In the latest episode of the DC Studios Showcase podcast, hosts Frankey Smith and Tyler Coates conduct an exclusive deep-dive interview with James Gunn—writer, director, and co-head of DC Studios.
James Gunn, the prolific filmmaker and co-CEO of DC Studios alongside Peter Safran, has offered a rare glimpse into the intricate balance he maintains between his creative instincts and his responsibilities as a studio head, revealing how this dual role is shaping the future of the DC Universe (DCU).
Speaking from his shared office on the WB lot, the “sacred ground” that once housed a production company formed by Hollywood legends like Sidney Poitier and Barbra Streisand, Gunn discussed the strategic and artistic decisions driving the DCU’s Chapter One: Gods and Monsters.
The Dual Role: Filmmaker vs. Studio Head
Gunn admits that his two hats sometimes create a “conflict”. While he was always “very responsible with [his] films,” ensuring they came in “under budget” and cared about them “making their money back,” his studio head position has amplified this commercial accountability. Now, he “care[s] about those things even more”.
For major projects like Superman, the goal is to make “a movie for everybody”. This differs slightly from his past, where he might have included a “dumb thing” just because he wanted to, even if “nobody wanted [him] to”. He sees creating a “big spectacle film” as “creating a giant machine that’s supposed to have an effect” on the audience, a process that, despite being “incredibly painful,” demands meticulous tuning to ensure it “works”.
His philosophy as an executive is to seek “the truth and authenticity,” speaking when he has “something to say” but refraining from offering “two cents” unnecessarily. He values colleagues who speak “when they need to without couching it”.
Crafting the DCU: Character, Story, and Medium
Gunn’s deep roots as a “ride-or-die comic book nerd” inform his approach to character integrity and overarching narratives. He believes “certain things about certain characters that are immutable,” especially for icons like “Superman, Batman, Wonder Woman, probably especially, Shazam”. Pitches that stray too far from these core traits are seen as a “not the right fit,” though he remains “open to… a pitch that’s completely outside of what we expected, but it’s great, and it fits the character”.
For the DCU, Gunn prioritises “the single story” for individual projects, followed by the “larger overarching story”. He also emphasises telling “smaller stories that are not small, but singular”. A fascinating aspect of his vision is the evolution of characters across different projects and mediums, allowing for “tonal shifts”. Rick Flag, for instance, transitions from a “hero” in Creature Commandos to being “a little bit different” in Superman, and then “pretty bad” in Peacemaker, reflecting how “real people change”.
He leverages the strengths of different mediums, noting that “you’re just able to take better, you know, bigger risks in TV than you are in film”. This enables the DCU to develop “completely unknown character[s]” like Peacemaker in television, which would be a “pretty big risk” for a film unless made on a “lower budget”. The goal is to elevate “lesser known characters” to potentially become “diamond characters of the next generation,” alongside established icons like Superman and Batman.
Gunn is also firm on maintaining narrative stakes, stating he’s “pretty big on killing people and not bringing them back”. This, he argues, ensures that “If somebody’s life is at stake, that has real stakes. That has real value,” a lesson learned from the “integrity” issues of ’90s comics where character deaths lost meaning. Robots, however, are an exception, able to “be killed and come back anytime”.
Personal Artistic Growth and the New Superman
Gunn revealed a significant shift in his filmmaking approach, particularly for Superman. He’s moving away from his signature soundtrack-heavy style to rely more on the score, a deliberate decision to “grow as a director or an artist” by “tak[ing] away things that I rely on”.
This artistic evolution parallels a profound personal one. Gunn candidly shared that he’s a “much, much nicer person than [he] used to be,” having shed a “harsh” and “intense” punk rock attitude from his earlier career. This internal change has allowed him to move away from relying on “edgy” content, particularly with Superman, which focuses on a “pure, good, beautiful guy who is trying to get by in a world that isn’t those things”. He believes this personal growth has made him a “better filmmaker, or at least a more approachable filmmaker”.
The inspiration for his Superman film’s story came from the tone of All-Star Superman, with its “good, jaw-forward, like, big, bulky guy” and “wild, ’50s science fiction”. Unexpectedly, the breakthrough for the story’s core came from his own adopted dog, a previously unruly rescue, who became the basis for Krypto.
A Glimpse into Future Projects
Gunn confirmed several upcoming DCU projects: Superman, Peacemaker Season 2, Clayface, Supergirl: Woman of Tomorrow, and Lanterns.
- Clayface: This R-rated project, written by Mike Flanagan, wasn’t initially on their “checklist” but emerged from a compelling pitch. Gunn describes it as an “amazing body horror film” that could exist outside the DCU and offers a “great horror movie” in a genre he loves. It will also incorporate commentary on “AI and deep fakes”.
- Supergirl: Woman of Tomorrow: Inspired by the comic’s tone, Milly Alcock was Gunn’s first choice for Supergirl, embodying a “pixie-ish, but very attitudinal” character. Matthias Schoenaerts as Krem is described as “scary and creepy”. Jason Momoa’s enthusiastic “Lobo, baby!” text when Gunn got the job confirms his role as Lobo in the film, a character Gunn notes is “the biggest comic book character that’s never been in a film”.
- Lanterns: The show is envisioned as a “very grounded, real show,” taking the “outlandish concept of space cops with magic rings and putting it in as close to reality as it can possibly be”. Aaron Pierre was at the top of Gunn’s list for the role, and his chemistry with Kyle was crucial in casting.
- Other Characters: Gunn expresses a fondness for Mr. Miracle and John Constantine, having read every Hellblazercomic. While Kyle Rayner isn’t “the top of anyone’s list,” Gunn is a “Guy guy” (Guy Gardner fan), even ensuring Nathan Fillion sports Guy’s “ugliest haircut known to man” in his depiction.
Two years into his role, Gunn expressed contentment: “We’re really happy. I mean, we’ve got—So since that time, we have greenlit five movies now or something”. His multifaceted approach, blending commercial responsibility with a deeply personal and character-driven artistic vision, sets a unique tone for the DCU’s ambitious future.
