I looked at the novelization of the film and it is said that bane's trying to snap his neck at some point to make it quick.nolangoatdirector wrote:Hmm... they never grappled like this in the final cut, with Bane grabbing Batman around the neck. Makes me wonder how much of the fighting was cut.Monicabbm wrote:
Christian Bale as Bruce Wayne/Batman
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Would have loved to see that in the movieBatfan175 wrote:I looked at the novelization of the film and it is said that bane's trying to snap his neck at some point to make it quick.nolangoatdirector wrote: Hmm... they never grappled like this in the final cut, with Bane grabbing Batman around the neck. Makes me wonder how much of the fighting was cut.
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That's one problem I had with the second Bane-Batman fight. Bane wasn't really trying to kill him until his mask broke - then he threw that onslaught of furious punches at him. I would've liked to have seen more brutality like in the first fight. They should've kept that neck breaking attempt in the movie.Batfan175 wrote:I looked at the novelization of the film and it is said that bane's trying to snap his neck at some point to make it quick.nolangoatdirector wrote: Hmm... they never grappled like this in the final cut, with Bane grabbing Batman around the neck. Makes me wonder how much of the fighting was cut.
Kinda reminds me of the ending of WarriorMonicabbm wrote:
Batman: "I'M SORRY! IT'S OK! I LOVE YOU BANE!"
Bane got cocky and thought he would own Batman again after that first fight, then the tube broke and he was like "THE FUCK!?". By this point it was actually already too late for Bane because without the pain killer substance he can feel pain again and his entire body basically breaks down as long as the damn tube is loose. He's actually a really fragile guy if you think about him without the mask, that's the perception he embraces. His entire existence is a lie (according to "the legend") and he used that to bring fear to his enemies. He wasn't "Born in Darkness" he didn't climb out of the pit, he was a broken man with a mask to keep himself afoot, but no one knows this of course and is scared shitless of him. I really liked that approach to Bane, they literally made him larger then life with in the context of the film.nolangoatdirector wrote:That's one problem I had with the second Bane-Batman fight. Bane wasn't really trying to kill him until his mask broke - then he threw that onslaught of furious punches at him. I would've liked to have seen more brutality like in the first fight. They should've kept that neck breaking attempt in the movie.Batfan175 wrote:
I looked at the novelization of the film and it is said that bane's trying to snap his neck at some point to make it quick.
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Of the three Nolan films, I think only TDK supports a charge of sidelining Batman - or, more specifically, sidelining his character arc and prominence - over supporting characters. BEGINS is extremely Bruce/Batman-centric, and does a very good job exploring and developing both sides of the character.
Nolan has said that TDK is really about Dent's arc; Batman/Bruce has one, but it's muted and not as quickly discernible. The Joker has no arc - but again, that's deliberate. Nolan wanted the Joker to be a force of nature, a representative threat, not a fully developed character. And if you actually time his screen appearances, he's not on all that much. Bruce and Dent certainly have more screen time, as does Gordon most likely. The nature of the character, Ledger's performance, and the script all combined to make Batman a more muted character in TDK, but he definitely has an arc and moments to shine. Bruce hoped to inspire the people of Gotham to take back their city, and hoped his crusade would be a short, limited one. In TDK, he finds out that it's not simple, and that he can't control all the results of his fight against crime - and that being Batman means giving up other dreams.
TDKR returns to BEGINS territory; it's Bruce's story, through and through with perhaps two supporting characters getting complete arcs (Blake and Selina). Whatever problems TDKR has, presenting a fully developed Bruce Wayne isn't one of them. We see him in deep physical and psychic pain. We see him attempt to ignore or drown in that pain through a return to masked crimefighting. We see Bruce completely broken and not relearning his old lessons about fear, but new ones: that fear is necessary, contrary to what Ra's taught him. Fear means we are alive and human. Bruce finds his humanity, and finds that he wants to live beyond the mask.
Nolan has said that TDK is really about Dent's arc; Batman/Bruce has one, but it's muted and not as quickly discernible. The Joker has no arc - but again, that's deliberate. Nolan wanted the Joker to be a force of nature, a representative threat, not a fully developed character. And if you actually time his screen appearances, he's not on all that much. Bruce and Dent certainly have more screen time, as does Gordon most likely. The nature of the character, Ledger's performance, and the script all combined to make Batman a more muted character in TDK, but he definitely has an arc and moments to shine. Bruce hoped to inspire the people of Gotham to take back their city, and hoped his crusade would be a short, limited one. In TDK, he finds out that it's not simple, and that he can't control all the results of his fight against crime - and that being Batman means giving up other dreams.
TDKR returns to BEGINS territory; it's Bruce's story, through and through with perhaps two supporting characters getting complete arcs (Blake and Selina). Whatever problems TDKR has, presenting a fully developed Bruce Wayne isn't one of them. We see him in deep physical and psychic pain. We see him attempt to ignore or drown in that pain through a return to masked crimefighting. We see Bruce completely broken and not relearning his old lessons about fear, but new ones: that fear is necessary, contrary to what Ra's taught him. Fear means we are alive and human. Bruce finds his humanity, and finds that he wants to live beyond the mask.
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What I'm about to say is kinda off topic but one thing I really wished Nolan would have done is keep the Rachel arrowhead stone thing (the Finders Keepers gift) present throughout all three films and not just BB. Like in TDK, when Bruce was sitting and grieving for Rachel soon after her death, it would've been a nice touch to show him running his fingers over that arrowhead, his last reminder of Rachel and the life he had/could have had with her. Then in TDKR, show it once again somewhere in Wayne Manor as a very clear reminder of his pain, but at the end, like during the funeral scene, show it on the ground in the garden where he and Rachel first found it (like maybe Alfred finds it there or something), indicating that Bruce had finally gotten over Rachel and moved on with his life. Just a thought I had. It would've been nice to see something like this to really finish and tie up the Bruce-Rachel arc.Aranion wrote:Of the three Nolan films, I think only TDK supports a charge of sidelining Batman - or, more specifically, sidelining his character arc and prominence - over supporting characters. BEGINS is extremely Bruce/Batman-centric, and does a very good job exploring and developing both sides of the character.
Nolan has said that TDK is really about Dent's arc; Batman/Bruce has one, but it's muted and not as quickly discernible. The Joker has no arc - but again, that's deliberate. Nolan wanted the Joker to be a force of nature, a representative threat, not a fully developed character. And if you actually time his screen appearances, he's not on all that much. Bruce and Dent certainly have more screen time, as does Gordon most likely. The nature of the character, Ledger's performance, and the script all combined to make Batman a more muted character in TDK, but he definitely has an arc and moments to shine. Bruce hoped to inspire the people of Gotham to take back their city, and hoped his crusade would be a short, limited one. In TDK, he finds out that it's not simple, and that he can't control all the results of his fight against crime - and that being Batman means giving up other dreams.
TDKR returns to BEGINS territory; it's Bruce's story, through and through with perhaps two supporting characters getting complete arcs (Blake and Selina). Whatever problems TDKR has, presenting a fully developed Bruce Wayne isn't one of them. We see him in deep physical and psychic pain. We see him attempt to ignore or drown in that pain through a return to masked crimefighting. We see Bruce completely broken and not relearning his old lessons about fear, but new ones: that fear is necessary, contrary to what Ra's taught him. Fear means we are alive and human. Bruce finds his humanity, and finds that he wants to live beyond the mask.
Great idea, really.nolangoatdirector wrote:What I'm about to say is kinda off topic but one thing I really wished Nolan would have done is keep the Rachel arrowhead stone thing (the Finders Keepers gift) present throughout all three films and not just BB. Like in TDK, when Bruce was sitting and grieving for Rachel soon after her death, it would've been a nice touch to show him running his fingers over that arrowhead, his last reminder of Rachel and the life he had/could have had with her. Then in TDKR, show it once again somewhere in Wayne Manor as a very clear reminder of his pain, but at the end, like during the funeral scene, show it on the ground in the garden where he and Rachel first found it (like maybe Alfred finds it there or something), indicating that Bruce had finally gotten over Rachel and moved on with his life. Just a thought I had. It would've been nice to see something like this to really finish and tie up the Bruce-Rachel arc.Aranion wrote:Of the three Nolan films, I think only TDK supports a charge of sidelining Batman - or, more specifically, sidelining his character arc and prominence - over supporting characters. BEGINS is extremely Bruce/Batman-centric, and does a very good job exploring and developing both sides of the character.
Nolan has said that TDK is really about Dent's arc; Batman/Bruce has one, but it's muted and not as quickly discernible. The Joker has no arc - but again, that's deliberate. Nolan wanted the Joker to be a force of nature, a representative threat, not a fully developed character. And if you actually time his screen appearances, he's not on all that much. Bruce and Dent certainly have more screen time, as does Gordon most likely. The nature of the character, Ledger's performance, and the script all combined to make Batman a more muted character in TDK, but he definitely has an arc and moments to shine. Bruce hoped to inspire the people of Gotham to take back their city, and hoped his crusade would be a short, limited one. In TDK, he finds out that it's not simple, and that he can't control all the results of his fight against crime - and that being Batman means giving up other dreams.
TDKR returns to BEGINS territory; it's Bruce's story, through and through with perhaps two supporting characters getting complete arcs (Blake and Selina). Whatever problems TDKR has, presenting a fully developed Bruce Wayne isn't one of them. We see him in deep physical and psychic pain. We see him attempt to ignore or drown in that pain through a return to masked crimefighting. We see Bruce completely broken and not relearning his old lessons about fear, but new ones: that fear is necessary, contrary to what Ra's taught him. Fear means we are alive and human. Bruce finds his humanity, and finds that he wants to live beyond the mask.
Two billionaires
Ah so he was with Trump... I saw that pic with only the Bale part and Trump was cropped.