Simon West's first director's cut of the film was around 130 minutes long, and that was before it went through re-shoots some time later after principal photography was finished. West was removed from working on the film in post due to some problems between him and Paramount, however he did return to work on re-shoots. Editor Stuart Baird was brought in by Paramount to re-edit the entire film. He was well known for coming in at last minute to help movie studios by fixing up their films which went through troubled productions and had problems with earlier cuts. Baird was promised the job of directing Star Trek: Nemesis by Paramount in exchange for re-editing original 130 minute cut of this film and John Woo's original 210 minute cut of Mission: Impossible 2. Due to all the work on post production taking longer than anyone thought it would, and how rushed it was, some of the major effects were apparently left unfinished by the time the film was released in theaters. Baird ended up re-editing the film down to 88 minutes. One of the bigger cuts on the film was changing the original score. Originally, Nathan McCree was hired to compose the score, since he already composed the music for some of Tomb Raider games, but Paramount insisted on more well known movie composer. Greg Hale Jones started to work on the score with Peter Afterman in November 2000, right after production was finished, and Danny Elfman composed the main theme for the film. Jones later said how once West was fired from the film, his score and Elfman's theme were shelved. Michael Kamen was then hired and he submitted couple demos, although according to Tales From Development Hell by David Hughes, Kamen did in fact compose full score which was rejected once the film was re-edited by Baird. Graeme Revell was then brought in and he had to compose sixty minutes of music inside ten days. Some earlier reports about the film mentioned John Powell as one of original choices for composer, and Fatboy Slim too. Jerry Goldsmith was also attached to score the film at one point, but he couldn't do it due to problems with his health at the time.[15][16][17][18]
Paternal abandonment and its aftermath are at the heart of every character's story here. Lu Ren (Daniel Wu), the alcoholic sea captain who ferries Lara to the island that contains Himiko's tomb, is dealing with his own daddy issues: his same-named father once ran the boat, and ultimately vanished, too, which might account for why their relationship feels more brother-sister than romantic (they obviously respect each other, but there's no sexual chemistry because the movie isn't interested in finding any). The bad guy, archaeologist turned corporate mercenary Mathias Vogel (Walton Goggins), is himself an absentee husband and father. He's spent seven years trying to locate Himiko's tomb at the behest of the mysterious Trinity organization, and resents the unseen master who's keeping him on the island until he finishes the job.
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