Chapter 147: Batman

"The greatest challenge in adapting Batman is showcasing Bruce Wayne's strength. In the comics, this superhero reaches the peak of human intelligence and physical prowess, backed by vast wealth and high-tech equipment, even standing toe-to-toe with superpowered heroes like Superman and Green Lantern when necessary. This can be gradually revealed in comics, animations, or TV series, but it's challenging to highlight these aspects in a two-hour film without making Batman seem ordinary."

Simon, inheriting memories from over a dozen individuals, had extensive knowledge about various Batman films.

Since Tim Burton's first Batman movie, Bruce Wayne was often overshadowed by the villains, even reduced to a peripheral character in later Justice League movies, failing to display the enduring superhero's charm.

Batman has been around for half a century since its inception in 1939, with several live-action versions that failed to make an impression. This is a primary reason for Warner Bros.' hesitation to launch a movie adaptation. Superman's powers allow for spectacular displays, but Batman is merely human, leaving many unsure how to bring this superhero to the big screen.

At the restaurant.

Terry Semel, listening to Simon's analysis, asked, "Simon, do you believe you can overcome these challenges?"

Simon took a sip of mineral water, placed the glass down, and said, "Of course, otherwise I wouldn't be interested in adapting Batman."

Semel's curiosity piqued: "Explain."

Simon planned to kickstart the DC superhero universe early, linking characters like Batman, Superman, and Wonder Woman in a series of blockbuster movies. Compared to Marvel's higher special effects demands, current technology was adequate for the DC universe.

However, he couldn't reveal this to Semel and had prepared another explanation.

"Batman has been endowed with too many skills over half a century of comics, necessitating choices. I plan to focus on Batman's physical prowess and high-tech gadgets like the Batmobile and Batplane. These elements, more than Bruce Wayne's intellect and strategy, are easiest for audiences to admire. If Warner entrusts this project to Daenerys Entertainment, I'll set up a dedicated special effects and technical team to tackle these challenges."

Semel shook his head, "Your description is too vague, Simon."

Simon replied, "It's not something that can be explained in a few sentences; it involves a lot. Take physical prowess, for example. In my view, Hollywood currently lacks noteworthy action movies. I plan to draw inspiration from martial arts films from the Far East. Are you familiar with wuxia movies?"

Semel nodded, "Somewhat."

Simon smiled, "If interested, I can recommend a few films to you. Eastern martial arts have thousands of years of history, similar to superhero comics, telling stories of justice. Compared to the nearly aesthetic-less boxing or fighting techniques, Eastern kung fu makes a powerful impact on screen."

Semel suddenly mentioned, "Bruce Lee."

"Exactly, Bruce Lee's martial arts."

Semel hesitated, "I remember Bruce Lee's movies somewhat. Simon, do you think his action techniques could be applied to Batman?"

Simon explained, "According to the comics, Batman masters over a hundred fighting techniques, many of which are Eastern martial arts. Of course, I won't directly copy Eastern wuxia films; I'll create a tailored action design for Bruce Wayne."

Semel looked at Simon, "You?"

Simon skillfully twirled cutlery in his hand, smiling at Semel, "I know a bit about fighting techniques. If necessary, I'll hire more professional action directors."

Simon had numerous iconic action scenes in mind. He could easily craft a set of action designs for Bruce Wayne from memories of films, TV shows, and video games, without needing to invite an action director.

Actually, Hollywood lacked professional action directors at the time, a role that only began to thrive in the late '90s as filmmakers from the Far East entered Hollywood, enhancing the quality of action movies.

Now, Hollywood's action scenes were barely more sophisticated than drunken brawls.

Seeing Simon's demonstration, Semel recalled an incident from two years ago where Simon defeated five youths, breaking their legs, and no longer doubted Simon's capability to design Batman's action scenes. He was once again impressed by the young man's diverse talents.

"Simon, if I understand correctly, you want to take on the entire production of Batman?"

"Exactly. I'll write the script and direct the film. Terry, as you know, I'm used to having complete control over my projects. So far, the movies I've produced have been very successful."

Semel asked about the contract Simon owed Disney.

"I plan to buy out my directorial contract with Disney soon. If they don't agree, it will follow Batman. The contract doesn't specify I must fulfill my commitment to Disney before directing other films."

The contract with Disney was very flexible, thanks to the success of "Run Lola Run."

This was common among top Hollywood directors. Spielberg, for example, still had four movies to deliver to Universal since "Jaws," yet frequently collaborated with Paramount and Warner Bros.

"How much are you planning to spend on this movie?" Semel asked.

"$50 million," Simon replied.

Semel was visibly startled, "For one movie?"

"Of course."

Simon knew why Semel asked. Ten years ago, "Superman's" production budget set a record at $55 million.

In reality, the first "Superman" movie's $55 million budget covered materials for a trilogy, even using Marlon Brando's footage for "Superman Returns" in 2006.

Hollywood's budgets were escalating, but few films reached $50 million.

Simon planned to spend the next half-year resolving technical issues for "Batman" and, like Lucas with "Star Wars," establish Daenerys Entertainment's own special effects studio, requiring substantial investment.

On the other hand, Simon's $50 million budget aimed to push Warner out of the project.

In the original timeline, Tim Burton's "Batman" had a $35 million budget, co-financed by Warner and the British record company PolyGram, leading to shared profits and complicating future sequels.

To save costs, Warner even signed a profit-sharing deal with Jack Nicholson, who played the Joker, which became one of Hollywood's most regrettable contracts.

After "Batman's" success, Nicholson earned over $50 million from box office, video sales, and merchandise, a record only broken in the 2000s.

Warner also failed to secure long-term contracts with the creative team, leading to constant changes in the cast of the 1990s Batman movies, significantly affecting box office performance.

The success of "Batman" turned it into a gold mine, and outsiders couldn't understand Warner's series of foolish decisions. But the simple truth was Warner had no confidence in a live-action Batman film at the time.

Frankly, Simon found Tim Burton's "Batman" lacking and even terrible.

Michael Keaton's Bruce Wayne was even more ordinary than Ben Affleck's later portrayal, failing to capture Batman's charisma. Kim Basinger's performance was lackluster, and even Jack Nicholson's praised Joker was just average by his standards. Nicholson's Joker stood out mainly because the protagonist was so poorly portrayed.

So why was Burton's "Batman" so successful?

Just like "Journey to the West" in Asia, Batman has been a part of American culture for half a century. Many Americans grew up with stories of Bruce Wayne becoming Batman after witnessing his parents' murder, similar to how the Monkey King is known for emerging from a stone.

Bringing Batman to the big screen for the first time in a high-budget live-action movie attracted even those with little interest in comics, simply because they grew up hearing about Batman. This included fans who grew up with the comics.

Thus, the first big-screen adaptation of "Batman" was destined to be a hit as long as it wasn't terrible.

Burton's quirky, naïve style was ill-suited for superhero movies. "Batman's" success was merely timely.

The sequel "Batman Returns," with more than double the budget of the first film, saw a significant drop in box office compared to its predecessor. Subsequent sequels continued to decline, culminating in the failure of "Batman & Robin" in 1997.

Batman was revived by Christopher Nolan years later, who then led DC into another pitfall.

At a restaurant near Warner Bros. studios in Burbank, when Simon confirmed his plan to invest $50 million in "Batman," Semel showed hesitation. Simon noticed Semel's expression but didn't rush, quietly starting their meal.

After a few minutes, Semel said, "Simon, Warner looks forward to you directing 'Batman,' but we're not willing to let go of the project entirely. At the very least, we want to co-invest, which means a $50 million budget is too high."

Simon disagreed, "Terry, for a superhero movie like 'Batman,' we must invest more to win over audiences. 'Superman's' first movie had a $55 million budget and grossed over $300 million worldwide. Last year's 'Superman IV,' produced by Cannon Films with a $17 million budget, barely made $15 million in North America, with no impact overseas. If we skimp on the budget, we're doomed to fail."

Semel was more aware of these details than Simon. After a pause, he suggested, "Simon, why don't you draft the script first? We can assess it together; maybe we won't need $50 million."

Simon insisted, "Based on my plan, it will only go higher, not lower," shaking his head, "Terry, I know Warner can't risk a $50 million investment, which is why I propose to take it on myself. Handing 'Batman' over to me might result in another blockbuster like 'Run Lola Run.' Of course, Warner would handle distribution, benefiting both of us."

After pondering, Semel said, "Simon, if you intend to produce 'Batman' alone, that's fine, but Warner will only grant Daenerys Entertainment the production rights, retaining ownership."

Simon asked if it would be similar to Cannon Films' collaboration with Salkind on "Superman IV."

"Superman IV," released last summer, only gave Cannon Films production authorization, with rights still held by British producer Alexander Salkind.

Semel confirmed, "Exactly."

Simon refused, "Terry, I can't make the movie only to be kicked out by Warner."

Semel assured, "We wouldn't do that."

Simon proposed, "How about a five-year licensing contract? If Daenerys Entertainment can't start a sequel within five years, rights revert to DC."

Semel countered with a three-year term and Warner's investment rights in sequels.

Simon held firm, "For a big-budget series, three years is too short. It must be five years. And if Warner wants sequel investment rights, Daenerys Entertainment must retain some distribution rights."

After negotiating back and forth for over ten minutes, they tentatively agreed on a collaboration.

Daenerys Entertainment obtained a five-year "Batman" rights period. If they couldn't produce a sequel within five years of project initiation, rights would automatically return to DC.

However, details on sequel investment and distribution rights, as well as future merchandise profit sharing, required further discussion. But this lunch meeting's outcome was more than Simon had hoped for.

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