How This Film Redefined Cinema for Christopher Nolan's Odyssey

[00:00:00]Christopher Nolan's The Odyssey is a mythic action epic, taking Homer's ancient saga and rendering it on a scale previously thought impossible. For the first time in feature film history, Nolan has shot the entire movie from start to finish using strictly 15p 65mm IMAX film cameras. He isn't just relying on IMAX for the sweeping action sequences. He is capturing quiet, intimate dialogue on this massive format using custom engineered camera blimps to deafen the roar of the equipment. It is a staggering technical feat that promises to redefine visual immersion.

[00:00:37]But to truly understand how Christopher Noland reached this pinnacle of large format experimental film making, we have to look back. We must rewind to 2017 to a film that stripped away the conventional rules of the Hollywood blockbuster and plunged audiences headirst into a frantic race against time. We have to look back at Dunk Kirk.

[00:00:59]>> There are 400,000 men trapped in one place [music] on a beach. their backs to the sea, the enemy closing in all around them. And it's just a [music] matter of time before they face surrender or annihilation. The fact that this story does not end [music] in either surrender or annihilation is what makes it one of the greatest stories in in human history.

[00:01:20]>> Dunkirk was a turning point. It was Nolan's first foray into recounting a real life historical event. He wasn't building a sci-fi dreamscape [music] or a comic book metropolis. He was tasked with honoring the legacy of 400,000 men trapped on a French beach. To do this, he didn't just want you to watch the evacuation. He wanted you to survive it.

[00:01:41]To achieve this absolute visceral reality, Nolan leaned heavily on the IMAX format. Here's how he explained the sheer power of the technology during a Q&A for the film.

[00:01:51]>> IMAX film uh is the highest resolution imaging format that's ever been devised.

[00:01:57]It was actually invented year before I was born. [music] It's been with us a long time. Um, but it had never been used in Hollywood films until we did On the Dark Knight. Um, I had seen IMAX films, IMAX presentations in museums and become fascinated with the format as a kid and used the fact that I [music] was doing a sequel to a film to negotiate with the studio to say, "Hey, let me let me try using these cameras." [music] Uh, the cameras are huge and unwieldy and very noisy. Uh, but the negative area is three times [music] the size of regular 65 mil. So the film you just seen um is shot 70% on IMAX and then the remaining 30% which is most of the dialogue scenes where we [music] needed to record sound cuz IMX cameras are very noisy. So we used uh Panovision 65 mil 5 puff uh film which is what Lawrence of Arabia was shot on or Hateful 8. Um we straight away started talking about big format. We have big love for the big format. I mean, especially IMAX, you know, it's a very visceral window to the world. You know, in many ways, it's the best format out.

[00:03:02]>> 70 something% of the film is the full IMAX format because it is the most beautiful way to watch a movie. It's a treat if you can see it in that format.

[00:03:13]>> The immersive quality of the image is second to none. We really try and create a sensation that I would describe [music] as as virtual reality without the goldens. The huge challenge is the size and weight [music] of the cameras.

[00:03:26]So, our feeling was if we could find a way to do it physically, uh, the payoff would be well worth it. I [music] really wanted to make that camera work as any other camera you would use, you know, handheld and in a very sort of intuitive and impulsive way that you can use a film camera. I've spent a lot of time over the last few years really [music] defending film, celluloid film, and really trying to articulate uh coherent arguments for why it's so important to me and to other filmmakers who who love it. Um, essentially on a technical level, it comes down to it's a better analogy [music] for the way the eye sees than video formats. So, it has [music] analog color. There's no banding of the color.

[00:04:10]It's not subject to any particular bit depth like 10 bit or 12 bit color.

[00:04:13][music] It's analog color. The resolution is very very high. Um I mean an IMAX film [music] frame, it doesn't have an equivalent digital resolution because it's an analog format with a random grain [music] structure, but it would be about 18K minimum or something.

[00:04:27]So it's just it's a whole different order of magnitude of what you can achieve in terms of how the eye sees. As Nolan points out, the 65mm negative used in IMAX cameras is exponentially larger than standard film formats. By capturing the gray skies, the turbulent waters of the English Channel, and the desperate faces of the soldiers on a massive analog canvas, Nolan dissolves the barrier between the theater sea and the beaches [music] of France. But the expansive canvas is only half the battle. How do you convey the horrors of World War II while maintaining a PG-13 rating? For Noland, the answer was abandoning the traditional blood and gore and embracing a completely different cinematic language, the language of a suspense thriller.

[00:05:10]>> My pitch was there are so many Hollywood movies over the last 50 years that have their Dunkoke moment. It's just unacnowledge as to where it comes from.

[00:05:18]The promise [music] to the studio, which I've tried to deliver on, is we're going to make this as visceral and exciting and spectacular an experience as [music] possible. And hopefully that transcends cultural boundaries, national boundaries. I think we said we'd do it for a lot less money than we made made our last few films. And and we found ways to do that. And and that was sort of the the trade-off.

[00:05:38]>> And we realized what we want is suspense. We want a film that you can't take your eyes off and just pull you in and keep you there the whole time.

[00:05:44]>> What Noland is talking about here is a deliberate choice to avoid the language of horror seen in other war films. If you show too much gore, the audience is forced to look away. Nolan didn't want you looking away. You wanted your eyes glued to the screen, your heart racing to the unrelenting tick of the score by relying on hitchcockian tension rather than graphic violence. The film traps you in a perpetual state of anxiety. And to make that tension work, you need to care about the people on the screen immediately. Without long backstories or expositional dialogue, when you cast major movie stars, audiences carry preconceived notions. They expect the hero to grab a gun and single-handedly defeat the enemy. But Dunkirk isn't about individual heroics. It's about communal survival. So Noland made a radical casting choice.

[00:06:34]>> And the reality is when we fight wars, we send our children. We send 18, 19 year olds. And so we wanted fresh faces.

[00:06:40]We wanted people who the audiences didn't have associations from other movies. So we really wanted first- timers. And with Finn and and Harry and Tomlin Carney and Barry and these guys, that's what we've got. Noland is highlighting a heartbreaking historical truth. Wars are fought by teenagers. By casting then unknowns, Noland ensured that we didn't see invincible action heroes. We saw vulnerable kids. When you look at their fresh faces, and you immediately recognize their fragility, you don't expect them to win the war.

[00:07:09]You just desperately hope they don't die. By combining the unmatched visual clarity of IMAX, the relentless grip of a suspense thriller and the raw vulnerability of a young cast, Noland laid the foundation of an entirely new kind of cinema. But how did he weave this massive ensemble together? How do you tell a story from the land, the sea, and the air all at once? When tackling a historical event as massive and chaotic as the evacuation of Dunkirk, a traditional filmmaker might rely on exposition. They might cut away from the battlefield to show military commanders standing around a table analyzing maps and explaining the stakes to the audience. But Christopher Noland had no interest in conventional war movie tropes to honor the visceral reality of the soldiers experience. Nolan knew he had to keep the audience grounded in a deeply human subjective perspective. So, how do you do that without cutting to politicians or generals in rooms with maps and pushing symbols around and stuff? Um, and the way I chose to do that was to divide it into these multiple points of view that would interact, show you the same event from different points of view. So, I look back at the silent era and how you know CB De Griffith, you know, how they're using their extras counts, how they're using the movement of humanity to sort of tell you something story-wise. And so in Dunko that becomes about movement rippling effect along a line of people or a lot of people hitting the deck at one point. You're being told something narratively by the crowd that you couldn't tell through an individual.

[00:08:41]Then you're getting your your biggest value out of your extras.

[00:08:45]>> You know the people who were a little bit further back in the frame, they didn't have to have the pristine uniforms. We had costume designer Jeffrey Curlin had sort of done this incredible thing of basically taking, you know, cheap fabric and printing the texture of a real wool uniform.

[00:09:01]>> We did these kind of fences of paintings of men and three guys would hold it up and one would walk in front of them or whatever. So it appear that we had thousands more extras than we did. We would paint trucks in particular shapes or boats, whatever, and put them further down the beach. and some of those older techniques that allow you to avoid the CG misel set. They allow you to stay in camera and retain the the quality original photography. A lot of those techniques have been forgotten and they're really great and they're cheaper than than the CG solution. Nolan's solution to building a comprehensive picture of the evacuation without sacrificing that crucial intimate subjectivity was to fracture the narrative into three distinct points of view, land, sea, and air. However, presenting three perspectives simultaneously presented a massive storytelling hurdle. To weave these threads together in a single propulsive narrative, Noland had to manipulate the very fabric of cinematic time.

[00:09:55]>> So, we have one story line [music] that takes place over a week, and that's the guys on the beach there. Uh, we have a civilian boat coming over to help with the evacuation, and that's one day. And then we have a Spitfire pilot, [music] a dog fighting in the skies above the beach, and that's about an hour of flying time that they had over the beach. So when you're crosscutting these different timelines, you're never departing from the subjective storytelling, the human scale storytelling, but you are starting hopefully to build up a coherent picture of the larger events.

[00:10:23]>> One week, one day, 1 hour. By crosscutting these wildly different time scales, Nolan creates a unique paradox.

[00:10:31]He juxtaposes the agonizing week-long stretches of sheer boredom and sudden terror experienced by the soldiers on the beach with the lightningast hyperfocused hour of the Spitfire pilot.

[00:10:43]As the film progresses, three timelines slowly converge, finally aligning in physical space and time for the film's climax. But how does a director keep an audience tethered to a narrative that constantly shifts across days and hours?

[00:10:58]Noland approached this structural puzzle like a mathematician. He mapped out the script using geometric diagrams, strictly planning how the timelines would intersect. More remarkably, he borrowed a concept from the world of audio engineering to dictate the emotional rhythm of the screenplay itself.

[00:11:16]>> There's a thing called the shepherd tone. It's an audio illusion that we've used uh David Julian, my composer on the Prestige, and I first started experimenting with it then.

[00:11:25]>> We've used it in sound effects. So the back pod in the Dark Knight has an ascending engine note. It never downshifts. So it's an audio illusion whereby you create the feeling of continually rising pitch. And I wanted to try writing a script that obeyed those principles so that you braid together the three story lines and they're continually rising in anxiety if you like or intensity. And so as one is peaking the other one is starting to build and the other one is entering the last phase of it. Nolan is describing the shepherd tone, an auditory illusion that sounds as if it is endlessly ascending in pitch without ever actually going out of range. He has famously utilized this effect in the sound design of his previous films like the ever revving engine of the batpod in the dark knight.

[00:12:13]For Dung Kirk, Nolan translated this audio illusion into narrative structure.

[00:12:19]By meticulously braiding the 1 week, 1 day, and 1-hour timelines, he ensured that just as one story line peaks in suspense, another is gathering steam while the third enters its final heartstoppping phase. The result is a cinematic experience where the tension never downshifts. To sustain the relentless interwoven structure of Dunkirk, Christopher Noland knew that a traditional film score simply wouldn't work. You couldn't score the film with soaring heroic melodies because the men on the beach weren't heroes charging into battle. They were survivors running out of time. [music] But Nolan turned to his longtime collaborator, legendary composer Han Zimmer, with an unprecedented request. Do not write traditional tunes. Instead, Nolan provided Zimmer with an entirely different kind of musical foundation.

[00:13:08]>> And it it actually is derived from a recording I made of a a watch that I own that I had a particularly insisted ticking. And I sent it to Hans Zimmer [music] done the music uh along with his team and said, "Can you stop building rhythmic tracks out of [music] this?"

[00:13:26]>> That relentless ticking was the beating heart of Dunkirk. Nolan instructed Zimmer to use that exact recording as the baseline for the entire score, blending it with the sounds of heartbeats and footsteps. This allowed the editorial team to construct the film differently than almost any other modern blockbuster.

[00:13:45]>> Right as we got in the edit suite, we would lay out a tempo map and start fusing sound effects, music, and and picture in one very unified uh rhythmic structure. By operating on a strict tempo map, the boundaries between the sound effects and the musical score completely dissolved. The rhythm of the music was handed off seamlessly to the rhythmic chugging of boat engines, creating a continuous, unbroken track of audio that spanned nearly the entire film. But a ticking clock only provides the tempo. Zimmer still needed to find the actual notes to fill this auditory landscape. For that, he turned to the darkest, most terrifying sound of the blitz. He took the notes that are used uh to make an air raid siren. The particular note and a particular clash of notes that are always used for that sound and and you have a [music] kind of primal response to it. He started making uh music from that and that wound [music] up being sort of the backbone of of a lot of the cues. So that there was this feeling of there is this continuing feeling of of almost panic and suspense through [music] all of the music. By anchoring the score to the piercing whale of an air raid siren, Zimmer tapped directly into the primal dread of the era. The music doesn't just accompany the film, it stalks the audience. It was an incredibly complex audio illusion because every single sound was tempo mapped. Any slight picture edit meant the music inherently shifted, requiring a total synchronized approach between the picture and sound departments. Nolan demanded this grueling precision to ensure the movie remained objective and unsentimental. He actively stripped away theatrical emotion for the vast majority of the runtime. But he did have a plan for the release valve. Towards the end of the film, as the civilian boats arrive and the survivors look towards home, a sweeping classical piece of music finally breaks through the tension, a variation on Edward Elga's Nimrod. Why withhold this beautiful emotional music until the very end? Noland explained a piece of advice Han Zimmer had passed along from director Ridley Scott.

[00:15:51]>> It was Hans who first said to me that I think I think it was actually Ridley Scott who said this to him. He said sentiment is unearned emotion. And I thought that well that's great. You sort of hold that in mind particularly dealing with this kind of subject matter is you really want to feel that you've earned those those emotional beats. So you wait as long as you can and then have them come together hopefully in in the right way. But ultimately it's very subjective. But but I really love what he did with >> sentiment [music] is unearned emotion. By starving the audience of melodic comfort and drowning them in the objective panic of ticking watches and air raid sirens, Noland ensures that when the emotion hits, it isn't cheap sentimentality. It is earned overwhelming relief. But this unparalleled commitment to authenticity wasn't just limited to the editing bay and the sound mix. To make Dunkirk work, Noland had to take his massive IMAX cameras out of the studio and subject his cast and crew to the physical realities of the English Channel. When a modern Hollywood production requires an amada of military ships or fleets of vintage aircraft, the standard solution is almost always the same. Shoot it on a sound stage against a green screen and let the visual effects artists build the rest in a computer. But as we've established, Christopher Noland does not adhere to standard solutions. He believed that the smooth rendered patina of CGI was a poor match for the gritty reality of World War II. To one of the survivors of Dunkirk, Nolan demanded authenticity. That meant dragging a massive Hollywood crew and heavy IMAX film cameras directly [music] into the unpredictable elements. First, that meant shooting on an actual beach in France where the evacuation took place.

[00:17:31]Well, filming in the real location uh seemed like the best [music] way to get close to the truth of what the historical event [music] was like. I mean, when you walk that beach, so we walked it a lot, uh you feel the history [music] there and you feel the pull of the ponds.

[00:17:48]>> Shooting on the historical sands of Dunkirk wasn't just a symbolic gesture.

[00:17:52]It was a grueling physical challenge.

[00:17:54]The production had to battle the relentless northern European weather, dealing with harsh winds, choppy water, and sand blowing directly into the delicate mechanics of their massive [music] cameras. They even had to coordinate with diving crews to sweep the waters of unexloded, buried munitions left over from the actual 1940s battle before they could safely stage their own pyrochnics. But the challenge on the beach pad in comparison to the logistical nightmare of capturing the film's second timeline, the sea.

[00:18:24]>> What I've never done before is boats.

[00:18:26]And to sort of go in with what I'm told is the largest marine unit in in movie history, that was very daunting. And the sheer challenge of trying to orient the boats, get them in the right place [music] at the right time for the shot with that many vehicles. It's difficult.

[00:18:39]But I had a great team of people who came together. There was a [music] lot of planning that went into it. And it felt worth that extra effort. You know, when you get to moments where you see the little ships participating in the [music] evacuation and you realize those are the real little ships who actually did it in 1940. There was no way that they were going to let us pull that out to [music] sea. Um it wasn't wasn't practical. So we looked elsewhere and we found a French destroyer from slightly later. We dress it as [music] well as we can but it's a 80 ft longer. You know there are differences from the historical record. But for me, the feeling of authenticity of having a real boat there that actors are actually interacting with as opposed to a CG that obviously you could make a period perfect CG version, but it wouldn't feel [music] as real. So there are there are compromises and and choices that we made, you know, within that, but all from a position of knowledge and and research.

[00:19:29]>> Noland and his team sourced a staggering fleet of physical ships. This included dressing a 1950s French destroyer to double as the British warship. The crew spent weeks stuffed into the cramped quarters of a small civilian yacht, wrestling heavy, noisy IMAX cameras while being tossed around by the rough currents of the open water. Yet, for all the peril of the sea, the film's most breathtaking technical achievements occurred thousands of feet in the air.

[00:19:56]When you watch the dog fight in a classic war film, the illusion is often shattered the moment the film cuts to a close-up of the actors inside the cockpit. The lighting feels too controlled. The background is obviously artificial, and the physics simply don't translate. Nolan was determined to eradicate this artifice. He wanted the camera inside the cockpit, soaring through the sky. The problem, an IMAX camera is roughly the size of a microwave oven. You cannot simply strap it to the wing of a priceless vintage Spitfire without destroying the plane's aerodynamics or permanently damaging the historical artifact. Nolan's team alongside his stunt coordinator and cinematographer devised a brilliant workaround. They purchased a Soviet era Romanian aircraft called a Yak which shared a similar size and profile to the Spitfire but featured two cockpits. They modified the exterior to match the British planes and engineered custom periscope lenses that allowed the massive IMAX camera to peer directly into the front seat. I mean, we didn't ever want to have to sort of drill into, you know, period Spitfire. I mean, they're very valuable planes. And I mean, you know, there are ways of doing those things, but ultimately the the most versatile solution to how to get the cockpit shots was to acquire a plane, [music] a cheaper plane, uh, called a Yak. It's a Romanian plane.

[00:21:17]It's about the same size and shape as a Spitfire mounted on a wing of a Spitfire that we were going to catapult out in the sea. And [music] the divers they were all going to be there and we were going to retrieve that camera.

[00:21:28]Plane got catapulted and the divers were swimming to the plane but [music] the plane literally sank to the bottom like in a matter of like few seconds. So then it it went to the sea bottom and it took I think an hour for the divers to really start to unstrap the camera and by the time that we recovered the camera of course the tank had filled itself with with water. The camera was broken.

[00:21:50]Everything was soaked. It was literally just laying on the sea bottom. But focus puller Bob Hall and our loader, [music] they came up with a plan and they took the magazine to the dark room and they poured fresh water over it and they sealed [music] it and send it back to America in a in a in a in a container immersed in water and [music] it shot it actually made it to the film. So it looked great. I'm I'm kind of almost thinking I should treat all my uh all my images with salt sea water at some point. There was some footage that we weren't going to be able to achieve in a real plane and so there was a certain amount that we had to shoot on a set.

[00:22:24]>> So we basically took point of view [music] of not using any green screens or blue screens and trying to shoot things in such a way that there was always a real background.

[00:22:32]>> Well, the physical G forces of being in that plane are replicated. All the light mismatches [music] cuz the clouds are going in and out. That's what it is when you go and shoot something and that's what Chris was striving for.

[00:22:43]>> Aerial sequences. It was very important to me that we try to achieve [music] as much in camera as possible. When we looked at all of the different dog fights that have been done in films right the way back to, you know, Wings and Hell's [music] Angels by way of Battle of Britain, Top Gun, you know, all of them. The thing that lets all of [music] them down are the shots of the actors in one way or another. They're artificial because they're green screen and more modern films or [music] to do with exposure balance, things like that.

[00:23:09]my stunt coordinator. I came up with the idea of buying a a Soviet era Romanian plane called a Yak. It's about the [music] same size and shape as a Spitfire, but we could buy it, own it, change it to look like a Spitfire, and then it has two cockpits. So, we could have a real pilot flying while we had our actor up in the air with a camera mount on the wing getting his close-ups.

[00:23:30]And that was the kind of thing we really wanted to do to try and tell this aerial story in a way that that we hadn't seen before. So we were able to to get real Spitfires, a real bomber, real Hankls and and really try and get the IMAX camera places we'd never got it before.

[00:23:46]This meant the actors were thousands of feet in the air, pulling real G-forces flying just feet away from other aircraft. The strain, the exhaustion, and the genuine fear you see on their faces aren't just acting. They are physical reactions to the raw reality Nolan built around them. By subjecting his production to the real ocean and the real sky, Nolan captured an unparalleled level of tactile grit. But this environment would mean nothing without the right faces to project the reality to the audience. To truly immerse the audience in the survival story of Dunkirk, Christopher Noland needed human faces to project the terror, exhaustion, and resilience directly into the camera lens. However, Nolan's approach to casting this ensemble was just as radical as his approach to the film structure and sound design.

[00:24:34]>> As a director, your job is to see potential in a performer. Uh, a movie star who's never done anything like what you want. I mean, I I think of when we cast Heath Ledger as the Joker. When I took that decision, a lot of people raised their eyebrows. They couldn't see why I'd done that, but [snorts] you see potential in people. You see their extraordinary talent.

[00:24:54]>> Nolan trusts his instincts. He turned to one of the most trusted, formidable collaborators for the skies, playing the Spitfire pilot, Farrier. Tom Hardy is confined to a tiny cockpit for nearly the entire film with an oxygen mask obscuring his face. Acting for the massive 65 mm IMAX camera requires incredible nuance, but acting for it while your face is entirely covered is a monumental task. Noland knew exactly why Hardy was the only man for the job. I knew that Tom would be able to draw the audience into his process with very little dialogue and just I mean at times it's really just one eye that you're you're seeing and he's just an extraordinary [music] actor. One of the great actors, one of the great movie actors.

[00:25:39]>> As the three distinct timelines of Dunkirk, the week on the beach, the day on the sea, and the hour in the air finally crash into one another, the cinematic tension reaches an almost unbearable crescendo. Yet, even in its most explosive moments, Christopher Noland holds back one crucial element, the enemy. In traditional war epics, the antagonist is given a face, a uniform and a voice. But in Dunkirk, the German army is rendered as an abstract, terrifying force of nature. For Noland, keeping the enemy faceless wasn't a budgetary constraint. It was the ultimate psychological tool.

[00:26:16]>> And there's a terrifying sense of them getting closer and closer, but you're not able [music] to see them. And that is more for me more tense, more suspenseful. And I think once [music] I decided that I never wanted to see them, I started to feel like why talk about them? Why refer to them their nationality? Whatever. It's sort of irrelevant. This this to me is a survival story.

[00:26:37]>> By removing the faces of the enemy, the film strips away the politics of the war and forces the audience to focus entirely on the mechanics of survival.

[00:26:46]The soldiers on the beach aren't fighting an army. They are fighting time. the tide and gravity itself. When the survivors finally make it back to British shores, the resolution is deliberately quiet. There is no grand parade. Instead, Nolan delivers an incredibly poignant, almost silent interaction when an older blind man hands blankets to the returning shamefilled soldiers. The soldiers believe they have let their country down, entirely misunderstanding the blind man's simple gratitude. It is a moment of pure visual storytelling. It's my attempt to try and do something um chaplainesque and I'm a huge admirer of the silent era of films and I I'm very inspired by [music] that and it's sort of being inspired to try and find some, you know, slight moment like that that could play primarily visual and it's just the the feeling of misunderstanding that I think you you find in in great silent cinema.

[00:27:41]>> That quiet misunderstanding perfectly encapsulates the Dunkirk spirit. The men felt they had lost, but the nation knew they had achieved something miraculous simply by surviving. Throughout his career, Nolan has built towering protagonists, billionaire vigilantes, brilliant dream thieves, and intrepid astronauts. But Dunkirk requires a different kind of heroism. It demanded a protagonist made of thousands of ordinary people.

[00:28:07]>> The story is one of communal heroism in the face of [music] adversity. uh unusually for a story of conflict, a story of war. It's not so much a story about individual heroics as it is about a communal effort and how as a society, as a group of people, we can achieve so much more than [music] we can individually. Dunkirk fundamentally altered Christopher Nolan's trajectory by stripping away exposition, embracing the absolute limits of 65mm IMAX cinematography and relying entirely on the visual grammar of suspense. He proved that a blockbuster could be both structurally experimental [music] and wildly successful. He showed the world that a large format camera doesn't just capture grand spectacle. It captures the raw tactile reality of the human experience. If Dunkirk was the proving ground for what could be done with practical inc camera effects and large format immersion, the Odyssey is the culmination of a decade of relentless technological and narrative evolution.

[00:29:09]NLE is no longer just experimenting with IMAX. He is completely redefining its boundaries. I don't think we've even scratched the surface of what's [music] possible in them. And every time you you come to make a big film, you just hope to add some little thing to to whatever the grammar is of the lexicon.

[00:29:27]>> He is doing exactly that. As we look ahead to the next monumental release, we do so knowing that Christopher Noland will never stop searching for the new piece of visual grammar. He will never stop pushing the physical limits of his cameras, his cast, and the medium itself. Dunkirk is a film that didn't just recreate history. It reshaped the future of cinema.

[00:29:48]>> We just haven't mined what that incredible medium can do and I just want to start doing that. You know, if you like this video, subscribe and we'll see you in the next one.