The Art and Making of The Dark Knight Trilogy
Jody Duncan Jesser
Format: PDF / Kindle (mobi) / ePub
The Art and Making of The Dark Knight Trilogy tells the complete behind-the-scenes story of these three monumental films. Based on in-depth interviews with Nolan and all of the films’ key cast and crew—including cowriters David S. Goyer and Jonathan Nolan, cinematographer Wally Pfister, and more—the book reveals the creative process behind the epic Dark Knight Trilogy, supported by lavish art and never-before-seen photography.
BATMAN and all related characters and elements are trademarks of and © DC Comics.
Praise for The Art and Making of the Dark Knight Trilogy:
“A beautifully artistic photo book . . . For anyone who ever wanted to make a movie, The Art and Making of The Dark Knight Trilogy is as good a blueprint, as well as being an engrossing tale, of the making of a mega-hit film series.” —McClatchy Newspapers
“This chance to revisit Batman Begins and The Dark Knight in ways both smart and definitive has revived my faith and enthusiasm on numerous levels. Kudos to authors Jody Duncan Jesser and Janine Pourroy for pulling off what seems like a daunting task, and doing so with style to spare.” —School Library Journal
“The book reveals the creative process behind the epic Dark Knight Trilogy, supported by lavish art and never-before-seen photography.” —Washington Examiner
“Every aspect of Nolan’s filmmaking process is detailed in Jesser and Pourroy’s fantastic, gorgeous book, accompanied by hundreds of high-quality photographs and illustrations. I could easily see it selling for $60–$75 because of the crazy amount of Bat-tastic geeky goodness within. BUY. THIS. BOOK.” —Geeks of Doom
“This sumptuous coffee table book is pretty much the perfect studio-sanctioned guidebook through Nolan's films . . . No stone is unturned, and no interesting production still or story is neglected . . . No need to say more here, I think: if you love these movies . . . you’ll find this book to be an absolute treasure.” —Comics Bulletin
development time. Even if things changed later, I still had that basic ‘I remember what we talked about’ from the garage, which was underneath everything.” Because of time and budgetary constraints on Batman Begins, Hemming had relied on a manufacturing process for the Batsuit similar to that used in previous Batman films. For The Dark Knight, however, both she and Christopher Nolan were ready to look at the suit from an entirely new angle and to solve some of its inherent problems. Most of
lair fight would display the full force of Bane’s brutality and strength. “They wanted to show that Batman was struggling as he fought Bane,” Tom Hardy noted. “I love doing fight choreography in films _____ because you get to look really tough, but it’s not real and it doesn’t really hurt! Well . . . it hurts sometimes. When you hit somebody in a Batsuit made of rubber and plastic, it hurts your fists. But it looks really good. You just do what you can, and whatever you can’t do, the stuntmen
has frightened him most since he was a child—bats.” The final question to be answered was “how?”—the specifics of how Bruce Wayne, a mere mortal, transforms himself into a powerful figure with seemingly superhu- man capabilities. “We wanted the audience to experience the process of becoming Batman through Bruce Wayne’s eyes,” said Nolan, “to really get inside this guy’s head and go on that journey with him.” To do that, the writers imag- ined real-world sources for Batman’s tools of the trade.
King, “and it was our job to live up to that and give him something tangible to respond to. It is very hard—and usually, meaningless—to talk about sound theoretically. He needed to actually hear it, and have a visceral reaction, or not.” Harvey Dent (Aaron Eckhart), Rachel Dawes (Maggie Gyllenhaal), and Mayor Anthony Garcia (Nestor Carbonell) walk the funeral procession for slain Police Commissioner Loeb in The Dark Knight. The sound department recorded on-set crowd sounds for large street
used for the first two films—while signaling that something completely different was in store. 302 MARKETING 303 304 MARKETING “Marketing is all about creating cultural icons,” Sue Kroll concluded. “And these properties, especially, have played a huge role in people’s lives, beyond just going to the movies. Batman really is in the vernacular of the cul- ture. And these campaigns feel very different. They last and they sustain. They stand up to the test of time, and are just as