Batman (1989 film) Tim Burton

Development

"I was never a giant comic book fan, but I've always loved the image of Batman and the Joker. The reason I've never been a comic book fan – and I think it started when I was a child – is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved The Killing Joke, because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable."

—Tim Burton[8]

In the late 1970s, Batman's popularity was waning.[9] CBS was interested in producing a Batman in Outer Space film. Producers Benjamin Melniker and Michael E. Uslan purchased the film rights of Batman from DC Comics on October 3, 1979. It was Uslan's wish "to make the definitive, dark, serious version of Batman, the way Bob Kane and Bill Finger had envisioned him in 1939. A creature of the night; stalking criminals in the shadows."[9] Richard Maibaum was approached to write a script with Guy Hamilton to direct, but the two turned down the offer. Uslan was unsuccessful with pitching Batman to various movie studios because they wanted the film to be similar to the campy 1960s television series. Columbia Pictures and United Artists were among those to turn down the film.[10]

A disappointed Uslan then wrote a script titled Return of the Batman to give the film industry a better idea of his vision for the film. Uslan later compared its dark tone to that of the successful four-part comic book The Dark Knight Returns, which his script predated by six years.[9] In November 1979, producers Jon Peters and Peter Guber joined the project.[5] Melniker and Uslan became executive producers. The four felt it was best to pattern the film's development after that of Superman (1978).[11] Uslan, Melniker and Guber pitched Batman to Universal Pictures, but the studio turned it down.[12] Though no movie studios were yet involved, the project was publicly announced with a budget of $15 million in July 1980 at the Comic Art Convention in New York. Warner Bros., the studio behind the successful Superman film franchise, decided to also accept and produce Batman.[13]

Tom Mankiewicz completed a script titled The Batman in June 1983, focusing on Batman and Dick Grayson's origins, with the Joker and Rupert Thorne as villains and Silver St. Cloud as the romantic interest.[14] Mankiewicz took inspiration from the limited series Batman: Strange Apparitions, written by Steve Englehart.[15] Comic book artist Marshall Rogers, who worked with Englehart on Strange Apparitions, was hired for concept art.[12] The Batman was then announced in late 1983 for a mid-1985 release date on a budget of $20 million. Originally, Mankiewicz had wanted an unknown actor for Batman, William Holden for James Gordon, David Niven as Alfred Pennyworth, and Peter O'Toole as the Penguin, whom Mankiewicz wanted to portray as a mobster with low body temperature.[13] Holden died in 1981 and Niven in 1983, so this would never come to pass. A number of filmmakers were attached to Mankiewicz' script, including Ivan Reitman and Joe Dante. Reitman wanted to cast Bill Murray as Batman and Eddie Murphy as Robin.[7] Nine rewrites were performed by nine separate writers. Most of them were based on Strange Apparitions. However, it was Mankiewicz's script that was still being used to guide the project.[16] Due to the work they did together with the film Swamp Thing (1982), Wes Craven was among the directors that Melniker and Uslan considered while looking for a director.[17]

After the financial success of Pee-wee's Big Adventure (1985), Warner Bros. hired Tim Burton to direct Batman. Burton had then-girlfriend Julie Hickson write a new 30-page film treatment, feeling the previous script by Mankiewicz was campy. The success of The Dark Knight Returns and the graphic novel Batman: The Killing Joke rekindled Warner Bros.' interest in a film adaptation. Burton was initially not a comic book fan, but he was impressed by the dark and serious tone found in both The Dark Knight Returns and The Killing Joke.[7] Warner Bros. enlisted the aid of Englehart to write a new treatment in March 1986.[18] Like Mankiewicz's script, it was based on his own Strange Apparitions and included Silver St. Cloud, Dick Grayson, the Joker, and Rupert Thorne, as well as a cameo appearance by the Penguin. Warner Bros. was impressed, but Englehart felt there were too many characters. He removed the Penguin and Dick Grayson in his second treatment, finishing in May 1986.[18]

Burton approached Sam Hamm, a comic book fan, to write the screenplay.[13] Hamm decided not to use an origin story, feeling that flashbacks would be more suitable and that "unlocking the mystery" would become part of the storyline.[15] He reasoned, "You totally destroy your credibility if you show the literal process by which Bruce Wayne becomes Batman."[19] Hamm replaced Silver St. Cloud with Vicki Vale and Rupert Thorne with his own creation, Carl Grissom. He completed his script in October 1986, which demoted Dick Grayson to a cameo rather than a supporting character.[20] One scene in Hamm's script had a young James Gordon on duty the night of the murder of Bruce Wayne's parents. When Hamm's script was rewritten, the scene was deleted, reducing it to a photo in the Gotham Globe newspaper seen in the film.[21]

Warner Bros. was less willing to move forward on development, despite their enthusiasm for Hamm's script, which Kane greeted with positive feedback.[7] Hamm's script was then bootlegged at various comic book stores in the United States.[15] Batman was finally given the greenlight to commence pre-production in April 1988, after the success of Burton's Beetlejuice the same year.[7] When comic book fans found out about Burton directing the film with Michael Keaton starring in the lead role, controversy arose over the tone and direction Batman was going in.[22] Hamm explained, "They hear Tim Burton's name and they think of Pee-wee's Big Adventure. They hear Keaton's name, and they think of any number of Michael Keaton comedies. You think of the 1960s version of Batman, and it was the complete opposite of our film. We tried to market it with a typical dark and serious tone, but the fans didn't believe us."[15] To combat negative reports on the film's production, Kane was hired as creative consultant.[11] Batman's co-creator, Bill Finger, was uncredited at the time of the film's release and his name was not added to any Batman-related media until 2016.[1]

Casting

Parallel to the Superman casting, a variety of Hollywood A-listers were considered for the role of Batman, including Mel Gibson, Kevin Costner, Charlie Sheen, Tom Selleck, Bill Murray,[5][13] Harrison Ford and Dennis Quaid.[23] Burton was pressured by Warner Bros. to cast an obvious action movie star,[7] and had approached Pierce Brosnan, but he had no interest in playing a comic book character.[24] Burton was originally interested in casting an unknown actor,[23] Willem Dafoe, who was falsely reported to be considered for the Joker but had actually been considered for Batman early in development.[25] Producer Jon Peters suggested Michael Keaton, arguing he had the right "edgy, tormented quality" after having seen his dramatic performance in Clean and Sober.[26] Having directed Keaton in Beetlejuice, Burton agreed.[5]

The casting of Keaton caused a furor among comic book fans,[22][27] with 50,000 protest letters sent to Warner Bros. offices.[20] Kane, Hamm, and Uslan also heavily questioned the casting.[15] "Obviously there was a negative response from the comic book people. I think they thought we were going to make it like the 1960s TV series, and make it campy, because they thought of Michael Keaton from Mr. Mom and Night Shift and stuff like that."[28] Keaton studied The Dark Knight Returns for inspiration.[29]

Tim Curry, David Bowie, John Lithgow, Brad Dourif, Ray Liotta, and James Woods were all considered for the Joker.[19][30][31][32] Lithgow, during his audition, attempted to talk Burton out of casting him, a decision he would later publicly regret, stating, "I didn't realize it was such a big deal."[33] Burton wanted to cast John Glover, but the studio insisted on using a movie star.[34] Robin Williams lobbied hard for the part.[20] Jack Nicholson had been the studio's top choice since 1980. Peters approached Nicholson as far back as 1986, during filming of The Witches of Eastwick;[35] unlike Keaton, he was a popular choice for his role.[27] Nicholson had what was known as an "off-the-clock" agreement. His contract specified the number of hours he was entitled to have off each day, from the time he left the set to the time he reported back for filming,[13] as well as being off for Los Angeles Lakers home games.[36] Nicholson demanded that all of his scenes be shot in a three-week block, but the schedule lapsed into 106 days.[35] He reduced his standard $10 million fee to $6 million in exchange for a cut of the film's earnings (including associated merchandise), which led to remuneration in excess of $50 million[37]—biographer Marc Eliot reports that Nicholson may have received as much as $90 million.[38] He also demanded top billing on promotional materials.[39]

Sean Young was originally cast as Vicki Vale, but was injured in a horse-riding accident prior to commencement of filming.[40] Young's departure necessitated an urgent search for an actress who, besides being right for the part, could commit to the film at very short notice. Peters suggested Kim Basinger: she was able to join the production immediately and was cast.[5][40] As a fan of Michael Gough's work in various Hammer Film Productions, Burton cast Gough as Bruce Wayne's mysterious butler, Alfred.[41] Reporter Alexander Knox was portrayed by Robert Wuhl. In the original script, Knox was killed by the Joker's poison gas during the climax, but the filmmakers "liked [my] character so much," Wuhl said, "that they decided to let me live."[42] Burton chose Billy Dee Williams as Harvey Dent because he wanted to include the villain Two-Face in a future film using the concept of an African-American Two-Face for the black and white concept,[43] but Tommy Lee Jones was later cast in the role for Batman Forever, which disappointed Williams.[42] Nicholson convinced the filmmakers to cast his close friend Tracey Walter as the Joker's henchman Bob.[44] Irish child actor Ricky Addison Reed was cast as Dick Grayson before the character was removed by Warren Skarren for the revised shooting script.[45] The rest of the cast included Pat Hingle as Commissioner Gordon, Jerry Hall as Alicia, Lee Wallace as Mayor Borg, William Hootkins as Lt. Eckhardt, and Jack Palance as crime boss Carl Grissom.

Design

"On Batman, our vision of Gotham City was influenced by the tone of the 'Dark Knight' comics, and also Andreas Feininger's photographs of New York buildings and the work of Japanese architect Shin Takamatsu. (Blade Runner was consciously avoided as a reference; no one was allowed to watch it while we were designing the film and neon was shunned altogether!)"

—Art director Nigel Phelps[46]

Burton had been impressed with the design of Neil Jordan's The Company of Wolves (1984), but was unable to hire its production designer Anton Furst for Beetlejuice[27] as Furst had instead committed to Jordan's London-filmed ghost comedy High Spirits (1988), a choice he later regretted.[13] A year later Burton successfully hired Furst for Batman, and they enjoyed working with each other. "I don't think I've ever felt so naturally in tune with a director," Furst said. "Conceptually, spiritually, visually, or artistically. There was never any problem because we never fought over anything. Texture, attitude and feelings are what Burton is a master at."[11]

Furst and the art department deliberately mixed clashing architectural styles to "make Gotham City the ugliest and bleakest metropolis imaginable".[47] Furst continued, "[W]e imagined what New York City might have become without a planning commission. A city run by crime, with a riot of architectural styles. An essay in ugliness. As if hell erupted through the pavement and kept on going".[48] The 1985 film Brazil by Terry Gilliam was also a notable influence upon the film's production design, as both Burton and Furst studied it as a reference.[11] Black and white charcoal drawings of key locations and sets were created by Furst's longtime draftsman, Nigel Phelps. Derek Meddings served as the visual effects supervisor, overseeing the miniatures and animation. Conceptual illustrator Julian Caldow designed the Batmobile, Batwing and assorted bat-gadgets that were later constructed by prop builder John Evans. Keith Short sculpted the final body of the 1989 Batmobile,[49] adding two Browning machine guns.[50] On designing the Batmobile, Furst explained, "We looked at jet aircraft components, we looked at war machines, we looked at all sorts of things. In the end, we went into pure expressionism, taking the Salt Flat Racers of the 30s and the Sting Ray macho machines of the 50s". The car was built upon a Chevrolet Impala when previous development with a Jaguar and Ford Mustang failed.[35] The car itself was later purchased by standup comedian/ventriloquist Jeff Dunham, who had it outfitted with a Corvette engine to make it street legal.[51]

Costume designer Bob Ringwood turned down the chance to work on Licence to Kill in favor of Batman. Ringwood found it difficult designing the Batsuit because "the image of Batman in the comics is this huge, big six-foot-four hunk with a dimpled chin. Michael Keaton is a guy with average build", he stated. "The problem was to make somebody who was average-sized and ordinary-looking into this bigger-than-life creature."[52] Burton commented, "Michael is a bit claustrophobic, which made it worse for him. The costume put him in a dark, Batman-like mood though, so he was able to use it to his advantage".[52] Burton's idea was to use an all-black suit, and was met with positive feedback by Bob Kane. Vin Burnham was tasked with sculpting the Batsuit, in association with Alli Eynon. Jon Peters wanted to use a Nike product placement with the Batsuit.[53][54] Ringwood studied over 200 comic book issues for inspiration. 28 sculpted latex designs were created; 25 different cape looks and 6 different heads were made, accumulating a total cost of $250,000.[55] Comic book fans initially expressed negative feedback against the Batsuit.[27] Burton opted not to use tights, spandex, or underpants as seen in the comic book, feeling it was not intimidating.[7] Prosthetic makeup designer Nick Dudman used acrylic-based makeup paint called PAX for Nicholson's chalk-white face. Part of Nicholson's contract was approval over the makeup designer.[56]

Filming

The filmmakers considered filming Batman entirely on the Warner Bros. backlot in Burbank, California, but media interest in the film made them change the location. It was shot at Pinewood Studios in England from October 10, 1988 to February 14, 1989, with 80 days of main shooting and 86 days of second unit shooting.[57] 18 sound stages were used, with seven stages occupied, including the 51 acre backlot for the Gotham City set, one of the biggest ever built at the studio.[57][11] Locations included Knebworth House and Hatfield House doubling for Wayne Manor, plus Acton Lane Power Station and Little Barford Power Station.[58][59] The original production budget escalated from $30 million to $48 million.[5]

Filming was highly secretive. The unit publicist was offered and refused £10,000 for the first pictures of Jack Nicholson as the Joker. The police were later called in when two reels of footage (about 20 minutes' worth) were stolen.[35] With various problems during filming, Burton called it "Torture. The worst period of my life!"[5]

Hamm was not allowed to perform rewrites during the 1988 Writers Guild of America strike.[13] Warren Skaaren, who had also worked on Burton's Beetlejuice, did rewrites. Jonathan Gems and Charles McKeown rewrote the script during filming.[60] Only Skaaren received screenplay credit with Hamm. Hamm criticized the rewrites, but blamed the changes on Warner Bros.[15] Burton explained, "I don't understand why that became such a problem. We started out with a script that everyone liked, although we recognized it needed a little work."[7] Dick Grayson appeared in the shooting script but was deleted because the filmmakers felt he was irrelevant to the plot;[13] Kane supported this decision.[41]

Keaton used his comedic experience for scenes such as Bruce and Vicki's Wayne Manor dinner.[27] He called himself a "logic freak" and was concerned that Batman's secret identity would in reality be fairly easy to uncover. Keaton discussed ideas with Burton to better disguise the character, including the use of contact lenses. Ultimately, Keaton decided to perform Batman's voice at a lower register than when he was portraying Bruce Wayne, which became a hallmark of the film version of the character, with Christian Bale later using the same technique.[61]

Originally in the climax, the Joker was meant to kill Vicki Vale, sending Batman into a vengeful fury. Jon Peters reworked the climax without telling Burton and commissioned production designer Anton Furst to create a 38-foot (12 m) model of the cathedral.[62] This cost $100,000 when the film was already well over budget. Burton disliked the idea, having no clue how the scene would end: "Here were Jack Nicholson and Kim Basinger walking up this cathedral, and halfway up Jack turns around and says, 'Why am I walking up all these stairs? Where am I going?' 'We'll talk about it when you get to the top!' I had to tell him that I didn't know."[62]

Music

Burton hired Danny Elfman of Oingo Boingo, his collaborator on Pee-wee's Big Adventure and Beetlejuice, to compose the music score. For inspiration, Elfman was given The Dark Knight Returns. Elfman was worried, as he had never worked on a production this large in budget and scale.[63] In addition, producer Jon Peters was skeptical of hiring Elfman, but was later convinced when he heard the opening number.[64] Peters and Peter Guber wanted Prince to write music for the Joker and Michael Jackson to do the romance songs. Elfman would then combine the style of Prince and Jackson's songs together for the entire film score.[7] At the encouragement of Prince's then-manager Albert Magnoli, it was also agreed that Prince himself would write and sing the film's songs.[65]

Burton protested the ideas, citing "my movies aren't commercial like Top Gun."[7] Elfman enlisted the help of composer Shirley Walker and Oingo Boingo lead guitarist Steve Bartek to arrange the compositions for the orchestra.[66] Elfman was later displeased with the audio mixing of his film score. "Batman was done in England by technicians who didn't care, and the non-caring showed," he stated. "I'm not putting down England because they've done gorgeous dubs there, but this particular crew elected not to."[67] Batman was one of the first films to spawn two soundtracks. One of them featured songs written by Prince while the other showcased Elfman's score. Both were successful,[68] and compilations of Elfman's opening credits were used in the title sequence theme for Batman: The Animated Series, also composed by Shirley Walker.[31]