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Thursday, August 09, 2012

THE DARK KNIGHT TRILOGY: The Complete Screenplays

THE DARK KNIGHT TRILOGY: The Complete Screenplays follows the release of the brooding, epic film that continues to galvanize public and critical reaction. OPUS debuts its imprimatur title in its publishing program, helmed by Applause founder, Glenn Young. 
In announcing the publication today, Young said: "Before the actors recorded their lines in Dolby Atmos; before the actors were ever cast, or clothed in flowing capes and costumes; and before the special effects team splashed Gotham in all its glory across the wide screen, there were three scripts in simple black and white, typed on standard bond paper. Even the greatest cinematic flash at Hollywood's disposal amounts to just another fireworks show without the underlying steel mesh of a good story. It is words which create myth. Look there for the true source of cinematic animation, power and meaning. Certain film effects may depend on the IMAX camera's three dimensions, but others, deep in the soul of the Dark Knight, barely require two."
 "What makes a super hero super?"  Young asks. "His archenemies always have just as many super powers and super gadgets. The Dark Knight screenwriters, in the book's opening group discussion, ponder this question. Ultimately, they conclude, it is a hero's moral character that permits him to triumph. This was true, they realized, even of the first great literary hero, Achilles, in Homer's epic poem 'The Iliad.' It is in battling the enormous questions of life, death and honor that a hero stands out. As Americans cast their own rueful collective eye over recent events, Jonathan Nolan's ruminations on this grave matter are a chilling reminder of every individual's moral obligations to society. And especially of those who wish to be called heroes."
Jonathan Nolan: "To me, there's no moral there other than the individual choices that Batman makes along the way. And this is where you take it back to 'The Iliad.' When you get to the end there's no Trojan Horse and there's no winning of the battle. It just ends with Achilles and Priam negotiating over Hektor's body. That's the end of it. And you realize it's not about war. It's about a man. It's about the individual decisions made by a hero and the difficult choices he faces and the odd, sometimes tacit rule-set that he forms over the course of it, answering the question of how far is too far?"