Christopher Nolan has, by any account, had a banner year with BԪַOppenheimer.BԪַ But BԪַTenetBԪַ was still on his mind.
The starring John David Washington and Robert Pattinson was , when many theaters were open internationally but not yet in New York and Los Angeles. And all those IMAX 70mm and 70mm film prints, which proved so were just sitting around.
BԪַItBԪַs a film that was designed, almost more than any IBԪַve made, to be enjoyed in this form,BԪַ Nolan told The Associated Press. BԪַWhen I heard they were going to be making film prints on BԪַDune: Part Two,BԪַ I jumped at that and thought what if we opened up the week before? We can dust off the projectors.BԪַ
Nolan showed one to Warner Bros. film chiefs Pam Abdy and Michael De Luca, and BԪַthey got it.BԪַ
Beginning Feb. 23, BԪַTenetBԪַ , .
Longtime friends, Nolan and Denis Villeneuve spoke to the AP last week, outside of a sold out showing of the re-release, about BԪַTenet,BԪַ BԪַDune: Part Two,BԪַ and the sense that, a decade after Kodak almost stopped making film altogether, movie audiences are embracing and rallying around film too.
Below are excerpts from the conversation, which has been edited for clarity and brevity.
AP: I spoke to people who held off on seeing BԪַTenetBԪַ entirely, holding on to the hope that it would get a proper re-release.
NOLAN: For me, living in Los Angeles, I never got to see it with an audience. It came to streaming first here, so this is a really fun opportunity to get it in front of people the way it was intended. The thing with BԪַTenetBԪַ is, I think of all the films I have made, itBԪַs the one thatBԪַs very much about the experience of watching films. ItBԪַs about watching spy movies in a way. It tries to build on that experience and take it to this very magnified, slightly crazy place. A lot of that is about sound and music and this huge image.
More than any film IBԪַve made, BԪַTenetBԪַ was designed to have this very theatrical, IMAX, larger than life identity.
AP: BԪַDune: Part TwoBԪַ was shot on IMAX digital but will be shown in film. Can you explain how this works?
VILLENEUVE: It was not planned that I would get an IMAX film release. It was a bit like a gift from life, the movie being delayed because of the . Someone came with the idea to try it. They mentioned this once and then I was like a dog not letting it go. The idea to experiment, and, frankly, Chris will say BԪַcheatBԪַ becauseBԪַ
NOLAN: I wasnBԪַt going to say that!
VILLENEUVE: But still, I left film a long time ago. Or, I didnBԪַt leave film, film left me and my heart was broken.
NOLAN: Film wants you back.
VILLENEUVE: IBԪַm flirting with the idea, Chris Nolan.
I cannot give numbers, but I know that many of the pre-sales for BԪַDune: Part TwoBԪַ are in 70mm. ThereBԪַs the notion of an event and that is something people are starving for, they are craving it.
NOLAN: As filmmakers weBԪַre competing with incredible home technology. We have to raise our game, but itBԪַs great to see a new generation seeing what the difference is. ThereBԪַs an emotional response to it that I think is very hard to quantify. ItBԪַs hard to justify to the studio sometimes. So itBԪַs wonderful when they look at the numbers and they see that they sell more tickets that way, because audiences get something.
VILLENEUVE: The idea to put BԪַDuneBԪַ on film didnBԪַt come from me, to be honest. It came from Warners.
NOLAN: IBԪַm admitting nothing, but we might have pointed out to them some of the numbers that we made.
VILLENEUVE: It always ends up being about the money.
NOLAN: I just like hearing the guy who made BԪַDune TwoBԪַ be like BԪַitBԪַs all about money.BԪַ IBԪַve seen that film. ThatBԪַs not a cheap film, my friend.
VILLENEUVE: I have a question for you Chris. You must have strong shoulders because you were able to keep film alive by yourself. YouBԪַre pretty stubborn, my friend, but was there a moment where you felt a bit alone?
NOLAN: Emma was always on the exact same page. I think it would have been very hard if my producing partner hadnBԪַt understood it the same way I understood it, emotionally. IBԪַve never felt on my own because it was always at least the two of us together. (But) there was a strange feeling of, hang on, how can it come down to this? WeBԪַve achieved this incredible goal to be able to make films on a large scale, surely they wonBԪַt take the tools away at the last minute.
VILLENEUVE: I think thatBԪַs the way movies will survive. Large formats, like IMAX more precisely, is definitely the future of cinema because you cannot reproduce that at home. Not even in your home.
NOLAN: Well, mineBԪַs pretty good (laughs).
VILLENEUVE: Yours is the BEST. But itBԪַs not IMAX.