IGN watches Watchmen

[Dark Victory]

Sorry if this has already been posted.

http://movies.ign.com/articles/915/915508p1.html

 

[matrix_ghost]

*SPOILERS are in red*



Comingsoon was also invited :
http://www.comingsoon.net/news/movienews.php?id=49303
New Watchmen Footage Screened!
Source: Silas Lesnick October 2, 2008


Warner Bros. just unveiled a first look at Watchmen to an eager audience at their studio lot in West Hollywood. Director Zack Snyder joined costume designer Michael Wilkinson and Production Designer Alex McDowell for the event, showing off the first 12 minutes and a few subsequent scenes, totaling nearly a half hour of brand-new footage.

Opening with stylish black-on-yellow production logos, the shot begins on the classic smiley face button-pinned to a man selling newspapers on the street. Tracking immediately upward, we're taken inside Edward Blake's (Jeffrey Dean Morgan) apartment. Just as in the first panels of the original comic book, we see the Comedian sitting at home alone in the final moments of his life. The scene (and nearly every shot showcased) is jam-packed with hidden references. On the wall is a '50's style pin-up of Sally Jupiter (Carla Gugino) and on the television we see a pundit-style press show with footage of Richard Nixon giving a Presidential speech. Discussions are held about a "Doomsday Clock" and ongoing tensions with Russia. Here, Doctor Manhattan (Billy Crudup) is introduced as America's best defense in the Cold War.

Coming back to Blake's apartment, we find him changing the channel to a film that plays the song "Unforgettable." The song continues to play throughout the scene as a masked assailant breaks in the front door and fights with Blake. The fight is much longer than in the comic and includes a number of Snyder's signature slow-motion shots.

The fight ends with Blake losing and blood dripping from his chin onto his own smiley face button. He's thrown back, crashing through the window and falling to the pavement below. The button falls in slow-motion, landing by his side before being surrounded by a pool of blood from his dead body.

Cue Bob Dylan's "The Times, They Are A'Changin'" as we enter the opening credits, beginning with a shot of the 50's-style Minute Men taking a group photo. There's a lot of great bits against Dylan's words, all captured in an almost-still kind of slow-motion. We're taken through the whole history of superheroes in this world with many shots representing an alternate take on real-life historical events; Doctor Manhattan shakes hands with President Kennedy (using actual footage) and we then see his assassination by the Comedian (standing on the grassy knoll). Lesbian superheroine Silhouette kisses a nurse at the end of World War II (parodying the LIFE magazine photo) and then a shot of her subsequent murder. Ozymandias (Matthew Goode) stands outside Studio 54. The Enola Gay flies past, painted with the image of Sally Jupiter. Andy Warhol (with Truman Capote) shows off a painting of Nite Owl. Doctor Manhattan stands on the moon, filming the first astronauts. Sally Jupiter's retirement party is framed like DaVinci's "The Last Supper."

The scene ends with a new wave of superheroes taking the same shot the credits begin with, 30 years later and then pulls out to reveal a store window filled with televisions and the spraypainted: "WHO WATCHES THE WATCHMEN?" in red across the glass. A molotov cocktail is thrown through the window and the scene erupts in flames.

The next scene showcased had Doctor Manhattan sitting on Mars, looking at a photograph and speaking in an inner monologue, remembering (with flashbacks) the events of his life that led to this particular moment. We see him in an amusement park in 1959 with his girlfriend, Janey. We see an accident that happens in his laboratory that leads to him becoming all-powerful, returning as a blue, glowing God-like force. We see him being drafted by the government and asked to step in to end the Vietnam war. We see him using his powers to obliterate tanks, villages and people. We learn that he cheated on his wife with the second Silk Spectre, Laurie (Malin Akerman) and, wanting to escape humanity, has traveled to Mars where he meditates in the desert. Floating above the ground with his legs crossed, Dr. Manhattan calls forth an enormous clockwork structure from the sand, building a golden monument against the red desert.

The last scene featured Nite Owl (Stephen McHattie) and Laurie having just had sex aboard Nite Owl's ship. Snyder explained that the characters are set up so that their superheroics are somewhat fetishized and that both characters get a sexual thrill out of crime-fighting. The two decide to break into a maximum security prison and bust out Rorschach (Jackie Earle Haley) who has been arrested. The Owl ship lands at the prison and major fights ensue as Rorschach is freed from his cell and other prisoners riot. A midget runs from Rorschach, but he chases him into the bathroom. We see him cornered before the door shuts and, after a silence, there's a flush as Rorschach emerges. Water and blood spills from the crack at the bottom of the bathroom door.

Snyder and crew answered a number of questions and let slip a few interesting bits :

"The Black Freighter" cartoon runs about 20 minutes. It will be released on DVD with a "60 Minutes" style news program, looking back on the release of the original Nite Owl's memoirs, "Under the Hood" a decade later.

As he's stated in the past, the plan for "Black Freighter" is to have it cut in with the rest of the full movie for an ultimate DVD cut somewhere down the line.

The current running time is two hours and 45 minutes but that may change in either direction.

Snyder promised there would never be a sequel saying, "No chance of a sequel or prequel or 'Watchmen Babies' or anything like that."

Though the film was not shot in IMAX, there will be an IMAX release, "in some way."

Other songs that appear in the film include Nena's "99 Luftballons" and Simon and Garfunkel's "The Sounds of Silence." The latter song plays at Blake's funeral and required special permission from the artists to be used; permission that has only been granted once before (For The Graduate in 1967).



And here's a report from Firstshowing :
http://www.firstshowing.net/2008/10/01/early-reaction-more-watchmen-footage-and-updates/
Early Reaction: More Watchmen Footage Revealed and Updates!
October 1, 2008
by Alex Billington


Warner Brothers just finished a special presentation for Watchmen today on the lot in Hollywood and showed roughly 26 minutes of footage to members of the press. Additionally, Zack Snyder was in attendance to introduce the footage and follow-up with a brief Q&A. My initial reaction to what we were shown was that of utter amazement - this looked absolutely phenomenal. I've been very excited for this, but this surpassed even my expectations. We were shown the opening scene and opening credits, a montage sequence of Dr. Manhattan's origin, and a fight scene in jail. I got constant chills watching every last scene and sat in awe throughout the entire presentation. Watchmen looks like it's going to be The Matrix all over again. This movie is going to take us on one hell of an incredible ride next March.

The highlights from the presentation in regards to tidbits of news include that the current running time is 2 hours and 43 minutes. I spoke to Zack afterwards about the length and he seemed rather confident that that was how long it needed to be to tell the story on top of featuring a few (obviously badass) action sequences. Snyder also mentioned that there won't be a sequel and there won't be a prequel - at least if he's involved. He just laughed and said it definitely won't happen, which debunks any rumors about a sequel being put together. As for when we might see another trailer? Zack said it should be attached to Quantum of Solace and it's pretty badass, or so he said (I haven't seen it). Either way, it's only another month to wait.

Lastly, Zack mentioned that they're working on a version of the film that implements the "Tales of the Black Freighter" story from the comic into the actual movie. He said they shot actual intro and outro scenes from Watchmen. For those unfamiliar with the "Black Freighter" story, within the Watchmen universe, there are actual comics (a universe within a universe) that feature stories about pirates. This has been announced before, but the actual "Tales of the Black Freighter" film will be animated. There are transitions that were shot and will be implemented on DVD versions of Watchmen. So you'll be able to watch a complete movie that includes all of those stories, just like reading the graphic novel in its unabridged format.

I compare Watchmen to The Matrix because I really believe it's going to be one of the few films in this century that truly pushes the boundaries of cinematic storytelling. I said that The Dark Knight would revolutionize Hollywood and it's already starting to do so. When I say that Watchmen will change our lives, I really mean it. It doesn't have any technological revolutions, per se, but I truly believe it's going to be one of the best comic book movies of our generation. It's definitely going to give The Dark Knight a run for its money (only in the sense of being one of the best movies of all-time). And I say this entirely off of watching 26 minutes of footage. That's because I could truly sense how extraordinary this movie was in the opening credit sequence alone (that featured Bob Dylan's "The Times They Are A-Changin'" throughout it).

This isn't the typical superhero movie where a group of guys go around and kick ass - this is so much more. Those familiar with the story know that it's much more about the characters and a world where superheroes truly exist. When this movie first was announced, one of the biggest concerns from fans was that it wouldn't be able to encompass all of the very extensive and complex elements of the story found within the pages of the graphic novel. However, the sequence we were shown where Jon Osterman is disintegrated and reformed as Dr. Manhattan encompassed multiple time periods and told an extensive story within a few minutes. Obviously Zack Snyder has found a way to show this and still have it feel smooth and complete. Even I was truly impressed. And this was all just a small taste of things to come.



Collider's report :
http://www.collider.com/entertainment/news/article.asp?aid=9348&tcid=1
Warner Bros. Showed 25 Minutes of WATCHMEN Tonight in Los Angeles
10/1/2008
Posted by Frosty ShareThis








Frosty here. I literally just walked in from watching about 25 minutes of Zack Snyder’s “Watchmen” movie and all I can say is…wow!



You know when you imagine something, but you figure it will never come true…that’s what I always about a “Watchmen” movie. While rumors have been going for years and years that someone would one day adapt Alan Moore’s brilliant graphic novel, I never actually thought it would happen. After all, how could someone tackle all the adult subject matter of the book and also keep the story, the structure, and all the little things that make the book so amazing. And how could you make someone sit on the planet Mars and make it look real?



But I have to tell you…I saw some **** tonight that will make you require an adult diaper.



However, let me back up a bit.



Just like what Zack Snyder did for his movie “300,” he hosted a medium sized gathering of both online and print journalists tonight in Hollywood where he unveiled about 25 minutes of footage and he explained what he showed and what motivated his decision making.



And just like “300,” he hit a home-run with everyone in attendance.



So I’m sure you’re wondering what we saw? Before the footage was shown, Zack did a short intro. Since I wanted to post this ASAP, here’s what he said in audio form.



The first thing he showed us was the opening credit sequence. The opening is just like the comic book, but the fight has been extended a bit and it’s very violent. After we see The Comedian get thrown out the window, the credits start and they’re amazing.



With pin point accurate precision, we get shot after shot that’s filmed in slow motion where we see actual events mixed in with the Watchmen universe. We see Dr. Manhattan with JFK, Adrian Veidt/Ozymandias outside Studio 54, Dr. Manhattan on the moon, plus tons of other crazy things…as I don’t want to spoil it all. During all these shots we hear Bob Dylan’s The Times They Are a Changing, and it’s played throughout all the photos and filmmaker credits. While the song is under 4 minutes, they’ve clearly extended the song as the credits are 6 minutes.



What’s amazing about the credits is the way it slowly submerges you into the universe. The shots have a purpose and a motion, they’re almost 3D the way the camera moves in them. Trust me, after these credits end, every viewer will be entranced.



After the opening credits, Zack spoke for a bit and you can hear what he said here.



He then told us we’d see the Dr. Manhattan origin sequence and let me say, while I loved the opening credits, this is the stuff that made me fall in love with the movie. I never, ever thought I’d see Dr. Manhattan on a movie screen, and I never thought I’d see a filmmaker capture the feeling of being in the comic, going back and forth in time, experiencing what it would be like to be inside Manhattan’s head. But Zack did it. And it was awesome.



The footage we saw started with him going to Mars after the talk show incident (if you’ve read the book you know) and he explores his past and how he got to this point. It shows his first love, and how he came to be large and blue.



But the thing about the footage that I loved the most was the way Zack slows down the frame and the moments that are happening inside the frame and then he speeds it all up. It’s sort of like what he did on “300,” but even better and more methodical.



After we saw this sequence Zack spoke and here’s what he said.



The next bit was footage on the Owl ship with Dan and Laurie after Manhattan left and they discuss rescuing Rorschach from the prison. After they agree to do it, we see them fighting down a long hallway attempting to find him and when they finally do, we see Rorschach dealing with a certain midget in a bathroom. After he leaves and they walk out, blood starts pouring out from under the door. We all know what happened in the bathroom.



One of the great things about the footage was the way Zack staged the fighting. Unlike some movies that cut too quick, or make it so you can’t follow the action, this stuff was easy to follow and it looked like they were there doing the stunts and actually fighting. No quick cuts and ****ty editing, this stuff was tight and together. Very impressive.



After we saw this footage, Zack went onstage with costume designer Michael Wilkinson and production designer Alex McDowell and answered questions from the audience. Again, here’s the audio of what was said.



While some of you might doubt how impressed I was with the footage shown tonight, go around the net and read what others thought of the footage. You’ll see I wasn’t the only one who drank the Kool-Aid.



Overall, I’m even more convinced than before that Zack Snyder has done the impossible and brought justice to Alan Moore’s iconic work. Next March is a long way away.



And now…part 2 of Collider’s report as I brought David with me and here’s what he had to say:





Yeah, that was interesting.



We saw what they claimed was 26 minutes worth of footage. The first chunk of footage was the opening 12 minutes of the movie. It starts with a clever and minimalist take on the Warner Bros., Paramount, Legendary, and DC Comics logos, a static image on a "Watchmen yellow" background. It was like an intentionally low grade version of the Ocean's 12 studio logos. We then went right into the beginning of the comic, The Comedian's demise. It was intercut with the footage on his TV, a satirical take on the Mclachlan Group with an actor playing Pat Buchanan. I wonder what he'll think about being associated with this dark, possibly genius, and meta take on the superhero genre.



The fight was a long, drawn out, brutal, and impressively choreographed brawl. Watchmen wears its R rating on its sleeve. After he plummets to his death, we got to see one of the best opening credit sequences of all time. I'm not sure how much I want to spoil, but it's the epic and clever alternate history of America set to Bob Dylan's "The Time's They Are a Changing." There's really no way to describe it accurately and it's really something you should absorb yourself, but it's impressive and really sets the tone for the movie it seems they've made. There's something beautifully somber about the footage. The movie walks the line between character drama and satire in a very interesting way.



The second chunk of footage sold me on the movie. No question. It was the non-linear origin of Dr. Manhattan. It covers more ground than any of the entire origin movies we've seen over the last decade, and it hits so many emotional notes. There's the inherent tragedy in the classic "scientist gains powers from lab accident" story, but the sequence tackles all the philosophical questions from the comic. There's something frightening about Dr. Manhattan and the cold and pragmatic way he views all of humanity. Ignoring all of that, there are more cinematic "money shots" in this sequence than there are in most movies. Also, prepare for some blood and guts. That's all I'll say. Billy Crudup nails the attitude and world view of the character better than you'd even expect.



The third chunk of footage was the rescue attempt of Rorschach at the prison. As much as I admired the approach and had a great time with the action scene, I almost wish I got to see more character moments. I had no doubt Snyder would knock the action out of the park, but I guess it was necessary to remind any journalist without imagination that there are certainly some crowd pleasing moments in the film. You see every bit of choreography due to Snyder's love of slow motion, and I dug it. The capped everything off with a fun and exciting montage of moments from the film. At they point you were either on board for the movie or an idiot, but it was still solid stuff. Snyder came out with Alex McDowell and Michael Wilkinson and answered a few questions.



Of everything, I think the most important thing to note, and this something anyone with two eyes should have noticed already, is that the style of the costumes is a riff on the recent superhero films. That's why Night Owl's costume is similar to the Burton/ Schumacher Batman films and some of the costumes have nipples. I can't imagine how anyone would think that could be an unconscious mistake, but yay for the internet. The film takes a lot of things from pop culture, one of my favorite images was their straight lift of The War Room from Dr. Strangelove. It was awesome seeing Nixon at that table. Snyder said the current cut of the movie is around 2 hours and 45 minutes and I can see why. It's a big multi-character epic. I hope it stays that way. The biggest thing I took from the presentation is that I'm very impatient to see the movie now. March is a long way away.

 

[Carmine Falcone]

Jesus. It sounds ****ing great.

 

[Kanon]

Just imagining those opening credits brings tears to my eyes...

 

[C.F. Kane]

I have a problem with this. They said that the comic starts with a fight. It doesn't. It starts with that famous zoom-out from the smiley pin with Rorschach's narration. Maybe that's what's just after the credits.

 

[Antonello Blueberry]

This one from CHUD's Devin Faraci
http://chud.com/articles/articles/16514/1/ZACK-SNYDER-APPEARS-TO-HAVE-NAILED-WATCHMEN/Page1.html

I was sold after the set visit. I knew that Zack Snyder 'got' Watchmen, that he wasn't turning it into 300, that he and his team were paying an obsessive amount of attention to detail and fidelity. After talking to Zack on set (and at a couple of other events - I must have interviewed this guy about 20 times on the subject of Watchmen) I knew that he was attempting to service the graphic novel and not trying to bend it to his style or his will. I also knew that he wasn't just making a slavish adaptation - his film would attempt to live on its own.

I was sold on the intentions and on the approach. My mantra was 'If Watchmen is bad it won't be due to a lack of love and effort.' My new mantra is 'Watchmen won't be bad.'

That's how good the 25 minutes that Snyder screened for the press was. From the scenes we were shown I feel comfortable saying that Snyder has nailed it. Watchmen looks amazing.

First we were shown the opening of the film, where a mysterious stranger breaks into the apartment of Edward Blake, aka The Comedian, and beats him to a bloody pulp before tossing him out of a window. Snyder has taken a couple of panels from the comic and expanded them, while using this opening as a way to let audiences into the film's alternate 1985 - Blake is watching The McLaughlin Report, where Eleanor Clift and Pat Buchanan debate recent Russian nuke build ups and military moves towards Afghanistan and how the presence of Dr. Manhattan affects the situation. President Nixon delivers a speech aimed square at the Soviets - do not **** with America, or our big blue protector, is the gist of it.

Then the door breaks open as a Veidt Nostalgia commercial comes on the TV. The song Unforgettable plays over the brutal battle, amped up from the simple fisticuffs of the comic but still feeling in line with the source material. This is obviously a match between two incredibly skilled opponents, but the mysterious man is faster, quicker, and more brutal. Snyder uses speed ramping here, but it doesn't feel gimmicky or 'cool,' like it did in 300. It feels like a comic book.

One of the most interesting things I took from Scott McCloud's Understanding Comics was an appreciation for the strange way that comic books use time. Each panel captures a moment, and movement occurs in the gutter between panels, but there's no set rule for how that works - three panels can span a decade or a second. For the first time ever I felt like I was seeing that in action on a big screen. A punch lands and the film slows down to almost a full stop - there are elements of Raging Bull in the style but more than that it feels like way that a comic book panel will crystalize and hold a moment in time, making a split second turn into an eternity. Comic book filmmaking has been used to describe garish, four color imagery or ludicrous, campy content, but Snyder seems to be redefining that phrase, making a comic book film that captures the experience of reading a comic, of experiencing moments in time as unique entities.

After Blake slams into the pavement, followed soon after by his blood-spattered smiley face button, the film goes into its opening credits. Again, Snyder is taking frozen moments in time and bringing us through them, setting up living dioramas of important scenes in the history of the costumed heroes of this world. His camera glides through tableaus familiar - Dollar Bill dead, his cape caught in a revolving door - and new - the Enola Gay dropping the bomb on Hiroshima, except in this world Silk Spectre is painted on her nose - to the sounds of Bob Dylan's The Times They Are A-Changin'. Who would have imagined we'd live to see the day when a Bob Dylan song is the opening theme for a superhero movie?

The credits are pretty amazing, and they tell a complete story on their own, filling in some gaps that will either leave hardcore fans furious or exhilirated. I burst into laughter (the good kind) seeing Silhouette in Times Square on V-E Day grabbing a young girl and kissing her, making an alternate reality lesbian version of that famous picture of the girl and sailor kissing. I don't know that I would want to accept that moment literally - that instead of the girl and sailor photo a Silhouette and girl photo has become famous - but it puts the audience into the exact right frame of reference as to how these superheroes are part of the pop culture landscape, as does Andy Warhol unveiling a painting of Nite Owl II. And showing the Comedian as the shooter on the grassy knoll - something alluded to in the comic but never shown or spelled out - underscores the role they played in this alternate history. There's a lot to digest in the few short minutes of the opening credits, and I'm curious to see how virgin audiences will take to the sheer amount of information thrown at them in silent, often still scenes.

The next scene that Snyder showed was Dr. Manhattan going to Mars and looking back at his origin. During an interview at this year's Comic Con Snyder said this was his favorite part of the movie because it's the most Watchmen-esque segment - seemingly completely digressing from the main plot, but integral to understanding the characters.

Perhaps the biggest shock of this scene was learning that Billy Crudup's voice is totally unprocessed as Dr. Manhattan. Asked about it in the Q&A, Snyder said that he figured since Manhattan could do anything he would keep his voice normal so as to not freak people out, but also that Crudup's voice, which is so calm and soothing, would be freaky and perfect coming from this god.

I have to admit that I got goosebumps watching this segment. While Snyder cuts down on some of the time-hopping that Alan Moore and Dave Gibbons played with in the original comic (since Manhattan experiences all time at once, his 'memories' of his origin are very non-linear), this segment captures all of the important plot beats of Manhattan's origin, but more crucially the emotional beats. This ten minute segment is essentially an adaptation of one issue of the comic, and the fact that Snyder captures everything that he needs to capture in those ten minutes are the boldest testament to the fact that Watchmen is doable in a feature length film. Could this segment have been a 40+ minute episode of the mythical HBO series that fans have clamored for? Sure, but it works just as effectively in this format.

Where the opening scene was expanded from the comic, this scene was necessarily truncated. Still, Crudup's voice over captures so many of the specific lines from the comic that the experience feels complete. And even with some unfinished effects, Manhattan looks simply awesome - and fear not, there's big blue dick on display. Snyder et al have said again and again that it would be there, and now I can report back to you that it is in fact there, just not always so in your face.

The final full segment that Snyder showed was Silk Spectre II and Nite Owl II breaking into the rioting prison to spring Rorschach. Part of this, where Spectre and Nite Owl advance down a corridor, beating on inmates, happened to be what I saw getting filmed while I was on set, and it was thrilling to see it fully realized. On set I wondered how this would work - it's an extra action beat that's not in the comic, but one that feels natural to the story - and again Snyder uses the speed ramping technique to pull out and emphasize certain moments - a kick, a punch, an impact - although this time it does feel like it comes closer to the 'cool' visuals of 300. Still, it's a restrained bit of action in a film that will have very little of it.

I'm such a nerd that I noticed a small joke was cut during the end minutes of the scene; Spectre and Nite Owl find Rorschach, who is following the Big Figure into the bathroom. They wait outside, thinking Rorschach simply has to pee, and Dan's observation about using the bathroom as a crime fighter is missing. I don't know if this indicative of larger tonal issues - is Snyder looking to pull some of the humor out, thinking that it might take people outside the story? - but I will say that the joke being missing was one of my few complaints about the footage I saw.

This was the only real look we got of Rorschach in motion, and while I wish there was more of him, I liked what little there was. Jackie Earle Haley's voice and his delivery of Rorschach's stilted lines were perfect, as was the mask. The ink blots look like blood seeping through bandages, and the mask itself looks soft and moves easily when Rorschach speaks, unlike the Spider-Man mask, which obviously has a rigid structure underneath it.

After that we were treated to a quick montage, the vast majority of which was footage from the trailer. When that was over Snyder did a half hour Q&A; I filmed that and will be making the video available on the site starting later today (Thursday).

The film looks beautiful from a simple cinematographical point of view, but beyond that it looks thrilling and, for want of a better word, right. I think this is the film that will convince skeptics that they don't understand Zack Snyder, that his output so far has not defined him as a filmmaker in the ways they think it has. Yes, Snyder is a self-admitted non-naturalist, but his wildest instincts seem reigned in here. The film isn't endlessly stylish shots but seems to be made up of solid (and stylish) visual storytelling. And despite the fact that Snyder appears to have made an almost preternaturally faithful adaptation, the film doesn't feel slavish. It gets everything right while also being its own thing. Snyder hasn't simply dramatized the panels, he's created his own take on the material while sticking very close to what is on the page.

The film's current running time is two hours and forty five minutes, meaning that the 25 minutes I saw was a minor sampling. But based on what I saw, I have to say that I'm filled with nothing but confidence. Snyder did it. He didn't drown the movie in his style and he didn't allow the holy status of the text to intimidate him into being an anonymous filmmaker. I was hoping for a Watchmen movie that would be 'okay.' It looks like I'll have to settle for one that's great.

 

[AVEITWITHJAMON]

This all just sounds amazing, hopefully Zach Snyder has done it, and the whole movie will have the effect this footage has so far had, cant wait till March!

 

[November Rain]

I've imagined doc manhatten so sound like Jonnzz from JL, it's a kinda de-tached from humanity voice.

There's no way on earth he would sound normal. He should be lost from humanity. Or at least the voice in his head should sound like his own while the way he speaks should sound alien.

if he could really do anything and didn't want to put people off, he would start off looking more human like with white skin and slowly get bluer as time goes by (while also shedding the clothing).

 

[AVEITWITHJAMON]

I've imagined doc manhatten so sound like Jonnzz from JL, it's a kinda de-tached from humanity voice.

There's no way on earth he would sound normal. He should be lost from humanity. Or at least the voice in his head should sound like his own while the way he speaks should sound alien.

if he could really do anything and didn't want to put people off, he would start off looking more human like with white skin and slowly get bluer as time goes by (while also shedding the clothing).

Actually, I imagined his voice like that when I read the book recently, but i'll wait to hear this version first before I comment on it.

 

[November Rain]

true, as long as it remains detached without sounding depressed which is what jonnzz voice managed to do. A monotone booming voice which shows his godlike manner rather than perhaps a man who has inherited the powers of a god (which would perhaps have a more indecisive tone). Meh

 

[Watson]

This all sounds very positive to me. I can't wait till we get to see some more of the footage ourselves.

 

[Solidus]

Sounds like Snyder is taking great care with this which is good. Because this is like the Mona Lisa to most comic book readers. So I'm glad it sounds like great care has been taken into making this.

 

[Compi716]

Sounds fantastic so far. I'm not sure if I like the film starting out with Blake's murder rather than it being told through flashbacks, but that isn't such a big deal.

What MAY get annoying, however, is the classic Snyder slo-mo used during that scene.

 

[Darknightnomis]

Man i am so stooked for this movie!!!!

 

[Watson]

Sounds fantastic so far. I'm not sure if I like the film starting out with Blake's murder rather than it being told through flashbacks, but that isn't such a big deal.

What MAY get annoying, however, is the classic Snyder slo-mo used during that scene.

I agree. I hope it isn't a constant barrage of slo-mo action shots, but rather he uses the technique effectively.

 

[Solidus]

Sounds fantastic so far. I'm not sure if I like the film starting out with Blake's murder rather than it being told through flashbacks, but that isn't such a big deal.

What MAY get annoying, however, is the classic Snyder slo-mo used during that scene.

I kinda agree with the slo-mo. But as long as its just used during the action sequences a little bit is fine. But if it is during every scene like 300 that might get a little annoying lol.

 

[Mikelus]

This movie should be the best comic book based film ever, the wait is going to be long.

 

[Armored Avenger]

The opening credits sound great. The whole movie sounds amazing. I love the use of "Times they are a changing" by Dylan.

 

[Hurm...]

Lord, this is some of the best news I've heard in months...new trailer, apprx: 2hrs and 45 min, and this description is amazing.

I have FULL faith in Snyder after this.

 

[Compi716]

After reading Moriarty from AICN's description (http://aintitcool.com/node/38594), I think I'm going to change my stance on Snyder's use of slo-mo. If it's used to accentuate "individual panels," then that is perfectly fine in my book. Hell, it even sounds damn cool.

 

[JonnyQ]

A random thing to say maybe, but I can't wait to hear the use of music in Watchmen. The opening with Dylan playing over is going to add a new depth to the scene.

 

[Anita18]

Sounds great so far! t:

 

[Killing Joke926]

I told you guys this movie's gonna own 2009!!!!!

 

[Solidus]

Too bad they won't keep Koyaanisquatsi in the movie, that part would fit it perfectly.

 

[The Denialist]

God, all of these reports sound so amazing.

FIVE MORE MONTHS.