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| The Entertainment Review |
| By: Mark Cotta Vaz Publisher: Chronicle Books |
With 144 glossy, full color pages inside an amazing hardcover, Mark Cotta Vaz’s latest release of “The Art of Batman
“Art of” series, this one presents a variety of preproduction art, including digital concept paintings, hand-drawn
storyboards, mock-ups, scale models, behind-the-scenes photography, and more, as well as production
photography, including some of the widely disseminated photos and a slew of terrific exclusive photos of cast, crew,
scenes, and sets. Each image is captioned, and Vaz's prose runs through each of six different sections of the book
to explain the process of the filmmakers.
The first and briefest chapter in the book summarizes Batman's 1939 origin. In "Beginning," Crowley notes that the
director was resistant to shoehorning anything into the narrative for the express purpose of later marketing it,
everything was to serve the story.
The brief but vivid "Batman's Garage" is a guided tour of the margins of Nolan's home, particularly the garage where
Crowley created concepts for the film under Nolan's vigilant guidance. Every design was meant to be practical and
functional in real life terms, to meet Nolan's goal of realism and allow for the film to be captured in camera, with
minimal CGI.
"Batmobile" describes the reasoning behind the Tumbler, which was proposed as a cross between a Hummer and a
Lamborghini. The Tumbler was the starting point for the film's design. Vaz provides a guide to the steering, seat,
and displays inside the cockpit, with a two page spread of the Batmobile's computer status screens.
Three storyboard spreads grace "Secret History,” including Wayne's Himalayan trek, his fear poisoned duel with
Ducard, and young Bruce's fall. This chapter focuses on story and character elements, but also two main settings,
including Ra's Al Ghul's monastery which is a blend of Icelandic location photography, miniatures, and interior sets
and Wayne Manor. The estate seen in the film is fifty percent genuine, with the rest shot on sets. One spread offers
a detailed production elevation of New York's Mentmore House. Some of the most interesting art is included here,
with digital character studies and costume designs for Wayne, Al Ghul, James Gordon, Lucius Fox, Alfred
Pennyworth, Rachel Dawes, and the League of Shadows, though Alfred's "character sketch" is basically a head-shot
of Michael Caine.
The last chapter, "Inside Arkham," provides character sketches of Dr. Jonathan Crane and his Scarecrow persona,
as well as excellent shots of Arkham Asylum, inside and out, and prose explaining the concepts. Curiously, "Inside
Arkham" branches out to elements that don't expressly live inside, including the microwave emitter; the cape, cowl,
gloves, boots, and utility belt of the Batsuit and Batman's beginning arsenal which consisted of a grappling gun, mini-
mines, and antidote injector, each with design variants.
Batman fans will agree that “The Art of Batman Begins: Shadows of the Dark Knight” is a beautiful, informative, and
essential addition to any bookshelf or coffee table. However, anyone with a curiosity about the design of a
blockbuster film will also be sure to get an education with this book.
“Art of” series, this one presents a variety of preproduction art, including digital concept paintings, hand-drawn
storyboards, mock-ups, scale models, behind-the-scenes photography, and more, as well as production
photography, including some of the widely disseminated photos and a slew of terrific exclusive photos of cast, crew,
scenes, and sets. Each image is captioned, and Vaz's prose runs through each of six different sections of the book
to explain the process of the filmmakers.
The first and briefest chapter in the book summarizes Batman's 1939 origin. In "Beginning," Crowley notes that the
director was resistant to shoehorning anything into the narrative for the express purpose of later marketing it,
everything was to serve the story.
The brief but vivid "Batman's Garage" is a guided tour of the margins of Nolan's home, particularly the garage where
Crowley created concepts for the film under Nolan's vigilant guidance. Every design was meant to be practical and
functional in real life terms, to meet Nolan's goal of realism and allow for the film to be captured in camera, with
minimal CGI.
"Batmobile" describes the reasoning behind the Tumbler, which was proposed as a cross between a Hummer and a
Lamborghini. The Tumbler was the starting point for the film's design. Vaz provides a guide to the steering, seat,
and displays inside the cockpit, with a two page spread of the Batmobile's computer status screens.
Three storyboard spreads grace "Secret History,” including Wayne's Himalayan trek, his fear poisoned duel with
Ducard, and young Bruce's fall. This chapter focuses on story and character elements, but also two main settings,
including Ra's Al Ghul's monastery which is a blend of Icelandic location photography, miniatures, and interior sets
and Wayne Manor. The estate seen in the film is fifty percent genuine, with the rest shot on sets. One spread offers
a detailed production elevation of New York's Mentmore House. Some of the most interesting art is included here,
with digital character studies and costume designs for Wayne, Al Ghul, James Gordon, Lucius Fox, Alfred
Pennyworth, Rachel Dawes, and the League of Shadows, though Alfred's "character sketch" is basically a head-shot
of Michael Caine.
The last chapter, "Inside Arkham," provides character sketches of Dr. Jonathan Crane and his Scarecrow persona,
as well as excellent shots of Arkham Asylum, inside and out, and prose explaining the concepts. Curiously, "Inside
Arkham" branches out to elements that don't expressly live inside, including the microwave emitter; the cape, cowl,
gloves, boots, and utility belt of the Batsuit and Batman's beginning arsenal which consisted of a grappling gun, mini-
mines, and antidote injector, each with design variants.
Batman fans will agree that “The Art of Batman Begins: Shadows of the Dark Knight” is a beautiful, informative, and
essential addition to any bookshelf or coffee table. However, anyone with a curiosity about the design of a
blockbuster film will also be sure to get an education with this book.
