Christopher Nolan once picked his favourite scene from his own movies
Christopher Nolan, a director renowned for his grandiose and intricate visuals, has time and again brought to the silver screen cinematic masterpieces that captivate both critics and audiences. With films like Interstellar, The Prestige, and the iconic Inception, Nolan has established himself as one of the masters of visual storytelling.
Whether it’s the magic of illusion, the physics-defying corridors of the subconscious, or the grandeur of fifth-dimension space, Nolan’s touch always has and always will leave an indelible mark with every cinematic offering. So, when considering Nolan’s favourite scene from his rich filmography, the answer might be surprising.
At the Tribeca Film Festival, during a discussion hosted by Foxcatcher director Bennett Miller, Nolan was asked about his preferred blockbuster sequence from his movies. The director, taking a moment to reflect on his illustrious career, pointed to the electrifying aeroplane kidnapping opener from The Dark Knight Rises.
Describing the process behind the jaw-dropping scene, Nolan shared: “It took us about two days in Scotland. And it was an incredible sort of coming together of months and months of planning by a lot of different members of the team who worked for months rehearsing these parachute jumps and windwalking, all these different things…”
The director continued: “The visual effects work in the sequence is very minimal… I was amazed by what the team we had put together had achieved using very sort of old-fashioned methods, in a way. I was very proud of the way that came together.”
To better understand Nolan’s approach to filmmaking, one should delve into his description of his screenwriting process. “I don’t write a story outline. I work intuitively, but I draw a lot of diagrams when I work,” he elaborated, citing the mathematical and artistic inspirations he draws from works like the etchings by Escher. Such an approach provides Nolan with a unique methodology, allowing him to construct intricate stories that feel both spontaneous and deeply thought out.
Nolan’s intuitive method is not just confined to screenwriting but also permeates his editing techniques. He candidly spoke about his approach, revealing: “I’ve always edited in a huge hurry, trying to catch that lightning in a bottle, just so the energy is there. I always think of editing as instinctive or impressionist.”
In essence, Nolan’s cinematic brilliance, whether in his choice of favourite scene or his distinctive method of storytelling, stems from a blend of detailed planning and relying on pure instinct. As he aptly puts it, “Not to think too much, in a way, and feel it more.” Nevertheless, it’s worth noting this was before Dunkirk, Tenet and Oppenheimer – and with the sheer visual spectacle jampacked into each of those entries, we wouldn’t blame Nolan for finding a new favourite.
