One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.
I don’t actually tend to do a lot of research when I’m writing. I do know because I think a lot of what I find you want to do with research is just confirming things you want to do. If the research contradicts what you want to do, you tend to go ahead and do it anyway.
Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.
If you’re going to perform inception, you need imagination. You need the simplest version of the idea-the one that will grow naturally in the subject’s mind. Subtle art.
If I could steal someone’s dream myself, I’d have to go for one of Orson Welles.
The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it’s chronological or non-chronological. To me that’s always about what point of view are we trying to address in the film?
It’s not that often that you get to have a large commercial success and then have something that you want to do that you can excite people about.
I will miss the Batman. I like to think that he’ll miss me, but he’s never been particularly sentimental.
I remember the initial genesis quite clearly. My interest in dreams comes from this notion of realizing that when you dream you create the world that you are perceiving, and I thought that feedback loop was pretty amazing.
We shouldn’t be chasing other movies, but stay true to the tone of Man of Steel.
To be honest, I don’t enjoy watching movies much when I’m working. They tend to fall apart on me a bit.
The problem with big films is they snowball very rapidly and you can never pull back. It’s a pipeline that needs to be fed.
I’m taking a bit of a wait-and-see attitude towards 3D.
I’m very happy where 3-D is going, which is that it’s becoming a choice – and thankfully, most people are still choosing 2-D.
I would never say someone else’s film isn’t ‘a real film.’ The quote is inaccurate.
I don’t particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I’m somewhat sceptical of the technology.
I’ve been interested in dreams since I as a kid and I’ve wanted to do a film about them for a long time.
I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources.
There’s very few directors I think in this industry that would pitch to a studio that they wanted to do a multi-layered almost at times existential high action, high drama surreal film that’s sort of locked in his mind. And then have an opportunity to do that.
I realized that if you’re trying to reach an audience, being as subjective as possible and really trying to write from something genuine is the way to go. Really it’s mostly from my own process, my own experience.
The real truth of that is that much as you want to believe that it’s you being on top of everything, you’re actually relying massively on the people around you.