Batman - The Dark Knight Rises

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I've been considering which titles Nolan may be drawing from for story inspiration. Knightfall's obvious, as is the Loeb/Sale The Long Halloween/Haunted Knight/Dark Victory run. I wonder though, how much of Year One will factor back in with The Hath/Catwoman's involvement.

Also, given that the title is a direct reference to a chapter in The Dark Knight Returns, could it be suggested that Bane and Catwoman could also embody elements of that piece as well? Perhaps Bane and Cat will share characteristics with The Mutant Leader (the bit at the end of the trailer with Bane/Bats may suggest that) and Carrie Kelly's Robin, respectively. Bane's appearance along with his flunkies evoke those cronies, pre-Sons of Batman, to me at least.

This is all geek conjecture, mind you.
 
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Nolan can and does have a lot of fun, my major turn off for his Batman films. (Is it ok at this point for me to not have to back up every complaint I make about the films by saying, "But I still do enjoy the movies, they're just not my favorites of his?" because I feel like I'm doing that with almost every other post about these movies)
 
The more I think about him and his work, the more that he reminds me of Ridley Scott. Nolan certainly has more of an authorial voice than Scott; he's very set on the philosophical and intellectual deconstruction of classical pulp genres (detective noir, the superhero, magic, the heist flick) and is a solid enough craftsman to deliver on his material. My main issue with him is that he tries to both be a populist and drive his "intellectual" points home, generally by distrusting the viewer. His characters rarely act, but spend time talking in broad, thematic strokes. Michael Caine can spew monologues about tangerines in Burma and sell that moment, while Ellen Page is saddled with being an exposition machine/audience surrogate and drowns in the material. In my opinion, in his deconstruction, he robs the material of its cinematic potential as much as he lives up to it. That being said, if we needed the first 2 hours of Inception to get to the final 45 minutes, then I'm okay with that. It's the most thrilling and vibrant filmmaking of his career thus far.

I like all of his films and respect what he's been able to accomplish within the studio system. These are nagging issues that I've had with his technique after seeing Inception.
 
The more I think about him and his work, the more that he reminds me of Ridley Scott. Nolan certainly has more of an authorial voice than Scott; he's very set on the philosophical and intellectual deconstruction of classical pulp genres (detective noir, the superhero, magic, the heist flick) and is a solid enough craftsman to deliver on his material. My main issue with him is that he tries to both be a populist and drive his "intellectual" points home, generally by distrusting the viewer. His characters rarely act, but spend time talking in broad, thematic strokes. Michael Caine can spew monologues about tangerines in Burma and sell that moment, while Ellen Page is saddled with being an exposition machine/audience surrogate and drowns in the material. In my opinion, in his deconstruction, he robs the material of its cinematic potential as much as he lives up to it. That being said, if we needed the first 2 hours of Inception to get to the final 45 minutes, then I'm okay with that. It's the most thrilling and vibrant filmmaking of his career thus far.

I like all of his films and respect what he's been able to accomplish within the studio system. These are nagging issues that I've had with his technique after seeing Inception.

Yeah, that really kills most of his work for me. And that comparison is apt, though (of course hur hur) I'd argue Nolan doesn't quite have Scott's visual chops, workmanlike though the latter's might be as well. But just take a look at Scott's first three features and his student work and compare to any of Nolan's films. Yeah.
 
Yeah, that really kills most of his work for me. And that comparison is apt, though (of course hur hur) I'd argue Nolan doesn't quite have Scott's visual chops, workmanlike though the latter's might be as well. But just take a look at Scott's first three features and his student work and compare to any of Nolan's films. Yeah.

I'd lump Legend into that early batch as well as far as style is concerned; I still need to see The Duellists. Most of his work feels so goddamn rote and dispassionate, which is a shame, since Alien and Blade Runner show a strong command of nearly every facet of production.

At least we've got Tony.
 
Tony is GOD. Except his early films* are pretty shitty, inversely proportionate to his bro.

*Loving Memory, Hunger, etc.
 
Lots of news has been coming out lately about the film.

According to Nolan, The Dark Knight Rises takes place eight years after the events of The Dark Knight. You can also contribute to the Hans Zimmer's score by way of UJAM.

UJAM - The Dark Knight Rises - Introduction

Finally, here are the first official images through an Empire Magazine cover story.

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I'm really excited about a new Batman/Dark Knight movie also...but what/who is that first picture of? (scary dude with the Predator-type mouth) Is this a character that has been introduced before (in movies I mean, I don't read the comic). Maybe I need a refresher..
 
Thanks, appreciate it!

I followed the link but had to stop reading because it appears to be spoilery, in a way...just let me ask..this has not been introduced on film yet, right? I guess what I mean to say is that there undoubtedly story lines covered in the comics that I don't necessarily want to read before the movies come out, if you see what I mean..
 
gvox said:
Oh..that Batman movie. I've tried hard using various combinations of drugs, alcohol..and shock therapy, to forget it. :lol:

Don't worry. You could remember every vivid detail from that crappy movie and still have no inkling of knowledge about who the hell Bane is. They massively wasted him.
 
From MSN-a guy who saw the first six minutes

There will also be a new trailer before Sherlock Holmes, which comes out this Friday

Bane of Our Existence

We've seen the first six minutes of 'The Dark Knight Rises'!

On Thursday evening, a select group of journalists and Warner Bros. Pictures executives were ushered into the Universal City IMAX theater in Los Angeles for a special showing of the first six minutes of director Christopher Nolan's "The Dark Knight Rises." Just like "The Dark Knight," for which the prologue was attached to IMAX prints of "I Am Legend" four years ago, this will be attached to around 42 IMAX 70mm prints of "Mission: Impossible - Ghost Protocol" when it opens on Dec. 16.

Nolan himself was on hand to provide a brief introduction, in which he joked that he had just started editing the film so "don't ask me how it ends" (like he would tell). But he spent most of his brief time extolling the virtues of shooting in IMAX, which will be used for approximately 50 minutes of "The Dark Knight Rises." He said it provided an "immersive" experience that recaptured the "grandeur" of going to the movies, something he feels is being "chipped away."

That's a discussion for another day, but there's no question that Nolan is using IMAX to its fullest potential. After a short non-IMAX opening in which we saw Commissioner Gordon (Gary Oldman) eulogizing the late Harvey Dent (Aaron Eckhart) -- a direct link to the end of "The Dark Knight" -- the full IMAX screen opened up and we got into the meat of the segment. Full disclosure: The studio has asked everyone in attendance to not give away the minute-by-minute details of the sequence, but we can certainly provide some impressions.

Our first impression: huge. The scene involves planes, hostages and a daring kidnapping (all linked, by the way, to the viral marketing campaign that began this week), and it's done on a scale that you won't believe -- and that looks even more incredible and dizzying in the IMAX format. Basically, the CIA is acquiring a missing nuclear physicist named Dr. Pavel (Alon Abutbul) from the members of a militia. But as they board their plane to take the doctor away, Bane (Tom Hardy) quickly reveals that he has other plans.

Bane: From the first shot of Tom Hardy (similar to the shot that revealed Heath Ledger's hideous Joker grin four years ago), shaved bald and with a spider-like breathing mask clamped on his face, you can tell that Nolan has found a villain worthy enough to follow the Clown Prince of Crime. Before you even see Bane, an aura of mystery and menace is established around the man -- an aura that rapidly turns to dread and terror once Bane reveals himself.

We got a chance to speak with Nolan after the screening, and he laid out his rationale for selecting Bane as Batman's chief adversary: "I tasked David Goyer (co-writer on the story) early on, when we knew the shape of our story, with looking for a worthy antagonist. We examined really all the possibilities, and what we were looking for was an archetype. What we were looking for was a character that embodied a threat that we hadn't dealt with before, that Batman hadn't dealt with before in our films.

"Bane is primarily a physical presence," Nolan continued. "He's threatening in a monstrous way and very frightening in a physical way, and that's why we went for him. We didn't want to do any kind of watered down version of the Joker, which a lot of those characters are, and we really found something in him. He's got incredible intelligence as well and a really fascinating backstory that we were able to draw elements from into our story. I'm very excited for the world to see what Tom Hardy has done with this, because he's created this unbelievably unique character."

But back to the footage: Once Bane is introduced, the situation rapidly escalates. His voice, by the way, is eerie and mechanized, but nearly everyone at the screening noted that it was difficult to make out all his lines through the mask (Nolan addressed the issue with The Hollywood Reporter), an issue we hope can be rectified. Nevertheless, this man is bad, bad, bad -- and the loyalty of his followers is even more frightening. The stunts and action beats in the sequence are stunning: Think James Bond filtered through the lens of "Inception."

The sequence ends with another visual tip to "The Dark Knight" and then we get a quick montage of other scenes from the movie, including our first looks at Selina Kyle/Catwoman (Anne Hathaway) and Gotham City police officer John Blake (Joseph Gordon-Levitt), plus some seriously epic confrontations on the streets of Gotham. The final shot is a chilling one -- and it promises that "The Dark Knight Rises" may actually descend into some dark places.

A whole new trailer, comprising almost entirely different footage, will show up in front of "Sherlock Holmes: A Game of Shadows" next week as well, so prepare for an onslaught of Bat-mania as the countdown to July 20, 2012, begins. And check back here in a few days for more on "The Dark Knight Rises" and our exclusive interview with Christopher Nolan!
 
Can't wait for the full trailer. Want to see more Catwoman! I'm assuming she joins up with Batman...especially if Marion Cotillard really is Talia Al-Ghul.

Plus...she rides the Batpod and has a bunch of gadgets apparently, unless she steals them I'd assume they're from Fox.
 
Not a bad trailer, really. Has an effectively quiet, somber tone. Hardly representative of the film, I'm sure though.
 
Man, that shit looks great.

The football field collapsing under the explosives is a very striking image, even if those fake NFL uniforms look like shit.

THE HATH! looks great. Bane looks effectively menacing.

Yes. I'm in.
 
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