Christopher Nolan wants to film more in India with Indian actors
Critically acclaimed filmmaker Christopher Nolan has revealed his desire to work more closely with Indian actors after being inspired by the country during his most recent project.
Nolan, who shot sections of his film Tenet in Mumbai, also featured Dimple Kapadia, arguably one of India’s most revered actors. “I really had a tremendous experience,” Nolan told the IANS news agency about working in Mumbai. “The love for films in that city is really palpable,” he added.
“I never make plans so far ahead. But I had an amazing experience in India, and I definitely want to come back and work more in India with Indian actors. I don’t know what I’m doing next,” he added.
Nolan continued: “That experience of meeting filmmakers of Mumbai and getting to see the sights and sounds of Mumbai was very inspiring for me. It immediately set my imagination to work on how I could come back there and do some shooting.”
Nolan was working in India to collect scenes for his most recent blockbuster, Tenet, which saw John David Washington star alongside Robert Pattinson as spies who are trying to prevent World War III through the use of time inversion. “Tenet’s central premise shows scintillating promise but deflates due to the pressure of its over-inflated self-worth,” Far Out stated in its review. “It’s a simple enough idea, dressed up with so much scientific jargon that the original concept becomes lost. Much like many of Nolan’s films, the key concept here is the theme of ‘time’, and specifically time inversion. Its basics are simple enough to understand and are nicely summarised in an exchange between a government scientist and the lead ‘protagonist’ (his actual character name) played by John David Washington. The scientist turns to him and says: “Don’t try to understand it, feel it”.
“The line transcends the film and seems to have come straight out of Nolan’s mouth. Though, strangely, it doesn’t seem to be within the director’s interest to even try and let us understand the film due to the hilariously busy sound mixing. Just as you think you might have caught what on earth the concept of the ‘algorithm’ is, the end of the sentence is interrupted with the thunderous crash of a wave, the flutter of a pigeon or just an inconvenient loud horn. Where Tarantino seems to be winking at his audience every time the bottom of someone’s foot appears on the screen, it seems as though Nolan finds some strange self-satisfaction in confusing his audience with loud soundtracks and inaudible dialogue.”