There are movies that require fantasy and slightly more fantastical acting. Lines that are good for certain movies, in real life circumstances, would be absolutely unbelievable things to really say, and you would look at these people like they're freaks for conversing that way. But somehow for certain styles of movies, it works, and it seems fine.

I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"

Putting on weight is easy all the way through. But after the first couple of weeks, the novelty wears off very quickly, and your body is groaning and starting to really shout at you, saying, 'Why? Why? Why? Why are you doing this?'

We are starting off with our own different characters and our own laws and everything, looking at Bruce Wayne and how he came to be the person that he was and how he comes to be this man that jumps around in the Bat suit.

I find something fascinating about the quiet man in the background who has no desire to be the center of attention.

Basically, it's somebody who got stuck having to interview me who really wants to be a novelist, so they're writing these novellas and I was like, "It's not true, that didn't happen, they just made all that up! Why don't they just go ahead and be a novelist instead of bothering with interviewing me?"

It's the actors who are prepared to make fools of themselves who are usually the ones who come to mean something to the audience.