>It's difficult to find a movie that feels true to itself. You feel the hand of Hollywood, the moviemaking by committee, on everything.
>[on Man of Steel (2013)] I think it's drawing on all mythology; comic book, religion, ancient, philosophical.
>
>[on the Superman character] All the movies I've made, I've made with a slight bit of irony. Not even a slight bit. A fair amount. But the ironic part of [ 'Man of Steel'] is that it's not ironic. You know what I mean? No tongue in cheek, no winking at the camera, no apologies. It's Superman. He deserves that. In my mind, we really had to act as if no films had been made. It's like we just found this comic book lying on the ground under a bed, and we were like, This would be a cool movie.
>
>[For me] Superman is this adopted son, this immigrant story, this guy trying to find his place in the world. What's his purpose, what is he supposed to do, how is he supposed to be?
>[promoting Watchmen (2009) and before he was hired for Man of Steel (2013)] In this world, if Superman really existed, he'd grab all the world leaders together in a room and say, 'Behave or I'll kill you.'
>
>[on presenting his male protagonists with superhuman physiques] I have always been influenced by the fantasy art of Frank Frazetta and obsessed with the potential of humanity's physicality.
It's difficult to find a movie that feels true to itself. You feel the hand of Hollywood, the moviemaking by committee...
>Turned down a chance to direct S.W.A.T. (2003) because it wouldn't be rated R.
>Attended Art Center College of Design at Pasadena, California.
>Studied visual art at Heatherlys School of Fine Art in Chelsea, London.
>Directed a commercial for Subaru WRX. He used it in his debut, Dawn of the Dead (2004), as the commercial before the "Special Report" on TV.
>2007 - Ranked #25 on EW's The 50 Smartest People in Hollywood.
>Was interested in directing X-Men Origins: Wolverine (2009) but later turned it down, because he was too busy working on Watchmen (2009).
>Dubbed "The Wizard" by journalist/filmmaker Chad Clinton Freeman.
>He has two children with line producer Kirsten Elin.
>Was 37 years old when he directed his first feature length film.
>He is a very big fan of the Superman series Smallville (2001) and has included references to it in his Superman film Man of Steel (2013).
>In 2001 Zack meet Joshua Henry Jones and became good friends.
>Was considered to direct X-Men: The Last Stand (2006).
>He was considered to direct Green Lantern (2011).
>In an interview with IGN, he named Star Wars (1977), A Clockwork Orange (1971) and Robocop (1987) as three of his favorite movies.
>Widely considered to be one of the most polarizing directors of his generation.
>Most of his films are released in March.
Trade Marks
>Flamboyant visual style using a combination of dynamic compositions, highly-saturated color schemes and visual effects.
>Often speeds-up and slows-down motion during action sequences (300 (2006), Watchmen (2009)).
>Slow motion shots of a fist punching a cheek
>Movies have very high body counts, sometimes accompanied with widespread metropolitan destruction (Watchmen, Man of Steel). '300' alone has an estimated body count of 585.
>Films generally deal with the tragic nature of heroism.
>His movies often have stunning visual effects with frequent use of slow motion.
Literally a Kino God, part of the Holy Trinity along with Winding Refn and Malick
Snyder - Pop Art
Refn - The Abstract
Malick - The Natural
What a cool uncucked guy.
You forgot that critics praise his visual style.
A modern rebel and human bean.
>a new literary movement which would espouse something like the New Sincerity ethos:[1]"The next real literary “rebels” in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the “Oh how banal”. To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows
>tumblr and reddit plebs want to kill snyder's vision of dceu because they can't tolerate the change
Just end me phamalam
Yet to hear a convincing argument how he isn't the modern Kubrick
He's shit
>ad hominem
>criticism with no substance
>buzzwords
oh look, it's a typical Snyder Sucks drive by post.
I wonder if he regrets the necksnapping.
He's good at cinematography I'll give him that. His movies usually have some cool shots. But he puts that stuff ahead of making a good movie. He's style over substance.
Style is substance
Would be cool if we had a thread like this for directors everyday on Sup Forums.
I unironically agree with this.
He literally directed the 4 greatest comic book films of all time. Quite impressive honestly.
> behave or I'll kill you
Sorry guys...he still doesn't get it...
He's talking about Dr. Manhattan in Watchmen, not Superman.
...
I think that movie was genuinely awful and among the worst cutting I've seen in any movie.
>2016
>critics