Thematic daring In the end, what are Nolan's films actually about? Two of them are superhero flicks, two are cop movies and one is about a magician. Nolan isn't exactly going to the wall for the big ideas. Interestingly, by far the most radical film he's made was that very first one, Following — a very creepy existential story about a stalker.
Kubrick made films about paedophilia, military justice, atomic obliteration, urban violence and the Vietnam war; his emigration to England was partly fuelled by the desire to avoid controlling Hollywood types.
Nolan is — at present, anyhow — a confirmed establishment figure; nothing he's done has caused the smallest ripple of disquiet. This may change, but with another Batman film in the works I can't see it happening just yet. Aesthetic achievement Nolan's command of cinematic language is undoubtedly impressive; right from the off you felt this was a film-maker of wonderful confidence and ability.
The Batman films are particularly fine from this point of view: they achieved an agile blend of head-cracking action, graphic-novel pictorialism and classical gravitas. Inception, too, has lots of visual flash: ultra slo-mo, gravity-free gymnastics, solemn surface sheen.
But Kubrick worked on his aesthetic ideas with increasing rigour as his films came and went. Dr Strangelove had the extraordinary bomb plunge shot. A Clockwork Orange combined bizarre design, changes of pace and a counterpointing music score. The Shining exploited the then-new Steadicam brilliantly, and brought high-gloss Hollywood visuals to the slasher genre.
Barry Lyndon is arguably the most remarkable: candlelit sets and onscreen action orchestrated down to the smallest gesture to the Bach and Handel accompaniment. Is Christopher Nolan the new Stanley Kubrick? Liam Gilleland Music. Tamper terror: Poison in the supermarket. An Elleegant win against the odds. Sydney breaks its shackles as The Everest peaks. Taking the plunge for better mental health. I rescued a dog — she gave me a community.
Video games: is the age of classification dead? God, freedom and the weekend pursuit of cults and hippies. Making a statement at the Met Gala. NEW An Elleegant win against the odds Sydney breaks its shackles as The Everest peaks Taking the plunge for better mental health 'Pumper' Cassidy's back on track I rescued a dog - she gave me a community.
Can you see it? Modine was one of the precious few actors able to work with both men on Full Metal Jacket , and then on The Dark Knight Rises , and when asked if the directors had any traits in common, Modine said:. People ask me that a lot about [that]. I think he's trying to be the next Christopher Nolan. And the brilliant thing that Stanley did was, having moved from New York and then spent time in Los Angeles and then eventually ending up in England was that it gave him a safe distance from outside influence.
One of the things I talk about in my diary is the importance being [able] to learn… the most important journey for an artist is to find your own voice, to find your own way. So many artists talk about that in different ways. Poets write about the path least taken, that we all have to find our own way. Without question, Christopher Nolan succeeded in finding his own way. Despite doing three Batman films, Nolan has carved out a niche in the industry as telling personal, individual stories on a massive scale.
He writes or co-writes his own screenplays, and develops a project from idea phase to theatrical opening. If they have something in common, Christopher Nolan is trying to find his own way, his own path.
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