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Christopher Nolan Quotes - IQDb - Internet Quotes Database

Quotes from Christopher Nolan


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I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.


To be honest, I don't enjoy watching movies much when I'm working. They tend to fall apart on me a bit.


No, I've only ever done one film at a time.


As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.


I think there has been this increasing misperception that kids will not respond to something because it's also for adults. I think that often that tends to get underestimated.


I try not to have actors in mind when I write because the tendency then is to be influenced by either their last performance or your favourite of their performances.


You know when Hollywood does a great big blockbuster that really wraps you up in a world, and lets you believe in extraordinary things that move you in some way, in an almost operatic sensibility? That to me is the most fun I have at the movies.


I'm taking a bit of a wait-and-see attitude towards 3D.


I'm very happy where 3-D is going, which is that it's becoming a choice - and thankfully, most people are still choosing 2-D.


I sometimes think how strange it is that I've got to do exactly what I want, and that is difficult to cope with. You have to remind yourself every few weeks: I'm making this film and this is exactly what I want to do. And suddenly you're happy again.


I've never read Joseph Campbell, and I don't know all that much about story archetypes.


But I have been interested in dreams, really since I was a kid. I have always been fascinated by the idea that your mind, when you are asleep, can create a world in a dream and you are perceiving it as though it really existed.


Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.


The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.


But, in each case, as a filmmaker who's been given sizable budgets with which to work, I feel a responsibility to the audience to be shooting with the absolute highest quality technology that I can and make the film in a way that I want.


In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.


When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.


But 'Memento' was so successful, such a huge cult hit, almost on the scale of a large film. If that had happened, with all the acclaim, before the next job, I'd have found it very difficult to figure out what to do next.


The only job that was ever of interest to me other than filmmaking is architecture.


My approach with actors is to try and give them whatever it is they need from me. Direction to me is about listening and responding and realizing how much they need to know from me and how much they have figured out for themselves, really.