Sometimes, you just have to try something that’s never been done before to get some killer shots.
Christopher Nolan’s The Dark Knight captured something sinister and fantastical about the beloved superhero that fundamentally changed our perspective on how the Bat (Christain Bale) should and could be perceived. Working on all three of Nolan’s Batman films, cinematographer Wally Pfister brought Gotham to life while taking the Caped Crusader to new heights.
After being impressed by the IMAX presentation of Batman Begins, Nolan suggested combining IMAX with the 35mm anamorphic format for The Dark Knight. Nolan and Pfister shot a series of IMAX tests in Nolan’s backyard, then put the camera in the back of a pickup truck and shot a night test on Sunset Boulevard in Hollywood using only existing light. Like the first film, Nolan and Pfister wanted to find a camera that grounded the real and gritty environment of Gotham.
Author: Alyssa Miller
This article comes from No Film School and can be read on the original site.
