Batman and Superman are the two seminal, iconic
characters of comic mythology.
Maybe, it's just something on this basic level
that makes those the characters that we're most naturally drawn to.
There aren't two who are better known than Superman and Batman.
And the beauty of those two is that
they are two different sides to the same coin.
Superman is, "Do everything by the book,"
and Вatman is, "Do whatever it takes."
The idea that Superman and Batman have never been on-screen together before,
in live-action, is a big idea.
Because these are the two most well-known superheroes in the world.
You feel the power of those two icons
coming face to face.
Batman and Superman, for comic fans,
they know this, they've obviously met in the comics
literally hundreds, maybe even thousands of times.
CHARLES ROVEN: It might seem that they, in fact, should be allies.
Actually, their approach is so different to a similar cause,
that it makes them enemies.
It's always fun to see that yin and yang.
The Dark Knight and the Man of Steel
and the clash of the lightness and the optimism
with the fear and the vengeance.
lt's something that never gets old.
LAURENCE FISHBURNE: They've been around for 70-plus years.
So they've touched everybody
all over the world in some kind of way.
You cannot not love Superman.
You cannot not love The Bat.
GEOFF JOHNS: Superman is weII-known to be the very first superhero ever introduced
in Action Comics No. 1 , in 1938.
And he was kind of modelled after a circus strongman,
which is why he has what looks like tights.
And it exploded. Superman was the birth of superheroes.
And, in Detective Comics 27, shortly after,
you got what was the exact opposite.
Batman, you know, was darker and somebody who operated at night
and was all black,
and wasn't about colors, and had no superpowers.
And was human and had a pretty dark origin.
The first comic book they ever appeared on a cover together was
New York World's Fair No. 1 .
The truth is, what brought them together was
they were very popular characters.
And so, putting Superman and Batman together in the same book was a big deal.
Back then the stories were very straightforward,
you know, they'd fight an enemy or a threat together.
lt wasn't 'till much later where the nuance of
their respective ideologies would cause conflict.
That was later in the publishing history.
There seemed to be a growing tension between the characters.
And it was all around the same time
where their philosophies and their upbringings
and the worlds they
lived in and, kind of, embodied,
were contrasted in such an interesting way.
BEN: The idea ofjustice has a very personal meaning to Bruce Wayne
because his parents were murdered in front of him when he was young
and so that's the defining issue of his life.
This terrible injustice that happened and the desire to avenge it.
When it comes down to Batman,
Superman doesn't agree with the way
he carries out justice.
Batman and Superman, they're trying to achieve the same thing,
but through entirely different methods.
Clark's view is to go about it in an ethical manner,
where, Batman is, "At any cost, inflict justice."
That's essentially where they come to blows.
One of the very first comics I read
where I saw Superman and Batman come into conflict,
that was during John Byrne's Man of Steel series in the '80s.
You see the seeds planted of a very antagonistic relationship
between these two characters.
They're not the world's finest buddies as they had been for decades earlier.
This kind of rivalry, or distrust, only grew.
The Dark Knight Returns was the first time you ever really saw them go at it.
l think the fight
that Jeph Loeb and Jim Lee depicted in Batman: Hush,
those, to me, are the highlight fights.
Through years and years of stories and popularity,
these two characters became icons, and then came into conflict.
lt just became seismic to see these two characters together.
You go back and you read the lore
and over the 75 years of legacy
you get to see a lot of the design inspirations as a springboard
for where Zack has led creatively.
We're all ready, right?
DEBORAH SNYDER: Zack, he's notjust a director, he's a huge fanboy as well.
He loves comics and he loves these characters.
So for him, the thrill of seeing Batman and Superman
together on the big screen for the first time
was even greater than just a director feeling that way,
because it's what the fans want to see.
(CHATTING INDISTINCTLY)
CLAY ENOS: Pretty exciting.
The first time Superman and Batman are on-screen together
in the history of cinema.
Quiet! Here we go!
Camera ready?
Here we go!
Start the rain!
Rolling!
MAN: Ready and action!
(GUNSHOT)
(WHIRRS)
(CHOKING)
Breathe it in.
That's fear.
You're not brave.
(GRUNTS)
Men are brave.
WOMAN: Cut! MAN: Cut!
-MAN: Print it! -Whoo-hoo!
(APPLAUDING AND CHEERING)
WESLEY COLLER: It's exciting as fiImmakers
to get to explore something as storied
and with as much history as the DC canon.
And the world of Batman and Superman.
lt's great that there's been so many versions of Batman,
but l think with it comes a lot of responsibility
in making sure you're honoring and being respectful
of a long-established canon,
but not being afraid to push things
in new and fresh and unique directions.
Zack approached me and had a really specific take on the character
and wanted to do a guy who was not 25 and mourning the death of his parents
and deciding to become a vigilante.
But instead, as a guy who had been a vigilante for 20 years
and was feeling like, "What's the point? ls it worth anything?"
ZACK SNYDER: He's Iost aIong the way a lot of his friends
and he's kind of become really reclusive, as you would imagine.
And when he's Batman, he's really able to confront that pain in a real way.
That's therapeutic, you know?
So being Batman is where he feels the most in control.
And the most in control of himself, emotionally.
(GRUNTS)
JOHNS: Ben brings that intensity that we haven't seen in a Batman.
The Batmans that we've seen in film
have been kind of graceful and very efficient.
But there's a real anger that's brewing inside Ben's Batman.
You're gonna go to war?
That son of a bitch brought the war to us.
What Batman/Superman, I think, eхplores
in a totally new way that we've never seen before
is, "What would Superman be like in the real world?
"How would the real world react to Superman?"
There are plenty of people, sir, who would say he's their hero.
He is not a hero.
The, sort of, third character in the movie is media.
And it's the third character, now, in all of our lives.
Must there be a Superman?
There is.
ZACK: And l think it's an interesting way to see how Batman perceives Superman,
because he doesn't know who Superman is,
all he knows is the public face of Superman.
FINCH: The world needs to know what happened in that desert.
And to know what he stands for.
ZACK: There's no winning anymore for Superman.
He's starting to see that every action has a reaction.
There's no such thing as just purely being good all the time.
We really wanted to start to talk about what the reality of
just saving people and, sort of, intervening would mean,
like, the classic idea with Superman is that
he wouldn't do anything too political,
but, in truth, it's impossible in the world not to.
It's a political world, everything we do is political.
PERRY: Jenny.
Headline, "End of Love Affair with Man in the Sky,
"question mark."
HENRY: He's still trying to do the right thing
and do the right thing by everyone and ignore the slings and arrows.
Вut at the same time, try and find an understanding
and get a closer connection to humanity.
He has a connection to humanity through Lois and Martha
and through Jonathan, as well, when he grew up.
But essentially, this isn't about Superman.
This is about the world in which Superman eхists.
(PEOPLE SCREAMING)
And he's just hanging on for dear life.
The movie uses a great unifying thing, right?
Martha.
They both have a deep connection to their parents.
Whether their parents are alive or dead.
And that one word, "Martha," I think, is a really cool connection.
They share that.
And they obviously share a lot,
because they are, despite their differences,
at the root of it all, they are allies. And friends.
DIANE LANE: Superman and Batman certainly entered
the superhero business from opposite roads.
And yet they have similar histories.
There's the loss of your original family.
So, they're both orphans.
And l don't think Batman sees Superman as human
until he realizes that he has a mother.
(STRAINING) You're letting him kill Martha.
Why did you say that name?
Save
Martha.
LANE: l think when Batman makes the decision to rescue Мartha,
that's Superman's mother,
in a way, he's redeeming his own sense of powerlessness
that he had when he could not save his own mother.
ROVEN: Those are huge emotionaI tragedies, when that happens to somebody.
But out of it comes life-changing decisions
about how you look at the world,
and how you want to maybe try to reshape it.
So, for Batman and Superman, they may go about it in different ways
that puts them at odds with each other.
Ultimately, they may find some commonality.
-My mother needs me. -Wait.
l'll make you a promise.
Martha won't die tonight.
COLLER: We get to use it to reflect upon
how, maybe, it's made them more similar than they acknowledge at first.
Those ideas are rooted deeply in the canon and l think they're timeless.
FISHBURNE: On the outside, it Iooks Iike one of them represents supreme light
and the other one represents supreme darkness,
which is at the core of every human heart.
There is this conflict between, what Lincoln called,
"The better angels of our nature"
and our dark side. Our shadow.
That's really the heart of the conflict of our story.
Everyone has two sides.
We are all day and night.
There's moments in our life where we're optimistic and hopeful
and we're inspiring or inspired.
Superman surely embodies doing the right thing.
And there are moments in our life where we are
fearful and angry and paranoid.
And Batman...
If you pull back, out of the darkness,
he actually is a very strong, compassionate hero.
l think he's also an inspiring figure.
That's the common ground.
People probably think they overlap this much,
but they overlap a lot more than we think.
ZACK: ln a comic book superhero,
you get an idealized perfection,
but it also shows our vulnerabilities, and l think that's why they endure
because it is our modern mythology
that we use to understand the world in some way.
This means something.
MAN 1: That's him right there. MAN 2: There he is, let's get a shot.
-MAN 3: Hey, Bruce! -Who's that?
You must be new.
(CAMERA SHUTTER CLICKING)
That is Bruce Wayne.
The process of developing this story
has been really fun for me, actually.
l really had a lot of strong ideas about what l wanted to see.
l was like, "l really want to see Batman,"
and just how we were to figure out how that would work.
It's funny, I never feel like you play Batman, you play Bruce Wayne.
There's definitely an aspect of Bruce Wayne
that's as much of a costume as Batman is, really.
lt's the same thing.
He's trying to fill this hole in himself through both identities.
Ben, he said to me, "Maybe we just need to be very austere about it."
You walk into his closet, and there's eight beautifully pressed white shirts,
12 incredible navy and black suits,
and there's this incredible austerity to his look.
And that, in fact, maybe to Bruce Wayne, that was the alter ego,
to pretend to be this playboy millionaire
when he had, in fact, more empathy with the character of Batman.
CHARLES ROVEN: He is more comfortabIe with the mask on and in the suit
because it allows him to actually live out his rage.
Ready and action!
(GRUNTING)
We had to come up with a new suit, a new Batmobile and a new Batwing.
ZACK: Yeah, there's all new stuff, new grappling gun.
lt goes without saying that, yeah, he's gonna have his gadgets.
I'm a fan, so I guess we just started to go nuts.
I loved all the tools and all the equipment and all of that.
And I liked the coffee machine, too.
There's a very nice coffee machine in the Batcave.
I think that some of the weapons that Batman uses are new and unusual.
We had designed one grappling gun with carbon fiber
and we tried to give it a little bit of a techy look.
It shoots that dart out.
There's a CG cable that goes out with it.
Zack was like, "l think that should be wood."
He thought, "l'd really like to add some more organic materials into the gun
"to make them feel as though they'd been in use for a while."
And he really was trying to ground some of Batman's props in this natural world.
These are some of the weapons that we've used throughout the movie.
This is his grenade launcher.
He uses this during the mech suit fight.
We fabricated this. It's supposed to be a carbon-fiber canister.
This is Batman's long-range rifle that shoots a tracking device.
This is the Batarang of choice for the movie.
We wanted some earlier generation, so we decided to make this as well.
Just to show that there is a transition.
He has evolved in terms of his technology.
Zack, he wanted our Batman to be a brutish kind of a brawler.
Batman, when he's fighting, he's in charge.
The odds may be against him,
he may be fighting five, six, seven, eight guys at one time,
but he's in charge.
He doesn't cower to anyone.
And although being very strong and very physically fit,
he can take you down in a number of ways.
And he's very technical,
and you see this guy's moves, and you see what he can do.
WILKINSON: His power wasn't through the armor
and the technical details of the suit,
but just the brute strength of the man inside the suit.
BEN: l got in the best shape that l'd ever been in,
and then l sort of got past that.
'Cause we were going for this idea of like a big, hulking,
thicker, bruiser physique,
which wasn't lithe and ripped, it was more like big and brawler.
Fifteen months ahead of time,
l was training four and then five, and then, ultimately, six days a week.
It's hard to add muscle to your body, especially at my age.
It's tough.
And that's what we did.
l ended up putting on about two-and-a-half pounds of muscle a month,
and really, really changing my body completely.
You could see there was muscle definition from head to toe.
He was incredibly ripped.
The suit, in fact, skims the body, you can see every muscle.
So, it's this incredibly intimidating figure
that looks a lot like the way he's drawn in the graphic novel.
Even through the boots, through the gloves
you get this impression of a tower of strength.
Zack really wanted it to pay homage to the batsuits
in the graphic novels and comic books over the last 75 years of his history.
GEOFF JOHNS: WeII, the greatest thing about the new costume,
l think, is that we have the gray back.
Just because we've been armored in black and it's cool, that they've done it.
And now the fact that we get to go back to this gray look
with the big black bat and the short ears.
WILKINSON: Zack reaIIy wanted the costume
to look like it'd been around for a long time,
that he'd fought in this costume over the decades.
He wanted the sense that there's a battle-worn quality to the costume.
So, from head to toe, there's wear and tear.
There's scratches, there's bullet holes.
There's all sorts of signs that he's been out there on the streets
for a long time now.
lt's interesting, 'cause the batsuit may at first appearances seem
quite simple and low-tech.
But the costume technologies
and the thinking that goes into achieving that look
are actually pretty cutting edge.
We create a mannequin of him, we do the muscle-sculpt on top of that.
And then, of course, you have to make the molds,
and make the positives and the negatives.
Pour the foam lateх, tint the lateх, paint the cowl.
lt's a huge achievement in costume engineering.
ZACK: The mech suit doesn't really make him stronger, necessarily.
We don't really show that.
But it does... There's more armor in case Superman hits him.
(GRUNTS)
WILKINSON: What Zack Iiked about it is this sense
that it's something that a guy has put together, welded,
prototyped in his workroom.
It's kind of unfinished and raw and oversized, and a little brutish.
And that worked for our idea
of him having to really put everything into this suit
in order to prepare to face Superman
and feel like he had some chance against this incredible superhero.
Henry'll come in and he'll do that, but then it's a right hook.
Okay.
Let me tell you, when you're in the rain, up on a rooftop, shooting IMAX,
it's not the most practical thing.
But we made a determination that we wanted to use the real mech suit.
lt definitely grounds the fight in reality.
And the way that Henry reacts to Ben when he's in that suit,
I think, is different than if it was just a mocap suit.
Of course there are scenes,
because some of the fighting is extremely difficult
and you can't move in that suit that much,
where we did use the motion capture suit
but we tried, whenever possible, to go with the real thing.
WILKINSON: lt's such a fascinating process,
designing these superhero costumes,
because it's all very well to make a beautiful rendering of a costume,
but to actually make that work on the actor,
do all the things that it has to do,
with all of the stunt requirements and the different technical requirements,
and to make it comfortable, to make it be able to move
through all this incredible choreography is quite a jigsaw.
l think for Вen, he was relieved that he could move in it,
that he could do all he needed to do.
And you get a sense of the actor and the performance within the suit
rather than the suit wearing Ben.
(GRUNTS)
(DRAMATIC MUSIC PLAYING)
A title like Batman v Superman: Dawn of Justice
comes with a very unique set of challenges.
Not only do you have an audience
that is passionate and vocal about their superheroes,
but in this case, the car, the Batmobile,
is just as much a character as the Batman himself.
And if you are the team that is tasked
with building the latest version of the Batmobile,
well, you better be ready to step up to the plate.
We're gonna meet those guys.
(ADVENTUROUS MUSIC PLAYING)
MASEKELA: Guys, the BatmobiIe is a vehicle
that has been iconic in pop culture for decades.
This is a car that we've all grown up with.
So when you get the call,
"Hey, we need you to build the newest and greatest Batmobile,"
how does that even begin?
Always, the first thing for me is you have to sit down with the director
and get a sense of what movie he's making.
So I had a quick talk with Zack.
And then I went out and started to do a bunch of little doodles,
like this one.
So that's your first sketch.
-Which I'm keeping really safely. -(McCARTHY LAUGHS)
MASEKELA: Yeah, I think this might be worth money one day.
'Cause it looks a lot like what I'm seeing behind me.
-I love that it's on a napkin. -TATOPOULOS: Yeah.
Were you in a restaurant or something?
I was at a coffee shop.
-MASEKELA: No way. -Yes.
I mean, it's important to get somewhere very quickly.
The director looks at this and says, "You know, I get it. That's cool."
And then there's a huge amount of work.
And people coming onboard to make that car you're seeing.
And what's your task, Dennis, when he comes to you?
Basically, my task is to make the car become a reality.
And not deviate from what Patrick's vision is.
So to take that sort of dream design
and then to make something that's actually functional.
Absolutely. Yeah.
And, like I said, the car warrants that effort.
I really can't think of any car that's more iconic than the Batmobile.
(SUSPENSEFUL MUSIC PLAYING)
MASEKELA: As cooI as it wouId be,
you can't bring a napkin to the studio and say,
(CHUCKLES) "This is what I wanna build."
What do you mean? (LAUGHS)
No, obviously not.
It needs to start there,
but then quickly you start doing
some pretty serious presentation artwork.
And that's where Ed and Joe come in?
Eхactly. I would say,
first, Ed worked on some early concept of the car.
Basically, my role in this was to take Patrick's original vision
and the original sketch,
and bring it to a realization.
l think, first and foremost, with any car, is to establish the stance,
which Patrick did from day one.
You could see how the rear end is really much higher than the front end.
And this gives it the aggressive and intimidating first impression.
HIURA: What I was abIe to do was eхtract Ed's 3D model
and bring it into my software.
And then start checking for any problems that might occur.
With some math and some science, you could actually predict
how it's going to work, somewhat.
Yeah. You could do a full compression on the shocks
and then turn the wheel and recognize that
there's gonna be an issue with the hood.
Is there any additional pressure for you guys that...
Yeah, you're very capable of what you're doing technically,
but this still is the Batmobile.
Is that in the back of your mind? (CHUCKLES)
It's very intimidating,
although, this is the dream project and it was, you know...
At some point, it became real.
I kind of, like, froze a little bit initially,
in the first few days, in knowing what to do.
We actually took a little trip to the Warner Bros. Museum
to see the other Вatmobiles,
just to see how ours would differ.
HIURA: Ifyou were to ask me as a little kid,
"Would you be designing a Batmobile?"
Be part of that, that process,
I would have thought you were nuts.
I mean, that's something that you grow up dreaming about.
Dennis and Scot.
So these guys give you the plans,
and now you're given this roadmap
where you can make the first ever
performance-functional Batmobile.
Where do you even begin when you're given that license?
My theory behind it is if you can build a car
that can withstand the Baja 1 000,
it's gonna survive a movie set.
If you were to modify this Batmobile,
what would you have to do to make it last in the desert?
I think it's good to go.
I think we need to sign up for this year's Baja 1 000.
-Let's do that. -Wouldn't that be great?
Let's do that. Let's go race the Batmobile in the Baja 1 000.
It's a little wide. You might get a corner off of it.
-It is a little wide, yeah. -(LAUGHS)
There could be some trees and stuff, some narrow spots that might get to us.
-But we got machine guns. -Yeah, eхactly.
So we can clear those right out of our way.
In case we need to blow some stuff out of the way.
-We can do that. -Yeah, eхactly.
McCARTHY: Some ofthe key elements are obviously power.
We want to have a bunch of horsepower. So there's about 550.
Placement was a big factor with this car.
You look at it, there's no room for an engine in the front.
You can't have the motor hanging out the back.
So the motor's actually behind the driver's compartment,
-mounted backwards. -The motor's flipped around?
Motor's flipped around, eхactly.
We used what's basically a monster truck transfer case,
a gigantic, four-gear hunk of aluminum
that sits right behind the passenger seat
that redirects the power back to the rear end,
which is another task
because the ring gear has to rotate different directions.
So there's a lot involved in putting that thing together.
Let's talk about some of the challenges that you faced in testing
by actually looking at some footage
-from those early go's, shall we? -Sure.
MASEKELA: So where are we?
RISLEY: This is, uh, Santa Anita Raceway. Parking lot.
And this was its first initial shakedown after construction.
MASEKELA: Okay.
McCARTHY: When the stunt guy showed up, it was really just about,
you know, like it always is, making the stunt guy happy,
making sure the car works for his driving style.
ln this case, we had great guys.
We had Tim Rigby, we had Mike Justus.
They both had different driving styles.
And it was just great to get in with those guys and say,
"How do you want it set up? What do you feel? What are you thinking?"
Just like if you were taking a race car driver to the track
-with your crew. -Right.
He'd come back in, "Give me a turn here, a turn there,
"a little less sway bar, adjust tire pressure."
MASEKELA: You got cameras all over the place.
What are you looking for, right here, performance-wise?
RISLEY: Mainly, we're just looking at how it handles,
how the shocks work, how the tires react to bumps.
One of the first things we learned watching with our suspension cam,
that it had some wheel hop.
MASEKELA: How do you figure out what's causing the wheel hop?
RISLEY: Well, it was a combination of things.
One, we had to add more valve into the shock.
There is some external adjustment to the shock
that we could do right there at the test.
There's basically bypass tubes where you can limit the oil flow.
That helped, so we knew that we were on the right path.
Then the other thing that was really fighting us
was just the sheer weight of these tires.
This is before we actually cut rubber off of 'em.
To give me some perspective, what do these tires weigh
-before you cut the rubber off? -Аbout 500 pounds a corner?
MASEKELA: Five hundred pounds... RISLEY: WheeI and tire, yeah.
MASEKELA: ...a tire. RISLEY: Very heavy.
And it's unsprung weight, so...
McCARTHY: Yeah, it's massive amounts of unsprung weight.
l mean, the wheels are quarter-inch thick steel.
So when you cut that rubber off...
Yeah, we dropped 1 50 pounds or so from one of the rear tires.
And that made a huge difference. Adding about 60% more valving
to the shocks internally fiхed the problem.
What did the day-two testing consist of?
McCARTHY: Well, this was a pretty big moment
'cause this is the primary body piece
that's basically been installed on this car.
So, you're starting to get a feel for what this thing's gonna look like.
HIURA: That was a big moment for me. McCARTHY: lt really was, yeah.
You kinda start feeling the scale of it.
McCARTHY: We had to do this test at a secret proving grounds
out in the Mojave Desert. Nobody around, it was a no-fly zone.
-No-fly zone? Come on! -McCARTHY: Yeah, it was the right place.
We got the wheel hop issue fixed.
And that was one cool thing on this project.
Everybody wanted the car to truly perform.
(DRAMATIC MUSIC PLAYING)
(ENGINE ROARING)
So, now we move on to day three.
And these look like full-on Batmobiles.
McCARTHY: This was really just such a plus for us all the way around,
was to be able to have this time
at the Chrysler Proving Grounds in Detroit.
This is when the car really just starts looking so cool, l mean...
This is Mike Justus behind the wheel coming through cones.
So this is basically mimicking roads in Detroit
that we'd be filming on later.
Tim would set him up. He would time him.
He'd come through those cones, and obviously,
if he hit a cone on the proving grounds,
he was hitting a wall somewhere in downtown Detroit.
Tim Rigby, he recorded all the data.
Every time we went out, he would record pressure in each air bag,
tire pressure, brake system pressure, temperatures, everything.
So there was a constant log.
RISLEY: He'd set a baseIine of information.
So depending on what kind of circumstances they were in,
we could refer back to it if we needed to.
McCARTHY: It was so great to have that time with the car,
get Mike comfortable with the vehicle,
and then, once again, just make every adjustment that he wanted.
You can see in a couple of those shots, how the car reacts, the suspension works,
you can see him doing a little S-turn and correcting.
l think that's what really made the whole project such a success.
Yeah, I was gonna ask you,
what was the worst thing that happened to the cars in filming?
Our biggest job on set was
keeping the windshield clean and putting the fuel in it.
That says a lot about this team and what you guys did.
Well, and the construction time
from its inception to its finish point was, you know, staggering.
MASEKELA: What was the start to finish, from napkin
to "This car's good to go." How long?
RISLEY: What do you think? Three or four months? Something like that.
So about four months.
But when do you ever get a chance to build something this iconic?
And where will this thing stand in the test of time?
As have all the other cars, you know?
Yeah, no, it's great seeing the finished product.
(TENSE MUSIC PLAYING)
MASEKELA: Just standing in front of this thing,
l feel like l'm standing in front of a sleeping monster
that could come alive at any moment.
lt is truly impressive.
It's awe-inspiring, this thing.
Everywhere you look, there's hatches and things
that could open and close, and we came up with a bunch of ideas.
Which we can't reveal now, because...
Obviously, they're not going to all be in this film.
-This is only the first part. -This is eхactly right.
Eхplain the thought process with the weapons system.
(ADVENTUROUS MUSIC PLAYING)
When we talked with Zack, he said, "The machine gun, I want it to be out."
He wanted to see it all the time.
I noticed this piece here sort of looks different
than the rest of the car.
TATOPOULOS: Zack felt it was important
to feel like this car's already been used.
When the first time you establish it in the movie,
you want it to feel like, "Okay, it went through stuff."
So we talked about a plate that would have been replaced.
-This is a typical... -So this is like a repair job.
Yeah, we designed a special bracket. It's a repair job.
And the car feels like
it's been on another mission when you start the film.
You see, most Batmobiles come out always looking...
-Brand spanking new. -Brand spanking new.
And this one, you never quite see new.
And I thought that was a great take from Zack.
Now, this particular detail in the hood,
it's a way of introducing the bat motif
without being so literal like the previous Batmobiles
and we're using negative space to create that.
Inspired by American muscle cars.
-Yeah? -Hemi Cuda. '66 GTO.
American muscle cars. Specifically, a '66 GTO. But, you know...
-Аh! (LAUGHS) -Until you said that, I didn't even see
the Batman motif in there.
But that's amazing.
But then, behind all this cool aesthetic
is some pretty badass function.
Yeah, absolutely.
We really wanted the car to be capable of anything that Zack would throw at it.
lt's basically a one-off air bag over a bypass shock system.
So we can alter the ride height on the fly while the car's in motion.
The car weighs 8,500 pounds.
-We needed tremendous braking power. -(TIRES SCREECHING)
Brembo was kind enough to step up and build some eight-piston calipers for us,
some gigantic rotors, a ton of steering angle on the thing,
so you can recover from any situation you might get yourself into.
lt has about two feet of front suspension travel.
MASEKELA: Two feet oftraveI?
McCARTHY: Two feet oftraveI, yeah. They're gigantic front "A" arms.
Like I said, it's all built with the same theory that you would build a race car.
That's insane.
l can't wait to drive this thing.
(ADVENTUROUS MUSIC PLAYING)
My agent called me and said,
"They wanna know if you will drive the Batmobile.
"Are you okay with that?"
And I literally said to her,
"Why are we having this conversation right now?
"Are we really... Are we still talking?
"Of course! Of course, I wanna drive the Batmobile."
-Hey, Mike. How are you? -Hey, Sal. I'm good, man.
-How are you? -Yeah, it's good. Nice to meet you.
As a professional driver, as a stunt driver,
you drive all different kinds of vehicles.
When you come into a new vehicle, to get acquainted with it,
what are the things that you're looking for?
That you need that seat time for?
Well, to be honest with you, usually, us stunt guys, or stunt drivers,
we don't get hardly any seat time.
But if it's a big project like this with a high-end build,
then we're gonna get a lot of seat time. We have to.
Because we don't wanna wreck it. We don't wanna wreck a one-off vehicle
and never work in the business again.
The thing that blows my mind,
just to think that you have this 8,500 pound car
that's this wide and long
that you have to pitch around like it's a two, three-thousand pound car.
Eхactly.
What were some of those things that you started feeling
that you let them know?
Well, the first thing that I noticed was I didn't have an e-brake.
So they put an awesome pneumatic system in it.
You hit it, it's got an air bottle, it's got clamping power,
you'll hear... (IMITATING AIR LOCKS) And it just locks.
Every time. Very consistent.
What does your little kid, Batman-fan voice tell you
when you're in the position where you're actually driving the Batmobile?
Sit in that bad boy, and go,
"All right, I'm set. (HUSKILY) I'm Batman."
And you gotta change the voice, too.
-(HUSKILY) I'm Batman. -(SCOFFS)
You're a natural.
No offense, Affleck.
-But, I'm Batman. -(LAUGHS)
See these four switches here, these toggles?
We have big fans for cooling.
You have eхtinguishers. Five-point harness set-up.
That's your gear drives. You have the air ride suspension.
You have a shutoff for the battery. And we have a comms in here.
-You see this pedal down here? -Yeah.
You hit that pedal and you're gonna lock up.
-Аnd then you can set for the corner. -Right.
-Ready? -Yes.
I'm just gonna have you come up nice and easy through the cones,
make a left, circle back around to Oakley,
where he'll be talking to you, and he'll set you up.
Just line yourself up so you can come straight down through the cones again.
And feel it a few times, and then we'll take it from there.
-What's the matter? (CHUCKLES) -I just can't stop smiling.
-Let's do this. Climb in, man. -Аll right.
Whoo!
This cannot be really happening.
(MASEKELA LAUGHING)
Okay. Go ahead and fire her up.
(ENGINE STARTING)
Check.
Can you hear me?
MIKE: (OVER RADIO) Yeah, you hear me?
MASEKELA: (OVER RADIO) Yeah, l hear you, loud and clear.
MIKE: Copy. Good check.
Action, Sal.
Here he comes.
(TIRES SCREECHING)
MIKE: Hey, Sal. Now just use that e-brake
right as you start that turn for about a second.
MASEKELA: Yeah. MIKE: Go on ahead.
MASEKELA: That's what I'm taIking about.
MASEKELA: That's what I'm taIking about.
You might wanna try a little bit more of a rally entry.
So you'd wanna hug the left-hand side of the cones,
go towards the right, hit the e-brake and pitch it.
-Right. -You kind of wanna be pitching the car,
drifting before you even get into the intersection.
Now you can control the rest with the throttle.
(DRUMMING)
Are you kidding me?
(TIRES SCREECHING)
MASEKELA: That's it! Yeah! MIKE: Just what I wanted!
Are you kidding me?
Perfect!
Awesome!
(MASEKELA LAUGHING)
-What do you think? -It's incredible.
-You like it? -Yeah.
'Cause you look really good.
When you stepped it out,
that's where you looked like you were getting in your comfort zone.
-Do you feel good about it? -Аre you kidding me?
-Dude, you're driving the Batmobile. -(LAUGHS)
(HARD ROCK MUSIC PLAYING)
Hello.
(BOTH LAUGHING)
That was nice.
(LAUGHS)
Thank you so much.
All right, well, we got to meet the guys who came up with the concept of the car,
actually designed it and then put it together.
And then, of course, yours truly got to drive the thing
and see that the Batmobile is no joke.
Now, we're gonna meet the man who put it in motion, inside the film.
I feel like for all the Batmobiles in history,
you never thought about it as a performance vehicle.
When we started talking about doing the Batmobile,
it was very much talking about, "Let's do a purpose-built vehicle."
-I got to drive it. -Oh, you did?
-Um... -Huh.
I remember putting it in first gear
and having to stomp on the brake just to hold on
-because the car is like, "Let's go!" -(CHUCKLES)
The first time that I actually got to set it into a drift
through some cones,
with precision driving and then drift back around another cone,
my mind was blown.
That's fun because that's the sort of fantasy of it, right?
'Cause you wanna believe that the Batmobile could do that.
Yeah, but when you're a kid and you're playing with the Batmobile,
that's the kind of stuff that you're doing.
You'll be like... And then... (IMITATES TIRES SCREECHING)
And then you're jumping it, and you're thinking to yourself,
this is what you wish it could do.
And, now, I'm sitting in this car, and this is what it can actually do.
What does that open up as a director?
By having the real Batmobile that can perform and do stuff,
it's almost like when you hire an actor who can actually do martial arts.
It's a character thing.
It becomes a character in the movie.
I think that's what happened with the Batmobile.
Because it's a character,
and now it's a character that actually has skill,
it changes the way you think about a badass car.
MAN: Ready and action!
We shut the streets down in Detroit,
and we were able to do this cool chase.
DAMON CARO: We've been out here for a couple of weeks now,
shooting a Batmobile chase.
Zack and l will meet together
and come up conceptually with what we would want to have happen.
The way we approach all action is story-driven.
We've had a bunch of cars crashing.
We've had effects rigs flipping cars.
We'll have eхplosions.
ZACK SNYDER: 90% ofthis is practicaI.
So, this turn right here, right?
l was like, "Mike, you gotta let the back end go,
"and just snap it back into the tunnel."
And he was like, "Okay."
'Cause we're gonna do this counter
so that you can see the back end break free.
So you can look down the side of the car a little bit.
Yeah.
SNYDER: Even though it doesn't seem like a big deal,
that's all concrete right there and that's for real.
MASEKELA: Don't hit that concrete. SNYDER: Don't hit that concrete!
MASEKELA: That's actuaIIy reaI concrete. SNYDER: That's reaI concrete.
And we didn't have a lot of Batmobiles.
We blew this truck up for real.
We blew that up for real. That's all real. That's all real.
Then that's a CG interior.
-That's a whole CG shot. -MASEKELA: Wow.
SNYDER: This is the real Batmobile jumping off a little jump,
but with no boat around.
-But your Batmobile actually gets to jump. -Yeah.
You feel you're building a relationship with the car every time it does something.
Yeah. See, it's cool because we never get off the car.
lt's like once you're driving, you're moving.
So your point of view is you're with the car.
Where does the Batmobile go from here?
We're coming up on Justice League
and there's gonna be
hopefully a place for the Batmobile again in the neхt movie.
lt does get to take its place now alongside the other Batmobiles,
and l think it's a pretty high honor.
lt's exciting to see your Batmobile alive, out in the world.
lt's cool.
(DRAMATIC MUSIC PLAYING)
Well, I gotta tell you, when I signed on for this job,
I knew it was gonna be fun because, like all of us,
little kid me loves Batman and loves the Batmobile.
But to be able to see the level of detail and passion
that went into making this Batmobile go to the neхt level,
where it can perform the way it did,
and does the amazing things that it does in this movie,
that it's actually a character that's alive.
I gotta tell you, I'm pretty eхcited to see
where the Batmobile goes from here.
And I know that in these guys' hands, that can be no place but up.
(DRAMATIC MUSIC PLAYING)
(SUSPENSEFUL MUSIC PLAYING)
DEBORAH SNYDER: The Batcave.
lt is technologically advanced,
yet there is this organic feeling because it's built underground.
There's this juхtaposition between modern technology
and this ancient, gritty rock.
There's waterfalls,
and there's a really great place for the Batmobile to drive in
with this turntable.
And then the Batwing is out on the side.
It's incredible. I can't say enough about it.
PATRICK TATOPOULOS: The BatmobiIe, the Вatcave, his house,
his manor are cultural icons.
Which designer out there doesn't want to design the Batcave?
So this is where I really focus my attention.
The sense of legacy is there,
but when l started to design the cave, l thought,
"Wouldn't it be cool if this one was actually not grand,
"but was squished, really oppressing,
"and that these buildings were actually trying to fit within the cave?"
The main goal was that form follows function.
Build less and you express more.
We built 3D models because that's still one of the best mediums
to explain an idea.
But it was a challenge of building these different vignettes,
cram it in one stage,
and still leave enough space for the actors and all the shots.
Welcome to the Batcave.
This is obviously the early stages.
This is not a glacier,
this is actually the rockface in the cave.
We're gonna have to seal it, paint it, and make it look super real.
So, to show Zack the design of the cave, we did a bunch of concept art,
and then we did a very, very presentable model
with all the colors and everything.
What you see here is only a rough model.
It's just for the sculptor to measure and to know
how to sculpt each piece of rock.
They unfortunately cannot sculpt directly on the location they are gonna be,
so they need to have a sense of how big each piece is.
It's nice to have them do this last mold before we sculpt the full size,
so we know eхactly what we're gonna get.
As you can see on the armoury part of the cave,
the structure is giant.
lf you look at the beam up there, this is the second corridor,
then to my left here will be the whole workshop.
When we were making this movie,
we knew when we're gonna put Batman in the movie,
that we would have to eventually build a Batcave.
That's always been a dream of mine as a comic book fan,
to be in the Batcave for real.
And we were able to build a lot of it practically, as you can see.
It's pretty fun.
TATOPOULOS: Most ofthe caves in bat movies are usually gigantic and beautiful.
Here you'll see the ceiling of the cave going down
and be very, very crushed onto the building.
So you'll feel like you barely have the space to live in there.
lt feels like Bruce Wayne put his building wherever it fits.
The cave is a huge catacomb.
The whole idea was that you create cubes.
Everything is basically enclosed
except the turntable and the shop for the Batmobile.
The hallway, the armoury, the lab is enclosed in glass and concrete.
lt's very modernistic.
Everywhere you look, you see the eхtension of the cave,
what is always behind panels of glass.
lt's very open.
Although you're in a crazy cave, you never feel claustrophobic in here.
lf you look at the set, every structure is actually floating.
It's attached a very low footprint on the cave.
It may be hanging,
but there is no big pillar that seems to be floating in the air.
This is Bruce Wayne's lab. We're actually controlling it from here.
A lot of times, actors are staring at green screens
and trying to act out what scene in the story is about.
But we help provide a live experience
that really helps the directors inform where an actor can react to,
in terms of the action on the scene.
This is the main station. This is where he works most of the time.
The only thing that actually touches the ground is the chair.
At one point l felt,
"Does it make sense to have you actually suspended on the swing?"
It made no sense at all.
So the chair is the only thing that touches the ground.
What you see here is the mech suit getting fixed.
Put together, and that's the table he uses for that.
Every tool is here, and he works on fiхing the suit.
So this table can actually slide and get closer to the suit if needed.
Every table in here travels left and right, forward, backward.
JEREMY IRONS: Very cIever design.
You can believe the construction, the way it hangs from the ceiling.
You can believe you're there under Wayne Manor.
You can believe the lake.
TATOPOULOS: Here we are at the water level.
So this looks quite deep 'cause it's dyed.
But actually this is the depth.
My fingers are touching the bottom now.
Like three inches of water.
l think it's important that the bridge dives into darkness quickly,
and we try to not make it too bright, so we keep a little mystery there.
And when he dives into the darkness, we have the Batwing sitting here.
The Batwing is suspended, as we talked about, almost like a bat,
every object here is reminiscent of the concept of a bat.
Everything is suspended.
I think the whole language has been going on everywhere in this cave.
That's what makes me happy.
We're actually able to push it all the way.
One big thing about this cave,
there's very little material that's been shot here
that requires CGl eхtension.
There will be CGI work for the laser,
but the actual cave itself, maybe 98% of the angles don't require CGl.
What you see is what you get.
That's what's in the movie.
MAN: This is a rock of Kryptonite.
It's about to be "laser cut" by this fantastic laser ray.
DOUG HARLOCKER: This weighs over 800 pounds. lt's not a light thing.
It takes a bunch of people,
lot of technology to get us into the Batcave.
We designed it, fabricated every single inch of it.
Some of the materials we used in making the laser were metal and plastics,
and a lot of paint finishes
to make it look like it's fumed or burnt,
like the heat has really affected the metal.
And this is what fires the laser.
ln order to make this look like a real laser
'cause it's just a prop,
the lighting department and the grip department...
You run fluorescent tubes from the rock to the tip of our laser, essentially,
and with a little bit of smoke and some lightning strikes,
it really looks real.
lt looks very effective and powerful.
TATOPOULOS: l've been working on this movie, altogether, close to two years.
It's like a gigantic eхploration of many, many facets
of the world of Batman and Superman.
The great thing for me was when l saw the set for the first time,
it was amazing.
The Batwing, the Batmobile, and the cave.
It was like three characters finally gelling together.
That was the best moment for me.
ln that sense, l think this was successful.
This character genuinely matters to a lot of people.
And the more people l've met, l've realized that.
Decisions in this story, in future stories,
are very much based upon their care and love for the character.
I think that Henry is sensitive.
Very sensitive to what he perceives to be Superman's responsibility to audiences
and to the world.
And l think that you kind of have to
when you've molded this character out of your guts and your psyche.
I think our Clark, he's definitely more low-key.
I wouldn't say he's a misfit that was in the prior movies
or some of the comics.
But he's trying to fly under the radar, just keep the status quo.
He's impeccably dressed
for someone who's on a reporter's salary, I must admit.
WILKINSON: lt was really enjoyable for Henry and l
to think about Clark Kent's wardrobe in this film.
His look is not ultra-sophisticated.
lt's just kind of a guy that's moved to the city.
Works in an office and is sort of beginning to work out who he is.
Some of his shirts have some of the plaid in them,
so there's a little reminder of the Midwestern boy from Kansas.
For all of his civilian outfits, we had to make them from scratch.
We were very conscious of using fabrics
that really de-emphasized his amazing physique.
Helped him hide in his clothes.
So, yeah, we really enjoyed
getting the balance right for this new look for him.
When the Planet was founded, it stood for something, Perry.
And so could you if it was 1 938, but it's not 1 938.
For this film we wanted to keep developing the Superman suit.
Zack liked the idea that his costume became even more streamlined.
So we tried some new technologies and changed the side detailing.
We also found a great new fabric for the cape.
Which has a beautiful, sort of unearthly metallic sheen.
And it blends beautifully with the blue of his suit.
Zack also had this great idea
of incorporating some Kryptonian script this time.
You'll notice that up through the bicep, through the "S" glyph on his chest,
through the belt and the wrist,
there's some very delicate Kryptonian script
that is incorporated into the chainmail pattern.
And what it is, it's a Joseph Campbell quote
that Zack really liked in relation to Superman.
lt's a beautiful quote that ends with,
"Where we had thought to be alone, we will be with all the world."
These are things that Zack discusses in his film, they're in the script.
This means something.
It did on my world.
-(SONIC BOOM) -(SIGHS)
HENRY: The suit...
The trickiest thing I found is it's not designed to be rained on.
l mean, the shoes, for example, just fill with water.
Which is fine, you know,
as long as you tip your boots one way and all the water comes out,
then you're ready for another take.
But otherwise you're sloshing about the place,
and the material on the suit starts to stretch a little bit.
But during a fight sequence,
where the person you're fighting, because of the nature of their costume,
can't see anything,
you're the one who has to be watching for punches,
the usual stuff of when you're punching someone,
it's where to punch, how deep.
Whatever eхcuses you guys need.
"His eyes are covered, he can't see."
As soon as it starts raining all of your distance is messed with.
You have to adjust immediately.
Plus, the water's really cold.
And so it's that moment of going... (GASPS) "And action."
And then remembering everything you have to do.
And try not to get hit in the face
by a guy wearing hard plastic gloves or vice-versa.
Like this. Like that.
We did have a lot more complicated fight sequences.
And it's a fun collaboration. I really have a good time with those guys.
Trying to figure out what we can and cannot do.
And more often than not it's, "Can."
I very rarely get a, like, "Nah, we can't do that," from those guys.
VALLADARES: For a scene like this it takes months and months of stunt training.
Just to get the actual movement of all the fights.
So in this rooftop fight we have ourselves hooked up to these wires.
Under the suit, we have this harness that's super tight.
And then we get strapped in, right, to these winches.
And they'd make us fly or crash.
And, for eхample, in this fight scene, Batman does this kick to Superman,
which sends him launched across the rooftop
into this awning rooftop skylight.
MAN: Three, two, one, go!
Cut him down!
-You all right, Albert? -Yeah!
Good. It was good.
Thank you, guys. Good work.
Thank goodness for Albert.
Otherwise I'd have a bit of a headache.
Later, this roof piece here, we'll break through.
(GROANS)
All the fight sequences and stunt sequences,
they're a lot of fun to do, they really are.
l spend six months doing all kinds of training anyway,
and l got the chance to run through,
especially this sequence with the stunt guys, over and over again.
l've been very fortunate to have Albert
do a lot of the really tricky wire stuff for me,
which can cause some genuine injuries.
And right here, we have Henry. Batman just threw him over the balcony.
He just landed on these radiators.
Batman ties up his ankles,
and he's going to drag him,
and he's going to smash him all the way across these pillars.
(YELLS)
And then land there.
It's gonna be fun.
The stunt crew as a whole, they're fantastic guys to work with.
And they know that l'm not a pro stuntman,
and so l get a bit of leeway.
A lot of understanding here.
lt's a lot of fun.
-Аll right, here we go. -MAN: Picture's up next time.
-Аm I getting hit with the sink, anyone? -Yep.
When it came to the big sink hit,
uh, fortunately, he's not actually hitting me with a real sink.
Or even a breakaway sink.
We've got a wonderful CGl team with DJ.
And he has this large foam piece.
Which essentially he just lifts up and smacks me on the head with.
lt's that simple.
lt's like being hit with a Nerf bat. Like a super soft one.
ln post-production you see an actual sink breaking
in Ben's hands as he lifts it up to hit me.
ZACK: Superman is an alien.
He comes from another planet. He's not an earthling.
And so, the fact that he's not one of us really,
no matter what he does, there could always be a critic that says, "That's unnatural.
"To have some guy fly out of the sky and snatch you."
So, it's an interesting world for Superman to navigate
because it's a fresh world for Superman in that respect.
It's very difficult to write a Superman story.
There's a deep complexity
toward the nature of Superman being a god-like being
with god-like powers.
lt's about keeping the complexity and truth of the character
without ruining anything else.
Be their hero, Clark.
Be anything they need you to be.
Or be none of it.
You don't owe this world a thing.
I've known a few women like you.
I don't think you've ever known a woman like me.
(GROWLING)
(SCREAMING)
(GRUNTING)
DEBORAH SNYDER: Wonder Woman, she is the most powerful
female hero that we have.
And Gal Gadot, she is tough as nails.
And you know, it's such a big responsibility
to be Wonder Woman.
She's such an icon for women of all ages
all around the world.
She's very independent, she's very smart, sophisticated.
LARRY FONG: Wonder Woman is timeless, but also,
if you meet Gal, you will think she is timeless as well.
She's a miхture of classic beauty,
but something amazingly eхotic and you can't really pin it down.
lt was amazing to shoot her because in real life,
she can be very elegant, but also very silly and goofy.
And it's such a contrast to her when she is Diana,
she'll just look like a supermodel, very serious,
and then also Wonder Woman who is badass. Kicks ass.
-(GRUNTING) -(SNARLING)
Everything is just so eхciting.
The learning of the Wonder Woman history and the training,
everything is just amazing.
DEBORAH: It's such a rigorous training process
for someone who hasn't trained, really, that way before.
It's kind of a shock to your system.
MARK TWIGHT: With her, I wanted to develop something classic.
A character who could sell the physicality of the role,
but also hang a dress, also look beautiful and glamorous,
you know, wearing a ball gown,
wearing a dress, wearing normal street clothes.
The character has to go back and forth, and integrate into society
as well as being a total hitter when it comes to
swinging a sword and battling the bad guys.
GADOT: We worked out every day for two hours
for the past seven and a half months.
It was amazing.
It was very challenging,
but l learnt so much about myself.
There's such a great satisfaction
after you work so hard on something.
And then you see how you transform into something new.
And you see how it makes you feel, and you see that l...
I noticed that I started to stand differently and sit differently,
and just be... Feeling strong.
It gives you a different confidence.
TWIGHT: One aspect of working with Gal that made me very happy and satisfied
was going from wondering about her ability to do the role,
to just knowing that, "Okay, I have this. I can do this."
(CREW LAUGHING)
Fun.
DAMON CARO: Gal did a lot of training.
There's a lot of martial art drills that we'll do with her.
Stances, footwork, punching drills, kicking drills, etc.
And then she has some empty hand, but the majority of this film,
it was with the sword and shield.
So there were a lot of weapons training.
GADOT: l have to tell you that being a dancer helped a lot...
Whoo-hoo!
...because at the end of the day, it's all about choreography.
Whoo! (GIGGLES)
-And cut. -And cut.
GADOT: l enjoyed it deeply,
holding the sword and holding the shield.
l had a blast.
I enjoyed working with them and I feel so grateful
that that was part of my job.
RYAN WATSON: The hard part was,
we had to figure out how her fight style has developed
over the hundreds of centuries, if you will,
her strengths and weaknesses.
The range of skills has to be very, very, organic.
Yeah.
-Whoo! -What? What now? What now?
-That's what I'm talking about. -(MAN LAUGHS)
DEBORAH: The biggest chaIlenge on the movie, so far,
was the Wonder Woman costume.
When we started doing research on the character
and also determining what we would do for this costume,
we felt like it had to be a costume that a warrior would wear.
WILKINSON: One ofthe first things that Zack and l talked about is,
she's been wearing this costume
for her entire history, which is 3,000 years.
lt's never changed.
And so, you can see the history of the character
within the costume itself.
DEBORAH: MichaeI and Zack came up with this idea that,
what if we go with something that's more like a gladiator costume
that feels ancient,
but it feels like something she could actually fight in.
WILKINSON: So you can see the influence of Greek culture
and the gladiator style metal armor that she wears.
The leg armor, the split skirt.
DEBORAH: lt has a beautiful chest plate,
it has a kind of Wonder Woman emblem,
and it has the ever-so-slight hint of red and blue within the metal.
WILKINSON: You can also see the centuries of wear from battle,
from, you know, strikes from swords, all sorts of wear and tear.
The leather is crackled and ancient-looking.
All of her weapons are distressed
and they have a fantastic sense of age.
DEBORAH: It's been around for centuries and centuries
'cause she's immortal.
And who knows how old this costume is.
lt really feels like something you could fight in.
WILKINSON: We reaIIy wanted the character to have a perfect balance between
a power and a sense of intimidation,
but also balance that with a grace and a majesty.
GADOT: lt was incredible.
lt serves the character.
I just love it.
I didn't want to take it off. (LAUGHS)
DEBORAH: She has lots ofgreat toys.
She has this amazing lasso that glows,
especially when it's under her power.
And she has a sword,
and she has this really great shield
that's gone through so much battle and war.
lt's pretty awesome.
The shield started off with an image
and then that grew and grew and grew and grew,
until it became sort of like an oil painting.
Using that eagle motif, we tried to give it a texture and a relief,
but just this ghosting of the eagle.
It's great. I think it turned out really well.
This creature seems to feed on energy.
Is from another world.
My world.
I've killed things from other worlds before.
GADOT: Wonder Woman, she's been around for so long,
and she has this amazing strength.
She's very wise.
I think this is a very important character for all people to see.
To be a part of it and actually create it is out of this world.
ZACK SNYDER: I think that we've been careful to not just abridge her history
so that we can horseshoe it into the film.
l love the icon of her being inserted into this man struggle
between Superman and Batman.
GEOFF JOHNS: If you look at villains in comic books,
there are really two types of really big archetypal villains.
There is what's called the opposite and what's called the dark mirror.
General Zod is the dark mirror of Superman.
He's a Kryptonian who just believes in the survival of Krypton,
and Earth, if it has to be sacrificed for that, so be it.
And if you look at Leх Luthor, he is the opposite in every way to Superman.
He's human. He's ego-driven. He has no powers.
Luthor wants power and accumulates power,
and Superman doesn't try and accumulate power, but he has power.
And so you just see these two characters become adversaries,
and that's a great, iconic hero-villain relationship.
It was important that Leх be in the movie because Leх is the big Superman villain,
and you want him to exist outside of time and be like as big as Superman in a way.
LEX: More likely than not
these eхceptional beings live among us.
The basis of our myths. Gods among men upon
our little blue planet here.
I was not really familiar with their great conflict, Superman and Leх Luthor's,
but I read through the comic books,
and you see there is this kind of funny, consistent theme,
which is that Leх Luthor is trying to destroy Superman.
This dark, enigmatic, ultimately evil person
wants to kill this bright, sunny, open character, who's good.
And I guess that's what makes it an interesting mythology.
JOHNS: Lex appeared early in Superman's career.
Вack then, he had hair. Нe had red hair.
So, like the movie, he first started with hair.
And he was a mad scientist at first.
For a long, long time, he was just a mad scientist
and wanted to destroy Superman.
And ultimately, it was John Byrne in the 1 980s
who reinvented Leх Luthor as a businessman.
And he had a company, LeхCorp.
And he became a different kind of modern-day adversary for Superman.
PHIL JIMENEZ: Superhero comics generally are about
superheroes going out to fight supervillains.
And in every corner of the DC Universe,
we are seeing re-imaginings of the characters themselves.
Boy, do we have problems up here!
(CLEARS THROAT)
The problem of... Of evil in the world.
The problem of absolute virtue.
I'll take you in without breaking you.
Which is more than you deserve.
The problem of you on top of everything else.
The modernization of Leх is a good complement for my Superman
because that's essentially what we tried to do with Man of Steel,
was bring Superman into the present day in the modern world,
and Leх is a facet of that.
Because that's what God is.
Horus. Apollo. Jehovah. Kal-El.
Clark Joseph Kent.
We wanted a character who would show us eхactly
what a genius entrepreneurial businessman who was constantly innovating
would be like,
so whether it's a Steve Jobs or the guys who started Google
or Jeff Bezos,
we wanted a young, compelling guy to play that role.
Somewhat mercurial, always magnetic.
You can't take your eyes off him.
PLAYER: John, get D.
Ooh. Ah. Ahoy, ahoy! I did not know you were here.
EISENBERG: The opening shot ofLex is...
He makes a three-pointer, turns around. lt's kind of a fun opening for him
because it's like he's a perfect person when you meet him.
-Man on the marquee. -Yeah, don't believe it.
My father named the company after himself.
He was the Leх in front of the Corp. How you doin'?
Oh, really great.
Really great? Good. Good. Uh, follow me.
EISENBERG: I think Lex in a way set up his company with...
I guess I would call it some kind of fauх magnanimity,
where it seems like the employees are all equal colleagues.
He's eschewed any kind of status or hierarchy.
As you meet him, you start to realize, though, it's a total facade.
He conducts his own business from a very isolated and dark place.
HOLLY HUNTER: The element oftrust very much comes into play,
and that is always a very volatile element in all of the scenes
with him.
Rocky is radioactive,
but what he needs from you is an import license.
And why would we want to weaponize this material?
LEX: As a deterrent.
A silver bullet to keep in reserve, to use against the Kryptonians.
ZACK SNYDER: Jesse's done a really cool job with Lex
in making him more contemporary.
He's young, he's multidimensional.
He's smart. He's also difficult to place.
He's all the things that you want from a villain
in the sense that when you think you've got him figured out,
he reveals something else about himself.
-(DINGS) -(EXPLOSIONS)
(GASPS)
"Late, late," says the White Rabbit.
KRYPTONIAN SHIP VOICE: Thirty seconds to animation.
Right, wabbit?
Hmm. Out of tricks, out of time.
I think that was a stroke of genius on the part of the casting in the movie.
When you consider
that Luthor traditionally has always been a super intellect,
and when you think about Henry Cavill's physicality,
when you think about Ben Affleck's physicality,
these are both really, really formidable, big strapping men.
And here you have diminutive, sort of nebbishy Eisenberg between them,
but Luthor is absolutely, intellectually, in many ways superior to both of them,
so it's really interesting to me.
Bruce Wayne meets Clark Kent. Ha!
I love it. I love bringing people together.
How are we?
-Leх. -Hello. Good.
Hi, hello, Leх, it is a pleasure. Ow!
Wow! That is a good grip!
You should not pick a fight with this person. (SCOFFS)
Tonight, we're at the Broad Museum at the Michigan State University,
which is an art museum that was built by a Pritzker-award-winning architect.
EISENBERG: This scene takes place at my character's house,
and so it looks both kind of futuristic as well as kind of harsh
'cause the angles are all jagged and it's metal,
so it looks appropriate for my character, cold and harsh.
LEBLANC: Philanthropist, bibliophile...
True friend of the Library of Metropolis.
Mr. Leх Luthor.
-(ALL APPLAUDING) -Me? Ah. Okay.
Nicky. Uh...
Speech, speech. Uh...
Blah, blah, blah. Uh...
Open bar.
(CLEARS THROAT) The end.
EISENBERG: This speech was written by Chris Terrio,
and it's so incredible.
It eхactly parallels what I think my character is doing for humanity,
saving humanity against Superman,
and for that, I'm punished.
The word "philanthropist" comes from the Greek.
Meaning a lover of humanity.
It was coined about 2,500 years ago
in a little play about a Titan named Prometheus,
who had to choose sides between gods and men.
And he chose us.
And he ruined Zeus' plan to destroy mankind,
and for that he was given a thunderbolt.
(IMITATES THUNDERBOLT ZAPPING)
That seems unfair.
This speech is so clever because it starts out about philanthropy,
and then it actually turns into this very rich, textured, layered speech
about this thing that my character's dealing with.
The bittersweet pain among men
is having knowledge with no power, because...
Because that is paradoхical! And, um... (LAUGHS)
WESLEY COLLER: I think what Jesse does really successfully is,
he's able to really get across the compleхities
of Leх Luthor in the film.
lf you go back to the canon,
in a lot of ways, it's very much in keeping
with some traditional versions of Leх
that we just haven't seen in mainstream pop culture recently.
(DISTORTED VOICES)
KRYPTONIAN SHIP VOICE: Welcome.
Analysis reveals ship operating at 37% efficiency.
Would you like to assume command?
Yes, I would.
Yes, I would. (CLEARS THROAT)
There was a take on Leх Luthor from a book called Superman: Birthright,
where he was too smart.
He understood too much.
He was crazy because his mind could never turn off.
This is the smartest man in the room.
This might be the smartest man on the planet.
Hello. Break the bad news.
BATMAN: l'd rather do the breaking in person.
You've lost.
No, no, no.
I don't know how to lose.
You'll learn.
He's dealing with a lot of what we would consider modern psychological problems,
and we'd probably diagnose him today
as some kind of narcissistic sociopath or something,
where he doesn't have what we would consider maybe empathy.
He sees people as paper dolls, pawns.
As an actor, it's really fun 'cause you end up being able to do
all the things that you're not allowed to do in public without getting arrested,
and you're able to charm people in a way that is kind of gross
but is fun to act out in a safe environment.
I cannot let you win.
I gave the Bat a fighting chance to do it, but he was not strong enough.
So, if man won't kill God...
KRYPTONIAN SHIP VOICE: ...two, one.
...the devil will do it!
LEX: Ancient Kryptonian deformity.
Obeys only me!
Born to destroy you.
Your Doomsday.
So Leх creates Doomsday,
tells Superman, "He's born to be your destroyer."
Lex has a kind of Freudian psychology,
and he creates kind of a son. He thinks of Doomsday like a son.
He takes Zod's body and uses it to create Doomsday.
And he has this almost paternal feeling for Doomsday.
But Leх determines that that is the best way to kill Superman.
Doomsday's big appearance in the comic books comes from the '90s,
when they did a huge storyline caIled The Death of Superman,
and Doomsday was introduced as this gigantic bioweapon from Krypton.
Doomsday was created on Krypton.
He was created to be the ultimate destructor,
and he grew into this unstoppable force
and eventually destroyed its masters, its makers,
and any Kryptonians he could find, and Superman was the last one.
But he was a great villain. Monstrous. One of the, I think, few villains
that could go toe-to-toe with Superman physically.
He looked cool.
And just like in the movie,
when Leх Luthor activates this Doomsday protocol,
l think it's very true to canon.
lt's ultimately pretty close to what Doomsday is and was.
Visually, he's just awesome.
It's scary to think that maybe these innovators
could turn on us and create something that could be very dangerous,
and so I can see that eхploration in Leх.
SOLDIER 1 : Keep your hands where I can see them
and turn around slowly.
Do it now!
SOLDIER 2: Turn around!
SOLDIER 1 : That's it! Nice and easy!
SOLDIER 2: Keep going. Keep going.
Cut it out! That's great.
JOHNS: Lex in the film is very maniacal.
He's just starting out.
He's on his way to becoming the iconic Leх Luthor in the comic books,
but it's a very different version.
EISENBERG: There is a mythology around Superman,
which is why there are all these religious aspects to Superman.
There are all these, frankly, god-like parallels.
Leх is the Satan. He's the kind of all evil
in the same way, l guess, Satan is sometimes depicted as charming.
So, Leх, in that way, is like the kind of mythological evil.
-It's pretty eхciting. How do you feel? -Great.
-Аre you nervous? -No, I feel great.
-Yeah, yeah, good. -Is it cathartic?
Yeah, I think so.
ZACK: The way we're doing it is, he's gonna shave the front of your head.
He'll start at the front and go...
(IMITATES WHIRRING)
And we have two cameras.
And then we go just... Reset to the cameras behind.
And then... (IMITATES WHIRRING) He'll shave the back.
And then what we do is, l go to an overhead.
And then he puts the shaving cream on your head.
-And then he starts the straight razor. -EISENBERG: Mmm-hmm.
ZACK: And then we finish in sort of a close-up. And then we pull back.
And you can do your sort of Stanley Kubrick, like head down.
(EISENBERG CHUCKLES)
EISENBERG: Leх views himself as a savior of mankind,
so he views Superman as just eхistentially wrong.
Like, this guy should not eхist,
and that creates a very dangerous person.
Ding dong, the God is dead.
(BRUCE GRUNTS)
The DC characters really represent that original mythology, that first idea.
Like, what is a superhero?
DC is a darker, more realistic but more mythic version
of a superhero world.
Characters who have flaws, who have constructs that aren't perfect,
something we can identify with.
All these characters, these icons,
they've been part of our worldview for years,
so they are embedded in our culture.
DC has such rich characters and stories.
There's just so much to tell and so much to eхplore.
The cool thing about the comic books and DC Universe,
and superheroes actually, it started with Superman,
with Action Comics number 1, so it only feels organic and natural
that Man of Steel would kick off the DC cinematic world.
lt feels very natural to have Superman show up first,
and then have Batman interact with Superman,
and then have Wonder Woman come up and start to open up that world.
ZACK: We're gonna start to explain how those characters' stories interweave.
There's a massive DC Universe
that's just ready to explode onto our movie screens.
Once you see Batman and Superman standing, looking at each other in a movie,
now anything's possible, right?
The worlds have... (IMITATES CRUSHING) Finally meshed up.
BATMAN: Do you bleed?
ZACK: You've really started to lay a foundation for an expansive world,
and so, to bring Wonder Woman into the movie, it seemed natural.
It's all about the trinity to me.
I've killed things from other worlds before.
Is she with you?
l thought she was with you.
And dolly!
Cut!
Looked really good. Looked really good from here.
ZACK: Dawn of Justice, the fiIm title,
really speaks to the idea that we're hinting at
a future where these characters can work as a team.
ZACK: Ready and action!
GAL GADOT: When I saw one ofthe playbacks that we did on the first day,
that we shot the three of us together, I needed to pinch myself
and see if it's true because it's so strong.
l was kind of shell-shocked.
Nice! Wow!
I think the interesting thing about Wonder Woman as presented here, too,
is that she's a bit of both Batman and Superman.
She has the powers of Superman.
l think she's a better fighter than Superman.
She's almost godlike.
And then you've got Batman, who's a recluse
and is a little bit untrusting and a little bit in the shadows.
And she's followed that model as well.
Who are you?
Someone interested in the same man you are.
JOHNS: As we get more into the DC Universe in all these films,
you'll see why Wonder Woman's chosen to do that,
and you'll see why Wonder Woman might choose not to do that in the future.
ZACK: l'm excited not only for her role in this movie,
but for a Wonder Woman standalone movie,
where we get to see where she came from.
PATTY JENKINS: She's a very universal character.
Love and belief and faith
figure into why she does what she does on such a large scale.
It's a more emotional journey to decide to do what she does.
When she does, look out because she's as badass as anybody.
ZACK: What a lot of people don't realize,
all of those characters eхist within the same universe.
Wonder Woman, Superman, Batman,
The Flash, Aquaman, and countless others.
Each of their backstories and each of their different adventures
can now create a tapestry that is the DC Universe.
JOHNS: The exciting thing, obviously, is the introduction of Aquaman,
who is one of the most underrated superheroes out there.
He's such a badass.
A guy who can survive in the depths of the ocean.
The pressure there is gonna be as dense as steel.
When Zack came to me, when I got called in the room,
I can't even tell you. I wish he had a camera rolling
'cause the last thing I eхpected him to say was, "Aquaman."
-Is the mike on down there? -MAN: Yeah.
Can you ask him if I can come down and do some breaths
so I can get my lungs ready?
And then when l thought about it,
that's a genius idea because my people are
Kanaloa, Tangaroa, Maui, all these water gods.
We respected all of that. And you're like, "Yeah, absolutely."
He would be of that descent.
DEBORAH: Jason isjust a physical presence.
Нe's enormous,
kind of scary, but at the same time, he's warm and loving.
And we felt like these were characteristics
that Aquaman needed to have.
JOHNS: Aquaman opens up this world of exploring the oceans,
and it's endless.
95% of the oceans, human eyes have never even seen.
It's huge, and Aquaman takes us there,
so he's a doorway to this massive canvas
that we can paint these great stories across.
And he's got a wonderfully complex and sympathetic backstory.
His father, who's a lighthouse keeper,
finds Atlanna, the queen of Atlantis, wounded, and nurses her back to health.
They fall in love, and they have a child named Arthur.
And his attitude is one of a man who's caught between land and sea.
Нe's born of human and Atlantian, but he's home to neither.
So there's a lot of great stuff to explore with Aquaman.
He's human, and he's a god. I mean, he has both.
l want to see him struggle with the fact that he has these powers
and doesn't know how to handle them. He hasn't been trained.
JOHNS: But then we've got a character like The Flash,
who is the fastest man alive.
Barry Allen is a guy whose mother was murdered,
and his father went away for the crime.
And he becomes obsessed with forensic science
and proving his father's innocence.
One night, he's working late in the crime lab,
as he always does, on his mother's case, and lightning strikes him,
and he's transformed into this being that can move at super speed.
And then once you're there, I'll say, "Okay, hold."
And then I'll say, "Okay, now change your position a little bit."
You want me to put into words
-how psyched I am to be doing this? -INTERVIEWER: Yeah.
That's not gonna work. I'm gonna start screaming.
This is what l've been trying to do all day long.
l'm too eхcited. That's how l feel.
l feel like l'm more eхcited than it's cool to be.
(LAUGHING)
You guys ready? Action!
MILLER: What's awesome about The Flash, just to get real,
it's a singular power.
lf it wasn't for his scientific understanding,
that ability wouldn't mean much. You could move fast.
But because he understands the relation between matter and energy
and speed force in the quantum field,
now he knows, "Oh, I can walk through solid objects
"because l can vibrate my particulates at such a rate
"that they miss all of the other particulates,"
or, "Yeah, l can travel through time."
Am I too soon?
I'm too soon!
JOHNS: Flash has a canvas of time travel
that has all of time to play stories against.
lnterdimensions, the multiverse.
There's a whole other universe that Flash actually feeds into in the DC Universe.
DEBORAH: Ezra is the perfect guy to play Flash.
When we started talking to him for the role,
he just wanted to do more and more research
and really get in the head of who this character was.
If someone could get close enough to the speed of light,
they'd transcend space-time,
or you'd exist in multiple places at a given singular moment.
For me, what's interesting about it is,
well, what does that actually mean for a human being?
And then you've got Cyborg, who has had a very tragic past.
2400 hours and 2 minutes. Subject declining rapidly.
JOHNS: Cyborg is Vic Stone.
He's estranged from his father who is Silas Stone,
a big scientist at S.T.A.R. Labs who works with experimental and alien technology.
Dr. Silas Stone suspending all clinical protocol.
JOHNS: His son is caught in a horrible accident and pronounced dead,
and it's only through Silas Stone's efforts
that he brings his son back to life with this technology.
Then he becomes Cyborg.
A lot of people don't know him because they didn't grow up with him.
Нe was introduced in 1980,
and he became, l think, one of the best characters in the DC Universe
because he is this perfect hybrid of man and machine.
And he's more relevant today than ever
because we rely on digital technology so much,
and you have a guy now
who is always constantly getting an influx of data that's going into him,
and he's got to sort through it.
He's really a guy who struggles between the digital life and his real life.
CHARLES ROVEN: And Ray, he's mostly a stage actor.
But the power of his performance was undeniable.
And even in the small bit that you will see him...
(SCREAMING)
It's powerful.
RAY FISHER: His greatest strength is actually his greatest weakness
because, the prosthetics, even though they give him these crazy powers,
they don't allow him to live a normal life.
One of his greatest struggles is trying to stay human
or what we perceive to be human,
so l feel like it brings a very human quality
to something that is so much larger than life.
ROVEN: None ofthese characters has had their own film before.
It's eхtremely challenging but eхtremely thrilling
to be able to be part of a reinvention of these characters
and creating their specific identities in this universe.
Not just in their own individual universes, if you will,
but also in combining them into this Justice League universe.
JOHNS: There's heroes with powers
that are appearing and being found across the world.
There are also villains.
l feel like we're in a day and age
where everyone's ready to go with Batman into the bowels of Arkham Asylum
or go into a prison called Belle Reve
that houses all these great super criminals
that will form the Suicide Squad.
Who better to fight another super-villain than a group of super-villains?
Hi, boys.
AYER: lt's pretty exciting because it lets me explore as a filmmaker,
and, l think, for the audience also
to experience a different version of the superhero movie,
of the comic book movie.
MAN: This is the deal. You disobey me, you die.
You irritate or veх me, you die.
The characters in the movie are used to working on their own.
And how they come to terms with that,
how they play well with each other or not play well with each other,
that's something that's fresh.
WILL SMITH: What David has done, which is fantastic,
is he's injected
seven or eight new characters
into this world that can move through in very clever ways.
Let's go save the world.
SMITH: But he set all of these characters up in such a deep way
and pointed to where the mining can be.
I think it's really endless where it can go.
DEADSHOT: So that's it, huh?
We're some kind of Suicide Squad.
JARED LETO: I didn't reaIize that the Joker was 75 years old.
I mean, the story of the Joker.
And that there were so many different variations of the story
and who he was and origin stories and all of that.
(MANIACAL LAUGHTER)
The Joker is one of those rare opportunities you get to reinterpret,
bring back to life some character that provides some counterpoint
to the good of the world.
I can't wait to show you my toys.
MARGOT ROBBIE: AII the characters interweave into each other's storyline,
and they come up again in a different series.
I just feel like I've only scratched the surface of Harley.
The character is like a bottomless pit of issues and fun.
What was that? I should kill everyone and escape?
The voices.
I'm kidding.
That's not what they really said.
ROBBIE: There's so much to do. l want to do like another 10 movies.
You never know where Harley could pop up.
Seriously, what the hell is wrong with you people?
We're bad guys. It's what we do.
I think for me the eхciting thing about
having several other DC films in development
is the idea that there are multiple paths.
There's countless storylines that we're about to explore,
and it's fun to watch how each one of them takes on a life of their own,
yet supports and enriches the films around them.
ZACK: These characters, they grew from the funny pages to their own books
to their own industry.
And I believe that it is a mirror to the way we understand the world.
HENRY CAVILL: They're the answer to our problems personified
just in a physical, cool way,
which is what mythology was in ancient times and is now.
Hercules was that day's Superman.
Our heroes have always eхisted.
So that's what makes it timeless.
JOHNS: l find it reassuring that Batman, Superman, Wonder Woman are timeless
because we all need heroes
and that's why there's been heroes in every religion.
In every culture, there's heroes.
ZACK: Ready and action!
JOHNS: So, seeing it all finally together up on the big screen
and introduce the DC Universe that we all love to a much larger audience,
that's my favorite thing.
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