Once it’s released in theaters, you’ll be able to watch The Batman on HBO Max. Here’s the release date.
Incidentally, the HBO website revealed the premiere date of The Batman on HBO Max. Quoted from Deadline, Thursday (17/3/2022), on the HBO website it is written that The Batman will air on HBO Max on April 19 and on the HBO cable network on April 23.
However, at this time the announcement has been taken down or deleted. Even so, the schedule is likely to be realized.
The reason is, CEO of WarnerMedia, Jason Kilar said, all Warner Bros cinema releases will be present on HBO Max 45 days after debuting on the big screen. In the case of The Batman, that means it will hit HBO Max on the 46th day starting March 4.
Apart from that, The Batman itself tells the story of Bruce Wayne’s second year as a criminal hunter in Gotham City. In this film, Robert Pattinson, who plays Batman, competes with Paul Dano, Jeffrey Wright, and Zoe Kravitz.
Meanwhile, last week, HBO Max announced that it would be making a spinoff series from the film, The Penguin, which will feature Colin Farrell as one of Gotham’s legendary villains.
Principal photography began in January 2020 in London, under the working title Vengeance. Greig Fraser served as cinematographer; he previously worked with Reeves on Let Me In (2010). Cemetery scenes were filmed at the Glasgow Necropolis in Scotland in mid-February, before the production relocated to Liverpool in March. Filming in Liverpool took place at St George’s Hall in Liverpool, doubling for Gotham City Hall, Anfield Cemetery, and the Royal Liver Building. Fraser cited cinematographer Gordon Willis’ lighting work on Klute, The Godfather, and All the Presidents’ Men as inspiration, and at Reeves’ suggestion attempted to convey the film from Batman’s point of view. He described shooting the film as “one of the most challenging lighting jobs I’ve ever done”; filming Pattinson in the Batsuit was particularly difficult since he did not want shadows to obscure the costume’s details.
Reeves was a meticulous director and described The Batman as “the most intricate narrative I have ever, ever tried to tackle”. Pattinson said Reeves asked for many retakes and adjusting to such an approach took some time. Kravitz described Reeves as “the most specific person and director I’ve ever worked with”, citing a particular instance in which he told her not to close her mouth since he thought it needed to be open to convey a certain emotion. Reeves showed the different takes to the actors after filming to illustrate the “make-or-break nuances” he had seen. One scene, in which Batman and the Riddler communicate via videotelephony, took over 200 takes. Pattinson guessed that Reeves was “editing the entire movie, every single take”, which Reeves said was correct and not something that other actors he had worked with had observed. Reeves developed this style of filming, in which he spent more time on fewer angles, while directing the television series Felicity.
For fight scenes, Reeves wanted to depart from the “kinetic, quick-cutting” sequences that previous Batman directors like Tim Burton and Nolan had shot. He wanted viewers to “actually see what’s happening… in a way that is utterly convincing”. Reeves originally planned to film the Batmobile chase sequence on a Liverpool freeway, but instead filmed it at the Dunsfold Aerodrome after determining that a race track would allow for more control. To convey the chase from Batman’s perspective, Fraser “strapped cameras to cars and motorbikes, even though it was technically really hard to do… We fought against logistics. We fought against time. We fought against everything that told us to not do it that way.” Fraser used different camera lenses and covered them in silicone to simulate rain and dirt and immerse the viewer. > https://minimore.com/b/aRbH4/1
Reeves filmed fake scenes with Keoghan portraying Merkel to prevent his actual role from leaking, and during the actual Joker scenes, Reeves kept Keoghan’s face out of focus to signify that the Joker was still in his formative stages. Industrial Light & Magic (ILM) provided the StageCraft virtual production technology that Fraser helped develop on the Disney+ Star Wars series The Mandalorian, with a wall of LED panels allowing visual effects backgrounds to be rendered in real-time. The wall was built around existing practical sets; it was used for scenes involving the abandoned skyscraper where the Bat-Signal is stationed so Reeves and Fraser could film with consistent sunset lighting, which is difficult when shooting on-location. Using virtual production also meant the lighting impacted on the actors and set in a way that green screen technology could not. The idea to place the Bat-Signal on an abandoned building rather than on top of the GCPD building came from Chinlund, who designed the wider Gotham cityscape so it could be created digitally by ILM and displayed in the background of scenes using the StageCraft technology. The production team briefly discussed removing the subplot in which the Riddler’s online followers attempt to assassinate Bella Reál due to its similarities to the 2021 United States Capitol attack, which occurred during the final months of filming, but Reeves decided it was too integral to the story and different enough from the attack.