Beaks: Well, you guys were finally able to get to this point where you could make this huge, thematically ambitious comic book movie... the one that we've been building toward since BLADE sort of reinvigorated the genre.
Goyer: I think so. There were the SUPERMAN movies, and then I think BLADE was the next iteration.
Beaks: That or METEOR MAN.
Goyer: Yeah. Or BLANKMAN.
Beaks: But having helped nurture the comic book film, it must be kind of gratifying to be a part of the film that brings it to full maturation.
Goyer: It's been a crazy evolution. I remember having these meetings when we started BLADE in 1994, and it was just such a maligned [project]. Marvel didn't even give a **** about the character; I think they optioned the rights to New Line for $25,000. I think their fee on the first film was $125,000. They didn't even care. SPIDER-MAN, CAPTAIN AMERICA, X-MEN, HULK... that was it. What BLADE taught studios is that all these secondary, tertiary characters can become franchises in their own right. And then to, a decade later, be invited to do Batman - which to me is the grandaddy of them all - is amazing. We're all really proud of the movie, but we're also surprised that this movie is this successful because it's a really dark, unrelenting movie. The convention is - and I can't tell you how many times I've had studios tell me this - "Oh, it's a popcorn movie. It's got to be light and frothy." I really liked IRON MAN, don't get me wrong... but the assumption is that it's got to be SPIDER-MAN or IRON MAN. Well, THE DARK KNIGHT is brutal, and it's going to beat them all. By, like, hundreds of millions of dollars.