Jack Nicholson did not simply accept the role of the Joker for a standard actor’s fee. Warner Bros. had regarded him as its preferred choice as far back as 1980, but when producer Jon Peters approached him during the production of The Witches of Eastwick in 1986, Nicholson negotiated from a position of enormous leverage. He accepted a reduced upfront salary—reported as $6 million rather than his customary $10 million—in exchange for a percentage of Batman’s box-office receipts and associated merchandising revenue. His deal also demanded top billing, even though Michael Keaton played the title character, and included an unusual “off-the-clock” arrangement specifying how many hours Nicholson had to be away from the set before returning to work. He further required his Joker scenes to be filmed in a concentrated three-week block and insisted on being free for Los Angeles Lakers home games.
The production quickly outgrew Nicholson’s planned schedule: what was intended as a three-week block stretched across a 106-day shoot. The financial consequences were extraordinary. Because Batman became a global phenomenon and spawned a massive merchandising operation, Nicholson’s backend participation reportedly earned him more than $50 million; biographer Marc Eliot has claimed the final figure may have reached approximately $90 million. The deal became one of the most famous examples of a major star converting a studio gamble into a fortune through profit participation, while also demonstrating how much control an established actor could exert over a tentpole production.
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