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Man of Steel - Official Trailer #2
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Jables Swan
Member
Way to ruin a thread.
Some of us clearly are more 12-year old than others.
I know, right?
TheKaeptain
Banned
After the post you just made? The beta/jerk-off/etc insults that were completely unwarranted?
You're something else. You must lead a happy life.
I think he's a pretty super dude.
TheKaeptain
Banned
Well the movie does look like Amir Mokri's best work. The only thing that worries me about this movie is the story. It's missing the insight of the better Nolan.
SCULLIBUNDO
Banned
Yeah, the Terminator Salvation Nolan.
TheKaeptain
Banned
You know both of the Nolan's must be together to form the superior Nolan. Also, TS was still better than Jumper.
And Avatar.
SCULLIBUNDO
Banned
Where you been, buddy? I've missed your flirtations.
PairOfFilthySocks
Member
A true Alpha wouldn't have to make snide digs such as this.
TheKaeptain
Banned
Hell no. HELL NO.
I dunno, but she's got a beta-ass than you!
Maybe.
Messypandas
Member
Fuck yes
You brahs just aren't taste-makers like me.
Bobby Roberts
Banned
Didn't Jonathan Nolan take a couple passes at the script with David Goyer back when Chris was announced as producer/Godfather (they kept using that term in the media)
Regarding Terminator Salvation: If I remember correctly, the ending in the theaters was some tacked on shit because they got really scared audiences were going to reject the original ending, which is the one Jonathan Nolan came up with that got Bale to sign on. Or maybe Bale was already signed on by that point.
I'm still shaky on whether this movie will remember to have ANY sort of "fun" in it, as the kind of "Fun" David Goyer is known for writing is closer to the cynical/smartass side.
Regarding Terminator Salvation: If I remember correctly, the ending in the theaters was some tacked on shit because they got really scared audiences were going to reject the original ending, which is the one Jonathan Nolan came up with that got Bale to sign on. Or maybe Bale was already signed on by that point.
I'm still shaky on whether this movie will remember to have ANY sort of "fun" in it, as the kind of "Fun" David Goyer is known for writing is closer to the cynical/smartass side.
Liquidsnake
Banned
What was the original ending?
Liquidsnake
Banned
Dude you lose all credibility with a statement like that.
Its one of the top 3 films of the entire year.
The entire script was rewritten when Bale signed on and wanted screen time.
SCULLIBUNDO
Banned
As opposed to when you put it on the same level as Lawrence of Arabia and Citizen Kane? You will never live that down.
Matrix
LeBron loves his girlfriend. There is no other woman in the world hed rather have. The problem is, Dwyanes not a woman.
New photo from USA Today:
http://www.usatoday.com/story/life/movies/2013/01/03/movie-preview-2013-luck/1805025/
Also yesterday marked the first time the whole movie was screened with the score complete. Now 5 more weeks of orchestra recording and more mixing.
Awesome. It's a man and not a boy like Routh.
Weird though how some shots you don't see the yellow in the S.
Liquidsnake
Banned
I do. I think the movie will be saved for the archives, and labeled classic. Capsulized if you will. And I am not saying that to be funny, I mean it. I think its better than the God father trilogy, and put this movie up against any classically regarded film.
PairOfFilthySocks
Member
Thinking about it, I remember hearing about two endings.
One consisted of Avatar-guy being assumed to be a good terminator right before he shot most of the film's cast.
The other, more likely, alternate ending had Connors killed in the final battle, then his face was grafted onto Avatar-guy's terminator, thus retaining a face of hope for the people.
SCULLIBUNDO
Banned
And that is why nobody can take you seriously.
nope
Liquidsnake
Banned
I don't know if I like either of those.
Edit: To those who don't agree with me on TDKR please understand that I appreciate both sides of the spectrum, and I believe I have exceptional taste in films. At least when it comes to artistically. I have a trained eye.
I still wants a story that explore the alien side of Superman more ... something like a crazy mating ritual or strange metabolism or maybe something like he has a cavity in his back where he keeps food or something
Something that shows that krypton people are not just humans who can fly with another sun
Bobby Roberts
Banned
I'm wary of spoiling Terminator Salvation in a thread that has NOTHING to do with it, really (outside of the fact Jonathan Nolan worked on both Salvation and Man of Steel) but Bale signed on, Nolan rewrote the whole thing, (thanks Router) and the story that came out of it was largely similar to what you saw theatrically, except
At the end, instead of the robot giving John a heart, John dies, and they put John's skin over the robot, and the robot goes on to lead the resistance AS John.
This was rewritten from the ORIGINAL original ending - where they put the skin over the Robot, the robot (for whatever reason, I don't know if it was specified that the robot had reset or something) powers on, and murders everyone in the film.
This was rewritten from the ORIGINAL original ending - where they put the skin over the Robot, the robot (for whatever reason, I don't know if it was specified that the robot had reset or something) powers on, and murders everyone in the film.
TheKaeptain
Banned
These dudes know me.
Did he? I thought he did that with TDKR?
About the TS thing.
I am sure it was changed because the third act got super dark and the suits didn't think anyone would like it. Plus when Bale signed on they wanted to capitalize off his name so they made the movie more about Connor.
Wouldn't that cause a Grand Canyon of a plothole with Kyle Reese?
Well both endings sound (I say sound because I honestly can't remember anything from the version we ended up getting besides the fact that Bale was just awful) absolutely terrible. I don't get why we can't just get a straightforward future Terminator war film. I don't want some stupid, shitty twist that retroactively ruins the previous films, I just want some badass terminator vs. human action. is that so hard Hollywood?
Bobby Roberts
Banned
The entirety of the Terminator is a weird plothole. I guess they were thinking they'd close that hole with the ORIGINAL original ending.
I dunno. McG is on record as saying once Bale found out what that ending WAS, he fought for it as hard as he could. Didn't wanna hear anyone say that wasn't the ending.
Later, after the movie came out, McG also said he thought he might have made the wrong choice, going with the ending as it was in the theatrical.
RE: Jonathan Nolan's contributions to Man of Steel - they don't seem to be reflected in the film's credits (maybe he simply got paid to do script polish/ghostwriting, as happens a LOT in blockbuster filmmaking - Patton Oswalt wrote a lot of stuff for Transformers back in 2005) but back in 2011 people were crediting the script to both Nolan AND Goyer.
Now it simply reads Written by David Goyer, story by Chris Nolan and David Goyer. But Jonathan Nolan definitely worked on it quite a bit.
Liquidsnake
Banned
That's very interesting stuff, thanks for this.
Yeah, I'm really curious how the S will look on screen during the duration of the movie. It seems to pick up more yellow depending on the angle. This shot in particular is desaturated all over, though, so it's hard to judge the yellow when all the colors are sort of muted or blue tinted.
Cavill also looks to be the most manly and adult looking super hero I've seen on film in quite sometime, which is appreciated. Compare him to Evans, Maguire, Routh, Hemsworth, and even Bale & Downey Jr. who were both obviously adults but never terribly masculine looking. Hell, they're even letting a lead actor go full chest-hair! His hair is slightly popping up out of the suit, even.
Matrix
LeBron loves his girlfriend. There is no other woman in the world hed rather have. The problem is, Dwyanes not a woman.
Yeah, I'm really curious how the S will look on screen during the duration of the movie. It seems to pick up more yellow depending on the angle. This shot in particular is desaturated all over, though, so it's hard to judge the yellow when all the colors are sort of muted or blue tinted.
Cavill also looks to be the most manly and adult looking super hero I've seen on film in quite sometime, which is appreciated. Compare him to Evans, Maguire, Routh, Hemsworth, and even Bale & Downey Jr. who were both obviously adults but never terribly masculine looking. Hell, they're even letting a lead actor go full chest-hair! His hair is slightly popping up out of the suit, even.
Yea and man (no pun intended ) look at the difference lol Routh couldn't even grow side burns.
Matrix
LeBron loves his girlfriend. There is no other woman in the world hed rather have. The problem is, Dwyanes not a woman.
Routh had a butt chin. It's the new thing for actors playing Superman.
Matrix
LeBron loves his girlfriend. There is no other woman in the world hed rather have. The problem is, Dwyanes not a woman.
I don't even see Reeve when I look at him and that was what they were going for (weak ass cosplay). Dude just looked like a kid facially and Superman went out to space and de-aged many years lol
Joel Was Right
Member
The slogan for Donner’s Superman was ‘You Will Believe a Man Can Fly’. It was a message indicative of the time where the sole marketing was the promise of a romanticised portrayal of flight; a message inapplicable by today's standards.
The saturation of cinema with comic book heroes has not only unveiled their inherent limitations as individual set pieces, but by extension has arguably weakened the creative element of the genre itself. The image of a man flying is not as exciting and wondrous as it once was; several men now fly, or have their cape flap about in wind high, and many demonstrate super strength and speed; whereas before it was a lone figure roaming a city, their numbers now are potentially countless (X-Men). But this lack of creativity is not restrained to the form of identical abilities.
With superheroes come super villains, and thus a large scale CGI battle for the finale, not excluding the standard showcasing of bodies flung through several walls. So what writers of the comics, and duly echoed by film-makers, did to give these physically superior characters a personality were the emotional problems of the physically inferior; loneliness, identity conflicts, a sense of not belonging and anything along those depressing lines -- you know, the first act of any comic book film that deals with origin. This sense of repetitiveness and predictability is exasperated by the continuous stream of reboots.
Superman set out to introduce these themes to the masses by gliding majestically through the air, but no longer is that enough to garner attention -- audiences have seen that plenty of times, and Singer/Synder/Nolan realised this. It’s no coincidence therefore that the greater emphasis in Superman films will be of to pull the strings of the heart rather than beat its drums. “No more sob stories”, some decried. But how else to make the character ‘relevant’ as Nolan recently described? How else do you distinguish it from the myriad of demigods in the box office if not humanise them?
The saturation of cinema with comic book heroes has not only unveiled their inherent limitations as individual set pieces, but by extension has arguably weakened the creative element of the genre itself. The image of a man flying is not as exciting and wondrous as it once was; several men now fly, or have their cape flap about in wind high, and many demonstrate super strength and speed; whereas before it was a lone figure roaming a city, their numbers now are potentially countless (X-Men). But this lack of creativity is not restrained to the form of identical abilities.
With superheroes come super villains, and thus a large scale CGI battle for the finale, not excluding the standard showcasing of bodies flung through several walls. So what writers of the comics, and duly echoed by film-makers, did to give these physically superior characters a personality were the emotional problems of the physically inferior; loneliness, identity conflicts, a sense of not belonging and anything along those depressing lines -- you know, the first act of any comic book film that deals with origin. This sense of repetitiveness and predictability is exasperated by the continuous stream of reboots.
Superman set out to introduce these themes to the masses by gliding majestically through the air, but no longer is that enough to garner attention -- audiences have seen that plenty of times, and Singer/Synder/Nolan realised this. It’s no coincidence therefore that the greater emphasis in Superman films will be of to pull the strings of the heart rather than beat its drums. “No more sob stories”, some decried. But how else to make the character ‘relevant’ as Nolan recently described? How else do you distinguish it from the myriad of demigods in the box office if not humanise them?
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