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The Snyder Cut is real...and it's SPECTACULAR!


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38 minutes ago, skillzdadirecta said:

That's not weird at all... a lot of Oscar winning screenwriters parlay that success into big paychecks writing big studio films whether credited or uncredited John Sayles and Robert Towne made fortunes doing that.

 

It makes for good trailer hype fodder if anyone cares to take the bait

 

"From the Academy Award winning writer of Forrest Gump comes Big Mama's House 4!" :shock:

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49 minutes ago, skillzdadirecta said:

That's not weird at all... a lot of Oscar winning screenwriters parlay that success into big paychecks writing big studio films whether credited or uncredited John Sayles and Robert Towne made fortunes doing that.

That's fair. I guess the second half of my thought is that they're all pretty disappointing movies. How much of that can be blamed on him? It's hard to say for sure, especially when you're talking about these big franchise movies. And that's the other aspect that seems odd to me (an outsider with no real idea of how this stuff works). I imagine that after the success of Argo, he would have had a lot of options. Getting swallowed up by the DC machine seems like a bit of a bummer, but I'm not gonna fault the guy for making bank. 

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17 minutes ago, TheLeon said:

That's fair. I guess the second half of my thought is that they're all pretty disappointing movies. How much of that can be blamed on him? It's hard to say for sure, especially when you're talking about these big franchise movies. And that's the other aspect that seems odd to me (an outsider with no real idea of how this stuff works). I imagine that after the success of Argo, he would have had a lot of options. Getting swallowed up by the DC machine seems like a bit of a bummer, but I'm not gonna fault the guy for making bank. 

The options he had were to maximize his worth and getting a screenwriting gig on a big franchise is a HUGE get for a Hollywood writer. Also he was brought in at Affleck's request. There's nothing unusual or odd about ANY of this really. We're just hearing about it but this is pretty typical. A lot of writer's with a lot of credits don't give a shit... they turn in their drafts and look for the next job. Terrio seems to actually care and seems relieved that he has the opportunity to speak out. The Big problem with all of this seems to start with the WB execs and thier reaction to Marvel's success and Snyder's lack of understanding of what made these character's work. I'm sure he's a nice guy but his portrayal of Superman in Man of Steel should have been a warning. Hell him, COMPLETELY missing the point of Watchmen should have gave everyone pause... but he makes pretty pictures so they gave him the reigns. 

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Zack Snyder wasn't even the first choice for Man of Steel if I remember correctly. I think they wanted another big name director, like Aronofsky or someone, after the success of the Nolan Batman movies, but when they weren't available they defaulted to Snyder as time was running out on getting the movie made (which I think was around the time where the rights to Superman would be lost to WB if they didn't put out a movie by a certain date. I think MoS was originally aiming to come out in Christmas 2012).

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18 minutes ago, Brick said:

Zack Snyder wasn't even the first choice for Man of Steel if I remember correctly. I think they wanted another big name director, like Aronofsky or someone, after the success of the Nolan Batman movies, but when they weren't available they defaulted to Snyder as time was running out on getting the movie made (which I think was around the time where the rights to Superman would be lost to WB if they didn't put out a movie by a certain date. I think MoS was originally aiming to come out in Christmas 2012).

Warner Bros is part of Time Warner which owns both them AND DC Comics... I don't know if they were in danger of losing the rights to SUperman. THey were in court with the estates of the families of the Superman creators but the case had been settled by the time this movie was in the works. Whether or not they made a movie had not bearing on the case. As for their choice of Director if I remember correctly they wanted Nolan to do it but he was pretty much done with SUperheroes at that point and agreed to exec produce. He was their first choice to shepard their whole DCU film franchise.

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6 hours ago, skillzdadirecta said:

Yes but all the writer can do is suggest stuff... it's the director's call at the end of the day as to what makes it in the film. The director can change scenes on the day of the shoot or cut and change stuff in the edit. Writers are pretty much powerless to stop it outside of taking their names off the film like Terrio wanted to. They cut 30 minutes of story out of Batman vs Superman which he says would have helped the chatacterization. Would it have? I don't know. But he also may not be able to work well on big studio films. 

 

I mean, three arguably bad blockbusters in a row does say somethinf about the writer. I agree they don't have a lot of agency but that's pretty consistent data. He still did Heights and Argo, I like Terrio, just maybe not for blockbuster films.

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17 minutes ago, skillzdadirecta said:

Warner Bros is part of Time Warner which owns both them AND DC Comics... I don't know if they were in danger of losing the rights to SUperman. THey were in court with the estates of the families of the Superman creators but the case had been settled by the time this movie was in the works

 

They were in danger. The court case against the Shuster estate is what I was referring to. It was settled in 2012, so while Man of Steel would have been in post production, so I might have been thinking of the Sony and Spider-Man situation, but had DC/WB lost the case they would have lost the rights to use Superman in any and all media. 

 

twp-social-share.png&w=1484&op=resize&op
WWW.WASHINGTONPOST.COM

Warner Bros. retains rights to Man of Steel in major court ruling over heirs.

 

 

20 minutes ago, skillzdadirecta said:

As for their choice of Director if I remember correctly they wanted Nolan to do it but he was pretty much done with SUperheroes at that point and agreed to exec produce. He was their first choice to shepard their whole DCU film franchise.

 

Well yes obviously Nolan would have been their first, but aside from him it looks like I was remembering correctly in that Aronofsky was in the running, as well as for The Wolverine. Didn't know that. Those would have been interesting movies had he gotten either of them. 

 

darren-aronofsky-the-wolverine-man-of-st
WWW.GOOGLE.COM

Darren Aronofsky Explains Why He Didn’t Direct ‘The Wolverine’ & ‘Man Of Steel’

 

 

Speaking of directors WB passed on for DC movies, George Miller was at one point supposed to do a Justice League movie. Goddamned WB keeps fucking up! 

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14 minutes ago, Greatoneshere said:

 

I mean, three arguably bad blockbusters in a row does say somethinf about the writer. I agree they don't have a lot of agency but that's pretty consistent data. He still did Heights and Argo, I like Terrio, just maybe not for blockbuster films.


There is only so much one can do with the constraints placed on them as have been described here. Studio movies are not driven by the creatives outside of rare instances like Spielberg or Nolan who make films that make tons of money just about every time they put something out. Studio movies are by committee and there are a ton of no -creatives giving input into everything including the screenplay. Terrio’s job wasn’t to write a good movie, it was to write the movie the suits were telling him to turn in.

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1 minute ago, sblfilms said:


There is only so much one can do with the constraints placed on them as have been described here. Studio movies are not driven by the creatives outside of rare instances like Spielberg or Nolan who make films that make tons of money just about every time they put something out. Studio movies are by committee and there are a ton of no -creatives giving input into everything including the screenplay. Terrio’s job wasn’t to write a good movie, it was to write the movie the suits were telling him to turn in.

 

For sure but he could have done both. There are screenwriters who consistently write good blockbusters, though they are few and far between. I'm not blaming Terrio, just that between three bad blockbusters you can't just ignore his writing contributions completely is all. Not as much blame as the director, producers, or studio, but some all the same.

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10 minutes ago, Greatoneshere said:

 

For sure but he could have done both. There are screenwriters who consistently write good blockbusters, though they are few and far between. I'm not blaming Terrio, just that between three bad blockbusters you can't just ignore his writing contributions completely is all. Not as much blame as the director, producers, or studio, but some all the same.


My brother went to school and remains good friend with a screen writer (Evan Daugherty) and the stories he tells about the notes process with studios are amazing. It is more surprising when a major studio movie has a good script than a bad one once you get a picture of how the sausage is made!

 

The best scripts for studio movies are almost always the ones where for whatever reason the studios were hands off. Otherwise it quickly turns into too many cooks in the kitchen.

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1 minute ago, sblfilms said:


My brother went to school and remains good friend with a screen writer (Evan Daugherty) and the stories he tells about the notes process with studios are amazing. It is more surprising when a major studio movie has a good script than a bad one once you get a picture of how the sausage is made!

 

The best scripts for studio movies are almost always the ones where for whatever reason the studios were hands off. Otherwise it quickly turns into too many cooks in the kitchen.

 

For sure - and Evan Dougherty was particularly burned with Snow White and the Huntsman, so I understand where he's coming from. And I will certainly agree it os far rarer when we get a good blockbuster script than not, for sure 100%. But three outright bad ones? Ouch. Well, I liked ZSJL, but most didn't. BvS and ROTS are trash films though.

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My favorite screenwriter story is when Kevin Smith talks about Live Free or Die Hard. He wasn't even credited as a writer (Mark Bomback wrote it), but by the final shooting of the movie, hardly any of the original script was left. Some had been rewritten by Smith, some rewritten by others, it was basically a constant back and forth with the studio. My favorite part is (as Smith explained) he was rewriting a part where the villain (Timothy Olyphant) gets some backstory or something because Bruce Willis wanted him to. Bruce Willis read it, said he liked it, they sent it to the studio who said "no," so Bruce Willis said "okay, let me ask you something: who's your second choice to play John McClain?" and hung up.

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1 hour ago, Greatoneshere said:

 

I mean, three arguably bad blockbusters in a row does say somethinf about the writer. I agree they don't have a lot of agency but that's pretty consistent data. He still did Heights and Argo, I like Terrio, just maybe not for blockbuster films.

Feature filmmaking is director's medium period. If his smaller films do well but the blockbusters don't that says more about the system than the writer. Screenwriters have next to no control over what appears on screen. Just the way it is... ironically it;s virtually reversed on Television where the writer has a LOT of power and the director is basically just a hired gun.

 

54 minutes ago, sblfilms said:


My brother went to school and remains good friend with a screen writer (Evan Daugherty) and the stories he tells about the notes process with studios are amazing. It is more surprising when a major studio movie has a good script than a bad one once you get a picture of how the sausage is made!

 

The best scripts for studio movies are almost always the ones where for whatever reason the studios were hands off. Otherwise it quickly turns into too many cooks in the kitchen.

This. I have several close friends who have movies that have been produced and distributed by major studios. It's almost a miracle when a big studo film comes out GOOD because of how the process works. If there's anything that screenwriters should not be held accountable for it's how blockbuster films turn out. They really have so little control over how the narrative plays out once they turn intheir scripts. Shit even during the writing of the scripts they are often required to shoehorn elements in that may not be what's best for the story.

 

1 hour ago, Brick said:

but had DC/WB lost the case they would have lost the rights to use Superman in any and all media. 

 

The specifics of the case was more about money than anything else. WB/DC had struck a deal with the Segel/Shuster estate in 2001 and the estate was trying to renegotiate that deal. They actually won in a lower court but was overturned upon appeal. Basically DC would have had to license Superman from them had they lost, but they ultimately won anyway and reached and agreement which was actually best for all parties involved. Has the Estate won, they would have had control over Superman and his costume and origin and that's it. All of the other elements of the character would hve remained with DC because that stuff was created under their banner.

 

 

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2 hours ago, Fizzzzle said:

My favorite screenwriter story is when Kevin Smith talks about Live Free or Die Hard. He wasn't even credited as a writer (Mark Bomback wrote it), but by the final shooting of the movie, hardly any of the original script was left. Some had been rewritten by Smith, some rewritten by others, it was basically a constant back and forth with the studio. My favorite part is (as Smith explained) he was rewriting a part where the villain (Timothy Olyphant) gets some backstory or something because Bruce Willis wanted him to. Bruce Willis read it, said he liked it, they sent it to the studio who said "no," so Bruce Willis said "okay, let me ask you something: who's your second choice to play John McClain?" and hung up.

 

Have you seen the video of him talking about the time he was writing a Superman script, and one of the producers had ridiculous notes? 

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13 minutes ago, Brick said:

 

Have you seen the video of him talking about the time he was writing a Superman script, and one of the producers had ridiculous notes? 

 

"The Death of Superman Lives" documentary.  The producer wanted the big bad to be a giant many-legged monster.  We never get to see the awesomeness of the Nic Cage Superman, but that producer goes on to make Wild Wild West :lol:

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1 minute ago, cusideabelincoln said:

 

"The Death of Superman Lives" documentary.  The producer wanted the big bad to be a giant many-legged monster.  We never get to see the awesomeness of the Nic Cage Superman, but that producer goes on to make Wild Wild West :lol:

 

Don't spoil it for him if he hasn't seen it. :p I was going to link the video if he hadn't seen it lol

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4 hours ago, Brick said:

 

Have you seen the video of him talking about the time he was writing a Superman script, and one of the producers had ridiculous notes? 

About the giant spider that later ended up in Wild Wild West? Or something about a bear? :lol: Edit: I see @cusideabelincoln beat me to it.

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I don't know which is better. The tiny arm or him being added to the Snyder Cut without being told.

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  • 1 month later...

It's better than the Whedon version imo, but that's like saying eating a week old baguette is better than dog food.

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1 minute ago, SuperSpreader said:

I don't know how anyone can be a fan of these movies

 

Most of them benefit from not being almost as long as the Capitol riots.

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