Batman : The Dark Knight Blog

Jan 26, 2008, 10:01 PM | by Kristen Baldwin
While the late Heath Ledger’s family and friends tend to the sad details of his burial this weekend, a debate is ripping through Internet fan sites about what will stand as Ledger’s last completed film, the Batman Begins sequel The Dark Knight (due to open on July 17th). The burning question is, how complete was Ledger’s post-production work on the maniacal character of the Joker?

On Jan. 25th, E! Online gossip columnist Ted Casablanca posted an item quoting a “studio insider” saying that Ledger had done “zero” post-production looping on the movie. (Typically, an actor re-records many lines for a film long after principal photography wraps, in a process called “automated dialogue replacement,” or ADR. It’s an especially extensive process when many shots have been filmed on location, since all kinds of incidental noise can interfere with the dialogue’s clarity and can require up to three-quarters of the lines to be re-performed on a dubbing stage, with the actor looking up at the film images and matching his or her own mouth movements.) But Ledger’s vocals are perfectly clear in the bits of footage so far released—trailers and a prologue bank-robbery sequence shown with IMAX prints of I Am Legend. Fan websites like Ain’t-It-Cool-News, Superherohype.com and Batman-on-Film.com are full of assertions contrary to the Casablanca report, saying that in fact Ledger was done with all significant looping. Ledger himself, while promoting the Todd Haynes film I’m Not There last fall, had said he was finished with his work on Dark Knight.

Still, given the way post-production schedules usually run on mega-budget superhero films, it’s not out of the realm of possibility that director Chris Nolan might have wanted to call on Ledger for limited additional sessions with more than six months to go before opening weekend. Directors often decide to insert new bits of dialogue in post-production for the sake of clarity and economy. Doing anything like that now with Ledger’s Dark Knight role would require hiring another voice actor to emulate his speaking voice, or creating a complicated mash-up from Ledger’s existing dialogue tracks. (Both of these alternate approaches have been taken in similar past situations, as when Oliver Reed passed away before the completion of Gladiator and James Dean died before the release of Giant.)

Dark Knight director Chris Nolan and execs at Warner Bros., the studio releasing the film, were not available for comment, and have not issued any public statements about the status of the movie. EW placed a call to Oscar-winning sound designer and sound editor Richard King, who’s handling the Dark Knight audio work, but he declined to comment. According to several other sound-mixing experts who also declined to speak on the record, there’s no way to tell what the situation is with Dark Knight from the outside, since the amount of ADR required, and the timetable for doing it, varies wildly between films. (In plenty of instances, looping is not completed until very close to the final release date, perhaps as little as a month or two out.) Ledger had been working in London on Terry Gilliam’s film The Imaginarium of Doctor Parnassus, which meant he was close to Dark Knight director Chris Nolan’s home turf and might well have been available if needed.

Warner Bros. has temporarily pulled back on some of the promotional material centered on Ledger’s creepy whiteface makup as the Joker, keyed to the tagline “Why So Serious”? It remains to be confirmed whether the film’s technical wrapup will require a new game plan as well. —Steve Daly

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These are some very kind and interesting words recanting Heath Ledger’s on set aura, as told by Chris Nolan (via Newsweek)

One night, as I’m standing on LaSalle Street in Chicago, trying to line up a shot for “The Dark Knight,” a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I’d fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you’d asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn’t know. That’s real charisma—as invisible and natural as gravity. That’s what Heath had.

Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren’t many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.

One time he and another actor were shooting a complex scene. We had two days to shoot it, and at the end of the first day, they’d really found something and Heath was worried that he might not have it if we stopped. He wanted to carry on and finish. It’s tough to ask the crew to work late when we all know there’s plenty of time to finish the next day. But everyone seemed to understand that Heath had something special and that we had to capture it before it disappeared. Months later, I learned that as Heath left the set that night, he quietly thanked each crew member for working late. Quietly. Not trying to make a point, just grateful for the chance to create that they’d given him.

Those nights on the streets of Chicago were filled with stunts. These can be boring times for an actor, but Heath was fascinated, eagerly accepting our invitation to ride in the camera car as we chased vehicles through movie traffic—not just for the thrill ride, but to be a part of it. Of everything. He’d brought his laptop along in the car, and we had a high-speed screening of two of his works-in-progress: short films he’d made that were exciting and haunting. Their exuberance made me feel jaded and leaden. I’ve never felt as old as I did watching Heath explore his talents. That night I made him an offer—knowing he wouldn’t take me up on it—that he should feel free to come by the set when he had a night off so he could see what we were up to.

When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we’d have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we’d done with all that he’d given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.

Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it’s Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can’t help but smile.

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