art / buku / film

The Art and Making of The Dark Knight Trilogy

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Aku ingat dua tahun yang lalu, sehari sebelum ramadhan. Aku buru-buru pergi ke bioskop, ngantre di depan pintunya yang belum dibuka bersama belasan orang lain untuk nonton The Dark Knight Rises. Aku tahu itu film Batman, tapi aku nggak peduli. Alasanku saat itu cuma satu: Christopher Nolan.

Entah mengapa aku masih inget momen itu dari puluhan sesi nonton film di bioskop yang pernah aku jalani. Di luar dugaan, ternyata studionya nggak terlalu penuh. Satu jam terakhir, di baris yang kosong, aku nonton Batman dan Bane berantem sambil selonjoran dan ngemil popcorn. Beberapa hari kemudian, aku balik lagi untuk nonton ulang. Dan sekitar dua minggu setelah itu, bareng adikku, untuk yang ketiga kali aku nonton. Aku nggak peduli sama Batman, itu Christopher Nolan.

Dua tahun berlalu setelah itu. Beberapa malam terakhir, sebelum tidur, aku membaca dan takjub kepada lembaran demi lembar dari The Art and Making of The Dark Knight Trilogy. Cerita demi cerita. Seolah-olah aku sedang membaca jurnal seorang legenda. Ya, Batman memang seorang legenda. Berkatnya, Christopher Nolan kemudian menjadi salah satunya.

Dari judulnya, jelas kalau buku ini mengisahkan tentang perjalanan selama sembilan tahun (2003-2012), Christopher Nolan dan Batman. Semua dimulai dari garasi rumahnya. ‘The Garage Gang‘, Chris, Emma Thomas, Nathan Crowley, dan David Goyer, ada di sana, nyusun konsep, nulis skenario, sampai merancang pra-produksi dari Batman. Kemudian di pra-produksi Batman Begins, Jonathan Nolan bergabung. Di pra-prod The Dark Knight, Lindy Hemming dari Costume Departement jadi tamu kehormatan.

Itu cuma sedikit cerita. Dalam buku ini dituturkan dengan menyenangkan tentang screenplays, pre-production, cast, costume, the shoot (Batman Begins, The Dark Knight, dan The Dark Knight Rises), sampai ke promo. Penuturan dari orang-orang yang terlibat bikin kerasa banget gimana besarnya produksi Batman dan gimana ambisius serta disiplinnya Christopher Nolan.

Mau nggak mau jadi makin jatuh kagum kepada beliau. Dia benar-benar terlibat dan melibatkan diri hampir kepada seluruh aspek produksi. Nggak mau ada hal kecil yang luput dari perhatiannya. Hampir di seluruh adegan yang kamu lihat di trilogi–itulah apa yang dia inginkan dan butuhkan. Setiap kali, dia ada di sana, di samping Wally Pfister (Director of Photography). Bahkan di adegan kejar-kejaran Batman Begins, dia ada di sana. Ikut dalam mobil yang membawa kamera dengan lengan robotic, ngasih instruksi kepada driver Batmobile. Bahkan produksi BB molor berbulan-bulan karena dia pengin nge-shoot semuanya sendiri (ya berdua sih sama Wally, soulmate 4-evah….). Kalau kata Marion Cottilard, Christopher Nolan adalah an author of the film.

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Tentunya nggak lupa cerita tentang syuting dengan kamera IMAX (ini adalah cita-cita Chris sejak kecil!). Yang sesungguhnya waktu itu belum dikasih persetujuan sama Warner. Namun, Chris dengan matanya yang biru bersinar bagai api dingin berhasil membius para petinggi Warner dan akhirnya disetujui (nggak… nggak… bukan begini cerita aslinya). Ya, pokoknya dia mau begitu, akhirnya dikasih begitu. Haha.

Cerita lainnya adalah tentang Chris yang enggan untuk banyak-banyak pakai CGI (ini udah rahasia umum sih). Hanya saja, rasanya tetap takjub ketika dari departemen Costume menuturkan mereka harus ngedandanin ribuan stunt! Kalau kamu pikir adegan pertandingan football di TDKR penontonnya adalah CGI, kamu salah. Itu benar-benar orang. Juga semua polisi dalam film tersebut.

Sama juga dengan Chris dan Nathan yang bikin corat-coret dan prototip Batmobil (tumbler), Bat-pod, dan The Bat tanpa mikir panjang bisa atau nggak. Cuma karena Chris maunya bisa jalan betulan, akhirnya tim yang ngurusi hal tersebut ya… bikin Batmobile bisa beneran dikendarai. Adegan kejar-kejaran lima menit di BB dikerjakan dalam tiga minggu di jalanan Chicago, dengan Batmobile yang dikendarai driver berpengalaman, helikopter yang beneran terbang di atas langit Chicago. Bikin, kalau punya mesin waktu, aku mau datang ke momen itu dan ikut terpesona. Mereka bikin empat Batmobile (tumbler) untuk Batman Begins dengan biaya masing-masing $250.000,- dan ya, dikasihlah sama Warner.

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Masih banyak cerita menarik dari dalam buku tersebut. Detail dan kerasa personal banget. Seperti aku bilang tadi, serasa baca diary. Ditambah dengan foto-foto eksklusif yang indah dan cakep-cakep. Tentunya, foto-foto tersebut ditata dengan begitu apik. Berasa, ini nonton behind the scene, tapi bentuknya buku. Foto Batman (Christian Bale) dan Joker (Heath Ledger) segede bagong. Tentunya foto-foto Chris Nolan yang muncul dari halaman kedua serta paling banyak di antara cast dan crew lainnya. Makin ke belakang, makin aku sadari kalau dia so cuteeeee.

Buku ini memang menyenangkan banget untuk dibaca dan dilihat berulang kali. Cuma satu kekurangannya ukuran dan beratnya itu. Dengan besar hampir 30cm x 29 cm dan berat dua kilogram lebih sedikit, dipangku lama-lama bikin pegel juga. Harganya standar artbook kok dan cuma satu buku! Jadi, nggak menguras kantong sama sekali.

Fans The Dark Knight atau Chris Nolan atau bukan, aku rasa bakal senang banget lihat buku ini. Apik dan elegan. Namun cukup satu kata dariku: terpuaskan.🙂

Perjalanan membaca buku, bikin tahu bagaimana kerasnya kerja Chris Nolan dan timnya yang hebat. Bikin tahu dan sadar bahwa sosok legenda bukan lahir karena kebetulan, namun perencanaan yang cermat dan momen yang tepat.

Di akhir, ketika selesai, cuma sedikit kata yang pengin dibilang:

Terima kasih, Chris Nolan!


Di pembuka buku ini, ada tulisan perpisahan dari Chris. Sebab udah beredar di mana-mana. Aku sertakan juga di sini.🙂

Alfred. Gordon. Lucius. Bruce . . . Wayne. Names that have come to mean so much to me. Today, I’m three weeks from saying a final good-bye to these characters and their world. It’s my son’s ninth birthday. He was born as the Tumbler was being glued together in my garage from random parts of model kits. Much time, many changes. A shift from sets where some gunplay or a helicopter were extraordinary events to working days where crowds of extras, building demolitions, or mayhem thousands of feet in the air have become familiar.

People ask if we’d always planned a trilogy. This is like being asked whether you had planned on growing up, getting married, having kids. The answer is complicated. When David and I first started cracking open Bruce’s story, we flirted with what might come after, then backed away, not wanting to look too deep into the future. I didn’t want to know everything that Bruce couldn’t; I wanted to live it with him. I told David and Jonah to put everything they knew into each film as we made it. The entire cast and crew put all they had into the first film. Nothing held back. Nothing saved for next time. They built an entire city. Then Christian and Michael and Gary and Morgan and Liam and Cillian started living in it. Christian bit off a big chunk of Bruce Wayne’s life and made it utterly compelling. He took us into a pop icon’s mind and never let us notice for an instant the fanciful nature of Bruce’s methods.

I never thought we’d do a second—how many good sequels are there? Why roll those dice? But once I knew where it would take Bruce, and when I started to see glimpses of the antagonist, it became essential. We re-assembled the team and went back to Gotham. It had changed in three years. Bigger. More real. More modern. And a new force of chaos was coming to the fore. The ultimate scary clown, as brought to terrifying life by Heath. We’d held nothing back, but there were things we hadn’t been able to do the first time out—a Batsuit with a flexible neck, shooting on Imax. And things we’d chickened out on—destroying the Batmobile, burning up the villain’s blood money to show a complete disregard for conventional motivation. We took the supposed security of a sequel as license to throw caution to the wind and headed for the darkest corners of Gotham.

I never thought we’d do a third—are there any great second sequels? But I kept wondering about the end of Bruce’s journey, and once David and I discovered it, I had to see it for myself. We had come back to what we had barely dared whisper about in those first days in my garage. We had been making a trilogy. I called everyone back together for another tour of Gotham. Four years later, it was still there. It even seemed a little cleaner, a little more polished. Wayne Manor had been rebuilt. Familiar faces were back—a little older, a little wiser . . . but not all was as it seemed.

Gotham was rotting away at its foundations. A new evil bubbling up from beneath. Bruce had thought Batman was not needed anymore, but Bruce was wrong, just as I had been wrong. The Batman had to come back. I suppose he always will.

Michael, Morgan, Gary, Cillian, Liam, Heath, Christian . . . Bale. Names that have come to mean so much to me. My time in Gotham, looking after one of the greatest and most enduring figures in pop culture, has been the most challenging and rewarding experience a filmmaker could hope for. I will miss the Batman. I like to think that he’ll miss me, but he’s never been particularly sentimental.


 

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Kover di balik dust jacket! Cantik banget!

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Chris dan Wally di Chicago. Sayang di project Interstellar mereka harus pisah.

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