In anticipation for Zack Snyder’s Justice League, many fans are speculating the possibility of a sequel — or many sequels. Kevin Smith recently revealed that the Snyder Cut of Justice League has an ending that leaves the door open for more movies. But before anyone gets too excited by the possibility, Snyder himself has confirmed he has “no plans” to make more DC movies.

Speaking with Comic Book Debate, Snyder explained the unique situation he found himself in with Justice League, a movie he hasn’t touched for years. “Look, I never thought I’d be here doing this. I didn’t think I’d be finishing Justice League … The truth is, and it’s been widely reported, and I have no issue, this is an old movie. This is a years-old movie I’m working on. The DC universe has gone and branched off and done its own thing and that’s fine.”

Snyder has made peace with the rapidly evolving DCEU, although there was a time when his vision for his Justice League characters spanned five movies. But he acknowledged that he’s much busier now, and he simply couldn’t commit that kind of time to the franchise. “Is it cool that the fans have so much faith in the trajectory? I couldn’t be happier and I’m excited for them to see Justice League so they can really drink the entire elixir of Justice League,” stated Snyder. “But would I continue? I have no plan to. But like I said, I didn’t think I’d be here, so who knows?”

While there’s no formal plan for Snyder’s Justice League series to continue, we can still look forward to watching the Snyder Cut in four parts on HBO Max this March. At long last, there will be justice for Justice League.

Gallery — Directors Who Hated Their Movies:

New Line

1. American History X

This hard-nosed drama in which Edward Norton portrays a skinhead struggling to shed his bigotry more than broke even, racked up critical plaudits, and earned Norton a high-profile Oscar nomination. So what’s the problem? As director Tony Kaye would’ve told it, everything. Though Kaye met his deadline and worked within his budget, his producers at New Line insisted on changes, and that’s where the trouble began. Kaye argued until he was blue in the face, spent thousands of his own dollars to take out full-page ads denouncing his nemeses, brought in a coterie of religious officials to convince New Line executives that he knew what he was doing, and finally demanded a year to fully remake the film, including a page-one rewrite from a Nobel-winning poet who wouldn’t leave the Caribbean. Kaye’s work in the years since this brouhaha has been underfunded and underdone; looks like he has nobody to blame but himself.

Money Quote: ”Well, it’s good enough to fool Hollywood. It’s good enough to fool New Line. And it’s certainly fooling Edward Norton. But it doesn’t fool me. My standards are a lot higher.”

2. Fantastic Four

Only time will tell whether homo sapiens possess the biological capability to make a serviceable movie about Marvel’s First Family. Audiences hoped against hope that Josh Trank would break the chain of badness with his 2015 film, and were subsequently disappointed by a flavorless, utterly forgettable take on the material. Again, Trank placed culpability squarely on studio meddlers, making obscure reference to disputes with the suits on set and in the post-production suite. He’d later purport to have cooked up something he could truly be proud of with the original edit, though whether he’s just blowing smoke will remain a question mark until a director’s cut make it to home video.

Money Quote: “A year ago I had a fantastic version of this. And it would’ve received great reviews. You’ll probably never see it. That’s reality though.” [sic]

3. The Day the Clown Cried

It takes a lot of time, money and effort for one of the most famous comedians on the face of the Earth to erase all traces of a much-sought-after feature film. But darn it all, Jerry Lewis made it work when he realized he wasn’t ready for the world to see his major-league debut as a dramatic actor. He had poured a lot of soul into the tale of a comedian doing his best to keep spirits high during the Holocaust, so much that he couldn’t bear to open himself up to the criticism that such a sentimental picture would invite. Lewis had already submitted the picture to the selection committee at Cannes by the point that he panicked and yanked all copies before they could go into release. Over the years, those celebrities and members of Lewis’ inner circle who’ve gotten an eyeful of the lost treasure have alternately described it as a disaster and a wrongfully maligned masterpiece. When the negative that Lewis donated to the Library of Congress is made available to the public in 2024, as stipulated in Lewis’ last will and testament, we’ll be able to reach our own conclusions.

Money Quote: “Seeing this film was really awe-inspiring, in that you are rarely in the presence of a perfect object. This was a perfect object. This movie is so drastically wrong, its pathos and its comedy are so wildly misplaced, that you could not, in your fantasy of what it might be like, improve on what it really is. ‘Oh, my God!’ That’s all you can say.”

4. Batman and Robin

Contrary to popular consensus, Joel Schumacher’s 1997 vehicle for the Caped Crusader rules. Mr. Freeze speaks in puns, Uma Thurman does Poison Ivy as Marlene Dietrich as a pink gorilla, there’s a roiling undercurrent of homoeroticism, and somehow, the general public decided these are bad things. The philistines even managed to convince Schumacher himself, who’s been on an informal apology tour ever since the initial theatrical run. His campy approach to the Dark Knight rubbed plenty of fans the wrong way, and while he hasn’t sworn off his association with the film in question, he has stated that he feels bad for letting the audience down. The read on his film has begun to shift towards justice in recent years; hopefully he’ll soon cut it out with the self-flagellation.

Money Quote: “If there’s anybody watching this that loved Batman Forever and went into Batman and Robin with great anticipation, if I disappointed in any way, then I really want to apologize. Because it wasn’t my intention. My intention was just to entertain them.”

5. Avengers: Age of Ultron

You don’t make a billion dollars without making a few enemies along the way. Joss Whedon has demonstrated an adeptness at bending the blockbuster-industrial complex to his will, but the sequel to his money-printing superhero crossover wasn’t so readily flexible. He locked horns with the bigwigs at Marvel on multiple occasions during the production, most notably over the scenes sending Jeremy Renner’s Hawkeye home for some family time to shade his character profile. Following further squabbles over the edit, Whedon started issuing strange, contradictory soundbites alternately suggesting that he’s both pleased with the movie, and mortified over how badly it got messed up. At the 2016 Tribeca Film Festival, Whedon stated that he was “proud” of the film twice, directly before adding, “The things about it that are wrong frustrate me enormously.”

Money Quote: “The fact that Marvel gave me that opportunity twice is so bonkers and beautiful and the fact that I come off as a miserable failure is also bonkers, but not in a cute way.”

6. The Snowman

Not unlike the Michael Fassbender-played detective Harry Hole, I have taken it upon myself to get to the bottom of a puzzling mystery. Whenever an interview subject happens to have been in the cast of this Scandinavian noir, I’ll inquire just what the hell happened to make it into one of the century’s most stunningly incoherent, mis-edited films. The case pursued by the hilariously-named gumshoe seems to be made up entirely of red herrings, with nothing really leading anywhere in particular. Alfredson’s official position is that he wasn’t allowed the time he needed while shooting in Norway, and that he only managed to get 85 to 90 percent of the script in the can before calling a wrap. Personally, I suspect there’s more to it than that. There’s just no way that this film is only eight new pages of script away from making sense.

Money Quote: “It’s like when you’re making a big jigsaw puzzle and a few pieces are missing, so you don’t see the whole picture.”

7. Babylon A.D.

It’s a common Tinseltown sob story, the unstoppable force of a willful auteur meeting the immovable object of an uncooperative studio. One-time Cannes favorite Mathieu Kassovitz had successfully made the jump to U.S. genre pieces, and his 2008 adaptation of French sci-fi novel Babylon Babies was to be a triumph on the order of Blade Runner. Inclement weather mucked up the shooting schedule, and once deadlines started passing and budgets started ballooning, everyone had a finger to point. Kassovitz accused the studio of stamping all over his vision; 20th Century Fox accused him of failing to fulfill his professional obligations due to sheer incompetence and disorganization. Throw in a battalion of lawyers and a rumored on-set mental breakdown, and a full-blown fiasco comes into focus. Kassovitz would never make another movie in America.

Money Quote: “The movie is supposed to teach us that the education of our children will mean the future of our planet. All the action scenes had a goal: they were supposed to be driven by either a metaphysical point of view or experience for the characters … instead, parts of the movie are like a bad episode of 24.”

8. Highball

It was to be a simple plan: using the leftover money from his budget for Mr. Jealousy, Noah Baumbach wanted to shoot a script he had written about a pair of newlyweds attempting to social-climb by throwing three different soirées at their Brooklyn apartment. Even though he had envisioned a bare-bones production over six days, Baumbach was unhappy (moreso than usual, that is) with the finished product, from the look of not-quite-intentional cheapness to the weird under-lighting to the falling-out he had with producer Joel Castleberg. Baumbach had his name removed from the film, crediting the direction to one “Ernie Fusco” and the script to “Jesse Carter,” but his best efforts couldn’t halt the home-video release now coveted among fans of the hard-to-find.

Money Quote: “It was made with all the best intentions, which was to try and make a movie in six days, and use all the same people from Mr. Jealousy, with all their goodwill, and bring in some more people. And it was a funny script. But it was just too ambitious. We didn’t have enough time, we didn’t finish it, it didn’t look good, it was just a whole… mess.”

9. Alien 3

A novice director pushed into the helm of a gargantuan franchise. A star he drove to the brink of madness by demanding hundreds of takes at a time. Rewrites upon rewrites upon rewrites, arcanely-styled special effects, edits coming from on high. Frankly, it would’ve been a minor miracle if David Fincher’s time with the sci-fi/horror hybrid series wasn’t a complete catastrophe. 20th Century Fox ended up in a bitter duel with the hotshot young perfectionist for the final word on the film, ultimately winning out, while Fincher settled for the little-circulated “Assembly Cut” as the truer representation of his artistic intention. Even though Fincher may have had to acquiesce, he got the last laugh. The documentary made about the chaos behind the scenes paints him as a rebellious visionary, boldly standing up to the flattening influence of the stuffed shirts — and it’s not like it stalled his career, either.

Money Quote: “A lot of people hated Alien 3, but no one hated it more than I did.”

10. Dune

Give David Lynch $40 million dollars, turn him loose on one of the wildest space epics ever committed to paper, and yeah, you’re gonna get something weird. Universal thought they were buying another Star Wars when they hired the art-film oddball to whip up an adaptation of Frank Herbert’s doorstopper novel; Lynch had, uh, other ideas. (Behold, Speedo Sting!) Things ended acrimoniously, and the inscrutable director has been reluctant to discuss this period of his career in the rare interviews he agrees to sit for. Now under new management, Universal has approached Lynch to piece together a director’s cut from the raw footage currently gathering dust. He gave them what we showbiz types have taken to calling “the hard pass.”

Money Quote: [pointed silence]