Christopher Nolan explains why he filmed ‘The Odyssey’ in IMAX

Christopher Nolan has not chosen the 65mm IMAX format for ‘The Odyssey’ as a simple technical boast. In reality, for this director it is a narrative tool at the service of a mythological scale story. Homer’s poem tells of endless sea voyages, storms, monsters and a journey that tests the limits of human endurance. Nolan wanted the viewer feel that immensity in a physical waynot just intellectual. And the only way to achieve this, as the director himself explained, was to completely fill the visual field of the movie theater. This ambition explains why, unlike previous works such as ‘Batman: The Dark Knight’, ‘Interstellar’ or ‘Oppenheimer’where IMAX is reserved for certain sequences of great impact, in ‘The Odyssey’ this format is maintained throughout the entire footage. Nolan has thus broken his own habit of alternating formats according to the intensity of each scene. The Homeric epic demands that the feeling of grandeur never wane, not even in the most intimate passages of the plot. IMAX’s 1.43:1 aspect ratio, much more vertical than the usual widescreen image in commercial cinema, is the key to this decision. By filling the viewer’s peripheral vision, this format generates a sense of depth similar to 3D without the need for glasses, something Nolan considers essential to convey the magnitude of the landscapes and battles. The director has summed up his philosophy with a forceful phrase: it sought to offer the public “something new and exciting”, an experience that no other format could give with the same intensity. IMAX demands as much as it promises The heart of this creative ambition is an exceptional negative. The IMAX film format, technically known as 15/70, uses 15 perforations per frame compared to the usual four for 35mm, which increases the size of the negative tenfold. The result is a horizontal resolution that is around 18,000 theoretical pixels, compared to the 1,920 pixel width of a high definition home screen (which together with its 1,080 vertical lines makes up the Full HD standard), and a sharpness that Nolan considers unsurpassable even compared to productions shot directly in digital. Filming with this technology for an entire feature film has required developing new equipment. IMAX cameras are traditionally very noisy for filming dialoguesso the team created a silencer they call blimp (we can translate it as soundproof casing). The resulting camera, named ‘The Keighley’ after veteran IMAX executives Patricia and David Keighley, weighs about 300 pounds packed into its soundproof casing. Nolan maintains that the resulting image retains a quality superior to that of any digital production. In addition, the physical support adds another layer of demand. The celluloid tape had to be recharged every two and a half to three minutes, and a mirror system had to be installed so that the actors could see each other around this bulky device during filming. This celluloid also advances horizontally through the projector using a technique called rolling loopand a single 45-minute roll can weigh 140 kilos and exceed 4,600 meters in length. Nolan maintains that, even when this negative is scanned to digitize it and adapt it to rooms with laser projectors, the resulting image retains superior quality to that of any production born in digital. This conviction explains his insistence on defending celluloid against the advance of digital tools, a position that he has maintained consistently throughout his entire career. All this technical demand has a very high cost during the exhibition process: only about 40 theaters around the world can project IMAX in its full combination of 70 mm and giant screen, and finding trained personnel to handle these prints is increasingly difficult in an industry focused on digital for almost two decades. Spain, despite having several digital IMAX theaters and with projection in traditional 70 mm, it does not have any that combines both technologies, so the Spanish public will have to settle for digital versions that crop the image to a more panoramic aspect ratio, losing some of the visual information that Nolan captured at the top and bottom margins of the frame. In Xataka | The brutal collection of ‘The Odyssey’ confirms that the most profitable franchise of the moment is not Marvel or DC: it is Christopher Nolan In Xataka | One theory says that Ulysses was held in Perejil. And that we owe the name of Spain to it

The brutal collection of ‘The Hate’ confirms that the most profitable franchise of the moment is not Marvel or DC: it is Christopher Nolan

‘The Odyssey’ has raised figures in its first weekend that are a true record for Christopher Nolan. The most significant thing, numbers aside, is that with this achievement he not only reaffirms himself as a prominent director in the league of great authors loved by the public and critics, in the style of Spielberg, but he competes directly in the field of sequels, blockbusters, Marvel and DC adaptations (where he has already made his name) and big-budget animation. Nolan already behaves (financially, at least) like a franchise. The numbers. The Nolan’s adaptation of ‘The Odyssey’ from Homer raised $124.5 million in its three opening days in the United States. On a global scale, the figure amounts to $264.1 million, the best worldwide opening of Nolan’s entire career, ahead of the $249 million achieved by ‘The Dark Knight Rises’ in 2012. Why it happens. Beyond the quality of the production and the expectation it has raised, it must be taken into account to explain the success that the premiere was strongly supported in premium rooms. IMAX screenings contributed close to $22 million to the international collection, 15% of the total, which was added to the $29.6 million domestically, 23.8% of the entire US box office. That is to say: large formats accounted for 53% of national revenue. Of course, critics praised the film, and aggregators like Rotten Tomatoes They give him a 95%, the highest grade of Nolan’s career, and sixth of yours to exceed 90% along with Memento, Insomnia, The Dark Knight, Dunkirk and Oppenheimer. Every three years like clockwork. Since the premiere of ‘Interstellar‘ in 2014, Nolan has taken up a tireless rhythm of one film every three years: ‘Dunkirk’ in 2017, ‘Tenet‘in 2020,’Oppenheimer‘ in 2023 and now ‘The Odyssey’ in 2026. Behind this regularity is an unusual production structure in Hollywood. His wife Emma Thomas has produced all of his feature films. They founded the production company Syncopy in 2001, with which Nolan develops his projects without depending on the usual machinery of a large studio. That autonomy partly explains why it can allow these wide parentheses: it does not need to prime a universe annually to justify million-dollar budgets. Fire test. That independence was put to the test in 2021. Nolan broke up with Warner Bros. after the studio decided to release its entire 2021 catalog simultaneously in theaters and on HBO Max. Nolan said the decision made no economic sense, in a statement in which came to comment that the company had gone from having “the perfect machine” for distributing films to dismantling it itself. He moved his next project, ‘Oppenheimer,’ to Universal, the same studio now backing ‘The Odyssey.’ No rival at the moment. Shawn Robbins, director of analytics at Fandango, summarized the phenomenon with a short phrase: “Death, taxes and Christopher Nolan”, referring, in a well-known Anglo-Saxon phrase, to three totems of life that are completely inevitable. Nolan has already gone in there. Of course, the director’s career seems to be an absolute concatenation of critical and public successes that attracts even non-regulars: of the 7.5 million tickets sold in the US, 43% of those spectators go to the cinema only a few times a year. ‘The Odyssey’ has no direct competition next week. The only threat on the calendar is ‘Spider-Man: Brand New Day’, which arrives in two weeks. On the other hand, ‘The Odyssey’ has not yet been released in China, Japan or South Korea, markets that could continue pushing up a figure that already corroborates that the days of Batman are long behind us and that Nolan does not need superheroes to sweep the box office. He alone is his own franchise. In Xataka | Christopher Nolan responds to Matt Damon’s defeatism about ‘The Odyssey’: “Cinema is vital and essential, and continues to transform”

The definitive map of Ulysses’ journey in ‘The Odyssey:’ Christopher Nolan’s film, explained interactively

Today is the day. Today ‘The Odyssey’ premieres. Three years have passed since Nolan’s last breakthrough in traditional cinema, ‘Oppenheimer’. And this Homeric feat aspires to nothing less. The new pretty girl from Universal Pictures that uses the most advanced IMAX technology is already placed in the highest position in the career of a director, Christopher Nolan, author of gems such as ‘The Dark Knight’, ‘Memento’ or ‘Interstellar’, who has not surrendered to anything other than his personal vision. Because yes, to the complaints of resorting to white marble instead of classical polychrome, to that mania of making actors very sexy with studded leather and stylized helmets, comes the question of historical reconstruction. Can? Maybe. We have made our attempt and we have something more historically accurate: a map. But not just any one: a dynamic tour that includes the entire journey point by point and draws connections between facts and fictions. Let’s travel together through the great epic of the Mediterranean. We leave the editorial debate to authorities such as Vinzenz Brinkmann, Barry Strauss or Robin Lane Fox. When Homer wrote the Odyssey, probably between the years 750 and 700 BC. c.the map of the Mediterranean ended long before where Europe ends today. Beyond were the monsters, capricious gods, impossible islands and an ocean that no one dared to describe. Two thousand seven hundred years later, the big question remains the same: where did Odysseus really travel? And, why not ask, did it ever reach what is now Spain? The short answer is no. The long one is much more fascinating. We have the historiography of Strabo, Herodotus, Avienus, Pindar, Apollonius of Rhodes, Diodorus Siculus and Pliny the Elder. Their references explain why Gibraltar, Tartessos and southern Hispania ended up being incorporated into the Homeric imagination without Homer having ever mentioned them. That part is often overlooked but we want to review it thoroughly. Let’s travel to the key moment. It all started with a war that (maybe) did happen The Odyssey It starts when the Trojan War has already ended. Ulysses—or Odysseus, as you wish—tries to return to Ithaca after ten years of combat. This is the more or less approximate historical chronology so that we can situate ourselves: c. 1250-1180 BC. C.: possible Trojan War. c. 1170 BC C.: journey of Odysseus. c. 750-700 BC C.: Homer writes the Odyssey. 7th-6th centuries BC. C.: the Greeks arrive in Iberia. Today’s archaeologists rely on a real conflict. Excavations at Hisarlik in Türkiye have shown that Troy existed and that one of its cities It was destroyed around 1200-1180 BC. c., right at the end of the Bronze Age. It is difficult to know if Achilles, Hector or Ulysses existed, but the historical scenario is compatible with a great war between Aegean kingdoms. If that war inspired the poem, Ulysses’ journey would have occurred around 1170 BC. C. However, the story we know was written about four centuries later, when many of those memories had already been mixed with legends. Ten years wandering around the Mediterranean As any reader remembers, Ulysses’ journey begins in the ruins of Troy: “Talk to me, Muse, about that man of multiform genius who, after destroying the sacred city of Troy,” declaims the first verse of Canto I. Violently destroyed around 1180 BC. C., Troy VIIa It is the main candidate for having inspired the conflict, according to the German Heinrich Schliemann, who decided to search for the real place in 1871. From there he sails to Ismaro, the city of the cicones, on the present-day coast of Thrace. Then the lotus eaters arrive, whose fruit makes one forget the desire to return home; the island of the cyclops Polyphemus; the kingdom of Aeolus, guardian of the winds; the laestrygonians, anthropophagous giants; the island of Circe; the descent into Hades; the passage alongside the sirens; the strait guarded by Scylla and Charybdis; the island of the Sun, where his men sacrifice the sacred cattle of Helios; the island of Calypso, where he remains captive for seven years; the land of the Phaeacians and, finally, Ithaca, the small island in the Ionian Sea that some authors insist on not pairing with the Ithaca of the work. Perhaps it was Leucade, Kefalonia, Duliquio, or Corfu? It doesn’t matter to us. The reality is that Odysseus’ route is estimated between 3,800 (from 40º East, that is, Troy, to 6º West, Hades of Gibraltar) and 4,650 kilometers, in an area of ​​more than five million km²perfectly navigable in a much wider sea. Of course, there are proposals for locations that even talk about Ireland, the Black Sea or the Azores. Or that the nymph Calypso kept Ulysses locked up on Parsley Island for seven years. What is clear, because the book says so, is that the journey takes ten years, twenty if we count from the departure to the return: when he returns, his son Telemachus is already an adult and barely retains memories of his father. I repeat it in the list, which is easier this way: Troy Ismaro (cicones) Country of the lotus eaters Cyclops Aeolus Laestrygonians Circe Hades Mermaids Scylla and Charybdis Trinacia Ogygia Esqueria Ithaca Many of these places can be related to real scenarios. The mermaids are usually located off the coast of Campania. Scylla and Charybdis are reminiscent of the Strait of Messina, between Sicily and Calabria. The island of Circe has been identified with Mount Circeo, south of Rome. Other episodes remain open because Homer never offers precise coordinates and whoever reads a specific point on his narrative map is because, too often, it is contaminated by some proximity bias. Your Mediterranean, more than an atlas, is a sandbox. Gibraltar was the true end of the world Even Spain is part of that playground. When Homer wrote the Odysseythe Greeks knew the western end of the Mediterranean, but little else. But between the 7th and 6th centuries BC. C. they began to sail further and founded colonies such as Emporion … Read more

Which cinemas meet the requirements designed by Christopher Nolan

Let’s tell you what is the best way to see The OdysseyChristopher Nolan’s new film. It is his particular adaptation of Homer’s poem, which with the director’s filmography and its spectacular cast has already become one of the film events of the year before its premiere. Nolan is known for having very particular tastes when it comes to recording his films, and ‘The Odyssey‘has not been an exception. Therefore, if you want to experience his film as he intended it, you’re going to need to seek out cinemas with particular characteristics. And this is what we are going to talk to you about. See The Odyssey as it was intended by Nolan In order to see The Odyssey as it was designed by its director, we will need a cinema with specific technologies and characteristics. Cinema should be IMAX and in 70mmsince that is how the film was shot. But now comes the bad news, because No cinema in Spain meets these two characteristics at the same time.. We have cinemas that allow you to watch movies in IMAX and others that support 70mm, but no theater in our country combines both. Best cinemas to see The Odyssey in Spain Taking into account what we just told you, you have two options: go to IMAX theaters or theaters that support 70mm with a 2.20:1 aspect ratio. These are the theaters that support each of these features. IMAX cinemas in Spain: Palafox Cinemas, in Zaragoza Kinépolis Valencia, in Paterna, Valencia Kinépolis City of the Image, in Madrid Cinesa Parquesur, in Leganés, Madrid Cinesa Heron City, in Las Rozas, Madrid Cinesa Diagonal Mar, in Barcelona Cinesa Festival Park, in Mallorca 70mm cinemas in Spain: Aragonia Cinemas, in Zaragoza Palafox Cinemas, in Zaragoza mk2 Cine Paz, in Madrid Phenomena Experience, in Barcelona If you have any of these cinemas nearby, you will be able to see The Odyssey in the best possible way in Spainalthough without getting to experience the film as it has been conceived by its director. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

In 1978 Christopher Reeve was chosen to play ‘Superman’. He got so beaten up that he literally couldn’t fit into the suit.

In the mid-seventies, superman He wasn’t just a character: he was DC’s goose that laid the golden eggs and a bet that could make or sink the first great modern superhero blockbuster. Producers Alexander and Ilya Salkind wanted a “serious” and grandiose film, far from the tone camp from the sixties Batmanbut they also knew that any setback would be a historic embarrassment. Too big to fail. In that scenario, DC, suspicious, imposed conditions of the strictest and he monitored the project as if it were a surgical operation, because the underlying problem was not to make a film: it was to make it with a guy in tights and a red cape and get the public to I will look at him with respectnot like a meme. Two years of casting. Thus, the search for superman perfect became the great bottleneck: it began in 1975 and continued until February 1977with hundreds of tests and a growing sense of desperation. There was, as usually happens in any great production, a star wish list that seemed more a festival poster than an audition: Robert Redford, Paul Newman, Warren Beatty, Clint Eastwood, Steve McQueen, Burt Reynolds, Charles Bronson, James Caan, or even Nick Nolte. In fact, there were many more, in addition to proposals that today they sound delirious by pure marketing logic, as think of Muhammad Ali or even in people outside of interpretation. It turns out that each option failed for something (if it wasn’t cost, it was age, image, accent or fit in general) and the message was clear: without Superman, there was no movie. The definitive twist. In the midst of that chaos, Christopher Reeve arrived from the New York theater as an answer that did not fit the cliché of the “big name” that the producers were looking for, but did fit the essence of the character. The casting director was pushing his candidacy against the team’s inertia, until he was finally given a real opportunity. When Richard Donner, the film’s director, saw it, the trial was as clear as it is uncomfortable: Reeve had the height, the face and the aura to be Superman… but he was also too young and too thin (“a stick”were the director’s words) to fill a suit that required visible strength, not just presence. Even so, in that test (between nerves, the heat of the spotlight and a still ungainly appearance) something that no one could copy became evident: the potential to make Clark Kent and Superman credible in the same person. The actor before opting for his role in Superman Stop being a “stick”. Reeve got the role with an unspoken demand which was actually an ultimatum: he had to physically become Superman, and do it quickly. The producers even suggested use fake muscles under the suit to “trick” the camera, a typical solution in the cinema of the time, but he refused, because he understood that credibility was not built with filler, but with transformation. The movie needed the body to say “superhero” before the character even spoke, and Reeve assumed that the job was not just to act well, but to look impossible without falling into excess. Darth Vader as trainer. Here comes the anecdote that seems invented by an advertising department: the man inside the Darth Vader suit, David Prowse, also a bodybuilder and instructor, was the one who was in charge of sculpting to Superman. Donner called it like someone activating a emergency plan: “we have a Superman” and we have to build him against the clock. Prowse trained Reeve for weeks with a routine focused on gain mass and functional strengthsolid enough to withstand flight harnesses, exhausting days and the symbolic weight of the character. And in the process a perfect story was born to sell the film: the most intimidating physical villain of the moment molding the definitive hero of the decade. The “obsessive” transformation. The method was so simple as brutal: eat a lot, train thoroughly and not allow yourself to lose weight even for a single day. Reeve put himself on a high-protein diet, with four meals a day, shakes and vitamins, and with an almost paranoid discipline: skipping a meal meant going backwards, and going back was a disaster. The idea he repeated was very clear: the actor’s inner work is useless if the exterior does not support the fantasy, because Superman cannot “seem” weak, even if he is vulnerable on the inside. And the most interesting thing is that that physical strength also changed him. the psychology of paper: The stronger he became, the more natural the character’s calm authority came to him. Too “handsome”. The result was so extremely effective that it became a continuity problem: Reeve continued to gain muscle during filming and there came a point where It was not the same body of the first scenes. The production had to redo shots already filmed because the superman of one day did not fit with the Superman of weeks later, and the suit, designed for a “before”, began to behave like a shell that was too small. The ironic twist is that at first they wanted to put fake muscles under the uniform and, after the transformation, the opposite happened: They were able to remove the additions to the suit because they were no longer needed, and the film was left with what it had always needed from the beginning, a Superman with real muscle, without tricks or cardboard. The myth that remained. Over time, Reeve’s physique has been compared with the hypertrophied standards of today’s superheroes, but at the time it was quite an event: his change from “tall, skinny actor” to muscular icon It was part of Superman’s own story even before of the premiere. The important thing was not to compete with modern mountains of biceps, but to build an exact illusion: that this guy could be the most powerful on the planet and yet the most human when he looked at Lois … Read more

Christopher Nolan signs a Marvel star for ‘The Odyssey’

The Odyssey (The Odyssey) will be the new movie Christopher Nolan. The Oscar-winning director will tackle an epic project that is very different from his previous titles with the firm intention of offering a new unparalleled show. The British takes on one of the most important fables in the history of humanity. And for this they have just signed a new star who comes from the Marvel Cinematic Universe. As reported deadlineChristopher Nolan adds to Jon Bernthal to The Odyssey. The actor is known worldwide for his sensational The Punisher. The character debuted in the series Daredevil from Netflix, but it was so popular that it had its own project shortly after with two more than adequate seasons. Now, he’s about to return in the new series Daredevil: Born Again. Outside of Marvel, Jon Bernthal He has a successful filmography. Highlights his supporting role in the multi-award-winning series The Bearwhich in 2024 earned him the Emmy for Best Guest Actor in a Comedy Series. Also appeared in The Walking Dead giving life to Shane Walsh. Not to mention movies like The Wolf of Wall Street, Fury either Hitman. Without a doubt, Christopher Nolan has acquired one of the most consistent and talented actors on the current scene. Cast and release date The Odyssey With the signing of Jon Bernthal, Christopher Nolan continues to expand a cast of absolute luxury for The Odyssey. In the movie they will be Matt Damon, Tom Holland, Zendaya, Robert Pattinson, Anne Hathaway, Lupita Nyong’o and Charlize Theron. All of them will give life to the journey of Odysseuswritten by Homer in the 8th century BC The story tells of the journey back home to the king of Ithaca. A journey across the seas that lasted ten long years after the Trojan War. On his way, the hero must face numerous obstacles that the gods put in front of him, overcoming them thanks to his incredible bravery and cunning. Furthermore, at home, his wife Penelope and his son Telemachus They must face her constant suitors, since the king is believed to be dead. The Odyssey will be released in theaters on July 17, 2026 and will be the most expensive film of his career Christopher Nolan. The film will begin filming next month. It is known that they will use revolutionary IMAX technology with which the director aspires to go a new step further. The project will be produced by Universal Pictures, as well as Oppenheimer.

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