The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.

What I love about IMAX is with its extraordinary resolution and color reproduction it's a very rich image with incredible detail. It lends itself wonderfully to huge shots with much in the frame. Thousands of extras and all the rest.

We all wake up in the morning wanting to live our lives the way we know we should. But we usually don't, in small ways. That's what makes a character like Batman so fascinating. He plays out our conflicts on a much larger scale.

I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

I have been interested in dreams, really since I was a kid. I have always been fascinated by the idea that your mind, when you are asleep, can create a world in a dream and you are perceiving it as though it really existed.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.