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The Batmobile - Documentary Special (2012)
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NOLAN: There's something incredibly primal about the relationship... ...between man and machine. It's extraordinarily powerful. It's almost like the myth becoming reality. Well, you look at the comics themselves and how much they've changed over the years. When you see it, you go, "That's so cool! I wish I had one of those." We wanted to raise the bar and build the best Batmobile there ever was. USLAN: The origin of Batman is so primal and emotion filled. [GUNSHOTS] When Bruce Wayne was a young boy... ...he saw his parents murdered before his eyes. And at that moment, in the belief that one person can make a difference... ...he made a vow to get the bad guy who did this... ...and to get all the bad guys... ...even if he had to spend the rest of his life walking through hell... ...to honor that commitment. As a man, I'm flesh and blood, I can be ignored, I can be destroyed... ...but as a symbol... As a symbol, I can be incorruptible. I can be everlasting. One of the attractions of Batman as a superhero is that he doesn't have superpowers. RA'S AL GHUL: You are just an ordinary man in a cape. - I never said thank you. - And you'll never have to. WHITE: He dedicated his life to fighting crime... ...so no one else in Gotham City would have to suffer the way he did. SCHUMACHER: He is an ordinary person doing extraordinary things... ...to stop injustice. The Batmobile is the way he gets there. I've got to get me one of those. The very first Batman story was in Detective Comics, number 27, May 1939. And right from the get-go, Batman needed to get from place to place in the city... ...so he drove Bruce Wayne's red sedan. And in 1941, Bill Finger, the writer... ...decided to take what Bob Kane had been drawing... ...and dub it the Batmobile, and then working with Jerry Robinson... ...craft it as something that began to look a little darker... ...a little bit more serious, and a little bit more bat-like. The Batman! Come on. When the movie serial started, you had real cars. Let's go. USLAN: The 1943 Batman movie serial was a 1939 Cadillac... ...which was the car Bruce Wayne was driving. But it seemed like if the top was up, it was the Batmobile. If the top was down, it was Bruce Wayne's car. Come along, fella, you're going with us to the Bat's cave. It didn't have any bat symbology... ...they didn't have any budget to build fins for it. It was very simple. DIDIO: When you hire a new artist for DC to work on Batman... ...one of the first things they want to do is they want to invent the Batmobile. USLAN: What was happening around 1950... ...was an editorial decision to modernize Batman. The existing Batmobile has a crash... ...Batman breaks his leg, and as he's recuperating... ...he's sitting there drawing up plans for a brand new Batmobile. The Batmobile elongated, the Batface on it grew in size... ...and was far more prominent... ...and the various artists through the years of the 1950s continued to modify that. It had different kinds of weapons... ...different kinds of devices from story to story... ...depending on what the writer needed to get him out of some kind of a fix. I actually have seen a Batmobile in real life. I've actually seen the '60s Adam West Batmobile. Still one of my favorites just because it's the first one. The first iteration of the Batmobile I ever saw was the TV show. I remember as a kid that was a massively important part... ...of what the appeal of Batman was. The TV Batmobile was created by George Barris... ...whose daytime job was customizing cars. BARRIS: The producer, William Dozier, called me from 20th Century Fox... ...says, "We're doing a Batman TV show... ...and we'd like to create a Batmobile. Now, you've got 15 days and $15,000." I said, "Wait a minute, 15 days?" But the challenge was worth it, so I said, "Let's go for it." And of course the big part is that Ford Motor Company... ...had the basic car that we used. I bought the concept car, the Futura, from Ford Motor Company for $1. It gave me pieces already that I could make fit... ...but this car had to be a star. What I had to create was a fantasy and basically we started wrong. We had it in a dull gray primer with a fading white stripe... ...and we'd come out of the Batcave. I said, "Stop. It ain't gonna work." So immediately I run it back to the shop, I painted it a gloss black... ...and then I went and got sign painting glow paint. I went with red-orange because I wanted to bring out the lines. Boom, I take that to the Batcave, and out it comes and Dozier said: "Ah. That's more like it." When I first saw the Batmobile... ...I was kind of in awe... ...because it had so many wonderful gadgets and things that it did. I feel that we had the first car phone. That was so my agent could reach me. This is supposed to be a jet-powered car. The actual tube is a 5 gallon paint can. I was a kid and I remember racing home to see the first episode of that... ...and it was a big deal. The Batman show breaks bigger than anybody ever expected. WEST: I drove the Batmobile most of the time... ...and that's why Burt Ward, as Robin, was white-knuckled... ...because I did things with the Batmobile maybe that shouldn't have been done. I would come toward camera... ...swing the thing around in a big splash of gravel... ...trying not to hit anyone. Because the kids loved it. Come on, Robin. To the Batcave. We haven't one moment to lose! The Batmobile represents freedom in a way because, as a kid... ...you completely lose yourself in the fantasy of being that character... ...getting to drive that car. I was probably 4 or 5 when I got a die-cast toy of it... ...and it had the jet burner on the back and some orange flames. I've got a couple of them. I've got the Matchbox one since I was a kid. I still have it. I've got a 16th scale and a 32nd scale. My wife, when we were dating, she walked into my place... ...and she said, "You're one of those guys that... ...you know, you get nervous when you walk in and see all the toys on your shelves." The number one car is what we call the hero car. That is the original Batmobile that the actual Futura was made from. That is the car that used a lot of close-ups on the stars in the car. WOOD: The car has been rebuilt a couple of times... ...because when they wrecked it during the filming of the TV show... ...they didn't have a stunt car for this until later on. We made five cars that were functional cars, and two exhibition cars. I pulled molds off of the original car... ...and all the expensive cars were all made out of fiberglass... ...on Ford Galaxy chassis. WOOD: They went on tour, they went around to supermarkets. It brought hundreds of people. To this day, 60 years later, these cars still draw crowds... ...and they still go out on tour. One Halloween evening I got permission to take the Batmobile... ...and leave the studio... ...so I went trick-or-treating, in costume, in the Batmobile. I couldn't convince anyone to go with me. They thought I was nuts. [CLICKING TONGUE] "Trick or treat." "Oh, my God! There's Batman, and look, there's the Batmobile!" Oh. It was so funny. And it lasted about three houses, then I had to come back. Well, we enjoyed driving it many times for fun. Batchutes, these are real parachutes, the ones used for race cars. I'm coming down the 101 Freeway and I pop my Batchutes. Going the other way was a highway patrolman. The Batmobile itself that was in the TV show... ...actually works its way into the comic books themselves... ...because the books want to be reflective of the success the show was getting. Super Friends TV show started in the 1970s. They also based their animated Batmobile after the Lincoln Futura model. Throughout the 1970s, there had to have been about a dozen variations... ...and that continued through the 1980s. There was no set template for a Batmobile. You could turn to 1986, Frank Miller deconstructs Batman in graphic novel. He rethought what Batman was. It's a darker time, it's a very dystopian world. He needed something big and heavy and that was this Batman Assault Tank. It was like, wow. This was the first time we've really seen anything quite like that. I think when I think of the Batmobile I always think of the classic... ...Michael Keaton, the first Tim Burton movie, really low to the ground. When Ben Melniker and I acquired the rights to Batman in 1979... ...it took 10 years before the first dark and serious Batman movie came out... ...in 1989, thanks largely to the genius of two people: Tim Burton and my dear friend, Anton Furst. Up until that time, comic-book movies were, I think, seen more as light. The only one that I can recall which was a big movie, was Superman... ...but, you know, Superman is a much more positive, acceptable character... ...for a big movie, rather than some dark internalized guy... ...who dresses up like a bat. So, I mean, it was-- It felt like kind of new territory... ...for that kind of movie at the time. USLAN: To get an audience to suspend its disbelief... ...and buy into the fact that there could be a guy... ...seriously getting dressed as a bat... ...that took a lot in order to accomplish that. Part of that is the effectiveness of the Batmobile. I wasn't interested in making the TV show. I was much more interested in making a darker version... ...more what the roots of the comic book was. Just going back to the psychology of what the guy is trying to do... ...he's trying to scare people, he's trying to make a mythic... ...almost supernatural persona... ...because he is a real person and he's just-- You know, he's trying to intimidate and frighten. So therefore, the intention of the Batmobile was... ...to look as imposing as possible. The Batmobile became an interesting problem because which way were we to go? We didn't want to put it in any particular period. We just went into pure expressions... ...into the car and taking elements of the Salt Flat races... ...of the '30s and the Stingrays of the '50s. CROWLEY: He's also taken reference from people who've broken land-speed records... ...like the Bluebird, you know, with the big jet engine. The science of the times is jets. We made a little clay maquette to see that we got that right. We got the basics of it right, then we did it full size. One of the funny things was Tim came in and said, "It's really great. The only problem is," he said, "how do they get in it?" There wasn't a door. I'd forgotten. I'd never thought of a door. [LAUGHS] So then John Evans and I told him: "Well, why don't we get the whole canopy to move forward, like a jet?" The same time the body was being made... ...the actual engineering side of it was made. SMITH: We've got two of them. One was a Chevy Impala. The other one was the ugliest pink Oldsmobile Cutlass convertible you'd ever seen. ACKLAND-SNOW: They had what they call a box chassis... ...so we could cut this and extend the prop shaft... ...and that's why we chose those cars. Plus, of course, they didn't cost very much money. We've got to get them ready, service them up to speed... ...test them, and make sure it all works. ACKLAND-SNOW: Tim Burton said, "What are you gonna do about headlights?" My wife had a Honda Civic and the lights were that way... ...and I thought, if you turn them upside down, we put them there, and they worked. I turned up behind a Ferrari in a traffic jam... ...and I thought, "Oh, look, there's a big red, round light." So I went to Ferrari, they said, "How many do you want? I said, "Make it eight." I was in a traffic jam again. Right beside me was a Routemaster bus with a big sort of filler cap... ...and that's what you see on the car. We had a guy that used to bring all this aviation scrap. The intake fan was off the emergency generator... ...that dropped down out of the wing of a Vulcan bomber. The tailpipe was different. The tail end of the jet was off a Bristol Viper jet. The design that we finally ended up with, which I love, was just sort of unexpected. It made us kind of laugh because it was tough... ...but it was kind of perverse. It had a weird quality to it that I can't quite put my finger on... ...but it still had the bat kind of motif to it, but something else. It just was an aggressive thing. And also just the right sort of paint job and texture... ...and a kind of gun-metal quality to it... ...to give it that sort of scary, kind of aggressive persona. It could actually go much faster than the amount of room we had... ...you know, just by the time it got up to speed, you were off the studio lot. I actually drove it in the film at one point, as well. I was Batman, yeah. Where he machine-gunned the door off, that was me... ...and one of the other guys, Barry Whitrod... ...doing all the bullet hits and working the guns. We actually had three of us stuffed into that little car. When we shut the lid the first time out... ...and he got in with the costume and the door shut... ...and his little ears were sticking out, trapped in the door. Ha-ha-ha. ACKLAND-SNOW: Bob Ringwood, who was the costume designer... ...made what they call the Batmobile hood where his ears are just three-eighths shorter. [CHATTERING] [CHUCKLING] BURTON: I did drive it for a second. I don't think they wanted me to drive it, given my driving record. I took it for like 50 yards or something... ...but I was used to, like a Ford Fiesta, so, you know... ...it's a little different in terms of feel. - Get in the car. - Which one? ACKLAND-SNOW: There was a paint called Flip-flop, from Japan. When you sprayed, one way it was purple, the other way it was black and a bit of blue... ...and that's how we got that color. The trouble is it was very sensitive if you scraped it. If you've seen the film, you'll see Kim Basinger taking her shoes off. Let's go. ACKLAND-SNOW: Why did she take them off? Because every time she used to get out of the car, she used to scrape it. And the details involved with the car are unbelievable. What we wanted to do is get brutal violence into it... ...and all the intimidation that comes out of its image. What I really liked about that Batmobile was the torpedo sense of it. It's just this relentless attacking machine... ...and cleverness of what they did for its handling serious turns... ...by kicking out cables to make it spin around. This is a Batman that had to be taken immensely seriously... ...because of the weaponry that was presented for the Batmobile. It's everything that a young boy would just love to drive. [ENGINE SPUTTERING] I need a new car. A little bit later on, after our '89 Batman movie... ...Batman: The Animated Series began... ...and they introduced their own version of the Batmobile... ...which for purposes of animation, couldn't be so detailed and complex. MURAKAMI: Everything about Batman: The Animated Series... ...was a reflection of 40 years' worth of Batman to kind of look at. We were able to take those 40 years and sort of distill it all down into one thing. And I think the Batmobile reflects that. It was sort of lightning in a bottle. For a long time, that too became a lot of people's true image... ...of what the Batmobile would be. My favorite Batmobile would have to be the Val Kilmer one. The first Batmobile was beautiful. And so I thought our job was to sort of refine it and make it our Batmobile. The Batmobile Schumacher designed for Batman Forever... ...reflected a certainly more colorful Batman, and it all was an integrated look and feel. It was a radical rethinking of what Tim Burton had done. To tell you the truth, it actually started as five separate designs... ...that we built five models of... ...and they all represented sort of different aspects of design. Joel decided, "This isn't the direction I wanna go. I wanna do something more organic and something more animalistic." My first thought was Giger... ...because of the sensuality and anatomy... ...of every machine that he designs. So I got to talk to Mr. Giger... ...and I asked him to design a Batmobile, which he did. It was an incredible design. Almost a tarantula with not as many legs. Just four legs. Or four wheels, I should say. And I really didn't know how we could incorporate that into the movie... ...or how it would quite function. LING: You would have had to probably just do them as CGI... ...and we wanted to get a real visceral sense... ...so that you're not just doing everything in CGI. We wanted this to drive on streets and feel that you could come around a corner. [TIRES SQUEALING] Out of the design process, what became interesting... ...was the idea that there's something underneath this car. It's like a breathing machine. We wanted this to feel sexy and mean at the same time. I didn't look at cars for influence as far as design goes. I looked at a lot of animals. And a lot of microbiology as well. Jellyfish and creatures that live deep in the ocean... ...some of them look like spaceships. And just their forms and how fluid they are, are so perfect. If you look at a bat's intrastructure, the wings... ...you can see kind of their little bodies through their bat wing. So investigation of the wing kind of started playing with... ...ideas of wrapped enclosures... ...where you had an engine that you then took wrappings around... ...so that you could see the engine but you couldn't really see the engine. So it is a Gigeresque feeling. When I saw the sketch, it's like, it's not a car. It was an animal. How am I gonna build that? FLATTERY: I would do a three view, a front view, side view, rear view... ...to execute a scale model. We didn't know how to go about this. Nothing like this had been sculpted or built before. And we had to sculpt it in layers. You do the underlayer and then pull that off... ...and you sculpt the rib cage, and then you tool that. So it all had to be done separately. We also had to figure out how to pull molds off of clay... ...without the clay being destroyed. And we had to trust that it was gonna go together. When you're building a car like that, you can't fit it on a normal car chassis. It was a scratch-built chassis. It was built by Tommy Fisher's effects guys, and we did the body. They ultimately come together and they're assembled... ...and they become the vehicle. FLATTERY: Charley Zurian did most of the car in carbon fiber. Carbon fiber is used mainly on race cars and jet fighters. FLATTERY: We needed the strength of what carbon fiber could give us for the parts... ...and it reduces weight by a ton. We built two, a stunt vehicle and a hero. Where you can close the canopy. He has room for his ears. LING: Its fin would split when it went to supersonic... ...so the idea of that is to keep the single fin... ...and then as he's hitting, like, top speed, you see this split open. FLATTERY: One of the distinctive features is the bat symbol on the wheels. They devised a Sid gear that goes about 6000 RPM in there... ...to keep that symbol vertical. It was a really cool environment inside the shop... ...with a bunch of guys that, like, build stuff, right? So you can imagine what was going on in there. There was this one guy who built a go-cart and he was driving it in the shop. ZURIAN: That's what you need are those kind of guys, all with the same passion I have. When you can just take anything, a vision you have, and actually go and build it. FLATTERY: We rolled some tube stock and... You know, a tube inside of a tube, welded a mini-bike to it... ...and built this vehicle that is a hoop that you ride in. That was fun. We used a hot-air balloon motor for the flame. In order to get the flame to extend, we used propane with nitrous oxide. FLATTERY: The first time that got tested was in the shop on a bench top... ...and it was propped up at a 30-degree angle... ...and we lit that thing up and it set off the whole sprinkler system in the building... ...because the flame shot out so far. We dialed that back a little bit. ZURIAN: Half the body is behind the rear axle. So when you turn the corner, you gotta think twice. The front's going to the right, the rear's going to the left. Joel still doesn't know this to this day, but I that car up... ...two days before we were shooting it. I was the first one to test drive it. I took it out on the street in front of the shop... ...and tested the braking system to make sure we could get it to spin. If you look at the pedals, there's three pedals. There's the gas, front brakes, rear brakes. I got going down the street at about 40 and then hit the brakes. It almost got all the way around. And it didn't make it, it just hit the chain link. FLATTERY: That wing was so long it just: [MAKES WHIRRING SOUND] It made a hellacious noise. It was composite. So anywhere up and down the street you could hear that thing. FLATTERY: I just wadded the whole wing up and took off 2 feet of it. I was not everyone's favorite person in the shop that day... ...because it was a scramble to get it fixed. Whoo! Ha-ha-ha! I remember when any of my friends brought their children... ...or my godchildren to the set... ...and I would let them sit in it, they just freaked out. And then the big boys liked it too. I mean, everybody wanted to sit in it and have their picture taken. It was fun. The Batmobile, to me, signifies "sexy." You get behind the wheel of a Batmobile, you're ready to fight some crime. I think the Batmobile is important because it's a symbol. Worst car ever! I want a car. Chicks dig the car. In Batman & Robin, I said I'd love to make this twice as big. It was a totally new design. This was gonna be very long, inspired by the '30s... ...where the car just seems to come at you forever and ever. I've never made a longer fender in my life, to this day. BELKER: And then in the script, it was written that it was a single-seater... ...open this time, for the first time. A quarter-scale model is done so you can work relatively fast and quick... ...to get the shape all worked out. That data is picked by a computer... ...so that surface will translate into a 3D form. It was really the early 3D days of working like that. Originally it had no fins. We presented it to Joel. He just thought it needed two giant, bat-inspired wings in the back. And it gets milled in full size. And the chassis and everything was all done parallel. We did vehicle testing at Whiteman Airport. We wanted to make sure that the chassis ran fine. We did burnouts, everything it had to do. That was fun. And it worked. The burners, that was kind of an extensive development... ...because we were trying to get the smaller burners out the tail. There was no preexisting flame source. We tried everything. Hacking on leaf burners, everything else. We actually had to end up building those from scratch. So we had a propane flame and the injection pump... ...with metal in solution, metal salts, so we could change the color of the flame. And it was so expensive. I think that's why they did just one. ZURIAN: They took the gamble of doing everything with one car, which is--It's a risk. So I didn't have to do any crazy stunts. All of that was done in miniatures or in CG. When the thing jumps around or drove along the arm... ...that's a CG model, not a real model. DILLIN: The car has so many batteries with all the neon that we run on it. Up in here in the side panels, they're LEDs. We found this guy who had developed this luminous paper. LING: We had gotten these backlit panels... ...which are now kind of standard in all cars almost... ...of this cobalt blue lighting. You could see the rocket inside of its mouth, so to speak. And you also wanted it to look a little like it's the bat logo... ...but it could also be fangs. The wing had enough length to it... ...you could actually see that it's almost like it was a flying bat at the moment. And it had this incredible silhouette. ZURIAN: No conventional production tires would fit that car. The tires we used were basically a prototype that the manufacturer creates... ...oversized, for this car company, they're used for development. And since they come without tread, it was an opportunity to cut tread. So I thought, let's try another bat logo. It was cool. As the car would roll, it would leave a trail of bats behind it. You could always tell where the car was if you followed the bats. You look at the interpretation of Batman in film and TV over the years... ...and see how different they are. Same thing in animation, same thing in comics. I worked on Batman: The Animated Series... ...but it was the revamp of Batman that I had a little bit more input on. The biggest thing was trying to make the Batmobile animatable... ...but sleek, dark, and fit into the style that we were going for for Batman. And then the Batman Beyond Batmobile, we were just trying to make it just really weird. We were trying to make sort of a flying car. Because it was the future, we didn't have to worry about it having wheels. It didn't have to function like a real car. It was kind of a cross between a jet and a race car. In the story line of "Batman: Hush"... ...you get a glimpse of a hall in the Batcave... ...that we had never seen before, which has all the old Batmobiles. DIDIO: You looked at different interpretations of the Batmobiles. It really did capture particular eras in time. And therefore validated almost every story that was ever told for Batman. USLAN: In Batman: The Cult there was a monster-truck version of the Batmobile... ...that's kind of utterly bizarre. So there have been great variations on a theme over the years. If Batman's going to be effective as a crime fighter in a city... ...he must have a vehicle that will be an effective weapon. WHITE: One of Batman's main tools is his car. And I think that really fits into our American romance with the car... ...and the idea that, "Wow, if I had a Batmobile, I could do anything." - Nice car. - You should see my other one. I would just watch my back if I saw that coming. The Tumbler? It's just... It represents, I guess, vengeance, justice. You know, like, if that's coming and you're doing something wrong... ...it's over for you. I liked how the Tumbler would actually... ...when it was on top of the building, would have that boost and jump. DIDIO: You've got fans who were kids now becoming the artists. And what they're doing is they're reinterpreting the Batmobile in a way that they wanna see it. NOLAN: If you took onboard the idea that you were going to have to design... ...this icon you grew up with, I think you'd be paralyzed in a creative sense. We actually very much addressed it from a story point of view. Like, okay, we have to have this vehicle. It has to be able to do certain things in the story. And we have to have a credible design to it. And an explanation, visually, of where it's come from. What's that? FOX: Oh, the Tumbler? Oh, you wouldn't be interested in that. [ENGINE REVVING] NOLAN: I had this idea of really having something... ...that had the profile of a Lamborghini... ...but was combined with the weight and feel of, like, a Humvee. It's not built with the trappings of, quote-unquote, "previous Batmobiles." It doesn't have the bat symbols, it doesn't take on any fins. Our approach was to try and build something that could really work. We wanted to address from the point of view... ...of, yes, if you had limitless financial resources... ...and therefore a lot of power in particular ways and material ways... ...how could you focus that and apply that to creating some very extraordinary gadgets... ...all of which still are based on real science and a real-world logic. So, what do you think? Does it come in black? I went down to the toy shop... ...and bought a Humvee and a Lamborghini. I just got a saw and cut them up and stuck them together. I thought, that looks a bit boring. So I got a P-38 cockpit and glued it all together. That was a bit of a mess. NOLAN: I did some really awful, little Plasticine models, you know... ...to show Nathan kind of the size I was talking about. CROWLEY: So I turned up with my big glued-together plastic thing... ...and he had his little clay thing, and they both looked pretty bad. But it was a start. NOLAN: So we bought a lot of model kits... ...started putting them together in different configurations. Taking panels off stealth aircrafts to get those angles. After five or six weeks we ended up with-- It was a model this big... ...to scale, no drawings, nothing. It's not normal to start with such a prototype from the guy directing the film. Never been presented a project that way. It would normally be concepts, drawings and... No, that's totally unique. Andy and his team, the first thing they noticed was there's no front axle. SMITH: How's the steering work? Where's the steering rack go? How is it gonna handle? And he asked me, "Can you make that?" The answer was, "Yeah." And then your mind starts racing. You go, I just said "yes." And now I gotta back that up. Rear tires on the car are a 44-inch monster-truck tire. Super Swampers, I think they're called. They're very aggressive off-road tires. And the front ones are roving dirt-track racing tires. SMITH: I always use a Chevy V-8. [ENGINE REVVING] It's an automatic, three-speed. It was just a roll cage. Just to basically get everything running and just get used to it. MAN: What do you think? - I think that's excellent. Better stop before I start having too much fun. We went away after and said, "You know what? We can run with this." Let's make a hundred-mile-an-hour beast... ...that can jump through the air, land, and carry on driving. We kept jumping and jumping, landing, to see where it broke. Strengthen it up, jump it again, and find the next little bit where it broke. SMITH: When you jump the car, you would think you'd wanna land it on the back wheels. You don't. That's catastrophic. It slaps the front of the car down. You actually wanna bring it in just on the front wheels. We broke a lot of stuff that ended in a shower of springs and shock absorbers... ...and parts rolling down the road that should really not be rolling down the road, yeah. CORBOULD: We're trying to test it to destruction, almost... ...so that when we actually came out the other end of it... ...we could get on the set and be confident that we could do anything that Chris wanted. We tried everything that we could to make it as indestructible as we could. Pretty remarkable thing to see something... ...that you had just put together in this extremely crude free-form way... ...rendered in such an exact set of details... ...and made into something that somebody could really drive. We built a special car just to get in and out. There was a Batmobile that I would pull up in. I would drive that and park. The nose comes forward and the seat comes up. He wanted it to open like petals on a flower opening up. It all looked cool, exactly as it should, but that was all. The actual performance vehicle was real stripped-down... ...and really bloody noisy inside. It's like having Ozzy Osbourne screaming in your ear. I did drive the Tumbler on airstrips, which was a hell of a lot of fun... ...because that thing can get up to really pretty good speeds. But you can hardly see anything, so thank God there are stunt guys doing that... ...because that would have been very dangerous had I been the person in there. COTTLE: I drive really, really close to the steering wheel. I always have done this. I just feel more comfortable. Because of the small window that I had to look out of... ...we had some lipstick cameras... ...that we placed on the outside of the car with two monitors. If I couldn't see what was directly in front of me... ...I'd look to the monitors to make sure everything was clear. [SIRENS WAILING] We smashed it through everything I could think of. We drove it over the top of cars, through walls, down steps, up steps. Oh! Sorry. Going through Lower Wacker Drive in Chicago and George Cottle was topping 100. The camera car had a problem keeping up with it. In fact, when we did Dark Knight, the camera we had... ...which is an ML55 Mercedes... ...he had it supercharged for Dark Knight, after Batman Begins... ...so he could keep up with it. It didn't need a stunt car to fill in for it. It was actually doing all its own stunts. We used explosion-proof tanks. If they get punctured they don't explode. That stuff comes from when I built race cars. We always have racing seats and harnesses. The relationship between us building the car and the driver driving it, it is a trust. You worry about what they're doing. We constantly worry. George communicates very well. If he's concerned about something, he'll say it. We'll fix it if it needs it. We'll put his mind at rest. I worry about him. You know, he's like a son, you know, every time you send him off. One time we did a jump and the car bottomed out heavier than it should've done. So we scratched our heads a bit. We thought, if we let the tub of the car hit the ground... ...but we cushion that... So we built in this flap arrangement under the car. They're hinged steel plates. We run offroad hydraulic bump stops on them. So the car hits the ground, but it's cushioned when it hits the ground. It hits gently. That was the secret to getting that car to jump. It was a location in Chicago and we jumped, I think, 40 or 50 foot. Because Chris then had it in his mind that: "This car can jump, okay, right. You know, where can I take that?" The best stunt for me in the Batmobile was the jumping over the moving car. SMITH: We built a ramp that we can tow behind the car. We get on the move, we practice and practice. Then we have to take that on set, do it in a tunnel. COTTLE: I was worried I'd get too much height and hit the ceiling. It was at night, as well, so I could barely see the ramp... ...and they say, "Oh, there's gonna be explosion in the back. Would you be happy in an explosion yourself?" I was like, "Yeah, absolutely," I said. "But only if you give me the biggest button you have." As I hit the ramp and as I was jumping... ...I had to wait until it was at the top of the arch... ...just as I felt it come down, I hit that button. It was meant to get blown up at the end of Batman Begins. Chris Corbould eventually convinced me not to. We'd all sort of fallen in love with it. CORBOULD: It was almost like another character in the film. But the next time around, Chris was adamant that it was gonna go. COMPUTER: Damage catastrophic. Eject sequence initiated. SMITH: We didn't want the life of the Batmobile to end there... ...so we designed this ejection mode to save his life. So if the Batmobile was dying, it would save his life and continue the fight. COMPUTER: Goodbye. NOLAN: The use of Tumbler in The Dark Knight Rises... ...is all about Bruce Wayne's power being turned against him... ...and turned against Gotham. So the idea of Batman having power and power as responsibility... ...has always been one of the underlying themes of who the character is. And the technology he uses, whether it's the Tumbler... ...whether it's the surveillance technology shown in The Dark Knight... I've gotta find this man, Lucius. At what cost? ...those things have always come with a price. Always comes a very heavy price. And so Batman always rides this line between hero and vigilante. Between somebody who's taking it upon himself... ...to decide how to use the power that these things give him. The Batmobile comes to have a certain weight, a certain responsibility... ...as far as it relates to the idea of the power of Bruce Wayne... ...the power of wealth, the power of military might... ...the power that he is able to wield... ...and what would happen if that were used against him. USLAN: Graphic storytelling is an art... ...that began with paintings in caves thousands and thousands of years ago. Comic book art has been around, in a sense... ...since the hieroglyphics of Egypt. If you look at the conveyances... ...that great heroes have had at their beck and call... ...the wonderful steeds of King Arthur and the Knights of the Round Table... ...it's noble. It's the noble steed. O'NEIL: One of the Greek heroes rode Pegasus. Odin from Norse mythology had an eight-legged horse. Giving the hero a unique conveyance is one of those things that is in mythology. USLAN: When you look at comic books and super heroes... ...it's still really about the brave warrior... ...and his battle against evil. And it's just told in modern day dress. It is our modern day mythology. Batman developed his own great steed. A car called the Batmobile. LEVITZ: And even though the look has varied... ...the essence of it has remained the same. Your mental image of it is where you came in on the story. But yet you have a conversation with someone... ...and you're both talking about the Batmobile... ...and emotionally it's the same thing... ...even if the visions in your heads are radically different physical objects. Today is the first time in history that they've all been together. Oh, God. All right. Look at those. Oh, man. Oh, man. Wow. FLATTERY: You can't help it when you're a kid growing up on this TV show. That's what you watch the show for, is to watch it come ripping out of the Batcave. This car is a big reason why I became enthralled with entertainment... ...the film industry, and wanting to do vehicles in the film industry. Do you mind if I sit in this? Okay, if you're gonna sit over there... ...you gotta say, "Atomic batteries to power, turbines to speed." That's the Batphone, I mean, that's Commissioner Gordon's hotline. [LAUGHING] - That's awesome. - That is unbelievable. [ENGINE STARTS] [LAUGHING] You've got the light going! Oh, yeah! Oh, rev is good. [ENGINE REVVING] The first time it's been running in 10 years. - It sounds unbelievable. - Thank you. Oh, nice. That was awesome. [INAUDIBLE DIALOGUE] BARRIS: One of the biggest historical events ever... ...was when all of the Batmobiles came up to Bob's Drive-in. Everyone's a little kid here today. It's not just little kids, it's everyone. It really means a lot to see them all here because they built these cars. They're real cars. WOMAN: I'll probably never see this again so I made sure to come down here fast. I don't have a favorite. I love every one of them. I'm actually visiting down here from Vegas... ...and I just came on a good weekend, I guess. Seeing the cars in person, that's awesome. Larger than life. I had no idea they were so huge. They're great! I want one for Christmas! I'm here just to enjoy the moment. It's history. Seeing them all in one place. It's spectacular up close. I have a BMW. I'd like to drive the Batmobile out of here though. I drive a 13- or 14-year-old Saturn. I drive a pickup truck. I've got a '71 Camaro I bought when I was 19. I've just got a little Mini Cooper. I drive a Prius. I have a Toyota pickup. [CHUCKLES] But I'd like a Lamborghini. I have a Range Rover. A black Range Rover. I drive a Porsche. BMW 328. Porsche 4S, 9114S. Honda CRV. Boring ass car. Like, go out in the parking lot... ...there's at least 10 identical ones in any parking lot I park in. I drive a lame ass car. [LAUGHS] I have a good number of vehicles. A good number of really cool fun cars. You know, people had asked me what was your favorite... ...and I couldn't pick. It's like, what's your favorite kid? You can't pick that. And then something came along and now I know the answer. It's that one. I saw it on eBay and I'm like: "A Keaton Batmobile, a Tim Burton Batmobile, is for sale. And this one was actually used in a movie. How is this possible?" I can't believe I'm driving a Batmobile. Every kid dreams of that. Every little boy dreams of something like that. I mean, to me the most important things in life are... ...to take care of your family, give to charity, save for the future. And if you're lucky enough to be able to do all those things, you have a little extra cash-- When this thing came up for sale, how could I not do this? There's an opportunity of buying the freaking Batmobile. I cannot think of another vehicle on this planet besides a space shuttle... ...that I would rather be behind the wheel of and driving down the street. It doesn't get any better than that. I think it's very hard to say... ...why the Batmobile resonates to the extent that it does. Certainly the idea that you could relate this vehicle to your family car as a kid... ...or to the car that you might own when you're a teenager... ...learning to drive or whatever, that you could put yourself in Batman's position... ...and imagine having this incredibly exotic vehicle. The idea of the power of a vehicle like that is extremely primal. The Batmobile is a dream. It's part of the dream of being something other. Something greater than self. WEST: I get letters frequently... ...from people who tell me how as a child... ...they were inspired by watching the show or seeing our movie. Now, the ones that really get to me and impress me... ...are those letters that I get and comments... ...by people who say, "You know, I had no father." "My father left," or, "He passed away," or whatever. "And you became my father all these years." And, you know, that just touches your heart. Batman and the Batmobile... ...symbolize the ability to have power over that which we feel powerless against. Two and a half years ago I was diagnosed with cancer. It was a pretty aggressive treatment. A lot of radiation and chemo. I've known Andy for 25 years. We've worked very closely together. And, you know, Andy went through a tough period. He didn't have long left, which, you know, is a powerful thing to go through your life. You meet extraordinary people. You meet people and you lose them. He then went on to say how great these people were that helped him through it... ...got him through it, you know, and he's out the other end now. He's, you know, for all intents and purposes clear of it. He's been clear of it. I'd love to give something back to all those people that got me through that. The idea is to get a Batmobile to Children's Hospital in Vancouver, the cancer unit. A positive thing like that to get a smile on their face... ...that helps in the whole process because, you know-- Something to look forward to, something to brighten the day. What a rush! I'd dearly love to do that. [INAUDIBLE DIALOGUE] SMITH: You see those children in the radiation rooms going in and out. And ultimately it can go either way. It gives them a chance to forget about everything maybe for a minute or two. And have good fun, be kids. If we can help with that then that's what we'll do. LEVITZ: The Batmobile is a dream made real. It's not about whether it's a toy, it's not about whether it's a real car. It's about whether it's something that can rumble in the back of your head... ...and have that raw power in your imagination. SMITH: One of the guys that worked for me said, "You've got the coolest job in the world." And, yeah. You're building Batman's car. That's every kid's dream. BARRIS: That car has changed not only my life, but my family's life. I've been a fortunate kid. There was not one day I didn't want to get up and go to work. It was like a dream come true for a designer. I'm just dreaming I was driving it. SCHUMACHER: I feel privileged that as filmmakers... ...we're all fans or we wouldn't be doing it. And then we get to pass that on. I think they're all iconic. It just depends what age you were when you saw them. It's your Batmobile that was the first one you saw. [CROWD CHEERING & APPLAUDING] NOLAN: For me, as for a lot of people my age... ...you can't remember a time before the Batmobile. You've always been aware of it. The Batmobile has become a mythic kind of character in itself. NOLAN: The Batmobile is extraordinarily powerful and exotic. But you can imagine yourself driving it. [ENGINE REVVING] COMPUTER: Eject sequence initiated. Goodbye. |
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