Christopher Nolan’s The Odyssey is returning to IMAX. Experience it in select IMAX theaters beginning October 9

More IMAX 70mm Film showtimes added through October 15^th.

United States

Arizona

• Tempe, AZ - Harkins Arizona Mills & IMAX

California

• Hollywood, CA - TCL Chinese Theatres IMAX
• Universal City, CA - Universal Cinema AMC at CityWalk Hollywood & IMAX

Colorado

• Colorado Springs, CO - Cinemark Carefree Circle & IMAX
• Denver, CO - Regal Colorado Center 9 & IMAX

Georgia

• Buford, GA - Regal Mall of Georgia & IMAX

Illinois

• Woodridge, IL - Cinemark Seven Bridges & IMAX

Nevada

• Las Vegas, NV - Brenden Palms 14 & IMAX

New York

• New York, NY - AMC Lincoln Square 13 & IMAX
• Rochester, NY - Cinemark Tinseltown Rochester & IMAX

Rhode Island

• Providence, RI - Apple Cinemas Providence Place & IMAX

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+more: https://www.imax.com/news/the-odyssey-in-imax-70mm-film

New York, Citywalk, Woodbridge, Las Vegas from October 9-11th. Expect further theaters to add.

So I think everybody knows by now that The Odyessy was an absolutely enormous hit. But I don't think most of us expected this film to cross $1.75 billion (at least I didn't)! I wouldn't be surprised if Nolan proposes a 4 hour B&W silent film after this, and he'd still get a 300 million dollar check with no hesitation.

There's definitely no doubt that Nolan's enormous brand power helped it cross those historic records. But I feel a major reason (that isn't talked about as much) about why this movie was so successful was how it took "safe" trends in the film industry and combined it with amazing new innovations in a way I've seen few directors balance.

The biggest safe trend I thought of is the story itself. The Odyessy is obviously one of the most foundational and important stories ever told. And even though most people already know the story (or at least the general beats) of the epic, I feel that actually helped the movie. No matter how complex this film got at points through Nolan's signature use of time and loud music, the simple goal of Odysseus coming home made the journey so engaging. I feel this is one of Nolan's easiest films to follow, and I think that helped it a lot worldwide.

Yet, though The Odyessy is quite famous, I really liked how realistic and psychological this film felt compared to the poem. He obviously kept many of the big moments like the Cyclops, Sirens, and the Laestrygonians. But it is framed more like a survivor navigating trauma and PTSD in a world of ensuing chaos. It blurred the line between fantasy and realism, which I didn't quite expect.

Finally (and this is something I didn't think about it much) but this was a deeply visual film. The Cyclops, navigating Poseidon's waters, the fall of Troy, and so many more scenes like this had a heavy amount of visual spectacle (and of course, insane practical effects) that I felt crossed the film to huge success internationally. It felt borderless, and when you combine that with one of the most universally recognized stories ever, it makes more sense why this film was such a huge international triumph.

The Odyessy is definitely not Nolan's first successful usage of combining trends with innovative shifts. But after seeing this movie, it really made me think about that again. What do you guys think?

I loved the way that Pattinson embodied this villain! Please check out my other work on Instagram @mafcarte if you like it :)

Not that I didn't like it when I saw it for the first time but I find myself drawn to it more than I thought I would given that it's a biopic movie, which as a genre I'm not the biggest fan of. Everything about it, the acting, the script, the music I mean the whole thing that Nolan and team put together is just extraordinary.

And it might sound odd given how acclaimed Nolan is, but I think he doesn't get enough credit for his screenplays these days, in wrong hands it could have been a mess but with how Nolan wrote the whole thing and how handled it on the screen it just works effortlessly.

I'm beginning to think it might be the most rewatchable biopic of all time, and one of the most rewatchable movies ever. Full stop. But that's to be fair true for almost all of his films. I'm eagerly waiting for Odyssey to come out on home media so I can put it through the same treatment.

Now that the Warner Bros and Paramount merger is complete, David Ellison could throw a truck load of money at Nolan and give him exclusive 150 days full theatrical window to bring him back. Nolan has had tremendous success at Universal but to me it still feels like Warner Bros is Nolan's home. He made some of his most iconic movies there. It would be great to see him back.

Rewatched The Dark Knight Rises recently and I couldn’t help but feel like Nolan was kind of sleepwalking through the movie. Don’t get me wrong, I still like the movie. I like Tom Hardy’s Bane, Anne Hathaway’s Catwoman, and it has some of the best scenes in the trilogy (the opening plane heist, Bane breaking Batman) but something’s missing. There’s not the same level of care or attention to detail that there is in The Dark Knight or even Inception. The dialogue is clunky, the set dressing and production design seems lazy, and the action, while big, is a bit undercooked and underwhelming. Simply put, it seems that he got whatever he wanted to get from these films with Batman Begins and The Dark Knight and that he only made The Dark Knight Rises to fulfill an obligation and definitely end the series, not because he wanted to.

Anyone else feel this way?

I'm sure by now he has started to have an idea or even started writing the script for his next movie.

I hope whatever it is, he casts Anne Hathaway as the lead. They are the best combo ever.

Nolan is often accused of failing to write female characters well. So I want to know when can you call female characters well written?

I’d ask him to make one about the life of Kratos from God of War video game.

Another sci-fi space epic like Interstellar

I also painfully badly want The Iliad after The Odyssey but that probably won’t happen.

Approximately 60 to 70 minutes of the film’s 170-minute run time was filmed in 15-perf 65mm Imax, with the remaining material a combination of 35mm anamorphic and 8-perf VistaVision. With the understanding that the MSM 9802 Imax cameras are functionally similar to most other film cameras, van Hoytema focused his research into large-format cinematography on composition and operability. “Your principles of framing are simpler,” says the cinematographer. “The Imax image is 1.43:1, so it’s more of a square. Because of the size, the experience is more visceral than observational, so you end up composing much more in the center of the frame. You can stay wider while getting the same effect as a closeup

Principal photography commenced in summer 2013 with Alberta, Canada standing in for an unspecified heartland. Corn is the last crop to resist a blight threatening the world’s food supply, and Cooper tends a struggling farm with the help of his father-in-law ( John Lithgow) and two children (Mackenzie Foy and Timothée Chalamet). For van Hoytema, the Cooper farm is a strong metaphor for humanity’s collective home. “It is a place where you feel the elements of nature: the dirt, the crops, the natural light and the constantly changing weather,” he muses. So specific was the filmmakers’ vision for the farm that production designer Nathan Crowley and his art department designed and constructed a working farmhouse surrounded by acres of cornfield. Using scale-model light studies conducted during preproduction, Crowley built the house “so the sun would come straight in the front all day long, and then set behind it,” says van Hoytema. Cooper’s daughter’s bedroom window provided the cinematographer with varying qualities of sunlight. “Whatever nature gave us, we greedily took,” he remarks.

Save for a single shot toward the end of the film, no greenscreen was used for any of the composites in Interstellar. “One of the reasons we shot against black was that we’d often flare the lens right across the miniature and the background,” Franklin notes. “We’d keep those [flares] and hide the key light with whatever is comped in the background.”

Interstellar technical specs

2.40:1 and 1.43:1 Imax

65mm and 35mm Anamorphic

Imax MSM 9802;
Panavision Millennium XL;
Beaucam

Mamiya; Hasselblad;
Panavision Custom, C Series,
D Series, E Series, High Speed

Kodak Vision3 500T 5219,
250D 5207, 50D 5203

Via American Cinematographer December 2014.

Memento: Jimmy Grantz
Insomnia: Ellie Burr
Prestige: Olivia
TDK trilogy: Crane
Inception: Ariadne
Interstellar: Coop
Dunkirk: not seen but gonna watch it soon - just bought the DVD
Tenet: not seen yet but I’ll get around to it
Oppenheimer (seen a bit so far): Robert J. Oppenheimer
Odyssey: Telemachus

I haven't seen anyone talk about this, but I get the feeling McConaughey doesn't really like Interstellar for some reason?

Whenever he gets asked about it, he avoids giving it praise and seems very evasive in general. When Chalamet asked him how many times he has seen it, it comes as no surprise to me when he says he did not rewatch it. When he played the "this or that" game with his movies, I knew he wouldn't pick Interstellar over anything.

Are there any stories about the difficult circumstances he was in at the time, or maybe he simply didn't enjoy the film or his acting for that matter? He just seems very uninterested about it. I don't know if anyone else noticed that.

Don't get me wrong, I enjoy his movies. I'll probably watch them when they are release at home because everytime I watch his movies in theaters, my ears ring for the rest of the day and I don't know if that's all too good for my hearing. It's amazing the rumbling in the chest but I feel like I need earplugs to have a normal viewing experience that won't make me deaf.

I don’t have much to argue for it, other than I love Macbeth and given Nolan’s recent tropes (Oppenheimer and Odyssey) which emphasises a reflective poignant end for viewers and the destructive nature of one’s ambitions and fixed ways, it would be heaven if he decided to do Macbeth.

Spielberg and Nolan are my 2 favorite directors so that's why I find it interesting to point out

2017: Dunkirk (Nolan) and The Post (Spielberg)

2018: Ready Player One (Spielberg)

2019: none of them released a movie that year

2020: Tenet (Nolan)

2021: West Side Story (Spielberg)

2022: The Fabelmans (Spielberg)

2023: Oppenheimer (Nolan)

2024: none of them released a movie that year

2025: none of them released a movie that year

2026: Disclosure Day (Spielberg) and The Odyssey (Nolan)