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I suppose Cronenberg's real point, and the one I think el Symbols is also making isn't that DKR or any blockbuster superhero movie is necessarily un-intelligent but that there's an inevitable limit to how intelligent it can be - which I suspect has more to do with it being a blockbuster than a superhero movie. I'm obviously not saying that coming from the arthouse makes a film intelligent by default (I've seen numerous arthouse films that were far dumber than numerous blockbusters), but a director would likely find it easier making an uncompromisingly intelligent film in that environment than at say Fox. If that's the kind of film they want to make. Which obviously Cronenberg does.
Nolan effectively has to smuggle any of his more thought provoking content into his films, behind the backs of executives concerned with audience forecasts, merchandising deals, etc. That wouldn't happen (as much) at an indie company, but then an indie wouldn't be able to finance the kinds of films that Nolan ultimately wants to make. Some directors are motivated more by creative freedom than others. Some prefer the challenge and facilities (and to a small degree money) that the big studios offer, and they accept the compromises to their creative freedom that comes with that. A good or even great director needn't be the one with the most freedom, though. And history shows us he rarely ever was/is. I'll take a Fritz Lang B Western over any self indulgent Hal Hartley movie, all day long.
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