The trick was to take a team of unlikable supporting characters and turn them into their own icons comparable to Rocket or Groot. They wanted to have the zany-commercialist pop-punk sensibilities of Guardians of the Galaxy with an added edge to stand out further. The extent to which Ayer's movie was or wasn't planned to be a tonal mashup is unclear, but the trailer narrative makes clear what Warner Bros. The result was a movie made to be one thing, retrofitted with a few reshoots and vicious editing into being something else entirely. offering Trailer Park an opportunity to provide a full edit of the film more in-line with the marketing's style than what was currently being worked on by the director. As was slowly revealed in trade reports, the immensely positive reaction to the trailers (in contrast to the highly divisive release of Batman v Superman: Dawn of Justice that March) led to Warner Bros. The finished film nakedly reflected the marketing's identity conflict, with the two styles hastily chopped between - and not by accident. Related: How Course-Correcting Reshoots Ruined Some Of The 2010s' Most Exciting Films But the official trailers (as opposed to the SDCC First Look which only released online following Hall H leaks) shifted gears, with neon-glow footage meticulously-edited to Queen's pumping Bohemian Rhapsody and Sweet's raving Ballroom Blitz. At this point, the DC mood was one of dark realism, and the initial promise for Suicide Squad of something very much in the Snyderverse: as gritty and grimy as Superman, if perhaps not quite the same level of brooding. And, like the Joker's origin, the answer is multiple choice.ĭavid Ayer's film came together as part of the burgeoning DCEU, releasing as the third entry of the Zack Snyder-led franchise after Man of Steel and Batman v Superman: Dawn of Justice. Before looking at how Birds of Prey evolved, it's essential to take a step back and assess what Suicide Squad was trying to be.
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