![]() I think so many people are in that battle, and they smile and nod at you.” ![]() And that war was happening to her every day. “Her main characters are always in this battle with things from another dimension that no one can see,” says Snyder. Snyder says Autumn used writing to vent her pain, to channel it into words that might contain it, or explain it. “The conversation was like, ‘Of course you’re amazing! What do you mean your worth? You’re worth more than anything in the world!’ And she would just be like, ‘…yeah.’” ‘What is my worth? What am I supposed to do? What am I about?’” Snyder stumbles on his words, his eyes glassy. “She was always wondering about her worth. Snyder swipes through his phone to show a selfie Autumn took in the letterman jacket worn by Ray Fisher’s character in Justice League, a football star horrendously wounded in a car accident and rebuilt by his scientist father into the half robot warrior Cyborg.Īutumn had been in therapy and on medications, but the depression remained brutal. She was at Sarah Lawrence to be a writer.” Today, Eli is interested in filmmaking, but Autumn was the only one of his children who matched her dad’s kidlike enthusiasm for gods, monsters, aliens, and superheroes. “She’s the only dork,” he says of his family. More than three years after Autumn’s death, Snyder still slips between the past and present tense when talking about her. The filmmaker has often said being an adoptive father is one of the reasons he was so invested in the story of Kal-El, a powerful being who became Superman thanks to the love and care of Jonathan and Martha Kent. Snyder had two sons with line producer Kirsten Elin before marrying Deborah, his longtime producing partner, in 2004, with whom he adopted two more children. They had two more children before they divorced. “Still an infant, but crazy.” Autumn was slightly older than the couple’s son, Eli. “A little over one,” he says, smiling at the memory of her wild energy. Zack and his then-wife Denise Weber adopted Autumn when she was one. But it’s unheard of for a studio to return to an exiled filmmaker and offer back the power and creative freedom it has yanked away, especially when some of the most beloved and lucrative characters in pop culture history are involved. It’s not uncommon for directors to lose creative control of big-budget studio spectacles, or for other filmmakers to step in. Last May, they finally got their wish when Warner saw the potential to leverage all the free publicity and do something unprecedented on its upstart streaming service, HBO Max. All of them were relentless, and they grew more numerous over time. The fans could be clever, but many were horrifically toxic. return Justice League to its original filmmaker and allow him to share his version of the movie. For years, DC fans and Snyder enthusiasts-who worshipped his high-octane brawn-fests like his Dawn of the Dead remake, his ancient Greek battle saga 300, and his twisted Watchmen adaptation-beat a drum on social media demanding, demanding, demanding that Warner Bros. Professionally at least, things have vastly improved. The battle over Justice League was agonizing, but it wasn’t the worst thing to happen to their family that year. ![]() ![]() But the Snyders’ hearts had already been through a lot. ![]() WarnerBros.That might seem overly dramatic. ![]()
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