His advice? Take down the supervillain intonations creeping into the dialogue, Hathaway recalled later on set, still clad in her character’s skin-tight, black battle togs. “There’s no mustache-twirling in Gotham City,” she said. “That’s why what Chris does is really special and celebrated and successful. This is not making fun of the material. It’s serious.” (Hathaway is apparently a good listener, too, her wry and savvy version of Selena has franchise producer Emma Thomas especially eager for the release; the filmmakers heard the fanboy skepticism that greeted the casting. “I can’t wait for people to see what she’s done, she’s brilliant.”
Bale agreed with Hathaway, adding that while Nolan’s Batman movies “have the roller-coaster element and the visual spectacle” required of any superhero film, they veer away from “the silly stuff.”
“The things he’s doing in these films, a lot of it I don’t get to see — I’m not aware of it — until I sit and watch the finished film. There’s so much there in script but it comes together when Chris editing it. He knows what it is going to be. That’s why he’s very decisive on the set. The pieces already fit together in his mind.”
“We really wanted a cast of thousands, literally, and all of that for me is trying to represent the world in primarily visual and architectural terms,” Nolan said. “So the thematic idea is that the superficial positivity is being eaten away from underneath; we tried to make that quite literal.”
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