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beginning, which starred Leonardo DiCaprio and was an important role for Tom Hardy, told the story of a man who made robberies in his dreams. Nolan has always said that the world of beginning has infinite possibilities – that dreams could reflect "the infinite potential of the human spirit" as he has said wired in 2010.
Revisit the beginning The universe through a film may seem backward, especially for an original filmmaker, an ever-growing landscape of sequels and reboots, but perhaps the opposite. As Nolan grew up as a filmmaker, his thematic interests changed. Prestige (2006) beginning and Interstellar (2014) all deal with men – probably figures for Nolan himself – called out of their family to work. These films focus on ideas of duty, sacrifice and time lost on a trip.
But there is a key moment at the end of Interstellar this indicates a reorientation of Nolan's themes. While Cooper (Matthew McConaughey) sails in the tesseract while watching his daughter Murph (Mackenzie Foy), he slowly realizes something. "I thought they'd chosen me," he says. "But they did not choose me. They chose it!
"What for, Cooper?" Asks the TARS robot (Bill Irwin). "To save the world!" Exclaims Cooper.
While Cooper helps Murph by transmitting quantum data to the past, Murph has to translate this data and apply it to his equations to solve the problem of gravity and help humanity leave the Earth. It is she who leads everyone into the unknown. At the end of the film, when Cooper wakes up at the Cooper Station – named after Murph, not from him – a doctor says Murph transfers stations to see him. "She's way too old to change stations, but when she finds out you've been found … well, that's Murphy Cooper we're talking about," says a doctor, the reverence for her is clear . A proud Cooper replies, "Yes, that's it."
In Interstellar, the child becomes the hero at the end.
Nolan's turn to the next generation began earlier, in The black knight gets up (2012), in which Bruce Wayne pbades the torch of Batman to a younger man, John Blake (Joseph Gordon-Levitt). And the last Nolan movie, 2017 Dunkirk, is a continuation of this change because it is about young children in the hellish landscape of war created by older men.
Reflecting on youth as they age seems to be a place where many authors such as Nolan head, especially the group of writers who have banded together to bail out producer Kodak. Quentin Tarantino Once upon a time in Hollywood focuses a lot on the aging of the main characters Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt), the end away from Dalton and Booth, highlighting the hope and potential of the young star caught too early.
Will Nolan then make a movie with heroes directly representative of his own children? His figure in Interstellar, Cooper, has some lines of dialogue that were cut at some point in the production, but were made public in the published scenario. These lines indicate this thematic possibility: "Murph, a father looks in the eyes of his child and thinks: maybe it's them … maybe my child will save the world. And everyone, once a child, wants to look in the eyes of his own father and know that he saw how they saved a little corner of their world. But usually, at that moment, the father is gone.
In addition to this, the Nolan team, below the starting line, is preparing sketches much younger than its previous films. Rather than joining publisher Lee Smith and composer Hans Zimmer, Nolan works with publisher Jennifer Lame (Manchester by the Sea, Hereditary) and the award-winning composer Ludwig Göransson (Creed, Black Panther), which could both infuse Principle with a younger sensitivity. It is rare that the director modifies his team. It is therefore reasonable to say that there is an important reason for these two choices. (Zimmer said the change was due to his decision to work on dune.)
Yes Principle Follows thematic idea in that not used Interstellar dialogue, could Nolan go further? In beginning, Nolan's own son (Magnus Nolan) plays the younger version of Cobb's son (DiCaprio), suggesting that the children of this film have a special meaning for the filmmaker. Could Principle take the children of beginning and make them the heroes of their own movie? Could these children have grown up to look like Elizabeth Debicki and Robert Pattinson? Has Pattinson gone further to echo Cobb (and therefore Nolan himself)? Do the children always visit their grandfather, played by Nolan's frequent collaborator, Michael Caine (also a cast member of Principle)?
The first trailer of Principle He focuses on the character of John David Washington, designating him as the lead role, who, as Nolan's first leading role in color, is one step closer to the white heroes of his previous films. The trailer even says "The time has come for a new protagonist" and "The time has come for a new type of mission" – both serving as a meta-commentary on Nolan's career and perhaps, if the film is a film beginning followed, as a meta-commentary on the stories and realities of this world.
There is certainly an overwhelming chance that Principle has nothing to do directly with the beginning universe. But if that's the case, Principle to focus on a completely separate character sounds like a gesture that Nolan would make. The director does not seem to be the one who would make a direct follow-up, but rather the one who would use loose threads. In this scenario, could the character of Washington have his own journey – a new type of mission – in a world of advanced technology, parallel or closely related to the path of support of the beginning kids?
In another area where Nolan might change, could a potential follow-up be focused on another beginningThe world of ideas rather than dream technology? In beginningdream tech was developed for military purposes. Could the army have developed a new type of dangerous technology in the decades beginningThe events? (The trailer features a swat team, or some kind of special operation unit – and there have been rumors of a mbadive waterfall involving a tank.)
Could this future world have even developed time-saving technology, allowing spy missions to extend over several decades in the past? In the teaser, Washington moves in a strange way, almost as if his character was moving backwards or in some way in a loop.
The struggle for energy domination evoked in beginning have caused global chaos? Like how does the end of The black Knight leads to the chaos of The black knight gets up, the idea that Cobb and his team launched in the spirit of Robert Fischer (Cillian Murphy) to dissolve the society of his father could it have turned against enormous consequences?
beginning Cobb reunited with his son and daughter, but the ambiguity of a spinning top was also ambiguous. Black appeared before the public could see whether it was falling or not. It is unlikely that Nolan – who chooses not to explain his endings (too widely) – directly harms the way this end is played out in a potential sequel. So maybe he'll create a configuration to get around the problem: Cobb is dead.
Does that Interstellar the dialogue then be the thematic center? Whatever the possibilities for what kinds of dangers the beginning Are children experiencing emotional problems? Would not their father be here to see them save the world? Could they travel back in time and have to resist the possibility of visiting their father's time, as Cobb has to resist the idea of looking at his children in his dreams?
The word "principle" means belief or principle, and obsessional belief. The same types of beliefs that were at the heart of Inception, whether it was Cobb who thought he would come back to his children, or the idea born in Murphy's book, Fischer.
But the word "tenet" is also a palindrome – the same ones before they are back.
It is said that the working title is "Merry-Go-Round" and that the final letter of the title on the trailer is the final letter E and T reversed, called TENƎꓕ. These circular metaphors could indicate how Principle could engage in time and how Nolan, famous for its nonlinear structures, could structure the film. During the holdup in beginningafter Cobb told his team that they can not shoot themselves in the skin, the heavy sedative will push them into limbo, he says that going down "further down" or further into dream levels " is the only way to go. " PrincipleWill we go back – perhaps back in time and space thanks to new technologies – will it be the only way forward with a spy mission? Moving around in the opposite direction seems to be what the Washington character does in the teaser.
The idea of going back and forth could be the key to the next stage of Nolan's storytelling. And revisit the beginning the universe – the step backward – to clarify the evolution of its thematic interests – the step forward – would be a powerful mode of evolution.
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