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NOLAN VOID 4.5: INTERSTELLA DA-VIDA
Manage episode 424927208 series 2854826
Το περιεχόμενο παρέχεται από το Ken and Thomas. Όλο το περιεχόμενο podcast, συμπεριλαμβανομένων των επεισοδίων, των γραφικών και των περιγραφών podcast, μεταφορτώνεται και παρέχεται απευθείας από τον Ken and Thomas ή τον συνεργάτη της πλατφόρμας podcast. Εάν πιστεύετε ότι κάποιος χρησιμοποιεί το έργο σας που προστατεύεται από πνευματικά δικαιώματα χωρίς την άδειά σας, μπορείτε να ακολουθήσετε τη διαδικασία που περιγράφεται εδώ https://el.player.fm/legal.
INTERSTELLAR
In this week’s episode of TGTPTU, director-writer-producer Sir Christopher Nolan adds space to his repertoire of time-bending narratives as we venture deeper into The Nolan Void with INTERSTELLAR (2014).
The Nolan brothers return with cowriting credits, Nathan Crowley on production design, and Lee Smith as editor on this tale of global dust bowl devastation and human hope through American derring-do as the U.S.’s secret space program saves the planet (or at least itself, or perhaps only some of its elite, it’s not clearly defined) by reaching again for the stars (celestial bodies, not celebrities). But new this time to the Nolan crew (at least in this entropy-forward timeline of your hosts’ dimension, that being the same in which these notes are composed), the making of Interstellar brings on a new cinematographer, replacing pod fav Wally Pfister who’d been part of the creative team since Memento with the bear of a man and no slouch himself: Double Hoyte (aka Hoyte van Hoytema). Hoyte will stick with Nolan from this film on through the remainder of the later films already covered this season (again, frame of reference being an entropy-forward continuum) and who’ll provide this week’s Nolan innovation to shooting on IMAX when he lifts the somewhere just short of 100 lb (45 kilo) camera to film handheld.
With Interstellar, Sir Nolan becomes the marketing of the flick and a multidimensional threat as he joins hard-ish science fiction with his timey-wimey narratives. His rewrite of Jonah’s script, which was owned by Paramount and originally set to be directed by Steven Spielberg (a notable, still-living, Boomer American director; see our Season Six for further info on this influential movie brat), introduced into the story sacrifices of duty and fatherhood, the vagaries of time, and Matt Damon and omitted the original version’s People’s Republic of China robots and the discovery of fractal alien creatures who absorb sunlight to instead have its protagonist Cooper return to his daughter (and their farmhouse rebuilt as a museum on a spaceship playing unused Ken Burn’s documentary footage, it’s a whole thing) as a man-out-of-time with his robot (actually, Sir Nolan prefers the term “machine”) ex-soldier buddy TARS. Oh, and possible predestination with interdimensional book-nudging and coded dust.
Special for this week’s ep, listen to hear first-time pod guest Champlain Amy’s hot takes before they’re censored by the alphabet soup of the deep state; host Ken’s longest Tarantino rant to date; other host Ryan fake it ‘til he makes it; and third host Thomas stump hard for CASE in that ongoing, friendship-ending, family-shattering, international debate between Team CASE or Team TARS.
THEME SONG BY: WEIRD A.I.
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Letterboxd (follow us!):
Ken: Ken Koral
Ryan: Ryan Tobias
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