Watching Sucker Punch, it feels as if Snyder was worried he might never get a chance like this again, thus rolling the camera on every single action scene he could think of.
#DIRECTOR VS. PODUCER MOVIE#
The world he created in the movie was not just a place of wonder where anything can happen, but a place where everything simply happens because it can. Sucker Punch’s main characters merely served as animatronic avatars forwarding the walkthrough of Snyder’s twisted dream world. It’s safe to say this was a complete disaster. Repeating the success of his previous movies on a smaller scale with Legend of the Guardians: The Owls of Ga’Hoole, Snyder established himself as a profitable, visionary director… which led to his first original film, Sucker Punch a movie on which Warner Bros. Both movies offered a remarkable visual experience.
With 300, Snyder perfected his unique visual style and utilized it beautifully to create Watchmen. Snyder went on to develop himself under Warner Bros.’ umbrella by directing comic book adaptations 300 and Watchmen.
Snyder’s remake of Dawn of the Dead could have easily duped him to tackle low-budget horror flicks for a decade or so, but his unique vision and style made the movie a success. Some of them never made it out of the genre, while others – among which Sam Raimi, Oliver Stone and Peter Jackson – were tapped to flex their creative muscles by spearheading big blockbuster productions. The genre’s relativity low risk financial stakes offered many aspiring directors the chance to show off their talents. For several decades, the horror genre has been serving as a nursery ground for new directors. Snyder kick-started his career with the remake of the 1978 horror classic Dawn of the Dead. This brings me to Justice League’s Zack Snyder: an odd beast in the land of blockbuster filmmaking. Even a great director can slip up without proper supervision. Though by no means a bad movie, The Dark Knight Rises suffered from too many ideas and wound up displaying several underdeveloped story elements.
#DIRECTOR VS. PODUCER FREE#
The critical and financial success of Batman Begins and The Dark Knight in turn allowed him free rein on The Dark Knight Rises.
Christopher Nolan, for example, proved himself a visionary director creating low-budget films and was subsequently tapped to reinvent Warner Bros. Once a director has proven his worth, he is usually awarded more freedom within his future work. Still, a case can be made for the importance of producers’ influence on a movie. Here, the producers obviously failed in their attempts to curb the enthusiasm of a creative director. Age of Ultron left director Joss Whedon exhausted, ready to break all his ties with the cinematic universe he had shepherded for years. A prime example of this was Avengers: Age of Ultron.
Quite often producers are blamed for exerting too much creative control over their directors. The level of financial risk involved to create a product audiences feel is worth paying for, warrants the involvement of producers: the gatekeepers of the aforementioned money. The look and feel of these movies have to fit within certain expectations and must not break the overlapping narrative of the cinematic universe. When such a blockbuster is meant to help shape a financially successful, Marvel-esque cinematic universe, the stakes are even higher. For a director to step up to direct a blockbuster movie means to take on the responsibility of turning a ton of money into tons of money. Recent examples of cases where “creative differences” were the cause of conflict are the departure of Phil Lord and Christopher Miller from the as-of-yet untitled Han Solo anthology film and the much discussed departure of Edgar Wright from Ant-Man. The clichéd answer to most break-ups between a studio and its directors. Pim Razenberg on the debate on creative differences between producers and directors…Ĭreative differences.
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