Christopher Nolan ha rilasciato un’intervista ad Entertainement Weekly, nella quale conferma il suo entusiasmo per il nuovo episodio del Cavaliere Oscuro, che sembra venire al momento più opportuno, dopo l’exploit di Inception.
“I feel very glad that I’m doing another Batman film. I think it would have been daunting to sit down and write an original script after Inception. I love working within the realm and rules of our Batman world. It’s kind of nice to have someplace to go that I’m super-excited about. I must say that I’m glad — I’m very, very glad — to be embarking on the last chapter of our Batman saga without any sense of obligation or duty to the studio. They did very well with Inception. So I’m able to go into finishing our story in a very enthusiastic way!”
Nolan conferma così di avere il final cut e di poter lavorare a questo ultimo episodio della sua saga, con la massima libertà, dopo gli ultimi due clamorosi trionfi al botteghino.
Si è anche parlato di un possibile ritorno di Heath Ledger nei panni di Joker, per un breve cameo anche in questo terzo episodio, sfruttando le scene non montate di The Dark Knight e le magie dei software: Christopher Nolan ha però smentito seccamente questa ipotesi.
SPOILER SU INCEPTION
A Nolan è stato poi richiesto ancora una volta se la trottola del finale di Inception si fermi oppure no. il regista ha risposto in maniera giustamente sibillina: “That’s definitely the question. It keeps coming back to that. What’s funny to me is that people really do expect me to answer it.
Nolan says there’s no definitive answer to that question, because then his choice at the end of the movie to cut away from the spinning top — used by lead character Cobb (Leonardo DiCaprio) to know whether he’s in the real world (the top falls) or the dream world (the top doesn’t) — would have been an error on his part. “There can’t be anything in the film that tells you one way or another because then the ambiguity at the end of the film would just be a mistake,” he says. “It would represent a failure of the film to communicate something. But it’s not a mistake. I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me — it always felt like the appropriate ‘kick’ to me….The real point of the scene — and this is what I tell people — is that Cobb isn’t looking at the top. He’s looking at his kids. He’s left it behind. That’s the emotional significance of the thing.”