Christopher Nolan Quotes

Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts. (Leonard Shelby, Memento)

I have to believe that when my eyes are closed, the world's still there. (Leonard Shelby, Memento)

I always thought the joy of reading a book is not knowing what happens next. (Leonard Shelby, Memento)

You're never going to learn something as profoundly as when it's purely out of curiosity

A camera is a camera, a shot is a shot, how you tell the story is the main thing.

For me, Batman is the one that can most clearly be taken seriously. He's not from another planet, or filled with radioactive gunk. I mean, Superman is essentially a god, but Batman is more like Hercules: he's a human being, very flawed, and bridges the divide.

Superheroes fill a gap in the pop culture psyche, similar to the role of Greek mythology. There isn't really anything else that does the job in modern terms. For me, Batman is the one that can most clearly be taken seriously.

Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.

I like films that continue to spin your head in all sorts of different directions after you've seen them.

You musn't be afraid to dream a little bigger, darling.

One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.

Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.

Every great story deserves a great ending

Don't talk like one of them. You're not! Even if you'd like to be. To them, you're just a freak, like me! They need you right now, but when they don't, they'll cast you out, like a leper! You see, their morals, their code, it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. I'll show you. When the chips are down, these... these civilized people, they'll eat each other. See, I'm not a monster. I'm just ahead of the curve. -The Joker

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

I've been fascinated by dreams my whole life, since I was a kid, and I think the relationship between movies and dreams is something that's always interested me.

I like films where the music and the sound design, at times, are almost indistinguishable.

The best actors instinctively feel out what the other actors need, and they just accommodate it.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

A hero can be anyone. Even a man doing something as simple and reassuring as putting a coat around a young boy's shoulders to let him know that the world hadn't ended.

Why do we Fall? So we can learn to pick ourselves back up.

What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.

I think audiences get too comfortable and familiar in today's movies. They believe everything they're hearing and seeing. I like to shake that up.

You always have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness.

The term 'genre' eventually becomes pejorative because you're referring to something that's so codified and ritualised that it ceases to have the power and meaning it had when it first started.

My most enjoyable movie going experiences have always been going to a movie theater, sitting there and the lights go down and a film comes on the screen that you don't know everything about, and you don't know every plot turn and every character movement that's going to happen.

I would never say someone's else's film isn't 'a real film.' The quote is inaccurate.

Sometime, when you start thinking too much what an audience is going to think, when you're too self-conscious about it, you make mistakes.

I just love photographing things and putting them together to tell a story.

Writing, for me, is a combination of objective and subjective approach. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.

If you're going to perform inception, you need imagination. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art.

We all wake up in the morning wanting to live our lives the way we know we should. But we usually don't, in small ways. That's what makes a character like Batman so fascinating. He plays out our conflicts on a much larger scale.

I never considered myself a lucky person. I'm the most extraordinary pessimist. I truly am.

The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.

I studied English Literature. I wasn’t a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.

I remember the initial genesis quite clearly. My interest in dreams comes from this notion of realizing that when you dream you create the world that you are perceiving, and I thought that feedback loop was pretty amazing.

I have been interested in dreams, really since I was a kid. I have always been fascinated by the idea that your mind, when you are asleep, can create a world in a dream and you are perceiving it as though it really existed.

Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

Movie logistics never really allow you to do anything but shoot the way the budget dictates.

I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime. The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me.

Revenge is a particularly interesting concept, especially the notion of whether or not it exists outside of just an abstract idea.

The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.

The real truth of that is that much as you want to believe that it's you being on top of everything, you're actually relying massively on the people around you.

People want to see something that shows them you can do what you say. That's the trick.

To me, any kind of filmmaking that's reactive is not going to be as good as something more inventive and original.

I never meet anybody who actually likes the format, and it’s always a source of great concern to me when you’re charging a higher price for something that nobody seems to really say they have any great love for.

I always find myself gravitating to the analogy of a maze. Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting...I quite like to be in that maze.

I made 'Batman' the way I made every other film, and I've done it to my own satisfaction - because the film, truly, is exactly the way I wanted it to be.

You never quite know what you're going to come back to and figure out how to make it work. You never quite know where that desire to finish something, or return to something in a fresh way, is going to come from. Every time I finished a film and went back and looked at it, I had changed as a person.