And so the more texturing and layering that we could get into this film, the more tactile it was, the more you would feel and be excited by the action. I wanted a world that was realistically portrayed, in that even though outlandish events may be taking place, and this extraordinary figure may be walking around these streets, the streets would have the same weight and validity of the streets in any other action movie. I suppose “relatable” is the word I would use. The term “realism” is often confusing and used sort of arbitrarily. The world around Batman is plausible and not particularly stylized or exaggerated. The overall tone of the film is realistic compared to most comic-book- derived movies. So I wanted the inhabitants of Gotham to view Batman as being outlandish and extraordinary as we do. And secondly, tonally I was looking for an interpretation of that character that presented an extraordinary figure in an ordinary world. To me what that represented was firstly a detailed telling of the origin story, which wasn’t even really definitively addressed in the comics over the years, funnily enough. I had in mind a sort of treatment of Batman that Richard Donner might have done in the late Seventies the way he did Superman. And so even though Tim Burton’s film had done a definitive version of the character, it was a very idiosyncratic Tim Burton vision. I got excited about the idea of filling in this interesting gap-no one had ever told the origin story of Batman. It had sort of reached a dead end with its previous iteration. owned this wonderful character, and didn’t know what to do with it. It’s a sign of how quickly things change in the movie business, but there was no such thing conceptually as a “reboot.” That idea didn’t exist when I came to look at Batman.
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