{"id":3949,"date":"2026-07-20T22:10:01","date_gmt":"2026-07-20T22:10:01","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=3949"},"modified":"2026-07-20T22:10:01","modified_gmt":"2026-07-20T22:10:01","slug":"christopher-nolan-on-the-odyssey-whetting-his-horror-appetite-making-the-ultimate-dog-movie-and-re-releasing-the-prestige","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=3949","title":{"rendered":"Christopher Nolan on \u2018The Odyssey\u2019 Whetting His Horror Appetite, Making the \u201cUltimate Dog Movie\u201d and Re-Releasing \u2018The Prestige\u2019"},"content":{"rendered":"
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\n\tIf anyone has earned the audience\u2019s trust, it\u2019s Christopher Nolan.\u00a0<\/p>\n

\n\tFor over 25 years, the British-American filmmaker has consistently delivered indelible visual spectacle and stimulating food for thought. Fresh off of Oppenheimer<\/em>\u2019s seven-Oscar triumph (including best picture and best director), Nolan\u2019s thirteenth film, The Odyssey<\/em> \u2014 the first narrative feature shot entirely in IMAX \u2014 is no exception to his penchant for thought-provoking blockbusters.<\/p>\n

Read more Brie Larson-Led Horror Movie \u2018Skeletons\u2019 From JT Mollner Lands Summer 2027 Release at Sony<\/a><\/p>\n

\n\tFollowing near-universal acclaim from critics and moviegoers alike, Nolan\u2019s adaptation of Homer\u2019s ancient Greek poem \u2014 which chronicles the Greek hero Odysseus (Matt Damon) on his perilous decade-long journey home after the Trojan War \u2014 has debuted to $264 million at the worldwide box office, setting the auteur\u2019s global opening weekend record and bolstering an existing career cume that exceeds $6.2 billion. Domestically, it notched $124 million, Nolan\u2019s top opening outside of the Batman franchise, with 23.8 percent of that sum coming from IMAX screens.<\/p>\n

\n\tAfter being introduced to The Odyssey<\/em> during a grade school play, Nolan nearly brought Homer\u2019s work to the screen during his short stint developing 2004\u2019s Troy<\/em>. He was on the project long enough to envision Odysseus\u2019 deceptive, war-altering gift of the Trojan Horse wedged into the beach of Troy, a haunting recurring image that he establishes within the first 30 seconds of his Odyssey<\/em>.\u00a0<\/p>\n

\n\tBut it wasn\u2019t until Nolan rolled up his sleeves and started writing that he realized just how many traces of The Odyssey<\/em> he\u2019s unconsciously incorporated into all his films. Consequently, his filmography is also interwoven throughout his rendition of The Odyssey<\/em>.\u00a0<\/p>\n

\n\tYou\u2019ll see The Prestige<\/em>\u2019s Alfred Borden (Christian Bale), Inception<\/em>\u2019s Cobb (Leonard DiCaprio) and Dunkirk<\/em>\u2019s Allied soldiers struggling to get home to their families. You\u2019ll notice a ghost-like figure observing their own home \u00e0 la Interstellar<\/em>\u2019s Coop (Matthew McConaughey) and The Dark Knight Rises<\/em>\u2019 Bruce Wayne (Bale). Similar to the latter, you\u2019ll watch another leap of faith to free oneself from a type of prison. You\u2019ll see Odysseus question his fragmented memories in a manner that\u2019s reminiscent of Memento\u2019<\/em>s Leonard Shelby (Guy Pearce). And like Selina Kyle\/Catwoman in Rises<\/em>, another Anne Hathaway character will bear witness to a recluse\u2019s impressive archery skills.\u00a0<\/p>\n

\n\tMost notably, Nolan\u2019s mythological epic feels of a piece with the apocalyptic themes of his two other films this decade, Tenet<\/em> and Oppenheimer<\/em>. The Trojan Horse is to Odysseus what the atomic bomb was to J. Robert Oppenheimer (Cillian Murphy), as both men fear that their extraordinary ingenuity has destroyed not only the laws of war but also civilized society.<\/p>\n

\n\tNolan, who\u2019s never one to explicitly define his films, admits that any overlap has emerged after the fact. \u201cNow that I look back on it after finishing The Odyssey<\/em>, there are interesting parallels [to Oppenheimer<\/em>],\u201d Nolan tells The Hollywood Reporter<\/em>. \u201cI try to leave each film I do with thematic concerns and questions that stay a little bit open for me and hopefully the audience too. They are things that I want to explore further without being too self-conscious about it.\u201d<\/p>\n

\nThe Odyssey<\/em> stresses the importance of Zeus\u2019 law, which is otherwise known as the Golden Rule of treating others how you want to be treated. While the film ends on a cautionary note if we don\u2019t heed history\u2019s warnings, Nolan seems to believe our better nature will win out.\u00a0<\/p>\n

\n\t\u201cThe fact that we have mutual respect is what, to some extent, defines civilization. I don\u2019t think that\u2019s something that can be entirely imposed by, for example, a religious framework,\u201d Nolan says. \u201cI think it has to be innate in us for that to be as prevalent and as effective as it has been over thousands of years.\u201d<\/p>\n

\n\tBelow, Nolan also discusses the relatively new addition to his household that informed The Odyssey<\/em>\u2019s most heartbreaking moment, as well as the details behind his upcoming re-release of The Prestige<\/em>.\u00a0<\/p>\n

\n\t***<\/p>\n

\nYour brief tenure on Troy<\/em> got the ball rolling decades ago, but in recent years, you\u2019ve also hosted Q&As for two Dune<\/em> films, as well as Gladiator II<\/em>. Those movies have elements of The Odyssey<\/em> within them. Did those conversations tip the scale at all toward this commitment?<\/strong><\/p>\n

\n\tIn truth, I don\u2019t consciously know. The great work of Ridley Scott and Denis Villeneuve in world building \u2014 that capacity of cinema to open up a window into another world \u2014 is always inspiring. In taking on the world of The<\/em> Odyssey<\/em> and Greek mythology, you\u2019re very specifically looking at a massive world-building project. So enjoying other people\u2019s work in that realm is definitely a big part of what makes it feel exciting.\u00a0<\/p>\n

\nAre you competitive with your fellow filmmakers\u2019 work?<\/strong><\/p>\n

\n\tAbsolutely. In the friendliest way, you\u2019re competitive. If you see something in movies that inspires you, you want to try and see what you could add to that. For me, the healthiest form of competition is to be competitive with all<\/em> of cinema \u2014 cinema history, as well as my contemporaries. It\u2019s really about looking back to inspirations from the past. The silent era is always a great source of inspiration for me, but I also remember as a kid going to see the restoration of Lawrence of Arabia<\/em> when it was released in \u201887. That\u2019s just a mind-blowing epic. These things stick with you. And if you can take on something along those lines or add something to that conversation or bring that type of experience to a modern audience, it\u2019s a fun ambition.<\/p>\n

\nYou weren\u2019t kidding when you said The Odyssey<\/em> is present in all of your work. Thus, all of your work is present in your iteration of The Odyssey<\/em>. Perhaps most significantly, Odysseus (Matt Damon) and J. Robert Oppenheimer (Cillian Murphy) both have similar regrets about their influence on war and what they\u2019ve unleashed in the world. Do you view your two recent films as companions?<\/strong><\/p>\n

\n\tNow that I look back on it after finishing The Odyssey<\/em>, I think there are interesting parallels. I try to leave each film I do with thematic concerns and questions that stay a little bit open for me and hopefully the audience too. They are things that I want to explore further without being too self-conscious about it. In trying to tell The Odyssey<\/em> for a modern audience and looking at the archeological history and the collapse of the Bronze Age, yeah, I think there are compelling parallels.<\/p>\n

\nMy social algorithm has fed me photos of you walking your dog the last few years.<\/strong><\/p>\n

\n\tI\u2019m sorry. (Laughs<\/em>.)<\/p>\n

\nHow did your recent dog ownership rub off on the film\u2019s touching story point involving Odysseus\u2019 hunting dog?\u00a0<\/strong><\/p>\n

\n\tIt\u2019s funny when you look at the films you\u2019ve made and how they parallel your life. You get married, and then you make a film in which that relationship is important. You have kids, and then you find yourself making films about trying to get home for your kids. I had never had a dog, and a few years ago, we got our first dog as the kids were leaving for college. They were kind of bitter about it. They\u2019d always wanted a dog, and we\u2019d never been able to have one because we were traveling too much. And coming to The<\/em> Odyssey<\/em>, it\u2019s the ultimate dog movie. So I was definitely better prepared to take on the ultimate dog movie having become a dog owner.<\/p>\n

\nThe world keeps begging you to make a horror movie, but large stretches of The Odyssey<\/em> contain several horror sub-genres.<\/strong><\/p>\n

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\n\tI was going to say. They don\u2019t need to beg me to tell a horror story anymore. Just buy a ticket. (Laughs<\/em>.)<\/p>\n

\nHave you scratched that itch now? Or does <\/strong>The Odyssey<\/em><\/strong> only whet your appetite?\u00a0<\/strong><\/p>\n

\n\tIt very much whets my appetite for more. But I\u2019ve always believed that horror as a genre has to be approached very carefully from a conceptual point of view. In other words, you have to have an amazing idea. When you go see a film like Obsession<\/em>, that\u2019s an amazing idea. That movie works like a motherfucker. It\u2019s not about the technical side. It\u2019s not about what technical itches I would have to scratch. It\u2019s about story. So I\u2019m always looking.<\/p>\n

\nThe film\u2019s emphasis on Zeus\u2019 law and those who exploit it reminded me, thematically, of a Danish horror film called Speak No Evil<\/em> (2022). It\u2019s basically about how our strict adherence to social etiquette and politeness can lead to danger. We don\u2019t know who we\u2019re opening the door to, and we don\u2019t know who\u2019s opening the door to us. In general, are you optimistic that the Golden Rule will always prevail?<\/strong><\/p>\n

\n\tI am. It\u2019s interesting you make a parallel with [Speak No Evil<\/em>] because that\u2019s a very dark film. I actually see [The Odyssey<\/em>] in brighter terms than that. The fact that we have mutual respect is what, to some extent, defines civilization. I don\u2019t think that\u2019s something that can be entirely imposed by, for example, a religious framework. I think it has to be innate in us for that to be as prevalent and as effective as it has been over thousands of years.<\/p>\n

\nThanks to the newly innovated sound blimp, you were finally able to shoot an entire film in IMAX. Going forward, what advancements would you still like to make to that camera system?<\/strong><\/p>\n

\n\tWell, I had dabbled with IMAX cameras on The<\/em> Prestige<\/em> the year before, but it was really on The Dark Knight<\/em> that we took what had been the province of purely documentary filmmakers and brought it into the Hollywood machine. The Hollywood camera crew works in a very different way to a documentary camera crew. So there were a lot of refinements that we were able to bring on that film: different lenses, different ways of pulling focus and different monitoring systems internally. Over the years, that\u2019s carried on, particularly putting IMAX in collaboration with Panavision for a wider variety of lens sets, faster lenses and things like that. It\u2019s really about getting the barrels of these lenses to work effectively with the focus control systems that Hollywood ACs use. All of that is a bit arcane and technical, but it\u2019s always an evolution.\u00a0<\/p>\n

\n\tThe idea that IMAX has now been able to engineer a way to contain the camera so that it\u2019s effectively silent, that\u2019s a big leap forward. But I\u2019m sure it could be further refined. I know that [DP] Hoyte van Hoytema and his team have already given a lot of feedback on the new cameras they built and the new blimp system. Camera systems are an evolutionary process, and that\u2019s generally why the leading companies have been doing it for so long. It\u2019s tough to know how to improve something unless you go into the field with it. Our commitment to IMAX with their new Keighley camera was to put it on this production and thoroughly road-test it in parallel with the other cameras.<\/p>\n

\nFor years, you relied on many of the same craftspeople until van Hoytema became the first major change. Did the success of that transition make it easier when it came time to bring on other new artisans such as composer Ludwig G\u00f6ransson, editor Jennifer Lame and production designer Ruth De Jong?<\/strong><\/p>\n

\n\tI can\u2019t think of a diplomatic way to answer that other than to say it\u2019s always a balance between wanting to work with the same people that you have an ease of familiarity with and then also wanting new ideas and fresh perspectives. I\u2019ve always tried to strike that balance in different ways at different times. I\u2019ve been very fortunate with all the crew members I\u2019ve worked with, starting with Wally Pfister as my director of photography for years. He then went off to direct himself, and that was when I started working with Hoyte. But it\u2019s always a balance, and I think we had an excellent balance on this movie.<\/p>\n

\nRobert Pattinson gave you a book of Oppenheimer\u2019s speeches as a wrap gift on Tenet<\/em>, and that became one of the first dominos to fall en route to the Oppenheimer<\/em> experience. Did he put a lot of pressure on himself for your Odyssey<\/em> wrap gift since the last one turned into a movie?<\/strong><\/p>\n

\n\t(Laughs<\/em>.) No, there\u2019s certainly nothing there. Did Rob hand me some horror novel by Stephen King that\u2019ll make an excellent adaptation? Sadly, no, that is not the case. But I had a great time working with Rob again, and I will always be grateful to him for his wrap gift on Tenet<\/em>.<\/p>\n

\nYou are re-releasing The Prestige<\/em> next year to honor its 20th anniversary. Granted, four films is a hearty meal already, but is there a world where you and Christian Bale reunite someday?\u00a0<\/strong><\/p>\n

\n\tOh, of course. He\u2019s one of the great actors of his generation, and I\u2019ve had tremendous experiences with him. I\u2019m thrilled that they\u2019re going to re-release The Prestige<\/em> because it\u2019s one of his most underrated performances. I\u2019m just really excited to bring it to fresh audiences. We\u2019re actually going to do 70 millimeter blow-ups. Wally Pfister shot it anamorphically on 35 millimeter, and he did an incredible job. I screened a 35 mil print the other day to check it, and his photography is just extraordinary. Nathan Crowley\u2019s production design is amazing as well. So it\u2019s going to look absolutely beautiful blown up to 70 millimeter, and we\u2019re going to start that process in the next few weeks.<\/p>\n

\nYour loyalty to actors goes beyond the movie stars. Performers like Josh Stewart, Sean Avery and the late Larry Holden come to mind.\u00a0<\/strong>\n<\/p>\n

\n\tYou\u2019re just trying to cast the best people for the job, really. I\u2019ve actually worked with the same casting director since Memento<\/em>, John Papsidera, who\u2019s one of the greats in his field. He\u2019s introduced me to wonderful performers of all levels of stardom over the years. When you work under the difficult circumstances of these large-scale films, there\u2019s a lot of pressure on smaller performers, particularly on a huge day where you\u2019re taking up a lot of time with the stars and the mechanical things on set. These guys are always thrown in at the deep end, and they have to deliver the goods. So finding really great actors to come and do small parts is part of John\u2019s genius.<\/p>\n

\nDespite the massive scale of your films, you are consistently under budget and ahead of schedule. I often cover blockbusters that are just the opposite.<\/strong><\/p>\n

\n\t(Laughs<\/em>.)<\/p>\n

\nWhat\u2019s your secret considering it\u2019s not a given across the industry?<\/strong><\/p>\n

\n\tWell, it\u2019s not a given because all filmmaking teams approach things differently in terms of prioritization and their choices made on that basis. What I realized early on is that if I stayed on budget and on schedule, I got less interference. I didn\u2019t give people a reason to panic. That\u2019s when you find people breathing down your neck and questioning everything you\u2019re doing. If you can stay on the right side of that line, that buys you a different type of creative freedom. In other words, all filmmaking is a creative compromise, and I prefer to make those compromises on my own terms. Part of those terms are being on budget and on schedule. Then those decisions are in your hands, but that does involve compromise. Not every filmmaker sees it that way, and that\u2019s completely valid. There\u2019s no right or wrong way to make a film. That\u2019s the reality.<\/p>\n

\n\t***
The Odyssey is now playing in movie theaters<\/em> nationwide. A version of this story will appear in the July 22 issue of<\/em> The Hollywood Reporter.<\/em><\/p>\n

Read more \u2018My Friend the Porn Star\u2019 Review: German Documentary About Desire Is a Kooky, Kinky Delight<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Christopher Nolan, who has defied box office expectations for the biggest global launch of his career, addresses the movie's cautionary message.<\/p>\n","protected":false},"author":1,"featured_media":3948,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[117,2699,119,2738],"class_list":["post-3949","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-christopher-nolan","tag-oppenheimer","tag-the-odyssey","tag-the-prestige"],"yoast_head":"\nChristopher Nolan on \u2018The Odyssey\u2019 Whetting His Horror Appetite, Making the \u201cUltimate Dog Movie\u201d and Re-Releasing \u2018The Prestige\u2019 - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=3949\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Christopher Nolan on \u2018The Odyssey\u2019 Whetting His Horror Appetite, Making the \u201cUltimate Dog Movie\u201d and Re-Releasing \u2018The Prestige\u2019 - 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