He noticed something interesting in the studio's reception to Batman Begins, which he had purposefully given the biggest possible scale, with locations as far flung as the Himalayas and a climax involving the detonation of Gotham. Despite this, what he heard was "Well, is it really big enough?" He realised that scale in movies was itself something of an illusion. For the sequel, The Dark Knight, he actually scaled down from the original, setting the film almost entirely in Gotham, which he then proceeded to open up with storytelling and cinematography modelled on Michael Mann's Heat, which was set in Los Angeles, but shot in such a way as to make it seem as rangy as the wild west. Nolan's movie took over a billion dollars. "The Batman movies - that take, that tone - came out of nowhere," said director Zack Snyder, who first met Nolan on a Warner Bros plane heading to a film industry convention in Las Vegas and leapt at the chance to direct a similarly toned Superman reboot, Man Of Steel - for which he studied, at Nolan's request, test footage from White Sands, New Mexico, to get a sense of how objects behave at high velocity. When the studio asked if Snyder would add a comedy coda ending, in the style of Marvel, Nolan's reply was "A real movie wouldn't do that."