Back in July, I featured these great storyboards from Superman: The Movie from Anna W.’s great collection of Superman rareties. Here are some more of the storyboards she’s kindly offered to share; these are from Superman II and Superman III.
As Anna mentioned in my previous post, these Superman storyboards came from Wally Veevers, a famous visual effects artist who worked in the Superman films as well as 2001: A Space Odyssey, Dr. Strangelove, Rocky Horror, and other classics. “Mr. Veevers would review what the director wanted to see, and either do it, or veto it due to inability to physically do it,” she noted in an email. She also pointed out that the original script for Superman II called for Superman to fight General Zod, Ursa, and Non in a forest/jungle, inside a volcano, and finally at the Fortress of Solitude.
These are some of the storyboards from that scene which was never filmed, though you can see some of the framing and composition in these storyboards were very similar in other scenes. Anna also pointed out to me that these are early versions and that one way to tell is that they are missing some of the technical notations like scene numbers or set information that the other storyboards have.
Here are two more storyboards from Anna’s collection; these two are originals drawn in pencil. Anna writes, “The Superman III original pencils are either by Mike Ploog or Dennis Rich. Both are listed as storyboard artists, and the pieces are unsigned. Mike Ploog is an extensive comic book artist, and if I had to hazard a guess, I would side with him being the artist, particularly in regards to the photo booth piece. The style very similar to his work on
Werewolf by Night.”
Here are the two originals she has, and two screenshots of the matching scene from Superman III.
Subtle change between the drawing and the final scene. I guess it was awkward to have Superman turn left to look at the boy, but I think the original is a better composition since you can see Superman from the front.
Evil Superman’s attack on the tanker, where he’s ripping the sides open, was shot much tighter than the storyboard. After a cut to the crew inside, it cuts back to Evil Superman tearing open the inner layer, which is a closer match though the oil is spilling out.
Thanks again for sharing these, Anna!