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Superman Director James Gunn Shares His Own Approach To Treat The VFX Artist At DCU
James Gunn, the mastermind behind the upcoming DC Universe, has spoken on the VFX process that will be employed for the franchise's inaugural films, Superman and Supergirl: Woman of Tomorrow.
Excitement is building to a fever pitch for the upcoming chapter of the DC Universe, particularly for the film Superman and Supergirl: Woman of Tomorrow. Fans are eagerly anticipating what the visual effects will bring. Of special interest is how James Gunn's personal directorial approach to special effects will stand out, especially amid ongoing discussions among VFX artists about their working conditions in Hollywood.
A new DC Universe
A new DC Universe, in fact, will kick-start with the launch of Superman in July 2025, just after the Creature Commandos debut on Max in December. The new phase of work is code-named Gods and Monsters. Supposed to be the beginning for DC Studios itself, innately, James Gunn is supposed to play a cardinal role. Previous work from Gunn, such as the Guardians of the Galaxy series, was highly praised for its outstanding CGI, something enthusiasts look forward to in future DC works.
Lately, while interacting with fans on Threads, Gunn was asked about abnormalities affecting VFX workers within Hollywood due to the intense demands of superhero films. Overwork and underpaying of VFX artists have become a hot button as more blockbuster films rely on CGI. In response, Gunn shared some insights about his approach toward VFX, something he has used throughout his career.
"If you do some research you’ll see my films have always taken a different approach and I’ve always given my VFX artist-collaborators time to do their jobs properly, and the respect they deserve. And the quality of the VFX in those films is uniformly great because of it (and because my friends at Weta and Framestore and ILM and more are amazingly talented)."
He determinedly stated that all of those same principles are being applied to his work on Superman and to the upcoming Supergirl: Woman of Tomorrow, which he will not be directing. He stated that principal photography regarding Superman wrapped up over a year ago, so basically, there is plenty of time for VFX artists to really craft the visual effects. This is proactive and deviates from the normal scene in Hollywood, in which pressure is always loaded on the VFX teams at the point of delivery.
"This is why we wrapped on Superman a year before release and why they've been hard at it on many shots for months before that," said the filmmaker. "This is why we edit heartily during the shoot. It's why I prepare so vigorously and it's also why we only shoot finished screenplays. Supergirl, which I'm not directing, is being handled the same way. I just can't praise enough the VFX artists that help us make magic."
Gunn's respect for the VFX art comes from very early in his career, particularly when working on the 2002 movie Scooby-Doo. A film with a fully CGI character, this experience taught Gunn how to manage and respect the complex work that goes into CGI-heavy films. This has come in very good stead on later projects, not least Guardians of the Galaxy and The Suicide Squad.
The broader debate on VFX in Hollywood
Since the use of CGI in films is still arguably over the stage, boasting in some movies, for example, Top Gun: Maverick and Alien: Romulus, the no-CGI aspect can be used as a feature. Most of those boasting carry this out to the disadvantage of the overwhelming task that VFX artists conduct in breathing life into a movie. Many working conditions in this industry include long hours, discrimination, low wages, and other abuses that affect many—hence the surge of public opinion on issues surrounding VFX worker mistreatment.
However, Marvel Studios has been singled out for criticism regarding VFX workers whose work on various MCU films has seen the demands placed on them drastically rise. The last-minute changes on the part of the studio heads also make them rush the artists into work, often leaving them tired and affecting output.
With Superman and The Fantastic Four: First Steps rolling into closer and closer release dates, comparisons around the VFX work put in on these two films will, undoubtedly, arise. Nowhere in sight, though, is that Superman has wrapped production and is reportedly deep into the post with VFX, while The Fantastic Four reboot is barely setting off now. This extreme difference in timelines may offer some interesting insights into how various approaches toward VFX can shape their respective outcomes on the big screen.
At the end of the day, Gunn continued to make VFX feel like a craft deserving of respect—which could very well set a new standard in the industry. As the DC Universe prepares to launch the next chapter, fans get set for a treat for the eyes, crafted with care and respect for the art of visual effects.
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