Interstellar Influences & Inspirations

Christopher Nolan's 2014 grand scale science-fiction story about time and space, and the things that transcend them.
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I think having Catwoman in TDKR (who was sexy as hell) was a definite step outside Nolan's comfort zone. She's the one element to the film that feels the most "Un-Nolany" -- which isn't a bad thing.

Honestly, in terms of style, if you added sex to Nolan's films, I don't think he'd be far off from David Lynch. Lynch is just as much of an "uncle" to Nolan's work as Roeg. They both have that surrealist, dreamy, almost uncomfortable way about them. The flashbacks of Mal's head on the train track, with her creepy voiceover, and that high-pitched buzzing score by Zimmer... Definitely Lynchesque. The disjointed structure of fragmented time (even Batman Begins does this wonderfully) is an example too.

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Murphy528 wrote:I think having Catwoman in TDKR (who was sexy as hell) was a definite step outside Nolan's comfort zone. She's the one element to the film that feels the most "Un-Nolany" -- which isn't a bad thing.
Oh, agreed (a pal of mine noted that Selina's introductory scene, with the iconic shot of her smiling down at Bruce from the windowpane, is sexier than every scene Megan Fox has ever been in put together).
Honestly, in terms of style, if you added sex to Nolan's films, I don't think he'd be far off from David Lynch. Lynch is just as much of an "uncle" to Nolan's work as Roeg. They both have that surrealist, dreamy, almost uncomfortable way about them. The flashbacks of Mal's head on the train track, with her creepy voiceover, and that high-pitched buzzing score by Zimmer... Definitely Lynchesque. The disjointed structure of fragmented time (even Batman Begins does this wonderfully) is an example too.
Mmm, sort of. I can see the influence, but I do tend to think Nolan + Sex would = Cronenberg rather than Lynch. Lynch is less purely cerebral (and less concerned with plot) than either of those two, more instinctive and sensuous, operating in the realms of the subconscious rather than the intellect. That's not to denigrate either approach, mind you; they're both valid and work beautifully in all three filmmakers' cases.

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