Tuesday, April 2, 2013

Production Materials:
The Pinewood Studios
Gotham City Set

PLEASE NOTE- If you have made it to my page through the Distractify article "21 Abandoned Movie Set That You Can Actually Visit" by Mark Pygas, I have bad news... The author of that article erroneously claims that you can still visit this set, and that parts of it remain (including the "Bat-safe"). This is 100% untrue. The set was destroyed MANY years ago. Please don't plan a trip! :) I have e-mailed the author to request that he fix this major misinformation, and am doing my best to respond to all the inquiries folks are sending me through the page. The Gotham City set is sdaly no longer around... but please take the time to enjoy the "virtual tour" below!

UPDATE- Added alley reference and location clarification... Plus a marked aerial view from the "Beyond Batman" DVD special feature!

The Gotham City set from "Batman" still stands as one of the largest and most remarkable film sets ever created. In all, 18 sound stages were used in its creation- almost the entirety of Pinewood's 95-acre backlot. Its striking visual presence has never been surpassed in the eyes of many fans. With the current penchant for green-screen technology or affordable existing location shooting being the norm of current Hollywood, the '89 Gotham City stands as a testament to the filmmaking of old.

But just how did a set so large function? Even at 98 acres, how did one set bring forth the illusion of a city the size of Gotham? Well, thanks to fan Mark R. Jones, fans might finally have a better understanding.

See, Mark has been there. He's been to Gotham. He stepped on the same stairs that Vicki and Batman raced down on their escape from the Flugelheim. He crouched in front of the cathedral where Joker met his end. He passed by the same Monarch theatre where Bruce watched a final show with his parents. He has seen it all.... and he's here to tell us how:

I worked selling Amiga and ST computers and the games in a computer shop. My friends (Chris Herbert and Conrad Bedford) and I won a prize for selling such and such and the prize was a trip down to Pinewood Studios for some charity do. It was in aid of the Variety Club charity and there was a few 'celebs' there including Ernie Wise (of Morecambe and Wise), Colin Baker (who was a DR Who) and Faith Brown (impressionist). After a while it all got a little boring so me and my 2 mates went for a wander to see what else we could see. It was a Saturday or Sunday so there wasn't many people about. Hey ho, we only stumbled upon Gotham City. There was a hole in the fence, no one at all on the set, so we went in and had a good look around. So obviously this was MOMENTOUS. It was amazing, one minute you were in the woods, cross a stream, then a fence, walk through some scaffolding and there we were, Gotham City.

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It was huge. I'd never been to a film set before (or since) so it was TRULY impressive. The sheer size, scale and look of the place was breath taking.

But, none of us had a camera on us.

So, as soon as we could, we drove back to the film set took the photos that you see here. By the time we visited, the film had been finished but not released so we hadn't seen it. We didn't know at the time which items left laying around were going to be in the film and which weren't. So we took pics of everything! Some of the set was being re-painted as, I was told, they were preparing it for the shooting of the 2nd film. This plan was apparently then abandoned & the set was dismantled a few weeks after these photos were taken. It was great though being there and totally surreal seeing it all for real.

Using Mark's fantastic pictures and screen grabs from the film, we can get a pretty good idea of how the set was laid out. Let's start with an opening shot from the film of the set's main intersection.

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We can see 4 main buildings here. At the front of the picture, we see the back of the "Arnee's Bar" building on your left and the Flugelheim Museum on your right. The small park area with the statue of John T. Gotham (or at least I think it is John T. Gotham) is situated in front of the Flugelheim. Crossing the street, we see the Monarch directly opposed to Arnee's Bar and what we will refer to as the "Gotham Diner" across from the park. I've marked and color coded them all here:

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We'll begin out "tour" at the Gotham Diner building, then work our way clockwise around the set until we get back. So let's hop over to the diner and sample some of Gotham's finest eats!

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The diner building makes its first appearance in the film when Harold and his family try to make their way home from the Monarch. Notice the distinctive iron supports dotting the outer sidewalk and the "Gotham Diner" signs in the windows. These are great markers for pinpointing this location in Mark's pictures:

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Now we'll head to the area down the street to the right of the diner. Notice in this shot from the "On the Set with Bob Kane" featurette that the diner building ends just before an awning that spans the road.

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We see Harold and his family enter this alley after passing by the diner. Notice where the diner building ends to the left of the picture-

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We can match that up to Mark's set pictures from inside the alley (the end of the Gotham diner building is on the right).

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We then follow Harold and his family into the alley portion of the set on their way to be mugged-

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We will get a little more into the alley later.... But for now, let's make sure that this alley is actually situated behind the diner on the Pinewood layout. When we first see them enter the alleys, we can spot a marker that lines up with other shots:

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See that odd cone shaped structure I have marked with a yellow dot on the protruding wall back there? It matches up with the one visible here during the Eckhart and Jack "you oughtta think about the future" exchange. If you look further down the set behind them, you'll see a doorway to building with an ornate awning. I have marked it with a red dot.

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Here is that same doorway in the set pictures-

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Here's a different angle on the scene. Again, we see our cone shaped structure (marked with a yellow dot), but now we also see the beginning of an overpass that spans the street (marked with a green dot).

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...and here is that same overpass marked on our set picture-

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As we pull back from that shot, we can see what important buildings this seedy alley lies near...

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That's right... That seedy little alley is just a few steps from City Hall! Gotham's corruption knows no bounds. Since we're here, we'll take a few closer looks at City Hall.

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We also see in these pics that the small grassy area with the statue is situated neatly in front of City Hall, while the brick building where Bob took his pictures sits beside it.

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Though I never realized it while watching the film, the set pictures show us that the Flugelheim Museum is basically just one building away from City Hall.

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In this scene from the film, we can see City Hall at the upper left of the picture as Batman and Vicki escape the museum.-

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The Flugelheim is probably my favorite spot on this incredible set. Genuis in design.

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A little "movie magic" played a part in the filming of the exterior Flugelheim scenes. As we can see by the set pictures, the doors did open...

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...but since this set is just a façade, fully opening the doors would reveal the lack of interior. Thankfully, Batman's smoke pellet and a little clever lighting hid this quite well.

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Back to the layout... In the opening shot of the Flugelheim scene, we confirm again the statue park's proximity to the museum-

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Something very interesting in relation to the statue turned up in these set pictures. In an early draft of the film, a dedication ceremony for the John T. Gotham statue is interrupted by the Joker. When the statue is revealed, instead of John T. Gotham, a large replica of the Clown Prince of Crime stands atop the pedestal instead. Here is an excerpt from that version of the script:

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As we all now, a park statue (presumably of John T. Gotham) appears throughout the film.

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...But during Mark's set visit, something else VERY similar to what is described in the script was also spotted:

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This large Joker statue doesn't appear in the film (at least not to my recollection), but was present at the Pinewood set. We also know that the size of it pretty closely matches that of the statue in the park, since this Joker now resides (fully painted) in a Planet Hollywood restaurant.

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Does this statue's presence on the set during Mark's visit imply that this scene almost made it into the film? Was it filmed and then deleted? Who knows... This is why we need a director's edition Warner! :)

Anyways... Back to the set. Since we are pretty much done at the Flugelheim, we'll keep moving to the right of the set. A short street is situated right next to the building.

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As we walk down the street, we see the remainder of the Flugelheim at our left (note the large chunk of blackened masonry on the road, as we will use it as reference in a bit). These pictures reveal that the Flugelheim is fairly short... but still awesome. Guess that is all to see here... Wait a second! What is that!?!

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What an incredible find- The Bat-symbol structure used to film the opening sequence of the movie just happened to be sitting around on the set the day that Mark and his friends came to visit!

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The image that folks first saw when they nestled into theater seats way back in June of '89... Just propped up against a wall. Crazy.

But back to the set. We have seen what is on our left, but what about the right?

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Well, thanks to the wonderful chunk of blackened reference, we see that the other side of the street has a few shops and such. We can match those up to the ones seen in the opening shot as part of the "Arnee's bar" building. We aren't heading up there just yet though. After all, we still need to see what is at the end of this street. Let's take a look at a couple of wide shots.

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Yup... That is the cathedral hiding away back there!

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Again, we can confirm its location by using reference points in the film. Here we can see correlating circular anniversary signage on the lightpoles that match our first look at this street from the opposing direction-

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And even though this shot was done in miniature, it still matches the setup of the physical set. Notice the "Weismann" shop sign to your right that was present in the view we just had of this side of the street-

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And of course, there is this wonderful shot from the James Bond fan Pinewood Studios tour event from years ago:

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The cathedral seems to be all that is going on down here. Using our handy chunk of black reference again, we can see that at the front of the block (with the Monarch across the street), is the entrance to Arnee's bar. (A bar less than a block from a church? Only in Gotham.)

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Let's run down the street a bit and get a better view of it from the front (thanks to screen grabs and Mark's pictures).

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...and from the other side-

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Now for those of you that might not remember this location in the film, let me give you some help. Arnee's bar is the building on the corner where Batman shoots his grapple to allow the Batmobile to handle the sharp turn at high speed. See-

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If the Batmobile continues down that street though, it would run smack dab into a building... But not just any building. Note the "HOTEL" sign-

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This is the spot where Wayne's parents were killed and the Batman was born, directly behind and between the Arnee's bar and Monarch Theater buildings at Pinewood.

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As we leave the scene of tragedy, we head on to the prestigious Monarch Theatre. Mark's pictures give us a view of how it connects to the hotel building.

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We get a small glimpse of a building behind the Monarch (more on it later). Oh, and notice the large "Footlight Frenzy" sign?

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That is the same show the Wayne family saw the night Bruce's parents were gunned down-

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As we move to the front of the Monarch, we'll take a look at some shots that give us reference as to its overall placement at Pinewood. In relation to the statue park-

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...and across from the diner building-

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This brings us to the road separating the Monarch and the diner building. Behind the Monarch is a large circular gray building (which we spotted when we looked at the other side of the Monarch).

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See that little red awning on the side of the Monarch in the shot above? Well, Mark stationed himself there to take this shot of the shops attached to the diner building across the street-

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The road actually extends quite a bit down from the diner building though. Check out this shot taken on a tour of Pinewood set up for Bond film fans years ago. This picture was taken from the opposite end of the road, in front of the cathedral.

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We see the diner building with its iron structures peppering the sidewalk... followed by wedge shaped structures lining the road. Here they are again from the opposite end of the street (opposite the cathedral, on the street between the Monarch and diner buildings).

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These wedge-shaped structures play a part in figuring out another location of Gotham... This mysterious alley in Mark's pictures-

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If you look closely, you can see one of the wedge-shaped structures at the very front of the entrance to this alley.

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This helps us place the entrance coming off the street behind the diner. If we look closely at the shot of the diner from the Monarch, we can actually match up a couple of spots to prove this.

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What is so significant about this alley in Mark's pictures that makes me want to pin it down? It is this alley that Wayne walks down to deliver the flowers at the place of his parents' murder. Check this scene from the film:

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Though we are seeing the beginning of the alley in Mark's photo and the end of it in the scene on film, we can still match up certain spots. A red sign is present in both (marked with a yellow dot), the large woodworked panel with 4 X marks at the bottom (marked with a red dot), and the steps in the concrete leading to the first of 2 doors (marked with a green dot)-

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Unfortunately, an obstruction or an error in Mark's film prevents us from seeing the second door in the set visit photo, while a protruding wall prevents us from seeing the first door in the film... But even without those, this definitely matches up as the same alley. After Bruce walks through this alley, he makes a left turn and ends up at the sidewalk in front of the hotel where his parents are murdered. This is one of the few times where the set doesn't match up to the events in the film. For as you make the left turn at the end of this alley, you are here:

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A brick wall. There is that second door Bruce passed by on your left confirming where we are. So in this case, the alley that Bruce walks down couldn't have lead out to the spot where his parents were murdered in front of the Hotel (especially since by going down this alley he is actually traveling away from the Monarch). It is common practice for scenes to be shot in multiple places and then put back together... But with so many shots following a pretty traceable shot throughout the Gotham City set, I found this one being broken up to be very interesting. Makes me think that they thought long and hard about where they wanted the "birth of Batman" to take place, and all the filming had to be structured around making that happen.

Another interesting thing about this alley is figuring out whether or not it connects to the circuit of alleys we talked about before (where Harold and his family get mugged, Jack talks to Eckhart, etc). Using the scenery as reference, we can use Mark's shots to show what is to the right at the end of this alley: A tattoo shop.

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I didn't recall ever seeing the tattoo shop in the film before, but while watching the "Beyond Batman" special feature on the DVD anthology set the other day, I spotted something very interesting...

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There is the tattoo shop! And boy do its surroundings seem familiar. Notice the large "No Dumping" sign and the design of the masonry on the corner? They match up with Harold's entrance to the alley from the other side of the diner set!

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This means that the alley that Harold entered from one side of the Gotham Diner building is actually the same alley that Wayne enters from the other side (at least for some of the scenes). In fact, we can match them up from the set pictures. Notice the large awning (marked in pink), the adjacent small awning (marked in yellow), and the oddly colored stripe of pavement from this scene with Harold and his family:

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Here are those same spots matched up with Mark's pic of "Wayne's alley":

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So thanks to that one shot buried in a special feature, we have connected the alley set. But that wasn't all that popped up in that segment... Look at this beautiful aerial shot of Gotham at Pinewood!

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Using our pictorial journey, we can now identify all of the major shooting areas in this fantastic set-

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I don't think there is any better way to conclude our trip around Gotham than with that picture.... Oh wait, there was one more thing on the set the day that Mark and his friends visited:

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For some reason, the vault that contained Batman's suit in the Batcave was there!

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When asked about its inexplicable presence there, Mark had this to say:

Nope, no idea why it was there. We tried to open it but that rope was tied way too tight! And we didn't want to damage anything. We just thought it was a big safe!

Batman protecting his stuff with knots. Gotta love it.

So that concludes (really this time) our trip around Gotham! Hope you enjoyed it (and that you didn't get lost in some seedy, dark alley along the way). A HUGE thanks to Mark for sharing these wonderful pictures with the world!

Monday, April 1, 2013

Production Materials/ Deleted Scene:
The Unused Robin Origin Sequence

Back when the movie was still in its formative stages, the decision over whether or not to include Robin caused running changes throughout different versions of the script. Earlier drafts included a short introduction scene during a chase which followed Joker's confrontation with Bruce in Vicki's apartment. Here is that scene in one of its early scripted forms:

EXT. STREET - EVENING - OVERHEAD ANGLE

From high above the street we see the JOKER'S VAN pulling out of VICKI's building. We're up on the roof, with BRUCE. He hits a button on his utility belt, and a RED SIGNAL LIGHT begins to flash.

BRUCE clamps the utility belt around his waist. Pulls the BLACK NYLON STOCKING over his head. And suddenly, he's BOUNDING ACROSS THE ROOFTOPS in pursuit of the JOKER.

EXT. CROSS STREET - A MOMENT LATER - EVENING

The VAN turns right at the intersection. Nothing unusual. But for some reason, PEDESTRIANS are pointing at the sky, staring goggle-eyed at the rooftops.

Far above them, a MAN -- dressed in a suit, a tie, a yellow belt and a BLACK STOCKING MASK -- is gliding across the intersection on a ROPE.

INT. VAN - A MOMENT LATER

The VAN DRIVER guns through a red light. BRAKES SQUEAL on either side. In the back of the van, the JOKER GROWLS:

JOKER-Slow down, you maniac!

EXT. INTERSECTION - THAT MOMENT - EVENING

As the VAN ROARS PAST, a MOUNTED POLICEMAN shakes his fist. His horse shies, rears back, turns in a circle. He's just about gotten the beast calmed down when a MAN IN A STOCKING MASK plummets down on a rope from nowhere and lands directly behind him on the horse's back. BRUCE elbows the startled COP. Now there's only one rider.

The VAN turns left. BRUCE gallops straight ahead through the intersection, hoping to cut the JOKER off.

INT. ALICIA HUNT'S APARTMENT - THAT MOMENT

ALICIA peers out through the window. On the street below, UNMARKED CARS are converging.

INT. VAN - THAT MOMENT

The JOKER and co. are two blocks away from ALICIA's. They see a POLICE SWAT TEAM sealing off the building.

DRIVER- Boss! Jesus! They've --

JOKER- They'll be sorry. They'll be sorry. -- GET OUT OF HERE!

EXT. SIDE STREET - THAT MOMENT - EVENING

BRUCE on horseback, charging past elegant old brownstones, drawing stares from passersby. We get a quick look at the FLASHING RED SIGNAL LIGHT on his belt.

EXT. RIVERVIEW DRIVE - THAT MOMENT - EVENING

A YELLOW VW BUG rips up the street at 70 mph.

INT. VOLKSWAGEN BUG - THAT MOMENT

We can't see the driver. But we do see, on the seat beside him, a VIDEO DISPLAY with a shifting grid map of the city -- and on it, a FLASHING SIGNAL blinking in perfect sync with the one on BRUCE's belt.

EXT. SIDE STREET - THAT MOMENT

BRUCE sees the VW bug rounding the corner and STREAKING TOWARD HIM. He reins in the horse; it rears back on its hind legs in a classic western pose; the BUG zooms past --

-- and ALFRED THE BUTLER heaves out a BROWN LAUNDRY BUNDLE,neatly tied in string.

BRUCE snatches it out of the air, gives ALFRED a quick salute -- and the BUG is gone.

INT. JOKER'S VAN - EVENING

The JOKER and his boys are stalled in heavy traffic at the southern border of Gotham Park. POLICE BARRICADES are everywhere; the surrounding streets have been roped off for the birthday gala. HORNS HONK in anger.

JOKER- MOVE! Can't you do something??

DRIVER- It's some kind of detour. They're backed up for blocks!

The JOKER snorts. He happens to glance into the side-view mirror. What he sees there... CURDLES HIS BLOOD.

JOKER- Oh my God. How does he do it... ?

EXT. STREET - A BLOCK AWAY - THAT MOMENT

THE BATMAN, IN FULL COSTUMED GLORY, GALLOPING UP THE STREET ON HORSEBACK -- passing stunned COPS, weaving in and around the stalled autos, GAINING FAST on the JOKER.

INT. VAN - THAT MOMENT

THE JOKER climbing all over the DRIVER. He HITS THE GAS, RUNS THE VAN UP ON THE SIDEWALK, and -- at the first opening he sees -- CRASHES THROUGH A POLICE BARRICADE INTO GOTHAM PARK ITSELF.

BATMAN is half a block behind him now. As he follows hot on the JOKER's heels, TWO HELICOPTERS swing into the park from overhead.

EXT. GOTHAM PARK - EVENING

CROWDS EVERYWHERE. On the central platform where we saw the FREE CONCERT earlier, an EMCEE mans the microphone:

EMCEE- -- the most spectacular, most death-defying aerial stunt ever devised. Tonight -- for the first time anywhere -- THE FLYING GRAYSONS!

He points up at the two approaching HELICOPTERS, flying side-by-side in tight formation some forty feet apart.

ANGLE ON HELICOPTERS

ONLOOKERS GASP as TWO TRAPEZES drop from the bellies of the twin copters. Dangling from the trapezes are the FLYING GRAYSONS -- a husband-and-wife aerialist team in spangled red-and-green suits. They begin swinging toward each other in a plane perpendicular to the path of the copters.

EXT. GOTHAM PARK - GROUND LEVEL

PANIC DOWN BELOW as the JOKER's van barrels through the crowd, HORN BLARING. BATMAN is moving up swiftly.

On each wrist he's wearing a MINIATURE ROCKET LAUNCHER. He lets fly with TWO SALVOS. The first explodes harmlessly against a tree. The second HITS THE REAR DOOR OF THE VAN --driving it off the access road down into the brush, where it nearly topples over sideways.

ANGLE ON FLYING GRAYSONS

GRAYSON has just completed a double somersault in midair, landing in the capable hands of his wife. Now they're swinging again, building momentum as he prepares to make the return leap back to his own trapeze.

INT. HELICOPTER - THAT MOMENT

In the bay of the helicopter stands a kid, fifteen, compact, tough, and wiry: DICK GRAYSON. Like his parents, he's wearing a red-and-green suit. From the copter, he's got a perfect bird's-eye view of the BATMAN-JOKER chase.

PILOT- Ready to go, Dick?

DICK- What's all the ruckus down there?

EXT. PARK - GROUND LEVEL - THAT MOMENT

The VAN bounces over rocks and bushes, narrowly avoiding trees, with BATMAN in hot pursuit.

INT. VAN - THAT MOMENT

At the foot of a hill, the JOKER spies a truck. On its side, in bright red letters, a WARNING: "DANGER -FIREWORKS. FLAMMABLE LOAD."

The JOKER reaches into the back for a HIGHWAY FLARE.

JOKER- Head for the truck!

INT. HELICOPTER - THAT MOMENT

Hovering over the chase scene, DICK catches sight of the JOKER. He GASPS IN SHOCK as a LIT FLARE flies from the back of the VAN... directly into the FIREWORKS TRUCK.

EXT. PARK - GROUND LEVEL - A MOMENT LATER

THE BATMAN is thrown off his horse by the shock of a massive EXPLOSION. All at once, THE SKY IS FULL of BURSTING, INCANDESCENT COLORS!!

THE JOKER hangs out of the rear of the van, looking up, an expression of PURE DELIGHT on his face.

JOKER- I love fireworks!

ANGLE ON HELICOPTERS LURCHING AND SPINNING IN THE SKY as FIREWORKS rocket past.

One of them takes a dead hit on the rotor. JOHN GRAYSON falls to his death instantly; a moment later, the COPTER plummets into the trees with a resounding, fiery CRASH.

MARY GRAYSON hangs from the second copter as it bobs and weaves out of control. ONLOOKERS SCREAM IN TERROR.

EXT. STREET - THAT MOMENT

THE JOKER'S VAN bursts out of the park and speeds up a wide, cordoned-off avenue. Overhead, THE SECOND COPTER veers wildly, out of the park now, swinging dangerously close to the tall buildings along the avenue.

INT. HELICOPTER - THAT MOMENT

DICK GRAYSON at the mouth of the bay, hanging on by a canvas strap. He watches helplessly as his MOTHER swings into a POWER LINE and drops three stories to the pavement.

DICK- NO! NOOOOOOOO!!!!

His face is contorted with rage and pain. The PILOT struggles desperately to right the copter, barely avoiding a collision with the nearest building. And then -- before THE PILOT can make a move to stop him -- DICK HAS JUMPED OUT OF THE COPTER.

ANGLE ON DICK

With astonishing physical grace, he DIVES. GRABS A FLAGPOLE. Executes a perfect somersault. FLIPS onto a nearby fire escape. VAULTS to the next fire escape down. And LEAPS OUT OVER THE STREET --

-- MAKING A PERFECT TWO-POINT LANDING on his intended target... THE ROOF OF THE JOKER'S VAN!!

INT. VAN - THAT MOMENT

THE JOKER hears a THUNK overhead. He casually lifts his gun and BLOWS A HOLE THROUGH THE ROOF OF THE VAN.

EXT. ROOF OF VAN - MOVING - THAT MOMENT

The blast just misses DICK. He sprawls flat, YANKS at the chrome luggage rack on the roof of the van, and BREAKS OFF A FOUR-FOOT SHAFT OF METAL.

ANOTHER SHOT through the roof. DICK rolls forward, hoists his chrome spear over the windshield.

INT. VAN - THAT MOMENT

SPLINTERED GLASS flies everywhere as DICK RAMS THE SHAFT THROUGH THE WINDSHIELD. THE DRIVER dodges left and LOSES CONTROL OF THE WHEEL.

EXT. ROOF OF VAN - MOVING - THAT MOMENT

The VAN careens wildly toward an OVERPASS. DICK rises up into a crouch just in time to see a sign which reads "DANGER -- LOW CLEARANCE." He's about to get his head taken off!

ONE SECOND BEFORE IMPACT a BLACK-CAPED SHADOW swings across the street and SCOOPS DICK OFF THE ROOF OF THE VAN.

EXT. STREET - NIGHT

BATMAN AND DICK tumble to the pavement. THE VAN knocks over a fire hydrant and STOPS. DICK is already on his feet, ready to CHARGE THE VAN, when BATMAN throws a powerful arm around his waist.

DICK- LET ME GO! LET ME --

THE JOKER steps casually out of the van. TWO GOONS with MACHINE GUNS emerge behind him. PEDESTRIANS SCREAM as the GOONS level their guns at the CROWD.

DICK (cont.)- YOU PIECE OF -- YOU MOTHERF--

DICK is kicking, screaming, clawing, biting. BATMAN has his hands full restraining the kid.

JOKER- Like your boyfriend. He's kinda hot. (glowering at BATMAN) Hands off the belt.

BATMAN- Take me. Let the boy go.

JOKER- Gosh, I could kill you, but then you'd miss my party. And I'd be real, real sad if you couldn't make it.

BATMAN- What are you talking about?

JOKER- Batman! Don't you even recognize your old pal Jack? After all... (cackling insanely) You made me what I am today.

BATMAN cocks his head in puzzlement as DISTANT SIRENS BLARE. The JOKER and his HOODS -- guns still aimed at the crowd -- back away and race off on foot, vanishing into the night.

DICK BREAKS FREE and BOLTS AFTER THEM. BATMAN throws him to the street with a flying tackle. The boy is hysterical.

DICK- HE KILLED MY PARENTS! HE KILLED MY --

BATMAN flinches at the sound of the words. He reaches into his belt and -- mercifully -- breaks a KNOCKOUT CAPSULE under DICK's nose.

The scene would go through many different revisions before being cut from the film entirely. However, storyboards were made before the decision to remove Robin was made. Here is a slightly different version of the scene in storyboard form from production artist David Russell:

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Warner Brothers used these storyboards for the special feature "The Complete Robin Storyboard Sequence" included on the anthology DVD set, adding in the voice talents of Kevin Conroy and Mark Hamill:



With the movie's dark tones and themes, I don't believe including Robin would have been a good fit. Centering the film on the origins of Joker and Batman gives those characters the attention they deserved; Squeezing Robin in just for the sake of having him would have been a disservice. Still- It is fascinating to see just how close he came to being a part of "Batman".

*For larger versions of these storyboard images, head over to themovieblog.com. Animated storyboard sequence copyright Warner Bros. entertainment.

Saturday, March 30, 2013

Vintage Newspaper Clipping:
Register-Pajaronian Review
By Shelley Fralic- June 22, 1989

Here is a "movie review" from the June 22, 1989 edition of California's Register-Pajaronian newspaper. A few interesting things here: 1.) This "review" is nothing of the sort, since the writer hasn't actually seen the film. 2.) The stigma of the 60's show is still quite prevalent in the writing. 3.) She calls Batman action figures "dolls". *sigh* 4.) Most interesting of all... It still amazes me how different secrecy in movies is today from back in 1989. This article was published a day before the film hit and yet it still mentions the possibilities of Robin, Catwoman, and Riddler all making appearances in the movie!

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Friday, March 29, 2013

Video Feature:
Making Of Batman Segment
From "Premiere: Inside the Summer Blockbusters" 1989 TV Special

Here is a rarely seen "making of" segment from the 1989 "Premiere: Inside The Summer Blockbusters" TV special, hosted by Mark Harmon. Another segment that would have been a welcome addition to the DVD anthology set....