Jason Spisak

Well, it's very interesting because the imagery is helping us understand what is that situation? Is Selena standing there? Who's in that room? Is it him and Gordon now just alone on the roof of the GCPD building? If that's the case, then, well... We know it has to be the Batman who Jim is used to seeing. Bruce has to make this congruent for Jim.

Well, it's very interesting because the imagery is helping us understand what is that situation? Is Selena standing there? Who's in that room? Is it him and Gordon now just alone on the roof of the GCPD building? If that's the case, then, well... We know it has to be the Batman who Jim is used to seeing. Bruce has to make this congruent for Jim.

Well, it's very interesting because the imagery is helping us understand what is that situation? Is Selena standing there? Who's in that room? Is it him and Gordon now just alone on the roof of the GCPD building? If that's the case, then, well... We know it has to be the Batman who Jim is used to seeing. Bruce has to make this congruent for Jim.

You know, he has to make sure this fits in Jim's reality. And okay, well, if that's the case, but they're alone and now they're talking about something super intimate and oh, Harvey Dent's there. Okay, well, how does that change it? Does he know? How well does he know Harvey?

You know, he has to make sure this fits in Jim's reality. And okay, well, if that's the case, but they're alone and now they're talking about something super intimate and oh, Harvey Dent's there. Okay, well, how does that change it? Does he know? How well does he know Harvey?

You know, he has to make sure this fits in Jim's reality. And okay, well, if that's the case, but they're alone and now they're talking about something super intimate and oh, Harvey Dent's there. Okay, well, how does that change it? Does he know? How well does he know Harvey?

Right. That distinction. Right. So you have to honor that perspective

Right. That distinction. Right. So you have to honor that perspective

Right. That distinction. Right. So you have to honor that perspective

presence of voice and then on top of that the circumstance i mean obviously emotionally where is bruce and batman where i mean you know batman has this very narrow emotional range and that's one of the things that we love about that that stoicism because he has to be to be this you know dark knight of gotham you can't you don't get to be emotional and make that work

presence of voice and then on top of that the circumstance i mean obviously emotionally where is bruce and batman where i mean you know batman has this very narrow emotional range and that's one of the things that we love about that that stoicism because he has to be to be this you know dark knight of gotham you can't you don't get to be emotional and make that work

presence of voice and then on top of that the circumstance i mean obviously emotionally where is bruce and batman where i mean you know batman has this very narrow emotional range and that's one of the things that we love about that that stoicism because he has to be to be this you know dark knight of gotham you can't you don't get to be emotional and make that work

But inside that range, there's all these shades and it has to land right in that moment. And those emotional cues are then layered on top of what I would say the circumstances. And you get those things together and what your ear is gonna hear is you're gonna hear a different shade of Batman in each of those things. And what's interesting is vocally, I am dropping into a Batman voice,

But inside that range, there's all these shades and it has to land right in that moment. And those emotional cues are then layered on top of what I would say the circumstances. And you get those things together and what your ear is gonna hear is you're gonna hear a different shade of Batman in each of those things. And what's interesting is vocally, I am dropping into a Batman voice,

But inside that range, there's all these shades and it has to land right in that moment. And those emotional cues are then layered on top of what I would say the circumstances. And you get those things together and what your ear is gonna hear is you're gonna hear a different shade of Batman in each of those things. And what's interesting is vocally, I am dropping into a Batman voice,

But I don't have a Batman voice because that to me would be betraying the reality of what's going on in the story.

But I don't have a Batman voice because that to me would be betraying the reality of what's going on in the story.

But I don't have a Batman voice because that to me would be betraying the reality of what's going on in the story.

That's the difference between acting and just sort of a mimic or a ventriloquist or whatever puts their arm inside the thing of Batman does a pretend. Truly acting the story of what it's like to be Bruce Wayne in Batman, you're not putting on a voice. You're being another person. And that person has a set of realities that you have to commit to.

That's the difference between acting and just sort of a mimic or a ventriloquist or whatever puts their arm inside the thing of Batman does a pretend. Truly acting the story of what it's like to be Bruce Wayne in Batman, you're not putting on a voice. You're being another person. And that person has a set of realities that you have to commit to.