Ah, Christopher Nolan.
For a lot of years, I did not have any sort of relationship with Warner Bros. publicity, and when I did finally start talking to them, one of the first guys I dealt with was Don Buckley, a legendary publicity guy who was with the studio back in the days when Warner Bros. was the home of Stanley Kubrick.
What was most amazing to me about the Kubrick years at Warner Bros. was the way they just left him alone to cook up his masterpieces, and when he was ready, he made them the way he wanted, and they sold them the way he wanted, and they were happy to do it. They had a pure unrelenting faith that Kubrick would give them something to be proud of each and every time, something that would be part of the cultural conversation. And when they sold those movies, they sold them on the cultivated mystique of Kubrick’s name, and on the films he’d made before that.
I’m not saying I think Christopher Nolan is Stanley Kubrick. Because only Stanley Kubrick will ever be Stanley Kubrick.
But I think Nolan is in that rare sweet spot for a filmmaker with as strong and personal a voice as he has, where he has had tremendous commercial success for the studio, enough that they’re willing to not only support a strange and risky personal vision, but they’ll also sell it on his name and they’ll let him play with the audience and keep his secrets instead of ruining the whole thing six months early like so often happens with big movies. And since Warner’s biggest financial co-partner right now, Legendary Pictures, is also onboard the Nolan train, he’s pretty much found a home for the foreseeable future.
We’re really close to the release of the film now, and as a result, Warner Bros. is starting to reveal just a little bit more every day, and this new featurette they put out… well… it’s amazing.
And it’s also a damn shame I saw it. Because I’m thisclose to actually seeing the movie, and all of a sudden, all that time I spent trying to not know anything about the movie seems silly. Of course I’m going to end up knowing things by the time I walk into the theater. It’s unavoidable doing this job.
To be fair, they don’t “ruin” anything with this featurette. All they do is explain a little more, and they establish the relationships a little bit more clearly, and they introduce a few big ideas.
For example… the kick. If “Inception” really works for people, then I’ll bet Nolan’s name sticks to that “ohcrapI’mfalling” feeling you get sometimes at the edge of sleep. And this makes it look like “the kick” is a big part of the movie, a really fun new idea.
And I love the stuff near the end of the footage where Dileep Rao talks about how “you can’t do dreams within dreams. It’s too unstable.” That’s a lovely little bit of dialogue.
Finally, I got a press release earlier today about the soundtrack album for this movie, and Hans Zimmer is the primary composer listed in the press release. One detail I hadn’t heard yet knocked me flat, though, and if you’re a fan of a certain school of British rock, then you’ll probably flip out the same way I did. It seems “Inception” features Johnny Marr on guitar as a major part of the score.
That. Is. So. Cool.
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