The Batman: Robert Pattinson and Matt Reeves confirm exclusive new details about the film

EXCLUSIVE: Robert Pattinson and Matt Reeves reveal the secret origins of The Batman and how to bring the Dark Knight fresh to the big screen after all this time.

USA About: The Batman Publish: 02/14/2022 Edit: 02/14/2022 Author: Gardener


Robert PattinsonThe Batman: Robert Pattinson and Matt Reeves Confirm Exclusive New Movie Details The Batman: Robert Pattinson and Matt Reeves Confirm Exclusive New Movie Details Exclusive: Robert Pattinson and Matt Reeves reveal the secret origin of The Batman and how to recreate the Dark Knight all this time fresh on the big screen. You know the scene: The Batman stands in front of a gang of skull-faced idiots who think this madman in a costume is a joke. "Who the hell are you supposed to be?" asks their leader, who is about to find out, beat after beat, that Robert Pattinson's crazy, hyper-violent Dark Knight is no laughing matter. "Initially it was staged with the guy saying, 'Who are you?' and Batman saying, 'I'm revenge,' and then they beat everyone up," reveals a much friendlier Pattinson, who breaks down while explaining how he's doing it Tweaking helped the scene to make it even more terrifying. "I said to Rob [Alonzo, Second Unit Director and Supervising Stunt Coordinator], 'I really want to put it in that guy's face when he's basically dead.' ] mythology,” Pattinson told Den of Geek over the phone on a cold, gloomy day in January. "It's not theatrical," he says of the Dark Knight's approach to the "Revenge" scene. Before Pattinson signed on to play World's Greatest Detective, Ben Affleck was set to direct and star in a very different Batman solo film. Cloverfield and Planet of the Apes director Matt Reeves was recruited to helm a new version of the project, but he faced the same conundrum as his predecessor: After so many iterations of the character on the big screen, what could Reeves do to make his setting to achieve fresh? A lifelong Batman fan, Reeves found the answer in comics chronicling the character's early days, including Year One, as well as in classic noir films like Chinatown, Taxi Driver, and The French Connection. The director envisioned The Batman as a noir detective story set outside of DCEU continuity, and it would not star Affleck's veteran, graying Dark Knight, but a vigilante entering the second year of his crime-fighting career , someone who has left their origin story behind and is still figuring things out. "I didn't want the storyline to be, 'He becomes Batman and faces this particular Rogue Gallery character,'" explains Reeves. "I wanted you to see an imperfect Batman, driven to do what he does in a way that's almost like a drug. He's addicted to being Batman because it's really an attempt to come to terms with the things in the past that we don't see. I thought it was really funny to see a version of him that definitely hadn't mastered itself, that was definitely in the making.” To prepare for the role, Pattinson read nothing but Batman comics for months, even while filming Christopher Nolan's Tenet. Still, a fan of Christian Bale and Michael Keaton's portrayals of the character, Pattinson planned to explore something new with his version. He found his way through stories that delved deep into Bruce Wayne's psychology and the toll Batman took on his mental state. "The films always portrayed Batman as pretty practical and factual in the reasons he became Batman, but in the comics a lot of them deal with quite esoteric subjects," says Pattinson. “Many of them he hallucinates and completely dissociates. Gus Van Sant's Last Days was a key inspiration for this version of Bruce Wayne, with Reeves comparing the fictionalized version of tragic '90s rock star Kurt Cobain to his Dark Knight. But there was an even bigger comic influence: the trippy, supernatural ego of the late Darwyn Cooke, which explores the deep rift within Bruce and the identity crisis he constantly faces due to his Batman persona. In The Batman, Bruce has yet to learn how to reconcile his true self with the mask he is meant to wear as a billionaire playboy. "The Bruce part in this movie is probably the most diverse because he's a maniac both as Bruce and as Batman," says Pattinson, who plays Wayne as a cold, slightly scruffy recluse. "He's fully committed to being Batman and he just doesn't get seen by the town at all... He doesn't feel like being Bruce in it and he just wants to throw it away. He thinks that's how he saves himself by living in that kind of zen state as Batman where it's just pure instinct and no emotional baggage.” This Bruce isn't at all interested in keeping up appearances during the day , as long as he can exact revenge at night. "Every single person he fights is the person who killed his parents," says Pattinson of the motivation behind Bruce's nocturnal activities. But he also thinks there's a part of Bruce that just enjoys the violence. Pattinson's Batman is indeed a thug, and that meant the actor not only had to get into incredible shape, but also had to learn how to actually perform the brutal moves used by the Dark Knight in the film. He spent a great deal of time working with Alonzo to master the long series of combos required for the film's many combat sequences. "We built everything around [an] Indonesian style of fighting where you have these two sticks, and everything was based around moves with weapons, and then you take the weapons away after that," says Pattinson. But to actually perform those stunts, Pattinson needed a costume that offered more maneuverability and flexibility than previous iterations of the Batsuit, like the nightmarish, "scalding hot" Batman Forever costume he had to wear for his screen test. The Batman suit is a big improvement in comparison, according to the actor. "I think I just started doing somersaults in it just because you could," Pattinson says of the first time he put on a prototype of his costume. The actor was particularly fortunate to be able to move his neck in the suit, a problem that has plagued previous actors in the role. Since Pattinson's Bruce doesn't have a team to help him build all of his tech, his Batsuit had to look like something Bruce could make himself in the Batcave. "[The costume designers] were really looking at Vietnam War stuff, military tactical stuff that a guy could put together and allow him to fight better," says producer Dylan Clark, who previously worked with Reeves on the Planet of the Apes films has. With the Dark Knight in appearance and arc, it was now time to move on to the other central part of any Batman story: the villains. "It's funny because I had Rob in mind while writing it," says Reeves, who co-wrote the screenplay with Peter Craig (The Town). He also had Paul Dano in mind when creating his version of the Riddler. He brought so much to the role," Reeves says of Dano, who is best known for playing misfits or characters whose realities are a little lopsided. "He and I are kind of similar in a way that our process is to go on a quest." For Reeves, that quest began with Jeph Loeb and Tim Sale's The Long Halloween, in which a serial killer terrorizes Gotham and a mob -Starts a war that even Batman's deadliest villains cannot escape. "When you looked at the Zodiac killer leaving all these ciphers and riddles and taunting the police and the newspapers, I thought, 'That sounds like the Riddler!'" says Reeves. "[Zodiac] made a costume that's honestly not that different from Batman. And I thought, well, maybe there's an iteration of the Riddler that does that." Like the Zodiac, Dano's Riddler leaves not only mysteries at his crime scenes, but also a pile of dead bodies, including that of former Mayor Don Mitchell (Rupert Penry- Jones). But the villain, whose real name in the film is Edward Nashton, isn't just playing games with the bat; He's on a gruesome quest to uncover a dark secret about Gotham City itself. "The crimes that the Riddler commits are all meant to describe the history of [Gotham]," Reeves explains, hinting that other members of the city's elite are also on the Riddler's list. "After each of these murders, he leaves information about these supposedly legitimate characters and shows you how illegitimate they are and how corrupt they are. And that story of corruption goes way back and actually becomes something that touches on Bruce's past and becomes very personal." According to Reeves, the Riddler digs up things about the history of the Wayne family that "bring Bruce an awakening" and "break him to the core shock Mark". Batman and Riddler aren't the only masked figures roaming the streets of Gotham. There's also Selina Kyle, played by Zoë Kravitz. As in the comics, Kravitz's Catwoman is a master thief who blurs the line between villain and anti-hero. "[Bruce] is so committed to Batman and this kind of really binary worldview," says Pattinson of the inner conflict Wayne feels when confronted with this new, morally gray ally. He keeps trying to pigeonhole her as a criminal. He just has this pretty simplistic worldview about everything, and meeting Selina is the first crack in everything to fall apart.” Pakula's neo-noir Klute, according to Pattinson and Reeves, greatly influenced Bruce's relationship with Selina. This 1971 picture follows a straight-laced private investigator, played by Donald Sutherland, who falls in love with a call girl (Jane Fonda) implicated in the murder he's investigating. Reeves saw clear similarities between Sutherland and Fonda's dark, dangerous love affair and Bruce and Selina's own dynamic: "Klute is such a straight arrow and he seems so naïve. I think he judges her and he assumes she's a certain type of person because of the world she's in. In the latest comics, after decades of romantic tug-of-war, Bruce and Selina are now married and even have a child together. Pattinson and Kravitz aren't quite there yet, but there could be a future for them. "There's this raw tension between them because they're not aligned, but they care about each other," says Clark. But even three major villains aren't enough for The Batman. John Turturro plays Carmine Falcone, who runs Gotham's largest criminal empire. In The Batman, Oz isn't quite the penguin we know and love yet. "You have these great thugs that would be in The Godfather or Goodfellas," Clark says of the film's more traditional criminal element. Oswald is played by an unrecognizable Colin Farrell, who dived straight into the role. "His demeanor and personality changed once the prosthetics were put on," says Clark, who is absolutely thrilled with what Farrell's Oz has brought to the film. He's the most entertaining. He's scary. So you think, Jesus Christ, that's a whole meal with one character.” In one scene, we watch Batman wade through the chest-deep water that blankets the city's streets, a bright red flare in hand to dodge the darkness to break through his apocalyptic environment. It's a moment inspired by Scott Snyder and Greg Capullo's Zero Year, Reeves confirms. There are also references to other excellent Batman stories, including ones dating back to the Dark Knight's debut in the 1930s. "I looked at the Bob Kane/Bill Finger comics because I really wanted the movie to be very noir," says Reeves. Coincidentally, when asked which villains he would like to fight next in a possible sequel, Pattinson mentions another Snyder and Capullo storyline: "I'd love to do something like Court of Owls," referring to the DC horror story 2011 comics about a hidden society, Gotham secretly ruled from an underground lair for centuries. Suddenly, Batman doesn't know his city as well as he thinks he does. It goes with something Pattinson says about his own Bruce, words that might predict where this Batman storyline might go next: "He thinks it's his town in a weird way. He thinks he kind of built it.” But Pattinson knows that's an illusion. "You have the money and the castle, but you have absolutely no control or power over anything in town." In The Batman, Bruce has to learn this the hard way. Movies The Batman feels like picking up where The Dark Knight left off Movies The Batman: Matt Reeves cites Chinatown and other 1970s noirs as influences Too Little Too Late


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