"I think the latter [extra time for takes]. Except, not really that much extra time; when you’re doing a movie in thirty or thirty-five days, it’s like ‘old Hollywood’, I guess. Like with the westerns – you’ve got to run from rock to rock and get on your horse and get going. It was a little difficult because it was in the heat of the summer and we’d just finished all those episodes. It was like eating the same meal over and over. But I think the trick is to keep it fresh. That’s part of the actor’s responsibility, isn’t it?"
"I have the curse of thinking funny! And so with each script and new situation, I saw something funny in it. But I could never let the audience think that I thought it was funny. But I think if you hold that back, there’s kind of a twinkle or a sense that the audience gets of something trying to…burst out of that mask, and tell us something more."
"It was just diabolically hard [laughs]. It wasn’t easy, but we had some wonderful writers and great guest stars. Most of them got it. When I came in everyday I tried to make everyone have fun and laugh, and realise the absurdity of it!"
"Thank you for recognising that. It’s taken you years, Martin! [laughs] Yeah, it was a conscious effort that I always felt [to preserve the dignity of the character]. I was at war with the producers at the beginning because of that. They wanted it to be stiff and at one level. I wouldn’t do it. So the letters and memos flew back and forth, but after a week or so, a wonderful thing happened – they trusted me. They said ‘Let him go, let him do what he’s doing’."
"I think I’d have some new tights – those were itchy [laughs]. I don’t know on a more intellectual or creative level what I’d do, except give Bruce Wayne a few more pages so I’d get out of the damn cowl [laughs]. But that’s been the complaint of everyone who’s played Batman – the costume."
"It’s my legs [laughs]. I don’t know – I think it’s just because there’s some goofball running around in it that maybe they think they can have their way with. And they’re right!"
"[about Bruce's love for Catwoman ] He was just a poor soul. He was so torn, Martin…it was heartbreaking! [laughs] He had these curious stirrings in his utility belt, and yet he knew she had to be put away in the slammer."
"Oh yes. But not with our Batman. It would have violated the tenor – or as you put it – the tone of the show. I think our Batman had to be fun, light-hearted, funny, tongue-in-cheek…and I think that made kind of an homage to those earlier comic books, where Batman always had a quip or something. Now if I were doing it today, I’d make changes, but I wouldn’t make it as violent, as loud, as noisy, with the explosives going on and on…the crashes…as what they’re doing now to try and titillate a younger, teenage audience. I wouldn’t do that. I’d just make the relationships more important."
"I don’t know who's been the best – I’m really not a critic and I can’t tell. I think…Val Kilmer? Moment to moment. But I haven’t really seen all the movies in their entirety."
"Well I’d love to. I like Christian Bale. I’ve heard he’s a big fan of mine, but I certainly reciprocate. I think he’s really very good. I’d love to play his father. The older Batman comes out of the woodwork, when times get really tough…maybe a few tips here and there…"
"We were so fortunate to get all those good people. I loved Burgess Meredith, what he did with Penguin. He was never crude or vulgar, and so funny, comedic and elegant, that to me, he really filled that costume - beautifully. And Frank Gorshin was always on the edge of anxiety and madness as Riddler. And I like that. I love to do scenes with people who are on the edge and who really explore every little nuance."
"I think I’d be really presumptuous, in that they’re simply doing their thing, and doing what they think brings the biggest return. When I see bits and pieces of the movies, to me they’re too violent, too noisy and they rely too much on the score and sound effects, etcetera, but they’re brilliantly done as far as the CGI is concerned…all those things that they can do in modern times. But even in those movies, I would rather see warmer relationships. More meaningful relationships. And more subtle, tongue-in-cheek comedy of some kind. You can go around killing dozens of people, but you’ve got to be sort of funny doing it."
"[asked if he liked Nolan's movies] Yes! Absolutely. I'm a fan of anything that's good, especially when it's conscientiously good."
"To me, it's an interesting idea because Batman – the character, the legend, the extension of it over all these years – it lends itself to different machinations, layers, different time zones – anything. You could really pretty much mold Batman. He's malleable, welcome and always interesting. They do The Dark Knight, and I did The Bright Knight. Ours was fun for the whole family."
"I'd love to play Batman, and come in one night, flying in through the library window on the wings of a bat, or something. Right when Batman is totally overwhelmed with terrible things happening in Gotham City, and give him some advice. Either as real character or fantasy character – whatever. [joking] As mentioned earlier, Batman lends itself to all kinds of different story lines."
"We come from light and funny times in the sixties when there was a lot of hope and we were living in a marvelous world. There was Kennedy. There was great art and everything. And then we have now. And then we had the dark ages. And then we had the dark Batman. And then they had the darker Batman. We have of course observed the changes, and it’s become dark and gothic and highly explosive in special effects. And Batman kills more people on the way to the rescue than the villains do. But it’s ok, because they do their thing with a lot of talent and money and attention. We did ours. It was just different. We were the Bright Knight, the fun ones."