Correct." i swear i read on the internet that Nolan had left the project in the hands of Zack, to better focus on batman 3. "
http://screenrant.com/christoper-nolan-superman-batman-dark-knight-rises-mikee-90198/
http://www.hitfix.com/blogs/awards-campaign-2009/posts/leonardo-dicaprio-ellen-page-and-christopher-nolan-bring-inception-to-oscar
After bringing Snyder the screenplay, Nolan is now hands off.
Being humbled by Sucker Punch is not necessarily a bad thing. It can keep him grounded and more mainstream rather than get caught up in his own head or own vision like the Wachowski's with The Matrix or Singer with Returns (who injects a bit of his X-Men gay minority fable into Superman- making him the outsider who may not belong or be relevant with a doting mother who is spontaneously granted children without having to get the girl or punch anyone)... or even Raimi with Spidey 3 (dancing sequences very much catering to himself rather than audiences at large). Sucker Punch means it's out of Snyder's system. He had the freedom to make the film his way, with his story, with a decent budget, and now doesn't need to plant his flag on Superman, going out of his way to make a mark on Americana at the expense of the Superman mythos.
Instead, having his way panned means he'll be hungry for redemption, hungry for a success leading to more future creative freedom and paychecks, and hopefully a resonant Superman story rather than something avant garde. Along with the casting of highly seasoned actors, their direction is likely to be more collaborative than a George Lucas-like affair, in fact, the actors may seize the reins themselves and show more initiative rather than blindly following stilted direction. Remember that Donner's Superman, for all its faults, did manage to make the audience believe a man could fly and at the time Donner was not a particularly well regarded director either (or Raimi or Jackson, etc); but he had a famous and well regarded screen writer, Oscar winner actors, and a broadly appealing story.
Certainly we like to worship directors as gods, particularly with great films, symptomatic of that American ideal of the singular hero- the quarterback, the garage inventor, the President, etc- but in reality most great things come from the sum of their parts of which the director is but a piece and not of the same significance in every instance. An ego check to someone as creative as Snyder might be exactly the right thing to make sure that Superman is a blockbuster rather than an art house film.
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