DCU Movies

[Beantownbrown]

Superman Star David Corenswet Looks Unrecognizable In New Photos

[Beantownbrown]

[blunt_eastwood]

I don't like that he's using an image from "Heroes in Crisis".

[manwhohaseverything]

Gret scott!!!Heroes in crisis!!We are dooomed!!we are gonna get a therapy session as dcu???

[James Cameron]

Stan lee's superman is just an example.Do you disney movies adapt tarzan by rice borough or Hercules?Heck!do you think marvel's thor is thor?do you want a batman with guns like shadow ( in his inception )by finger or kane?they are spins on myths,characters..etc.No one can be finger,kirby ..etc.Creators of these characters are long gone.There is no such thing as canon.All anyone can do is spin it in which way they can or see it fit.what people want for writers to adhere to the broad stokes vague conceptions of pop culture ie palimpsest.which i deem not necessary.As these broad strokes came to be because of new reinventions that were deemed good or accepted by the culture.Eg:-sherlock homes and all his iconic things.

Being faithful to comics has nothing to do with "canon." It's just about respecting the characters. When certain changes become so egregious, like how Gunn tends to do them, it begs the question "why not just create a whole new character?" The easiest answer is to just not change anything, and as the story develops, make little changes along the way to fit with what's being developed. In most cases, when creators decide to just recreate a character with their own ideas but give them the same name as one from the comics, it is not being faithful.

[Last Son of Krypton]

Nicolas Cage talks about his cameo in The Flash:



It was one of the various cameos meant to tease the scrapped Crisis event film that would've followed:

Sources tell us that cameos in forthcoming DC movies of next year (2023) would have breadcrumbed to a giant tentpole movie inspired by the now-classic Crisis on Infinite Earth comics of the 1980s.

https://view.email.hollywoodreporter...1fc572b6d036b7

[Beantownbrown]

James Gunn Claps Back At Concerns About ‘Superman: Legacy’ Cast Size

Is Superman: Legacy getting too big? James Gunn gives a perfectly sassy response to fans worrying about the size of the DC Studios cast.

Ever since casting news for Superman: Legacy first started to roll out, DC fans have been worrying that James Gunn is overstuffing the film with characters. It certainly seems like a natural concern, with nearly half the announced cast being non-Superman heroes like Green Lantern despite the DC Studios project ostensively being about Clark Kent and Lois Lane.

Luckily, director James Gunn has already shut down these concerns about the size of the cast. When a user commented on his Instagram bashing Superman: Legacy by saying DC Studios “went from a solo Superman to 100+ characters,” Gunn responded with the obvious retort “or like every other single protagonist of all time with 10 speaking roles announced.”

James Gunn certainly has a point, as almost every film or TV show fans have seen likely has at least 10 speaking roles, if not more. The disconnect likely comes from the perception that, as DC Studios co-chair, Gunn would be using Superman: Legacy to jumpstart his own universe. However, it seems as though the cast is all integral to the one story he’s trying to tell. Which, in a day of post-credits scenes and tie-ins, is a quality that’s worthy of praise.

[James Cameron]

A Superman film with a supporting cast of fellow heroes makes sense and is exciting. And, it doesn't necessarily mean all those heroes are teaming up for a big battle at the end, but that might be what some people are assuming.

[Frontier]

I don't think you need other heroes in a Superman movie, they're really just there for universe building (or to set up Superman's stature in the movie universe), but so long as they're used well and don't overwhelm Supes himself or the actual Superman characters...

Also Corenswet is beefy.

[Holt]

I don't like that he's using an image from "Heroes in Crisis".

Like the Kingdom Come stuff I doubt there’s any greater significance than choosing a picture that has a bunch of heroes.

[Refrax5]

I don't think you need other heroes in a Superman movie, they're really just there for universe building (or to set up Superman's stature in the movie universe), but so long as they're used well and don't overwhelm Supes himself or the actual Superman characters...

Also Corenswet is beefy.

I agree for the most part, but I'm trying to wait to see it. Maybe having other heroes in the movie is genuinely in service to Superman's story and are necessary to the plot. It's hard to say either way without knowing much about the plot, but hopefully they'll actually serve a function beyond just hinting at other stuff.

I admit that I'm very interested in seeing Guy Gardner in live action.

[Beantownbrown]

Christmas at the Box Office Hinges on ‘Aquaman 2.’ Movie Theater Owners Are Worried.

[Last Son of Krypton]

Some excerpts from an article/interview about Zack Snyder's Rebel Moon... "Zack Snyder’s Next Cut: No Capes Allowed":

Ironically, Rebel Moon arrives on Netflix on Dec. 22, the very same date that Snyder’s former home, Warner Bros., will be releasing Aquaman and the Lost Kingdom. Snyder had nothing to do with that sequel, but technically it’s the final film in the so-called SnyderVerse, the constellation of DC comic book-inspired pictures — some of which Snyder directed, some of which he produced, most featuring actors he initially cast, like Henry Cavill in 2013’s Man of Steel, and Gal Gadot and Jason Momoa in the original 2016 Batman v Superman: Dawn of Justice — that all carry Snyder’s inimitable underglaze.

“I never looked at it as the job, ‘Oh, I’m the architect of DC. I need to create entertainment for DC that sells toys and that is for the masses and fun for everyone,’” he says of his Warner Bros. years. “I didn’t care [about that]. I liked Batman, I liked Superman, I wanted to make something cool. You picked the wrong guy if you wanted a product.”

Snyder on Gunn's DCU:

Soon, something else will shake Snyder even wider awake. As he’s directing the scene, news travels around the set that Warner Bros. has announced new leaders for its DC Universe: James Gunn and Peter Safran.

Snyder worked with Gunn when they were both starting out in their film careers — Gunn wrote Dawn of the Dead — but the two ended up following very different paths. In fact, Gunn, who helmed the Guardians of the Galaxy movies for Marvel, became pretty much the anti-Snyder; while Snyder went on to explore the dark, tortured coils of Clark Kent’s sunny soul, Gunn shot poppy, soundtrack-laden, feel-good sci-fi flicks that made outer space look like a blast.

“I called him and said I wish all the best for him,” Snyder would later say about Gunn moving into his old Fortress of Solitude. “I told him I wanted it to work.”

His involvement with Nolan and the DCEU:

Still, Watchmen caught the attention of a powerful ally: Christopher Nolan.

“I’ve always believed Watchmen was ahead of its time,” Nolan offers in an email. “The idea of a superhero team, which it so brilliantly subverts, wasn’t yet a thing in movies. It would have been fascinating to see it released post-Avengers.”

(Snyder feels both of Hollywood and apart from it. He calls Nolan his only close director friend, and the two catch up on the phone about once a month. And in the summer, Snyder got an early peek at Nolan’s Oppenheimer when the filmmaker screened it at the Universal City Imax for a select group of filmmakers, which also included Paul Thomas Anderson, Todd Phillips and Denis Villeneuve.)

At the time, of course, Nolan was coming off of directing a trilogy of wildly successful Batman movies — the Dark Knight films — and was now tasked by Warners with relaunching another DC comic book hero: the one in the blue tights and red cape. It wasn’t the first time Snyder had been approached with a Superman project — like a slew of other hot Hollywood directors, he’d previously been considered by Warner Bros. in its perennial quest for a reboot — but Nolan’s more grounded take on the character clearly appealed to Snyder. He signed on to direct Man of Steel, beginning his decade-long odyssey through the DC universe.

Sure, some fans were jolted by Man of Steel’s off-putting climax, when Superman snaps Zod’s neck, committing murder for the first time in the character’s cinematic history. But no matter. Warners seemed all in on Snyder’s darker vision for the franchise, positioning its DC movies as the antithesis of the softer superhero rivals at Disney-owned Marvel. After the $200 million film grossed $670 million worldwide, Snyder’s stock at Warners was up, up and away. He was going to make more movies and oversee spinoffs. They would be tales of life and death, of man and gods. It was modern mythology, and Snyder saw himself as a Hollywood Prometheus.

Alas, the gods had other plans. Only about half of Snyder’s grand ambitions came to pass. Wonder Woman, produced by Snyder and his wife and directed by Patty Jenkins, grossed $821 million worldwide and was a pop culture phenomenon. Aquaman, directed by James Wan, grossed $1 billion. But Snyder’s own movies didn’t go quite as planned. Batman v Superman: Dawn of Justice ended up costing so much — $250 million — its $874 million grosses were considered a disappointment. Just as painful for Snyder, the film was savaged by reviewers (“Dreary, overproduced and underbaked,” opined The Washington Post).

“That’s when I was at my most vulnerable,” he says now.

And then there was Justice League, which was supposed to be a zenith of Snyder’s directorial career but ended up being the nadir. At some point during postproduction on the ambitious superhero ensemble, Warners began to lose faith in Snyder’s instincts, pushing him to pivot toward a more Marvel-ous tone and approach. Snyder pushed back, fighting to keep his darker vision. But then, at the height of the battle, Snyder’s 20-year-old daughter, Autumn, took her own life. Unsurprisingly, Snyder and his wife lost their will to fight and stepped back from the movie to focus on their family. The studio brought in Joss Whedon, who had directed Marvel’s first $2 billion-grossing Avengers film, to finish cutting Justice League.

“We cared deeply about what we were doing,” Snyder says of the back-and-forth over the Justice League cut. “We weren’t trying to make an Avengers movie. We weren’t. We didn’t know how, quite frankly. They brought someone in that did. I’ve never seen the [Whedon version], but it wasn’t the answer.”

Justice League — the Whedon Cut — was released in November 2017, making $661.3 million worldwide. On paper, not a bad number. But again, relative to its $300 million budget, a disaster. “It took a toll,” says Deborah of their time with DC and Warners. “It was amazing to come up with a new Superman, and to bring Wonder Woman to the big screen for the first time. There are so many amazing moments. Then, at the end, there were so many heartbreaking moments.”

[Last Son of Krypton]

The Snyder Cut movement:

In 2019, on her first day on the job as chairwoman and CEO of Warner Bros., Ann Sarnoff entered her office to find dozens of bouquets and fruit baskets. Her heart melted at what she assumed was the generosity of Hollywood, welcoming the seasoned TV executive to the role of overseeing all Warners divisions.

Then she opened the first card and it said, “Welcome to Warner Bros., now release the Snyder Cut.”

She opened a second card. It had a similar message. “One after another after another,” recounts Snyder, who says Sarnoff told him this story. “She didn’t even know what it was. She wasn’t even aware of the saga. When she told me the story, she was like, ‘This is the job? Managing this? I didn’t know it was a thing.’ Now it was the thing.”

At first, the Snyder Cut was assumed to be just a rumor. Nobody knew for sure if he possessed an unfinished version of Justice League, one that was said to be far better than what was released. Nevertheless, the hashtag #ReleasetheSnyderCut began popping up online, eventually congealing into something like an organized movement. They put up a billboard in Times Square. They hired a plane with a banner to fly over the Warners lot, timed so that execs would see it at lunch.

The myth, of course, turned out to be real. Snyder did indeed have a cut, which he made clear when he teased images of film canisters on social media, sending his legions of fans into a frenzy. More confirmation came from actor friends like Aquaman’s Momoa, who publicly insisted they had seen snippets.

At times, the fan revolt went decidedly overboard; some studio execs, like Walter Hamada and Geoff Johns, were viciously intimidated. Security was upped on the lot. But the Snyder Army also had a heart. After the death of Snyder’s daughter, they launched a campaign to boost awareness and funds for the American Foundation for Suicide Prevention, raising more than $1 million.

“I’m not going to comment on the details of whether they are good or bad, whether they are toxic or bullying,” says Snyder. “That’s in every chat room. It’s what comes with the internet. But I do know that the work they did on some level was good. I can say for a fact that they did good. That is undeniable.”

There’s been some question about how real Snyder’s Army actually was — a report in Rolling Stone claimed that a sizable chunk of the online Snyder Cut traffic was generated by bots.

“The truth is? It doesn’t matter. The movie got made,” Snyder responds. “If they were smart enough to employ bots in this thing, then they won. That movie has no business existing — and it does.”

Bots or not, the Snyder Army pressured the studio to fork over $80 million so that Snyder could release his cut of the film. Of course, it didn’t hurt his case that Warners was then launching HBO Max and sorely needed buzzy content to pull in subscribers. Indeed, the studio’s desperation may have encouraged Snyder to go even further than he was empowered to, reshooting major scenes and adding new storylines and material.

“He was trying to reclaim Justice League,” scoffs one executive of that time.

About his relationship with DC actors:

He’s kept in touch with some old pals from the DC world. He occasionally talks to Ezra Miller, lending support to the actor he cast as The Flash throughout their recent mental health and legal challenges. “[They] did a great job in that Flash movie,” Snyder says. “It’s very difficult to play against yourself.”

He’s also in touch with Ray Fisher, the unknown he hired to play Cyborg in Justice League (who later accused Whedon of racism on the set). Fisher, who has a part in Rebel Moon as an insurgent leader, says of his director: “He’s weathered the storm in a way not many people could or get to do.”

And he’s been dismayed to see Amber Heard suffer online abuse amid controversy over her divorce from Johnny Depp.

“I just don’t get it,” says Snyder. “If other people don’t like her, I don’t know what to say. I would work with her in a second.”

If he is open to make another comic book film:

But Snyder says that chapter of his life is now closed, and it would be difficult to coax him to reopen it. If his buddy Gunn called and invited him back to DC, he might consider doing a Dark Knight Returns adaptation (but only “a true representation of the graphic novel”). If Marvel rang, he might think for a beat about a Daredevil and Elektra movie — maybe adapting Frank Miller’s Elektra Lives Again (“But that’s it,” he insists). What about Star Wars? (“Nah, I don’t think so,” he says. “Those guys have a handle on the brand.”)

For now, he says, he’s entirely focused on the new universe he’s molding on a distant, remote moon, where nobody wears Spandex or flies without a spaceship. And he’s busy expanding his own real-world SnyderVerse that is his family – he became a grandfather last year.

“In the end,” he says of his chaotic DC years, “it could not have gone any other way.”

Here's the full article: https://www.hollywoodreporter.com/mo...ix-1235680491/

[Vordan]

Ironic that Snyder himself probably made a DKR adaption untenable to WB after BvS. He swiped too much stuff from that for anyone else to get a shot at adapting it right now. Glad he’s moved on, most of the Cult has seemingly done the same but hopefully the holdouts will see this and finally accept it’s over.