Christopher Nolan net worth is $150 Million. Also know about Christopher Nolan bio, salary, height, age weight, relationship and more …

Christopher Nolan Wiki Biography

Christopher Johnathan James Nolan was born on 30 July 1970, in London, England, and is now a British-American film producer, director, screenwriter, editor and cinematographer, probably best known as the creator of “Insomnia”, “The Dark Knight” series, “The Prestige” and many other movies, during a career which began in the late 1980s.

So just how rich is Chris Nolan, as of early 2018? Celebrity dot money estimates that Chris’ net worth is as high as $150 million, thanks to his popularity worldwide in Nolan’s  job as a producer and director. Nowadays he is known to be one of the richest people in US, who is still active in the world of show business.

Chris Nolan’s mother was an American citizen, and that’s why in his early years Christopher was raised in two different cultures on opposite sides of the Atlantic Ocean, mostly in London and Chicago, Illinois. Little Chris  at the age of 8 already showed some interest in making movies, as he was playing with father’s camera, and then while attending University College, London (UCL), Nolan began making short and simple movies. Nolan attended an  independent school, Haileybury and Imperial Service College in Hertford Heath, Hertfordshire, and later graduated with a BA degree in English literature from UCL – he apparently chose the latter specifically for its film-making facilities, a Steenbeck editing suite and 16 mm film cameras!

The debut which began the rise of Nolan’s net worth was made in 1998, when his  movie “Following” appeared on screens. This was a mostly successful movie about a young man in London, however, it wasn’t the greatest hour in Nolan’s career: in 2002 he was able to make the movie “Insomnia”, which later became really popular and raised Chris’s net worth considerably, almost immediately.

With  passing years, Nolan’s net worth rose rapidly. His films have starred many  famous actors, such as Leonardo DiCaprio, a character from the “Inception”, and Al Pacino from “Insomnia”. Furthermore, Chris was described as a genius in cinematography by DiCaprio not so long ago, so we can only expect his net worth to continue to grow.

Of course, it is not right to forget Nolan’s “Batman” movies. He has released three – “Batman Begins” in 2005, “The Dark Knight” in 2008 and “The Dark Knight Rises” in 2012. This great trilogy with the famous Christian Bale as the main character has certainly helped Nolan to become popular worldwide, and his net worth to escalate accordingly. Most recently, his wealth has been boosted by his involvement in “Interstellar”, “Quay” and “Dunkirk” as writer and producer.

Talking about Chris’ personal life, he has been married to Emma Thomas since 1997 – Emma is also a film producer known for co-producing such movies as “Inception” and “The Prestige”. The couple met when Nolan was only 19 years old. Together they live in Los Angeles, California, and have four children.

IMDB Wikipedia $150 million 1970 2015 5 ft 10 in (1.8 m) 60 Minutes (TV Series documentary AACTA International Award for Best Direction (2018) Academy Award for Best Picture/ Best Original Screenplay (2011) Al Pacino BAFTA Awards for Best Film Batman Begins Batman Begins (2005) Batman films Batman in film Chris Chris Nolan Christian Bale Christopher Johnathan James Nolan Christopher Jonathan James Nolan Christopher Nolan Christopher Nolan Net Worth Cinematographer Dark Knight Dark Knight Rises Directors Doodlebug (1997) Dunkirk (2017) Editor Emma Thomas Emma Thomas (m. 1997) Empire Awards for Best Director/ Best Film Empire Inspiration Award (2015) English people Entertainment Tonight (2010-2017) Film Film 2017 (TV Series) (2006) Film director Film Editor Film producer Flora Nolan Golden Globe Awards Goya Award for Best European Film (2009) Guys Choice Awards 2012 Haileybury and Imperial Service College Hugo Award for Best Dramatic Presentation Hugo Award for Best Dramatic Presentation (2011) Inception Insomnia Interstellar (2014) Jonathan Nolan July 30 Leonardo DiCaprio London Long Form Magnus Nolan Matthew Francis Nolan MTV Movie Awards Neo-noir Oliver Nolan Prestige Quay (Documentary Rory Nolan Satellite Awards Saturn Award for Best Director (2011) Screenwriter Syncopy films Tarantella (1989) The Colbert Report (2014) The Dark Knight The Dark Knight Rises (2012) The Prestige United Kingdom United States United States of America University College London Up Close with Carrie Keagan (2008-2010) Wally Pfister Writers Guild of America Awards

Christopher Nolan Quick Info

Christopher Nolan Trademarks

1. Protagonists have a desire to return to their children (Cobb in Inception (2010) and Cooper in Interstellar (2014))
2. His films almost always end with a sudden (and very effective) smash cut to black. (Memento (2002), The Prestige (2006), The Dark Knight (2008), and especially Inception (2010) are prime examples.)
3. Many of his films contain a scene where the dynamic of a conversation changes when one of the characters reveals that he owns the establishment or event the characters are currently attending/talking about (e.g. a restaurant in The Dark Knight (2008), a charity ball in The Dark Knight Rises (2012), an airline in Inception (2010), or is closely linked with the person who does (a bar in Following (1998)). This strangely specific trademark reaches its furthest extreme in Batman Begins (2005) when, at the end of a scene, Bruce Wayne actually buys the place he is in (a restaurant) to change the dynamic between him and an angry waiter.
4. Frequently uses symmetric image composition, possibly inspired by Stanley Kubrick.
5. Often works with editor Lee Smith, composer Hans Zimmer, cinematographer Wally Pfister, production designer Nathan Crowley and wife-producer Emma Thomas.
6. His antagonists are often motivated by a philosophical belief rather than money
7. Villains in his films often threaten to harm the hero’s friends or family
8. Enormous visual scope and heavy emphasis on location and architecture
9. His films almost always end with the character’s fate open to interpretation
10. Never uses non-diegetic soundtrack music – soundtrack music is always used diegetically (that is, it is always played from a source within the film that the characters themselves can hear, like a radio…”Non, je ne regrette rien” by Edith Piaf was used by the characters as a kick in Inception (2010))
11. Very frequently his films contain blackmail, attempted blackmail or a reference to blackmail.
12. Characters who are unreliable narrators (e.g. Borden, through his journal, in The Prestige (2006), the Joker through his conflicting monologues in The Dark Knight (2008), and Leonard through his memory problem and ‘conditioning’ from Memento (2000), Dom with his mind in Inception (2010)
13. The original scores of his films usually play over most of the film, or one piece of music will play over many small scenes, as if they are edited in a montage; there are few moments in his films when there is no music playing in the background.
14. Displays the title before the ending credits (Batman Begins (2005), The Dark Knight (2008), Inception (2006), The Dark Knight Rises (2012))
15. Uses camera revolving around a character. (The Prestige (2006), The Dark Knight (2005), Memento (2002) and Inception (2010))
16. Often casts non-American actors in American roles. (e.g. Guy Pearce, Christian Bale, Hugh Jackman, Heath Ledger, Cillian Murphy, Liam Neeson, Gary Oldman, Tom Wilkinson)
17. His films’ protagonists have mostly lost their loved ones and/or failed in love, a circumstance that causes them turn into malevolent and/or apathetic forever. (e.g. Leonard in Memento (2000) has lost his wife in a brutal murder in the past, Bruce Wayne in Batman Begins (2005) has lost Rachel Dawes’ faith in him throughout the film, Borden in The Prestige (2006) does not get his wife’s love because of his character’s ‘act’ in the movie and Angier loses his beloved in a mishap during a magic trick, Harvey Dent in The Dark Knight (2008) loses Rachel as well as Bruce Wayne is not able to win her love back)
18. Frequently in his films, at some crucial moment, the protagonists feel let down or betrayed by their mentors whom they have been following blindly and with respect. (e.g. The protagonist being cheated by Cobb in Following (1998), Leonard “discovering” that Teddy is the culprit in Memento (2000), Hilary Swank’s character respecting Al Pacino as a great detective in Insomnia (2002) only to find out that he is also flawed, Bruce Wayne and Liam Neeson’s character’s confrontation in Batman Begins (2005), Cutter not supporting Angier in The Prestige (2006), Ariadne feeling betrayed by her mentor Cobb when he does not tell her about Mal’s domain over his dreams in Inception (2010), Blake feeling let down by Gordon when his lie about Dent’s death is exposed in The Dark Knight Rises (2012), Murph finding out the truth about Professor Brand’s work in Interstellar (2014).
19. Typically ends his films with a character giving a philosophical monologue
20. Lonely troubled protagonists who are unwillingly forced to hide their true identity from the world.
21. His films often have obsessive protagonists with a troubled past, who are obsessed to gain justice by any means in life (e.g. Leonard in Memento (2000), Al Pacino’s character in Insomnia (2002), Bruce Wayne in Batman Begins (2005). Also the protagonist of Following (1998) and Hugh Jackman in The Prestige (2006) were obsessive)
22. His characters often gain a physical or psychological handicap in the course of the film (SPOILERS: in The Prestige (2006), Angier gets a crippled leg while Borden loses two fingers; in The Dark Knight (2008), Salvatore Maroni gets a crippled leg; in Insomnia (2002), Dormer gets insomnia; in Memento (2000), Leonard gains a memory handicap, the event of which is shown in flashback during the film)
23. His protagonists will often resort to tactics of physical or psychological torture to gain information (e.g. (SPOILERS) in Batman Begins (2005), Batman uses the hallucinagenic fear compound on Jonathan Crane in order to gain information about his “boss”; in The Prestige (2006), Angier buries Borden’s assistant alive in order to get Borden to talk; in The Dark Knight (2008), Batman throws Salvatore Maroni off a building, breaking his legs, in order to gain information about the Joker; in the same movie, Harvey Dent puts a gun to one of the Joker’s henchman and flips a coin for his life every second he doesn’t talk to scare him into talking. Also in this movie, Batman uses physical intimidation for the interrogation of the Joker; in Insomnia (2002), Dormer drives into oncoming traffic in order to scare the victim’s best friend into talking; in Inception (2010), Cobb demands that Saito discloses information to him on gunpoint; in The Dark Knight Rises (2012), Batman physically threatens Bane to accquire the location of the trigger).
24. All of his films contain a major referential connection to his prior film (e.g. the Joker performs a deadly magic trick in The Dark Knight (2008); Nolan’s previous film, The Prestige (2006), was about magicians performing magic tricks that turn deadly).
25. Frequently uses hard cuts when transitioning to the next scenes. This is most prominent in his films from Batman Begins (2005) onward, especially in The Dark Knight (2008), where, in some instances, the hard cuts he uses will go so far as to nearly cut off character’s lines in order to quickly and efficiently get to the next scene.
26. Often casts actors in roles contrary to their usual screen persona
27. The storyline in his films usually involves a determined character seeking vengeance over the death of a loved one. (Examples: Guy Pearce in Memento (2000), Christian Bale in Batman Begins (2005), Hugh Jackman in The Prestige (2006), Aaron Eckhart in The Dark Knight (2008), and Marion Cotillard in The Dark Knight Rises (2012)).
28. His films usually revolve around characters that are afflicted with some kind of psychological disorder. (Examples: Guy Pearce’s short-term memory “condition” in Memento (2000), Al Pacino’s titular sleeping disorder in Insomnia (2002), Christian Bale’s phobia of bats in Batman Begins (2005) and Aaron Eckhart’s dual personality in The Dark Knight (2008) and Leonardo DiCaprio not being able to grasp onto reality in Inception (2010)).
29. His endings have a recurring theme of justified dishonesty. (Examples: Guy Pearce’s “Do I lie to myself to be happy” monologue in Memento (2000), Michael Caine’s closing remark that the audience “wants to be fooled” from The Prestige (2006) and Christian Bale’s rationale of how the citizens of Gotham City “deserve to have their faith rewarded” in the ending of The Dark Knight (2008)).
30. Crosscutting several scenes of parallel action to build to a climax (The Prestige (2006), The Dark Knight (2008), Inception (2010), The Dark Knight Rises (2012) and Interstellar (2014)).
31. Non-linear timelines (Following (1998), Memento (2000), Batman Begins (2005) and The Prestige (2006))
32. Films conclude with the two central characters discussing the results which have stemmed from the events of the film.
33. Opening scenes are usually a flashback or a piece of a scene from the middle or ending of the movie.
34. Frequently casts Christian Bale, Michael Caine, Tom Hardy and Cillian Murphy.
35. Begins his movies and introduces his main characters with a close up of their hands performing an action.

Christopher Nolan Quotes

• [on Kodak’s new Super 8 camera] The news that Kodak is enabling the next generation of filmmakers with access to an upgraded and enhanced version of the same analogue technology that first made me fall in love with cinematic storytelling is unbelievably exciting. [2016]
• [on why his films often show multiple dimensions] It might be unusual in movies, but it’s very well established in other media. I’m very inspired by the prints of M.C. Escher and the interesting connection-point or blurring of boundaries between art and science, and art and mathematics. I’m thinking of his Penrose steps illustrations that inspired Inception. Also, the writing of Jorge Luis Borges, the great Argentinian writer, wrote all kinds of incredible short stories that dealt with paradox. But I feel like films are uniquely suited towards addressing paradox, recursiveness, and worlds-within-worlds. [2014]
• [on his cinematic inspirations for The Dark Knight (2008)] I always felt Heat (1995) to be a remarkable demonstration of how you can create a vast universe within one city and balance a very large number of characters and their emotional journeys in an effective manner.
• I don’t look at the scale of the films in terms of money or the physical size of what we’re shooting. It’s in terms of my life, my time, however much I’m investing in it. It took me a couple of years to make Following (1998) and another year to take it round the festival circuit. It was and remains a huge movie to me.
• There are filmmakers who pride themselves on “one for the studio, one for me”, and I just don’t see it that way. I have an opportunity that very few filmmakers get, to do something on a huge scale that I can control completely and make as personal as I want, so I feel a big responsibility to make the most of it. Because there are tremendous filmmakers out there who will never get that opportunity but would do something extraordinary with it.
• Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways. I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions – I try to achieve that in a very layered way using all the different things at my disposal – picture and sound.
• If I don’t need to be directing the shots that go in the movie, why do I need to be there at all? The screen is the same size for every shot. The little shot of, say, a watch on someone’s wrist, will occupy the same screen size as the shot of a thousand people running down the street. Everything is equally weighted and needs to be considered with equal care, I really do believe that. I don’t understand the criteria for parceling things off. Many action films embrace a second unit taking on all of the action. For me, that’s odd because then why did you want to do an action film?
• I think anytime you look at science fiction in movies, there are key touchstones; Metropolis (1927), Blade Runner (1982), 2001: A Space Odyssey (1968). Whenever you’re talking about getting off the planet, 2001: A Space Odyssey (1968) is somewhat unavoidable.
• I think I’m not so much a fan of science fiction as I am a fan of cinema that creates worlds, that creates an entire alternate universe that you could escape into for a couple of hours.
• We tried with all three [Batman] films, but in the most extreme way with The Dark Knight Rises (2012), what I call this sort of snowballing approach to action and events. We experimented with this in The Dark Knight (2008), where the action is not based on clean and clear set pieces the way Batman Begins (2005) was, but we pushed it much further in this film. The scope and scale of the action is built from smaller pieces that snowball together so you’re cross-cutting, which I love doing, and trying to find a rhythm in conjunction with the music and the sound effects, so you’re building and building tension continuously over a long sustained part of the film, and not releasing that until the very last frame. It’s a risky strategy because you risk exhausting your audience, but to me it’s the most invigorating way of approaching the action film. It’s an approach I applied with Inception (2010) as well, to have parallel strands of tension rising and rising and then coming together. In “The Dark Knight Rises,” from the moment the music and sound drop and the little boy starts singing “The Star-Spangled Banner”, it’s kind of like the gloves are coming off. I’ve been amazed and delighted how people have accepted the extremity of where things go.
• For me, The Dark Knight Rises (2012) is specifically and definitely the end of the Batman story as I wanted to tell it, and the open-ended nature of the film is simply a very important thematic idea that we wanted to get into the movie, which is that Batman is a symbol. He can be anybody, and that was very important to us. Not every Batman fan will necessarily agree with that interpretation of the philosophy of the character, but for me it all comes back to the scene between Bruce Wayne and Alfred in the private jet in Batman Begins (2005), where the only way that I could find to make a credible characterization of a guy transforming himself into Batman is if it was as a necessary symbol, and he saw himself as a catalyst for change and therefore it was a temporary process, maybe a five-year plan that would be enforced for symbolically encouraging the good of Gotham to take back their city. To me, for that mission to succeed, it has to end, so this is the ending for me, and as I say, the open-ended elements are all to do with the thematic idea that Batman was not important as a man, he’s more than that. He’s a symbol, and the symbol lives on.
• [regarding his canceled Howard Hughes film] Luckily I managed to find another wealthy, quirky character who’s orphaned at a young age.
• We’re definitely well into a phase where our actors are not willing to brand themselves as movie stars, the way actors of the past did. When you look at a guy like Christian (Bale), whether he’s wearing a mask or not, this is one of our great actors. But he wants to be different in every film. He doesn’t want the audience to go to a ‘Christian Bale movie’. He wants them to come see the character he’s playing.
• If you’re trying to challenge an audience and make them look at elements in a different way, you’ve got to give them a familiar context to hang onto… But you have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness.
• Anybody who sees an original-negative print of a film shot in IMAX is looking at the best image quality available to filmmakers today. As long as any new technology is required to measure up to that, I think film has to remain the future.
• I sometimes get frustrated with studio executives – and indeed critics – who will watch a film in a very linear way and make notes as they go, because that’s not how movies work. You get to the end – the audience gets to the end – and then you take about five minutes to decide “Okay, what was all that?” and your brain really looks at everything in a different way and then you decide. And that’s why endings are so important and that’s why you really have to get to the end of a movie before you know what it is.
• [reacting to the premiere shooting in Aurora, Colorado] Speaking on behalf of the cast and crew of The Dark Knight Rises (2012), I would like to express our profound sorrow at the senseless tragedy that has befallen the entire Aurora community. I would not presume to know anything about the victims of the shooting, but that they were there last night to watch a movie. 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. Nothing any of us can say could ever adequately express our feelings for the innocent victims of this appalling crime, but our thoughts are with them and their families.
• Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.
• 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 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.
• [on the budget of Following (1998)] We’ve got a pretty serious claim on being the cheapest film ever made.
• I didn’t go to film school. I guess my whole experience has been just to make films. What I’ve talked about on the commentary to the DVD of Following (1998) is the production method and how things came about. I feel like that might be a point of interest that a lot of people might be thinking about with their own films, so I’ve tried to put in as much of the detail as I can remember. The more I’ve thought about it, the more I’ve realized that everybody’s situation is unique, and the one thing I’ve learned is that instead of copying someone else’s model for a low-budget film, you really have to look at what you’ve got available and see how you can tell the story you want to tell, using the things that you have around you. That’s what we did with “Following”, and on the DVD I try to explain how it worked for us and what I learned from it, but at the same time suggest that it’ll be different for someone else.
• The procedure is basically to try to get into film festivals. I’m half American, so I was able to come over to America and live here and start battering the American film festivals. There are a lot of great festivals, not just Sundance. So the key is to get it screened at a festival and start interesting people there.
• [on Memento (2000)] The budget was about £ 3 million, which is low for an independent film – but yes, it was a huge leap of faith. “Memento” was clearly on a bigger scale than Following (1998) but, at the same time, there were very strong stylistic connections. People want to see something that shows them you can do what you say. That’s the trick.
• At the time I did Following (1998), I was looking at the American ultra-low-budget model that didn’t really exist in the UK. A low-budget film in England tended to be about £500,000 to £600,000. In America, there was a tradition of guys like Robert Rodriguez and Kevin Smith making films for thousands, and that’s what we’d been doing for short films. So it was really just a case of using that knowledge and expanding it to feature length. I hear of people doing it in the UK now and I think that’s a great thing.
• Working with a legend like Michael Caine is about as enjoyable and relaxing an experience on set as one could hope for. His vast experience gives him an air of good-humored calm that you could almost mistake for complacency until the camera rolls, and you see his focus and efficiency nail each scene on the first take. He once told me that he’s never asked for a second take — he’s happy to do one if you have an idea for him to try, but he brings a definitive interpretation to every line. His method has the casual air of effortlessness that can only come from decades of dogged hard work, and you sense that he’s still as hungry for every last morsel of a part as he was when he first captured everyone’s imagination. A fine actor first, and screen icon second, he’s a director’s dream.
• 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.
• But there’s a very limited pool of finance in the UK. To be honest, it’s a very clubby kind of place. In Hollywood there’s a great openness, almost a voracious appetite for new people. In England there’s a great suspicion of the new. In cultural terms, that can be a good thing, but when you’re trying to break into the film industry, it’s definitely a bad thing. I never had any luck with interesting people in small projects when I was doing Following (1998). Never had any support whatsoever from the British film industry, other than Working Title, the company that [producer] Emma Thomas was working for at the time. They let me use their photocopier, stuff like that, which is not to be underestimated.
• 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. 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.
• I think there’s a vague sense out there that movies are becoming more and more unreal. I know I’ve felt it.
• [on casting Batman Begins (2005)] Batman is a marvelously complex character – somebody who has absolute charm and then, just like that, can turn it into ice-cold ruthlessness. There are very few actors who can do that, and Christian is one of them.
• [on using CGI in Batman Begins (2005)] I think there’s a vague sense out there that movies are becoming more and more unreal, I know I’ve felt it. The demand we put on ourselves was to be as spectacular as possible, but not depend on computer graphics to do it.
• I have always been a huge fan of Ridley Scott and certainly when I was a kid. Alien (1979), Blade Runner (1982) just blew me away because they created these extraordinary worlds that were just completely immersive. I was also an enormous Stanley Kubrick fan for similar reasons.
• 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. What I’m trying to do is to create modern equivalents that speak to me of those tropes that have more of the original power.
• Yes, to me that’s one of the most compelling fears in film noir and the psychological thriller genre – that fear of conspiracy. It’s definitely something that I have a fear of – not being in control of your own life. I think that’s something people can relate to, and those genres are most successful when they derive the material from genuine fears that people have.
• A lot of it is being done in commercials and music videos. I’ve never done them, but I think that those are forms in which cross-cutting and parallel action are absolutely standard and accepted as a mainstream language. Film-makers like myself enjoy the fruits of that experimentation and absorption by the mainstream. I think people’s capacity to absorb a fractured mise-en-scene is extraordinary now compared to forty years ago.
• As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.
• …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.
• [on different acting styles] The best actors instinctively feel out what the other actors need, and they just accommodate it.

Christopher Nolan Important Facts

• $20,000,000 + 20% of gross
• $20,000,000 against 20%
• $69,000,000
• His inadvertent cult following ‘Nolanism’ was officially founded in 2014 by Dvir and Orr Ben Asuli. Although it was ultimately inspired by Christopher and his brother: Jonathan Nolan’s often “God-like” style of filmmaking. One common word that is associated with the brothers is the religious phrase “Hallelujah”, commonly used by “Nolanists”.
• Due to their successful career, Christopher and Jonathan Nolan has developed a dedicated cult following. Many of whom identify themselves as ‘Nolanists’ who can be described as those who support the ideology of Nolanism.
• Even though he made the Dark Knight Trilogy dark and serious, he admits to being a huge fan of Tim Burton’s Batman (1989).
• His first film Following (1998) was made for only 6,000 pounds and was shot on weekends as the cast and crew all had full-time jobs.
• Vast majority of Nolan’s movies have an interesting common part of the plot – the main protagonist of each of the movies Nolan has directed experience some sort of mind problem, difficulty that significantly contributes to the storyline. In Memento (2000), Leonard suffers a short-term memory loss that has been caused by the murder of his wife. In Insomnia (2002), detective Will Dormer while on prosecution of the suspect accidentally shoots his partner. As a result of this mistake, detective suffers insomnia. Thoughtout the Dark Knight trilogy (2005-2012), Bruce Wayne experiences a fear of bats, which inspires him to conquer fear and fight this mental suffering. In The Prestige (2006), magician Angier seeks vengeance on his partner, who he thinks to blame for his wife’s death and who constantly experiences visions of the moment his wife dies. In Inception (2010), Cobb suffers the loss of his wife, whose suicide he thinks he provoked. As a result of this, he constantly sees and visualizes his wife, as if he believes that she is still alive.
• He does not create a story outline before beginning the writing of a screenplay, although he does take copious notes regarding events, characters, and ideas.
• Important inspirations for his editing style were the films of Nicolas Roeg and later Terrence Malick, especially his epic The Thin Red Line (1998).
• Drinks Earl Grey Tea often on set.
• His most recent films were filmed under fake titles named for his children: The Dark Knight (2008) was “Rory’s First Kiss”, Inception (2010) was “Oliver’s Arrow”, The Dark Knight Rises (2012) was “Magnus Rex”, and Interstellar (2014) was “Flora’s Letter”.
• Despite directing many acclaimed films, he has never been nominated for the Academy Award for Best Director.
• Has directed one Oscar winning performance: Heath Ledger in The Dark Knight (2008).
• Was inspired to create the Dark Knight trilogy after viewing Richard Donner’s Superman films.
• Always refuses to use a second unit in his movies, preferring instead to oversee every shot himself with the DP.
• After James Cameron, Christopher Nolan is the second director make two films that have grossed more than $1 billion in the worldwide box office (The Dark Knight (2008) and The Dark Knight Rises (2012)). However, Nolan is the first director to have released both of the billion dollar grossing films in 2D only (James Cameron’s Avatar (2009) and Titanic (1997) have both been released in 3D at some point during their releases).
• He initially directed his Batman films so he could get funding and support for his bigger films. The one he had planned for years was Inception (2010).
• Father of Flora Nolan, Rory Nolan, Oliver Nolan and Magnus Nolan.
• Honored with a hand-print and foot-print ceremony at Grauman’s Chinese Theater in Los Angeles, California on July 7, 2012.
• He is one of the few people (also including his brother Jonathan Nolan and David S. Goyer) to work on films about DC Comics’ two most famous characters and two of the most iconic heroes in Comics, “Batman” and “Superman”.
• Refuses to use Digital Intermediates for his films, instead opting to use the photochemical timing process.
• Prefers shooting on film stock over digital, and has been outspoken against the threat by studios to phase out the use of film as a choice over digital.
• He and Spider-Man (2002) director Sam Raimi are the only directors to do three live-action comic book adaptations of the same character.
• Is the first director to do three live-action film adaptations of the DC Comics character Batman.
• First cousin of Miranda Nolan, whom he gave minor roles in Inception (2010) and The Dark Knight Rises (2012). Miranda’s brother Tom had a minor role in Batman Begins (2005).
• Adapted Ruth Rendell’s novel, “The Keys to the Street”, into a screenplay that he was set to direct for Fox Searchlight after Insomnia (2002). However, he instead went on to direct Batman Begins (2005). “Keys to the Street” remains unproduced.
• Considers Stanley Kubrick and Ridley Scott as his primary influences.
• His film, Interstellar (2014), is the sixth consecutive movie of his to have a role played by Michael Caine.
• Was doing camera and sound work on training videos before making his film debut.
• As of 2014, 7 out of 9 films Nolan directed are on the IMDB’s top 250: The Dark Knight (2008), Batman Begins (2005), Memento (2000), The Prestige (2006), Inception (2010), The Dark Knight Rises (2012) and Interstellar (2014). The two films missing are Insomnia (2002) and Following (1998).
• Always has both his American and British passports with him at all times, just in case of emergency.
• Resides in Los Angeles, California with his wife Emma Thomas and their four children.
• Is a huge fan of the rock band Radiohead.
• Has both American and British citizenship.
• Spent his childhood moving back and forth between United Kingdom and the United States. His accent is mostly English, but occasionally varies into an American accent. Nolan is comfortable with and knowledgeable of both cultures.
• Following Insomnia (2002), his next project was going to be a Howard Hughes biopic starring Jim Carrey. Nolan had the screenplay written (calling it “one of the best things I’ve ever written”), but once it became apparent Martin Scorsese was making his own Hughes biopic, The Aviator (2004), Nolan reluctantly tabled his script and took up directing Batman Begins (2005).
• Does not like computer graphics in movies and purposely avoided them when he made Batman Begins (2005).
• His top ten favorite movies are: 2001: A Space Odyssey (1968), The Black Hole (1979), Blade Runner (1982), Chinatown (1974), The Hitcher (1986), Lawrence of Arabia (1962), On Her Majesty’s Secret Service (1969)), Star Wars: Episode IV – A New Hope (1977), The Man Who Would Be King (1975) and Topkapi (1964), as well as anything by Stanley Kubrick.
• Is a huge fan of James Bond, and said to David S. Goyer, that his favorite James Bond movie is On Her Majesty’s Secret Service (1969).
• Received his Bachelor’s degree in English Literature from University College London.
• Is red and green colorblind.
• Nephew of John Nolan and Kim Hartman.
• Older brother of Jonathan Nolan.
• Gained major funding during the 1999 Hong Kong Film Festival by showing his film Following (1998) and then asking the audience to donate money to his next film Memento (2000).

Christopher Nolan Filmography

Christopher Nolan Awards