Zack Snyder says "You Just Need A Bigger TV!" in response to making Rebel Moon movies for Netflix. Report by Mccallumj. Like us on Facebook at http://www.facebook.com/itn and follow us on Twitter at http://twitter.com/itn
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00:00 -Zach Snyder, hello, mate. -Hey, brother.
00:02 Pleasure to meet you, bud.
00:03 Big fan of yours since 300 and Watchmen, which I absolutely loved.
00:07 Thank you.
00:08 I think James Cameron, shortly after that, said,
00:10 "You're a filmmaker that's created your own cinematic language,"
00:14 which is quite unique.
00:15 With that in mind, do you ever feel reticent
00:18 about making films for a smaller screen?
00:21 Because I think of Zach Snyder, I think of huge, big, detailed aesthetic.
00:27 Yeah.
00:28 I don't watch something this big on a TV screen.
00:31 I would say that I don't change the...
00:36 My approach is exactly the same.
00:38 So, you know, you just need a bigger TV, really, is my answer to that.
00:42 I'm not sure my missus will agree with me.
00:44 What's that?
00:45 I'm not sure my missus will agree with me.
00:46 She needs to come around to me.
00:47 "Let's get a few more inches on this."
00:49 I was told by the director I needed a bigger TV.
00:52 No, 100%.
00:53 Or, you know...
00:55 Yeah, because we...
00:58 The amount of detail in this movie is...
01:00 It's all there.
01:01 Like, there's no...
01:02 We spared no...
01:05 There was no limit to our...
01:07 The production detail.
01:09 So it's there, if you want.
01:11 Speaking of having no limits, the deal you have with Netflix,
01:15 it feels like they've said, "We can bank on you.
01:18 Go be creative.
01:21 Do what you want,"
01:22 which must feel very differently to your earlier movies,
01:25 when cinema is about collaboration,
01:27 but also compromise a lot of the time
01:29 and having to listen to everybody else's ideas.
01:32 Have you had to change...
01:33 Have you changed as a filmmaker?
01:34 Your process is different now?
01:35 I don't think I have.
01:36 I mean, I've been very...
01:37 I mean, I always have been very subversive as a filmmaker in...
01:43 That's why the director's cuts...
01:44 Why I'm so known for the director's cuts,
01:46 because in the past, I've always...
01:50 Whenever I've worked on a movie, it's been...
01:52 The director's cuts exist in reaction to a cut
01:56 that the studio made me make, or...
02:00 And I literally couldn't and wouldn't allow that
02:06 to be the final work.
02:07 That's why I was like, "Okay, look, I can always go over
02:10 across the street to home video and say,
02:12 'Hey, guys, do you want to know the truth?
02:14 Because I got it over here.'"
02:16 And they'd be like, "Yes, absolutely."
02:18 They're happy to release another version of the movie.
02:20 So, yeah.
02:21 So, that's how my relationship with directors got started.
02:24 The incredible thing about Netflix is that they knew that
02:28 going in, and they were like, "Let's just do it preemptively.
02:32 So you're not reacting.
02:35 These are two entirely...
02:36 So I can make this PG-13 version of the movie happily,
02:43 and the only compromise is that...
02:46 And I don't even consider it a compromise,
02:48 is that we kind of, at the beginning,
02:51 looked each other in the eye, me and Netflix,
02:53 and said, "Okay, two hours would be great,
02:55 and PG-13 would be amazing."
02:57 And so, that's the box, right?
03:02 And then they go, "Okay."
03:03 And after that, if you want to...
03:06 When we do the R-rated version, there's no box.
03:10 Just whatever you think.
03:11 And so, that's a rare...
03:14 I've never had that experience.
03:16 I don't know that a movie's ever been made
03:19 under those...
03:20 With those parameters on it.
03:22 So it'll be interesting to see.
03:24 It's interesting.
03:25 When you have that much freedom,
03:26 and you know you can put a lot more in the can,
03:30 because you know it'll get used later on,
03:32 it must make the filmmaking experience,
03:33 especially with your cast and your crew,
03:35 you're there for a lot longer.
03:37 You spend many more months together, I imagine,
03:39 because there's so much more to shoot.
03:42 I wondered, you've got a reputation
03:44 as a quite popular ship's captain, in a way.
03:48 Somebody people would go to bat for.
03:51 And speaking to the cast,
03:53 they suggest that has been their experience.
03:55 So how do you keep up that energy,
03:59 that morale, that excitement,
04:01 that creative buzz during a really long process,
04:05 where a lot of this has come from...
04:07 A lot of expectation is your vision as well.
04:09 Sure, sure.
04:10 100%.
04:11 I guess for me, I still have the childlike enthusiasm
04:16 for the day-to-day work on the movie set.
04:20 Like, if I arrive, when we arrive to shoot it,
04:24 to me, it's like still an incredible honor and gift
04:29 that I've found myself in this position where I can,
04:33 you know, just, you know,
04:35 we're gonna make up this crazy shit,
04:37 and we're gonna film it.
04:39 That, just that premise is incredible.
04:43 And I don't take it for granted.
04:45 And I arrive, like I say, every day,
04:47 excited about the prospect of, like,
04:50 getting all the actors to do this crazy shit.
04:52 And I think that rubs off on them,
04:55 and they end up being pretty excited about doing it with me.
04:58 So it's, I think they just feed off the energy