the tourist
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Well he's got a ton of the comics and all the original movies. 
The Joker
- Thread starter Slapnutz
- Start date
The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
If you have answers, please help by responding to the unanswered posts.
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lazarus
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I think you need new friends.
the tourist
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pepokiss
Rock n' Roll Doggie ALL ACCESS
this sucks now...
LemonMelon
More 5G Than Man
pepokiss said:this sucks now...
It's going to be REALLY creepy seeing Ledger play an insane clown guy posthumously.
U2MaNaIcWeIdO
Blue Crack Addict
But what I've seen....it seems like he did a good job.
MrPryck2U
ONE love, blood, life
LemonMelon said:
It's going to be REALLY creepy seeing Ledger play an insane clown guy posthumously.
Indeed. I was thinking the same thing. I love Batman and I had seen the Dark Knight trailer, so I was pumped to see the movie.
LemonMelon
More 5G Than Man
In his honor, I'm not just going to download the film, or rent it, I'm going to the theater for this one. Maybe twice. Ledger was the man, and I want to help make his final huge role a smashing success, even if he's not there to appreciate it.
UnforgettableLemon
Rock n' Roll Doggie ALL ACCESS
This really sucks, because I think this was probably the role that would let him reach a mainstream audience without comprimising his art.
the tourist
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Poor Heath. I'm excited to see him play The Joker, but I'll probably almost root for The Joker to win now.
LarryMullen's POPAngel
Blue Crack Distributor
LemonMelon said:
I still can't believe it.
skjuls
Refugee
I was really looking forward to seeing his performance as the joker.
I remember seeing The Crow after Brandon Lee died, so it'll be the same with Joker and Heath.
It'll be bizarre but we'll get to see his interpretation and his brillance.
He was such a talented actor!
I remember seeing The Crow after Brandon Lee died, so it'll be the same with Joker and Heath.
It'll be bizarre but we'll get to see his interpretation and his brillance.
He was such a talented actor!
MrsSpringsteen
Blue Crack Addict
variety.com
Fate of Ledger's last films uncertain
Gilliam, WB mull fate of 'Knight,' 'Parnassus'
By DIANE GARRETT
One day after Heath Ledger's death, Hollywood was still figuring out how to proceed on the two projects most immediately affected.
Production on Terry Gilliam's indie "The Imaginarium of Doctor Parnassus" has temporarily shut down, while Warner execs are still determining how to adjust their marketing campaign on "The Dark Knight," which is keyed to Ledger's Joker character in its early stages.
"Parnassus" has three options: Replace Ledger in the role, shoot around him or shut down the production entirely. The insurance company will likely determine which option the producers take.
Samuel Hadida, Bill Vince and Amy Gilliam are producing the $30 million indie, which is largely financed through Hadida's Paris-based Davis Film. Ledger's involvement was a key factor in raising the coin.
Over the years other productions have employed a variety of techniques to work around the death of the actors portraying major characters. For better or worse, advancements in CGI and digital effects made it easier for producers to finish "Gladiator" and an episode of "The Sopranos" after the deaths of Oliver Reed and Nancy Marchand, respectively.
In other instances they have used stunt doubles to finish projects or reworked scenes after the star's death. James Dean's final scene in "Giant," for example, had to be looped after his death in a car crash because he mumbled so much in the shot. When Brandon Lee died during an accident on set during production of "The Crow," director Alex Proyas used a stunt double to complete scenes; Lee's face was added using special effects. That film was days away from completion, however. Similarly, a look-alike for Natalie Wood was used after her drowning death during production of "Brainstorm."
The producers used several techniques to finish "Wagons East" after John Candy died of heart failure, rewriting scenes or using a body double.
Further back, Louis B. Mayer threatened to scrap "Saratoga," when Jean Harlow died suddenly, but relented after fans demanded he release it; a body double finished the remaining scenes with her back to the camera.
River Phoenix was supposed to co-star in "Interview With the Vampire," but when he died, they recast Christian Slater in the role. He was working on another film called "Dark Blood" which was scuttled entirely.
And Chris Farley was working on "Shrek" for DreamWorks when he died; Mike Myers took over the lead voice role after his "Saturday Night Live" cohort overdosed in 1997.
Warners has a different predicament with "The Dark Knight." Production on Christopher Nolan's "Batman Begins" sequel is believed to largely completed -- principal photography concluded in the fall -- but the initial marketing campaign focuses on the ghoulish Joker character.
To complicate matters further, the studio has just restructured its marketing operation. International marketing topper Sue Kroll now oversees all marketing for the studio in the wake of the exit of former domestic marketing president Dawn Taubin, who developed the "Dark Knight" campaign.
Kroll will likely have to move quickly to rejigger the studio's current phase of the marketing campaign for "Dark Knight," focusing on Ledger's Joker character. This phase of the campaign had been set to run until March.
Ledger's death is just the latest production snafu to afflict Gilliam. He started shooting "Parnassus" in early December and was due to wrap in March. Production segued from London to Vancouver this week.
Ledger was the biggest name in an ensemble cast including Christopher Plummer, Lily Cole and Tom Waits. Story concerns an ancient traveling show that arrives in modern London with a magic mirror that can transport its audience into fantastical realms of the imagination. Plummer plays the impresario Dr. Parnassus, and Ledger took the role of a mysterious outsider who joins the troupe on a quest through parallel worlds to save the doctor's daughter (Cole) from the clutches of the devil (Waits).
Gilliam previously weathered a problem that plagued shoot of "The Man Who Killed Don Quixote," dealing with flash floods and the injury of star Jean Rochefort before ultimately scrapping the production.
Ledger's death also came as he was working on what would have been his feature directing debut, an adaptation of the Walter Tevis novel "The Queen's Gambit," with British writer-producer Allan Scott.
The leading role of a young female chess prodigy had been offered to Oscar nominee Ellen Page. Ledger, a skilled chess player, was due to play a supporting role.
In an interview last month, a few days after shooting started on "Parnassus," Gilliam said, "Heath is extraordinary. He's just so good, and he's going to be a film director. He's watching everything, and he's going to be a much better director than I will ever be."
Fate of Ledger's last films uncertain
Gilliam, WB mull fate of 'Knight,' 'Parnassus'
By DIANE GARRETT
One day after Heath Ledger's death, Hollywood was still figuring out how to proceed on the two projects most immediately affected.
Production on Terry Gilliam's indie "The Imaginarium of Doctor Parnassus" has temporarily shut down, while Warner execs are still determining how to adjust their marketing campaign on "The Dark Knight," which is keyed to Ledger's Joker character in its early stages.
"Parnassus" has three options: Replace Ledger in the role, shoot around him or shut down the production entirely. The insurance company will likely determine which option the producers take.
Samuel Hadida, Bill Vince and Amy Gilliam are producing the $30 million indie, which is largely financed through Hadida's Paris-based Davis Film. Ledger's involvement was a key factor in raising the coin.
Over the years other productions have employed a variety of techniques to work around the death of the actors portraying major characters. For better or worse, advancements in CGI and digital effects made it easier for producers to finish "Gladiator" and an episode of "The Sopranos" after the deaths of Oliver Reed and Nancy Marchand, respectively.
In other instances they have used stunt doubles to finish projects or reworked scenes after the star's death. James Dean's final scene in "Giant," for example, had to be looped after his death in a car crash because he mumbled so much in the shot. When Brandon Lee died during an accident on set during production of "The Crow," director Alex Proyas used a stunt double to complete scenes; Lee's face was added using special effects. That film was days away from completion, however. Similarly, a look-alike for Natalie Wood was used after her drowning death during production of "Brainstorm."
The producers used several techniques to finish "Wagons East" after John Candy died of heart failure, rewriting scenes or using a body double.
Further back, Louis B. Mayer threatened to scrap "Saratoga," when Jean Harlow died suddenly, but relented after fans demanded he release it; a body double finished the remaining scenes with her back to the camera.
River Phoenix was supposed to co-star in "Interview With the Vampire," but when he died, they recast Christian Slater in the role. He was working on another film called "Dark Blood" which was scuttled entirely.
And Chris Farley was working on "Shrek" for DreamWorks when he died; Mike Myers took over the lead voice role after his "Saturday Night Live" cohort overdosed in 1997.
Warners has a different predicament with "The Dark Knight." Production on Christopher Nolan's "Batman Begins" sequel is believed to largely completed -- principal photography concluded in the fall -- but the initial marketing campaign focuses on the ghoulish Joker character.
To complicate matters further, the studio has just restructured its marketing operation. International marketing topper Sue Kroll now oversees all marketing for the studio in the wake of the exit of former domestic marketing president Dawn Taubin, who developed the "Dark Knight" campaign.
Kroll will likely have to move quickly to rejigger the studio's current phase of the marketing campaign for "Dark Knight," focusing on Ledger's Joker character. This phase of the campaign had been set to run until March.
Ledger's death is just the latest production snafu to afflict Gilliam. He started shooting "Parnassus" in early December and was due to wrap in March. Production segued from London to Vancouver this week.
Ledger was the biggest name in an ensemble cast including Christopher Plummer, Lily Cole and Tom Waits. Story concerns an ancient traveling show that arrives in modern London with a magic mirror that can transport its audience into fantastical realms of the imagination. Plummer plays the impresario Dr. Parnassus, and Ledger took the role of a mysterious outsider who joins the troupe on a quest through parallel worlds to save the doctor's daughter (Cole) from the clutches of the devil (Waits).
Gilliam previously weathered a problem that plagued shoot of "The Man Who Killed Don Quixote," dealing with flash floods and the injury of star Jean Rochefort before ultimately scrapping the production.
Ledger's death also came as he was working on what would have been his feature directing debut, an adaptation of the Walter Tevis novel "The Queen's Gambit," with British writer-producer Allan Scott.
The leading role of a young female chess prodigy had been offered to Oscar nominee Ellen Page. Ledger, a skilled chess player, was due to play a supporting role.
In an interview last month, a few days after shooting started on "Parnassus," Gilliam said, "Heath is extraordinary. He's just so good, and he's going to be a film director. He's watching everything, and he's going to be a much better director than I will ever be."
elevation2u
Rock n' Roll Doggie VIP PASS
heath ledger and tom waits in a movie together
would have been so sweeet
would have been so sweeet
pepokiss
Rock n' Roll Doggie ALL ACCESS
********************
Dark Knight Director On Ledger's Death
Posted by Ashish on 01.28.2008
Christopher Nolan article on Ledger's death...
*
The Dark Knight director Christopher Nolan posted the following article about the death of Heath Ledger on darkknightblog.com.
*
One night, as I'm standing on LaSalle Street in Chicago, trying to line up a shot for "The Dark Knight," a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I'd fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you'd asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn't know. That's real charisma—as invisible and natural as gravity. That's what Heath had.
Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.
One time he and another actor were shooting a complex scene. We had two days to shoot it, and at the end of the first day, they'd really found something and Heath was worried that he might not have it if we stopped. He wanted to carry on and finish. It's tough to ask the crew to work late when we all know there's plenty of time to finish the next day. But everyone seemed to understand that Heath had something special and that we had to capture it before it disappeared. Months later, I learned that as Heath left the set that night, he quietly thanked each crew member for working late. Quietly. Not trying to make a point, just grateful for the chance to create that they'd given him.
Those nights on the streets of Chicago were filled with stunts. These can be boring times for an actor, but Heath was fascinated, eagerly accepting our invitation to ride in the camera car as we chased vehicles through movie traffic—not just for the thrill ride, but to be a part of it. Of everything. He'd brought his laptop along in the car, and we had a high-speed screening of two of his works-in-progress: short films he'd made that were exciting and haunting. Their exuberance made me feel jaded and leaden. I've never felt as old as I did watching Heath explore his talents. That night I made him an offer—knowing he wouldn't take me up on it—that he should feel free to come by the set when he had a night off so he could see what we were up to.
When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.
Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it's Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can't help but smile.
********************
the bold is the part I found best... great article of Chris Nolan...
damn, Heath...
Dark Knight Director On Ledger's Death
Posted by Ashish on 01.28.2008
Christopher Nolan article on Ledger's death...
*
The Dark Knight director Christopher Nolan posted the following article about the death of Heath Ledger on darkknightblog.com.
*
One night, as I'm standing on LaSalle Street in Chicago, trying to line up a shot for "The Dark Knight," a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I'd fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you'd asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn't know. That's real charisma—as invisible and natural as gravity. That's what Heath had.
Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.
One time he and another actor were shooting a complex scene. We had two days to shoot it, and at the end of the first day, they'd really found something and Heath was worried that he might not have it if we stopped. He wanted to carry on and finish. It's tough to ask the crew to work late when we all know there's plenty of time to finish the next day. But everyone seemed to understand that Heath had something special and that we had to capture it before it disappeared. Months later, I learned that as Heath left the set that night, he quietly thanked each crew member for working late. Quietly. Not trying to make a point, just grateful for the chance to create that they'd given him.
Those nights on the streets of Chicago were filled with stunts. These can be boring times for an actor, but Heath was fascinated, eagerly accepting our invitation to ride in the camera car as we chased vehicles through movie traffic—not just for the thrill ride, but to be a part of it. Of everything. He'd brought his laptop along in the car, and we had a high-speed screening of two of his works-in-progress: short films he'd made that were exciting and haunting. Their exuberance made me feel jaded and leaden. I've never felt as old as I did watching Heath explore his talents. That night I made him an offer—knowing he wouldn't take me up on it—that he should feel free to come by the set when he had a night off so he could see what we were up to.
When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.
Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it's Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can't help but smile.
********************
the bold is the part I found best... great article of Chris Nolan...
damn, Heath...
MrsSpringsteen
Blue Crack Addict
BrownEyedBoy
Rock n' Roll Doggie
Great post by Nolan. 
MrsSpringsteen
Blue Crack Addict
EW.com
Did Heath Ledger finish vocals on 'Dark Knight'?
Jan 26, 2008, 10:01 PM | by Kristen Baldwin
Categories: Movie Biz
While the late Heath Ledger's family and friends tend to the sad details of his burial this weekend, a debate is ripping through Internet fan sites about what will stand as Ledger's last completed film, the Batman Begins sequel The Dark Knight (due to open on July 17th). The burning question is, how complete was Ledger's post-production work on the maniacal character of the Joker?
On Jan. 25th, E! Online gossip columnist Ted Casablanca posted an item quoting a "studio insider" saying that Ledger had done "zero" post-production looping on the movie. (Typically, an actor re-records many lines for a film long after principal photography wraps, in a process called "automated dialogue replacement," or ADR. It's an especially extensive process when many shots have been filmed on location, since all kinds of incidental noise can interfere with the dialogue's clarity and can require up to three-quarters of the lines to be re-performed on a dubbing stage, with the actor looking up at the film images and matching his or her own mouth movements.) But Ledger's vocals are perfectly clear in the bits of footage so far released—trailers and a prologue bank-robbery sequence shown with IMAX prints of I Am Legend. Fan websites like Ain't-It-Cool-News, Superherohype.com and Batman-on-Film.com are full of assertions contrary to the Casablanca report, saying that in fact Ledger was done with all significant looping. Ledger himself, while promoting the Todd Haynes film I'm Not There last fall, had said he was finished with his work on Dark Knight.
Still, given the way post-production schedules usually run on mega-budget superhero films, it's not out of the realm of possibility that director Chris Nolan might have wanted to call on Ledger for limited additional sessions with more than six months to go before opening weekend. Directors often decide to insert new bits of dialogue in post-production for the sake of clarity and economy. Doing anything like that now with Ledger's Dark Knight role would require hiring another voice actor to emulate his speaking voice, or creating a complicated mash-up from Ledger's existing dialogue tracks. (Both of these alternate approaches have been taken in similar past situations, as when Oliver Reed passed away before the completion of Gladiator and James Dean died before the release of Giant.)
Dark Knight director Chris Nolan and execs at Warner Bros., the studio releasing the film, were not available for comment, and have not issued any public statements about the status of the movie. EW placed a call to Oscar-winning sound designer and sound editor Richard King, who's handling the Dark Knight audio work, but he declined to comment. According to several other sound-mixing experts who also declined to speak on the record, there's no way to tell what the situation is with Dark Knight from the outside, since the amount of ADR required, and the timetable for doing it, varies wildly between films. (In plenty of instances, looping is not completed until very close to the final release date, perhaps as little as a month or two out.) Ledger had been working in London on Terry Gilliam's film The Imaginarium of Doctor Parnassus, which meant he was close to Dark Knight director Chris Nolan's home turf and might well have been available if needed.
Warner Bros. has temporarily pulled back on some of the promotional material centered on Ledger's creepy whiteface makup as the Joker, keyed to the tagline "Why So Serious"? It remains to be confirmed whether the film's technical wrapup will require a new game plan as well. —Steve Daly
Did Heath Ledger finish vocals on 'Dark Knight'?
Jan 26, 2008, 10:01 PM | by Kristen Baldwin
Categories: Movie Biz
While the late Heath Ledger's family and friends tend to the sad details of his burial this weekend, a debate is ripping through Internet fan sites about what will stand as Ledger's last completed film, the Batman Begins sequel The Dark Knight (due to open on July 17th). The burning question is, how complete was Ledger's post-production work on the maniacal character of the Joker?
On Jan. 25th, E! Online gossip columnist Ted Casablanca posted an item quoting a "studio insider" saying that Ledger had done "zero" post-production looping on the movie. (Typically, an actor re-records many lines for a film long after principal photography wraps, in a process called "automated dialogue replacement," or ADR. It's an especially extensive process when many shots have been filmed on location, since all kinds of incidental noise can interfere with the dialogue's clarity and can require up to three-quarters of the lines to be re-performed on a dubbing stage, with the actor looking up at the film images and matching his or her own mouth movements.) But Ledger's vocals are perfectly clear in the bits of footage so far released—trailers and a prologue bank-robbery sequence shown with IMAX prints of I Am Legend. Fan websites like Ain't-It-Cool-News, Superherohype.com and Batman-on-Film.com are full of assertions contrary to the Casablanca report, saying that in fact Ledger was done with all significant looping. Ledger himself, while promoting the Todd Haynes film I'm Not There last fall, had said he was finished with his work on Dark Knight.
Still, given the way post-production schedules usually run on mega-budget superhero films, it's not out of the realm of possibility that director Chris Nolan might have wanted to call on Ledger for limited additional sessions with more than six months to go before opening weekend. Directors often decide to insert new bits of dialogue in post-production for the sake of clarity and economy. Doing anything like that now with Ledger's Dark Knight role would require hiring another voice actor to emulate his speaking voice, or creating a complicated mash-up from Ledger's existing dialogue tracks. (Both of these alternate approaches have been taken in similar past situations, as when Oliver Reed passed away before the completion of Gladiator and James Dean died before the release of Giant.)
Dark Knight director Chris Nolan and execs at Warner Bros., the studio releasing the film, were not available for comment, and have not issued any public statements about the status of the movie. EW placed a call to Oscar-winning sound designer and sound editor Richard King, who's handling the Dark Knight audio work, but he declined to comment. According to several other sound-mixing experts who also declined to speak on the record, there's no way to tell what the situation is with Dark Knight from the outside, since the amount of ADR required, and the timetable for doing it, varies wildly between films. (In plenty of instances, looping is not completed until very close to the final release date, perhaps as little as a month or two out.) Ledger had been working in London on Terry Gilliam's film The Imaginarium of Doctor Parnassus, which meant he was close to Dark Knight director Chris Nolan's home turf and might well have been available if needed.
Warner Bros. has temporarily pulled back on some of the promotional material centered on Ledger's creepy whiteface makup as the Joker, keyed to the tagline "Why So Serious"? It remains to be confirmed whether the film's technical wrapup will require a new game plan as well. —Steve Daly
waynetravis
Blue Crack Supplier
Joey788
Refugee
ibelieveinharveydent.com has updated its website. I also gave the website my phone number a few days ago and yesterday, I received a message from Harvey Dent himself, asking me to help take back Gotham.
I love viral marketing.
I love viral marketing.
BoMac
Self-righteous bullshitter
those pics make me happy, yet sad at the same time.
waynetravis
Blue Crack Supplier
I thought this was funny:
WinnieThePoo
Refugee
jack napier and his goons
pepokiss
Rock n' Roll Doggie ALL ACCESS
is that Gollum back there?
WinnieThePoo
Refugee
it's bob , his number one guy
OP
OP
Slapnutz
Refugee
Well, that was wrong. Ledger finished post-production on TDK at least two months before his death.MrsSpringsteen said:
MrsSpringsteen
Blue Crack Addict
NY Times
March 9, 2008
Film
Batman’s Burden: A Director Confronts Darkness and Death
By DAVID M. HALBFINGER
CHICAGO
A dreary office plaza at Wabash Street and the river, late afternoon. A mist blows in from Lake Michigan. Producers and idle actors huddle under a flimsy canopy; grips hastily unfold another over their high-priced gear. A few stories overhead, a stunt double in a familiar black-caped costume swings from a hoist, slamming into a window in a Mies van der Rohe tower that we shall imagine is Gotham City Hall. A noose is around his neck, a knife plunged into his heart.
The meaning is clear: Batman, or at least his döppelganger, is dead.
Christopher Nolan, the director of “The Dark Knight” — the follow-up to his 2005 franchise reboot, “Batman Begins” — is unperturbed by the rain, but a tiny detail irks him. “Hey, buster!” he shouts to the stuntman, craning his neck skyward and raising his voice for the first time all day (politely, as ever, but enough so he can be heard). “Could you turn yourself a little more to the left?”
In so many ways this isn’t what you’d expect of a $180 million Hollywood comic-book movie sequel with a zillion moving parts, a cast of thousands and sets from here to Hong Kong. Anyone else would shoot indoors, use digital effects or wait for clear skies; Mr. Nolan rolls with the weather’s punches, believing that the messiness of reality can’t be faked. Another filmmaker would leave a shot like this in the hands of a second-unit director, but Mr. Nolan doesn’t use one; if it’s on the screen, he directed it, and his longtime cinematographer, Wally Pfister, worked the camera. Stars on any other movie would have fled to their trailers to wait in comfort until needed again. Here, Gary Oldman is watching and shivering along with everybody else, cracking jokes to keep warm.
Yet Mr. Nolan, 37, has barely changed his approach to filmmaking since his 2000 indie-smash “Memento,” the film noir in reverse starring Guy Pearce that Mr. Nolan’s brother, Jonathan, dreamed up, and Christopher Nolan made for $5 million. “A movie is a movie,” he says. So he’s still scribbling new dialogue on the set, improvising camera moves as he goes, letting his actors decide when it’s time to move on and otherwise racing through each day as if his money might run out. It’s just that his jazz combo of a crew has mushroomed into a philharmonic — with whole new sections of prosthetics artists, special-effects wizards and so on. “But we’re still all riffing off of him,” Mr. Pfister says.
That kind of maestro is just what Warner Brothers wanted five years ago when it hired Mr. Nolan to restore a jewel of a property that had become a laughingstock with Joel Schumacher’s 1997 reviled “Batman and Robin,” best remembered for George Clooney’s nipple suit.
But any risks inherent in giving over such a huge franchise, with so much history and potential, to an auteur untested at making blockbusters were outweighed by the need to re-establish credibility with Batman’s alienated fan base. “If the people who make the film aren’t taking it seriously,” Mr. Nolan said, summarizing fans’ view of the 1997 movie, “why should we?”
Now the question is whether Mr. Nolan’s vision of Batman can not only maintain its hold on the imaginations of comic fans and critics, but expand its reach to a wider summer moviegoing audience, even as the death of Heath Ledger, who played the Joker in “The Dark Knight,” has added unanticipated morbidity to the film’s deliberate darkness.
But if Mr. Nolan was feeling any stress on the set in Chicago last year, his easygoing reserve concealed it. Dressed, as always, in his own somewhat formal uniform — dark blazer, waistcoat, French cuffs; a thermos of tea in hand; a wireless video monitor around his neck — he also seemed a bit of a throwback. While many filmmakers watch in seclusion on television screens, he stood next to the camera, always on his feet unless he was kneeling to whisper in someone’s ear. “Acting is such a vulnerable thing, you don’t want to be told in front of others that you’ve made a mistake, or ‘Try this,’ ” said Aaron Eckhart, who plays Harvey Dent, a district attorney. “Chris understands that.”
But then, it hasn’t been so long since Mr. Nolan bootstrapped himself into the film business, cobbling together bits of 16-millimeter film stock with $6,000 to make his first feature, “Following” (1998), over a year’s worth of weekends. “Memento,” which came next, was a critical smash, and with Steven Soderbergh’s endorsement, he landed his first studio assignment: directing Al Pacino and Hilary Swank in “Insomnia” (2002) on a $50 million budget.
That fall, after slaving over a screenplay about Howard Hughes only to have Martin Scorsese beat him to the punch, Mr. Nolan put together a passionate 45-minute pitch for rewinding the Batman saga to its beginning. Alan Horn, Warner’s president, approved it on the spot. “Besides his excitement about the story he wanted to tell, he just brings a certain weight and credibility,” said Jeff Robinov, the studio’s No. 2 executive, who had first tried to interest Mr. Nolan in “Troy.”
Three times the cost of “Insomnia” and far greater in scope, “Batman Begins” catapulted Mr. Nolan into the top tier of mainstream filmmakers. Critics mostly loved it, though some seemed to resent him for leaving the indie world behind. While not an overpowering blockbuster, with $205 million in domestic box office, it expanded the audience for Batman well beyond comic fans. And it gave Warner Brothers a superhero who could hold his head up next to Sony’s Spider-Man and Fox’s X-Men.
His Caped Crusader, Christian Bale (who also starred in Mr. Nolan’s entr’acte between the Batman films, “The Prestige”), recalls how “people would kind of laugh” when they heard that he and Mr. Nolan were taking Batman seriously. But when they finally saw the film, the same people “would say, ‘What a surprise,’ “ Mr. Bale said. “I believe that even the most popcornlike movie can be done incredibly well, and can have something that you really have to work at. That was what attracted me to doing it the first time, because I felt I’d never seen that done, and I didn’t understand why.”
It’s enough to make a marketing executive cringe, that the word “dense” pops up in conversations with Mr. Nolan and his actors. But it’s true: “The Dark Knight,” which will be released on July 18, is jammed with characters, plot and action. It picks up where “Batman Begins” left off, with Mr. Oldman’s police lieutenant, Jim Gordon, warning about the perils of escalation: that Batman’s extreme measures could invite a like response from the criminal element. And sure enough, a deadly new villain, the Joker, emerges to wreak havoc.
In a political context this would politely be called an “unintended consequence.” (Gotham as Baghdad, anyone?) Mr. Nolan doesn’t deny the overtones. “As we looked through the comics, there was this fascinating idea that Batman’s presence in Gotham actually attracts criminals to Gotham, attracts lunacy,” he said. “When you’re dealing with questionable notions like people taking the law into their own hands, you have to really ask, where does that lead? That’s what makes the character so dark, because he expresses a vengeful desire.”
In Mr. Bale’s view “The Dark Knight” is an even lonelier outing for his character, who once naïvely thought his crime fighting could be a finite endeavor. “This escalation has now meant that he feels more of a duty to continue,” he said. “And now you have not just a young man in pain attempting to find some kind of an answer, you have somebody who actually has power, who is burdened by that power, and is having to recognize the difference between attaining that power and holding on to it.”
It may not be too much of a stretch to see another analogy here for Mr. Nolan: Rebooting the Batman franchise may be behind him, but he still has to improve upon it. Sequels are always trickier. And now he must also navigate the aftermath of the Jan. 22 death of Mr. Ledger.
It came well into editing, and only after the studio had introduced Mr. Ledger’s Joker through posters, trailers and a six-minute Imax short. But it automatically raised the stakes: the acclaimed actor’s final role would be ... a comic-book grotesque? Worse, though Mr. Ledger had finished work on “The Dark Knight” in October and was already halfway through another film, news that the prescription drugs that killed him included sleep aids — along with narcotics — prompted Internet chatter about whether his intense performance as the Joker, styled after Malcolm McDowell’s in “A Clockwork Orange,” had been a factor in his demise.
Mr. Ledger, however, also called it “the most fun I’ve ever had, or probably ever will have, playing a character.” But his fatigue was obvious, said Michael Caine, who briefly overlapped with him. “He was exhausted, I mean he was really tired. I remember saying to him, ‘I’m too old to have the bloody energy to play that part.’ And I thought to myself, I didn’t have the energy when I was his age.”
Mr. Pfister, the cinematographer, said Mr. Ledger seemed “like he was busting blood vessels in his head,” he was so intense. “It was like a séance, where the medium takes on another person and then is so completely drained.”
Will Mr. Ledger’s death cast a pall over “The Dark Knight,” whose tragic plot turns already make it much darker than “Batman Begins”? “We’ll see,” said Mr. Robinov, of Warner Brothers. Mr. Nolan, for his part, said he felt a “massive sense of responsibility” to do right by Mr. Ledger’s “terrifying, amazing” performance.
“It’s stunning, it’s iconic,” he said. “It’s going to just blow people away.”
All the talk of darkness obscures what may come as an aesthetic surprise in “The Dark Knight”: the creepy shadows and gothic Wayne Manor are gone, replaced by sleek towers, shiny surfaces, bright lighting and the vistas of a city with shoulders bigger than Batman’s. “I’ve tried to unclutter the Gotham we created on the last film,” said Nathan Crowley, Mr. Nolan’s production designer. “Gotham is in chaos. We keep blowing up stuff. So we can keep our images clean,” setting a solitary hero against the vastness of Chicago.
Mr. Nolan said he tried to make “Batman Begins” realistic by taking Wayne out of Gotham for portions of the story. For “The Dark Knight” he wanted Gotham to seem straight out of the news. “We just let everyone know up front: this is a location movie,” he said.
Mr. Nolan does his planning in his own tricked-out lair: a converted garage behind his home near the Hollywood hills (and just down the street from the Batcave entrance in the campy 1960s television series). There he and his producer-wife, Emma Thomas — who gave birth to their fourth child last September — gathered with Mr. Crowley, Mr. Pfister, the costume designer Lindy Hemming and other department heads to brainstorm. It’s where Mr. Crowley designed the tanklike Batmobile known as “the Tumbler,” where Ms. Hemming came up with a uniform that finally let Mr. Bale turn his head at the neck and where she first pitched the idea of the Joker as Johnny Rotten.
If he barely uses storyboards, let alone the computer-animated “previsualization” wizardry common to effects-heavy films, Mr. Nolan is on the cutting edge with one technology. He used the unwieldy Imax cameras to shoot about 30 minutes of “The Dark Knight,” including the entire opening.
“We’ve been trying to talk filmmakers into doing this for nearly 40 years,” said David Keighley, an old Imax hand. And even after a Steadicam collapsed under the weight of an Imax camera, Mr. Nolan held firm. “If David Lean could carry a 65-millimeter camera through the desert,” he said, “why shouldn’t we be able to do this?”
“It scares people a bit,” Mr. Nolan says of what could be called his planned-out impulsiveness. “We just go and shoot the stuff, and see what looks the best and what works. But on a big movie, you actually have more freedom. You can say, ‘O.K., it’s 3 in the morning — can we get the police to close down that street?’ ”
March 9, 2008
Film
Batman’s Burden: A Director Confronts Darkness and Death
By DAVID M. HALBFINGER
CHICAGO
A dreary office plaza at Wabash Street and the river, late afternoon. A mist blows in from Lake Michigan. Producers and idle actors huddle under a flimsy canopy; grips hastily unfold another over their high-priced gear. A few stories overhead, a stunt double in a familiar black-caped costume swings from a hoist, slamming into a window in a Mies van der Rohe tower that we shall imagine is Gotham City Hall. A noose is around his neck, a knife plunged into his heart.
The meaning is clear: Batman, or at least his döppelganger, is dead.
Christopher Nolan, the director of “The Dark Knight” — the follow-up to his 2005 franchise reboot, “Batman Begins” — is unperturbed by the rain, but a tiny detail irks him. “Hey, buster!” he shouts to the stuntman, craning his neck skyward and raising his voice for the first time all day (politely, as ever, but enough so he can be heard). “Could you turn yourself a little more to the left?”
In so many ways this isn’t what you’d expect of a $180 million Hollywood comic-book movie sequel with a zillion moving parts, a cast of thousands and sets from here to Hong Kong. Anyone else would shoot indoors, use digital effects or wait for clear skies; Mr. Nolan rolls with the weather’s punches, believing that the messiness of reality can’t be faked. Another filmmaker would leave a shot like this in the hands of a second-unit director, but Mr. Nolan doesn’t use one; if it’s on the screen, he directed it, and his longtime cinematographer, Wally Pfister, worked the camera. Stars on any other movie would have fled to their trailers to wait in comfort until needed again. Here, Gary Oldman is watching and shivering along with everybody else, cracking jokes to keep warm.
Yet Mr. Nolan, 37, has barely changed his approach to filmmaking since his 2000 indie-smash “Memento,” the film noir in reverse starring Guy Pearce that Mr. Nolan’s brother, Jonathan, dreamed up, and Christopher Nolan made for $5 million. “A movie is a movie,” he says. So he’s still scribbling new dialogue on the set, improvising camera moves as he goes, letting his actors decide when it’s time to move on and otherwise racing through each day as if his money might run out. It’s just that his jazz combo of a crew has mushroomed into a philharmonic — with whole new sections of prosthetics artists, special-effects wizards and so on. “But we’re still all riffing off of him,” Mr. Pfister says.
That kind of maestro is just what Warner Brothers wanted five years ago when it hired Mr. Nolan to restore a jewel of a property that had become a laughingstock with Joel Schumacher’s 1997 reviled “Batman and Robin,” best remembered for George Clooney’s nipple suit.
But any risks inherent in giving over such a huge franchise, with so much history and potential, to an auteur untested at making blockbusters were outweighed by the need to re-establish credibility with Batman’s alienated fan base. “If the people who make the film aren’t taking it seriously,” Mr. Nolan said, summarizing fans’ view of the 1997 movie, “why should we?”
Now the question is whether Mr. Nolan’s vision of Batman can not only maintain its hold on the imaginations of comic fans and critics, but expand its reach to a wider summer moviegoing audience, even as the death of Heath Ledger, who played the Joker in “The Dark Knight,” has added unanticipated morbidity to the film’s deliberate darkness.
But if Mr. Nolan was feeling any stress on the set in Chicago last year, his easygoing reserve concealed it. Dressed, as always, in his own somewhat formal uniform — dark blazer, waistcoat, French cuffs; a thermos of tea in hand; a wireless video monitor around his neck — he also seemed a bit of a throwback. While many filmmakers watch in seclusion on television screens, he stood next to the camera, always on his feet unless he was kneeling to whisper in someone’s ear. “Acting is such a vulnerable thing, you don’t want to be told in front of others that you’ve made a mistake, or ‘Try this,’ ” said Aaron Eckhart, who plays Harvey Dent, a district attorney. “Chris understands that.”
But then, it hasn’t been so long since Mr. Nolan bootstrapped himself into the film business, cobbling together bits of 16-millimeter film stock with $6,000 to make his first feature, “Following” (1998), over a year’s worth of weekends. “Memento,” which came next, was a critical smash, and with Steven Soderbergh’s endorsement, he landed his first studio assignment: directing Al Pacino and Hilary Swank in “Insomnia” (2002) on a $50 million budget.
That fall, after slaving over a screenplay about Howard Hughes only to have Martin Scorsese beat him to the punch, Mr. Nolan put together a passionate 45-minute pitch for rewinding the Batman saga to its beginning. Alan Horn, Warner’s president, approved it on the spot. “Besides his excitement about the story he wanted to tell, he just brings a certain weight and credibility,” said Jeff Robinov, the studio’s No. 2 executive, who had first tried to interest Mr. Nolan in “Troy.”
Three times the cost of “Insomnia” and far greater in scope, “Batman Begins” catapulted Mr. Nolan into the top tier of mainstream filmmakers. Critics mostly loved it, though some seemed to resent him for leaving the indie world behind. While not an overpowering blockbuster, with $205 million in domestic box office, it expanded the audience for Batman well beyond comic fans. And it gave Warner Brothers a superhero who could hold his head up next to Sony’s Spider-Man and Fox’s X-Men.
His Caped Crusader, Christian Bale (who also starred in Mr. Nolan’s entr’acte between the Batman films, “The Prestige”), recalls how “people would kind of laugh” when they heard that he and Mr. Nolan were taking Batman seriously. But when they finally saw the film, the same people “would say, ‘What a surprise,’ “ Mr. Bale said. “I believe that even the most popcornlike movie can be done incredibly well, and can have something that you really have to work at. That was what attracted me to doing it the first time, because I felt I’d never seen that done, and I didn’t understand why.”
It’s enough to make a marketing executive cringe, that the word “dense” pops up in conversations with Mr. Nolan and his actors. But it’s true: “The Dark Knight,” which will be released on July 18, is jammed with characters, plot and action. It picks up where “Batman Begins” left off, with Mr. Oldman’s police lieutenant, Jim Gordon, warning about the perils of escalation: that Batman’s extreme measures could invite a like response from the criminal element. And sure enough, a deadly new villain, the Joker, emerges to wreak havoc.
In a political context this would politely be called an “unintended consequence.” (Gotham as Baghdad, anyone?) Mr. Nolan doesn’t deny the overtones. “As we looked through the comics, there was this fascinating idea that Batman’s presence in Gotham actually attracts criminals to Gotham, attracts lunacy,” he said. “When you’re dealing with questionable notions like people taking the law into their own hands, you have to really ask, where does that lead? That’s what makes the character so dark, because he expresses a vengeful desire.”
In Mr. Bale’s view “The Dark Knight” is an even lonelier outing for his character, who once naïvely thought his crime fighting could be a finite endeavor. “This escalation has now meant that he feels more of a duty to continue,” he said. “And now you have not just a young man in pain attempting to find some kind of an answer, you have somebody who actually has power, who is burdened by that power, and is having to recognize the difference between attaining that power and holding on to it.”
It may not be too much of a stretch to see another analogy here for Mr. Nolan: Rebooting the Batman franchise may be behind him, but he still has to improve upon it. Sequels are always trickier. And now he must also navigate the aftermath of the Jan. 22 death of Mr. Ledger.
It came well into editing, and only after the studio had introduced Mr. Ledger’s Joker through posters, trailers and a six-minute Imax short. But it automatically raised the stakes: the acclaimed actor’s final role would be ... a comic-book grotesque? Worse, though Mr. Ledger had finished work on “The Dark Knight” in October and was already halfway through another film, news that the prescription drugs that killed him included sleep aids — along with narcotics — prompted Internet chatter about whether his intense performance as the Joker, styled after Malcolm McDowell’s in “A Clockwork Orange,” had been a factor in his demise.
Mr. Ledger, however, also called it “the most fun I’ve ever had, or probably ever will have, playing a character.” But his fatigue was obvious, said Michael Caine, who briefly overlapped with him. “He was exhausted, I mean he was really tired. I remember saying to him, ‘I’m too old to have the bloody energy to play that part.’ And I thought to myself, I didn’t have the energy when I was his age.”
Mr. Pfister, the cinematographer, said Mr. Ledger seemed “like he was busting blood vessels in his head,” he was so intense. “It was like a séance, where the medium takes on another person and then is so completely drained.”
Will Mr. Ledger’s death cast a pall over “The Dark Knight,” whose tragic plot turns already make it much darker than “Batman Begins”? “We’ll see,” said Mr. Robinov, of Warner Brothers. Mr. Nolan, for his part, said he felt a “massive sense of responsibility” to do right by Mr. Ledger’s “terrifying, amazing” performance.
“It’s stunning, it’s iconic,” he said. “It’s going to just blow people away.”
All the talk of darkness obscures what may come as an aesthetic surprise in “The Dark Knight”: the creepy shadows and gothic Wayne Manor are gone, replaced by sleek towers, shiny surfaces, bright lighting and the vistas of a city with shoulders bigger than Batman’s. “I’ve tried to unclutter the Gotham we created on the last film,” said Nathan Crowley, Mr. Nolan’s production designer. “Gotham is in chaos. We keep blowing up stuff. So we can keep our images clean,” setting a solitary hero against the vastness of Chicago.
Mr. Nolan said he tried to make “Batman Begins” realistic by taking Wayne out of Gotham for portions of the story. For “The Dark Knight” he wanted Gotham to seem straight out of the news. “We just let everyone know up front: this is a location movie,” he said.
Mr. Nolan does his planning in his own tricked-out lair: a converted garage behind his home near the Hollywood hills (and just down the street from the Batcave entrance in the campy 1960s television series). There he and his producer-wife, Emma Thomas — who gave birth to their fourth child last September — gathered with Mr. Crowley, Mr. Pfister, the costume designer Lindy Hemming and other department heads to brainstorm. It’s where Mr. Crowley designed the tanklike Batmobile known as “the Tumbler,” where Ms. Hemming came up with a uniform that finally let Mr. Bale turn his head at the neck and where she first pitched the idea of the Joker as Johnny Rotten.
If he barely uses storyboards, let alone the computer-animated “previsualization” wizardry common to effects-heavy films, Mr. Nolan is on the cutting edge with one technology. He used the unwieldy Imax cameras to shoot about 30 minutes of “The Dark Knight,” including the entire opening.
“We’ve been trying to talk filmmakers into doing this for nearly 40 years,” said David Keighley, an old Imax hand. And even after a Steadicam collapsed under the weight of an Imax camera, Mr. Nolan held firm. “If David Lean could carry a 65-millimeter camera through the desert,” he said, “why shouldn’t we be able to do this?”
“It scares people a bit,” Mr. Nolan says of what could be called his planned-out impulsiveness. “We just go and shoot the stuff, and see what looks the best and what works. But on a big movie, you actually have more freedom. You can say, ‘O.K., it’s 3 in the morning — can we get the police to close down that street?’ ”
Hewson
Blue Crack Supplier
Its Thom Yorke.pepokiss said:
Lancemc
Blue Crack Addict
^^^That was a great article up there. Especially the bits about Ledger's work and Nolan's poise in directing. Particularly enjoyed the short part regarding the IMAX tech near the end.
MrsSpringsteen
Blue Crack Addict
I'm glad they're not changing the marketing or the movie, that would be a disservice to Heath and his performance. I can't wait to see it, even though it will be bittersweet.
LAS VEGAS, Nevada (AP) -- This time out, there's no vat of chemicals to explain how Batman's greatest enemy came to be the twisted sociopath known as the Joker.
Heath Ledger's Joker springs full-blown in this summer's "The Dark Knight," the sequel to 2005's "Batman Begins" that was previewed for theater owners Thursday with a clip showing the new movie's opening sequence.
Unlike 1989's "Batman," in which the deranged, disfigured clown appearance of Jack Nicholson's Joker resulted from a dip in chemical goo, "The Dark Knight" starts right in with the bad guy in all his psychopathic glory.
"I believe whatever doesn't kill you simply makes you stranger," Ledger's depraved Joker cryptically tells an accomplice in the opening scenes, in which he pulls off a daring bank robbery.
In an interview at ShoWest, a theater-owners convention where distributor Warner Bros. showed off footage of "The Dark Knight" and the rest of its summer lineup, director Christopher Nolan said it was almost inevitable that the sequel would pit Christian Bale's Batman against the Joker.
"The psychopathic clown, that's an icon to stand with the guy with the ears and cape," Nolan said. "It's just a wonderful visual relationship, and it's a terrifying image."
Long before Ledger's death of an accidental prescription drug overdose in January, the marketing of the movie had focused on the villain's rise to power and his creepy appearance.
There had been speculation among critics and fans that the studio and filmmakers might take a different approach to selling the film in light of Ledger's death, but the marketing has gone on as originally planned.
"I think he'd be very pleased to see we're just moving ahead as is," Nolan said. "If you try to honor somebody, you honor them by respecting their work and putting it out there for as many people to see. He was immensely proud of the work he did on the film. I feel a great burden to present that in an undistorted form."
"The Dark Knight" is due in theaters July 18.
The last time producer Charles Roven saw Ledger was when he showed the actor the very footage that was screened at ShoWest.
Fans have been buzzing over the anarchic style Ledger brings to the role in the movie's trailer, but the actor himself was utterly taken by what he saw of himself on screen, Roven said.
"He was just blown away by his own performance," Roven said. "He said, `Can I see it again?' So he was really, really thrilled."
Bale -- reprising his role as the wealthy Bruce Wayne, who moonlights as the emotionally tormented crimefighter -- said he watched the footage Thursday with a heaviness of heart over Ledger. But Bale said he hopes the movie will serve as a testament.
"I hope that this can be seen as a celebration of his work," Bale said. "He did a phenomenal job. It was a real joy working with the man. It was a joy knowing him, as well. I liked him a great deal, and I liked also how seriously he took his work."
LAS VEGAS, Nevada (AP) -- This time out, there's no vat of chemicals to explain how Batman's greatest enemy came to be the twisted sociopath known as the Joker.
Heath Ledger's Joker springs full-blown in this summer's "The Dark Knight," the sequel to 2005's "Batman Begins" that was previewed for theater owners Thursday with a clip showing the new movie's opening sequence.
Unlike 1989's "Batman," in which the deranged, disfigured clown appearance of Jack Nicholson's Joker resulted from a dip in chemical goo, "The Dark Knight" starts right in with the bad guy in all his psychopathic glory.
"I believe whatever doesn't kill you simply makes you stranger," Ledger's depraved Joker cryptically tells an accomplice in the opening scenes, in which he pulls off a daring bank robbery.
In an interview at ShoWest, a theater-owners convention where distributor Warner Bros. showed off footage of "The Dark Knight" and the rest of its summer lineup, director Christopher Nolan said it was almost inevitable that the sequel would pit Christian Bale's Batman against the Joker.
"The psychopathic clown, that's an icon to stand with the guy with the ears and cape," Nolan said. "It's just a wonderful visual relationship, and it's a terrifying image."
Long before Ledger's death of an accidental prescription drug overdose in January, the marketing of the movie had focused on the villain's rise to power and his creepy appearance.
There had been speculation among critics and fans that the studio and filmmakers might take a different approach to selling the film in light of Ledger's death, but the marketing has gone on as originally planned.
"I think he'd be very pleased to see we're just moving ahead as is," Nolan said. "If you try to honor somebody, you honor them by respecting their work and putting it out there for as many people to see. He was immensely proud of the work he did on the film. I feel a great burden to present that in an undistorted form."
"The Dark Knight" is due in theaters July 18.
The last time producer Charles Roven saw Ledger was when he showed the actor the very footage that was screened at ShoWest.
Fans have been buzzing over the anarchic style Ledger brings to the role in the movie's trailer, but the actor himself was utterly taken by what he saw of himself on screen, Roven said.
"He was just blown away by his own performance," Roven said. "He said, `Can I see it again?' So he was really, really thrilled."
Bale -- reprising his role as the wealthy Bruce Wayne, who moonlights as the emotionally tormented crimefighter -- said he watched the footage Thursday with a heaviness of heart over Ledger. But Bale said he hopes the movie will serve as a testament.
"I hope that this can be seen as a celebration of his work," Bale said. "He did a phenomenal job. It was a real joy working with the man. It was a joy knowing him, as well. I liked him a great deal, and I liked also how seriously he took his work."
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