Zack Snyder Breaks Down His Most Iconic Films

Oop, oh, geez.

Kick out, re-light.

If you can make a whole movie

that looks like this,

that might be pretty cool. [mobile phone chiming]

That's them actually right now.

[staff laughing]

Yeah, no, I'm talking about it. It's amazing.

It's actually my wife, and I'm gonna tell her I'm getting,

I'm being interviewed right now, baby.

[energetic music]

300.

Give them nothing,

but take from them everything!

[glorious music]

Steady!

The quick backstory on 300

is that when I was pitching it around Hollywood

and finally got it to Warner Brothers,

their only sort of hesitation was

that they had just made a sword

and sandals movie called Troy.

And they were like, Look, we have Brad Pitt,

so that was pretty cool.

What do you have?

And I was like, Well, I have a comic book

and I think that's cool.

It's weird.

It's not, we're not gonna shoot any of it outside.

And they were like, What?

It's a sword and sandals movie that takes place in Greece.

And I was like, Yeah, I know.

We're gonna make it look like it's outside,

sort of, in a weird way.

It's gonna look like this comic book.

And I held it up and they were

like, I don't know if that's cool.

And I go, What if we do a little, like,

let me shoot a small sequence,

so I can show you what I'm talking about.

And they semi-reluctantly,

but pretty, with small enthusiasm for the artwork

that we had created, said, Okay, let's see it.

I thought in my mind that if we had cuts in it,

or that if it was an edited sequence,

they would assume that that would be

the editing style of the film.

And I didn't wanna sort of paint myself into a corner yet.

And so, I designed it as one take,

like one continuous camera move.

The cool thing about it was that when the studio saw it,

of course, Alan Horn and Jeff Robinov were like,

Okay, this is actually nothing like we imagined.

So they were like, If we could do that,

if we could make that shot two hours,

that would be something no one's ever seen.

And I said, Okay, well yeah, that's my,

yes, we're on the same page.

And so, that was really the thing

that actually made the movie get green lit and happen.

I'm pretty straightforward when it comes to like

what I'm looking for from the sort of body image.

And that was pretty much what Frank had drawn.

I had coffee just here in Burbank

with Mr. Butler, and while I was telling him what,

like, you know, I'd get all animated,

so I was standing up and I was like,

And then you're like this,

and then you're like, you know, whatever.

And then he was like, That's awesome,

like That would be so cool.

Meeting him, I felt like, you know, he has kind of the size,

and he's got the kind of like confidence, I thought,

is what Leonidas needed, and he had it.

I did say like, Look, you know, the truth is the costume?

Pretty much a leather bikini bottom, and that's kind of it.

You're gonna have a cape, but you know, other that,

that's, and some sandals and a shield,

but that's not really gonna cover you.

[suspenseful music]

Madness?

This is Sparta!

[kick thuds]

[Spartans and Persian screaming]

That sequence,

it's iconographic because of his delivery.

I think that was the thing that he was referring to, right?

When he's like, This is Sparta.

Like he just, he did it a couple ways, then he goes,

I'm just gonna try something.

And he just went completely over the top,

and I came out and I'm like, That's it.

You know? And he, I think that kind of

gave him an idea about what he was in for,

for the rest of the movie, you know?

'Cause I said, Look, you know,

the whole thing is larger than life.

You know, It requires a larger-than-life response.

And so, he did rise to it pretty awesomely.

The one thing about also the kick,

the actual kick itself, the thing about is the guy

that we got was a local guy from Montreal,

the guy who gets kicked.

And he was like, I take kicks like this

in the dojo all the time.

And I was like, Oh, that's awesome. Okay.

'Cause it would be like one, two, three, kick, right?

I go, Okay, kick him on two, instead of three, you know?

So he, 'cause like on the first take, he kinda,

he knew it was coming, so he went with it.

But if you watch the take that's in the movie,

he definitely gets, definitely was not.

[energetic music]

Watchmen.

[chuckles] It's a joke. It's all a joke.

But forgive me. [calm classic music]

♪ And forevermore ♪

I was in post on 300, I was working on like,

really the finishing touches on 300.

The studio said, Your movie '300' is based on a comic book,

have you ever heard of this comic book called, 'Watchmen'?

And I was like, Have I ever heard of 'Watchmen'?

Like, Are you serious?

What kind of a crazy question is that?

And they said, Oh, 'cause we own the rights to it,

or we own part of the rights.

That was all a crazy nightmare.

But I said, Yeah, I love it. Can I?

And they're like, Well, we have a script,

would you like to see it?

And I go, Yeah.

So I read the script and it was very much,

at that time, it was completely different

from the comic book.

It was like the war on terror, and it was like all updated

and like, I think Rorschach had like a dog as a sidekick,

and it was all sorts of bizarro, just stuff.

I was like, Wait, what? No.

I go, You guys, if I do this,

I have to do as best I can to put it back to the original,

you know, set it in the eighties, you know,

Nixon's president and all that.

And they were like, What? You know?

so there was a bit of a battle there.

But I think that they kind of trusted me off 300,

and they kind of understood that I sort

of maybe had an understanding of this genre

and/or comic book that was unique

to the group that was doing it.

The thing that sort of solidified it for me was that.

And I was kind of on the fence about doing it

'cause I really love the graphic novel so much

that I didn't wanna fuck it up.

By the way, Watchmen's one of my favorite

motion picture experiences.

Title sequence itself is a lot

of the stuff that's in the graphic novel,

but in the sort of prose sections that I pulled

all that little pieces out,

as well as just all this pop culture iconography

that I really thought kind of spoke

to and deconstructed what, at that time,

was pretty much a fledgling superhero movie genre.

The genre was doing well,

but it, by no means, had reached the insanity

that it would reach over the last 10 years.

When Chris Nolan and I were talking about it

when I was gonna do Man of Steel

and when we were talking about me doing Man of Steel,

and he was saying that like, 'Watchmen,' you know,

in the way that it exists,

it actually is commenting on a sort

of superhero motion picture genre that hasn't evolved

to the point where it should be commented on this way.

But we thought that by the time the movies were

at that point, you know, that Watchmen

had been released a little too early.

I always just assumed that they were just

the toughest possible humans.

But I didn't think, I personally don't think he

has necessarily like supernatural power, you know?

But like, even when he's fighting,

like Ozymandias is like the best humanity can get, right?

Like Ozzy's not, he catches the bullet

and even in the graphic novel, he catches the bullet,

but only because he's just like overtrained himself

to this extreme.

That's my philosophy about it.

This wasn't caused by nuclear warheads.

[suspenseful music]

It was me.

The reason I switched the Squid to Manhattan

was for a couple reasons.

One, at the time,

and I think if I had more time,

I would have included the Squid,

but I didn't think I could tell the story in the confines

of three hours and give the Squid his, like enough backstory

where it made sense to the audience

and didn't appear outta nowhere.

And also I felt that there was symmetry

to pin it on Manhattan.

I mean, I love Jeffrey, I made him Bruce's father

and Batman for Superman.

You know, he's just like got this kind

of incredibly handsome, kind of rugged, good looks

that make him very masculine, you know?

And I think that, you know, for the Comedian,

I really wanted that, that kind of, that vibe.

And I think that he really, he really pulls it off.

But he's super nice, you know, in real life.

He's super kind and not like that at all.

The accumulated filth of all their sex

and murder will foam up around their waists

and all the whores and politicians will look up

and shout, save us, [thuds] and I'll whisper, no.

I was a fan of the graphic novel.

And so, Rorschach is, I mean,

if you love Watchmen,

Rorschach has always been fan favorite, you know?

And Jackie Earle is like literally

such a good Rorschach, you know?

And he's just a, he sent me this audition for that part.

He shot like a whole little sequence

in his kitchen and it looked amazing.

And he was just like, Gimme back my face, you know?

And it was like, so it was just so good.

I was like, okay, this guy is amazing.

And then, you know, and he had been

in Little Children that year, you know,

that we were casting.

Patrick Wilson, also, I saw those two in that movie.

And I was like, I want those two in my crazy.

I know that doesn't, seems like an unlikely source

for Watchmen, Little Children to, you know,

it's like a, a bizarro jump.

But it was a cool, they're both amazing,

and they're both so good,

and they're like, I just love that casting.

[energetic music]

Man of Steel.

[Jor-El] You've grown stronger here

than I ever could have imagined.

The only way to know how strong is

to keep testing your limits.

[wind blowing] [suspenseful music]

[Superman whooshes]

[feet crashes]

[feet crashes]

[feet crashes]

[Superman whooshes]

We were finishing Sucker Punch.

I got this call from Chris to say,

Hey, what do you think of 'Superman' as a character?

I'm like, What about him? You know?

He's cool, but what about him?

He goes, Well, I've been working

with David on the 'Superman' movie

and I don't think I'm gonna do it,

but I was gonna look for someone to do it,

and was wondering if you'd be interested.

And I'm like, Yeah, absolutely.

So they sent the script over and I read it in one sitting.

I said, Yeah, it's cool. I'm happy to talk about it.

So then we went over to the house,

and we sat and talked about, you know,

Superman through the years

and kind of what this Man of Steel movie

could be to make him the nostalgia,

the importance of what he represented to generations.

And that that importance cannot be diminished.

He's an immigrant, you know?

It's an immigrant story in a lot of ways.

And that was the thing I really felt strongly about.

You know, that he was an outsider,

that he was looking to be accepted, all that stuff

that is really at the core of who he is.

I let my father die because I trusted him

because he was convinced that I had to wait.

That the world was not ready. What do you think?

The conversation is exactly what he says to Lois.

He says, I let my father die to protect the idea

that my father was trying to protect,

the idea that like, I wasn't ready to be

like outed to the world because I wasn't Superman.

I'm just, I was like a teenager that kind of like,

I could have made a mess of it.

I have the power to do it,

but like, had I ever used my powers in those way?

Did I know exactly how to do it? No, I wanna save my dad,

but I also trusted him that his vision

for what I could be was bigger than him or I,

or, you know, this little incident in Kansas

was not the thing that was going

to sort of expose me to the world.

And 'cause on the moment I'm exposed to the world,

I have to be at the peaks of my powers

because the world is not gonna sit around

and rejoice my existence.

You know, that's probably not what's gonna happen.

And I think that's what Jonathan's point of view was.

The world is gonna be afraid of you

and the world is gonna, like, there's a really good chance

that you are gonna become the enemy

because you make us feel too insignificant.

And when we feel that way, we get afraid.

If you love these people so much, you can mourn for them.

[heat vision blasting] [woman screaming]

Don't do this! [calm forlorn music]

Stop!

Zod's not wrong from his point of view,

but also, there's no really room for humans in this scenario

that Zod's presenting and he's not gonna stop.

He wasn't gonna negotiate an outcome,

so it was either Zod or us.

And that was pretty much the game.

There was no like middle ground.

Zod said, He would fight

until either you kill me or I kill you.

That's the game. There's no like, and they're like,

But why would you put Superman in that position?

I'm like, Well, if Superman can't handle that position,

then he's fake, then he's not.

You gotta like, he's got

to address the scenarios that come to him.

He can't pick and choose as you can't pick and choose.

When something is outside of your morality,

your normal morality that you can deal with,

it's like the Kobayashi Maru, right, from Star Trek.

You know, it's like the idea that like,

you're presented a scenario, a no-win scenario.

And in the no-win scenario, how do you respond?

And I think that if you can respond,

if the character can respond in a way

that solidifies his humanity, then he's stronger.

[Interviewer] What would Man of Steel 2

have looked like?

Here's what happened in my opinion,

like once you talk about the fact

that Bruce Wayne exists in the same world

as Superman, right?

Then you are into a Batman concept.

You have to finish that thought.

Now, Man of Steel 2, if you were to make it,

you know, with Brainiac or whatever you're gonna do,

which it certainly could have been,

you're just, and maybe that's it,

you hold it off for a movie and that's possible.

I just felt like I needed to know

what Bruce's take on this was,

like Bruce's take on the near destruction of the world.

And it really depends on how important

you think Batman is in the Trinity.

'Cause the truth is, Batman can't do anything

necessarily immediately to stop Superman.

Superman was the most realistic movie I've made,

which I thought was, is a cool thing to think about.

Like, for me, the most grounded, sort of naturalistic film

that I've made, and I did that on purpose,

was a movie about a guy who could fly.

[energetic music]

Batman versus Superman.

I know the reaction was pretty like,

everyone thought it was insanity.

Well, here I am. [raindrops pattering]

[thunder cracking]

Bruce, please. I was wrong.

You have to listen to me. Lex wants a.

[sonic canons shrills] [Superman grunts]

Because like, you know, look,

I'm a huge Dark Knight Returns fan, you know that.

And I needed a big Batman.

I wasn't gonna cast an actor who wasn't like scale,

you know, like, you know, Ben's 6'4.

With the boots, it's two inches, you know,

he's like 6'6 in the boots.

You know, with the muscle suit and everything,

he looks like he weighs like 285,

you know, he's like a gigantic presence.

And I just felt like for me,

that idea and I had gotten photos of him

and like doodled the cowl on his face

and was like, that chin is just, you know,

he's just, iconographically, he's like so Batman.

He's like his most, to me, he's the most iconographic Batman

of all the movie Batmans.

And that's what I was going for. That's what I wanted.

I wanted the most Batmany Batman I could find

because I feel like Henry is the most Supermany Superman.

And so, like the two of those guys together,

you know, you really have like a real, in my opinion,

a very much, like comic book, come-to-life meeting.

When those guys go head to head,

you could rip it right out of the pages of the comic books.

More likely than not,

these exceptional beings live among us.

The basis of our myths, gods among men

upon our little blue planet here.

[hand slams]

You don't have to use a silver bullet,

but if you forge one, well, then, we don't have

to depend upon the kindness of monsters.

Other than Jesse, I talked to DiCaprio.

I had lunch with him about it.

I had talked to Jesse briefly before that about it.

I had gone after him

'cause I really thought, in my mind,

he was the most modern Lex that I could think of

because he's all about just outsmarting everybody, you know?

He's just, he seems like he could be a billionaire,

you know what I mean?

'Cause he's so particular.

And I just like him.

I think he's a great actor, and I think he's incredible.

I think he's a funny guy,

and he's also like, gets the irony.

He gets all the iconographic subtleties,

what I'm always trying to do symbolically

with the performance or whether it be, you know,

through images, make a relationship to something else.

He gets it, and he's always doing it himself,

so it really, really works out.

[batarang chink]

[batarang thuds] [villain screams]

[villain thuds]

[suspenseful music]

[pin clicks]

[clip clanks]

[foot thuds] [villain grunts]

[villains thud] [grenade thuds]

[villain huffs]

[grenade explodes]

[fists thuds]

[dagger whizzes] [villain grunts]

[villain screams]

[villain thuds]

Even in just the first conversations I had

with everybody is like, We're gonna do a quintessential

Batman fight scene in this movie that's really gonna kind

of establish in my mind what I wanna see

from Batman when he fights.

I just really wanted to just have

the most brutal sort of like,

you really see when, why Batman is Batman, you know?

And that's what the sequence was all about, you know?

And we shot, it took like a week and a half to shoot it,

and it was the first thing we shot when we shot the movie.

We hadn't shot anything. We shot [snaps] that fight.

You get to make some awesome shots, like right outta the box

and you're just like, Okay, this is gonna be good.

This is gonna be fun.

Stop!

Why did you say that name?!

It's his mother's name!

It's his mother's name.

[suspenseful dramatic music]

When Chris Terrio and I were talking about it,

he said like,

You know, that their mothers have the same name.

And I was like, Oh, that's crazy.

I never thought about that.

And he goes, Yeah, like imagine that Batman

sees Superman as an alien, as a monster,

but realizes that his dead mother

has the same name as this thing

that he considers non-human, like that's gonna get him.

And I'm like, That is gonna get him. That's amazing.

What else could he say

to Batman holding the kryptonite spear?

He's about to plunge it into his heart.

Like what is he gonna say?

Like, what is he gonna say to convince him

that his love of humanity is as high as Batman's?

I mean, really Superman kill him in a second,

like literally in a second.

So that was why, you know, I was like,

Okay, well, he's gotta play every possible trick.

[Interviewer] Would you ever revisit that?

Of course. I think Ben's an amazing Batman.

I mean, look, there's a version where, you know,

I always talk about this, but like, you know,

could we do Dark Knight Returns,

but with my original cast?

That's a thing that could be cool.

You know, things like that.

It's always fun to talk about.

You love your myths,

and you love your mythic characters.

So you have a character like Batman, right?

Who is all of his things.

He's his backstory, he's his costume, he's his canon,

he's his code of ethics, you know?

All of that together make Batman.

I think in the fandom,

there's this need to enshrine those characters

and not fuck with them, you know,

which I totally get on one level,

but on the other level, for me, I think that like,

in order to understand them and also to test them,

and to make them worthy of the worship that we give them,

sometimes you have to stretch the edges

of the character to see if it can hold up to it.

And that's a thing that I've found really fascinating

and interesting and keeps me into it.

And it causes me to sometimes take the characters to places

that are a little darker than you would like,

what you would consider outta canon.

I understand canon of those characters.

I promise you. I'm not like delusional

about like what Superman and Batman can do,

but I also, I think testing them is important.

[energetic music]

Justice League.

She begged me with her last breath

that when I killed you, and make no mistake,

I will fucking kill you.

And I'd do it slower.

I'm gonna hold to that promise.

[suspenseful music]

[card rustles]

I was endeavoring to meet the studio mandate

of getting the movie down to two hours.

But I always had my directors cut as like the thing

that I knew was the actual movie.

I lost my daughter to suicide during that time,

and I really did try and stick it out as best I could.

But in the end, you know, my family

and everything that was going on, it was too much.

And we stepped away from the movie.

When we stepped away from the movie,

it was my impression that

the movie was close to being finished.

You know, famously, I've never seen the version

of Justice League that was created in my absence.

Only suffice it to say that when my wife

and Chris saw the movie, they told me never to watch it.

And that, you know, it kind of is what it is.

Once the movie came out, there was a bit of a drumbeat

among my fans that this is not the movie, right?

This some, that something's funky.

Once I left the movie, I really had no contact

with them, you know, to say good

or bad, I just said nothing.

And so, the fans were like,

Well, there has to be a 'Snyder cut.'

There has to be a version

of the movie that we're not seeing.

And look, you know, the truth is

that the fans themselves are the ones that were responsible

with the intense groundswell that caused the studio.

Now, there was a few things, factors that happened

that made the movie real,

and those were that I'd gotten a call from the studio

when I think the pressure from the fans

was at its highest point, was like,

What would it take to do

a director's cut of 'Justice League'?

At the time, I think they had said,

Look, we'll release the movie as is, you know,

in its raw form, in its rough cut form,

the form that I of had it.

And I was like,

Yeah, I don't really have interest in that.

Like, that's like, like, What's good about that?

Like, No one wants to see that.

I said, Would you mind if I came to Warner Brothers

and told you what it would really take

and what is the potential of it could be?

[slow dramatic music]

[feet thuds] [trident clangs]

[feet thuds]

[thunder cracks] [lightning crackles]

[feet thuds]

[electricity crackles]

[calm forlorn music]

He's back.

I mean, it's birth, deaths,

and resurrection, really is what the first three movies are.

You know? In the end, they're Superman stories.

You know, I think the people get sidetracked

by Batman a little bit.

The idea that we killed Superman was

because I needed to resurrect him.

I needed him to sacrifice one more thing for humanity.

And that was himself, you know?

It wasn't just killing Zod this time, right?

It was like the stakes got higher.

And I think that in his death and resurrection,

he goes almost full circle

to like being kind of what I would consider

as like the purest form of Superman.

He's on his way to that, right?

Because his battle with Darkseid was gonna be the battle,

the quintessential DC battle, you know, of all time

because Superman, the Darkseid is kind

of the, that's it, you know, I don't know what else,

what else you're gonna do after that?

We were like, I'll quit.

You know, we talked about briefly the whiteboards

that we had put up in Dallas at the gallery

at the release of Justice League.

You can look 'em up online, I think they exist somewhere.

But anyway, those whiteboards, they kind of map the story

of where we were gonna go with the other two movies

that were gonna come after Justice League.

At his peak, he was going to have to succumb

to the anti-life, be destroyed, turn the clock back,

and then get his chance for the, you know,

for this battle against Darkseid that would,

if you will, sort of finish his like trilogy

of like becoming this guardian of the planet,

and sort of return him to his humanity.

That was our hope.

[suspenseful music]

Ready the armada. We will use the old ways.

[footsteps thud]

[suspenseful music]

[suspenseful music continues]

For me, what Justice League would have been

very much, sort of, inspired by the way

that Watchmen in the end is a piece

of popular entertainment

that depicts giant, world-ending events,

but also sort of deconstructs those events

and superimposes over those events,

our own politics and our own biases,

and everything that makes us, you know, what we are.

In Watchmen anyway, it allows the superhero genre

to encapsulate the human experience

and sort of give it back to us.

And I would hope that our Justice League movies

would've done the same thing.

I feel like the Justice League movie that I got

to make was like the opening chapter

in what would've been a very much a life-affirming,

but also, life-deconstructing event

where we really sort of took superheroes and understood why.

I constantly am doing that anyway, but I wanna know the why

of these superheroes as much as anything.

[Interviewer] Do you feel like if you got

to get off what you wanted to get off without interference,

that the superhero genre will be in a different place?

My thing is always what can I do to tell

the stories that I wanna tell, you know?

And so, I don't know what my finishing,

sort of, DC saga would've done to the genre itself,

but I do think that on one level,

it would've delivered to DC

and to those characters, the scale,

and the sort of operatic status that they deserve.

You know, in my opinion, the Trinity is that's it.

Like Batman, Superman, Wonder Woman, that's it.

There's a lot of other superheroes out in the world, right?

You go to anywhere in the world,

you have a shirt that says Superman or just with the S.

Say to any kid, like, what's this?

Superman, right? You know what I mean?

Like any kid doesn't matter where you are,

but, and I would say that like, you know, if you have,

I can't even think of another symbol other than Batman

that you just go like, what's this?

Even superheroes that I think are like

the most iconic superheros in the world,

you still like go, what's this?

And they're like, ah, it's like McDonald's, you know?

It's like, you just know it, you know?

And so, I just think that I would've loved

to have let them take their place sort of

in pop culture where they belong.

That's what I think.

[energetic music]

Dawn of the Dead.

Ana, listen to me.

You need to find a place to hide. Can you do that?

[Ana] What do you mean? What's going on?

[Michael] Nicole.

[Ana] Oh, here's Andy.

Oh, my God! No, tell her, get out.

Nicole, listen to me.

Dawn of the Dead, which is a movie I made with Universal

and Scott Stuber, I think they had had another director

that was gonna do the movie.

I was by, at that time, I was a commercial director.

I turned down SWAT.

I was on SWAT and I said,

No, I wanna make an R-rated 'SWAT'.

I want it to be hardcore.

I want it to be like 300 with machine guns.

And they were like, No, we don't want that.

So I said, Okay, that's fine.

And I went back to making commercials,

and I got this call from Eric Newman.

He said, Hey, what do you think of 'Dawn of the Dead'?

Is that zombies? I was like, Zombies are cool.

I like zombies.

And then he goes, I'm gonna send you this script.

So I got this James Gunn script,

a remake of Dawn of the Dead, read the script.

I was like, Okay, this is,

this has a lot of, this could be awesome.

I know exactly how to do this.

And so, you know, they said,

Come on in and tell us what you wanna do.

And I went in and I did the whole thing

about running zombies and it's gonna be crazy,

and they're gonna be so intense.

And before I knew it, they were like,

Okay, cool, go do it.

We shot it in, I think, 60 days

for 20-something million dollars.

And it was like crazy, and it was super hard to do,

but really I loved it.

And I really was like, okay, this is like,

I'd always wanted to make movies, you know?

That's why I got in the business,

and I'd been making TV commercials

for 11 years outta college and I just was,

this was my chance, and it was an amazing opportunity.

And I think, you know, Scott foreseen that I could do it.

It's a fun movie.

[energetic music]

Rebel Moon.

Rebel Moon 2.

[dagger chinks]

[blaster fires]

[people gasp]

[exhales] We're gonna have to fight.

Part one.

The only thing I'm gonna say about that is that the story

so far, if you don't know, the short story,

is it's about like a group of farmers.

They get visited by this evil empire.

They want the farmers' crops to feed their soldiers.

So, well, the farmers decide

to hire some soldiers to help 'em.

Bad guys find out that they're looking

for some soldiers and they ambush

the heroes before they return.

And there's a big fight.

And what we think is that the good guys have won.

Now, in movie two, we come to find out

that the bad guys are coming to the village.

That the good guys, even though they're there to get paid,

they have to figure out how to mount a defense.

So the second movie is really a war movie.

It's in contrast to gathering the team.

It's really what the mission is about.

Movie two is the mission. Why are we together?

Why do we fight? The bad guys are coming.

We have to stand and defend this land with our lives.

And that's kind of what happens. It's a epic conclusion.

It's really the why of movie one.

Movie one exists for movie two.

You can watch 'em together, you know, in a single run.

It's a incredible culmination of this insane world.

I promise it doesn't disappoint with action

and insanity at the very end.