My Name Is Legion wrote:
None is really evident in either of those films, except for the fact that they're origin stories. A lot of Burton's Batman in both, though.
I don't know. Burton's Batman is very stylised, with an almost surreal Gotham, of huge sets and Gothic architecture. Nolan's Gotham, like Donner's Metropolis, is recognisably a real city (Chicago v New York).
Burton was also aiming for a characteristically surreal almost fairy-tale atmosphere to his Batmovies (more so with Returns than the first one admittedly). Someone said that his Batman movies are arguably more companion pieces to the likes of Edward Scissorhands than to other superhero movies and I tend to agree. Whereas Nolan, like Donner, wanted his movies to be set within a reasonably realistic world.
I think also that Nolan, particularly with Begins, very much tried to avoid the trap of the villain completely overshadowing the hero, which beset the earlier Batman films (even if it ended up happening with Ledger as the Joker, but that was in part down to the actor's death and cult following).
Here's what Nolan himself has said:
I had in mind a sort of treatment of Batman that Richard Donner might have done in the late Seventies the way he did Superman. To me what that represented was firstly a detailed telling of the origin story, which wasn’t even really definitively addressed in the comics over the years, funnily enough. And secondly, tonally I was looking for an interpretation of that character that presented an extraordinary figure in an ordinary world. So I wanted the inhabitants of Gotham to view Batman as being as outlandish and extraordinary as we do.
I do love actors and I feel great actors can find the depth of a characterization that adds to the richness of the film. I felt a lot of the scale of Batman Begins should come through the casting, and once again I looked back to Richard Donner’s Superman for that because he cast Marlon Brando and Glenn Ford and Ned Beatty.
As to the Spider-man movies, well, Raimi admittedly stole Burton's composer (Danny Elfman) but I thought that tonally they had more in common with Donner's sunny and cheerful movie than with Burton's gothic vision. There was more of an innocence to them - certainly, the scene where New Yorkers pelt the Goblin near the end is more like something from Superman the Movie than something from Batman, IMHO.