Christopher Nolan, the writer, director, producer, and reigning blockbuster visionary of our age, can turn just about anything into a hit.
—the yin-and-yang hits of this summer movie season, radically different spectacles united through the unexpected good luck of concurrent release—will surely inspire a lot of reactive thinking on the part of studios hoping to replicate the phenomenon of their joint success. If Hollywood learns any lessons from Barbenheimer, however, it’ll probably be the wrong ones.
One of the simplest takeaways of this past weekend is more of a forceful reminder of something that should be conventional wisdom, even gospel for executives by now: , is the traditional definition of a tough sell. It’s a three-hour drama about quantum physics and McCarthyism, a summer movie set in laboratories and courtrooms; it’s a true gabfest blown up to IMAX proportions.
, but one of those rare films that seems to dominate the entire pop-cultural attention span for months on end—that it all but guaranteed its maker some runway, the ability to chase his muse out of the franchise trenches.also made Nolan one of the few Hollywood filmmakers that can be called a household name. He used the plum gig to assert his interests and personality—to tell the world, through the big stage of a big event picture, thatis what you could expect from a Christopher Nolan movie.
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