Posts Tagged ‘the dark knight

Batman is Trending: Community, SNL Parody

As anticipation builds for The Dark Knight Rises in July of 2012, we can expect more Batman appearances in other media trying to get a piece of his popularity.  Recent weeks have seen a very enjoyable “Foosball and Nocturnal Vigilantism” on NBC’s Community and a painfully unfunny parody on SNL with Steve Buscemi as Commissioner Gordon:


Community established a certain character’s fondness for The Dark Knight in the season 1 Halloween episode.  Now it seems his prized limited edition DVD (with Chris Nolan commentary!) was stepped on by one of his housemates, who stages a break in to cover it.


SNL put host Steve Buscemi in a mustache to resemble Gary Oldman’s Commissioner Gordon, and parodied The Dark Knight’s tendency to appear and disappear at will in increasingly ludicrous and inappropriate places.  Whatever.


Written by Gotham Trending

12/04/2011 at 7:51 am

Dialogue w/ Joseph Gordon-Levitt: Nolan respects his audience

Christopher Nolan Respects his AudienceAnyone who was alive and aware for the past 10 years can see that Christopher Nolan’s Batman is different.  He succeeds where so many others fail: in Hollywood, in comics, in animated features, even when they are said to be based on his own works.  What makes Nolan’s Batman movies and Nolan’s movies across the board special?  Joseph Gordon-Levitt put it succinctly and powerfully in a recent interview with What’s something that you’re learned about the filmmaking process from working with Christopher Nolan? What has he shown you that maybe you haven’t seen before?

JGL: You know man, that’s a good question! One thing I feel like I’ve learned from Chris is that he respects his audience. It’s unfortunately rare in Hollywood. You see it all time with people saying, ‘Ah, the public won’t get that’ or ‘They’re dumb’ or ‘You have to spell it out for them,’ etc…  But I’ve heard Chris say time and time again just the opposite. People are smart. Don’t underestimate them. He says things like that all the time, and I think his respect for his audience is a big part of why he has earned the respect of his audience.


Gordon-Levitt has starred in Nolan’s masterwork Inception, which certainly complimented its audience’s intelligence at every turn, assuming they could keep up with a complex multi-layered plotline.  JGL is working with Nolan again on The Dark Knight Rises, his third and final installment of the Dark Knight trilogy which began with Batman Begins.

TDKR’s Gary Oldman To Receive Gotham Award Tributes

Gary Oldman is Police Commissioner Gordon in The Dark Knight Rises

Gary Oldman is Commissioner Gordon in The Dark Knight Rises

Batman Begins/The Dark  Knight/The Dark Knight Rises star Gary Oldman (James Gordon) will join Charlize Theron, David Cronenberg and previously announced recipient Tim Rothman as the folks receiving career tributes at this year’s Gotham Independent Film Awards on November 28, 2011

This will be the 21st edition of the awards, which is the first ceremony of awards season.  Nominations for the awards’ seven competitive categories –  Best Feature, Best Documentary, Breakthrough Director, Breakthrough Actor, Best Ensemble Performance, Best Film Not Playing at a Theater Near You and Audience Award – will be announced October 20th.

New York, NY (September 22, 2011) – The Independent Filmmaker Project (IFP), the nation’s oldest and largest organization of independent filmmakers, announced today that Actress, Charlize Theron Director, David Cronenberg and Actor, Gary Oldman, will join previously announced honoree Tom Rothman, Chairman and CEO of Fox Filmed Entertainment, to receive their career tributes at the 21st Annual Gotham Independent Film Awards™ on Monday, November 28th at Cipriani Wall Street, in New York City.

Signaling the official kick-off of the film awards season, the Gotham Independent Film Awards™ is one of the leading awards for independent film. Along with these four tributes, seven competitive awards for Best Feature, Best Documentary, Breakthrough Director, Breakthrough Actor, Best Ensemble Performance, Best Film Not Playing at a Theater Near You and Audience Award will be announced.

This year’s honorees represents a range of individuals – all veterans well-versed in lower-budget independent films and large-scale studio releases.  In addition, the honorees represent some of the year’s most highly anticipated and critically acclaimed films including: Tinker, Tailor, Soldier, Spy from Focus Features (directed by Tomas Alfredson and featuring Gary Oldman); the upcoming Paramount release of Young Adult (directed by Jason Reitman and featuring Charlize Theron) and A Dangerous Method from Sony Pictures Classics (directed by David Cronenberg).

“We are truly honored to pay tribute to four cinematic film luminaries, all of whom have greatly contributed to independent film, and have steadfastly supported the film community in their own individual and unique ways,” said Joana Vicente, Executive Director of the IFP.

Oscar-winner, Charlize Theron, is one of the great actresses of our time. The South African native captivated audiences as female serial killer Aileen Wuornos in Monster for which she received the Independent Spirit Award and the National Broadcast Film Critics Association as well as winning the Golden Globe, Screen Actors Guild, and the Academy Award for Best Actress. Theron’s incredible performance as Josey Aimes in North Country garnered her another set of best actress nominations (Golden Globes, SAG, Critics Choice, and Academy) and she also appeared in HBO’s The Life and Death of Peter Sellers opposite Geoffery Rush, for which she received a Best Supporting Actress nomination from the Golden Globes, Screen Actors Guild Awards and the Emmys.

Moviegoers were first introduced to the seductive charm of Charlize Theron in her feature film debut, 2 Days in the Valley with James Spader. She co-starred alongside Al Pacino and Keanu Reeves in Devil’s Advocate, with Tom Hanks in That Thing You Do and in Jonathan Lynn’s Trial and Error. In addition, Theron starred in Woody Allen’s Celebrity, which she then followed with Mighty Joe Young with Bill Paxton. In 1999, Theron starred in the Oscar nominated The Cider House Rules and in New Line Cinema’s The Astronaut’s Wife with Johnny Depp. Then following in 2000, the much in-demand Theron tackled back-to-back roles in the following movies: Robert Redford’s The Legend of Bagger Vance with Will Smith and Matt Damon, Men of Honor with Robert DeNiro and Cuba Gooding, Jr., John Frankenheimer’s Reindeer Games with Ben Affleck and The Yards co-starring Mark Wahlberg. In 2001, Theron illuminated the screen in the Warner Bros. tearjerker Sweet November alongside Keanu Reeves, as well as in Woody Allen’s Curse of the Jade Scorpion. In the fall of 2002, Theron starred opposite Patrick Swayze in Waking Up in Reno, which she then moved on to star alongside Kevin Bacon in the feature film Trapped, directed by Luis Mandoki.

Next up, Charlize will be starring in Jason Reitman’s Young Adult, written by Diablo Cody and also starring Patton Oswalt, Elizabeth Reaser, and Patrick Wilson.  Recently, Charlize wrapped up filming Prometheus directed by Ridley Scott and is currently filming Snow White and the Huntsman with Kristen Stewart. She was last seen in Guillermo Arriaga’s directorial debut The Burning Plain, co-starring with Kim Basinger, which she also produced.  In addition to producing the Burning Plain through her production company Denver and Delilah, Charlize is developing and executive producing an HBO series called Mind Hunter with director David Lynch.

Director, David Cronenberg’s reputation as an authentic auteur has been firmly established by his uniquely personal body of work which includes Shivers, Rabid, Fast Company, The Brood, Scanners, Videodrome, The Fly, Dead Ringers, Naked Lunch, Crash, eXistenz, The Dead Zone, M. Butterfly, Spider, A History of Violence, Eastern Promises and the recent opera version of The Fly. He is a member of the French Legion d’Honneur, and an Officer in the Order of Canada.  In 1999, he was President of the Jury at the Cannes Film Festival. David is releasing his film, A Dangerous Method, this fall and is in post production on his current project, Cosmopolis.

Earlier this year, at the 2011 Empire Awards, Gary Oldman was honored with the Icon Award for Achievement. An acclaimed presence in motion pictures for 25 years, he is regarded as one of the foremost actors of his generation. Mr. Oldman is known to millions throughout the world for playing Sirius Black (Harry Potter’s godfather), Commissioner Jim Gordon (Batman/Bruce Wayne’s crime-fighting partner), Dracula, Beethoven, Pontius Pilate, Lee Harvey Oswald, Joe Orton, and Sid Vicious, to name just a few of his iconic characterizations.

Over the past 18 years, the U.K. native has appeared in 11 movies that have opened #1 at the box office. As part of the two most successful franchises in movie history, he has appeared in Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, and Harry Potter and the Deathly Hallows Part 2, directed by Alfonso Cuarón, Mike Newell, and David Yates, respectively; and Christopher Nolan’s Batman Begins and The Dark Knight.

Mr. Oldman’s acting career began in 1979, and for several years he worked exclusively in the theatre; from 1985 through 1989, he alternated film work with stage work at London’s Royal Court Theatre. Among his early telefilms were Mike Leigh’s Meantime and the late Alan Clarke’s The Firm.

His features include Alex Cox’s Sid and Nancy; Stephen Frears’ Prick Up Your Ears; Tom Stoppard’s Rosencrantz & Guildenstern Are Dead; Phil Joanou’s State of Grace; Oliver Stone’s JFK; Francis Ford Coppola’s Bram Stoker’s Dracula; Peter Medak’s Romeo is Bleeding; Tony Scott’s True Romance; Bernard Rose’s Immortal Beloved; Luc Besson’s The Professional (a.k.a. Leon) and The Fifth Element; Wolfgang Petersen’s Air Force One; the late Marc Rocco’s Murder in the First; Roger Young’s telefilm Jesus; Ridley Scott’s Hannibal; and Albert and Allen Hughes’ The Book of Eli.

With Douglas Urbanski, Mr. Oldman produced the feature Nil by Mouth. The film marked his screenwriting and directing debut, and was selected to world premiere as the opening-night film of the 1997 [50th Anniversary of the] Cannes International Film Festival, at which the film’s leading lady Kathy Burke won for Best Actress. Subsequent honors for Nil by Mouth included the prestigious Channel Four Director’s Prize, at the Edinburgh International Film Festival; six British Independent Film Award (BIFA) nominations, and three wins including for Ms. Burke and her fellow actors Ray Winstone and Laila Morse; the BAFTA Award for Best Original Screenplay, as well as BAFTA’s Alexander Korda Award for the Outstanding British Film of the Year, the latter shared by Mr. Oldman and Mr. Urbanski.

The team’s subsequent productions have included Rod Lurie’s The Contender, starring Joan Allen and Jeff Bridges. The film received two Academy Awards, two Golden Globes, and three Screen Actors Guild Award nominations, including one for Best Supporting Actor (Mr. Oldman). Additionally, the ensemble of The Contender and the writer/director were honored with the Broadcast Film Critics Association’s Alan J. Pakula Award.

Next up for Mr. Oldman will be Tomas Alfredson’s Tinker, Tailor, Soldier, Spy, opening on December 9th; John Hillcoat’s The Wettest County; and Christopher Nolan’s The Dark Knight Rises, opening in 2012.

This year’s Gotham Awards tribute recipients join a prestigious group of previous honorees including: James Schamus, Bob & Harvey Weinstein, Mayor Michael Bloomberg, Sheila Nevins, David Linde, Jonathan Sehring and film critic Roger Ebert; actors Robert Duvall, Stanley Tucci, Natalie Portman, Javier Bardem, Pénelope Cruz, Hilary Swank and Kate Winslet; filmmakers Darren Aronofsky, Mira Nair, Gus Van Sant, Spike Lee and Martin Scorsese.

Nominees for the 21st Anniversary Gotham Independent Film Awards™ will be announced on October 20th and winners will be honored at a star-studded ceremony at Cipriani Wall Street on November 28th.

The Premier Sponsors of the 21st Annual Gotham Awards™ are Royal Bank of Canada (RBC) and The New York Times. The Presenting Sponsor is Euphoria Calvin Klein and Calvin Klein Collection, with Official Sponsors Heineken USA, Russian Standard Vodka and Andaz Wall Street as well.  Additionally, the awards will be promoted nationally in an eight-page special advertising section in The New York Times on November 18th, 2011.

About Independent Filmmaker Project (IFP)
The Independent Filmmaker Project (IFP) is one of the nation’s oldest and largest not-for-profit advocacy organizations for independent filmmakers.  Since its debut at the 1979 New York Film Festival, IFP has supported the production of over 7,000 films and offered resources to more than 20,000 filmmakers, providing an opportunity for many diverse voices to be heard. IFP believes that independent films enrich the universal language of cinema, seeding the global culture with new ideas, kindling awareness, and fostering activism. The organization has championed early work by pioneering, independent filmmakers, including Charles Burnett, Edward Burns, Jim Jarmusch, Barbara Kopple, Michael Moore, Mira Nair and Kevin Smith.

IFP represents a network of 10,000 filmmakers in New York City and around the world. Through its workshops, seminars, conferences, mentorships and Filmmaker Magazine, IFP schools its members in the art, technology and business of independent filmmaking.  The year-round program includes an Independent Film Week, The Gotham Awards, Filmmaking Labs and Seminars, and a range of programs to promote racial, ethnic, religious, ideological, gender and sexual diversity. IFP, often in collaboration with other cultural institutions, builds audiences by hosting premieres and special screenings.  The IFP fosters the development of 300 feature and documentary films each year. Recently, the organization licensed the popular Festival Genius software platform through which IFP now reaches over 200,000 film fans worldwide.

For more information:
About the Gotham Independent Film Awards™
The Gotham Independent Film Awards, selected by distinguished juries and presented in New York City, the home of independent film, are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that IFP does behind the scenes throughout the year to bring such films to fruition.

TDK writer Jonathan Nolan’s new series PERSON OF INTEREST premieres tonight on CBS | Interview

The Dark Knight/The Dark Knight Rises Jonathan Nolan is overshadowing JJ Abrams in some circles regarding tonight’s premiere of the duo’s new series Person of Interest premiering tonight on CBS

The reason?  The crime thriller about presumed dead, former-CIA agent Reese (Jim Caviezel), who teams up with a mysterious billionaire vigilante, of course.  Finch (Michael Emerson), who wants Reese to help prevent violent crimes by using their own brand of vigilante justice. While Finch is a software genius who invented a program that uses pattern recognition to identify people about to be involved in violent crimes, he does not have the ability or skills necessary to solve the crimes before they happen. But, it is Reese’s actions that draw the attention of the NYPD, and most specifically Detective Carter (Taraji P. Henson), who becomes curious about the mystery of it all.

The Dark Knight's Jonathan Nolan: Person of Interest

During the CBS portion of the TCA Press Tour, show creator/executive producer/writer Jonathan Nolan (The Dark Knight, The Dark Knight Rises and Man of Steel) talked about his first time doing television, the process of developing an ongoing idea for television, as opposed to a finite story for a movie, what intrigues him about the way cameras provide surveillance of our every day lives, and why J.J. Abrams was the perfect person to produce this series. Check out what he had to say after the jump:

Question: What was your process for developing an idea that can be applied to different plots every week, as opposed to a finite story for a movie?The Dark Knight's Jonathan Nolan, Person of Interest

JONATHAN NOLAN: Well, I didn’t set out to create a show that was this type of show or that type of show. We really started with the idea, and the idea seemed to suggest a case-of-the-week structure. I’ve always loved shows that combine both approaches — that have a mythology and a set of characters, whose stories develop and change, and where the relationships evolve and fracture. But, I grew up watching shows likeMagnum, P.I. and The Equalizer, and I loved them. They had a case-of-the-week structure that was natural to them. With this, we started with the idea of irrelevant information falling out of some part of the national security apparatus that would simply go unheard, unless someone was listening for it, and that seemed to lend itself really well to a case-of-the-week structure. Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away. I’ve been lucky enough to work on a franchise set of films, where we continue to go back to those characters. For me, the attraction of TV is that you continue to get to tell those stories and refine those characters. The other thing is that TV, in the last 10 or 15 years, got really, really, really good. There is some fantastic drama on TV, so I was hoping to swim in those waters.

Why do you think the interest in this show is so high?

NOLAN: I think our kick-ass cast is a big part of that. I think we have the best cast on TV, and we’re really excited to share that with audiences. I don’t really know. It’s very gratifying to hear that, of course. It’s always gratifying to hear that people are excited by something that you’ve been excited to make. I think we had a great experience making the pilot, and we’re having a great experience right now, making the next episodes, and I think that comes across. We’re really excited to get it out to that big CBS audience, to see what they think.

The Dark  Knight's Jonathan Nolan's new series: Person of Interest on CBSWhat is the appeal of this story and these characters?

NOLAN: I don’t know. I love crime procedurals. I always have. I love cop shows. But, I was more interested in writing something that was a little more dangerous. There have definitely been shows like this. I’ve just always been more drawn to characters who were on the periphery, or who had an arm’s-length relationship with law enforcement. That suggests a natural drama to it. I think Americans have always enjoyed these kinds of stories, but I haven’t seen so many of them on TV lately.


How did Jim Caviezel come to this show?

NOLAN: I first got excited about Jim when I saw a film he made with Terrence Malick, 13 years ago, called The Thin Red Line, which is one of my all-time favorite movies. His performance in it is just unbelievable, and he’s done some amazing roles since. When we heard that he might be interested, I was just amazed and thrilled to be working with him.


Is there any kind of through-line with this show and elements from The Dark Knight, where you had Bruce Wayne/Batman setting up that vast surveillance network in Gotham City? What is so interesting about that?

NOLAN: I’ve just been fascinated by it, since I was a kid. That was a small feature of The Dark Knight. It was part of a storyline that ran in the comic books, when they examined Batman and the lengths to which he would go, and there are some connections there. I’ve always been drawn to those stories and drawn to that aspect of Batman. I was a kid in England, in the 1970’s, and cameras started going up everywhere. In fact, at that point, there were already a lot of cameras up in London. It was during the Troubles and the IRA attacks in and around the UK and Ireland, so the response was to put up cameras everywhere. And then, when I moved to the States, when I was 11 or 12 years old in Chicago, there weren’t cameras everywhere, but 20 years later, they started popping up. After 9/11, you started seeing cameras everywhere. I’ve always been fascinated by the idea of a surveillance state. Who’s watching? What are they doing with that information? I felt like it was a really rich story to tap. I have a lot of questions and ideas about it, that I think will give us some really fertile ground for storytelling.

Are you using any actual surveillance cameras around the city to film this?

NOLAN: One of the ideas behind this was that the look of the show should help remind the audience of the concept of the show. You want to be feeling a little bit like you are peering through layers, spying on people, or that our cameras were spying on our actors. Actually, this is the first project that I’ve worked on that hasn’t been shot on film. My brother is a huge believer in film, and probably will always remain an advocate of shooting on film. Television went digital a couple years ago, almost exclusively, so for me this was a really cool opportunity. I said, “If we’re going to shoot on digital, we’re going to embrace it and we’re going to find radical new ways to take advantage of the fact that you can now find cameras on virtually anything, and that you can shrink cameras down to infinitesimally small size. I don’t want to reveal too many ways about how the show is made, but the prevalence of cameras in this city and elsewhere gives us some interesting production techniques. I always love it best when you have a project where there is this commingling of the subject matter and the way in which you’re recording that subject matter. It’s been great fun, in that regard.

How much will you delve into the machinery behind the numbers?

NOLAN: Following the J.J. [Abrams] rules, we’ll do it one piece at a time. But, because I’m so interested in the machine, its inception, and how Michael’s character put it together and the backstory of that, we’re pushing ahead and exploring a little bit more of that. It gets to some of the questions of the show that I’m most fascinated by, which is the case with everything I work on. It’s set in a real world. It’s New York City. It’s right now. But, you imagine there’s something just a little more interesting and a little bit secretive happening underneath it. We explore the way in which technology has started to become odd and the way all of this information is swirling around. The hardware is very much in place. Everyone has a device in their pocket, which the police now use more than anything else to determine what happened when something goes wrong. It’s your phone. It’s a live microphone for the government, should they choose to turn it on. It’s a location tracker. All this information is out there. We’re at this very odd moment, standing on the precipice of seeing what happens when you start harnessing all that information, which is why it’s not really a science fiction show. It’s more science fact. We really are planning on exploring that a little bit, but of course, not to the exclusion of kick-ass explosions and amazing, soulful relationships and character moments.

via Collider.

A Tale of Two Gothams: Burton v Nolan | Batman’s City in the Movies

In 1989 Tim Burton’s dark view of Gotham was well-received and praised as realistic, but as the world changed, the flaws became all too glaring.  “How stupid are the people of Gotham to not entertain the thought that maybe the guy who has been poisoning their beauty products could possibly be up to no good when he wants everyone to gather to get free money?” complained one savvy blogger.  It seems to be the view of Heath Ledger’s Joker in  Christopher Nolan’s The Dark Knight, who declares “all these civilized people will eat each other.”  But that is the view of a sociopath.  Batman, who is far from psychotic as the Burton crowd would like us to believe, has faith in the people of Gotham, and they grapple with the moral questions before them in such a way that does credit not just to Batman’s universe but to people in general.

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In 1989 Tim Burton received major kudos in making a Batman movie that took The Dark Knight seriously. The camp of the 1960s was forgotten. Nothing was played for laughs. It was said that the actors “didn’t seem aware they were in a comic book movie.” Michael Keaton brooded a good deal as Bruce Wayne, and his Batman spoke in a deep gravel that has become an iconic feature of the character. Jack Nichelson’s Joker stole the show, although how anyone could say he was unaware he was playing a comic book villain is hard to understand. The sequel Batman Returns upped the ante, adding not one but two new villains to the mix: Oswald Cobblepot, The Penguin played by Danny Devito and Selina Kyle, The Catwoman played by Michelle Pfeifer. This time it was Catwoman who stole the show, although for different reason. With Joker, it was the sheer volume and presence of the character. With Catwoman, the sex appeal of the skin-tight costume, the power and fascination of the whip-wielding woman made a colossal impression on a generation coming of age. History repeated itself, just as a generation of boys became men watching Julie Newmar in the 60s, the new generation imprinted on Michelle Pfeifer’s Catwoman.

In 2005, Christopher Nolan brought a far more realistic Batman to the screen in the person of Christian Bale in Batman Begins. Its sequel The Dark Knight added the Joker played by Heath Ledger, who won a posthumously-awarded Oscar for the role, and the upcoming Dark Knight Rises in 2012 will show us his Catwoman in the person of Anne Hathaway. Comparing the marquee characters could be interesting, but it is far more illuminating to look at the anonymous people of Gotham City as a whole.

Burton’s Gotham City are a mob of unthinking animals. Not a week after Joker has held the city hostage with a product tampering scheme, they turn out in force to a parade he stages because he promises them money. As one critic recently put it “Imagine if Osama bin Laden had invited the people of New York to a cook out in Central Park in late September, 2001. Does anyone of any nation, of any religion, of any place on the political spectrum believe anyone would have showed up?”

Apparently one does: Tim Burton.

The people of Gotham perform similarly in Batman Begins (sic). First they idolize Oswald Cobblepot for no reason except his instant celebrity, then they turn on him when their idol falls. They do a similar 180 about Batman when Penguin frames him. Burton’s ordinary people are irrational and stupid, and if they were a single person their characterization would be dismissed as absurd. There is no realism here of any kind.

The Gothamites of Nolan’s The Dark Knight are another breed entirely. They have kneejerks and obnoxious outbursts when faced with their Joker, a terrorist, saying he will kill people unless The Batman turns himself in. But during the climactic Ferry episode, when faced with the prospect of killing their fellow human beings to buy their own safety-even if those fellow human beings are criminals on a prison boat-they elect to do the right thing.

Heath Ledger’s Joker – like Tim Burton – asserts that “When the chips are down, these civilized people will eat each other.” That is the position taken by the comics that inspired Burton, the comics of Frank Miller and Alan Moore, the comics that reject the very idea of heroes, of heroism, of ideals.

In giving us people of Gotham who behave like human beings, Nolan restores the concept of heroism on a far deeper level than restoring it to Batman alone. It is ironic that so many characters deny that he is one in the course of a movie which presents the anatomy of a hero as no other since High Noon.

Speaking of irony, the ultimate hero portrayed by Gary Cooper was Marshal Will Kane. And the ultimate villain that sought to destroy him and everything he stood for was Frank Miller.

via  Batman’s City in the Movies.

Batman Composers Profiled in Geek Soul Brother’s The Music of Sci-Fi and Fantasy

Tim Burton’s Batman has more than a few flaws which have become increasingly obvious over the years, but one element which has aged well is Danny Elfman’s musical score, so iconic that there were doubts Hans Zimmer could possibly escape its gravitational pull in trying to create a unique musical identity for Christopher Nolan’s Dark Knight trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises.  Both composers get a lookin on Geek Soul Brother’s survey of Sci-Fi and Fantasy musical scores.

Here are some composers that I think have added to the unique worlds they accompany, by creating an emotional landscape with the power of music at their fingertips.


Hans Zimmer – Going from Pop Music to film score, this german composer has had a long and successful career.  His credits include Batman Begins and The Dark Knight, Inception and the Pirates of the Caribbean franchise. First Oscar was for The Lion King.


Danny Elfman – Starting out with the group Oingo Boingo, Danny Elfman later found his love for film scoring.  His friendship with Tim Burton lead to a great works including the scores of Batman and Batman Returns.  Other works he did were Alice in Wonderland and Spiderman 1 and 2.

via The Music of Sci-Fi and Fantasy « Geek Soul Brother.

See related:
Zimmer: Batman 3 score must do more than rehash The Dark Knight
Hans Zimmer tribute | Sputnik Reviews
Batman Arkham City The Album
A Tale of Two Gothams: Burton v Nolan | Batman’s City in the Movies
Batman in concert
Danny Elfman knows the score: Tim Burton ‘opened every door for me’ | Hero Complex, LA Times

The Moment of Truth for DC Comics Relaunch

Elvis Presley once wrote

“When I was a child I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie.”

That’s something DC Comics forgot, as Blogcritics recently observed

When modern comics have gone off the rails, it’s because they forgot that core truth: we want to be these characters.  Look, up in the sky, it’s Superman!  You’re a kid, you’re small, you’re weak.  Imagine being able to fly!  Imagine being strong enough to pick up a train and hurl it like a javelin!  We grow up wanting to be these characters.
3 reasons to be excited at Anne Hathaway playing Catwoman

DC Comics rebooted its universe on August 31.

DC Comics Everything Depends on winning back the readers they have lostBreakout:

It is a misconception that they wiped out 75 years of comic book history, the rich heritage of Superman and Batman, etc. They wiped all that out in 1985. What they wiped out 2 weeks ago is all the garbage that’s happened since. And it has been garbage. Stunts, poor storytelling, disrespect for the characters, the fans and the medium have driven away loyal readers. It came to a head in 2008. The tiny comic book division had gone largely unnoticed by parent company Time Warner because its earnings were insignificant. The damage it could do creating bad will around billion dollar properties like Batman were not. It was in 2008 when Christopher Nolan’s The Dark Knight and its viral by 42 Entertainment brought the Caped Crusader’s mainstream popularity to heights not seen since Batmania of the 1960s, Time Warner became aware of just how badly DC Comics Batman editor Paul Dini and head writer Grant Morrison had been insulting, angering and offending fans of The Batman and related characters like Catwoman. More »

While bloggers have been eagerly reviewing “The New 52” comics that have been released so far, the take of those who never stopped buying and reading comic books are not really relevant as far as the reboot achieving its goal. Nor are the titles released so far: Batgirl, Superboy, Swamp Thing. Not relevant.

There are only three titles that enable us to gauge if the new DC Comics is serious about repairing the damage and rebuilding its brand in the eyes of those it has alienated:  Justice League, Batman and Catwoman.

Justice League #1 because it was by Creative Director Geoff Johns, and because it was the first issue to come out and would get the most curious look ins from non- and ex- comic readers. Signs were favorable there: though a team book, that first issue focused entirely on Batman and Green Lantern, as in the marquee characters from recent Warner Bros films.

Batman #1 and Catwoman #1 because the success or failure of the new DC Comics depends on getting their act together in time to take advantage of The Dark Knight Rises in July of 2012. It is telling that both are released on the same day: this Wednesday, September 21.

The language of the promotional materials is also telling:

Batman #1
batman-and-catwoman-the-two-comics-to-watch-on-dc-comics-relaunch-reboot-new52-batman-1-coverWritten by SCOTT SNYDER
Writing the one and only Bruce Wayne as the titular hero. Fan favourite artist Greg Capullo joins him here and this newly formed dynamic duo promise copious amounts of intrigue, action and dastardly villains, new and old, to the series. If you love Batman in his proving grounds of Gotham City, this is one of two key books to watch to see if DC Comics has recognized their errors that have driven off readers over the past 10 years and are serious about repairing them.

“The one and only Bruce Wayne as the titular hero” is important because Bruce Wayne was no longer Batman under the mismanagement of the former editorial regime. He was dead. Seriously.

While there are other Batman titles, this is the one to watch to evaluate the editorial intent in making good on or wasting this last chance.  The other Batman books like Detective Comics and All Star Batman and Robin may be considered a ghetto of those personel and story elements of the pre-boot which could not be instantly flushed for one reason or another. One imagines they will linger for a few years and then be quietly attended to.

batman-and-catwoman-the-two-comics-to-watch-on-dc-comics-relaunch-reboot-new52-catwoman-1-coverWritten by JUDD WINICK
Art and cover by GUILLEM MARCH
Meet Catwoman. She’s addicted to the night. Addicted to shiny objects. Addicted to Batman. Most of all, Catwoman is addicted to danger. She can’t help herself, and the truth is – she doesn’t want to. She’s good at being bad, and very bad at being good. Find out more about what makes Catwoman tick in this new series from writer Judd Winick and artist Guillem March

Her status as a thief is front and center. Good.
Her relationship with Batman is front and center. Good.
As noted elsewhere, writer Judd Winick used the word “sexy” 40 times in an interview about this title. Apart from keeping the fan-loathed costume of the pre-boot, DC seems to be doing all they can to signal good intentions.

Of course appearances can be deceiving, and after all DC pulled I won’t believe it’s not another sucker punch for at least a year.

“After all DC pulled with her” they’ve got their work cut out for them.