declined, so the studio enlisted screenwriter Sam Hamm. Hamm took the liberty of re-writing Watchmens complicated ending into a "more manageable" conclusion involving an assassination and a time paradox. Fox put the project into turnaround in 1991, and the project was moved to Warner Bros. Pictures, where Terry Gilliam was attached to direct and Charles McKeown to rewrite it. They used the character Rorschach's diary as a voice-over and restored scenes from the comic book that Hamm had removed. Gilliam and Silver were only able to raise $25 million for the film (a quarter of the necessary budget) because their previous films had gone over budget. Gilliam abandoned the project because he decided that Watchmen would have been unfilmable. "Reducing [the story] to a two or two-and-a-half hour film [...] seemed to me to take away the essence of what Watchmen is about," he said. After Warner Bros. dropped the project, Gordon invited Gilliam back to helm the film independently. The director again declined, believing that the comic book would be better directed as a five-hour miniseries. In October 2001, Gordon partnered with Lloyd Levin and Universal Studios, hiring David Hayter to write and direct. Hayter and the producers left Universal due to creative differences, and Gordon and Levin expressed interest in setting up Watchmen at Revolution Studios. The project did not hold together at Revolution Studios and subsequently fell apart. In July 2004, it was announced Paramount Pictures would produce Watchmen, and they attached Darren Aronofsky to direct Hayter's script. Producers Gordon and Levin remained attached, collaborating with Aronofsky's producing partner, Eric Watson. Aronofsky left to focus on The Fountain and was replaced by Paul Greengrass. Ultimately, Paramount placed Watchmen in turnaround. In October 2005, Gordon and Levin met with Warner Bros. to develop the film there again. Impressed with Zack Snyder's work on 300, Warner Bros. approached him to direct an adaptation of Watchmen. Screenwriter Alex Tse drew from his favorite elements of Hayter's script, but also returned it to the original Cold War setting of the Watchmen comic. Similar to his approach to 300, Snyder used the comic book panel-grid as a storyboard and opted to shoot the entire film using live-action sets instead of green screens. He extended the fight scenes, and added a subplot about energy resources to make the film more topical. Although he intended to stay faithful to the look of the characters