Ben Affleck Batman v Superman: Dawn of Justice

Ben Affleck Batman v Superman: Dawn of Justice

Ben Affleck Batman v Superman: Dawn of Justice

Cast: Ben Affleck, Amy Adams, Henry Cavill, Gal Gadot, Jason Momoa
Director: Zack Snyder
Genre: Action, Adventure
Rated: M
Running Time: 151 minutes

Synopsis: Fearing the actions of a god-like Super Hero left unchecked, Gotham City's own formidable, forceful vigilante takes on Metropolis' most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it's ever known before.

Batman v Superman: Dawn of Justice
Release Date: March 24th, 2016


About The Production

The greatest gladiator match in the history of the world:
Son of Krypton versus Bat of Gotham!

Who Will Win?

Batman and Superman. Gotham and Metropolis. Lex Luthor, Doomsday and"for the first time ever on the big screen"Wonder Woman. With its stellar lineup of heroes and villains and bigger and better battles with even more at stake than the destruction of the Earth, Zack Snyder's 'Batman v Superman: Dawn of Justice" is an epic Super Hero journey like no other.

Pit the two greatest heroes in the world against each other and the unthinkable becomes inevitable in the form of a truly seismic clash: Batman, the underground vigilante, a knight in the darkness, and Superman, the unbeatable alien in the sky"who can possibly win such a war?

Nearly two years have passed since Metropolis suffered a battle unlike anything Earth has ever seen. Many lives were saved, but one man can't forget those lost in the annihilation, and now Bruce Wayne lives with a simmering rage that has begun to boil over into a feeling of powerlessness, the kind that turns good men into vengeful warriors. Indeed, it's the very stuff of nightmares that drives the Batman to leave his mark on the criminals of Gotham, even as he turns an eye toward the greater prize.

Director Zack Snyder states, 'We felt an interesting way of beginning this story was to examine Superman from another perspective, Batman's perspective. Bruce doesn't know who Superman is; all he knows is what the public knows. He blames him for the lives lost in Metropolis, lives that he felt responsible for. His hatred has been building up inside, and now, all this time later, he's finding reinforcement of those feelings in the media."

For two years, Superman has soared to the rescue of countless victims around the globe and the world has praised his god-like abilities. But with unavoidable destruction in the wake of good deeds, the collateral damage from his efforts is finally causing many to question those who will only see what he can do, without debating whether or not he should. It's a question he has even begun to ask himself, thanks to the machinations of one masterful mind hell-bent on his humiliation…and destruction.

'When we find Superman, he's been dealing with everyday life as a Super Hero, but there's a distinct shift happening in how his heroic efforts are viewed, thanks to the unintended consequences of those acts," Zack Snyder continues. 'Every action has a reaction; one guy's rescue leaves another in distress. We wanted to explore the reality of saving people and what intervening can really mean. The classic idea with Superman is that he's a good guy trying to do the right thing and that he isn't political, but in truth, in today's world, it's impossible not to be, no matter your intentions."

Ben Affleck stars as Bruce Wayne/Batman, who has been following news of Superman closely since what came to be known as the Black Zero Event, which culminated with Superman's catastrophic combat with General Zod. 'I think the story really sets the stage nicely for understanding why Batman wants to fight Superman," he says. 'It's logical to assume that they'd be friends since they're both good guys, but this film takes a more nuanced view of how these characters might exist in the real world and what sort of complications might come about as a result of their abilities and actions."

'Superman is beginning to face the exact challenges Jonathan Kent was worried about," observes Henry Cavill, who reprises his dual roles as Clark Kent and the Man of Steel. 'The world is filled with fear after being attacked by aliens and literally shaken to its very core. Despite having what they look to as a redeemer, the people need to direct their fear at something. In the meantime, Superman is still trying to do right by everyone and ignore the slings and arrows."

But certain arrows will be harder to deflect than others, and if Bruce Wayne, as Batman, is intent upon acting out a revenge fantasy on Superman, how might one describe his fellow industrialist Lex Luthor's reasons for undermining the 'red cape"?

As screenwriter Chris Terrio observes, 'Both Bruce and Lex are billionaires, both are orphans, and both are obsessed with Superman's absolute power. They have, at a point, the same agenda: stop Superman at any cost. But Bruce's motives are basically good, while Lex is pathological."

All three men"Clark, Bruce and Lex"are products of what was bequeathed them by absent fathers or memories of fathers who are gone, another theme explored in the story. Each man is struggling in his own way: Bruce, who is older now than his father ever was; Clark, who is righting wrongs for a ghost; and Lex, whose relationship with his father was…less than idyllic.

'Lex Luthor has always been one of the great DC villains. And one of the most epic stories in the canon was when Batman and Superman squared off against each other," offers producer Charles Roven. 'As we sought an expansion of the universe with this film, we felt that bringing these characters together was natural. Metropolis needed rebuilding, Lex is the city's major benefactor, and he and Bruce Wayne actually share similar business enterprises in the manufacturing and digital worlds."

After what took place at the end of the previous film, it just might be plausible, the filmmakers posited, that Bruce and Lex would direct a common anger toward Superman.

Screenwriter David S. Goyer notes, 'Super Hero movies tend to happen in a vacuum"epic damage happens and everyone just sort of goes back to what they were doing. In our view, it would really scar not just the city or the nation, but the world. It wasn't intentional on Superman's part, but a lot of people became fearful afterwards, and that's the impetus that causes Bruce to become suspicious of him. Lex uses that wedge issue, that nascent mistrust brewing in the general public, to foment that."

'We had left the Easter eggs in the previous film"the LexCorp truck on the street of Metropolis, the Wayne Industries satellite above," Charles Roven adds, 'allowing us to go where we felt the story and characters would lead us."

To convey Batman and Luthor into Superman's newly established world in an organic way would require careful handling. 'Everyone wants to see Batman and Superman in a film together, and everyone wants to see them fight," says producer Deborah Snyder. 'It's a thrill for anyone who loves comics, and Zack is not only a director but a huge comics fan as well."

With both Super Heroes"and Luthor, for that matter"appearing in comics for more than seven decades, there was a wealth of beloved source material to turn to for ideas. 'We wanted to introduce a version of Batman that hasn't been seen on screen before," she continues. 'One who's been doing this a long time so he's seasoned, but perhaps a little too long, so he's also jaded. If you're constantly fighting crime in the way Batman does, over time how does that affect your body? How does it affect you emotionally?"

Similarly, to carry Lex Luthor into 2016, Terrio recalls asking himself, 'What would a capitalist gone mad look like today?" Looking for real-world inspiration from many of the world's largest high-tech corporations, he found an environment that 'often cultivates eccentricity as a virtue and rewards outside-the-box innovation." Adding those qualities to a damaged psyche, he re-imagined Lex as 'a younger, brilliant, post-modern villain aware of his own villainy who has chosen to use his wealth and power to bring down one whose own power appears limitless."

The filmmakers not only brought the figurative worlds of Batman and Superman together for the first time on film, but their physical worlds, too. Of course, along with Batman comes the Batcave; super-cool, super-stealth vehicles, the Batmobile and the Batwing; and his cache of self-forged weaponry. Geographically, Gotham City and Metropolis were re-envisioned as sister cities-cum-cross-town rivals, with only a minor body of water between them, allowing for action to take place on both heroes' turfs. But it's a non-resident of either locale"one who comes with her own unique set of tools"who drops in to make an unforgettable impression on both heroes: Wonder Woman.

'Once we had Batman in the story, all I could think was, -Is it crazy to bring Wonder Woman in, too?'" Zack Snyder recalls. 'For me, as a longtime fan, Superman, Batman and Wonder Woman are the comic book trinity, and I knew movie audiences have been dying for Wonder Woman. I thought it would be amazing to include her as a way to introduce the character into this world."

Though the Amazon warrior's appearance is brief, her timing is impeccable, and she definitely intrigues both men. Gal Gadot undertakes the role in the film, joining a powerful cadre of actresses in equally strong female roles: Amy Adams, reprising the role of journalist Lois Lane; Diane Lane returning as Martha Kent; and Holly Hunter as Senator Jane Finch, who goes toe-to-toe with both Superman and Lex Luthor.

Jesse Eisenberg infuses Luthor with a strangely manic aplomb while Jeremy Irons maintains composure"and minds Batman's techno-gadgetry with ease"as Alfred, a cool counterpart to Bruce Wayne's darkly obsessive nature. And Laurence Fishburne revisits the role of practical Daily Planet editor Perry White, who struggles to keep Lois Lane on track, and to keep track of Clark Kent.

In fact, despite Perry White's firm stance against it, Clark is chasing down a story across the bay in Gotham that involves the activities of Batman, unaware that the very man he's seeking to expose is secretly on the hunt for him. With neither man willing to back down, and with Lex Luthor's plans on a deadly course for Superman, can these two Super Heroes ever overcome their differences to confront an even greater threat?

He has the power to wipe out the entire human race.
If we believe there's even a one percent chance that he is our enemy,
we have to take it as an absolute certainty.
"Bruce Wayne

Bringing Icons Together

In developing the story of 'Batman v Superman: Dawn of Justice," the question arose as to whether or not such a Superman can openly exist in 2016, or if he is purely a creation of a more innocent time. Can all that he stands for survive in a world as complicated as ours, with so many competing and conflicting agendas and alliances? With today's all-access 24-hour news cycle, how does one fight for global truth and justice without fear of indictment?

The filmmakers determined that after the details of a seemingly successful rescue are somehow turned against him, the world, too, begins turning against Superman"his country's government and media, and even a fellow crime fighter, leading the charge.

'When we started talking about what would be Superman's challenge for this next movie, we knew we couldn't find bigger physical stakes than the destruction of the Earth," Zack Snyder says, 'so we had to make the emotional stakes higher. And who is a more worthy foil for a philosophical war than Batman? Once you say that out loud, it's hard to go back."

To bring Batman organically into the story, we learn of Bruce Wayne's own experience during the Black Zero Event in Metropolis, and how he has begun to take a proactive approach toward destroying what he now perceives as the enemy. This unexpected turn of events and view of the Bruce Wayne and Batman characters were key factors in drawing Ben Affleck to the role.

'When I was a kid, I was a fan of the character, particularly Frank Miller's Dark Knight," Ben Affleck states. 'While ours isn't the same story, what interested me about playing our version of him was that, on one hand, he was very much in keeping with the Batman we recognize, but he had evolved into a bit older, more world-weary slugger nearing the end of his tether, and that was really intriguing to me. Superman's actions cause a rage in Bruce Wayne that is almost irrational, and that desperate anger and hatred was a fascinating place to build from."

'It's no secret that Frank Miller's The Dark Knight Returns is my favourite comic book and contains what I would consider the coolest Batman/Superman philosophical confrontation," Zack Snyder says. 'Ben Affleck and I talked at length about using Miller's character as a template in the sense that he's a veteran, he's been doing this now for 20 years, and he's lost a lot of friends along the way and become really reclusive. So in our film, all Bruce has left that matters to him are Alfred and being Batman. He's thinking, as we all eventually do, about his legacy. He even says to Alfred that instead of just pulling weeds"yanking one criminal out of the mix to find another growing in his place"wouldn't it be better to do something about this global problem of Superman?" Ben Affleck adds, 'When I first heard Zack Snyder's idea to imbue the story with real-life themes that resonate with people, I wanted to be a part of that, and of the first DC film to bring these heroes together."

While playing a character immersed in anger, Ben Affleck greatly enjoyed his director's upbeat temperament. 'Zack Snyder is incredibly optimistic and good-natured, which is nice to be around," he says. 'He also knows all the minutiae of comic book history inside and out, but welcomed my ideas and feedback, and it was really special for me to watch it all come together."

'Ben Affleck really has a great ability to morph between the two worlds of Bruce Wayne and Batman, staying in the groove with both personas separately but also, as our story required, blurring the lines a bit," Zack Snyder says.

But what of pitting a very mortal Batman against a Superman in top form? Can Batman, even with his array of weapons and well-honed battle strategy, hope to defeat an invincible being? How great a price will he pay for this act of hubris?

Unfortunately for Superman, he is not as invulnerable as he believes. Superman never sees the threat coming until it lands on his doorstep, and when it does he dismisses Batman as a minor irritation. 'In an all-out to-the-death fight, who would win? Clearly, Superman," Henry Cavill asserts. 'But that's not Superman. He doesn't agree with Batman's idea of justice at any cost; he wants to solve the problem as cleanly as possible without stooping to Batman's level. So Batman immediately gains an advantage."

'Combining Batman and Superman in one film was no small feat; it looked easy in the script, but it wasn't," Ben Affleck cites. Even taking their physical abilities out of the equation, 'these are two very strong personalities with competing philosophies about how to do good in the world but facing the same dilemma: how evil do you have to become to effectively fight evil? These guys are essentially the Alpha and Omega of Super Heroes, and their mutual misunderstanding and mistrust ultimately lead them into conflict with one another. I think…I hope…we did them justice."

Like Ben Affleck, Henry Cavill is conscious of the worldwide affection for his character and the responsibility that goes along with it. 'Superman genuinely matters to a lot of people," he states. 'The more people I've met since playing him, the more I've realized that the decisions we make in telling his story now and in the future must take into consideration their care and love for the character."

'I think that these characters and stories are not only highly entertaining, but they provide a terrific example of what to do or not do, how to behave or not behave, and enable us to compare ourselves and our actions against them," Henry Cavill continues. 'In the last film, the world was attacked by aliens and nearly destroyed. That event thrust Superman into the public eye, and since then he's continued to try to do the right thing and get a closer connection to humanity, but he's left questioning whether humans really want his help or not."

While many in need still call out for his help, what people like Bruce Wayne, Lex Luthor and even the U.S. Senate have begun to question are Superman's motives behind his actions, beginning with his destruction of the Kryptonian forces led by General Zod. Did he defend the planet and its people for altruistic reasons or for self-preservation, to ensure he remained the sole of his kind on Earth, his power unmatched by any other being?

'The concept of a being who could destroy the entire human race if he wanted to has to give some people pause, whether or not they think he's a good guy," Zack Snyder says. 'Humans are trusting his benevolence will continue, but some, like Lex and Bruce, are thinking long term."

Superman may have saved the world, but the landscape and the people remain scarred. From his experience as a vigilante, Batman also finds further justification for his feelings toward the alien. Charles Roven suggests, 'Batman has seen so many men corrupted by power, and here's one with absolute power, so it's only a matter of time before Superman will be corrupted."

The social backlash is difficult for Clark to understand or accept. 'He's knows he's an alien, but he sacrificed everything of his own culture and race to save the planet he feels just as much a part of," Henry Cavill states. 'He made a choice to give up some of his anonymity in order to do good, yet there are those who put a negative spin on that either for media attention, to stir up trouble, or out of fear. What they won't seem to acknowledge is that he's this incredibly powerful being, but at no time has he used it for his own gain, which in this day and age is remarkable."

'I think it says something about how deep and rich these characters are that even though these heroes have superpowers, they go through some of the same things we all go through," Deborah Snyder remarks. 'They're just trying to find their place in the world. Whatever their strengths are, they still have flaws and weaknesses, they're still trying to overcome things, and they still want to love and be loved."

While others turn against him, one individual who remains steadfast in Clark's life is girlfriend Lois Lane; their relationship is a source of comfort and acceptance for him. Henry Cavill states, 'He wants to make her happy and he wants to be as normal as possible with her. But it's not a normal relationship"how could it be? One of them is an invulnerable alien."

The other is a journalist with a dogged determination to find the truth about the latest incident tightening the noose around Superman's neck. Amy Adams eagerly came back to the role of Lois Lane.

'What I liked about Lois's path in this film is that she's still in pursuit of the truth"she needs to find truth in order to have a sense of self, that's always a part of who she is," Amy Adams relates.

'But now she also needs to find the truth in order to help her man clear his name. So she's not only approaching this as a journalist, but as a woman wanting to help the man she loves the only way she knows how."

'Lois in many ways is the center and the heart of the movie because she is constantly turning over rocks to get at what is going on," says Charles Roven. 'Through Lois we uncover a lot of the plot and the mystery behind who's pulling the strings. And then there is her complicated relationship with Clark/Superman. Amy Adams does an amazing job of revealing the complexities of her character and the situation Lois finds herself in."

One of the reasons Amy Adams was keen to return was to work with director Zack Snyder again. 'Zack has so much respect and reverence for these characters, but at the same time he isn't afraid to let them grow, to show people a different way to look at them," she says. 'He's fearless that way."

Especially, observes Amy Adams, when it comes to the females. 'Zack Snyder takes women like Lois and allows them to be strong without making them masculine," she continues. 'He's not afraid of their feminine sides, and it's so great to work with him because he doesn't force the strength, he just trusts that it's there. He also allows you to explore the layers of love and vulnerability along with it, which I think makes them appear even stronger. Because working through fear, working through vulnerability, that's where true strength lies."

One of the strongest influences on Clark has always been his parents, Jonathan and Martha Kent. Since her husband's death, Martha has served as a lone reminder of a simpler time in her son's otherwise extraordinary life.

Diane Lane, revisiting the role she played in 'Man of Steel," says, 'Jonathan was filled with inspiration for his son, for what he could mean to the world, whereas Martha wanted to protect him. She didn't trust humans to respond well to Superman's existence, and now it seems that she may have been right."

Now working as a waitress in a diner, 'Martha's slingin' hash and keeping her secret while keeping an eye on Clark through the news, watching how the world is relating to him and all the problems they're projecting on him," Diane Lane says. 'He's making people jealous over his powers and she worries how he's going to deal with that. She still wants to protect him. She's his mom."

Also returning from the previous film, Laurence Fishburne steps back into the shoes of Daily Planet editor Perry White. 'The first day I was back on set, it felt like no time had gone by at all," Fishburne smiles. 'There were so many familiar faces and the vibe was just the same, it was easy to pick right back up where I left off."

The actor was thrilled to be a part of the new film with the additions of Batman and Wonder Woman. 'Like Superman, these are heroes who are willing to sacrifice themselves, to do whatever is necessary to protect society. So knowing they were all in the story, I was super excited to be in that movie…and as a comic book fan, to watch that movie."

Of course with Batman in the mix, another indispensable addition to the lineup is Alfred, Bruce Wayne's closest confidant and partner in fighting crime. Making Bruce, and therefore Batman, a bit older and a product of perhaps a few too many nights on the hunt necessitated an update for Alfred as well. The filmmakers accomplished this by leaning into a different side of his history, evident by his impressive technological and mechanical skills.

Jeremy Irons took on the reinvention of the role, stating that 'Zack Snyder immediately talked to me about a slightly more hands-on version of the character, one who came from a military background and was very capable with electronics and so forth."

These new responsibilities, however, do not replace his parental instincts when it comes to Bruce. 'He's known Bruce all his life and, following the death of Bruce's parents, tried to guide him, to make him look at the long view when it comes to serving up justice. Alfred sees justice as vengeance without the passion; for Bruce, for Batman, vengeance is all passion now.

'I don't think Alfred is happy with what's happening with Bruce, so he tries to dissuade him," Irons continues. 'He thinks he's after the wrong enemy and, with an ironic sense of humor that comes from experience and age, he tries to tell him so. But Bruce is his own man and Alfred loves him like a son, so he does everything he can to help him, which in Alfred's case is quite a lot."

'When Bruce Wayne is Batman, he's able to confront all the pain in his life in a real, therapeutic way," Zack Snyder says. 'Batman is where he feels the most in control of himself emotionally. Alfred is always arguing on behalf of Bruce, to try to get that side of him to be more secure. Jeremy did such an amazing job of walking the fine line Alfred has to walk and wearing the many hats he has to wear. He's funny and also very honest in the role, and the relationship between Bruce and Alfred has a lot of depth and is really fun to watch."

As they had with the other main characters, the filmmakers sought to update the traditional Lex Luthor, imagining what sort of man he would likely be in 2016. They wound up with a much younger Luthor who had inherited LexCorp from his father, and found just the actor they were looking for in Jesse Eisenberg, who infuses the character with a very sinister humor, one that arises from an illogical obsession with Superman.

'If you look at Lex in the comics, there's a brilliant absurdity to his scenes," Jesse Eisenberg offers. 'He's always trying to concoct these very complicated schemes to kill Superman; it's funny in the way that he is so focused on this one thing. And even though he might appear pretty serious, to me he's this clever person who uses word play and puns to talk circles around people, to condescend to them. Lex uses his cleverness to his advantage in a dark way."

The filmmakers were really pleased with this new interpretation. 'We wanted a character who conveyed exactly what a young, compelling, constantly innovating, genius entrepreneurial businessman is like," says producer Charles Roven. 'Somewhat mercurial, always magnetic; someone you can't take your eyes off. Jesse was perfect for this. His performance is truly mesmerizing. He surpassed all our expectations."

Jesse Eisenberg enjoyed playing with Luthor's fanatical nature. 'Lex thinks of Superman as almost an existential paradox"he cannot be all good because he's so powerful or all powerful if he's all good," he hypothesizes. 'On the flip side, Lex wants to be the most powerful person, but for him that's okay because he is a person, he's earned it, whereas Superman is this horrible alien interloper who doesn't even deserve to exist. Lex is so myopic that he views his own morality as the only correct belief system in the world, and anybody opposing him is immoral and needs to be kind of destroyed."

A good deal of Lex's bad traits may stem from his dad, which he alludes to in the film. 'Lex has a degree of self-awareness about his own relationship with his father, who was this powerful but abusive guy, and he somehow draws a parallel to Superman that makes him automatically distrust him. Modern psychology would probably diagnose Lex as some kind of narcissistic sociopath who is funny and charming but isn't capable of empathy. As an actor, it's really fun because you're able to behave in all sorts of ways that would probably get you arrested, but do it in a safe environment."

One fun and entirely legal aspect of Lex's character paired up nicely with one of Jesse Eisenberg's own passions: basketball. 'I've played since I was very young," he says, 'and when I read in the script that Lex has a basketball court in his offices, I said, -I don't need a stunt double or any kind of computer effect, this is the one thing that I can do perfectly.' Then I showed up to the set, played all day flawlessly until we got to the shot where he makes a three-pointer, turns around and says his line…and the ball would not go into the basket. It was like a classic Charlie Brown moment."

While Luthor seems to have no shortage of employees to shoot hoops with, it's unclear whether or not he has any true companions. 'In the same way that Satan is often depicted as charming, befriending Lex is like making a Faustian bargain," Jesse Eisenberg laughs.

Luthor does, however, try to make a friendly deal with U.S. Senator June Finch, a democrat from Kentucky and a true steel magnolia, portrayed by the venerable Holly Hunter, who enjoyed going mano a mano with Jesse Eisenberg.

Holly Hunter offers, 'The element of trust very much comes into play for her when it comes to Lex Luthor and working with Jesse Eisenberg was wonderful. He has a lightning-quick, verbose intellect and the speed with which he makes his transitions is captivating, and that makes Lex really exciting.

'It's a fascinating and multi-faceted relationship they have and the script explored the terrain between them quite beautifully," she goes on. 'There's a volatile undercurrent in all of their dealings and Finch senses it. She knows that if you can't trust someone, you must listen even more closely to everything they tell you."

'Zack Snyder and I have always been tremendous fans of Holly Hunter," says Deborah Snyder, 'so when the role of this really tough Southern senator came up, we knew it was perfect for her. Once we knew we had her, the role expanded. Senator Finch is head of the committee leading an investigation into Superman's actions because she feels he should be accountable, but also that he should be judged fairly."

What attracted Holly Hunter most to her character, the actress says, 'is the fact that she leads by reason, not emotion. Often in the political world, emotionality can take center stage because it draws attention. But that's not Finch's way. She considers the issue, for as long as it takes, until she organically arrives at a decision based on thought and what matters for the future, rather than any other component."

Rounding out the cast, Harry Lennix returns as Swanwick, formerly a general but now Secretary of Defense; Tao Okamoto plays Mercy Graves, Lex Luthor's statuesque right-hand woman; and Callan Mulvey is a mysterious figure whose actions have an impact on both Super Heroes. There are also several cameos from real-life newscasters, pundits and commentators, anchoring the film in the real world.

You don't know me, but I've known a few women like you. "Bruce Wayne
Oh, I don't think you've ever known a woman like me. "Diana Prince

It was for the role of Wonder Woman that the filmmakers felt perhaps the greatest responsibility when it came to casting. 'Wonder Woman had just turned 75 years old, and we really felt it was time for her to grace the big screen," declares Deborah Snyder. 'She is one of the most powerful female heroes that we have, she symbolises so much strength and passion, and she is a role model for women of all ages."

So, no pressure, right?

'We searched all over the world, we looked at hundreds of actors for the role," she continues. 'When we met Gal Gadot, it was unanimous among us that she was special, that she personified Wonder Woman. And as we got to know her and saw how she interacted with everyone, we knew that she was the right fit. Wonder Woman represents love and truth and sexual equality. Gal Gadot really embodies those characteristics."

Gal Gadot's first day on set as the heroine had an impact on everyone, especially one very young visitor"the niece of a crew member who had drawn a picture for Wonder Woman. 'This sweet little girl gave me a beautiful picture she had drawn for me," Gal Gadot recalls, 'and people just started to cry. It was very moving and it proved how important the character is. For little girls who can be inspired to be strong, independent and sophisticated women when they grow up and for little boys who learn they must respect women, Wonder Woman represents a lot of good values, and moral strength, too."

Though her time in this film is somewhat brief, Gal Gadot enjoyed bringing the Amazon warrior to life beside the iconic male Super Heroes. 'She's been around for a long time and she's very wise," Gal Gadot observes. 'She knows how to choose her battles and she can read a few steps forward. And there is a lot of difference between men and women in the way that we deal with conflict."

And now, you will fly to him, and you will battle him to the death.
Black and blue. Fight night.
"Lex Luthor

Getting Into Fighting Shape

Thanks to good habits Henry Cavill developed during his first stint as Superman, trainer Mark Twight, who trained him for 'Man of Steel" and was on board again for this film, had different work for him to do for 'Batman v Superman: Dawn of Justice," since the actor maintained his physique.

'In my mind I had set myself an even higher standard for -Batman v Superman' than we set for -Man of Steel,' which, in itself, was going to be a challenge," Cavill relates. 'Fortunately, however, Mark Twight was generous enough to train me throughout the filming for -Man from U.N.C.L.E.' in a manner that would set me up wonderfully for the training required for -BvS.'"

Mark Twight was impressed with Henry Cavill's commitment. 'He has trained himself into a condition of having genuine horsepower," the trainer says. 'Henry Cavill's ideas for what he can do with his body have completely changed. Three years ago, he would not have thought about running up Gibraltar Rock to raise funds for the Royal Marines, but he did in 2014. When we were first in Vancouver, hiking up the Grouse Grind was a bridge too far. It's a product of how comfortable he has become with his own physicality."

Henry Cavill notes, 'Once pre-production started on -BvS' I was handed over to Michael Blevins. Together, Michael Blevin and I worked on a mass gain program, which would result in me being 20 lbs heavier than I was even during the peak of my mass gain on -Man of Steel.' We then went through the leaning process to bring me down to shooting weight, which was achieved through performance-based training as well as conditioning. The great thing about working with Michael Blevin is that despite this being the hardest work I had yet done training for a role, he managed to make it an enjoyable experience, and became a good friend because of it."

The role of Batman required Ben Affleck to appear intimidating enough to go up against Superman. 'It was important to me that Batman be bigger because Superman is infinitely stronger than the best that humanity has to offer," explains director Zack Snyder. 'Theoretically, the best that man can do is still nothing in the face of Superman, but I wanted him to look like he stands a chance. Ben is 6'4"; with his boots on he's 6'6". And he's handsome, smart, charismatic and mature. For the road-weary Batman that we wanted, Ben Affleck was perfect."

Slight height advantage aside"Henry Cavill is 6'1"" Ben Affleck still had to amp things up. Batman may be aging and battle scarred, but he's still Batman, and thus the actor spent more than a year training for the role. 'I had to get into really great shape and I had to be as flexible as possible," he says. 'In some ways, the work before the film was more taxing than working on the film itself."

Second unit director and stunt coordinator Damon Caro, also returning from 'Man of Steel," worked with Zack Snyder to determine both heroes' appropriate skill level and techniques for the various fight sequences. 'Zack Snyder and I discussed how much more improved Superman would be since we saw him last," Damon Caro says. 'He's been saving people, but he hasn't necessarily been fighting anyone, so his technique is probably right where it left off. But his wisdom and tactical planning would have advanced just from experience."

With regard to Batman,Damon Caro says, 'One thing that was really appealing about him is that he's a more seasoned guy. That was interesting to me because we were sort of past his learning curve since he had so much experience under his belt. So we approached Ben Affleck's fight choreography differently; he's crafty, he's got all the skills, the power base and, of course, weapons. Batman is all about covert planning."

Training for the film didn't only apply to the men. Because the filmmakers were introducing both Wonder Woman and the mysterious Diana Prince in the film, they needed Gal Gadot's physique to reflect the dual facets of the character. Having served in the Israeli army, the actress was no stranger to combat training. After discussing the role with the filmmakers, Mark Twight says he trained Gal Gadot with an eye to 'develop the particular physicality of the character, who has to integrate into high society as well as being a total hitter when it comes to swinging the sword and battling the bad guys."

Mark Twight worked with Gal Gadot for over nine months. 'I noticed as she became more physically capable, her attitude changed from wondering about her ability to do the role to just knowing that she could sell this. That level of confidence was fascinating to watch develop, that she can be both beautiful and soft and caring when she needs to be and as hard as she needs to be to combat evil."

Damon Caro also put Gal Gadot through her paces. 'We did a lot of martial arts drills, working with her stances, footwork, punching drills, kicking drills, and so forth," he says. 'We mainly focused on her weapons training" specifically sword and shield."

'Gal Gadot had to undergo such a rigorous training process," Deborah Snyder adds, 'yet she was always positive, always wanted to know what more she could do. Her commitment alone proved we really had our Wonder Woman."

Though Lois Lane never dons a Super Hero suit, Amy Adams was not entirely spared the rigors of stunt training, thanks to a pivotal scene that required that she be underwater. 'They had a great team that really made me feel safe," recalls Amy Adams, 'but it was definitely claustrophobic. I was under the water and trapped, and playing that was something I hadn't anticipated, emotionally. It was intense, until I accepted that I wasn't actually drowning. We were a team of six people"the divers, the stunt woman, the cameraman"and we all went down together, which was very comforting. It became strangely meditative and relaxing. Except I got really bad swimmer's ear; that was my war wound! Everyone else had to work so hard that I felt the least I could do was get down there and not complain."

Maybe it's the Gotham City in me…
We just have a bad history with freaks dressed like clowns.
"Bruce Wayne

Suiting Up

As important as it is to be in shape to play a Super Hero, it's perhaps even more so to dress the part. Costume designer Michael Wilkinson, who designed the Superman suit from 'Man of Steel," was eager to revisit it and to have the opportunity to work on both Batman and Wonder Woman as well.

Without necessarily going back to the drawing board, Michael Wilkinson says, 'We wanted to keep developing the Superman suit. Zack Snyder liked the idea of it becoming even more streamlined, so we tried some new technologies and changed the side detailing. He had this great idea to incorporate some Kryptonian script into the suit this time, so through the bicep, the S glyph on his chest, and the belting on his wrists, there's some very delicate text woven into the chainmail pattern. It's a Joseph Campbell quote that is meaningful to Zack Snyder."

The quote from Joseph Campbell that Michael Wilkinson integrated into the costume speaks to the film's themes with respect to the character: 'And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; where we had thought to be alone, we shall be with all the world."

'Of course, to decipher it on the suit, you have to be able to read Kryptonian," Michael Wilkinson smiles.

Superman's cape, too, has evolved. 'With Superman's cape, we were aiming for the sense of impossible perfection," says the designer. 'We found a great new fabric that has an unearthly metallic sheen and blends beautifully with the blue of his suit. The fabric was cut with a hot knife and welded together to avoid any stitching lines. Superman's cape is an extension of his extremely graceful lines, and it is a remnant of the cape culture on Krypton."

On the other hand, the Batsuit was inspired by the very down-to-Earth costume illustrated in Frank Miller's The Dark Knight Returns. In the graphic novel, Batman's suit is less high-tech and more analog, interpreted by Wilkinson as 'something that Bruce Wayne has prototyped and put together in his workroom. It looks unfinished and raw and brutish." The design served to emphasize the differences between the two Super Heroes: while Superman possesses a streamlined silhouette and an almost Grecian perfection, Batman is burlier and rougher around the edges.

While the Batsuit may at first glance appear to be low-tech, the designer declares, 'The technologies that went into achieving that look are actually cutting edge. We started off by scanning Ben so we could create a mannequin of him. Then we sculpted a layer of anatomy and skinned it with a layer of digitally printed fabric. For the cowl, first we sculpted it in clay, then it was put into the computer using this amazing hand-held scanner. Once it was inside the computer, we applied a beautiful leathery texture to it. And then the real engineering started.

'We hollowed away the recesses within the bulk of the cowl so it would become more flexible, to move like regular anatomy," he continues. 'You can see the beautiful neck muscles, and it became one with Ben Affleck. It was a huge achievement in costume engineering to have a bat cowl that is comfortable and has a full range of movement. It took us maybe six to eight months to develop the full Batsuit before we committed it to camera."

Also in contrast to the pristine quality of Superman's costume is the battle-scarred look of Batman's suit and cape. There are scratches and bullet holes, and bits of crud encrusted into the fabric from years fighting in the streets of Gotham. And while Superman's cape is part of his Kryptonian culture, Batman's is part of his disguise, hiding the man and adding a dark, sinister edge to his already menacing physique.

'Zack Snyder wanted our Batman to be incredibly physically intimidating, an expert fighter, a brawler," says Michael Wilkinson. 'His power isn't through his armor but the brute strength of the man inside, so you can see his muscle definition from head to toe, even through the boots and gloves. You get this impression of a tower of strength."

The story also required a second Batsuit, with an entirely different function. In addition to the Batsuit that Batman wears for the better part of the movie, there is the more armor-like 'mech suit." Into this suit Bruce Wayne and Alfred pour all their mechanical know-how, hoping it will be impenetrable enough to give Batman a fighting chance against Superman.

Just as Henry Cavill's suit turned him into Superman, Ben Affleck credits the Batsuit for turning him into Batman. 'When I read the script," admits Ben Affleck, 'I was like, -How do I do this? How do you play Batman?' But then I put the suit on and looked in the mirror and thought, -That's it.' As it turns out, you don't really play Batman, you play Bruce Wayne, that's where the character gets complicated. Batman himself is stoic and dark and if the suit looks great and it's photographed well, it's iconographic, almost a painting of this avenging character. It's a mistake to try to overact Batman. You let the suit and everything else that is going on around you do most of the work."

Perhaps the biggest challenge for the costume department was the new design of Wonder Woman's costume. A few attempts to update it from the iconic 1970s design had been made elsewhere, but director Zack Snyder did not want merely to update. He wanted to start from scratch.

'The first thing that Zack Snyder and I talked about was that we wanted it to appear like she's been wearing this costume for her entire history," relates Michael Wilkinson. 'She wears a gladiator-style breastplate, a split skirt and leg armor, with centuries of wear from battle. The leather is crackled and antique-looking. All her weapons are distressed and they have a fantastic sense of age."

Zack Snyder wanted Wonder Woman's costume to be made of metal, which seemed like a great idea until Michael Wilkinson began thinking about the demands of the film's battle scenes and other special effects. 'Metal is rigid," Michael Wilkinson explains, 'but the choreography and the stunt requirements of our script called for incredible ease of movement. So instead we developed a material that looks like metal but was able to take a paint finish so we could create a wonderfully ancient feel to it, and still have it be flexible. I designed a sectioned breastplate that has expansion joints, allowing Gal Gaton to breathe and bend and do all her amazing stunt moves while looking like she's outfitted in this incredibly strong, metal armor. We wanted to balance her power and intimidation with her grace and majesty."

As Michael Wilkinson well knows by now, challenges are part of the process of creating complex costumes. 'Whenever we work on these Super Hero costumes, we do a lot of research and development in preproduction," says Michael Wilkinson. 'We explore textiles and think about what the suits are going to go through during the shoot. There are always very extensive stunt sequences and wirework and elaborate choreography that these costumes have to withstand. You also have to think about keeping your actors comfortable, whether that means a cooling suit underneath or layers to keep them warm. And the costumes have to last the entire shoot. You need to work out how many multiples to make and what different variations you have to have whether it's with short capes, no capes, flexible cowls, stunt boots…it's really quite a jigsaw. But it was really satisfying because it allowed me go to places where costumes haven't gone before, to explore new technologies that help make these costumes not only look great but be very functional as well."

Of course, all three costumed characters also appear as their alter egos, Clark Kent, Bruce Wayne and Diana Prince, and Michael Wilkinson and his team had to dress them as well. 'For all of Clark's civilian clothes, we wanted a reminder of the Midwestern boy from Kansas, so we use soft, warm textures"wools, corduroys"and earth-toned browns and plaids."

Due to Henry Cavill's physique, everything was made from scratch. 'Henry Cavill has such an extraordinary shape, you can't just buy off the rack for him," Michael Wilkinson notes, 'but we were very conscious of using fabrics and design to deemphasize his size and help him"help Clark, really"hide in his clothes."

Bruce Wayne required rather the opposite style. 'The thing that really helped me find out who Bruce was and how he should dress was a conversation I had early on with Ben," Michael Wilkinson states. 'He felt the character would appear very austere, that he's the sort of guy who, when you walk into his closet, has eight perfectly pressed white shirts and 12 incredible navy and black suits. In fact, maybe that is the uniform, that is the alter ego, pretending to be this wealthy playboy who dates supermodels and drives flashy cars, when in fact he's really much closer to the character of Batman."

Once the designer had that imagery in his head, he avoided the urge to go flashy and went instead for an elegant refinement and minimalism for Bruce Wayne. 'I designed all of his clothes and chose beautiful fabrics. Bruce's tailored clothes were made by Gucci's amazing tailors in Milan, and they fit him like a glove."

Bruce Wayne, however, is not the only billionaire businessman in the story. Contrasting that character in basically every way, Lex Luthor is a model of a modern-day, entrepreneurial twentysomething in charge of a vast empire but with little affinity for how his father might have run things in his day.

'As soon as Jesse Eisenberg was cast as Lex, I knew exactly where I wanted to go with the character," Michael Wilkinson remembers. 'There was a great sense of freedom in that because the casting was so against type, so against the sort of Wall Street tycoon in the three-piece suits and power ties that one expects. Our Lex is a young, 21st-century IT businessman; I liked that he has a totally different physicality from the muscle-bound Super Heroes. It's clear that his power is his intellect, not his brawn. Even though he has all the money in the world and, therefore, access to the best clothes, he playfully combines expensive pieces with screen-printed t-shirts, casual bright-colored suiting and sneakers. You can't quite put your finger on him or his style"that's how he likes it."

Michael Wilkinson enjoyed the prospect of dressing two characters who could shop in the same price bracket but who have such vastly different approaches to their wardrobes. 'We thought of Lex as maybe Mick Jagger mixed with a Silicon Valley entrepreneur, that kind of vibe. I think it turned out to be a very surprising and provocative take on the character."

In designing Diana Prince's civilian attire, Wilkinson says he was careful to resist the temptation to 'go too high fashion or over the top. We wanted to create clothes for Gal that were very striking and individual-looking, but also grounded in her persona and the reality of the film." The designer strove for European elegance and sophistication, letting the beauty of the actress stand out through the use of minimal colour. 'She wears a lot of solid colours with confident silhouettes and statement jewelry, all of which convey her intelligence and, somehow, that she's someone you don't want to mess with. It was important that the clothes provide a sense of strength, rather than just being ornamental."

Of course, we all know Wonder Woman is famous for some of her accessories, but neither she nor Batman would be truly ready for battle without their own, individualised arsenals.

Men fall from the sky and gods hurl thunderbolts…
That's how it starts.

Technology Both Real And (CG)Imagined

With Wonder Woman at all times are her tiara, her Amazonian bracelets, and her lasso of truth, sword and shield. Designed and manufactured under the careful eye of property master Doug Harlocker, the sword, like Superman's chainmail, surreptitiously incorporates a portion of the Joseph Campbell quote admired by director Zack Snyder"this time, etched in Venetian text into the grooves of the blade. An eagle, which is an integral motif in the character's lore, decorates the uppermost part of the sword, and also sits, faded and almost ghostly, upon the front of her well-worn shield.

But it's Batman, the only human of the trio, who is the most dependent upon his weaponry. Outfitted with multiple grappling guns, grenade launchers, Batarangs, a Batbrand, and sniper rifles that shoot both darts and GPS tracking devices, he has an arsenal to envy.

He also flies the sleek and lightweight Batwing that hangs like a gargoyle in the Batcave and soars effortlessly over Gotham and its surrounds. Historically, however, it has always been the car he drives that garners the most attention: the Batmobile.

Like the Batman suit, the Batmobile reflects the hero's brutal fighting style. Designed by production designer Patrick Tatopoulos, art director Kevin Ishioka and concept artist Ed Natividad and vehicle set designer Joe Hiura, then built by Dennis McCarthy of Vehicle FX in Sun Valley, California, the 8800-pound beast took over a year to develop, test and tweak before it was ready for its close-up.

'The Batmobile was my first design for the film and became the tool I used to define the Batman aesthetic," Patrick Tatopoulos states.

'It is phenomenal," says Deborah Snyder. 'This thing is so bad-ass and it runs like you would not believe. It sounds incredible. The Batmobiles done in the past were super cool, so how do you top it? But it really is a work of art. It's militaristic, it looks battle-beaten. It's just a magnificent vehicle in so many ways."

But it was a bit too valuable to be crashed into walls or flipped over. For the heavier work, the team built two 'proxy" cars: stripped-down Dodge Ram Duallys that the special effects team then rigged up with tubular chassis to protect the stunt drivers, and metal plates to approximate the size of the Batmobile. In post, visual effects supervisor DJ DesJardin's team then rendered the Batmobile in.

For scenes where the real Batmobile was in use, stunt driver Mike Justus was the man behind the wheel. 'All I was allowed to do was pull up and stop," Ben Affleck laughs. 'I wanted to do all the crashing and shooting, but that car cost too much."

Even Jeremy Irons was blown away by the vehicle. 'The first time I saw the Batmobile, I was awestruck, and that was on the outside set," he recalls. 'But when it was sitting in my workshop in the Batcave, well…that was very cool." The actor was thrilled to have been able to spend a little time at the wheel of the iconic car. 'I wanted to try a few donuts in the Batmobile and see if I could get the front wheels off the ground, but I was conscious that I should hand it back in reasonable condition. So I restrained myself"but nevertheless I had a blast!"

To aid the visual effects team in post, the Batmobile was scanned by Scanline in order to provide the required reference points. The actors, too, were scanned, this time by Light Stage, in the company's brand new mobile unit. Built by Light Stage and Gentle Giant Studios, the pioneering technology creates a hologram of the subject and solves the problem of having to send actors to company headquarters to be scanned, saving valuable time. The smaller mobile unit can be sent anywhere a film is shooting, set up in a day, and used between an actor's scenes; some scans took as little as 20 minutes.

'There's so much that you can do now with visual effects," says Deborah Snyder, 'but I think the trick is to marry the visual effects with something that's real. Our films have always been very reality-based. Building these sets and props, it gives the film a reality that CG doesn't have on its own. So when our characters do fantastical things in our real world, they're even more fantastical because they appear that much more real."

Known for preferring the real over the imaginary, Zack Snyder feels there is a place for each on a movie like 'Batman v Superman: Dawn of Justice," stating, 'I'm a combo guy. I use computers to solve problems and I'm not afraid of CGI, it's a great tool. I don't draw a line, it's all about the shot. DJ and I have worked together a long time; we trust each other to do what's best to make every scene as impactful as possible for the audience."

You're gonna go to war?
- Alfred
That sonofabitch brought the war to us.
- Bruce Wayne

The Ultimate Cross-Town Rivalry

In bringing Batman and Superman together in one film, the filmmakers decided that, rather than have the action take place in one or the other's home turf, they would utilise both iconic cities, Gotham and Metropolis.

'We thought the dynamic of creating two environments as rival cities played nicely into the antagonistic relationship between Batman and Superman," Charles Roven states. 'Metropolis and Gotham as sister cities, across the bay from each other, a little like New York City and certain parts of New Jersey along the Hudson. Metropolis is more cosmopolitan, while Gotham is a tougher town."

Production took place in and around Detroit, Michigan, with some scenes accomplished in the Chicago, Illinois, area, and scenes at the Clark family farm filmed once again in nearby Yorkville. With Zack Snyder's preference for the practical, much of the movie was shot on location or on large builds, the largest set being the Batcave, a feat of engineering that would impress the most daring architect.

'The main concept for the cave is that everything is suspended," explains Patrick Tatopoulos. 'It's all hanging, like a bat"there is nothing with structural support from underneath. Even inside the workshop, every workstation hangs in space; the only thing that touches the ground is the chair. The building is not even touching the ground, it's all cantilevered on the outside."

The cave is composed of a series of cubed spaces connected by a floating staircase and surrounded by glass walls that are suspended using a spider system, which is a series of brackets that hold up the glass, only at the bottom and top. The brackets are held by steel pipes, painted to disappear into the dark slate color of the untouched cave walls. Water flows down the cave wall and into a small pond beneath a bridge, between two glass cubes. The effect is that of glass cubicles squeezed inside an existing cave. The designer was going for a feeling that is organic, minimalist and claustrophobic, built by a man who has become one with his animal nature yet feels crushed by it.

This minimalist theme continues above ground in the small glass lake house that lies in the valley below a hollowed out, decaying Wayne Manor. 'The glass house reflects the same idea of a very low footprint," Patrick Tatopoulos says. 'The house sits in the middle of nature, as if it's almost not there; wherever you look, you're in nature. I was inspired by the architecture of Mies van der Rohe and the house was crafted around the idea that Bruce's father could have had van der Rohe design it." Inside, the house bears minimal furniture, and only essentials line the kitchen walls: a wine rack, fridge, sink, stove, and coffee machine. An austere environment for a man with a singular vision, fighting crime, and who has almost nothing else to bind him to the world at large.

The glass house was built on an old Girl Scout camp in Michigan, which is where the bulk of the movie was shot. The city of Detroit also provided the filmmakers with the freedom and space to shoot more of the film outdoors, on real streets. 'We did a lot of the locations for Gotham in downtown Detroit," Deborah Snyder states. 'There was something so real about the wear and the tear of the city, the buildings that have been there for a long time and have seen so many things. I think the reality of these locations would have been hard to match by building a set."

A sequence involving an extensive car chase was shot over seven days and incorporated a Detroit oil refinery and docks. 'It was a gritty, dark location with a little bit of rain that looked really good on film," she continues. 'We shot as much practically as we could, right down to the explosions and the car flips."

The Broad Museum at Michigan State University in East Lansing doubled for Lex Luthor's mansion; the Wayne County Courthouse, built just after the Civil War, was used for sequences in both Gotham and Washington, DC; and the old Grand Central Station was the setting for a climactic battle scene. The film also shot briefly in New Mexico, which stood in for North Africa, and Bora Bora, which became an island in the Indian Ocean.

To capture this epic world, director Snyder turned to director of photography Larry Fong, with whom he's worked several times. 'It was exciting developing the look for the film," Fong says. 'Zack Snyder definitely has his own style but he's not afraid to try new things as well."

While the camera work on 'Man of Steel" was mainly handheld, Fong says for this film Zack Snyder wanted to change it up. Therefore Fong took a more classic approach, with mostly dolly, Technocrane and Steadicam moves. 'Designing the shots with these tools was good discipline. We wanted a naturalistic look, but with a heightened reality. That was the feel we were going for."

The variety of shot designs was only dwarfed by the variety of formats. 'When we first starting talking about format, Zack Snyder was immediately drawn to 35mm anamorphic with single-camera coverage. But by the end, we had shot in 16mm, 35mm anamorphic, 35mm spherical, 65mm, GoPro, digital and IMAX," Fong laughs.

IMAX presented one of the biggest challenges, according to the cinematographer. 'IMAX cameras are big and heavy, with very shallow depth of field. Zack Snyder likes to move the camera a lot," he adds 'so we really pushed the limits. We attempted some very elaborate camera moves and even handheld shots with it, and our camera operator, John Clothier, and first assistant camera, Bill Coe, were incredible. The results are amazing. You can really feel the immense scope of the format."

Enhancing the impressive scale of the film is the score created by Hans Zimmer and Junkie XL, who worked as a team to bring forth a composition worthy of the iconic Super Heroes on the screen. To begin their process, Hans Zimmer says, 'Everything starts with Zack Snyder coming into the room and saying, -I want to tell you guys a story.' For us, that's a great way of entering that world."

Incorporating the musical themes from 'Man of Steel" for the Superman and Clark and Lois scenes was key for the composers, who wanted to give audiences that familiarity in the hero's expanding world. 'We brought back Hans's concept for Superman in the last film, including the steel guitar and drum circle, which really celebrate the power of that character, and that's a big discussion in this movie," Junkie XL states. 'We redefined it a bit and I think we were both pleased that it worked so well for this film."

Together, the composers worked out the new themes for Batman. Hans Zimmer says he found the character easier to approach by focusing on his alter ego. 'I paid a lot of attention to Bruce Wayne. There's so much anger inside of him and he's so compelling, that it became a mission to serve those emotions. I tried to work out how to write a theme that is full of ambiguity and still gives a shorthand into this unstable character, to show that the dark can be light…you never know."

For Wonder Woman's debut, Hans Zimmer and Junkie XL composed a tribal theme highlighted by the distinct sound of an electric cello, with cellist Tina Guo playing the part. Notes Hans Zimmer, 'Like Diana Prince, Tina is elegant, and she then picks up her cello"her sword"and becomes the most ferocious banshee, unleashed, a warrior like Wonder Woman. The first time I played the piece for Zack and Debbie, they were visibly shocked in the very best way, and that's what you want, just that right amount of surprise."

With all the elements of the film in place, Zack Snyder finds, 'The thing I'm most excited about is that we get an opportunity with -Batman v Superman' to take the biggest icons in comic book history and bring them together on the big screen in a single, coherent world where each of their back stories and different adventures can now create a tapestry within the richness of the DC universe. When you say Batman, when you say Superman, when you say Wonder Woman, these are names people know and love. To see them now getting a chance to interact and have their adventures intertwined, well…that's just an incredible thing that I think everyone is going to be super psyched to see."

Batman v Superman: Dawn of Justice
Release Date: March 24th, 2016


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