In the early days of home video, people hardly ever asked questions like, “Which version should I watch?” These days, skilled editors can make post-production edit changes to their films, sometimes producing multiple ‘directors’ versions of the same motion picture. Examples of such editors include Michael Mann, Oliver Stone, and Ridley Scott, (who has director’s cuts of Kingdom of Heaven and Blade Runner).
However, the conventional group of director’s cut enthusiasts appear to be amateurs, in contrast to Zack Snyder. His numerous extended cuts offer a more intimate glimpse into his techniques and obsessions than those of any other director.
Needless to say, most casual moviegoers these days most likely associate Zack Snyder’s Justice League with the term ‘director’s cut’. Well, we can’t deny that in recent years, Snyder, 58, has gained a reputation for releasing extended cuts of his films, prompting many to question how far artistic freedom goes.
While some may argue that these extended cuts allow him to achieve all of his goals, others are concerned that this pattern is growing excessive and ultimately detrimental to the integrity of the films.
From Watchmen to Justice League: Zack Snyder’s Obsessions with Director’s Cuts
One of the things that fans love most about Zack Snyder’s films is that they give viewers a closer look at his obsessions and his distinct style. From his meticulous attention to detail to his preference for dark and gritty storytelling, his work reveals that a filmmaker is actually dedicated to blurring lines and challenging conventions.
The attention to world-building that Snyder devotes to his director’s cuts is among its most noteworthy features. Whether it is the politically-stressful setting of Batman v. Superman: Dawn of Justice or the dystopian future of Justice League, his films are full of small details that pull audiences into his vision.
His director’s cuts, thus, also ‘mirror’ his obsession with visual storytelling. Known for his gorgeous cinematography and vibrant colors, Snyder’s films are a feast for the eyes. From within the closed-off, solitary world of comic book fans, it is probably especially easy to feel this way.
Superhero aficionados have an intense passion for artistic expression, especially when it pertains to topics they are familiar with from comic books. Given that Justice League is hardly a groundbreaking film in the director’s career, the high expectations surrounding this specific four-hour opus seem a little excessive. As he stated in an interview with the New York Times:
“Almost every movie I’ve ever made has a director’s cut.”
A degree of enhanced narrative clarity is the hallmark of a Snyder cut. Although a few of them do have substantial additions to the entire scene, most of the extra minutes come from the accumulation of small moments rather than the restoration of glaringly absent scenes. For example, while there is one noteworthy scene in Watchmen’ re-edits, most of the extra scenes are stretched out for an extra ten or twenty seconds.
Although Snyder’s director’s cuts are undoubtedly visually stunning and ambitious, they are not without flaws.
Excessive or Essential? A Critical Look at Zack Snyder’s Extended Versions
Well, the rationale behind Zack Snyder’s concept of extended versions, however, is becoming increasingly illogical these days. This is all we can glean from his desire to “fix” Sucker Punch and his current hint to do the same with Rebel Moon.
Yes, Snyder has officially stated (via Forbes) that he is currently working on “Part 3” of his critically panned series and that he can not wait to “make some more Rebel Moon movies”. Is there any chance Netflix will approve a third one? That seems improbable to us!
Snyder has no qualms about jumping on the Rebel Moon bandwagon; in fact, according to his own questionable calculations, Part 1 was watched by more people than Greta Gerwig’s Barbie. The calculations do not add up.
This begs the question: How far is too far when it comes to this artistic freedom? While it is important that filmmakers have the artistic freedom to express their vision, there comes a point at which a film’s runtime detracts from the overall viewing experience.
The release of extended cuts may also have a negative financial impact on distributors and studios. While dedicated moviegoers might be able to sit through a four-hour or longer film, the average viewer might not. Reduced box office earnings and possibly the movie’s overall failure could come from this.
So, are these extended versions truly necessary, or are they just a ploy to squeeze more money out of diehard fans?
