All too often, blockbusters flounder due to being over-manipulated or reassembled to the point of disintegration during post-production. While reshoots were once a routine aspect of the filmmaking process, they have increasingly become a crutch for productions that lack a clear plan before entering principal photography. Notably, numerous comedy-driven movies have been influenced by this approach; however, James Gunn’s endeavors for both Marvel and DC have remained unaffected.
In response to the writer-director, behind three Guardians of the Galaxy films, one miniseries, a vacation episode, a Suicide Squad “requel” of sorts, and a derivative collection, ensuring everything is thoroughly prepared before shooting is crucial? Sounds easy, proper? It seems that not everyone has the capacity or inclination to comprehend this matter.
The filmmaker is currently juggling post-production on Peacemaker season two and his Superman reboot within the new DC continuity he’s spearheading. He simply revealed having conducted a total of reshoots for his previous two movies combined. Given Superman is still in early post-production, we assume he’s referring to Guardians of the Galaxy threequel and The Suicide Squad, which earned him the role of head of DC Studios alongside Peacemaker?
“Regarding his artistic approach, he stated: ‘1) Over-prepare; 2) Only start capturing when I have a completed script that my entire crew can be proud of; 3) Hire actors and division heads I trust to do their jobs well; 4) Surround myself with people who will challenge me, not simply agree with everything; 5) Ask myself daily – are there any small imperfections in the script or what we’re capturing that could feel like enormous imperfections when we assemble the film?’ This is a concise game plan, indeed.”
While some may question the appeal of these movies on a fundamental level, it’s challenging to deny their artistic complexity or coherence when examining them closely. Gunn’s imaginative vision remains consistently clear throughout his entire body of work, a trait that extends to his recent endeavors in television as well. While James Gunn’s early work in low-budget horror films like Slither and Super resonates with his ability to adapt to the “massive studio system,” it is crucial to acknowledge that his success in the Guardians franchise was a more significant departure, showcasing his versatility as a filmmaker capable of navigating both genres. The remarkable consistency of James Gunn’s creative vision, sustained across numerous projects despite an unprecedented increase in productivity, is truly impressive and fills us with optimism for the revitalized DC Universe.
Indeed, conceiving a crystal-clear vision for massive projects sounds straightforward, but executing it proves much more challenging; meanwhile, cultivating harmonious relationships with studios, producers, and fellow creatives only adds to the complexity. While even the most prominent administrators may occasionally falter due to a ‘too many cooks in the kitchen’ situation. In the case of Gunn, his ability to navigate internal politics and adapt to creative input seems to be matched only by his commitment to staying true to the stories he wants to bring to life on screen.
