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Bale, Christian 1974-
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It takes light from the Sun 8 minutes to reach Earth. Grover Cleveland was both the 22nd and 24th U. Batman evades the police to get Rachel to safety, administers the antidote, and gives her a vial of it for Gordon and another for mass production. Ducard reappears at Bruce's birthday party and reveals himself to be the true Ra's al Ghul.
Having stolen a powerful microwave emitter from Wayne Enterprises, he plans to vaporize Gotham's water supply, rendering Crane's drug airborne and causing mass hysteria that will destroy the city. He sets Wayne Manor aflame and leaves Bruce to die, but Alfred rescues him. Ra's loads the microwave emitter onto Gotham's monorail system, intending to release the drug as the train travels toward the city's central water source.
Batman rescues Rachel from a drugged mob and indirectly reveals his identity to her. He pursues Ra's onto the monorail and fights him as Gordon uses the Tumbler's cannons to destroy a section of the track.
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Batman refuses to kill Ra's, but also chooses not to save him, gliding from the train and leaving Ra's aboard as it crashes and explodes, killing him. Bruce gains Rachel's respect but loses her love, as she decides she cannot be with him while he is Batman. Bruce reveals he has secretly purchased a controlling stake in Wayne Enterprises, fires Earle, and replaces him with Fox. Gordon is promoted to Lieutenant of the Gotham City Police Department , shows Batman the Bat-Signal , and mentions a criminal who leaves Joker playing cards at crime scenes.
Jack Gleeson , who had previously co-starred with Bale in 's Reign of Fire and later found fame for his role as Joffrey Baratheon in the HBO series Game of Thrones , appears as a young admirer of Batman who is later saved by him from Ra's al Ghul's men; Gleeson was cast at Bale's recommendation. In January , Warner Bros. Goyer signed on to write the script two months later. Nolan said that humanity and realism would be the basis of the origin film, and that "the world of Batman is that of grounded reality. The Long Halloween , written by Jeph Loeb and drawn by Tim Sale , influenced Goyer in writing the screenplay, with the villain Carmine Falcone as one of many elements which were drawn from Halloween ' s "sober, serious approach".
The sequel to Halloween , Batman: Dark Victory , also served as a minor influence. Year One to help set up some of the film's events in the transpiring years. A common idea in the comics is that Bruce saw a Zorro film with his parents before they were murdered. Nolan explained that by ignoring that idea — which he stated is not found in Batman's first appearances — it emphasized the importance of bats to Bruce and that becoming a superhero is a wholly original idea on his part.
It is for this reason Nolan believes other DC characters do not exist in the universe of his film; otherwise, Wayne's reasons for taking up costumed vigilantism would have been very different. As with all his films, Nolan refused a second unit ; he did this in order to keep his vision consistent. A shot that cinematographer Wally Pfister had planned to take using a crane had to be completed with a handheld camera.
In seeking inspiration from Superman and other blockbuster films of the late s and early s, Nolan based most of the production in England, specifically Shepperton Studios. Mentmore Towers was chosen from twenty different locations for Wayne Manor , as Nolan and Crowley liked its white floors, which gave the impression of the manor as a memorial to Wayne's parents.
Despite the film's darkness, Nolan wanted to make the film appeal to a wide age range. Nolan used the cult science fiction film Blade Runner as a source of inspiration for Batman Begins. He screened Blade Runner to Pfister and two others to show the attitude and style that he wanted to draw from the film.
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Nolan described the film's world as "an interesting lesson on the technique of exploring and describing a credible universe that doesn't appear to have any boundaries", a lesson that he applied to the production of Batman Begins. Nolan worked with production designer Nathan Crowley to create the look of Gotham City.
Crowley built a model of the city that filled Nolan's garage. Elements were drawn from New York City, Chicago, and Tokyo; the latter for its elevated freeways and monorails. The Narrows was based on the slummish nature of the now demolished walled city of Kowloon in Hong Kong. Crowley started the process of designing the Tumbler for the film by model bashing. Crowley used the nose cone of a P Lightning model to serve as the chassis for the Tumbler's turbine engine.
Six models of the Tumbler were built to 1: Following the scale model creation, a crew of over 30 people, including Crowley and engineers Chris Culvert and Annie Smith, carved a full-size replica of the Tumbler out of a large block of Styrofoam in two months. The styrofoam model was used to create a steel "test frame", which had to stand up to several standards: On the first jump test, the Tumbler's front end collapsed and had to be completely rebuilt.
The basic configuration of the newly designed Tumbler included a 5. The design and development process took nine months and cost several million dollars. Two of the four cars were specialized versions. One version was the flap version, which had hydraulics and flaps to detail the close-up shots where the vehicle propelled itself through the air. The other version was the jet version, in which an actual jet engine was mounted onto the vehicle, fueled by six propane tanks.
The visibility inside the vehicle was poor, so monitors were connected to cameras on the vehicle body. The professional drivers for the Tumblers practiced driving the vehicles for six months before they drove on the streets of Chicago for the film's scenes. The interior of the Tumbler was an immobile studio set and not actually the interior of a street-capable Tumbler. The cockpit was oversized to fit cameras for scenes filmed in the Tumbler interior.
In addition, another version of the Tumbler was a miniature model that was 1: This miniature model had an electric motor and was used to show the Tumbler flying across ravines and between buildings. However, the actual Tumbler was used for the waterfall sequence. The filmmakers intended to create a very mobile Batsuit that would allow the wearer to move easily to fight and crouch. Previous film incarnations of the Batsuit had been stiff and especially restrictive of full head movement.
The Batsuit's basic design was a neoprene undersuit, which was shaped by attaching molded cream latex sections. Christian Bale was molded and sculpted prior to his physical training so the team could work on a full body cast. To avoid imperfections picked up by sculpting with clay, plastiline was used to smooth the surface.
In addition, the team brewed different mixtures of foam to find the mixture that would be the most flexible, light, durable, and black. The latter presented a problem, since the process to make the foam black reduced the foam's durability. For the cape, director Christopher Nolan wanted to have a "flowing cloak Hemming's team created the cape out of their own version of parachute nylon that had electrostatic flocking, a process shared with the team by the British Ministry of Defence.
The process was used by the London police force to minimize night vision detection. The cape was topped by a cowl , which was designed by Nolan, Hemming, and costume effects supervisor Graham Churchyard.
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The cowl was created to be thin enough to allow motion but thick enough to avoid wrinkling when Bale turned his head in the Batsuit. Churchyard explained the cowl had been designed to show "a man who has angst", so his character would be revealed through the mask. Batman Begins' fight choreographers, Justo Dieguez and Andy Norman, trained actors and stunt performers using the Spanish Keysi Fighting Method ,  which itself gained fame after it was used in the film and its sequel, The Dark Knight ; however, the method was modified in The Dark Knight Rises due to Batman's age and physical condition and in order to match Bale's fighting style.
The method is a self-defense system whose training is based on the study and cultivation of natural instincts. For Batman Begins , Nolan preferred traditional stuntwork over computer-generated imagery. Locations and sets were recreated digitally so that the flying bats would not appear incongruous once incorporated into the finished film. Nolan originally invited Zimmer to compose the music, and Zimmer asked Nolan if he could invite Howard to compose as well, as they had always planned a collaboration.
Zimmer and Howard began composing in Los Angeles and moved to London where they stayed for twelve weeks to complete most of their writing. Zimmer wanted to avoid writing music that had been done in earlier Batman films, so the score became an amalgamation of orchestra and electronic music.
The film's ninety-piece orchestra  was developed from members of various London orchestras, and Zimmer chose to use more than the normal number of cellos. Zimmer enlisted a boy soprano to help reflect the music in some of the film's scenes where tragic memories of Bruce Wayne's parents are involved. He also attempted to add a human dimension to Batman, whose behavior would typically be seen as "psychotic", through the music. Both composers collaborated to create 2 hours and 20 minutes worth of music for the film,  with Zimmer composing the action sequences and Howard focusing on the dramatic scenes.
Polled moviegoers rated the film with an A, and according to the studio's surveys, Batman Begins was considered the best of all the Batman films. The audience's demographic was 57 percent male and 54 percent people over the age of The site's critical consensus reads, "Brooding and dark, but also exciting and smart, Batman Begins is a film that understands the essence of one of the definitive superheroes.
James Berardinelli applauded Nolan and Goyer's work in creating more understanding into "who [Batman] is and what motivates him", something Berardinelli felt Tim Burton's film had lacked; at the same time, Berardinelli felt the romantic aspect between Bale and Holmes did not work because the actors lacked the chemistry Christopher Reeve and Margot Kidder Superman , or Tobey Maguire and Kirsten Dunst Spider-Man shared in their respective roles. Los Angeles Times ' Kenneth Turan , who felt the film began slowly, stated that the "story, psychology and reality, not special effects", assisted the darkness behind Batman's arsenal; he noted that Neeson and Holmes, unlike Bale's ability to "feel his role in his bones", do not appear to fit their respective characters in "being both comic-book archetypes and real people".
He was unimpressed with the film, when comparing it to the two Tim Burton films, and that Christian Bale's presence was hindered by the "dull earnestness of the screenplay", the final climax was "cheesy and unexciting", and that Nolan had resorted to imitating the "fakery" used by other filmmakers when filming action sequences. Michael Wilmington of the Chicago Tribune believed Nolan and Goyer managed to "comfortably mix the tormented drama and revenge motifs with light hearted gags and comic book allusions," and that Nolan takes the series out of the "slam-bang Hollywood jokefests" the franchise had drifted into.
Jones, from the Chicago Reader , criticized the script, and Nolan and David Goyer for not living up to the "hype about exploring Batman's damaged psyche ". Giving it four out of four stars, he commended the realistic portrayals of the Batman arsenal — the Batsuit, Batcave, Tumbler, and the Batsignal — as well as the focus on "the story and character" with less stress on "high-tech action". Film director Tim Burton —who had directed the Batman film and its first sequel —felt Nolan "captured the real spirit that these kind of movies are supposed to have nowadays.
When I did Batman twenty years ago, in or something, it was a different time in comic book movies. You couldn't go into that dark side of comics yet. The last couple of years that has become acceptable and Nolan certainly got more to the root of what the Batman comics are about. The edition contained a small paperback booklet, the first Batman story, featured in Detective Comics No. The Man Who Falls and an excerpt from Batman: Comic book writer and author Danny Fingeroth argues that a strong theme in the film is Bruce's search for a father figure, saying "[Alfred] is the good father that Bruce comes to depend on.
Bruce's real father died before they could establish an adult relationship, and Liam Neeson 's Ducard is stern and demanding, didactic and challenging, but not a father figure with any sympathy. If Bruce is anyone's son, he is Alfred's.