What If? SUPERMAN LIVES (1998)

[Most casual fans of comic book films probably don't realize that almost every major comic book adaptation has gone through what the industry has termed "development hell." The column 'What If?' looks at our favourite heroes trapped in this "developmental Phantom Zone," if you will. This installment looks at the mess Superman Lives went through.]

Despite the fact that almost two decades separate Superman IV: The Quest for Peace and Superman Returns, wheels were constantly in motion to get the Man of Steel back to the big screen. Almost immediately after Superman IV crashed and burned at the box office, the Cannon Films honchos Menahem Golan and Yoram Globus announced that Superman V was beginning production (with Captain America director Albert Pyun at the helm), and would somehow utilize the 40+ minutes of mostly awful deleted footage from Superman IV. (You can read more about Canon's antics here)


Fortunately, that never materialized and Cannon went bankrupt, which meant the rights to Superman reverted to Ilya and Alexander Salkind (the producers of the first three Superman films) who quickly commissioned a script - titled Superman: The New Movie - from television's Superboy writers Cary Bates and Mark Jones. Interestingly, this script centred on Superman's death and resurrection predates the famous comic book storyline by about two years. Christopher Reeve had even agreed to reprise the role of the Last Son of Krypton. However, Superman: The New Movie never came to fruition and Warner Bros. bought the rights back from the Salkinds in 1993.

Now, that same year, coinciding with the "Death of Superman" arc that spanned the four monthly Superman titles, Warner Bros. announced plans to revitalize the Superman film franchise. Producer Jon Peters brought screenwriter Jonathan Lemkin (TV's 21 Jump Street, Lethal Weapon 4), on board to write the film. Lemkin used the "Death of Superman" arc as a springboard for his screenplay, titled Superman Reborn, which involved Superman being killed by Doomsday and Lois Lane giving birth to an immaculately conceived son of Superman who ages rapidly to take the place of his father (!). Ultimately, the script was rejected by the studio and Lemkin was fired. Gregory Poirier (Rosewood, A Sound of Thunder) delivered a new draft in late-1995, keeping Doomsday and Superman's death, but adding Brianic as a second villain.

In 1996, director Kevin Smith - riding high on the indie success of Clerks - was invited in to do some work for Warner Bros., and he became involved with the project, now titled Superman Lives. This is where the story becomes interesting. Smith has spoken at length about the creative process involved, which is simultaneously a fascinating, hilarious, and harrowing candid look into the machinations of Hollywood. Just watch (NSFW):

The Smith screenplay, even with Peters' insistence on giant spiders, polar bears, and "gay robots," showed signs of greatness, particularly in its first act. It's lively, fun, faithful to the comics' recent history, and assumes the audience already knows a thing or two about the Man of Steel. As well, there are some terrific scenes between Superman and Lois. Based on the strength of Smith's work, Tim Burton signed on to direct and Nicolas Cage signed on to play the Superman. 

I think we all owe Dean Cain an apology 

Smith was dismissed and Burton brought Wesley Strick - who had supposedly done uncredited work on Batman Returns - to refine Smith's drafts and tailor it more toward Burton's sensibilities, while still retaining Superman's death and subsequent rebirth. Meanwhile, pre-production work really began to ramp up in 1997, and it looked like we were going to see Superman back on the big screen in 1998. Locations were being secured, casting rumours were abound (Kevin Spacey as Lex Luthor! Jim Carey as Brainiac! Chris Rock as Jimmy Olsen!), and concept art was coming out of the woodwork.

Did the Galactic Empire build Brainiac's ship?

Based on all of the rumours, hearsay, and conjecture, Superman Lives wasn't going to be a traditional Superman film, and would be very much a 'Tim Burton' film, stylistically and thematically, playing up Superman's outsider status and emphasizing the hero's existential crisis (it was derogatorily dubbed 'Extraterrestrial Scissorhands').

"Batman told me black is slimming."

Yet, due to rising projected budgets, costs, and a script the studio wasn't fully satisfied with, Warners shut the project down in May of '98, having already spent somewhere in the neighbourhood of $30 million trying to get Superman back on the big screen. (This large number, by the way, includes pay or play deals with both Burton and Cage - meaning they got their salaries even though the film was never completed.)

Plans for a new Superman film never really went away, though. After a brief hiatus the project was rebuilt from the ground up with several people attached to the film at different times - from director Ralph Zondag (We're Back! A Dinosaur Story) and screenwriter William Wisher (Terminator 2, Judge Dredd), to J. J. Abrams (TV's Lost, Mission: Impossible III, Star Trek), McG (Charlie's Angels, Terminator Salvation), and Brett Ratner (X-Men: The Last Stand, Rush Hour). Hell, even Oliver Stone expressed interest at one point.

Superman eventually did fly back to the cinema courtesy of Bryan Singer's Superman Return in 2006, and thankfully the only thing Singer kept from all of these possible incarnations was the casting of Spacey as the Man of Steel's arch-nemesis. Though, one could argue Returns does see our hero's death and resurrection in a manner of speaking, but that's a discussion for another time...

What If? SPIDER-MAN (1986)

[Most casual fans of comic book films probably don't realize that almost every major comic book adaptation has gone through what the industry has termed "development hell." The column 'What If?' looks at our favourite heroes trapped in a "developmental Phantom Zone," if you will. This first edition looks at the Cannon Films' Spider-Man.]

The first big screen appearance of Spider-Man didn't come to fruition until Sam Raimi's excellent 2002 film, yet Marvel had been pushing for a film based on everyone's favourite neighbourhood web-slinger for nearly two decades. After the film rights to Spider-Man bounced around for a few years between Columbia Pictures and Roger Corman, they fell into the hands of Israeli producing duo Golan/Globus. The two were the heads of Cannon Films, a studio notorious for low-budget, schlocky action films.

When they acquired the rights to the character, screenwriter Leslie Stevens (TV's Buck Rogers, Return to the Blue Lagoon) began work on a script which radically changed the character. Peter Parker would have worked for the Zyrex Corporation, and would have been an unsuspecting pawn in an experiment by the evil Dr. Zyrex. Doused with radiation, Parker became a mutant of sorts, described as a half-man, half-tarantula. At this point in time, Texas Chainsaw Massacre director Tobe Hooper was to helm the project.

Stan Lee rejected the story, Stevens and Hooper left the project when a new draft was commissioned. Scheduled for a Christmas 1986 release, Spider-Man was written by Ted Newsom (Evil Spawn) and John Brancato (The Game, Catwoman), and directed by Joseph Zito (Friday the 13th: The Final Chapter, Missing in Action). This new script (which you can actually read here) is more faithful to the source material, and pits Spidey against Dr. Octopus, with Liz Allen as a love interest. Spidey's origin is close to the one in the comics, though now it's tied to the ill-fated experiment that creates Doc Ock. Cannon were really gearing up for this, spendig as much as $2 million on pre-production, and going so far as prematurely releasing a teaser trailer (using music from Richard Donner's Superman).

The film was to star stunt man Scott Leva as Peter Parker and Bob Hoskins as Doc Ock (though Hoskins never actually committed to the film). Some comics readers may remember the cover of The Amazing Spider-Man issue #262 from March, 1985 and wonder what that was all about. Well, it was a promo still of Leva as Spidey (in some tight, tight jeans). The Christmas '86 release date came and went without Spider-Man, theoretically disappointing millions of fans who had heard rumblings of the film and seen the teaser. For reasons not fully known (but probably attributed to budget complications, disapproval from Stan Lee) by the end of 1986, the project went on hiatus and Zito jumped ship. In the interim, Cannon produced another comic book film, the proverbial nail-in-the-coffin that is Superman IV: The Quest for Peace.

Sometime around 1989, the whole thing landed in the lap of director Albert Pyun who stayed with the project for another couple of drafts, where Doc Ock was dropped as the villain and replaced by The Night Ghoul, a vampire-like creature (not dissimilar to Morbius, just lamer, I suppose). Yet another draft was written, this one dropping The Night Ghoul in favour of a new villain known as "Doc," (not of the Octopus variety) peddling a dangerous new drug known as "T-Devil." Finally, the whole thing was shelved, though producer Menahem Golan and director Pyun did bring another superhero to the screen with 1990's Captain America.

The property left the Cannon Film Group in 1990 and was picked up by Carolco, where James Cameron became involved. But that's a whole other tangled web...

(see what I did there?)