Editing Batman Returns (section)

==Design and effects==
''Batman'' production designer [[Anton Furst]] was replaced by Bo Welch, who understood Burton's visual intentions after previous collaborations on ''[[Beetlejuice]]'' (1988) and ''[[Edward Scissorhands]]'' (1990).<ref name="Escapist2020"/><ref name="TCM"/><ref name="NYTimesWelch"/> Furst, already occupied on another project, committed suicide in November 1991.<ref name="NYTimesWelch"/> Warner Bros. maintained a high level of security for ''Batman Returns'', requiring the art department to keep their window blinds closed. Cast and crew had to wear ID badges with the film's [[working title]], ''Dictel'', a word coined by Welch and Burton meaning "dictatorial"; they were unhappy with the studio's "ridiculous gestapo" measures.<ref name="EWSetsAppeal"/> Welch designed the [[Batboat]] vehicle, a programmable [[batarang]], and the Penguin's weaponized umbrellas. He added features to the Batmobile, such as detaching much of its exterior to fit through tighter spaces; this version was called the "Batmissile".<ref name="NYTimesWelch"/>{{sfn|White|1992|p=11}}

===Sets===
The sets were redesigned in Welch's style, including the Batcave and Wayne Manor. They were spread across seven soundstages on the Warner Bros. lot (the largest of which had {{cvt|70|ft|m}} ceilings) and the largest set owned by Universal Pictures.{{sfn|White|1992|p=10}}<ref name="NYTimesWelch"/> ''Batman Returns'' was filmed on sets, although some panoramic shots (such as the camera traveling from the base of Shreck's department store to its cat-head-shaped office) were created with detailed miniatures.<ref name="EWSetsAppeal"/>

Welch found it difficult to create something new without deviating from Furst's award-winning work. The designs were intended to appear as a separate district of Gotham; if ''Batman'' took place on the East Side, ''Batman Returns'' was set on the West Side.<ref name="NYTimesWelch"/> Welch was influenced by [[German Expressionism]], neo-fascist architecture (including [[Nazi Germany]]-era styles), American [[precisionism]] painters, and photos of the homeless living on the streets in affluent areas. He incorporated Burton's rough sketch of Catwoman, which had a "very S&M kind of look", by adding chains and steel elements which would appear to hold together a city on the verge of collapse.<ref name="AFICatalog"/><ref name="NYTimesWelch"/>{{sfn|White|1992|p=11}} The key element for Welch came early in design, when he realized that he wanted to manipulate spaces to convey specific emotions (emphasizing vertical buildings to convey a "huge, overwhelmingly corrupt, decaying city" filled with small people): "The film is about this alienating, disparate world we live in."<ref name="NYTimesWelch"/> The wintertime setting took advantage of the contrast between black and white scene elements, influenced by ''[[Citizen Kane]]'' (1941) and ''[[The Third Man]]'' (1949).{{sfn|White|1992|p=11}}

Welch's concept designs began by carving out building shapes from cardboard with images of fascist sculptures and [[depression era]] machine-age art. The resulting {{cvt|1|by|4|ft|m}}-tall rough model represented Gotham Plaza, described as a futuristic, oppressive, and "demented caricature" of [[Rockefeller Center]].<ref name="NYTimesWelch"/> It was designed overbuilt, emphasizing the generic-but-oppressive heart of Gotham's corruption. Despite complaints from the film's financiers about its necessity, Burton insisted on the location with a detailed church overshadowed by plain surroundings.<ref name="NYTimesWelch"/><ref name="EWSetsAppeal"/>

Designs attempted to create the illusion of space; the Wayne Manor set was partially built (consisting primarily of a large staircase and fireplace) with a scale which implied that the rest of the structure was massive.<ref name="NYTimesWelch"/> Penguin's base was initially scheduled to be built in a standard {{cvt|35|ft|m}} tall Warner Bros. soundstage, but Welch thought that it lacked "majesty" and did not create enough contrast between itself and the "evil, filthy, little bug of a man". A {{cvt|50|ft|m}}-tall Universal stage was acquired for the production, its raised ceilings making it seem more realistic and less like a set.<ref name="EWSetsAppeal"/> Minor modifications were made to the set throughout the film to make it appear to be gradually deteriorating.<ref name="NYTimesWelch"/> The location featured a water tank filled with {{cvt|500000|USgal|liter}} of water surrounding a faux-ice island.{{sfn|Resner|1992}} Selina Kyle's apartment had a large steel beam running through its center to appear as if it had been built around a steel girder, which Welch said made it depressing and ironic.<ref name="NYTimesWelch"/> The wood used to build the sets was donated to [[Habitat for Humanity]] to help build low-cost homes for the poor.<ref name="AFICatalog"/>

==={{anchor|Costumes and make-up}}Costumes and makeup===
[[File:Batman Returns Penguin Makeup.jpg|thumb|left|alt=A collage of photos depicting the application of makeup and prosthetics to Danny DeVito's face to play the Penguin|To transform into the Penguin, [[Danny DeVito]] wore a combination of prosthetics and makeup which covered much of his face.]]
[[Bob Ringwood]] and Mary E. Vogt were the costume designers.<ref name="Escapist2020"/> They refined the Batsuit to create the illusion of mechanical parts built into the torso, intending Batman to resemble [[Darth Vader]].<ref name="AFICatalog"/> Forty-eight foam-rubber Batsuits were made for ''Batman Returns''.<ref name="AFICatalog"/>{{sfn|Fennell|1992|p=40}} They had a mechanical system of bolts and spikes beneath the breast plate to secure the cowl and cape because "otherwise, if [Keaton] turned around quickly the cape would stay where it was", due to its weight.{{sfn|Fennell|1992|p=40}} Costumer Paul Barrett-Brown said that the suit had a "generous codpiece" for comfort,{{sfn|Fennell|1992|p=40}} and initially included a [[Fly (clothing)|zippered fly]] to allow Keaton to use the bathroom; the actor declined, however, because it could be seen by the camera from some angles.<ref name="AFICatalog"/> As with the ''Batman'' costume, Keaton could not turn his head; he compensated by making bolder, more powerful movements with his lower body.<ref name="THRReturnsat25"/>

The Catwoman outfit was made from latex because it was designed to be "black and sexy and tight and shiny".<ref name="AnotherMagCatwoman"/> The material was chosen because of its association with "erotic and sexual" situations, reflecting the character's transition from a repressed secretary to an extroverted, erotic female.{{sfn|Fennell|1992|p=40}} Padding was added because Pfeiffer was less physically endowed than Bening; this worked to Pfeiffer's advantage, however, since Barrett-Brown said that if it was too tight it "would reveal the genital area so thoroughly that you'd get an [[X rating|X certificate]]."{{sfn|Fennell|1992|p=40}} Ringwood and Vogt thought that if the latex material tore it would not be difficult to repair; forty to seventy backup Catwoman suits were made by [[Western Costume]], the Warner Bros. costume department, and Los Angeles-based clothing manufacturer Syren at a cost of $1,000 each.{{sfn|Fennell|1992|p=40}}<ref name="AFICatalog"/><ref name="AnotherMagCatwoman"/> Other versions, made for Pfeiffer from a cast of her body, were so tight that she had to be covered in baby powder to wear them.<ref name="AnotherMagCatwoman"/> Barrett-Brown said that because of the material, it was possible to get into the suit when dry; they could not re-use them, however, because of sweat and body oils.{{sfn|Fennell|1992|p=40}} [[Vin Burnham]] constructed Catwoman's headpiece and mask.<ref name="AFICatalog"/>

Burton was influenced to add stitching by [[calico cat]]s, but the stitching came apart. Ringwood and Vogt struggled with adding stitching to latex. They tried to sculpt stitching and glue it on, but did not like the look and went over the suit with liquid silicon while it was worn (which added a shine to everything).<ref name="AnotherMagCatwoman"/> Pfeiffer said that the suit was like a second skin, but when worn for long periods it was uncomfortable; there was no way to use the restroom and it would stick to her skin, occasionally causing a rash. She found the mask similarly confining, describing it as choking her or "smashing my face", and would catch the claws on nearby objects.<ref name="THRReturnsat25"/><ref name="Macleans"/>

Stan Winston Studio created an "over-the-top Burtonesque" visual for the Penguin, without obscuring DeVito's face. Concept artist Mark McCreery drew a number of sketches for the look, from which [[Legacy Effects]] built noses on a [[Lifecasting|lifecast]] of DeVito's face. Winston was unhappy with the "pointy nose" shapes and began sculpting ideas with clay, influenced by his work on ''[[The Wiz (film)|The Wiz]]'' (1978) (which involved a forehead and brow prosthetic appliance for large-beaked creatures). The final makeup included a T-shaped appliance which went over DeVito's nose, lip and brow as well as crooked teeth, whitened skin and dark circles under his eyes. Ve Neill applied the makeup, made by [[John Rosengrant]] and [[Shane Mahan]].<ref name="StanWinstonPenguin"/> The several pounds of facial prosthetics, body padding, and prosthetic hands took four-and-a-half hours to apply to DeVito, but was reduced to three hours by the end of filming.<ref name="THRReturnsat25"/><ref name="TCM"/><ref name="MTVBrando"/> An air bladder was added to the costume to help reduce its weight.{{sfn|Fennell|1992|p=40}} DeVito helped create the Penguin's black saliva with the makeup and effects teams, using a mild mouthwash and food coloring which he squirted into his mouth before filming, and said its taste was acceptable.<ref name="THRReturnsat25"/> Burton described DeVito as completely in-character in costume, and he "scared everybody". While [[Automated dialogue replacement|re-dubbing some of his dialogue]], DeVito struggled to get into character without the makeup and had it applied to improve his performance.<ref name="StanWinstonPenguin"/> Because of the secrecy surrounding his character's appearance before marketing, DeVito was not allowed to discuss it with others (including his family).<ref name="TCM"/><ref name="MTVBrando"/> A photo leaked to the press, and Warner Bros. employed a firm of private investigators in a failed attempt to track down the source.{{sfn|Resner|1992}}

===Penguins===
[[Stan Winston|Stan Winston Studio]] provided animatronic penguins and costumes to supplement Penguin's army. Thirty animatronic versions were made: ten each of the {{convert|18|in|cm|adj=on}} black-footed, {{convert|32|in|cm|adj=on}} King, and {{convert|36|in|cm|adj=on}} Emperor penguins.<ref name="THRReturnsat25"/><ref name="AFICatalog"/><ref name="StanWinstonPenguinArmy"/> Costumes worn by little people were slightly larger than the animatronics; the actors controlled walking, the mechanized heads were remote-controlled and the wings were puppeteered.<ref name="StanWinstonPenguinArmy"/> Dyed black chicken feathers were used for the penguin bodies.<ref name="THRReturnsat25"/><ref name="AFICatalog"/> McCreery's designs for the penguin army initially included a flamethrower, which was replaced with a rocket launcher. Mechanical-effects designers Richard Landon and Craig Caton-Largent supervised the manufacture of the animatronics, which required nearly 200 different mechanical parts to control the head, neck, eyes, beak, and wings.<ref name="StanWinstonPenguinArmy"/> [[Boss Film Studios]] produced the CGI penguins.<ref name="THRReturnsat25"/><ref name="AFICatalog"/>