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Rupert Sanders, director of “The Crow,” is fully aware that his film will inevitably be compared to the 1994 cult classic. Despite this, Sanders remains confident in his new vision for the iconic antihero.
Reflecting on the original’s legacy, Sanders acknowledges, “I knew there would be people who didn’t want it to happen. But I didn’t record over someone’s VHS — that movie’s still there, and those people are still going to love that movie.”
In this reimagining, Eric, portrayed by Bill Skarsgård, and his fiancée Shelly, played by FKA Twigs, are brutally murdered by crime boss Vincent Roeg (Danny Huston).
However, Eric is resurrected as The Crow, a powerful and dark vigilante determined to exact revenge on everyone involved in the murders.
This marks the second adaptation of James O’Barr’s 1989 comic book, and Sanders had very specific inspirations in mind for his approach.
“I love movies like ‘Jacob’s Ladder’ and ‘Angel Heart,’” Sanders says, referencing films known for their compelling visuals and psychological depth.
He aimed to create a darkly romantic love story, akin to a melancholic Cure song, that explores themes of love, loss, and grief. “We’re an emotionally resonant movie that’s trying to compete with the big guys around us in this genre,” he adds.
One of Sanders’ key challenges was balancing the film’s emotional core with its action sequences. He emphasizes that the action in “The Crow” is more than just visual spectacle; it is an extension of the characters’ emotional journeys. “It’s about making sure that your character is present and emotionally working within those action scenes,” Sanders explains.
Skarsgård, in particular, shines in the film’s climax, where his character, exhausted from his killing spree, pauses to reflect on the toll of his actions.
“He’s almost crying inside,” Sanders notes, highlighting the internal conflict Eric faces as he is forced into violence.
In crafting these action scenes, Sanders was mindful of avoiding the desensitization that can occur when violence becomes repetitive.
He explains that there’s a fatigue that sets in when scenes of bodies being flung around and exploding become repetitive. Instead, Sanders aimed for the audience to be emotionally engaged with the characters, making the action sequences more impactful.
“We haven’t reinvented the wheel — we didn’t have the money to, you know, blow up the White House. We kept things gritty and raw, but the focus was on being smart and working with a talented actor.
Adam Horton, the film’s stunt coordinator, shared Sanders’ vision of grounding the action in reality. “In an early meeting, we went in a different direction,” Horton recalls.
The team realized that Eric, having just returned from the dead, wouldn’t suddenly become a martial artist. “He’s still himself. He feels the pain.Horton explains, “We want to convey that and make the audience feel his journey, connecting with him on an emotional level.“
This approach led to a raw, brawling style of combat, reflecting the struggles of someone who had never fought before but is now driven by a vengeful state.
Horton drew inspiration from an unlikely source: the 2004 rom-com “Bridget Jones: The Edge of Reason.” He recalls a fight scene in which the characters, inexperienced in combat, end up scrapping in a fountain. “
It’s just like people that have never fought before. How would they fight?” Horton says. This sense of unrefined, instinctual fighting was key to portraying Eric’s battles in “The Crow.”
As with many tragic love stories, “The Crow” concludes on a bittersweet note. Eric’s bloody journey culminates in a choice: allow Shelly to come back to life if he is banished to hell.
A recent interview with Skarsgård sparked some controversy over the film’s ending, with the actor expressing a preference for something more definitive.
However, Sanders insists that the ending doesn’t set up an easy path for a sequel.He says, “If a sequel happens years from now, they’ll have to find a way to get themselves out of a tricky situation.”dismissing the notion of a cheap follow-up.
Sanders and Skarsgård spent considerable time perfecting the film’s conclusion, watching multiple versions to find the right emotional toneSanders explains, “It’s the editing and visual storytelling, rather than dialogue, that truly elevate the film.
“The chosen ending reflects the film’s central themes of love and loss, delivering a decisive conclusion that may not be “happy,” but feels true to the story.
While Sanders believes that “The Crow” ends on a strong note, he also has plenty of ideas for potential future installments. He acknowledges the difficulty of continuing a story so deeply rooted in a singular love story but is intrigued by the possibilities.
“I had a lot of ideas that I developed and considered, which were included in various drafts of the script and certain elements that”I was putting together that were kind of cool, but felt like they weren’t ready yet,” he says.
One concept Sanders finds fascinating is the idea of Eric moving between the worlds of the living and the dead, increasing his power on either side. However, he’s quick to note that after pouring so much into this film, he’s currently creatively exhausted.
“I’ve given all I can creatively,” he admits, though he doesn’t rule out the possibility of revisiting the story in the future. “I’m sure that after a couple of weeks of taking a break once the film is off my radar, I’ll start to get the creative itch again.”
For now, Sanders is focused on the present, hopeful that “The Crow” will resonate with audiences. If the film succeeds, the team behind it is ready to deliver something incredible for the next chapter. But for Sanders, the current film stands as a testament to his vision — a dark, emotional journey that pays homage to the original while forging its own path.
