The last time Smith took to behind the camera with someone else's work it did not end well. That was Cop Out, and not his fault. Smith's been extremely candid about his experience working with Bruce Willis. A man of such immense ego that the press tour for A Good Day to Die Hard guaranteed a weak opening as the bald grump came across as thoroughly unlikable.
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For most people this experience and all the critical bashing that came from it would have led to a Batman-like vow to never let this happen again. Rather than swear off working on other people's projects, the eternal optimist that is Smith simply waited for the right project to come along. It did in the form of The Flash. Stepping up to direct episode 21 of Season 2, titled The Runaway Dinosaur, Smith took the skills and sensibilities refined by working in the comic book medium since 1998 and applied it to TV. In this episode, the Clerks director demonstrated the greatest level of skill, restraint and vision of his career. Typical of the man who loves to talk and tell stories, The Runaway Dinosaur has a story within the story while Barry is inside the speed force learning a lesson about himself from a set of trials. Like Mallrats, Chasing Amy and even Zack and Miri before it, his episode is about a man (The Flash) working through his emotions to realise the kind of man he wants to be. It's not just perfect story-telling but it is an example of the level of talent Smith poses. Had Cop Out been a better script and he was given a better star it would have been a better movie. There's even evolution in his cinematography on display. Smith will be the first one to point out how static his shots are, but The Runaway Dinosaur has some beautiful movement that really adds to the story.