Les Toiles Héroïques Forum

Zack Snyder a écrit:In my mind, it was that Robin had died 10 years earlier, during some run-in with a young Joker,” Snyder tells IGN. “So there was a fun backstory there to play with. I felt like the whole idea was that there had been loss and there had been sacrifice. In a weird way, he had sacrificed everything to be Batman. He doesn’t really have a life outside the cave. I thought that including Robin, a dead Robin, was helping us understand that he’s been on quite a little journey.

RomainWW a écrit:Qui a tué le Robin, et quand :

Zack Snyder a écrit:In my mind, it was that Robin had died 10 years earlier, during some run-in with a young Joker,” Snyder tells IGN. “So there was a fun backstory there to play with. I felt like the whole idea was that there had been loss and there had been sacrifice. In a weird way, he had sacrificed everything to be Batman. He doesn’t really have a life outside the cave. I thought that including Robin, a dead Robin, was helping us understand that he’s been on quite a little journey.

DarkKane a écrit:

RomainWW a écrit:Qui a tué le Robin, et quand :

Zack Snyder a écrit:In my mind, it was that Robin had died 10 years earlier, during some run-in with a young Joker,” Snyder tells IGN. “So there was a fun backstory there to play with. I felt like the whole idea was that there had been loss and there had been sacrifice. In a weird way, he had sacrificed everything to be Batman. He doesn’t really have a life outside the cave. I thought that including Robin, a dead Robin, was helping us understand that he’s been on quite a little journey.

J'apprécierai assez que l'histoire de Robin / Joker ne soit pas identique au comics.
On pourrait notamment imaginer un Robin assez dur face à un jeune Joker plus perdu que réellement dangereux. Et, par là, le malfrat devient fou en s'apercevant que celui qu'il a tué en voulant se défendre est un petit gars pas encore majeur !

Zack Snyder a écrit:"I don't know, what is his symbol again? It's something like a Z but a Greek Z or something, I don't know. Does that appear in the movie? I don't think so, oh wait maybe a little bit. Oh that giant impression in the ground, oh yeah that's right. I mean, maybe he exists out in the universe somewhere, just looking for something, something that's against life, I don't know."

Downer a écrit:Il a pas l'air de savoir exactement de quoi il parle.

Peut être fait il simplement référence à l'utilisation la plus courante du symbole Omega? A savoir la référence biblique ("Je suis l'alpha et l'omega", l'alpha symbolisant la création et omega la destruction")?

Downer a écrit:J'avais pas compris.
Ah oui, je viens de capter. Il dit que Darkseid est à la recherche de quelque chose qui soit "contre la vie"?

RomainWW a écrit:

Downer a écrit:J'avais pas compris.
Ah oui, je viens de capter. Il dit que Darkseid est à la recherche de quelque chose qui soit "contre la vie"?

Oui, voilà. Moi j'ai l'impression qu'il fait allusion à l'Anti-Monitor. (coucou Justice League 2)

"I think all the way – to me, from Metropolis to Smallville is probably just on the edge of his range of hearing," said Snyder while addressing the issue of why Superman didn't react when Martha Kent (Diane Lane) was first kidnapped. "Also the clutter of the city makes it difficult as well."

Snyder goes on to explain, "We had a scene that we cut from the movie where he tries to look for her when he finds out that Lex has got her. It was a slightly dark scene that we cut out because it sort of represented this dark side. Because when he was looking for his mom he heard all the cries of all the potential crimes going on in the city, you know when you look."*

In diving deeper into why that scene was deleted, here's where Snyder's justification gets interesting. "I kind of like the idea that he’s taught himself not to look because if he looks it’s just never-ending, right? You have to know when, as Superman, when to intervene and when not to. Or not when not to, you can’t be everywhere at once, literally you can’t be everywhere at once, so he has to be really selective in a weird way about where he chooses to interfere."

"It was a lot to juggle. So the plot lines of a couple characters had to go. These people are currently in the movie but we don’t track them, and it’s okay. What’s kind of fun is that we went back and did an extended cut where we put a lot of this stuff back, and we refined it into the same rhythm as the theatrical release. So what was once a nearly four-hour cut with absolutely everything was ridiculous – ended up being about a three-hour cut, once all these added story lines were refined with the fat was cut out."

"I remember being a little worried. Three and a half hours, okay, that’s fine for a movie of this size, the way Zack likes to work. This was more daunting. But we cut down “Man of Steel” from about 3 and half hours, I knew we’d get this done."

"We work very well with our writers Markus and McFeely, the writers. We work very hard with them on the script before we shoot. That time on set is so precious. It kills us to shoot anything that’s not gonna end up in the movie so we try to have a very, very, very tight script going into the film and so there is a couple things but they’re not big things."

Mr. Toiles Héroïques a écrit:Ah oui, quand même...

A partir du moment où on atteint quatre heures... pour moi, ce n'est même plus la faute du monteur. C'est la faute du scénariste et du réalisateur, qui n'ont pas été capable de recentrer un minimum le film en amont. x pages de scénario = x pages de film. Si Terrio et Snyder se sont ramenés avec un scénario de plusieurs centaines de pages à tourner, pour au final couper 1h30, faut pas s'étonner que le budget explose et que le montage final devienne périlleux.

En parallèle, hasard du calendrier, les frères Russo ont pratiqué exactement la méthode inverse sur Captain America : Civil War :

"We work very well with our writers Markus and McFeely, the writers. We work very hard with them on the script before we shoot. That time on set is so precious. It kills us to shoot anything that’s not gonna end up in the movie so we try to have a very, very, very tight script going into the film and so there is a couple things but they’re not big things."

EagleWolf a écrit:Ce qui est intéressant ici c'est qu'elle se concentre sur l'aspect visuel magnifique et très fort de symbolisme.. et que ce que j'ai ressenti en voyant la version ciné c'est justement le paradoxe de voir ces superbes plans/tableaux, tout en étant constamment tiré de mon extase par certaines parties du scénario et des dialogues.. c'est désagréable car cela gâche une grande partie du gros travail esthétique de l'image.

Neimad a écrit:Un article qui semble plutôt intéressant (pas encore eu le temps de le lire).

Allociné a écrit:
"Je peux comprendre pourquoi les gens disent que [le film] était trop sombre ou qu'il n'était pas dans le ton de ce qu'ils avaient l'habitude de voir dans une histoire sur Batman. Je pense qu'il s'agit d'une critique juste".

Justice League, qui réunira Batman et Wonder Woman autour de la ligue de super-héros, devrait d'ailleurs avoir un ton plus léger, dans la lignée de Wonder Woman. Selon Affleck, ce changement de ton n'a pas été décidé après le bashing subi par Batman V Superman mais était une juste évolution des choses, prévue dès le départ :

"C'était déjà dans le script et installé avant que [Batman V Superman] ne sorte. L'approche devait de toute façon changer pour le second film. Cela faisait partie d'une progression naturelle (...) Zack Snyder voulait faire un film qui soit plus fun, plus léger et qui ne soit pas encombré d'un mélodrame trop pesant."