Zack Snyder Quotes
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We've tried as hard as we can into keep the ideas intact in the hail storm that is Hollywood, so, whether he is or not, I'm personally proud of what I've been able to jam down their throats.
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I understand the rules of Superman - not necessarily better than anyone else - but better than a normal filmmaker would. After doing 'Watchmen' and digging that deep into the why of superheroes, when Superman is presented to you, I felt like I was in a unique position to say 'I get this guy. I know what this is.'
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The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
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I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.
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It's more like Christmas, you know, when you get a shot in that looks great and it's exactly what you want. It's a great feeling, and there's nothing like it.
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It's difficult to find a movie that feels true to itself. You feel the hand of Hollywood, the moviemaking by committee, on everything.
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Music has that ability to be a magical thing, and I was like, maybe music is the vehicle that transports us to that other world.
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The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.
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I always say, I'm certain I changed 'Watchmen' less than the Coen brothers changed 'No Country for Old Men.' I'm certain of it. But you don't hear the Cormac McCarthy fans, like, up in arms about it. They should be. It's like an amazing Pulitzer Prize-winning book.
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We didn't shoot in 3-D. They've talked about doing a conversion and there's been a lot of talk about us doing 'Sucker Punch' in 3-D, but I'm still waiting to see.
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The difference between 'Watchmen' and a normal comic book is this: With 'Batman's Gotham City,' you are transported to another world where that superhero makes sense; 'Watchmen' comes at it in a different way, it almost superimposes its heroes on your world, which then changes how you view your world through its prism.
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[Writing something original from scratch], the initial process is way different. But once it exists and you start to actually work on making it real, then the approach is kind of the same, for me anyways.
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The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.
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I think that, for me, Superman just seemed to make a lot of sense to me. After doing 'Watchmen,' it was – you know that thing, you've got to know the rules before you can break them? There was something about that in making 'Watchmen.'
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'Watchmen' is like the music you feel is written just for you. 'That's my song, no one else gets that but me.' That's why the fan base is so rabid, because they feel personal about it.
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It's interesting now that basically a CG set is the same cost as a real set. So like if you're going to build a CG house in the suburbs, it costs you $200,000. And if you were going to build it in a computer, it'll cost you $200,000. It's the same... the relationship is exactly the same.
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We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.
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I write in a pretty straightforward way. I kind of sit down at page one and start writing.
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In the Making Of book ["300"] there's a guy named Victor Davis Hanson who is a a frickin genius. He's a Greek historian and we showed him the movie because I wanted him to write a forward to the Making Of book. I was a little nervous to be honest, because I wasn't sure how he'd react.
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I love the irony of movies. I really do. For whatever reason, I'm incredibly intrigued by the irony of reality in a motion picture.
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I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.
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I want to - we're working toward Justice League, and I really want to create the - part of the thing I really want to create is the possibility of a world where they could exist together.
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You can't will something into being. If you follow that philosophy all the way, to will something into being, that's animal style. That's what man does. But if you're looking at the philosophy correctly, and I never did - I like to think I did sometimes - you have to do it without ego, without the I. You have to separate yourself.
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I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.