January 20th, 2022 / 2 Comments

Since the release of Empire Magazine, it looks like we may have a few more Rob magazine covers and interviews. I thought I should bundle them all here and will update if and when they become available. Remember you can always catch up on all things The Batman at our dedicated film page.

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UPDATE: 20 January 2022

Moviemaker shared their The Batman article today “A Detective Story: To Understand Matt Reeves and The Batman, Look to the 1970s“. Below are excerpts from Rob’s interview and comments made about Rob by Matt Reeves and Dylan Clark. I’ve also shared two new promo images. You should read the full article as it gives so much background into why Matt decided to make this film – I didn’t think it was possible to ramp up my excitement, but I was wrong:

“What everyone involved in The Batman mentions about director Matt Reeves is his specificity.

The details really do matter, says Robert Pattinson, who plays Bruce Wayne and Batman, two personalities who are painfully intertwined in The Batman. Pattinson says he was worried at first when Reeves would ask for a lot of takes.

“Your first thought is, Oh my God, I’m absolutely terrible,” he laughs, with trademark self-deprecation. But when Reeves would show him the playback of scenes, which Reeves likes to do, he began to see the same make-or-break nuances the director did. For example, the mask. The Batman cinematographer Greig Fraser, who also shot Rogue One: A Star Wars Story, told Pattinson early on: “The two most difficult things to light are Darth Vader’s helmet and the cowl.”

“There’s a whole different language, body language, you have to learn to make it do what you want it to do,” says Pattinson. “If you look too much into the light, it looks completely ridiculous, and you’re wearing a Halloween costume. But if you’re like two millimeters down, it’s like — oh, that’s completely totemic, and like it looks exactly how it’s supposed to look. But to learn how to feel that and learn how to react to how the light hits it, takes forever.

Every millimeter matters.

“I wanted to do a story in which the corruption of Gotham was one of the most important aspects of the story, because Gotham is a sick place. Bruce is desperate to try and make a change,” says Reeves. “He’s still stuck, to be honest, emotionally stunted at being 10 years old, because that’s a trauma you don’t get past—witnessing your parents murder in this place.

“He’s looking to create meaning, right? This is the only meaning he can find. …I think he imagines that if he can do this, somehow he can reverse what’s happened, which will never be reversed. This is a very human impulse, right? To try and relive something and remake it.”

Pattinson was impressed that all the detective talk wasn’t just lip service.

“In the first meeting, he was saying, we want to lean into the ‘world’s greatest detective aspect,’ and be a detective noir movie,” he says. “And, you know, normally when directors say that, they just do like a mood board, and it’s just about the imagery. But I read the script, and it is! It’s a detective movie. It happens all the time in the graphic novels, but it’s always kind of on the backburner in the movies.”

“Even in the early comics, there was something which I really liked,” says Pattinson. ”In a lot of the early tellings of it, he’s just sitting at home and a bat just smashes through the window, and he’s like, ‘That’s it!’ I’ll be a bat!’”

He laughs. “That doesn’t make any sense whatsoever.”

“The Batman script, Pattinson explains, finally embraces the madness. “There’s an element in the other iterations of the story where Bruce goes off, does his training, masters himself and then comes back to Gotham as a fully realized character and the delineation between Bruce and Batman — the public Bruce, the private Bruce, and the Batman Bruce — are very contained and he can control them more easily,” says Pattinson. “And in this, the lines have totally blurred. His self as Bruce is sort of disintegrating.”

After his massive breakout success in the Twilight movies, Pattinson took care to prove himself outside of big franchises. He disappeared into the role of a bearded, bespectacled, deeply beleaguered early 20th century explorer in James Gray’s 2016 film The Lost City of Z, and the next year played ferociously against type as a desperate criminal dirtbag in Josh and Benny Safdie’s mesmerizing crime thriller Good Time. Then he signed up for The Lighthouse, Robert Eggers’ slow-burn, black-and-white horror film.

Reeves and The Batman producer Dylan Clark took note.

“We’re like, he’s just making insanely bold choices, this guy. He went from being, very early on, in a giant franchise where he was a poster boy, to really pushing himself as an actor, working with incredibly talented directors and pushing himself all the way. And we just respected that,” says Clark.

When Ben Affleck, who had played Bruce Wayne/Batman in 2016’s Batman v Superman and the subsequent Justice League, decided not to go ahead with plans to direct and star in a solo Bat-film, Warner Bros. turned to Matt Reeves, who enlisted Clark to join him on the project.

Meanwhile, as questions swirled about who would replace Affleck under the cowl, Pattinson became fascinated by the idea of taking on the role.

What Pattinson didn’t know was that Reeves had begun writing The Batman with him in mind.

“Batman is an amazing myth that has endured for over 80 years,” says Reeves. “And it’s because of that crazy mix. There’s a part of it that is just simply cool, right? He looks cool. He’s got a cool car. He’s got all the stuff. He’s like James Bond, I guess, in a certain way, right? But there’s also something very relatable to the pain that he’s gone through.

“And so that, for me, was how you ground it — those aspects are part of the story. And this story emphasizes those things. This story pulls those things out. So that’s why I was so excited about Robert Pattinson because he’s such a wonderful actor. And I knew that he would be able to go on that search with me for the depth and complexity of this character. I mean, I knew he wasn’t going to play him straight ahead.

“In writing, from the beginning, I was imagining the character in my head. And I started watching movies of actors in the age range. And he just really kind of captivated me, and I started writing for him at a certain point. I had no idea if he ever would want to be in the movie.”

Reeves had spent many years resisting blockbusters, for fear of too many cooks and too many concessions to corporate demands. (“When the opportunity came to do Cloverfield, I said to J.J., I just want to understand why you want me to do this, because this fantastical part of it is not really the thing that I focus on,” says Reeves. “And he goes, ‘I know — you’re gonna make everything else real.”)

He worried that Pattinson might have a similar aversion to big-budget films.

“I’ve never auditioned for any comic book movies before,” Pattinson explains. “And at the time, even my agents thought it pretty out of character to just suddenly get fixated on Batman. And I didn’t even really know the status of the project.”

Around that time, Pattinson and Clark had a general meeting about potential collaborations, with no specific project in mind.

“We’re talking about 20 different things. And then he starts kind of saying, ‘So what’s going on with Batman?’” Clark says.

Adds Pattinson: “I had no idea that Matt had seen Good Time and thought, ‘I want to do a really dirty, dirty, slimy Batman.’”

“It was a kind of almost fated thing,” says Reeves. “Of course, at that point, we were still working on the script. And so there was nothing to share. But I met with him probably about eight months later, and I shared the script, and we just really connected.”

Interest in The Batman was so high that Pattinson set off a fandom kerfluffle when he self-effacingly told GQ, in an interview conducted from quarantine, that he wasn’t actually working out that much for the role. “I think if you’re working out all the time, you’re part of the problem,” he told the magazine.

He was being dryly funny, not that anyone noticed.

“That really came back to haunt me. I just always think it’s really embarrassing to talk about how you’re working out,” he says, laughing about it now. “I think it’s like an English thing. Unless you are in the most unbelievable shape, where people are just genuinely curious, going, ‘How have you achieved, like, physical perfection?’ or whatever.”

He further clarifies: “You’re playing Batman. You have to work out.” He laughs again. “I think I was doing the interview when I was in lockdown, as well, in England. … I was in a lower gear of working out.”

It’s not the first time an offhand comment from Pattinson has been taken too seriously.

“It’s the same thing as saying in an interview when I was like 21 that I didn’t wash my hair,” he laughs. “It just sticks for 15 years.”

The attention was nothing compared to the headlines in September 2020, when shooting resumed, then had to pause again because of a positive COVID test for an unnamed member of the production.

The production kept everything very tight when filming resumed.

“It was like a military operation,” recalls Pattinson.

“We had earpieces in to have direction a lot of the time to kind of limit the amount of interactions. The most odd thing is that a lot of scenes had no one behind the camera, because we were trying — if it was already a setup, they’d just be remotely controlling it. Odd. Especially when you’re on a big set — just no one around at all. That took a lot of getting used to.”

Pattinson remembers it being very busy, intense and dark.

“We were basically in night shoots the whole time. I can’t even tell if people were there or not. And also your peripheral vision inside the cowl — I could hardly tell if there was anyone there or not.

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UPDATE: 19 January 2022

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Thanks to Umberto Gonzalez from The Wrap | Heroic Hollywood we now know that Rob’s on the cover of The Batman issue of Moviemaker Magazine. There’s also a new interview. And Moviemaker tweeted this – stay tuned we will post as soon as we can:

15 January 2022

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Deadline Film Magazine (Germany) announced today that they are the first magazine to be able to give a deep insight into The Batman. The magazine is available on 26 January 2022 and as you can see from the cover has exclusive interviews with the cast. We will post Rob’s excerpt and any new photos once it becomes available in the upcoming weeks.

  • PM
    Posted on January 17, 2022

    Lazy Sunday morning and I have nothing better to do. So I was watching old Cannes videos of RP's. One of Goodtime Cannes YouTube videos from 4 years ago had a comment that said 'This guy could have the world under his feet. But choose not to.' Well, that is part of why he has such a dedicated and robust fan base. Eschewing fame and wealth is not easy. And of course, he will have the world under his feet whether he wants it or not with his new movie. Wouldn't it be a hoot if Cannes picked up The Batman?

  • PM
    Posted on January 20, 2022

    Maria, saw tweets about an interview for @premiereFR… one quote is from Reeves saying "Robert did what no #Batman had to do before : show emotions by wearing the costume and the mask. And that's crazy work."

    Well, to that I say he conveyed a whole lot while wearing those stupid colored contact lenses a decade ago. It is evident from his past movies that he is an actor who uses his whole body in every scene, eyes, mouth, hands, stride, posture, voice, gestures… Most good actors do some or all of that but it comes down to consistency and he has that. I wonder the way Reeves is describing the new Batman if it is not similar in vibe to Fincher's movies (saw the girl with the dragon tattoo last night).

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    Director: Matt Reeves
    Release Date: Aust: 3 March 2022 | US: 4 March 2022. Check out all upcoming release dates at our Film Page by clicking on News below

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    Release Date: World Premiere (Out of Competition) Venice Film Festival 2019 2 Sept 2019 | Now on Netflix. No DVD to be released.

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