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Photos: Christopher Nolan Attached IMAX Camera to a Jet to Film "Interstellar" Scenes

Posted: November 19th, 2013 by WorstPreviews.com Staff
Photos: Christopher Nolan Attached IMAX Camera to a Jet to Film "Interstellar" ScenesSubmit Comment
When you're working with budgets of over $100 million, you're free to experiment with new ways of shooting scenes. Now that Christopher Nolan (The Dark Knight) is working on his new "Interstellar" sci-fi film, he decided to take some of the money out of the budget to give audiences spectacular IMAX aerial shots.

Nolan's frequent visual effects supervisor, Paul Franklin, posted some photos from the set, showing that the "Interstellar" crew attached an IMAX camera on the nose of a Lear Jet. It's unclear which scenes the camera will be recording, but it's safe to say that the footage will be amazing. Check out the photos below.

"Interstellar" chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations of human space travel and conquer the vast distances involved in an interstellar voyage. It stars Matthew McConaughey, Anne Hathaway and Matt Damon, and is set to hit theaters on November 7th, 2014.

Photos: (click to enlarge)


Source: PeliBlog.com


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Displaying 28 comment(s) Profanity: Turn On
Skywalker121289 writes:
on November 19th, 2013 at 8:30:14 AM

I have no idea what type of photography they'll actually get with this new rig, but the concept as a whole just looks awesome. lol
PORN-FLY writes:
on November 19th, 2013 at 8:51:36 AM

the plot maybe a lil up its own ass but at least it'll look good

which is what people seem to be content with nowadays

*COUGHmanofsteelintodarknessAHEM*
brigulon13 writes:
on November 19th, 2013 at 8:55:58 AM

Should be done for any flying superhero movie.
M. Bullitt writes:
on November 19th, 2013 at 9:43:26 AM

It will always remind me Douglas Trumbull's "Brainstorm". It had spectacular aerial views and If I'm not mistaken, it was for the 1st time to be that vivid. He must have used a 70mm camera for that.
Cannon writes:
on November 19th, 2013 at 9:48:16 AM


Now, if Nolan will take as much time to learn how to shoot a scene using proper coverage and editing, I might actually be interested.

I find it rather ironic -- all this praise he both receives and strives for regarding flashy IMAX set pieces, and how people always say of his films, "Well, at least they look good." No, they don't. Not really. Nolan as an eye for handsome production design, I'll give him that, but his visual grammar as a director is for sh*t.

Motion, kinetics, geography, shot-flow, staging, blocking, choreography ...he virtually has no grasp of such things, or at least no real interest. Even the way he shoots simple dialogue scenes is utterly flat and uninteresting, like an episode of Law & Order.

Stuntastic writes:
on November 19th, 2013 at 9:51:15 AM

Stargate 2014?!?
minkowski writes:
on November 19th, 2013 at 11:20:36 AM

I agree that the footage will be "amazing", but attaching an IMAX camera to a Lear jet isn't much in the way of cinematic innovation.

In other news, Minkowski has plans to attach a SteadiCam and a Red EPIC to a the underside of an outhouse toilet which is then connected to a Russian rocket.

Aren't I special?




But hey, do whatever you need to do to outdo Cuaron's Gravity, Nolan.
minkowski writes:
on November 19th, 2013 at 11:25:13 AM

Even the way he shoots simple dialogue scenes is utterly flat and uninteresting, like an episode of Law & Order."


There's standard Hollywood way of shooting two-person convo's involving over the shoulder shots with inner and outer angles, and though you could argue such a convention is as boring as Hollywood's obsession and perhaps overuse of dissolves from some forty year's ago, everyone from Kubrick to Cameron to Mann uses/used pretty much the standard convention when shooting convo's.

I mean, hell, at least Nolan knows and employs L and J cuts in his editing, unlike some sh*tty directors.
minkowski writes:
on November 19th, 2013 at 11:34:36 AM

"Now, if Nolan will take as much time to learn how to shoot a scene using proper coverage and editing, I might actually be interested"

Well, I agree in some sense, but not really. Coverage is there so more choices can be made in the editing process, which means the more you film from various points and with different focal aspects, the more you can do when it comes time to cut the bastard.

Unfortunately, film is expensive and most cinematographers aren't thrilled with digital at this point, so there's a clear cost-benefit relation occurring wherein a smart guy like Nolan thinks he is will try to maximize his shots while minimizing the coverage.

In other words, you, the director, should try to find a nice place where you have just enough coverage, but not more, to give your film enough material for a great edit, and I think Nolan achieves that.

I also think Nolan's films have about as much coverage as any other, really, and as I recall, his films aren't shot with blatantly minimal footage.

My biggest gripe is his heavy-handed need to ram his intellect, which isn't nearly as great as he imagines, down the throat of the viewers, or as my brother said: Nolan's smart, but he's also stupid, which I took to mean that Nolan knows how to use big ideas competently, he's just not smart enough to either properly understand them, or do much more with them beyond a minimal level of competency. An example would be the nonsense of Memento, The Prestige and various scenes from both TDK and TDKR, all of which I have gone into rather deeply at various moments.
minkowski writes:
on November 19th, 2013 at 11:36:32 AM

"Mann uses/used pretty much the standard convention when shooting convo's."

I should say that Mann properly innovates more than Nolan, true, but then Mann veers more towards avant-garde than Nolan, who is clearly more a classical cinematographer.
Cannon writes:
on November 19th, 2013 at 12:04:56 PM


@Mink:

By "proper coverage" I don't mean that Nolan doesn't shoot enough; just the opposite, he shoots too much. Nolan is notorious for his 'shooting-one-thing-at-a-time' approach to covering a scene, with haphazard editing from one cut to the next and without any effort for lasting composition: he frames every insert, talking head and medium shot with a squared, boxed-in, wobble-cam. I'm not saying that what he does to this extent is broken, necessarily, just blandishly televisual in style.

Many of his bigger action scenes are, however, broken. Batman fighting a bunch of Joker thugs at a construction site, for example, is just a poorly lit mess that shows the audience nothing of import, while various characters jumping around locations during citywide mayhem or when trying to track a superball atomic bomb feel less like sequences playing out excitingly through well storyboarded action (see truck chase from Raiders) and more like directionless motion in constant need of someone explaining at any given moment, with audit-like dialogue, where’s where and what’s what. It’s clumsy.

Even his more famous set pieces like the Zero-G, spinning hallway fight, while adequately shot, comes off more like a showy gimmick.
minkowski writes:
on November 19th, 2013 at 12:16:03 PM

"while adequately shot, comes off more like a showy gimmick."

I wouldn't so much blame Nolan for that, but the folks who made The Matrix one of the "greatest science fiction films of all time". After all, much, if not most, of that film is "showy gimmick".
minkowski writes:
on November 19th, 2013 at 12:19:07 PM

Also, 2001 A Space Odyssey, another film that uses gimmicky scenes, like the rotating habitat cylinder shot, which is impressive until you realize how they did it and then smack you head for its simplicity.
Stapes writes:
on November 19th, 2013 at 12:24:51 PM

It's amazing how really great a film maker Kubrick really was. Paths of Glory, The Shining, Full Metal Jacket. What I love about Kubrick and one of the things that distinguishes him from filmmakers like Nolan: Kubrick's use of subliminal elements. The Shining and how Kubrick plays with the viewer's sense of space is a perfect example; impossible hallways, doors and windows, all to create a sense of unease in the viewer, and SUBLIMINALLY. Good luck finding anything comparable in Nolan's body of work.
minkowski writes:
on November 19th, 2013 at 12:25:18 PM

As for the rest..not sure. I'd have to watch the films with a direct eye to your specific complaints. It would be silly of me to offer a rebuttal without having those scenes fresh in my memory.

I will say though that of all my complaints regarding Nolan, none of them is his coverage or editing, as I have always felt that though he's not a Kubrick, he frames his shots well enough and each frame is competently composed, nor do I feel that either the pacing or the continuity of his sequences leads me to plot confusion, which would be an issue if he was editing as poorly as you claim.

As for lighting...can't recall the scene, although I felt TDK was too damned dark throughout, but then that could be a stylistic choice to emphasis the supposed "Gothic moodiness" of the film to compensate for the fact the film's art direction totally lacks traditional Gothic elements, compared to Burton's films, which are more brightly shot but effectively staged with a plenitude of Gothic elements.
minkowski writes:
on November 19th, 2013 at 12:27:44 PM

"Good luck finding anything comparable in Nolan's body of work"

This is true, but as anyone who has read film criticism would know, Kubrick and Nolan exist at different "lines" on the cinematic spectrum, although comparison between them is acceptable.
minkowski writes:
on November 19th, 2013 at 2:04:46 PM

"By "proper coverage" I don't mean that Nolan doesn't shoot enough; just the opposite, he shoots too much."


I understand that, but that's not a problem. Too much coverage isn't a problem with respect to the finished product, only to your budget and timetable.

Now, if you have a sh*tty editor, sure, too much coverage can be confusing. It's like a buffet. Too much food isn't the problem, choosing what you're going to eat to get full is.



"Nolan is notorious for his 'shooting-one-thing-at-a-time' approach to covering a scene, with haphazard editing from one cut to the next and without any effort for lasting composition: he frames every insert, talking head and medium shot with a squared, boxed-in, wobble-cam."

I've never heard that about Nolan. Perhaps that's the common refrain at IMDb and other places, but I've never read a review of Nolan's movies that stated such. Then again, I don't read many critical reviews, just Puttman's for the hilarity of some sheltered, cat-f*cking over-eater criticizing other people's hard-won creativity.

So I cannot comment on the "shoot one thing at a time" part. What I can say from what I have learned regarding film-making is that talking heads, medium shots and inserts in general are typically shot the way you say. Even Hitchc*ck often framed all of the above in a similarly, up until North by Northwest, staid way. Look at Lifeboat, Rope, et cetera.

In fact, if you compare, for example, L.A. Takedown to Heat, the same freaking movie, you see a huge difference in acting, pacing, lighting, and of course aspect ratio, but many of the shot compositions are similar because it doesn't cost more to do one angle/focal length versus another.

I guess there's only so much experimentation you can do with traditional shots, and like I said to Stapes, Nolan is a classical cinematographer, whereas Kubrick, for example, is a formalist. You can't expect Nolan then to frame his shots like Kubrick framed Shelley viewing the maniacal words on Jack's typewriter in The Shining.




I do think it is rather amusing though we're playing a role-reversal here, with me defending Nolan and you guys trashing him.
Stapes writes:
on November 19th, 2013 at 2:26:40 PM

I'm not trashing the guy. I just don't think there is as much depth and artistry in his work do distinguish him from other current filmmakers in the long run.
Stapes writes:
on November 19th, 2013 at 2:27:31 PM

*to
minkowski writes:
on November 19th, 2013 at 2:34:20 PM

"I just don't think there is as much depth and artistry in his work do distinguish him from other current filmmakers in the long run."



No sh*t. And he has help from Wally Pfister.






Interesting story about Pfister and Nolan separating so that each can do a sci-fi film.

We'll see how that turns out.

http://www.cinemablend.com/new/Christopher-Nolan-Interstellar-Wally-Pfister-Transcendence-How-Tell-Them-Apart-36928.html
sedibus writes:
on November 19th, 2013 at 2:51:58 PM

Top choices as of Today that are agressively experimental and passionate film directors, are Richard Kelly and Nicolas Winding Refn.

Kelly f*cked things a little bit with The Box, so did Refn with Only God Forgives.

Anyway, I just hope that people like Bergman, Tarkovsky, Fellini, Bresson, come up very soon, but is a very difficult time and making movies is expensive.

As for Nolan, he trashed Batman in TDKR is a bad film. In that instance I prefer Southland Tales, covering in epicness the same thing in a way, but Kelly´s film is much more rich, made with less and more interesting.

But hey, with more than 100 millions of budget in your f*ckING GOD named "Dollar" who gives a f*ck about the plot?
sedibus writes:
on November 19th, 2013 at 2:54:31 PM

Im listening Collateral and Southland Tales OST, then as for Mann´s work it is dated as hell, I recently saw Manhunter, when Kubricks work isn´t dated at all, Hitchc*ck´s works some of them look dated some others not, but hey, who cares!

I do, by the way-. Sedibus wrote it with a sense of irony, trying to not give to much but also trying to be a pretentious hack in his own right.
Stapes writes:
on November 19th, 2013 at 3:41:57 PM

I tend to believe Richard Kelly is a guy who accidentally made a good movie once.

Just my opinion.
Stapes writes:
on November 19th, 2013 at 3:42:09 PM

I tend to believe Richard Kelly is a guy who accidentally made a good movie once.

Just my opinion.
Stapes writes:
on November 19th, 2013 at 3:43:10 PM

I tend to believe Richard Kelly is a guy who accidentally made a good movie once.

Just my opinion.
minkowski writes:
on November 19th, 2013 at 4:01:23 PM

Regarding Richard Kelly...exactly, and even then not so much as Donnie Darko excels at mood and ambiance far more than acting or storytelling.
sedibus writes:
on November 19th, 2013 at 4:26:30 PM

Well, I got the Graphic Novel prequels about Southland Tales, and I must admit that for me, the Cannes Cut of Southland Tales is far more better than the Theatrical Cut.

I don´t know if you guys have seen it, either of the two versions.

But overall, The Industrial movie-making system is destroying talented artist like Kelly, like Aronofsky, like Del Toro, only someone like Almodovar is keeping the good work, right?

Then Alejandro Amenabar, havent seen his last AGORA, but well.

I remember watching Oliver Stone´s Alexander movie, I think is his swan-song, Savages is good but not that "Oliver Stone" good.

OK.

P.S. I think the most talented guy out there is Refn, although Only God Forgives is at some extent, from my point of view, a misfire, it delivers at the very end.

Well.
sedibus writes:
on November 19th, 2013 at 5:14:36 PM

Oh sh*t, I gotta see this production photos, havent yet, thought.

Ok, now I did.

That was nice.

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