30 years after the release of the now cult film “The Crow”, director Rupert Sanders is bringing a new version of the fantasy story to the cinema. Fans of the original are not very enthusiastic about it. In an interview with ntv.de, however, Sanders appears unimpressed.
ntv.de: The remake of “The Crow” has a pretty long history. The first ideas for it came about in 2007. How and when did you get involved in the project?
Rupert Sanders: Well, in my case it was actually very quick. From the first meeting to production it was just twelve months. I don’t know what happened before that, but I was very motivated and inspired when I started working on it. We all put a lot of effort into it. It’s a German-Czech-British co-production and that’s how the team was put together. This is not a big-budget Hollywood film, it’s a dirty, rowdy indie film. That’s how we managed to keep creative control.
Director Rupert Sanders also directed the films “Snow White and the Huntsman” and “Ghost in the Shell”.
(Foto: picture alliance / Sipa USA)
The film is based on a graphic novel. Your previous film, “Ghost in the Shell,” was a manga adaptation. Do you have a soft spot for such material?
I think so. I wasn’t a big reader as a child. But I like reading pictures. In that sense, it was a natural development. I also like making films in which I let the pictures speak. My strength is not in long monologues. I like to tell a story in such a way that people can connect with it on a subconscious level – through the visuals and metaphors of the film. “The Crow” gave me a great opportunity to play with themes like life and death, grief and love.
Bringing “The Crow” back to the screen was certainly a big challenge. After all, the 1994 film adaptation with Brandon Lee still has a large fan base. Did that demand special respect from you?
I think that of course you always have to look back with a project. But at some point you have to let go of that and look forward. I don’t think Denis Villeneuve woke up crying at night because he was worried about the previous cult film by David Lynch when he was making Dune. You accept that it exists and you carry on with your vision. I didn’t want to remake a film from 30 years ago, but create something for the next 30 years. You have to respect the previous film, but not let it paralyze you and limit your imagination.
However, there was a big debate online. Fans of the 1994 film protested against your work without even having seen it. Alex Proyas, the director of the film with Brandon Lee, also said that his legacy should not be touched. What is your response to that?
I don’t really have an answer. Everyone is entitled to an opinion, right? If I spent all day reading what 50-year-old trolls were saying about a film aimed at a young audience, I wouldn’t have time to be creative. Very few filmmakers think of publicly bad-mouthing other films. I haven’t had a message from Tarantino, Scorsese or Ridley Scott saying, “Why are you making ‘The Crow’?” We’re all creative people, making art and just moving forward. And the most important thing is the enthusiasm for the film among younger audiences. Because it’s the young people who go to the cinema. All you can do is make what you believe in and not worry about what other people say.
In fact, your film has almost nothing in common with the 1994 film. I’m not even sure if you can call it a remake or a reboot. How would you classify your work?
As a reinterpretation of the Crow mythology. I think to make a film of this magnitude that has a chance of being a blockbuster, it’s important to have a brand. Without the term “The Crow” and some of its mythology, we wouldn’t have made this film. For me, it’s a vehicle to tell an interesting story that deals with themes that mean a lot to me and that we’ve all experienced: love, loss, grief.
Was the creator of the graphic novel, James O’Barr, involved in the making of your film?
No not really.
Your film begins by focusing heavily on the romantic relationship between Eric Draven, aka “The Crow,” and Shelly Webster. They are played by Bill Skarsgård and FKA Twigs. What was the chemistry like between the two?
Electrifying. They’re both very magical people. It was important to me to tell this love story in the film, because to really accompany Eric on this journey, you also have to suffer the loss with him. The film is not about revenge. It’s about being a savior and sacrificing yourself for someone else. I think we’ve become very selfish in our Instagram world, where everything revolves around self-esteem. The idea of giving your life for someone else is actually deeply romantic.
What is similar in your film to the 1994 one: There is a very strong soundtrack that partly defines the film – with songs by Joy Division, Gary Numan and Foals. How were the songs selected?
Some of them are my personal favorites. But it was also important to me that both older and newer music was included. I created a playlist very early on when I was still researching the film. The vibe was already pretty clear to me back then. It ranges from acid house in the nightclub to Enya in later scenes to classical music in the opera scene. It should be a very unique and colorful mix of music – as unique as the film.
Your film leaves the door open for a sequel. Could you imagine directing another “The Crow” film?
Phew, I’ve just given birth to this one. I think I need a bit of time to go on holiday, relax and think about it. And of course we’ll have to wait and see how audiences see it and whether there’s a demand for it. We’ve talked about the legacy of films – I hope this film will have its own legacy.
Volker Probst spoke with Rupert Sanders
“The Crow” is currently showing in German cinemas
