{"id":4787,"date":"2026-08-03T12:06:05","date_gmt":"2026-08-03T12:06:05","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4787"},"modified":"2026-08-03T12:06:05","modified_gmt":"2026-08-03T12:06:05","slug":"christopher-nolan-china-interview-goes-viral-over-frank-views-on-critics-christian-themes-in-the-odyssey-being-a-bard-for-a-civilization-at-dusk","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4787","title":{"rendered":"Christopher Nolan China Interview Goes Viral Over Frank Views on Critics, Christian Themes in \u2018The Odyssey,\u2019 Being a \u201cBard for a Civilization at Dusk\u201d"},"content":{"rendered":"
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\n\tDespite The Odyssey<\/em> giving up the throne to Spider-Man: Brand New Day<\/em> at the box office, Christopher Nolan continues to make news, this time for a press tour interview he did in China that got deeply philosophical about art, history, storytelling, modern film criticism, and the appearance of Christian conceptions of atonement in his soon-to-be billion-dollar blockbuster.<\/p>\n

Read more Sarajevo Unveils Open Air Program, Including Diego Luna\u2019s \u2018Ashes,\u2019 \u2018Minotaur\u2019 and \u2018No Good Men\u2019<\/a><\/p>\n

\n\tSpeaking to Chinese podcaster and political philosophy lecturer Zhong Shu in Beijing, which first appeared on China\u2019s Bilibili video platform, the British filmmaker has something of a hard break from the usual interviews he\u2019s done on The Odyssey\u2019s globe-spanning press tour. There were no games, no soft-ball or rushed questions about his favorite moments from the production or anecdotes about the actors, instead Zhong\u2019s interview was one of the rare ones where the filmmaker was probed about his personal philosophy and worldview and how that informed the making of The Odyssey<\/em>. <\/p>\n

\n\tAs such, it was perhaps no surprise that the interview has gone viral as it gave us a fascinating insight into the thinking of arguably the world\u2019s most popular filmmaker at the peak of his powers. Here are some key takeaways and highlights.<\/p>\n

\n\u201cBard of a civilization at dusk.\u201d<\/strong><\/p>\n

\n\tZhong began the interview, which was conducted in English, by describing Nolan as a bard of the modern age, as Homer was a bard of Ancient Greece and then describing the latter\u2019s poem as a celebration of war and victory, whereas Nolan\u2019s adaptation of The Odyssey<\/em> is most certainly the oppposite, reflecting more the current day. Zhong followed up by asking the director, due to the tone of his film, whether he was a \u201cbard of a civilization at dusk?\u201d<\/p>\n

\n\t\u201cI think that\u2019s a really interesting point, a really interesting question,\u201d Nolan said with a laugh. \u201cI mean underlying the main part of the point is this 400-year-or-so gap between the events that Homer is describing when Homer\u2019s story was written down, or first received by readers and audiences. That\u2019s a pretty interesting gap, and for me, I don\u2019t think I\u2019m completely at odds with the way Homer is telling the story. When you look at it from a sort of historical perspective and the reason is \u2014 and what I got interested in as I adapted it \u2014 is that Homer\u2019s writing about an era before his, he\u2019s writing about an era hundreds of years before. His audience viewed it as being more advanced than theirs. So they were a civilization on the rise, but they were trying to get back to where they had been 400 years before. So that idea of a cycle, that idea of, as you say, a civilization at dusk. I think it\u2019s there in the poem, it\u2019s subtle. But when you look at the history as well\u2026 when they would unearth these walls of old palaces that were crumbled, they called them Cyclopian walls because they thought only a giant could have built such grand walls. They had this idea of the greatness of this past civilization. And so I became interested by that collapse, what they call the catastrophe, the Bronze Age collapse. What happens between the events of the Trojan War and Homer.\u201d<\/p>\n

\n\tHe added, \u201cI think [those themes are] something that from a modern perspective is frightening and interesting and I think for me it partly comes out of having worked on Oppenheimer<\/em> before this, which is very much a film about the end of the world, about the end of and collapse of civilization, ultimately. So I think yeah I definitely carried that sensibility into this adaptation of The Odyssey<\/em>.\u201d<\/p>\n

\nConcepts of atonement.<\/strong><\/p>\n

\n\tZhong then moved on to the concept of \u201catonement\u201d in Nolan\u2019s film, saying that such a concept doesn\u2019t exist in Ancient Greek culture, or language, or in Homer\u2019s poem. She asked directly whether the filmmaker had \u201cChristianized The Odyssey<\/em>\u201d and further why atonement was so important in the film.<\/p>\n

\n\t\u201cI wasn\u2019t too conscious of how I was approaching it philosophically other than I really honed in on the idea of what\u2019s termed \u2018xenia,\u2019 said Nolan. \u201cIn the film we call it Zeus\u2019s Law for simplicity, but it\u2019s that idea of mutual respect \u2013 that I treat you the way I want to be treated. And in their theology it\u2019s because you might be a god in disguise. I really drilled down on that, and I started to realize that for me a lot of what\u2019s interesting about the interaction of history and mythology is this idea of the \u2018sea peoples\u2019, the idea of the people from the sea who were thought to have precipitated the Bronze Age collapse. It\u2019s one of the great mysteries of history: who were they? But the idea that really a violation of xenia, a violation of Zeus\u2019 Law \u2014 which is what the suitors are doing in the palace \u2014 that really is the [breaking] of Zeus\u2019 Law that is causing this difficulty and this damage.<\/p>\n

Read more In \u2018Donkey Princess,\u2019 a Young Royal Travels Through Worlds \u2013 and Film Genres \u2013 in Search of Love (Exclusive Trailer)<\/a><\/p>\n

\n\t\u201cI think the idea of atonement in a way is what we bring as viewers to the story,\u201d Nolan added. \u201cI don\u2019t know whether there really is atonement in the film, or whether we just feel that catharsis or that\u2019s the process we\u2019re seeing in the final meeting that we\u2019ve waited for between Odysseus and Penelope. But I think in a way we maybe bringing our more modern sensibility to that. Insofar as [atonement is] there, it\u2019s not a deliberate attempt to Christianize it, but it\u2019s an outgrowth or it\u2019s a natural conclusion of burrowing in on this philosophical idea of what happens when you break Zeus\u2019 Law.\u201d<\/p>\n

\nModern film criticism, storytelling and tropes. <\/strong><\/p>\n

\n\tCircling back to Homer\u2019s poem, and how it celebrates the great men of history, Zhong then probed Nolan on whether his adaptation \u201capologizes\u201d for this sense of greatness to suit modern sensibilities. \u201cIs [The Odyssey<\/em>] a story of apology that demands repentance, and reflection and self-criticism?, asked Zhong.<\/p>\n

\n\tI think that when you\u2019re talking about storytelling, you\u2019re always in conversation with the expectations of the audience,\u201d Nolan began his considered reply. \u201cSo, it really is an energy that\u2019s brought from the audience as well as an energy that\u2019s put forward from the story itself. When you\u2019re characterizing somebody, and the trite version of this, or the criticism that is often leveled at movies in general, is, \u2018oh, the character has to be made sympathetic\u2019 \u2014 so the character is manipulated in different ways or changed in different ways. And that\u2019s a fundamental flaw of film criticism in a way, or storytelling criticism, because to be able to identify the mechanism does not invalidate the mechanism. And that\u2019s a real problem in criticism today because people have this idea that: because I can understand why the story affects me the way it is, therefore, it didn\u2019t work. That\u2019s not how storytelling works. When we create a heroic figure in a story as storytellers, we have to be mindful of the energy that the audience brings to that story and the interaction between our intention and the way the audience receives that. And the fact that mechanism is identifiable to people doesn\u2019t invalidate it. Part of that mechanism is saying, \u2018are we going to treat greatness as an absolute or coming from a democratic or\u2026 more idealized philosophical state that we live in, in today\u2019s world, where we want to view people as equal. Do we have to apologize for that greatness? And the answer is yes, we do, or the audience rejects the greatness, and that is part of the mechanism. Once again, the fact that the mechanism is identifiable doesn\u2019t mean that it\u2019s invalid or shouldn\u2019t be used.\u201d<\/p>\n

\n\tLater in the interview Nolan returns to his views of modern \u201camateur\u201d film criticism. \u201cWhen I was talking about film criticism, I was talking more about amateur film criticism than professional film criticism, because professional film criticism tends to understand the necessity for the mechanisms. So you\u2019re looking at a lingua frana of storytelling created by Hollywood for the last 100 years that is very effectively universal and so it is its own language, and that language is understood by people all over the world, which is what\u2019s incredible about it. And it is a very accessible modern language of storytelling and it has certain rules. It has conventions, you can break those conventions, you can bend them. You can move them, but you have to be aware of them the whole time. As I say, I\u2019m thinking more of amateur criticism when I say that people who, because they feel they\u2019ve identified the mechanism, they feel that it invalidates it. That can be true of certain elements and film grammar, and film language evolves with that.<\/p>\n

\n\t\u201cSo when a trope becomes too familiar to an audience, then it has to be changed. But we do, as filmmakers, avail ourselves of that common language. We build on that understanding that our audience has seen many films. And that they understand that language. So, you\u2019re playing with that language. It\u2019s the language of genre. It\u2019s the language of audience sympathy. It\u2019s the language of clarity and of narrative direction and how you guide people through a story.\u201d<\/p>\n

\n\tNolan then linked his point about \u201cmechanisms\u201d to his film Memento<\/em>. \u201cYou can\u2019t completely have a tabula rasa; you can\u2019t throw everything away. You have to make your choices in terms of \u2018how am I orienting the story?\u2019 So for example, one of my first films, Memento<\/em>, was a story that I structured in reverse chronologically. But what I retained was a very clear and simple three-act structure.
So the structure of the film as it\u2019s received by the audience is very very conventional. But the chronology is unconventional. And so those are the choices you make. That\u2019s one example where you say, \u2018Okay, I need this to be extremely familiar underneath so that I can change what\u2019s on the surface.\u2019 And that\u2019s a continual mechanism that\u2019s evolving.\u201d<\/p>\n

Read more Woody Harrelson to Receive Honorary Heart of Sarajevo at Bosnian Film Festival<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

An interview Christopher Nolan did with Chinese podcaster Zhong Shu about The Odyssey has gone viral for its discussion on philsophy and storytelling.<\/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":[64,117,2,119],"class_list":["post-4787","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-asia","tag-christopher-nolan","tag-international","tag-the-odyssey"],"yoast_head":"\nChristopher Nolan China Interview Goes Viral Over Frank Views on Critics, Christian Themes in \u2018The Odyssey,\u2019 Being a \u201cBard for a Civilization at Dusk\u201d - 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=4787\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Christopher Nolan China Interview Goes Viral Over Frank Views on Critics, Christian Themes in \u2018The Odyssey,\u2019 Being a \u201cBard for a Civilization at Dusk\u201d - 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