The Filmmaker Behind "The Crow" Defends His Feature
ntv.de: The modern take on "The Crow" has a lengthy historical background. Ideas for it emerged as early as 2007. How and when did you find yourself involved in this project?
Rupert Sanders: In my case, it happened fairly swiftly. From the first meeting to production, it only took a year. I'm unsure of what transpired prior to this. However, I was highly motivated and inspired when I started working on it. We all threw ourselves into it passionately. It's a cooperative production between Germany, the Czech Republic, and Britain, so the team included individuals from these countries. It's not a massive Hollywood production with substantial funding, but rather a gritty, raw indie film. Thanks to this, we maintained creative control.
The film is based on a graphic novel. Your previous film "Ghost in the Shell" was a manga adaptation. Do you have a particular fondness for such source material?
I believe so. I wasn't a prolific reader as a child, but I do enjoy looking at visuals. In that regard, it was a natural progression. I also prefer filmmaking where the visuals tell the story rather than lengthy dialogues. I enjoy conveying stories in a way that viewers can connect with on a subconscious level – through the film's visuals and metaphors. "The Crow" provided an excellent opportunity to explore themes like life, death, grief, and love.
"The Crow" was a significant challenge to bring back to life on screen. The 1994 film with Brandon Lee still has a devoted fanbase. Did this give you a sense of respect?
I believe it's essential to consider the past but focus on the future. I don't believe Denis Villeneuve lost sleep over the earlier cult film by David Lynch when making "Dune". One acknowledges its existence and moves forward with one's vision. I didn't set out to remake a 30-year-old film; instead, I aimed to create something for the future. It's necessary to respect the earlier film, but it shouldn't hinder your imagination or limit your creative scope.
However, there was a significant online debate. Fans of the 1994 film criticized your work before even seeing it. Alex Proyas, the director of the film with Brandon Lee, also claimed that the legacy should not be tampered with. What would you say to that?
I don't have a response to that. Everyone has the right to their opinion, don't they? If I spent my time readingnegative comments about a film targeted at a younger audience from older trolls, I wouldn't have time to be creative. Only a few filmmakers waste their time publicly criticizing other films. I haven't heard Tarantino, Scorsese, or Ridley Scott criticizing "The Crow". We're all creators, making art, and moving forward. What matters most is the enthusiasm for the film among younger audiences. They are the ones who frequent movie theaters. All one can do is create what one believes in and ignore the criticisms of others.
In fact, your film has little in common with the 1994 film. I'm unsure if one could even call it a remake or a reboot. How would you describe your work?
This is the translated text:
As a New Interpretation of the "Crow" Mythology. I believe a film of this scale, with the potential to become a blockbuster, requires a fitting brand. Without the title "The Crow" and some aspects of its mythology, we wouldn't have made this film. For me, it serves as a vehicle to tell an intriguing story that deals with themes I find meaningful and relatable: love, loss, grief.
Was the creator of the graphic novel, James O'Barr, involved in the making of your film?
Not extensively.
Your film places a strong emphasis on the romantic relationship between Eric Draven, alias "The Crow", and Shelly Webster, portrayed by Bill Skarsgård and FKA Twigs. What was the chemistry like between the two?
Strong. Both are naturally magnetic individuals. In the film, I felt it was important to portray this love story because to fully accompany Eric on his journey, one must also experience his loss. It's not about revenge. It's about becoming a savior and sacrificing oneself for another. I believe that in our selfie-centric world, where everything revolves around self-esteem, we've become quite selfish. The idea of giving one's life for someone else is deeply romantic.
What does your film share with the 1994 film? The strong soundtrack, for example, with songs by Joy Division, Gary Numan, or Foals, is quite prominent. How were the songs chosen?
Some are personal favorites of mine. However, it was crucial to incorporate both older and modern songs. I created a playlist early in the film's production process when I was still researching for it. The sound was already clear to me then – ranging from acid house in the nightclub scene to Enya in later scenes to classical music in the opera scene. It should be a diverse and unique mix of music, reflecting the film's uniqueness.
Your film leaves the door open for a sequel. Could you imagine directing another "The Crow" film?
Whew, I've just pushed out this creation. I think I need a break now, some me-time, unwind and contemplate about it. Certainly, a little R&R is needed. Plus, we'll just have to observe how the viewers react and if there's a public call for it. We've touched upon film legacies - I'm hoping this production will carve out its own legend in the industry.
Volker Probst interviews Rupert Sanders
"The Crow" is currently screening in German theaters
The film adaptation of "The Crow" is a gritty, raw indie production that maintains creative control due to its relatively limited funding. The film shares themes of life, death, grief, and love with the graphic novel, and Rupert Sanders, the director, has a fondness for adapting source material with compelling visual storytelling.
