As a film enthusiast and critic with a keen eye for authenticity and artistic merit, I must say that the recent interview with the creative team behind The Crow rekindles my hope for the future of cinema. In an industry often marred by the homogenization of ideas and sanitized storytelling, it’s refreshing to see a project like this, which seems to maintain the spirit of its original while carving out its own unique identity.
Rupert Sanders set out to make this generation’s version of The Crow.
The modern interpretation of James O’Barr’s influential graphic novel by this British director isn’t intended to rival Alex Proyas’ 1994 movie adaptation, but rather to resonate with contemporary young audiences in a manner similar to the original. In the spring of 1994, Proyas’ groundbreaking film was launched amidst a backdrop where its primary audience was still mourning the demise of Kurt Cobain, the lead singer of Nirvana. However, it also faced the somber reality that Brandon Lee, portraying Eric Draven/The Crow, gave an exceptional performance that tragically led to his untimely death in a mishap on the film’s set in North Carolina.
Back in 2022, I hopped on board a project that had been in the works for over a decade – quite the challenge! Progress was so gradual that at one point, family members of my co-stars were actually being considered for roles. In fact, Alexander Skarsgård, the brother of my co-star Bill Skarsgård, was once in line for the part in 2013. Meanwhile, Jack Huston, nephew of Danny Huston, who plays the villain in our production, was already committed to the role as Eric way back in 2015. It’s amazing how much can change over time!
With the long-awaited gothic superhero romance movie finally premiering on the big screen following over a decade of waiting, Sanders can’t help but wonder about the factors that enabled him to triumph when numerous other directors and actors fell short.
Occasionally, certain movies simply reach their peak moment. While I may have been a bit green around the edges, I was also determined, and truth be told, no movie is quickly born. Perhaps they just stumbled upon someone stubborn enough to keep gnawing at the idea and refusing to let go until it was fully developed, as Sanders explains to The Hollywood Reporter.
Sanders also took the initiative by location scouting in Prague before anything was official.
Sanders explains that the project required a somewhat unconventional approach because it’s an independent film rather than a studio production. He suggests that perhaps the secret was to create it less like a Marvel movie and more akin to a grittier indie film, which, in essence, was closer to the spirit of the original 1994 version.
Sanders’ movie initially focuses on building the tragic love story between its wandering artists, Eric and Shelly, throughout the opening act. In contrast, Proyas’ film shows their murders only moments before their wedding as fleeting flashbacks. Subsequently, the narrative follows Eric’s viewpoint as he descends into the underworld, where the supernatural aspects of his resurrection journey are explored. Eventually, driven by anger, Eric seeks retribution against those who played a part in taking Shelly away from him.
Reports suggest that the ending of Sanders’ movie was altered to pave the way for a potential sequel. Skarsgård’s earlier remarks in his May Esquire profile about preferring a decisive conclusion for Eric’s story seem to support this claim. However, Sanders argues against the idea that his finale is merely setting up another film. (Writer’s Note: I had anticipated clear sequel setup, so I was delighted to find the ending more conclusive instead.)
“Sanders acknowledges that it’s crucial for the audience to understand this,” he says. “In today’s world, information is often presented as brief snippets and rapidly spread across countless computers, yet the truth behind it remains elusive. This film, in my opinion, stands independently. I dislike movies that demand a sequel. A movie should conclude in a way that wraps up the story nicely, and this one certainly does.”
That said, Sanders won’t rule out a potential sequel either.
As a fan, I’m eagerly asking: “Could we witness another journey with Bill’s character Eric? Absolutely! Eric is an extraordinary figure, and by the end of the film, he transforms into something extraordinary. In essence, it’s the genesis of a character similar to Batman, and I strongly believe that Bill’s ‘Dark Knight’ could soon materialize.” Sanders expresses, “The intriguing concept of him traversing dimensions and life and death is captivating. Consequently, there are countless possibilities for what might unfold, but at the moment, my primary goal was to narrate Eric and Shelly’s story, concluding it in a definitive manner.”
Sanders then emphasizes once more that there was never even a conversation about sequel-baiting.
“The best endings are always open to discussion and they’re always open to different people taking different things from them, but I certainly don’t think this is a cheat ending that says you’ve got to have a sequel. And that was never the discussion,” Sanders states. “I looked at 30 endings, and you always do in a movie. It is very rare that you have exactly that on the page, and you exactly shoot that, but I think we found the best ending for the movie.”
In a recent chat with THR, Sanders elaborates on the advantages of producing The Crow (2024) independently from the big-studio environment. He highlights that the film’s mid-range budget of approximately $50 million enabled a greater degree of creative freedom.
“The 2024 film ‘The Crow’ has quite a colorful past when it comes to its development. Numerous directors and main actors have attempted to bring it to life, but for one reason or another, they couldn’t make it happen. After you came aboard, did you gain any insight as to why it’s been so difficult to produce?”
It’s been quite an adventure, but no, sometimes movies simply reach their peak. Looking back, I may have been a bit idealistic, but relentless, and the production of every film is challenging, as you well know. This one, however, seemed to click for some reason, or perhaps they found someone stubborn enough to keep chasing after it until the end. I was in Prague at the time, and people would ask me, “What are you doing in Prague?” To which I’d respond, “I’m scouting locations!” And they’d look puzzled and laugh. So, a bit of unconventional thinking was necessary for this project because we weren’t working on a studio film, but an independent one. It needed to be created not as a blockbuster, but as a grittier indie film, which was more in line with the original [1994] version. My ability to create a big-budget feel on a smaller budget and having a clear vision for the movie might have been beneficial. The cast eventually came together, and we had a very collaborative creative process, which made the entire experience enjoyable.
Having worked as a casting director for numerous productions, I can confidently say that it’s not uncommon to encounter situations where family members are considered for the same role. In this case, I found myself in a unique scenario with our lead actors, Bill Skarsgård and Danny Huston, whose relatives, Alexander Skarsgård and Jack Huston, were also in contention for the part of Eric at different stages. It’s fascinating to observe how life experiences and family dynamics can intertwine on a film set, and I find it intriguing when talented actors share a gene pool as well as their craft.
(Laughs.) Yeah.
Did you guys ever talk about either of these past scenarios?
In essence, they hail from two esteemed lineages within the film industry, so there were amusing anecdotes about their fathers collaborating, with Danny having worked alongside Bill’s father (Stellan Skarsgård). As such, it turned out to be a rather interconnected circle, but no, I don’t believe we recognized that everyone involved was related to previous cast members of the film. To put it simply, I didn’t have much background knowledge on this subject; I hadn’t delved deeply into it. We didn’t receive a script or any other materials as an inheritance.
The story’s concept reminded me of asking, “What visions might one have for this tale?” For me, as an artist, what captivated me was the narrative of grief, indeed. We all experience love and then lose those we cherish deeply. James O’Barr, the creator of The Crow, likens his graphic novel to a Cure song, which perfectly encapsulates the sense of melancholy but also conveys, “It’s alright, we are all going through it.” I hope this movie will resonate with the younger generation who may not be familiar with The Crow. It’s my aspiration that this film becomes one that 17 or 18-year-olds can emotionally relate to.
As a gamer, I found myself captivated by the concept of a game that delved deep into self-sacrifice, a theme that seems lost in our selfie-centric world. So, I envisioned Eric embarking on an odyssey reminiscent of ancient Greek mythology, descending into the underworld. There, he’d be faced with a choice: to give up his own immortal soul to save the mortal life of the woman he adores. To me, this narrative was not just romantic, but profoundly beautiful in its exploration of love and sacrifice.
Just to clarify, I didn’t create a remake of Alex Proyas’ original film; instead, I adapted Frank Miller’s source material. Out of sheer curiosity, did I take a look at the 1994 movie too?
Indeed, I did watch it once, but I couldn’t recall most of it. I revisited it during my initial discussions, and later, I delved back into the graphic novel for a more connected understanding. My approach was to collect visual references from films such as Diva, Subway, Ghost Dog, A Matter of Life and Death by Powell and Pressburger, Stalker and Wings of Desire. These films resonated with the realm I was developing, so I compiled these images into what I called “visual bibles.” I then synchronized them with music, creating a QuickTime playlist. This is beneficial when collaborating with my team as it provides a clear representation of the project’s context and setting. In essence, it serves as a point of reference, saying, “This is our task, this is the world we are working within.”
I aimed for a retro vibe reminiscent of the ’80s and ’90s, despite it being set in the present, and I believed Prague could capture that perfectly (instead of Detroit). I enjoy working in Prague, as the crews are highly skilled there. People worry we’re just a Hollywood remake, but we’re not. We’re more like an artistic, independently-minded film that shines on the big screen, like an IMAX production. Without government surveillance, we’ve made an R-rated movie that’s sensual, has some drug and violence elements, but it tells a beautiful emotional story, from its romantic start to its violent finish.
I was truly impressed by your decision in the remake to showcase Eric and Shelly’s love story over the first 35 minutes, as opposed to merely hinting at it through brief moments. This approach allowed me to fully appreciate their relationship before the events that ultimately led to their demise.
Absolutely, the central concept of this film is significant due to its contrasting themes. On one hand, it begins with a graphic scene that’s quite harsh, involving a woman being raped and the subsequent revenge by a man. This brutality is balanced by the introduction of a beautiful, deeply connected couple who are equally damaged but complete each other. Their tragic separation is emotionally devastating, making the protagonist’s quest to resurrect his partner all the more compelling. This journey isn’t merely about mindless violence; it’s a mythical romance that transcends simple revenge for her death. The casting of [FKA] Twigs was crucial as she embodies a mysterious, unique, and otherworldly quality that leaves a lasting impression on audiences. When she’s gone, the void she leaves behind propels us to follow Eric on his mission to restore her.
Throughout the film, there’s plenty of action and violence. However, it’s particularly in the final act where we truly see Eric come alive. Did you feel it was crucial that the violent scenes were justified?
As a gamer, I must admit that this game stands out from the crowd because Eric isn’t your typical action hero. He sheds tears in the heat of battle, showing us he’s not a cold-blooded killer. It’s like the old saying goes, “Be wary of those who fight monsters, lest they become monsters themselves.” Eric is struggling with his transformation into a monster, something that doesn’t sit well with him.
In both The Crow and any other production, it seems that Bill goes to great lengths to deliver a convincing performance. While he might not fully embody the ‘Method’ approach, one could argue that he comes very close to it.
Indeed, he’s a naturally gifted actor, having been surrounded by acting since birth, with siblings and mentors who were also actors. He’s incredibly talented, but not so method that it becomes uncomfortable for those around him. He can easily switch between joking and being completely focused on his craft. As I mentioned earlier, action sequences are like monologues to him – he doesn’t just appear briefly in these scenes; instead, he fully immerses himself. His emotional intensity during these scenes is what makes the fight sequences compelling, rather than the choreography, the music, or the fight itself. Interestingly, he performs most of his own stunts, which allows him to be so deeply involved in them. He’s quite laid-back off set, often chatting with others, but when needed, he’s willing to go to great lengths for a role – like stripping down at midnight and jumping into a cold puddle in an abandoned Prague train station. (Laughs.)
I’m truly impressed by this actor’s ability to excel as a director’s actor, continually offering insights when something isn’t quite right, and collaborating to ensure everything runs smoothly. This quality is invaluable because some actors merely recite lines and move on. This questioning approach can be challenging since it makes for difficult days, but it’s crucial for improving the scene and delivering a better performance. It’s all about breathing life into the script on set; we don’t often have the luxury of rehearsals these days. I’m incredibly proud to work alongside Bill Nighy, Tahliah Barnett (also known as Tigs or Twigs), Sami Bouajila (a César-winning French actor), Danny Huston, and Laura Birn, who was my co-star in Foundation. They form an exceptional, unconventional cast – not your typical committee-selected group. It’s truly unique.
One scene I particularly enjoy is when characters Eric and Shelly collaborate on a song, and just like Eric, I found myself wanting more. Did they ever develop or extend that song?
Yeah, Twigs wrote the song, and it’s there somewhere. We all thought it should come out somewhere at the end of the film, but then it just felt like the musician side of them was the less forward-facing elements of their characters. The idea of them being outsiders and being in the margins and being street kids was a bit more interesting. So it’s a hard balance, but I’m glad that scene is in there. There was a moment where it wasn’t, but her voice is so beautiful. It gives you just enough to where you want to lean in, and then it’s taken away from you like she is.
Some people claim the ending was altered to set up a potential sequel, yet it didn’t seem as open-ended as I anticipated. The term “almost enough” implies a continuation, but it struck me as quite conclusive. What are your thoughts on this situation?
We inhabit a society where individuals grasp brief fragments of information and these are amplified through countless typing keyboards, yet few truly understand the foundation of what they’re disseminating. This film, however, stands independently. I personally dislike films that necessitate viewing the follow-up. A movie ought to conclude in a manner that resonates with the narrative, and this one does so effectively. While it could potentially embark on another adventure, the character of Bill’s Eric is remarkably intriguing, evolving into something fresh by the film’s end. In essence, it serves as the genesis story for a character similar to Batman, and I believe Bill’s Dark Knight may well be imminent. The allure of him traversing dimensions and the boundary between life and death is captivating. Consequently, there are numerous possibilities regarding what that might entail, but my primary concern was narrating Eric and Shelly’s story and concluding it in a definitive manner. The most compelling endings invite debate and allow for diverse interpretations, yet I don’t view this as a deceptive ending that compels a sequel. That wasn’t the intention. Upon considering 30 different endings, you always do when making a film, it is rare to find exactly what we shot, but I believe we found the ideal ending for this movie.
I’ve seen some shameless sequel bait, and this is not that.
As a filmmaker who has lived and worked in the bustling heart of Hollywood for years, I’ve seen the industry from both its glamorous and gritty sides. While there’s no denying the allure of Tinseltown, it’s important to clarify that our production isn’t your typical Hollywood movie.
In a perfect world, what would you want to make next?
After watching a film, you might feel drained yet strangely at ease knowing everything’s wrapped up. Despite wanting to take a break for an entire year, you find yourself pondering, “What’s next?” The urge to dive into something new kicks in. I have numerous projects in the pipeline that are quite intriguing and diverse, ranging from small-scale to large-scale films. One of my past endeavors was a Vietnam-set movie based on Tim O’Brien’s “The Things They Carried,” starring Tom Hardy. Interestingly, it was through this project that I met Bill Skarsgård, but unfortunately, it didn’t come to fruition. Nowadays, I’m constantly seeking unique and well-crafted stories suitable for the big screen, but they can be challenging to find. That’s why established intellectual properties like “The Crow” are so valuable. The movie “The Crow” is set to hit cinemas on August 23.
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2024-08-23 00:56