Can you talk about what it would take to bring you back for a third film? David Goyer and your brother talked about how you had to be talked into doing the sequel. What would it take to bring you back for a third time?

Christopher Nolan: Enormous amounts of cash. (laughter) I don't know. No, the truth is, I--the only way I can answer that question--there are two ways. The first thing to say is I literally finished this film last week. That was when we finished our IMAX prints. So, I have no idea what I'm going to do next, what I'll do in the future. The film to me is not actually finished until the audience sees it and tells me what it is, really. Um, so, it's too early to say for all those kind of reasons. The other thing to be said on the subject is we absolutely did not feel in taking on the idea of doing the second film that we could in any way hamper ourselves or disadvantage ourselves by saving things for another film. And so--I think that's a mistake people have made in the past, thinking too much of the future. I think you have to put all your eggs into one basket and make as great a film as you can, and that's what we've tried to do.

I'm curious why you brought back Scarecrow when we had a big farewell in the first film?

Christopher Nolan: Well, I mean really, partly because Cillian's terrific and it was fun to have him turn up for a couple of days. But because we left the Scarecrow story so open-ended, we wanted to take advantage of that, that aspect of a sequel, whereby you get to just jump in with the hero fully formed. You're not having to tell this origin story anymore. So, we want to see Batman in action very early on, you know, right after we've introduced the Joker, so, but I think in screenwriting you can't try and wrap too many things together, so we didn't really want to have that be one of the new story elements exactly that the other story elements were going to feed into, I think it would have felt a little too tidy, and we had the perfect opportunity with Scarecrow having been left at large in the first film, to use him to drive the action.

I wanted to know what fans might expect on the DVD and/or Blu-ray?

Christopher Nolan: Well, we're coming up with, I think, some very interesting extras for the DVD and for the Blu-ray. The Blu-ray in particular we'll be able to use the shift in aspect ratios as it appears on the IMAX screen, because the 16 by 9 aspect ratio is sufficiently different from the 2:40 that you'll actually see a shirt on the Blu-ray, and the resolution on the Blu-ray is clear enough that you'll see a difference in grain structure and sharpness, so I think it'll be quite spectacular, but that's something we're only just beginning to work on.

Talking to Chuck a few weeks ago, he mentioned that--you know, we asked about the whole Justice League thing--everyone was kind of caught off guard when they announced that they're going to be doing that. And he said that yeah, it was on the radar, they were a bit concerned because obviously they've been working so hard, you've been working so hard to bring Batman to the big screen, and the possibility of seeing another Batman on the big screen--Did you have time to look at that and kind of express your concerns anywhere? Or did you hear--did you have a sigh of relief that it's been put on hold for now?

Christopher Nolan: You know, to be honest, films aren't real until they're real, and so I tend not to get really worked up about things like that. That are theoretical. We've really just got on, got on with this movie, and this is the movie that we've been focusing on. I think other people's movies, it's so hard to get a movie made, you really don't want to be weighing in on other people's films and so forth. I'm very happy that, you know, there weren't any projects that interfered with this one, and we were able to get on and make the film we wanted to make.

Can you tell us anything about how the Harvey Dent or Two-face makeup worked? Because Aaron didn't want to talk about it.

Christopher Nolan: Oh yeah? Well, the thing I will say which, depending who your audience is, certainly for film sophisticates, if you like, it's very apparent that it's done primarily using computer graphics. And that was a choice I made because I wanted the look to be so extreme as to be a little bit fanciful. When we looked at doing sculpts of the look, you know, in clay, of Aaron's face and how it would look degraded in different ways, uh, the more subtle the mutilation, the more horrible and depressing it was somehow, and it's the one area of the film where I felt that being a little more fanciful, being a little bit less uh, less real, realistic I should say, and having just a lot of interesting sculptural detail in it for the audience to look at, have a morbid fascination with--that was the term we were looking for. We don't want people to, you know, we don't want them throwing up their popcorn and we don't want them looking away from the screen. We want them to be able to engage with his character. So we wanted it to be a little bit fanciful.

Following up on that, you obviously have to sort of look at that division from reality and fanciful stuff a lot, especially in an action film. I mean, you want to make a realistic film, you also want to make the action big, you want to make it exciting. How often do you find yourself up against that decision, and how often do you think you choose fanciful over real, and how often do you stick with the real?

Christopher Nolan: Well, I think you find yourself up against it every step of the way, but I would honestly say that I think that this particular example is probably the only time I've sort of consciously chosen that. Possibly the one other point is in Batman Begins where we had the device he has when all the bats kind of come and rescue him. That's a very fanciful notion, drawn from the comics, but it felt somehow that where we were in the story that the audience would embrace that and not feel that it was out of character with the rest of the film. Uh, when you look at it, you sort of step back and look at it, it's very much more fanciful than other elements of the film. So there's the odd choice like that to be made, but generally, the impulse is always to try and make the thing as real as possible and be as rigid as possible in the standards you apply to the notion of could this happen in our universe.