"Chris was really keen that he didn't have time jumps, except of course for when Bruce is in his home at the beginning. Then there had to be a feeling of a classic past, a past that someone would aspire to or understand, but not that someone came out wearing an on-the-dot 1970 costume. It was to do with the life of those people more than the clothes."

"And so you start pulling your own reference of people and places and things and building up a complimentary picture to what's already gone on. And also because this film takes place in so many different locations - Tibet, Africa - and so there was lots of reference that we could start off with to deal with the worlds that he was going to. And so that's how we started off, forgetting the Bat Suit issue for a minute."

"In designing for Bruce Wayne, I tried to choose everything to look subtly expensive, and to make sure that it all fitted him beautifully. I tried to keep his look like a very modern man in a his suits, someone that people would aspire to look like, rather than let him become stuffy in any way."

"One of the most difficult costumes was the costume when Bruce comes home from Princeton. We had to try and keep Christian looking like a very young man, but by then he was physically as big as he was going to be the next day when he puts on the bat suit. And that was hard to do, to keep all the lines rather soft and droopy and keep him from looking bulky."

"Bruce Wayne's suits don't weigh anything at all, it's not like your image of putting on a horrible, boxy, tight thing. And the only awful story about that is Christian kept on losing weight, and so the poor tailor kept on nearly having a nervous breakdown because every fitting the suits would be that much bigger. And then he'd have to take the waist in more. Christian's shoulders remained big, but he was cutting down, and his waist got smaller and smaller."