Superman Returns There are influences in this film from the J.J. Abrams script

[retconned]

I have noticed after reading the novel and knowing alot of information about the movie, that this film borrows to some degree scenes and ideas for the thrid draft of the J.J. Abrams script, or you could almost call it the Josh Schwartz script. Schwartz was the creator of The O.C. and a huge comic book lover. I just thought that while the concepts for the movie are entirely different, you can see some of this scripts influences in Superman Returns. From what I have been told, this script was originally offered to Bryan Singer, but obviously he did his own thing story wise. Anyway, here we go....

- Lex Luthor obtaining Kryptonian technology was a major storyline in the script. Fresh out of college, Luthor was driving cross country for his first job in Metropolis working at some local industrial coroporation, and while stopped in Smallville, witnessed the crashing of Superman's ship. After the Kents scooped up baby Clark as in every other incarnation, Lex found the ship and stole it for himself before Johnathan could return to secure it. This plays into the Kents telling Clark to never use his powers no matter what, and to proceed living like a normal human being, as they know there is someone out there who would be able to identify him. They don't put the fear of god into about his powers like the first draft, but it's made clear they want Clark to live like a normal human being. But anyway, Lex takes the ship, figures out how to adapt the Kryptonian technology, and then buys out his boss and turns the Metropolis Corporation into the Billion dollar company known as Lexcorp, which specializes in military arms development, sonar tech, news forms of stealth flight, etc etc. Not to mention he basically buys the city of Metropolis, including the Daily Planet. There are some funny lines with Perry White and Lois Lane concerning that fact. Lex would then use the Kryptonian technology to call upon the surving Kryptonians to come to Earth and defeat Superman. On a side note, the Lex in this script was a damn creep. Very unnerving almost. Before witnessing the rocket ship crash in Smallville, lex is pulled off to the side of the road, basically writing down notes for his own Mein Kampf. I geuss Luthor has some grand, Hitler like plan that would have played out over the course of the franchise. I really liked how Lex was done here. More on that Later.

- The plane sequence in Superman Returns was basically taken right out of the script. As described in the novel and from all the images and previews Ive seen, it is honestly a shot for shot copy, which isn't a bad thing. The plane sequence in the script was the one of the most stunning visuals Ive ever had in my head, and it should be know different in Superman Returns.

- Superman flying above the world and listening to people's problems, then flying around doing Super deeds was in the script, and might I say one of the best parts about it. Might not be shot for shot, but the idea's came for the scene in Superman Returns came from this script it would seem.

- The heavy emphasis on the romance was there, although with obviously WAAYYYY different storylines. It was the traditional Superman/Clark/Lois triangle, which wasn't a bad thing, not that the Superman Returns love story is bad either.

- The idea of going back to Krypton, with the difference being that Superman leaves for Krypton at the end of the film.

With this being said, it looks like Singer took some of the best concepts from this script and then combined them with his idea of vague history. While this script was amazing when it was pure Superman, it also had it's fair share of groans. Alot was changed about Krypton, first and foremost bieng that JOR-EL was the main villian, and it was he who blew up Krypton and reduced it to a giant chunk, while Lara sent Kal-El to Earth for the sole purpose of living a free life. Very Darth Vader like with Jor-El. Also, and your going to love this, Supermans has a half brother that was born to Jor-El and another kryptonian women, who of course is evil. This character basically took the place of Ty-Zor if your remember him. The prophecy is still there, but it actually is not about Superman. The prophecy is about some form of Ultimate Evil in the universe, basically being played up to be an intergalactic Satan, and I believe that it is implied to be Jor-El, but would have turned out to be Lex Luthor. The whole reason Superman goes back to Krypton is because he believes this ultimate evil is Jor-El and he must stop him, free the kryptonians, and protect Earth from another attack. They were really going for Jesus vs. Satan here by the end of the franchise.

You can truly see Schwartz influence with the character of Clark Kent. Instead of making him the stumblin, bumblin, fumblin, mumblin fool of old, Clark is a modern day nerd. Geeky and Sarcastic, this Clark made alot of comments that made me think Seth Cohen from the O.C. I will honestly say though that the interaction with Clark and Lois was funny as hell, and the best source of humor in the script, with Lois being the bossy ***** that she is. There were some very Luke Skywalker-esque moments with Clark while he was on the farm, I could just hear the Star Wars theme in my head. Also, Superman didn't die in this script when the other Kryptonians arrived, they placed him in some sort of paralysis and stuffed him away with the rocket ship that lara had sent him to Earth. After being stuffed away, a computer programming of Lara, think Bruce Timm Animated Series, melded with Superman's mind and told him everything, who he was, where he was from, the prophecy, everything, and then the ship freed him from the paralysis just in time to save the day. It was then that Superman took it upon himself to stop the prophecy.

Well, I would just like to say I am in no way endorsing this script, Im only passing along what I read and the influences I see. This movie would have been directed by a hack in McG and cast horribly, i.e. Beyonce Knowles as Lois Lane because McG is an idiot.

 

[Showtime]

Very good. I brought up most of these points previously and I am glad they borrowed some of the ideas listed above, because at their core they were good ideas.

In regards to superman listening above earth, there was also a draft of the "Abrams" script that had Superman listening while on top of Mount Everest.

 

[IKnowSomeJudo]

Steal whatever works for the script, I say. I've read the first draft of Abrams script as well, and you're right the resemblance in a couple of those scenes is uncanny, but it's all good, whatever works, use it.

 

[theogt]

I believe Singer stated in one interview that he took scenes/ideas from various incarnations over the past 15 years. His basic story going in was just the departure and return of Superman and the world having moved on.

 

[Agnarr]

Interesting. Glad Singer only took the good bits. I want to throw up everytime I think of Beyonce as Lois Lane. And Jor-El as a villian? And a half-brother?

 

[retconned]

Showtime, I rember reading the Mt. Everest scene in the 1st and 2nd drafts of the script. In the 3rd draft they changed it to the floating above space idea.

And you are right. At there core, the true Superman ideas are good. There genuine, emotional moments in the script that would have been amazing had they been done right, and if you strip away the revamped Krypton story and ultimate evil prophecy BS then you might have had an awesome Superman movie. When it was good, it was great, when it was bad, it was awful. However, there was no way either McG or Ratner, both hacks, would have got the job done.

 

[mad-sci]

The plane sequence in Superman Returns was basically taken right out of the script. As described in the novel and from all the images and previews Ive seen, it is honestly a shot for shot copy, which isn't a bad thing. The plane sequence in the script was the one of the most stunning visuals Ive ever had in my head, and it should be know different in Superman Returns

To be honest, reading that excerpt from Abrams 1st draft doesn't impress me that much.

EXT. WASHINGTON D.C.-DAY

Our musical score provides an atmosphere of power and anticipation. The National Mall in all its glory; the brilliant-white Washington Monument pierces the deep blue sky.

EXT. ANDREWS AIR FORCE BASE- DAY

Lois Lane -- Jimmy Olsen behind her -- moves through a security checkpoint. They then move onto the tarmac, we pan with them revealing AIR FORCE ONE UNDER PROR. White House staff and members of the press climb the stairs to enter the plane. Lois and Jimmy follow.

INT. AIR FORCE ONE - ****PIT-DAY

The CREW preforms a flight check.

INT. AIR FORCE OE

Lois and Jimmy take their seats . She's trying hard not to reveal her giddy excitment-then the sound of JET ENGINES STARTING UP-

EXT. AIR FORCE ONE-DAY

The turbines begin to turn and we push in on an engine panel at the front of the plane-its LOOSE. RATTLING. And on this foreboding image we cut:

INT. CLARKS APARTMENT-DAY

We push through the moving boxes that litter the place. and there's Clark, asleep in bed.

His radio alarm goes off, music plays. Clark hits the snooze button and within seconds is asleep.

EXT. SKY-DAY

Air Force One climbs in altitude.

INT. AIR FOCE ONE-DAY

Lois looks over her notes. Jimmy is putting napkins, menu cards, anything "Air Force One" into his camera bag. Lois sees this says quietly

LOIS
Jimmy !

JIMMY
What? Oh come on, they know we're going to take this stuff!

A staff member approaches to talk to Lois.

STAFF MEMBER
The President will see you now.

LOIS
Thank you.

Lois gives Jimmy a look, then heads to the front.

EXT. AIR FORCE ONE-DAY

The plane flies -- and the camera moves in, to the engine with the loose panel -- we push in--it shakes violently-

INT. AIR FRCE ONE - ****PIT-DAY

The pilot, as the plane reaches it 33,000 feet altitude. Suddenly the emergency light flashes -- a constant buzzing-- they react- technical chatter.

INT. AIR FORCE ONE

Lois follows the staff member down the aisle as the "Fasten your Seatbelt" light illuminates

EXT. AIR FORCE ONE-DAY
The engine panel rips loose and is sucked into the turbines --blade shatter -- the engine explodes --the plane banks hard.

INT. AIRFORCE ONE-DAY

Lois falls to the floor-people scream-everything tilts-one of the journalists, on a plane phone reports

JOURNALIST
Oh my God- Rob, we're going down - we're in a dive!

INT. AIR FORCE ONE-****PIT-DAY

The pilots frantically try to correct the planes altitude-feverish radio calls.

EXT. AIR FORCE ONE

the plane dives hard -- and we smash cut to

INT. CLARKS APARTMENT DAY

Clark is uncousious. His radio goes off again:

D.J.(v.o.)
Orce One is appearently having engine probl-

Clark hits snooze again - instantly asleep-

INT. AIR FORCE ONE - COCKPIT-DAY

Its MAYHEM- alarms blaring,

PILOT TWO
Engine two redlining!

EXT. AIR FORCE ONE-DAY

A second engine blows-black smoke pouring from it as the plane plummets-

INT. AIR FORCE ONE

Lois --terrified--holds on to the seat as she desperately tries to make it back to Jimmy--

We now see the President, who, along with his wife and daughter are surrounded by Secret Service Agents, all terrified-

INT. CLARKS APARTMENT

Push in on Clark as a reporter's voice fades up-

T.V. REPORTER
WE ARE RECEIVING INFORMATION FROM A SOURCE ON THE AIRPLANE THAT AIR FORCE ONE HAS LOST TWO OF ITS ENGINES AND AT THIS MOMENT IS-plunging towards earth!

SUDDENLY Clark bolts awake - he turns to look and focus - across the street in an apartment, behind a closed window, a women irons while watching the news report.

REPORTER
Repeat breaking news : it has been confirmed that Air Force One is in a steep, uncontrolled dive, headed for collision.

Clark springs from his bed - his mind races - he realizes what to do. He turns to the moving boxes -- scans them all- rips one open - under sweaters and sweatshirts is a canister. A whip of the wrist and the suit bounds out and into the middle of the apartment, standing like it once did before, but this time...it'll fit!

Off Clarks face -- awash in trepidition -- we suddenly pull back at lightspeed to:

EXT. CLARK APARMENT

Outside his apartment, a long shot, we make out Clark as he puts the suit - the suit puts itself on him - and in this same shot we race-blur-stopping at the roof where Superman bursts through the door, knocking it off its hinges.

Then we quickly push in tight on Superman's face as he searches the skies. Though of course this is still Clark, his typical fear is overwhelmed by intense determination.

And in that moment he takes off into the sky.

EXT. SKY - DAY

Air Force one spin dives -- two F-18s appear, flanking the failing aircraft.

INT. F 18 - DAY

One of the pilots into his radio:

F-18 PILOT
Negitive - there's nothing we can do from here

INT. AIR FORCE ONE - DAY

Lois is trying to climb up towards the rear of the plane, tears streaming down her face.

EXT. SKY

Piercing the clouds-a human bullet blurring through the sky -- Superman blasts across the horizon.

For a moment, Superman stops -- steadying himself, still new to flight, we push in tight on his face as his extraoridinary eyes and ears scrutinize the sky - he hears the straining of engines and he takes off again.

EXT. BOSTON-DAY

Pedestrians in Harvard Square looking upwards:

PEDESTRIA 1
Look! Up in the sky!

PEDESTRIAN 2
(who cares)
Its a bird.

PEDESTRIAN 3
Its a plane!

PEDESTRIAN 2
Oh my god it is a plane!

EXT. SKY

Air Force One can't recover -- the engines straining loudly, the plane spins, F-18s still flanking. Then the camera pivots, revealing Superman as he approaches the plane-- as he reaches for a wing, the plane spirals, sending him tumbling --

Superman steadies himself mid-tumble and dives again for the plane- he first grabs one of the wings and tries to make the plane stop spinning,

INT. F-18

The pilot- having seen Superman-is astonished:

PILOT
Fellas?

INT. AIR FORCE ONE-DAY

LOIS GETS TO A WINDOW -- LOOKS OUT--SEES SUPERMAN FOR THE VERY FIRST TIME-as he flys back underneath the belly of the plane-her mind spins.

Jimmy appears, jumps infront of her snapping pictures.

EXT. BOSTON

More and more people gather to watch the event unfold-many run terrified.

EXT. SKY - DAY

Hoisting the entire aircraft on his back, Superman begins to lift the plane, Superman strains under the enourmous weight-AND RESOTRES IT TO ITS NORMAL ALTITUDE

INT. AIR FORCE ONE-DAY

Lois is in disbelief - she almost wants to laugh-

The President and his family, relieved but confounded, look out the window, trying to understand what's happened..

INT. AIR FORCE ONE -DAY

The crew reacts:

NAVIGATOR
Wally, good job!

PILOT
Guys, I'm not doing anything.

INT. F-18

PILOT
Uh, is anyone else seeing this?

RADIO VOICE(in disbelief)
I think so.

EXT. BOSTON - DAY

Some pedestrians are running like mad -- others - (most) stunned, frozen in shock -- as Air Force One is carried safely down into the city, towards the middle of Boston Commons, by a man dressed in a full body blue suit and red cape.

INT AIR FORCE ONE ****PIT-DAY

NAVIGATOR
Should we put down the landing gear?

PILOT(in shock)
What the hell?

EXT.BOSTON COMMONS - DAY

The park middle of the city - countless bostonians cheer widly as Superman gently sets down the Presidents airplane. Out of breath, Superman looks up at the crowd - laughing, yelling, in shock, applause, lots of picture taking.

Superman -- Clark-- is so unaccustomed to this moment - such a superneophyte, that he is unable to enjoy it.

Emergency chutes activate and Secret Service Agents begin to slide off the plane - followed by the President, who moves towards Superman, agents holding him back but he waves them off.

PRESIDENT
Excuse me sir, do you speak English?

SUPERMAN
Yes sir...

PRESIDENT
Well then. I want to say two words to you, son. two words I've never meant more in my-

SUPERMAN
Excuse me.

Superman walks past the President over to Lois - who has just slid down the slide. She looks up -- his hand is there. she takes it and he helps her up, her breath taken away,

SUPERMAN
You ok?

LOIS
Me?

She looks at stunned and grateful to the core. He's perplexed that she doesnt know who he is.

LOIS
Who are you?

SUPERMAN
Ill give you a hint...Fly.

LOIS(oblivious, in shock)
I know, I saw-how do you do that?

It hits him-she doesnt know who he is. Then, from behind him, half a dozen video cameras and reporters-

REPORTERS
Sir! In the red and blue! Who are you? Are you a Republican? Where are you from? What's youir name? Are the alien we've been hearing about? What does the 'S' stand for?

Cameras going wild the whole time -- the hoard of reporters surprisingly iritating for Superman, he looks back at Lois, who stares at him, behgolden, captivated. But he's too anxious to say anything but

SUPERMAN
Excuse me-

and with a magnificent LEAP, Superman bounds into the sky --everyone gasps, some scream or faint - camera catching every glimpse - including Jimmy's.

JIMMY
Oh my God Miss Lane, oh my God, oh my God, Miss Lane.

And we push in on Lois wide, incredulous eyes as they watch the red strak in the magnificent sky ...a tear streams down Lois's face as we prela-

NETWORK REPORTER(V.O.)
-- a truly incredible sight just minutes ago in boston

There are obvious differences you can see, since in this version, Superman only has to save one plane, on top of which there's no wing rips, and Superman seems to do the job with no effort (making it less tense than it should be).

Reading the action, it seems to be more similar to the plane sequence from the Pilot of Superman: The Animated Series, which was done some years before.

 

[retconned]

To be honest, reading that excerpt from Abrams 1st draft doesn't impress me that much.




There are obvious differences you can see, since in this version, Superman only has to save one plane, on top of which there's no wing rips, and Superman seems to do the job with no effort (making it less tense than it should be).

Reading the action, it seems to be more similar to the plane sequence from the Pilot of Superman: The Animated Series, which was done some years before.

I remember that scene, but it was in the god awful 1st draft of the film. The one I was reffering to was the 3rd and I belive final draft that had, for one, cut the cannister out thank god, and it was no longer Air Force One. It was the space shuttle plane seen in Returns, and the ripping off of the wing was there as well.

I geuss I should have pointed out that everything I was talking about happened in the final draft of the script that had been rewritten. ALOT changed with the rewrites. If any has any questions, PM me or ask away on here.

 

[Excel]

I also heard a lot of stuff from smallville made it in as well.

 

[retconned]

In the FINAL draft, yes, Smallville had an influence, the Kents were written just the same, he was in love with Lana, his powers slowly developed, etc etc. Smallville was basically used as a template for how he grew up.

However, there was never any Clark interaction and no Chloe.

 

[Sub-Zero]

the fact that he ignores the president to see if lois is ok is just not superman to me.

 

[Excel]

no. he was saving air force one there. here its just a boeing 747.

 

[ultimatefan]

Well, many people actually said the JJ Abrams script was very good, except it would piss off a lot of fanboys due to Krypton not exploding, Lex as a kryptonian, the Superman death thing, which was pretty awful as described, and, for me, retelling the origin for the kagillionth time.

 

[mad-sci]

I always saw the changes made by Abrams and co. as being made not for the story, but for stamping their influence on the mythology. I could see why they would make SOME changes, but far too many were made all at once. I prefer the idea of using an established mythology, maybe adding a few changes, in order to tell another story.

 

[retconned]

Well actually in the final draft, Lex was very human, but he possessed Kryptonian technology after stealing Superman's rocket ship, Krypton explodes for the most part except for a chunk which evil Jor-El rules, and there is no Superman death scene.

 

[retconned]

I always saw the changes made by Abrams and co. as being made not for the story, but for stamping their influence on the mythology. I could see why they would make SOME changes, but far too many were made all at once. I prefer the idea of using an established mythology, maybe adding a few changes, in order to tell another story.

The producers, at the time, said that Superman was to one-dimensional and not only was invincible but had a perfect origin as well. Instead of going the de-powered route of Burton, this time they thought they would change the origin to create, as they said, conflict. And then they through in this Ultimate Evil prophecy, which was basically promoting Jesus vs. Satan in the form of Superman and I believe to be Lex.

 

[mad-sci]

But the idea of a prophecy completely takes away the majesty of the Superman character. If you were told that there would be a person who would fight the Ultimate Evil, then that person would always be regarded as a saviour, no matter how many people they saved or how many battles they fought. It's basically being told someone is a hero instead of seeing them be a hero.

A clear example of this is in Harry Potter. In Book 5 (OOtP), we find out of a prophecy that tells us Harry is the 'Chosen One' to kill Voldemort. This would have been bad in making Harry a 'fixed saviour' if it hadn't of been for the fact that we had already seen Harry be a hero for 4 books before the unveiling. On top of that, we are told by Dumbledore (the one who heard the prophecy) that it doesn't mean anything unless you choose to believe it (like Voldemort does, but Harry doesn't). Basically, Voldemort wants to kill Harry because he believes in the prophecy, but Harry wants to kill Voldemort because he wants to stop evil.

This idea works in HP because we've seen Harry be a hero beforehand. In the new Abrams 'origin' story, we would always see Superman as a chosen saviour before he even did a heroic deed because the prophecy is the point of the film. It would lessen the character's strengths when it doesn't need to.

 

[Excel]

i loved abrams script.


LOVED it. Im still sore its not being made, actually

 

[retconned]

But the idea of a prophecy completely takes away the majesty of the Superman character. If you were told that there would be a person who would fight the Ultimate Evil, then that person would always be regarded as a saviour, no matter how many people they saved or how many battles they fought. It's basically being told someone is a hero instead of seeing them be a hero.

A clear example of this is in Harry Potter. In Book 5 (OOtP), we find out of a prophecy that tells us Harry is the 'Chosen One' to kill Voldemort. This would have been bad in making Harry a 'fixed saviour' if it hadn't of been for the fact that we had already seen Harry be a hero for 4 books before the unveiling. On top of that, we are told by Dumbledore (the one who heard the prophecy) that it doesn't mean anything unless you choose to believe it (like Voldemort does, but Harry doesn't). Basically, Voldemort wants to kill Harry because he believes in the prophecy, but Harry wants to kill Voldemort because he wants to stop evil.

This idea works in HP because we've seen Harry be a hero beforehand. In the new Abrams 'origin' story, we would always see Superman as a chosen saviour before he even did a heroic deed because the prophecy is the point of the film. It would lessen the character's strengths when it doesn't need to.

I understand what your saying, and I agree with the point your getting across, but....

In the 3rd Abrams draft, there is NO prophecy concerning Superman. He is left out of the equation there. He was sent by Lara to Earth simply to live, nothing more and he chooses to become Superman and has zero knowledge of the ultimate evil at that point. Its toward the end of the script, before the final big showdown, that Superman finds this information and he then chooses to be the person to try and stop it, believing it to be evil Jor-El on Krypton, but in the end I belive it would have Luthor as he was almost Hitler like in the script but with Kryptonian technology. So the prophecy is not about Superman, he just decides to be the person to do something about it, and this is after he had already made his debut as Superman.

And in the 3rd draft, they fixed a major problem from the 1st draft and actually skipped ahead like 6-9 months after Superman debuted to the time when Lex summons the evil Kryptonians using the technology, so Superman would have been saving people that entire time, as well as romancing Lois Lane.

 

[mad-sci]

Okay, the third draft does sound promising than the ones before, but it sounds like the previous production group had lost their nerve with the changes they made, and were just trying to satisfy the long-term fans. And the point of making Lex be some Satan character is still not needed, it's trying to somehow justify why his character is evil. Using the Harry Potter example again, we find out in the sixth book about Voldemort's parentage and his ordeal as a child, BUT we also see he was always a sociopath. Sometimes, people are just bad. That's it.

 

[Lightning54SC]

anyone have the script?

 

[echostation]

yeah could someone please post it up or send it out if possible? i'd love to get an email copy of it if possible please

 

[DareDemon]

The prophecy only exists in Harry Potter because people chose it to happen. Voldemort wouldn't have attacked Harry if the prophecy never existed. But in Superman, it wasn't the prophecy that created itself, it was more like fate. Am I making sense? I haven't slept in a while.

 

[mad-sci]

But in Superman, it wasn't the prophecy that created itself, it was more like fate. Am I making sense? I haven't slept in a while.

Yeah, that's my point. By having a prophecy in Superman, it means his journey was predetermined instead of having him choose it. It lessens the character, when there is absolutely no need to add it. Smallville the TV series added this aspect into the show, and its not worked out (they've stopped mentioning it completely).

 

[retconned]

Yeah, that's my point. By having a prophecy in Superman, it means his journey was predetermined instead of having him choose it. It lessens the character, when there is absolutely no need to add it. Smallville the TV series added this aspect into the show, and its not worked out (they've stopped mentioning it completely).

It's so sad, Smallville has had some good ideas and chances for groundbreaking stuff, but half the time there execution is so off people hate them for it.

I would love to get my hands on Smallville from a creative standpoint, it would rock everyone's world.