Christopher Nolan is making his next film at Universal, severing nearly two decades of creative partnerships with director Warner Bros., a company that has backed many of its big blockbusters.
Reaching this point involves months after months of love, secret meetings, big promises and the desire to take a creative leap with one of the boldest, but most in-demand filmmakers in the business. This represents a major victory for Universal and its film director, Donna Langley, who is aggressively pursuing a relationship with the “The Dark Knight” director after being dissatisfied with Warner Bros. J. Robert Oppenheimer and the $ 100 million drama about making atomic bombs. Shooting will begin in the first quarter of 2022 and will require extensive digital impact. The studio is looking forward to the release in late 2023 or 2024.
Nolan’s jump from Warner Bros. is one of his biggest rivals notable but not entirely shocking. The director made no secret of the fact that he was disappointed by Warner Bros. HBO Max decided to release its entire 2021 slate together, although the one-year arrangement was inspired by the epidemic and did not apply to his current or future movies. Yet, his blurry remarks – “Our industry’s biggest filmmakers and most important movie stars went to sleep at night thinking they were working in the biggest movie studios and waking up working for the worst streaming service” – made it clear that his bond How much energy was lost in the studio, which he had long considered home. For the past twenty years, Nolan has partnered with Warner Bros. on the trilogy “The Dark Knight”, “Inception,” “Dunkirk” and, most recently, “Tenet.”
Even before the HBO Max deal was signed and Nolan was released, his relationship with Warner Bros. was strained, with him blabbering on about finding new creative partners. The two had a personal conflict over plans to release “Tenet”. Nolan, a staunch advocate in the exhibition industry, hoped his sci-fi epic would spark a film renaissance, but studio executives were unsure about making the ২০০ 200 million budget movie debut in September 2020, when most U.S. cinema halls closed and a widely accessible VAC. It seemed like a distant dream. Warner Bros. eventually backed the film’s fall release, but “Tenet” was disappointed at the box office and the studio lost at least $ 50 million.
“Tenet”, at least in his theatrical life, was not released exactly as Nolan had hoped, but the filmmaker still has unprecedented control over the distribution plans for his films. In his collaboration with Universal, he is looking for a similar sign-off on where and when his next movie will be released to the public. Naturally, the discussion of art will be of paramount importance for the amount of time a movie plays only if it is a strong theater.
Sources familiar with the discussion say Nolan wanted, although it’s not clear if he would get it, a special theater window in 90 to 120 days for the upcoming WWII epic. The film will probably stay on the big screen for longer than the screen5-day frame, which seems to have become the standard of art in the post-epidemic era. Universal insiders confirm that it will be exempt from the 17-day window (or 31-day movies that earn at least 50 50 million to open weekend sales) that have forged faster home movies through a deal with major theater chains like Universal AMC and Cinemark. Covid-1 The theatrical new releases are shown in theaters for rele5 to days0 days before moving to the home entertainment platform, before the movie theater business closes. Nolan’s library, including “Tenet”, was not able to transfer to digital platforms until 120 days after their initial release.
Universal declined to comment, and the company representing WME, Nolan, could not be reached for comment.
Because of his cinematic pedigree and continued success near the box office, those who worked before proving his contract with Nolan are more accurate than his peers. In the management of his personal film at Warner Bros., Nolan’s release calendar required a three-week blackout time, meaning the studio director was not able to premiere a film three weeks before or three weeks after it was scheduled to open. With or without such a clause, Hollywood executives will do their best to avoid popularizing a fellow studio title that falls into a similar clause. Nolan’s provision is intriguing because it must have avoided Nolan’s most recent weeks, from the unknown class – “Tune Part 2” to the latest kid-centric “The Lego Movie”. He requested similar terms at Universal, but insiders say it seems to have some wiggle room. This probably means that “Minions 12” will not have to avoid debut in the same season as the upcoming atomic bomb drama.
Nolan will also receive a backend deal that promises first-dollar earnings, as well as the final cut of his film. Before Nolan came up with his next project, he and his team of agents at WME offered first-look deals from both the streaming service and the traditional horror film company.
Studios interested in supporting Oppenheimer’s film were allowed to view Nolan’s shooting script, but were asked to read it in the director’s office to avoid leaks. A meeting was also held at the director’s house. Some potential suitors, a group that included Sony, MGM, Paramount, and, despite the fallout, Warner Bros., worried that the film’s content was less than commercial, which worried them about their steep price tag.
In the end, from Noland’s hits and the Normandy War to the exploration of time, space and dreams, the movie had a record of spinning gold, which was universally comfortable to take risks.