Excerpts from Nolan’s diary:
I awoke this morning feeling today will be extraordinary, ambitious, and groundbreaking. Not ordinary thoughts of ordinary men, but I am no longer an ordinary man. Last night I got my hands on a camera with untapped potential, and I am going to tap it. I’ve had ideas since when I was a kid of breaking the barriers of film, and this camera should be the very tool I need. It shall be the star of my movie, the best in a cast of one.
I’ve been having difficulties with this camera, I’m afraid it is not all it was toted to be. I had hoped so much to forgo particulars and capture ‘isms’ in their essential transcendence, but I can’t seem to focus on universals with this thing. It is always nearsighted, and so I think I will need to rouse up some people to stand between the camera and the essence of humanity; a few old planes and boats should do to represent the utmost of human endeavor. Sandhurst rang me up, and they have three Spitfires I can use. This is a most excellent bit of luck as I believe the Spitfire is just the craft to represent glorious individualism. (remember to use the Spitfire whenever I don’t know what else to film)
Upon reflection, I am glad I only have about ten planes in all: three Spitfires and a half-dozen German planes. This removes the temptation to film a battle while I’m filming my survivalist humanist pic. But war is the sort of thing I need to set my particulars in…damn technology and its inability to transcend.
I’ve thought of the perfect event, Dunkirk. It has all the elements I need: individual-humanism against God-nature-indifferentism, human-individualism against human-machine-destructionism, humanity against rationalism and defeatism and big government. I want to do something different here, put in some twist. I am thinking of making the Germans be the ones on the beach and the British be the bad guys with the Stukas.
I’ve decided to go with the complexity of three different timelines instead of a twist. The more I thought about it the more I realized that the movie couldn’t be affected by the swapping the Germans and the British and I didn’t want to bother with the German accents which I find not as convincing as the British sentimentalism. If the audience is German or sympathetic to them, I am sure their accents will not get in the way of their imagining that the British are the Germans. (I sometimes think now about how humanity in its essence is able to be impacted by events and my films)
I’ve come a long way with the timelines. One is a day, one a week, and one an hour. This is very exciting and groundbreaking. I thought of also making it meaningful, but was afraid I might have to add a story line or human interest on a particular level to do that, and I must continue to stand firm against the flaws of the cinematic medium. Another possibility was to have the different threads meet up in an interesting way, but have opted for a couple overlaps in shots and a little backtracking. I am afraid that if I start putting characters together they might come to resemble government, or community, or something other than the quintessential individualism that has brought humanism to the fore.
Spitballed with Hans today. Sketched the idea for him and he was aboard in a moment. He told me he was inspired and would start working on something pronto. 45 minutes later he phoned me back and told me he had just sent over my soundtrack. I was of course delighted and surprised. Listening to it I realized it was just the sort minimalist modernism I needed, with a lot of that brilliant squeaky fast stuff which is SOOO suspenseful. I was flummoxed by the note he attached:
I’ve long wished for a visionary to bravely come forward and make this film. Raymond is a danger to our culture, my involvement with his creation and deification is truly the one regret of my professional career. Euthanasia is the new frontier, and I am glad that having worked together on the last frontier in Interstellar, we have together broached the next. DUA.
But the score was perfect, and so I merely thanked him for his ingenious help and chalked up the note to his eccentric humor.
Began filming today and found my lead. I had an excellent idea for the opening shot. It is going to be quite the most perfect shot of the movie. I had a few guys in British uniforms browsing a street and told some of them to die when shots were fired. They took it a bit far and all of them died but one and I figured that I may as well make him the focus of the week-timeline until he decided to fling the old arms up. It was a bit confusing really, since I hadn’t meant to be quite so focused on a single person in the beach scenes, and it didn’t help that he seemed to be one of a set of triplets, but now I think that my decision to run with him is justification enough for H calling me a visionary.
I added an old man in a boat today. I was only going to have a boat going across the channel for the day-timeline, but Kenneth Branagh said that he had difficulty bring the tear to his eye when the home pleasure fleet arrived and that listening to Hans’ wailing violins on loop was only making him irritated, not tearful. I thankfully remembered a punch article I read as a kid which listed the 40 stereotypical lines sure to invoke English stiff-upper-lip patriotism and not so formal gratitude. So I gave my boat a captain and a mate. There was some kid hanging around the wharf who insisted on being in the movie, and I was feeling benevolent so I let him onboard. It is a bit crowded on this boat and the kid can’t act, but I’ll figure something out.
I’m a bit worried about where my boat captain is going with this part of his. Give a mouse a cookie…
I brought Mr. Rylance on board to help Kenneth relate to the arrival of the fleet, and now I find he is threatening the whole endeavor; he is trying so hard to break through the script and be a virtuous hero. Thankfully he is erring on the mushy sentimental side, but even that is not quite as abstract as I could wish for.
Whenever I become too stressed from MR’s attempts to portray a character I switch over to Tom Hardy and his Spitfire: thank God for Sandhurst and Tom’s eyes. (Those eyes!) He is perfect in the role, and the role is perfect: no real interaction with anyone and the surreal voice of Michael Caine self-consciously proclaiming Oedipus prognostications. Humanity and Fate alone in the void—that is the fiber of my vision. I really didn’t write much for Tom to say, but I spent much ink on the stage directions ‘zigzag with a ME 109 for a long time and stagger gunfire effects too late on all the passes’. HVH is a master at interpretation here.
It has been a long time since my last entry, the work has been overwhelming. Of the 400,000 extras I had hired only a few thousand showed up. Of the extras that did show up some thought they were not extras at all, the strangest being some dude who just started talking in the beached boat scene, and accused one of the other extras of being a spy. It was very strange and I thought we would have to continue to reshoot the scene, although we are going to use it after all now that we have been through the first full screening. Thankfully he hadn’t said anything which would date his accusations and we could use his paranoia to our advantage.
That screening was rough. No one there understood what I was doing. They wanted story, plot, character, involvement. No ‘ism’ was even mentioned. They insisted that I add development, climax and resolution. I haggled with them and pleaded with them to leave my brainchild essentially untouched, and eventually we compromised. I didn’t have to add any story arcs or structure, but instead was permitted to add vignettes, little burps of climax without resolution, which incidentally solved some residual problems, like the dockhand who couldn’t act, and permitted us to insert a very pretty Stuka dive we hadn’t found a place for.
I think this is a masterpiece.