Few Hollywood filmmakers are hotter these days than Zack Snyder, who is widely considered one of the go-to guys for ambitious big-budget movies set in complex visual worlds after the success of his films “300” and “Watchmen.”
“Sucker Punch,” the filmmaker’s latest, is no exception. In classic Snyder fashion, the film (opening Friday) is a blend of expressive slow-motion montage and high-powered adventure rife with classic iconography (samurais, World War I, etc.) set against computer-generated backdrops.
It follows Babydoll (Emily Browning), a prisoner in an abusive ’50s mental hospital for women, as she and other inmates strive to escape their dreary existence through precarious action-oriented missions set in imagined post-apocalyptic landscapes.
amNewYork spoke with Snyder, 45, about the movie.
Did you initially conceive of the film specifically as a vehicle for women?
It definitely evolved into that. I had this idea for this girl that I wanted to send to these fantasy worlds. The other people who started to surround her were other girls. … It didn’t make sense to have another guy in there, some weird little love interest.
What sort of decisions went into creating Babydoll’s fantasy worlds?
[For example], when I first conceived of World War I they had a spy plane [and] I was like, “That’s boring. What if they had some sort of mechanized robot from the future?” Those are the kind of conversations we had.
How do you communicate your vision to actors while filming, when so much of it is added in post-production?
The truth is it’s hard to communicate, but I feel like the girls, they trusted me that I wasn’t going to lead them too far astray.
What’s your take on Superman in “Superman: Man of Steel,” your next film?
The thing about Superman is, you want the audience to go, “That’s what I would do if I were Superman.” That’s the revelation that I haven’t seen in a Superman movie, you going, “If I were Superman, I would do that.”