Re: The TDKR General Discussion Thread - - - - - - - - - - - - - - -
Yup. It's certainly no coincidence that Wayne Manor is a house full of orphans by the end of the film. It speaks to the idea of Batman being a symbol that can carry beyond Bruce, beyond Blake, through generations. Which reinforces the fact the ending is really about Bruce and what he has left behind more so than it is Blake himself. And I love the meta-aspect of how this relates to different incarnations of Batman and his enduring nature as a fictional legend. It's a forever revolving door, and I can't help but feel that the final shot is Nolan's way of passing the torch. Who'd have thought that Ben Affleck would be the guy to take it, and so soon? Heh.
Unrelated, but I also want to bring up something real quick in relation to a debate that I was having with milost yesterday. If you're reading milost, you were insisting that it's a contradiction and somehow unfathomable for Nolan to say that they had a rough idea of where they were going with the overall arc while also saying they approached one movie at a time.
Another example of this kind of approach that just occurred to me is Breaking Bad. If you know anything about the show or the behind the scenes side of it, Vince Gilligan has offered an unprecedented level of inside access to the process of him and his writing staff. Literally, unprecedented...I just watched a documentary where there's actual footage of him and the writers breaking stories in the writers' room. I've never seen anything like that before. Vince has time and time again openly admitted that they made up a lot as they went along and discovered the story as they broke each episode in the writer's room. Often purposely writing themselves into corners so they'd have to figure out clever ways to write themselves out. However, he also has now come out and revealed that the one thing he knew all along was Walt's ultimate fate (won't spoil for the 2 people out there who haven't watched BB yet). What's pretty incredible in retrospect is how much foreshadowing there is and how interconnected the series feels. I believe that is because the story was told as organically as possible (and by great writers too).
I feel similarly about how TDK trilogy holds together and I think Gilligan's approach with Walt and his arc/ultimate fate is similar to Nolan/Goyer's with Bruce's. Obviously they didn't know every detail of how he would get there, but I think it's a good bet that they knew he'd leave Gotham for good after cementing Batman's legacy as an enduring symbol. The same way they probably knew that The Joker would wreak havoc on Gotham and Bruce's life in part 2 before they had an outline for TDK. I mean hell, we all probably knew that going into TDK. It's not nearly as much work to figure out the broad strokes as it is to get your hands dirty and craft the thing line by line, beat by beat. It worked with one of the greatest TV series of all time, and yet I think that approach is even better suited for something like a trilogy due to it conforming to a very clearly delineated three act structure, which is the DNA of any individual movie...so it's essentially looking at it as one big movie.
I really see no problem with this approach. I think it's the most organic possible way to tackle a film saga that big, while still having some base level of organization and direction to it. It really, really doesn't have to be this black and white "either it was all planned or it wasn't" thing. I really can't imagine anyone disagreeing with that.
Last edited by BatLobsterRises; 01-04-2014 at 02:01 AM.