The Official Batman Returns Thread

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Guason said:
Referenced in
The Double 0 Kid (1992)
Army of Darkness (1993)
Roseanna (1993) (V)
Batman: Mask of the Phantasm (1993)
Wallace & Gromit: The Wrong Trousers (1993)
Ed Wood (1994)
Wipeout 2097 (1996) (VG)
Two If by Sea (1996)
Irma Vep (1996)
Just Your Luck (1996) (V)
Pistola de mi hermano, La (1997)
I Got the Hook Up (1998)
Magra, La (1998) (V)
Syphon Filter (1999) (VG)
Magnolia (1999)
Ghost World (2000)
Planet of the Apes (2001)
Metoroporisu (2001)
Monsters, Inc. (2001)
Kuutamolla (2002)
The Master of Disguise (2002)
The Very Best of Have I Got News for You (2002) (V)
Daredevil (2003)
AFI's 100 Years... 100 Heroes & Villains (2003) (TV)
Big Fish (2003)
Harry Potter and the Prisoner of Azkaban (2004)
Catwoman (2004)
Catwoman: Copycat (2005)

References
Kabinett des Doktor Caligari, Das (1920)
Nosferatu, eine Symphonie des Grauens (1922)
The Phantom of the Opera (1925)
Citizen Kane (1941)
Vertigo (1958)
Psycho (1960)
"Batman" (1966/II)
A Nightmare On Elm Street (1984)
A View to a Kill (1985)
Pee-wee's Big Adventure (1985)
Bad Taste (1987)
Batman (1989)

Featured in
The 68th Annual Academy Awards (1996) (TV)
AFI's 100 Years... 100 Heroes & Villains (2003) (TV)
The Many Faces of Catwoman (2005) (V)
Spoofed in
Splatman (1992) (V)
Austin Powers: The Spy Who Shagged Me (1999)

Spin off
Batman Returns (1992/II) (VG)
"Birds of Prey" (2002)

Spoofs
The Elephant Man (1980)
Pee-wee's Big Adventure (1985)

Followed by
Batman Forever (1995)
Batman & Robin (1997)

Follows
Batman (1989)

Edited into
De Superman à Spider-Man: L'aventure des super-héros (2002) (V)

So Batman Returns is mentioned in all these or just characters are? where did you find the info, got a link?
 
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hmmm...interesting. i thought you were just listing the end credits or something, lol. and ashly judd as catwoman?? im guessing they changed the actress beofre judd found out, lol. also, im glad pieffer didnt do catwoman of ANY kind, or at least any kind excluding burton. shes right, it was burtons vision that made catowoman and batman an item to begin with, you just cant beat that, so im very happy she didnt do the new one, even though i beg that she and burton do a catwoman spinoff still, even though pieffer is a bit older, its still possible!!

awsome pics!!!!!!!!!! i used to have ALL those happy meal batman returns toys!! i lost them though.....:( and the diecast hot wheels batmobile has the feature where you can pull out that engine like in the last pic, its great!:up:
 
Maybe we could check out how BR is referenced in all those movies.
 
i think in ghostworld, that one girl (not johanson) wheres a pieffer-looking catwoman mask.
 
awsome pics!! that last pic of gotham city is BRILLIANT!! one of the reasons i loved burtons films was his gotham. it was pure genious:up:
 
BatmanRules33 said:
awsome pics!! that last pic of gotham city is BRILLIANT!! one of the reasons i loved burtons films was his gotham. it was pure genious:up:

That is one of my favorite pics!
 
Gotham...

While the script went through development, Burton and DiNovi assembled a crew, mostly of alumni from earlier Burton films, including director of Photography Stefan Szapsky, Chuck Gaspar, and composer Danny Elfman. Those first to be brought on board were production designer Bo Welch and art directors Rick Heinrichs and Tom Duffield, who labored on Gotham's decadent surroundings for over a year.
Welch was faced with modifying the late Anton Furst's darkly vibrant designs for the first film. ''I don't feel we were chained to the first movie,'' he says. ''We basically worked within the same parameters: that Gotham is a dark caricature of a city. But our approach was a little more loose and fun. The first one to me was very nostalgic; ours was more fascist. That's why we blankened everything in snow: it radically changes the environment by giving things a stronger black and white contrast.''

According to Heinrichs, who describes the new Gotham as Nazi architect ''Albert Speer with a little Dr. Suess thrown in,'' the approach reflects the expressionist influence that has surfaced in various Burton-Heinrichs collaborations dating back to their 1982 black-and-white short, VINCENT. ''German Expressionism has always been a great way of using light and shadow to make a visual statement. To a degree, we drained some of the colors in this movie to give the city a muted, more oppressive and claustrophobic quality. It's a way of visually adding subtlety.''

Borrowing from sources like the Rockefeller Center and the neo-fascist World's Fair, Welch and the art directors concocted a phantasmagoric conglomerate of colorful decadence. ''We wanted Gotham to represent the old American city - rotted, corrupt, and full of character and life,'' he explains. ''There had to be the juxtaposition of old and new, and decay and fascism, like in Gotham Plaza where you have these poor citizens trying to celebrate Christmas with this beautiful 40-foot tree stuck in the middle of the dreariest, most imposing buildings we could fit on the sound stage.''
 
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^ this pic and the one of pic of the skyline of Gotham are some of my favorites
 
Academy - 1992
Category Nominee Win/Nominated
Best Makeup
Ve Neill, Stan Winston Nominated
Best Visual Effects
Michael Fink, Craig Barron, John Bruno, Dennis Skotak Nominated
 
Keyser Sushi said:

IN MOVIES i mean. the keaton/pieffer relationship along with burtons incredible vision for the 2 characters are what IMO made them great. if it werent for burton, it probably would have sucked.

love burton.:up:
 
Batman Returns





For Batman Returns, Matte World Digital created miniatures and matte paintings that established the opening Cobblepot Mansion sequence, the Batcave and stately Wayne Mannor. MWD also created all shots of Gotham City that featured the Batsignal.

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A long tracking shot begins toward moody Cobblepot mansion, the birthplace of the penguin.

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The camera continues past the gate, toward the window where a silhouetted Cobblepot peers through the window.

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Motion control man Cameron Noble makes adjustments to the photo etched wrought iron gate.


The illusion of distance was achieved by photographing the gate and the mansion models on seperate but overlapping motion control tracks, giving the impression that the model was a lot further away. Both the gate and mansion models were placed on their sides so that the camera could easily fly over the gate. The Cobblepot figure was rear projected through the window. Several falling snow elements were also added as the camera moved in.

 
In the manor garden a bat mirror relay was programmed to capture the batsignal beam and redirect it into the library where Bruce Wayne awaits the call for help.

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The bat reflector redirects the batsignal as seen in the film.

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Motion control camera man Joel Hladecek and camera assistant Drummond Stone program the reflector on the forced perspective set.



Batman Returns ends with a signature crane-up through the verticle levels of Gotham city to reveal the batsignal triumphantly emblazened on a cloud. To create the shot, Matte World Digital crafted a multi-plane miniature set up that was filmed horizontally along a forty-foot motion control track. The final crane-up would be a complex layering of live-action, model buildings and painting elements.



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Bruce Wayne's Rolls Royce driving down a Gotham City street, is photographed at the Warner Brothers backlot.

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The Rolls Royce is reduced in size and composited with an eighth-scale miniature alley foreground complete with steam pipes and falling snow.

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The multi-plane shot continues with more mid-ground pipes and tresses.


 
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The camera stops rising to reveal distant seventy-second scale buildings and a matte painting of the city background with moving clouds.


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The batsignal is activated in the night sky. The effect was achieved by projecting artwork against moving fiberfill clouds.

LINK: http://www.matteworld.com/film/1992/batman.html
 
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