With every film he tries harder and harder to push more IMAX into his films if possible, and he has provided more excuses to do so each time. What I mean by that is that conventional filmmaking often doesn't allow for this unless you plan to do a bunch of ADR in post, because of how loud the cameras are.
So, after TDK, what allowed for more excusable IMAX moments?
- TDKR: there were more minutes of action.
- Interstellar: microphones inside space helmets, plus a lot of open exterior footage.
- Dunkirk: minimal dialogue in general, plus mics in helmets for dogfights and lots of action.
If he wants to push the number of minutes/percentage of film time that will have IMAX in it, you have to think about how any combination of these elements can provide for these kinds of things, and how they can integrate within the story.
If we assume that dialogue will retake form in his next film, outside of ADR you can think about of what kinds of situations the characters will be in or what kinds of characters we'll be looking at.
For now I'm going to assume he won't be using CGI-based characters just because, so that's probably out. I don't really have any ideas at the moment outside of "loads of action," so feel free to take that where you'd like to.
On a related note, he seems perfect for the movie about Ernest Shackleton, the British explorer. It's been talked about for a while, Tom Hardy wants to play him and it could give Nolan an excuse to get out of the city filming men wearing suits.
Hell and Gone about the Great Chicago Fire seemed like a great fit but I haven't heard about it in a long time. Chicago, epic disaster, great spectacle, written by Jonah, it sounds like a home run Nolan film. This seems like a very cool story to tell so maybe one day.
100% - I've been saying this to every Nolan fan I know since I read a book on Shackleton ('Endurance') a few years back. The fact that project is now dead and Tom Hardy was already set to play the role seems obvious. Maybe too obvious.
The Chicago fire idea or some type of historical disaster (SF earthquake, etc.) does seem to fit the mold of what he likes. Or another historical "event" like the World's Fair -- thinking 'Devil in the White City' here.
I'd be surprised to see a modern-era movie. Maybe even bummed. Nolan's best storytelling utilizes history plus the epistemological/ontological themes, imo. Unless of course he is just going balls out sci fi like Inception, but I think those movies have run their course with him, for now.
With every film he tries harder and harder to push more IMAX into his films if possible, and he has provided more excuses to do so each time. What I mean by that is that conventional filmmaking often doesn't allow for this unless you plan to do a bunch of ADR in post, because of how loud the cameras are.
So, after TDK, what allowed for more excusable IMAX moments?
- TDKR: there were more minutes of action.
- Interstellar: microphones inside space helmets, plus a lot of open exterior footage.
- Dunkirk: minimal dialogue in general, plus mics in helmets for dogfights and lots of action.
If he wants to push the number of minutes/percentage of film time that will have IMAX in it, you have to think about how any combination of these elements can provide for these kinds of things, and how they can integrate within the story.
If we assume that dialogue will retake form in his next film, outside of ADR you can think about of what kinds of situations the characters will be in or what kinds of characters we'll be looking at.
For now I'm going to assume he won't be using CGI-based characters just because, so that's probably out. I don't really have any ideas at the moment outside of "loads of action," so feel free to take that where you'd like to.
Hi! New one here from Germany. Checking the forum since Interstellar but never managed to create an account.
I'm a filmmaker myself and what I don't understand is why they don't build an easy to use housing, or talk with the IMAX guys to sort of redesign the inside of the camera to make it quiet. Money should't be the problem in Nolans case. His crew manages to reload the film in a minute or something. In a BTS of another film the director said it takes over 5minutes to change rolls. This shows how perfectly he and his crew handle the IMAX format. How awesome would be a 100% IMAX film ?
Hi! New one here from Germany. Checking the forum since Interstellar but never managed to create an account.
I'm a filmmaker myself and what I don't understand is why they don't build an easy to use housing, or talk with the IMAX guys to sort of redesign the inside of the camera to make it quiet. Money should't be the problem in Nolans case. His crew manages to reload the film in a minute or something. In a BTS of another film the director said it takes over 5minutes to change rolls. This shows how perfectly he and his crew handle the IMAX format. How awesome would be a 100% IMAX film ?
Welcome!
You and I both have the same question when it comes to the internal housing. The truth is I just do not know. Sometimes things are easier to rig than others.
On that note, it's not just slightly loud, it's very loud. I feel the IMAX folk would have figured out themselves if they needed to, in order for filmmakers to get done what they needed to. Though IMAX was normally always intended for documentary purposes, and you would often have a narrator + music on top of that anyway.
A 100% IMAX film would be stellar, especially so we don't have to have those damn changing aspect ratios.
EDIT: And to clarify, I don't think he creates a story with the idea in place first that he needs to/must shoot in IMAX, as you can see he didn't use IMAX for Inception at all. But since it is really pretty much the first/only bit of information that we have on the film, you know that in pre-production it has jumped into the planning stages, and there is no reason to believe that over 50% of the film won't be in IMAX since we have seen his evolution of the usage over time (granted, for certain reasons of each film, but I think he might stick to upping the ante wherever he can once again).
The UK-born, US-based director of films including the Dark Knight Trilogy, Interstellar and Dunkirk, said he is “about to start shooting” his next film with Warner Bros and will be working with exhibitors to maximise its effect.
The UK-born, US-based director of films including the Dark Knight Trilogy, Interstellar and Dunkirk, said he is “about to start shooting” his next film with Warner Bros and will be working with exhibitors to maximise its effect.
The UK-born, US-based director of films including the Dark Knight Trilogy, Interstellar and Dunkirk, said he is “about to start shooting” his next film with Warner Bros and will be working with exhibitors to maximise its effect.
