Warner Bros. Headquarters.
Inside the conference room.
Martin continued speaking with ease.
"In my opinion, neither Tim Burton’s gothic dark style nor Joel Schumacher’s flashy fashion-show approach fits the current market."
"Tim Burton’s style is too frenzied and gory. For Americans who have just endured a terrorist attack and two failed wars, that’s not what they want to see."
"As for Joel Schumacher’s fashion-show-like spectacle, there’s no need to even mention it—it was never successful. In fact, it nearly killed Bruce Wayne as a character..."
Alan Horn nodded. Having witnessed the rise and fall of the ’Batman’ franchise firsthand, he still vividly remembered the box office and critical disaster that was ’Batman & Robin.’ He also recalled how much backlash Tim Burton’s dark, violent style had received—parents had even gathered outside Warner Bros. headquarters in protest, calling for a boycott of the film.
Martin was right. Neither of these styles was suitable anymore.
If they restarted the franchise and stuck with either of these approaches, it could lead to another failure—and Batman couldn’t afford to fail again.
"But Martin, won’t a gloomy and oppressive style put off audiences?" one Warner executive asked.
Martin responded, "That’s why I said the film must have moments of release and catharsis. The heavier the buildup, the greater the emotional payoff!"
"The key difference between our version and Tim Burton’s is this—his Batman was surreal and exaggerated, while ours will be more grounded and realistic. Bruce Wayne won’t be an unstoppable god—he’ll be human!"
Many in the room looked deep in thought.
"If we want this franchise to escape its slump, we must take a different approach. Gothic absurdity won’t work, flashy idol-film aesthetics won’t work, and the lighthearted, comedic tone of Marvel’s ’Spider-Man’ clearly isn’t right for Batman. Instead, I believe a dark and grounded style is worth exploring."
"We need to pull Bruce Wayne down from his pedestal and make him an ordinary man—one who’s highly skilled in combat and equipped with cutting-edge technology. He should be more like—"
"James Bond!" Christopher Nolan suddenly interjected.
Martin smiled, pointing at Nolan. "Chris is absolutely right—like James Bond, but even more powerful, both he and his enemies."
"But Batman’s villains aren’t normal humans. If Bruce Wayne is just an ordinary man, how could he possibly take on these monsters and lunatics?" another executive questioned.
Martin chuckled. "Think about it the other way around—doesn’t it make the story even more compelling? The audience, who are also ordinary people, will relate to him even more. Imagine the thrill of seeing a mere man triumph over the chaos!"
"I have this idea—what if we depict Gotham City in a way that makes audiences feel like, ’Oh, this looks just like our own American cities’? And while watching the film, they should think, ’My God, this could actually happen in real life...’"
"Bruce Wayne will no longer be an untouchable icon. We will give him real human emotions—joy, anger, sorrow, fear, hesitation, self-doubt... He’s a superhero, but he’s also a man. These flaws and struggles will make him more relatable to the audience."
"But relatability alone isn’t enough. There must also be a sense of power and catharsis. Batman must have abilities beyond those of ordinary people—his immense wealth, mental resilience, and unparalleled combat skills. These will help him overcome his weaknesses, failures, and inner turmoil, giving audiences a sense of release."
"My script will be a trilogy. The central theme will be Bruce Wayne’s journey from an ordinary wealthy man to a true superhero. Perhaps, in the future, Batman can stand alongside Superman, Wonder Woman, and The Flash as one of the DC universe’s ’Big Four’—but not yet. Maybe, in the distant future, Batman can transcend human limitations and fight gods and demons—but not yet. Right now, Batman is still just a man."
"The ’Dark Knight Trilogy’ will be the story of a fragile young man’s transformation. Bruce Wayne wasn’t born a superhero—he had moments of doubt, weakness, and confusion. Only after confronting his own demons and redeeming himself will he become the guardian of the night—Batman."
"Bruce Wayne should never be a flawless, god-like figure. If he were, what would differentiate him from Superman?"
Martin concluded, "In short, this is a story about a man—a man who becomes something greater, but not a god."
"In the documents I just handed out, you’ll find the outlines for all three films. Feel free to review them and give feedback. The full scripts have also been sent to Warner’s script review department and are available for download."
The room filled with the sound of pages flipping.
A few moments later, an excited voice broke the stillness.
"This is exactly the Batman I want!"
He stared at Martin, visibly thrilled.
"Martin, do you know? Ever since I was given this project, I’ve been thinking—thinking constantly—what kind of Batman should I create?"
"Should it be just another invincible, larger-than-life superhero?"
"In previous films, aside from the chin and lips visible beneath the mask, every Batman felt interchangeable. I don’t want to make that kind of Batman—I refuse to."
"But I had no direction. I was stuck, unable to make up my mind."
"Now, I understand. I want to make a Batman who is flesh and blood. Strip away the mask, and Bruce Wayne is first and foremost a human being—one who, even without his armor, is a formidable fighter. Unlike other superheroes, he has no superpowers, no mutated genes from some experiment. He relies solely on his own body and mind, enhanced only by technology—but ultimately, his physical prowess is what defines him."
"Unlike Marvel’s Iron Man, who depends entirely on his suit, Bruce Wayne—though also a billionaire—has near-unparalleled hand-to-hand combat skills..."
Nolan was growing more and more animated.
At first, the executives thought he was simply flattering Martin.
But as he continued speaking, it became clear—Martin’s vision had struck a chord deep within him.