CHRISTOPHER NOLAN SZN!
FOLLOWING *SEASON PREMIERE*
For Season 12 *Nolan Void*, TGTPTU continues its iconic practice of pairing bookended movies from a director’s filmography, first and last until we pair the middlemost. This season we cover the twelve movies of the granddaddy/infant son of the temporal pincer movement himself Christopher Nolan, starting with his inaugural feature: the independently-made, London-shot B&W film FOLLOWING (1998)
Initiating a series of noir films leading to greater projects, the technically-minded Nolan leans into his budget limitations, writing a script whose three timelines will allow him to edit around missing or unusable footage filmed on weekends with novice actors (excepting his uncle and future Wayne Enterprises board member professional British actor John Nolan) and crew from University College, London where young Nolan studied English Literature (and met his future wife). Aside from working fulltime for a commercial film agency creating corporate videos, the other reason for weekend shoots was the self-financing pool of limited funds available after each paycheck to purchase and develop more 16mm B&W film with Nolan operating the camera and his wife Emma Thomas serving as an extra in addition to her professional role as producer. Sensitive to budget and realism, Nolan states in Criterion Collection commentary that the choice of a hammer instead of gun was due to fake guns when wielded in indie films often looked fake but a fake hammer has right weight.
Nolan would end up moving to the States to enter Following into festivals where it received much buzz but no distributors, leading Steven Soderbergh at the time to comment: “And I watched it and came out of there thinking ‘That’s it. When a movie this good can’t get released, the [the 1990’s independent movie wave is] over.”
Special thanks this week to Ryan for returning to the podcast to discuss this film (and less so for its paired OPPENHEIMER coming next week) as well as extra editing by co-host Ken for splicing back into linearity other co-host Thomas’s bit of jumbling up his commentary into three styles of slurred speech: his normal, as he’s increasingly intoxicated, and after biting (literally) his tongue while making a “Stop, Hammer time” joke.
THEME SONG BY: WEIRD A.I.
Email: thegoodthepodandtheugly@gmail.com
Facebook: https://m.facebook.com/TGTPTU
Instagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0
Twitter: https://twitter.com/thegoodthepoda1
YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-g
Buzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/
Letterboxd (follow us!):
Ken: Ken Koral
Ryan: Ryan Tobias
CHRISTOPHER NOLAN SZN!
FOLLOWING *SEASON PREMIERE*
For Season 12 *Nolan Void*, TGTPTU continues its iconic practice of pairing bookended movies from a director’s filmography, first and last until we pair the middlemost. This season we cover the twelve movies of the granddaddy/infant son of the temporal pincer movement himself Christopher Nolan, starting with his inaugural feature: the independently-made, London-shot B&W film FOLLOWING (1998)
Initiating a series of noir films leading to greater projects, the technically-minded Nolan leans into his budget limitations, writing a script whose three timelines will allow him to edit around missing or unusable footage filmed on weekends with novice actors (excepting his uncle and future Wayne Enterprises board member professional British actor John Nolan) and crew from University College, London where young Nolan studied English Literature (and met his future wife). Aside from working fulltime for a commercial film agency creating corporate videos, the other reason for weekend shoots was the self-financing pool of limited funds available after each paycheck to purchase and develop more 16mm B&W film with Nolan operating the camera and his wife Emma Thomas serving as an extra in addition to her professional role as producer. Sensitive to budget and realism, Nolan states in Criterion Collection commentary that the choice of a hammer instead of gun was due to fake guns when wielded in indie films often looked fake but a fake hammer has right weight.
Nolan would end up moving to the States to enter Following into festivals where it received much buzz but no distributors, leading Steven Soderbergh at the time to comment: “And I watched it and came out of there thinking ‘That’s it. When a movie this good can’t get released, the [the 1990’s independent movie wave is] over.”
Special thanks this week to Ryan for returning to the podcast to discuss this film (and less so for its paired OPPENHEIMER coming next week) as well as extra editing by co-host Ken for splicing back into linearity other co-host Thomas’s bit of jumbling up his commentary into three styles of slurred speech: his normal, as he’s increasingly intoxicated, and after biting (literally) his tongue while making a “Stop, Hammer time” joke.
THEME SONG BY: WEIRD A.I.
Email: thegoodthepodandtheugly@gmail.com
Facebook: https://m.facebook.com/TGTPTU
Instagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0
Twitter: https://twitter.com/thegoodthepoda1
YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-g
Buzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/
Letterboxd (follow us!):
Ken: Ken Koral
Ryan: Ryan Tobias