Before we get to Superman III, it’s important to look at where Superman left off. Above the clouds, Superman smiles proudly carrying the American flag lofted above him. Post-Watergate, Superman's allegiance could have been construed as jingoism, yet Donner stuck with "Truth, Justice and the American Way." in the first film. In the second, Lester continued Superman's proud affection for his home, and with great reverence, Superman vowed not to let the President down again.
"Everyone agreed to that ending and we didn't skirt the issue, which they did in Superman Returns - it was politically incorrect, no need for it," notes Ilya Salkind.

Superman II marked Richard Lester's return to the big time; his most commercial and prosperous film, yet. Ilya feels that the equilibrium with both, the theatrical version and the Donner Cut, needs to be re-adjusted.
"Some people attack the cheap jokes in Lester's II, but what about the toilet-flush in the Donner Cut? I do like the Fogelstein joke, though, and I wish we kept it, I don't know why we cut it - maybe it was too much."

Thoughts on the Donner Cut?

"This film has no size to it. They cut too much Lester stuff out. The reprise is too long."

"They repeat [paraphrase] the reprise exposition when Hackman's in the Fortress," I commented.

"Yes, exactly, it's just too much. Why did they cut Mount Rushmore? They didn't need to, did Dick shoot that?"

"I'm sure it was originally shot in 1977 by the 2nd unit, or an effects unit, maybe even Dick supervised it. Lester's team changed the tone, by banishing one of the Presidents whilst the others crumbled. Maybe [Donner Cut editor Michael] Thau couldn't find the original shot?" I speculated.

"I believe we used the best stuff on the Lester cut that was available to us. The blank bullets thing, Superman would've spotted that it was fake bullets."

Ilya's mind wanders to Superman: The Movie. "I think there's too much Otis. It makes me vomit thinking about it. Otis walking in Grand Central Station adds nothing to the story. Okay, it took lot of negotiation to shoot in there, which is why we kept a lot of it in, but it's too much. Sometimes I think there's too much humour in the Hackman scenes. People talk about the camp in the sequels -- it's right there in Superman: The Movie! But when we see the other side of him [Luthor], oh man, he's so wicked."

Had Ilya spoken to Hackman since Superman II?

"The last time I spoke to him was in 1981 when we were promoting the picture. I spoke to his agent a while back, enquiring about a project but [Hackman’s agent] said he won't consider anything under 8 million. Who is going to pay him that now?"

I guess he's retired, then.

"I think he has [Laughs]. He's a very angry man but keeps it within himself. You know, I haven't spoken to Terry Stamp since we were promoting the film in Mexico. He's like Gene, a very nice guy but keeps to himself."

With the Donner and the Salkind controversy now firmly buried in the past, and with insatiable appetites gnawing on the Donner Cut -- with some enduring indigestion -- all eyes are on what Ilya will do next. "Lunatic Fringe is a great script. Everyone is reading it and we have a star attached to it. I've also got an option on Osceola: Chief of the Seminoles. Black runway slaves and natives against the white cavalry. It features one of the most beautiful messages about what a hero is. It's being read. It could be the greatest thing I've ever done. It's got a unique hook. Everyone is crazy about it."

"Get Christian Bale!" I eagerly suggest.

"As a member of the White Calvary? Maybe. Have you seen The Mechanic?"

"Oh man, it's one of my favourites."

"What he did to prepare himself, oh, what a guy, what a movie!"

That's the future, but going back to those heady Superman days…
…back to 1981.

If you have read the first two parts, then you haven't read the best part.

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