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Interstellar - Part 3

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Damn imagine a sort of ensemble heist film with Bale, DiCaprio, Jackman, Hardy & Pierce.

Box office gold.
 
What's so amazing is that, to a point, the teaser was deliberately trying to throw people off, along with the news of 'corn'.

If I was Nolan I would be pleased that people were baffled or dismissing the teaser, then give an amazing trailer that shows HOW sci-fi and ambitious this movie is. Bait and switch it, and it'll make people go "Holy Crap, I had no idea the movie is gonna be like this." Like a magician.
 
Chris Nolan said:
I grew up in the era that was really a golden age of the blockbuster, when something being a family film didn't have any pejorative connotations. It could be broad-based and very universal in its appeal. I feel like that's something I want to see again, something I want to explore in the tone of this film. Something that really looks at where we are as people, where we might go and how the universe balances the human experience, and really try to not be a film, and try and be an experience people carry with them. And for me it's about harkening back to the films I grew up with and took me to places I'd never imagined.


Spielbergin' it.
 
Sounds like they've been using the the same on-set FX out the windows that Oblivion did.
 
the station in the sky in oblivion wasnt shoot with greenscreen..its a better version of rear-screen projection
 
How do you figure?

The bolded. Sounds like the same thing they did on that movie, to me:

Christopher Nolan just did a 45 minute Q&A with The Hollywood Reporter's Todd McCarthy at CinemaCon and - to no one's surprise - his most common response to questions about Interstellar was "I can't say much about the movie." But he did drop a tidbit that intrigued me, and it was about how he shot the spaceship interiors.

Is it news that Nolan confirmed space ships? Well, he did, and he says they built vast sets. Nolan says he prefers to go practical with sets as much as possible, and that giving people something tangible onscreen supports the VFX illusions (sorry for the paraphrasing, I didn't record the talk and am working from notes). On most movie space ship sets the windows would open up onto green screens, but Nolan didn't want to do that.

The director said that he worked with the special effects team to "put reality outside the windows" of the enormous ship sets. Actors could walk around and look out the windows and see what their characters would see. "It paid huge dividends for the actors in terms of oerformance," Nolan said.

But more than that having the reality outside the windows offered Nolan a choice in how he shot the scenes. "It allows cinematographer] Hoyte Van Hoytema and myself to shoot like a documentary," he explained. That means scenes on the ship could be played with naturalism instead of worrying about hitting FX marks. Nolan concedes it was tough on the FX team, who needed to have their work finished on an accelerated schedule.


There was almost nothing else revealed about the film, except that Nolan is going for a tone similar to the family-friendly ("Before that became a disparaging term," he explained) all-audiences blockbusters of his youth. Star Wars came up a lot, and Nolan called it a "perfectly cinematic experience."

"It's about harking back to the films I grew up with that took me to places I could never imagine," he said. He's looking to explore something simple: "The universality of human experience."
 
It also allowed him to shoot the movie "like a documentary."


First thing I immediately thought of was Europa Report. (great movie btw)
 
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The bolded. Sounds like the same thing they did on that movie, to me:
Close Encounters type vibe probably.

Lucas, Spielberg, Scott and Cameron all seemed to be big influences on him. Hell he even has flourishes of Verhoeven every so often.
 
Reading the various reports of the Q&A i do see some common ground between Cameron and Nolan. Although both support different formats ( 3D vs IMAX) , both want to deliver an movie going experience that ultimately brings back audience to the cinemas.
Cameron is interested in delivering high end quality 3-d and Nolan IMAX Visuals.
 
And that is something every director should aim. Bring people to a theater. That's where magic happens !
 
In case you guys don't know, Kip Thorne, one of the executive producers in this movies, is one of the top theoretical physicists in the world on the subject of gravity and black holes. He literally "wrote the book" on the subject, or co-wrote:
50408157.jpg


He also writes popular books, this was assigned reading in a class for which I was the teaching assistant:
51NkGW4D9%2BL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_OU01_.jpg

They solve the grandfather paradox with billiard balls in the last chapter, my mind was blown.

The point is, we're going to see something we probably have not ever seen in blockbuster space opera ... we're going to see a scientifically rigorous blockbuster space opera. Nolan is inventing a whole new genre of film. The historical norm in writing for this genre is that whatever technology your plot demands is made to exist. That won't work here. He is imposing the laws of nature as an immovable constraint on the movie's plot.
 
Leaked footage!!! :wow:

[YT]lN6gulrPc2E[/YT]
 
In case you guys don't know, Kip Thorne, one of the executive producers in this movies, is one of the top theoretical physicists in the world on the subject of gravity and black holes. He literally "wrote the book" on the subject, or co-wrote:
50408157.jpg


He also writes popular books, this was assigned reading in a class for which I was the teaching assistant:
51NkGW4D9%2BL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_OU01_.jpg

They solve the grandfather paradox with billiard balls in the last chapter, my mind was blown.

The point is, we're going to see something we probably have not ever seen in blockbuster space opera ... we're going to see a scientifically rigorous blockbuster space opera. Nolan is inventing a whole new genre of film. The historical norm in writing for this genre is that whatever technology your plot demands is made to exist. That won't work here. He is imposing the laws of nature as an immovable constraint on the movie's plot.

he also influenced the use of wormholes in science fiction.
 
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Not much but in this interview with Chastain about her perfume "Opium", she is asked if she coordinate's the perfume she wears in films to the character she is playing.
http://www.lexpress.fr/styles/parfums/jessica-chastain-ma-tante-portait-opium-qui-est-pour-moi-le-parfum-des-vraies-femmes_1509563.html

Her answer gave a little detail to her character in Interstellar-
"On the set of one of my most recent films, Interstellar, I played a scientist who makes no room in her life for love. I chose a scent that was very clean, unisex, which smelled clean and like soap, as she had a very ordered life."

Tmi2iKe.jpg


And some comments from Zimmer-http://blogs.indiewire.com/thompsononhollywood/how-does-hans-zimmer-do-it-hack-or-genius?utm_source=tohDaily_newsletter&utm_medium=sailthru_newsletter&page=2#blogPostHeaderPanel
For "Interstellar" I wrote the main theme last January. For once I got a foothold on this. I traded off going away for the Christmas holidays to spend a week on "Interstellar" obsessed with it and the ideas. I spent three months in the summer working on it. I'm supposed to have a summer holiday, but I was doing research trying things for "Interstellar." It won't leave me alone. It's his words, his stories, the subject won't let me sleep at night. That's why we are secretive, with a purpose. It's a great joy to let people see something new and unexpected. Isn't that the job we're supposed to do, to surprise people? We need to have privacy, to bring the noise down, to be able to focus, to be able to make a small group to create ideas. Privacy is a vital element to hear yourself think and have notes jump into your head.
 
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