you’d rewrite in the margins. Maybe start by mapping the beats—those high‑point moments that pull at the audience’s heart—and see if any supporting scenes truly move the story forward. If something feels like a nice embellishment but not essential, that’s the first place to cut. And remember, a good cut still carries the same emotional weight, like a quiet bird call that echoes after the music stops. Let’s keep the structure tight but let the feelings run deep, like my dream‑log Act I through III, and we’ll save time without losing the punch.