OFFICIAL Batman V Superman: Ultimate Edition Watch Party with Zack Snyder by VERO True Social.

to technology okay I think so I'm just gonna check with hey guys I'm just checking and make sure it's live that's all if you guys are listening to me let me just just check stay frosty keep your stay ready I'm just gonna check with Wes to see if it's working I'm calling him right now is it working [Music] it says that I'm that I have a connection I have they're down down down that's always gonna be buffering constantly buffering I was talking to Larry Fong on this a second ago and he said that it was part of it he saw a part of it live so maybe it is can't tell if it's okay good all right good I just thank you sir for the confirmation okay hi Ellie goodbye okay so on let's see I'm just gonna go to my barrel probably shouldn't open barrel because I'm gonna crash the whole thing I'm supposed to be delay I'm just buying some time to make sure everyone's on so I'm just if I'm not if you don't see BBS up right this second it's because I'm just getting ready to go to it on my thing I'll turn the camera in a second but I just want to check check one more thing before we launch this madness if you're interested in that sort of thing ding-ding-ding okay it's gonna check something okay all right turned and and and and and by a tow by 808 I'm gonna turn the camera and start this hmm dude oh yeah that's my sound [Music] ayman said it's not working on his side you're watching me okay well I buy it I buy his ins you're watching me - Ellie okay well I'm gonna give him five more minutes and then I'm gonna start so all right I'm gonna tell I'm gonna say west on me doom doom doom riveting riveting Ritz riveting television this is my coffee I'm morning coffee coz it's early earthy it's well it's 806 so hopefully you guys been hanging on since 8:06 a.m. Oh clay eNOS is seeing me Larry sees me so I feel like there's a lot of people all right well I'm just gonna I don't want to interrupt clays thing there I was gonna FaceTime clay about I'm gonna wait he's got me so at 810 or at 808 I'm gonna turn the camera and we're gonna start to talk about this movie um Batman vs Superman don't have just this Ultimate Edition especially I don't know Ultimate Edition I think it's called I have my um I have my menu from my itunes menu up so I'm gonna turn the camera and like scroll through my movies and find Batman V Superman I have all my supplies here this is not a short movie I don't know if you guys are aware of that but let me check let's check you gotta hang on gotta hang on hanging up painting I brought my my books down these are my storyboard books so we can refer to them occasionally I'll show you some trying there's a lot of them I mean weathers for this movie there's only four but they're big books so you can see there yeah I think stymie now 808 in New York New York okay I'm in now a lot of people are in so seems to be working it's not super reassuring but think I'm gonna take it alright so seems to be working let's let's try let's try this thing so this is what how I'm gonna do this I'm going to turn my camera now to the screen and then we'll get the movie up and I'll pause on the frame I'm gonna turn the lights down so you guys can see the frame really well now I'm gonna take a few minutes to make sure everyone gets the frame to think that I'm actually gonna check with some people to make sure they have the frame because I want to get that timing squared away so let's let's turn the camera so let's turn the camera to the screen so this is my that's the page let's scroll down and find a lot of Barbie movies I see yeah it's my secret passion kids also use this oh there it is don't Batman V Superman dawn of Justice 28% fresh that is just a rude so I'm gonna play it now but then I'm gonna pause it so don't freak out oh whoops yeah I want a better frame but I feel like that's pretty good I'm gonna turn the lights down now okay I'm turning the lights down so you can see the frame movie level let's see how that looks take a look pretty good alright so let me ask I'm gonna just ask Larry if you can see that frame I'm calling him right now so stand by hey Larry can you see that frame yeah yeah you thought you saw pretty good I know can you do two at the same time Jesus I can look my shadow since I'm in the theater I can show see the leaf this is my shadows the leaf is right covering that in so you get pretty close if you can get right to that yeah that's it that's my frame no way okay good so that's serendipitous so hopefully hopefully everybody landed on the the M leaf covering the end frame feel good about it alright I'm gonna go I'm gonna try Wes and see if he's on the same frame God that I'm here guys so don't freak out that's the right friend we just asked what if he's on it too if I can get a couple people to consensus I will begin the process what do you think can you see it you got it Ellie can you see it okay so long I'm gonna be alright alright thanks guys okay so now I'm going to turn it back I'm going to turn the camera back around let's bring the lights up my remote control which I've lost everything and now I will bring the camera back around okay so we're gonna do a ready set go and we will begin this process so I will push play I'm gonna say 1 2 3 play ok so that's how we're gonna do it everybody get your finger on the button if you pushed it by accident I'm gonna give you a second to get your pitcher catcher rewind and get your leaf back over the W or the end sorry over the end of Warner Brothers on the first shield you guys know how to do it get your get your W back I didn't mean to false start anybody but the next time I do is gonna be for real so it's gonna be one two three go and so you'll see happen to put my finger on the button that way you'll know all right here we go ready 1 2 3 I think it's playing all right so he's opening frame I'm gonna turn my volume down a little bit I really want to have these like leaves to uh to sort of signal fall you know and the fall of of course the movie begins with the funeral and ends with the funeral it's a very it's a cyclical film it was all designed to sort of you know begin and end in a circle to to give this impression that like you know at first that there it's hopeless but then as we learn and as we grow through the process of discovering our humanity that funeral become something else you know this Death of Superman concept Superman's parents was a thing I'd always wanted to I really always been fascinated with like the death of the Wayne's so wanted to wanted to do it kind of my way Jeffrey Dean was kind enough to lend his incredible talents to to this to this to this little scene and Lauren as well so it was kind of them to to do this for me I appreciate it and then of course the amazing Damon Caro playing Joe Chill and this sequence was was kind of him to also participate you know Jamie and I have worked together on every movie since Dawn of the Dead I've known him for a super long time and you know I really I really thought it was perfect for him to play this part yeah there were there he has a cameo actually in Watchmen or he does this kind of similar scene where he's mugging again I'm lugging someone into now he so he seemed he was really good at it knew how to do it I'm you can see Michael Wilkinson of course there's a longtime collaborator awesome good shot of Damon there the pearls of course is like you know like the pearls are there I don't know they become like this staple of the look I have you know even like in my little Beatles you can see like there's pearls everywhere that shot right there so good fun um sorry there's a you know a lot of people up I have these talked about like the way I I you know make a movie and I tend to draw the script take the script and then draw frame by frame you know each shot in the movie you know we look we also you discover stuff as you go but you know it's always uh if this is always for me that one of the most important processes is drawing drawing the shots so that that that's always been for me like the the easiest way to sort of visualize the movie before you shoot it I'm not really a big fan of the the shot list becomes abstract to me like and I have always very specific needs when we're shooting as far as the details of the frame and like what you see and how the frame has manipulated and so for me drawing it is always much better and I always when we're working and Chris Terrio is a genius and wrote an amazing script but it in the once we get to this point I'm always like I'm always like look at the look at the storyboards first before you look at the script storyboards go script storyboard shooting so it's like you always have to the last thing you look at should be the storyboard before we film not the script unless it's the words and then the words we could talk about but that's a different process but I'm just talking about making sort of visualize and thing and Larry Fong who I was just you know chatting with on the interwebs he's been an amazing collaborator with me since we were in film school together we were you know we made super 8 films together you know for our basics the film class that's where we started as a as a collaboration so it was he he and I work really well together and he's always like you know he understands also like my whole like where are the drawings he's always like where the drawings you know I need to know what we're shooting so it's a it's a clear thing there was been jumping out of the helicopter a little early we got he got in trouble for that the safety guy was like don't jump out of the helicopter until it's landed it's not cool to you know and he was like look I gotta get you know save metropolis I can't I got to get to my people at Wayne industries there so it was by the way we use in the movie I think it was you know Larry always said we were talking about like I use take 1 quite a bit you know because we do a lot of pretty hardcore sort of choreography in action and a lot of times take one is the one and then we'll shoot another eight takes and be like you know let's look at one again and then like oh one was good so he torch everyone gets tortured but we still get that we still get the shot um and so you shoot the rehearsal you know that's Larry's rehearsal cat if you're familiar with rare scat he says that if you shoot the rehearsal it's not a rehearsal um which is 100% [ __ ] I remember when we shot this actually there was a little bit where you see this car we forgot to take that ramp you can see that little ramp right there that we use to get the car down that that little embankment to get there this was downtown Detroit and it was the people of Detroit have been were super kind and I had a great shooting experience there it was an incredible place to shoot and just a great it's a great city and great great group of people up there there was a sequence when Ben was driving where he did knock the camera off the side of the car cuz we had on a hostess try you know he had to weave through all these Park cars which was cool if you haven't broke if you don't break a camera while shooting you're not really probably doing it right you know you gotta destroy some photography equipment in order for really for it to be it was Chris Maloney crashing into the world engine from another movie that I made called nano steel wonder if anyone's ever done a like a you know five hour cut which would basically just be editing these two parts of the movie really together carefully I've never seen that I'm sure it exists online somewhere where you really match up all these moments so that they're happening simultaneously um I don't I don't know if any was something I'd have to look but it feels like a cool thing to do because it would all it all should match up pretty pretty well cuz they're right below the right they're fighting right below if you watch that shot they punch out so it could be kind of cool anyway I I haven't seen it but I'm sure hopefully someone's editing it right now um this sequence of course was uh you know where we were trying to do some you know show the sort of post 9/11 what is the world in that in that world at this kind of imagery you know and what it suggests to you know the collective sort of psychic trauma that occurred from some sort of devastating event in an attempt to kind of superimpose on to Bruce Wayne's psyche this vision of destruction that we could connect with because we've lived through this other horror and so even if we understand now from the outer perspective that Superman is saving the world from being essentially terraformed into another planet so that the greater good is being served you know it's like Ozymandias type scenario where you you know kill you know a big sacrifice is made to save the world you know and I would say that and not even intentionally in this case it was just like Zod is a powerful dude you can't to suggest that you could beat defeat him without him nearly winning is not really realistic or at all the kind of consequence I wanted you know from my superhero movies I like I I don't like this idea that like there's no consequence you know that these characters get to knock around in our world and they don't create and solve giant problems you know because that's the mythology that you know if you look at the like even back to like if you look at Greek mythology and how gods interact with us in the past they've always exact at a terrible cost on on us as a people so so eighteen months later that would be the cut if you were doing the extended version you would go from welcome to the planet to eighteen months later then here we are somewhere in the Indian Ocean we shot this in Bora Bora so it was a bit of a boondoggle we went down there and hung out for I guess it was like a week and shot this and it was good fun and it's always fun to shoot you know underwater and this kid was amazed he was like I think I remember it's I'm saying he's like one of the youngest guys to surf Teahupoo in Tahiti and I don't know if you know it's a massive break and he beautiful break like incredible reef break big thick wave breaks there and it's uh and this kid was fifteen and he had surfed it and I was like geez it's just amazing this guy got to come down with us you'll see later he plays the he plays like we see him at the dock when the kryptonite's being offloaded from the like from this from the ship and he from the Portuguese and he was just pointing at it and I was like oh you could be the guy who discovers it so then even though he's just like a stunt man he was there for the day we ended up taking him to Bora Bora he was like this is awesome um there's Michael Cassidy who is uh who plays Jimmy Olsen and he actually just I just worked with him again he's in army he has a brief role in army the dead not brief but well slightly brief but cool he does that he does an amazing job again it wasn't one of those things where I was like I would just come out for a couple days and he ended up having to stay for like a month it's no I appreciate it when actors roll with the punches this sequence we shot also in in New Mexico at this kind of there was this facility and it's I think it was an old was a mining town of some kind that I forget what the tungsten mine or something like that I forget exactly but they'd built a mining town around it and then the mine went bankrupt and so then the CIA and other law enforcement communities were using it for training and then this and then I guess the US military or had built a sort of Afghanistan style village there and then we took that village and turned it into Africa so that was that was how we and if you there was a sequence in the script where they took the electronics away from them but they allowed him to keeps analog camera Jimmy keeps the analog camera that's why he has that that's why he has the the analog camera that and that was his trick to keep the tracking device that no one would suspect an old range-finding camera of having the tracking device because it's such a simple piece of electronic it's not even an electronic at all you know it's just a device also the sequence originally I'd planned that much on Superman's entrance I had planned a much you know bigger action scene but in the end I felt like it was better to just just to go with a simpler simpler entrance for Superman because I really liked the parallels of his entrances you know here and with Lex later this kind of like lightning bolt entrance which which would be very otherworldly and and like like well like how a God would enter you'll see Callum was in rise of an empire and we he did a really great job and so I thought I'd put him in this movie and he and he's he's really cool in this movie he he's a you know of course a great a great bad guy and we see him throughout the film and gave him those little sort of Russian mafia or gangster tattoos on his hands and he's got a couple more but you see the ones on his back of his hands I just like the idea that Jimmy was a you know a spook for the CIA I always felt like Jimmy you know never was capable that capable in there and to see him being able to like speak foreign language people always ask me if he's dead in this scene like do we see him again does he come back to life I don't think so it implies a bigger universe it implies alike a these dominoes are falling you know as we go forward you know I only it's uh it was a five movie arc and the as the dominoes fall as you go you are ended up with the consequence and so you the world is rebuilt again each time the movies continues so you know if this was a TV show I would say for sure we bring Jimmy back you know well let's figure out a way or I would have just constructed it in a different way but in the case of you know this kind of limited view of the world you you you I think you you know you sorry I started watching the movie yes yeah I think this limited view of the world you you take your pieces and you you move them it's like a chess game you move them ahead as you need them and you and the ones that die off die offer a reason and they hopefully as they die off they give us something they teach us something as they go you know and that's kind of what their their role is you know in the mythology that is sort of the superhero you know Pantheon you know you want to you want to use sort of mythological strengths of each character to like teach us about who they are the this the why of their existence in the comic books to begin with you know and that's up to like you know of course that would change in time as people you know as different directors or different comic book artists you know continue the legacy of the of the of the work you know they they can change and reap I'm sure you can make a Jimmy Olsen TV show if you felt like it or Jimmy Olsen movie it's one off origin film of Jimmy Olsen but like for me this is the purpose you serve you know and that's fine I like this this is the entrance of Superman and of course he has that look because it's exactly this is exactly what Lex wanted you know that the creation you know bringing Superman to this politically volatile scenario to lure him into a into a messy a messy political world you know which also underlines the kind of y-you know Superman with its clean morality having to deal with these gray areas is kind of what this whole thing is about and then I really like the idea of these um when our guys are like special ops team have to like sort of they get to see what it is that was staged kind of perfectly for um like the aftermath of like what it would look like you know if Superman had like you know been a wrathful God you know so they kind of staged this world for our for our guys you know you know Lois knows the truth I think that the you know the cloud the fog of war you know where we're like so affected by it this sort of imagery of conflict you know we end up sort of when we when we get the story as we do here in the in in at the at the committee meeting we understand how it translate back to us at home you know and that it would be really easy to sort of create imagery that could bring the sort of morality of Superman not even the morality of Superman but his actions into ended question and I think that Holly does a great job is sort of being this voice of reason sort of this really clear nod non-judgmental but also what I would say thoughtful and and very and very clear in her it's like how the story goes through Holly him back to the world is a very is it really it's a really sort of modern way of looking at how Superman's morality would be perceived by this is one of the this football sequence there's uh Anton Clarkson plays the quarterback and this Eli is quarterback coach this kid right here and was one of the first things we shot metropolis and I thought this football metaphor how you would sort of show the way to cities kind of interact using their two football teams as as um as a metaphor I think it's pretty it's kind of a fun that's a fun way to just start it and of course we get to see TC later that's cyborgs cyborgs alma mater if you will or the team he played for before his injury this was an old house in Detroit that we that we found for this sequence it was it was kind of a who's that look Debbie's here Debbie just showed up you might have to come back there or you can come you want to sneak in how's it going it's going good it's going really good we're just at the sequence where um I think Christine sound in there somewhere there she is right over there this is the sequence we shot again this is like you know I wanted to sort of establish that the bad guys are really bad you know like it's not just I mean literally sex trafficking these women putting him in a cage in a basement would be something that you know hard to defend you know the morality of a guy who who's like caged these women and you can imagine Batman would be not into that and again you know this whole concept of him branding criminals the idea was that he had kind of lost his own moral compass and that he had kind of become you know what he beheld and I think that that idea the whole idea of this movie is that to create this arc or Superman through his his hatred of Superman but then his realization and that and sort of when he confronts Superman's humanity that he finds himself again you know that's kind of what the whole the thesis of the thing is is that they're all humans and that we all when we connect on on the level that we both have the same our mothers have the same name that is that is like this really sort of fundamental we both have these we both have a mother and so we're both human even though Superman is from another planet his connection to humanity is so clean that Batman is able to like realized himself this was a fun sequence to shoot that's all CG shot it just like the roof you know pan across and then DJ who is my longtime collaborator visual effects supervisor was able to create this amazing little like run across but I think I am you know I always intended that was like a cool let me just see what that looks like in the drawings was all run down and then by the end of the shoot it was like being oh yeah they completely fixed it up so that if you were to go to if you were to go there today it looks like it's a good looking yeah it's a good looking that's a good looking building now ah these are all push ah ba there he is yeah like here's the you know here's that here's the shots of Batman Harry is up in the in the corner and then he goes across that roof so yeah it's very much I hope for it was a realized very very well liked by the guys be able to create this sort of visual effect affects some and then there's this the branding but do we rebuilt or rebuilt we hadn't we rebuilt it later but we built this apartment for Louis Patrick did a really good job I always thought it was like a really kind of fun apartment although it's probably too nice for a reporter you know I don't think reporters make that much money but it's a pretty sweet apartment that she's got there and then there's Clark and she's hiding the bullet though he probably could see it through the wall although I don't know if he's looking I mean is he really trying to look through the wall he's just trying to bring his lady flowers I really wanted to like establish right away this kind of in a way a kind of a normal life what's that it's okay okay um it's kind of normal life you know for these two in a way this kind of domestic kind of intimacy you know like the fact that Lois you know is just taking a bath is the kind of thing that's like completely only couples you know where they just they're with each other in this intimate way that's not and it doesn't establish any kind of like you know formality to their relationship other than how they deal with each other and I really wanted that to be like to be like front and center because I just felt like they're just a normal couple you know other than the fact that they have to deal with these kind of world issues you know I wanted them on their on their personal level to feel very connected and very kind of normal you know and this is stuff that we do Debbie and I all the time like you know I'll bring your flowers in the bathtub that's a very common it's super common and then you know I mean the problem is you know Henry's not quite as ripped as I am but it's yeah and then I there's a really cool shot of the glasses yeah I really like this glasses shot I think I drew that shot exactly like that and I like that little detail you know that he doesn't have to wear a disguise or on Lois that was kind of the you know he has a pretty meager disguise by the way glasses I always loved that convention of Clark Kent he puts on his glasses and like you know like oh my god who's that you know it's a really great does our first look at the Batcave Patrick did an amazing job building and designing this we built it full scale in Detroit in a giant warehouse or a giant warehouse in a giant soundstage in you know at the stages where we shot so it was this beautifully constructed and massive set that was completely completely worked you know you could go down the stairs and batmobile's parked down there and there was an armory over behind us that way and that's where the the Robin costume is to remind him constantly always remind him of the death of Robin and engineering too cuz it cantilevered yeah it really did cantilever yeah it was tricky because like it really if you if you're standing on the sort of the driveway it you could really you could see underneath the whole superstructure and then the cliff went up and underneath it so it was really it was an amazing it was an amazing thing to see and if you just walked in there just look like the Batcave it looked like you're in like some sort of uh Disneyland ride you know you could imagine coming down I remember we shot that early to that picture on the cover there clay shot that and we you know we built we drew a number we wrote a number of newspaper articles Doug and Lexie did an amazing job just creating this massive amount of of reality to the world I mean even when Bruce there's like a newspaper article about Jack who dies in the when the building crashes in Metropolis and there's an article about them going to like I think it's like a corporate picnic with Bruce's dad when he ran Wayne Enterprises and that and the Jack was like a junior executive at the time you know he was like a like a young executive that knew Bruce's father and that's why Bruce kept him around and he had met Bruce at a picnic or something so it was like that deep of a dive in the sort of back the thing you would never see but that they worked on there's Jesse I really love what he's done here we went with that red hair based on the early DC Comics you know you see Rex Lex with red hair but did we try to evolve him over the course of this you know Lex Lex is very interesting sort of study here in my opinion he um you know we wanted him to be like that's the sort of the corporate brute and more of a sort of intellectual sort of in this sort of modern study of what a what a super villain might look like and how he might use his resources and his the fact that he was you know probably bullied by his father and people when he was growing up you know and that his word games you know they they give him this sort of intellectual superiority because he's not a hundred percent interested in you following him all the time but he likes to give that error that he is it makes like he's the kind of guy that if you take it apart it makes complete sense but you got to stay with him on an intellectual level and if you can he doesn't care in his opinion you've kind of like he's he's assess your your ability to reason and and if you're not up to it and he's like moved on and he loves that ability to like flex his power based on his and you have this we do you we wanted him to have that blue ball you know it's this kind of symbolic like the worlds in his hand kind of or is see a little blue planet he does it right there and that's uh that's great he and Holly actually worked really well together because like you know they were you know they're they're they're very um intense in their sort of rendering of these characters and I really like the I like that when they went at it with each other because it was always really real and visceral and that was a cool big Lex that lexcorp's time we built that was for real we had it was big neon sign I think we had to send it off someplace had built and then that sign was supposed to represent like the old Lex Corp you know and that you know when they modernized they kept a sign before they knock everything else down and he put it in the lobby as some sort of relic and then this is the scoutship site if you remember in mana steel the scoutship crashed into into the city and the concept was that the government just kind of couldn't move it so they just built like this containment center around it and this is that's shot some sort of beautiful yeah 2001 references and i just feel like um it's cool to have Lex just not really that involved with the like he he's transcendent like he gets he gets his own you know corporate pass to go into this super restricted area and then also told in this sort of nonlinear way where you get to see the where you get to see the this sort of jump back in time to before this happened and then after you know it's very it's kind of a really cool way of doing it I always enjoy this kind of sort of visual games as well like where you you kind of jump in and out of the of the reality of the time that you're watching but it's fun there he is shaving the fingerprints off of Zod that he's gonna use to get into the scoutship you need Kryptonian fingerprints I guess and they did such a great job at making that Zod body the blob body is so good it's so real looking it was scary every time we were in the room with that you'd be laying on the in the morgue or something and I would look down at it and I would just wait for like Shannon to leap up at me or something and scare the [ __ ] up it would have been really cool actually if he had come on a plane and like laid down in there and and and it scared me I would have really that wouldn't it super cool but I don't I don't I'm just gonna check on the sink cuz I don't know I have no way of knowing if anyone's watching this or not or so I'm just gonna check with clay and see how it huh if he can if he's still in sync so just one second your scoot he's again amazing did an amazing job we had to do a we did a little green-screen trick of course on his um on his legs to get rid of them and so we just had the you know like just we would just do a clean pass and then they'd paint the legs out and really really good job and and he's done a good job of you know having to do this climbing with no legs you know have to do all his his arm climbing it was really specific shot I drew where the wheelchair rolled back when he grabbed the hand but oh and this is Hiro's park I think we're seeing it for the first time you know this kind of park that they built dedicated to dedicated to Superman's sacrifice but you can see a time you know sentiments have changed a little bit and we kind of have a a new a new kind of emotional thing happening where people are starting to feel differently about Superman you know I'm starting to get a glimpse of it we recreated this Daily Planet yeah we built this in Detroit this was like just in an office at the stage where we where we built the built this uh built this Daily Planet so but but it was almost exactly as it was in Chicago where he'd built the original Daily Planet so we had to rebuild it in Detroit those are the kind of things you have to do in movies you build an entire thing you knock it down and then you build it somewhere else and it doesn't have to make it look make it so what we had to do out there was we had to do green screen here of course because we didn't have the buildings that were in Chicago about the windows but we were able to UM to get it pretty close you know it's a pretty it's a pretty it's pretty close look and then this was this this was an incredibly hilarious long take that we did of Clark walking through the entire ferry but then we just used to end up using the end of it but that was metropolis on that side and then that's Gotham over there in our world the Gotham metropolis worlds are um they're very close to each other so it's kind of but we but it seems to be it seemed to be a really cool way of showing like the two worlds and then this is um Clarke supposed to be doing the football story and instead he's following a different he's following a different track I really like this um I really like this sort of investigative reporter Clark it's kind of a fun it's a fun take like he you know like he has like the morality of a reporter you know it's such a cool like um such a cool aesthetic for her for Clark Kent you know cuz he has on one hand his like ability to change things physically he can do anything but then he has this other tape where he can you know like a reporter who won't accept you know a lie he has to go to get to the bottom of it that's a really interesting two prong approach here we have Bruce down in the Fight Club looking for looking for some information Callen yeah I talked about him being in yeah there's Bevin he was Bevins a friend of West collars I've known forever and try and put him in a movie whenever I got a chance plays the bartender slash bookie I guess or whatever you call it the money guy um and then this is my hands of course you know I always do the close-ups of the hands yeah you've done a lot of hands I said we're gonna make a hand real happy good I could get some jobs I think in movie at least I've been did I even did Batista's hands in army just now so that was fun only in a couple of shots all right because I want to make sure the kids are being okay okay they're up there with Grammy okay good but I just wanted to say hi to everybody and thanks for joining and just thank you so much for all your like outpouring of love and support we see you all and we really appreciate it so you know thank you so much it means a lot to us um we love what we do but when we see that other people really love it too it really and how it's touched so many lives it really makes a makes a big difference so we appreciate it so thanks and it was good to see you I just wanted to pop in for a little bit and I'll see you later yay all right baby I'll talk to you later um so this is sort of the first scene also like we did this whole thing with Perry to where like Perry was kind of like he's kind of the bridge he helps us bridge the sort of you know 1930s hard-boiled reporter sort of aesthetic and concept sort of the old America to the new America where you know sort of the morality of the nation is has changed you know and so Perry sort of represents that transition and I think it's I think he does an amazing job kind of acting as like the sort of captain of this ship that you know which in you know modern newspaper is is you know people don't read papers you know that's a great this is great this scene I wanted to sort of there's a great parallel between weirdly between Bruce and Lex you know and so I've sort of set these I built these two sets to to have a similar a similar vibe to what you see in Bruce's relic so the two concepts are that this relic of this house this room he has been transported to his super modern house that he has had built but he kept this room exactly like a tune like a tomb to hit to his father just like Bruce has kept Wayne Manor though the two parallels are that Bruce has let his be destroyed while Lex has preserved his you know it's almost like the opposite like Bruce is gonna let his go but affected him but and and and Lex has not you know like we're left with the Bruce that was sort of destroyed by watch his parents die we're here we're still he's still in the process of becoming what that what the consequence of that world is we're seeing that manifests itself granny's peach tea which is fun I think I would always liked it I love Hollies rendering of that it's really it's really cool um you know she's just so good I've always liked Hollies always been one of my favorites you know one of my favorite actors of all time getting to work with her we wrote this part specifically before because I wanted to put her in the movie so bad and this sort of Paradise Lost kind of image you know to me is like always like two topless painted that painting Patrick did based on a doodle I had done and then based on some photo reference you have some painting references that I gave him about like what I wanted to feel like you know these kind of whether it be an etching from the you know it's kind of a gothic 18th century or 17 cent or 19th century like gothic like wood blocks that you see like or let's graphs you know that you see and it's kind of really cool okay of course there's that there's a Superman reference in that painting there if you looked at the metropolis it's very like this dream sequence is very um sort of carefully constructed the idea wild flowers from the from the Wayne estate like the blood dripping you know all that I have it in here it's this is like chakra shot you know and I think this was also one of the first things we shot you know sorry I'm watching like that I got lost watching them I was waiting for that good jump but then and originally you know if you this whole sequence to me was like you know Ben is like one of these guys that like he he is he's like self-medicated sort of psychologically self-medicated as far as his his trauma is concerned you know he's never given it up and this is the Glass House we built on a small lake in Michigan it's like one of my favorite sets we've ever built it's it's based on the Farnsworth house the Mies van der Rohe house it's which is actually remarkably it was close to Illinois very close to where the the Wayne where we were where Wayne the Kent farm was sorry the Kent where the Kent farm was the actual this actual house was it's weird it's it's cool parallel but yeah I like the idea that he this is kind of you know he the drug of sex and the drug of drugs and the drug of alcohol these are all things he uses to kind of dull the pain that he that he sort of lives with that's why he hasn't really doesn't really have a relationship you know outside of Alfred you know he's just had a hard time connecting because of this pain that he has that he lives with so he uses relationships as a instead of as a way to like find humanity and people uses them to sort of dull the pain of his own the own his own trauma that he deals with so he's been invited to the party of course there's this is a first look at the Batsuit in its kind of little layer there and again Patrick did a really cool job we always I think I think I have a drawing of that of the see if I have a drawing of the Batcave because I think it's a cool look here's the here's the shot of here's the wheelchair shot where is that all right here see there's the wheelchair rolling back and then there's the hands grabbing the thumb that's my car it's in this one I think that's weird to see that let's see there's the fighting sorry guys just I think this is a cool thing to see that's Bruce Wayne oh yeah you can see here in my original drawing in my original drawing here's the original concept and I did which was the the there's kind of an that opens and it comes up out of the ground and then you see I'm standing before it and then there's Robin in the background I always had that concept that from the Dark Knight Returns you know that idea that Robin then he goes up the stairs so that's very similar to the night day and night night and day so you hear that song there this is a good example of like what we were talking about with them with the sort of wordplay and the sort of concept to the Promethean like Prometheus as a concept as you know that Lex has this notion that he's this Prometheus bringing knowledge to man like he's the defender and kind like he a given it against Superman right so he he has this paradoxical view of Superman being like better wanting to show that like you know a God cannot be both well we'll learn it a little bit you know all good in all power this is always a I like those shoes it's an ad lib of course really fun and then we got those uh that big server I can't stay here and you know Alfred's always trying to you know you he would love it if Bruce found a relationship I'd be great this was a where we shot this was at in Michigan at the Michigan the University where this was a it's a library no it's an art gallery and then we took it over and made it into Alexis house if you look I think behind behind Clark there in that direction is the library Lex's library where he keeps it and there goes of course there goes gal this is fun it's fun oh I that motorcycle in the background there I I gave to Damon at the end of the movie I don't know if he still has it but it was a he's a amazing friend of mine and collaborator and I felt like he need a motorcycle I really like this sequence this little exchange is really fun it's cool also that I like this notion that you know you could see just how it would be for Superman II he can hear everything you know like he hears that he hears the Alfred talking speaking in his ear but this is fun but I'm really fun to see those two going at it I I really oh yeah and there's Tao Tao was a plays mercy of course and she was amazing she's just such a great such a great actress and you know so such a great contrast to Lex you know I think she's she's guy I want to see I'd love to work with her again she was really fun and she does a great great job in the movie yet I really like and then here's just the sort of more the Lummi scene that there's this fire in Mexico and he has to get down there and help these people can't really be that concerned with a with a millionaire you know playboy I might be doing something weird compared to like the real like pressing loss of life that Superman has to go deal with and then of course we have we have Wonder Woman kind of playing her part and that there's a little reference to her Greek origins or her I'm not Greek but you know I mean it's illogical see so then we have this sequence coming up where of course she's a good driver this sequence here where I really like want to use this um this kind of sort of visual like imagery to sort of tell the story that Superman like the dilemma that he faces were like the more he saves people and the more like miraculous things he does like he doesn't he doesn't see himself as anything other than just trying to do the right thing and he and and this sort of superimposing of like this godlike morality over him is them you know this was absolutely reference to like I've Allah I I shared with a lot of got like a lot of with Patrick and everybody like I did a lot of drawings of this stuff and those things are always all about like you know Jesus with the cross you know sort of trying to find a way to use like you know sort of religious imagery that we're all familiar with it's in the D in all of our collective psyches things we've seen throughout our like lives you know this imagery of like even this like atlas you know with the world on a shoulders kind of imagery like that combined with these images of you know christ-like images even in the context of like I'm rescuing someone it you you understand how this that could easily become that the lines could get blurred for for normal humans is kind of like you know this kind of like guy floating up in the sky like how do you not rely on him for to sit to solve all our problems and that's not what he wants that's not his thing he's he's just trying to you know he's an easy kid from Kansas just trying to do the right thing and and we look at him like this and we ask a lot of him we do use the word unilaterally quite a bit but I think it's appropriate for the concept you know it's kind of uh it's an interesting it's an interesting dilemma you know that he faces all right why should we be for a second I'm gonna go I'm gonna hit the head hold on I'm not going don't go anywhere I'll be right back watch this scene Jena Malone Jena Malone my favorite she's a genius she's amazing she was in a movie I meet called Sucker Punch and she did an amazing job and I wanted to get her in here to do this part in PBS and she's awesome here's a here's Clark starting to starting to really dig into what's up with Batman and really starting to like understand the Batman is is is not is a threat you know he's there's no like he's questioning morality you know really really cool I don't see him shadows in Detroit real prison in Detroit and it was it was a the guys were really guys were really cool they let us they let us um you know shoot in there and it was it was fun to shoot a real prison as far as its textures and reality and stuff it's really cool here we have Lex recruiting scoot you got the swear word in there the [ __ ] do you want I guess that's how you know it's an r-rated movie this version is rated R of course it could have been more probably but and then here's this now scoots got his wheelchair and he's gone to see ya Holly who is you know we're sort of seeing the consequence of like hee-hee directly you know this is correct he has a direct he blames Superman directly and that's CT I got who plays the place this the prison killer Ct Fletcher I'm on green who's uh used to play for the Green Bay Packers if you know he's heard of him amazing running back what yeah and then and so this is like a direct there's a way that Superman can be directly responsible for this harry lennix is uh pretending to be a human being but does a great job and so but has this relationship with Lois I think that is really um it started a Man of Steel if you kind of track their relationship you know Harry understands that there's a relationship between Lois and Clark who he understands to be who he knows of course is Superman but um you just see if I gotta this is a great this is a great line I think right here this was a Kris and I really we really loved this idea that it's not 1938 this notion that like Superman as he was created you know this world is more the world's more complicated and morality that Superman is facing in the real world is more complicated in 1938 John Stuart Cooley did this little piece for us back here where we are right now this was a Swanwick scene yeah here we are this was this big wonder that we wanted to do I used to have I had that Alexander the Great Alexander the Great statue in my office for a long time and we had in the gym I think and after we shot this scene we moved it to the gym in Michigan to the house gym in Michigan and we used it just as like this amazing you know look like we had a giant marble statue in our gym which was cool this is a it was a gall and Ben's first real dialogue together and they did that they did a really cool job I mean this was great this is a fun level seeing them and I think Michael did a great job this dress is really beautiful made specifically for the movie he's sort of Alexander the Great here's my you can see there's like a little insert of the arm grab I like the idea that she could easily just chuck him aside if she felt like him but um but you know as you know she didn't she doesn't impress I'm just sorry I'm looking through my drawing to see if there's anything super interesting here well here's my doodle of the cop with the bat-signal bashing the robber and it's kind of like this idea that the police and the police and the and the and Batman have some sort of like relationship to each other so here's a little sequence where we get to do a little decryption of the what Bruce found at Alexis place and I guess it's boring waiting for word to decrypt so he fell asleep maybe I'm not sure or I'm not sure whether it's a byproduct of flash cracking you know on the on the treadmill on the cosmic treadmill whether it creates some sort of riff it allows Batman to see into the future it could be a combo of those things regardless here we are in this post-apocalyptic world where Darkseid has taken over earth and he is creating a version there's the fire pits and everything of apocalypse we have a we have convoy that's just returned from some sort of mission where they've captured something we have big Omega symbol itched into their earth out there which is dark sides logo and we have this kind of it's kind of sort of what I'm trying to do is like there's a culture here where Batman's kind of running the show and defending I would say probably what's underneath us this is this this kind of this is the lake and that the valois is probably that the caverns of the Batcave that they've used to to to turn into their headquarters and so they've stolen this thing from the old Lex Corp and it is a piece of kryptonite but no it's a trap it's green light and then you see these are the Superman stormtroopers that have set the trap for Batman because Batman's the guy that that Superman's looking for more than anybody and so they just like or they have no it's not really a prisoner or scenario and Batman doesn't like the idea that his guys are getting killed so this was a one-er we did that's all i max by the way this is the IMAX cameras all shot with IMAX cameras on a big crane we had built this cut the side of the truck so that you could boom the camera out and then we had to reconstruct it was a little CG and so this is all some of this is a lot of this to CG you know all the backgrounds and everything even some of the guys and soldiers and the fighting and also the all the transitions to get between the takes to make it seamless these are the parademons different kinds of parademons - then we see and you know we have the normal ones and then we have the kind of more locus II looking ones the sort of scarier ones which I like and then the helicopter back there is actually dropping also more super so more Superman super soldiers so there is this sort of like a relationship that's been or like a team team and so not all the like humanity has been turned into parademons some are used to infiltrate the last you know the the human resistance on earth and Superman at this point has probably succumbed to the anti-life equation and his he serves the will of Darkseid and he is also looking for Batman who he blames for the death of Lois Lane in this in this alternate world she was my world which is referenced to you're my world he says at the end of the movie you'll see I mean and so it's easy for Superman to kill someone of course physically easy and so this is the flash running through time coming back to warn Batman you know not to kill Lois Lane I guess or or that Lois Lane is the key I'm not exactly sure what he's supposed to do with that knowledge but at this point but we talked about that it's um you have to find us there there's this also this idea I had this idea that the in the future when they're talking about sending flash back in time to warn him that cyborg who's doing the would do the calculation to send him back would say this is Mike this is where I I have two possibilities of where to send flash back in time the numbers pointed to moments to warn you and you really wanna the warning to be closer to the moment where we're or Bruce needs them from like if Bruce has if it's right near the moment where this event might happen where Lois might get killed or or Bruce isn't able to stop it or whatever however that's happening it would be important if flash came closer to that moment so that Bruce could understand the reality of it and so in the future he says bruce says cyborg like what in what what times would you send me back and goes here or here and he goes what time right now would you send me back and he goes I'm leaning towards this one and then Bruce says do the other one because you already sent me that one and it didn't it was too early so send me the other one so that's that's how he's able to get it send him back again and he gets him too because in the new timeline he goes to a different point in time that's closer to the event that we haven't seen yet in this film is itcool this was a cool set I really enjoyed it it had like a lot of cool little details and even just that big red screen with all these schematics of the of the of the Batmobile I like the Alfred's just working on the Batmobile and then I like that you know he also fixes like the aston martin - you know he's got to keep that 1958 asked Martin running and he's got to keep the Batmobile running I would probably I would say that the Aston Martin might be harder to keep running though I love it more than anything it's just you know trickier 1% this is the whole notion I think it was a I think it was a quote we took from I think it's Dick Cheney I can't remember where he said if there's even a 1% chance we have to take his absolute certainty I have to I'd have to look it up I think tario would probably know the answer to that but it um it's a cool it's a cool it's a cool notion that his morality is so strict he would believe that to be the case this is the that's what I showed you earlier my little doodle I think Jared did this drawing jared is a longtime collaborator you can see that great batter up which is a nice little like you know political cartoon that's always fun this was a cool sequence when we shot it that baby was crying the whole time and I felt really bad and so we had to do it in just a couple takes except where you see where she kind of puts the baby down out of frame and then we just added the crying over the top of it like like like the baby's just standing down there he's he's like a um a toddler and she did happen by the hand and the first couple takes then we and then and then we had to let him go to his room because he was really upset so it's it's hard see there he goes and you can see that I love this line I'm so good why Portuguese probably okay here's the see areas again it was this moment here where he points up the thing that made ended him up in bora-bora five months later 30 there you go it was in Reverse we shot that I was like okay so now you're with us the rest of the the rest of the journey this was a cool sequence this little this this was a big driving sequence we put together this included a ton of first and second unit work but we shot over the course of a bunch of nights in Detroit it's a cool shot of Batman up on top of the on top of that crane and of course this is our kryptonite being loaded into the thing there's I like that the implication is that Batman has a sniper rifle this is like an Dark Knight Returns image slightly you know where he has the sniper rifle and then this was our beginning our driving sequence out of the docks or spider here's the Batmobile in action mmm I was cool about that shot was when we did the first tape of that car getting hit it went up on top of that that container or that little construction office and it landed directly on top and it didn't it was like this crazy coincidence just stayed up on top of the container and so we were like oh that looks crazy so we had to take it down and do it again only this time we weakened the containers Oh crush it so it's funny that or the office but it was one of those hilarious coincidences where a giant car just landed perfectly on top of the container this is uh this is an example of the Batmobiles armaments and its weapons I'm sure these guys are fine they're gonna be a hundred percent okay they're not at all dead those guys in the car they're there are hundred percent fine we should have done like an eight and a team shot of them like on the side of the road like getting up like oh that hurt but they're fine just for the you know for the pg-13 of it all these guys super high-tech rocket launcher there with the internal camera yeah this was fun again we did this all over the streets of Detroit racing all around and it was it was it was fun to do find these cool streets that that allowed us to close them down all night you know for nights on end and I think this was the sequence this shot I did like mer I did some sort of video intro that sequence where the explosion went off where I was explosion went off behind me and I was saying hey welcome to the set I forget exactly what I said but and that bomb went off it was supposed to be cool but I don't know I think I did bullying her flinch so it wasn't as cool as I wanted it to me this was always a crazy little sequence here where he goes through the boats and then ends up crashing into that big one of course there was no boats there was all CG the car was skidding around but no boats and those were boats real boats in the background but not and then so we're about to come face to face with our Superman I think that that was another sequence where I had let me see if I can find it here really wanted that shot of Superman that man is that yeah here it comes boom [Applause] sigh conic here the truth is that the voice the Batman voice was the thing that I always thought was like the best way to do it would be because always feel like I just felt like I didn't want to have been to like do a voice you know what I mean like put on a voice like that always felt to me like it was gonna be a little bit weird you know like and also the other Batman had done it so what it required is a is a some sort of comparison to how the other Batman would do the voice like did their Batman voice and I thought that I didn't want to put Ben this is a Texas witch so I was rich getting out of the thing and then Ben coming there you see like Ben was waiting so we just he walked up and then Ben finished that way cuz the cowl when you take it off it like completely messed you up so we thought we would take it off with that way you could take it off and come upstairs and still be you know in great shape then we also there's the tracking device so he knows where he knows where he is he knows where the Kryptonite is the green glow can tell looking to her there's this relationship here I think we're I think at that point Lex knows that he's gotta kill the towels got to die in and he's sad about it that's what that moment is right there this was a cool sequence we shot again in Detroit under the Town Hall like we had that we shot in this where we shot was the old town hall where we built the um all the what he called the um where the sort of Senate hearing chambers were and all that stuff we did there and then it was a cool building and then this was just under the stairs we believe we found this little set um and like I said like this this sequence right here we shot just up from it yeah so Senate hearings which were really familiar with now a lot of Senate hearings a lot of people go into Capitol Hill to testify so not that not that unrealistic and then here is our big piece of kryptonite I love this this little scene we shot with ma Kent at the Kent farm went back to the real Kent farm we had help we'd held it since Man of Steel so shot this in Illinois and it was it was cool it was cool to go back there you know to the to the real farm again I don't know if it's there now it might be it might be gone but I don't know the the yeah see this is Detroit and I think I think in the background we added a bunch of buildings to the to the to the scene deep to be more Gotham City ish visual effects wise but you know out the window there's Holly look at those arms my god she is in good shape unbelievable genetically gifted human being it's funny because like for me it's like as the sequence as this sort of intensifies and we get to this get to the start to get to the trial and sort of get to this you know Superman appearing on Capitol Hill we realized that you know his morality him him come of course he's going to go because he believes in truth you know and I think that that that notion that there's a it's not that he's naive I think it's that he believes that the truth it's the almost the reporter in him that believes that the truth will be transcended and I think that's a I think that's an admin I think that's why I love Superman so much because it's always even in his darkest moments he has this optimism about humanity even that we don't have you know that sequence we shot in Detroit ooh so we added there was a real bridge there that we added our our Washington DC bridge and the monuments and all that so we never I think we shot some plates in DC but and we scouted it but we ended up shooting that stuff in in in Detroit as well and this is interior that I used to that at painting of Jeffrey Dean in my um in the gym and I think that yeah so this is the the old so the idea was that that was the old Wayne Enterprises boardroom you know and I think that I think that's a shot this in Chicago look just missed him huh so again this was back in Detroit at that that courthouse we brought in these statues and stuff and you know we were able to really this was an amazing location it served us really well we used it we used it for quite some time and we were there so long I think we built a small gym in the one of the offices that we would train in you know before we're shooting we always like to Train gym I had the we had a really great gym in Detroit that was built at our stage and we got a lot of workouts in at that gym but this place was our a little like we had like a mobile concept for our workouts in it and it worked really great but you know again it was it wasn't as good as the real deal I never felt like I remember everyone was doing the like ice bucket challenge and those during this time of the year for some reason I was doing that ice bucket challenge um look there's Eamon uh that's his cameo it's not really a cameo I would I guess it is a cameo but it's pretty he's pretty I call it a close-up people have asked me whether that's my handwriting on the on the checks that Bruce receives in the in his office you know the the handwritten notes and it's not I think Lexi did the writing but copied some of my handwriting from my storyboards because I had written him on the storyboards and she was copying my crazy like cryptic handwriting himself it was it's fine too it was a fine it's a fine thing to guess happen it's not a hundred percent decayed and then this is just classic subway murder scene oh that's too bad and then this sequence you know I really love this idea that like one of my favorite little symbol is symbolic images is that the drone that's painted to look like Superman you know this notion that like I don't know if I just got did I just get disconnected let me just see what happened I'm gonna pause the movie I'm gonna pause the movie right here I think I got I'm pausing I pause the movie because I think I got disconnected don't pause I did pause so I'm going to because I paused and I shouldn't have I'm gonna put I'm gonna show you guys where I am let me just get a better frame hang on I'm gonna play it it's the frame where we talk to each other so I'm gonna just turn the camera back just so you can see it give you guys a chance to sync up just this frame right here senator Finch gesturing you use that one okay I'm gonna bring it back lovely lovely lovely lovely okay okay all is good whoo sweet alright so here we go again so three two one play all right so let me just today's a day of truth I'm sorry I'm okay so I'm back I love this Grammys peach tea concept it's so she does it so good and boom yeah if I actually I could tell you exactly where I am just so you guys can can one hour 30 minutes 57 seconds and then so this this shot of Clark inside the of Superman inside the burning building like you know this idea like he's literally moved to tears at the notion that he misjudged so badly you know what humanity is capable of and like the pain how deep the pain is for everyone you know like this this notion and that that reflects exactly the opposite on Bruce you know as like this idea that that that Superman is is responsible for this for this whole thing I think that I think that this also I love this you know Superman like doing like physically helping everyone but like emotionally like he's out of place in this like he knows how to like do the work of rescuing people and saving them but but it's like the cost is really reflected on him emotionally here right it's not it's not black-and-white or simple you know and I think that that's the that's the pain really that he's that he's going through right here you know and the Lois understands but that's not that's not enough you know I really like this we did um a bunch of shots of you know because like look that's her Alfred lives in that trailer we had this we had this thing like Alfred lives and lives in this old like um this hold cool trailer and then Bruce lives here and it was like it was just this interesting like rustic concept that that Alfred doesn't need a lot of creature comforts he's able to like live with like not a lot of extra [ __ ] and also that I mean look at the glass house is pretty simple even though you know he's a billionaire he doesn't have a lot of he doesn't he doesn't have a lot of stuff other than everything that's underground their whole world is underground and I think that that notion I really wanted to emphasize as much as I could this idea that like what they the live their normal life like the life that's above-ground is the most minimal in the life below ground is like where all their energy is and all their attention and I think that that really is visually like with the glass house being so simple and Alfred's trailer being so simple and then what they have underground being so complicated and so massive that I just think that that visually is a great little piece of piece of piece of visual like storytelling you really understand and this was a cool little like I like this little like um the surveillance camera shots are like Batman taking that guy out I thought that was really that was cool this is it look at all the gunfire they used to like trying they were trying to stop him but like we're unable to clearly he was not he was not slowed down by yeah by uh by that by that by the security guards Lex's security guards but on the other hand like look at Lex's um reaction to the fact that the Kryptonite is stolen it's clearly part of his part of his plan like he was not at all he's not at all surprised we shot this sequence in a little like I forget that I think it I think was a residence in or like it was a like a what he call it a one of those little hotels there literally was right around the street in Detroit from our from our from our stages I think a lot of the crew were staying here and then we just took over this hotel room put a green screen outside we shot this during the day and bury weeds just tented this with a green screen so this was a real it was a real real hotel but we just we just took control of it so it was interesting that like you know we had to build this kind of we had a tent this entire sort of that side of the hotel to make it look like nighttime and build that green screen in there it does and then if you the close-up of the ass you'll see that we put that there's more I think there's just was more Tony and writing in the s and version of the school I just we constantly were kind of tweaking the suit as we as we went you know I just I just like this notion that again here's the like fingerprints this was just like how Lex was gonna get into the scoutship using Kryptonian DNA and or ID like that that the fact that his skin was now grafted to a Kryptonian Kryptonians that he would be able to activate the scoutship because would recognize him as Kryptonian that was the notion and then we have this there's the key still in there from when I think good thoughts Keith and then he pushes it in and activates them that's uh that's Carla as the ship which is like amazing I wish my ship was I wish my house had Carla's voice because that would be just the best thing in the world he's he's learning and meanwhile Superman is our Batman is training this is him getting ready you know of course to do the fight Superman it was uh we shot this training sequence I think we shot it right after or right around the time we did the we did the nightmare sequence I remember we shot this on a Saturday the workout scene on a Saturday and so there wasn't a lot of people around but yeah Ben got in some great shape and I really appreciated the hard work he did to do that and then these are just examples of I think it if you look closely on those on the those uh on those little rocket things those were like I think the chemical chemical sign for um what do you call it or lead because that's led in those um it's led in those what's it called in those and those grenades so this is the file that he's opening up our first glimpse at our some of our first glimpses at our guys here sort of in a scene in a single vision you know like I would say that sort of like together for the first time what would be eventually become the Justice League you have Diana had a bank in Paris yeah but the image that was shot from the Wonder Woman movie there's the team we actually shot for the movie before we did this and inserted this into the film I had shot a placeholder because we had when we shot the film when we shot BBS we hadn't really finished the concept for Wonder Woman yet and so we had we had done they yeah but but the idea that Superman or the Batman was looking at an image from an early photographic image to show that not a painting but a photograph to prove that it's the same person and that the photograph was a hundred years old to show that she hadn't aged that notion was uh was in the with the film before we made the one woman movie that was kind of the that was a way to start with with the Wonder Woman film as a concept like that she had this group of guys that she a team of people that she was going after Ares you know in this kind of notion but anyway so we had shot in Detroit Steve Berkman who shot the image of Wonder Woman from World War one we had shot that previous with an image from the Crimean War originally it had been the Crimean War because it was one of the early conflicts where photography was used and I really wanted to really get the longest stretch possible I think uh I think we originally talked about it being even the Civil War as a as a as a possibility you know just as far as I mean just in our early conversations we were like what is like what would really you know show the distance and that idea was uh was really it was really fun to play around with so we definitely we definitely had fun and there was so we shot originally another one of those images in Detroit and I have it somewhere but it exists the and then we reshot it with the real actors but I had gone in the original photo but it was the Crimean War so it was like a much different kind of look shop is up in New Mexico Superman coming up the hill to see to see just to get away not knowing exactly where he's kind this was supposed to be like Bolivia or someplace like that no no Patagonia I don't know exactly where we were supposed to be so this is Lois she's about to you know start to put the you know use her considerable skill set to put the whole thing together and then this is this image of Lex with the world in his hand and his plans starting to come to fruition I really like this notion of this romantic image of him on top of the world you know looking out over his domain and he was about and then this was a you know the scene has doctored by lakhs to look to really fuel the fire of this sort of domestic terrorist you know and really turn him into a what would look like even more on the edge than he was you know and I think that we have this whole you know she has relationships of course with the cops then she can like you know she gets in and out of you know crime scenes and stuff this is where she puts it together you know that it wasn't you know he's got he has groceries fresh food see so there's Jen again putting the thing together for like this Jenna has like people in the crime lab that are like on her it's pretty cool I like I like the idea that um see here Louis gets there Louis gets there it's together and then he this was a scene and you know Chris and I talked a lot about this sequence you know in this the scene of the Clark scene is it a memory is it a ghost is it a conversation with yourself I think those are all viable versions of this sequence cuz it's really in the end you know the fortress of solitude has become internalized by Superman into a conceptual like self-imposed solitude you know and so what would be normally this insane ice structure has become like this simple incredibly you know organic place and sort of it's more of a idea of self reflection where he he is experiencing in a sort of very Joseph Campbell Ian kind of way this reconnection with instead of going to talk to his space dad if you will he goes to his human father who he's internalized to teach him about the thing that he already knows you know in this simple story about trying to do the right thing often can be like you know can have tragic result but in this case you have to try you have to I think the lesson is you have to you do the best you can and then also that relationship to Martha is my world kind of an idea which is reflected in there mm-hmm and then also which is reflected in this notion that and then and then you have this sequence here where where Bruce goes to his version of seeking the father you know I look we we have this whole thing of they tell me of the father and the redemption in the eyes of the father and I think that that this is a Bruce's version it also parallels the earlier lexing that we talked about where Lex was at the mantlepiece of his father and and and Bruce goes to the mantelpiece of his father just as Clark goes to the mantelpiece of his father which is a simple relationship to the land he's a farmer so he has this relationship to the earth you know everyone has this the Wayne's have this relationship to like you know Commerce and Industry and you know I think that that I think that that's you know how each character reflects their internal struggle is sort of through there's these three different environments and they are kind of all are leading to this it all come to this to a head here I always like this also the movie is filled with images of people walking away from camera you know in sort of silhouette or in sort of solitude and I think that that that's how we're heading them all toward this sort of singular conflict with each other you know it's not it is them alone facing nature and then in nature representing on one hand they're their enemy or their adversary you know it's um kidnapping of Martha as always it was it's always fun to shoot these little sequences where you know we see see I think it's Mike justice it's gonna jump out and grab her is the first look at the armor and of course inspired by Dark Knight Returns and then and then also the spear of course is like you know the spear that pierced the side of Christ you know it's a very much very primitive weapon you know this notion that he would have to make a weapon that you thrust physically into your enemy is kind of crazy he could have made a bullet or some kind of projectile out of it but the spear I felt was a much more physical manifestation of the of him actually physically having to to kill to kill Superman so and then this is the kidnapping of Louis which we shot in Chicago and it's I think it's in the Daily Planet location I believe we shot it in the bottom of that Mies van der Rohe building yep and then this was a pretty crazy sequence because them yeah Mike had to carry uh Amy right out and he's pretty strong so I think it'd work and then I think that's a stunt woman who gets thrown into the into the van which if you will is Chuck's are in there pretty pretty easily Amy doesn't like to fly in helicopters so we tried to keep it to a minimum so this shot we did on the ground with a green screen out the window with the shot of Lex Corp out there and the helipad but it worked out pretty nicely at the CG environment out there and then we built this helipad in the parking lot there was a giant this kind of uh we built a hell up a helipad that you could land on but it was elevated about you know 20 20 feet off the ground so we could put green-screen all around it and it allowed us to shoot these shots and we shot it at night of course but all that was a big green screen environment out there you know to look over to um Gotham across the way so um you can still see the bat-signal out there these um these shots we did uh you'll see coming up up the Polaroids I did those I shot those on my phone and then we printed them into a Polaroid I shot him in pre-production Diane got the you know we tied her up and I took the pictures of her and then we printed them and then put them in and then I think I shot him with a Polaroid camera to make him into Polaroid I'm like and that's how they had that real Polaroid feel to him and then again we get an example of Lex doing his sort of his wordplay intellectual wordplay there's Superman returning of course after the conversation with his father he's come back understanding that he has to try but also that like accepts his humanity it's not necessarily a bad thing but it's it's the thing he has to grapple with on how to life so he's recharged he's really energized but he's he doesn't understand the checkmate that he's about to walk into I think that's the he's mad because of first he's mad now because of the of what he's the lowest aspect of the threat I mean he was you know Louis would've died if Superman hadn't caught her so like the intent Lex his intent is what is what Clark is responding to in the sequence you know fists and abominations his implication by implication see this means something here is the this is the this is the kidnapping of Lois let me just see if I can find where we are right now I mean the kidnap Martha yeah so here's the this is some of the helicopter we left here's the those are the Polaroids now god fence my will see it's it's a cool I just see this line now God bends to my will it's like I think 4 lakhs is like the perfect working out of this scenario you know like he's basically yeah so again I feel like you know this paradoxes you know the idea that like Superman now is caught you know in this amazing you know he can't not act you know in that I think is you know what it's all about and I by the way this is always one of my favorite shots could shut this from a helicopter and came through the real helicopter and then had Superman like through the blades I thought it was really really nice moment this is the warehouse coming up to the warehouse fight gaming the guys did a really great job of pre visiting this fight is that's coming up it was the first thing we shot one of the first things we shot in the movie I think it took us a week to shoot it maybe a little more and so we we you know it was like Ben Ben I think first stuff on the movie it was it got us all kind of warmed up we liked it a lot of times when we shoot we'd like to start with a big action scene and I think that it makes it makes you know production nervous because a lot of times when you start with an action scene you can really easily fall on behind because action sequences are notoriously hard to photograph but Damon and his guys and my relationship with Damon and the way we work together and everything we actually do really we do our better work not better but faster when we're doing the when we're doing something like something like this you know some kind of big action sequence and so we it gets us warmed up and and it's fun to make those shots immediately I think and it's inspiring to everyone to like to do some cool big Batman sequence and so we really had we had fun shooting it but it's coming up those are all the action comics caimans action comics there on the bed puts a little cameo by the actual comic books and that's the Action Comics number one I forget the ones we had f-test Damon aim and again what comics they were but I think they were like I think we had Wonder Woman number one first appearance of Batman or Batman number one Detective Comics number one we had Action Comics number one force appearance of Wonder Woman so or Wonder Woman number one so it was like all those he literally had those those are all on the bed right there so expensive amount of comic books for a reading material but again it's just he's Drake there's the photo again Steven did a great job he's it he was an amazing photographer he also went to school with me he is a master of the you know sort of glass photography and is always done like he's worked on a bunch of bunch of movies always shooting that as well as he the main artist in his own right I think he has a book about to come out so Steven Berkman you can look him up he's really really inspired and awesome guy so this was our first here's Ezra that we shot in the in that spider as the robber who's a stuntman then I work with a lot in a lot of my movies and he's an amazing athlete and actor so it's great to see him always good to see him and great to have him on set here's the Momoa debut shot where he comes with his glowing eyes like a out of the wreckage of a ship the concept here was that he had his to me it was like he had probably trained with his mother's trident a couple times with Valco but he didn't he wasn't keeping it himself and so Valco kept the trident with him and as needed if they were training or he would get it from him and to always give it back but he never took it up as like a real mantle and then here is the creation of cyborgs you can see it back there trying to he eventually turns the mother box one of the mother boxes on so he got the he got it to work and now it's it the mother box is gonna rebuild Victor so that's why he he has apocalypta and technology so he is really substantially impossible to kill and I mean not impossible to kill but he is incredible like otherworldly technology uh should drink some water lord knows you could get dehydrated watching this long motion picture although roof Louis I'll go to the bat-signal hurry is waiting again you know these two parallels scene remember we saw Superman earlier in the sky as God now we see him in a storm as this vengeful or wrathful God it's been interesting parallel but that's the wastes Batman sees him but in truth Superman has come pleading for Batman to help him because he needs to in reality he needs to find his mother I don't know that Bruce 100% understands how strong he is I like that I like the idea that he this calculates a little bit the extent in which Superman could wreak havoc on him these remote firing machine guns aren't really much of a thing I did also love this as we put this together you know this kind of there is a lot of good Dark Knight Returns reference in here of course let me just see what I've got on there's any cool drawings here that relationship drawings here's Aquaman just flash I feel like this is book 4 it's cool all CG shot there let me see okay here we go back here this is uh some of that that's cool and then the sequence here you'll see there's that this is uh the lead cloud worked and now he's breathing the Kryptonite gas that he's created of course obviously I like also if you look at that little detail in the armor where Superman grabbed him so he has that kind of we had to pre design that that little crunch where you literally grab the armor and squished it and now we see what's it like to fight a guy that you're on you're just a man once it feel like you know that's a cool oh that was a good that's spider on the wire they're doing that under the other thing and then the ride down this was all we had this big set that we built it was actually two two stories the the upper story was um was the roof and then you came literally through it and then this set was built underneath it so we were able to do it sort of like in continuity sort of and how long does the Kryptonite effects last I don't know okay guys felt like this hole in the wall looked like a shrimp or see that or like that and then I love this concept of the two of them running at each other and it was the thing we talked about for a long time that it would be like you really get the physical and then this is the Kryptonite wearing off as it then you get that ring almost like a tuning fork striking him you know and then down through the ground they go again you know this bathroom all this was based on kind of like architectural eon sort of the the we had found this location that was kind of in this kind of run-down in Detroit that was kind of in this rundown State and we used a lot of it as reference this cool old bathroom I really like the idea that they were an old that the fight ends up in this old bathroom because you know and that's I think that's me doing the opening the gun and in the close-up there and then you guess that gets a shot in on the helmet kind of breaks it you know which is also symbolic like I think I like this idea that there that the Batman's you know mask is being removed you know revealing is sort of true his true nature you know like it's he's not he's literally not his face is not hidden you know anymore so it's like this is really his true intent you know I have this there's a watchman reference coming up here which is Latin which is the Latin version of you-know-who who watches the Watchmen which is this kind of to go back to this notion that you know these guys with the ultimate power how it was right on the wall right there as they came out you just see it briefly you know who watches like who decides what they decide you know and I like I like the idea that that's that that's these two gods sort of battling that themselves that owe their morality and their actions are overseen by only themselves you know it's very interesting notion so then this is kind of um I really like that overhead of like Superman in the all the radiators I really like this idea of this giant pile of radiators these old rusty radiators for him to land on because it just created this really cool graphic and this kind of notion that this this the hardest that you don't even land on the ground you get the land on these spiky metal things and then this one image here of flinging Batman I think Jared had done a painting of like Batman on the end of this Superman on the end of this rope by the end of the grappling hook and I really liked it so we were we were able to kind of figure out how to do it physically do it he force it to yeah which I think sums up sort of the philosophical like he's come to this all the way to this notion that like you can only he can only live in a world that he forces into a morality that he that he that he can justify but it's but in the act but in the end he's about to discover that like you know it doesn't necessarily his actions can easily go too far and that he can become what he observes him that what he hates you know which the very thing he's fighting against it this sequence like you know he's basically turned into like like the MER like you know the murderer of his parents in a way you know because like he's allowing them to kill Martha so like is he responsible for the death of Martha has he become basically 100% the thing that he it blinded by his hatred he's become the thing and then of course this is very you know Dark Knight Returns also like the foot on the neck and the whole and the whole thing I mean I still think you can make a Dark Knight Returns movie I don't think you've I don't think this movie negates a Dark Knight Returns movie because I think Dark Knight Returns is probably in my opinion like the greatest comic book ever written and I mean that and Watchmen are I think you know for me you know the some of the greatest work you know graphic fiction ever written it's it's just amazing to me and I think that that so file means you know that movie is still just can still be made it's a it's a really it's a great that would be fun to do someone should do but I think would be great I think it it's certainly still to be done and then yeah this is the he's come to he's come to the crux of his conflict now and realizes that he's inches away from disaster yeah it's interesting that the you know when you think about you know the things that this is also a another Dark Knight Returns semi Dark Knight Returns moment people have argued with me about whether or not Batman in Dark Knight Returns shoots the guy but I think it's pretty obvious he does but you tell me I just see what I see but yeah but this is the we're coming up to the warehouse the warehouse battle and I think Batman has like been reinvigorated to to do to basically sort of summon all of his um his skillset to to do a um to do this rescue to save Martha and I think that's a that's it that's been awesome that's an awesome thing when you have Superman or Batman suddenly motivated by like you know suddenly motivated by like a cleaner version of his morality which I think allows him to fight harder and be even better I like that CG shot of you know of the light shining on the the old train station it's cool and then like then we did the lighting effect on Lois and those two came together really nicely cuz it's cool you know when you do a shot you do like a lighting effect on the day of a guy of Lois standing there you do a lighting effect and then a year later or six months later you do a CG shot with the light shining in for the other side and it all matches and it's and then that's really fun to see cuz I you know you don't always get that the reality of that is that it doesn't really happen immediately you know a lot of times we make a movie these guys are fine too and none of these guys got hurt they're 100% fine they're just gonna we just didn't bother to shoot the shots where they get up but of course they're fine they're wearing fire retardant clothing and so they're hundred-percent fine but uh but yeah so it's it's that idea of like being able to see you know when you shoot a normal movie you actually see the two shots cut together and you understand that they work it's another thing to make a movie where you shoot one side and then in a year you see the other side and then you see if it works but that's as part of the fun of making these kind of films but you know you you you shoot you make these kinds of images you know we're we're you know guys are smashing through windows and stuff and you hope that they get realized kind of how you want it but we just if there's that yeah here we go sometimes uncle see this one is where he jumps to the window it's even better than they in the movie is it actually made him actually makes the bat shape when we decide as we what did it you know it'd be cooler if he made the bat shape they shouldn't is he he should not have pulled a grenade that's his bowl this was just fun to shoot you know look in the end you know when you make a movie like this and you have like the opportunity to have Batman fighting a bunch of thugs in a warehouse you kind of realize that you're doing it this that that's this is kind of the this is just fun to do this is just what when you're a kid you think like oh I wonder if I'll ever get to do a Batman fight scene and I like this you know our our fighting is like you know Batman is pretty pretty pretty good it at this again that's the armored cowl so like you can't really shoot him - that's a broken arm but you know also like lucky he's on his back there he just got stabbed but you know it's that kind of it's this it's that kind of fighting that you want to see them from Batman I think kind of guy to the wall with a knife his cool he throws Wayne into the wall I like that Boosh so all this was great and Damon and it's guys did an amazing job with the choreography of this I really really had fun working on sequence just genius there spider again he's about to get the yeah I'm sixty taken away from him of course and that's and you know a lot of that fighting was rich you know and rich Citrone who I've worked with for years and it's amazing he just was an army and did an amazing job it's one of the great talents that I've ever worked with and I really love rich and you know feel very blessed to have him as a as a friend and as a and as a performer in my films cuz I have to [ __ ] I've done I couldn't do without rich doing it and without Damon of course and this whole team and all the guys cuz they're just so good you know got this idea of the of the flooded sort of second floor of the train station because it really we found this sort of flooded area and it was like came to this notion that like I'll be easy to make that easy to make the kind of a difficult thing when you throw the Kryptonite you get this notion that you've really gotten rid of it throwing it down into the depths of this watery grave which also you know water to me is like this sort of elemental thing to have to like submerge yourself into rebirth water you know baptism all those kinds of notions are evoked by water and I think that that you know it's pretty obvious parallels there you know I think that I think that the birth here of of doomsday as a similar is a similar thing I try to use this we really made this some sort of you know embryonic sac you know that doomsday is growing inside of we really liked I really loved the notion that he busts out of this kind of membrane into oh here's the here's the frame from it's a very dark night returns right there there's Harry funding to be human let me just skip ahead here and see where we are blood of my blood there's yeah I really like the work they did on doomsday here also I I think he looks I really think he looks awesome and like he's gonna kill he would have kicked he was gonna kill Lex right there but Superman got in the way but I I really like that shot where he pulls that like this sort of embryonic fluid off of them selves I think that's really it's really cool wheyhey the way those this the way to the sims work there it's really awesome and then I really I love this notion I think we did this just as a drawing as a doodle as a concept of him seeing himself of doomsday looking at Superman in a sculpture and then looking at the real Superman it's kind of like the symbol of the man and the man and like this abomination between them like representing kind of if you will like you know the public perception of like the two the two different notions like the reality of the man this and Bill of the man and then this kind of monster in between which is real and we had a really we had a really fun time with all these big CG shots there's there's commander Faris doing her thing Christine who is Christina who lives in Pasadena with right by me is here for coffee sometimes amazing person and gifted actor here we are with Diana she's getting on the plane she's gonna head out and we did this um we did did do this like Turkish Airways um that gave us the airplane and we did a little partnership with them I think we did a series of TV commercials if you've seen him we're pan is on a plane and it's kind of its kind of a cute little ad but they were kind enough to give us that airplane they they flew it to us and parked it in the Chicago at the airport remember we were able to shoot it and so it worked out really worked out really great Todd this to have this airplane and then we so yeah so this was the first time kind of we here miss Prince so that's the first time we really hear that Diana Prince you know it's kind of cool cool way to sort of introduce the name you know the comic book name to to the world you know and then this is cool we're gonna Patrick Wilson is the president playing the president here then we did this little wee bit to built this little sort of launch nuclear launch bunker which was fun to build built that big door blew that was fun to build and we you know had the guys running to it and then like love this through the leaves shot which is you know a cool way to show a nuclear missile launching you know to show the sort of it's always cool to do like you know images like where you see this kind of hugely destructive physically destructive weapon like ICBM or whatever this this is tactical nuke and then some sort of incredibly organic thing like leaves and those two things mixed together because I think that you know it's almost like you know it's like it's like a way of describing to credibly contradictory elements which is which is always fun to see and so then here we have this you know image of what would look I think at first glance like something everyone knows Superman was up there and then into Strykers Island projectile - is would be Superman and yeah that's it's like you know it's like Red Badge courage I don't know if you've read that book um you know the Civil War book but you know has a lot of has a lot of symbolic images of like war and nature kind of superimposed over each other which is kind of like a thing that I think is really an interesting concept so this was the first Boosh that we called it Bhushan I know that's a weird everything everything that superheroes do that's like big and powerful we called Bhushan even like when Wonder Woman because like this we call it Bhushan so it's a it's a yeah so he boost their the Domesday and the notion was that he would charge up and do that and then that would be a that would because we're gonna use it later of course when he destroys the started his that's how we would eventually destroy the world you know so now also he's grown his spikes you know he's gotten it he's getting a kind of more of a classic doomsday look as he goes as he evolves and that was a thing that we talked about you know wanting to give him that classic doomsday appearance with sharp the bony shards coming through it's cool to see the yeah back to this yeah this beer so you know again like all these CG shots you know DJ and the guys did an amazing job kind of like you know really to me like telling this incredibly complex story using these like visual elements that we of course can do doodles of and kind of give a notion of what it would be but it's this when it's really worked out and you actually see it come you know into fruition that it really it really sort of tells the story in a kind of more immersive way and it's interesting when you when you do it because you you've done the drawings and we've edited a lot of times the drawings into the movie so the emotional impact is only as strong as drawing but it's funny how that evolves as the shots actually come in and you're actually seeing them you know rendered in real time that you start to see like a completely different film you know from what you shot like these kinds of shots where you're just like geez that's cool and now we have this kind of introduction of Wonder Woman that like I really I really I really had very specifically designed this entrance of Wonder Woman and that she has this like little like his power that I think you know is slightly unexpected and then this is them working together sort of by you know coincidence they're all it was cool the way I like the way Wonder Woman kind of see Superman on the corner of her eye and just like lets him do his thing because she understands that like this is the best working out of this and then this allows the even even Batman's able to like you know lure the monster back to a place where they could fight him without it being like hugely he's not that's awesome yeah so like you know here's your first shot really of the Trinity and I really was super like into the notion that the Trinity would like have one a woman in the front you know because in a lot of ways of the three of them she has the most experience with this kind of fighting this fight this monster you know she's the only one who's really seen like full monster you know battles I mean yeah Superman has fought Zod but not not like a creature like this which is cool but um and you could see her confidence is pretty uh I always like the idea that you kind of like even though it's horrible and everything you see that she kind of digs it in a weird way like especially that there's a shot where she loses her shield and she looks back at doomsday and there's this kind of look on her face they're like you could tell that she is um specifically made to she loves this she's more alive like that stuff like she it's coming up here I did we I remember like Dana and I were doing a lot of this choreography we did some of this stuff you know in post we did a where we just kind of messed around on a mat and kind of figured out how these guys would be fighting like Wonder Woman it you know cutting the leg and all that stuff I do always I up always I really like that shot where she hits them and she has her shield and everything is really cool and then shot this woodlot with Amy underwater and was tricky you know to film with Amy underwater but she she did she she was a trooper and she really really hung in there and was able to hold her breath and be really under that kind of scary little thing there it's not easy dude it's easy to panic you know when you're under a thing and you have to go out to breathe so she did an amazing job I mean not just she's an incredible actor and she's like one of the most talented people I know but also physically to be able to do these kind of things and then pretend like you're running out of air when you are physically running out of air is a it's it's a it's a difficult thing you know to really be trapped under that and then this circles let's back to this to this you are my you are my world notion the idea for me was always that if Superman the thing that causes Superman to succumb to the anti-life equation at some point would be the death of Louis because it would it would so off put him that he would so upset him that is he would be vulnerable to like you know to the possibility of getting of this anti-life equation taking him over because like you know he would be so distraught there's some crosses references you know we have a lot of like there's a massive you know even just in the like I'm a big fan of T up below and a you know I'm a big fan of like Renaissance paintings of like you know crucifixion and you know Jesus descending the cross was a big inspiration for the lowering of him and you know again it's just as enough as it as a way to sort of reinforce this sort of you know notion that you know Superman is some kind of sort of proceed to some sort of Savior see that look right there from Wonder Woman where she's like alright let's do this thing and then like you know gets the arm she if I beamed but still and then this is how we you know grew this spiky arm thing notion yeah I really want to do this in one shot I didn't want coverage here it was a because I wanted him to run out of the shot for it to feel real you know and then this is all three of them kind of working together really for the he Superman has them Batman is the one kryptonite round left that sort of slows him down just enough Wonder Woman's got him in the in the last hill and Superman is trying to fly with that kryptonite and it's hard and then if you really want to wake up a mother box you do it like this you you can sort of hear watch there's a wide shot coming up its the two shot the two shot it's the two shot of them on top of it after he stabbed him thriller there's a two shot I think it's this one right here nope you'll cut back to it hand he he he Excalibur's we have this Excalibur moment where they come together and yes I haven't even mentioned Excalibur in this whole thing but of course Excalibur was in the poster it's a huge influence on this movie I'm a big chump Ormond fan and this moment right here you hear the scream echo in that shot right there of Superman screams as well right and that shot is the shot that sound goes out into the world echoes across the globe and wakes up would wake up if they were sleeping mother boxes on earth that sound would wake them up no Kryptonians here that notion so then we have this um this a shot of laureen's Superman coming up this is the sending to cross shot where he's lowering him down with the Cape just like you could see how they and this is like and then the Pieta of course you know Michelangelo are there you can see the crosses and it's appreciate I mean it's not that it's not like a super soup it's pretty straight forward as far as like reference goes I mean it's not really that cryptic it's pretty on the nose um you know the fact that this movie came out around Easter is pretty obvious and by the way not to say that it's not also a you know it's not exclusively Christian Christian he uses Christian metaphor because I think it's Universal in its sort of Joseph Campbell II and iconographic imagery that that we are programmed with you know as a in pop culture even beyond religion you know and so therefore it we we are we are all you know we all have it in our in our collective memory banks these kinds of image was my favorite bat man shot in the movie I love that shot where he ducks under the thing and he's just with the fire behind him and just it's just very I just think it's cool and there's a sort of pietà and kind of berry there's the telephone poles and there's a crow back there and yeah it's all done all this stuff and then here we have basically of course you know the the response team is cone into the scoutship because they know alexis is in there he's basically responsible for all this and in the meantime he's been communing with Steppenwolf there's the three mother boxes the lasers and then he shuts the signal off right before right as the guys get there Alexa's now part of the plan I would say in some way he is uh and then this is the beginning of Lex taking on the role his iconic role all this was shot in IMAX as well these images with IMAX cameras and everything and we really shaved Jesse's head in this sequence we shot it on camera and then this was a shot we did again with the big IMAX camera big Dalian rack focus to the newspaper super tricky shot but this was a Chicago streets just showing the empty streets everyone in mourning this was just like a windy thing we shot but it was some cool winds oh he shot that empty barbershops and stuff we shot honest I think I'm a Sunday morning so there was no one really around anyway so we were able to shoot all these different little locations to sort of tell the story of uh and this was our daily planet you know everyone's at the memorial I think there's a je a je placard somewhere in there and then these big Kansas beautiful Kansas shots of the Kent farm I think when you see this in IMAX and true IMAX is pretty epic even these shots of the food they're pretty epic now what we did here was like this was all the crew there goes Debbie there's a man back there this was all of us because we didn't want to like people to know so we try to keep it to a two you know only the most intimate people with the crew so there wouldn't be a lot of extras around to blow the ending that Superman died so this was all pretty much us Martha's had to endure now you know losing her husband and her son which is like would you think you know pretty intense this is the same mobile I have cash my son cash has in his bedroom um this was a you know this this idea that you know he had this sent the ring to Martha I think the plan was like a Thanksgiving or something to ask her and that way he knew that she wouldn't see it on it like in his pocket or find it out so he can really pop the question in a dramatic way so and it's like you know I didn't want the ring to be too big but maybe he made it I don't know I don't know that's I didn't think of that I just now I crushed some coal made hey hey the ring this funeral procession was based on the I like this notion that if you read into any of the accounts of the Frank Lloyd Wright when his wife was killed they did they did a ceremony that was the way they per made it like he built the casket and was very really interesting and then of course it was JFK was the other one it was like a very you have these two funerals happening at the same time for the same person one that is the most intimate and sort of the most simple and then one where you know that is the most public and the most full of of ritual both have ritual but one publicly facing and one privately facing even with the like the cannons firing I wanted to like because all these things were late you know there's the cyclical nature of the movie like I said like the gun Damon firing or Joe Chill firing the gun and the shell casings bouncing but these shell cases bouncing all of those if you watch the movie in this kind of cyclical way you'll see that all those images are kind of wrapped together into a you know death Death of Superman almost being at this cathartic thing where the death of the Wayne's was this kind of like a thing that broke some thing where this is the thing that could heal even though it's even though it's a funeral also the cool thing about the howitzers were like I want to use like you know when they do that when they fire the howitzers for had a funeral you know they have that they fire the howitzers like when people you know military guys at a funerals but they use these special ones that only have these kind of small they don't really then we could so we got the real howitzers because I thought it would be cooler to have you see the recoil in the giant shell casing so I was fun to film those because they were so powerful and crazy so there just goes there's clay there's a that's the whole group I guess it's Bruce Wayne I don't know yeah and so the real Kent farm is right over there I mean in the geography of this environment the real Kent farm is uh it's it's there where you can see that it's right through there behind Louis that's the actual Kent farm in the real geography of this location where we filmed there happened to be this graveyard right nearby so you could actually walk from the Kent farm to this plot in real life and it was it was pretty that was pretty funded I mean fun it was just beautifully you know I like this sequence this was this is a so I guess uh you know this is was this moment where like you know this kind of relationship was being established between Batman and and Wonder Woman to kind of make this make this pact I guess to the men are still good you know well starting to express I think what Bruce believes you know is this kind of new turn for him is that he can make it right he can honor what Superman was all about and make that and make it but use Superman's legacy to kind of force something good again yeah I think that that I think that the these are by the way these images in 9x again you know or some to see I don't know I don't know if any how many people actually you could actually saw the movie in in real and true film IMAX it the in the big rectangle at the big one for three square that it jumps out to but that was really it was unbelievable when you saw I mean it was just cool these images at that size which is really cool so yeah so then we have this um this notion that Lex is has communicated with Steppenwolf and then I think the implication is that from Steppenwolf has told him that he served something greater in in Darkseid you know so Darkseid even at this point he doesn't know that the anti-life equation is here but he does know that the mother boxes are here and that this planet is ripe for conquest as he has as he was as Darkseid would naturally be looking for something to come to take over but cool Batman intro I like that and of course flex is not surprised to see him but scared in the early days we did talk about him branding him here but then I thought you know as we evolved the story you know because you talk about things early on like oh that man will go to Lex then like of course he's learned from the death of Superman as we have as we did in the writing and sort of telling the story so that you know this idea of him of course not it's just like a step in the direction of his own humanity Batman's humanity even now he's so he's so he's so mad about and so like filled with rage about what Lex has done cuz he blames Lux of course as you should cuz Lex is the architect and so but this notion that he's gonna send him to - oh what's it called - Arkham Asylum is kind of a fun idea because we get this good to see him but you know you're starting to get the more you're on your way to the iconographic Lex if you were to see Lex out of prison of course he would keep his hair head shaved you know yeah so you know and then there's a I think that's the Star Wars reference on his shirt tk-421 then that's a yeah so we see the painting right and then and the notion of you know symbolically that that Steppenwolf and or dark side are coming for us you know and in the dirt fall of course at this point the mother boxes are awake again this was all IMAX on the day so this would have been a big square these images I mean that that's the true passback ratio that we shot him at 1:43 not letterbox like this and then a little dirt to me it was just it's always been symbolic of like you know hope and of like lessons learned and that there's more this was just a Misha Bruce and Misha Misha now this was the first on the last two movies I've done is amazing been with her since forever she's amazing Damon Scott sour sound Chris Jenkins like all these guys or guys I've been with for you know all the almost almost the last since Dawn of the Dead so a ton of ton of movies but a great cast you know one of the really an honor to work with everybody who worked on the movie because they were all they all did such an amazing job and really couldn't ask for more from the from the crew and really really the entire group was amazing and Larry who did such a great job shooting the movie you know it was a really difficult shoot long shoot and Larry was like just they're constantly making great shots every day for me and I couldn't I couldn't ask for more you know like I say you know the entire entire group did an amazing job it's funny to go through the movie like this because really just tip of the iceberg on every single every single scene and every single set up you know sometimes sorry if I got off on some tangents but that's just how it is I let's see I got some last images here in the book thank you you know like here's some of them you know some of them some of the shots from the casket there's the shell casing the overheads here's the there's the picture going into the casket there's Lois curled up and with the planet mobile floating above her that image here's some of the funeral procession there's a that view from over the top of the casket with Lois and Martha here's um if you seek his monument coming in on everybody there where's the devil's painting concept turned around here's Louis by herself at the grave [Applause] here's Louis dropping the dirt and walking away and then there's the dirt and then that's a black frame I drew as it says end so a little bit of that it's fun yeah really really fun guys go through the movie with you I was fun to see it I haven't seen it you know we watched it what a year ago at the had the thing so that was really fun and but I didn't talk to it I just watched it but this is the first time in Stefan Sano fell who did the color whose colored all my movies forever I'm just looking at the credits and it was really you know has been a great collaborator with me for I mean I did heat TV commercials with him you know from the 90s the mid-90s till now so I've known him for a long time and he's been a great great friend and great and a great ally and all this work but um you know so that was really really fun and I hope it was fun for you guys like I said it was really fun for me I really appreciate everything that you guys say about the movie that you continue to love the movie as I do and really fun really great so I guess I'll sign off you know what I think they should make a sequel to this movie someday that would be amazing that would really be something else yeah I want to know what happens to these guys I mean don't they eventually I don't know form some

Channel: VERO True Social

Views: 541,574

Rating: 4.872602 out of 5

Keywords: VERO, VERO True Social, VERO App, Zack Snyder, Release The Snyder Cut, VERO Zack Snyder, Ayman Hariri VERO, VERO app Zack Snyder, Zack Snyder Ayman Hariri, VERO Release The Synder Cut, VERO Comics, Social Media, Social Network

Id: ogpQdKbt8iw

Length: 197min 58sec (11878 seconds)

Published: Tue Mar 31 2020

Reddit Comments

[u/PaulEDangerously]

Thank god this was officially recorded on Vero!!!!! There were missing pieces from what users had recorded. Valiant effort though on everyone.

[u/WutUtalkingBoutWill]

Anyone willing to add the audio to the movie file and make a torrent 🤔

[u/petesapai]

Nice. So I want to watch it this weekend. Which version is this?

How do I matchup what he is saying with the exact point in the movie?

[u/beachsidevibe]

That's awesome! Can't wait to rewatch.

[u/[deleted]]

[removed]

[u/xenocide0909]

noice

[u/theceure]

Very cool

[u/TheBatSkeptic]

Cool.

[u/thehardcorr]

If you want to download the full commentary in HD with the full movie embedded you can download from the link on my YouTube video https://youtu.be/zrkTGlf-J2w