Trailer for the Fan DC Live-Action Batman Beyond Fan: Year One

Here is a nice trailer for a Fan DC movie entitled Batman Beyond: Year One. This is an adaptation of live action and a test of the concept based on the classic animated series.

In the trailer, “testifies to the rise of a new Batman, under the supervision of a Bruce Wayne now retired, while Terry McGinnis, high school, balances criminal and grass relationships in a futuristic neo Gotham”.

The fans’ film comes from the writer and director Michael Yu and is shared in collaboration with the Film Film Festival, where we are trying to exhibit some of the films and shorts of the Radical Indies that the filmmakers are creating.

I also included an interview with the director you can read below!

What was the inspiration for your movie? How did you come the idea?

The original Batman Beyond Cartoon was, of course, the main inspiration for this. Like other fans, I have always wanted to see this adapted story in a movie. After waiting for more than two decades, I thought it was the perfect time to try to imagine how it could be, even if only in a short form.

At the base, I wanted to tell a story that would be familiar to irreducible fans, also offering something new and exciting in the science fiction genre to the public who has never seen the show before.

Tell us about you. What is your background? How long have you been a director?

When I was a little boy – I’m kidding. I work as a manufacturer of visual effects in a study, even if I made movies with friends since I was a child. Now, I’m just trying to make movies with friends on an ever bigger scale every time.

What inspires you to work within gender cinema and tell this type of stories?

I love the fact that gender films can bring the public to completely new worlds that are so different from our reality. You are still able to convey deep themes or speak on deep topics relevant to daily life, but you can present it in an imaginative and fantastic way. And from this, I think you can reach the public from all over the world, through all cultural borders.

What was your favorite part of the film process for this project?

One of my favorite parts was to do the tests, both with the cast and with our team of stunts. In that phase in which the visual elements existed only in my head at that moment, it was nice to see that these artists start giving life to the script. I also liked it also when we finally enveloped the post production completely, of course, since it had been such a long journey and it was nice to finally see the finish line.

What are you most proud of this movie?

I am very proud of how much our team has physically reached in scale. So many people contributed to this project and I think it was monumental as we built in this science fiction world with a short film budget.

One of my goals from the beginning was to make sure that we could really bring people to the imaginary city of Neo Gotham – I didn’t want people to feel as if we had just shot on a modern road along the block and called him one day. And I think that, thanks to the hard work of our cast and our crew, we have been enough success in the construction of a small but convincing futuristic city.

What is a favorite story or a moment from the making of the film you would like to share?

There was a hilarious moment on the set, during a shot in which Batman makes a henchman fall. Tony (Batman) and Dy (Henchman) wore these heavy costumes with masks, unable to see or feel good.

During this socket, Batman drops the henchman, who falls out of the frame. The camera continues to roll while Batman should walk heroically. However, Dy had no idea that the camera was still rolling, and accidentally came up again in a chassis as a cartoon character and started adjusting the mask, completely unaware.

The entire cast and the crew broke out laughing for how casual it was with the henchman who randomly raised after being eliminated. It was a stressful day because of the program that day, and this was a moment of fun to lighten the mood for everyone.

What was your most demanding moment or experience you had while you shoot your movie?

We shot in two weekends and both weekends faced huge setbacks the week before shooting. A weekend, our position came out only 5 days before. He left us climbing to find a new position that would have worked with our artistic department, and it was madly stressful to convince the entire team to adapt their plans so that at the last minute.

The other weekend, I was cheated by an and just commissioned to make some key stage objects for us. I never received the stage objects and therefore we had only a few days before the shooting to try to find new replacement stage objects. For one of the weapons in support, we literally collected them on the morning of the day of filming.

In this case, how has your film changed or deferred by its original concept during pre-production, production and/or post-production? How did the way you approach future projects as a result?

At each phase, the film seemed to grow in scale as new ideas were contributed. It started as a 6-page script and eventually turned to a 9-110 pages script when new scenes came to mind. The quantity of action therefore expanded while we passed from the tests in production.

And also in post-production, while working on the VFX, new shooting ideas would have entered the game that were more ambitious than before. He added a lot of stress but also expanded the scope of our film. I feel that this will always be the case of any film and as filmmakers, we must simply learn to roll with the new ideas that come into play.

Who were some of your collaborators and actors of the film? How did you start working with each other?

My manufacturers Tyler, Phil and Erin were the Core Team from the beginning and I worked with them for a while. From there, we continued to expand to an incredibly talented group of people. Some were new collaborators, such as our action designer Jay Kwon, the costume designer Susanna Song, the composer Alexander Arntzen, the sound designer Luke Gibleon, the production designer Marc de Bertier. Of course, we also have our protagonist cast like Ryan Potter and Isabelle Hahn. Other collaborators such as DP Ian Hussey and VFX Supervisors Nick Lund-Ulrich and Neil Craig that I have known for many years now.

What is the best advice you have ever received as director and what would you mean to the new filmmakers?

I’m not sure what the best advice I have ever received, but I would say to the new filmmakers: do your best to find collaborators who can be more than only work colleagues. Find people you can trust, to become a true friend, people with whom you can grow up in the profession. When you do movies, it’s a long process and you will spend a lot of time with them. Having relationships aimed at your colleagues for such long periods can make the process stressful, so it will be much better if you can build a network of people you can trust.

What are your plans for your career and what do you hope that this film does for this? What kind of stories would you like to tell going on?

I hope to continue making movies more and bigger every time. I hope Batman Beyond: the year one helps to introduce myself and our team to people out there so that we can establish the right connections for future projects. I would like to explore all types of genres, whether they are horror, science fiction, fantasy and more – but ideally at the level of films, rather than only shorts.

What is your next project and when can we expect to see it?

I hope a horror movie! Nothing to say for now apart, we are trying to make it happen.

Where can we find more than your work and where can we contact you the interested parties?

I have a YouTube channel and Vimeo with the name Lumis Entertainment. In addition, social media can be found with @mchaelyu or @lumisent.

Question bonus n. 1: What is your favorite movie of all time?

No country for the old

Question bonus n. 2: What is the film that inspired you to become a director and/or had the greatest influence on your work?

Terminator 2: Judgment Day was one of the first films that I remember having influenced me to become a director. I remember having been a child, too young, looking with my father and that he was amazed by the film. Even if I could not process it at that age, the film was revolutionary of its kind with its technological aspects, and I think it has always prompted me to try to do the same with the use of technology to push the boundaries of the narrative.