Re: Batman Begins' sequel: The Dark Knight (Merged)
I'm not saying he isn't good, I'm saying like all movie stars who open movies with their name alone and are beloved by the masses, his own personality and physical/vocal traits come through every time, taking away the effect of being a completely different person.
I haven't seen all the films listed, out of them I've seen:
Carnal Knowledge
One Flew Over The Cuckoo's Nest
The Shining
Terms Of Endearment
I'm not going to pretend to remember them in detail, and I'm not looking to get into a debate either.
The point I'm making is simple: Don't sell Ledger short - on this film or his other films - just because his career was short-lived.
That's all I'm saying on that subject.
Returning to a previous comment, quoted here:
Quote:
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Originally Posted by Adam Lenhardt
I loved the sepia because it was a completely different, earthier color set to what we've been getting and it helped reinforce the claustrophobia of Gotham.
The only way the blue/sepia divide would work for me is if the night scenes are sepia like Batman Begins and the day scenes are blue. It would really drive home the idea that Gotham is two different worlds by night and by day. Batman owns the night, but he doesn't own the day.
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I've found the answer, provided by DP Wally Pfister in American Cinematographer:
American Cinematographer: Batman Looms Larger
Quote:
“We wanted to suggest a colder, more modern world, and rather than going dark with everything, we had fun with some brighter environments. The red-yellow patina of Batman Begins came naturally from the sodium-vapor lamps we used so much, and Dark Knight’s different environments became an excuse to play with colors a bit more.”
The new film features three distinct tones: one is slightly blue-green; another is neutral, almost black-and-white; and the third is a rust-like tinge that references Batman Begins. “Early on, I suggested to Wally that because the film is called The Dark Knight and is about, metaphorically, extremely dark subjects, it would be interesting to play against that for much of the film and make things as bright as possible, even as the material gets darker,” says Nolan. “I encouraged Wally to be open to different textures for different scenes and not be too rigid in terms of an overriding style, and he really warmed to that. His style of photography is very naturalistic and very subtle; he’s very good at making things feel real with an unforced and natural beauty, and that’s what we were really after on this film.” |
This quote is from page 2 of the article.
A great, but very technical (from a photographer's point of view naturally) read.
Maybe he could have been had he LIVED. But that is neither here nor there
