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If anyone has earned the public’s trust, it’s Christopher Nolan.
For more than 25 years, the British-American director has consistently provided indelible visual spectacle and stimulating food for thought. Fresh from OppenheimerWinning seven Academy Awards (including Best Picture and Best Director), it is Nolan’s thirteenth film. Odyssey — the first feature film shot entirely in IMAX — is no exception to his penchant for thought-provoking blockbusters.
Following near-universal acclaim from critics and moviegoers alike, Nolan’s adaptation of Homer’s ancient Greek poem — which tells the story of Greek hero Odysseus (Matt Damon) on his perilous decade-long journey after the Trojan War — debuted to $264 million at the worldwide box office, setting the writer’s world record for an opening weekend and boosting its current career tally of more than $6.2 billion. Domestically, the film grossed $124 million, Nolan’s highest opening outside of the Batman franchise, with 23.8% of that coming from IMAX screens.
After I got to know you Odyssey During an elementary school play, Nolan almost brought Homer’s actions to the screen during his brief stint developing the 2004 film. Troy. He’s been on the project long enough to envision Odysseus’s beguiling, war-changing gift of the Trojan Horse mounted on the shore of Troy, a haunting recurring image he establishes within the first 30 seconds of his project. Odyssey.
But it wasn’t until Nolan rolled up his sleeves and started writing that he realized how many impacts it had Odyssey It’s been unconsciously incorporated into all his films. Consequently, his filmography is also interwoven throughout his presentation Odyssey.
You will see PrestigeAlfred Borden (Christian Bale) beginningCobb (Leonard DiCaprio) and DunkirkAllied soldiers struggle to return home to their families. You’ll notice a ghost-like figure watching over her house in the traditional style InterstellarBarn (Matthew McConaughey) and The Dark Knight RisesBruce Wayne (Bill). Similar to the last one, you will witness another leap of faith to free yourself from a kind of prison. You will see Odysseus questioning his fragmented memories in a reminiscent way souvenir’Leonard Shelby (Guy Pearce). And like Selina Kyle/Catwoman in risesanother Anne Hathaway character will witness the hermit’s amazing archery skills.
It is worth noting that Nolan’s legendary epic feels like a piece that contains the apocalyptic themes of his other two films of this decade. Tenet and Oppenheimer. The Trojan Horse is to Odysseus what the atomic bomb is to J. Robert Oppenheimer (Cillian Murphy), as both men fear that their extraordinary ingenuity has destroyed not only the laws of war but also civilized society.
Nolan, who never explicitly identifies his films, admits that any overlap emerged after the fact. “Now that I look back after it’s finished Odysseythere are interesting similarities[l[toOppenheimer],” says Nolan Hollywood Reporter. “I try to leave every film I make with thematic concerns and questions that remain a little bit open for me, and hopefully for the audience as well. They’re things I want to explore further without feeling too self-conscious about them.”
Odyssey He stresses the importance of the Law of Zeus, which is known as the golden rule of treating others the way you want to be treated. While the film ends on a cautionary note if we don’t heed history’s warnings, Nolan seems to believe that our better nature will prevail.
“The fact of our mutual respect is what defines civilization to some extent,” Nolan says. “I don’t think that’s something that can be entirely imposed, for example, by a religious framework.” “I think it has to be innate in us for it to be as prevalent and effective as it has been for thousands of years.”
Below, Nolan also discusses the relatively new addition to his reporting family OdysseyThe saddest moment, plus details behind his upcoming re-release of Prestige.
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Your short term Troy I started the ball decades ago, but in recent years, I’ve also hosted a two-person Q&A Sand dunes Movies as well The second wrestler. These films contain elements Odyssey inside them. Did those talks tip the balance at all towards this commitment?
In fact, I don’t consciously know. Ridley Scott and Denis Villeneuve’s great work in world-building – cinema’s ability to open a window onto another world – is always inspiring. Facing a world the Odyssey And Greek mythology, you’re specifically looking at a massive world-building project. So enjoying the work of others in this field is definitely a big part of what makes him tick.
Are you able to compete with the work of your fellow filmmakers?
definitely. In the most friendly way, you are competitive. If you see something in movies that inspires you, you’ll want to try to see what you can add to that. For me, the healthiest form of competition is to compete with her everyone Cinema – the history of cinema, as well as my contemporaries. It’s really about looking to inspiration from the past. The Silent Era is always a great source of inspiration for me, but I also remember as a kid going to see Restoration Lawrence of Arabia When it was released in 87. This is just an amazing epic. These things stick with you. And if you can do something along those lines or add something to that conversation or bring that kind of experience to a modern audience, that’s an interesting ambition.
You weren’t kidding when you said that Odyssey It is present in all your work and so, all of your work is present in your iteration Odyssey. Perhaps most importantly, both Odysseus (Matt Damon) and J. Robert Oppenheimer (Cillian Murphy) feel similar regrets about their impact on the war and what they unleashed on the world. Do you consider your last two films to be companions?
Now that I take a look again at it after it’s finished OdysseyI think there are interesting similarities. I try to leave every film I make with thematic concerns and questions that remain a little open for me, and hopefully for the audience as well. They’re things I want to explore further without feeling too self-conscious about them. Trying to find out Odyssey For a modern audience and given the archaeological history and collapse of the Bronze Age, yes, I think there are compelling parallels.
The social media algorithm has provided me with pictures of you walking your dog for the past few years.
I’m sorry. (He laughs.)
How does your recent dog ownership reflect on the film’s poignant story involving Odysseus’ hound?
It’s funny when you look at the movies you’ve made and how they parallel your life. You get married, and then you make a movie where that relationship is important. You have kids, and then you find yourself making films about trying to get home to your kids. I had never had a dog before, and a few years ago, we got our first dog when the kids were leaving for college. They were bitter about it. They always wanted a dog, and we were never able to get one because we traveled so much. And coming to the OdysseyIt’s the ultimate dog movie. So I was definitely better prepared to face the ultimate dog movie now that I’m a dog owner.
The world keeps begging you to make a horror film, but on a grand scale Odyssey It contains several subgenres of horror.
I was going to say. They don’t need to beg me to tell a horror story anymore. Just buy a ticket. (He laughs.)
Have you scratched that itch now? Firstly Odyssey Just whet your appetite?
It really whets my appetite for more. But I’ve always believed that horror as a genre should be approached very carefully from a conceptual standpoint. In other words, you must have an amazing idea. When you go to watch a movie like maniaThis is a great idea. This movie works like a motherfucker. It’s not about the technical side. It’s not about an artistic itch that I’m going to have to scratch. It’s about the story. So I’m always looking.
The film’s focus on the law of Zeus and those who exploit it reminded me, thematically, of a Danish horror film called Speak no evil (2022). It’s basically about how our strict adherence to social etiquette and politeness can lead to danger. We do not know who to open the door to, and we do not know who to open the door to us. Overall, are you optimistic that the golden rule will always prevail?
I am. It is interesting to draw parallels with[[Speak no evil]Because this is a very dark movie. Actually I see[[Odyssey]In brighter terms than that. The fact of our mutual respect is what defines civilization to some extent. I don’t think this is something that can be entirely imposed, for example, by a religious framework. I believe it has to be innate in us for it to be as prevalent and effective as it has been for thousands of years.
Thanks to the newly invented sound balloon, I was finally able to shoot an entire movie in IMAX. Going forward, what developments would you still like to make to this camera system?
Well, I got into using IMAX cameras the prestige The previous year, but it was already like that Dark Knight That we took what was the domain of pure documentary filmmakers and brought it into the Hollywood machine. A Hollywood film crew works very differently than a documentary film crew. So there were a lot of improvements that we were able to make on this film: different lenses, different ways of pulling focus and different monitoring systems internally. Over the years, that’s continued, particularly IMAX putting in collaboration with Panavision for a wider range of lens combinations, faster lenses and things like that. It’s really about making the barrels of these lenses work effectively with the focus control systems used by Hollywood air conditioners. It’s all a bit vague and technical, but it’s always evolving.
The idea that IMAX is now able to engineer a way to contain the camera so that it’s effectively silent, that’s a huge leap forward. But I’m sure it can be improved further. i know that [DP] Hoyte van Hoytema and his team have already provided a lot of feedback about the new cameras they have built and the new balloon system. Camera systems are an evolutionary process, which is generally why leading companies have been doing this for so long. It’s hard to know how to improve something unless you get into the field with it. Our commitment to IMAX with the new Keighley camera was to put it into this production and test it exhaustively in parallel with other cameras.
For years, it relied on many of the same craftsmen until Van Hoytema became the first major changer. Did the success of this transition make it easier when it came time to bring in other new craftsmen like composer Ludwig Göransson, editor Jennifer Lammy, and production designer Ruth de Jong?
I can’t think of a diplomatic way to answer that other than to say that there’s always a balance between wanting to work with the same people who are easy to get to know and then also wanting new ideas and new perspectives. I’ve always tried to achieve that balance in different ways at different times. I’ve been very lucky with all the crew members I’ve worked with, starting with Wally Pfister as director of photography for years. Then he went on to direct himself, and that’s when I started working with Hoyt. But there’s always a balance, and I think we had an excellent balance in this movie.
Robert Pattinson gave you a book of Oppenheimer’s letters as a gift-wrapped gift TenetAnd it became one of the first dominoes to fall on its way to Oppenheimer expertise. Did he put a lot of pressure on himself for you? Odyssey Gift wrapping since the last one turned into a movie?
(He laughs.) No, there’s definitely nothing there. Did Rob give me some Stephen King horror novels that would be an excellent adaptation? Unfortunately, no, this is not the case. But I had a great time working with Rob again, and I will always be grateful to him for his wrapped gift Tenet.
You are re-releasing Prestige Next year to celebrate its twentieth anniversary. Sure, four movies is a big meal, but is there a world where you and Christian Bale can one day meet?
Oh, of course. He is one of the great actors of his generation, and I had tremendous experiences with him. I’m thrilled they’re going to be re-released Prestige Because it’s one of his most underrated shows. I’m so excited to bring it to new audiences. We’re actually going to blow 70mm. Wally Pfister shot it in 35mm anamorphic, and did an amazing job. I scanned a 35M print the other day to check it out, and its photography was exceptional. Nathan Crowley’s production design is also stunning. So it will look absolutely beautiful when inflated to 70mm, and we will begin this process in the next few weeks.
Your loyalty to actors goes beyond movie stars. Artists like Josh Stewart, Sean Avery, and the late Larry Holden come to mind.
You’re just trying to choose the best people for the job, really. I’ve actually worked with the same casting director ever since souvenirJohn Papsidera, one of the greats in his field. He has introduced me to amazing artists of all levels of stardom over the years. When you’re working under the difficult conditions of these large-scale films, there’s a lot of pressure on the young actors, especially on a big day where you’re spending a lot of time with the stars and mechanical things on set. These people are always thrown in at the deep end, and they have to deliver the goods. So finding great actors to come in and play small roles is part of John’s genius.
Despite the massive scale of your films, you are always under budget and ahead of schedule. I often cover blockbuster movies that are the exact opposite.
(He laughs.)
What is your secret considering that it is not taken for granted in this industry?
Well, it’s not a given because all filmmaking teams approach things differently in terms of prioritizing and making their choices accordingly. What I realized early on was that if I kept to the budget and schedule, I would have less interference. I didn’t give people a reason to panic. That’s when you find people breathing down your neck and questioning everything you do. If you can stay on the right side of that line, it gives you a different kind of creative freedom. In other words, filmmaking is all about creative compromise, and I prefer to make those compromises on my own terms. Part of these conditions are being within budget and on schedule. So these decisions are in your hands, but that involves compromise. Not every filmmaker sees it that way, and that’s absolutely true. There is no right or wrong way to make a movie. This is the reality.
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Odyssey Now showing in cinemas At the national level. A version of this story will appear in the July 22 issue of the magazine Hollywood Reporter.
