Published: 7/6/2006
iF: There was a quote that popped up right after the SUPERMAN RETURNS junket about the IMAX film and how you would like to take a deleted scene and show it in IMAX, but it was unclear if you meant for a future re-release, or some time in the next few months. Can you clarify what you meant by that?
SINGER: Theres a sequence I shot in the movie where Superman returns to the shattered remains of his home world on Krypton. I shot the sequence, and I chose to complete the sequence. Its a pretty expensive elaborate sequence, but it ultimately didnt play in the scope of the movie. It wasnt necessary and it didnt feel right in the movie. I took it out and cut it. It was one of those kind of things where you have to hold your breath. Even though I worked very hard on this and even though its very elaborate and elegant and expensive, Im going to have the guts to pull it out, because its going to compromise the rest of the picture. In looking at what IMAX has done with the 20 minutes of 3-D theyve created for the IMAX release of SUPERMAN RETURNS, its just so impressive and interesting. And when I look at this sequence, I really feel, it doesnt belong on a DVD, it doesnt belong on [the theatrical version of the] movie, but if I were to make more of the movie 3-D later at some point, a year or something like that, I would have them to do the same process on the RK [Return to Krypton] sequence as I call it. That might be a nice thing to have for audiences down the road. You dont think about those things until you see how people respond to the movie.
iF: How long was the sequence?
SINGER: About five or six minutes.
iF: So there might be a SUPERMAN RETURNS: IMAX SPECIAL EDITION?
SINGER: The only way I would consider it, if there were a worthwhile alteration or treatment of the movie. Im not super fond of recutting a movie Ive made. I feel the cuts of my movies are the directors cut, but down the road, seeing how this IMAX conversion works, and seeing how the movie plays, Its always possible that in the future, Im holding this sequence back, it exists and I can use it there. This was just a thought I had. This is nothing conniving or for economics per se. The sequence exists, it was completed, it has not yet been scored. IMAX did one test on one of the space shots in 3-D and I could see what the landscape would look like in 3-D and it was cool. It was like the difference between POLAR EXPRESS and POLAR EXPRESS in 3-D. SUPERMAN RETURNS can be experienced both ways. It was shot to be a conventional film, but the 3-D process is really extraordinary, but in this particular RK sequence, there is so much going on dimensionally in space, it would be fun to see it in that way. Seeing it not in that way, it was something ultimately the film could do without.
iF: The running time of the movie is pretty long, Im assuming there is a longer cut of the movie as well? Did you delete a lot of stuff?
SINGER: Not much longer. I got it to a two hour and forty-five minute cut and at that point, I needed to sit with an audience and watch it. So I put together a friends and family screening. Its a very mellow group, about 100 people or so. Children of people at Warner Bros., friends of mine, they all sit in theater and we watch the film. People fill out little cards or they talk to you afterwards. You really know whats working and whats not working as youre watching it. And I felt it, so I was able to pull over fifteen minutes out of the film.
iF: Which pieces were that?
SINGER: Things in the beginning. There was a little more on the Kent farm, there was this RK sequence. There were little things throughout the movie, bits and pieces I always wanted to address and they totaled about fifteen minutes. I reconceived the beginning a bit at the last minute. It began a little differently originally. It began with a proscenium stage and the original opening scenes played out differently. I felt there were too many openings to the movie, too much exposition. So once I had all this material, I stepped back from it. I said, "I think this needs to open more poetic." I need to have a bit of the past, I need to evoke Brando and the voice of Jor-El and a bit of Kryptons history, but I need to do it in a more poetic way than I was doing as it was constructed. So I did a little reconceiving of the beginning and then removed that [Return to Krypton] sequence and some elements of the farm and it kind of worked itself out well. If your film is a little too front heavy, it gets into the cumulative effects of your cut and there are little objectivity games you play with yourself and part of it is sitting with and audience and watching it. You feel it in a room, you feel when its working and when its not. Thats where I made most of my cuts in the beginning.