He also knew, early on, precisely how he wanted to shoot the film. For The Odyssey,<\/em> Nolan asked IMAX to design a camera that could capture not just big sweeping shots but intimate scenes of dialogue, something that was previously thought to be impossible, due to how loud IMAX cameras are. At Nolan\u2019s behest, IMAX devised a kind of blimp covering to get the effect he wanted while still allowing the actors to hear themselves over the sound of the camera. And then, because the covering often blocked the actor\u2019s eyeline, Nolan himself improvised a workaround, a system of mirrors that would allow a second actor\u2019s face to be projected just left of his lens. \u201cChris doesn\u2019t fake anything,\u201d Holland told me. \u201cEverything\u2019s real. Everything you\u2019re reacting to is what he wants your visceral human response to.\u201d<\/p>\n Pattinson once had to shoot a scene in The Odyssey<\/em> responding to a far-off sound. \u201cI can\u2019t see anything, apart from the camera,\u201d he recounted, \u201cand I was just asking Chris, because I\u2019m supposed to react to this noise and I\u2019m like, \u2018Are you going to cue the noise? Where should I look?\u2019 And he said, \u2018Oh no, we\u2019ve got Damon doing it.\u2019 And Matt and Anne Hathaway are doing the entire scene about 200 feet away and I can\u2019t even see them. And he\u2019s walking and talking just to kick a bowl. Fucking crazy.\u201d<\/p>\n Damon said: \u201cHe writes everything out in the script. There are no secrets. If you read the script and you\u2019re working on the movie, you know exactly what you have to do that day because it\u2019s all very clear. And so if you write the Sirens when\u2026. It\u2019s in the story. He gets lashed to the mast and he has a fucking existential crisis. You\u2019re going to do that and you\u2019re going to be on the open ocean and you\u2019re going to be on a real boat and you\u2019re going to be tied to a real mast and that\u2019s going to happen. But there\u2019s a real gift as an actor to knowing that, right? Because you know what to prepare for. It\u2019s not like you get to work and you\u2019re on a soundstage and they go, \u2018Oh, we\u2019re shooting the scene where you\u2019re tied to the mast,\u2019 and suddenly you\u2019re tied to the mast.\u201d<\/p>\n Nolan likes to, in his phrase, give people a reason to believe. Even if it requires an open ocean and a camera the size of a Volkswagen Beetle. Nolan, who\u2019d first used IMAX on The Prestige,<\/em> discovered its full power on The Dark Knight.<\/em> \u201cIt\u2019s such an addictive tool because it\u2019s this beautiful, incredibly crispy image that if you can get the images, if you can find a way to get them on that camera, the audience just dissolves into it,\u201d he said. It was maybe the happiest I saw him this particular afternoon, discussing this subject. \u201cI mean, when we first started showing the prologue for The Dark Knight,<\/em> it was the first time anyone had ever used those cameras in that way. It\u2019d only been used for documentaries. You\u2019d see them in museums. And every time the screen would open up in that helicopter shot at the beginning\u201d\u2014a bank, about to be robbed by the Joker, shot from above\u2014\u201cwith every audience there would be a gasp, literally, and that\u2019s very addictive as a filmmaker. You\u2019re like, No, this is the secret sauce. This is the magic. If you could get people into one of those theaters, they\u2019re going to have a very, very intense, tactile, but also larger-than-life experience. There\u2019s that crazy combination of intimacy, and you feel like you know what things are going to smell like and taste like and feel like, but it\u2019s also colossal. That\u2019s the fun of it.\u201d<\/p>\n<\/div>\n He also knew, early on, precisely how he wanted to shoot the film. For The Odyssey, Nolan asked IMAX to<\/p>\n","protected":false},"author":1,"featured_media":32153,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_animmysite_disable_animation":false,"fifu_image_url":"https:\/\/media.gq.com\/photos\/6a1e171724c7ec71cd9b173d\/16:9\/w_1280,c_limit\/Web-4X3.jpg","fifu_image_alt":"","footnotes":""},"categories":[212],"tags":[],"class_list":["post-32152","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-trending-news"],"_links":{"self":[{"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/posts\/32152","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/comments?post=32152"}],"version-history":[{"count":0,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/posts\/32152\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/media\/32153"}],"wp:attachment":[{"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/media?parent=32152"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/categories?post=32152"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/trendifyhubusa.com\/index.php\/wp-json\/wp\/v2\/tags?post=32152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Image](\"https:\/\/media.gq.com\/photos\/6a10829b8c68cd9a74f87282\/master\/w_1600%2Cc_limit\/GQ0726_Odyssey_09.jpg\"\/)
<\/picture><\/span><\/div>\n<\/figure>\n<\/div>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"