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Post by booshman on Apr 17, 2020 14:55:42 GMT -5
Wonder if there’s a way to utilize Brando reading Trees or another reading while utilizing an outtake of Brando’s disembodied head from the Superman Returns documentaries. Perhaps the crystal display could have images of trees on display. Just thinking of ideas since I’m not too keen on Jor-El having Elders encoded in his teachings since they all sided against him. I don't see it as an elder programmed into Jor-El's teachings, he is just part of the knowledge of Krypton, which is stated to be the accumulation of all literature and scientific fact from across the 28 known galaxies. I don't think the elder sat and recorded all the poems, he is just an avatar to deliver information. I would assume this was already available to those on Krypton. Agreed. Full-body Jor-El should ONLY appear once, and that is when he appears and gives Clark his power back. You're damn right. |
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Post by crazy_asian_man on Apr 17, 2020 16:54:29 GMT -5
Yeah the viewer is there to introduce it for later, the home movies and also one version of the depowering scene. Small floaty head and full body Jor-El are both definite no-no's for my cut. The deleted scene footage seems a bit like a rehearsal, the line delivery and the on-set sound kill it for me. Agreed. Full-body Jor-El should ONLY appear once, and that is when he appears and gives Clark his power back. In the script it is the same thing. Full-body ONLY once to say a final goodbye to Clark--- not: arbitrarily and all over the place. ;p |
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Post by crazy_asian_man on Apr 17, 2020 16:57:08 GMT -5
Wonder if there’s a way to utilize Brando reading Trees or another reading while utilizing an outtake of Brando’s disembodied head from the Superman Returns documentaries. Perhaps the crystal display could have images of trees on display. Just thinking of ideas since I’m not too keen on Jor-El having Elders encoded in his teachings since they all sided against him. I don't see it as an elder programmed into Jor-El's teachings, he is just part of the knowledge of Krypton, which is stated to be the accumulation of all literature and scientific fact from across the 28 known galaxies. I don't think the elder sat and recorded all the poems, he is just an avatar to deliver information. I would assume this was already available to those on Krypton. . Interesting point on the elders--- though, maybe this was an educator or assistant to the keeper of the archives, if not an avatar... many options. On another note- an OCD side of me wondered- if the avatar is the choice, would it be overkill or a good idea to have this avatar appear briefly in the beginning of 'home movies'? |
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Post by booshman on Apr 18, 2020 12:20:36 GMT -5
Interesting point on the elders--- though, maybe this was an educator or assistant to the keeper of the archives, if not an avatar... many options. On another note- an OCD side of me wondered- if the avatar is the choice, would it be overkill or a good idea to have this avatar appear briefly in the beginning of 'home movies'? We join the home movies just as the footage finishes, so there really is no room for the elder. Here's a new clip: |
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Post by crazy_asian_man on Apr 18, 2020 14:15:23 GMT -5
Interesting point on the elders--- though, maybe this was an educator or assistant to the keeper of the archives, if not an avatar... many options. On another note- an OCD side of me wondered- if the avatar is the choice, would it be overkill or a good idea to have this avatar appear briefly in the beginning of 'home movies'? We join the home movies just as the footage finishes, so there really is no room for the elder. Here's a new clip: SSSSOOOO GOOD!!!!!! Part of me is totally resistant to the idea of changing a word of Mank's script or concepts--- but you made this flow so well, that it feels seamless! Some thoughts: I am curious though--- did you attempt any experiments to try to get the 'finger pointing' 'Father- I love her.' by Supes integrated into the conversation after mom seems to approve? (If so- how did that come off performance-wise?) Another note: I thought it interesting that you chose to have Jor-el fade before the crystals exploded. I could see it matching Lara's also disappearing- but playing the devil's advocate, having the crystals explode first- then Jorel fading gives the impression "oh crap- there's a direct connection- no crystals, no more talking to dad"- Good point on the elder- it would be jarring to have the elder appear, then have a few seconds of the parents playing with Kal-el. Anyhow---- so nice to see all these clips- it's a great escape from all the craziness in the world now...!  |
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Post by booshman on Apr 19, 2020 4:44:03 GMT -5
We join the home movies just as the footage finishes, so there really is no room for the elder. Here's a new clip: SSSSOOOO GOOD!!!!!! Part of me is totally resistant to the idea of changing a word of Mank's script or concepts--- but you made this flow so well, that it feels seamless! Some thoughts: I am curious though--- did you attempt any experiments to try to get the 'finger pointing' 'Father- I love her.' by Supes integrated into the conversation after mom seems to approve? (If so- how did that come off performance-wise?) Another note: I thought it interesting that you chose to have Jor-el fade before the crystals exploded. I could see it matching Lara's also disappearing- but playing the devil's advocate, having the crystals explode first- then Jorel fading gives the impression "oh crap- there's a direct connection- no crystals, no more talking to dad"- Good point on the elder- it would be jarring to have the elder appear, then have a few seconds of the parents playing with Kal-el. Anyhow---- so nice to see all these clips- it's a great escape from all the craziness in the world now...! Having to add the suit to any shot from the Donner Cut in the shirt, I used them sparingly. I use the shot in the Jor-El only version but with the "I love her" fromthe theatrical cut. The thing with the combo version is that once Lara starts to talk the score in the background continues uninterrupted until the depowering begins, so there is nowhere to swich back to Brando. The more I watch the clip I don't even think it's really Lara, more of an extension of the Jor-El AI. He seems to have a very clear mission for Kal-El, and in the repowering he says he has forseen this happening. It's like he gives Superman this one mulligan to get the idea of living as a human out of his system, then sacrifices himself to make sure he lives the life he chose for him. Pretty dark when you think about it. Here's a new clip |
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Post by atp on Apr 19, 2020 6:14:43 GMT -5
SSSSOOOO GOOD!!!!!! Part of me is totally resistant to the idea of changing a word of Mank's script or concepts--- but you made this flow so well, that it feels seamless! Some thoughts: I am curious though--- did you attempt any experiments to try to get the 'finger pointing' 'Father- I love her.' by Supes integrated into the conversation after mom seems to approve? (If so- how did that come off performance-wise?) Another note: I thought it interesting that you chose to have Jor-el fade before the crystals exploded. I could see it matching Lara's also disappearing- but playing the devil's advocate, having the crystals explode first- then Jorel fading gives the impression "oh crap- there's a direct connection- no crystals, no more talking to dad"- Good point on the elder- it would be jarring to have the elder appear, then have a few seconds of the parents playing with Kal-el. Anyhow---- so nice to see all these clips- it's a great escape from all the craziness in the world now...! Having to add the suit to any shot from the Donner Cut in the shirt, I used them sparingly. I use the shot in the Jor-El only version but with the "I love her" fromthe theatrical cut. The thing with the combo version is that once Lara starts to talk the score in the background continues uninterrupted until the depowering begins, so there is nowhere to swich back to Brando. The more I watch the clip I don't even think it's really Lara, more of an extension of the Jor-El AI. He seems to have a very clear mission for Kal-El, and in the repowering he says he has forseen this happening. It's like he gives Superman this one mulligan to get the idea of living as a human out of his system, then sacrifices himself to make sure he lives the life he chose for him. Pretty dark when you think about it. Here's a new clip As techically impressive as it is (and I am honestly blown away), I don't think it works having both Lara and Jor El. I think it has to be one or the other. Related: Lara stepping out of the crystal has the same emotional weight as full-length Jor-El appearing and putting his hand on Clark. So I feel it needs to be one or the other. Having both makes it less special. (This is also why I agreed with removing the deleted scene in STM where Jor El talks to Superman after he is revealed to the world. It's a great scene, but it's just too much.) Your concept of Lara being an extension of the Jor El AI is very interesting. And pretty scary too. It feels a bit like the ending of Contact (1997) with Jody Foster and David Morse. Makes me wish Robert Zemeckis had directed MoS. |
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Post by booshman on Apr 19, 2020 9:33:03 GMT -5
As techically impressive as it is (and I am honestly blown away), I don't think it works having both Lara and Jor El. I think it has to be one or the other. Related: Lara stepping out of the crystal has the same emotional weight as full-length Jor-El appearing and putting his hand on Clark. So I feel it needs to be one or the other. Having both makes it less special. (This is also why I agreed with removing the deleted scene in STM where Jor El talks to Superman after he is revealed to the world. It's a great scene, but it's just too much.) Your concept of Lara being an extension of the Jor El AI is very interesting. And pretty scary too. It feels a bit like the ending of Contact (1997) with Jody Foster and David Morse. Makes me wish Robert Zemeckis had directed MoS. I also prefer the thearical cut over the 2001 version. There's nothing in it that miss when rewatching. I'm glad the footage is out there, but the pacing is better in the first cut. I go back and forth on what I prefer in the depowering, and in a lot of the movie for that matter. That's why after changing my scene list time and again I decided to just edit all of it. I think I have a pretty solid "choose your own adventure" style scene order, that whatever options you pick the movie will still make narrative sense. So Paris scene or XK-101 release, 3 versions of the depowering scene, etc. Here's a chart so you can see exactly what I mean. If the line is black follow to the next box making choices as you go down, if the line is red or blue you need to follow that colour until you're back to black again.  |
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Post by atp on Apr 19, 2020 10:24:35 GMT -5
As techically impressive as it is (and I am honestly blown away), I don't think it works having both Lara and Jor El. I think it has to be one or the other. Related: Lara stepping out of the crystal has the same emotional weight as full-length Jor-El appearing and putting his hand on Clark. So I feel it needs to be one or the other. Having both makes it less special. (This is also why I agreed with removing the deleted scene in STM where Jor El talks to Superman after he is revealed to the world. It's a great scene, but it's just too much.) Your concept of Lara being an extension of the Jor El AI is very interesting. And pretty scary too. It feels a bit like the ending of Contact (1997) with Jody Foster and David Morse. Makes me wish Robert Zemeckis had directed MoS. I also prefer the thearical cut over the 2001 version. There's nothing in it that miss when rewatching. I'm glad the footage is out there, but the pacing is better in the first cut. I go back and forth on what I prefer in the depowering, and in a lot of the movie for that matter. That's why after changing my scene list time and again I decided to just edit all of it. I think I have a pretty solid "choose your own adventure" style scene order, that whatever options you pick the movie will still make narrative sense. So Paris scene or XK-101 release, 3 versions of the depowering scene, etc. Here's a chart so you can see exactly what I mean. If the line is black follow to the next box making choices as you go down, if the line is red or blue you need to follow that colour until you're back to black again. That flowchart is brilliant. Sheer genius! Will you also have a third repowering option which is the theatrical version? i.e. ending with Clark finding the crystal. |
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Post by booshman on Apr 19, 2020 10:49:14 GMT -5
That chart hasn't been updated, but yeah since you mentioned it a few days ago I plan to replace the option for Clark on the floor with the theatrical finding the crystal.
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Post by atp on Apr 19, 2020 13:27:57 GMT -5
That chart hasn't been updated, but yeah since you mentioned it a few days ago I plan to replace the option for Clark on the floor with the theatrical finding the crystal. I actually like the option for Clark on the floor !!! It has the value of seeing Brando, but also leaves it until the Daily Planet before we know if Superman is truly back |
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Post by crazy_asian_man on Apr 19, 2020 15:10:06 GMT -5
SSSSOOOO GOOD!!!!!! Part of me is totally resistant to the idea of changing a word of Mank's script or concepts--- but you made this flow so well, that it feels seamless! Some thoughts: I am curious though--- did you attempt any experiments to try to get the 'finger pointing' 'Father- I love her.' by Supes integrated into the conversation after mom seems to approve? (If so- how did that come off performance-wise?) Another note: I thought it interesting that you chose to have Jor-el fade before the crystals exploded. I could see it matching Lara's also disappearing- but playing the devil's advocate, having the crystals explode first- then Jorel fading gives the impression "oh crap- there's a direct connection- no crystals, no more talking to dad"- Good point on the elder- it would be jarring to have the elder appear, then have a few seconds of the parents playing with Kal-el. Anyhow---- so nice to see all these clips- it's a great escape from all the craziness in the world now...! Having to add the suit to any shot from the Donner Cut in the shirt, I used them sparingly. I use the shot in the Jor-El only version but with the "I love her" fromthe theatrical cut. The thing with the combo version is that once Lara starts to talk the score in the background continues uninterrupted until the depowering begins, so there is nowhere to swich back to Brando. The more I watch the clip I don't even think it's really Lara, more of an extension of the Jor-El AI. He seems to have a very clear mission for Kal-El, and in the repowering he says he has forseen this happening. It's like he gives Superman this one mulligan to get the idea of living as a human out of his system, then sacrifices himself to make sure he lives the life he chose for him. Pretty dark when you think about it. Here's a new clip I can totally hear you on avoiding having to do a 'suit replacement'--- kudos for the amazing work on what's there (Especially the subtle movements when Reeve's shoulder lifts)- I like the idea of the 'other' characters in the crystals being A.I.'s- including Lara- separate from Jor-el. I think the thing that the Lara/Supes conversation has over the Jorel/Supes scenes are these: #1: The subtext for the original script with Supes is interesting- that he does want something for himself- but makes Superman come off a bit insistent and irritated- and... selfish. I think there should have been more of a pause when Jorel asks him about whether or not he had joy in helping humanity. The newer suggested mandate by Donner (according to the Thau interview) of 'faster faster faster'- does a disservice. The takes between both depower and repower scenes have always felt a bit 'clippy' and perhaps not enough room to breathe. (That's one reason I wish they had a bonus disc of all the alternative takes for the depower/repower scenes in the box set). When he points his finger at Jorel and says, "I love her."--- you almost wonder if half of it is more defying dad (Which is an interesting layer) --- whereas with his smile saying to Lara, "I love her"--- he seems like a schlub totally in love and blind to what he's doing. In the Donner concept, Superman is a bit tired and wants that human existence.... with the Lester version, he's blinded by love for Lois. If the scene had been able to be completed as planned, with Lois in tears and with the scene more emotionally violent (more on that later)- then I think it would have been far more powerful as planned. #2: The back and forth with Jorel- feels a bit too 'soft' and understated by Jorel. On paper, I'd read it as a more angry pushing by Jorel.... on the takes chosen, Jorel is always fairly neutral and I think because of that- the pushback by Supes seems a bit unwarranted. Were all the takes this moderate? If so, it might have been Donner's choice- it's hard to say but I'm also biased by having read the scene on a convention script years before the RDC came out & had a picture already in my head, so I am biased that it should have been stronger on Brando's part & of course, it REALLY needed Lois's closeups for that. So... Having you mix both of these and try a 'best of both worlds' is a big joy to see. So many ways the scene can/could go. I hear you on the score making things difficult- In an ideal world, if it were much easier- I would have had Supes point at Jorel and say, "Father... I love her."(!!!)--- then cut to Lois closing her eyes, then Lara coming in at that point and asking if he was sure. The down side is: probably 1000 hours of figuring out how to rotoscope those 20 seconds or so for Supes to get a costume on Supes! ;p |
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Post by crazy_asian_man on Apr 19, 2020 16:40:11 GMT -5
I also prefer the thearical cut over the 2001 version. There's nothing in it that miss when rewatching. I'm glad the footage is out there, but the pacing is better in the first cut. I go back and forth on what I prefer in the depowering, and in a lot of the movie for that matter. That's why after changing my scene list time and again I decided to just edit all of it. I think I have a pretty solid "choose your own adventure" style scene order, that whatever options you pick the movie will still make narrative sense. So Paris scene or XK-101 release, 3 versions of the depowering scene, etc. Here's a chart so you can see exactly what I mean. If the line is black follow to the next box making choices as you go down, if the line is red or blue you need to follow that colour until you're back to black again. That flowchart is brilliant. Sheer genius! Will you also have a third repowering option which is the theatrical version? i.e. ending with Clark finding the crystal. The whole project is brilliant! Not to add to the complexity of the chart, but curious... what are your plans for the Fortress confrontation at this point? |
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Post by booshman on Apr 20, 2020 2:48:50 GMT -5
The whole project is brilliant! Not to add to the complexity of the chart, but curious... what are your plans for the Fortress confrontation at this point? Much along the lines of my last edit. Starting with Lester and moving into Donner. So heat beams instead of finger beams, no plastic S, no teleport games, some extra Hackman dialogue, thatrical score as the villains are defeated with Donner reaction from Non. I've updated the chart, I also rearranged the White House scene order so you still get that great transition from the Diner if you choose the theatrical repowering.  |
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Post by atp on Apr 20, 2020 3:00:02 GMT -5
I've updated the chart, I also rearranged the White House scene order so you still get that great transition from the Diner if you choose the theatrical repowering. Does your pizza scene imply that Lois knows the truth? And what version of Superman returning do you have? Please say it is "General, would you care to step outside" from the theatrical. And what happens at the fortress fight? Is it the theatrical version with the cellophane S? Or the Donner version? |
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Post by booshman on Apr 20, 2020 3:18:06 GMT -5
]Does your pizza scene imply that Lois knows the truth? And what version of Superman returning do you have? Please say it is "General, would you care to step outside" from the theatrical. And what happens at the fortress fight? Is it the theatrical version with the cellophane S? Or the Donner version? For the fortress fight see above. The pizza scene implies Lois knows and they ar having some playful banter. Of course the version of Superma Returning is the theatrical, but with Donner Lois for her "Superman!" close-up. There's a bunch of Donner stuff in there but with the street sounds from the theatrical added in. |
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Post by atp on Apr 20, 2020 3:39:38 GMT -5
I quite like the idea of it ending with Lois knowing and having some playful banter. That would carry over nicely to S3 as well. The few Lois/Clark scenes in S3 still work with Lois knowing.
Do you think the balcony farewell and the memory kiss should be mutually exclusive? It feels like three breakup scenes (Arctic, Balcony, Office) might be too many.
Your pizza scene: how do you handle Lois feeling confused about her missing memory? I assume there is no turning back the world in your S2, so she would clearly remember the events of the previous day.
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Post by booshman on Apr 20, 2020 4:03:19 GMT -5
I quite like the idea of it ending with Lois knowing and having some playful banter. That would carry over nicely to S3 as well. The few Lois/Clark scenes in S3 still work with Lois knowing. Do you think the balcony farewell and the memory kiss should be mutually exclusive? It feels like three breakup scenes (Arctic, Balcony, Office) might be too many. Your pizza scene: how do you handle Lois feeling confused about her missing memory? I assume there is no turning back the world in your S2, so she would clearly remember the events of the previous day. It's a fair point on the break-up scenes, I'll have to have a think. The pizza scene doesn't have the North Pole bit, Lois acts less confused. Lois says she feels like she's sitting on a great story but can't remember it. The implication being she knows everything that happened and will never reveal his secret or the details of the last few days. He says knowing her it must be about Superman, and she replies that he has no need to be jealous. As he leaves for the pizza she says he's really super, as a last in-joke and he leaves. It's not perfect since the scene wasn't shot with this intention, but it works well enough and is better than using another option or skipping it entirely. |
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Post by atp on Apr 20, 2020 5:35:23 GMT -5
I quite like the idea of it ending with Lois knowing and having some playful banter. That would carry over nicely to S3 as well. The few Lois/Clark scenes in S3 still work with Lois knowing. Do you think the balcony farewell and the memory kiss should be mutually exclusive? It feels like three breakup scenes (Arctic, Balcony, Office) might be too many. Your pizza scene: how do you handle Lois feeling confused about her missing memory? I assume there is no turning back the world in your S2, so she would clearly remember the events of the previous day. It's a fair point on the break-up scenes, I'll have to have a think. The pizza scene doesn't have the North Pole bit, Lois acts less confused. Lois says she feels like she's sitting on a great story but can't remember it. The implication being she knows everything that happened and will never reveal his secret or the details of the last few days. He says knowing her it must be about Superman, and she replies that he has no need to be jealous. As he leaves for the pizza she says he's really super, as a last in-joke and he leaves. It's not perfect since the scene wasn't shot with this intention, but it works well enough and is better than using another option or skipping it entirely. The "you're really super" line may not have been filmed with the intention. But it still works in this context! Similarly, think about Lois' quizzical expression at the S on Clark's high school sweater in S3. It works in the context of an in-joke too, even though it wasn't the intention. |
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Post by booshman on Apr 20, 2020 13:00:30 GMT -5
Here's another revision. A small change to the middle due to how I've had it on my timeline for a whole not matching the chart. This was flows better and the music transitions work. I also changed the end so it's a clear choice of amicable breakup with Lois remembers, or Lois is very upset and gets memory wiped.  |
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Post by crazy_asian_man on Apr 20, 2020 13:29:56 GMT -5
Playing 'devil's advocate'---
With regards to what might seem like 'too many' breakup scenes---
I'd argue that each one actually is different:
* Lois/Supes scene after Supes destroys the FOS-
Supes speaks up.... and Lois gets it and saves him from having to go on and on about it with the kiss.
* Lois/Supes scene on the balcony-
Supes & Lois address the elephant in the room: what happens the next day?
They kind of address the pain and awkwardness that's going to happen for awhile- it's not repeating anything in the previous scene, I thought... plus it's a perfect bookend to the 'first date' on Lois' balcony.
One interpretation I'd read was that when Supes is ready to leave the balcony and looks back, he's wondering already if it's going to be just too much for Lois to handle- It might have been an interview with Reeve, but memory is bad.
In any case- to me, the expression certainly reads that way....
What's a little weird is: in the script- Lois snaps out of crying and goes to type up the story.... but presumably without mentioning Supes/Clark's identity revealed (unless she was LYING- but that would be really strange if she promised not to reveal his identity, then just had not problem revealing it in a story the next day)-
* The unpleasantly shot Lester Memory kiss scene-
It does feel like a bit much by this point to have that 'talking about the relationship' thing- but the thing is: it's shot in a way that looks definitely NOT romantic like Donner's beautiful scenes... but Verisimilitude's cut for this sequence was BRILLIANT I thought: when the moment happens, he overlayed a 'point of view' with a filter of glimpses of moments that were disappearing from the 48 hours (or so) with perfect bittersweet music--- so it was romantic in a tragic way.... and if I recall right, it faded out (No Leuween coming in/etc. afterwards).
So- my own opinion would be to keep all three, but trim Lester's dialogue in the beginning of the memory kiss scene- could reduce it down to Clark entering, awkward silence, and Lois saying she'll be fine in tears & the kiss...
Or- alternatively-
Have it be 'a dream' of Lois' ---- glimpses of time reversal plus the memory kiss scene- back to pizza.
Speaking of 'pizza'---
I think it was neat that Lois had memory fragments anyways--- possible aftereffects of either the memory kiss or even the (always ridiculous in any context outside of Back to the Future and Time after Time)- time reversal scene... it also helps play into Superman IV's scene with the buried memories later on...
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Post by crazy_asian_man on Apr 20, 2020 13:38:48 GMT -5
Here's another revision. A small change to the middle due to how I've had it on my timeline for a whole not matching the chart. This was flows better and the music transitions work. I also changed the end so it's a clear choice of amicable breakup with Lois remembers, or Lois is very upset and gets memory wiped. On the last part- was wondering- did you want the option to be more like 'the tv cut'--- where you have FOS farewell/Supes & Lois flying over Metropolis shot (theatrical)- then Balcony & Memory Kiss? |
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Post by booshman on Apr 20, 2020 13:59:21 GMT -5
I'm not trying to follow any particular version, I just want the characters to be consistent nomatter which version you choose. I think to have Lois say "Don't ever forget" ouside the fortress contradicts how she talks the next morning pre mind wipe, and it's pretty cruel that she says that and he makes her forget.
So option 1 Lois says she gets it, and accepts why they can't be together. She's dropped of and they say a final goodbye while establishing how they will go forward with their relationsip from now on. Finally we see them at work and get a glimpse of the new status quo.
Option 2, we don't really see anything after the fortress but we know from Lois's face when she's dropped off she cut up, she has her back to Superman before he flies away. The next morning we se she's distraught and she gets wiped.
I think as ATP pointed out,and as we see in the RIC, if you start intermixing these scenes there is a contradiction in to Lois's motivations.
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Post by crazy_asian_man on Apr 20, 2020 16:03:55 GMT -5
I'm not trying to follow any particular version, I just want the characters to be consistent nomatter which version you choose. I think to have Lois say "Don't ever forget" ouside the fortress contradicts how she talks the next morning pre mind wipe, and it's pretty cruel that she says that and he makes her forget. So option 1 Lois says she gets it, and accepts why they can't be together. She's dropped of and they say a final goodbye while establishing how they will go forward with their relationsip from now on. Finally we see them at work and get a glimpse of the new status quo. Option 2, we don't really see anything after the fortress but we know from Lois's face when she's dropped off she cut up, she has her back to Superman before he flies away. The next morning we se she's distraught and she gets wiped. I think as ATP pointed out,and as we see in the RIC, if you start intermixing these scenes there is a contradiction in to Lois's motivations. I think that goes for much of the intermixing throughout for Donner and Lester in general, that all the cuts try to fix as much as possible.... the different directors' footage and performances really fight each other on major and minor levels- but in particular- while I'm not crazy at all about the time reversal, at least the time reversal for option 1 echoes the idea that Supes--- and only Superman--- can remember the relationship and remember what was lost. I know there's the thought of Lois remembering and pretending at work.... but while that's easier to execute via editing.... seeing it that way makes me feel like it kind of trivializes all of their feelings if they can hide it so well the day (and days) after. In many ways, I wish that not only was Donner able to finish it as intended, but I could see some pluses if this would have been the 'two movies and done' version.... no more follow ups but that if the pizza scene was sort of going to be the ending--- that it would show sort of why Superman could never be with Lois, while still sort of still keeping it open for any imaginary future fan fiction or whatnot. A sort of tragic love story.... with time travel or amnesia wipes. ;p |
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Post by booshman on Apr 21, 2020 12:37:04 GMT -5
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