The Dark Knight DVD Packaging

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The follow-up to the action hit “Batman Begins,” “The Dark Knight”
reunites director Christopher Nolan and star Christian Bale, who reprises the role
of Bruce Wayne/Batman.
With the help of Lieutenant Jim Gordon and the committed new District
Attorney, Harvey Dent, Batman sets out to destroy organized crime in Gotham
City for good. The triumvirate initially proves to be effective, but they soon find
themselves prey to a rising criminal mastermind known as The Joker, who
thrusts Gotham into anarchy and forces The Dark Knight ever closer to crossing
the fine line between hero and vigilante.
Academy Award nominee Heath Ledger (“Brokeback Mountain”) portrays
arch-villain The Joker, and Aaron Eckhart plays District Attorney Harvey Dent.
Maggie Gyllenhaal joins the cast in the role of Rachel Dawes. Returning from
“Batman Begins” are Gary Oldman as Lieutenant Jim Gordon; Oscar winner
Michael Caine (“The Cider House Rules”) as Alfred; and Oscar winner Morgan
Freeman (“Million Dollar Baby”) as Lucius Fox.
Warner Bros. Pictures presents, in association with Legendary Pictures, a
Syncopy Production, a Christopher Nolan film, “The Dark Knight.” Nolan directed
the film from a screenplay written by Jonathan Nolan and Christopher Nolan,
story by Christopher Nolan & David S. Goyer. Charles Roven, Emma Thomas
and Christopher Nolan are the producers, with Benjamin Melniker, Michael E.
Uslan, Kevin De La Noy and Thomas Tull serving as executive producers. “The
Dark Knight” is based upon characters appearing in comic books published by
DC Comics. Batman was created by Bob Kane.
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The behind-the-scenes creative team includes two-time Oscar-nominated
director of photography Wally Pfister (“The Prestige,” “Batman Begins”), Oscarnominated
production designer Nathan Crowley (“The Prestige”), Oscarnominated
editor Lee Smith (“Master and Commander: The Far Side of the
World”) and Oscar-winning costume designer Lindy Hemming (“Topsy-Turvy”).
The music is by Oscar winner and multiple Oscar nominee Hans Zimmer (“The
Lion King,” “Gladiator”) and seven-time Oscar nominee James Newton Howard
(“Michael Clayton,” “The Fugitive”), who previously collaborated on the score for
“Batman Begins.”
Six sequences of “The Dark Knight” were filmed with IMAX® cameras,
including the opening six minutes. This marks the first time ever that a major
feature film has been even partially shot using IMAX cameras, marking a
revolutionary integration of the two film formats. The IMAX Experience® will
appear in IMAX DMR (letterbox), while scenes shot with IMAX cameras on
15/70mm film will expand vertically to fill the entire IMAX screen, which can be up
to eight stories tall, for an all-encompassing moviegoing experience.
“The Dark Knight” will be distributed worldwide in theatres and IMAX by
Warner Bros. Pictures, a Warner Bros. Entertainment Company.
www.thedarkknightmovie.co.uk
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ABOUT THE PRODUCTION
“Some men aren’t looking for anything logical, like money.
They can’t be bought, bullied, reasoned or negotiated with.
Some men just want to watch the world burn.”
With “Batman Begins,” writer/director Christopher Nolan opened a new chapter in
the Batman film franchise by taking the legendary character back to his origins, reimagining
why and how the billionaire industrialist Bruce Wayne became the enigmatic
crime fighter known to the world as Batman. In “The Dark Knight” Nolan returns to the
Batman saga with the character now, in the director’s words, “fully formed.”
Nolan continues, “I thought we left the world of Batman at an interesting place in
the first film, and the end suggested an intriguing direction in which the story could
continue.” Nolan developed the story with David S. Goyer, with whom he had
collaborated on the screenplay for “Batman Begins.” Nolan and his brother, Jonathan,
then partnered on the screenplay for “The Dark Knight.”
In “The Dark Knight,” Nolan says he focused more on how Batman’s very
existence has changed Gotham City…and not, at least initially, for the better. “At the
end of ‘Batman Begins,’ we hinted at the threat of escalation—that in going after the
city’s crime cartels and attacking their interests, Batman could provoke an even greater
response from the criminal community and now that has come to pass. There are some
very negative consequences of his crusade brewing in Gotham City.”
Producer Charles Roven offers that the issue extends beyond Gotham’s resident
criminals. “On the one hand, Batman has begun to rid Gotham of the crime and
corruption that has plagued the city, but, ironically, the vacuum he created draws in an
even more powerful criminal element, who see it as their chance to take over the city.”
Producer Emma Thomas notes, “In ‘Batman Begins’ we largely concentrated on
the origins of the character—how Batman evolved out of Bruce Wayne’s own early
trauma, his fears, his anger and, finally, his resolve to fight crime and corruption. In ‘The
Dark Knight,’ Batman has become well-known to the police and citizens of Gotham City,
but while some consider him a hero, others wonder if he is doing more harm than good.
And the arrival of a new kind of criminal raises the stakes on that debate.
“What’s intriguing,” Thomas adds, “is that the billionaire playboy Bruce Wayne—
with his fabulous cars, a beautiful woman on each arm and not a care in the world—is
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not at all who this man really is. So while Bruce Wayne wears a mask to hide his identity
as Batman, it is actually Batman who defines Bruce’s true identity, and the public
persona of Bruce Wayne is the ‘mask’ he wears to co-exist in this world.”
It didn’t start out that way. Returning to the dual role of Bruce Wayne/Batman,
Christian Bale asserts, “I believe Bruce thought it would be a finite thing, that Batman
would serve as an inspiration to Gotham City and that he would eventually be able to
leave this character he conceived behind. But he is coming to understand, more and
more, that this is not something he can easily walk away from now…or possibly ever.
There are new enemies to protect the city from.”
The most dangerous of these enemies is Batman’s most infamous nemesis—a
maniacal, remorseless fiend known as The Joker. “The Joker is the ultimate screen
arch-villain,” Nolan attests. “In his own way, The Joker is as much an icon as The Dark
Knight is, and that presented us with both an opportunity and a challenge in terms of
exploring the character’s distorted point of view. But we also wanted to create a villain
who, as colorful and outrageous as he is, is still coming from a place of reality. In
keeping with the tone we established in ‘Batman Begins,’ we determined he is a pretty
serious guy, despite being called The Joker. So we began with the notion of The Joker
as the most extreme form of anarchist—a force of chaos, a purposeless criminal who is
not out for anything and, so, can’t be understood. He is not only a massively destructive
force, but he also takes great delight in his murderous nature, which is a pretty terrifying
spectacle.
“As the screenplay developed,” Nolan continues, “we started to explore the effect
one guy could have on an entire population—the ways in which he could upset the
balance for people, the ways in which he could take their rules for living, their ethics,
their beliefs, their humanity and turn them on themselves. You could say we’ve seen
echoes of that in our own world, which has led me to believe that anarchy and chaos—
even the threat of anarchy and chaos—are among the most frightening things society
faces, especially in this day and age.”
“The Joker is somebody without any rules whatsoever,” Bale states. “How do
you fight somebody who is bent on destruction, even if it means self-destruction? That’s
a formidable foe.” The actor goes on to say that The Joker’s total lack of morality is one
of his most potent weapons in his war with Batman because, conversely, “Batman has a
very strict moral code for what he will and won’t do, and The Joker can use that to his
advantage. Batman still has this huge reserve of anger and pain and knows he could
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easily go too far, so he must not cross that line. He has to be sure that in chasing a
monster, he doesn’t become a monster himself. Chris Nolan has raised interesting
ethical questions in this movie about the complications of having power versus aspiring
to power.”
Bale, who counts “The Dark Knight” as his third collaboration with Nolan, adds, “I
think Chris has a great talent for satisfying the need for a rollercoaster ride, for just being
purely entertained, without forgoing moments of great personal conflict and the duality
within the characters. He manages to do both without compromising either.”
While The Joker wreaks chaos and fear, the crusading District Attorney Harvey
Dent is the new face of law and order in Gotham City. “Harvey is a man of the people.
He’s an all-American hero in a very different way from Batman,” says Nolan. “So now
you have the triumvirate of Batman, Harvey Dent and Lieutenant Gordon—the justice
system, the police and a vigilante—forming an alliance to bring down crime. Using
Batman gives them an edge over the criminals, but it is still the police who will arrest
them, and then they will be tried through the justice system. But what comes up is the
question of whether you can bend the rules without breaking them. And that becomes
the underlying theme of the story.”
The dynamic between the three crime fighters changes abruptly when an
unforeseeable turn of events destroys the steadfast DA Harvey Dent and gives rise to
the vengeful villain Two-Face. Nolan comments, “The hope that Harvey represents to
Gotham City and then the tragedy of what happens to him and his transformation into
Two-Face…it’s a remarkable story.”
The director observes, “The Joker is the more flamboyant villain, so he
commands attention. But in some ways Harvey Dent/Two Face is the more compelling
character because he has such an amazing arc. Our Joker has no arc, per se; he’s just
hell-bent throughout. The Joker and Harvey Dent—these are two of the most fascinating
characters from the Batman comic books. They have an almost mythic quality and it
was exciting to view them through the prism of the world we created.”
In a groundbreaking move, Nolan broadened the scope of that world with a
filmmaking first. Nolan shot six major action sequences with IMAX cameras, becoming
the first director to use the large-format cameras to film even a portion of a traditional
feature film. “In continuing Batman’s story, the challenge was to make things bigger and
better—to expand the world we established in the first film, both through the story and in
the way we presented it,” he states. “I was thrilled with the way the IMAX photography
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turned out. It throws the audience right into the action in a way no other film format
could. It takes me back to when I was a kid going to the movies and experiencing the
scope, the scale and the grandeur that great cinema can offer. As a filmmaker, I think
you’re always trying to get back to that, and expanding the canvas of our story with
IMAX seemed a great way to do it.”
The filmmakers have also made several changes to the world of Batman: Bruce
Wayne’s familial home, Wayne Manor, burned to the ground at the end of “Batman
Begins,” so Bruce now resides in a modern penthouse overlooking the city. Batman also
has a newly designed Batsuit, which gives him more range of motion and a greater field
of vision—“I can turn my head,” Bale smiles. And the agile and powerful Bat-Pod makes
its much-anticipated debut as The Dark Knight weaves through Gotham City traffic in a
pulse-pounding chase sequence filmed on the streets of Chicago.
Batman’s pursuit of justice also takes him on an odyssey halfway across the
world to Hong Kong, marking the first time The Caped Crusader has left the confines of
Gotham City on screen.
“Chris had a wonderful overall vision of what he wanted to achieve with this film,
and he was able to accomplish that and more,” says Roven. “He’s one of those rare
directors who, when he tells you what he’s trying to do, no matter how ambitious, you
can rely on the fact that he will do it, usually even better than you imagined.”
“You either die a hero…
or live long enough to see yourself become the villain.”
“The Dark Knight” reunites several members of the ensemble cast from “Batman
Begins,” leading with Christian Bale in the title role. Bale says he welcomed the
opportunity to once again inhabit the solitary figure, who has had to relinquish much of
his personal identity for the greater good. He offers, “Bruce is certainly sacrificing, both
mentally and physically, as a consequence of this character of Batman whom he has
unleashed and now is unable to rein in anymore. More than a persona, he has created
a symbol, and that symbol can’t have limits. He can’t show weakness ever. So you
have the conflict between what is good for Bruce Wayne and what is the right thing for
Batman to do, because the two of them are not always compatible.”
“Working with Christian is a joy and just a lot of fun. He is a very engaging
presence to have on the set,” says Nolan. “He also has an intensity about him; he is
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incredibly focused on tapping into the psychological reality of whatever character he’s
playing. He applies the same disciplined approach to finding the truth of that character
and sticks to it. That is a great help to me as a filmmaker because I know he is prepared
and has a handle on how his character is going to move through the story. In fact, he
has a lot of the same qualities that Bruce Wayne brings to bear in changing himself from
an ordinary man into this extraordinary crime-fighting figure.”
“Christian brought everything to his performance that you could want for the
character—the stature, the emotional resonance, the complexity,” Roven states. “It was
amazing to be on the set watching him. He took his role to another level in this film.”
Nolan adds that although Bale portrays the same character in “The Dark Knight”
that he did in “Batman Begins,” the two films presented the actor with very different
challenges. “On ‘Batman Begins,’ it was a lot of physical effort—he had to get himself in
terrific shape and learn all kinds of skills in terms of the way Batman fights, the way he
moves. On this film, I would say it required more of an internal process because Bruce
is realizing the personal toll of living this double life and is questioning the choices he’s
made. Christian conveys that emotional struggle very convincingly, often without saying
a word.”
Nevertheless, the role of Batman has an inherent physicality, so Bale immersed
himself in a refresher course on the Keysi Fighting Method (KFM) that Batman employs
against his enemies. A relatively young martial arts discipline, KFM is an intuitive
fighting method with a strong emphasis on mental focus, but Bale also had to be in peak
physical condition. He trained with Keysi fight coordinators Andy Norman and Justo
Dieguez for two to three hours every day. “In KFM, you learn to develop every part of
your body as a weapon, and it’s not easy,” Norman relates. “We worked Christian
extremely hard, and it was fantastic how quickly he absorbed everything. There was a
definite progression in his training since the first film. He understands KFM a lot better,
so he was more powerful and his movement was incredible.”
“It’s a fascinating fighting method,” says Bale, “because it uses the adrenaline
that everyone feels entering into a threatening or violent situation. It really comes from
the gut. Rather than the kind of Zen calm that some martial arts call on, KFM is based
on animal instinct and honing those instincts to be lethal, so it’s perfect for Batman.”
But The Dark Knight is about to confront a singular criminal called The Joker,
who has little regard for Keysi or any other fighting method. In a fair fight, “Batman
would obliterate him,” Bale asserts, “but The Joker doesn’t fight fair. He has other tricks
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up his sleeve, so it’s more of a mind game. But he finds in Batman a very worthy
opponent, and I think he enjoys that.”
Heath Ledger plays the role of The Joker, the malevolent clown who is arguably
the most recognizable of Batman’s arch-nemeses. In casting the part, Nolan says that
the defining quality he was looking for “was fearlessness. I needed a phenomenal actor,
but he also had to be someone unafraid of taking on such an iconic role. Heath created
something entirely original. It’s stunning, it’s captivating…it’s going to blow people
away.”
The director recalls that he first met with Ledger about the role even before there
was a script. “We talked about how we saw this character and we both had exactly the
same concept—that The Joker was about the threat of anarchy and revels in creating
chaos and fear on a grand scale. Heath seemed to instinctively understand how to
make this character different from anything that had ever been done before.”
Roven elaborates, “The Joker is one of the great villains in comic book lore—
psychopathic, enigmatic, clever, diabolical, charming, funny and completely enjoyable to
watch. We knew it would take an extraordinary actor to play him and Heath delivered on
every front. From every physical nuance to each vocal turn of phrase, it’s just an
unforgettable performance.”
In “The Dark Knight,” The Joker arrives on the scene without warning and climbs
ruthlessly to the top of Gotham City’s criminal food chain. “We never wanted to do an
origin story for The Joker in this film, but we wanted to show the rise of The Joker,”
Nolan maintains. “In a sense, The Joker is the logical response to Batman, who has
instigated this kind of extremity of behavior in Gotham.”
Bale adds, “The Joker wants to break Batman, to prove that everybody has a
price and even Batman can be leveraged in such a way that he would compromise his
principles. I actually think he’s delighted to find that Batman won’t do that, and it creates
for The Joker an even better opponent in this game he’s playing. He’s a fascinating
character, and Heath did an extraordinary job with it. I don’t think the movie would have
worked as well if we hadn’t had an actor of the caliber of Heath Ledger, who was able to
really up the ante, much as The Joker does in Gotham.”
“We wanted The Joker to represent pure, unadulterated evil, in the sense that he
has no logical motivation for his actions. That is what we wanted to unleash on the city
of Gotham. He is an absolute,” Nolan sums up simply.
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Yet, Emma Thomas is quick to note, “He is very funny. I know it sounds
somewhat bizarre, because how could someone so deplorable be funny? Heath’s take
on the role was not campy but still hilarious, both physically and in a dry, sardonic way.
With The Joker, I think you’ll find yourself being horrified and terrified, but hugely
amused at the same time.”
On the other side of the law, another figure has risen to prominence in Gotham
City: Harvey Dent, the newly elected District Attorney, who is on a mission to break
organized crime’s stranglehold on his beleaguered city. Harvey Dent is played by Aaron
Eckhart, who offers, “Harvey has charged himself with tackling organized crime and
cleaning up the streets. He is the shining new hope of Gotham City, the ‘White Knight,’
as he is called. He starts out full of optimism and enthusiasm…where he ends up is
somewhere completely different,” he hints. “It’s a great role and I’m a big fan of Chris
Nolan’s, so when he approached me about doing the film, it was a no-brainer.”
Nolan says that while Eckhart looks every inch the part of the handsome and
charismatic DA, his reasons for casting the actor ran deeper. “We were looking for
somebody who could embody that All-American charm because you have to invest in
him as a very attractive, heroic figure at the beginning of the movie. But he also had to
have an edge; he had to suggest this undercurrent of anger and darkness that Harvey
Dent needed to have, so where he goes in the story is believable. You can’t present a
character like this as simply a heroic figure with no flaws, no dark side. Aaron captured
all of those qualities very, very well.”
As the new Gotham City DA, Harvey Dent not only has to contend with a rise in
crime, but also with a masked vigilante known as Batman. “It’s an interesting dynamic,”
Eckhart remarks, “because Harvey sees Batman fighting crime in a way that he would
like to but cannot. Harvey has to stay within the boundaries of the law. He has to do
overtly what Batman is doing covertly. He admires Batman’s intentions, even if he can’t
publicly support his methods. But what he thinks of Bruce Wayne is quite different. He
sees Bruce as nothing more than a playboy about town without any real credibility.”
“Harvey thinks Bruce is a complete upper-class twit,” Nolan affirms. “It would
astonish him to find out he is really the man behind the mask.”
Dent’s opinion of his public persona notwithstanding, Bruce Wayne appreciates
the new DA’s efforts on behalf of the city. Nolan comments, “It seemed most logical to
us that Bruce initially saw Batman as a short-term crusade, as a symbol to inspire the
good people of Gotham to take their city back. In Harvey Dent, he finally sees the
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response he was looking for. Harvey is the hero that Gotham needs—the hero with a
face, not one wearing a mask.”
But, Thomas says, “There is a certain amount of personal opportunism going on
there, as well, because if Harvey Dent can succeed, then maybe Bruce can stop being
Batman. Maybe there is a world in which he can return to a normal life. There’s a big
part of him that does wish he could hang up his cape. Whether Bruce would actually
enjoy hanging up Batman’s cape at this point, I don’t know. I don’t think even he knows.
But there is definitely a part of him that feels he has started something that has spun out
of control, and Harvey Dent may be his only hope for being able to end it.”
For Bruce Wayne, a chance for a normal life also means a chance for a future
with the love of his life, Rachel Dawes, who now works for Dent as an assistant district
attorney. In that regard, the DA is not a hope but a hindrance, because Rachel is
involved with him not only professionally but romantically, as well. “When it comes to
Rachel, there is a contradiction in Bruce’s feelings about Dent. While he does respect
Dent, another part of Bruce just wants to knock him out,” Bale says only half-jokingly.
“So Bruce’s ideological side and his very human side are again at loggerheads with each
other.”
Cast in the role of Rachel, Maggie Gyllenhaal notes, “Rachel made the
heartbreaking decision that it is impossible for her to be with Bruce as long as he is
Batman. Then Harvey Dent came into her life, and she is crazy about him. I think the
thing she really admires about Harvey, as opposed to Batman—or, rather, what Bruce
Wayne is doing as Batman—is that Harvey is not a vigilante. He is not putting himself
above the law for what he believes is ultimately best for the people of Gotham City.
Instead, Harvey believes in the system, even if it’s broken, and he is going to work within
the system to change things that are corrupt. I think that’s why Rachel loves him and
thinks he is a hero in his own way. At the same time, she still genuinely loves Bruce and
she obviously knows he is still in love with her, so it’s a real predicament.
“But for me, I mean it’s Christian Bale and Aaron Eckhart and they are both pretty
spectacular, so as an actress, it was easy to live with that predicament,” Gyllenhaal
laughs. “My wanting to be a part of this film had almost everything to do with Chris
Nolan and the rest of the cast. From the beginning, Chris was so engaging and so
interested in my ideas about the role. He was clear that he wanted Rachel to be smart
and capable and not the damsel in distress, although she is in distress sometimes. We
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were really good for each other because that’s very much what I wanted, and we pushed
each other in different ways to make Rachel who she is.”
“Maggie is just a fantastic actress,” states Nolan. “I’ve always loved her work
and had wanted an opportunity to work with her, and the role of Rachel in this film
seemed like the perfect match. Maggie has great intelligence and maturity and she is
also very warm and, of course, lovely. You really believe her in this role. I think she
beautifully conveyed the conflict in Rachel standing between these two men in her life,
and you can see why both men would naturally be drawn to her. Rachel has so much
history with Bruce and he will always be in her heart, but she also loves Harvey and can
see a future with him.”
However, that all changes in an instant when a shocking incident transforms the
once redoubtable Harvey Dent into the horribly deformed Two-Face, who is now bent on
one thing: revenge. “Something terrible happens that alters everything in his life and
rage takes over,” says Eckhart. “He takes strength from his grief and his pain and sets
out to kill the bad guys…or those he now perceives as the bad guys. He still wants
justice, but now he pursues it outside of the law he once lived by. I don’t think of him
purely as a villain in the way The Joker is. But at the point that Harvey becomes Two-
Face, his outlook is so twisted that he starts to see The Joker as a kindred spirit…and
The Joker knows he has Harvey where he wants him. It’s a great scene, and Heath did
such a wonderful job. As an actor, it was exciting to work with him. Heath’s
performance made this Joker an indelible screen character. He was everything you
could want in an arch-villain as infamous as The Joker, and yet he was completely
original.”
Nolan says, “The Joker is terrifying because there appears no rhyme or reason
for what he does. He’s just a force of nature tearing through. With Two-Face, you see
his transformation and you understand where his anger and his grief come from. Aaron
did an extraordinary job of portraying the tragic arc of Harvey Dent and Two-Face; he
takes you on that emotional ride with him.”
Apart from the obvious example of Harvey Dent/Two-Face, the director observes,
“There are a number of dualities in this film, and there are also several mirrored
relationships. The relationship between Batman and The Joker is an interesting one, as
is the relationship between Harvey Dent/Two-Face and Lieutenant Gordon.”
Reprising his role from “Batman Begins,” Gary Oldman plays Lieutenant Jim
Gordon, the head of the Gotham City Police Major Crime Unit (MCU). “Gary is such a
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remarkable actor,” Roven says. “Gordon could have been a comparatively
straightforward role, especially surrounded by the more eccentric and even bizarre
characters, but Gary brought so many colors to his performance.”
Nolan comments, “In the first film, Gordon was a very reserved character. It
required an actor who could play an important role, but in a very subtle and restrained
way. I was thrilled to be able to bring Gary back as Gordon, but in a story that
challenges the character more and lets Gary show more of what he’s so great at.”
In “The Dark Knight,” Lieutenant Gordon is facing mounting pressure from all
sides in the wake of the recent escalation of crime, but as a career cop, he knows his
first, best option is to follow his gut instincts, which tell him to trust Batman. He
understands that Batman now poses some danger to Gotham, but he believes Batman
may ultimately be its salvation, especially with the arrival of The Joker. “The police have
never encountered anything like The Joker,” says Oldman. “He’s not interested in
money or even power, in the usual sense of the word. The Joker is all about chaos; he
does what he does for the fun of it. How do you police someone like that?”
Thomas adds that in addition to being tested because of Batman’s efforts and the
effect they are having on his city, “Gordon doesn’t entirely trust Harvey Dent yet because
there has never been a politician in Gotham City who wasn’t corrupt in some way. He
knows something must be done and decides Batman is his best bet because he knows
Batman’s intentions and has faith that things will get better in the long run.”
Bruce Wayne has two other trusted allies in his life: his loyal butler, Alfred
Pennyworth, who, since Bruce’s parents were murdered, has essentially been the only
father Bruce has ever known; and the brilliant Lucius Fox, who is now the CEO of
Wayne Enterprises, in addition to being the architect of Batman’s high-tech arsenal.
Oscar-winning actors Michael Caine and Morgan Freeman return as Alfred and Lucius,
respectively, having played the same roles in “Batman Begins.”
As Bruce Wayne’s closest confidants, Alfred and Lucius know Batman’s true
identity, but with that knowledge comes responsibility. Each in his own way also serves
as a mentor, an advocate, and sometimes as Bruce’s conscience. “The bond between
them is very clear, but you see the different sides of their relationships,” Nolan says.
“Lucius Fox is fully aware of what Bruce is doing as Batman and approves to a large
extent. But over the course of the film, we test the limits of what Lucius finds acceptable
in terms of what Bruce does as Batman.”
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Freeman notes, “I see Lucius as practical-minded in doing what has to be done
in order to facilitate this man’s mission. Batman has set himself up as a champion of
justice, and once he’s established that idea and the world is counting on him, he has to
step up to the plate and deliver. But Lucius questions if there are limits to what he will
do to help Bruce meet that challenge.”
On the other hand, Nolan says, “Alfred is a firm believer in what Bruce is doing
and encourages him to take it even further if necessary, because Alfred believes it’s the
right thing to do. Of course, Alfred is also concerned for the human side of Bruce
because Alfred raised him from a boy, but he tries not to let his own fears for Bruce’s
personal safety get in the way of telling him to carry on with his quest.”
Bruce Wayne tells Alfred that, as a symbol, Batman can’t have limits, but “to
Alfred, Bruce is a real person and does, in fact, have limits,” says Caine. “Bruce is like
his child, and you always see your children as kids, even when they are all grown up.
So, of course, Alfred worries about what he is doing. I think of Alfred as Bruce’s
guardian angel, not only physically, but psychologically and morally. There are real
issues there, and Alfred often has a go at him about it. Alfred’s relationship with Bruce is
the most human and also, I think, the most humorous,” Caine smiles.
The director says that Alfred’s humor comes naturally. “Michael is a very funny
guy; I’ve never worked with an actor who could time comedy quite so effortlessly. He
knows exactly what to do with a line to get the biggest laugh.
“Working with great veterans like Michael Caine and Morgan Freeman, I benefit
massively from their experience,” Nolan continues. “They have a calm presence on the
set that everybody responds to, and they just inspire everyone around them to be on
their best game. It was a privilege to work with them in the first film and an honor to
have them back for ‘The Dark Knight.’”
The film’s main cast also includes Eric Roberts as Maroni, one of the heads of
Gotham City’s crime cartel; Chin Han as Lau, an Asian business mogul, who makes
Gotham’s crime syndicate an offer they can’t refuse; Nestor Carbonell as the Mayor of
Gotham City; and Anthony Michael Hall as a television news reporter. Cillian Murphy
also makes a return cameo appearance as Scarecrow.
Overall, Nolan states, “The cast is a terrific ensemble of some of the most
extraordinarily talented actors working in movies, which made it very exciting for
everyone involved. It generated a great atmosphere on the set, and it was magical to
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watch actors with very different approaches come together and work so hard towards
the same goals.”
“Will you be wanting the Bat-Pod, Sir?”
“In the middle of the day, Alfred? Not very subtle.”
On the screen, Lucius Fox gets credit for providing Batman with his state-of-theart
crime-fighting accoutrement, from his new and improved Batsuit to his weapons and
his different modes of transportation. In real life, however, credit goes to Chris Nolan
and his behind-the-scenes design teams, led by production designer Nathan Crowley
and costume designer Lindy Hemming, as well as special effects supervisor Chris
Corbould and his crew, who turn design into function.
Nolan remarks, “With ‘Batman Begins,’ we got to show how things like the
Batmobile and the Batsuit were developed. At the same time, we didn’t fully explore all
of the gadgetry, so in continuing the story, what we get to do is show how he becomes
even more high-tech, but still in a credible way. What I love about Batman is that he has
no super powers except for his extraordinary wealth. Looking at it from that point of
view, if you had limitless financial resources, and therefore a lot of power in material
ways, how could you apply that to the creation of some amazing gadgets and crimefighting
techniques, all of which are still based on real science and real-world logic?”
Nolan and Crowley had previously redesigned The Caped Crusader’s legendary
Batmobile for “Batman Begins,” creating something of a cross between a Lamborghini
and a Humvee. The ultimate muscle car, the Batmobile—nicknamed the Tumbler—
combines the power and handling of a sports car with a structure closer to that of an
armored tank. Riding on six monster truck tires, the Batmobile has no front axle,
allowing it to make tighter turns. Despite weighing in at two and a half tons, it can jump
as much as six feet high, and up to a distance of sixty feet, peeling off the instant it
touches down. The Batmobile can also do zero to sixty in five seconds.
While the Batmobile remains a formidable presence in “The Dark Knight,” the film
introduces Batman’s newest ride, the Bat-Pod, a high-powered, heavily armed twowheeled
machine. “Of course we were going to have the Batmobile back,” states Nolan,
“but we wanted to give Batman something new: a fresh means of transportation,
something very exotic and very powerful looking. It’s a two-wheeled vehicle, but it’s
15
definitively not a motorcycle. In essence, the Bat-Pod is to the world of motorcycles
what the Tumbler is to the world of cars.”
Fast and maneuverable through the streets of Gotham City, the Bat-Pod is also
capable of handling all terrains. It has the same monster truck tires as those found on
the Batmobile and is self-standing, meaning it does not require a foot stand. Well
outfitted for hostile situations, it is equipped with weapons on both sides: 40mm blast
cannons, 50-caliber machine guns, and grappling hook launchers.
The original design of the Bat-Pod was the brainchild of Crowley and Nolan.
With little more than the basic concept in mind, the two retreated to their favorite design
headquarters—aka Nolan’s garage—to work out the details. Crowley recalls, “We
figured, ‘Let’s just go for it; let’s build it full-size.’ So we did. We got some tools and put
together a full-size model out of anything we could find that might fit.”
Of course, Nolan and Crowley still had no idea if their invention could actually
run. That’s where the special effects team, headed up by Chris Corbould, came in.
Corbould relates, “First of all, I remember when Chris Nolan first showed me his idea for
the Batmobile. I had no idea how we were going to make it work even though it ended
up being very successful. So when I got his call asking me to come have a look at
something he called ‘the Bat-Pod,’ I thought, ‘Uh-oh, what have you dreamt up this
time?’”
Corbould flew to L.A., arrived at Nolan’s garage, and the first time he looked at
Nolan and Crowley’s model of the Bat-Pod, “I think he was almost in tears,” Crowley
laughs. “He looked horrified that he might have to actually mechanize that thing. We
kept bringing him cups of tea, and he was just sitting there staring at it, looking like, ‘Oh
my God, what time is the next flight out?’ It was the usual clash of design versus
engineering.”
As it turns out, Crowley was not far off in his assessment of Corbould’s state of
mind. “I was flabbergasted,” Corbould admits. “I stood there silently, pretending I was
mulling it over, but the thought going through my head was that they both had to be off
their nut. Where was I going to put a power train? And with those massive wheels,
would this thing actually steer? There were so many issues.”
Despite his concerns, Corbould returned to London, where he and his crew
began brainstorming ways to bring the Bat-Pod to life. After some trial and error, they
developed the final working Bat-Pod, which was surprisingly close to the rough model
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that Nolan and Crowley had originally constructed. Nolan confesses, “It really shouldn’t
work, but somehow Chris and his team found a way to do it.”
“The funny thing is,” Corbould says, “I don’t think Chris or Nathan had ever
ridden a motorcycle in their lives, so they were completely unaware of the mechanics
needed to get that thing moving. In a way it was beneficial because they weren’t steered
towards a more orthodox bike, even subconsciously. The fact that they had no
knowledge of the mechanics helped them create this weird, wonderful vehicle.”
Actually being able to drive it was another matter entirely. Nolan confirms, “The
finished product that Chris and his team came up with was very striking, very effective
and worked very well, but it’s incredibly difficult to ride and to steer.”
In order to maneuver the Bat-Pod, the driver has to lean his upper body forward,
almost horizontally, and steer from his elbows, rather than his wrists. In fact, the only
person who was able to master the Bat-Pod was professional stunt rider Jean-Pierre
Goy. Corbould offers, “I’ve worked with Jean-Pierre a couple of times, and he is one of
the best bike riders in the world, if not the best. Right away, he totally got in the mindset
of learning that machine. He said, ‘I’m not riding another bike until I finish this
sequence,’ because he had to concentrate on the Bat-Pod’s unique handling qualities.
I’d be lying if I said it was easy for even him to ride, but it looked spectacular when he
did, so it was worth the effort.”
“I need a new suit. I’m not talking fashion, Mr. Fox, so much as function.”
“You want to be able to turn your head…”
The silhouette of Batman is an indelible image, instantly recognizable to even the
most casual observer. Chris Nolan and costume designer Lindy Hemming knew it was
important to preserve that image in redesigning and updating the Batsuit for “The Dark
Knight.”
Focusing on increased comfort and better flexibility, Hemming and her team did
extensive research into the protective suits worn by motocross riders, as well as military
issue protective armor. “We wanted the new Batsuit to be a more supple, more
maneuverable, more breathable piece of equipment, like a modern suit of armor instead
of a rubber suit,” Hemming says, referring to the neoprene material used in making the
Batsuit for “Batman Begins.”
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The new Batsuit is comprised of 110 separate pieces. The base layer of the suit
was made of a polyester mesh material, which is employed by the military and high-tech
sports manufacturers because of its moisture-wicking properties. Then individually
molded pieces of flexible urethane were attached to the mesh to form the overall armor
plating. For added protection, carbon fiber panels, which are light yet incredibly strong
and resistant, were placed inside a select group of the urethane pieces around the legs,
chest and abdomen.
To illustrate the evolution of the Batsuit from “Batman Begins” to “The Dark
Knight,” costume FX supervisor Graham Churchyard points out, “There were essentially
three main components to the Batsuit in ‘Batman Begins’ and on this film there were
more than 100, so it was a very complicated suit. Add to that, all of those individual
pieces had to be modeled and then molded and cast. Each piece also had to be
replicated dozens of times for the multiple Batsuits needed for the overall production. It
was an extraordinary amount of work.”
At the behest of both Nolan and Bale, Hemming’s main mission was to modify
the Batsuit to allow more rotation of the head and neck. “In the past, Batman has always
had to move his shoulders to turn his head, so that was a definite priority,” Bale affirms.
The seemingly simple answer was to separate the cowl from the rest of the suit, but it
had to appear seamless so as not to compromise The Dark Knight’s imposing silhouette.
The overall redesign suited Christian Bale perfectly. “It was much more
comfortable and far less claustrophobic than the first suit. It was also more agile and
gave me better range of motion, which helped with the action and fight sequences. But
it still gave me that feeling of invincibility,” he acknowledges. “You can’t help but feel
protected and more powerful when you put the Batsuit on. It just works.”
When it came to fighting and protection, the new and improved Batsuit did more
than offer added flexibility. It is also outfitted with a variety of gadgets to aid Batman in
his war on crime, including razor sharp fins that can be extended and then fired from the
gauntlets on his forearms; and sonar-imaging lenses which flip down within Batman’s
cowl, enabling him to see sonar images in 3D while masking his eyes behind glowing
white shields.
The only design element of the Batsuit that remained unchanged from “Batman
Begins” to “The Dark Knight” was the cape. Hemming says, “We spent a lot of time
getting the cape right for the first film, and we didn’t want to change it.” The cape does
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have one added feature: it can fold itself into a kind of backpack and then unfurl on
command, which was accomplished through digital effects.
While Bruce Wayne’s image is not as iconic as that of his alter ego, he has his
own distinctive sartorial style, dictated by his financial and social status. To clothe the
man behind the mask, Hemming collaborated with legendary fashion designer Giorgio
Armani. “Chris Nolan and I wanted Bruce Wayne to have an elegantly tailored
appearance,” Hemming offers. “We felt that the Giorgio Armani brand was emblematic
of the contemporary classic look we were going for. We chose the fabrics and then
worked directly with Mr. Armani and his people to tailor an entire wardrobe of suits,
custom-made for the character.” As Bruce Wayne, Bale wears Armani’s newest line,
Giorgio Armani Hand Made-to-Measure. Each suit carries Armani’s traditional
customized owner’s label, in this case Giorgio Armani for Bruce Wayne.
Harvey Dent obviously does not have the financial means of Bruce Wayne, but
Hemming says his wardrobe still had to denote an air of authority and confidence. “We
dressed him simply, but impeccably in suits by (Ermenegildo) Zegna.”
The costume designer was able to get a lot more outlandish in costuming The
Joker, modifying the character’s familiar look to reflect the generation of the actor playing
him. Hemming explains, “Once I knew The Joker was going to be played by Heath
Ledger, I wanted the costume to have a younger, trendier style than previous versions.
Basically, my research ranged from Vivienne Westwood to Johnny Rotten to Iggy Pop to
Pete Doherty to Alexander McQueen. I was collecting all sorts of images.”
Hemming ultimately designed an eclectic ensemble that she says “has a
somewhat foppish attitude to it, with a little grunge thrown in.” Staying with The Joker’s
traditional color palette, his outfit is topped by a purple coat, worn over a green
waistcoat. Changing up his look, he also wears a lighter jacket that was based on the
Carnaby Street Mod look. His shirt was patterned after a shirt that Hemming found at an
antique market.
The Joker’s shoes are from Milan and were selected by the costume designer
because they had an upward swoop at the toe, which she thought was reminiscent of
clown shoes. His tie was fashioned from a fabric that was specially woven to
Hemming’s specifications by Turnbull & Asser, a London-based clothier better known for
dressing British royalty and the like. “Heath wanted it to be thin, so it’s a ‘60s tie but in a
Turnbull & Asser fabric. I dare say it’s the weirdest tie that Turnbull & Asser has ever
19
made,” Hemming laughs. “When Heath came in and we showed him all the bits and
pieces of the costume, he thought it was fantastically original and just went for it.”
The Joker’s make-up was also a departure from past incarnations of the
character. While he retains an allusion to his familiar white-faced, sneering visage, his
make-up for “The Dark Knight” was intended to give him a more frenetic look that also
lends to its shock value. The Joker’s face is covered in a white pancake that is cracked
and runny in places. His eyes are thickly rimmed in black, and a sloppy red grin is
painted on, extending from his mouth to his cheeks but not quite masking the terrible
scars beneath. His hair is a more subtle, but still noticeable, shade of green.
Make-up and hair designer Peter Robb-King remarks, “Clearly, there was a
perception in the audience’s mind of what The Joker would look like, but we wanted to
get under the skin, so to speak, of what this character represents in this story. He is
someone who has been damaged in every sense of the word, so it was important that
we create a look that was not, forgive the pun, ‘jokey.’”
Heath Ledger’s make-up artist, John Caglione, Jr., calls the application of the
actor’s make-up “a dance.” He describes, “Heath would scrunch up his face in specific
expressions, raising his forehead and squinting his eyes, and I would paint on the white
over his facial contortions. This technique created textures and expressions that just
painting the face a flat white would not. Then I used black make-up around Heath’s
eyes while he held them closed very tight, which created consistent facial textures. After
the black was on, I sprayed water over his eyes, and he would squeeze his eyes and
shake his head, and all that black drippy, smudgy stuff would happen.”
The Joker’s make-up also represents a revolutionary advancement in the
application of prosthetics, developed and executed by prosthetic supervisor Conor
O’Sullivan and prosthetic make-up artist Robert Trenton. “They used a brand new
silicone-based process that enables the prosthetics to be laid on the skin in such a way
that it’s seamless,” Robb-King describes. “It’s absolutely amazing because you can put
a camera right up to the face—even an IMAX camera—and there are no issues.”
O’Sullivan reveals, “It took us about two years to develop the technology, but
after a few glitches, we hit on it. We are now able to produce silicone pieces that are
applied directly to the skin. And it blends with the skin perfectly; if you didn’t know it was
there, you would have a hard time seeing anything.”
In addition, the new process cut the application time to a fraction of what was
needed in the past. O’Sullivan confirms, “The Joker prosthetics would previously have
20
taken a good three to four hours. Instead they took about 25 minutes and looked far
superior, which was great.”
The clown masks for The Joker’s gang were individually sculpted and molded
and then hand-painted. Interestingly, the filmmakers learned that every clown face is
registered and owned by the person who first created it, so all of the clown masks in the
movie had to be cleared; none of them could be copied from existing clown faces.
The more graphic make-up effects for the character of Two-Face involved a
combination of prosthetics and visual effects. Robb-King and his team worked closely
with visual effect supervisor Nick Davis to depict the damage to Harvey Dent’s face,
because it is so severe that it could not be achieved entirely with prosthetics. Eckhart
recalls, “It was interesting for me in that, because of the technology, I didn’t have to
spend hours in make-up every day. The whole process was effortless…at least for me,”
he smiles.
“Using IMAX technology to shoot some of the action scenes gave us
the greatest possible canvas on which to tell the story,
and the result is an incredibly immersive experience.”
- Christopher Nolan
Production on “The Dark Knight” actually began several weeks ahead of the
official start of principal photography. The cast and crew went on location in Chicago to
shoot the opening prologue for the film: a dramatic bank heist that sets in motion the
criminal rampage of The Joker. The advance scenes also marked a milestone in
filmmaking as Christopher Nolan became the first director to use IMAX cameras to film
sequences in a traditional feature film release. “I’ve always had an interest in shooting in
IMAX,” Nolan relates. “I’ve seen IMAX presentations at museums and such and found
the format to be completely overwhelming. The clarity and crispness of the images are
unparalleled, so I thought if you could shoot a dramatic feature with IMAX cameras—not
just blow up a 35mm film to show on an IMAX screen—it would really bring the audience
into the action.”
Emma Thomas notes, “When you think about some of the IMAX films we
remember: they’ve taken these cameras up Mount Everest, they’ve taken them under
the ocean, astronauts have had them in space… So if they can do that, then surely we
can shoot on the streets of Chicago with an IMAX camera.”
21
As with any “first,” Nolan and his longtime cinematographer, Wally Pfister, knew
that filming on the streets of Chicago with IMAX cameras would come with its own set of
challenges, beginning with the size of the cameras. “The cameras are enormous and
much heavier than a 35mm camera,” Pfister confirms. “It required an entirely different
approach, but like any challenge in moviemaking, you can’t be so intimidated that you
shy away from it. You just bite off one piece at a time until you’ve tackled it.”
For Nolan and his crew, that first “bite” was shooting the film’s opening scenes.
Pfister recalls, “The week that we spent shooting the bank heist sequence was like IMAX
school for all of us.” They passed with flying colors. Filming the prologue with IMAX
cameras not only met but exceeded all expectations, so the filmmakers made the
decision to shoot several more scenes with IMAX cameras, including most of the major
action sequences.
Pfister’s team had to find a way to rig the huge cameras to not only capture but
also follow the action. They turned to the people at Ultimate Arm, the award-winning
creators of the gyrostabilized remote control camera crane. The Ultimate Arm
technicians were able to reinforce the head of the crane so it could handle the weight of
the IMAX cameras. Pfister reveals, “We shot most of the Bat-Pod sequences with the
Ultimate Arm, which allowed us to swing the camera up, down and all around the Bat-
Pod and get some really stunning footage.”
Key grip Mike Lewis also crafted sturdier rigs that enabled the camera crew to
mount the weighty IMAX cameras on the hood of a car, the side of a truck or anywhere
else, as needed. All of the regular camera mounts had to be strengthened in order to
handle the extra weight of the IMAX cameras. Nolan and Pfister also had high praise for
Steadicam operator Bob Gorelick, who, Pfister says, “did a remarkable job of keeping
that enormous camera in place.”
With advancements in technology on his side, the cinematographer assumed the
sheer weight of the IMAX camera would preclude him from doing any handheld shots,
but Nolan had other ideas. Pfister recounts, “Early in pre-production, Chris said to me,
‘You’ve got to try to handhold one of the IMAX cameras at some point just to say you did
it.’ And I said, ‘No way! I am not putting that thing on my shoulder.’ But he kept
nudging me and bugging me to try it, and finally I broke down and decided I had to give it
a go. I actually did one handheld shot with the IMAX camera, running in front of a
S.W.A.T. team into a building. More than getting the shot, I think Chris was really proud
of himself that he was able to get me to do that,” he admits.
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“We were able to utilize the IMAX format without having to compromise the way
in which we would have filmed with smaller cameras. It didn’t slow us down in the
slightest and it was pretty exciting to see it come together,” says Nolan.
In addition to the size and heft of the cameras, however, there were other factors
that had to be addressed in incorporating the larger format film. “The composition of
shots is entirely different because the frame is so much bigger, so you need to center
things more to pull your attention to the action. And focus is much more critical because
it is a shallower depth of field,” Pfister clarifies, adding that the larger size frame also had
a direct effect on the lighting. “One of the most challenging things about filming in IMAX
is trying to hide the lights. With the expanded frame, you’re seeing so much more from
side to side and top to bottom so you can’t place lights where you normally would. You
have to put them behind objects and anywhere else you can hide them.”
The size and clarity of the IMAX footage affected other departments, as well.
Nathan Crowley notes, “Filming in IMAX is a great bonus to a production designer
because you notice things you ordinarily wouldn’t even see. The perspective is huge. I
mean, we purposely had a lot of low ceilings and beautiful shiny floors because they stay
in frame. Then again, we also had to make sure the finishes were superb because you’ll
also see every speck of dust on the floor,” he laughs.
Everyone agreed the end result was more than worth the effort of mastering the
learning curve. “You can absolutely see the difference,” Pfister attests. “It’s sharper; it
has more resolution, more contrast and a richer color saturation. It is an overall
improved image, whether you’re seeing it on an IMAX screen or on a regular screen. I
think the action will jump off the screen in any theater.”
“Continuing Batman’s story, we felt it was very important
to get outside and view Gotham as a major world city.”
- Christopher Nolan
With “The Dark Knight,” Christopher Nolan sought to expand the world of Batman
in a literal sense by moving the action from the confines of a soundstage to the expanse
of practical locations. “We were looking for ways to expand the scope of this film, so I
was determined to take the location filming much further than what we did on ‘Batman
Begins,’” the director says. “The real world is built on a scale you could never reproduce
in the studio.”
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As it had in “Batman Begins,” the city of Chicago once again became Gotham
City. “I spent some time growing up in Chicago,” Nolan offers, “so it’s a city I know and
love. It is famous for its architecture and it is also a very film-friendly city. We shot there
for weeks on ‘Batman Begins,’ but this time we were going to be there for months and
the help and encouragement we got from the city was extraordinary.”
Chuck Roven confirms, “I can’t say enough about Mayor Daley, the Chicago Film
Office and, most importantly, the citizens of Chicago, who could not have been more
excited or more welcoming to us. They gave us total cooperation and allowed us to do
some unbelievable things on their streets, and we appreciated and always tried to
respect that privilege.”
Inarguably, the most incredible thing the city allowed the production to do was
unprecedented: flipping a 40-foot tractor-trailer, end over end, right in the heart of the
city’s banking district on LaSalle Street. When Chris Corbould saw the truck flip
described in the script, he admits, “I tried to make compromises with Chris—like maybe
the whole truck doesn’t go over or maybe we could use a smaller truck—but he wasn’t
having any of it.”
Nolan responds, “Finally I turned to him one day and said, ‘Chris, it really ought
to be an 18-wheeler. And I know you can find a way to do this because that’s just who
you are and that’s what you do.’”
The first order of business was to make sure the stunt was even possible. “After
about six weeks of calculations, we were ready to do an actual test,” Corbould recalls.
“We went out to an open space, got the truck up to speed and pressed the button, and it
just sailed over. I had to go to Chris Nolan and tell him it worked perfectly.”
Nevertheless, the filmmakers were aware that there was a vast difference
between flipping a truck in the middle of nowhere and doing it in the middle of a city
street. Before they could carry out the stunt, city engineers were called in to make sure
that the tons of force necessary to send the truck end over end would not damage the
infrastructure of LaSalle Street, including the various utility lines that run beneath it.
Once safe parameters were determined, the production was given the green light.
When the night of the stunt came, the truck flip went like clockwork, earning
applause from the assembled cast and crew. “It was an impressive thing to watch this
truck fly over and land precisely where Chris said it was going to land,” Nolan remarks.
“At the top of its arc, it looked almost like a skyscraper standing there, and then it just
continued going over very gracefully. I’ve never seen anything like it.”
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The film’s most explosive sequence involved the implosion of an entire building,
which was staged at the now-vacant Brach’s Candy factory building. Corbould and his
crew teamed with the company Controlled Demolition, Inc., headed by Doug Loizeaux,
to create the explosion. Corbould offers, “Chris didn’t want the building to go down like a
deck of cards, like a conventional demolition. I worked with Doug, who came up with a
system to make the building go down more like a wave, in sequence. Then we added
our special effects elements to make it more spectacular.”
For the filmmakers, safety was paramount. The main concerns involved
surrounding street traffic, as well as active rail lines running nearby the building. The
production contacted the railroad companies and coordinated the train schedules to
ensure that no trains would be coming through at the time of the explosion. Adjacent
street traffic was also blocked to keep onlookers and passersby from getting anywhere
near the blast. In addition, the scene called for a bus to be in proximity to the explosion,
so polycarbonate sheeting was placed on the windows of the bus to ensure that even if
the windows broke, no glass would fly into the bus with cast members inside.
On location in Chicago, the filmmakers also took advantage of some of the city’s
defining features, including its world-renowned architecture and multi-leveled streets.
Nolan made good use of the parallel upper and lower roadways for the climactic car
chase between The Joker, the police and Batman. The breakneck chase sent a variety
of cars, armored trucks and one ill-fated 18-wheeler hurtling down such streets as Upper
and Lower Wacker Drive, Lower Lower Randolph, Lower Lower Columbus and LaSalle
Street. During the chase, the Bat-Pod even takes a side route through the newly
remodeled train station under Millennium Park.
“The Dark Knight” marks Nathan Crowley’s fourth film in the Windy City, and the
production designer observes, “The Chicago architecture is phenomenal; all of the great
architects of the last century have worked there. And it’s wonderfully cinematic.”
Crowley chose two buildings designed by famed architect Mies van der Rohe for
a variety of sets. The IBM Building was the site of the Wayne Enterprises Boardroom,
Harvey Dent’s office, the Mayor’s office and the Police Commissioner’s office, while the
lobby of One Illinois Plaza became the main living area of Bruce Wayne’s new
penthouse. Of course, utilizing the lobby level for the penthouse set meant that visual
effects would be needed to create top-floor views of the city through the floor-to-ceiling
windows. Bruce’s bedroom was built separately on the 39th floor of Hotel 71 on East
Wacker Drive.
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Bruce and Alfred have taken up residence in the penthouse because Wayne
Manor is still under construction after it was destroyed in a fire. Nolan comments, “At the
end of ‘Batman Begins,’ Bruce says he’s going to rebuild Wayne Manor brick by brick.
That would take a long time, so it would be pretty unrealistic for him to be already moved
back in. And there was also a period in the comic books where Bruce Wayne did live
downtown in a penthouse, so we took that as a jumping-off point. We wanted to have
him in the city because this is very much a story of a city and we felt it was important to
put Bruce in the middle of that.”
The penthouse was of a decidedly more modern design than Wayne Manor.
Crowley explains, “We were given access to these great modernist floors, and we felt
that era of architecture was better suited for what we were trying to convey emotionally.
It’s cold and it’s vacant; there’s no warmth to the environment.”
Nolan adds, “Bruce is living a very lonely existence in a way, so the stark design
of the penthouse was meant to reflect his state of mind.”
Filming in Chicago also took place at such locations as the Convention Hall at
McCormick Place West, which became the vast warehouse of Wayne Enterprises’
Applied Science Division; Navy Pier, which was the site of a dramatic scene involving
the panicked citizens of Gotham City; and the Old Chicago Post Office, which was
employed for several scenes, including the opening bank robbery. In addition, the
exterior of Chicago’s Trump Tower, which was in the early construction stage at the time
of production, was used for a pivotal confrontation between Batman and The Joker. The
interior of the building framework was carefully re-created in England at Cardington—the
converted airship hangar that is now used as a soundstage—where the fight was
actually filmed.
Rising out of the Chicago skyline, the Sears Tower was the site of a soaring
exterior shot, and Christian Bale was not going to be denied an opportunity to stand atop
the tallest building in the United States. The actor recounts, “I overheard my stunt
double, Buster Reeves, saying he was heading up to the Sears Tower to do that, and I
said, ‘Sorry buddy, no way. I just have to do this one myself.’ I mean, how often do you
get to be 110 stories up, looking out over all of Chicago? But it’s a funny and probably
quite dangerous thing,” he laughs, “how quickly I felt very at home out there and how
soon I was able move around right on the edge, looking straight down.”
Far from being worried, Nolan supported his leading man’s decision to grab that
once-in-a-lifetime opportunity. “Christian likes to challenge himself and I knew we
26
weren’t putting him in any actual physical danger. It was perfectly safe; it just required
guts to stand there. I certainly wouldn’t want to do it, but he seemed to enjoy it and it
made a beautiful shot for us. And after that, standing out on a ledge on a building in
Hong Kong must have been easy.”
“The Dark Knight” sends Batman to the Far East on a mission to bring down an
international financial magnate, who is manipulating Gotham City’s most powerful crime
cartels. The scenes were filmed on location in Hong Kong, primarily at the magnificent
IFC2 Building, the tallest building in the city. “I liked the idea of sending Batman
someplace more exotic,” says Nolan. “We had done that with Bruce Wayne in the first
film, before he became Batman, but I really wanted to show the character of Batman
outside the realm of Gotham City. I had been to Hong Kong many years ago at a film
festival, and remembered it as a great location. It’s an incredibly visual place, which
makes it ideal in cinematic terms.”
For some interiors, the production returned to Cardington, where one major set
was constructed: the Bat-Bunker, which has temporarily replaced the Batcave while
Bruce and Alfred are living in the penthouse. With its ceiling of solid fluorescent lights,
the Bat-Bunker “looks like a giant light box,” describes Wally Pfister, “which obviously
made it simple for me from a lighting standpoint.”
Crowley notes that as long as his home was in the city, Batman needed a new
headquarters. “He can’t go to his Batcave, so we came up with the idea of a bunker that
ties back to the architectural theme of the penthouse in that it’s vast but very plain. It is
essentially a large concrete box where everything comes out of the walls and then goes
back. But it still had to be visually interesting. It was all about proportion and
perspective, which was actually great fun to do.”
Christopher Nolan reflects, “Every stage of making an enormous film like this
presents its own challenges, but has its own rewards. It’s very exciting to travel the
world and zoom around in helicopters and race the Batmobile around the streets of
Chicago. Every now and then, I have to consciously remind myself to take a step back
and realize that this is an extraordinary thing I am privileged to be a part of.”
Another critical design element of “The Dark Knight” is not seen but heard. “The
sound design of the film was extremely complicated,” says Nolan. “There were an
enormous number of elements encompassed in the sound mix and there are moments
where it’s hard to detect what is sound design and what is music,” he asserts. “There
are large segments of the film where we use little or no score. It was a major challenge
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for our sound designer, Richard King, and his team to create a range of sounds that
would provoke the kind of emotional response that you would usually rely on music for.
Then the end of the film is very heavily scored with music, but it develops as the action
progresses.”
Composers Hans Zimmer and James Newton Howard, who partnered on the
music for “Batman Begins,” reunited to compose the score for “The Dark Knight.” Nolan
relates, “I like the score of the film to be an evolution that runs parallel to the editing of
the film, and Hans and James have been amazing in accommodating that. Usually
without even seeing final footage, they give me pieces of music that my editor, Lee
Smith, and I take into the edit suite. It’s a very organic process that puts a lot of unusual
demands on the composers, but they did a fantastic job with it.”
As they had on “Batman Begins,” Zimmer and Howard split duties on “The Dark
Knight,” with Zimmer composing the theme for The Joker and Howard taking on the dual
personality of Harvey Dent/Two-Face. They also made changes to the overall score,
eschewing any heroic fanfares. Zimmer says, “I don’t see Batman as a typical
superhero, so I wanted to avoid anything ‘super’ in the music. I kept thinking about the
Bat Symbol. It is the iconic representation of Batman, but at the same time, it is dark
and unadorned.”
“Batman is a very complex character,” Howard adds. “We’re still getting to know
him, so to try and attach a musical theme to him that defines him in any way would be
misleading.”
Nolan concludes, “For me, Batman has an enduring appeal and endless
fascination because he is a relatable character. He is referred to as a superhero, but
actually he is a self-invented superhero. And I think the fantasy of a man who, through
sheer will and self-discipline, has turned himself into more than just a man, into a heroic
figure…that’s just a very compelling myth.”
# # #
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ABOUT THE CAST
CHRISTIAN BALE (Bruce Wayne/Batman) was born in Wales and grew up in
England and the USA. He made his film debut in Steven Spielberg’s World War II epic
“Empire of the Sun.”
Bale’s work to date also includes “Henry V,” “The Portrait of a Lady,” “The Secret
Agent,” “Metroland,” “Velvet Goldmine,” “All the Little Animals,” “American Psycho,”
“Shaft,” “Captain Corelli’s Mandolin,” “Reign of Fire,” “Laurel Canyon,” “The Machinist,”
“Batman Begins,” “The New World,” “The Prestige,” “Harsh Times,” “Rescue Dawn” and
“3:10 to Yuma.”
Bale just completed work on “Public Enemies” for director Michael Mann. He is
currently filming “Terminator Salvation,” under the direction of McG.
MICHAEL CAINE (Alfred) is one of the film industry’s most esteemed actors,
with a career spanning over half a century and encompassing more than 100 films and a
myriad of acting honors. A two-time Academy Award winner, Caine won his first Oscar,
for Best Supporting Actor, for his work in “Hannah and Her Sisters,” for which he also
received Golden Globe and BAFTA Award nominations. He took home his second Best
Supporting Actor Oscar for his role in “The Cider House Rules,” also winning a SAG
Award and earning Golden Globe and BAFTA Award nominations.
In addition, Caine has earned four Oscar nominations for Best Actor, the first
coming in 1966 for his performance in the title role in “Alfie,” which also brought him a
Golden Globe nomination and a New York Film Critics Award. He received his second
Oscar nod, as well as a Golden Globe nomination and an Evening Standard Award, for
the part of Milo Tindle in 1972’s “Sleuth.” His role in “Educating Rita” earned him his
third Oscar nomination, and Golden Globe and BAFTA Awards. He gained his latest
Oscar, Golden Globe and BAFTA Award nominations for his work in 2002’s “The Quiet
American,” for which he also won a London Critics Circle Award. He previously won
Golden Globe and London Critics Circle Awards, as well as a BAFTA Award nomination,
for Best Supporting Actor for “Little Voice.”
More recently, Caine won another London Critics Circle Award for his
performance in 2006’s “The Prestige,” which reunited him with director Christopher
Nolan following their collaboration on the 2005 blockbuster “Batman Begins.” Caine’s
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most recent film work also includes Gore Verbinski’s “The Weather Man,” Alfonso
Cuaron’s “Children of Men,” and the 2007 remake of “Sleuth,” in which he turned the
tables on his 1972 role, playing Milo’s adversary, Andrew.
Caine was born Maurice Micklewhite in South London in 1933, the son of a fish
market porter and a charwoman. His interest in acting began at an early age and, at 16,
he left school and took odd jobs for local film companies, hoping to be discovered.
When he was 18, he was called to do his National Service with the Queen’s Royal
Regiment and the Royal Fusiliers. Upon his discharge in 1953, Caine began pursuing
his acting career, taking his stage name from the title “The Caine Mutiny.” Starting out
on the stage, he toured Britain in a variety of plays, and began appearing in increasingly
better roles in British films and television shows.
In 1964, Caine landed his first major film role as Lieutenant Gonville Bromhead in
“Zulu.” The following year, he starred in the hit thriller “The Ipcress File,” earning his first
BAFTA Award nomination for his portrayal of secret agent Harry Palmer. However, it
was his Oscar-nominated performance in the seminal sixties film “Alfie” that catapulted
Caine to international stardom. In the late 1960s, he went on to star in 11 films,
including “The Ipcress File” sequels, “Funeral in Berlin” and “Billion Dollar Brain”;
“Gambit,” earning a Golden Globe nomination; “Hurry Sundown”; “Woman Times
Seven”; “Deadfall”; “The Magus”; “The Italian Job”; and “Battle of Britain.”
Over the following two decades, Caine starred in more than 40 films, including
Robert Aldrich’s “Too Late the Hero”; “X, Y and Zee,” opposite Elizabeth Taylor; “Sleuth,”
with Laurence Olivier; John Huston’s “The Man Who Would Be King”; “Harry and Walter
Go to New York”; Richard Attenborough’s “A Bridge Too Far”; the Neil Simon comedy
“California Suite”; Woody Allen’s “Hannah and Her Sisters,” winning his first Oscar; Brian
De Palma’s “Dressed to Kill”; John Huston’s “Victory”; Sidney Lumet’s “Deathtrap”;
“Educating Rita”; Stanley Donen’s “Blame It on Rio”; John Frankenheimer’s “The
Holcroft Covenant”; Neil Jordan’s “Mona Lisa”; and “Dirty Rotten Scoundrels,” for which
he received a Golden Globe nomination.
Over the next 15 years, Caine starred in such films as the ensemble comedy
“Noises Off…”; “Blood and Wine”; “Little Voice”; “Quills”; “Miss Congeniality”; “Austin
Powers: Goldmember”; “The Quiet American”; and the Lasse Hallström films
“Secondhand Lions” and “The Cider House Rules,” for which he won his second Oscar.
On the small screen, Caine earned both Emmy and Golden Globe nominations
for the dual title role in the telefilm “Jekyll & Hyde” and for his portrayal of South African
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President F.W. de Klerk in the historical drama “Mandela and de Klerk.” He also gained
a Golden Globe nomination for his work in the telefilm “Jack the Ripper” and an Emmy
nomination for the docudrama “World War II: When Lions Roared.”
Also an author, Caine wrote an autobiography entitled What’s It All About?, as
well as Acting on Film, a book based on a series of lectures he gave on BBC Television.
In the 1992 Queen’s Birthday Honours, Caine was awarded the CBE, and eight
years later received a knighthood.
HEATH LEDGER (The Joker) was honored with an Academy Award nomination
for his work in Ang Lee’s drama “Brokeback Mountain.” For his performance as Ennis
Del Mar, Ledger also earned Golden Globe, Independent Spirit, BAFTA and Screen
Actors Guild Awards nominations, and won several critics groups’ awards.
In 2007, Ledger was seen in Todd Hayne’s “I’m Not There,” for which he shared
in a Robert Altman Award at the 2008 Independent Spirit Awards.
His previous film credits include “Candy,” “Casanova,” “The Brothers Grimm,”
“Lords of Dogtown,” “The Order,” “Ned Kelly,” “The Four Feathers,” “Monster’s Ball,” “A
Knight’s Tale,” “The Patriot” and “10 Things I Hate About You,” which first introduced the
Australian-born actor to American audiences.
GARY OLDMAN (James Gordon) first played the role of Gotham Police
Lieutenant James Gordon in “Batman Begins.” He also originated the role of Sirius
Black in “Harry Potter and the Prisoner of Azkaban” and reprised the part in “Harry
Potter and the Goblet of Fire” and “Harry Potter and the Order of the Phoenix.”
Oldman began his career in 1979 on the London stage. Between 1985 and 1989
he acted exclusively at London’s Royal Court Theatre and, in 1985, was named Best
Newcomer by London’s Time Out for his work in “The Pope’s Wedding.” That same
year he shared the London Critic’s Circle Best Actor Award with Anthony Hopkins.
In 1986, Oldman made his major feature film debut in “Sid and Nancy,” winning
the Evening Standard British Film Award for Most Promising Newcomer for his portrayal
of punk rock legend Sid Vicious. The following year, he starred in Stephen Frears’ “Prick
Up Your Ears,” winning the Best Actor Award from the London Film Critics Circle for his
portrayal of doomed British playwright Joe Orton. He has since become one of the
industry’s most respected actors, appearing in both mainstream hits and acclaimed
independent films. Oldman’s early film credits also include Nicolas Roeg’s “Track 29”;
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“Criminal Law”; “Chattahoochee”; Tom Stoppard’s “Rosencrantz & Guildenstern Are
Dead,” for which he received an Independent Spirit Award nomination for Best Actor;
“State of Grace”; “Henry & June”; Oliver Stone’s “JFK,” playing Lee Harvey Oswald; and
the title role in Francis Ford Coppola’s “Dracula.”
Oldman’s subsequent film work includes memorable roles in Tony Scott’s “True
Romance”; “Romeo is Bleeding”; the Luc Besson films “The Professional” and “The Fifth
Element”; “Immortal Beloved”; “Murder in the First”; Roland Joffe’s “The Scarlett Letter”;
Julian Schnabel’s “Basquiat”; Wolfgang Petersen’s “Air Force One”; the big screen
version of “Lost in Space”; and Ridley Scott’s “Hannibal.”
In 1995 Oldman and manager/producing partner Douglas Urbanski formed the
production company The SE8 Group, which produced Oldman’s directorial debut feature
“Nil by Mouth,” which Oldman also wrote. The film was invited to open the 1997 50th
Cannes Film Festival in the main competition, where Kathy Burke won the Best Actress
Award for her role. In addition, Oldman won two BAFTA Awards for Best British Film
and Best Screenplay; the Channel 4 Director’s Award at the 1997 Edinburgh
International Film Festival; and the Empire Award for Best Debut Film. He also
executive produced and starred in the SE8 Group film “The Contender,” which received
two Oscar nominations and brought Oldman a Screen Actors Guild Award nomination
for Best Supporting Actor.
On the small screen, Oldman earned an Emmy nomination for his guest
appearance as an alcoholic actor on the hit comedy series “Friends.” His earlier
television work includes the telefilms “Meantime,” directed by Mike Leigh, and “The
Firm,” directed by Alan Clarke.
AARON ECKHART (Harvey Dent) earned Golden Globe and Independent Spirit
Award nominations for his role as an unapologetic tobacco lobbyist in 2005’s “Thank
You for Smoking,” which marked Jason Reitman’s directorial debut. Eckhart more
recently starred in Brian De Palma’s fact-based murder mystery “The Black Dahlia”; the
romantic comedy “No Reservations,” opposite Catherine Zeta-Jones; and the
independent film “Meet Bill.” He next stars in Alan Ball’s “Towelhead,” which opens in
limited release this fall, and “Traveling,” opposite Jennifer Aniston.
Eckhart studied theater and film at Brigham Young University, where he first met
writer/director Neil LaBute and appeared in several of LaBute’s plays. In 1997, Eckhart
first gained attention from film critics and audiences when he starred in LaBute’s first
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feature film, “In the Company of Men.” The controversial feature earned widespread
acclaim and won a number of awards, including an Independent Spirit Award for Eckhart
for Best Debut Performance.
Over the next five years, he starred in three more LaBute films: “Your Friends
and Neighbors,” with Ben Stiller and Catherine Keener; “Nurse Betty,” with Renée
Zellweger; and “Possession,” opposite Gwyneth Paltrow. During that time, Eckhart also
received praise for his memorable performance as the love interest of the title character
in Steven Soderbergh’s acclaimed 2000 biopic “Erin Brockovich,” opposite Julia Roberts.
Eckhart’s additional film credits include “Conversations with Other Women,”
opposite Helena Bonham Carter; John Woo’s action drama “Paycheck,” with Ben Affleck
and Uma Thurman; Ron Howard’s “The Missing,” with Tommy Lee Jones and Cate
Blanchett; Jon Amiel’s “The Core,” opposite Hilary Swank; Sean Penn’s “The Pledge,”
joining an all-star cast, including Jack Nicholson and Vanessa Redgrave; Oliver Stone’s
“Any Given Sunday”; and John Duigan’s “Molly,” opposite Elisabeth Shue.
On the stage, Eckhart theatrical credits include Michael Cristofer’s play “Amazing
Grace,” opposite Marsha Mason.
MAGGIE GYLLENHAAL (Rachel Dawes) has, in just the last few years,
emerged as one of the film industry’s busiest leading ladies, earning praise for her work
in both major studio releases and independent features. In 2002, she starred opposite
James Spader in the provocative film “Secretary,” which premiered to rave reviews at
the Sundance Film Festival. Gyllenhaal’s performance in the title role brought her
numerous honors, including Golden Globe and Independent Spirit Award nominations, a
Boston Film Critics Award, and a National Board of Review Award. In addition, she won
a Chicago Film Critics Award for Most Promising Performer, which also recognized her
work in two other 2002 releases: Spike Jonze’s “Adaptation” and George Clooney’s
“Confessions of a Dangerous Mind.”
Gyllenhaal received her second Golden Globe Award nomination, as well as
several international film festival awards, for her starring role in the 2006 independent
feature “SherryBaby.” That same year, she starred in Marc Forster’s acclaimed comedy
drama “Stranger Than Fiction,” with Will Ferrell, Emma Thompson, Queen Latifah and
Dustin Hoffman; Oliver Stone’s real-life drama “World Trade Center”; and a segment of
the anthology film “Paris, je t’aime.” Gyllenhaal also lent her voice to the Oscarnominated
animated film “Monster House.”
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Her other recent film credits include Bart Freundlich’s “Trust the Man,” with David
Duchovny and Julianne Moore; Don Roos’ “Happy Endings,” with Lisa Kudrow; John
Sayles’ “Casa de los Babys”; and “Mona Lisa Smile,” in which she starred with Julia
Roberts, Kirsten Dunst and Julia Stiles under the direction of Mike Newell.
Also an accomplished stage actress, Gyllenhaal starred in the Tony Kushner play
“Homebody/Kabul,” which ran in Los Angeles and at the Brooklyn Academy of Music.
She had previously played the role of Alice in Patrick Mauber’s award-winning play
“Closer,” first at the Berkeley Repertory Theatre and then at Los Angeles’ Mark Taper
Forum. Her other stage credits include “Antony and Cleopatra” at the Vanborough
Theatre in London.
Gyllenhaal was still in her teens when she made her feature film debut in
“Waterland,” starring Jeremy Irons and Ethan Hawke. She later appeared in John
Waters’ quirky Hollywood satire, “Cecil B. Demented,” which led to a co-starring role in
the fantasy thriller “Donnie Darko.”
In 1999, while still pursuing her acting career, Gyllenhaal graduated from
Columbia University, where she studied Literature.
MORGAN FREEMAN (Lucius Fox) won an Academy Award for Best Supporting
Actor for his role in Clint Eastwood’s “Million Dollar Baby,” for which he also won a
Screen Actors Guild (SAG) Award and received a Golden Globe nomination. He has
been honored with three additional Oscar nominations, the first coming for his chilling
performance as a homicidal pimp in the 1987 drama “Street Smart,” which also brought
him Los Angeles, New York, and National Society of Film Critics Awards, and an
Independent Spirit Award for Best Supporting Actor, as well as his first Golden Globe
Award nomination. He earned his second Oscar nomination and won Golden Globe and
National Board of Review Awards for Best Actor for the 1989 film “Driving Miss Daisy,” in
which he recreated his award-winning off-Broadway role. He gained his third Oscar nod
for his performance in Frank Darabont’s 1994 drama “The Shawshank Redemption,”
which also brought Freeman Golden Globe and SAG Award nominations.
In addition to “The Dark Knight,” Freeman also stars this summer in the action
thriller “Wanted.” He also has a wide range of films upcoming, including “The Code”;
“The Lonely Maiden,” which he is also producing; and “The Human Factor,” which he will
co-produce and star in, playing Nelson Mandela, opposite Matt Damon.
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Freeman’s recent film work also includes starring roles in Rob Reiner’s “The
Bucket List,” opposite Jack Nicholson; Robert Benton’s “Feast of Love”; Ben Affleck’s
“Gone Baby Gone”; “Lucky Number Slevin”; Lasse Hallström’s “An Unfinished Life,” with
Robert Redford and Jennifer Lopez; Christopher Nolan’s “Batman Begins”; the Jet Li
actioner “Unleashed,” written by Luc Besson; and the comedy “Bruce Almighty” and its
sequel, “Evan Almighty.” He also lent his distinctive voice to Steven Spielberg’s “War of
the Worlds” and the Oscar-winning documentary “March of the Penguins.”
His earlier film credits include “The Sum of All Fears,” “High Crimes,” “Along
Came a Spider,” “Nurse Betty,” “Deep Impact,” “Hard Rain,” Steven Spielberg’s
“Amistad,” “Kiss the Girls,” “Se7en,” Clint Eastwood’s “Unforgiven,” “Glory,” “Lean on
Me,” “Clean and Sober,” “Marie,” “Teachers,” “Harry & Son” and “Brubaker.”
In 1993, Freeman made his film directorial debut with “Bopha!” and soon after
formed Revelations Entertainment. The company’s most recent production was the
Brad Silberling comedy “10 Items or Less,” in which Freeman starred with Paz Vega.
The Memphis-born actor began his career on New York stages in the early
1960s, following a stint as a mechanic in the Air Force. A decade later, he became a
nationally known television personality when he created the popular character Easy
Reader on the popular children’s show “The Electric Company.”
Throughout the 1970s, he continued his work on stage, winning Drama Desk and
Clarence Derwent Awards and receiving a Tony Award nomination for his performance
in “The Mighty Gents” in 1978. In 1980, he won Obie Awards for his portrayal of
Shakespearean anti-hero Coriolanus at the New York Shakespeare Festival and for his
work in “Mother Courage and Her Children.” Freeman won another Obie in 1984 for his
performance as The Messenger in the acclaimed Brooklyn Academy of Music production
of Lee Breuer’s “The Gospel at Colonus” and, in 1985, won the Drama-Logue Award for
the same role. In 1987, Freeman created the role of Hoke Coleburn in Alfred Uhry’s
Pulitzer Prize-winning play, “Driving Miss Daisy,” which brought him his fourth Obie. In
1990, Freeman starred as Petruchio in the New York Shakespeare Festival’s “The
Taming of the Shrew,” opposite Tracey Ullman.
Returning to the stage, Freeman is currently starring on Broadway with Frances
McDormand and Peter Gallagher in Clifford Odett’s drama “The Country Girl,” directed
by Mike Nichols.
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ABOUT THE FILMMAKERS
CHRISTOPHER NOLAN (Director/Screenwriter/Producer) is an award-winning
filmmaker who has been recognized for his work as a director and screenwriter.
Nolan began making movies at an early age with his father’s Super-8mm
camera. While studying English Literature at University College London, Nolan shot
16mm films at UCL’s film society, learning the guerrilla film techniques he would later
use to make his first feature, “Following.” The “no-budget” noir thriller enjoyed great
success at a number of international film festivals, including Toronto, Rotterdam,
Slamdance, and Hong Kong, prior to being released theatrically in the U.S., U.K., France
and various other territories.
Nolan’s second film was the low-budget independent feature “Memento,” starring
Guy Pearce, Carrie-Ann Moss and Joe Pantoliano, which Nolan directed from his own
screenplay, based on a short story by his brother Jonathan. The film brought Nolan
numerous honors, including Academy Award and Golden Globe Award nominations for
Best Original Screenplay, two Independent Spirit Awards for Best Director and Best
Screenplay, and a Directors Guild of America Award nomination. In addition, he won
Best Screenplay Awards from several critics groups, including the Los Angeles, London,
Chicago and Broadcast Film Critics Associations, as well as the American Film
Institute’s Screenwriter of the Year Award, and the Waldo Salt Screenwriting Award at
the 2001 Sundance Film Festival.
Nolan followed “Memento” with the critically acclaimed psychological thriller
“Insomnia,” starring Academy Award winners Al Pacino, Robin Williams and Hilary
Swank. For that film, Nolan won the London Critics Circle Award for Best Director of the
Year.
In 2005, Nolan co-wrote and directed “Batman Begins,” starring Christian Bale,
Michael Caine, Liam Neeson, Gary Oldman and Morgan Freeman. The blockbuster
reimagined the Batman film franchise, pleasing critics and fans alike and paving the way
for “The Dark Knight.”
Nolan more recently directed, co-wrote and produced the mystery thriller “The
Prestige,” starring Hugh Jackman, Christian Bale, Scarlett Johansson and Michael
Caine. Empire Magazine named Nolan the Best Director of the Year for the film, which
also received Oscar nominations for its extraordinary art direction and cinematography.
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Nolan currently lives in Los Angeles with his wife, producer Emma Thomas, and
their children.
CHARLES ROVEN (Producer) has enjoyed success as a distinguished producer
of both independent and major motion pictures in a career spanning more than two
decades. He is co-founder of Atlas Entertainment, which for the last 10 years was part
of Mosaic Media Group, an integrated multimedia film, television and management
company, in which he was a founding principal.
“The Dark Knight” reunites Roven with the team from the acclaimed blockbuster
“Batman Begins,” which he produced in 2005. Directed by Christopher Nolan and
starring Christian Bale, Michael Caine, Liam Neeson, Morgan Freeman and Gary
Oldman, “Batman Begins” was number one at the box office for two consecutive weeks
on its way to grossing more than $370 million worldwide.
In addition to “The Dark Knight,” Roven produced the recently released action
comedy “Get Smart,” directed by Peter Segal and teaming Steve Carell and Anne
Hathaway as Maxwell Smart and Agent 99. The film opened at #1 at the U.S. box office.
He is also a producer on the dramatic thriller “The International,” set for release in early
2009, with Clive Owen and Naomi Watts starring under the direction of Tom Tykwer.
Earlier this year, Roven produced the critically acclaimed crime thriller “The Bank
Job,” directed by Roger Donaldson and starring Jason Statham and Saffron Burrows,
which opened at the top of the UK box office. His recent film credits also include the
musical “Idlewild,” starring Outkast’s Andre Benjamin (Andre 3000) and Antwan Patton
(Big Boi); and “The Brothers Grimm,” directed by Terry Gilliam and starring Matt Damon
and Heath Ledger.
Roven previously served as a producer on a broad range of films, including the
$275-million-plus worldwide box office smash “Scooby-Doo,” followed by the sequel
“Scooby-Doo 2: Monsters Unleashed”; the highly acclaimed post-Gulf War tale “Three
Kings”; the widely praised romantic fantasy hit “City of Angels,” which earned $200
million at the worldwide box office; and Terry Gilliam’s “Twelve Monkeys,” starring Bruce
Willis and Brad Pitt in his Oscar-nominated and Golden Globe winning role.
Roven began his career as a talent manager, subsequently bringing an attuned
sensibility for working with artists to the realm of production.
In 2008, Roven was honored with the ShoWest Producer of the Year Award for
his contributions to the film industry.
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EMMA THOMAS (Producer) is the producer behind such thought-provoking indie
hits as “Following” and “Memento,” as well as several major motion picture releases,
including the blockbuster “Batman Begins.”
Most recently, Thomas produced the critically acclaimed drama “The Prestige,”
directed by Christopher Nolan. Hugh Jackman, Christian Bale, Scarlett Johansson and
Michael Caine starred in the story about an intense rivalry between two magicians who
become obsessed with outdoing one another, leading to self-destruction and murder.
The film earned two Oscar nominations for art direction and cinematography.
Thomas and writer/director Christopher Nolan are currently developing “The
Prisoner,” based on the BBC show of the 1960s, and “The Exec,” both under the banner
of their company, Syncopy.
Thomas studied at the prestigious University College London before beginning
her career at Working Title Films in London, where she worked in physical production for
five years. While at Working Title, she gained a solid foundation in film production,
which would serve her well as she segued into producing.
The independent feature “Following” was the turning point for her career, marking
her first film as a producer. Shot on weekends over the course of a year, “Following”
was guerrilla filmmaking at its best. The film, which was shot on a shoestring budget,
went on to gain recognition at film festivals around the world and received international
distribution.
Thomas next served as an associate producer on the internationally acclaimed
independent hit “Memento.” The film went on to win a number of awards, including an
Independent Spirit Award, a British Independent Film Award, and several critics groups’
awards for Best Film. Continuing her success, Thomas co-produced her first major
studio release, the hit thriller “Insomnia,” starring Al Pacino, Robin Williams and Hilary
Swank.
In 2005, Thomas produced “Batman Begins,” starring Christian Bale, Michael
Caine, Liam Neeson, Gary Oldman and Morgan Freeman, under the direction of
Christopher Nolan. The film earned praise from both critics and audiences for its bold
reimagining of the Batman film franchise, setting the stage for “The Dark Knight.”
JONATHAN NOLAN (Screenwriter) is currently writing the screenplay for
“Interstellar,” a science fiction space adventure to be directed by Steven Spielberg.
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Nolan was born in London and grew up in the Chicago area. His film career
began when he wrote the intriguing short story “Memento Mori,” which became the basis
for the acclaimed noir drama “Memento,” starring Guy Pearce. Directed by his brother,
Christopher Nolan, who also adapted the screenplay, “Memento” brought Jonathan an
Academy Award nomination for Best Original Screenplay, as well as the Waldo Salt
Screenwriting Award at the 2001 Sundance Film Festival, both shared with Christopher.
He more recently co-wrote the screenplay for the mystery thriller “The Prestige,”
about a bitter rivalry between two magicians with tragic consequences. Hugh Jackman,
Christian Bale and Scarlett Johansson starred in the drama, under the direction of
Christopher Nolan.
DAVID S. GOYER (Story) previously teamed with Christopher Nolan on the
screenplay for “Batman Begins,” which won a Saturn Award from the Academy of
Science Fiction, Fantasy and Horror. Goyer has earned a stellar reputation for telling
character-driven stories adapted from the otherworldly realms of superheroes, fantasy
and the supernatural for the big screen. He is currently working on the supernatural
thriller “The Unborn,” starring Gary Oldman and Odette Yustman, which he is directing
from his own screenplay.
Goyer’s breakout came in 1998 when he wrote the action hit “Blade,” starring
Wesley Snipes, based on the Marvel Comics vampire hunter who is, himself, halfvampire.
He then wrote 2002’s “Blade II,” on which he also served as an executive
producer. He directed, wrote and produced the last of the trilogy, “Blade: Trinity.” Goyer
was also an executive producer on “Blade: The Series” for Spike TV, the network’s first
original scripted series.
In 2002, Goyer made a departure from action genre films with his directorial
debut, “ZigZag,” a poignant comedy featuring Wesley Snipes, John Leguizamo, Oliver
Platt, Natasha Lyonne and Sam Jones III. In addition to “ZigZag” and “Blade: Trinity,”
Goyer directed last year’s supernatural thriller “The Invisible,” starring Justin Chatwin
and Margarita Levieva.
Growing up in Ann Arbor, Michigan, Goyer wanted to write comic books from an
early age, which eventually led to his bringing them to life for the big screen. He sold his
first action script at the age of 22 while still at USC, which became the Jean Claude Van
Damme thriller “Death Warrant.” Among his other early credits, he penned the
screenplay for the critically acclaimed film “Dark City.”
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Goyer’s love of comic books also led to a four-year stint actually writing one for
DC Comics. He is a co-writer of The Justice Society, which was one of DC’s biggest
hits.
BENJAMIN MELNIKER (Executive Producer) has had a longstanding
relationship with DC Comics. Together with his producing partner, Michael E. Uslan, he
has been a part of all of the Batman film and direct-to-DVD projects, most recently
serving as an executive producer on Christopher Nolan’s “Batman Begins.” Earlier, he
was an executive producer on the Tim Burton-directed movies “Batman,” starring
Michael Keaton and Jack Nicholson, and “Batman Returns,” starring Keaton, Michelle
Pfieffer and Danny DeVito, followed by Joel Schumacher’s “Batman Forever,” starring
Val Kilmer, Jim Carrey and Tommy Lee Jones, and “Batman & Robin,” starring George
Clooney and Arnold Schwarzenegger. He also produced the animated “Batman: Mask
of Phantasm” and the Annie Award-winning “Batman Beyond: Return of The Joker.”
In addition, Melniker was a producer on Francis Lawrence’s thriller “Constantine,”
based on the DC Comics/Vertigo Hellblazer graphic novels and starring Keanu Reeves.
He was also an executive producer on “Catwoman” and an associate producer on
“National Treasure.”
Currently, Melniker is executive producing the action thriller “The Spirit,” based
on the comic book by Will Eisner. Directed by Frank Miller and starring Samuel L.
Jackson, Scarlett Johansson and Eva Mendes, the film is due out this holiday season.
Melniker began his film career at Metro-Goldwyn-Mayer and worked with the
esteemed studio for 30 years: he was Executive Vice President of the company, a
member of its Board of Directors and its Executive Committee, and Chairman of its Film
Selection Committee. During his tenure at MGM, he was also involved with some of the
most memorable films ever made, including “Ben-Hur,” starring Charlton Heston; David
Lean’s “Dr. Zhivago”; Stanley Kubrick’s “2001: A Space Odyssey”; and the musical
“Gigi,” directed by Vincente Minnelli.
In 1975, Melniker executive produced his first film, the action drama “Mitchell,”
followed by the 1976 thriller “Shoot,” starring Cliff Robertson and Ernest Borgnine.
Melniker has also achieved success in the world of television, with credits
including the children’s series “Where on Earth is Carmen Sandiego?,” for which he won
an Emmy Award for Outstanding Animated Children’s Program; “Harmful Intent,” based
on the book by Robin Cook; the series “Fish Police,” “Swamp Thing” and “Dinosaucers”;
40
and the acclaimed PBS miniseries “Three Sovereigns for Sister Sarah,” based on the
true story of the Salem Witch Trials.
MICHAEL E. USLAN (Executive Producer) has enjoyed a long association with
DC Comics. Together with his longtime producing partner, Benjamin Melniker, Uslan
has been involved in all of the films in the Batman franchise, as well as other film and
direct-to-DVD projects based on DC Comics titles.
He was recently an executive producer on Christopher Nolan’s hit “Batman
Begins” and produced the thriller “Constantine,” starring Keanu Reeves under the
direction of Francis Lawrence. Prior to that, he served as an executive producer on Tim
Burton’s “Batman” and “Batman Returns,” starring Michael Keaton, followed by “Batman
Forever” and “Batman & Robin,” both directed by Joel Schumacher. His other credits as
an executive producer include “Catwoman,” and the animated titles “Gotham Knight,”
“Batman: Sub-Zero,” “Batman: Mystery of The Batwoman,” “Batman v. Dracula,”
“Batman: Mask of The Phantasm,” and “Batman Beyond: Return of The Joker,” for which
he won an Annie Award. Additionally, he was an associate producer on the blockbuster
“National Treasure.”
Uslan is currently producing the upcoming action thriller “The Spirit,” based on
the comic book by Will Eisner. Due out this holiday season, the film is directed by Frank
Miller and stars Samuel L. Jackson, Scarlett Johansson and Eva Mendes.
Also a successful television producer, Uslan won an Emmy Award for the popular
children’s series “Where on Earth is Carmen Sandiego?” which he executive produced.
His additional television producing work includes “Harmful Intent,” based on Robin
Cook’s novel, and the acclaimed PBS miniseries “Three Sovereigns for Sarah,” based
on the true story of the Salem Witch Trials.
Uslan grew up on comics and actually learned to read from them. He went on to
become a renowned authority on comic book history and, at Indiana University, taught
the world’s first accredited college course on comic books, also writing the
accompanying textbook The Comic Book in America. It was not long before he received
a job offer from DC Comics, where he fulfilled his dream to write Batman comic books.
Uslan has since written for a number of comic titles, as well as dozens of books
that chronicle the history of comics, including America At War – A History of War
Comics, Mysteries in Space – A History of Science Fiction Comics, and The Pow! Zap!
Wham! Comic Book Trivia Quiz Book. His additional writing credits include the
41
internationally syndicated newspaper comic strip Terry and the Pirates; the historic
comic book project with Stan Lee, Just Imagine; the hardback Batman graphic novel,
Detective #27; Will Eisner’s The Spirit; and Dick Clark’s The First 25 Years of Rock and
Roll.
KEVIN DE LA NOY (Executive Producer) was most recently an executive
producer on “Blood Diamond,” starring Leonardo DiCaprio, Jennifer Connelly and
Djimon Hounsou, under the direction of Edward Zwick. He had earlier collaborated with
Zwick as the unit production manager on “The Last Samurai.”
His producing credits also include Richard Donner’s sci-fi thriller “Timeline,”
which he co-produced, and Steven Spielberg’s award-winning World War II drama
“Saving Private Ryan,” on which he served as the associate producer.
In addition, he has been the unit production manager on such hits as “Ali,”
“Titanic,” “Braveheart,” “Mission: Impossible” and “Mission: Impossible II.” His film work
also includes serving as the production supervisor on “The Power of One” and as the
location manager on such films as “The Ghost and the Darkness,” “Black Beauty,” “The
Secret Garden” and “1492: Conquest of Paradise.” He has also worked as an assistant
director on a wide range of features.
THOMAS TULL (Executive Producer) is the founder, Chairman and CEO of
Legendary Pictures, a private equity-backed film production company with more than
$1.5 billion in total financing. Legendary Pictures recently re-upped its five-year deal
through which it will co-produce and co-finance films with Warner Bros. Pictures. Since
its inception in 2005, Legendary has joined with Warner Bros. to make such successful
films as “Batman Begins,” “Superman Returns” and the blockbuster “300.” Their
impending projects include “Watchmen,” directed by Zack Snyder.
Tull engineered the unique private equity-backed structure of Legendary and was
presented IDD Magazine’s prestigious “Deal of the Year” Award for the entertainment
industry in 2005.
Tull is also a co-founder and Vice Chairman of the video game publisher Brash
Entertainment, for which he secured the financing by arranging a $400 million
investment. To date, the company has secured intellectual properties with five major
studios and has a current collection of over 40 licenses, including several original
properties.
42
Previously, Tull was President and served on the Board of Directors of The
Convex Group, a media and entertainment holding company headquartered in Atlanta.
In addition, he served on the Board of Directors of How Stuff Works, a company the
Convex Group acquired during his term, which was later sold to Discovery Networks.
Prior to Convex, Tull was a principal at the Southeast Interactive Technology Funds.
Tull is a member of the Board of Trustees of the American Film Institute (AFI).
He is also a board member of the San Diego Zoo and serves on their Foundation Board
for the Zoological Society of San Diego. He graduated from Hamilton College in 1992.
WALLY PFISTER (Director of Photography) has earned two consecutive
Academy Award nominations for his work with director Christopher Nolan. The first
came for 2005’s “Batman Begins,” for which he was also honored by his peers with an
American Society of Cinematographers Award nomination. The following year, he was
Oscar-nominated for his cinematography work on “The Prestige.” Pfister had earlier
received an Independent Spirit Award for his work on Nolan’s “Memento,” which marked
their first collaboration. He also served as director of photography on Nolan’s thriller
“Insomnia.”
Pfister’s additional film credits include “The Italian Job,” directed by F. Gary Gray,
and the independent features “Slow Burn,” “Laurel Canyon,” “Scotland, PA,” and “The
Hi-Line,” for which he won the Moxie! Award for Best Cinematographer at the Santa
Monica Film Festival.
For the small screen, Pfister served as the director of photographer on such
telefilms as “Sanctuary,” “Sharing the Secret,” “Breakfast with Einstein,” “Rhapsody in
Bloom” and “Sketch Artist.”
NATHAN CROWLEY (Production Designer) has been honored for his
collaborations with director Christopher Nolan. He earned an Academy Award
nomination for his design work on the period drama “The Prestige,” and previously
received a BAFTA Award nomination for “Batman Begins.” In addition, Crowley
garnered Art Directors Guild Award nominations for both films. He first teamed with
Nolan on the director’s crime thriller “Insomnia,” starring Al Pacino, Robin Williams and
Hilary Swank.
43
Crowley’s other film credits include the romantic drama “The Lake House”; the
biopic “Veronica Guerin,” directed by Joel Schumacher; the war drama “Behind Enemy
Lines”; and Barry Levinson’s Ireland-set comedy “An Everlasting Piece.”
He previously served as an art director on such films as “Mission: Impossible II,”
directed by John Woo; Richard Donner’s “Assassins”; Alan J. Pakula’s “The Devil’s
Own”; and “Braveheart,” directed by and starring Mel Gibson.
In addition to his film work, Crowley was the production designer on the BBC
television series “The Ambassador.”
LEE SMITH (Editor) reunited with director Christopher Nolan on “The Dark
Knight,” having previously edited “Batman Begins” and “The Prestige.” Smith has also
enjoyed a long association with director Peter Weir, earning an Academy Award
nomination for his editing work on Weir’s “Master and Commander: The Far Side of the
World,” for which he also received an Eddie Award nomination from the American
Cinema Editors. Smith had earlier served as editor and sound designer on Weir’s “The
Truman Show,” “Fearless” and “Green Card”; an additional editor on “Dead Poets
Society”; and an associate editor and sound designer on “The Year of Living
Dangerously,” which began their collaboration.
Hailing from Australia, Smith won an Australian Film Institute (AFI) Award for
Best Editing on Gregor Jordan’s “Two Hands,” on which he was also the sound
designer. For his work as a sound designer, he also won an AFI Award and earned a
BAFTA Award nomination for Jane Campion’s “The Piano,” and won an AFI Award for
Phillip Noyce’s “Dead Calm.”
As an editor, Smith’s additional film credits include “The Rage in Placid Lake,”
“Black and White,” “Buffalo Soldiers,” “Risk,” “Joey,” “Robocop 2,” “Communion” and
“Howling III.” He was also the sound designer on Gillian Armstrong’s “Little Women.”
LINDY HEMMING (Costume Designer) won an Academy Award for her Gilbert &
Sullivan-era costume designs for “Topsy-Turvy,” directed by Mike Leigh. She has also
been Leigh’s costume designer of choice on the films “Naked,” “Life is Sweet” and “High
Hopes.”
Hemming previously collaborated with director Christopher Nolan on “Batman
Begins.” She has also served as the costume designer on the recent James Bond films,
beginning in 1995 with “GoldenEye,” directed by Martin Campbell, and continuing with
44
Roger Spottiswoode’s “Tomorrow Never Dies,” Michael Apted’s “The World is Not
Enough,” Lee Tamahori’s “Die Another Day” and Campbell’s “Casino Royale.” She is
currently working with Campbell on the feature “Edge of Darkness,” starring Mel Gibson.
Hemming’s extensive film credits also include “Lara Croft: Tomb Raider” and its
sequel, “Lara Croft Tomb Raider: The Cradle of Life”; “Harry Potter and the Chamber of
Secrets,” directed by Chris Columbus; Sally Potter’s “The Man Who Cried”; “The
Trench,” starring Daniel Craig; Mark Herman’s “Little Voice” and “Blame It on the
Bellboy”; “The Brave,” directed by and starring Johnny Depp; Bob Rafelson’s “Blood and
Wine”; Peter Chelsom’s “Funny Bones” and “Hear My Song”; Mike Newell’s “Four
Weddings and a Funeral,” for which she was nominated for a BAFTA Award; Stephen
Gyllenhaal’s “Waterland”; Peter Medak’s “The Krays”; John Amiel’s “Queen of Hearts”;
Stephen Frears’ “My Beautiful Laundrette”; David Hare’s “Wetherby”; Richard Eyre’s
“Laughterhouse”; and Bill Forsyth’s “Comfort and Joy.”
Hemming was nominated for a BAFTA TV Award for her work on the telefilm
“Porterhouse Blue.” Her television credits also include the longform projects “Running
Late,” “Dancing Queen” and “All Things Bright and Beautiful.”
Prior to designing costumes for the screen, Hemming was a costume designer in
the theatre. She worked with the Royal Shakespeare Company, the National Theatre of
Great Britain, and on many productions in London’s West End.
HANS ZIMMER (Composer) is one of the film industry’s most influential
composers, whose career spans three decades and encompasses well over 100 films.
In 1994, he won both an Academy Award and a Golden Globe Award for his
score to the animated blockbuster “The Lion King,” which also spawned one of the most
successful soundtrack albums ever. Zimmer’s music for “The Lion King” continues to
draw applause in the award-winning stage production of the musical, which earned the
1998 Tony Award for Best Musical, as well as a Grammy Award for Best Original Cast
Album. The musical has now been running on Broadway for more than 10 years, with
productions also being staged around the world.
Zimmer has garnered six additional Academy Award nominations for his scores
for “Gladiator,” “The Thin Red Line,” “The Prince of Egypt,” “As Good as It Gets,” “The
Preacher’s Wife” and “Rain Man.” In addition, he won a Golden Globe Award and
earned a Grammy nomination for “Gladiator,” and has also received Golden Globe
45
nominations for his composing work on “The Da Vinci Code,” “Spanglish,” “The Last
Samurai,” “Spirit: Stallion of the Cimarron,” “Pearl Harbor” and “The Prince of Egypt.”
Zimmer most recently created the score for the animated feature “Kung Fu
Panda,” and is currently working on Ron Howard’s real-life drama “Frost/Nixon” and the
animated “Madagascar: Escape 2 Africa.” Zimmer’s long list of film credits goes on to
include “The Simpsons Movie,” “The Holiday,” “Pirates of the Caribbean: At World’s
End,” “Pirates of the Caribbean: Dead Man’s Chest,” “Batman Begins,” “Madagascar,”
“Matchstick Men,” “Shark Tale,” “Black Hawk Down,” “The Ring,” “Hannibal,” “Crimson
Tide,” “Thelma & Louise,” “Driving Miss Daisy,” “Mission: Impossible II,” “A League of
Their Own,” “Black Rain,” “Backdraft,” “True Romance” and “My Beautiful Launderette.”
In addition to his myriad composing credits, Zimmer has served as a music
producer or consultant on numerous films, most recently including the blockbuster “Iron
Man,” on which he was the executive music producer.
JAMES NEWTON HOWARD (Composer) is a seven-time Academy Award
nominee and one of the industry’s most prolific composers, with more than 100 motion
picture and television scores to his credit. His latest Oscar nomination came for his
score for the critically acclaimed drama “Michael Clayton,” starring George Clooney.
Howard also earned Oscar nominations for Best Original Score for M. Night
Shyamalan’s “The Village,” P.J. Hogan’s “My Best Friend’s Wedding,” Andrew Davis’
“The Fugitive” and Barbra Streisand’s “The Prince of Tides.” He gained two more Oscar
nods, as well as two Golden Globe nominations, in the category of Best Original Song,
for “Look What Love Has Done” from the movie “Junior” and “For the First Time” in “One
Fine Day.” Howard received his third Golden Globe nomination for his score for Peter
Jackson’s hit remake of “King Kong.”
Howard has scored all of M. Night Shyamalan’s films, beginning with the
director’s smash hit debut feature, “The Sixth Sense,” and subsequently including
“Unbreakable,” “Signs,” “Lady in the Water” and, most recently, “The Happening.”
He is currently scoring several upcoming films, including Edward Zwick’s
“Defiance” and P.J. Hogan’s “Confessions of a Shopaholic.” Howard’s wide range of film
credits also includes Denzel Washington’s “The Great Debaters”; Mike Nichols’ “Charlie
Wilson’s War”; Edward Zwick’s “Blood Diamond”; Christopher Nolan’s “Batman Begins”;
Sydney Pollack’s “The Interpreter”; Michael Mann’s “Collateral”; Joe Johnston’s
“Hidalgo”; P.J. Hogan’s “Peter Pan”; Joe Roth’s “America’s Sweethearts”; Garry
46
Marshall’s “Runaway Bride” and “Pretty Woman”; Gregory Hoblit’s “Primal Fear”;
Wolfgang Petersen’s “Outbreak”; Lawrence Kasdan’s “Wyatt Earp” and “Grand Canyon”;
Ivan Reitman’s “Dave”; Joel Schumacher’s “Falling Down”; and David S. Ward’s “Major
League,” to name only a portion.
Also honored for his work in television, Howard won an Emmy Award for
Outstanding Main Title Theme for the series “Gideon’s Crossing” and earned an Emmy
nomination in the same category for the long-running series “ER.”
# # #

1
The follow-up to the action hit x93Batman Begins,x94 x93The Dark Knightx94
reunites director Christopher Nolan and star Christian Bale, who reprises the role
of Bruce Wayne/Batman.
With the help of Lieutenant Jim Gordon and the committed new District
Attorney, Harvey Dent, Batman sets out to destroy organized crime in Gotham
City for good. The triumvirate initially proves to be effective, but they soon find
themselves prey to a rising criminal mastermind known as The Joker, who
thrusts Gotham into anarchy and forces The Dark Knight ever closer to crossing
the fine line between hero and vigilante.
Academy Award nominee Heath Ledger (x93Brokeback Mountainx94) portrays
arch-villain The Joker, and Aaron Eckhart plays District Attorney Harvey Dent.
Maggie Gyllenhaal joins the cast in the role of Rachel Dawes. Returning from
x93Batman Beginsx94 are Gary Oldman as Lieutenant Jim Gordon; Oscar winner
Michael Caine (x93The Cider House Rulesx94) as Alfred; and Oscar winner Morgan
Freeman (x93Million Dollar Babyx94) as Lucius Fox.
Warner Bros. Pictures presents, in association with Legendary Pictures, a
Syncopy Production, a Christopher Nolan film, x93The Dark Knight.x94 Nolan directed
the film from a screenplay written by Jonathan Nolan and Christopher Nolan,
story by Christopher Nolan & David S. Goyer. Charles Roven, Emma Thomas
and Christopher Nolan are the producers, with Benjamin Melniker, Michael E.
Uslan, Kevin De La Noy and Thomas Tull serving as executive producers. x93The
Dark Knightx94 is based upon characters appearing in comic books published by
DC Comics. Batman was created by Bob Kane.
2
The behind-the-scenes creative team includes two-time Oscar-nominated
director of photography Wally Pfister (x93The Prestige,x94 x93Batman Beginsx94), Oscarnominated
production designer Nathan Crowley (x93The Prestigex94), Oscarnominated
editor Lee Smith (x93Master and Commander: The Far Side of the
Worldx94) and Oscar-winning costume designer Lindy Hemming (x93Topsy-Turvyx94).
The music is by Oscar winner and multiple Oscar nominee Hans Zimmer (x93The
Lion King,x94 x93Gladiatorx94) and seven-time Oscar nominee James Newton Howard
(x93Michael Clayton,x94 x93The Fugitivex94), who previously collaborated on the score for
x93Batman Begins.x94
Six sequences of x93The Dark Knightx94 were filmed with IMAXxae cameras,
including the opening six minutes. This marks the first time ever that a major
feature film has been even partially shot using IMAX cameras, marking a
revolutionary integration of the two film formats. The IMAX Experiencexae will
appear in IMAX DMR (letterbox), while scenes shot with IMAX cameras on
15/70mm film will expand vertically to fill the entire IMAX screen, which can be up
to eight stories tall, for an all-encompassing moviegoing experience.
x93The Dark Knightx94 will be distributed worldwide in theatres and IMAX by
Warner Bros. Pictures, a Warner Bros. Entertainment Company.
www.thedarkknightmovie.co.uk
3
ABOUT THE PRODUCTION
x93Some men arenx92t looking for anything logical, like money.
They canx92t be bought, bullied, reasoned or negotiated with.
Some men just want to watch the world burn.x94
With x93Batman Begins,x94 writer/director Christopher Nolan opened a new chapter in
the Batman film franchise by taking the legendary character back to his origins, reimagining
why and how the billionaire industrialist Bruce Wayne became the enigmatic
crime fighter known to the world as Batman. In x93The Dark Knightx94 Nolan returns to the
Batman saga with the character now, in the directorx92s words, x93fully formed.x94
Nolan continues, x93I thought we left the world of Batman at an interesting place in
the first film, and the end suggested an intriguing direction in which the story could
continue.x94 Nolan developed the story with David S. Goyer, with whom he had
collaborated on the screenplay for x93Batman Begins.x94 Nolan and his brother, Jonathan,
then partnered on the screenplay for x93The Dark Knight.x94
In x93The Dark Knight,x94 Nolan says he focused more on how Batmanx92s very
existence has changed Gotham Cityx85and not, at least initially, for the better. x93At the
end of x91Batman Begins,x92 we hinted at the threat of escalationx97that in going after the
cityx92s crime cartels and attacking their interests, Batman could provoke an even greater
response from the criminal community and now that has come to pass. There are some
very negative consequences of his crusade brewing in Gotham City.x94
Producer Charles Roven offers that the issue extends beyond Gothamx92s resident
criminals. x93On the one hand, Batman has begun to rid Gotham of the crime and
corruption that has plagued the city, but, ironically, the vacuum he created draws in an
even more powerful criminal element, who see it as their chance to take over the city.x94
Producer Emma Thomas notes, x93In x91Batman Beginsx92 we largely concentrated on
the origins of the characterx97how Batman evolved out of Bruce Waynex92s own early
trauma, his fears, his anger and, finally, his resolve to fight crime and corruption. In x91The
Dark Knight,x92 Batman has become well-known to the police and citizens of Gotham City,
but while some consider him a hero, others wonder if he is doing more harm than good.
And the arrival of a new kind of criminal raises the stakes on that debate.
x93Whatx92s intriguing,x94 Thomas adds, x93is that the billionaire playboy Bruce Waynex97
with his fabulous cars, a beautiful woman on each arm and not a care in the worldx97is
4
not at all who this man really is. So while Bruce Wayne wears a mask to hide his identity
as Batman, it is actually Batman who defines Brucex92s true identity, and the public
persona of Bruce Wayne is the x91maskx92 he wears to co-exist in this world.x94
It didnx92t start out that way. Returning to the dual role of Bruce Wayne/Batman,
Christian Bale asserts, x93I believe Bruce thought it would be a finite thing, that Batman
would serve as an inspiration to Gotham City and that he would eventually be able to
leave this character he conceived behind. But he is coming to understand, more and
more, that this is not something he can easily walk away from nowx85or possibly ever.
There are new enemies to protect the city from.x94
The most dangerous of these enemies is Batmanx92s most infamous nemesisx97a
maniacal, remorseless fiend known as The Joker. x93The Joker is the ultimate screen
arch-villain,x94 Nolan attests. x93In his own way, The Joker is as much an icon as The Dark
Knight is, and that presented us with both an opportunity and a challenge in terms of
exploring the characterx92s distorted point of view. But we also wanted to create a villain
who, as colorful and outrageous as he is, is still coming from a place of reality. In
keeping with the tone we established in x91Batman Begins,x92 we determined he is a pretty
serious guy, despite being called The Joker. So we began with the notion of The Joker
as the most extreme form of anarchistx97a force of chaos, a purposeless criminal who is
not out for anything and, so, canx92t be understood. He is not only a massively destructive
force, but he also takes great delight in his murderous nature, which is a pretty terrifying
spectacle.
x93As the screenplay developed,x94 Nolan continues, x93we started to explore the effect
one guy could have on an entire populationx97the ways in which he could upset the
balance for people, the ways in which he could take their rules for living, their ethics,
their beliefs, their humanity and turn them on themselves. You could say wex92ve seen
echoes of that in our own world, which has led me to believe that anarchy and chaosx97
even the threat of anarchy and chaosx97are among the most frightening things society
faces, especially in this day and age.x94
x93The Joker is somebody without any rules whatsoever,x94 Bale states. x93How do
you fight somebody who is bent on destruction, even if it means self-destruction? Thatx92s
a formidable foe.x94 The actor goes on to say that The Jokerx92s total lack of morality is one
of his most potent weapons in his war with Batman because, conversely, x93Batman has a
very strict moral code for what he will and wonx92t do, and The Joker can use that to his
advantage. Batman still has this huge reserve of anger and pain and knows he could
5
easily go too far, so he must not cross that line. He has to be sure that in chasing a
monster, he doesnx92t become a monster himself. Chris Nolan has raised interesting
ethical questions in this movie about the complications of having power versus aspiring
to power.x94
Bale, who counts x93The Dark Knightx94 as his third collaboration with Nolan, adds, x93I
think Chris has a great talent for satisfying the need for a rollercoaster ride, for just being
purely entertained, without forgoing moments of great personal conflict and the duality
within the characters. He manages to do both without compromising either.x94
While The Joker wreaks chaos and fear, the crusading District Attorney Harvey
Dent is the new face of law and order in Gotham City. x93Harvey is a man of the people.
Hex92s an all-American hero in a very different way from Batman,x94 says Nolan. x93So now
you have the triumvirate of Batman, Harvey Dent and Lieutenant Gordonx97the justice
system, the police and a vigilantex97forming an alliance to bring down crime. Using
Batman gives them an edge over the criminals, but it is still the police who will arrest
them, and then they will be tried through the justice system. But what comes up is the
question of whether you can bend the rules without breaking them. And that becomes
the underlying theme of the story.x94
The dynamic between the three crime fighters changes abruptly when an
unforeseeable turn of events destroys the steadfast DA Harvey Dent and gives rise to
the vengeful villain Two-Face. Nolan comments, x93The hope that Harvey represents to
Gotham City and then the tragedy of what happens to him and his transformation into
Two-Facex85itx92s a remarkable story.x94
The director observes, x93The Joker is the more flamboyant villain, so he
commands attention. But in some ways Harvey Dent/Two Face is the more compelling
character because he has such an amazing arc. Our Joker has no arc, per se; hex92s just
hell-bent throughout. The Joker and Harvey Dentx97these are two of the most fascinating
characters from the Batman comic books. They have an almost mythic quality and it
was exciting to view them through the prism of the world we created.x94
In a groundbreaking move, Nolan broadened the scope of that world with a
filmmaking first. Nolan shot six major action sequences with IMAX cameras, becoming
the first director to use the large-format cameras to film even a portion of a traditional
feature film. x93In continuing Batmanx92s story, the challenge was to make things bigger and
betterx97to expand the world we established in the first film, both through the story and in
the way we presented it,x94 he states. x93I was thrilled with the way the IMAX photography
6
turned out. It throws the audience right into the action in a way no other film format
could. It takes me back to when I was a kid going to the movies and experiencing the
scope, the scale and the grandeur that great cinema can offer. As a filmmaker, I think
youx92re always trying to get back to that, and expanding the canvas of our story with
IMAX seemed a great way to do it.x94
The filmmakers have also made several changes to the world of Batman: Bruce
Waynex92s familial home, Wayne Manor, burned to the ground at the end of x93Batman
Begins,x94 so Bruce now resides in a modern penthouse overlooking the city. Batman also
has a newly designed Batsuit, which gives him more range of motion and a greater field
of visionx97x93I can turn my head,x94 Bale smiles. And the agile and powerful Bat-Pod makes
its much-anticipated debut as The Dark Knight weaves through Gotham City traffic in a
pulse-pounding chase sequence filmed on the streets of Chicago.
Batmanx92s pursuit of justice also takes him on an odyssey halfway across the
world to Hong Kong, marking the first time The Caped Crusader has left the confines of
Gotham City on screen.
x93Chris had a wonderful overall vision of what he wanted to achieve with this film,
and he was able to accomplish that and more,x94 says Roven. x93Hex92s one of those rare
directors who, when he tells you what hex92s trying to do, no matter how ambitious, you
can rely on the fact that he will do it, usually even better than you imagined.x94
x93You either die a herox85
or live long enough to see yourself become the villain.x94
x93The Dark Knightx94 reunites several members of the ensemble cast from x93Batman
Begins,x94 leading with Christian Bale in the title role. Bale says he welcomed the
opportunity to once again inhabit the solitary figure, who has had to relinquish much of
his personal identity for the greater good. He offers, x93Bruce is certainly sacrificing, both
mentally and physically, as a consequence of this character of Batman whom he has
unleashed and now is unable to rein in anymore. More than a persona, he has created
a symbol, and that symbol canx92t have limits. He canx92t show weakness ever. So you
have the conflict between what is good for Bruce Wayne and what is the right thing for
Batman to do, because the two of them are not always compatible.x94
x93Working with Christian is a joy and just a lot of fun. He is a very engaging
presence to have on the set,x94 says Nolan. x93He also has an intensity about him; he is
7
incredibly focused on tapping into the psychological reality of whatever character hex92s
playing. He applies the same disciplined approach to finding the truth of that character
and sticks to it. That is a great help to me as a filmmaker because I know he is prepared
and has a handle on how his character is going to move through the story. In fact, he
has a lot of the same qualities that Bruce Wayne brings to bear in changing himself from
an ordinary man into this extraordinary crime-fighting figure.x94
x93Christian brought everything to his performance that you could want for the
characterx97the stature, the emotional resonance, the complexity,x94 Roven states. x93It was
amazing to be on the set watching him. He took his role to another level in this film.x94
Nolan adds that although Bale portrays the same character in x93The Dark Knightx94
that he did in x93Batman Begins,x94 the two films presented the actor with very different
challenges. x93On x91Batman Begins,x92 it was a lot of physical effortx97he had to get himself in
terrific shape and learn all kinds of skills in terms of the way Batman fights, the way he
moves. On this film, I would say it required more of an internal process because Bruce
is realizing the personal toll of living this double life and is questioning the choices hex92s
made. Christian conveys that emotional struggle very convincingly, often without saying
a word.x94
Nevertheless, the role of Batman has an inherent physicality, so Bale immersed
himself in a refresher course on the Keysi Fighting Method (KFM) that Batman employs
against his enemies. A relatively young martial arts discipline, KFM is an intuitive
fighting method with a strong emphasis on mental focus, but Bale also had to be in peak
physical condition. He trained with Keysi fight coordinators Andy Norman and Justo
Dieguez for two to three hours every day. x93In KFM, you learn to develop every part of
your body as a weapon, and itx92s not easy,x94 Norman relates. x93We worked Christian
extremely hard, and it was fantastic how quickly he absorbed everything. There was a
definite progression in his training since the first film. He understands KFM a lot better,
so he was more powerful and his movement was incredible.x94
x93Itx92s a fascinating fighting method,x94 says Bale, x93because it uses the adrenaline
that everyone feels entering into a threatening or violent situation. It really comes from
the gut. Rather than the kind of Zen calm that some martial arts call on, KFM is based
on animal instinct and honing those instincts to be lethal, so itx92s perfect for Batman.x94
But The Dark Knight is about to confront a singular criminal called The Joker,
who has little regard for Keysi or any other fighting method. In a fair fight, x93Batman
would obliterate him,x94 Bale asserts, x93but The Joker doesnx92t fight fair. He has other tricks
8
up his sleeve, so itx92s more of a mind game. But he finds in Batman a very worthy
opponent, and I think he enjoys that.x94
Heath Ledger plays the role of The Joker, the malevolent clown who is arguably
the most recognizable of Batmanx92s arch-nemeses. In casting the part, Nolan says that
the defining quality he was looking for x93was fearlessness. I needed a phenomenal actor,
but he also had to be someone unafraid of taking on such an iconic role. Heath created
something entirely original. Itx92s stunning, itx92s captivatingx85itx92s going to blow people
away.x94
The director recalls that he first met with Ledger about the role even before there
was a script. x93We talked about how we saw this character and we both had exactly the
same conceptx97that The Joker was about the threat of anarchy and revels in creating
chaos and fear on a grand scale. Heath seemed to instinctively understand how to
make this character different from anything that had ever been done before.x94
Roven elaborates, x93The Joker is one of the great villains in comic book lorex97
psychopathic, enigmatic, clever, diabolical, charming, funny and completely enjoyable to
watch. We knew it would take an extraordinary actor to play him and Heath delivered on
every front. From every physical nuance to each vocal turn of phrase, itx92s just an
unforgettable performance.x94
In x93The Dark Knight,x94 The Joker arrives on the scene without warning and climbs
ruthlessly to the top of Gotham Cityx92s criminal food chain. x93We never wanted to do an
origin story for The Joker in this film, but we wanted to show the rise of The Joker,x94
Nolan maintains. x93In a sense, The Joker is the logical response to Batman, who has
instigated this kind of extremity of behavior in Gotham.x94
Bale adds, x93The Joker wants to break Batman, to prove that everybody has a
price and even Batman can be leveraged in such a way that he would compromise his
principles. I actually think hex92s delighted to find that Batman wonx92t do that, and it creates
for The Joker an even better opponent in this game hex92s playing. Hex92s a fascinating
character, and Heath did an extraordinary job with it. I donx92t think the movie would have
worked as well if we hadnx92t had an actor of the caliber of Heath Ledger, who was able to
really up the ante, much as The Joker does in Gotham.x94
x93We wanted The Joker to represent pure, unadulterated evil, in the sense that he
has no logical motivation for his actions. That is what we wanted to unleash on the city
of Gotham. He is an absolute,x94 Nolan sums up simply.
9
Yet, Emma Thomas is quick to note, x93He is very funny. I know it sounds
somewhat bizarre, because how could someone so deplorable be funny? Heathx92s take
on the role was not campy but still hilarious, both physically and in a dry, sardonic way.
With The Joker, I think youx92ll find yourself being horrified and terrified, but hugely
amused at the same time.x94
On the other side of the law, another figure has risen to prominence in Gotham
City: Harvey Dent, the newly elected District Attorney, who is on a mission to break
organized crimex92s stranglehold on his beleaguered city. Harvey Dent is played by Aaron
Eckhart, who offers, x93Harvey has charged himself with tackling organized crime and
cleaning up the streets. He is the shining new hope of Gotham City, the x91White Knight,x92
as he is called. He starts out full of optimism and enthusiasmx85where he ends up is
somewhere completely different,x94 he hints. x93Itx92s a great role and Ix92m a big fan of Chris
Nolanx92s, so when he approached me about doing the film, it was a no-brainer.x94
Nolan says that while Eckhart looks every inch the part of the handsome and
charismatic DA, his reasons for casting the actor ran deeper. x93We were looking for
somebody who could embody that All-American charm because you have to invest in
him as a very attractive, heroic figure at the beginning of the movie. But he also had to
have an edge; he had to suggest this undercurrent of anger and darkness that Harvey
Dent needed to have, so where he goes in the story is believable. You canx92t present a
character like this as simply a heroic figure with no flaws, no dark side. Aaron captured
all of those qualities very, very well.x94
As the new Gotham City DA, Harvey Dent not only has to contend with a rise in
crime, but also with a masked vigilante known as Batman. x93Itx92s an interesting dynamic,x94
Eckhart remarks, x93because Harvey sees Batman fighting crime in a way that he would
like to but cannot. Harvey has to stay within the boundaries of the law. He has to do
overtly what Batman is doing covertly. He admires Batmanx92s intentions, even if he canx92t
publicly support his methods. But what he thinks of Bruce Wayne is quite different. He
sees Bruce as nothing more than a playboy about town without any real credibility.x94
x93Harvey thinks Bruce is a complete upper-class twit,x94 Nolan affirms. x93It would
astonish him to find out he is really the man behind the mask.x94
Dentx92s opinion of his public persona notwithstanding, Bruce Wayne appreciates
the new DAx92s efforts on behalf of the city. Nolan comments, x93It seemed most logical to
us that Bruce initially saw Batman as a short-term crusade, as a symbol to inspire the
good people of Gotham to take their city back. In Harvey Dent, he finally sees the
10
response he was looking for. Harvey is the hero that Gotham needsx97the hero with a
face, not one wearing a mask.x94
But, Thomas says, x93There is a certain amount of personal opportunism going on
there, as well, because if Harvey Dent can succeed, then maybe Bruce can stop being
Batman. Maybe there is a world in which he can return to a normal life. Therex92s a big
part of him that does wish he could hang up his cape. Whether Bruce would actually
enjoy hanging up Batmanx92s cape at this point, I donx92t know. I donx92t think even he knows.
But there is definitely a part of him that feels he has started something that has spun out
of control, and Harvey Dent may be his only hope for being able to end it.x94
For Bruce Wayne, a chance for a normal life also means a chance for a future
with the love of his life, Rachel Dawes, who now works for Dent as an assistant district
attorney. In that regard, the DA is not a hope but a hindrance, because Rachel is
involved with him not only professionally but romantically, as well. x93When it comes to
Rachel, there is a contradiction in Brucex92s feelings about Dent. While he does respect
Dent, another part of Bruce just wants to knock him out,x94 Bale says only half-jokingly.
x93So Brucex92s ideological side and his very human side are again at loggerheads with each
other.x94
Cast in the role of Rachel, Maggie Gyllenhaal notes, x93Rachel made the
heartbreaking decision that it is impossible for her to be with Bruce as long as he is
Batman. Then Harvey Dent came into her life, and she is crazy about him. I think the
thing she really admires about Harvey, as opposed to Batmanx97or, rather, what Bruce
Wayne is doing as Batmanx97is that Harvey is not a vigilante. He is not putting himself
above the law for what he believes is ultimately best for the people of Gotham City.
Instead, Harvey believes in the system, even if itx92s broken, and he is going to work within
the system to change things that are corrupt. I think thatx92s why Rachel loves him and
thinks he is a hero in his own way. At the same time, she still genuinely loves Bruce and
she obviously knows he is still in love with her, so itx92s a real predicament.
x93But for me, I mean itx92s Christian Bale and Aaron Eckhart and they are both pretty
spectacular, so as an actress, it was easy to live with that predicament,x94 Gyllenhaal
laughs. x93My wanting to be a part of this film had almost everything to do with Chris
Nolan and the rest of the cast. From the beginning, Chris was so engaging and so
interested in my ideas about the role. He was clear that he wanted Rachel to be smart
and capable and not the damsel in distress, although she is in distress sometimes. We
11
were really good for each other because thatx92s very much what I wanted, and we pushed
each other in different ways to make Rachel who she is.x94
x93Maggie is just a fantastic actress,x94 states Nolan. x93Ix92ve always loved her work
and had wanted an opportunity to work with her, and the role of Rachel in this film
seemed like the perfect match. Maggie has great intelligence and maturity and she is
also very warm and, of course, lovely. You really believe her in this role. I think she
beautifully conveyed the conflict in Rachel standing between these two men in her life,
and you can see why both men would naturally be drawn to her. Rachel has so much
history with Bruce and he will always be in her heart, but she also loves Harvey and can
see a future with him.x94
However, that all changes in an instant when a shocking incident transforms the
once redoubtable Harvey Dent into the horribly deformed Two-Face, who is now bent on
one thing: revenge. x93Something terrible happens that alters everything in his life and
rage takes over,x94 says Eckhart. x93He takes strength from his grief and his pain and sets
out to kill the bad guysx85or those he now perceives as the bad guys. He still wants
justice, but now he pursues it outside of the law he once lived by. I donx92t think of him
purely as a villain in the way The Joker is. But at the point that Harvey becomes Two-
Face, his outlook is so twisted that he starts to see The Joker as a kindred spiritx85and
The Joker knows he has Harvey where he wants him. Itx92s a great scene, and Heath did
such a wonderful job. As an actor, it was exciting to work with him. Heathx92s
performance made this Joker an indelible screen character. He was everything you
could want in an arch-villain as infamous as The Joker, and yet he was completely
original.x94
Nolan says, x93The Joker is terrifying because there appears no rhyme or reason
for what he does. Hex92s just a force of nature tearing through. With Two-Face, you see
his transformation and you understand where his anger and his grief come from. Aaron
did an extraordinary job of portraying the tragic arc of Harvey Dent and Two-Face; he
takes you on that emotional ride with him.x94
Apart from the obvious example of Harvey Dent/Two-Face, the director observes,
x93There are a number of dualities in this film, and there are also several mirrored
relationships. The relationship between Batman and The Joker is an interesting one, as
is the relationship between Harvey Dent/Two-Face and Lieutenant Gordon.x94
Reprising his role from x93Batman Begins,x94 Gary Oldman plays Lieutenant Jim
Gordon, the head of the Gotham City Police Major Crime Unit (MCU). x93Gary is such a
12
remarkable actor,x94 Roven says. x93Gordon could have been a comparatively
straightforward role, especially surrounded by the more eccentric and even bizarre
characters, but Gary brought so many colors to his performance.x94
Nolan comments, x93In the first film, Gordon was a very reserved character. It
required an actor who could play an important role, but in a very subtle and restrained
way. I was thrilled to be able to bring Gary back as Gordon, but in a story that
challenges the character more and lets Gary show more of what hex92s so great at.x94
In x93The Dark Knight,x94 Lieutenant Gordon is facing mounting pressure from all
sides in the wake of the recent escalation of crime, but as a career cop, he knows his
first, best option is to follow his gut instincts, which tell him to trust Batman. He
understands that Batman now poses some danger to Gotham, but he believes Batman
may ultimately be its salvation, especially with the arrival of The Joker. x93The police have
never encountered anything like The Joker,x94 says Oldman. x93Hex92s not interested in
money or even power, in the usual sense of the word. The Joker is all about chaos; he
does what he does for the fun of it. How do you police someone like that?x94
Thomas adds that in addition to being tested because of Batmanx92s efforts and the
effect they are having on his city, x93Gordon doesnx92t entirely trust Harvey Dent yet because
there has never been a politician in Gotham City who wasnx92t corrupt in some way. He
knows something must be done and decides Batman is his best bet because he knows
Batmanx92s intentions and has faith that things will get better in the long run.x94
Bruce Wayne has two other trusted allies in his life: his loyal butler, Alfred
Pennyworth, who, since Brucex92s parents were murdered, has essentially been the only
father Bruce has ever known; and the brilliant Lucius Fox, who is now the CEO of
Wayne Enterprises, in addition to being the architect of Batmanx92s high-tech arsenal.
Oscar-winning actors Michael Caine and Morgan Freeman return as Alfred and Lucius,
respectively, having played the same roles in x93Batman Begins.x94
As Bruce Waynex92s closest confidants, Alfred and Lucius know Batmanx92s true
identity, but with that knowledge comes responsibility. Each in his own way also serves
as a mentor, an advocate, and sometimes as Brucex92s conscience. x93The bond between
them is very clear, but you see the different sides of their relationships,x94 Nolan says.
x93Lucius Fox is fully aware of what Bruce is doing as Batman and approves to a large
extent. But over the course of the film, we test the limits of what Lucius finds acceptable
in terms of what Bruce does as Batman.x94
13
Freeman notes, x93I see Lucius as practical-minded in doing what has to be done
in order to facilitate this manx92s mission. Batman has set himself up as a champion of
justice, and once hex92s established that idea and the world is counting on him, he has to
step up to the plate and deliver. But Lucius questions if there are limits to what he will
do to help Bruce meet that challenge.x94
On the other hand, Nolan says, x93Alfred is a firm believer in what Bruce is doing
and encourages him to take it even further if necessary, because Alfred believes itx92s the
right thing to do. Of course, Alfred is also concerned for the human side of Bruce
because Alfred raised him from a boy, but he tries not to let his own fears for Brucex92s
personal safety get in the way of telling him to carry on with his quest.x94
Bruce Wayne tells Alfred that, as a symbol, Batman canx92t have limits, but x93to
Alfred, Bruce is a real person and does, in fact, have limits,x94 says Caine. x93Bruce is like
his child, and you always see your children as kids, even when they are all grown up.
So, of course, Alfred worries about what he is doing. I think of Alfred as Brucex92s
guardian angel, not only physically, but psychologically and morally. There are real
issues there, and Alfred often has a go at him about it. Alfredx92s relationship with Bruce is
the most human and also, I think, the most humorous,x94 Caine smiles.
The director says that Alfredx92s humor comes naturally. x93Michael is a very funny
guy; Ix92ve never worked with an actor who could time comedy quite so effortlessly. He
knows exactly what to do with a line to get the biggest laugh.
x93Working with great veterans like Michael Caine and Morgan Freeman, I benefit
massively from their experience,x94 Nolan continues. x93They have a calm presence on the
set that everybody responds to, and they just inspire everyone around them to be on
their best game. It was a privilege to work with them in the first film and an honor to
have them back for x91The Dark Knight.x92x94
The filmx92s main cast also includes Eric Roberts as Maroni, one of the heads of
Gotham Cityx92s crime cartel; Chin Han as Lau, an Asian business mogul, who makes
Gothamx92s crime syndicate an offer they canx92t refuse; Nestor Carbonell as the Mayor of
Gotham City; and Anthony Michael Hall as a television news reporter. Cillian Murphy
also makes a return cameo appearance as Scarecrow.
Overall, Nolan states, x93The cast is a terrific ensemble of some of the most
extraordinarily talented actors working in movies, which made it very exciting for
everyone involved. It generated a great atmosphere on the set, and it was magical to
14
watch actors with very different approaches come together and work so hard towards
the same goals.x94
x93Will you be wanting the Bat-Pod, Sir?x94
x93In the middle of the day, Alfred? Not very subtle.x94
On the screen, Lucius Fox gets credit for providing Batman with his state-of-theart
crime-fighting accoutrement, from his new and improved Batsuit to his weapons and
his different modes of transportation. In real life, however, credit goes to Chris Nolan
and his behind-the-scenes design teams, led by production designer Nathan Crowley
and costume designer Lindy Hemming, as well as special effects supervisor Chris
Corbould and his crew, who turn design into function.
Nolan remarks, x93With x91Batman Begins,x92 we got to show how things like the
Batmobile and the Batsuit were developed. At the same time, we didnx92t fully explore all
of the gadgetry, so in continuing the story, what we get to do is show how he becomes
even more high-tech, but still in a credible way. What I love about Batman is that he has
no super powers except for his extraordinary wealth. Looking at it from that point of
view, if you had limitless financial resources, and therefore a lot of power in material
ways, how could you apply that to the creation of some amazing gadgets and crimefighting
techniques, all of which are still based on real science and real-world logic?x94
Nolan and Crowley had previously redesigned The Caped Crusaderx92s legendary
Batmobile for x93Batman Begins,x94 creating something of a cross between a Lamborghini
and a Humvee. The ultimate muscle car, the Batmobilex97nicknamed the Tumblerx97
combines the power and handling of a sports car with a structure closer to that of an
armored tank. Riding on six monster truck tires, the Batmobile has no front axle,
allowing it to make tighter turns. Despite weighing in at two and a half tons, it can jump
as much as six feet high, and up to a distance of sixty feet, peeling off the instant it
touches down. The Batmobile can also do zero to sixty in five seconds.
While the Batmobile remains a formidable presence in x93The Dark Knight,x94 the film
introduces Batmanx92s newest ride, the Bat-Pod, a high-powered, heavily armed twowheeled
machine. x93Of course we were going to have the Batmobile back,x94 states Nolan,
x93but we wanted to give Batman something new: a fresh means of transportation,
something very exotic and very powerful looking. Itx92s a two-wheeled vehicle, but itx92s
15
definitively not a motorcycle. In essence, the Bat-Pod is to the world of motorcycles
what the Tumbler is to the world of cars.x94
Fast and maneuverable through the streets of Gotham City, the Bat-Pod is also
capable of handling all terrains. It has the same monster truck tires as those found on
the Batmobile and is self-standing, meaning it does not require a foot stand. Well
outfitted for hostile situations, it is equipped with weapons on both sides: 40mm blast
cannons, 50-caliber machine guns, and grappling hook launchers.
The original design of the Bat-Pod was the brainchild of Crowley and Nolan.
With little more than the basic concept in mind, the two retreated to their favorite design
headquartersx97aka Nolanx92s garagex97to work out the details. Crowley recalls, x93We
figured, x91Letx92s just go for it; letx92s build it full-size.x92 So we did. We got some tools and put
together a full-size model out of anything we could find that might fit.x94
Of course, Nolan and Crowley still had no idea if their invention could actually
run. Thatx92s where the special effects team, headed up by Chris Corbould, came in.
Corbould relates, x93First of all, I remember when Chris Nolan first showed me his idea for
the Batmobile. I had no idea how we were going to make it work even though it ended
up being very successful. So when I got his call asking me to come have a look at
something he called x91the Bat-Pod,x92 I thought, x91Uh-oh, what have you dreamt up this
time?x92x94
Corbould flew to L.A., arrived at Nolanx92s garage, and the first time he looked at
Nolan and Crowleyx92s model of the Bat-Pod, x93I think he was almost in tears,x94 Crowley
laughs. x93He looked horrified that he might have to actually mechanize that thing. We
kept bringing him cups of tea, and he was just sitting there staring at it, looking like, x91Oh
my God, what time is the next flight out?x92 It was the usual clash of design versus
engineering.x94
As it turns out, Crowley was not far off in his assessment of Corbouldx92s state of
mind. x93I was flabbergasted,x94 Corbould admits. x93I stood there silently, pretending I was
mulling it over, but the thought going through my head was that they both had to be off
their nut. Where was I going to put a power train? And with those massive wheels,
would this thing actually steer? There were so many issues.x94
Despite his concerns, Corbould returned to London, where he and his crew
began brainstorming ways to bring the Bat-Pod to life. After some trial and error, they
developed the final working Bat-Pod, which was surprisingly close to the rough model
16
that Nolan and Crowley had originally constructed. Nolan confesses, x93It really shouldnx92t
work, but somehow Chris and his team found a way to do it.x94
x93The funny thing is,x94 Corbould says, x93I donx92t think Chris or Nathan had ever
ridden a motorcycle in their lives, so they were completely unaware of the mechanics
needed to get that thing moving. In a way it was beneficial because they werenx92t steered
towards a more orthodox bike, even subconsciously. The fact that they had no
knowledge of the mechanics helped them create this weird, wonderful vehicle.x94
Actually being able to drive it was another matter entirely. Nolan confirms, x93The
finished product that Chris and his team came up with was very striking, very effective
and worked very well, but itx92s incredibly difficult to ride and to steer.x94
In order to maneuver the Bat-Pod, the driver has to lean his upper body forward,
almost horizontally, and steer from his elbows, rather than his wrists. In fact, the only
person who was able to master the Bat-Pod was professional stunt rider Jean-Pierre
Goy. Corbould offers, x93Ix92ve worked with Jean-Pierre a couple of times, and he is one of
the best bike riders in the world, if not the best. Right away, he totally got in the mindset
of learning that machine. He said, x91Ix92m not riding another bike until I finish this
sequence,x92 because he had to concentrate on the Bat-Podx92s unique handling qualities.
Ix92d be lying if I said it was easy for even him to ride, but it looked spectacular when he
did, so it was worth the effort.x94
x93I need a new suit. Ix92m not talking fashion, Mr. Fox, so much as function.x94
x93You want to be able to turn your headx85x94
The silhouette of Batman is an indelible image, instantly recognizable to even the
most casual observer. Chris Nolan and costume designer Lindy Hemming knew it was
important to preserve that image in redesigning and updating the Batsuit for x93The Dark
Knight.x94
Focusing on increased comfort and better flexibility, Hemming and her team did
extensive research into the protective suits worn by motocross riders, as well as military
issue protective armor. x93We wanted the new Batsuit to be a more supple, more
maneuverable, more breathable piece of equipment, like a modern suit of armor instead
of a rubber suit,x94 Hemming says, referring to the neoprene material used in making the
Batsuit for x93Batman Begins.x94
17
The new Batsuit is comprised of 110 separate pieces. The base layer of the suit
was made of a polyester mesh material, which is employed by the military and high-tech
sports manufacturers because of its moisture-wicking properties. Then individually
molded pieces of flexible urethane were attached to the mesh to form the overall armor
plating. For added protection, carbon fiber panels, which are light yet incredibly strong
and resistant, were placed inside a select group of the urethane pieces around the legs,
chest and abdomen.
To illustrate the evolution of the Batsuit from x93Batman Beginsx94 to x93The Dark
Knight,x94 costume FX supervisor Graham Churchyard points out, x93There were essentially
three main components to the Batsuit in x91Batman Beginsx92 and on this film there were
more than 100, so it was a very complicated suit. Add to that, all of those individual
pieces had to be modeled and then molded and cast. Each piece also had to be
replicated dozens of times for the multiple Batsuits needed for the overall production. It
was an extraordinary amount of work.x94
At the behest of both Nolan and Bale, Hemmingx92s main mission was to modify
the Batsuit to allow more rotation of the head and neck. x93In the past, Batman has always
had to move his shoulders to turn his head, so that was a definite priority,x94 Bale affirms.
The seemingly simple answer was to separate the cowl from the rest of the suit, but it
had to appear seamless so as not to compromise The Dark Knightx92s imposing silhouette.
The overall redesign suited Christian Bale perfectly. x93It was much more
comfortable and far less claustrophobic than the first suit. It was also more agile and
gave me better range of motion, which helped with the action and fight sequences. But
it still gave me that feeling of invincibility,x94 he acknowledges. x93You canx92t help but feel
protected and more powerful when you put the Batsuit on. It just works.x94
When it came to fighting and protection, the new and improved Batsuit did more
than offer added flexibility. It is also outfitted with a variety of gadgets to aid Batman in
his war on crime, including razor sharp fins that can be extended and then fired from the
gauntlets on his forearms; and sonar-imaging lenses which flip down within Batmanx92s
cowl, enabling him to see sonar images in 3D while masking his eyes behind glowing
white shields.
The only design element of the Batsuit that remained unchanged from x93Batman
Beginsx94 to x93The Dark Knightx94 was the cape. Hemming says, x93We spent a lot of time
getting the cape right for the first film, and we didnx92t want to change it.x94 The cape does
18
have one added feature: it can fold itself into a kind of backpack and then unfurl on
command, which was accomplished through digital effects.
While Bruce Waynex92s image is not as iconic as that of his alter ego, he has his
own distinctive sartorial style, dictated by his financial and social status. To clothe the
man behind the mask, Hemming collaborated with legendary fashion designer Giorgio
Armani. x93Chris Nolan and I wanted Bruce Wayne to have an elegantly tailored
appearance,x94 Hemming offers. x93We felt that the Giorgio Armani brand was emblematic
of the contemporary classic look we were going for. We chose the fabrics and then
worked directly with Mr. Armani and his people to tailor an entire wardrobe of suits,
custom-made for the character.x94 As Bruce Wayne, Bale wears Armanix92s newest line,
Giorgio Armani Hand Made-to-Measure. Each suit carries Armanix92s traditional
customized ownerx92s label, in this case Giorgio Armani for Bruce Wayne.
Harvey Dent obviously does not have the financial means of Bruce Wayne, but
Hemming says his wardrobe still had to denote an air of authority and confidence. x93We
dressed him simply, but impeccably in suits by (Ermenegildo) Zegna.x94
The costume designer was able to get a lot more outlandish in costuming The
Joker, modifying the characterx92s familiar look to reflect the generation of the actor playing
him. Hemming explains, x93Once I knew The Joker was going to be played by Heath
Ledger, I wanted the costume to have a younger, trendier style than previous versions.
Basically, my research ranged from Vivienne Westwood to Johnny Rotten to Iggy Pop to
Pete Doherty to Alexander McQueen. I was collecting all sorts of images.x94
Hemming ultimately designed an eclectic ensemble that she says x93has a
somewhat foppish attitude to it, with a little grunge thrown in.x94 Staying with The Jokerx92s
traditional color palette, his outfit is topped by a purple coat, worn over a green
waistcoat. Changing up his look, he also wears a lighter jacket that was based on the
Carnaby Street Mod look. His shirt was patterned after a shirt that Hemming found at an
antique market.
The Jokerx92s shoes are from Milan and were selected by the costume designer
because they had an upward swoop at the toe, which she thought was reminiscent of
clown shoes. His tie was fashioned from a fabric that was specially woven to
Hemmingx92s specifications by Turnbull & Asser, a London-based clothier better known for
dressing British royalty and the like. x93Heath wanted it to be thin, so itx92s a x9160s tie but in a
Turnbull & Asser fabric. I dare say itx92s the weirdest tie that Turnbull & Asser has ever
19
made,x94 Hemming laughs. x93When Heath came in and we showed him all the bits and
pieces of the costume, he thought it was fantastically original and just went for it.x94
The Jokerx92s make-up was also a departure from past incarnations of the
character. While he retains an allusion to his familiar white-faced, sneering visage, his
make-up for x93The Dark Knightx94 was intended to give him a more frenetic look that also
lends to its shock value. The Jokerx92s face is covered in a white pancake that is cracked
and runny in places. His eyes are thickly rimmed in black, and a sloppy red grin is
painted on, extending from his mouth to his cheeks but not quite masking the terrible
scars beneath. His hair is a more subtle, but still noticeable, shade of green.
Make-up and hair designer Peter Robb-King remarks, x93Clearly, there was a
perception in the audiencex92s mind of what The Joker would look like, but we wanted to
get under the skin, so to speak, of what this character represents in this story. He is
someone who has been damaged in every sense of the word, so it was important that
we create a look that was not, forgive the pun, x91jokey.x92x94
Heath Ledgerx92s make-up artist, John Caglione, Jr., calls the application of the
actorx92s make-up x93a dance.x94 He describes, x93Heath would scrunch up his face in specific
expressions, raising his forehead and squinting his eyes, and I would paint on the white
over his facial contortions. This technique created textures and expressions that just
painting the face a flat white would not. Then I used black make-up around Heathx92s
eyes while he held them closed very tight, which created consistent facial textures. After
the black was on, I sprayed water over his eyes, and he would squeeze his eyes and
shake his head, and all that black drippy, smudgy stuff would happen.x94
The Jokerx92s make-up also represents a revolutionary advancement in the
application of prosthetics, developed and executed by prosthetic supervisor Conor
Ox92Sullivan and prosthetic make-up artist Robert Trenton. x93They used a brand new
silicone-based process that enables the prosthetics to be laid on the skin in such a way
that itx92s seamless,x94 Robb-King describes. x93Itx92s absolutely amazing because you can put
a camera right up to the facex97even an IMAX camerax97and there are no issues.x94
Ox92Sullivan reveals, x93It took us about two years to develop the technology, but
after a few glitches, we hit on it. We are now able to produce silicone pieces that are
applied directly to the skin. And it blends with the skin perfectly; if you didnx92t know it was
there, you would have a hard time seeing anything.x94
In addition, the new process cut the application time to a fraction of what was
needed in the past. Ox92Sullivan confirms, x93The Joker prosthetics would previously have
20
taken a good three to four hours. Instead they took about 25 minutes and looked far
superior, which was great.x94
The clown masks for The Jokerx92s gang were individually sculpted and molded
and then hand-painted. Interestingly, the filmmakers learned that every clown face is
registered and owned by the person who first created it, so all of the clown masks in the
movie had to be cleared; none of them could be copied from existing clown faces.
The more graphic make-up effects for the character of Two-Face involved a
combination of prosthetics and visual effects. Robb-King and his team worked closely
with visual effect supervisor Nick Davis to depict the damage to Harvey Dentx92s face,
because it is so severe that it could not be achieved entirely with prosthetics. Eckhart
recalls, x93It was interesting for me in that, because of the technology, I didnx92t have to
spend hours in make-up every day. The whole process was effortlessx85at least for me,x94
he smiles.
x93Using IMAX technology to shoot some of the action scenes gave us
the greatest possible canvas on which to tell the story,
and the result is an incredibly immersive experience.x94
- Christopher Nolan
Production on x93The Dark Knightx94 actually began several weeks ahead of the
official start of principal photography. The cast and crew went on location in Chicago to
shoot the opening prologue for the film: a dramatic bank heist that sets in motion the
criminal rampage of The Joker. The advance scenes also marked a milestone in
filmmaking as Christopher Nolan became the first director to use IMAX cameras to film
sequences in a traditional feature film release. x93Ix92ve always had an interest in shooting in
IMAX,x94 Nolan relates. x93Ix92ve seen IMAX presentations at museums and such and found
the format to be completely overwhelming. The clarity and crispness of the images are
unparalleled, so I thought if you could shoot a dramatic feature with IMAX camerasx97not
just blow up a 35mm film to show on an IMAX screenx97it would really bring the audience
into the action.x94
Emma Thomas notes, x93When you think about some of the IMAX films we
remember: theyx92ve taken these cameras up Mount Everest, theyx92ve taken them under
the ocean, astronauts have had them in spacex85 So if they can do that, then surely we
can shoot on the streets of Chicago with an IMAX camera.x94
21
As with any x93first,x94 Nolan and his longtime cinematographer, Wally Pfister, knew
that filming on the streets of Chicago with IMAX cameras would come with its own set of
challenges, beginning with the size of the cameras. x93The cameras are enormous and
much heavier than a 35mm camera,x94 Pfister confirms. x93It required an entirely different
approach, but like any challenge in moviemaking, you canx92t be so intimidated that you
shy away from it. You just bite off one piece at a time until youx92ve tackled it.x94
For Nolan and his crew, that first x93bitex94 was shooting the filmx92s opening scenes.
Pfister recalls, x93The week that we spent shooting the bank heist sequence was like IMAX
school for all of us.x94 They passed with flying colors. Filming the prologue with IMAX
cameras not only met but exceeded all expectations, so the filmmakers made the
decision to shoot several more scenes with IMAX cameras, including most of the major
action sequences.
Pfisterx92s team had to find a way to rig the huge cameras to not only capture but
also follow the action. They turned to the people at Ultimate Arm, the award-winning
creators of the gyrostabilized remote control camera crane. The Ultimate Arm
technicians were able to reinforce the head of the crane so it could handle the weight of
the IMAX cameras. Pfister reveals, x93We shot most of the Bat-Pod sequences with the
Ultimate Arm, which allowed us to swing the camera up, down and all around the Bat-
Pod and get some really stunning footage.x94
Key grip Mike Lewis also crafted sturdier rigs that enabled the camera crew to
mount the weighty IMAX cameras on the hood of a car, the side of a truck or anywhere
else, as needed. All of the regular camera mounts had to be strengthened in order to
handle the extra weight of the IMAX cameras. Nolan and Pfister also had high praise for
Steadicam operator Bob Gorelick, who, Pfister says, x93did a remarkable job of keeping
that enormous camera in place.x94
With advancements in technology on his side, the cinematographer assumed the
sheer weight of the IMAX camera would preclude him from doing any handheld shots,
but Nolan had other ideas. Pfister recounts, x93Early in pre-production, Chris said to me,
x91Youx92ve got to try to handhold one of the IMAX cameras at some point just to say you did
it.x92 And I said, x91No way! I am not putting that thing on my shoulder.x92 But he kept
nudging me and bugging me to try it, and finally I broke down and decided I had to give it
a go. I actually did one handheld shot with the IMAX camera, running in front of a
S.W.A.T. team into a building. More than getting the shot, I think Chris was really proud
of himself that he was able to get me to do that,x94 he admits.
22
x93We were able to utilize the IMAX format without having to compromise the way
in which we would have filmed with smaller cameras. It didnx92t slow us down in the
slightest and it was pretty exciting to see it come together,x94 says Nolan.
In addition to the size and heft of the cameras, however, there were other factors
that had to be addressed in incorporating the larger format film. x93The composition of
shots is entirely different because the frame is so much bigger, so you need to center
things more to pull your attention to the action. And focus is much more critical because
it is a shallower depth of field,x94 Pfister clarifies, adding that the larger size frame also had
a direct effect on the lighting. x93One of the most challenging things about filming in IMAX
is trying to hide the lights. With the expanded frame, youx92re seeing so much more from
side to side and top to bottom so you canx92t place lights where you normally would. You
have to put them behind objects and anywhere else you can hide them.x94
The size and clarity of the IMAX footage affected other departments, as well.
Nathan Crowley notes, x93Filming in IMAX is a great bonus to a production designer
because you notice things you ordinarily wouldnx92t even see. The perspective is huge. I
mean, we purposely had a lot of low ceilings and beautiful shiny floors because they stay
in frame. Then again, we also had to make sure the finishes were superb because youx92ll
also see every speck of dust on the floor,x94 he laughs.
Everyone agreed the end result was more than worth the effort of mastering the
learning curve. x93You can absolutely see the difference,x94 Pfister attests. x93Itx92s sharper; it
has more resolution, more contrast and a richer color saturation. It is an overall
improved image, whether youx92re seeing it on an IMAX screen or on a regular screen. I
think the action will jump off the screen in any theater.x94
x93Continuing Batmanx92s story, we felt it was very important
to get outside and view Gotham as a major world city.x94
- Christopher Nolan
With x93The Dark Knight,x94 Christopher Nolan sought to expand the world of Batman
in a literal sense by moving the action from the confines of a soundstage to the expanse
of practical locations. x93We were looking for ways to expand the scope of this film, so I
was determined to take the location filming much further than what we did on x91Batman
Begins,x92x94 the director says. x93The real world is built on a scale you could never reproduce
in the studio.x94
23
As it had in x93Batman Begins,x94 the city of Chicago once again became Gotham
City. x93I spent some time growing up in Chicago,x94 Nolan offers, x93so itx92s a city I know and
love. It is famous for its architecture and it is also a very film-friendly city. We shot there
for weeks on x91Batman Begins,x92 but this time we were going to be there for months and
the help and encouragement we got from the city was extraordinary.x94
Chuck Roven confirms, x93I canx92t say enough about Mayor Daley, the Chicago Film
Office and, most importantly, the citizens of Chicago, who could not have been more
excited or more welcoming to us. They gave us total cooperation and allowed us to do
some unbelievable things on their streets, and we appreciated and always tried to
respect that privilege.x94
Inarguably, the most incredible thing the city allowed the production to do was
unprecedented: flipping a 40-foot tractor-trailer, end over end, right in the heart of the
cityx92s banking district on LaSalle Street. When Chris Corbould saw the truck flip
described in the script, he admits, x93I tried to make compromises with Chrisx97like maybe
the whole truck doesnx92t go over or maybe we could use a smaller truckx97but he wasnx92t
having any of it.x94
Nolan responds, x93Finally I turned to him one day and said, x91Chris, it really ought
to be an 18-wheeler. And I know you can find a way to do this because thatx92s just who
you are and thatx92s what you do.x92x94
The first order of business was to make sure the stunt was even possible. x93After
about six weeks of calculations, we were ready to do an actual test,x94 Corbould recalls.
x93We went out to an open space, got the truck up to speed and pressed the button, and it
just sailed over. I had to go to Chris Nolan and tell him it worked perfectly.x94
Nevertheless, the filmmakers were aware that there was a vast difference
between flipping a truck in the middle of nowhere and doing it in the middle of a city
street. Before they could carry out the stunt, city engineers were called in to make sure
that the tons of force necessary to send the truck end over end would not damage the
infrastructure of LaSalle Street, including the various utility lines that run beneath it.
Once safe parameters were determined, the production was given the green light.
When the night of the stunt came, the truck flip went like clockwork, earning
applause from the assembled cast and crew. x93It was an impressive thing to watch this
truck fly over and land precisely where Chris said it was going to land,x94 Nolan remarks.
x93At the top of its arc, it looked almost like a skyscraper standing there, and then it just
continued going over very gracefully. Ix92ve never seen anything like it.x94
24
The filmx92s most explosive sequence involved the implosion of an entire building,
which was staged at the now-vacant Brachx92s Candy factory building. Corbould and his
crew teamed with the company Controlled Demolition, Inc., headed by Doug Loizeaux,
to create the explosion. Corbould offers, x93Chris didnx92t want the building to go down like a
deck of cards, like a conventional demolition. I worked with Doug, who came up with a
system to make the building go down more like a wave, in sequence. Then we added
our special effects elements to make it more spectacular.x94
For the filmmakers, safety was paramount. The main concerns involved
surrounding street traffic, as well as active rail lines running nearby the building. The
production contacted the railroad companies and coordinated the train schedules to
ensure that no trains would be coming through at the time of the explosion. Adjacent
street traffic was also blocked to keep onlookers and passersby from getting anywhere
near the blast. In addition, the scene called for a bus to be in proximity to the explosion,
so polycarbonate sheeting was placed on the windows of the bus to ensure that even if
the windows broke, no glass would fly into the bus with cast members inside.
On location in Chicago, the filmmakers also took advantage of some of the cityx92s
defining features, including its world-renowned architecture and multi-leveled streets.
Nolan made good use of the parallel upper and lower roadways for the climactic car
chase between The Joker, the police and Batman. The breakneck chase sent a variety
of cars, armored trucks and one ill-fated 18-wheeler hurtling down such streets as Upper
and Lower Wacker Drive, Lower Lower Randolph, Lower Lower Columbus and LaSalle
Street. During the chase, the Bat-Pod even takes a side route through the newly
remodeled train station under Millennium Park.
x93The Dark Knightx94 marks Nathan Crowleyx92s fourth film in the Windy City, and the
production designer observes, x93The Chicago architecture is phenomenal; all of the great
architects of the last century have worked there. And itx92s wonderfully cinematic.x94
Crowley chose two buildings designed by famed architect Mies van der Rohe for
a variety of sets. The IBM Building was the site of the Wayne Enterprises Boardroom,
Harvey Dentx92s office, the Mayorx92s office and the Police Commissionerx92s office, while the
lobby of One Illinois Plaza became the main living area of Bruce Waynex92s new
penthouse. Of course, utilizing the lobby level for the penthouse set meant that visual
effects would be needed to create top-floor views of the city through the floor-to-ceiling
windows. Brucex92s bedroom was built separately on the 39th floor of Hotel 71 on East
Wacker Drive.
25
Bruce and Alfred have taken up residence in the penthouse because Wayne
Manor is still under construction after it was destroyed in a fire. Nolan comments, x93At the
end of x91Batman Begins,x92 Bruce says hex92s going to rebuild Wayne Manor brick by brick.
That would take a long time, so it would be pretty unrealistic for him to be already moved
back in. And there was also a period in the comic books where Bruce Wayne did live
downtown in a penthouse, so we took that as a jumping-off point. We wanted to have
him in the city because this is very much a story of a city and we felt it was important to
put Bruce in the middle of that.x94
The penthouse was of a decidedly more modern design than Wayne Manor.
Crowley explains, x93We were given access to these great modernist floors, and we felt
that era of architecture was better suited for what we were trying to convey emotionally.
Itx92s cold and itx92s vacant; therex92s no warmth to the environment.x94
Nolan adds, x93Bruce is living a very lonely existence in a way, so the stark design
of the penthouse was meant to reflect his state of mind.x94
Filming in Chicago also took place at such locations as the Convention Hall at
McCormick Place West, which became the vast warehouse of Wayne Enterprisesx92
Applied Science Division; Navy Pier, which was the site of a dramatic scene involving
the panicked citizens of Gotham City; and the Old Chicago Post Office, which was
employed for several scenes, including the opening bank robbery. In addition, the
exterior of Chicagox92s Trump Tower, which was in the early construction stage at the time
of production, was used for a pivotal confrontation between Batman and The Joker. The
interior of the building framework was carefully re-created in England at Cardingtonx97the
converted airship hangar that is now used as a soundstagex97where the fight was
actually filmed.
Rising out of the Chicago skyline, the Sears Tower was the site of a soaring
exterior shot, and Christian Bale was not going to be denied an opportunity to stand atop
the tallest building in the United States. The actor recounts, x93I overheard my stunt
double, Buster Reeves, saying he was heading up to the Sears Tower to do that, and I
said, x91Sorry buddy, no way. I just have to do this one myself.x92 I mean, how often do you
get to be 110 stories up, looking out over all of Chicago? But itx92s a funny and probably
quite dangerous thing,x94 he laughs, x93how quickly I felt very at home out there and how
soon I was able move around right on the edge, looking straight down.x94
Far from being worried, Nolan supported his leading manx92s decision to grab that
once-in-a-lifetime opportunity. x93Christian likes to challenge himself and I knew we
26
werenx92t putting him in any actual physical danger. It was perfectly safe; it just required
guts to stand there. I certainly wouldnx92t want to do it, but he seemed to enjoy it and it
made a beautiful shot for us. And after that, standing out on a ledge on a building in
Hong Kong must have been easy.x94
x93The Dark Knightx94 sends Batman to the Far East on a mission to bring down an
international financial magnate, who is manipulating Gotham Cityx92s most powerful crime
cartels. The scenes were filmed on location in Hong Kong, primarily at the magnificent
IFC2 Building, the tallest building in the city. x93I liked the idea of sending Batman
someplace more exotic,x94 says Nolan. x93We had done that with Bruce Wayne in the first
film, before he became Batman, but I really wanted to show the character of Batman
outside the realm of Gotham City. I had been to Hong Kong many years ago at a film
festival, and remembered it as a great location. Itx92s an incredibly visual place, which
makes it ideal in cinematic terms.x94
For some interiors, the production returned to Cardington, where one major set
was constructed: the Bat-Bunker, which has temporarily replaced the Batcave while
Bruce and Alfred are living in the penthouse. With its ceiling of solid fluorescent lights,
the Bat-Bunker x93looks like a giant light box,x94 describes Wally Pfister, x93which obviously
made it simple for me from a lighting standpoint.x94
Crowley notes that as long as his home was in the city, Batman needed a new
headquarters. x93He canx92t go to his Batcave, so we came up with the idea of a bunker that
ties back to the architectural theme of the penthouse in that itx92s vast but very plain. It is
essentially a large concrete box where everything comes out of the walls and then goes
back. But it still had to be visually interesting. It was all about proportion and
perspective, which was actually great fun to do.x94
Christopher Nolan reflects, x93Every stage of making an enormous film like this
presents its own challenges, but has its own rewards. Itx92s very exciting to travel the
world and zoom around in helicopters and race the Batmobile around the streets of
Chicago. Every now and then, I have to consciously remind myself to take a step back
and realize that this is an extraordinary thing I am privileged to be a part of.x94
Another critical design element of x93The Dark Knightx94 is not seen but heard. x93The
sound design of the film was extremely complicated,x94 says Nolan. x93There were an
enormous number of elements encompassed in the sound mix and there are moments
where itx92s hard to detect what is sound design and what is music,x94 he asserts. x93There
are large segments of the film where we use little or no score. It was a major challenge
27
for our sound designer, Richard King, and his team to create a range of sounds that
would provoke the kind of emotional response that you would usually rely on music for.
Then the end of the film is very heavily scored with music, but it develops as the action
progresses.x94
Composers Hans Zimmer and James Newton Howard, who partnered on the
music for x93Batman Begins,x94 reunited to compose the score for x93The Dark Knight.x94 Nolan
relates, x93I like the score of the film to be an evolution that runs parallel to the editing of
the film, and Hans and James have been amazing in accommodating that. Usually
without even seeing final footage, they give me pieces of music that my editor, Lee
Smith, and I take into the edit suite. Itx92s a very organic process that puts a lot of unusual
demands on the composers, but they did a fantastic job with it.x94
As they had on x93Batman Begins,x94 Zimmer and Howard split duties on x93The Dark
Knight,x94 with Zimmer composing the theme for The Joker and Howard taking on the dual
personality of Harvey Dent/Two-Face. They also made changes to the overall score,
eschewing any heroic fanfares. Zimmer says, x93I donx92t see Batman as a typical
superhero, so I wanted to avoid anything x91superx92 in the music. I kept thinking about the
Bat Symbol. It is the iconic representation of Batman, but at the same time, it is dark
and unadorned.x94
x93Batman is a very complex character,x94 Howard adds. x93Wex92re still getting to know
him, so to try and attach a musical theme to him that defines him in any way would be
misleading.x94
Nolan concludes, x93For me, Batman has an enduring appeal and endless
fascination because he is a relatable character. He is referred to as a superhero, but
actually he is a self-invented superhero. And I think the fantasy of a man who, through
sheer will and self-discipline, has turned himself into more than just a man, into a heroic
figurex85thatx92s just a very compelling myth.x94
# # #
28
ABOUT THE CAST
CHRISTIAN BALE (Bruce Wayne/Batman) was born in Wales and grew up in
England and the USA. He made his film debut in Steven Spielbergx92s World War II epic
x93Empire of the Sun.x94
Balex92s work to date also includes x93Henry V,x94 x93The Portrait of a Lady,x94 x93The Secret
Agent,x94 x93Metroland,x94 x93Velvet Goldmine,x94 x93All the Little Animals,x94 x93American Psycho,x94
x93Shaft,x94 x93Captain Corellix92s Mandolin,x94 x93Reign of Fire,x94 x93Laurel Canyon,x94 x93The Machinist,x94
x93Batman Begins,x94 x93The New World,x94 x93The Prestige,x94 x93Harsh Times,x94 x93Rescue Dawnx94 and
x933:10 to Yuma.x94
Bale just completed work on x93Public Enemiesx94 for director Michael Mann. He is
currently filming x93Terminator Salvation,x94 under the direction of McG.
MICHAEL CAINE (Alfred) is one of the film industryx92s most esteemed actors,
with a career spanning over half a century and encompassing more than 100 films and a
myriad of acting honors. A two-time Academy Award winner, Caine won his first Oscar,
for Best Supporting Actor, for his work in x93Hannah and Her Sisters,x94 for which he also
received Golden Globe and BAFTA Award nominations. He took home his second Best
Supporting Actor Oscar for his role in x93The Cider House Rules,x94 also winning a SAG
Award and earning Golden Globe and BAFTA Award nominations.
In addition, Caine has earned four Oscar nominations for Best Actor, the first
coming in 1966 for his performance in the title role in x93Alfie,x94 which also brought him a
Golden Globe nomination and a New York Film Critics Award. He received his second
Oscar nod, as well as a Golden Globe nomination and an Evening Standard Award, for
the part of Milo Tindle in 1972x92s x93Sleuth.x94 His role in x93Educating Ritax94 earned him his
third Oscar nomination, and Golden Globe and BAFTA Awards. He gained his latest
Oscar, Golden Globe and BAFTA Award nominations for his work in 2002x92s x93The Quiet
American,x94 for which he also won a London Critics Circle Award. He previously won
Golden Globe and London Critics Circle Awards, as well as a BAFTA Award nomination,
for Best Supporting Actor for x93Little Voice.x94
More recently, Caine won another London Critics Circle Award for his
performance in 2006x92s x93The Prestige,x94 which reunited him with director Christopher
Nolan following their collaboration on the 2005 blockbuster x93Batman Begins.x94 Cainex92s
29
most recent film work also includes Gore Verbinskix92s x93The Weather Man,x94 Alfonso
Cuaronx92s x93Children of Men,x94 and the 2007 remake of x93Sleuth,x94 in which he turned the
tables on his 1972 role, playing Milox92s adversary, Andrew.
Caine was born Maurice Micklewhite in South London in 1933, the son of a fish
market porter and a charwoman. His interest in acting began at an early age and, at 16,
he left school and took odd jobs for local film companies, hoping to be discovered.
When he was 18, he was called to do his National Service with the Queenx92s Royal
Regiment and the Royal Fusiliers. Upon his discharge in 1953, Caine began pursuing
his acting career, taking his stage name from the title x93The Caine Mutiny.x94 Starting out
on the stage, he toured Britain in a variety of plays, and began appearing in increasingly
better roles in British films and television shows.
In 1964, Caine landed his first major film role as Lieutenant Gonville Bromhead in
x93Zulu.x94 The following year, he starred in the hit thriller x93The Ipcress File,x94 earning his first
BAFTA Award nomination for his portrayal of secret agent Harry Palmer. However, it
was his Oscar-nominated performance in the seminal sixties film x93Alfiex94 that catapulted
Caine to international stardom. In the late 1960s, he went on to star in 11 films,
including x93The Ipcress Filex94 sequels, x93Funeral in Berlinx94 and x93Billion Dollar Brainx94;
x93Gambit,x94 earning a Golden Globe nomination; x93Hurry Sundownx94; x93Woman Times
Sevenx94; x93Deadfallx94; x93The Magusx94; x93The Italian Jobx94; and x93Battle of Britain.x94
Over the following two decades, Caine starred in more than 40 films, including
Robert Aldrichx92s x93Too Late the Herox94; x93X, Y and Zee,x94 opposite Elizabeth Taylor; x93Sleuth,x94
with Laurence Olivier; John Hustonx92s x93The Man Who Would Be Kingx94; x93Harry and Walter
Go to New Yorkx94; Richard Attenboroughx92s x93A Bridge Too Farx94; the Neil Simon comedy
x93California Suitex94; Woody Allenx92s x93Hannah and Her Sisters,x94 winning his first Oscar; Brian
De Palmax92s x93Dressed to Killx94; John Hustonx92s x93Victoryx94; Sidney Lumetx92s x93Deathtrapx94;
x93Educating Ritax94; Stanley Donenx92s x93Blame It on Riox94; John Frankenheimerx92s x93The
Holcroft Covenantx94; Neil Jordanx92s x93Mona Lisax94; and x93Dirty Rotten Scoundrels,x94 for which
he received a Golden Globe nomination.
Over the next 15 years, Caine starred in such films as the ensemble comedy
x93Noises Offx85x94; x93Blood and Winex94; x93Little Voicex94; x93Quillsx94; x93Miss Congenialityx94; x93Austin
Powers: Goldmemberx94; x93The Quiet Americanx94; and the Lasse Hallstrxf6m films
x93Secondhand Lionsx94 and x93The Cider House Rules,x94 for which he won his second Oscar.
On the small screen, Caine earned both Emmy and Golden Globe nominations
for the dual title role in the telefilm x93Jekyll & Hydex94 and for his portrayal of South African
30
President F.W. de Klerk in the historical drama x93Mandela and de Klerk.x94 He also gained
a Golden Globe nomination for his work in the telefilm x93Jack the Ripperx94 and an Emmy
nomination for the docudrama x93World War II: When Lions Roared.x94
Also an author, Caine wrote an autobiography entitled Whatx92s It All About?, as
well as Acting on Film, a book based on a series of lectures he gave on BBC Television.
In the 1992 Queenx92s Birthday Honours, Caine was awarded the CBE, and eight
years later received a knighthood.
HEATH LEDGER (The Joker) was honored with an Academy Award nomination
for his work in Ang Leex92s drama x93Brokeback Mountain.x94 For his performance as Ennis
Del Mar, Ledger also earned Golden Globe, Independent Spirit, BAFTA and Screen
Actors Guild Awards nominations, and won several critics groupsx92 awards.
In 2007, Ledger was seen in Todd Haynex92s x93Ix92m Not There,x94 for which he shared
in a Robert Altman Award at the 2008 Independent Spirit Awards.
His previous film credits include x93Candy,x94 x93Casanova,x94 x93The Brothers Grimm,x94
x93Lords of Dogtown,x94 x93The Order,x94 x93Ned Kelly,x94 x93The Four Feathers,x94 x93Monsterx92s Ball,x94 x93A
Knightx92s Tale,x94 x93The Patriotx94 and x9310 Things I Hate About You,x94 which first introduced the
Australian-born actor to American audiences.
GARY OLDMAN (James Gordon) first played the role of Gotham Police
Lieutenant James Gordon in x93Batman Begins.x94 He also originated the role of Sirius
Black in x93Harry Potter and the Prisoner of Azkabanx94 and reprised the part in x93Harry
Potter and the Goblet of Firex94 and x93Harry Potter and the Order of the Phoenix.x94
Oldman began his career in 1979 on the London stage. Between 1985 and 1989
he acted exclusively at Londonx92s Royal Court Theatre and, in 1985, was named Best
Newcomer by Londonx92s Time Out for his work in x93The Popex92s Wedding.x94 That same
year he shared the London Criticx92s Circle Best Actor Award with Anthony Hopkins.
In 1986, Oldman made his major feature film debut in x93Sid and Nancy,x94 winning
the Evening Standard British Film Award for Most Promising Newcomer for his portrayal
of punk rock legend Sid Vicious. The following year, he starred in Stephen Frearsx92 x93Prick
Up Your Ears,x94 winning the Best Actor Award from the London Film Critics Circle for his
portrayal of doomed British playwright Joe Orton. He has since become one of the
industryx92s most respected actors, appearing in both mainstream hits and acclaimed
independent films. Oldmanx92s early film credits also include Nicolas Roegx92s x93Track 29×94;
31
x93Criminal Lawx94; x93Chattahoocheex94; Tom Stoppardx92s x93Rosencrantz & Guildenstern Are
Dead,x94 for which he received an Independent Spirit Award nomination for Best Actor;
x93State of Gracex94; x93Henry & Junex94; Oliver Stonex92s x93JFK,x94 playing Lee Harvey Oswald; and
the title role in Francis Ford Coppolax92s x93Dracula.x94
Oldmanx92s subsequent film work includes memorable roles in Tony Scottx92s x93True
Romancex94; x93Romeo is Bleedingx94; the Luc Besson films x93The Professionalx94 and x93The Fifth
Elementx94; x93Immortal Belovedx94; x93Murder in the Firstx94; Roland Joffex92s x93The Scarlett Letterx94;
Julian Schnabelx92s x93Basquiatx94; Wolfgang Petersenx92s x93Air Force Onex94; the big screen
version of x93Lost in Spacex94; and Ridley Scottx92s x93Hannibal.x94
In 1995 Oldman and manager/producing partner Douglas Urbanski formed the
production company The SE8 Group, which produced Oldmanx92s directorial debut feature
x93Nil by Mouth,x94 which Oldman also wrote. The film was invited to open the 1997 50th
Cannes Film Festival in the main competition, where Kathy Burke won the Best Actress
Award for her role. In addition, Oldman won two BAFTA Awards for Best British Film
and Best Screenplay; the Channel 4 Directorx92s Award at the 1997 Edinburgh
International Film Festival; and the Empire Award for Best Debut Film. He also
executive produced and starred in the SE8 Group film x93The Contender,x94 which received
two Oscar nominations and brought Oldman a Screen Actors Guild Award nomination
for Best Supporting Actor.
On the small screen, Oldman earned an Emmy nomination for his guest
appearance as an alcoholic actor on the hit comedy series x93Friends.x94 His earlier
television work includes the telefilms x93Meantime,x94 directed by Mike Leigh, and x93The
Firm,x94 directed by Alan Clarke.
AARON ECKHART (Harvey Dent) earned Golden Globe and Independent Spirit
Award nominations for his role as an unapologetic tobacco lobbyist in 2005x92s x93Thank
You for Smoking,x94 which marked Jason Reitmanx92s directorial debut. Eckhart more
recently starred in Brian De Palmax92s fact-based murder mystery x93The Black Dahliax94; the
romantic comedy x93No Reservations,x94 opposite Catherine Zeta-Jones; and the
independent film x93Meet Bill.x94 He next stars in Alan Ballx92s x93Towelhead,x94 which opens in
limited release this fall, and x93Traveling,x94 opposite Jennifer Aniston.
Eckhart studied theater and film at Brigham Young University, where he first met
writer/director Neil LaBute and appeared in several of LaButex92s plays. In 1997, Eckhart
first gained attention from film critics and audiences when he starred in LaButex92s first
32
feature film, x93In the Company of Men.x94 The controversial feature earned widespread
acclaim and won a number of awards, including an Independent Spirit Award for Eckhart
for Best Debut Performance.
Over the next five years, he starred in three more LaBute films: x93Your Friends
and Neighbors,x94 with Ben Stiller and Catherine Keener; x93Nurse Betty,x94 with Renxe9e
Zellweger; and x93Possession,x94 opposite Gwyneth Paltrow. During that time, Eckhart also
received praise for his memorable performance as the love interest of the title character
in Steven Soderberghx92s acclaimed 2000 biopic x93Erin Brockovich,x94 opposite Julia Roberts.
Eckhartx92s additional film credits include x93Conversations with Other Women,x94
opposite Helena Bonham Carter; John Woox92s action drama x93Paycheck,x94 with Ben Affleck
and Uma Thurman; Ron Howardx92s x93The Missing,x94 with Tommy Lee Jones and Cate
Blanchett; Jon Amielx92s x93The Core,x94 opposite Hilary Swank; Sean Pennx92s x93The Pledge,x94
joining an all-star cast, including Jack Nicholson and Vanessa Redgrave; Oliver Stonex92s
x93Any Given Sundayx94; and John Duiganx92s x93Molly,x94 opposite Elisabeth Shue.
On the stage, Eckhart theatrical credits include Michael Cristoferx92s play x93Amazing
Grace,x94 opposite Marsha Mason.
MAGGIE GYLLENHAAL (Rachel Dawes) has, in just the last few years,
emerged as one of the film industryx92s busiest leading ladies, earning praise for her work
in both major studio releases and independent features. In 2002, she starred opposite
James Spader in the provocative film x93Secretary,x94 which premiered to rave reviews at
the Sundance Film Festival. Gyllenhaalx92s performance in the title role brought her
numerous honors, including Golden Globe and Independent Spirit Award nominations, a
Boston Film Critics Award, and a National Board of Review Award. In addition, she won
a Chicago Film Critics Award for Most Promising Performer, which also recognized her
work in two other 2002 releases: Spike Jonzex92s x93Adaptationx94 and George Clooneyx92s
x93Confessions of a Dangerous Mind.x94
Gyllenhaal received her second Golden Globe Award nomination, as well as
several international film festival awards, for her starring role in the 2006 independent
feature x93SherryBaby.x94 That same year, she starred in Marc Forsterx92s acclaimed comedy
drama x93Stranger Than Fiction,x94 with Will Ferrell, Emma Thompson, Queen Latifah and
Dustin Hoffman; Oliver Stonex92s real-life drama x93World Trade Centerx94; and a segment of
the anthology film x93Paris, je tx92aime.x94 Gyllenhaal also lent her voice to the Oscarnominated
animated film x93Monster House.x94
33
Her other recent film credits include Bart Freundlichx92s x93Trust the Man,x94 with David
Duchovny and Julianne Moore; Don Roosx92 x93Happy Endings,x94 with Lisa Kudrow; John
Saylesx92 x93Casa de los Babysx94; and x93Mona Lisa Smile,x94 in which she starred with Julia
Roberts, Kirsten Dunst and Julia Stiles under the direction of Mike Newell.
Also an accomplished stage actress, Gyllenhaal starred in the Tony Kushner play
x93Homebody/Kabul,x94 which ran in Los Angeles and at the Brooklyn Academy of Music.
She had previously played the role of Alice in Patrick Mauberx92s award-winning play
x93Closer,x94 first at the Berkeley Repertory Theatre and then at Los Angelesx92 Mark Taper
Forum. Her other stage credits include x93Antony and Cleopatrax94 at the Vanborough
Theatre in London.
Gyllenhaal was still in her teens when she made her feature film debut in
x93Waterland,x94 starring Jeremy Irons and Ethan Hawke. She later appeared in John
Watersx92 quirky Hollywood satire, x93Cecil B. Demented,x94 which led to a co-starring role in
the fantasy thriller x93Donnie Darko.x94
In 1999, while still pursuing her acting career, Gyllenhaal graduated from
Columbia University, where she studied Literature.
MORGAN FREEMAN (Lucius Fox) won an Academy Award for Best Supporting
Actor for his role in Clint Eastwoodx92s x93Million Dollar Baby,x94 for which he also won a
Screen Actors Guild (SAG) Award and received a Golden Globe nomination. He has
been honored with three additional Oscar nominations, the first coming for his chilling
performance as a homicidal pimp in the 1987 drama x93Street Smart,x94 which also brought
him Los Angeles, New York, and National Society of Film Critics Awards, and an
Independent Spirit Award for Best Supporting Actor, as well as his first Golden Globe
Award nomination. He earned his second Oscar nomination and won Golden Globe and
National Board of Review Awards for Best Actor for the 1989 film x93Driving Miss Daisy,x94 in
which he recreated his award-winning off-Broadway role. He gained his third Oscar nod
for his performance in Frank Darabontx92s 1994 drama x93The Shawshank Redemption,x94
which also brought Freeman Golden Globe and SAG Award nominations.
In addition to x93The Dark Knight,x94 Freeman also stars this summer in the action
thriller x93Wanted.x94 He also has a wide range of films upcoming, including x93The Codex94;
x93The Lonely Maiden,x94 which he is also producing; and x93The Human Factor,x94 which he will
co-produce and star in, playing Nelson Mandela, opposite Matt Damon.
34
Freemanx92s recent film work also includes starring roles in Rob Reinerx92s x93The
Bucket List,x94 opposite Jack Nicholson; Robert Bentonx92s x93Feast of Lovex94; Ben Affleckx92s
x93Gone Baby Gonex94; x93Lucky Number Slevinx94; Lasse Hallstrxf6mx92s x93An Unfinished Life,x94 with
Robert Redford and Jennifer Lopez; Christopher Nolanx92s x93Batman Beginsx94; the Jet Li
actioner x93Unleashed,x94 written by Luc Besson; and the comedy x93Bruce Almightyx94 and its
sequel, x93Evan Almighty.x94 He also lent his distinctive voice to Steven Spielbergx92s x93War of
the Worldsx94 and the Oscar-winning documentary x93March of the Penguins.x94
His earlier film credits include x93The Sum of All Fears,x94 x93High Crimes,x94 x93Along
Came a Spider,x94 x93Nurse Betty,x94 x93Deep Impact,x94 x93Hard Rain,x94 Steven Spielbergx92s
x93Amistad,x94 x93Kiss the Girls,x94 x93Se7en,x94 Clint Eastwoodx92s x93Unforgiven,x94 x93Glory,x94 x93Lean on
Me,x94 x93Clean and Sober,x94 x93Marie,x94 x93Teachers,x94 x93Harry & Sonx94 and x93Brubaker.x94
In 1993, Freeman made his film directorial debut with x93Bopha!x94 and soon after
formed Revelations Entertainment. The companyx92s most recent production was the
Brad Silberling comedy x9310 Items or Less,x94 in which Freeman starred with Paz Vega.
The Memphis-born actor began his career on New York stages in the early
1960s, following a stint as a mechanic in the Air Force. A decade later, he became a
nationally known television personality when he created the popular character Easy
Reader on the popular childrenx92s show x93The Electric Company.x94
Throughout the 1970s, he continued his work on stage, winning Drama Desk and
Clarence Derwent Awards and receiving a Tony Award nomination for his performance
in x93The Mighty Gentsx94 in 1978. In 1980, he won Obie Awards for his portrayal of
Shakespearean anti-hero Coriolanus at the New York Shakespeare Festival and for his
work in x93Mother Courage and Her Children.x94 Freeman won another Obie in 1984 for his
performance as The Messenger in the acclaimed Brooklyn Academy of Music production
of Lee Breuerx92s x93The Gospel at Colonusx94 and, in 1985, won the Drama-Logue Award for
the same role. In 1987, Freeman created the role of Hoke Coleburn in Alfred Uhryx92s
Pulitzer Prize-winning play, x93Driving Miss Daisy,x94 which brought him his fourth Obie. In
1990, Freeman starred as Petruchio in the New York Shakespeare Festivalx92s x93The
Taming of the Shrew,x94 opposite Tracey Ullman.
Returning to the stage, Freeman is currently starring on Broadway with Frances
McDormand and Peter Gallagher in Clifford Odettx92s drama x93The Country Girl,x94 directed
by Mike Nichols.
35
ABOUT THE FILMMAKERS
CHRISTOPHER NOLAN (Director/Screenwriter/Producer) is an award-winning
filmmaker who has been recognized for his work as a director and screenwriter.
Nolan began making movies at an early age with his fatherx92s Super-8mm
camera. While studying English Literature at University College London, Nolan shot
16mm films at UCLx92s film society, learning the guerrilla film techniques he would later
use to make his first feature, x93Following.x94 The x93no-budgetx94 noir thriller enjoyed great
success at a number of international film festivals, including Toronto, Rotterdam,
Slamdance, and Hong Kong, prior to being released theatrically in the U.S., U.K., France
and various other territories.
Nolanx92s second film was the low-budget independent feature x93Memento,x94 starring
Guy Pearce, Carrie-Ann Moss and Joe Pantoliano, which Nolan directed from his own
screenplay, based on a short story by his brother Jonathan. The film brought Nolan
numerous honors, including Academy Award and Golden Globe Award nominations for
Best Original Screenplay, two Independent Spirit Awards for Best Director and Best
Screenplay, and a Directors Guild of America Award nomination. In addition, he won
Best Screenplay Awards from several critics groups, including the Los Angeles, London,
Chicago and Broadcast Film Critics Associations, as well as the American Film
Institutex92s Screenwriter of the Year Award, and the Waldo Salt Screenwriting Award at
the 2001 Sundance Film Festival.
Nolan followed x93Mementox94 with the critically acclaimed psychological thriller
x93Insomnia,x94 starring Academy Award winners Al Pacino, Robin Williams and Hilary
Swank. For that film, Nolan won the London Critics Circle Award for Best Director of the
Year.
In 2005, Nolan co-wrote and directed x93Batman Begins,x94 starring Christian Bale,
Michael Caine, Liam Neeson, Gary Oldman and Morgan Freeman. The blockbuster
reimagined the Batman film franchise, pleasing critics and fans alike and paving the way
for x93The Dark Knight.x94
Nolan more recently directed, co-wrote and produced the mystery thriller x93The
Prestige,x94 starring Hugh Jackman, Christian Bale, Scarlett Johansson and Michael
Caine. Empire Magazine named Nolan the Best Director of the Year for the film, which
also received Oscar nominations for its extraordinary art direction and cinematography.
36
Nolan currently lives in Los Angeles with his wife, producer Emma Thomas, and
their children.
CHARLES ROVEN (Producer) has enjoyed success as a distinguished producer
of both independent and major motion pictures in a career spanning more than two
decades. He is co-founder of Atlas Entertainment, which for the last 10 years was part
of Mosaic Media Group, an integrated multimedia film, television and management
company, in which he was a founding principal.
x93The Dark Knightx94 reunites Roven with the team from the acclaimed blockbuster
x93Batman Begins,x94 which he produced in 2005. Directed by Christopher Nolan and
starring Christian Bale, Michael Caine, Liam Neeson, Morgan Freeman and Gary
Oldman, x93Batman Beginsx94 was number one at the box office for two consecutive weeks
on its way to grossing more than $370 million worldwide.
In addition to x93The Dark Knight,x94 Roven produced the recently released action
comedy x93Get Smart,x94 directed by Peter Segal and teaming Steve Carell and Anne
Hathaway as Maxwell Smart and Agent 99. The film opened at #1 at the U.S. box office.
He is also a producer on the dramatic thriller x93The International,x94 set for release in early
2009, with Clive Owen and Naomi Watts starring under the direction of Tom Tykwer.
Earlier this year, Roven produced the critically acclaimed crime thriller x93The Bank
Job,x94 directed by Roger Donaldson and starring Jason Statham and Saffron Burrows,
which opened at the top of the UK box office. His recent film credits also include the
musical x93Idlewild,x94 starring Outkastx92s Andre Benjamin (Andre 3000) and Antwan Patton
(Big Boi); and x93The Brothers Grimm,x94 directed by Terry Gilliam and starring Matt Damon
and Heath Ledger.
Roven previously served as a producer on a broad range of films, including the
$275-million-plus worldwide box office smash x93Scooby-Doo,x94 followed by the sequel
x93Scooby-Doo 2: Monsters Unleashedx94; the highly acclaimed post-Gulf War tale x93Three
Kingsx94; the widely praised romantic fantasy hit x93City of Angels,x94 which earned $200
million at the worldwide box office; and Terry Gilliamx92s x93Twelve Monkeys,x94 starring Bruce
Willis and Brad Pitt in his Oscar-nominated and Golden Globe winning role.
Roven began his career as a talent manager, subsequently bringing an attuned
sensibility for working with artists to the realm of production.
In 2008, Roven was honored with the ShoWest Producer of the Year Award for
his contributions to the film industry.
37
EMMA THOMAS (Producer) is the producer behind such thought-provoking indie
hits as x93Followingx94 and x93Memento,x94 as well as several major motion picture releases,
including the blockbuster x93Batman Begins.x94
Most recently, Thomas produced the critically acclaimed drama x93The Prestige,x94
directed by Christopher Nolan. Hugh Jackman, Christian Bale, Scarlett Johansson and
Michael Caine starred in the story about an intense rivalry between two magicians who
become obsessed with outdoing one another, leading to self-destruction and murder.
The film earned two Oscar nominations for art direction and cinematography.
Thomas and writer/director Christopher Nolan are currently developing x93The
Prisoner,x94 based on the BBC show of the 1960s, and x93The Exec,x94 both under the banner
of their company, Syncopy.
Thomas studied at the prestigious University College London before beginning
her career at Working Title Films in London, where she worked in physical production for
five years. While at Working Title, she gained a solid foundation in film production,
which would serve her well as she segued into producing.
The independent feature x93Followingx94 was the turning point for her career, marking
her first film as a producer. Shot on weekends over the course of a year, x93Followingx94
was guerrilla filmmaking at its best. The film, which was shot on a shoestring budget,
went on to gain recognition at film festivals around the world and received international
distribution.
Thomas next served as an associate producer on the internationally acclaimed
independent hit x93Memento.x94 The film went on to win a number of awards, including an
Independent Spirit Award, a British Independent Film Award, and several critics groupsx92
awards for Best Film. Continuing her success, Thomas co-produced her first major
studio release, the hit thriller x93Insomnia,x94 starring Al Pacino, Robin Williams and Hilary
Swank.
In 2005, Thomas produced x93Batman Begins,x94 starring Christian Bale, Michael
Caine, Liam Neeson, Gary Oldman and Morgan Freeman, under the direction of
Christopher Nolan. The film earned praise from both critics and audiences for its bold
reimagining of the Batman film franchise, setting the stage for x93The Dark Knight.x94
JONATHAN NOLAN (Screenwriter) is currently writing the screenplay for
x93Interstellar,x94 a science fiction space adventure to be directed by Steven Spielberg.
38
Nolan was born in London and grew up in the Chicago area. His film career
began when he wrote the intriguing short story x93Memento Mori,x94 which became the basis
for the acclaimed noir drama x93Memento,x94 starring Guy Pearce. Directed by his brother,
Christopher Nolan, who also adapted the screenplay, x93Mementox94 brought Jonathan an
Academy Award nomination for Best Original Screenplay, as well as the Waldo Salt
Screenwriting Award at the 2001 Sundance Film Festival, both shared with Christopher.
He more recently co-wrote the screenplay for the mystery thriller x93The Prestige,x94
about a bitter rivalry between two magicians with tragic consequences. Hugh Jackman,
Christian Bale and Scarlett Johansson starred in the drama, under the direction of
Christopher Nolan.
DAVID S. GOYER (Story) previously teamed with Christopher Nolan on the
screenplay for x93Batman Begins,x94 which won a Saturn Award from the Academy of
Science Fiction, Fantasy and Horror. Goyer has earned a stellar reputation for telling
character-driven stories adapted from the otherworldly realms of superheroes, fantasy
and the supernatural for the big screen. He is currently working on the supernatural
thriller x93The Unborn,x94 starring Gary Oldman and Odette Yustman, which he is directing
from his own screenplay.
Goyerx92s breakout came in 1998 when he wrote the action hit x93Blade,x94 starring
Wesley Snipes, based on the Marvel Comics vampire hunter who is, himself, halfvampire.
He then wrote 2002x92s x93Blade II,x94 on which he also served as an executive
producer. He directed, wrote and produced the last of the trilogy, x93Blade: Trinity.x94 Goyer
was also an executive producer on x93Blade: The Seriesx94 for Spike TV, the networkx92s first
original scripted series.
In 2002, Goyer made a departure from action genre films with his directorial
debut, x93ZigZag,x94 a poignant comedy featuring Wesley Snipes, John Leguizamo, Oliver
Platt, Natasha Lyonne and Sam Jones III. In addition to x93ZigZagx94 and x93Blade: Trinity,x94
Goyer directed last yearx92s supernatural thriller x93The Invisible,x94 starring Justin Chatwin
and Margarita Levieva.
Growing up in Ann Arbor, Michigan, Goyer wanted to write comic books from an
early age, which eventually led to his bringing them to life for the big screen. He sold his
first action script at the age of 22 while still at USC, which became the Jean Claude Van
Damme thriller x93Death Warrant.x94 Among his other early credits, he penned the
screenplay for the critically acclaimed film x93Dark City.x94
39
Goyerx92s love of comic books also led to a four-year stint actually writing one for
DC Comics. He is a co-writer of The Justice Society, which was one of DCx92s biggest
hits.
BENJAMIN MELNIKER (Executive Producer) has had a longstanding
relationship with DC Comics. Together with his producing partner, Michael E. Uslan, he
has been a part of all of the Batman film and direct-to-DVD projects, most recently
serving as an executive producer on Christopher Nolanx92s x93Batman Begins.x94 Earlier, he
was an executive producer on the Tim Burton-directed movies x93Batman,x94 starring
Michael Keaton and Jack Nicholson, and x93Batman Returns,x94 starring Keaton, Michelle
Pfieffer and Danny DeVito, followed by Joel Schumacherx92s x93Batman Forever,x94 starring
Val Kilmer, Jim Carrey and Tommy Lee Jones, and x93Batman & Robin,x94 starring George
Clooney and Arnold Schwarzenegger. He also produced the animated x93Batman: Mask
of Phantasmx94 and the Annie Award-winning x93Batman Beyond: Return of The Joker.x94
In addition, Melniker was a producer on Francis Lawrencex92s thriller x93Constantine,x94
based on the DC Comics/Vertigo Hellblazer graphic novels and starring Keanu Reeves.
He was also an executive producer on x93Catwomanx94 and an associate producer on
x93National Treasure.x94
Currently, Melniker is executive producing the action thriller x93The Spirit,x94 based
on the comic book by Will Eisner. Directed by Frank Miller and starring Samuel L.
Jackson, Scarlett Johansson and Eva Mendes, the film is due out this holiday season.
Melniker began his film career at Metro-Goldwyn-Mayer and worked with the
esteemed studio for 30 years: he was Executive Vice President of the company, a
member of its Board of Directors and its Executive Committee, and Chairman of its Film
Selection Committee. During his tenure at MGM, he was also involved with some of the
most memorable films ever made, including x93Ben-Hur,x94 starring Charlton Heston; David
Leanx92s x93Dr. Zhivagox94; Stanley Kubrickx92s x932001: A Space Odysseyx94; and the musical
x93Gigi,x94 directed by Vincente Minnelli.
In 1975, Melniker executive produced his first film, the action drama x93Mitchell,x94
followed by the 1976 thriller x93Shoot,x94 starring Cliff Robertson and Ernest Borgnine.
Melniker has also achieved success in the world of television, with credits
including the childrenx92s series x93Where on Earth is Carmen Sandiego?,x94 for which he won
an Emmy Award for Outstanding Animated Childrenx92s Program; x93Harmful Intent,x94 based
on the book by Robin Cook; the series x93Fish Police,x94 x93Swamp Thingx94 and x93Dinosaucersx94;
40
and the acclaimed PBS miniseries x93Three Sovereigns for Sister Sarah,x94 based on the
true story of the Salem Witch Trials.
MICHAEL E. USLAN (Executive Producer) has enjoyed a long association with
DC Comics. Together with his longtime producing partner, Benjamin Melniker, Uslan
has been involved in all of the films in the Batman franchise, as well as other film and
direct-to-DVD projects based on DC Comics titles.
He was recently an executive producer on Christopher Nolanx92s hit x93Batman
Beginsx94 and produced the thriller x93Constantine,x94 starring Keanu Reeves under the
direction of Francis Lawrence. Prior to that, he served as an executive producer on Tim
Burtonx92s x93Batmanx94 and x93Batman Returns,x94 starring Michael Keaton, followed by x93Batman
Foreverx94 and x93Batman & Robin,x94 both directed by Joel Schumacher. His other credits as
an executive producer include x93Catwoman,x94 and the animated titles x93Gotham Knight,x94
x93Batman: Sub-Zero,x94 x93Batman: Mystery of The Batwoman,x94 x93Batman v. Dracula,x94
x93Batman: Mask of The Phantasm,x94 and x93Batman Beyond: Return of The Joker,x94 for which
he won an Annie Award. Additionally, he was an associate producer on the blockbuster
x93National Treasure.x94
Uslan is currently producing the upcoming action thriller x93The Spirit,x94 based on
the comic book by Will Eisner. Due out this holiday season, the film is directed by Frank
Miller and stars Samuel L. Jackson, Scarlett Johansson and Eva Mendes.
Also a successful television producer, Uslan won an Emmy Award for the popular
childrenx92s series x93Where on Earth is Carmen Sandiego?x94 which he executive produced.
His additional television producing work includes x93Harmful Intent,x94 based on Robin
Cookx92s novel, and the acclaimed PBS miniseries x93Three Sovereigns for Sarah,x94 based
on the true story of the Salem Witch Trials.
Uslan grew up on comics and actually learned to read from them. He went on to
become a renowned authority on comic book history and, at Indiana University, taught
the worldx92s first accredited college course on comic books, also writing the
accompanying textbook The Comic Book in America. It was not long before he received
a job offer from DC Comics, where he fulfilled his dream to write Batman comic books.
Uslan has since written for a number of comic titles, as well as dozens of books
that chronicle the history of comics, including America At War x96 A History of War
Comics, Mysteries in Space x96 A History of Science Fiction Comics, and The Pow! Zap!
Wham! Comic Book Trivia Quiz Book. His additional writing credits include the
41
internationally syndicated newspaper comic strip Terry and the Pirates; the historic
comic book project with Stan Lee, Just Imagine; the hardback Batman graphic novel,
Detective #27; Will Eisnerx92s The Spirit; and Dick Clarkx92s The First 25 Years of Rock and
Roll.
KEVIN DE LA NOY (Executive Producer) was most recently an executive
producer on x93Blood Diamond,x94 starring Leonardo DiCaprio, Jennifer Connelly and
Djimon Hounsou, under the direction of Edward Zwick. He had earlier collaborated with
Zwick as the unit production manager on x93The Last Samurai.x94
His producing credits also include Richard Donnerx92s sci-fi thriller x93Timeline,x94
which he co-produced, and Steven Spielbergx92s award-winning World War II drama
x93Saving Private Ryan,x94 on which he served as the associate producer.
In addition, he has been the unit production manager on such hits as x93Ali,x94
x93Titanic,x94 x93Braveheart,x94 x93Mission: Impossiblex94 and x93Mission: Impossible II.x94 His film work
also includes serving as the production supervisor on x93The Power of Onex94 and as the
location manager on such films as x93The Ghost and the Darkness,x94 x93Black Beauty,x94 x93The
Secret Gardenx94 and x931492: Conquest of Paradise.x94 He has also worked as an assistant
director on a wide range of features.
THOMAS TULL (Executive Producer) is the founder, Chairman and CEO of
Legendary Pictures, a private equity-backed film production company with more than
$1.5 billion in total financing. Legendary Pictures recently re-upped its five-year deal
through which it will co-produce and co-finance films with Warner Bros. Pictures. Since
its inception in 2005, Legendary has joined with Warner Bros. to make such successful
films as x93Batman Begins,x94 x93Superman Returnsx94 and the blockbuster x93300.x94 Their
impending projects include x93Watchmen,x94 directed by Zack Snyder.
Tull engineered the unique private equity-backed structure of Legendary and was
presented IDD Magazinex92s prestigious x93Deal of the Yearx94 Award for the entertainment
industry in 2005.
Tull is also a co-founder and Vice Chairman of the video game publisher Brash
Entertainment, for which he secured the financing by arranging a $400 million
investment. To date, the company has secured intellectual properties with five major
studios and has a current collection of over 40 licenses, including several original
properties.
42
Previously, Tull was President and served on the Board of Directors of The
Convex Group, a media and entertainment holding company headquartered in Atlanta.
In addition, he served on the Board of Directors of How Stuff Works, a company the
Convex Group acquired during his term, which was later sold to Discovery Networks.
Prior to Convex, Tull was a principal at the Southeast Interactive Technology Funds.
Tull is a member of the Board of Trustees of the American Film Institute (AFI).
He is also a board member of the San Diego Zoo and serves on their Foundation Board
for the Zoological Society of San Diego. He graduated from Hamilton College in 1992.
WALLY PFISTER (Director of Photography) has earned two consecutive
Academy Award nominations for his work with director Christopher Nolan. The first
came for 2005x92s x93Batman Begins,x94 for which he was also honored by his peers with an
American Society of Cinematographers Award nomination. The following year, he was
Oscar-nominated for his cinematography work on x93The Prestige.x94 Pfister had earlier
received an Independent Spirit Award for his work on Nolanx92s x93Memento,x94 which marked
their first collaboration. He also served as director of photography on Nolanx92s thriller
x93Insomnia.x94
Pfisterx92s additional film credits include x93The Italian Job,x94 directed by F. Gary Gray,
and the independent features x93Slow Burn,x94 x93Laurel Canyon,x94 x93Scotland, PA,x94 and x93The
Hi-Line,x94 for which he won the Moxie! Award for Best Cinematographer at the Santa
Monica Film Festival.
For the small screen, Pfister served as the director of photographer on such
telefilms as x93Sanctuary,x94 x93Sharing the Secret,x94 x93Breakfast with Einstein,x94 x93Rhapsody in
Bloomx94 and x93Sketch Artist.x94
NATHAN CROWLEY (Production Designer) has been honored for his
collaborations with director Christopher Nolan. He earned an Academy Award
nomination for his design work on the period drama x93The Prestige,x94 and previously
received a BAFTA Award nomination for x93Batman Begins.x94 In addition, Crowley
garnered Art Directors Guild Award nominations for both films. He first teamed with
Nolan on the directorx92s crime thriller x93Insomnia,x94 starring Al Pacino, Robin Williams and
Hilary Swank.
43
Crowleyx92s other film credits include the romantic drama x93The Lake Housex94; the
biopic x93Veronica Guerin,x94 directed by Joel Schumacher; the war drama x93Behind Enemy
Linesx94; and Barry Levinsonx92s Ireland-set comedy x93An Everlasting Piece.x94
He previously served as an art director on such films as x93Mission: Impossible II,x94
directed by John Woo; Richard Donnerx92s x93Assassinsx94; Alan J. Pakulax92s x93The Devilx92s
Ownx94; and x93Braveheart,x94 directed by and starring Mel Gibson.
In addition to his film work, Crowley was the production designer on the BBC
television series x93The Ambassador.x94
LEE SMITH (Editor) reunited with director Christopher Nolan on x93The Dark
Knight,x94 having previously edited x93Batman Beginsx94 and x93The Prestige.x94 Smith has also
enjoyed a long association with director Peter Weir, earning an Academy Award
nomination for his editing work on Weirx92s x93Master and Commander: The Far Side of the
World,x94 for which he also received an Eddie Award nomination from the American
Cinema Editors. Smith had earlier served as editor and sound designer on Weirx92s x93The
Truman Show,x94 x93Fearlessx94 and x93Green Cardx94; an additional editor on x93Dead Poets
Societyx94; and an associate editor and sound designer on x93The Year of Living
Dangerously,x94 which began their collaboration.
Hailing from Australia, Smith won an Australian Film Institute (AFI) Award for
Best Editing on Gregor Jordanx92s x93Two Hands,x94 on which he was also the sound
designer. For his work as a sound designer, he also won an AFI Award and earned a
BAFTA Award nomination for Jane Campionx92s x93The Piano,x94 and won an AFI Award for
Phillip Noycex92s x93Dead Calm.x94
As an editor, Smithx92s additional film credits include x93The Rage in Placid Lake,x94
x93Black and White,x94 x93Buffalo Soldiers,x94 x93Risk,x94 x93Joey,x94 x93Robocop 2,x94 x93Communionx94 and
x93Howling III.x94 He was also the sound designer on Gillian Armstrongx92s x93Little Women.x94
LINDY HEMMING (Costume Designer) won an Academy Award for her Gilbert &
Sullivan-era costume designs for x93Topsy-Turvy,x94 directed by Mike Leigh. She has also
been Leighx92s costume designer of choice on the films x93Naked,x94 x93Life is Sweetx94 and x93High
Hopes.x94
Hemming previously collaborated with director Christopher Nolan on x93Batman
Begins.x94 She has also served as the costume designer on the recent James Bond films,
beginning in 1995 with x93GoldenEye,x94 directed by Martin Campbell, and continuing with
44
Roger Spottiswoodex92s x93Tomorrow Never Dies,x94 Michael Aptedx92s x93The World is Not
Enough,x94 Lee Tamahorix92s x93Die Another Dayx94 and Campbellx92s x93Casino Royale.x94 She is
currently working with Campbell on the feature x93Edge of Darkness,x94 starring Mel Gibson.
Hemmingx92s extensive film credits also include x93Lara Croft: Tomb Raiderx94 and its
sequel, x93Lara Croft Tomb Raider: The Cradle of Lifex94; x93Harry Potter and the Chamber of
Secrets,x94 directed by Chris Columbus; Sally Potterx92s x93The Man Who Criedx94; x93The
Trench,x94 starring Daniel Craig; Mark Hermanx92s x93Little Voicex94 and x93Blame It on the
Bellboyx94; x93The Brave,x94 directed by and starring Johnny Depp; Bob Rafelsonx92s x93Blood and
Winex94; Peter Chelsomx92s x93Funny Bonesx94 and x93Hear My Songx94; Mike Newellx92s x93Four
Weddings and a Funeral,x94 for which she was nominated for a BAFTA Award; Stephen
Gyllenhaalx92s x93Waterlandx94; Peter Medakx92s x93The Kraysx94; John Amielx92s x93Queen of Heartsx94;
Stephen Frearsx92 x93My Beautiful Laundrettex94; David Harex92s x93Wetherbyx94; Richard Eyrex92s
x93Laughterhousex94; and Bill Forsythx92s x93Comfort and Joy.x94
Hemming was nominated for a BAFTA TV Award for her work on the telefilm
x93Porterhouse Blue.x94 Her television credits also include the longform projects x93Running
Late,x94 x93Dancing Queenx94 and x93All Things Bright and Beautiful.x94
Prior to designing costumes for the screen, Hemming was a costume designer in
the theatre. She worked with the Royal Shakespeare Company, the National Theatre of
Great Britain, and on many productions in Londonx92s West End.
HANS ZIMMER (Composer) is one of the film industryx92s most influential
composers, whose career spans three decades and encompasses well over 100 films.
In 1994, he won both an Academy Award and a Golden Globe Award for his
score to the animated blockbuster x93The Lion King,x94 which also spawned one of the most
successful soundtrack albums ever. Zimmerx92s music for x93The Lion Kingx94 continues to
draw applause in the award-winning stage production of the musical, which earned the
1998 Tony Award for Best Musical, as well as a Grammy Award for Best Original Cast
Album. The musical has now been running on Broadway for more than 10 years, with
productions also being staged around the world.
Zimmer has garnered six additional Academy Award nominations for his scores
for x93Gladiator,x94 x93The Thin Red Line,x94 x93The Prince of Egypt,x94 x93As Good as It Gets,x94 x93The
Preacherx92s Wifex94 and x93Rain Man.x94 In addition, he won a Golden Globe Award and
earned a Grammy nomination for x93Gladiator,x94 and has also received Golden Globe
45
nominations for his composing work on x93The Da Vinci Code,x94 x93Spanglish,x94 x93The Last
Samurai,x94 x93Spirit: Stallion of the Cimarron,x94 x93Pearl Harborx94 and x93The Prince of Egypt.x94
Zimmer most recently created the score for the animated feature x93Kung Fu
Panda,x94 and is currently working on Ron Howardx92s real-life drama x93Frost/Nixonx94 and the
animated x93Madagascar: Escape 2 Africa.x94 Zimmerx92s long list of film credits goes on to
include x93The Simpsons Movie,x94 x93The Holiday,x94 x93Pirates of the Caribbean: At Worldx92s
End,x94 x93Pirates of the Caribbean: Dead Manx92s Chest,x94 x93Batman Begins,x94 x93Madagascar,x94
x93Matchstick Men,x94 x93Shark Tale,x94 x93Black Hawk Down,x94 x93The Ring,x94 x93Hannibal,x94 x93Crimson
Tide,x94 x93Thelma & Louise,x94 x93Driving Miss Daisy,x94 x93Mission: Impossible II,x94 x93A League of
Their Own,x94 x93Black Rain,x94 x93Backdraft,x94 x93True Romancex94 and x93My Beautiful Launderette.x94
In addition to his myriad composing credits, Zimmer has served as a music
producer or consultant on numerous films, most recently including the blockbuster x93Iron
Man,x94 on which he was the executive music producer.
JAMES NEWTON HOWARD (Composer) is a seven-time Academy Award
nominee and one of the industryx92s most prolific composers, with more than 100 motion
picture and television scores to his credit. His latest Oscar nomination came for his
score for the critically acclaimed drama x93Michael Clayton,x94 starring George Clooney.
Howard also earned Oscar nominations for Best Original Score for M. Night
Shyamalanx92s x93The Village,x94 P.J. Hoganx92s x93My Best Friendx92s Wedding,x94 Andrew Davisx92
x93The Fugitivex94 and Barbra Streisandx92s x93The Prince of Tides.x94 He gained two more Oscar
nods, as well as two Golden Globe nominations, in the category of Best Original Song,
for x93Look What Love Has Donex94 from the movie x93Juniorx94 and x93For the First Timex94 in x93One
Fine Day.x94 Howard received his third Golden Globe nomination for his score for Peter
Jacksonx92s hit remake of x93King Kong.x94
Howard has scored all of M. Night Shyamalanx92s films, beginning with the
directorx92s smash hit debut feature, x93The Sixth Sense,x94 and subsequently including
x93Unbreakable,x94 x93Signs,x94 x93Lady in the Waterx94 and, most recently, x93The Happening.x94
He is currently scoring several upcoming films, including Edward Zwickx92s
x93Defiancex94 and P.J. Hoganx92s x93Confessions of a Shopaholic.x94 Howardx92s wide range of film
credits also includes Denzel Washingtonx92s x93The Great Debatersx94; Mike Nicholsx92 x93Charlie
Wilsonx92s Warx94; Edward Zwickx92s x93Blood Diamondx94; Christopher Nolanx92s x93Batman Beginsx94;
Sydney Pollackx92s x93The Interpreterx94; Michael Mannx92s x93Collateralx94; Joe Johnstonx92s
x93Hidalgox94; P.J. Hoganx92s x93Peter Panx94; Joe Rothx92s x93Americax92s Sweetheartsx94; Garry
46
Marshallx92s x93Runaway Bridex94 and x93Pretty Womanx94; Gregory Hoblitx92s x93Primal Fearx94;
Wolfgang Petersenx92s x93Outbreakx94; Lawrence Kasdanx92s x93Wyatt Earpx94 and x93Grand Canyonx94;
Ivan Reitmanx92s x93Davex94; Joel Schumacherx92s x93Falling Downx94; and David S. Wardx92s x93Major
League,x94 to name only a portion.
Also honored for his work in television, Howard won an Emmy Award for
Outstanding Main Title Theme for the series x93Gideonx92s Crossingx94 and earned an Emmy
nomination in the same category for the long-running series x93ER.x94
# # #

Heathcliff Andrew Ledger (April 4, 1979 – January 22, 2008) was an Academy Award-nominated Australian actor. After appearing in television roles during the 1990s, Ledger developed a Hollywood career. He starred in both critical and financial successes, including The Patriot, Monster’s Ball and Brokeback Mountain, and completed the role of The Joker in the forthcoming The Dark Knight. Ledger was found dead in a New York City apartment on January 22, 2008.

”The New York Times reports:

“ "At 3:31 p.m., a masseusearrived at Apartment 5A of 421 Broome Street in SoHo for an appointmentwith Ledger, the police said. The masseuse was let in to the home by ahousekeeper, who then knocked on the door of Ledger’s bedroom. When noone answered, the housekeeper and the masseuse opened the bedroom andfound Ledger unresponsive. They shook him, but he did not respond. Theyimmediately called the authorities. The police said they did notsuspect foul play and said they found pills near his body.

Hell, I was a total HEATH-JOKER SKEPTIC at first.  But wise men say, only fools rush in…

Comic book artist extraordinaire Lee Bermejo ONCE TOLD ME the following defines The Joker:

“He has white skin…
He has red lips…
He has green hair…
He tells jokes that are not funny…
He wears purple…
And, he kills people.”

Pretty much rings true, doesn’t it?

Based on what we know fromthe "PROLOGUE," the trailer, and last summer’s shoot in Chicago, let’sdiscuss The Harlequin of Hate as envisioned by director Chris Nolan andpersonified by actor Heath Ledger in THE DARK KNIGHT.

IS THE JOKER A “COVERGIRL–errr–MAN?” 

The biggest mystery surrounding TDK‘sversion of The Joker since the moment it was announced that HeathLedger has been cast in the role was what would The Joker look like?

While the first image ofLedger in makeup as the Ace of Knaves was released Summer 2007, it tookliterally half a year for fans to get a complete look of The Joker inall his glory.

What should we make ofChris Nolan’s version of The Joker now that he’s been revealed in full?Does the plot involve The Joker wearing makeup? Yes, that’s been madeclear. Does that mean that they’ve broke from canon and decided that hewouldn’t be “perma-white?”

Maybe, maybe not.

It’s clear that Nolanwants us all to know that The Joker wears makeup. To get that pointacross, virtually every single picture that has been released of Ledgeras the character has him looking different.

For example, in the very first image released last summer, his makeupwas virtually pristine. The white covered his face evenly; the blackaround his eyes was perfectly circular; and fresh, red lipstick ranfrom check to check across his mouth.

In other pictures, The Heath-Joker looked thoroughly disheveled — his makeup was spotty and ran down his face and neck.

What’s the deal here?  Is TDKJoker’s look a result of a chemical bath or is it something that hedoes to himself with greasepaint and hair dye? Or could it be…

…both?

Just maybe it is never explained why The Joker looks the way he does?  You know, he just "IS."

Nolan is on the recordsaying that The Joker in the film is “an absolute.” Therefore, I saythat the audience will never learn whether or not this Joker’s whiteand green is “au naturel,” or a result of a visit to the cosmeticcounter at one of Gotham’s major department stores.

THE JOKER BEGINS? 

Unlike BATMAN‘89, and even though it his first appearance in this new series ofBat-films, I’m willing to bet that we do not see how The Joker came tobe in TDK.

He doesn’t like to give away much, but director Chris Nolan has stated that TDKis about “The Rise of The Joker,” rather than “The Origin of TheJoker.” Remember, he’s “an absolute;” this indicates to me that TheJoker is “The Joker” from the moment the film begins ’til it ends. Noexplanation for the how and the why of his look. He just “IS,” you knowwhat I’m sayin’?

Isn’t better that way anyway? 

“I SAY WE RUN THIS CITY INTO THE GROUND” 

Though I’m borrowing a line from Jack Nicholson’s version of The Joker from BATMAN ‘89, it’s apparent that The Clown Prince of Crime in TDK plans to do the same — albeit in a much more violent and sadistic way.

Both Nolan and Ledger havesaid that The Joker is a “pure anarchist;” and I’m sure the type ofanarchy that he is interested in has nothing to do with politics. TheJoker — plain and simple — wants to muck Gotham up and muck it up asmuch as he possibly can.

The question is, what’s his preferred mode of destruction?

From watching the trailer, he obviously like to blow stuff up, shoot guns and bazookas, and has an affinity for knives. 

Yet, The Joker has a“taste for the theatrical,” remember? Consequently, I expect him tocarry out his crimes with a little flair.

Since Nolan has said on several occasions that he was influenced quite a bit by The Joker’s first two appearances in BATMAN #1 (1940), I say The Joker’s real intention is to spreads chaos another way:  He takes out the leaders of Gotham and announces it before he actually does it.

Since it’s not 1940, I’dimagine that The Joker uses another form of media other than the radioto broadcast his next murder or act of terrorism on Gotham. Most likelyTV, don’t you think?

“A taste for the theatrical” indeed.

“IT’S ALL PART OF THE GAME” 

Like The Joker with Batman, perhaps Mr. Nolan is playing a game with us all. 

We all think The Joker isone thing based on a few pictures, the viral marketing, and one trailer– hell, this article is a good example of that. Could it be that we’rebeing set up for something that is completely unexpected based on theinformation available?

Nolan likes twists, so one can assume that there could well be a “Ducard is the real Ra’s” moment in TDK and it certainly could involve The Joker.  Or maybe we expect a twist that involves Mr. J and it doesn’t happen — no twist is the twist?

Regardless, I truly believe that we are in store for something special here with The Joker in THE DARK KNIGHT. 

The Joker’s voice, hisbody language, the maniacal laugh, his violent and anarchistic actions– all of it courtesy Heath Ledger’s performance — scream “The Joker”to me.

Ledger spent six weekslocked in a hotel room in London "Jokerizing" himself. He figured thatThe Joker would think AIDS is funny.

This dude gets it.

Is the team of Nolan and Ledger going to deliver the definitive cinematic portrayal of this iconic character to date?

Better than Romero?

Even topping Nicholson?

Quite possibly.

Remember:

“He has white skin…
He has red lips…
He has green hair…
He tells jokes that are not funny…
He wears purple…
And, he kills people.”

Will all of that ring true with The Joker in THE DARK KNIGHT?

All will be answered come July 2008.

Over the last week or so, Warner Bros. has provides us with our best look at The Joker and THE DARK KNIGHT overall via the showing of a 5 minute “Prologue” and the release of the film’s first full trailer.

So what do we know?Frankly, not much when it comes to plot details, but a lot more thanwe’ve known since filming ended in November. Let’s take a look at whatwe do know and try to piece together a bit of what we might see come July 18, 2008.

First up, the star of film, The Dark Knight himself.

BRUCE WAYNE’S CRIBS

“I GOTTA GET ME ONE OF THOSE…AND THOSE TOO!”

“WHO’S YOUR TAILOR?”

BRUCE WAYNE IS A PLAYA!

ETC.

The Dark Knight

Release Date: July 18, 2008

Studio: Warner Bros. Pictures
Director: Christopher Nolan
Screenwriter: Jonathan Nolan
Starring:Christian Bale, Heath Ledger, Morgan Freeman, Michael Caine, GaryOldman, Aaron Eckhart, Maggie Gyllenhaal, Eric Roberts, Anthony MichaelHall, Nestor Carbonell
Genre: Action, Crime
MPAA Rating: Not Available yet
Official Website: TheDarkKnight.com | IBelieveinHarveyDent.com
Review: Not Available yet
DVD Review: Not Available yet
DVD: Not Available yet
Movie Poster: Not Available yet
Production Stills: Not Available yet
Plot Summary: Batmanraises the stakes in his war on crime. With the help of Lieutenant JimGordon and District Attorney Harvey Dent, Batman sets out to dismantlethe remaining criminal organizations that plague the city streets. Thepartnership proves to be effective, but they soon find themselves preyto a reign of chaos unleashed by a rising criminal mastermind known tothe terrified citizens of Gotham as The Joker.
            
Trailer:
Coming Soon!

First photo of Heath Ledger as The Joker .

Tired of all the BS?  Here you will find a list of confirmed information for the upcoming Batman film, THE DARK KNIGHT!

Official press releases for the upcoming
THE DARK KNIGHT

 CHRISTOPHER NOLAN TO DIRECT WARNER BROS. PICTURES’ UPCOMING BATMAN MOVIE, THE DARK KNIGHT CHRISTIAN BALE REPRISES TITLE CHARACTER, HEATH LEDGER JOINS CAST AS THE JOKER
BURBANK, CA, 31 July 2006 – As a follow up to last year’s blockbuster Batman Begins, Christopher Nolan is set to direct Warner Bros. Pictures’ The Dark Knight,written by Jonathan Nolan, based on a story by Christopher Nolan andDavid Goyer. The film will be produced by Emma Thomas, Charles Rovenand Christopher Nolan. Additionally, Christian Bale will resume hisrole as Bruce Wayne and Academy Award nominee Heath Ledger has beencast as The Joker. The announcements were made today by Jeff Robinov,President of Production, Warner Bros. Pictures.

ChristopherNolan revamped the Batman franchise in 2005 with the immenselysuccessful Batman Begins, starring Christian Bale in the title role,which chronicled the early years of the superhero. Nolan first garneredattention from critics and fans in 2000 with the groundbreaking dramaMemento, which he wrote and directed. He went on to direct the thrillerInsomnia, starring Al Pacino and Robin Williams, and recently wrappedproduction on The Prestige, with Hugh Jackman and Bale.

Balewas most recently seen in the ensemble cast of Terrence Malick’s TheNew World. His other credits include Little Women, Portrait of a Lady,Metroland, American Psycho, Laurel Canyon and Steven Spielberg’s Empireof the Sun, which was his first starring role.

Ledgermost recently earned Oscar, Golden Globe, BAFTA and SAG Awardnominations and won the New York Film Critics Circle Award for BestActor for his portrayal of Ennis Del Mar in the award-winning dramaBrokeback Mountain. His other credits include Casanova, Monster’s Ball,Lords of Dogtown, The Brothers Grimm and The Patriot.

“Chris’unique vision is what made Batman Begins such an outstanding film andwe could not imagine anyone else at the helm of The Dark Knight,” saidRobinov. “We also can’t wait to see two such formidable actors asChristian and Heath face off with each other as Batman and The Joker.”

“I’mexcited to continue the story we started with Batman Begins,” addedNolan. “Our challenge in casting The Joker was to find an actor who isnot just extraordinarily talented but fearless. Watching Heath Ledger’sinterpretation of this iconic character taking on Christian Bale’sBatman is going to be incredible.”

Production is set to begin on The Dark Knight in early 2007.

ChristopherNolan is set to return as director of the film. His brother Jonathan,AKA “Jonah,” is writing the screenplay. David Goyer is credited forwriting the story along with Chris Nolan.

Christopher Nolan on the set of BATMAN BEGINS 

The title of the film is THE DARK KNIGHT.  This is the first Batman film without "Batman" in the title.

ChristianBale will reprise his role of The Batman/Bruce Wayne (This is the firsttime the same actor has played The Batman in back to back films sinceMichael Keaton did so in BATMAN and BATMAN RETURNS).

Christian Bale as The Batman in BATMAN BEGINS 

Heath Ledger will portray The Joker.

Heath Ledger and The Joker 

Sir Michael Caine will reprise his role as Alfred Pennyworth.

The character of Harvey Dent will be in the film.

According to producer Chuck Roven, a preshoot will take place in January of 2007, with full production set to begin in March.

Hans Zimmer confirmed that he and James Newton Howard would return and score TDK.

TDK will be released JULY 18, 2008.

Lindy Hemming will return as costume designer for TDK.

Wally Pfister will return as the director of photography for TDK.

Nathan Crowley will return as the productin designer TDK.

TDK will return to Chicago, Illinois, USA for location filming during the summer of ’07.

Katie Holmes will not return and be a part of the cast of THE DARK KNIGHT.

Aaron Eckhart will portray Gotham D.A. Harvey Dent — AKA "Two Face."

Aaron Eckhart and "Two Face" 

Maggie Gyllenhaal will portray "Rachel Dawes" in TDK.

Maggie Gyllenhaal 

Morgan Freeman is returning to reprise his role as "Lucius Fox."