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Having learned his lesson not to rely on the favor of unsympathetic British film institutions, Nolan fashioned the film as a lean, mean, razor-taut little thriller he could shoot for as little money as possible. He wondered what the burglars were thinking as they rifled through his things– what conclusions could they come to about his life based solely on the artifacts and totems of his existence? In time, he would shape these musings into a story for a feature-length film he called FOLLOWING. Whereas most people would be understandably distraught if their apartment had been broken into and their belongings stolen, Nolan’s chief reaction was curiosity.
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THE DIRECTORS SERIES is an educational/editorial collection of video and text essays by filmmaker Cameron Beyl, dedicated to appreciating and deconstructing the work of contemporary and classic film directors.ĥ.1: THE NON-LINEAR NEO-NOIRS is the first chapter of THE DIRECTORS SERIES’ examination into the films and careers of director Christopher Nolan, covering his pair of breakout independent neo-noirs:Īround the time of the making of his short DOODLEBUG (1997), director Christopher Nolan found himself the victim of a burglary. Perhaps disheartened by the rejection, and emboldened by the take-no-prisoners, do-it-yourself attitude of the 90’s indie scene, Nolan decided to take matters into his own hands. All the while, he was applying to various British film organizations in an unsuccessful attempt to obtain grant money for another narrative effort. That development encouraged the burgeoning director to make another short called LARCENY, which debuted at the 1995 Cambridge Film Festival.įor quite some time afterwards, Nolan toiled in obscurity, paying the bills with corporate and industrial films he was able to commission. In lieu of a formalized education in filmmaking, he established an on-campus cinema society with Emma Thomas– his classmate, future producing partner, and future wife– in addition to devouring the works of key influences like Stanley Kubrick, Ridley Scott, Orson Welles, and Michael Mann.Īt age nineteen, he made his first film, TARANTELLA– an 8mm short that was eventually shown on English television. He would go on to attend University College London, where he studied English literature in the absence of a film program. Nolan speaks in an elegant British lilt, while Jonathan’s all-American speech patterns reflect the fact that the Nolan boys spent a great deal of time living in Chicago as well as the UK.įrom an early age, Nolan found himself enamored with cinema, and after seeing George Lucas’ STAR WARS at age 7, he was inspired to make Super 8mm stop-motion movies with his father’s film camera.
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The jarring culture split that the Nolan boys experienced through their childhood is perhaps best exemplified by the difference in accents between Nolan and his younger brother, Jonathan– who would go on to become his writing partner and a close professional collaborator.Īlso, check out Chris Nolan’s Screenplay Collection for PDF Download It wasn’t always this way, however– Nolan’s ascent to the stratosphere of visionary directors was preceded by a long period of obscurity and rejection that any aspiring filmmaker can relate to.Ĭhristopher Nolan was born in 1970 in London, the 2nd of 3 boys born to a British advertising executive and an American teacher.
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He tells stories on a tremendously large scale, and it’s all too easy to be swept away the sheer scope of his vision and ambition.īest known for his record-shattering, paradigm-shifting DARK KNIGHT TRILOGY, Nolan’s meteoric rise to consistently unprecedented heights of financial and cultural success has established him as one of those rare filmmakers who are able to harness the full power of the Hollywood studio system to his benefit.
He’s infamous for assembling his complex and intricately layered plots like a puzzle, presenting them in such a way that respects the audience’s intelligence while simultaneously indulging their desire for exhilarating escapist entertainment. Nolan has built a reputation in the film industry as a grand showman and visual magician firmly in command of his craft.
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