Two-Face would somehow be resurrected or awoken from a coma to seek vengeance on Batman in The Dark Knight Rises. Not so. At least that’s what Aaron Eckhart was told by Christopher Nolan, according to MTV News. “Chris and I had a meeting, on the beach, just the two of us,” Eckhart said on Thursday. “I said, ‘Chris, a lot of people are asking me if I’m in the next Batman.’ And Chris said, ‘Yes?’ I said, ‘Am I?’ He looked at me and he said, ‘No.’ … I was heartbroken. But Chris has his reasons and my life must go on.”So Harvey Dent did die at the end of The Dark Knight after all. Some fans had speculated that his
Tag: Batman (21-28 of 28)
Christopher Nolan and producer Emma Thomas have swatted down an internet rumor that unused footage of the late Heath Ledger as the Joker in The Dark Knight would appear in the highly anticipated follow-up The Dark Knight Rises, according to The Hollywood Reporter. At an awards season reception for Nolan’s 2010 film Inception on Tuesday, Thomas, Nolan’s producing (and life) partner said, “I heard the rumor. We’re not doing that.” Nolan also made clear that, although the script for The Dark Knight Rises isn’t yet finished, he felt Ledger’s performance should live in 2008′s The Dark Knight alone.
Christian Bale isn’t sure that he’ll be heading back to Gotham after The Dark Knight Rises. “This will be, I believe, until Chris [Nolan] says different, the last time I’ll be playing Batman,” Bale told E!. “Absolutely, we want to go all out with it.”
“I don’t even know if [The Dark Knight Rises is] the right title,” Bale said. “Until Chris tells me, I don’t believe it.”
Bale was not expected to play Batman forever; his contract called for three films. But since the actual plot details for TDKR – if that is it’s real name — are so tantalizingly vague, Bale’s confirmation of something — anything — concrete attracts some added significance. READ FULL STORY »
Prying clues from Christopher Nolan and Co. about The Dark Knight Rises is like trying to get Lucius Fox to betray Bruce Wayne himself. Thank goodness for Michael Caine. Even when he tells the press not to expect anything — as he told Empire, “Christopher is the most secretive guy in the world” — he gave them something: “Christopher said: script in January, shoot in May, finish in November.” Warner Bros. did not yet respond to requests for confirmation, but if Caine is correct, the Dark Knight rises in May.
'Alice in Wonderland' is a huge hit, but is Tim Burton struggling to hold onto his creepy-cool imagination?
Back in the mid-’90s, I was having a drink with a prominent filmmaker who had risen up in the indie movement, and we started to talk about Tim Burton, whose career at that point, with the recently released Mars Attacks! (a bomb — though seriously underrated in my book), was headed toward a tricky moment of truth. The filmmaker, who was dealing with a few struggles of his own, smiled and gave me a line about Burton that he’d obviously thought of, and used a number of times, in the past. He said: “What’s a director supposed to think when his best movie is his biggest failure and his worst movie is his biggest hit?”
That line was just glib enough to echo and resonate, even if it wasn’t entirely true. The two Burton films he was talking about were Ed Wood (1994), the great, one-of-a-kind biopic of the legendarily awful poverty-row movie director Edward D. Wood Jr. — a movie that I, too, consider to be the highlight of Burton’s career, though one whose reputation dramatically outstripped its popularity; and Batman (1989), the industry-shaking earthquake of a comic-book smash that was really the first, trend-setting example — before Steven Soderbergh, Sam Raimi, Christopher Nolan, etc. — of a director like Burton, all but defined by the flukiness of his personal vision, crossing the corporate channel to make a megabucks studio blockbuster.
Let me state right up front that I don’t agree with the aesthetically dismissive assessment of Batman. I think it’s a flawed but still marvelous movie — a very grand gem of gothic baroque kitsch, with a performance by Jack Nicholson that’s more than just one actor’s over-the-top, zany-hambone showcase. Even though he was officially playing the film’s villain, what Nicholson, as the Joker, expressed is a playfully demonic, bats-in-his-belfry joy that linked him, in spirit, to every great, bent Burton hero, from Pee-wee Herman to Beetlejuice to (one year later) Edward Scissorhands.
Nevertheless, I think that my director acquaintance was onto something. He was, in a way, almost anticipating the trouble that a filmmaker like Burton would have, in the new franchise-happy Hollywood, attemping to bring his vision to full, prankishly surreal flower in a mainstream context. READ FULL STORY »
Now that Miramax has finally, sadly, been effectively shut down, its offices shuttered, I promise I won’t subject you to any hand-wringing about the end of an era — mostly because I got the hand-wringing out of the way in two previous posts. Last fall, when Disney first downsized Miramax, and it was already clear that the company’s days were numbered, I took a look at what that decision portended for the future of studio specialty divisions, and for the larger world of independent film. A month later, when the company’s New York offices were closed, I talked about the central place that Miramax occupied in the history of New York movie culture. Now, at last, the company really has passed into history. That should be an upsetting and more than slightly ominous thing for anyone who loves movies.
Right now, however, I want to remember Miramax by going back to a moment – the moment, in fact, when Harvey and Bob Weinstein’s company first shook up the movie world (though no one at the time, not even Harvey and Bob, could fully have guessed what was coming). It was a sunny Saturday afternoon in August of 1989, and sex, lies, and videotape had just opened the day before. I lived in Boston at the time, and I was standing in a very long line to see it at the city’s premiere five-screen indie-art multiplex, the Nickelodeon. Like most of the people on line, I knew virtually nothing about the film but its title (I had seen James Spader play more than a few WASP slimeballs in ’80s teen movies). Yet the title was enough. It wasn’t just the lower-case sensational bluntness that hooked you; it was the teasing yet unmistakable implication of home-video porn in the mixing of those two seemingly polar-opposite concepts — sex (who wouldn’t want to see a movie that starts with…sex?) and videotape (a word that seemed, at the time, so technological, even though it now sounds about as advanced as “ham radio”). READ FULL STORY »
Earlier today, geek guru Joss Whedon posted an open letter on fansite Whedonesque.com announcing a $10,000 bid for the rights to the Terminator franchise. (The Financial Times first reported the very real auction, with Sony Pictures and Summit Entertainment reputedly among those in the running.) Almost immediately, the web lit up wondering just how serious Whedon was (sample suggestion for how he’d change the franchise: “Christian Bale’s John Connor will get a throat lozenge”). So EW phoned Whedon, and asked him: Was he just being funny? Or making a bid for the franchise by way of being funny?
His first response: “What do you mean, funny?! You think $10,000 is funny?!”
His second response: READ FULL STORY »
If Heath Ledger wins the Oscar for Best Supporting Actor on Feb. 22, his family will accept the award on his behalf, Dark Knight director Christopher Nolan told EW.com at the DGA Awards Saturday night. Nolan accepted Ledger’s Golden Globe award on Jan. 8, and Ledger’s Dark Knight costar Gary Oldman took the stage on behalf of the young actor at the SAG Awards on Jan. 25. Nolan did not elaborate on which members of Ledger’s family would accept should Ledger win, but previous family statements have been made by Ledger’s father, Kim, mother, Sally, and older sister Kate, and it’s possible all three would step to the front of the Kodak on Oscar night. The last (and only) time an actor has won an Oscar posthumously — Peter Finch as Best Actor for 1976′s Network — the film’s screenwriter Paddy Chayefsky and Finch’s widow Eletha accepted on Finch’s behalf.
For more on Heath Ledger:
Heath Ledger: The Untold Story
Heath Ledger: A Career Retrospective
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