{"id":943895,"date":"2025-12-31T05:26:20","date_gmt":"2025-12-31T05:26:20","guid":{"rendered":"https:\/\/www.polygon.com\/?p=442606"},"modified":"2025-12-31T05:26:20","modified_gmt":"2025-12-31T05:26:20","slug":"the-crow-director-makes-his-case-for-the-character-redesign","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-crow-director-makes-his-case-for-the-character-redesign\/","title":{"rendered":"The Crow director makes his case for the character redesign"},"content":{"rendered":"
\"In
<\/figcaption><\/figure>\n

Adapting The Crow<\/em> again is a daunting task.<\/p>\n

Director Alex Proyas famously adapted James O\u2019Barr\u2019s comic book series in 1994. His movie became a cult classic due to its moody, gothic tone and the unforgettable performance of star Brandon Lee, who died during filming due to a mishap involving a prop gun<\/a>.<\/p>\n

Three sequels<\/a> followed the 1994 movie, but none found the original movie\u2019s box-office success or long-lasting legacy. Thirty years later, we have a new version of The Crow <\/em>\u2014 not a reboot or remake of the first movie, but a new adaptation of O\u2019Barr\u2019s comic.<\/p>\n

The Crow<\/em> (2024) has been in development since 2008<\/a>, with a variety of directors and stars attached at various times. Blade <\/em>director Stephen Norrington<\/a> was originally slated to take on the project, while Bradley Cooper<\/a>, Luke Evans<\/a>, and Jason Momoa<\/a> were each at one point lined up to play protagonist Eric.<\/p>\n

After more than a decade in development, The Crow <\/em>found its final combination: director Rupert Sanders and star Bill Skarsg\u00e5rd. Sanders is no stranger to adaptation \u2014 his previous films Snow White and the Huntsman<\/em>, the 2017 live-action Ghost in the Shell<\/em><\/a>, and even his television pilot for Foundation<\/a> <\/em>have all been adapted from prior works. (\u201cIt\u2019s kind of annoying, to be honest,\u201d he tells Polygon, saying he has 20 to 30 original projects he wants to get off the ground.) And Skarsg\u00e5rd is no stranger to makeup-heavy physical performances: He\u2019s perhaps best known for playing Pennywise the Clown in Andy Muschietti\u2019s<\/a> It movies<\/a>.<\/p>\n

Sanders, a longtime fan of both O\u2019Barr\u2019s comic book and the Proyas movie, wanted to put his own spin on the source material. He pushes back against the idea that this project came with more pressure than any of his others: He says making any film is \u201cdaunting,\u201d because \u201cyou\u2019re still having to investigate the world in the same way.\u201d<\/p>\n

\u201cI love the edginess of [this story],\u201d he says. \u201cI love the youth-culture side of it. I love the music [of the 1994 movie]. I love the kind of goth-Gothic movie, the kind of fabled myth, horror elements to it. I felt there was a version, an adaptation and a re-imagination, that would be very contemporary, and that there were themes that were in there that could be pushed further for today\u2019s audience.\u201d<\/p>\n

The Crow\u2019s new look<\/strong><\/h2>\n

\"Bill<\/p>\n

His desire to contemporize The Crow <\/em>shows up in the radically different design of Skarsg\u00e5rd as Eric: Sanders eschews the heavy white-and-black makeup Brandon Lee wore in the 1994 movie. Instead, Skarsg\u00e5rd\u2019s Eric is heavily tattooed, with lighter touches of black makeup to meet Sanders\u2019 vision for a \u201cmore grounded\u201d version of this story, with a character design he says was inspired by what was around him when he grew up \u2014 specifically, England\u2019s rave scene in the \u201990s and the New Age travellers<\/a>.<\/p>\n

\u201cI think what we were wearing in the \u201990s is essentially what kids are wearing nowadays,\u201d Sanders explains. \u201cEric is like a graffiti-writing street kid who has tattooed himself to push people away. I didn’t feel like the character put on white face makeup, because ours isn’t as stylized as the original. I think it worked in the black-and-white lines of the comic. The original [movie] was very theatrical and staged in this kind of miniature world. But our world was a bit more grounded.<\/p>\n

\u201cI think people at first were like, \u2018Oh my God, what have they done to The Crow<\/em>?\u2019\u201d he says. \u201cIt’s like the Batman costume. Christian Bale didn’t just step into Michael Keaton’s Batman costume and go \u2018Sweet, I got this.\u2019 And the Superman wardrobes<\/a>, none of them have been [the same], they’re always a development. I acknowledge [this adaptation is] very different. It’s drawn on personal experience, and it’s drawn on conversations between Bill and I creating a character. And I think it works for Bill, and it works for the movie.\u201d<\/p>\n

A different take on romance<\/strong><\/h2>\n

\"Bill<\/p>\n

Eric\u2019s design isn\u2019t the only significant change in this version of The Crow<\/em>. The role of his love interest Shelly (played by musician FKA Twigs) is quite different in Sanders\u2019 movie. After meeting in a rehab facility, the two instantly strike up a bond over their shared isolation and deep sadness. When the demons of Shelly\u2019s past catch up with her at the facility, the agents of an evil crime lord (Danny Huston) find her and kill both of the young lovers. Eric comes back to life as an avatar of vengeance, and he is promised that if he kills all of the people responsible for their murders, Shelly will return to life.<\/p>\n

Sanders particularly wanted to stress the beauty in Eric and Shelly\u2019s tragic romance, rather than quickly moving on to the quest for revenge.<\/p>\n

\u201cIt\u2019s kind of like two movies, in a way,\u201d he says. \u201cPeople were like, Oh no, he’s got to become The Crow in like, page 10.<\/em> And I’m like, No, he doesn’t.<\/em> I really fought for that half of the movie, because, to me, it’s like a cool kind of Romeo and Juliet meets, you know, Larry Clark’s Kids<\/em>. It’s the streetwise kids who are broken and find each other. And there was something really beautiful in that, and really important to his journey.\u201d<\/p>\n

Sanders also felt society has a different understanding of criminality now than it did 30 years ago, and he wanted that reflected in the inciting incident that causes Eric\u2019s revenge spree.<\/p>\n

\u201cThe original Shelly is a kind of a flashback. She’s never there in flesh and blood,\u201d he says. \u201cIt’s cold. You killed her, I kill you all, hundreds of you.<\/em> And I didn’t really feel that was timely. I felt that we’re a bit more understanding of why people are criminals, and why people are in gangs. [The comic\u2019s narrative] felt just a bit bleak, and so I felt the big thing was that Shelly needs to be the engine of the movie. She is the one he falls in love with. She needs to be the beating heart of the movie.\u201d<\/p>\n

Bloodier and bloodier<\/strong><\/h2>\n

\"Bill<\/p>\n

The action design of 2024\u2019s The Crow <\/em>also stands in stark contrast to the 1994 movie \u2014 it\u2019s a different kind of gory, thanks in part to technological advances in CGI and the influences of modern action franchises like the John Wick movies<\/a>. <\/p>\n

But the nature of Eric\u2019s powers also creates a potential problem for action sequences: As long his love \u201cremains pure,\u201d he cannot die, no matter how many times he is shot or stabbed. How do you create tension in sequences where the audience isn\u2019t afraid for the protagonist\u2019s life? <\/p>\n

Turns out, the answer is pain. \u201cAre we emotionally connected to him if there\u2019s no kind of suffering?\u201d stunt coordinator Adam Horton tells Polygon. \u201cI think that was the key word. He might not be able to die, but he\u2019s suffering. He feels everything that he’s going through in the journey. We wanted to push the envelope of being not a slasher, but painful.\u201d<\/p>\n

Finding a new Crow fandom<\/strong><\/h2>\n

\"Bill<\/p>\n

Sanders\u2019 hope is that this new Crow<\/em>, while not specifically designed for teenagers, can find a new young audience that isn\u2019t familiar with the first movie. He feels the core of the story is timeless: The tone and the story about tragic young lovers still resonates.<\/p>\n

\u201cThere\u2019s something about the comfort of melancholy,\u201d he says. \u201cI think that sentiment is going to be with teenagers throughout time. That’s how we did the soundtrack. I wanted to build some of the music from [the late \u201980s, early \u201990s], but also, [using] people who are making music about the same heartache now as they were then. And I think there’s a really good throughline in the kind of the goth culture, or the emo culture, whatever you want to call it, that is still as present now as it was then.\u201d<\/p>\n

Sanders understands why longtime fans might be concerned about his new vision for the franchise \u2014 after all, he\u2019s a fan too. But he maintains that a new version of The Crow <\/em>can only help the visibility of other versions.<\/p>\n

\u201cI think the people who are concerned, and rightly so, are the people who grew up with it. But the people who are 17 now aren’t going back and watching that movie,\u201d he says. \u201cSo for them to see this movie, I think, will give them a reason to go back and look back at that movie. I think it’s a win-win for everyone, really. \u201d<\/p>\n

Horton agrees, saying a straight imitation of Proyas\u2019s adaptation would be \u201cpaying disrespect\u201d to the people who made it, because it was \u201camazing\u201d and shouldn\u2019t be copied.<\/p>\n

\u201cLeave that one alone, and [\u2026] really make [this one] different,\u201d he says. \u201cHow do we make the audience and [the people who] made that movie in that time proud?\u201d<\/p>\n

\u201cI hope that in 30 years\u2019 time \u2014 I hope it doesn’t take that long \u2013 maybe in 10 years\u2019 time, they’re all going, There’s only one Bill Skarsg\u00e5rd<\/em>,\u201d Sanders says.<\/p>\n

\u201cNo one’s dug a big hole and thrown that cult movie in it, where no one can ever see it again,\u201d Sanders says. \u201cWe haven’t recorded over their VHS. It’s still there.\u201d<\/p>\n

\n

The Crow is in theaters now.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Adapting The Crow again is a daunting task. Director Alex Proyas famously adapted James O\u2019Barr\u2019s comic book series in 1994. His movie became a cult classic due to its moody, gothic tone and the unforgettable performance of star Brandon Lee, who died during filming due to a mishap involving a prop gun. Three sequels followed the 1994 movie, but none found the original movie\u2019s box-office success or long-lasting legacy. Thirty years later, we have a new version of The Crow \u2014 not a reboot or remake of the first movie, but a new adaptation of O\u2019Barr\u2019s comic. The Crow (2024) has been in development since 2008, with a variety of directors and stars attached at various times. Blade director Stephen Norrington was originally slated to…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":943896,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-943895","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe Crow director makes his case for the character redesign | Arcader News<\/title>\n<meta name=\"description\" content=\"Adapting The Crow again is a daunting task. Director Alex Proyas famously adapted James O\u2019Barr\u2019s comic book series in 1994. 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