(Smile.) Do not repeat it to the studio: it will be my most

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(Smile.) Do not repeat it to the studio: it will be my most experimental film. By far. I preferred to make a sensory, almost experimental movie. Without dialogue. The soldiers have no history - at least I don’t tell it. Most of the crew didn’t understand why I was screening them The Wages of Fear. But it was the one that made the most sense. Which talks about mechanics, procedure and physical difficulties. I rewatched Pickpoket and Un condamné à mort s’est échappé, just for that. Bresson details everything, creates suspense with details.

[Saving Private] Ryan is a film about the body, blood, fear of being dismembered. Dunkirk doesn’t play in the same category. It’s a movie with suspense and a race against time. The fear on which I play is more … intellectual.

It isn’t by accident that Heart of Darkness by Conrad is one of my favorite novels. It’s the purest form of geography and storytelling. Conrad never repeats himself, he sinks gradually into the depths of the human mind. Is it an inward journey or a trip out of oneself ? That’s the real question Conrad is asking. And 2001! And Dante! How to tell the trip ? This is the main question of cinema. Dunkirk speaks about a very special place that evokes the Bible squarely. In May 1940, the English were the Jews driven out of Egypt and driven back by the Red Sea. And in a Judeo-Christian civilization it adds a very strong level of mythology.

The biggest Nolan interview, since the silent era, in fact

http://nolanfans.tumblr.com/post/157900870658/christopher-nolan-interview-about-dunkirk-in

TDKR was him channeling the spirit of Fritz Lang and David Lean. He thinks he's Robert Bresson now. Even casting non-actors to get more unique performances, like the One Direction faggot. Bresson would be proud.