This is What Christopher Nolan Took From You

[00:00:00]Okay, leg, leg, leg. All right, number one's Christopher Nolan. Nolan responded. He responded. To who?

[00:00:10]That's a whole different situation.

[00:00:12]Anyways, let's go. I want to center it on that and make it feel very fresh for modern audiences.

[00:00:17]>> The Odyssey, so the costumes for the Odyssey have been getting a lot of negative attention.

[00:00:23]>> This is >> Zeus, I wonder why.

[00:00:26]>> The Odyssey. You're looking at a film that needs to make a billion dollars.

[00:00:31]>> Uh-huh.

[00:00:32]>> This is a random guy. Just look at the armor, okay?

[00:00:35]>> That was I thought he was going to say look at the arm. But yeah, yeah, exactly. Exactly.

[00:00:41]>> Okay, that looks awesome. That looks super [ __ ] cool.

[00:00:44]>> Thank you. You know why? Because it's historically accurate.

[00:00:47]>> This movie cost $250 million, but somehow men.com has better looking costumes.

[00:00:53]>> I mean this one is not great, but still, yeah, the one you showed earlier on was fantastic.

[00:00:58]>> And so any >> [laughter] >> Oh my god.

[00:01:05]>> AND [laughter] HE SAID, "OOH, WAIT, that's Louis Vuitton." And this is this Yeah, it is Louis Vuitton. Lacoste?

[00:01:13]Lacoste?

[00:01:15]Mhm, are you Gucci? Come on. What is Gucci? It's Prada. This is not going to be a some biker approved unless we have three. I'm screaming. Three name brands. Come on.

[00:01:26]>> What is this, the UK? Costumes are random ass dudes. Ulysses ministries in Italy, by the way. Wow. Yep. Why does this movie just look worse and worse?

[00:01:35]It's actually crazy how many people are negative about this. It makes absolutely no sense what they've stolen from us.

[00:01:41]>> Yeah, although then again, I want to tell you as my gold, I have a personal war against the damn leather wristbands because they never appear. I'm going to I'm going to I'm going to say never, but they basically 99% of the times seen iconography there isn't a single ancient Roman or Greek with wrist leather brands. So, take those. But, apart from that, also, I'd like to underline, because I want to be pedantic, I'm Mr. Pedantic here, the temple should be in full color. We should have reds and blues and whites, the columns in all painted. So, this is not even what they took from us, as we got and it already looks 10 times better. But, what they took from us is Mediterranean classical polychromy.

[00:02:30]>> In the same way that the ruins of a temple are just a shadow of its former appearance in period, statues and architecture bare of color are only vestiges of their true former poly-chromatic glory. [music] As it's often the case, things are a lot more complex than what they seem to be to the untrained eye. And there is an entire elusive secret [music] world when it comes to the magnificence of the already jaw-dropping artistic perfection of classical monumental art. Let me elaborate. Color, as an integral part of italic architecture, namely the interplay of architectural and sculptural polychromy, is now an established fact. The ability to expertly utilize color in combination with the correct materials and the expert manipulation of the perception of the exteriors of buildings [music] was an integral part of the overall effects created on monumental facades and the basis of the realization of life-like features on sculpture. We could say that this was in fact symptomatic of ancient Mediterranean art. It allowed to distinguish heroes >> [music] >> and the divine, and it stands as a testament through time of an even greater level of artistic sophistication. [music] But, how do we know that the statues and buildings were in fact in color? And why do we have this erroneous idea of all white being the norm? Let's begin with this. There are several indicators of color being used in period. One, visible traces of paint pigment on statues and temples. For example, look at the head of this statue. Here are other examples.

[00:03:56]So, as you can see, original traces of pigment still remain on some specimen.

[00:04:00]We can call this first kind of evidence observable data.

[00:04:04]>> [music] >> Two, invisible traces of paint pigment, which of course require dedicated specialized equipment to be revealed.

[00:04:12]Through the usage of ultraviolet fluorescence and infrared refraction, we can now detect some of these original paints that would be otherwise invisible to the naked eye. And also the so-called ghost traces left behind [music] some of these. Computer-based results seem to suggest that there is a sort of pattern in use within several different types of decoration features. Number three, iconographic representation of statues in color. Now, this is my favorite.

[00:04:38]Something that we can use to navigate through time is period art and representations. [music] In other words, if we look at original frescos or murals, we can see [music] everyday scenes represented and within these everyday scenes, we can also see that statues oftentimes are represented fully painted. That is because to them that was the norm. That's what they were seeing. And we are even so lucky as to have found a [music] representation of a man beginning to paint a statue.

[00:05:08]Fascinating. Having considered these forms of evidence, our guiding theoretical framework of this video will [music] be to critically analyze what the sources tell us in combination with iconographic, literary, and material evidence. In this video here that I posted a while ago, I was actually showing this. This is an original mural that is found in Pompeii in ancient Rome. And what's fascinating is not only, I mean, the state of preservation of the colors is nice, but imagine what they would have looked like in period, fresh and colorful. But it also gives us a perspective, a picture that freezes in time how they saw their world. They saw a woman in their beautiful purples and yellows and what is this a turquoise and everyone is wearing colors. So stop with the freaking browns and blacks everywhere. But also look, their walls were painted. Their columns were painted. And as we see a statue, it is in full color. Even the clothes and the skin and the hair of the statue itself is in full color. This is one of the most beautiful aspects I think of classical antiquity. How everything was in color and the visible traces are still there for us if you if you're interested enough to look. Because we have this image of the columns being white which is beautiful. I mean the Renaissance art did produce statues that were all white, columns that were all white. It is a style. It's just that it's not the style of classical antiquity. Because the style of classical antiquity is Mediterranean polychromy. And look at this. You can still see red and green man. Red and green and then I see blue and yellow.

[00:06:41]This is like wow. They really went full in. Also because remember, color it's not just a representation of art, it's a representation of wealth. Because you got the money and you can show off. Not all colors at the same price. Yellow for instance is not too difficult to produce. But if you want green, particularly if you're dying garments, then you have to first dye it yellow and then do a second processing to get to green. When it comes to blue, it depends. There is cheap blue, there is expensive blue. There are various purple. Man, you are Elon Musk of ancient antiquity. If classical antiquity if you're going to afford purples. And so like yeah, color is also a representation of how wealthy and successful you are. So color has layers to it that give us access to the also the socio-economic positions and the and realities behind the artist or the commissioning.

[00:07:31]Exactly. Yeah. And so it speaks to us.

[00:07:34]And that's that's also one more reasons why we can see why the ancients would want to show off their colors. And when we look at the Augusto di Prima Porta, which is currently found in in the Vatican Museums, and it's I speak about it many times. So, for the regulars, I can understand that you may be like, "Oh my gosh, not again." I understand, but Octa- Octavianus Augustus is my favorite, so I will never stop talking about him about the guy. But yeah, I think this I've seen this receiving all sorts of different possible interpretations. I think this is Imagine how much of this would cost. Like, you have to crush 10,000 seashells that are only found in a specific area of northern Africa. I think it would be where Tunisia is now, so former Carthage. Maybe in Algeria in some areas, but generally speaking, I would say Carthage is one of the Libya maybe.

[00:08:25]Anyways, this was so expensive to produce that yeah, he's an emperor. This is his power. In a way, it's a representation of his legacy. As I often say, his eyes would have been blue or gray, difficult to say because of translation issues with ancient Greek and Latin. I would have made his hair definitely his hair was brown, but I would have made it a light brown.

[00:08:47]That would have been a good representation of his hair because the Romans use that term in Latin, which is used Basically, they have this term that represents blond for the Germanic people, and then for him specifically, they add the term sub, which you could translate like even today, it's like a sub something, like something that is a little underneath it. So, it's not quite blond, but kind of on that direction.

[00:09:11]That's how I think you can translate his hair, which would have been like a light may- maybe even a very light brown. I'm happy to to consider that. And do remember, as I often point out, that the arm is not original. His original right arm was holding a spear business end to the ground. This is what classical antiquity, Greece, Rome, Egypt, all being civilizations that were nurtured by the Mediterranean basin. Now, for them, the statues needed to be lifelike.

[00:09:40]The statues were alive. So, the emperor, if you stand in front of the of the statue of Octavianus Augustus, it's as if you are looking and beholding his countenance, as if he were standing in front of you. In a way, in my opinion, is a connection to the idea of immortality. Because the statues are there and they will stay forever, at least in their opinion. They didn't I mean, 2,000 years, it's impressive they're still standing. But they will stay forever in this state, which is the state of life. And that's the way the Mediterranean eye, in an artistic perspective, saw their representation in stone as they carved the people. So, yeah, they're two different approaches.

[00:10:22]And yeah, he was rich. Oh, the guy was rich. Yeah, so I love this about the Mediterranean cultures. And it is one connection, in a way, between cultures that are so different. But still this was a point of connection and it's Of course there is a point of connection.

[00:10:37]Look at this. Of course there is a point of connection because there is the Mediterranean Sea, which is a conduit of civilization, culture, and artistic expression. These civilizations continuously interacted with each other, they traded with each other, they learned from each other. That's what they took from us. Asmongold.

[00:10:55]>> This would look way cooler and I think everybody would agree on that. Menelaus' armor from Troy 2000 This guy, look at this guy was a [ __ ] tank. That looks awesome. And then now you have it like this. Christopher, what what is it?

[00:11:07]>> Not only that, but I personally remember being quite critical of Troy in 2004 due to the, you know, choice with armor, weapons, uh tactics, everything really. I take it all back.

[00:11:22]No, really think about it. Life is all about perspective. You can think that because you are 180, you're tall until you run into a guy who's 195, right? So, but then you run into a guy who's 170 and you're like, "You know what? I feel tall today." So, everything is relative in life already. Not everything, but a lot of things are relative in life already.

[00:11:42]Um so, was Troy perfect? Absolutely not.

[00:11:45]But in comparison, I really take it all back. I had no idea, guys, that this was going to be the norm. So, uh yeah, fantastic Troy. Phenomenal.

[00:11:55]>> This. Christopher, what what is this here? Discuss why the Odyssey uses modern English. Okay, let's see this.

[00:11:59]>> This is from today?

[00:12:00]>> My dad is coming [music] home.

[00:12:02]>> They're pining for a daddy he didn't even know.

[00:12:06]>> The language as well is very is very modern. It's a very contemporary, [music] easy to access way of speaking. I mean, you say >> What is it with this easy to access?

[00:12:13]What if he said, "Father, I beg you."

[00:12:16]Well, people wouldn't understand it? Are we really thinking that people are that stupid that unless you say, "Dude." And you speak all of duty server language, they're not going to understand?

[00:12:29]>> That that that >> like a son.

[00:12:30]>> Rather than father.

[00:12:31]>> Sure.

[00:12:32]>> I mean, what's the thinking behind that?

[00:12:34]>> Because I wouldn't have even said father back in the day, would I? It would have been Greek. So, it's no less correct.

[00:12:39]>> Oh, so Tom Holland is a clown. Tom Holland, you're an imbecile. You're an idiot. That's what you are.

[00:12:47]I would have used Greek and the the Oh goodness gracious. You know, out of that logics, if you use that logical premise, then any language is going to be okay.

[00:13:02]So, basically, if these guys start talking, "You're all right, governor? Yeah, diamond geezer."

[00:13:09]"You stupid cow. All this digging is killing me back. And they call work noble bastards." Can you imagine?

[00:13:17]Literally, that's that's what the Greeks sound like. That's what the Greeks He pinched me smoos.

[00:13:23]Use bloomers. This is Agamemnon, mad as a hatter without the charm.

[00:13:29]That's the Greeks. The Trojans start spamming the N-word the black way with the A at the end after every because I mean and they talk Afro-American they speak like Afro-American vernacular.

[00:13:42]I mean at the end of the day who cares, right? It's not a I mean it's not it wouldn't have been ancient Greek. It's not like I would have said father in English, so this is a stupid this is the stupidest thing I've ever heard in my entire existence.

[00:13:55]Nothing's as stupid as this. Nothing's Oh my gosh. He All right. Yeah, he's brown bread. Let's go back to my Mickey.

[00:14:04]Apples and pears.

[00:14:06]Use Cockney rhyming slang at this point.

[00:14:09]Am I right? That is the logical argument. I'm not even This is not even a Gosh, this video's going to be insane.

[00:14:16]I'm not even going to let him talk.

[00:14:17]Sorry, King. Give me a second. This This is not a caricature of his argument.

[00:14:22]This is not a straw man of his argument.

[00:14:25]This is his argument. That's exactly what it is.

[00:14:29]>> People People bring you know when you look at this world this world you look at the ancient world people tend to view it in weird ways.

[00:14:38]There's a lot of cultural >> W That be you.

[00:14:40]Actually, what is he saying? What are you drinking? What are you even drinking? People view the ancient world weird?

[00:14:47]Says the guy who race swapped everything?

[00:14:50]>> cultural bridge >> not filming in black and white either. I mean like I just I I don't get this >> You know there's a lot of Yeah, they're sort of elevating because it's old you know whatever it is.

[00:14:58]>> Wait a moment. Replay.

[00:15:00]>> You know there's a lot of Yeah, they're sort of elevating because it's old you know whatever it is.

[00:15:03]>> Who are you AND WHAT HAVE THEY DONE with Christopher Nolan?

[00:15:06]>> And so for me in building the world of a film I want to center it on that and make it feel very fresh for modern audiences and do away >> You This is bending the knee. I want to make it feel fresh for modern audiences is specifically cultist dogmatic talk.

[00:15:27]That's what it is. He just showed his allegiances. That's what he just did in this. He knows that's what he did.

[00:15:34]Yep.

[00:15:35]>> with some of those assumptions that aren't based on anything logical.

[00:15:38]They're just as I say cultural prejudices or things over time. There's There's a lot of stylistically, you know, aesthetically, people tend to look back to the romantic era and art. A lot of paintings where, you know, people aren't wearing very much. They got a little bed sheet wrapped around them or whatever it is.

[00:15:52]A lot of classical architecture even though that wasn't the architecture of the Mycenaean period and things like that. So >> As I said on the letter that I've already responded to, but now I heard it in my own ears. This is in mind, but livable. Then what is the answer to use actual Mycenaean period accurate structures or to [ __ ] it all up anyways because who cares, which is the way he decided to go by.

[00:16:15]Just so we're clear.

[00:16:16]So he is the one saying, "Our people don't even know anything about structure and costumes. So what would be the natural logical solution to that? So let me show you since I'm so freaking rich and I've got millions, I'm going to take the 6 millions that I took from the Greeks those alone and I will pay so many experts who going to recreate the things in a way that it will feel like you are literally walking in 3,000 years ago's Greece.

[00:16:48]But no. No.

[00:16:49]No, no, no. The The logical solution to people don't even know what they're talking about when it says the guy says the guy is to race swap everything. Who cares about the buildings, costumes, whatever I feel like and cast a rapper.

[00:17:02]>> Uh you know, we went back to what's in the archaeology. What does that tell us? And what does that tell us? It's crazy to me how he's spending so much time and effort in trying to make it accurate to the archaeology. you >> But he didn't. That's the thing, my friend. He really didn't. You see, in the the ancient Greek ruins that I grew up around in Sicily, because we have some of the best-preserved ancient Greek ruins in the world.

[00:17:29]It's us and the Greeks if you want to see ancient Greek ruins. There are a few other places, but you That's what I'm saying. I'm sticking to that.

[00:17:37]So, I grew up around the ancient Greek ruins, the battlements of Segesta, Selinunte in the south of Sicily, gorgeous Agrigento, the Valley of Temples.

[00:17:48]And you know what is one thing that I learned?

[00:17:53]This. You know, it's mind-blowing, so get ready for it.

[00:17:57]The ancient Greek ruins were not ruins in ancient Greece.

[00:18:04]He plays ruins.

[00:18:06]No color, no painting, all chipped off, all gone.

[00:18:10]Thank you.

[00:18:11]>> You made Helen of Troy black. Like, how does any of this make sense?

[00:18:15]>> What do we know about Homer's time? How were things portrayed in the earliest possible portrayals of that? And and looking at how do you create a consistent and accessible world around that the film >> With the experts and researchers and sticking to the truth of what we know, the archaeology that you pretend to have looked at and you didn't.

[00:18:31]>> feels vital and credible and exciting to be in.

[00:18:35]>> Yeah, I think this is again, I don't really see how you're going to try to deconstruct this. Even though everybody likes this, we're not going to do it, because this isn't what they did back then.

[00:18:44]>> You are making an editorial choice, and I just don't think that that editorial choice will >> Based on Mongols, as always.

[00:18:51]>> resonate with as many people. It's a real scene from Christopher Nolan's Odyssey. Okay, let me watch it.

[00:18:56]>> WHERE IS HELEN? BRING HER TO ME.

[00:18:59]ACHILLES! I'M HERE.

[00:19:01]>> [ __ ] >> WHAT TOOK Y'ALL SO DAMN LONG? DO YOU UNDERSTAND HOW LONG I'VE BEEN WAITING IN THIS CITY? DON'T YOU KNOW I'M THE MOST BEAUTIFUL DAMN WOMAN IN THE WHOLE DAMN WORLD? 10 YEARS OF WAR, AND NOT ONE OF Y'ALL THOUGHT TO CHECK INSIDE.

[00:19:15]>> [laughter] >> OH MY GOD, DOES HE LOOK like a [ __ ] Ooh, that was great. That was phenomenal there at the end. But, yeah. As always, guess what?

[00:19:28]Tom Holland as well as Naomi as well as Lupita are all [ __ ] clowns.

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[00:20:02]>> Kylie, Kylie