When you're dealing with the world of dreams, the psyche, and potential of a human mind, there has to be emotional stakes. You have to deal with issues of memory and desire.

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.

But, in each case, as a filmmaker who's been given sizable budgets with which to work, I feel a responsibility to the audience to be shooting with the absolute highest quality technology that I can and make the film in a way that I want.

We shouldn't be chasing other movies, but stay true to the tone of Man of Steel.

George Lazenby is no one's favorite James Bond, but for me the anonymity at the center of this lavish production only serves to reveal the Bond machine firing on all cylinders: superb editing and photography, incredible score, great setpieces. The most romantic in the series, and it actually has, of all things, a tragic ending.

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.

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.