The Art and Making of The Dark Knight Trilogy is good, but is less art and more making of the three films Batman Begins, The Dark Knight and The Dark Knight Rises.

The book is published by Harry N. Abrams and written by Jody Duncan Jesser, and Cinefex magazine writer Janine Pourboy. It's a decent size at 9.2 inches x 1.1 inches x 11.9 inches and weighing a whopping 4.5 pounds. If Batman could keep it in his utility belt, he could knock out the Joker.

It's 304 pages of behind the scenes stories and quotes. The pages start out with the quote from Henri Ducard: "Your parent's death was not your fault...But if you make yourself more than a man... if you devote yourself to an ideal...then you become something else entirely. Which is? A legend, Mr. Wayne."

Here's the official description:
"In 2005, director Christopher Nolan redefined the Batman legend with Batman Begins, starring Christian Bale as the Caped Crusader. A fresh, dynamic reboot of the franchise, Batman Begins explored the comic book hero’s origins and his evolution from billionaire Bruce Wayne to dark avenger who fights crime and corruption in Gotham City. A 2008 sequel, The Dark Knight, took those compelling, character-driven foundations and raised the stakes, pitting Batman against a deranged master criminal, the Joker, in an all-out war for Gotham’s soul. Now, the final film of Nolan’s trilogy, The Dark Knight Rises, is 2012’s most anticipated film release.

"The Art and Making of The Dark Knight Trilogy tells the complete behind-the-scenes story of these three monumental films. Based on in-depth interviews with Nolan and all of the films’ key cast and crew—including cowriters David S. Goyer and Jonathan Nolan, cinematographer Wally Pfister, and more—the book reveals the creative process behind the epic Dark Knight Trilogy, supported by lavish art and never-before-seen photography."

Here's the video preview of the book:

I was disappointed that it focuses very little on the artwork. We get many great photos of the filming though. My favorite is the shot of the life size Bat-Pod sitting on Nolan's patio while his wife and son look on.

Most of the book tells the story of the making of the film and the challenges they face. There are great stories and quotes, but very little you wouldn't find on the Internet, or in online interviews. It's nice that they put it all in one book though.

On the other hand, there is very little concept art and only one storyboard. Contrast this with book on Inception: The Shooting Script which was full of dozens of drawings and pages of storyboards.

There is no concept art for Catwoman (Anne Hathaway), which Gary Oldman (Commissioner Gordon) described as "fantastic." Only two images of Bane (Tom Hardy).

There's no list of the artists that worked on The Dark Knight Rises (like Tully Summers) but they do mention Jamie Rama in connection with The Dark Knight bat-suit design. Most of the time they focus on the work of Production Designer Nathan Crowley and Costume Designer of Lindy Hemmings. These guys are at the top of their game and did a lot of the designs, but they didn't work in a vacuum. The book gives vague terms like "artists" when acknowledging the contribution of other illustrators. The Avengers book had a complete list of all the illustrators who worked on the film. This book has none.

I can only assume they put everything in The Dark Knight Manual: Tools, Weapons, Vehicles and Documents from the Batcave because this book is empty.

The book is good if you're not familiar with the filming of the other movies and don't care about concept art and storyboards. Otherwise, it's a disappointment.
2.5 stars out of 5

Have you read the book? Would you read it?

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Avengers: The Art of Marvel's The Avengers has some of the greatest concept art I've had the pleasure of seeing. The book is written by Jason Surrell who was a Disney Imagineer for a long time and did books on Pirates and Haunted Mansion.

With an introduction by Marvel Visual Development department concept artists Ryan Meinerding and Charlie Wen, they start by saying "The Marvel Cinematic Universe is a world whose foundation is based in art, or as we'd like to call it: an illustrator's dream." And it really is. It wasn't easy designing The Avengers. That's the one message that keeps coming up in the book.

There are many quotes from actors, Joss Whedon the director, James Chinlund and concept artists to help you feel what it was like to design such a huge film.

For the film they gave a core team of concept artists a character to focus on. Andy Park (), Phil Saunders and Adi Granov (Iron Man), Charlie Wen (Thor), Ryan Meinderding (Captain America), Rodney Fuentebella, Jacon Johnstson. Production Designer James Chinlund got an amazing group of freelance artists together to round out the team.

The art in the book is beautiful and the glossy oversize pages really let you see an amazing level of detail.

The introduction takes you through the set of movies from Iron Man to Thor and ends with an amazing timeline of the cinematic universe timeline that's three pages long.

The next three chapters take you through the events in the film in three acts: Incident in the Desert, Avengers Assemble and Common Threat.

"Act One: Incident in the Desert" takes you through the sets and designs from the beginning of the film and concept art for Nick Fury, Agent Maria Hill, Loki and Hawkeye.

"Act Two: Avengers Assemble" covers Bruce Banner/Hulk, Black Widow, Steve Rogers/Captain America, Tony Stark/Iron Man, Thor and S.H.I.E.L.D.'s vehicles including the massive Helicarrier. There is also a collection of storyboards

Andy Park's Black Widow "Cat Suit" designs with unused "Widow Stingers" coursing through the costume.

Finally, "Act Three: A Common Threat" starts with designs of Iron Man's new armor and takes you through the design of the evil alien Chitauri. There's even a key frame of the post credit surprise cameo. It ends with an amazing storyboard of the final battle against the aliens by Bryan Andrews and Jim Mitchell

Bryan Andrews "Battle in the Desert" storyboards featuring Iron Man vs. Thor

The final section, "Some Assembly Required" covers various aspects of the marketing from t-shirt designs to versions of the San Diego Comic-Con poster.

One nice feature that I hadn't seen before is a list of all the artists in the book along with the page numbers.

Here's the list of artists credited

• Aaron McBride
• Adi Granov
• Amanda Hunter
• Andy Park
• Ari Sachter-Zeltzer
• Ben Edelberg
• Bryan Andrews
• Bryan Hitch
• Charlie Wen
• Christian Alzmann
• Christopher Ross
• Dave Yee
• Fabien Lacey
• Iain McCaig
• Jack Kirby
• Jacon Johnstson
• Jeff Markwith
• Jim Mitchell
• John Giang
• Josh Herman
• Joe Simon
• Justin Sweet
• Jackson Sze
• Mark Goerner
• Michael Meyers
• Nathan Schroeder
• Nick Cross
• Olly Moss
• Paul Ozzimo
• Phil Saunders
• Paolo Rivera
• Raj Rihal
• Rick Buoen
• Rodney Fuentebella
• Ryan Meinderding
• Steve Jung
• Tani Kunitake
• Yanick Dusseault

This is a beautiful book and, with it's artist quotes, beautiful layout and insider information, is well worth reading.

4 1/2 of 5 stars

Timeline image via comicbookmovie.com

What do you think of the book? Are you going to look for it?

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Update: Originally, the list was seven, but I shortened it to five. The title still reflected that. Thanks for catching that Heiki!

The book Giger's Alien by H.R. Giger is a great read. It's full of marvelous concept art and great stories. I learned a lot about the film industry and a lot about Giger. It's a collection of diary entries he wrote making the film.

He admits in the foreword that he didn't understand the challenges of film-making at the time. Since then, he's come to respect everyone and the effort it took to make the film.

Here are the seven  five most interesting things I learned in the book.

1. The Alien Was Almost A Giant Baby
Originally, the producers suggested the alien look like a big baby.

THE ALIEN, THIRD (NATURE) PHASE. Having left its victim, the Alien promptly grows to Man-size, whereupon it is terrifically dangerous. It is very mobile. strong, and capable of tearing a man to pieces. It feeds on human flesh. This creature should be a profane abomination. Some producers have suggested that something resembling an over-sized, deformed baby night be sufficiently loathsome - In any event, we wish you to feel free to create your own design.

I'm not sure how scary it would have been, but it definitely would have been freaky to see a giant deformed baby chasing them around the ship.

2. The Original Eggs Were Hilarious

I had heard that the original design of the Alien egg opening looked like a vagina, but Giger's storytelling skills are phenomenal.

1 September 1978, Shepperton Studios
Scott, Carroll, Dilley and Powell appear to Inspect my work. I had just started to apply a texture. The lid of the egg, which in O'Bannon's sketch sprang up at a touch, I changed it into an organic, vagina-like opening. When I take off the plastic cloths in which my work is draped, there is a howl of laughter from the whole group. I had lovingly endowed this egg with an inner and outer vulva To make it all look more organic, I filled some more preservatives with clay and arranged these semi-transparent little sausages on the pink aperture.

When the gentlemen are beginning to get over it, I allow myself to ask whether they like it. Scott thinks It's too good, and Carroll too specific. He's afraid it will get them into trouble, especially in Catholic countries. Dilley would rather have something more like a flower opening. This suggestion gives me the idea of doubling the bud effect and laying the two one across the other. Seen from above, they would form the cross that people in Catholic countries are so fond of looking at. Once again I can satisfy the producers, myself and the public at home and abroad.

3. Secretaries in Switzerland Are Well Paid
At one point, H.R. Giger complains about the amount of money the studio is offering him. As a professional artist he's insulted and says secretaries in Switzerland are paid more. If he was serious, I can't imagine how much lawyers are paid there.

4. If O'Bannon Had Stayed In Town The Alien Ship Would Have Been Traditional

Giger and the producer had a numerous fights with Giger about the designs. Most left his concepts and designs behind. One big fight was over the design of the derelict ship the crew find. Dan O'Bannon, who wrote the screenplay, was adamant that they should have a traditional ship with tail fins sticking in the air. Gordon Carroll, one of the producers, insisted the derelict will blend in with the landscape.  He won the argument.

19 July 1978, Shepperton Studios
They ask me to go to the office, where Scott, Seymour and Carroll are waiting for me. Carroll says, please will I design another derelict. The entrance passage and the landscape can stay the same as those that have been built in Sound Stage H, but the rest will have to be changed. As it is now (plate 378) it is too reminiscent of a bone and might make people think it was an organic part of the landscape. There will also be technical difficulties In building it. I am absolutely astounded to hear this from Carroll, of all people, who had been so enthusiastic about my derelict when he first saw It. I suspect that Shusett and O'Bannon are behind it. Even good friends can often infuriate one. I try to convince Carroll that the dimensions and the aerodynamic shape are enough in themselves to distinguish the derelict from the landscape, and moreover that technical details ought not to be too obvious in case they spoil the biomechanical character of a spaceship built by non-humans. I simply can't see how I can improve on it; I regard it as one of my best pictures. Carroll proves unyielding and finally practically orders me to conjure up something else out of the ground. They seem to think I can just shake good ideas out of my sleeve— the bitter fate of the creative artist. Scott keeps quiet during the discussion, and in silent opposition demonstrates a quite ordinary, banal crashed aircraft, its tall fin pointing skyward. I understand and, promising to try something different, go back to my work. This is an occasion when time will work for me.

But, when Giger came on set the next day, they were building the ship the way he designed them. He concludes that it's because O'Bannon went back to America and they didn't have enough time to develop another design.

5. A Surprising Number of Children Were Involved
The scene with Lambert, Dallas, and Kane in the "Space Jockey" cockpit was filmed with children in the space suits. This increased the scale. Two were Ridley Scott's children.

26 September 1978, Shepperton Studios
Yesterday we worked late into the night to get the set looking more or less finished. A truck with a camera crane that can be raised and lowered has been set up at the edge of the set for the camera team. The %pada effects' men veil the whole scene in smoke from some kind of burning oil. It smells horrible and makes it very stuffy on the stage. The lighting men crouch in the scaffolding bathed in sweat and light up whatever they are told. Meanwhile Scott hovers on his airy seat with the cameraman, Derek Vanlint, and gives instructions. All the preparations are complete and filming begins. The three actors playing the astronauts are replaced by children, wearing miniature copies of the astronaut's clothes. This makes the enormous figure of the pilot look bigger still.

While designing the the Alien phase III, at one point Ridley Scott strapped a bunch of children to a man. This was to give the impression of a creature with many limbs.

23 February 1978, Shepperton Studios
Alien III Is the monster, the superstar, the title-role of the film. O'Bannon had used a monster before, in his film Dark Star. For that they used a balloon the size of a medicine-ball which hopped about on two hands. To begin with we weren't clear what the Alien in Alien ought to look like. Scott definitely wasn't going to have some ordinary cinema monster stamping stiffly and awkwardly through t

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A new feature will be showing which DVDs released this week has concept art or storyboards.
Heroes: Season Four
Product DescriptionSullivan Brothers Design Gallery (Disc 3, HD, 3 minutes): A short montage of concept art for the Sullivan Brothers Carnival.
Experience all the intrigue and suspense of Heroes: Season 4 in this 5-disc set that includes all 18 gripping episodes from the fourth season’s volume, Redemption. As the Heroes mourn fallen friends and face dangerous new foes, prepare for a wild ride — filled with shocking twists and turns — through an ominous funhouse that culminates in a Brave New World. Then step right up and explore hours of exclusive, behind-the-curtain magic with the show’s writers, stars and artists. more »