The Migratory Habits Of 800-Pound Gorilla Oscar Directors And The Films They Make
By
MIKE FLEMING JR | Thursday January 10, 2013 @ 4:27pm EST
News also broke last night that
The Dark Knight Rises helmer
Chris Nolan has focused his attention on
Interstellar, which could only have happened after Spielberg decided it wasn’t a good fit for him. Spielberg set up the project in 2006 after becoming intrigued by Caltech physicist and relativity expert Kip S. Thorne and his scientific theory that wormholes exist and can be used for time travel. Paramount (after it bought DreamWorks) signed on a year later and set Jonah Nolan to write it. The Nolan siblings obviously work well together (Jonah hatched the short story that became Chris’ first hit
Memento, and they collaborated on two Batfilms and
The Prestige. Insiders tell me that Chris Nolan is writing a script that merges an original idea of his with the script that Jonah wrote. It will retain the title
Interstellar, and the ambition for the project is a film that will depict a heroic interstellar voyage to the farthest borders of our scientific understanding. If it all pans out, he’ll direct. Nolan’s unofficial home studio, Warner Bros, has been kissed into the deal as a co-production partner with Paramount, and Chris Nolan and Emma Thomas are producing with Lynda Obst. Jordan Goldberg is joining as exec producer alongside Thorne, who’ll remain on as technical consultant.
I’d like to add a timely aside about Nolan: I recall emerging from a summer IMAX preview screening of
The Dark Knight Rises feeling confident the film and its maker would be in the center of the Oscar conversation, for completing his trilogy as strongly as Jackson did
The Lord Of The Rings. All of that was shattered by the violence in an Aurora, Colorado midnight screening days later, which stamped
The Dark Knight Returns in a completely unexpected context. In the face of that, Nolan issued a heartfelt statement that was hailed by numerous filmmakers I’d spoken to as mirroring exactly the way they felt. Nolan has not mentioned the tragedy since, and while Warner Bros tried to get voters to remember the film, Nolan took a low-key approach to Oscar season that speaks to his classiness, self-awareness and understanding that an awards season snub was by far the least important bad thing that happened in the wake of his exceptional film’s opening.