He did not have Inception in his top 20 of 2010. Safe to say he was not crazy about it and he did not make end of the year lists till 2009. He also made a top 20 list from 1992 to 2009 and he did not list a Nolan film.
Regardless I could care less what QT thinks of Nolan I am just sick of people blindly calling him a Nolan hater and wanted everyone to see this.
Allstar wrote:Regardless I could care less what QT thinks of Nolan I am just sick of people blindly calling him a Nolan hater and wanted everyone to see this.
No green screens were used during Interstellar, the majority of which was shot with real locations, miniatures, or sets using massive projectors. “It’s actually old film-making craft,” says Quentin Tarantino, one of the directors Nolan called when he heard that Kodak, the last remaining manufacturer of celluloid film, was about to go under. “He’s calling up directors who don’t give a shit, and dealing with their apathy, and trying to explain to them how important it is. I would want to punch them in the fucking face. But being British, he actually rises above all of that and tries to be diplomatic about it. I think it goes very well to the respect that they hold him in. It’s not just a dollars and cents thing. Christopher Nolan would be just as good of a filmmaker as he is, just as a potent filmmaker as he is if he was making movies in 1975. Or, if he was making movies in 1965. I’d like to see Chris Nolan’s version of The Battle of Bulge. That would be fucking awesome.”
At the same time, alongside this dedication to film craft lies the other strand of Nolan’s personality: the sceptic, pulling the rug from under the audience’s feet with carefully planted secrets and second-act twists that allow his movies to build, almost with the inevitability of logical arguments, and sustain their two-to-three hour running times. Online, where deconstruction of Nolan’s films approaches the density of a collapsed star, argument still rages as to the significance of the endings of Memento and Inception. “Part of the appeal of Memento is he’s challenging you in a game to poke holes in the mystery, and the scenario, and the storytelling,” said Tarantino. “As opposed to something like The Sixth Sense or Fight Club where you watch it, and then you want to see it a second time to poke holes in it. He’s actually challenging you to do that. If you find a hole in it that’s almost as much fun as not finding a hole.”
There's more from the same article about Interstellar:
In early October, Nolan held a special screening of Interstellar for his fellow directors, at the Imax cinema at Universal City. Tarantino was there, as was Paul Thomas Anderson. Nolan was at the door, greeting them as they arrived. “Hey, I heard it’s a time travel movie,” Tarantino said. “Well, you know, it’s not really a time-travel movie, even though everyone is using that as a thing,” Nolan replied. “You just have to see it. You’ll see what I mean.”
Taking his seat, Tarantino had absolutely no idea about what was about to unfold on the screen. “There’s some other real cool directors there,” he told me later. “We’re waiting for the movie to start and it hit me. I realised that it hadn’t been since The Matrix that I was actually that interested in seeing a movie even though I didn’t know what I was going to see.”
After the movie was over, the directors descended on Nolan like a pack of gulls, peppering him with questions for 45 minutes. Anderson thought the movie was “beautiful” and wanted to know about the whys and wherefores of shooting on Imax 70mm. Tarantino, too, was impressed. “It’s been a while since somebody has come out with such a big vision to things,” he told me. “Even the elements, the fact that dust is everywhere, and they’re living in this dust bowl that is just completely enveloping this area of the world. That’s almost something you expect from Tarkovsky or Malick, not a science fiction adventure movie.”
MICHAEL MANN: “He works within the system here in a very commanding way. He has large ideas. He’s a complete auteur. He invented the post-heroic superhero. He can come up with an idea for a science fiction heist inside the moving contours of a dreaming mind and he had the boldness and audacity to have that singular vision and make it happen. His work is very, very focused and it’s truly his own. He operates very much in the present, in the now. We’re living in a post-modern, post-industrial world with decaying infrastructure. Many feel disenfranchised. Seclusion is difficult. Privacy is impossible. Our lives are porous. We swim in a sea of interconnectedness and data. He directly deals with these intangible but very real anxieties. He’s tuned into the reality of our lives, our imagination, our culture, how we think, how we try to live. The quest to understand that and to tell stories from there, that is a central motivator for him, I think.”
ZACK SNYDER: "I think everyone wants their movies to be successful but I think there's sort of what Chris has been able to generate with the movies that he has made, including the Batman movies I think, is original work that doesn't rely on the whims of pop culture but in informs pop culture. Which I think is the real trick of any filmmakers not to be a slave to trends but to then create those trends. They look to you for their direction. The Batman movies came out of nowhere. That take, that tone, came out of nowhere. If I had told you it's going to be a super-serious Batman movie that treats Batman like this mythological figure that is completely based in reality. You'd be like, okay that sounds like I don't know if that's going to work."
NICOLAS ROEG: “His films have a magic to them. They’re like incidents in one’s life; some things happen swiftly and some things take a long time to reveal themselves. They're marvelously disguised. Memento has this backwards-running time scheme, and yet you automatically find yourself applying the situation to oneself, to one’s daily life, which is very strange. The slipperiness of time, especially when it involves memory, that feeling of 'it's all true... but it wasn't like that', he’s got that on film, somehow. It’s a very rare thing. People talk about 'commercial art' and the term is usually self-negating; Nolan works in the commercial arena and yet there's something very poetic about his work."
MICHAEL MANN: “He works within the system here in a very commanding way. He has large ideas. He’s a complete auteur. He invented the post-heroic superhero. He can come up with an idea for a science fiction heist inside the moving contours of a dreaming mind and he had the boldness and audacity to have that singular vision and make it happen. His work is very, very focused and it’s truly his own. He operates very much in the present, in the now. We’re living in a post-modern, post-industrial world with decaying infrastructure. Many feel disenfranchised. Seclusion is difficult. Privacy is impossible. Our lives are porous. We swim in a sea of interconnectedness and data. He directly deals with these intangible but very real anxieties. He’s tuned into the reality of our lives, our imagination, our culture, how we think, how we try to live. The quest to understand that and to tell stories from there, that is a central motivator for him, I think.”
ZACK SNYDER: "I think everyone wants their movies to be successful but I think there's sort of what Chris has been able to generate with the movies that he has made, including the Batman movies I think, is original work that doesn't rely on the whims of pop culture but in informs pop culture. Which I think is the real trick of any filmmakers not to be a slave to trends but to then create those trends. They look to you for their direction. The Batman movies came out of nowhere. That take, that tone, came out of nowhere. If I had told you it's going to be a super-serious Batman movie that treats Batman like this mythological figure that is completely based in reality. You'd be like, okay that sounds like I don't know if that's going to work."
NICOLAS ROEG: “His films have a magic to them. They’re like incidents in one’s life; some things happen swiftly and some things take a long time to reveal themselves. They're marvelously disguised. Memento has this backwards-running time scheme, and yet you automatically find yourself applying the situation to oneself, to one’s daily life, which is very strange. The slipperiness of time, especially when it involves memory, that feeling of 'it's all true... but it wasn't like that', he’s got that on film, somehow. It’s a very rare thing. People talk about 'commercial art' and the term is usually self-negating; Nolan works in the commercial arena and yet there's something very poetic about his work."
I'm pretty sure we all can agree with these quotes
I am especially glad to hear positivity from Mann and Tarantino, as they are two of the best directors out there.
