I have it Eternalist
I will write it out for you and for others to read.
Took me 25 mins lol
"A conversation with Christopher Nolan and David.S Goyer
CN=CHRIS NOLAN DG=DAVID GOYER
CN: When you’re putting together a Batman film, people always ask “Are you looking at this comic book or that comic book?” and the truth is you look at them all. As a filmmaker though THE LONG HALLOWEEN was one Batman story that really drew me in terms of cinematic potential.
DG: It is cinematic. I think that THE LONG HALOOWEEN stands out as probably the most ambitious Batman story that’s been told. It certainly feels like the most densely plotted
CN: It’s a crime epic. Jeph Loeb did this incredible job of taking the more exotic elements of the Batman universe and grounding them in a believable world. He took supporting characters and gave them real lives and real emotions. And real consequences to their actions. This has tremendous impact on the reader. THE LONG HALLOWEEN is more than a comic book. It’s an epic tragedy.
DG: Right. And Tim Sale’s art work accentuates that by relying on a restricted colour palette and a strong usage of shadow. It creates this stylistic balance between being expressionistic but also feeling somewhat realistic. It reminds me of Fritz Lang’s M. Most of the time people want to make these things look more Metropolis, but I think it looks and feels more like M.
CN: Exactly. The artwork is fantastically norish. It portrays this massive American city and the underworld that threatens to envelop it in striking detail and remarkable scope.
DG: In so many of the previous depictions of Batman, he was running around fighting bad guys in a vacuum. The machinations of the police, the corruption within the force, how Batman and Gordon, and Dent negotiate all of that-none of that has been examined prior to THE LONG HALLOWEEN.
CN: Well, we co-opted THE LONG HALLOWEEN’S idea of the triumvirate for Batman Begins to some extent, showing Batman function as one point of a strong triangle with the police and the D.A by acting as a force that can crack things open and provide a wedge against all the corruption.
DG: That scene on the rooftop between Gordon, Dent and Batman in THE LONG HALOWEEN-in which you realize Batman can obviously bring criminals to justice, but he needs the police to arrest them and the D.A’s office to prosecute them-that was something new that Jeph Loeb introduced into the lore. For Batman Begins, we used Rachael Dawes instead of Dent as the principle of the triangle, but she still served the same function.
CN: Same function exactly. THE LONG HALLOWEEN suggested a very strong utility for Batman in Gotham, which helped us because when you try to adapt the character into a movie in a realistic manner, you’re left with that question “Okay, what’s Batman’s purpose?” He can’t be everywhere at once. He’s not superhuman. He’s just a regular guy. So how will he be most effective? How can he leverage his skills to transform the whole city? THE LONG HALLOWEEN answered that question, positioning Batman and Bruce Wayne as part of a greater mechanism in Gotham. Along those lines, I was impressed with how seamlessly Loeb and Sale were able to integrate the more fantastical elements of Batman, most notably the villains, within the context of the real world, striking a balance that felt credible. It was a great inspiration to us in terms of tonally.
DG:l That’s certainly the case with Jim Gordon. THE LONG HALLOWEEN really ran with that YEAR ONE started, giving us an entirely different depiction of Gordon. Previously in the comic books, in the movies and in the TV show, Gordon was the kind of bumbling, avuncular character, whereas in these stories, he is depicted as this beleaguered, mid-level sergeant in this rampantly corrupt police force, which is the Gordon we meet in Batman Begins.
CN: Yes. And I think as we get on with The Dark Knight, THE LONG HALLOWEEN is becoming more influential in terms of Harvey Dent. Throughout writing Batman Begins, we had always talked a lot about dealing with Harvey Dent, whether or not to feature him in way in the movie. I think we had in there in the very earliest stages of conception.
DG: Yeah, we did. Briefly.
CN: And then we realised we couldn’t do him justice.
DG: For me, there are three major comic book influences within the Batman lore. There’s YEAR ONE, the Neil Adams stuff, and there is THE LONG HALLOWEEN. But by the time The Dark Knight comes out, it will become apparent that Long Halloween is the preeminent influence on both movies.
CN: Yeah, I think that could be right
Christopher Nolan and David S.Goyer spoke about THE LONG HALLOWEEN on November 15, 2006, a few weeks before principal photography began on THE DARK KNIGHT"
