Christopher Nolan Quotes (1970-)

“[Mann is] not exactly crazy. It’s weirdly logical, but appallingly selfish. The only outcome to the mission for him was [a colony]. I think, and it’s something we talked a lot about — and it’s something he says in the film — that there was no doubt in his mind that his was going to be the planet, his was going to be the mission. So whatever the risks, he felt very confident. And when he’s confronted by the bleak reality of just dying out there alone, it all starts to unravel.”

“The term 'genre' eventually becomes pejorative because you're referring to something that's so codified and ritualised that it ceases to have the power and meaning it had when it first started.”

“Henri Ducard: Over the ages, our weapons have grown more sophisticated. With Gotham, we tried a new one - economics. But, we underestimated certain of Gotham's citizens. Such as your parents. Gunned down by one of the very people they were trying to help. Create enough hunger and everyone becomes a criminal.”

“The scientists dealing with the splitting of the atom kept trying to explain to the government, This is a fact of nature. God has done this. Or the creator or whoever you want it to be. This is Mother Nature. And so, inevitably, it's just knowledge about nature. It's going to happen. There's no hiding it. We don't own it. We didn't create it. They viewed it as that.”

“I'm passionately committed to truth. I love the scientific method. I hate to see it distorted either by scientists in the media or by media speaking for scientists. The pure scientific method, the idea that science seeks to disprove itself constantly, it so elevated human thinking beyond any other form—religion, ­whatever—that we've chosen to engage in as a species.”

“The clash of objective reality with our subjective view of the world, that’s pretty interesting stuff. This is something I thought about doing for a very long time. I’ve been thinking about it off and on since I was about 16. It was the approach I wanted to take to an almost alternate reality — approaching the dream life as another state of reality. And one that in certain circumstances can be manipulated.”

“I grew up in the 1980s in the UK, and we had the Campaign for Nuclear Disarmament, all that. People were very, very aware. When I was 13, me and my friends, we were convinced we would die in a nuclear holocaust… What I remember from the '80s is that the fear of nuclear war had receded in favor of fear of environmental destruction. It was almost like we couldn't sustain the fear of it for that long. We have a complicated relationship with our fear. And yes, Putin has been using that doomsday threat and that fear to saber-rattle. It's extremely unnerving.”

“I grew up in the 1980s in the UK, and we had the Campaign for Nuclear Disarmament, all that. People were very, very aware. When I was 13, me and my friends, we were convinced we would die in a nuclear holocaust… What I remember from the '80s is that the fear of nuclear war had receded in favor of fear of environmental destruction. It was almost like we couldn't sustain the fear of it for that long. We have a complicated relationship with our fear. And yes, Putin has been using that doomsday threat and that fear to saber-rattle. It's extremely unnerving.”

“I grew up in the 1980s in the UK, and we had the Campaign for Nuclear Disarmament, all that. People were very, very aware. When I was 13, me and my friends, we were convinced we would die in a nuclear holocaust… What I remember from the '80s is that the fear of nuclear war had receded in favor of fear of environmental destruction. It was almost like we couldn't sustain the fear of it for that long. We have a complicated relationship with our fear. And yes, Putin has been using that doomsday threat and that fear to saber-rattle. It's extremely unnerving.”

“The issue with AI, to me, is a very simple one. It's like the term algorithm. We watch companies use algorithms, and now AI, as a means of evading responsibility for their actions… If we endorse the view that AI is all-powerful, we are endorsing the view that it can alleviate people of responsibility for their actions—militarily, socio­economically, whatever. The biggest danger of AI is that we attribute these godlike characteristics to it and therefore let ourselves off the hook. I don't know what the mythological underpinnings of this are, but throughout history there's this tendency of human beings to create false idols, to mold something in our own image and then say we've got godlike powers because we did that.”

“There were a number of different influences, some literary. Graham Swift’s novel Waterland [1983] was a book we had to read in school. It has multiple timelines, and the way it cuts between them and how effective that was, combining history with the present. I happened to read that around about the same time as I watched Alan Parker’s Pink Floyd: The Wall [1982], which is a truly remarkable, impressionistic film. Like, what the fuck is that movie? It’s quite marvellous. The way he uses the production design, the different timelines, the intermingling of memory, dream, things like that, it was very influential on me. And the cinema of Nicolas Roeg, in particular, the editing rhythms and the way he used things other than narrative and chronological progression, that all started to click with me.”

“J. Robert Oppenheimer: You're talking about turning theory into a practical weapons system faster than the Nazis. Leslie Groves: Who have a twelve month head start. J. Robert Oppenheimer: Eighteen. Leslie Groves: How could you possibly know that? J. Robert Oppenheimer: Our fast neutron research took six months. The man they've undoubtedly put in charge will have made that leap instantly. Leslie Groves: Who do you think they put in charge? J. Robert Oppenheimer: Werner Heisenberg. He has the most intuitive understanding of atomic structure I've ever seen. Leslie Groves: You know his work? J. Robert Oppenheimer''': I know him. Just like I know Walter Bothe, von Weizsäcker, Diebner... In a straight race, the Germans win. We've got one hope. Leslie Groves: Which is? J. Robert Oppenheimer: Antisemitism. Leslie Groves: What? J. Robert Oppenheimer: Hitler called quantum physics "Jewish science", said it right to Einstein's face. Our one hope is that Hitler is so, so blinded by hate that he's denied Heisenberg proper resources, because it'll take vast resources.”

“My personal theory, which I’ve never bothered to research academically, is that television is what straightens out the narrative of Hollywood films for thirty-odd years, and it’s when VHS comes along that it starts to get freed up again. Because what happens in the television era is, TV is the big ancillary market, linear television becomes the way Hollywood films are paid for, and so they demand a narrative that you can follow even as the world’s distractions come upon you. So, the pizza deliveryman comes, you’re watching a film at home in 1975, you go and pay for the pizza, you sit back down. You don’t just pick up right where you left off, so you can’t have missed some fundamental thing, and the more linear the story, the better. Post-1982 or ’83-ish, you hit pause, you go pay for the pizza and you hit play again – you don’t miss anything. I think Disney were the first studio to realise that home video changed the nature of the films they were putting out. They weren’t doing it in a narrative sense, but they started layering the animation more and more, because they knew that kids would watch these films again and again. So, there’s also a visual density that comes in right about then – at the same time, Ridley Scott was making Blade Runner and stuffing the frame with all these different things; there’s too much to take in on one viewing.”

“The ultimate embodiment of Bruce Wayne. He has exactly the balance of darkness and light that we were looking for.”

“I had to go off on my own. So, okay, I haven’t got Michael Caine, I’d better get Matt Damon, Robert Downey Jr, Kenneth Branagh, Emily Blunt, Florence Pugh, Josh Hartnett, Cillian Murphy, Tom Conti, and hoped that all those greats would add up to one Michael Caine.”

“When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling.”

“When you think of the visual style, when you think of the visual language of a film there tends to be a natural separation of the visual style and the narrative elements, but with the great, whether it is Stanley Kubrick, Terrence Malick or Hitchcock what you're seeing is inseparable, a vital relationship between the images and the story he's telling.”

“I grew up in the 1980s in the UK, and we had the Campaign for Nuclear Disarmament, all that. People were very, very aware. When I was 13, me and my friends, we were convinced we would die in a nuclear holocaust… What I remember from the '80s is that the fear of nuclear war had receded in favor of fear of environmental destruction. It was almost like we couldn't sustain the fear of it for that long. We have a complicated relationship with our fear. And yes, Putin has been using that doomsday threat and that fear to saber-rattle. It's extremely unnerving.”

“[Insomnia]’s a film that I look back on with great fondness. Working with Al Pacino, Robin Williams and Hilary Swank was an incredible experience. Sometimes, when people look for connections in your work, they look more at things like budget level than at the filmmaking itself. If you compare it to Oppenheimer, for example, there’s a similar attempt to try and convey the subjective experience of the protagonist. In the case of Pacino’s character, he’s suffering from a distortion of perception due to lack of sleep, and it’s not a million miles away from what I’m trying to do with showing Oppenheimer’s internal process, particularly at the beginning of the film.”

“[Insomnia]’s a film that I look back on with great fondness. Working with Al Pacino, Robin Williams and Hilary Swank was an incredible experience. Sometimes, when people look for connections in your work, they look more at things like budget level than at the filmmaking itself. If you compare it to Oppenheimer, for example, there’s a similar attempt to try and convey the subjective experience of the protagonist. In the case of Pacino’s character, he’s suffering from a distortion of perception due to lack of sleep, and it’s not a million miles away from what I’m trying to do with showing Oppenheimer’s internal process, particularly at the beginning of the film.”

“Alfred: With respect, Master Wayne, perhaps this is a man you don't fully understand either. A long time ago, I was in Burma. My friends and I were working for the local government. They were trying to buy the loyalty of tribal leaders by bribing them with precious stones, but their caravans were being raided in a forest north of Rangoon by a bandit. So we went looking for the stones, but in six months, we never met anyone who traded with him. One day, I saw a child playing with a ruby the size of a tangerine. The bandit had been throwing them away. Bruce: So why steal them? Alfred: Well, because he thought it was good sport. Because some men aren't looking for anything logical, like money. They can't be bought, bullied, reasoned or negotiated with. Some men just want to watch the world burn.”

“I had a very specific moment where I had watched Blade Runner [1982] – at home on VHS, not in the cinema because I was then too young. I became obsessed with it, the beauty of the density and layering of the imagery. And then, when I was old enough, I watched Alien [1979], and as when you hear two pieces by the same musician, or read two books by the same writer, I distinctly remember realising it was the same mind behind these two different movies. I had been making my own films, just shooting things and cutting them together, but suddenly, at the age of 13 or 14, I understood directing – the closest thing to what defines filmmaking for me. Realising that there was a mind controlling that aesthetic, that feeling at the end of the film. And it wasn’t any one thing: it was photography; it was sound; it was costumes… It was control over the whole mise en scène. My realisation was very particular to Ridley Scott, and my love for his films and obsession with the way he was doing things.”

“I think Disney were the first studio to realise that home video changed the nature of the films they were putting out. They weren’t doing it in a narrative sense, but they started layering the animation more and more, because they knew that kids would watch these films again and again. So, there’s also a visual density that comes in right about then – at the same time, Ridley Scott was making Blade Runner and stuffing the frame with all these different things; there’s too much to take in on one viewing. Then when Tarantino comes in in the early 90s, you start getting that same density in narrative. And a lot of that is because you can now own a film in the way you own a piece of music, you can control it in a way; it doesn’t just pass across you the way it does on television. That’s a big reason why, when I started in films with Following and Memento, it was still seen as radical or unusual not to tell the story chronologically, which has never been the case in literature. You go back to The Odyssey, it’s never been the case that you’re supposed to tell a story from beginning to end. That’s been the exception in every other narrative medium, it’s really only in movies that that was for a time demanded, and I don’t think it is any more.”