The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.

We can deny angels exist, convince ourselves they can't be real. But they show up anyway, at strange places and at strange times. They can speak through any character we can imagine. They'll shout through demons if they have to. Daring us, challenging us to fight.

I think that, for me, Superman just seemed to make a lot of sense to me. After doing 'Watchmen,' it was - you know that thing, you've got to know the rules before you can break them? There was something about that in making 'Watchmen.'

With Dawn I was afraid people would just think it's a B-movie and I didn't know what I was doing. That's really what I was afraid of. Like the subtlety of the movie they would miss. If the movie succeeds, it's that people understand the subtlety. That they're able to see past the conventions of what they think a movie is and go a teeny bit deeper and let it be both.

The thing about 'Dark Knight' is its objective is to set Batman into your world, so that you can imagine the moral dilemmas he faces are exactly parallel to moral dilemmas that you would face in this world, today, if you were out there fighting crime dressed like a bat.

You can't will something into being. If you follow that philosophy all the way, to will something into being, that's animal style. That's what man does. But if you're looking at the philosophy correctly, and I never did - I like to think I did sometimes - you have to do it without ego, without the I. You have to separate yourself.

The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.