Masters On The Body Of Their Work brings the spotlight on the notable auteurs reflecting on the body of their artistic work throughout the years. It is essential for aspiring film-makers, screenwriters, and the fans to take note and comprehend the artistic taste of these great film-makers. Links to the interviews below are authorized by the respective source like Directors Guild of America.
Christopher Nolan prefers film over digital, shoots with one camera, and he doesn’t believe in 3-D. The director who resurrected Batman, made time go backward in Memento, and deconstructed dreams in Inception speaks his mind with the Directors Guild of America. The movie-obsessed son of an English ad man and an American flight attendant, director Christopher Nolan burst upon the scene in 2000 with the film noir Memento. The $4 million independent film delivered the usual crime thriller tropes but with a meta twist—the hero’s recurring short-term memory loss was illustrated by using an intertwined pair of narratives, one moving forward in time while the other told the story backward. With its non-linear narrative, a device Nolan would also use in later films, Memento introduced a new talent who respected hard-boiled tradition while breaking cinematic rules. After capably handling Warner Bros.’ 2002 psychological drama Insomnia, the studio entrusted him to resurrect its dormant Batman franchise. Nolan’s 2005 Batman Begins, along with its even more spectacular 2008 follow-up, The Dark Knight, brought brooding sophistication and near-Shakespearean gravitas to the familiar comic book character. In between visits to Gotham, Nolan scaled down and directed The Prestige (2006), a period piece about rival magicians in late 19th-century London. And in 2010, he made the visually daring, labyrinthine caper film Inception, about a team of dream invaders. But behind the wild imagination that unleashed the anarchistic Joker, folded the streets of Paris like so much origami, and played out an entire story line in reverse, is a traditionalist who eschews special effects and shoots as much as he can with a single camera.
Click Here to read the in-depth Q&A with Christopher Nolan.
Mad men, assassins, theives gamblers and whistle-blowers have all populated the extreme adventures of Michael Mann’s films. For more than 30 years, with style and precision, he has examined the richness of human experience. Chicago born and raised, Michael Mann was majoring in English literature at the University of Wisconsin when a screening of G.W. Pabst’s The Joyless Street moved him to want to become a director. Discovering Stanley Kubrick’s Dr. Strangelove at a local theater later that same year closed the deal. He entered the London Film School in 1965, then crossed to Paris as a film correspondent for NBC television to cover the May 1968 student uprisings. He returned to the U.S. in 1971 and made his first mark in television, writing for Starsky and Hutch and directing Police Woman and a number of movies for television, culminating in The Jericho Mile (1979), which won a DGA Award and was released to critical acclaim as a theatrical feature in Europe. While learning the ropes, Mann was saving his money and building his own production company. His successful TV work in the 1980s—Miami Vice and Crime Story—afforded him the autonomy to choose only those projects that most excited him. Asked recently how he was able to maintain creative control over his first theatrical feature, Thief (1981), he replied: “Easy. I cut the checks.”
Click Here to read the in-depth Q&A with Michael Mann.