Nolan

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

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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

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‘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”

Which cinemas meet the requirements designed by Christopher Nolan

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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

Nolan has portrayed Antiquity without colors in ‘The Odyssey’. It is a major error that has been around since the 18th century.

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The new trailer of ‘The Odyssey’ by Christopher Nolan It has everything that is expected from the director: enormous ambition, armies of extras, a Trojan horse, a cyclops, and its share of controversy. Beyond the anachronistic armor, both this and the previous trailer have highlighted how the film is bathed in a color filter (or non-color, rather) that turns Ancient Greece into a twilight, joyless place. What is significant is that this is not an innocent choice. Color missing. The new trailer, which makes the visual muscle of the film very clear (four months of filming at sea, 250 million dollars budget) has unleashed opinions that speak of “lack of color“, or of a proposal “dark, dirty and full of black armor.” Nolan affirms which has sought a realistic approach to the Greek epic, with locations in Greece, Morocco, Sicily and Iceland, practical effects and without the artificial shine of the classic Hollywood peplum. However, its approach is also a visual convention. Dirty past. The phenomenon is more than studied among experts in historical representation. The blog ‘Tragedy and Farce’ analyzed it in depth in 2021documenting how historical cinema has come to systematically associate the past with dirty browns, metallic grays, and unpolished armor. The trend became so dominant that it ended up filtering into epic fantasy: the Gondor of ‘The Lord of the Rings: The Return of the King’ works with a completely desaturated palette that contrasts with the vivid colors of the rest of the saga. The story. What is significant, as said the historian Patricia Gonzálezis that this is how a story is constructed: we are sent the message that the past was dark, brutal and primitive, and modernity consists of color and light. Going from black and white to technicolor, a bit in one inverted and less innocent version of ‘The Wizard of Oz’. The past is different from the present, it is described to us as distant and pre-rational, and at the same time it is romanticized in the military: man against the world, his own against what is foreign, the epic of noble violence. A message ideologically loaded to the brim, although there are authors like Nolan who, when adopting it, have no intention of launching an explicit political message. What archeology knows. Since 1981, the Liebieghaus Polychromy Research Projectin Frankfurt, analyzes traces of color preserved in classical sculptures and architectural fragments thanks to a combination of techniques including ultraviolet photography, X-ray fluorescence spectroscopy, and chemical analysis of pigments. Their conclusions are that the marble and bronze sculptures were painted with bright reds, deep blues, greens and gold. His physical reconstructions were shown to the public for the first time between 2003 and 2004 in Munich, the Vatican and Copenhagen, under the title ‘Gods in Color’. Polychromy was not limited to sculptures. Clothes were dyed, walls were painted, weapons of the elite were decorated, tapestries told stories with intensely colored illustrations captured with complex and intricate techniques. It must be taken into account that the very term “polychromy” It was coined by the theorist Antoine-Chrysostome Quatremère de Quincy in 1814. from the excavations of Pompeii and Herculaneum. The origin of the problem. In the Renaissance, restorers convinced that the paint covering the sculptures was accumulated dirt removed it, and by the 18th century there were hardly any visible traces left. It was then, in 1764, that the German historian Johann Joachim Winckelmann published his ‘History of the Art of Antiquity’, which for generations established the canon of classical beauty. in itWinckelmann maintained that color contributed to beauty but was not beauty, and that the whiter the body, the more beautiful it was. Liebieghaus Polychromy Research Project Winckelmann and the neoclassicists who followed him built on that historical accident an entire aesthetic ideal, that of white marble as the pinnacle of civilization and art. Museums displayed the sculptures in their deteriorated state as if that were their original appearance. Today’s public, upon seeing the polychrome reconstructions of the Liebieghaus, reacts with discomfort, but in reality this rejection is the result of two centuries of conditioning. White history. The most important Nazi propaganda forum on the internet, Stormfront, uses images of the Parthenon as iconography, invoking a “white history”. Identity Evropa, an American far-right organization, uses classical white marble sculptures in its propaganda. “Molon labe”, the legendary roar of Leonidas at Thermopylae, is today the slogan of armed Nazi militias. Before all that, Hitler banned any representation of classical art other than white marble in Nazi Germany. Sparta and Rome serve to sustain racialized narrativesxenophobic and Islamophobic, with the whiteness of marble as a central element of the imagination. A gray, violent and militarized past fits perfectly into that story: epic, where the hard man prevails (hence the famous “Roman Empire” in which men, apparently, they can’t stop thinking), separated from the “soft” present… Nolan is not propagating Nazi ideas, of course, but his imaginary, absolutely contrary to historical reality (is there anything more luminous and colorful than the Mediterranean?) is born from these trends that date back to the 18th century. Therefore, the decision of filming in Western Sahara It is not only economic: it is necessary to erase the light of classical history. In Xataka | This song is so important in Nolan’s ‘Inception’ that Hans Zimmer’s soundtrack revolves around it

Nolan is rolling ‘the Odyssey’ in the Western Sahara. A good part of Spanish cinema has been thrown over

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In the absence of One year for the premiere and having seen Only an official image From what it holds, the next of Christopher Nolan is already raising some controversy, although this time the reasons are completely extracinematographic. The filming of the film in the city of Dajla, in Morocco, already He aroused certain protests a few weeks ago, and these are now increasing with A statement signed by a large number of Spanish artists They ask for transparency with the reasons to have chosen that place. All against Nolan. Directors such as Rodrigo Sorogoyen, Benito Zambrano, Fernando Colomo and Icíar Bollaín and actors such as Javier BardemJuan Diego Botto, Carolina Yuste, Javier Gutiérrez, Nathalie Poza, Carlos Bardem, Guillermo Toledo, Alberto San Juan, Melanie Olivares or Luis Tosar have joined the aforementioned prior manifesto of the Sahara International Film Festival (Fisahara) against the recording of the film in this area of the African continent. The manifesto asks the producers of the film to “break their silence on why they chose the city of Dajla, occupied by Morocco, in the Western Sahara, as a place of filming of the movie scenes.” Without consent. The manifesto explains the reason for the protest: to film “without the consent of the Saharawi people. The only consent he received came from the occupant force: Morocco.” The problem, according to the festival, is that “Nolan (…) may have contributed without knowing it to the repression of the people of the Western Sahara, helping to normalize the brutal occupation of Morocco.” And he continues: “Morocco has turned Dajla into a tourist center, as Netanyahu intends to do with Gaza, a place to practice kitesurf, cultural events (…), conferences, renewable energy projects used to make the occupation green, etc.” The background of the conflict. The Western Sahara conflict It originates in 1975when Spain left its colonies, delivering the territory to Morocco and Mauritania instead of celebrating the self -determination referendum promised to the Saharawi people. Morocco launched the “Green march“That same 1975, an invasion of 350,000 civilians accompanied by military forces that occupied the Western Sahara, causing the Saharawi population to run massively into the desert and subsequently to the refugee fields of Tinduf, in Algeria. During this escape, Moroccan aviation systematically bombarded civilians refugees with napalm and white phosphorus in Camps like Um-Draigawhere they died between 2,000 and 3,000 Saharawis. 170,000 Saharawis They have lived as refugees for almost 50 yearswhile the Polisario Front continues to claim the independence of the territory and the right to self -determination recognized by the United Nations, in a conflict that resumed militarily in 2020 after 29 years of high fire. A laundering operation. The Moroccan government has been immersed in an intense international image washing strategy in relation to the Western Sahara, focused on the normalization of the occupation, the Economic and tourist promotion of the territoryand diplomatic and media manipulation. That is precisely what is attributed to Nolan from the statement that may be helping to be done, consciously or not. Much discussed lately it has been the Mass Influencers Invitationjournalists trips and content creators of European countries to promote the occupied city of Dajla. Nolan’s key role. Reda Benjelloun, from the Moroccan Cinematographic Center, told the local environment Stockings24 That the production of ‘the Odyssey’ has a vital importance for the city, since it is the first major Hollywood production that does so. In a radically opposite position is the Ministry of Culture of the Polisario Front, the Saharawi nationalist group that seeks self -determination, and which issued a release in which he affirmed that “this act constitutes a dangerous form of cultural normalization with the occupation, and an unusual exploitation of art and cinema to bleach the image of a colonial situation that is still imposed by force” In Xataka | Morocco has given Israel 34,000 km² of the Atlantic for gas exploitation. The problem: they are waters in conflict with Spain

Nolan Arenado begins to emerge as an option for Mets

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There is just under two months for the start of the 2025 major league season and the New York Mets still have some roster problems to solve. Perhaps the most urgent is that of Pete Alonsobecause the initialist seems to move more and more to sign with the team. A possible round trip would leave the Mets with a hole in the first base, and although this can be covered by Mark winds, it would leave another problem in the third base. Given this situation, the team evaluates to bring an antealist instead of a first base to replace Alonso. The name that now begins to emerge as an option for Mets It is that of Nolan Arenado, who is 10 times winner of the gold glove. This is indicated by a report of MLB Networkwhich ensures that the franchise could be putting together an exchange with St. Louis Cardinals to bring Queens to the third base. Nolan Arenado has a contract with the cardinals.Credit: David Zalubowski | AP The third base would be a great acquisition for Queens team especially defensive. However Arenado still has three years left of the agreement he signed in 2019 with the Colorado Rockies for $ 260 million and eight seasons. So if the Mets want their services, they must not only put together an attractive change for the cardinals, but assume the remaining $ 76.5 million dollars of your contract. Something that for the current situation of the franchise does not seem to be a problem. To reach an agreement for Arenado to arrive in New York the metropolitan team I would ensure experience and great defense in the preludethey would give ownership to winds in the initial and close with a line of great names by 2025. Continue reading:Jesse Winker willing to play first base with the MetsThe METS will release a new visitor sweater in 2025“You should take your time”: Francisco Lindor on the return of Pete Alonso to the Mets (tagstotranslate) Mets

Christopher Nolan signs a Marvel star for ‘The Odyssey’

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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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