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The Dark Knight Rises |OT2| The Legend... Continues

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SunhiLegend said:
batendpoetryc4jyn.gif
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I don't know man, its really beautiful to me.
Its like the circle of life. Its a culmination of love, life, the ever changing world yet nothing changes. Its just beautiful.

A tear in my eye.
 
Strafer said:
I just watched Premium Rush.

Robin was great.
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I propose every Joseph Gordon Levitt film by woven together to form some sort of backstory for Robin John Blake so that by the Justice League film he'll be able to play Batman without any confusion as to who he is.
 
Damnit, I thought I could fool you into putting Amber over ScarJo. You sly devil. I'll have to come up with a sneakier method next time. Foiled again!
 
Fuck the haters, the last hour of The Dark Knight Rises was the best hour of any movie I've seen in theaters this year. Even seeing it the second time in theaters was tense as shit.
 
The Mana Legend said:
Fuck the haters, the last hour of The Dark Knight Rises was the best hour of any movie I've seen in theaters this year. Even seeing it the second time in theaters was tense as shit.
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I think I was only more tense the first time because my bladder was full and I had to go bad.
 
Anne definitely gained some points. Even though I still think she's got kind of a weird mouth, she was a good surprise. Not only in the look department.

The Mana Legend said:
Fuck the haters, the last hour of The Dark Knight Rises was the best hour of any movie I've seen in theaters this year. Even seeing it the second time in theaters was tense as shit.
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First half was so much better.
 
The Anti-Monitor said:
Anne definitely gained some points. Even though I still think she's got kind of a weird mouth, she was a good surprise. Not only in the look department.


First half was so much better.
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First time I saw it, the first half was beyond boring. I almost fell asleep. But once I saw it the second time, I appreciated how the first half actually built up to something, unlike another certain movie with a boring first half COUGH SKYFALL COUGH.
 
First half of BB > first half of TDKR > second half of TDK > first half of TDK > second half of TDKR > second half of BB
 
I think Nolan chose to go with the nuke just to somehow reflect on that Adam West scene. You know how he is with call backs.

Nolan: Yee let's take that goofy concept and make it propa gritty.. daak
 
Christopher Nolan interview by Scott Foundas:



The overall tone of the film is realistic compared to most comic-book-derived movies. The world around Batman is plausible and not particularly stylized or exaggerated.

The term “realism” is often confusing and used sort of arbitrarily. I suppose “relatable” is the word I would use. I wanted a world that was realistically portrayed, in that even though outlandish events may be taking place, and this extraordinary figure may be walking around these streets, the streets would have the same weight and validity of the streets in any other action movie. So they’d be relatable in that way. And so the more texturing and layering that we could get into this film, the more tactile it was, the more you would feel and be excited by the action. So just on a technical level, I really wanted to take on this idea of what I call the tactile quality. You want to really understand what things would smell like in this world, what things would taste like, when bones start being crunched or cars start pancaking. You feel these things in a way because the world isn’t intensely artificial and created by computer graphics, which result in an anodyne, sterile quality that’s not as exciting. For me that was about making the character more special. If I can believe in that world because I recognize it and can imagine myself walking down that street, then when this extraordinary figure of Batman comes swooping down in this theatrical costume and presenting this very theatrical aspect, that’s going to be more exciting to me.
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Ra’s Al Ghul is a fascinating character, because he’s not a boilerplate nefarious villain who wants to dominate the world, he’s an ideological villain. He seems to have been ripped from today’s headlines, especially with his rhetoric about the decadence of the capitalist West.

With my co-writers David Goyer and my brother [Jonathan Nolan], we decided early on that the greatest villains in movies, the people who most get under our skin, are the people who speak the truth. So with Ra’s Al Ghul, we wanted everything he said to be true in some way. So, he’s looking at the world from a very honest perspective that he truly believes. And we applied the same thing to The Joker and Bane in the third one. Everything they say is sincere. And in terms of their ideology, it’s really about ends justifying means. It was important in Batman Begins to have Bruce go very far down this road with Ducard, to the point where they want him to chop somebody’s head off because he has stolen something. And at that point there’s this almost comic moment where Bruce turns to Ducard and says, “You can’t be serious.” At that point, you’re surprised by how seductive the training and indoctrination can be. And the scales fall from his eyes. But even later when Ra’s Al Ghul returns and is about to destroy all of Gotham, there is a logic to everything he says. I think truly threatening villains are the ones who have a coherent ideology behind what they’re saying. The challenge in applying that to The Joker was to have part of the ideology be anarchic and a lack of ideology in a sense. But it’s a very specific, laid-out lack of ideology, so it becomes, paradoxically, an ideology in itself.

In a way, the films feel like a tour of different schools of creating social revolution. You have Ra’s Al Ghul with his very clear-cut extremist ideology—

Almost religious, I would say.

And then you have the anarchy of The Joker, and in The Dark Knight Rises you come back with the followers of Ra’s Al Ghul who are trying to enact his plans by masking it as class warfare.

Class warfare but also in a militaristic, dictatorial approach. If you look at the three of them, Ra’s Al Ghul is almost a religious figure, The Joker is the anti-religious figure, the anti-structure anarchist. And then Bane comes in as a military dictator. And military dictators can be ideologically based, they can be religiously based, or a combination thereof.
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It’s fitting because in Batman Begins it’s after a visit to the opera that the young Bruce Wayne witnesses the death of his parents.

Yeah, absolutely. And the theatricality of opera and the larger-than-life quality of the presentation of it, but also the emotions it generates, has always sat underneath my understanding of how to make these heightened realities work. Why am I working in this genre for the audience? What does it allow me to do as a filmmaker that I couldn’t do in a more everyday universe? The answer is this operatic quality. It’s this ability to blow things up into very large emotions that are accessible to a universal audience. And it’s a very privileged position that you’re in as a filmmaker with your audience. I felt that I wasn’t getting to experience that in mainstream commercial movies at the time, so I really wanted to enjoy that as a filmmaker. I’ve had a great time with these three films, really enjoying that relationship with the audience.
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And the thing I learned is that no matter how big the film became, people would always complain it was too small. For the studio, it was never enough. So you learn to relax with it a little bit, and trust your instincts about scale, how this is going to feel big enough when it’s in the can. So when we came to do The Dark Knight, we were comfortable setting much more of the film just in Gotham, in more claustrophobic situations, because having been all over the world for Batman Begins and having a very big scale, with an exploding monastery and sliding down the cliff and all that, by the time we get to The Dark Knight we had the confidence to say, “If we’re putting huge characters and huge conflict on screen, and making this kind of urban crime drama, the scale will naturally be there, in just the way we shoot The Joker walking down the street with a machine gun. That will be a huge image.” That was a big part of investing in that sort of tableau style of photography which I hadn’t really done before.
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In The Dark Knight Rises, we have about 430 effects shots out of 3,000, so the idea that the tail wags the dog and then you finish the film in the digital realm is illogical. We make the 430 shots fit in with the remaining 2,500 that we timed photochemically. For that reason, I’ve never done a film with more than 500 effects shots. These films have about a third or a quarter the number of CG shots of any other film on that scale. That allows me to keep working photochemically and to make the digital effects guys print out their negatives so we actually cut the effect with its background plate on film, and we can see whether it matches.
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