![]() After stonewalling Knox, Eckhardt is shown taking a payoff from Grissom's second in command, Jack Napier. Eckhardt, one of many police officers on the take from Grissom. Newspaper reporter Alexander Knox is attempting to investigate, but his questions are deflected by skeptical cops, including Lt. Meanwhile, a dark vigilante dressed as a bat has attracted the attention of both the police and the local media. Dent, in turn, targets mob boss Carl Grissom, who sponsors much of the criminal activity within Gotham and has paid off a significant segment of the police force. Gotham's mayor William Borg orders District Attorney Harvey Dent to make the city safe again, in hopes of revitalizing local business. 3 References to the broader BurtonverseĪpproaching its 200th anniversary, Gotham City's leaders fear that the high level of criminal activity will deter citizens from attending the celebrations.So I was wondering if anyone felt like those moments were intended or just a reflection of what was not possible at that time. Usually Burton is pretty intentional with every visual. I'm not sure if that was just limitations of it's day or if he was purposely trying to be expressive by making it look disoriented. In Batman '89 when Batman and Vale fall from the cathedral, they're abrupt stop is out of sync with the moving background too. ![]() I have no idea what the thinking was there. I noticed that in Batman Returns with Catwoman in one scene where the background is moving up and down while she remains still. Where I get a bit lost as to his intent with the matte shots is when the background gets out of sync with the foreground action. I think that's also why he likes introducing fog or steam to his scenes because it enhances the foreground and provides greater depth through that separation. What is better referred to as Rembrandt lighting in still photography is how he captures specific characteristics while providing depth of field in shadow. And I think the reason for that is he sets ups his shots like he's going to photograph them. So many of his films look like story books come to life. I think Batman '89 is a great example of Burton's artistic flair at work. But the consistency in lighting makes the fusion more or less seamless. ![]() The full scale elements in the foreground have been photographed at 24 frames per second, while the miniature elements in the background have been shot at 120 fps. Here we have a composite shot comprised of both full scale and miniature elements. The stark chiaroscuro lighting in Burton’s second Batman film is typical of German Expressionist cinematography, while the lighting in the 1989 movie is more typical of film noir.Īn image we see a number of times throughout the film is the exterior of Axis Chemicals. The contrast between light and dark also isn’t as distinct as in Batman Returns. Consequently the picture quality is not quite as good as in Burton’s second film and is noticeably grainer. Christopher Nolan was the first filmmaker to photograph a Batman movie using anamorphic lenses.ĭP Roger Pratt shot the film on Eastman 400T 5295 film stock, which has a higher degree of granularity and less exposure latitude than the EXR 100T 5248 used by Stefan Czapsky on Batman Returns. Joel Schumacher’s Batman movies were also shot with spherical lenses.
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