Justice League Snyder Cut's Eunice Huthart Talks Zack Snyder Stunts and The Flash
Eunice Huthart has worked on her fair share of projects for Warner Brothers. She's overseen stunts [...]
Eunice Huthart has worked on her fair share of projects for Warner Brothers. She's overseen stunts on a handful of movies in the Harry Potter universe, including both Deathly Hallows movies and the first two entries in the Fantastic Beasts spinoff. She's already working on The Flash alongside Andy Muschietti and Ezra Miller and next week, one of her biggest projects to date will finally see the light of day.
Huthart as served as stunt coordinator on Justice League, initially being hired by Zack Snyder for his original take on the property. After seeing the project through to its theatrical release, Huthart stayed with the project work do stunt work with Joss Whedon on his extensive reshoots. Now, she will finally see some of her more elaborate stunts come to life in the Justice League Snyder Cut.
Featuring characters like Darkseid and Steppenwolf facing off against some of the world's greatest heroes, Huthart recently caught up with us to chat about her work with Snyder in concocting the perfect stunts for some of comics biggest names. Keep scrolling to see our entire chat with the stunt coordinator!
ComicBook.com: You have the Justice League theatrical release, and then HBO Max comes calling. It took a huge, huge fan movement and all of the associated stuff, but finally — HBO Max let Zack tell the rest of his story. That's a filmmaker's dream, right?
Eunice Hurthart: It's amazing. I'm just so happy that Zack's getting to demonstrate his film. It just makes me very happy.
Absolutely. Post-greenlight, if you want to call it that, I know there are some additional photography done. Is that something you were brought back in to do more work on or was all of your work already in the can for Zack to edit?
I do believe there was some shooting they did in LA. I did the original film and then I did the Joss Whedon reshoots. And then I pretty much didn't have much else to do with it. I think Zack was using the full footage that we filmed, but I think there is some additional stuff. I haven't seen it yet, so I'm not sure what the new stuff is, but I have it through the grapevine and through the VFX department that there was some additional photography that Zack did in LA.prevnext
I know you've worked on Harry Potter, and you're a gladiator for chrissakes. I know Harry Potter has elaborate set pieces and plenty of action sequences — but here, you have the entire Justice League. You have Steppenwolf and Darkseid, who both use motion capture performances. How does that impact working on the stunt side?
It doesn't inhibit me in any way, as I can see it. I find it really easy. What I find hard is the performance you've got in place. I'm like "Guys, guys Steppenwolf is 11 feet tall, you should be looking that high stop!" Like a marker on his head. You still find people still look at the guy's face and things like that. So for me, I find the easy to actually see the being in front of me. I do get frustrated when people can't see that. So I'm not the best person to be like, cause I find it easy to see it, so I'm always telling the sponsees off.prevnext
With Zack, he and his team really do specialize in action-heavy filmmaking. How much of the fight sequences in Zack's Justice League cut was something that actually scripted out? And how much does he leave for you and your team to interpret and execute?
They abandoned England to shoot Justice league. He had already turned in through live-action or through pre-viz, he had done a lot of the creativity in the fights, eh, but there was still some wiggle room where I could get in there. Because I liked that process. I really enjoyed the creative process. He did come in on the ready with exactly what he wanted in the film.
The film I'm on now, where we're creating everything that the script has — what's in the script as a placeholder — and we rewrite and recreate it all, and that is fantastic.
Was there any sequence that was maybe they're too dangerous or too elaborate that you kind of had the pump the brakes on a little bit? Or did you manage to get through everything?
Nah, there's always a way. I don't think I've ever said no to a director. There's always a way we can do it. If the director requests something that it's too dangerous, we can always still deliver what he wants just with a different methodology, whether it's with wires, whether it's partly a CG takeover or whether we just have a slight redesign that just as a compromise and not for him so.
I mean the bigger and harder and more demanding it is, I'm more interested in it. That's what turns me on. I'm like, "Yeah, we can do this!"prevnext
Speaking of big movies, Andy Muschietti recently posted a picture of The Flash and as I understand it, that's a project you might be working on as we speak.
We're all, me and my team, are on The Flash now and it's brilliant. We are having such a lovely time. The crew's lovely. I think because of COVID, everyone's so happy to be working. It's great. So it's like, everyone's bounded them with new enthusiasm. It's bold and everyone's bombed the team with great vigor and renewed enthusiasm and I'm having a lovely time.
Zack Snyder's Justice League hits HBO Max on March 18th.prev