The Batman (2022)

Le coin des adaptations cinématographiques des héros DC.
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Jason Todd
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Re: The Batman (2022)

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Batman293 a écrit : 19 janv. 2022 17:51 La version "carré" du poster passe mieux et fait couverture d'OST.
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Effectivement, ça convient bien davantage ! Mais bon, quitte à vouloir un carré...
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Batman293
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Re: The Batman (2022)

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Pattinson parle de ce que c'est que de jouer Batman :
"The most complicated things are the long dialogues in the skin of Batman. On paper, it looks easy. But when you really do it... You have to let yourself be carried away by the silhouette of the costume, because it has an extremely strong power... and at the same time, you can't rely on it all the time. (Laughs.) But hey, there are scenes where it's useless to resist. You cling to the mask, which says so much more than your body language or any of your ideas. And then over time, you discover that there is a way to let go, to 'shine' through the suit. Batman is storm under a skull. [It’s a French expression meaning : inner conflict where the consciousness struggles, plagued by conflicting thoughts or desires.] It might sound a little ridiculous, but something happens if you let his mind - what you imagine to be his mind - parasitizing yours. You notice quite subtle differences in the way you move and in your gaze. It's unconscious, but it settles. I felt very alive in the costume, there was an energy. The more time passed, the more I felt it. After a while I even stopped leaving the set after my takes, I laid in a corner. I was living in Gotham!"

Source :Première via https://twitter.com/TheBatmanFilm_?t=hs ... EqbTQ&s=09
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Re: The Batman (2022)

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Re: The Batman (2022)

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Le genre de réalisateur qu’est Matt Reeves :

Jeffrey Wright :
There were times when I thought, maybe we don’t need that comma there. And he’s like, ‘Wait a minute — that comma relates to a comma in the next scene. If you take that one out, then it changes the value of the next one.’ It’s a really tightly woven script.

Reeves explique :
When Jeffrey comes in, he has so many great ideas. He’s an amazing actor, so he brings something to life. So the last thing I’d want to do is to have him do it the way I would do it, because it won’t be nearly as good. But the specificity of the comma has to do with emphasis — and that is narrative. There are moments when the comma is narrative, the comma is something that sets something apart that’s going to come back in an important way. And this story, in particular, is the most intricate narrative I have ever, ever tried to tackle.

Kravitz détaille :
There was a scene where I — Selina — was coming out of a club and I’m upset. And he said, ‘You know, you walk out and you’re upset and your mouth is kind of open, because you’re breathing, because you’re emotional. And then you’re closing your mouth, but we’re just kind of getting rid of the emotion, just slightly. So try to just keep your mouth relaxed the same way.’ But then I watched back and I can see the difference. And I was like, ‘You are a freak and I love it.’
Matt is the most specific person and director I’ve ever worked with. And I really think it’s one of his biggest strengths. I think sometimes he beats himself up about it, because he can probably drive himself almost crazy sometimes. But his specificity is really beautiful, especially in a film like this where it can be so easy to just focus on the big action sequences or the explosions. And he will pay attention to the way you put down a cup.

Farrell ajoute :
“Every day, night and day, he eats, drinks, sleeps Batman, and all the characters in this mythology. He’s no doubt hunched over a monitor as we speak, still finishing putting the final touches together.”


Reeves explique qu’à partir d’un certain point, il a commencé à écrire le script pour Pattinson, avec Pattinson en tête :
In writing, from the beginning, I was imagining the character in my head. And I started watching movies of actors in the age range. And he just really kind of captivated me, and I started writing for him at a certain point. I had no idea if he ever would want to be in the movie.


Pattinson explique un détail technique rapporté par Greig Fraser à partir de son expérience sur Rogue One: A Star Wars Story :
The two most difficult things to light are Darth Vader’s helmet and the cowl.


Pattinson donne des détails sur la façon d’interpréter Batman :
There’s a whole different language, body language, you have to learn to make it do what you want it to do. If you look too much into the light, it looks completely ridiculous, and you’re wearing a Halloween costume. But if you’re like two millimeters down, it’s like — oh, that’s completely totemic, and like it looks exactly how it’s supposed to look. But to learn how to feel that and learn how to react to how the light hits it, takes forever.


Ici, il s’agit des ambitions et des intentions ainsi que les inspirations derrière le film :

Reeves :
I wanted to do a story in which the corruption of Gotham was one of the most important aspects of the story, because Gotham is a sick place. Bruce is desperate to try and make a change. He’s still stuck, to be honest, emotionally stunted at being 10 years old, because that’s a trauma you don’t get past—witnessing your parents murder in this place.
He’s looking to create meaning, right? This is the only meaning he can find. …I think he imagines that if he can do this, somehow he can reverse what’s happened, which will never be reversed. This is a very human impulse, right? To try and relive something and remake it.
This idea of a place that is corrupt, and you try to swim against the tide in order to fight against it and make a difference, is quintessential Batman. And at the center of those noir stories is almost always the detective, right? And that’s why he is the world’s greatest detective. And so this story is, in addition to being almost a horror movie, and a thriller, and an action movie, at its core, it’s also very much a detective story. It’s very narrative.

Pattinson parle de la première rencontre avec Reeves :
In the first meeting, he was saying, we want to lean into the ‘world’s greatest detective aspect,’ and be a detective noir movie. And, you know, normally when directors say that, they just do like a mood board, and it’s just about the imagery. But I read the script, and it is! It’s a detective movie. It happens all the time in the graphic novels, but it’s always kind of on the backburner in the movies.

Reeves détaille ses inspirations :
“Chinatown is a kind of metaphor for just how corrupt we are.
And so I knew that this story was going to be, as he went on this path, to come to understand these crimes that he’s being led on by the Riddler — it needed to go back ultimately into a sense of expansive history that started to explain why this place was this way in a way that, while it starts seemingly on this path that’s impersonal, because he’s investigating these crimes, it ends up taking him in unexpected ways to something that was incredibly personal.
There had to be a very deep conspiracy going on. And so I watched All the President’s Men, I re-read the book, and I just started saying, OK, so how do we start to describe just how high the corruption went? It’s very much like All the President’s Men in that way.

D'où les noms de deux personnages du film comme le journaliste détaille :
Two key characters in The Batman — Gotham Mayor Don Mitchell Jr. (Rupert Penry-Jones) and District Attorney Gil Colson (Peter Sarsgaard) — share last names with key figures in the Watergate scandal, which is portrayed in the 1976 ripped-from-the-headlines film All the President’s Men. In real life, President Nixon’s advisor and hatchet man, Chuck Colson, was the first member of the administration to be imprisoned for his political dirty work. John N. Mitchell was Nixon’s campaign manager, a proponent of ‘law and order’ sentenced to prison for multiple Watergate-related crimes. News of the scandal broke thanks in large part to the work of sleuthing reporters Bob Woodward and Carl Bernstein (Robert Redford and Dustin Hoffman in the movie, which was directed by Alan J. Pakula and written by William Goldman, based on Woodward and Bernstein’s book).

Reeves ajoute :
I wanted bits of those names because I wanted the conspiracy to come with that forcefulness of history and believability for me.

Et cela donc est lié au "moteur" de l'histoire comme l'explique Reeves :
The premise of the movie is that the Riddler is kind of molded in an almost Zodiac Killer sort of mode, and is killing very prominent figures in Gotham, and they are the pillars of society. These are supposedly legitimate figures. It begins with the mayor, and then it escalates from there. And in the wake of the murders, he reveals the ways in which these people were not everything they said they were, and you start to realize there’s some kind of association. And so just like Woodward and Bernstein, you’ve got Gordon and Batman trying to follow the clues to try and make sense of this thing in a classic kind-of-detective story way.

Reeves et Kravitz ont beaucoup parlé de Klute (1971) (film faisant partie de ce qui est appelé la "paranoia trilogy" de Pakula avec The Parallax View (1974) et All the President's Men (1976)) comme l’actrice l’explique :
That film kind of became a Bible for me in terms of tone and the relationship between the two of them, and that’s one of the most incredible performances I’ve ever seen—Jane Fonda just blows me away.

Reeves ajoute :
Also, one of my favorite actors is Donald Sutherland. And what I love about Donald Sutherland in that movie is he judges her — he judges her and yet he falls in love with her.
And I just thought that there was something about that, that related to what I thought could be a Batman-Selina Kyle story. He doesn’t understand… what it takes to survive in this place. What you have to do just to survive in a place this rough.


Un aspect de la relation entre Batman et Catwoman :

Kravitz approfondit ce dont parle Reeves :
Selina has had a very difficult life, and has lived on the street, and is trying to survive. She really knows how scary the world is. Just based off of certain things that Batman says, she can tell he grew up wealthy.

Reeves explique comment Selina aide Bruce à réaliser certaines choses sur lui et ce qu'il a :
It takes a very special safety net to even be able to do what he’s doing. Yes, OK: He’s risking his life, but he’s risking his life in the way that only someone who has all the resources that he has can do. He absolutely has privilege, there’s no question. He was born with privilege. He is a descendant of city royalty.
I wanted him to have an awakening of sorts where he would question her about what she was doing. And she says, you know, I don’t know who you are. But whoever you are, you obviously grew up rich.

Pattinson du fait que le film embrasse la folie d’un personnage comme Batman :
There’s an element in the other iterations of the story where Bruce goes off, does his training, masters himself and then comes back to Gotham as a fully realized character and the delineation between Bruce and Batman — the public Bruce, the private Bruce, and the Batman Bruce — are very contained and he can control them more easily. And in this, the lines have totally blurred. His self as Bruce is sort of disintegrating.


On a aussi quelques détails sur le Penguin :

Colin Farrell’s Oz, who prefers not to be called The Penguin, is the shady proprietor of The Iceberg Lounge, a Gotham underworld hangout, doing the bidding of reclusive crime lord Carmine Falcone.

Les ressemblances et les différence avec le personnage de Freddo Corleone interprété par John Cazale dans Le parrain:
Played by John Cazale, Fredo Corleone is the weak son of Vito Corleone, who is stepped over by his more capable younger brother, Michael Corleone (Al Pacino), and in turn betrays him. Farrell’s performance is by no means an imitation of Cazale’s — he’s doing something entirely new, and is unrecognizable thanks to the work of makeup artist Mike Marino. But he shares Fredo’s sense of being stepped over.

Farrell explique :
Matt was just talking about somebody who had very real and very lofty ambitions, but never really had the opportunity or the chance to explore them, and was maybe looked upon as someone who was handicapped, whether it was psychologically, intellectually — Fredo was frowned upon as less than the other brothers, and maybe Oz as well, in his life, was looked upon as somebody who wasn’t capable. And so that’s one of the things that fuels Oz.


Source : https://www.moviemaker.com/the-batman-m ... ive-story/
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Jason Todd
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Re: The Batman (2022)

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Toutes ces déclarations dégagent quelque chose de brillant... Entre les renvois à Chinatown, les références à Les Hommes du président... Ça donne tellement envie que t'as envie de chialer.
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Re: The Batman (2022)

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Et c’est donc confirmé que « Oz » dirige l’Iceberg Lounge.
This may be the only thing I do that matters. TDKR
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Jason Todd
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Re: The Batman (2022)

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Rarrou-52 a écrit : 19 janv. 2022 23:21 Et c’est donc confirmé que « Oz » dirige l’Iceberg Lounge.
C'est toujours sympa comme clin d'œil mais, à la vue des BA, on semble encore loin d'un établissement avec une thématique banquise... Peut-être pour les suites ?
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Batman293
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Re: The Batman (2022)

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Jason Todd a écrit : 20 janv. 2022 00:25
Rarrou-52 a écrit : 19 janv. 2022 23:21 Et c’est donc confirmé que « Oz » dirige l’Iceberg Lounge.
C'est toujours sympa comme clin d'œil mais, à la vue des BA, on semble encore loin d'un établissement avec une thématique banquise... Peut-être pour les suites ?
Ou pour la série.

Sinon, le producteur Michael Uslan confirme la durée de 175 min.
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Resendes
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Re: The Batman (2022)

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Très cool pour la durée.
Merci pour les informations 293 même si un petit paragraphe résumé traduit serait appréciable :mrgreen:
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Re: The Batman (2022)

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Google Traduction est ton ami Res :sleep
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