Christopher Nolan Research Paper

“When I first walked in, I worried that perhaps the screen had been hung just a little too high, but these headrests are very nice.” The screen was silver, designed for 3-D movies, and he worried his peak whites would go gray. Soon I was chasing him as he darted around the dark theater with a swift but moseying gait, moving from one corner to the next, monitoring the clarity of the sound from multiple vantages.The face of Matthew Mc Conaughey, who stars in the film, materialized on the screen in front of us. The most important thing, he said, was the volume; he wanted a lot of simple power, and all of it coming right out of the screen.He was wearing a bow tie, only slightly askew; this might have been an understated homage to this particular theater — one of only 240 or so nationwide that would be projecting the movie on actual film rather than digitally — or might merely have been an expression of the odd sartorial discipline that all of Nolan’s collaborators seem to share, their shirts tucked in like barracks bedsheets. ”)Nolan’s own look accords with his strict regimen of optimal resource allocation and flexibility: He long ago decided it was a waste of energy to choose anew what to wear each day, and the clubbable but muted uniform on which he settled splits the difference between the demands of an executive suite and a tundra.

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Nolan learned the value of such sweep from Ridley Scott.

The genius of “Blade Runner,” he told me, is that “you never feel like you’ve gotten close to the edge of the world.”Nolan’s movies require this thick quotient of reality to support his looping plots, which accelerate in shifting time signatures, consume themselves in recursive intrigue and advance formidable and enchanting problems of interpretation.

“The Prestige,” a Victorian dueling-magician drama, is a clever bit of prestidigitation, as well as a canny commentary on film and technology (Nolan on digital filmmaking can sound a lot like Ricky Jay on David Copperfield).

“Inception” was a heist movie that took place in a series of nested dreamscapes.

“Otherwise they’ll worry there’s nothing off-screen.”Nolan, whose eight movies over 14 years have together generated just more than $3.5 billion in revenue, puts an extraordinary amount of time and effort into engineering believably ample worlds. facility outside London), even if he’s going to shoot just a few street-corner scenes.

He tries to build maps the size of the territory, whole cities from the ground up in disused airship hangars (as he’s done for four of his movies at a former R. Sue Kroll, the president of worldwide marketing for Warner Bros., told me she once got actually lost in the ersatz rain falling on an ersatz Gotham.“Memento,” the Sundance favorite that brought him instant acclaim at age 30, is a noir thriller with the chronology of reverse-spliced helix.“Insomnia,” the only one of his nine films for which he did not receive at least a share of the writing credit, was somewhat more straightforward — a moody, tortured psychological thriller — but its real trick was to gain him access to studio work and studio budgets.“There’s supposed to be a tense feeling of having no air.” But, he went on, the quality of silence would vary from theater to theater; here you’d hear the rumble of air-conditioning, there the rustle of popcorn or coats. Cole had been able to recite the number of seats in the theater off the top of his head but couldn’t recall the dimensions.The house lights came up, and Nolan found Cole in the back of the theater. “When you get a chance, before you leave,” Nolan said. But I want it as a frame of reference.”“When you have planets and stars, you never want to make people feel as though the screen is too small,” Nolan told me.Like most theaters, the Bow Tie now shows most of its movies in digital projection, which Quentin Tarantino has called “TV in public.” Over the last 10 years, Nolan has emerged, along with Tarantino and Paul Thomas Anderson, as one of Hollywood’s most visible advocates for film, with its exacting texture and granularity of hue, over the Styrofoam flatness of digital.Nolan is a gestalt thinker and entertainer, and he thinks that it’s technical details like these, even the ones we register only unconsciously, that make the theatrical experience a vivid and continuous dream: “At the movies, we’re going to see someone else put on a show, and I feel a responsibility to put on the best show possible.” Nolan was at the Bow Tie to optimize the show.He didn’t put a lot of surround in the mix, because he didn’t want a lot of distraction from the sides.(Outer space, he pointed out dryly, is not known for its ambient murmurs.) He seemed content. It seemed as if, had he enough time, he’d be more than happy to check out every seat in every theater in the country.Nolan wanted to screen Reels 2 and 3 (of an eight-reel movie) for the rocket launch — “Interstellar” takes place largely in space — whose rumble might correspondingly suffer.“But you can’t just start with the rocket launch or you’ll blow everybody’s ears out.” You have to start with Reel 2, he exposited, which is full of the informative dialogue that brings the audience up to speed.

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