This is from empireonline.com
Empire: The Dark Knight Rises is your fifth movie with Christopher Nolan now. How would you sum him
up your experience working with him?
Micheal: Absolutely great. I was thinking about it now, having finished the last one, that what happened
was when you do that kind of movie, you wind up with working with the greatest technicians in every field, in
the entire movie industry anywhere. We had the greatest music, the greatest cameraman, the greatest stunts, special
effects, scenery, design… It's fabulous. And of course, one of the greatest talents of a director is casting. I
once said to John Huston when I was working with him on The Man Who Would Be King, "what is the talent of a
director?" He said "casting", and you look at the cast of actors that Chris has got. It's absolutely wonderful
every time. And this one, Dark Knight Rises, is no exception. He's got one of my favourite new young British actors,
Tom Hardy, who I saw on television a couple of years ago and I went, "who the bloody hell is that?" And he's proved
me right.
Empire: Did Chris ever say why he wanted you for Alfred? You mentioned The Man Who Would Be King, I think
that's one of his favourites.
Micheal: He didn't say. He just said, "I'd like you
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to play the butler". I mean, I don't come in and say, "dinner is served" or anything. The butler is an essential character
in the whole movie; he's not massive but that pleased me. I don't want to do massive.
Empire: But you get some great moments...
Micheal: I get some great moments. I have a couple in this last one, too.
Empire: What's new with Alfred then, in The Dark Knight Rises?
Micheal: Its such a plot point that I can't tell you. We've signed agreements for silence. I think I'd go to
jail if I told you. Or I'd have to kill you. But we don't want either of those things to happen!
Empire: It looks absolutely huge, a full-on, epic war movie. What was the experience like making it for you?
Micheal: For me, it was incredible because the great thing about it was - and the secret of the success of this
picture as opposed to those massive blockbusters out there - is the stunts and special effects are real. There is very,
very little computer generated imaging in it. All these other ones you see a million people marching towards you, you
know they've photographed ten and just kept doubling it up and up and up. In
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