Christopher Nolan: Difference between revisions
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'''Christopher Edward Nolan''', {{post-nominals|country=GBR|CBE}} ({{IPAc-en|ˈ|n|oʊ|l|ə|n}}; born 30 July 1970) is an English [[film director]], [[screenwriter]], and [[Film producer|producer]] who holds both British and American citizenship. He is one of the [[List of highest-grossing directors|highest-grossing directors in history]] |
'''Christopher Edward Nolan''', {{post-nominals|country=GBR|CBE}} ({{IPAc-en|ˈ|n|oʊ|l|ə|n}}; born 30 July 1970) is an English [[film director]], [[screenwriter]], and [[Film producer|producer]] who holds both British and American citizenship. He is one of the [[List of highest-grossing directors|highest-grossing directors in history]]. |
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Having made his directorial debut with ''[[Following]]'' (1998), Nolan gained considerable attention for his second feature ''[[Memento (film)|Memento]]'' (2000), for which he was nominated for [[List of awards and nominations received by Christopher Nolan|numerous accolades]], including the [[Academy Award for Best Original Screenplay]]. The acclaim garnered by his [[independent films]] gave Nolan the opportunity to make the big-budget thriller ''[[Insomnia (2002 film)|Insomnia]]'' (2002) and the mystery drama ''[[The Prestige (film)|The Prestige]]'' (2006). He found further popular and critical success with ''[[The Dark Knight Trilogy]]'' (2005–2012); ''[[Inception]]'' (2010), which received eight Academy Award nominations, including for [[Academy Award for Best Picture|Best Picture]] and Best Original Screenplay; ''[[Interstellar (film)|Interstellar]]'' (2014); and ''[[Dunkirk (2017 film)|Dunkirk]]'' (2017), which earned him his first Academy Award nomination for [[Academy Award for Best Director|Best Director]]. His ten films have grossed over US$4.7{{nbsp}}billion worldwide and garnered a total of 34 [[Academy Awards|Oscar]] nominations and ten wins. Nolan has co-written several of his films with his brother [[Jonathan Nolan|Jonathan]], and runs the production company [[Syncopy Inc.]] with his wife [[Emma Thomas]]. |
Having made his directorial debut with ''[[Following]]'' (1998), Nolan gained considerable attention for his second feature ''[[Memento (film)|Memento]]'' (2000), for which he was nominated for [[List of awards and nominations received by Christopher Nolan|numerous accolades]], including the [[Academy Award for Best Original Screenplay]]. The acclaim garnered by his [[independent films]] gave Nolan the opportunity to make the big-budget thriller ''[[Insomnia (2002 film)|Insomnia]]'' (2002) and the mystery drama ''[[The Prestige (film)|The Prestige]]'' (2006). He found further popular and critical success with ''[[The Dark Knight Trilogy]]'' (2005–2012); ''[[Inception]]'' (2010), which received eight Academy Award nominations, including for [[Academy Award for Best Picture|Best Picture]] and Best Original Screenplay; ''[[Interstellar (film)|Interstellar]]'' (2014); and ''[[Dunkirk (2017 film)|Dunkirk]]'' (2017), which earned him his first Academy Award nomination for [[Academy Award for Best Director|Best Director]]. His ten films have grossed over US$4.7{{nbsp}}billion worldwide and garnered a total of 34 [[Academy Awards|Oscar]] nominations and ten wins. Nolan has co-written several of his films with his brother [[Jonathan Nolan|Jonathan]], and runs the production company [[Syncopy Inc.]] with his wife [[Emma Thomas]]. |
Revision as of 18:23, 6 February 2019
Christopher Nolan Filmmaker | |
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Years active | 1989–present |
Spouse | |
Children | 4 |
Relatives | Jonathan Nolan (brother) John Nolan (uncle) Lisa Joy (sister-in-law) |
Christopher Edward Nolan,
Having made his directorial debut with
Nolan's films are typically rooted in
Early life
Nolan was born in
Career
1989–1997: Career beginnings
When Nolan's family relocated to Chicago during his formative years, he started making films with Adrien and
After earning his bachelor's degree in English literature in 1993, Nolan worked as a
1998–2004: Breakthrough
In 1998 Nolan directed his first feature,
[The] difference between shooting Following with a group of friends wearing our own clothes and my mum making sandwiches to spending $4 million of somebody else's money on Memento and having a crew of a hundred people is, to this day, by far the biggest leap I've ever made.
—Nolan (in 2012) on the jump from his first film to his second.[30]
As a result of Following's success, Nolan was afforded the opportunity to make his breakthrough hit
Impressed by his work on Memento, Steven Soderbergh recruited Nolan to direct the psychological thriller Insomnia (2002), starring Academy Award winners Al Pacino, Robin Williams, and Hilary Swank.[49] Warner Bros. initially wanted a more seasoned director, but Soderbergh and his Section Eight Productions fought for Nolan, as well as his choice of cinematographer (Wally Pfister) and editor (Dody Dorn).[50] With a $46 million budget, it was described as "a much more conventional Hollywood film than anything the director has done before".[49] A remake of the 1997 Norwegian film of the same name, Insomnia is about two Los Angeles detectives sent to a northern Alaskan town to investigate the murder of a local teenager. It received positive reviews from critics and performed well at the box office, earning $113 million worldwide.[51][52] Film critic Roger Ebert praised the film for introducing new perspectives and ideas on the issues of morality and guilt. "Unlike most remakes, the Nolan Insomnia is not a pale retread, but a re-examination of the material, like a new production of a good play."[53] Erik Skjoldbjærg, the director of the original film, was satisfied with Nolan's version, calling it a "well crafted, smart film ... with a really good director handling it".[54] Richard Schickel of Time deemed Insomnia a "worthy successor" to Memento, and "a triumph of atmosphere over a none-too-mysterious mystery".[55]
After Insomnia, Nolan planned a
2005–2013: Mainstream and critical success
In early 2003 Nolan approached Warner Bros. with the idea of making a new
Before returning to the Batman franchise, Nolan directed, co-wrote, and produced
In July 2006 Nolan announced that the follow-up to Batman Begins would be called
After The Dark Knight's success, Warner Bros. signed Nolan to direct
In 2012 Nolan directed his third and final Batman film,
During story discussions for The Dark Knight Rises in 2010, Goyer told Nolan of his idea to present Superman in a modern context.[109][110] Impressed with Goyer's first contact concept, Nolan pitched the idea for Man of Steel (2013) to Warner Bros,[109] who hired Nolan to produce and Goyer to write.[111][112] Nolan offered Zack Snyder to direct the film, based on his stylized adaptations of 300 (2007) and Watchmen (2009) and his "innate aptitude for dealing with superheroes as real characters".[113] Starring Henry Cavill, Amy Adams, Kevin Costner, Russell Crowe, and Michael Shannon, Man of Steel grossed more than $660 million at the worldwide box office, but received a divided critical reaction.[114][115] However, Nolan was thoroughly impressed by Snyder's work, saying that the director "knocked it out of the park", and believed the film would have the same potential to excite audiences as when he himself saw the Christopher Reeve version in 1978.[116]
2014–present: Large-scale epics and film preservation
In 2014 Nolan and Emma Thomas served as executive producers on Transcendence, the directorial debut of Nolan's longtime cinematographer Wally Pfister.[117][118] Starring Johnny Depp, Rebecca Hall, Paul Bettany, Kate Mara, Cillian Murphy, and Morgan Freeman, Transcendence was released in theaters on 18 April 2014 to mostly unfavorable reviews and disappointing box office results.[119][120] A. A. Dowd of The A.V. Club gave the film a C- rating, pointing out that "[Pfister] lacks Nolan's talent for weaving grand pop spectacle out of cultural anxieties."[121]
Nolan also directed, wrote, and produced the science-fiction film
In 2015 Nolan's production company Syncopy formed a joint venture with
In 2017, Nolan directed and produced
In the months following the
Filmmaking
Aesthetics
Regarded as an
Drawing attention to the intrinsically manipulative nature of the medium, Nolan uses narrative and stylistic techniques (notably
Embedded narratives and crosscutting between different time frames is a major component of Nolan's auteurship. Following contains four timelines and intercuts three; Memento intercuts two timelines, with one moving backward; The Prestige contains four timelines and intercuts three; Inception intercuts four timelines, all of them framed by a fifth.
In collaboration with composer
Method
Films are subjective – what you like, what you don't like, but the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up onscreen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there – I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.[192]
—Nolan, on sincerity and ambition in filmmaking.
Nolan has described his filmmaking process as a combination of intuition and geometry. "I draw a lot of diagrams when I work. I do a lot of thinking about etchings by Escher, for instance. That frees me, finding a mathematical model or a scientific model. I'll draw pictures and diagrams that illustrate the movement or the rhythm that I'm after."[193] Caltech physicist and Nobel Laureate Kip Thorne compared Nolan's intuition to scientists such as Albert Einstein, noting that the director intuitively grasped things non-scientists rarely understand.[194] Regarding his own decision-making of whether or not to start work on a project, Nolan has proclaimed a belief in the sincerity of his passion for something within the particular project in question as a basis for his selective thought.[195] A famously secretive filmmaker, Nolan is also known for his tight security on scripts, even going as far as telling the actors of The Dark Knight Rises the ending of the film verbally to avoid any leaks and also keeping the Interstellar plot secret from his composer Hans Zimmer.[196][197][198]
He prefers shooting on film to digital video, and opposes the use of digital intermediates and digital cinematography, which he feels are less reliable than film and offer inferior image quality. In particular, the director advocates for the use of higher-quality, larger-format film stock such as anamorphic 35 mm, VistaVision, 65 mm, and IMAX.[30][199] Nolan uses multi-camera for stunts and single-camera for all the dramatic action, from which he then watches dailies every night, saying, "Shooting single-camera means I've already seen every frame as it's gone through the gate because my attention isn't divided to multi-cameras."[30] He deliberately works under a tight schedule during the early stages of the editing process, forcing himself and his editor to work more spontaneously. "I always think of editing as instinctive or impressionist. Not to think too much, in a way, and feel it more."[193] Nolan also avoids using temp music while cutting his films.[200]
When working with actors, Nolan prefers giving them the time to perform as many takes of a given scene as they want. "I've come to realize that the lighting and camera setups, the technical things, take all the time, but running another take generally only adds a couple of minutes ... If an actor tells me they can do something more with a scene, I give them the chance, because it's not going to cost that much time. It can't all be about the technical issues."[30] Gary Oldman praised the director for providing a relaxed atmosphere on set, adding, "I've never seen him raise his voice to anyone." He observed that Nolan would give the actors space to "find things in the scene", and not just give direction for direction's sake.[201] Kenneth Branagh also recognised Nolan's ability to provide a harmonious work environment, comparing him with Danny Boyle and Robert Altman: "These are not people who try to trick or cajole or hector people. They sort of strip away the chaos."[202]
Nolan chooses to minimize the amount of
Themes
Nolan's work explores
Apart from the larger themes of corruption and conspiracy, his characters are often emotionally disturbed, obsessive, and morally ambiguous, facing the fears and anxieties of loneliness, guilt, jealousy, and greed. By grounding "everyday neurosis – our everyday sort of fears and hopes for ourselves" in a heightened reality, Nolan makes them more accessible to a universal audience.[209] The protagonists of Nolan's films are often driven by philosophical beliefs, and their fate is ambiguous.[210] In some of his films, the protagonist and antagonist are mirror images of each other, a point which is made to the protagonist by the antagonist. Through the clashing of ideologies, Nolan highlights the ambivalent nature of truth.[182] The director also uses his real-life experiences as an inspiration in his work, saying, "From a creative point of view, the process of growing up, the process of maturing, getting married, having kids, I've tried to use that in my work. I've tried to just always be driven by the things that were important to me."[211] Writing for The Playlist, Oliver Lyttelton singled out parenthood as a signature theme in Nolan's work, adding; "the director avoids talking about his private life, but fatherhood has been at the emotional heart of almost everything he's made, at least from Batman Begins onwards (previous films, it should be said, pre-dated the birth of his kids)."[212]
Nolan's most prominent recurring theme is the concept of
Nolan's work has often been the subject of extensive
Influences
The filmmaker has often cited
Other filmmakers whom Nolan has cited as influences include
Nolan's habit for employing non-linear storylines was particularly influenced by the
Views on the film industry
Christopher Nolan is a vocal proponent of the continued use of film stock, and prefers it over digital recording and projection formats, summing up his belief as, "I am not committed to film out of nostalgia. I am in favor of any kind of technical innovation but it needs to exceed what has gone before and so far nothing has exceeded anything that's come before".[249] Nolan's major concern is that the film industry's adoption of digital formats has been driven purely by economic factors as opposed to digital being a superior medium to film, saying, "I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo."[30]
Shortly before Christmas of 2011, Nolan invited several prominent directors, including, Edgar Wright, Michael Bay, Bryan Singer, Jon Favreau, Eli Roth, Duncan Jones, and Stephen Daldry, to Universal CityWalk's IMAX theatre for a private screening of the first six minutes of The Dark Knight Rises, which had been shot on IMAX film and edited from the original camera negative. Nolan used this screening in an attempt to showcase the superiority of the IMAX format over digital, and to warn the filmmakers that unless they continued to assert their choice to use film in their productions, Hollywood movie studios would begin to phase out the use of film in favor of digital.[30][250] Nolan explained, "I wanted to give them a chance to see the potential, because I think IMAX is the best film format that was ever invented. It's the gold standard and what any other technology has to match up to, but none have, in my opinion. The message I wanted to put out there was that no one is taking anyone's digital cameras away. But if we want film to continue as an option, and someone is working on a big studio movie with the resources and the power to insist [on] film, they should say so. I felt as if I didn't say anything, and then we started to lose that option, it would be a shame. When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one."[30] Nolan has lent out IMAX lenses from his personal collection to fellow directors to use on movies such as Star Wars: The Force Awakens (2015).[251]
Nolan has been critical of
Nolan is also an advocate for the importance of films being shown in large-screen cinema theaters as opposed to home video formats, as he believes that, "The theatrical window is to the movie business what live concerts are to the music business – and no one goes to a concert to be played an MP3 on a bare stage."[255] In 2014 Christopher Nolan wrote an article for The Wall Street Journal where he expressed concern that as the film industry transitions away from photochemical film towards digital formats, the difference between seeing films in theaters versus on other formats will become trivialised, leaving audiences no incentive to seek out a theatrical experience. Nolan further expressed concern that with content digitised, theaters of the future will be able to track best-selling films and adjust their programming accordingly, a process that favors large heavily marketed studio films, but will marginalise smaller innovative and unconventional pictures. In order to combat this, Nolan believes the industry needs to focus on improving the theatrical experience with bigger and more beautiful presentation formats that cannot be accessed or reproduced in the home, as well as embracing the new generation of aspiring young innovative filmmakers.[255] As a filmmaker he opposes motion interpolation, commonly referred to as the "soap opera effect", as the default setting on television.[256] In 2018, Nolan and Paul Thomas Anderson reached out to television manufacturers in an attempt to "try and give directors a voice in how the technical standards of our work can be maintained in the home."[257]
Recurring collaborators
His wife, Emma Thomas has co-produced all of his films (including Memento, in which she is credited as an associate producer). He regularly works with his brother, Jonathan Nolan (creator of Person of Interest and Westworld), who describes their working relationship in the production notes for The Prestige: "I've always suspected that it has something to do with the fact that he's left-handed and I'm right-handed, because he's somehow able to look at my ideas and flip them around in a way that's just a little bit more twisted and interesting. It's great to be able to work with him like that".[258] When working on separate projects, the brothers always consult each other.[259]
As a director, I'm sort of a human lens through which everyone's efforts are focused. A big part of my job is making decisions about how all the great talent that I'm working with blends into a single consciousness
—Nolan on collaboration and leadership.[260]
The director has worked with screenwriter David S. Goyer on all his comic-book adaptations.
Christian Bale, Michael Caine, Cillian Murphy, and Tom Hardy have been frequent collaborators since the mid-2000s. Caine is Nolan's most prolific collaborator, having appeared in seven of his films, and is regarded by Nolan to be his "good luck charm".[276] In return, Caine has described Nolan as "one of cinema's greatest directors", comparing him favorably with the likes of David Lean, John Huston, and Joseph L. Mankiewicz.[277][278][279] Nolan is also known for casting stars from the 1980s in his films, i.e. Rutger Hauer (Batman Begins), Eric Roberts (The Dark Knight), Tom Berenger (Inception), and Matthew Modine (The Dark Knight Rises).[280] Modine said of working with Nolan, "There are no chairs on a Nolan set, he gets out of his car and goes to the set. And he stands up until lunchtime. And then he stands up until they say 'Wrap'. He's fully engaged – in every aspect of the film."[281]
Personal life
Nolan is married to
Nolan prefers not to use a mobile phone or an email address,[287] saying, "It's not that I'm a Luddite and don't like technology; I've just never been interested ... When I moved to Los Angeles in 1997, nobody really had cell phones, and I just never went down that path."[288] He also prohibits use of phones on set.[289]
Recognition
Having made some of the most influential and popular films of his time,
The filmmaker has been praised by many of his contemporaries, and some have cited his work as influencing their own.
In 2013 a survey of seventeen film academics showed that Nolan was among the most studied directors in Britain.[326] His work has also been recognised as an influence on video games.[327][328] Renowned video game designer Hideo Kojima compared Dunkirk to his own work: "Its approach to technology in movie making and refusal to rely on defeating one's enemies as a portrayal of war, reminds me in many ways of my work on Metal Gear and where I hope to see my next game go".[329] Nolan appeared in Time's 100 most influential people in the world in 2015 and in the Forbes Celebrity 100 in 2011 and 2013.[330][331]
Awards and honors
Nolan screened Following at the 1999
In 2009, the director received the Board of the Governors Award from the American Society of Cinematographers. ASC president Daryn Okada said, "Chris Nolan is infused with talent with which he masterfully uses to collaboratively create memorable motion pictures ... his quest for superlative images to tell stories has earned the admiration of our members."[336] In 2011 Nolan received the Britannia Award for Artistic Excellence in Directing from the British Academy of Film and Television Arts[337] and the ACE Golden Eddie Filmmaker of the Year Award from American Cinema Editors.[338] That year he also received the Modern Master Award, the highest honor presented by the Santa Barbara International Film Festival. The executive director of the festival Roger Durling stated: "Every one of Nolan's films has set a new standard for the film community, with Inception being the latest example."[339] In addition, Nolan was the recipient of the inaugural VES Visionary Award from the Visual Effects Society.[340] In July 2012 he became the youngest director to be honored with a hand-and-footprint ceremony at Grauman's Chinese Theatre in Los Angeles.[341]
The Art Directors Guild (ADG) selected Nolan as the recipient of its Cinematic Imagery Award in 2015, an honor given to those whose body of work has "richly enhanced the visual aspects of the movie-going experience".[342] He was selected as the 2015 Class Day speaker at Princeton University. "Nolan, more than a film producer, is a thinker and visionary in our age and we are thrilled to have him deliver the keynote address," said Class Day co-chair Hanna Kim.[343] Nolan was awarded the Empire Inspiration Award at the 20th Empire Awards.[344] The director was also honored with a retrospective at the Walker Art Center in Minneapolis.[345] On 3 May 2017, Nolan received the 2017 FIAF Award before a special 70 mm screening of Interstellar at the Samuel Goldwyn Theater in Beverly Hills.[346] In 2018, Nolan was awarded the inaugural Vanguard Award from The Digital Entertainment Group, in recognition of his use of technology "to deliver increased scale and resolution, enhanced color and immersive audio to film audiences both in cinemas and in the home theater environment."[347]
Nolan was appointed
Filmography
Directed features
Critical, public and commercial reception to Nolan's directorial features as of 30 September 2018[update].
Year | Film | Rotten Tomatoes[349] | Metacritic[350] | BFCA[351]
|
CinemaScore[352] | Budget | Box office[353] |
---|---|---|---|---|---|---|---|
1998 | Following | 80% (7/10 average rating) (25 reviews) | 60 (11 reviews) | — | — | $6 thousand | $240.4 thousand |
2000 | Memento | 92% (8.2/10 average rating) (169 reviews) | 80 (34 reviews) | 90/100 | — | $9 million | $39.7 million |
2002 | Insomnia | 92% (7.7/10 average rating) (199 reviews) | 78 (36 reviews) | 93/100 | B | $46 million | $113.7 million |
2005 | Batman Begins | 84% (7.7/10 average rating) (275 reviews) | 70 (41 reviews) | 91/100 | A | $150 million | $374.2 million |
2006 | The Prestige | 75% (7.1/10 average rating) (195 reviews) | 66 (36 reviews) | 83/100 | B | $40 million | $109.7 million |
2008 | The Dark Knight |
94% (8.6/10 average rating) (333 reviews) | 84 (39 reviews) | 96/100 | A | $185 million | $1.005 billion |
2010 | Inception | 86% (8.1/10 average rating) (344 reviews) | 74 (42 reviews) | 94/100 | B+ | $160 million | $828.3 million |
2012 | The Dark Knight Rises | 87% (8/10 average rating) (351 reviews) | 78 (45 reviews) | 91/100 | A | $250 million | $1.085 billion |
2014 | Interstellar | 72% (7/10 average rating) (337 reviews) | 74 (46 reviews) | 80/100 | B+ | $165 million | $677.5 million |
2017 | Dunkirk | 92% (8.7/10 average rating) (413 reviews) | 94 (53 reviews) | 90/100 | A− | $100 million | $527.3 million |
2020 | Untitled WB event film |
In 2016, Memento, The Dark Knight, and Inception appeared in
References
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{{cite news}}
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{{cite web}}
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- ^ Mottram, p. 62–64.
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- ^ a b "Film Critics Pick the Best Movies of the Decade". Metacritic. 3 January 2010. Retrieved 4 September 2012.
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- ^ a b "'Memento' recognition landed Christopher Nolan in the director's chair for big-budget 'Insomnia'". Retrieved 5 June 2013.
- ^ deWaard, Tait (2013), p. 49.
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- ^ Paul Weedon. "Erik Skjoldbærg on 'Pioneer'". Grolsch Filmworks. Retrieved 30 October 2013.
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- ^ "Christopher Nolan Talks Howard Hughes Project, 'Interstellar' & More In Interviews, Plus Featurettes, New Pics & More". Indiewire. 10 November 2014. Retrieved 7 March 2017.
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(help) - ^ "Christopher Nolan Says His Howard Hughes Film Is Dead, But He'd Still Like To Do A Bond Film at Some Point". Indiewire. Retrieved 9 May 2013.
{{cite web}}
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(help) - ^ Jagernauth, Kevin. "Trivia: When Christopher Nolan First Came To Warner Bros., He Was Offered 'Troy' To Direct". The Playlist. Retrieved 12 August 2014.
- ^ Gemma Arterton to star in Christopher Nolan-penned thriller 'The Keys to the Street', Meeting with Ridley Scott for 'Alien' prequels' The Playlist, 9 June 2011.
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- ^ "Batman Begins". IMDb.
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- ^ Itzkoff, Dave (30 June 2010). "A Man and His Dream: Christopher Nolan and Inception". The New York Times. Retrieved 20 December 2013.
- ^ Rich, Katy (12 October 2015). "Proof That the Internet Loves Leonardo DiCaprio More than Any Other Actor". Vanity Fair. Retrieved 20 June 2018.
- ^ Hicks, Chris (20 August 2007). "Greatest Directors Ever–Part 2". Future Publishing Limited. Retrieved 6 February 2013.
- ^ "An Evening with Christopher Nolan". The Film Society of Lincoln Center – descriptions courtesy of The Criterion Collection and Film Society of Lincoln Center. 27 November 2012. Archived from the original on 24 July 2013. Retrieved 6 July 2013.
{{cite web}}
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ignored (|url-status=
suggested) (help) - ^ Ali Catterall; Charlie Lyne; Gwilym Mumford; Damon Wise (31 August 2012). "The 23 best film directors in the world today". The Guardian. London, UK. Retrieved 6 February 2013.
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- ^ a b Shone, Tom (4 November 2014). "Christopher Nolan: The Director's Cut". These Violent Delights, Tom Shone. Retrieved 23 June 2018.
- ^ "Martin Scorsese: There's always the budget, but I am more concerned about the creative freedom". Filmtalk. 26 October 2015. Retrieved 13 February 2016.
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- ^ "In conversation with Steven Spielberg and Stacey Snider on The Front Row". YouTube. Retrieved 16 August 2013.
- ^ "Interview: Steven Spielberg talks movies 'Tintin,' 'War Horse'". AzCentral. 19 December 2011. Retrieved 26 January 2013.
- ^ Cina, Mark (1 February 2011). "James Cameron: 'Inception' Director Christopher Nolan Should Have Been Nominated for an Oscar". The Hollywood Reporter. Retrieved 26 January 2013.
- ^ "Brad Bird Says Hollywood's Sequel Obsession Is 'Shortsighted and Stupid,' Calls 'Dunkirk' the Boldest Blockbuster in Years". IndieWire. Retrieved 29 August 2018.
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- ^ "Matt Reeves teases 'very emotional' Batman story, pays tribute to Christopher Nolan". Yahoo Movies. 5 July 2017. Retrieved 5 July 2017.
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{{cite news}}
: Unknown parameter|deadurl=
ignored (|url-status=
suggested) (help) - ^ "'Inception' director tops himself again". Variety. 4 November 2011. Retrieved 6 January 2013.
- ^ Giardina, Carolyn (20 February 2011). "Christopher Nolan Credits Editor Lee Smith With Helping Viewers Understand 'Inception'". The Hollywood Reporter. Retrieved 6 January 2013.
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Further reading
- Conard, Mark (5 January 2007). The Philosophy of Neo-Noir. University Press of Kentucky. ISBN 0-8131-7230-6.
- Kellner, Douglas M (21 December 2009). Cinema Wars: Hollywood Film and Politics in the Bush-Cheney Era. Wiley-Blackwell; 1 edition. ISBN 978-1405198240.
- Duncan Jesser, Jody; Pourroy, Janine (2012). The Art and Making of The Dark Knight Trilogy. Abrams. ISBN 978-1-4197-0369-0.
- Fischer, Mark (2011). The Lost Unconscious: Delusions and Dreams in Inception. Film Quarterly , Volume 64 (3) University of California Press.
- McGowan, Todd (2012). The Fictional Christopher Nolan. Texas: the University of Texas Press. ISBN 978-0-292-73782-2.
- Montalbano, Dave (2010). The Adventures of Cinema Dave in the Florida Motion Picture World. Xlibris Corporation. ISBN 978-1-4628-3673-4.
- Mottram, James (2002). The Making of Memento. New York: Faber. ISBN 0-571-21488-6.
- deWaard, Andrew; Tait, R. Colin (2013). The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape. Columbia University Press. ISBN 978-0-231-16551-8.
- Rabiger, Michael; Hurbis-Cherrier, Mick (2013). Directing: Film Techniques and Aesthetics. CRC Press. ISBN 978-1-135-09921-3.
- O'Sullivan, Natalia; Graydon, Nicola (2013). The Ancestral Continuum: Unlock the Secrets of Who You Really Are. Simon and Schuster. ISBN 978-1-451-67454-5.
- Furby, Jacqueline; Joy, Stuart (2015). The Cinema of Christopher Nolan: Imagining the Impossible. Columbia University Press. ISBN 978-0-231-85076-6.
- Eberl, Jason T.; Dunn, George A. (2017). The Philosophy of Christopher Nolan. Lexington Books. ISBN 978-1-498-51352-4.
- Abad, José (2018). Christopher Nolan. Madrid: Cátedra. ISBN 978-84-376-3772-3.
- Mooney, Darren (2018). Christopher Nolan: A Critical Study of the Films. McFarland & Company, Inc. ISBN 978-14-766-7480-3.