This Week In Script Sales: March 8-14 2008
Continue reading This Week In Script Sales: March 8-14 2008



For me, there is one moment more than any other that sets “Batman Begins” apart from “Spider-Man”, that establishes the key differences in tone, and in the worldviews on display in each film. That moment comes during the film’s climactic set-piece. After dispatching one of Ra’s al Ghul’s henchmen, Batman takes a tumble, landing among some of the denizens of The Narrows. Now, in a Spider-Man movie, this would be the moment where the ordinary citizens band around the hero in a show of support (“Us New Yorkers stick together!”). But in “Batman Begins”, the panicking crowd form a mob and attack Batman, forcing him to fight back against the very people he’s trying to save. It’s a stark difference, which encapsulates the fact that this Batman is not the squeaky-clean man of the people that Spider-Man embodies, and suggests a dark heart beating beneath the film’s heroics. If “Spider-Man” was the early, defiant response to the atrocity of 9/11, America united through the belief that good will prevail (and Spider-Man existing in a New York where the Twin Towers still proudly stand), then “Begins” is its darker cousin, embodying the contrasting response: paranoia, uncertainty, and a fair share of moral questions. In many ways, “Batman Begins” is like an anti-superhero movie. Rather than create a fantasy world where superheroes can exist, Nolan and Goyer take the superhero out of his element and place him in our world. Serious questions about what drives a man to put on a costume and fight crime – and the consequences of doing so – are raised, and many of our assumptions are challenged. And that’s not just relating to the superhero genre in general, but to our assumptions surrounding the Batman mythos. Take Gotham City. For so long presented as a nightmarish, Gothic nightscape, Nolan first presents his Gotham – a shiny, modern metropolis much like Chicago – in bright daylight. People have complained that grounding the setting of the action so much makes the film too “realistic” (the dreaded word) and strips away the larger-than-life elements of Batman. I disagree. When the rest of the world is so grounded and gritty, I feel the presence of a figure like Batman seems all the more fantastical. His impact is truly felt.…
Bad news from The Giver Movie front. David Yates, the director currently working on the next Harry Potter film, was supposed to begin The Giver film next. But he has just decided he wants to do the final Harry Potter first, thereby postponing The Giver by several years. Maybe the opening…
"Years ago," he writes, "we briefly — and seriously — considered doing Goblet of Fire as two films. So this concept is not altogether new. As for Deathly Hallows, I intuited — almost from the first moments I began reading it and certainly once I’d finished — that…