Snyder does an admirable job filling the time here, and speaks until the 3:33:33 mark. He rarely goes silent. If it does happen, it usually coincides with the Black Freighter sections. Given that the animation was not directed by him it is only natural that he has less to say but his thoughts about its integration did make me appreciate it more and find the cutaways less jarring than I did upon my first viewing.

He points out the additional beats that exist in the director cut or this ultimate cut. He offers some thoughts on the themes of superheroes, the intent of the Black Freighter sequence. In referencing the graphic novel, he notes the advantages of presenting images on page vs on screen cinematically. Because images on screen are more fleeting, the filmmaker must guide the eyes of the viewers to where they should look.

Many of the shots in the film were intended to exactly replicate iconic images from the graphic novel.

Snyder surgically deconstructs how shots were constructed, an often impressive combination of practical and visual effects. He calls attention to various easter eggs and background details that were incorporated into the CGI or production design

He provides a wealth of information about the economy of sets, and the geography of the backlot they built. They filmed in Vancouver, but in a surprisingly confined area for a film that feels so huge, with a vast scale and expansive feel.

The Maximum Movie Mode on the Director Cut is more impressive than this track, but as a traditional commentary, this one is highly enlightening.