Still fresh off The Machinist, it became necessary for Bale to bulk up to match Batman’s muscular physique. He was given a deadline of six months to do this. Bale recalled it as far from a simple accomplishment: “…when it actually came to building muscle, I was useless. I couldn’t do one push up the first day. All of the muscles were gone, so I had a real tough time rebuilding all of that.” With the help of a personal trainer, Bale succeeded in meeting the deadline, gaining a total of 100 lb (45 kg) in six months. He went from about 130 lbs to 230 lbs. He then discovered that he had actually gained more weight than the director desired, and dropped his weight to 190 lbs by the time filming began.
Bale had initial concerns about playing Batman, as he felt more ridiculous than intimidating in the Batsuit, he dealt with this by depicting Batman as a savage beast. To attain a deeper understanding of the character, Bale read various Batman comic books. He explained his interpretation of the young boy: “Batman is his hidden, demonic rage-filled side. The creature Batman creates is an absolutely sincere creature and one that he has to control but does so in a very haphazard way. He’s capable of enacting violence — and to kill — so he’s constantly having to rein himself in.” For Bale, the most gruelling part about playing Batman was the suit. “You stick it on, you get hot, you sweat and you get a headache in the mask,” he said. “But I’m not going to bitch about it because I get to play Batman.” When promoting the film in interviews and public events, Bale retained an American accent to avoid confusion.
Batman Begins was released in the U.S. on 15 June 2005 and was a U.S. and international triumph for Warner Bros., costing approximately US$135 million to produce and taking in over US$370 million in returns worldwide. Bale earned the Best Hero award at the 2006 MTV Movie Awards for his performance.
Bale reprised his role as Batman in Nolan’s Batman Begins sequel The Dark Knight. He trained in the Kevsi Fighting Method, and performed many of his own stunts. The Dark Knight was released in the U.S. on 18 July 2008 and stormed through the box office, with a record-breaking $158.4 million in the U.S. in its first weekend. It broke the $300 million barrier in 10 days, the $400 million mark in 18 days and the $500 million mark in 43 days, three new U.S. box office records set by the film. The film went on to gross over $1 billion at the box office worldwide, making it the fourth-highest grossing movie worldwide of all time, before adjusting for inflation.
Bale reprised his Batman role in The Dark Knight Rises released on 20 July 2012, making Bale the actor who has played Batman the most times in feature film. Bale has given the same opinion as Nolan that, if the latter was forced to bring Robin into the films, he would never again play Batman; even though one of his favorite Batman stories, Batman: Dark Victory, focuses on Robin’s origin.
In 2006, Bale took on four projects: Rescue Dawn, by German film maker Werner Herzog, had him playing U.S. Fighter pilot Dieter Dengler, who has to fight for his life after being shot down while on a mission during the Vietnam War. Bale left a strong impression on Herzog, with the director complimenting his acting abilities: “I find him one of the greatest talents of his generation. We made up our own minds long before he did Batman.”
In The Prestige, an adaptation of the Christopher Priest novel about a rivalry between two Victorian stage magicians, Bale was reunited with Batman Begins‘ Michael Caine and director Christopher Nolan. The cast of The Prestige also included Hugh Jackman, Scarlett Johansson, and David Bowie. I’m Not There, a film in which Bale again worked alongside Todd Haynes and Heath Ledger (who would go on to play The Joker in The Dark Knight), is an artistic reflection of the life of Bob Dylan. He starred opposite Russell Crowe in a commercially and critically successful Western film, 3:10 to Yuma. Bale played John Connor in Terminator Salvation and FBI agent Melvin Purvis in Michael Mann’s Public Enemies.
In 2010, Bale portrayed Dicky Eklund in the biopic The Fighter. He received critical acclaim for his role and won several awards, including the Academy Award for Best Supporting Actor, the Golden Globe for Best Supporting Actor and the Screen Actor’s Guild Award for Outstanding Performance by a Male Actor in a Supporting Role.
JJ Abrams ‘defection’ to Star Wars from Star Trek has had the fan boys buzzing on the net…
Eileen Dietz (born January 11, 1945, Bayside, New York) is an American actress who is best known for her appearances in many horror films such as the face of the demon in The Exorcist and for her portrayal of characters on the soap operas Guiding Light and General Hospital.
As a child, Dietz appeared in commercials with her twin sister Marianne, and beginning at the age of 12 she started studying acting at the Neighborhood Playhouse. She made her television debut in 1963 in a small guest role on The Doctors. Shortly thereafter she landed a recurring role on the soap opera Love of Life. She made her film debut starring in the 1966 movie Teenage Gang Debs as Ellie. The following year she portrayed Penny Wohl in the critically acclaimed independent film Holzman’s Diary. The film never got much in the way of theatrical distribution despite having Dietz’s nude scene featured in Life Magazine’s photo spread and in the book of the film. She didn’t recall if she auditioned for the role of Penny but she added, “it was a fun shoot.”
Dietz spent much of the late 1960’s and early 1970’s appearing in theatre productions. In 1972, she portrayed an androgynous runaway in the premiere of Joyce Carol Oates’ Ontological Proof of My Existence. Her portrayal in the play led to an invitation to do a screen test for William Friedkin film The Exorcist. She was cast in two memorable roles in the film: The Demon (better known as The Face of Death), for this role, Dietz actually only appeared on film for 8–10 seconds; and the ‘Possessed Regan’ (the Linda Blair character). In The Exorcist Pazuzu appears as a demon who possesses Regan McNeil; Pazuzu a fictional character and the main antagonist in The Exorcist novels and film series created by William Peter Blatty. Blatty derived the character from Assyrian and Babylonian mythology, where Pazuzu was considered the king of the demons and of the wind, and the son of the god Hanbi.
In 1980, Dietz joined the cast of General Hospital as Sarah Abbott, a role she played for several years. She also appeared as a guest star on Trapper John, M.D. (1982) and in the horror film Freeway Maniac (1989). More recent film credits include Naked in the Cold Sun (1997), Hurricane Festival (1997), Bad Guys (2000), Exorcism (2003), The Mojo Cafe (2004), Neighborhood Watch (2005), Constantine (2005), Karla (2006), Creepshow III (2006), Dog Lover’s Symphony (2006), and Tracing Cowboys (2008).
2009 was a very busy year for Dietz. She had several films coming out, including Stingy Jack, H2: Halloween 2, See How They Run, The Queen of Screams (2009), Butterfly, Second Coming of Mary,Legend of the Mountain Witch, and Monsterpiece Theatre Volume 1.
John Boorman (born 18 January 1933) is a British filmmaker who is a long time resident of Ireland and is best known for his feature films such as Point Blank, Deliverance, Zardoz, Excalibur, The Emerald Forest, Hope and Glory, The General and The Tailor of Panama.
Boorman first began by working as a dry cleaner and journalist in the late 1950s. He ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking, eventually becoming the head of the BBC’s Bristol-based Documentary Unit in 1962.
His feature debut was Catch Us If You Can (1965), about competing pop group Dave Clark Five, a rip-off of Richard Lester’s ‘A Hard Days Night’. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank (1967), a gritty, powerful and brutal film, he brought a stranger’s vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman.
After Point Blank, Boorman re-teamed with Lee Marvin and Toshiro Mifune for Hell in the Pacific (1968), which tells a fable story of two representative soldiers stranded together on an island. Returning to the UK, he made Leo the Last (US/UK, 1970). The film won him a Best Director award at Cannes.
Boorman achieved much greater resonance with Deliverance (1972), the odyssey of city people played by Jon Voight, Burt Reynolds, Ronny Cox and Ned Beatty as they trespass into the Appalachian backwoods and discover their inner savagery. This film became Boorman’s first true box office success, earning him several award nominations. He followed with the cult film Zardoz (1973), starring Sean Connery, a post-apocalyptic sci-fi piece, set in the 24th century.
Boorman was selected as director for Exorcist II: The Heretic (1977), but the resultant film was widely ridiculed and regarded by many as a failure. The film is set four years after The Exorcist, and centers on a now 16-year-old Regan McNeil who is still recovering from her previous demonic possession.
Exorcist writer/producer William Peter Blatty and director William Friedkin both had no desire to involve themselves in an Exorcist sequel. According to the film’s co-producer Richard Lederer, Exorcist II was conceived as a relatively low-budget affair: “What we essentially wanted to do with the sequel was to redo the first movie… Have the central figure, an investigative priest, interview everyone involved with the exorcism, then fade out to unused footage, unused angles from the first movie. A low-budget rehash – about $3 million – of The Exorcist, a rather cynical approach to movie-making, I’ll admit. But that was the start.”
Playwright William Goodhart was commissioned to write the screenplay, titled The Heretic, and based it around the theories of Pierre Teilhard de Chardin (the Jesuit paleontologist/archaeologist who inspired the character of Father Merrin when Blatty wrote The Exorcist). Boorman was unhappy with Goodhart’s script, and asked Goodhart to do a rewrite, incorporating ideas from Rospo Pallenberg. Goodhart refused, and so the script was rewritten by Pallenberg and Boorman. Goodhart’s script was being constantly rewritten as the film was shooting, with the filmmakers uncertain as to how the story should end. Actress Linda Blair recalls “It was a really good script at first. Then after everybody signed on they rewrote it five times and it ended up nothing like the same movie.”
British filmmaker Boorman signed on to direct, stating that “the idea of making a metaphysical thriller greatly appealed to my psyche.” Years before, Boorman had been considered by Warner Bros. as a possible director for the first Exorcist movie, but he turned the opportunity down as he found the story “rather repulsive.” Boorman, however, was intrigued with the idea of directing a sequel, explaining that “every film has to struggle to find a connection with its audience. Here I saw the chance to make an extremely ambitious film without having to spend the time developing this connection. I could make assumptions and then take the audience on a very adventurous cinematic journey.” He should have left it alone…
Boorman returned with Excalibur (1981), a retelling of the Arthurian legend. For the film he employed all of his children as actors and crew and several of Boorman’s later films have been ‘family business’ productions.
The Emerald Forest (1985) saw Boorman cast his actor son Charley Boorman as an eco-warrior, in a rainforest eco-adventure. Hope and Glory (1987, UK) is his most autobiographical movie to date, a retelling of his childhood in London during The Blitz. The film proved a Box Office hit in the US, receiving numerous Oscar, BAFTA and Golden Globe nominations. However his 1990 US produced comedy about a dysfunctional family, Where the Heart Is, was a major flop.
Boorman won the Best Director Award at the 1998 Cannes Film Festival for The General, his black-and-white biopic of Martin Cahill. The film is about the somewhat glamorous, yet mysterious, criminal in Dublin who was killed, apparently by the IRA. Released in 2006, The Tiger’s Tail was a thriller set against the tableau of early 21st century capitalism in Ireland.
In 2004, Boorman was made a Fellow of BAFTA.