Spider-Man is a genuine American myth with a dark, primal power … but it’s also got this great superhero, and — hey! — he can fly through the theater at 40 miles an hour. It’s got villains, it’s got skyscrapers, it’s colorful, it’s Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn’t resist.
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As quoted in "KA-POW! Spider-Man: Turn Off the Dark" by Adam Green at Vogue.comJulie Taymor
Manhattan is not altogether felicitous for fiction. It is not a city of memory, not a family city, not the capital of America so much as the iconic capital of this century. It is grand and grandiose with its two rivers acting as a border to contain the restless. Its skyscrapers and bleak, rotting tenements are a gift for photographic consumption, but for the fictional imagination the city's inchoate density is a special challenge.
Elizabeth Hardwick
Manhattan. Sometimes from beyond the skyscrapers, across of thousands of high walls, the cry of a tugboat finds you in your insomnia in the middle of the night, and you remember that this desert of iron and cement is an island.
Albert Camus
Think gently of the erring:
Ye know not of the power
With which the dark temptation came
In some unguarded hour.
Ye may not know how earnestly
They struggled, or how well,
Until the hour of weakness came,
And sadly thus they fell.Julia Abigail Fletcher Carney
Consequences. In real life, these ramifications emanate from every action like ripples from a stone thrown into a pond. Often in movies, especially those that feature characters who don't play by the rules, such penalties are suspended. However, in Christopher Nolan's Batman universe, decisions and actions have consequences. The Dark Knight, arguably the moodiest and most adult superhero motion picture ever to reach the screen, illustrates this lesson in ways that are startling and painful. This is a tough, uncompromising motion picture — one that defies the common notions of what is expected from a "superhero" film. While there are plenty of action sequences and instances of derring-do, The Dark Knight's subtext has a tragic underpinning that would intrigue Shakespeare or the Greeks. It's about power and impotence, sanity and madness, image and reality, selfishness and sacrifice, and — yes — consequences.
James Berardinelli
But the myth of power is, of course, a very powerful myth, and probably most people in this world more or less believe in it. It is a myth, which, if everybody believes in it, becomes to that extent self-validating. But it is still epistemological lunacy and leads inevitably to various sorts of disaster.
Gregory Bateson
Taymor, Julie
Teasdale, Sara
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