Originally Posted by jonathancrane
-Remove Lucius Fox from the narrative. Have Batman fashion his own equipment.
-If Two-Face has to be used, start the film with him scarred.
-Have supervillains installed in Arkham Asylum.
-No Mafia. Criminal Mafia, sure.
-Make Bruce a lovegod; don't lock him onto one woman (Rachel Dawes.)
-Make the Batmobile fantastic; reject the utilitarian principles behind the Tumbler and perversity of Burton's Batmobile.
-Increased Batarang and Grapnel-gun use.
-Make it a blend of location shooting and sets; use diverse architecture/architects (for example, Nolan acknolwedged Mies van der Rohe as the principle influence for TDK. And it shows. In the good way.)
-Use Americans for the cast. Nolan chose a Euro-centric cast (and also converted the League of Shadows to it,) so tap into the pool of American talent.
-Tap into the supernatural and hard-edged science of the comics; Legends of the Dark Knight might be a terrific source to extract elements from.)
-Sort of with the architecture, but not: more gargoyles, dammit.
-Create a different score: Elfman reinvented the Gothic Horror soundtrack; Zimmer created his own blend of electronic and orchestra; whoever takes over scoring duties should have their own distinct stamp on it, and not try to imitate the others. Possible candidates: David Arnold, Nigel Godrich, Tyler Bates.
-Change the suit: don't make it all black. It's been done to death. What I would like (which would also separate it from Nolan): make the suit collapsible. I always loved scenes in the TAS when he carried his suit with him in the suitcase. Better yet: make it blue, like it was in the Denny O'Neill/Englehart runs.
-Avoid League of Shadows/Assassins for 1-2 films,depending on the space between them.
-Play the clown imagery associated with Joker: give him a vehicle with his face on it, a lair with clown/carnival imagery on traps, and an oversized hammer. We've had the viral terrorist, now it is time to have the creative maniac who theatricality knows no bounds (I am thinking of AC Joker.)
-Include characters from the comics, instead of surrogates: Leslie Thompkins, Harvey Bullock, Renee Montoya, and hell, Jack Ryder.
-Use Arkham City's network of Easter Eggs as an influence: hint at all of the characters active in the city. Planting seeds in the film will a) tickle fans b) serve as a way to set up future scenarios without introducing retroactive continuity. It does not have to be as tightly wound as the MCU. A mention on a newscast about a sewage worker missing, a radio mention of a renowned surgeon moving to Gotham City, or a newspage advertisement for the Iceberg Lounge.
-Do not have Bruce confront Joe Chill: let him not be found. Nolan had him confront him, and Burton had him confront Napier. It has been overused.
-Create a sense of community: what I loved about the first two Halloween films was that Haddonfield Illinois felt like a real place. The effects of the villain were experienced all over the social landscape, which was refreshing. The same can be done with a city: carefully construct the script to reflect the changes that super-heroes/villains are having on the city, in addition to meeting my rule about the ratio of sets/locations.
This is the beginning of my list; I am going to go to sleep now, and will post more in the morning.