The Christopher Nolan Thread

[Gold Samurai]

Originally Posted by Spideyfan93

Feel like it's a good time to bring this up again.

Didn't get to have a conversation with him, but it still boggles my mind that I somehow had the chance to personally meet one of the best directors of our generation. His name will be handed down like the greats before him and I can always tell people I had the privilege to meet him.

And I oughta print and frame this son of a ***** on my wall.

You look like Robin and Nolan is Batman.

LOL

[kvz5]

[CConn]

Originally Posted by jacobed

I love Insomnia and I think its a very underrated movie

I think it's looked down upon purely because the Norwegian version is like 80 times better.

Which I believe, as European movies are always a ton better than their American/British counterparts.

[Isola]

Originally Posted by CConn

Which I believe, as European movies are always a ton better than their American/British counterparts.

The Girl With the Dragon Tattoo disagrees.

I'm sure there are other examples too, don't be so absolute.

[Joker594]

Originally Posted by CConn

Which I believe, as European movies are always a ton better than their American/British counterparts.

I know I'm going to be skullf****d for saying this, but I kind of enjoyed the Matt Reeves version of Let The Right One In more than the original.

*Runs and hides*

[CConn]

Lol, maybe you shouldn't assume I haven't seen both versions of TGWTDT.

The Swedish version of TGWTDT was tons better than the American version.

It had better pacing, a better illustration of the story's underlying subtext, Noomi Rapace placed Lizbeth with a much nuance and heart than Rooney Mara, Michael Nyqvist is a better actor in general than Daniel Craig, and his character arc was much more clearly defined and better presented than Craig's, Lizbeth's flashbacks and scenes with her mother had a lot more emotional resonance than the little they showed of her past in the American version...I could go on for quite I while.

I know the American version is closer to the book. But I don't really care. When making a movie, your aim should be to make an incredibly good movie. And in that respect, the Swede version was very much superior.

The only thing that American version really has going for it was its cinematography and score. Both of which were very good. But it definitely had the largest deficiency that all American films have; a total lack of comprehension and ability to deftly convey intricate and multifaceted subtextual elements.

[CConn]

Originally Posted by Joker594

I know I'm going to be skullf****d for saying this, but I kind of enjoyed the Matt Reeves version of Let The Right One In more than the original.

*Runs and hides*

I won't decimate you for saying that...purely because I saw Let Me In first, and I loved it.

But the European version is definitely better. Again, for being able to better display the subtextual elements of the piece, as well as having much better cinematography; the movie was frigging beautiful. The American verison? Not so much.

Let Me In's still very good, though.

[Joker594]

Originally Posted by CConn

I won't decimate you for saying that...purely because I saw Let Me In first, and I loved it.

But the European version is definitely better. Again, for being able to better display the subtextual elements of the piece, as well as having much better cinematography; the movie was frigging beautiful. The American verison? Not so much.

Let Me In's still very good, though.

*Phew*

[redhawk23]

Personally I think both versions of Girl With The Dragon Tattoo are fairly bad, but that has more to do with crappy source material than the skills of anyone making the films.

[CConn]

No way. TGWTDT has a great underlying - and often ignored - message of just how subversion sexual mistreatment of women is in our male-dominated society. The numerous amount of sexually abusive men in the story is meant to represent the numerous amount of sex crimes that are constantly being perpetrated.

Then they throw Blomkvist as a representation of society's overall perception and knowledge of the underlying problem by portraying him as caring, but near wholly naive and unaware to what horrible atrocities are occurring right under his nose.

The whole story is about how women are being horribly mistreated worldwide and how totally unaddressed it all is by the media/governments/populace.

[Isola]

Originally Posted by CConn

Lol, maybe you shouldn't assume I haven't seen both versions of TGWTDT.

I didn't.

And let's just agree to disagree on those two movies then, for me Michael Nyqvist (not a big fan of him in general in more tough roles) was lame as Blomqvist and the overall atmosphere and visuals in the Swedish version pales agains TGWTDT, especially they way they captured Sweden, surprisingly better in the american version. And while Noomi was amazing I think Mara was just as amazing, in a different way, two different but equally great portrayals of an awesome character. And like you said the score is just so much better in TGWTDT. I thought the story-telling was more intriguing too.

But we can agree with Let the Right One In, Alfredsons film is one of my favorite Swedish films ever while Let Me In is mediocre in comparison. The book is the absolute best though.

[redhawk23]

How is the subtext ignored? Its at the center of most discussion of the story, not to mention the original tile is "The Men Who Hate Women." It's not exactly hidden.

That's all fine and good, and I get that, but I don't think it comes together all that well in either film and the book has some issues in terms of characters, not the least of which being that Mikael is often little more than a Larsson's masturbatory Mary Sue.

But I digress, this is a thread about Christopher Nolan.

[CConn]

Yeah, I'm all about subtext. I'm pretty sure I could watch two hours of monkeys mating if it had a mass of subtext underneath it all.

[Batman jr.]

Nevermind.

[scifiwolf]

You know I think I've just coined a term for what Chris makes: intimate blockbusters.

[Batman jr.]

Originally Posted by scifiwolf

You know I think I've just coined a term for what Chris makes: intimate blockbusters.

A whole new genre?

[Léo Ho Tep]

Nolan is my favorite director, and I'm a huge batfan. But I'm glad he'll move to some other projects when he's done with TDKR. Both for him and for Batman.

[CConn]

I think Nolan's grasps the style of European filmmaking better than most American or British directors do, but he's still not quite my favorite director; he still needs to improve his cinematography and the subtly of his films.

I hope Isola got banned for liking the remake of TGWTDT better than the original.

[ALP]

You're wrong. Chris Nolan has been mathematically proven to be the greatest director in the history of the universe. The quadratic equation to prove this is listed as the last line in my sig.

[E.NormusJohnson]

Originally Posted by CConn

Which I believe, as European movies are always a ton better than their American/British counterparts.

A ton better? Gimme a break.

[CConn]

If you reincarnated Ingmar Bergman and gave him 200 million dollars to make a movie, he'd make Nolan look like a Japanese schoolgirl.

[ALP]

Bergman is a white dwarf, Nolan is a supernova that will never burn out. He will live... forever.

[CConn]

Originally Posted by E.NormusJohnson

A ton better? Gimme a break.

Yes, they are.

Most American filmmakers lack the ability to convey subtextual undertones and themes as well as foreign directors. To compliment that, the American audience seems to care and/or recognize subtext in film a whole lot less than European audiences do.

[CConn]

Originally Posted by ALP

Bergman is a white dwarf, Nolan is a supernova that will never burn out. He will live... forever.

I just imagined a sun wearing that little cap of his.

[Excelsior.]

Originally Posted by CConn

Yes, they are.

Most American filmmakers lack the ability to convey subtextual undertones and themes as well as foreign directors. To compliment that, the American audience seems to care and/or recognize subtext in film a whole lot less than European audiences do.

Thankfully we have PTA.

To compliment that, the American audience seems to care and/or recognize subtext in film a whole lot less than European audiences do.

Yes. I remember the embarrassing episodes concerning No Country For Old Men. American audiences are stupid indeed.