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Chris Nolan looking for "Superman" director

I suppose this would affect Duncan's "Mute" if he was chosen as the next "Superman" director. The fact that he doesn't want to elaborate is intriguing. Could mean he is having discussions.

It would negatively affect Mute only if he has mustered up the funding for the project--it may not have the budgetary ambitions of the most expensive films in the mulitplex, but it will certainly be more expensive than Moon. I wouldn't be surprised if Jones directed this film in order to get the opportunity to make more expensive films with personal appeal (the same route that Christopher Nolan, who is mentoring the project, has taken), the first of which would no doubt be Mute.
 
I suppose this would affect Duncan's "Mute" if he was chosen as the next "Superman" director.


That would profoundly suck if it did. This is exactly what I meant by following in Chris Nolan's footsteps. It's even more frustrating that it might be necessary.
 
Duncan Jones seems the safe choice at this point.

Safe choice? Are you crazy? His filmography at this point consists of only one movie, which was budgeted at only $5 million. He has another one in post-production, which is a bit bigger, but at this point he'd be the unconventional choice by Hollywood standards. Tony Scott, Zack Snyder, etc. would be more commonly considered the safe choice out of all those choices mentioned.
 
Yeah Duncan would be the risky choice where a studio was concerned with only one major film with "Source Code" in post as Jackson just stated. Duncan is the overwhelming fanboy choice based on "Moon" but by no means would he be the top studio choice.
 
Matt Reeves is getting a lot of acclaim for Let Me In, which does seem very promising. On a purely technical level, Cloverfield was pretty impressive even if I felt like I experienced vertigo after leaving the theater (however, that was what the film called for, so that is understandable).

I'm a little disappointed in Snyder's career trajectory as of late. He made a really brilliant debut with Dawn of the Dead but since has devolved into this sort of adaptation-hungry, slo mo-addicted, CGI-laden filmmaker and I haven't really been thoroughly impressed with any of his films since then (like I mentioned before, I didn't like 300 and I thought Watchmen was uneven). I have absolutely very little desire to see Sucker Punch, and honestly I just wish he made more original and slightly less visually similar work. I want to see him return to some of the snappier work like his Dawn of the Dead remake. With that said, I just wouldn't be interested in seeing his version of Superman. Plus, he has said that he doesn't believe modern audiences could connect with an "earnest" character such as Superman, which I believe is inherently false. That alone makes me dubious of him directing a Superman movie.

Also, after Superman Returns, I would say that Superman DOESN'T need a safe bet. A safe bet would be Superman Returns. You had a director who just came off directing two comic-book movies, making his film a sequel to the provenly successful Richard Donner/Christopher Reeve movies. It wasn't daring or original. It was pretty safe. What Superman needs is someone with a daring vision, similar to Nolan and Batman Begins, who will take the character into new, compelling heights.

I really believe Duncan Jones would be that person. He seems cut from the same cloth as Nolan, having directed a very successful independent feature that focused on character and story (similar to Memento), and I think he would be an excellent choice to tackle Superman. I think he could find a way to connect the character with modern audiences the way you could feel Sam's isolation and alienation in Moon. He's such an inspiring choice that WB would be fools not to hire him in my opinion.

Also, I don't like Tony Scott's style. He imbues his films with the same distinct, washed out, saturated, visually choppy look that has become tiresome and old. He's made some good films, but I just don't think he'd be right for Superman AT ALL.
 
I should clarify that I meant if Duncan is chosen and he accepts that this would most likely push back "Mute" or the project would go to another director which would be disappointing. I really enjoyed the script and was looking forward to seeing it after "Source Code". That being said I'd still want him to take up "Untitled Nolan/Goyer Superman Project".
 
I don't think Mute would go to another director. If memory serves me correctly, that was Duncan Jones' brainchild. If anything, it'll just get pushed back until after he does Superman (providing that he even does it).
 
I've thoroughly enjoyed all of Zack Snyder's films to date and I'm very much looking forward to Sucker Punch. As for Tony Scott, I'm a big fan of some of his films, particularly The Last Boy Scout, True Romance, and Man on Fire. Neither of them, however, seems a natural fit for Superman in terms of their respective styles and sensibilities, although it would certainly be interesting to see what they'd come up with.

Duncan Jones and Matt Reeves have demonstrated impressive talent in low budget filmmaking and it would be a risk worth taking to see if they could bring that talent to bear on a big budget project.
 
Duncan Jones seems the safe choice at this point.

Safe choice? Are you crazy? His filmography at this point consists of only one movie, which was budgeted at only $5 million. He has another one in post-production, which is a bit bigger, but at this point he'd be the unconventional choice by Hollywood standards. Tony Scott, Zack Snyder, etc. would be more commonly considered the safe choice out of all those choices mentioned.

My bad...I was thinking safe with fans...who seem to like him...yes it would be a huge gamble studio-wise.
 
Zack Synder (300, Watchmen),

= tyler Bates. FUCK. NO.

Tony Scott (Crimson Tide, Man on Fire),

= Zimmer. Have we really come to this???

Matt Reeves (Cloverfield, upcoming Let Me In),

= Giacchino. I could live with that, but ... there are better composers out there waitng to tackle such a project.

Jonathan Liebesman (upcoming Battle: Los Angles and Clash of the Titans 2)

= Brian Tyler. No thanks, I don't want any more trash.

and Duncan Jones (Moon, upcoming Source Code).

No John Murphy for Super's, thanks. Or any other composer he used.
 
(I'd watch a Duncan Jones Paint Dries.)

I saw that. It had Sam Rockwell in it.

Plus, he has said that he doesn't believe modern audiences could connect with an "earnest" character such as Superman, which I believe is inherently false. That alone makes me dubious of him directing a Superman movie.

I agree with Snyder. I've not seen Superman III and IV, but from those I have seen, I can't help but think that Superman is inherently unfilmable; not if you are trying to be serious with the premise. Superman isn't a character, a person--he's a cartoon. Somebody mentioned Jonathan Frakes? That would be best--make it a film aimed at the younger crowd, and give it to a director habituated to silly children's films.

Fictitiously yours, Trent Roman
 
The animated Superman series from the 90s and "Justice League" proved that the Superman character could be taken seriously in stories that aren't just silly kids' stuff, and if it could be done in animation, it could definitely be done in live action.

And to the person talking about composers, a director doesn't always have to use the same composer. Christopher Nolan used the same composer for all of his movies (David Julyan) and then changed it up for his Batman flicks. Whoever directs the new Superman movie could do the same thing.
 
and Duncan Jones (Moon, upcoming Source Code).

No John Murphy for Super's, thanks. Or any other composer he used.

Huh? He's directed two features, both of which feature Clint Mansell scores, and a short film, scored by Christian Biegai.

But I suspect, with Nolan in charge as executive producer, a Hans Zimmer and/or James Newton Howard score. Which wouldn't be my first choice by any means.
 
and Duncan Jones (Moon, upcoming Source Code).
No John Murphy for Super's, thanks. Or any other composer he used.
Huh? He's directed two features, both of which feature Clint Mansell scores, and a short film, scored by Christian Biegai.
But I suspect, with Nolan in charge as executive producer, a Hans Zimmer and/or James Newton Howard score. Which wouldn't be my first choice by any means.
If Jones does end up as director, I hope he can convince Nolan to bring in Mansell for the score. I'd love to hear what he'd work up for this project.
 
I'm sure if Jones is hired as director, Clint Mansell would be selected as composer. However, I wouldn't be adverse to Hans Zimmer composing.
 
Superman reboot producers Chris Nolan and Emma Thomas are currently looking for directors for their planned re-imagining of the DC comics superhero. They currently have a shortlist and that list consists of: Zack Synder (300, Watchmen), Tony Scott (Crimson Tide, Man on Fire), Matt Reeves (Cloverfield, upcoming Let Me In), Jonathan Liebesman (upcoming Battle: Los Angles and Clash of the Titans 2) and Duncan Jones (Moon, upcoming Source Code).

Nolan and Thomas will be meeting with each of these prospective directors in the next few weeks and Nolan will submit his choice for director to the studio shortly after that. The film has a projected 2012 release date, so WB wants to fast track the movie soon before the rights revert back to the Seigels in 2013.

Out of all those candidates, Duncan Jones would be my first and at this point only pick. His directorial debut Moon was extraordinary and I've heard nothing but superb things about his next project, Source Code. After Jones, I think my next pick would be Matt Reeves. Even though I thought Cloverfield was so-so, the previews for Let Me In look fantastic and the film is getting rave reviews. Besides those choices, none of them really pique my interest.

What about you guys? Out of those potential directors, which one would you prefer?

http://www.superherohype.com/news/articles/107703-emma-stone-in-the-running-for-spider-man-reboot

Zach Snyder would be reverant of the character, I loved Watchmen and 300.

Duncan Jones, I loved Moon too, but I don't know anything else about the guy.

Matt Reeves, well Cloverfield was cool effects wise, but I thought over all it was not as good as the hype.

I would naturally go for Snyder, but everyone else seems to lean toward Jones and I agree, put a non comic book guy in who knows how to develope characters, Nolan will do the other parts. I think Nolan realizes that Superman is very different than Batman and I think he will respect that. I actually have high hopes for this one.
 
The animated Superman series from the 90s and "Justice League" proved that the Superman character could be taken seriously in stories that aren't just silly kids' stuff, and if it could be done in animation, it could definitely be done in live action.

You disagree with my sense that Superman is basically a cartoon by referring me to... a cartoon? I've seen a few episodes of Justice League, and while I think it's a good 'toon that I'd gladly let me (hypothetical) children watch--certainly better than the dadaist fare that seems to make up the bulk of children's animation--it remains, ultimately, a program aimed at children. Which, ultimately, is what a Superman film ought to be, although I don't think you should bother with a live-action Superman film in the first place. It's not the character's medium, and just winds up being ridiculous. We don't need another Underdog or Superman: the Movie.

Fictitiously yours, Trent Roman

P.S. And, come to think of it, the version of Superman I saw in Justice League was rather different from the one I've usually encountered in comics and their adaptations. He was--I wouldn't say 'cynical'--but matured and wary. Certainly not 'earnest'. That kind of a Superman might have better luck onscreen, if the audience can be sold on an older, wiser version of a character iconic for his bumbling naiveté.
 
I have always been interested in a director attempting to do a Superman film with an already established and confident Superman. "Superman Returns" attempted to do this but then tossed in the emotional baggage of Clark returning after five years out in space and having to readjust to all the changes that had happened while he was gone.
 
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