"I saw a very clear identifiable gap in movie history. In the late 70s, when Richard Donner took on the character of Superman, he made the image of how people my age saw Superman. I still remember the trailers. I remember going to the cinema to see something else and seeing these epic trailers -- the character standing in the cornfield, Marlon Brando's voice -- and that stuck with me just as much as what Tim Burton had done with Batman, which was massively successful. And those films are fantastic, but they are very Tim Burton and very idiosyncratic. And I saw this gap where no one had really done the "If you like the Richard Donner version...," where you say "Ok, this isn't really a comic book movie..." and its not excessively Gothic. I wanted to make just a huge action film and give it an epic scale in casting, physicality, and to try and get the audience to invest in the cinematic reality. When I talk about reality in these films its often misconstrued as direct reality, but it's really cinematic reality. It's about trying to find the translation and credibility in the events and fantastical nature of what is going on.
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"The globe trotting elements of "Batman Begins" mostly came from the Bond films. One of the first films I remember seeing was "The Spy Who Loved Me" and at a certain point the Bond films fixed in my head as a great example of scope and scale in large scale images. That idea of getting you to other places, of getting you along for a ride if you can believe in it -- in "The Spy Who Loved Me" the Lotus Esprit turns into a submarine and its totally convincing, and it works and you go "Wow that's incredible." In "The Dark Knight Rises" we had to do a flying vehicle for Batman, which is very daunting, but that's the challenge. It's trying to take the audience for that ride, and that was sort of my job cinematically. To speak specifically to things that had been done: if you look at what Tim Burton did, a world was created which Batman fits into it. It's this great sort of Gothic vision that's very consistent with the character of Batman. What I felt I hadn't seen was the Gotham in the comics: Gotham as an ordinary world, a world which we could live in. And so when Gotham sees Batman he's as extraordinary as he would be in our world. So (what Tim did) is place an extraordinary character in an extraordinary world. Part of the fun making the film for me was explaining these elements in real terms: Why is he wearing this costume? What does it mean? How does he get the costume? Is it just him and Alfred and the Batcave? And we started to enjoy coming up with the answers to these questions. That became a fun part of our creative process. Another thing we talked about is that no one had done an origin story so, in story terms and not just stylistic terms, the real gap there was the origin story. When we looked through the comics there was really no attempt at telling the origin, it was all in sort of shorthand. So there was this terrific gap in pop culture history that we got to contribute to."
On the evolution of Heath Ledger's Oscar-winning Joker, and seeing it for the first time.
"We casted him before the script was even written, so he had a very long time to obsess over what he was going to do. I sent him some material -- I had him read "A Clockwork Orange" for example. When I finally sent him the script it was very scary, because by this time he was so committed and knew what a high wire act it would be and if he hadn't liked it I think...it would have been extremely bad. But he breathed a sigh of relief, I breathed a sigh of relief, and he really felt it delivered what we talked about, so we started talking about things like costume fittings. Like a lot of artists, he would sneak up on something. You couldn't really sit him down and say "Ok, today you're going to do the Joker." You'd have to say "Let's read this scene, and act it," and he'd read it with Christian Bale and there would be a line or two where you heard him doing something with his voice that was a little different, or he'd throw in a little bit of a laugh, while never saying "Ok, this is it!" And then we'd film hair and make-up tests and try different looks and different versions of the make-up, and with that he'd start to move. We would have some rubber knives and he'd pick up the knives and choose what weapon he'd use. We'd film these tests with handheld cameras so they weren't so stiff and we'd circle around him while he did his thing. We didn't record any sound, so he felt able to start talking and show us what he was going to do. That's when he started sneaking up on me and, as with any great performance, he was showing me something very different.
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"The voice certainly frightened me because of its weird shift in pitch, and with this character you never quite know where the pitch is going to go in the voice, just as with his physical movements you never know how he is going to move, what he is going to do with his hands. It's always a surprise. The actual tone of his voice was always a surprise too -- sometimes it would go incredibly low and threatening, and other times it would be kind of sing-song. The first scene we shot was IMAX prologue, the bank robbery, where he had a mask on. I think that freed him up not worry too much because the stakes weren't so high. When you see the physicality of the scene its very much like Buster Keaton or Chaplin. You manage to see the character in the gestures, and I just love what he did with it. Then there's this tremendous moment where he takes this mask off, and it was the first time we shot with the IMAX cameras so it came out a bit out of focus. So I just rescheduled, but I got this horrifying phone call from him, like a "What have I done?" It was the first time he ever showed us the voice, and we wanted to reshoot it! I told him "No, no, no, it was great!", but he never quite believed me. He reshot it very graciously because he was a tremendous professional, and I think he was delighted that we ended up using the out of focus one because it was just magic."