By Jody Duncan Jesser
The paintings and Making of The darkish Knight Trilogy tells the full behind-the-scenes tale of those 3 enormous movies. in accordance with in-depth interviews with Nolan and the entire motion pictures’ key forged and crew—including cowriters David S. Goyer and Jonathan Nolan, cinematographer Wally Pfister, and more—the publication unearths the artistic technique at the back of the epic darkish Knight Trilogy, supported by way of lavish artwork and never-before-seen photography.
BATMAN and all similar characters and components are logos of and © DC Comics.
Praise for The paintings and Making of the darkish Knight Trilogy:
“A superbly creative photograph e-book . . . For someone who ever desired to make a film, The paintings and Making of The darkish Knight Trilogy is nearly as good a blueprint, in addition to being an engrossing story, of the making of a mega-hit movie series.” —McClatchy Newspapers
“This probability to revisit Batman Begins and The darkish Knight in methods either clever and definitive has revived my religion and exuberance on quite a few degrees. Kudos to authors Jody Duncan Jesser and Janine Pourroy for pulling off what sounds like a frightening activity, and doing so with type to spare.” —School Library Journal
“The e-book finds the artistic method at the back of the epic darkish Knight Trilogy, supported by means of lavish artwork and never-before-seen photography.” —Washington Examiner
“Every element of Nolan’s filmmaking technique is special in Jesser and Pourroy’s outstanding, stunning publication, observed by means of hundreds of thousands of top quality pictures and illustrations. i'll simply see it promoting for $60–$75 a result of loopy volume of Bat-tastic geeky goodness inside of. purchase. THIS. BOOK.” —Geeks of Doom
“This luxurious espresso desk ebook is pretty well the suitable studio-sanctioned guidebook via Nolan's motion pictures . . . No stone is unturned, and no attention-grabbing creation nonetheless or tale is ignored . . . little need to claim extra the following, i feel: should you love those video clips . . . you’ll locate this booklet to be an absolute treasure.” —Comics Bulletin
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Extra resources for The Art and Making of The Dark Knight Trilogy
Rather than the Batcave being this very elaborately and slightly _______ improbably built place,” acknowledged Nolan, “we designed it as this actual cavern that used to be damp and filthy and whole of genuine bats. after which we confirmed Bruce Wayne relocating in equip- ment and stringing lighting to make the cavern extra ‘livable. ’” below Crowley’s path, building crews trans- lated construction designs into small interiors outfitted on Shep- perton’s soundstages or—more ambitiously—expansive units housed inside of an deserted and cavernous international War I–era dirigible hangar, one of many Cardington Sheds in Bedfordshire, a rural sector of britain. There, the Batman _______ 70 PRODUCTION layout Early idea artwork for Batman starts off: Gotham as considered from the Wayne corporations boardroom. starts paintings division erected many absolutely discovered Gotham urban blocks, with paved streets, multistory structures, road- lighting, and signage. The second-largest inside house in all of Europe, in basic terms Cardington proved sufficiently big to deal with the total- scale Gotham urban that Nolan and Crowley had anticipated. “The scale of the movie used to be huge,” defined Crowley. “We not just had to build huge, full-scale constructions, we additionally wanted room for all of our large-scale results paintings and stunts. We have been going to be doing loads of excessive wirework for ___ photographs of Batman jumping off Gotham rooftops and so on, and that required loads of peak and area. ” Even the main spacious studio soundstage didn’t have the ceiling peak to house such stunt paintings. the answer favorite via such a lot productions with large-scale stunts and results used to be to construct units outdoor on studio backlots, yet Nolan desired to keep away from taking pictures on a backlot, if attainable, because it might have subjected the construction to the vagaries of weather—and now not sunny Hollywood climate, yet wet, foggy, bone-chilling London climate. seventy one the truth that Batman was once a nocturnal creature posed one other challenge in capturing open air, because it could suggest many, many weeks of evening shoots, that are notoriously onerous for solid and team. “Chris desired to stay away from hav- ing to do all these evening shoots,” acknowledged Crowley. “For all of those purposes, what we wanted used to be a tremendous indoor house, an area a lot, a lot larger than any recognized soundstage— yet we didn’t understand the place we have been going to discover it. after which, in the future, Emma stated, ‘There’s this position the place I grew up that appears beautiful gigantic . . . ’” Emma Thomas had grown up now not faraway from Bedford- shire, positioned approximately forty-five miles from London, and had frequently pushed earlier the Cardington Sheds. The movie- makers drove out to enquire, and located empty han- gars—one past fix, however the moment structurally sound adequate to be remodeled right into a soundstage. The hangar measured a whopping 800 toes lengthy, four hundred ft broad, and a hundred and sixty toes from flooring to ceiling. “Since Cardington used to be origi- nally an airship hangar,” stated Nolan, “it were equipped on a far higher scale than any current soundstage. you may healthy ten of the bigger levels at any of the movie studios within the house that Cardington occupies.