Ezra Miller is an interesting character — and I use that ch-word deliberately. His life seems a studied piece of improvisation, a staged and predictable performance in conventional, perpetual non-conformity. His sexual polyamorism and adventurism, his strident identification with and defense of anyone and everyone oppressed (except Christians, of course; “Christians are the most persecuted religious group in the world and it’s accelerating,” USCIRF Report, 2019), and his attention-demanding choice of clothing make him something of a historical glyph or cartoon capturing the Zeitgeist. I rather like watching the ‘Ezra Miller Show’ as it plays out, even if the series currently seems caught in a loop of re-run spontaneity; I enjoy his having been cast as the loner Credence Barebone, lost and confused about who he is and the meaning of his life as much as anyone. He plays the part really well.
Lately, though, I have been worried about Boy Wonder Ezra. He may have over-played the ‘bad boy’ hand, the guy who knows-better than the experts, with Warner Brothers, the movie studio responsible for the DC super-hero movies (as well as, y’know, the Wizarding World).
On 17 March, it was reported that Miller was disappointed with the script for The Flash film in which he plays the lead role. DC wanted a relatively light and engaging film like its recent successes with Wonder Woman and Aquaman; Miller thought they needed a more profound and challenging story — and said he would be writing the script? [Read more…]
I know you do not particularly care for the HP movies and frankly I don’t like most of them as adaptations myself. Just a thought, maybe fans have been going about this all wrong when placing blame at the feet of Yates. I was guilty of this also in the past. I now believe the fault lies with Heyman and WB. They are the true “bosses” of the entire film production. They are the “money men” as it were. 
As soft spoken, thoughtful and humble as Heyman seems when interviewed, he is ultimately who approves of the dailies. As much as he professes to adore Rowling’s stories, it is he who allows Yates the freedom to audible out of canon and change the plot (dumb it down) such as he did in HBP with the “setting the burrow on fire” scene. 
It is such a shame, as someone whose company specializes in adapting books to film, that Heyman doesn’t have the guts to let the canon stand on its own. It is such a shame he doesn’t feel audiences are intelligent enough to follow the canon in a film version. Maybe he should finally have the wherewithall to follow Rowling’s FB scripts instead of fiddling with them. 
(1) You’re right that, of the two Davids, director David Yates and producer David Heyman, I tend to focus on the director as the bad guy who films the agreed on ‘shooting script’ and then cuts it into the prescribed formula of the studio. This is a mistaken application of 
(2) It’s probably best to think of the two Davids as the right and left hands of Warner Brothers, though, rather than assigning more responsibility to Heyman than to Yates. Each of them is a studio mechanic rather than free-wheeling artist; both answer to the studio chiefs who answer to stock holders looking for the greatest possible return on investment. The money required to put together and to market these extravaganzas means the age of auteur directors who create films largely unsupervised is long gone.
(3) My biggest mistake is not the proportion of blame that I routinely assign here for the train wreck of the Fantastic Beasts films. [Warner Brothers took what Rowling offered when she said she would write the screenplays and that hasn’t worked out as hoped; I doubt she is interested in returning to the franchise winning formula of novel-first-then-film-adaptation but that is the go-with-your-strengths and division-of-labor solution to the problem.] Where I go way wrong here is the absence of charity I exercise in criticizing Yates and Heyman for something over which they really have no control, i.e., studio film length requirements that allow so many screenings per day at the cine-plex, without mentioning all they do very well. Each of their remarkable skills and their team work as a pair with respect to team building, shot selection, budgeting, lighting, actor coaching, musical score inlay, as well as scene and film editing contribute to the final product and magical experience in the theaters. 
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