Christopher Nolan’s analog obsessions are well known after he not only led the charge to save film (Kodak), but also became celluloid’s most vocal advocate. Every time the 49-year old auteur rails against all things digital, from Netflix to CGI, there’s a tendency to paint him as the old man trying to push back the sea, but there’s another, more important aspect to what he and his team of filmmakers have done in making mega-hits like “Dark Knight,” “Inception,” “Interstellar,” and “Dunkirk”: They kept a viable alternate model of big-budget filmmaking alive.
In age where franchise filmmaking has become a largely computer-generated art form, spawned almost entirely from a green screen studios, directors like Damien Chazelle (“First Man”), James Gray (“Ad Astra”), James Mangold and Denis Villeneuve don’t have to point backward when pitching how they want to make their own ambitious sci-fi/action films.
In age where franchise filmmaking has become a largely computer-generated art form, spawned almost entirely from a green screen studios, directors like Damien Chazelle (“First Man”), James Gray (“Ad Astra”), James Mangold and Denis Villeneuve don’t have to point backward when pitching how they want to make their own ambitious sci-fi/action films.
- 12/3/2019
- by Chris O'Falt
- Indiewire
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