Of course it would depend on the project, but I don't think I could ever separate myself from my aesthetic.

I think I just have a natural operatic aesthetic. I can't help it.

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.'

People always come up to me now and say, 'Watchmen' is the best superhero movie ever made.' I'm always saying 'That's super cool. That's nice of you to say.' But it happens now, more and more and more than it did when it first came out.

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.

I understand the rules of Superman - not necessarily better than anyone else - but better than a normal filmmaker would. After doing 'Watchmen' and digging that deep into the why of superheroes, when Superman is presented to you, I felt like I was in a unique position to say 'I get this guy. I know what this is.'