“This one was even shorter than I expected, so there are scenes that aren’t in there. I really hope we get to see a director’s cut, which will give us everything that we shot that didn’t make it in,” says Wagner. “What I love about his [Snyder’s] director’s cuts is they are long, but he takes his time to tell the story. I’ve never watched any of his directors cut and thought ‘This is long.” Whether they are three hours long, or three hours and ten minutes, they always seemed to go quick.”
Wagner was unable to participate in the reshoots due to scheduling issues, so 2nd unit photographer Jean-Philippe Gossart took over as cinematographer for Whedon’s shoot. There’s been much speculation about what took place during reshoots and how the film may have changed under Whedon’s direction, but for Wagner, it was a comfort knowing Gossart would continue the visual style his team set.
“He and I had been talking about what we’ve been doing, and he knew some of the style we’ve been going for,” says Wagner. “It was great to have someone I know and who knew the film beforehand and could come in and give it continuity.”