The Official Batman (1989) Thread - Part 5

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I had it too I liked how it had a scene that was in the paperback novelization where Batman leaves Alex covered in his cape and cowl while escaping without anybody seeing him as Bruce and the whole "Alexander Knox is NOT the Batman" and his comeback "on the other hand Batman is not Alexander Knox" ;).
 
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If you're shading something involving Wendi McLendon-Covey, you better be prepared to catch these hands. :o
 
It's just the Kevin Smith part. :/
 
Eh. It'll be fine. It's not like they'll let him turn it into a mini-movie about hockey groupies or whatever the f*** that movie with his daughter was.
 
A brand new interview w/ producer Jon Peters:
But looking back at those heady days, Peters also now claims to have had a tumultuous affair with Kim Basinger during the production of Batman in 1988, which apparently made Michael Keaton jealous.

“Kim had a husband who was abusive,” Peters claims. “And one day I grabbed him, and she connected with me because I protected her, and we became friends and ended up having a big affair. Michael Keaton had the eye for Kim Basinger. I remember he got mad at me when she and I hooked up. He felt rejected ‘cause he was the star. He’s Batman. Yeah. I was a hairdresser who could talk to women. We lived together on the set. She helped me write the third act.”
 
Jon Peters is such a scumbag. People paying you millions of dollars to just **** off is not a good thing.
 
"She helped me write the third act". Wow, interesting :funny:

Well apparently, it's true:
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http://lebeauleblog.com/2016/02/07/...y-awards-outburst-and-conversations-with-god/

LG: Did you get along with Jack Nicholson when you made Batman?

KB: Oh, I loved Nicholson. I’m not a fan of anybody’s but I think he’s done some wonderful performances. He’s not afraid to do anything, so that’s cool with me. But it was hard, it was tough. Jack and all the producers made money. Peters-Guber, they made money. And Warner Bros., of course, made money. But none of the rest of us made anything. We got raped, everybody did. It was a rape deal, it really was.

LG: You and Jon Peters were rumored to have been an item at the time. You called Jon a catalyst who shook up something inside of you. Can you talk about him?

KB: Jon is very street-wise, he makes things happen. He was a friend. He’s also a chance-taker and I like that. He’s willing to take you on. I looked at Jon Peters and I said, “There is something lacking from this script.” If you knew the truth about Batman you would faint. So I said, “We’ve got to make this into a love story.” And we spent hours and hours looking at film and me showing him film about things that should be. We had a lot of problems on Batman and I’d go home at night and write over the weekend. Jack Nicholson just came in and wanted to work every day, he wasn’t about to be part of the writing team on this. He was thinking about The Two Jakes. And Michael Keaton had done four films in a row and he was exhausted out of his mind. I got to know [director] Tim Burton pretty well, and Tim didn’t want to write this. He had enough problems. The magnitude of this film was unbelievable. But I saw a lot that was missing from Batman. I saw the reconstruction work that should be done. I’ve rewritten a lot of the stuff I’ve done in movies, so I just rewrote a lot of this crap, period.

LG: Did you consider asking for a writing credit?

KB: No, I didn’t. I learned a lot from Batman. I learned about being screwed and I learned about how not to ever get screwed again. I have got seventeen projects in the works in my own production company, most of which I have written myself. I don’t need somebody patting me on the back about credit. I just want to see things done. And I want to see the right people getting the right money.

LG: Speaking of money, you and some partners plunked down a considerable amount to buy Braselton, the town near Athens, Georgia, where you grew up. What possessed you to do that?

KB: I know I have to develop this area. It just came to me as clear as anything. I said, “I’ll buy it.” Then I looked up at God when I was there and I said, “God, you know what I did?” And this voice went, “Yes, we know.” And I said, “Okay, are you going to help me?” “Absolutely.” So I said, “Fine.” So I bought this town to develop to build a major studio there. I’ve got a big job ahead of me.
 
Yes, he was supposedly seeing Pfeiffer at this point. I think Peters is just talking nonsense as usual.
 
Burton himself has openly admitted certain effects shots in the film he ended up unhappy with because by that point they just didn't have the budget to make them look better. If I recall the one shot he mentioned is that animated shot of Batman on the roof in the beginning of the film.

It does make me wonder what the difficulty was in putting a camera up on a crane and pointing it down at Keaton in the suit as he walks away from the edge of the cathedral balcony. I mean, obviously dropping the Joker would be more of a special effect, probably involving blue screen, but the Batman shot wasn't anything elaborate.
 
It does make me wonder what the difficulty was in putting a camera up on a crane and pointing it down at Keaton in the suit as he walks away from the edge of the cathedral balcony. I mean, obviously dropping the Joker would be more of a special effect, probably involving blue screen, but the Batman shot wasn't anything elaborate.

Perhaps it was a (very) last minute addition and they had to make do with some swift animation.
 
It does make me wonder what the difficulty was in putting a camera up on a crane and pointing it down at Keaton in the suit as he walks away from the edge of the cathedral balcony. I mean, obviously dropping the Joker would be more of a special effect, probably involving blue screen, but the Batman shot wasn't anything elaborate.

Further details behind Batman's production in the book Hit and Run about Jon Peters & Peter Guber.
 
Wait...Keaton and Pfieffer dated??

That's so cool. I don't know why it's cool. But, it is.
 
It does make me wonder what the difficulty was in putting a camera up on a crane and pointing it down at Keaton in the suit as he walks away from the edge of the cathedral balcony. I mean, obviously dropping the Joker would be more of a special effect, probably involving blue screen, but the Batman shot wasn't anything elaborate.

Wasn't this shot a last minute addition?

Could have sworn Burton has mentioned that they just ran out of money and needed to do it somewhat cheaply.
 
I remember seeing it for the first time on the big screen at the age of 6. It was the most magical memory of my life.
 
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