{"id":1021,"date":"2026-07-22T11:10:25","date_gmt":"2026-07-22T11:10:25","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1021"},"modified":"2026-07-22T11:10:25","modified_gmt":"2026-07-22T11:10:25","slug":"christopher-nolans-plot-to-change-the-way-we-watch-movies","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1021","title":{"rendered":"Christopher Nolan\u2019s Plot to Change the Way We Watch Movies"},"content":{"rendered":"
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For this week\u2019s Infinite Scroll<\/strong> column, Brady Brickner-Wood is filling in for Kyle Chayka.<\/em><\/span><\/div>\n<\/div>\n

Few contemporary filmmakers have been as vocal about saving the movies as Christopher Nolan. In the early weeks of the coronavirus pandemic, he wrote an op-ed for the Washington Post<\/em> about the cultural necessity of the cinema, how it served as \u201cthe most affordable and democratic of our community gathering places.\u201d In his view, the movie theatre was as essential to public life as the library or the park, an accessible and protected space where people could get together, eat popcorn, and dream for a few hours. \u201cIn uncertain times, there is no more comforting thought than that we\u2019re all in this together, something the moviegoing experience has been reinforcing for generations,\u201d he wrote, arguing that cinema will never \u201ccease to be of value.\u201d He also had a movie coming out, the spy thriller \u201cTenet,\u201d and COVID<\/em>-19 lockdowns were shuttering theatres across the country, some permanently. The media conglomerates that owned both the Hollywood studios and the streaming platforms didn\u2019t seem to mind the potential death of the theatre\u2014directly releasing films to viewers via an at-home subscription service provided more distribution control and increased profits. But Nolan saw the shift to streaming as an existential threat to the movies, one that undermined both the public good and the vision of the filmmaker. For more technically ambitious films\u2014of which Nolan almost exclusively makes\u2014the theatre was basically a formal requirement. \u201cTenet\u201d was shot in large-format film, including IMAX<\/em> 70-mm., and was, according to Nolan, meant to be a \u201cbig-screen experience.\u201d When it finally opened in the U.S., in the fall of 2020, it was one of the first pandemic-era blockbusters to test the box office. And even though it performed relatively well given the circumstances, the future of theatrically released pictures still looked bleak.<\/p>\n

Read more Mar\u00eda Corina Machado\u2019s Opposition in Exile<\/a><\/p>\n

Anxieties about the future of movie theatres, of course, predated the pandemic. At the height of Marvel\u2019s box-office supremacy, in the late twenty-tens, audiences turned out en masse to see their favorite comic-book characters on the big screen, but not for much else. As Michael Schulman wrote in The New Yorker,<\/em> in 2023, \u201cIn an I.P.-driven ecosystem, individual stars no longer attract audiences to theatres the way they used to, with a handful of exceptions (Tom Cruise, Julia Roberts). You go to a Marvel movie to see Captain America, not Chris Evans.\u201d The Marvel Cinematic Universe prompted other studios to mint their own franchises and \u201cuniverses,\u201d pipelines of spinoffs, sequels, and sprawling ensembles. The middle class of movies\u2014rom-coms, quiet domestic dramas, teen sex comedies\u2014saw its role in the theatrical marketplace diminish before migrating mostly into the streaming economy. Some major filmmakers took umbrage with the M.C.U.\u2019s dominance, including Martin Scorsese and Francis Ford Coppola, the latter of whom called the franchise \u201cdespicable.\u201d \u201cTenet,\u201d however, along with the later success of \u201cTop Gun: Maverick,\u201d provided a blueprint for box-office success in a post-Marvel world: a big-name director and even bigger-name actors telling a story at an enormous physical scale. The summer of Barbenheimer, in 2023, further proved that non-superhero-centered movies helmed by prominent directors and star-studded casts could still rise to the status of cultural events. The key, it seemed, was to promise audiences an immersive, irreplaceable theatrical experience, one that, if missed in real time, could not be re-created at home.<\/p>\n

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Nolan\u2019s latest film, \u201cThe Odyssey,\u201d is, if nothing else, an event.<\/em> Stacked with A-list stars and towering set pieces, it aims to tell one of the Western world\u2019s foundational myths in a modern register, sparing no expense in rendering Homer\u2019s epic on as extravagant a scale as possible. For Nolan, this meant shooting the film entirely on IMAX<\/em> 70-mm. cameras, making it the first-ever feature film to do so. To experience the film in its intended analog format, viewers need to sojourn to one of the twenty-five theatres in the country equipped to project IMAX<\/em> 70-mm. Presale tickets for these screenings went live last summer, before \u201cThe Odyssey\u201d had even finished filming; nearly every ticket sold within an hour of its listing. A frenzied resale market followed, with secondary tickets going for as much as hundreds of dollars on sites like eBay, Reddit, and Discord. Scams abounded: anonymous online users have reportedly solicited upfront payments from prospective buyers before disappearing and deleting their accounts. For viewers determined to see Nolan\u2019s film on the biggest screen imaginable, the risk may be worth it. The director has established himself as this century\u2019s pre\u00ebminent Hollywood filmmaker, the rare working artist whose catalogue is as commercially indomitable as it is critically lauded. Not seeing \u201cThe Odyssey\u201d in IMAX<\/em> 70-mm., or waiting to watch it at home, or on a plane, meant you weren\u2019t really seeing<\/em> \u201cThe Odyssey,\u201d a point Nolan repeated throughout the film\u2019s marketing campaign. \u201cBy shooting on IMAX<\/em> 70 mm film, you\u2019re really letting the screen disappear,\u201d Nolan told the Post,<\/em> last week. \u201cIt really is just a great way of giving people an experience that they can\u2019t possibly get in the home.\u201d<\/p>\n

Since Hollywood began experimenting with IMAX<\/em> technology, in the early two-thousands, the brand has become synonymous with a sort of cinematic exceptionalism, a format reserved for the year\u2019s biggest and glitziest blockbusters. Once known predominantly for projecting educational installations at museums and aquariums, IMAX<\/em> spent decades trying to break into the mainstream, though its limited network of theatres and analog-only format proved prohibitive for major studios. In the mid-two-thousands, as Hollywood transitioned to digital filmmaking, IMAX<\/em> began building and repurposing theatres across the country, outfitting them with digital-projection systems and slightly smaller, but still huge, screens. These new IMAX<\/em> multiplexes may have paled in comparison with the company\u2019s original goal of totalizing immersion, but the strategy worked: soon, the year\u2019s most profitable films were appearing on IMAX<\/em> screens. Nolan\u2019s 2008 film \u201cThe Dark Knight\u201d was the first major fiction feature to shoot scenes with IMAX<\/em> cameras, and it is widely credited with legitimatizing the format as a destination for mainstream blockbusters. With each new release, Nolan grew more obsessed with the possibilities of IMAX<\/em>, progressively shooting larger portions of his movies\u2014with the notable exception of \u201cInception\u201d\u2014with their specialized film cameras. \u201cThe Odyssey\u201d marks his headlong descent into IMAX<\/em> maximalism, architecting his films around the scale and the scope that the format is uniquely able to deliver.<\/p>\n

Read more Arizona Gubernatorial-Primary Map: Live Results<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Nolan is not the only filmmaker to leverage IMAX<\/em>\u2019s growing popularity to secure larger budgets from studios, and to pursue more ambitious productions. Last year, the IMAX<\/em> company netted more than a billion dollars through ticket sales in its theatres alone\u2014its highest mark ever\u2014even as over-all box-office numbers continued to dip below pre-COVID<\/em> levels. Films like \u201cF1\u201d and \u201cSinners\u201d performed surprisingly well in IMAX<\/em> 70-mm. theatres, and were both nominated for Oscars; the year\u2019s most celebrated theatrical release, Paul Thomas Anderson\u2019s \u201cOne Battle After Another,\u201d also became an IMAX<\/em> sensation. During the marketing rollout, it was heavily promoted that the film was shot on VistaVision, a high-resolution analog format developed in the nineteen-fifties, and that seeing it in IMAX<\/em> 70-mm. was more of an obligation than an option. Similar to Nolan\u2019s belief that \u201cThe Odyssey\u201d can only be truly experienced in specially equipped theatres, Michael Bauman, the cinematographer of \u201cOne Battle After Another,\u201d argued that Anderson\u2019s film also deserved to be seen in the largest, most immersive format possible. \u201cIn a world where everyone\u2019s all about streaming, this is like, OK, here\u2019s a reason to go back to the cinema,\u201d Bauman told the Times<\/em>,<\/em> last year. \u201cBecause this is an experience you\u2019re just not going to get on your amazing 52-inch TV.\u201d Unlike many of the visual-effect-heavy IMAX<\/em> successes of the past decade, Anderson\u2019s Best Picture-winning film repositioned the auteur as the driving force behind how the technology was used to showcase and eventize films, transforming the experience from being solely a garish spectacle into something that actualized the acuity of a filmmaker\u2019s vision.<\/p>\n

Still, for people who don\u2019t live anywhere near an IMAX<\/em> 70-mm. theatre, the insistence that a film like \u201cThe Odyssey\u201d must be seen in a particular format can feel like a cheap marketing ploy, a clever way for studios to sell more tickets. The scarcity of these screenings, too, has raised a broader question around whether the theatrical exhibition will ultimately morph into a luxury experience reserved for those who can cover exorbitant resale ticket fees and gain access to the right theatres. In an appearance on \u201cThe Bill Simmons Podcast,\u201d the writer Chuck Klosterman expressed skepticism about the \u201ctrappings\u201d these technological developments presented to audiences, positing that brick-and-mortar theatres would one day close, and only full-immersion experiential theatres would remain, thus creating a socioeconomic gap between those who could afford to go the movies and those who couldn\u2019t\u2014and ending Nolan\u2019s dream of the theatre as both affordable and democratic. Gone would be the days of strolling up to the box office, buying a cheap matin\u00e9e ticket, and sitting in a mostly empty theatre to watch a B movie with your friends. In this new apocryphal world, you would need to book theatre reservations weeks, maybe months, in advance, spending as much for tickets and concessions as you would for today\u2019s arena concert or professional sporting event. Klosterman\u2019s projection may overstate the extent to which theatres will become inaccessible to the average person, but the proposition also doesn\u2019t seem so far-fetched. With streaming services selling cheap and immediate access to almost any film or television show one could possibly want to watch, the role of the theatre becomes increasingly reliant on experience<\/em> rather than on product<\/em>, on promoting events<\/em> rather than releases<\/em>. I suppose we can only hope that the people deciding which films are worthy of becoming events are the artists who create them and not the corporations aspiring to exploit profits.\u00a0\u2666<\/p>\n

Read more The End of the Aqueduct Racetrack<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Brady Brickner-Wood writes about the signature experience of IMAX theatres, which offer moviegoers an \u00e9lite viewing experience with a limited supply.<\/p>\n","protected":false},"author":1,"featured_media":1020,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":["post-1021","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-infinite-scroll"],"yoast_head":"\nChristopher Nolan\u2019s Plot to Change the Way We Watch Movies - City Relocation News<\/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:\/\/cityrelocationnews.com\/?p=1021\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Christopher Nolan\u2019s Plot to Change the Way We Watch Movies - 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