As a film enthusiast who has traversed the tumultuous landscape of Hollywood for many years, I find myself deeply moved by Zack Snyder‘s journey and his latest work, Rebel Moon. His dedication to his vision, evident in the weeks-long process of regrading both movies, is commendable. It’s clear that he has a unique artistic flair, pushing boundaries and creating a more intense and visually striking experience for audiences.
[This story contains spoilers for Rebel Moon.]
After almost three decades, Zack Snyder’s pure vision for his “Rebel Moon” space opera has now been made accessible to you.
As a passionate gamer, I’ve had quite an intricate journey to bring my project inspired by “Seven Samurai,” “Star Wars,” and the vibrant pages of “Heavy Metal” magazine to life, under the title of “Rebel Moon.” This creative venture started taking shape in 1997 with my writing partner, Kurt Johnstad.
Following his departure from Warner’s DC universe in 2017, Zack Snyder found himself available for new projects, which caught the attention of Scott Stuber, a longtime collaborator who had recently left Netflix as their film chief. In an effort to rival major studio film franchises, Netflix decided to capitalize on Snyder’s talent and commissioned him to develop unique franchises for them. This arrangement led to the release of ‘Army of the Dead’ in 2021, followed by ‘Army of Thieves’. Before these films even hit the screens, Snyder had already contacted Matt Johnstad to initiate the long-awaited production of ‘Rebel Moon’.
Working together with co-writer Shay Hatten, Snyder and Johnstad drafted a 216-page script, which was later condensed to 138 pages before being expanded again by Snyder to maintain character depth. This expansion led to the development of a two-part story, released in both PG-13 and R-rated versions. This decision sparked debate among some of Snyder’s dedicated fans who desired unrestricted creativity from him. However, with an estimated budget of $170 million, Snyder accommodated Netflix’s aim to attract a youth audience not subjected to parental controls and facilitate merchandising opportunities more readily available for PG-13 content.
Snyder carefully mapped out each scene for the different cuts, understanding what would fit within the PG-13 rating and two-hour timeframe for the initial streamer release. This implied that some scenes, like the intense introduction of Ed Skrein’s character, Admiral Noble, needed to be saved for later, specifically in the 204-minute Rebel Moon — Part One: Director’s Cut and the 173-minute Rebel Moon — Part Two: Director’s Cut, which are set to release today.
As a dedicated fan, I’ve always been aware that the scene wouldn’t fit within the PG-13 rating for Part One. Frankly, I couldn’t envision a watered-down version of this pivotal moment that truly conveyed its essence. Therefore, we opted to exclude it entirely, knowing it would only appear in the R-rated edition. We all accepted this decision, understanding its significance and the impact it would have on the film as a whole. It’s a critical component that significantly alters the overall tone of the movie.
Under Stuber’s leadership at Universal, Zack Snyder gained recognition with Dawn of the Dead, but it was in 2007 with 300 that his career truly took flight. Co-written by Johnstad, this grand historical action movie convinced Warner Bros. to entrust Snyder with the task of adapting Frank Miller’s Watchmen. Impressed by Snyder’s style, Christopher Nolan recommended him for his reimagining of Superman. This led to the production of Man of Steel, starring Henry Cavill, and soon after, Snyder was given the challenge of utilizing this film as a foundation for DC’s response to the thriving Marvel Cinematic Universe.
Reflecting on the DCEU (often referred to as the Snyderverse) from our current perspective, it managed to generate decent box office returns for a fledgling cinematic universe. The films directed or produced by Zack Snyder during his tenure, such as Man of Steel (2013), Batman v Superman: Dawn of Justice (2016), Suicide Squad (2016), and Wonder Woman (2017) collectively earned approximately $779 million worldwide. This is a figure that many studios would be proud of in today’s pandemic-stricken and strike-affected market, but at the time, Warner Bros.’ executives had ambitious expectations for their main characters, hoping for both critical acclaim and significant commercial success on par with Marvel’s A-list heroes.
During the making of Justice League in 2016, Snyder faced second-guessing. Following the sad demise of his daughter Autumn during post-production in 2017, he chose to leave the film and the DC universe entirely. This departure led to Justice League being reworked by the studio through extensive reshoots, ultimately resulting in a film that was panned both critically and commercially. The disappointed fans started the #ReleaseTheSnyderCut movement, along with fundraising for the American Foundation for Suicide Prevention (AFSP) in Autumn Snyder’s memory. New management at WarnerMedia, including former CEO Jason Kilar, eventually approved Zack Snyder’s Justice League for release on HBO Max in 2021. The Snyder Cut was well-received by critics but still saw some disagreements regarding creative decisions behind the scenes.
In the here and now, Warner Bros. and DC have undergone a change in ownership and management. They’ve made amends with Snyder to such an extent that he is currently working on a prequel series for Warner Bros. Television based on the story of “300”.
“Snyder didn’t approach it in the context of ‘mending fences’. Instead, they were thrilled and so was the other team about working on something we could all agree was classic intellectual property. He finds the idea for streaming appealing and believes everyone is enthusiastic about it. He also mentions that he gets along well with those folks and everything is going smoothly.”
In a recent chat with THR, Snyder talks about the numerous modifications and alterations he’s made to the director’s cuts of Rebel Moon. He then touches upon Cavill’s recent appearance in the Marvel Cinematic Universe.
As a huge fan, I must ask, since I knew your vision from the beginning, just how eagerly have you been waiting to share these pure, raw pieces with us?
Feeling both nervous and thrilled, I’d put it that way. For a space opera, having all parts available – from the introduction to the final scene – seems beneficial. Consequently, my enthusiasm has been high, and Netflix has been exceptionally helpful, understanding, and accommodating as I work on these adaptations of the films.
What was the workflow for the PG-13 cuts versus the R-rated cuts? Simultaneous? One at a time?
Initially, each scene was filmed individually, creating the impression of working on four separate films. This process turned out to be quite demanding and labor-intensive compared to my initial expectations. Reflecting upon it now, it would have been intriguing to produce a single movie encompassing all four narratives.
I inquired about whether Ed Skrein would reveal if a PG-13 or R-rated version of the project would be released on the same day, but it seemed like that wasn’t the approach taken. Can you explain how you managed both versions instead?
In my opinion, I often allowed Ed’s actions to run their course, rather than interfering much. However, during the editing phase, we typically removed any strong language or excessive behavior that Ed might have included.
In the revised version of Part One, the R-rated introduction featuring Aris (Sky Yang) and Noble (Skrein) was notably absent. Excluding it has significantly altered my perspective on Aris. Previously, I saw him as a knight in shining armor defending an innocent farm girl (Charlotte Maggi’s Sam). However, now it’s clear that his actions are deeply connected to the execution of his family by Noble. Could this have been the most challenging scene to omit during the editing process?
Absolutely, that was indeed the case, but we had anticipated prior to filming that it wouldn’t be suitable for the PG-13 rating of Part One. Frankly, I struggled to envision a PG-13 adaptation of that scene that would carry the same impact. Consequently, we chose to omit it. The scene was destined to appear exclusively in the R-rated version, which we accepted from the outset. However, I wholeheartedly concur with your assessment. It’s vital and significantly alters the overall mood of the movie. When the Imperium arrives at the Veldt village, the danger becomes more palpable. The risks are fundamentally distinct, transforming the general atmosphere of the film.
Everything Aris does is recontextualized by that sequence.
Absolutely!
Yes, the scene where they retrieved Kora’s (Sofia Boutella) dropship was initially in Part Two, but it has been moved to the R-rated version of Part One.
Yeah, it got moved to [Part Two’s] PG-13 cut.
In the spirit of a dedicated fan, I’m curious: was the decision to adjust its placement in Part Two made specifically so that the PG-13 cut of Part One could maintain a more manageable two-hour run time?
Yeah, we just said, “Let’s just cut that. It gets us two hours easier.”
At the conclusion of the initial scene, we’re provided with a formal introduction to the High Scribes. They display the teeth taken from Noble’s victims and arrange them around an image of Princess Issa, suggesting that perhaps they believe Noble’s killings are all acts dedicated to Princess Issa.
I’ve often perceived it as a distortion of the Issa myth. They’ve taken control of the Issa myth and, unfortunately, even her death. In their scenario, since Issa is deceased, they’ve misused her likeness as a kind of moral justification for their actions.
Did the director’s cuts eliminate Anthony Hopkins’ opening narration, or was it because there was enough screen time to convey all necessary details without it?
During our post-screening discussion at the studio, we decided to add an opening narration to the film as it wasn’t originally scripted. We felt that this addition would help viewers better understand and connect with the movie, especially considering its R-rated content. However, I initially disagreed, believing that the rating itself should suffice in guiding the audience about the nature of the film.
As a longtime movie enthusiast and observer of popular culture, I’ve noticed a significant shift in the representation of romantic intimacy in big-screen films over the years. From my perspective, it seems that the once commonplace romantic kiss between leading characters has become increasingly rare in today’s blockbusters.
Certainly!
Could you explain how the two intimate scenes involving Kora, found near the start of each R-rated version, differ from one another?
In the love scenes, Den’s feels more business-like, whereas Gunnar’s is deeply personal. Kora and Gunnar have a mutual understanding and emotional bond that comes with a long-term commitment, which sets them apart from someone who is simply asserting their own desires.
As a film critic with over two decades of experience, I can say that receiving an NC-17 rating for one’s movie is no walk in the park. In my line of work, I’ve seen directors face this challenge before. Now, when it comes to Noble’s latest project, I must admit I was intrigued by the rumors surrounding its content. So let me share my thoughts on what might have led to the NC-17 rating for “Noble’s dalliance with tentacles.”
In our production, we needed to trim back some intimate moments, which might seem odd, but surprisingly, the inclusion of tentacles didn’t raise many concerns. What mostly drew attention was Noble brutally attacking Aris’ father, including striking him in the head repeatedly, and subsequently displaying graphic scenes of removing his brains.
As I tread the path of King’s Gaze, I encounter Rue Kali, a tech-wielding marvel. Not only does she fuel her devices, but it seems like she can absorb someone’s memories. Does she weep, reflecting each soul’s suffering and turmoil?
Indeed, the Kalies weep for their suffering, and they are tied to the energy of Issa. Over time, you’ll discover that they’re linked to Issa’s power, resilience, and fortitude, originating from another realm. They resemble formidable female warriors who have been imprisoned by the Imperium as a source of power, yet the Imperium has failed to recognize or fully grasp their true potential. This oversight will ultimately prove detrimental for them, as foretold. The prophecy that Kali whispers to Kora in her visions goes something like this: “One day, you shall rouse my sisters, and their fury will be my vengeance.” It’s not hard to picture each dreadnought as housing a Kali within it.
Indeed, when Rue Kali hints that her sisters will take revenge on her behalf, it initially left me puzzling whether she was predicting Kora’s imminent defeat or foreshadowing Balisarius’ assassination of the royal family. However, considering the gravity of enslavement as an action, it undeniably provides a solid ground for seeking revenge.
Indeed, she’s discussing the Kailes hidden within the dreadnoughts, which could potentially break free from their confinement and pose a significant threat to the Imperium. Essentially, they are like a Trojan horse that the Imperium may not have fully anticipated or monitored. This is the long-term concern regarding the Kailes.
In a nod to the traditional Star Wars trope of characters disguising themselves in enemy attire, your work takes this concept further by adding additional layers of complexity. Rather than making it as straightforward as Star Wars often does, you’ve made it more challenging. Was this deliberate, aiming to highlight the difference between our approach and that of the Star Wars universe?
Absolutely, what I meant is that I desired the scenario to appear plausible, given their capabilities. Kora’s expertise in protocol and system functioning, combined with their equipment such as uniforms and a dropship, provided the necessary components. However, I aimed to introduce a touch of technical complexity to make it more believable.
In Part One, the edited version rated PG-13 didn’t display Noble’s missing teeth. Was there a request for this omission because it could be unsettling to end the initial film on such an eerie note?
Absolutely, that scene was intended for the extended version due to its significant dental symbolism. Consequently, we chose to keep it, which adds to his growing madness.
In a version not included in the PG-13 releases, it was intriguing to discover that the Hawkshaws were observing the rebel villagers. This twist was necessary to explain why the villagers managed to take advantage of Noble, triggering the Battle of Veldt, as their original mission had to end unsuccessfully.
Indeed, the Hawkshaws played a significant role in Jimmy’s narrative, and as we began unraveling Jimmy’s story, they followed Jimmy’s journey along with him.
On that day, the eruption of molten rock and the subsequent red stain were strangely captivating. Could there be some explanation for this spectacle? Or was it a result of premeditated design?
After the engineering phase, we had numerous studies under our belt, giving us flexibility in two different approaches. In truth, there were possibilities to execute certain aspects instantly, but I foresaw that if we delayed the execution as a post-processing step, it would enable me to produce both R-rated and PG-13 versions of almost identical scenes later on.
In the extended version of Part One, Jimmy assists Kora in defeating the Imperial soldiers. Later, he embarks on a kind of spiritual odyssey. Could it be that Issa is subtly leading him, even if he isn’t aware of it?
When you grasp the mythology of the Jimmies – essentially their knightly, quest-warrior image – they were essentially made as guardians of Issa. Each Jimmy shares the same drive. If there are a thousand Jimmies, they all share this intense devotion equally towards her. Now he’s grappling with what it means to exist without her, questioning what life is and what purpose it serves in her absence. This is his current quest.
In the final scene of Part Two’s director’s cut, Balisarius (Fra Fee) is dressed in regal attire and delivers a public speech after being crowned. He then gestures towards his immense army and arsenal, indicating the daunting challenge that now lies before Kora and her allies, as they have only managed to destroy one of their dreadnoughts.
Absolutely correct! It’s similar to saying, “That was adorable in many aspects, but challenging too. Given that it was quite a feat to accomplish, I wonder what the next step is. What should we do next?”
Could it be that Balisarius speaks primarily through the astral realm now due to his past actions of killing the royal family? Is it possible that he’s attempting to avoid a similar fate by this means?
In the upcoming episodes, it’s likely that the astral plane will have a greater impact. This concept is crucial to understanding how our characters find the Kalies and interact with another dimension for communication. It grants various powers, including long-distance communication, but its full potential extends beyond that – it can even penetrate other realities. As we progress through the series, this astral plane will evolve into a more sophisticated and realized philosophical realm teeming with transcendent abilities. Eventually, it may become a significant narrative device or plot point.
At the brothel, we get a closer view of an intriguing alien sex worker. Is she the connection to the world of the Army of the Dead?
Absolutely! Here’s my attempt:
In her childhood, Arthelais (Boutella) found solace in the tale of the initial Princess Issa, revered as the Savior. Is Kora now the Savior, or is it still the present-day Princess Issa?
Indeed, it’s clear that the princess continues to live, hidden somewhere in the world [accompanied by a character named Jimmy, known as Bartholomew]. Once Issa is discovered, Kora will elevate Issa to a location where she can instigate change, and this role will be her main focus.
Did you change the color grading?
Sure thing!
Overall, what else was painful to hold back until now?
In our PG-13 version, we eliminated scenes involving baby spiders emerging from Harmada, as it was deemed too gruesome for the intended audience. However, this decision wasn’t made lightly; many aspects of both the PG-13 and R-rated movies were designed independently, making it challenging to label any particular scene as particularly difficult to cut. That said, I have a soft spot for the Kali sequence, which I found incredibly engaging. Additionally, the love scenes between Kora and Gunnar are crucial to developing Kora’s character and strengthening their bond. There’s plenty of action with a touch of humor, but it’s important to remember that the battles have consequences – more villagers meet their end in this version. Unfortunately, this underscores the gravity of the situation. Lastly, Nemesis’ introduction is significantly enhanced in the R-rated cut.
Indeed, your statement about the unexpected announcement of a 300 prequel series has everyone talking. Could it be that the current management at Warner Bros. is attempting to rebuild relationships?
In a different perspective, we were more focused on the excitement and the prospect of collaborating on what appears to be iconic intellectual property now. (Laughs.) It’s an engaging streaming idea that I believe everyone finds appealing, but I wouldn’t categorize it as something extraordinary. I just appreciate those people over there; everything’s good.
I assume you’ve heard about Henry Cavill’s recent cameo as Wolverine?
I haven’t seen it yet, but I did hear about it. Sounds fun.
Deadpool quipped that Marvel will treat Henry better than the studio down the street.
(Snyder grins.)
Is it particularly disheartening to see so much focus on past administrations and nearly half a decade of Henry’s peak years spent idly waiting, especially considering how well-suited the casting seems to be. The fact that such talented actors are being overlooked early on is one of the main sources of dissatisfaction.
To put it simply, Henry is like a superhero to me, given that I was the one who hired him. I desired nothing less than a superhero for this role, so any opportunities missed are unfortunate. In an ideal world, we’d have even more of Henry around. Whenever I think about your team, I often wish you could secure additional talent like Henry.
In a perfect world, what would you do next?
As someone who has spent years honing my skills and pursuing my passions, I can confidently say that I have a number of exciting projects currently underway. These aren’t just theoretical ideas or concepts, but tangible endeavors that are very much rooted in reality. While I can’t reveal too much at this moment, rest assured that an announcement is imminent detailing my next steps and the direction I plan to take. With a wealth of experience and a burning desire to make a difference, I am eager to share more about my journey soon.
You once talked of doing a small project in South America.
As a seasoned professional with years of experience in the dazzling world of visual effects, I find myself yearning for a change of pace. Don’t get me wrong; I’ve created some truly breathtaking digital masterpieces that have left audiences spellbound. However, my heart now longs for something more grounded and organic. I seek to explore the beauty inherent in nature, to capture its raw essence through a medium other than pixels and computer code. My life has been a whirlwind of digital wonders, but it’s time for me to dive into the realm of the real world.
Currently streaming on Netflix, the director’s cuts of “Rebel Moon – Part One” and “Rebel Moon – Part Two.”
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2024-08-03 01:57