Voices From Krypton

SUPERMAN RETURNS: DIRECTOR'S CUT CAMPAIGN

Flicksnews.net has gotten behind a campaign for a director's cut of Bryan Singer's Superman Returns. Notes the site, "Singer stated back when the film was released that the original cut was 2 hours and 45 minutes before the film was trimmed for its theatrical release. A number of significant scenes ended up on the cutting room floor such as the Return to Krypton sequence, scenes with Ben Hubbard and Martha Kent, Kal Penn's character's dialogue was cut, an opening sequence with comic book opening similar to Superman: The Movie's opening, Clark adjusting back to life on earth, young Clark growing up, and lots of dialogue and extended scenes that supposedly added to the film and gave it better pacing and beats." For more information, go to the official site for the campaign, HERE. Check out the trailer they've put together:

Superman Returns: The Bryan Singer Cut from srtbsc on Vimeo.

FROM THE ARCHIVES: J.J. ABRAMS TALKS "SUPERMAN"

With MTV's new interview with J.J. Abrams about how he would potentially be interested in revisiting the Superman movie script he had written at the beginning of the decade, VFK decided to dip into the archives to resurrect this 2002 interview with Abrams in which he talked a (tiny) bit about the project. As fans may recall, a review of his script was posted on Aint It Cool News and it was truly shredded. Shortly thereafter Warner Bros., based on fan outcry based on the review, shelved the script. Of course given Abrams' current status in Hollywood, WB could very seriously reconsider that screenplay. Back in 2002, while Abrams was in the midst of production on the second season of Alias, he spoke to VFK Editor Edward Gross about the project. He doesn't reveal much in the way of details, but certainly expresses his enthusiasm over the project. This was the version that was supposed to be directed by McG and potentially starring Brendan Fraser as Superman. VOICES FROM KRYPTON: The real question, of course, is how you came to be signed on as the writer of the new Superman film. 

J.J. ABRAMS: Pretty simple, really. They approached me about doing the movie. I took a meeting. For me, I miss doing movies. I love doing TV, but I wanted to do another film. What’s been nice is working with producers with incredible records, like Jerry Bruckheimer and my idols. What’s wonderful about working on Superman is that as a kid I was the biggest fan. My three and a half year old son goes to bed almost every night wearing a Superman shirt. I couldn’t pass it up. 

VOICES FROM KRYPTON: What’s the approach to the material? 

J.J. ABRAMS: What’s nice is that after a lot of years of trying to get this going and not succeeding, everyone’s coming at it with a very fresh, open mind. What’s exciting for me is that we’ve got some incredible, really big ideas that go beyond just the one story we’re telling. ALIAS has actually been an amazing training ground for me. In this Superman we’re talking a lot about where he’s come from and where he’s going. I can’t talk about specifics, but I can tell you that there are a lot of exciting, big ideas. I think it’s Superman for everyone and not just for people who already know the character. It’s for the uninitiated. 

VOICES FROM KRYPTON: Do you feel the first two Christopher Reeve films are a tremendous shadow to overcome, or do you basically just ignore them? 

J.J. ABRAMS: I think it’s really a question of embracing what has come before it. This, in many ways, is a retelling of Superman. They did four of those movies, then they did Supergirl — you have to start fresh. I don’t think this should be looked at as the fifth sequel. 

VOICES FROM KRYPTON: From what I’ve gathered from people I’ve spoken to in the past, producer Jon Peters isn’t much of a fan of the Superman costume or the image of Superman flying. This, of course, begs the question: why bother making a Superman movie? 

J.J. ABRAMS: It’s safe to say that if Superman doesn’t fly, it would be a disappointment. I do think that we’re approaching this in a very fresh way, but there are certain things that people have come to realize are important. You have to have the costume and you want to do a Superman movie that will be so satisfying. I’m so sick of going to big blockbuster movies and leaving feeling like I died a little bit, like, “Oh my God, how disappointing was that?” What’s so exciting for us is that we’re approaching this thing knowing and feeling the kind of movie that as kids we used to see. I feel that we’re going to try as hard as we can to make this a satisfying experience.

SUPERMAN: THE MOVIE DIRECTOR RICHARD DONNER TURNS 80!

Richard Donner -- the man who revolutionized the superhero movie genre with 1978's SUPERMAN: THE MOVIE, turned 80 on October 24th. And to celebrate, we're taking a look back at excerpts from an interview with Mr. Donner from the archives in which he talks about the making of the film. THE CHALLENGE: "You never realize how big and impossible a job it is to tackle a picture, because if you did you'd probably never do it. I knew I had a major picture with major problems, but you surround yourself with very talented people; you have an approach, and you're going to correlate all of those suggestions and thoughts--hopefully--into some sense of objectivity, and you go out and make it. 'We had the task of making that film out of my office. I had a secretary, an assistant and a wonderful editor. Things were a mess throughout the making of the entire film. Every time we wanted to do something, their production department would cancel it, bills weren't paid, people wouldn't deliver products, and we had to hustle, rob, beg, borrow and steal. SUPERMAN is a tribute to a lot of dedicated filmmakers, I'll tell you that. But, hey, that's showbiz!" ON MARIO PUZO'S ORIGINAL SCRIPT FOR THE FILM: "It was a well-written script, but it was a ridiculous script. For one thing, here was this producer, a guy named Pierre Spengler, who was going to supervise making this film for the Salkinds, and he had a 550-page screenplay. Well, number one, I said, 'You can't shoot this screenplay because you'll be shooting for five years.' And he said, 'Oh, no. It's fine.' I said, 'That's totally asinine,' but that was literally a shooting script, and they planned to shoot all 550 pages. You know, 110 pages is plenty for a script, so even for two features that was too much. "It was a parody to start with, in an odd sort of way, but they parodied a parody and kept compounding that felony all the way through until it became much like the BATMAN television series. They had things in it like Superman is looking for Lex Luthor; he flies down and taps a bald man on the shoulder. He turns around and it's Telly Savalas, who says, 'Who loves ya, baby?' I couldn't see going that way with it." MORE CHALLENGES: "When I agreed to do the film, I was concerned that Superman shouldn't get screwed up. I never realized what a challenge I was taking on. When I arrived at Shepperton Studios and saw the preparation, I asked them to show me the flying material. I watched it and was stunned to see a man walking along who's jerked off the ground by two wires, and then landing out of control. So that was the first thing we had to correct. Then we had to cast the role, and they wanted to use Robert Redford or something." "We had seen just about every actor imaginable from television to motion pictures to everything else. Nobody fit the costume. Nobody could fly. If you saw Bob Redford flying, it would be Bob Redford flying. There was no sense of reality. That was the key to it, the flying. You had to believe that a man could fly. I tested quite a few of the actors, but nothing worked. The producers even sent over their dentist. I swear to God that's true." CASTING CHRISTOPHER REEVE: "I met Christopher Reeve in New York. I had gotten a call from someone who said, 'There's a kid who's terrific. Would you like to see him?' He was about 20 or 30 pounds lighter, his hair was a sandy color, and he had dressed in the burliest clothes he could find to make him look good. He just had this great look, and I gave him my glasses to wear, and he looked so much like the part it was unbelievable. Nobody wanted to go with him because he was an unknown, but the idea to me was that we should go with an unknown so that you could make it believable. It ended up just that. "I still have photos from his screen-test. He was this stringbag, this skinny, skinny kid in blue leotards with an 'S' cut into the front of it, sweat pouring out from his arms, and black shoe polish on his hair to give it a black look. But he swore to me he was an athlete and that he could put on weight and build up, so we hired him. We gave him a given amount of time, set him up with this Olympic body trainer and poured all kinds of protein into him, and one day he flew in to our office and was perfect." HIS APPROACH "I knew the Superman legend and grew up on it. I knew I didn't want to do what television had done to it. Every kid remembers the TV show. My biggest responsibility to the project, I felt, was somehow having to find some sort of objectivity in visualizing Superman, because everybody has seen him in their own way--either in the reality of a drawing or in the fantasy of their own mind. So I had this tremendous responsibility of trying to find some sort of middle road. Also of jumping the time lap from 1938 to 1978. That was the most difficult flight of them all: not just making him fly, but making him fly through that time warp to be accepted today. "As we got into it, I saw it as three separate films. It was a trilogy in our eyes. One was Krypton, where we broke away from tradition, because when I came on to the project, their preparation for Krypton was exactly the way it looked in 1939, and I just knew that was wrong. Then a very wondrous man, John Barry, who had also done STAR WARS and died shortly after making this film, came up with a 'modern' Krypton, which we felt was crystalline, like the inside of a stone. Then came the second part of the trilogy, which was Smallville. We didn't research the comic book all that much, but we did spend a lot of time in Norman Rockwell. We just wanted to make it Kansas-Americana. When we got to Metropolis, we wanted to go back to the comic book." FINAL THOUGHTS "The thing that got to me on the film and that I wanted to do much more of--and I guess if I didn't have so much story I would have--is the idea of Superman appealing to our daydreams. How many of us have had a great desire to be Superman? To be impervious to pain and accomplish anything that you set out to do? Also, it seems like people are beginning to help each other a little more, and that's the whole point of Superman. He's there to help us, and wouldn't we all like to be him for one goddamned minute? It's a mythology that reaches what is real today. Most mythology, as you know, is period in its being. He just seems to have gone along with time so very well. "As for my personal feelings? I obviously have a tremendous affection for Superman and what he stands for in my life. I owe him everything." Happy Birthday, Richard Donner. And thank you!

MARV WOLFMAN INTERVIEW: THE RUBY-SPEARS SUPERMAN ANIMATED SERIES

Back in 1988, CBS premiered a new animated series focusing on the adventures of Superman. The "A" story was a Man of Steel tale based in Metropolis, while the "B" segment was a visual scrapbook of sorts, flashing back to Clark Kent as a child in smallville. Veteran writer Marv Wolfman was the creative guiding force of the show and as the series is released on DVD, he took the time to reflect with Voices From Krypton on the show.

VOICES FROM KRYPTON: What was the genesis of this particular series -- what made them want to do it, were there any early development ideas that evolved into the final show?

MARV WOLFMAN: CBS was interested in doing a Superman show although Judy Price, the head of CBS kids at the time, was not; she didn't care for superhero shows but since her bosses wanted it, she did it. I was called in by CBS and hired by them to write the pilot. Once they approved the story I did, it was assigned to Ruby-Spears to do. By the way, despite not liking super-heroes, Judy came up with the idea of the Superman Album stories at the end, which I think were some of the best stories we had.

VOICES FROM KRYPTON: Since this wasn't so far removed from the days of the various incarnations of Super Friends, was there much of a struggle to give the show or the stories within it an "edge"? In other words, much in the way of problems with "standards and practices"?

MARV WOLFMAN: We had a lot of problems with S&P, but still managed to get away with some stuff. I would like to think the slight edge we gave the material was interesting enough for them to okay it. I would have liked to go further, but they were pretty strict. For example, I ended my pilot episode story with a big fight between Superman and the robots which they forced me to change. Superman couldn't crash through the robots because, and I quote - "Even robots have souls." I had to come up with something non-violent, so I had Superman reprogram the robots to collapse. I would have liked the show to go more into the kind of material done in the old Fleischer cartoons, but there was no way to do that then. Also, R&B liked lots of dialog and I would have liked to eliminate most of it during the  action. If you look at the pilot there's less dialog in that one than later shows, but even that had more than I would have preferred.  By the way, Joe Ruby and Ken Spears were great people to work with and I loved my time at the studio. They asked me to stay on but there were no shows for me to work on so I moved onto other things. But I very much enjoyed my time there. and especially working with Joe who was the creative head of the studio while Ken handled most of the business, at least while I was there.

VOICES FROM KRYPTON: The show's opening incorporated the John Williams Superman theme. I loved it, but I'm curious why it was there and if it was a challenge to get the rights.

MARV WOLFMAN: I actually named the show The Adventures of Superman for the old TV show and asked if they could get a little bit of the John Williams score (it was expensive) and put it with new music as well as the old TV show dialog to give it a best of all possible worlds feel. It was a pure fan thing for me.

VOICES FROM KRYPTON: On a creative and personal level, what was the appeal of doing this show? 

MARV WOLFMAN: Creatively, I got to do Superman stories I had not seen in the kid's cartoons before. I got to blend the Lex Luthor I re-created [in the comics] with the movie version. He acted like the businessman Luthor I came up with, but talked like the Gene Hackman version which was a lot of fun to do. 

VOICES FROM KRYPTON: You've obviously been involved with the character a number of times. Why do you like him?

MARV WOLFMAN: Maybe because I saw my first Superman TV show when I was between 5-7, but I always felt Superman was the epitome of what a super-hero should be. He represents the right in people. The goodness. But he's now a boy scout. I just like that completely optimistic viewpoint he has. He does what's right because it's the right thing to do, not for any ulterior motive. 

VOICES FROM KRYPTON: I've loved the character since I was a kid and always get excited when there's a new incarnation. However, today he seems like SUCH a hard sell to the modern audience. Do you agree? And in your opinion, what needs to be done to make the character connect with people? 

MARV WOLFMAN: Actually I disagree. Smallville has been on TV and popular for nine years now. Very few TV shows, let alone SF shows, last nearly that long. That indicates they found a way to make him connect with the modern audience. Follow their lead; make him human and with faults, but ultimately believing in doing what's right. Smallville makes him cool. You don't need to go dark with Superman; you need to remember he's a human being. He was raised since a baby in Smallville. He's more man than super and if you keep it that way, you'll make him interesting. Once you care more about the super aspect of him you lose the humanity. 

LAURA VANDERVOORT INTERVIEW: "SMALLVILLE," "V" & "INTO THE BLUE 2"

by Edward Gross

Laura Vandervoort is, of course, best known these days for having play Kara/Supergirl on Supergirl on Smallville. But there’s a lot more to come from her. This month look for her starring turn in the Warner Premier DVD film Into the Blue 2, in which she plays Dani, who must work with her husband Sabastian (Chris Carmack) and several others to try and find the lost treasure of Columbus, but instead is involved with a race to find an errant nuclear device before a group of criminals do.
   More recently, Laura spent two days on the set of the new “V”, playing the character of Lisa who uses her sexuality to manipulate teenaged humans into siding with her people against their own kind. In the pilot she has her sights set on Tyler Evans and his best friend, Brandon. In the following exclusive interview, Laura discusses both projects.

VISITORS AMONG US: When you’re doing a movie that’s a DVD sequel to a theatrical film, is there a stigma attached to it?

LAURA VANDERVOORT: Oh, yeah. Any sequel has to try to live up to the original. I think we did a good job of not following the storyline exactly. We have our own adventure, an action-related story. I think we did a good job. Of course there’s going to be a stigma of it being a bathing suit movie with some young people and that there won’t be much to it, but I think we found a good storyline. We’ve got some great actors in it, so hopefully people will like it.

VISITORS AMONG US: I thought the plot element of Into the Blue 2 regarding somebody searching for an errant nuke was pretty cool.

LAURA VANDERVOORT: They added that aspect into it to get the guys to watch, and also the girls. My character gets to be the strong one in the movie, which is a nice change from a lot of other movies out there. The girl gets to save the day and she’s just as strong as her partner, Sebastian.

VISITORS AMONG US: Being a strong female should be nothing to you.

LAURA VANDERVOORT: [laughs] I’m trying to make a living off of that.

VISITORS AMONG US: Is that what drew you into the film?

LAURA VANDERVOORT: I didn’t know much about the original Into the Blue except that there are a lot of bikinis and I wasn’t sure if that was for me. But there was really more than that, because my character, Dani, in the script is actually a lot tougher. What drew me to it, and I think what I’m drawn to in a lot of roles, is the chance to play the ass-kicking girl.  I just find damsels in distress to be a little dull. In this one I got to do a lot of action, I was scuba-trained, I was doing a lot of stunts and actually fractured my ankle while we were shooting the movie. But it’s worth it. I love all of that stuff more than anything, to just really put your heart and soul into it.

VISITORS AMONG US: When you’re playing a kick-ass character, how much of that is a reflection of you as a person and how much of that is wish fulfillment?

LAURA VANDERVOORT: I think my boyfriend would tell you that I’m not tough. I cry and all of that, but I think getting these roles is an opportunity to express that side of me. I was in karate for so much of my life that I have that need to kick butt to get the adrenaline out. I think that’s a great place to do it, because I get to do it as another person. I can go nuts and people aren’t going to think I’m strange, and I can be really butch. As much as it might not be believable to some people because I’m some blond girl, I love it. Most of the stuff I’ve done since Into the Blue have been cops, aliens and crazy stuff I love to play.

VISITORS AMONG US: Speaking of aliens, how did you come to be involved with “V”?

LAURA VANDERVOORT: I got a phone call. They were shooting in Vancouver and I’ve played an alien similar to the one in “V” before and they wanted to know if I wanted to be a part of it. I jumped and said, “Yeah!” It was just two days of shooting for me, because it’s an introduction of my character in the pilot. If it goes to series, hopefully the character will evolve. It was great. I’ve never seen the original, but I’ve heard amazing things about it. There are a lot of good rumors on set that this is going to be big. They have a good cast, and I play the enticing young teenage alien trying to enroll the teen humans on the ship with her looks.

VISITORS AMONG US: I know you only played her for two days, but in your mind who is your character of Lisa?

PART 2: EXCLUSIVE INTERVIEW -- KEVIN J. ANDERSON ON SUPERMAN/BATMAN "FIRST ENCOUNTER"

In this exclusive interview with Voices From Krypton, Kevin J. Anderson continues his preview of the followup to The Last Days of Krypton, First Encounter, which chronicles the first meeting between Superman and Batman. You'll find the audio file after the excerpt below.

VOICES FROM KRYPTON: These days it seems that Superman is a little more comfortable with being a part of humanity, but in the book it feels like there’s still a pretty large gap as far as he’s concerned.

KEVIN J. ANDERSON:  That’s a lot of the internal struggle of Clark/Kal-El in that he is trying to relate and at one point he throws up his hands to his mom and says, “I don’t understand these people. I don’t understand their problems. “ Martha says, “Do you think we understand them, Clark?” She tries to make him see that the things he doesn’t understand about humanity is a perfectly normal part of being human. It’s very poignant, because he’s Superman and when he’s sitting there in her kitchen eating apple pie and drinking milk, he says, “What right do I have pretending to be Clark Kent and living a life of my own? People need saving 24 hours a day. If I’m having coffee with Lois Lane for that hour, how many people die in car accidents or plane crashes? Shouldn’t I be Superman 24/7? And Martha Kent is insisting he deserves his own life and has to be among human to understand humans. This isn’t just a book of chapter after chapter of Superman stopping bank robberies, saving crashing airplanes and beating up bad guys. I think that’s the difference with the novel; you can really get into the reality of everything. On a comic book page, you can’t have pages of the character’s face as he ruminates. In a novel you can at least do it a little more in depth.

VOICES FROM KRYPTON: How do you view the relationship between Superman and Batman?

KEVIN J. ANDERSON: The structure of the novel, and I don’t know if I should say this, is that it’s almost like a classic romance. First they get together, they hate each other, they’re at odds, then they gain an understanding and they come together.  There’s a lot of friction because Superman does not agree with Batman’s tactics, and Bruce is having a lot of problems with Luthorcorp. He also figures out that the only other company that can create these things – the bullet proof suit, the ability to fly -- is Luthorcorp, so Superman has to be working for Luthor. Who else could have made someone like him? So there’s an immediate at odds and the situation worsens. They also look at their duty in a completely opposite way. Batman kind of wants to stop the little criminals – the muggers in the alleys, the rapists, the thugs – whereas Superman wants to promote world peace and stop wars and keep the governments from killing each other. So it’s a big picture or little picture thing. Obviously something happens where they have to work together to do both.

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EXCLUSIVE INTERVIEW: KEVIN J. ANDERSON ON THE SUPERMAN/BATMAN NOVEL "FIRST ENCOUNTER," PART 1

After the success of last year’s The Last Days of Krypton, it’s not surprising that author Kevin J. Anderson has been given the chance to dip back into the DC well and what he’s emerged with his First Encounter, the 2009 novel that will chronicle the first time that Superman and Batman meet.
   “These are big books, not paperbacks, so you want to do something significant,” says Anderson. “So I thought the best way to go would be the first meeting between Superman and Batman. But I was still wrestling with it a lot, because I personally love the superheroes in the past. I did a JSA series set in the ‘40s and I just think those heroes belong in the ‘40s and ‘50s; that’s just my preference.”
   Then he was struck with the idea that if they were to meet each other in the 1950s, it would place the books setting during the Cold War between America and the Soviet Union.
   “Then all of these things came up,” he says. “That was the beginning of the UFO craze and the time of all of those great – or not so great, depending on your point of view – sci-fi movies, like Invasion of the Body Snatchers, Earth vs. the Flying Saucers, Them and Invaders From Mars. Everybody was seeing UFOs. This would be set eight or 10 years after the Roswell crash. I thought, ‘Wouldn’t it be fun for Perry White to have Clark Kent look into the UFO crazy and find out if there were any of these little green men wandering around on earth?’ Of course, Clark wants to find out if he’s the only alien on earth, if he’s truly the Last Son of Krypton or if there are others. So he’s passionate about that. I’ve also got Lex Luthor, who’s pretty much promoting the Cold War. He’s trying to increase international tensions with his counterpart, a KGB general in the Soviet Union, because Lex is making so much money selling weapons. There’s also the element of Bruce Wayne’s board of directors being blackmailed by Luthorcorp for sensitive information.
   “The other thing I thought was the most fun,” Anderson continues, “is that Bruce Wayne is just fascinated by this Superman guy. How does he fly? How do bullets bounce off of his chest? Bruce is down in the cave working like crazy to figure out how to make a suit so that bullets can bounce off his chest and whether or not he can rig something so he can fly. Bruce Wayne is a rational guy, he doesn’t believe Superman can be some alien from space flying around. I just had so much fun tracing these ideas and seeing how they can all come together.”

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BRENDAN FRASER ON J.J. ABRAMS' "SUPERMAN"

While speaking to actor Brendan Fraser about Journey to the Center of the Earth 3-D and The Mummy: Tomb of the Dragon Emperor, Voices From Krypton editor Edward Gross had the opportunity to speak to actor Brendan Fraser about both films. Additionally, the conversation veered to the J.J. Abrams screenplay for "Superman," for which Fraser was offered the title role. What follows are his reflections of that experience.

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THOUGHTS OF "ACTION"

The court ruling this week that the estate of Superman co-creator Jerry Siegel is entitled to the domestic copyright of Superman as he appears in Action Comics #1 (and a portion of profits from domestic Superman merchandise from 1999 on), seems like a significant victory for the Siegel family, though what it all really means is something that will likely unfold in the weeks and months to come.
   What is interesting is the fact that based on a variety of forums, the response from fans has been pretty much split down the middle. While some are applauding the court ruling, feeling that the Jerry Siegel has posthumously gotten what he and co-creator Joe Shuster deeply deserved, others feel that the ruling is ridiculous; that Siegel and Shuster signed away their rights and neither they nor their families are entitled to anything.
   I just want to make a quick point here. Yes, while it's true that Siegel and Shuster signed a work for hire agreement and LEGALLY transferred their rights to DC, once the Superman character became a phenomenon (which pretty much happened from the moment it was introduced to the public), with DC and, subsequently, Warner Brothers making millions turned billions of dollars on the character, there should have been a MORAL obligation on the company's part to provide financial restitution to Siegel and Shuster.
   There are some who claim that DC/Warners HAS done what's right, beginning in the 1970s when they restored "created by" credit to the duo and started paying $20,000 (eventually $30,000) a year to each of them. While commendable, the important thing to not allow the passage of time to cloud is the fact that the ONLY reason Siegel and Shuster got anything was because Superman: The Movie was being released in 1978. Neal Adams had picked up the Siegel and Shuster cause and was embarassing Warners and DC by going public with the financial plight of Superman's creators, who were fairly destitute. This agreement was "shut up and go away" money, there's no doubt about that.
   To argue that Siegel and Shuster don't deserve anything financially is -- and there's just no way to escape this -- wrong. It's like TV stars from the 1950s and '60s who, for the most part, had terrible residual deals that entitled them to payments on up to, I believe, five reruns or so. Well if you're the cast of Star Trek, for example, and your show is run five to seven nights a week on television stations across the country and around the world for the past near-30 years (since it began in syndication), the studio (in this case Paramount) is raking in hundreds of millions of dollars, while if you're William Shatner you're doing nude scenes with Angie Dickinson in Big Bad Mama or if you're Gene Roddenberry, you're doing college lecture tours and conventions just to pull in a few extra bucks. The same is true for the cast and crew of virtually every other TV show made during that era.
   The bottom line is that at this point nothing can change the lives that Siegel and Shuster were forced to live, but on some level this legal ruling (which will no doubt be appealed by Warner Bros.) has got to be seen as a moral victory for all of the creators of the world who have sat by helplessly while others have reaped the benefits of their imagination. -- Edward Gross

SUPERMAN RETURNS...AGAIN

IESB.net is reporting on the annual Showest convention and quoting Warner Bros.' as stating that Superman: Man of Steel is definitely happening, and that Bryan Singer will remain as director (which would seem to assure that Brandon Routh will be reprising his dual role of Superman and Clark Kent). The newest bit of information to come out of the report is that departing writers Michael Dougherty and Dan Harris will be replaced by Roberto Orci and Alex Kurtzman. Orci and Kurtzman, of course, are the writers behind Mission: Impossible 3, Transformers and JJ Abrams' forthcoming Star Trek prequel. No word, of course, on what the new film will be about, though one can be relatively confident that Supes will do more than lift some rocks. Darkseid anyone? We're just saying....