As a huge fan of Zack Snyder and his distinctive filmmaking style, I can’t help but be intrigued by his latest interview on Letterboxd, where he discusses his unique perspective on superheroes and the challenges he faced in bringing his vision to life.
Anyone who has watched a single film by Zack Snyder can attest to his distinctive and in many ways, unique style in movie-making. To some, he is a visionary; to others, a disappointment. Regardless, he manages to elicit strong reactions. Among his accomplishments are some of the most memorable comic book adaptations ever made, but unfortunately, he also produced some major flops.
As a gamer, I’d describe Snyder’s approach like this: “Snyder’s style is uniquely his own. It’s got that brooding, gritty feel that draws you in, but it can also be unexpectedly campy and over-the-top. That’s a tough balance to strike – dark and gritty usually don’t mix well with the wacky. Take Schumacher’s take on Batman as an example. Some of Snyder’s works have been highly praised, while others have faced criticism. But one thing is clear: he’s got a soft spot for the eccentric!”
As a longtime fan of comic books and blockbuster movies, I’ve always been drawn to the larger-than-life characters we know as superheroes. From my childhood memories of flipping through pages of X-Men comics to my most recent binge-watching session of Marvel Cinematic Universe shows, superheroes have been a constant presence in my life.
Having a conversation with Evan Schwartz, Zack Snyder openly talked about his film, “Sucker Punch,” which he conceived yet is widely criticized and considered a commercial flop by many. Remarkably, Snyder remains hopeful about the movie’s potential. Elsewhere in the discussion, Snyder shared his views on superheroes as character types, providing insight into why he consistently represents them in his work.
ES: I would love that. What were some of the most frustrating studio notes you received?
ZS: The film is quite introspective, reflecting my thoughts on the film industry at the time. This was following “Watchmen,” which I saw as a deconstruction of films. It’s intriguing because my body of work includes “Dawn of the Dead,” which I believe is a deconstructive film that self-analyzes its genre. I felt unable to create a straightforward remake of “Dawn of the Dead” since the original was a social commentary, so instead I wanted to make a statement about that comment.
After being drawn to Frank Miller’s work, I decided to create a project based on one of his books I could easily obtain – “300”. Being an avid fan of “Dark Knight Returns,” and unable to work on that or “Sin City” at the moment, I chose to express my admiration for Miller through this adaptation of “300”.
In harmony with that, I’d describe “Watchmen” as a groundbreaking comic book that delves deep into the complexities of superheroes. These characters grapple with issues like anxiety, fear of open spaces (agoraphobia), unhealthy relationships (incestuous and insane), and addiction to violence.
When creating “Man of Steel,” I often mentioned that it’s essential to understand the rules before bending them. However, in my eagerness, I disregarded the rules initially and proceeded to make the film. Though the sequence was reversed, it ultimately worked out.
When I set out to create “Sucker Punch,” I was incredibly conscious of the genre’s conventions. Sweetpea questioned, “What is this? This is supposed to excite the audience?” which is a nod to the film itself. She continued, “I can buy the damsel in distress, but a lobotomized vegetable? That’s not alluring.”
She suggested modifying the ending by adding a dance number with a song for a more engaging exit. Audience members would be tapping their feet and humming as they left. However, since we had already removed the dance number, I kept only her conversation with Gorsky about adjusting the finale to please the audience.
People prefer to watch girls in seductive attire rather than seeing their empowerment on screen. I’ve often pondered over criticisms labeling a movie as exploitative. It’s as if portraying war realistically becomes a problem.
Source: Letterboxd
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2024-07-18 03:17