Fans of Black Mirror have learned to expect the unexpected after four full seasons so far, and Black Mirror: Bandersnatch was full of so many unexpected twists and turns that you literally couldn't just watch once and see everything there is to see. The standalone installment of Black Mirror was a choose-your-own-adventure experience of unprecedented complexity, with many variables leading to different endings. According to Bandersnatch director David Slade, there is some footage that even he can't access. Here's how he put it:

Bandersnatch requires viewers to make decisions that range from the mundane, like what to have for breakfast, to the much more significant, like how to dispose of a body. Each choice can change the course of the story, and there are five major endings that are possible to reach, although there are slight variations among them that arguably means upward of five. I personally only got to four distinct endings, but I have no trouble believing that I missed more than one.

David Slade's comments indicate that Bandersnatch is more complicated than even those who compiled flowcharts of all the ways to choose your own adventure could have guessed. Apparently, more footage was filmed than can be reached no matter what decisions you make for Stefan in Bandersnatch.

This news may only frustrate some viewers even more, as not everybody was thrilled with the wide variety of options that led to endings that all have a similar tone to them. Even the creative team behind Bandersnatch disagrees about the endings.

In the chat with THR where David Slade revealed that there's footage he can't access, Black Mirror producer Annabel Jones suggested that there are five "definitive" ends, while creator Charlie Brooker opined that there are even more. Producer Russell McLean said that there are 10 to 12 endings because of small variations. For its part, Netflix says that there are five "main" endings.

Basically, viewers may need to watch Bandersnatch more than just a few times if they want to see all the content that is accessible, never mind the footage that even the director can't watch! Charlie Brooker went on in the interview to say this about the endings:

If you haven't watched Black Mirror: Bandersnatch just yet, you can find it streaming on Netflix now. I made it through my first complete viewing in about 90 minutes, so you should probably block out an hour and a half at least to watch. If you want to experiment with different choices and different endings, you'll need more time. I'd say that it's worth playing around to see what decisions result in certain changes.

The downside of the complexity of Bandersnatch is that it kept the Black Mirror team so busy that the original intended release of Season 5 in 2018 couldn't happen. Focus had to be put on Bandersnatch, and even that only barely made it in before the end of 2018. For now, the fifth season of Black Mirror is expected at some point in 2019. There are plenty of other streaming series that have already gotten release dates, and you can find them out our 2019 Netflix premiere schedule.

2017 entered its final days in the only way it should have: with a brand new season of Black Mirror to remind us that life can always be that much more technologically horrifying. The most terror-driven installment in Season 4 was arguably the starkly different "Metalhead," and CinemaBlend was lucky enough to talk to speak with episode director David Slade about those stark differences. Slade was brought into Black Mirror and given free rein with his directing choices, and here's what he said when I asked about the decision to make this Black Mirror's first black-and-white episode.

For almost all intents and purposes, going black and white seems like the only reasonable move for David Slade to have made when turning Charlie Brooker's "Metalhead" script into live-action dread. The story's stripped-down appeal lent itself particularly well to a similar stripped-down visual approach, since the plot is essentially a no-frills take on "Man vs. Machine." (Or "Woman," as it were.) Slade is responsible for some of the most gorgeous TV episodes in recent years, on shows like American Gods and Hannibal, and he would have likely crafted some equally beautiful footage had he kept natural color schemes intact. But something major would have been lost in the tone and atmosphere departments.

"Metalhead" is basically about a botched supply mission taken by Maxine Peake's Bella and other quickly disposed-of survivors of an unspecified potentially apocalyptic event, with the main protagonist being a robotic "dog" with zero on its digitized mind beyond taking Maxine down. Because it's never quite clear where the dog-bot came from, or what the situation was with Maxine's group, it's up to the viewers to come up with background details for everyone's stories, which muddies things up a bit. And what better way to tell a morally gray story than to film it in the two colors that make up the color gray?

The way David Slade puts it, he apparently didn't have to twist anyone's arm to get the black-and-white process approved. And once it was decided, the production team went all out to make sure no black-and-white stone was left unturned.

Considering the past few years of U.S. holiday programming has included colorized versions of I Love Lucy and Dick Van Dyke Show episodes, I suppose that's a fine worry to have. Not that I think anyone would particularly want to give this episode a polychromatic touch-up, but David Slade still made such a thing that much harder to deliver.

While a casual fan might not consider all the difficulties involved with making "Metalhead" a black-and-white installment, David Slade assured me it was quite the complicated process, though not a frustrating one; that almost works as a microcosmic description for Black Mirror in general. The production team was actually strapping GoPro cameras onto their black-and-white cameras so that they could initially figure out the color tracking. Slade also told me they used actual LiDAR cameras in order to bring the robot dog's vision to life. (LiDAR stands for "Light Detection and Ranging," and uses laser lights to measure distances.)

Speaking of that dog-vision, I noted to David Slade that this might be the first time I've ever seen a robot character's standard P.O.V. shown in black and white before. And the director told me there was a brief moment when he and Charlie Brooker considered breaking the fourth wall by showing the dog's LiDAR moments in their original multi-color format.

Jumping from black and white to color would have been a jolt for sure, though probably not as big a jolt as viewers got in the heartbreaking final minutes of the episode. "Metalhead" may have been a different Black Mirror installment for many different reasons, but it was par for the course in terms of hauntingly wrapping things up.

Black Mirror Season 4 is currently available to stream in full on Netflix, as are the first three seasons, so be sure to ring in 2018 with some tech-laden pessimism. Check out some of the cameos you may have missed from the Star Trek-esque installment, and when you're wanting to know what else is on the way in the near future, head to our 2018 Netflix schedule and our midseason premiere schedule.

For many years, comic book movies have been helmed by Hollywood’s elite, from Tim Burton to Christopher Nolan, so it’s perfectly fitting that small screen adaptations would follow suit. Case in point: the upcoming PlayStation exclusive series Powers has landed The Twilight Saga: Eclipse director David Slade to take the reins for its first two episodes. Okay, so a Twlight movie doesn’t make someone “elite,” but the rest of his resume is more applicable for the descriptor.

As well as directing, Slade will executive produce the first two episodes, according to Deadline. Novelist and comic scribe Charlie Huston will be writing those same two episodes. Anybody else a little worried now that this series won’t make it to a third episode? It’s just me? Okay.

Slade has a pretty killer eye for filmmaking on both the big and small screen, and he’s good at using sets and atmosphere to create tension in all of his projects. His career began in music videos, but he soon leapt into the feature world with the underappreciated 2005 thriller Hard Candy and 2007’s vampire horror 30 Days of Night. (The latter was also a comic adaptation, based on the miniseries from Steve Niles and Ben Templesmith.) On the TV side of things, he directed an episode of Breaking Bad and the Awake pilot before finding a more comfortable home on NBC’s Hannibal, for which he’s helmed multiple episodes, including the bloody Season 2 finale.

Produced by Sony Pictures TV, Powers is based on the fan-favorite comic series from writer Brian Michael Bendis and artist Michael Avon Oeming, both of whom will serve as executive producers with Circle of Confusion (The Walking Dead), Michael Dinner (Justified), Huston and Remi Aubuchon (Falling Skies). The latter two EPs will also serve as the showrunners. Certainly a group this talented will only produce greatness, right?

They have great subject matter to work with, as Powers is one of the better series out there, both in its original run and in the new Powers Bureau arc. Assuming the series sticks to the same origins, we can expect to spend some time with homicide detectives Christian Walker and Deena Pilgrim, who are both assigned to cases revolving around “powers,” which refer to people with superhuman powers. (Go figure.) It’s a police procedural, but with Bendis’ signature flair for dark humor and ratcheted-up excitement.

If there’s any justice in the world, the first part of Powers will follow the storyline of “Who Killed Retro Girl?” You can watch a related (and fairly impressive) fan-made film below, directed by Michelle Massey.

Will Slade create something more impressive? Find out when Powers debuts on the PlayStation Network in December.

The Man Without Fear is now the man without a director, as well. David Slade has departed 20th Century Fox’s planned reboot of the Daredevil franchise, leaving the studio scrambling for a replacement.

Slade, who helmed the darkest of the Twilight films in Eclipse, seemed like an excellent choice to helm the gritty Daredevil material. But his commitment to the TV show Hannibal with Mads Mikkelsen reportedly has prevented him from signing on to Fox’s timetable. The studio has to get a Daredevil film into production by the fall, or else they’ll lose the rights to the character back to Marvel.

That’s unlikely. Hitfix points out that Fox has a solid Daredevil script in their hands, so all they have to do is find the right filmmaker to bring their vision to the screen. The news of Slade’s departure came on the heels of Fox confirming that Chronicle director Josh Trank was moving forward with a Fantastic Four film, so the studio wants to stay in the Marvel business.

As well they should. Both Daredevil and The Fantastic Four were mistreated in their early cinematic incarnations. And both have tremendous potential as superhero franchises. Fox must cringe as they watch Marvel, Sony and Warner Bros. hit home runs (or, at the very least, triples) with their Avengers, Spider-Man and The Dark Knight properties, while Wolverine, Daredevil and FF miss their full potential. Now that Slade’s out, we can expect to hear movement on a new director – particularly with the studio’s back against the proverbial wall when it comes to character rights – and then, hopefully, we can dig into more important topics. Like casting. And a release date.

It has taken a little while for the Daredevil reboot to get going. First announced over a year ago, the project hired director David Slade to helm and then, a few months later, brought Fringe writer Brad Caleb Kane on-board to write the script. Apparently what has held the project in development is the script, and we know that now because 20th Century Fox has just brought on a writer to replace Kane.

Deadline says that nearly five months after Kane was hired, the studio has now gotten David James Kelly to do a rewrite of Daredevil. The movie will actually be the first writing credit for Kelly, whose only previous work in the film industry includes being a post-production assistant on the 2008 indie dramedy Sunshine Cleaning. There have been reports that the new story will follow the "Born Again" arc created by Frank Miller/David Mazzucchelli in which the Kingpin discovers that Daredevil is actually lawyer Matt Murdoch and uses the information to destroy the attorney's life.

Fox has been trying to reboot the movie for years, attempting to rebound from the critically-hurt adaptation of the character that came out in 2003 from director Mark Steven Johnson. The original starred Ben Affleck as the titular superhero and Michael Clarke Duncan as the Kingpin, but it's very unlikely that either will return to reprise their roles in the next film. In addition to the Daredevil movie, Fox has also recently tried to get the Fantastic Four franchise off the ground again, hiring Chronicle director Josh Trank to make a reboot.

So here's the big question for all of you: who do you think should play Daredevil this time around?

Now that David Slade is confirmed to direct a new Daredevil reboot for Fox, the latest round of superhero casting speculation can revolve around the blind hero who fights, like they all do, for justice. And because Slade's last film was The Twilight Saga: Eclipse, that speculation was obviously going to include Robert Pattinson sooner or later. Today Moviehole is the first out of the gate, talking to a friend who was also up for the directing job, and who reports "some kind of talk" about Pattinson taking the lead role.

Granted this is pretty much the vaguest kind of rumor you can get-- there's no word on who's talking about it, how serious that talk is, or even how much anyone wants to see Pattinson take the part. Then there's the fact that Pattinson may not even be interested; unlike fellow Twilight kid Taylor Lautner, who seemingly signs on to every big-budget project that looks at his abs, Pattinson seems more interested in smaller stuff like Remember Me or the upcoming Water for Elephants. I'm skeptical that he'd want to get involved at all, though who knows-- when the Twilight paychecks finally stop coming, he'll have to find some other projects that make actual money.

Consider this just the opening shot in what will likely be a long process of Daredevil speculation. It might not be the last time you hear Pattinson's name about all this, but I'm putting him at the bottom of my list of potential stars for the moment.

The latest superhero to be at the center of a reboot not even a decade after the first film will be Daredevil, and David Slade will be the director making it happen. According to Variety Fox has brought on the 30 Days of Night and The Twilight Saga: Eclipse director to handle the untitled project which is described as a "continuation" of the superhero story, but won't refer to anything from the 2003 Daredevil starring Ben Affleck.

Slade is getting this particular superhero directing job just months after losing out on Wolverine when Darren Aronofsky got the gig; he was also a candidate for The Hunger Games before Gary Ross signed on, and at lest as of February was considering a vampire-themed project The Last Voyage of Demeter. It's unclear when Fox wants to move forward with Daredevil and how it might fit into Slade's schedule, but given the mania for superhero reboots at the moment, I'd count on it sooner than later.

With new takes on the X-Men coming this summer, a new Superman and Spider-Man coming in the next few years and everything from Robocop to the Fantastic Four slated for reboots sometime in the near future, it should come as no surprise that Daredevil-- one of the few Marvel heroes not owned by Disney as part of their Marvel partnership, and one that likely would have reverted to Fox soon had they not made a new film-- is falling victim as well. But anyone who wanted to argue against Mark Harris's recent claim that originality is really and truly dead in Hollywood will have a hard time getting around this news. Despite the fact that Daredevil was already at the center of one unsuccessful big-budget movie, Fox is relying on the character as a tested property, something they're far more likely to spend money on than, say, something original or not remotely connected to a comic book.

Hopefully there are enough hardcore Daredevil fans out there to be excited by this news, because from where I stand, this is just another lame attempt to juice the superhero genre and milk money out of a character that, not even ten years ago, audiences conclusively stated they weren't all that interested in. Talk me down, or join my misery, in the comments.

Even though it was generally loathed by critics, X-Men Origins: Wolverine made Fox a lot of money, and that means guaranteed sequel. Right now they’re looking for a director, presumably someone who will make less of a hot mess of the project than the last guy, Gavin Hood, did. Now word is they’ve narrowed their directing pool down to two choices, one which makes sense, and one which is too good to believe.

Deadline says Fox is deciding between David Slade (director of Hard Candy, 30 Days of Night, and most recently Twilight: Eclipse) and Darren Aronofsky (yes that Darren Aronofsky, director of things which are challenging and good). Slade makes a lot of sense, after signing up for Eclipse the guy has pretty much proven he’ll do anything for money. But Darren Aronofsky? That’s a little hard to swallow. He’s hot off The Wrestler and his next movie Black Swan looks like it could be another Oscar contender. Aronofsky only makes Aronofsky movies, it’s hard to imagine him being interested in taking on the second installment in what is generally regarded as a sub-par franchise.

So what’s Aronofsky’s name doing on this list? Blame Hugh Jackman. Jackman worked with Aronofsky on The Fountain and apparently they’ve developed a good relationship. Hugh, who I suspect knows the last movie wasn’t what it should have been, has been talking Aronofsky into it. And if Darren gets the job, suddenly there’s reason to be excited about Wolverine again.

Except here’s the really incredible thing: Fox may not even want him. Deadline thinks Slade has the edge simply because he directed Eclipse and it made a lot of money. Since this is Fox making the decision, it’s easy to believe they’d be that ridiculously shortsighted. Let’s be logical here: Eclipse making money had nothing to do with David Slade. It’s a Twilight movie, it would have made the same amount of money if someone had dug up Ed Wood and stuck him behind the camera. The box office totals of Eclipse should be irrelevant.

What is relevant is that Darren Aronofsky is a genuine auteur, one of the most interesting and challenging filmmakers working in Hollywood today. Hire him and you stand a good chance of getting the next Dark Knight out of Wolverine 2. Hire David Slade and the best you can hope for is just another Wolverine movie. If you’ve actually managed to talk Darren Aronofsky into putting himself up for this almost certainly thankless, shitty job then you’d better goddamn well hire him.

We all know that X-Men Origins: Wolverine was not a good movie. There wasn’t one good thing about it other than Ryan Reynolds, and they proceeded to screw that all up too. How the movie made as much money as it did is baffling, but nevertheless it did make money and we are getting a sequel whether we like it or not.

Vulture posted an article today claiming their inside source have it that David Slade is the likeliest person to take over the director’s chair from Gavin Hood. He’s not the only contender, just the top candidate. Also in the running is Red director Robert Schwentke. Both will be meeting with Hugh Jackman in the next week to discuss the position, but since Schwentke seems to be busier, Slade will probably get the job.

Slade gave us 30 Days of Night and most recently Twilight: Eclipse so we know he can make a solid, action packed movie. His skill isn’t in question. What is in question though is the bogus story cooked up by Christopher McQuarrie.

The sequel's plot follows Logan into the orient where he begins a “forbidden romance” with a Japanese woman set to be wed to another man. In true Wolverine fashion, he doesn’t plan on giving up that easy and he does battle with her father and brothers to save his relationship. SuperHeroHype put together that we’ll probably see Silver Samurai pop in and possibly Yukio, but does anybody really care?

People aren’t looking for some obscure storyline from Wolverine’s deep past, they’re looking for the big stuff. Maybe that’s just me, but I will be pissed if we don’t see Omega Red show up on screen some time in this series. But I think I’d be more pissed if a shitty series kept digging for money. So I’m prepared to be disappointed either way.

With Slade on board the film has potential, but getting excited for this is something no one should do.

For a while it looked as though Sam Raimi would lick his wounds after the Spider-Man 4 debacle by moving on to an entirely different kind of hero, directing another movie adaptation of the The Shadow, based on the 1930s radio and pulp novel character. Then we heard back in March that Raimi had taken the project from Sony to Fox and had handed directing duties over to David Slade, who presumably would take on the project once he got done attempting to butch up the Twilight franchise with Eclipse.

Now the project seems to have taken a turn for the utterly unexpected. According to Pajiba and their reliable tipster The Hollywood Cog, none other than Quentin Tarantino has expressed interest in the project, and is "attached" as both director and co-writer. Those of us who follow QT and his whims are rightly skeptical that this project will ever happen, or that it will happen around the same time as the Vega Brothers movie or Kill Bill 3. The Pajiba guys admit this could definitely just be another one of those Tarantino dream projects that will never happen, but he is working with a studio on this, so it's more than him just sitting in his private screening room and saying, "Hey, wouldn't it be awesome if…"

Tarantino obviously has an affection for old pulp novels-- uh, duh-- and pop culture detritus of all sorts, and he really could be the perfect guy to balance the camp and the genuine creepiness of a The Shadow movie. Honestly, though, I'm not going to give too much more thought to it, because there's really no guarantee this will ever happen. Sorry to doubt you, QT, but I'm not believing it until the cameras start rolling.

UPDATE: Summit has sent us a fifth poster, this one featuring the Cullen family with Edward front and center. You can see that one below as well.

Hot on the heels of The Twilight Saga: Eclipse’s first IMAX poster come four more from Summit, two of which actually ditch the leading trio, one for a band of Volturi and the other for a new face. In the first, our favorite red-eyed vamps are back looking as angry as ever. Dakota Fanning stands front and center as Jane with her boys Cameron Bright, Daniel Cudmore and Charlie Bewley backing her up.

Poster #2 introduces us to franchise newcomer Xavier Samuel. The Australia native has a handful of projects under his belt, but Eclipse will undoubtedly be his biggest venture yet. Thanks to Yahoo! Movies, I learned that his character Riley is one of the first vampires Victoria turns for her army. He’s assigned to nab Bella’s scent and lead the newborns to Forks to take down the Cullens and the wolf pack. Riley is also Victoria’s love interest, so perhaps Samuel will share some steamy scenes with his co-star Bryce Dallas Howard in addition to those battle sequences.

For the last, we’ve got out favorite unhappy camper Kristen Stewart by herself and surrounded by her boys Robert Pattinson and Taylor Lautner. She’s donning her typical scowl, but at least she looks more real here as opposed to the last poster where Stewart was swapped out for a Madame Tussauds wax figure. All sarcasm aside, my hopes are still high director David Slade will inject the franchise with a little action and horror, toning down the melodrama.

It can't be easy for any director brought in to shepherd the gigantic Twilight franchise, but it just got a little trickier for Eclipse director David Slade. Entertainment Weekly is reporting that the studio has replaced his longtime editor Art Jones with Nancy Richardson, who edited the first Twilight film for Catherine Hardwicke.

Reportedly Slade's material, which the studio called "very good," needed a stronger edit, which apparently involved bringing back more of the moony-eyed madness of Hardwicke's original film. While an editor can have an enormous impact on how a film turns out, it's a hard thing to distinguish when you're watching the final film, especially since Slade and Jones's previous work together-- 30 Days of Night, Hard Candy-- will likely be very, very different from Eclipse. While replacing an editor in the middle of the post-production process might normally be a sign of trouble, consistency between the Twilight films may turn out to be a good thing. So long as Richardson knows to edit in lots of tight close-ups on Jacob's abs, she should be fine.

I’ve always thought it sort of weird that Summit switched from a female director in Catherine Hardwicke to a bunch of guys, for the sequels. Let’s face it, whatever you think of Twilight it’s mostly geared towards women and especially teenage girls. There’s nothing wrong with that, but I find it hard to believe that there are all that many men out there, especially serious male directors with an appreciation for great film, who really have all that much affection for the material.

It looks like I was right, except a big enough paycheck can get just about anyone interested. David Slade is the man Summit has hired to direct the their third film in the franchise,The Twilight Saga New Moon. Slade thinks Twilight sucks. Or at least that’s the impression you get from the comments he made, picked up by the guys over at Slashfilm

When encouraged to go see the first Twilight film in theaters Slade said this: “Twilight drunk? No, not even drunk. Twilight on acid? No, not even on acid? Twilight at gun point? Just shoot me.” Now in his defense, he said this before he got the directing gig and also before seeing the movie. If you asked him now, I’m sure he’d tell you that he has since read the books and seen the first film and totally fallen in love with it. So if you’re a Twilight fan, maybe you’ll believe that. Up to you. Personally I find it easier to believe that Slade, director of a film about pedophilia and also one of the goriest, grittiest, scariest vampire movies ever made would probably think of Twilight as pathetic, tweener, emo-porn. But hey, directing challenging, disturbing movies about vengeful pedophile victims probably doesn’t pay.

It’s official: The third Twilight film has a director. In a press release issued this afternoon Summit Entertainment announced that they’ve hired David Slade to direct The Twilight Saga: Eclipse, making him the third director in three films for the series.

Slade is probably best known as the director of Hard Candy, a disturbing movie featuring a pre-Juno Ellen Page as the victim of a pedophile, who turns the tables on him. He’s also no stranger to the vampire genre. His last movie was the gruesome and bloody 2007 vampire flick 30 Days of Night. One thing all of Slade’s movies seem to have in common is that they’re absolutely nothing like Twilight.

Whatever you think of his films, this is a director known primarily for tackling edgy material without pulling any punches. Hard Candy is unimaginably disturbing and 30 Days of Night is, when it comes to vampire films, everything that Twilight is not. It’s a horror film in every sense of the word, terrifying and brutal and pretty light on all the lovey dovey romance. David Slade’s vampires have had fangs, and big ones.

Here’s an excerpt from the Summit press release, explaining why they chose Slade:

“David Slade has been hired to direct THE TWILIGHT SAGA: ECLIPSE from a screenplay written by Melissa Rosenberg. THE TWILIGHT SAGA: ECLIPSE, the third film in the studio’s TWILIGHT film franchise based on the Stephenie Meyer’s blockbuster book series, will be released theatrically in North America on Wednesday, June 30, 2010. The announcement was made by Erik Feig, Summit’s President of Production.

Meyer stated, “I am thrilled that David Slade will be directing ECLIPSE. He's a visionary filmmaker who has so much to offer this franchise. From the beginning, we've been blessed with wonderful directorial talent for the Twilight Saga, and I'm so happy that ECLIPSE will be carrying on with that tradition.” Feig said, “Stephenie Meyer's ECLIPSE is a muscular, rich, vivid book and we at Summit looked long and hard for a director who could do it justice. We believe we have found that talent in David Slade, a director who has been able to create complex, visually arresting worlds. We cannot wait to see the ECLIPSE he brings to life and brings to the fans eagerly awaiting its arrival in summer of 2010.”