The Batman

Robert Pattinson is positive for Covid-19

The actor is on quarantine to treat Covid-19. The crew “The Batman” also had to pause all activities.

On September 4, Vanity Fair reported that Robert Pattinson was positive for nCoV after just a few days of filming The Batman in the UK. The producer has also halted production to test for team members.

A member of The Batman team was positive for Covid-19. Currently, this person is quarantined and treated. The recording performance Batman temporarily stopped.

The producers do not disclose who is infected with Covid-19. But from reputable sources, Vanity Fair has confirmed that actor Robert Pattinson is a corona virus. This page has also contacted the representative of male star Twilight but has not received a response.

This information makes the audience worried about the health condition of Pattinson. On Twitter, fans sent messages hoping for the actor to quickly recover. “Can’t believe Robert Pattinson was infected with the virus”, “Is that really Robert? I just finished watching Tenet “,” I hope you get well soon “,” We all hope you get well and return to the screen soon “…

On August 23, at the DC FanDome event, director Matt Reeves explained why he chose Robert Pattinson for the role of Batman. “Robert is a good actor. I feel the movies he has been involved in for the past six years are wonderful works.

He’s also an avid Batman fan like me. Robert’s looks are similar to Batman, but importantly, he has the ability to give audiences a Batman image they’ve never seen before, ”he said.

Even director Christopher Nolan supported Robert Pattinson in the role of Batman: “When Pattinson first took on the role of Batman, we never brought up this issue when talking to each other. Until Tenet was near filming, I made fun of him and shared my experience with the dark superhero image. I’m glad that Pattinson was chosen.”

Joker’s soundtrack couldn’t resist going full Batman movie

The Joker score is straight out of a Batman movie. That may be an obvious option for a DC villain standalone movie; however, Todd Phillips, the writer-director of the movie, made one thing clear in the lead up to release: he did not set out to make a comic book movie.

But by the end, Joker takes a hard left into Batman territory, as if pushed there by the booming orchestra of Icelandic composer Hildur Guðnadóttir. The choice speaks to the conundrum faced by Todd Phillips’ referential drama, and future imitators that hope to have their massive win at the box office: what a prestige comic book movie sounds like?

Until the climax, the score of Joker leans on drawn-out strings in order to build a sense of dread. Although a few lilts up and down provide the barest thread of a melody, the music comes across as a drone. Because the unfolding events reach a critical mass, these almost formless sounds give way to a rhythmic echo and beat that bears a striking resemblance to the theme for Christopher Nolan’s Dark Knight trilogy that also tried to bill itself as anything but a comic book movie.

James Newton Howard and Hans Zimmer concocted the first sounds for the caped crusader of Nolan in 2005’s Batman Begins, departing from the motifs and themes that defined the work of Danny Elfman in the 1989 Batman with a more operatic sound. They reinvented the sound of the Joker three years later with Zimmer composing a theme that was built around just two notes which defied any sense of melody for over a full minute.

The callback is all the stranger given that there are movies which Joker is trying to emulate that seem to have been ignored when it comes to musical influence. The jazzy score to Taxi Driver of Herrmann is nowhere to be heard, as is the sparseness of the music in The King of Comedy. The music plays almost like a parody of Zimmer’s work, aping his most famous scores by peeling out the loud, sustained noises and simple themes.

Trying to shy away from more obviously melodic themes, Joker reminds the viewers of its origins in comics as well as the history of Batman on screen. When Batman is inserted hamfistedly into Arthur Fleck’s story, it is no surprise – the soundtrack has been signaled the inevitable from the very first note.