Christopher Nolan’s Journey to IMAX: Shooting ‘The Odyssey’ in Large Format

Christopher Nolan has long been fascinated by IMAX. The Oscar-winning director behind films like Inception and The Dark Knight series had an early pivotal experience watching nature documentaries at the Museum of Science and Industry in Chicago. This inspired his dream to produce a major Hollywood movie using IMAX.

An IMAX First

The Odyssey is Nolan’s first feature shot entirely on IMAX film. Nolan had been advancing toward this goal but faced technical challenges. IMAX cameras used to be too noisy for dialogue-heavy scenes. However, after completing Oppenheimer, a significant breakthrough occurred with the development of a ‘blimp,’ a device that muffles the camera noise. This new camera was named The Keighley, honoring long-time IMAX contributors Patricia and David Keighley.

Despite its innovations, the new system wasn’t without obstacles. Encased in the blimp, the camera weighed 300 pounds, and the film required reloading every two to three minutes. A mirror system ensured actors could see each other around the large camera during scenes. The focus was to offer audiences something novel and memorable.

Understanding Film Formats

For audiences interested in watching The Odyssey, there are numerous format options such as IMAX 70 mm, conventional 70 mm, IMAX digital, and others. Nolan emphasized the importance of choosing the right viewing format to maximize the experience without feeling overwhelmed by technical jargon.

Having previously employed large format film stock in Dunkirk, Tenet, and Oppenheimer, Nolan appreciates the unparalleled sharpness, clarity, and depth achieved by shooting on IMAX 70 mm film.

The technical advantage is clear: IMAX film resolution is nearly ten times greater than a 35 mm projector, boasting around 18,000 pixels per frame compared to a home HD screen’s 1,920 pixels. The 65 mm film, projected in 70 mm, once reserved for soundtracks, now serves purely as a visual enhancement due to digital sound.

Filmmaking Techniques

From The Dark Knight onward, Nolan’s team developed ‘center punching the action’ to maintain crucial image details regardless of the viewing format.

Cinematographer Hoyte van Hoytema maintains awareness of frame lines to ensure consistency across various screen shapes. Different aspect ratios necessitate framing imagery that suits multiple theatre types.

Preferred Formats

Nolan’s favorite theatrical experience is the IMAX 70 mm film presentation, available in only 32 theaters across the U.S. and Canada. Locations like AMC Universal CityWalk in Los Angeles and AMC Lincoln Square in New York offer these presentations but sell out quickly.

Despite limited access, 70 mm prints are distributed to theaters globally. Nolan regards both IMAX and 70 mm formats as unique and exceptional.

Digital Options

Most North American audiences will see The Odyssey digitally. Options include IMAX digital with laser projection or exhibitor PLF systems. Although not IMAX 70 mm, these still offer a quality experience as Nolan’s team digitizes the film to optimize it for various formats.

This adaptation effort enhances presentation quality, benefitting filmmakers and movie-goers alike.

Optimal Seating

Nolan’s seating preference shifts with the theater setup. In a CinemaScope theater, he sits near the front, in the third row. In an IMAX 1.43:1 stadium, he prefers being just behind the center, toward the middle of the seating area.

Note: The original publication of this analysis was on June 4, 2023. Updates include recent technological innovations and the release of The Odyssey.