Your Assistance Please

We need your help to battle spammers and also to keep our community user friendly.
PLEASE BE KIND TO OTHERS - Refrain from personal attacks. Avoid politics and harsh language whenever possible. If someone is violating our simple rules, DO NOT confront them, simply report the post.
STOP SPAMMERS - Report the post. DO NOT respond to them.

2017 is a year of renewal for us, we have lots of exciting changes on the way for you, but we don't have time to deal with trolls and spammers. If you find yourself suspended and need to plead your case, you will need to do so after your suspension. We are happy to address your concerns if you made a simple mistake. However, please note that those with a history of bad behavior and pushing our rules to the limit will not be given the courtesy of a reply.

MiceChat offers a number of ways for you to communicate and get involved. We offer Facebook Groups and Pages, Twitter, Instagram and Pinterest accounts. We have a front page filled with amazing content. We offer weekly meetups in the parks. Meets and events all over the world. Podcasts and videos. And we continue to maintain forums for your posting convenience. But with all those options, we can't be everywhere all the time. We need YOUR help. Please don't poke the trolls. Report posts and leave reputation. We'll do our best to keep the forums clean and active, but we can't do so without your help.

Thank you for your support folks, it's going to be a really fantastic year in the MiceChat world.
See more
See less

'The Prestige' Nolan brothers' sibling scribery - Los Angeles Times 10/15/06


Ad Widget

This topic is closed.
  • Filter
  • Time
  • Show
Clear All
new posts

  • 'The Prestige' Nolan brothers' sibling scribery - Los Angeles Times 10/15/06

    Chalk it all up to sibling scribery

    Chris and Jonah Nolan often disagree, but that in turn leads to complex, identity-probing films.

    By John Horn
    Los Angeles Times Staff Writer
    October 15, 2006

    FILMMAKERS Chris and Jonah Nolan appear to be brothers in name only.

    Chris has the scruffy pallor of a sleep-deprived father (the 36-year-old has three young children), while Jonah, 30, shows the robust physique of a gym rat. Chris favors suits and dress shirts, Jonah jeans and T-shirts. Chris speaks with an English accent, while Jonah's is Chicago American. Chris doesn't even use e-mail, but Jonah lives by the Internet.

    People who meet them "think they are putting them on when they say they are brothers," says David Goyer, who wrote the story and shared screenplay credit on Chris Nolan's "Batman Begins" and wrote the story for Chris and Jonah's screenplay for the sequel, "The Dark Knight." "You don't think of brothers having totally different accents and mannerisms."

    Despite all their obvious differences, though, the Nolan brothers speak with a distinct and unified screenwriting voice. Their collaborations — "Memento," "Batman Begins" and its upcoming sequel, and Friday's "The Prestige" — have accomplished what few screenwriters and directors manage: They wowed moviegoers and critics simultaneously.

    "The Prestige" likely represents their greatest challenge yet. While "Memento," which Chris adapted from Jonah's short story "Memento Mori," was told in reverse chronological order, it didn't carry an exorbitant pricetag, budgeted at $5 million. "Batman Begins," on which Jonah served as a creative consultant but had no screenplay credit, cost a fortune at $150 million, but it benefited from pervasive brand-name awareness. "The Prestige," for its part, occupies Hollywood's most dangerous middle ground: It's a medium-priced (more than $40-million) adult drama based on a complicated novel unknown to most ticket buyers.

    Written by English science fiction author Christopher Priest, "The Prestige" is an account of a duel between two magicians in turn-of-the-century London. Alfred Borden (played by Christian Bale) and Rupert Angier (whose first name is changed to Robert in the film and who's played by Hugh Jackman) are each obsessed with the other's tricks, especially iterations of a deception in which the rival magician appears to be transported across the stage — or even across the theater — in the blink of an eye.

    The film as well as the 1996 book are anchored by the competition between the illusionists, which grows increasingly personal and cold-blooded. The book's largely diaristic narrative also strays in several directions, with elements of a ghost story and a detour into anti-spiritualism and the birth of electricity — all framed by a modern-day storytelling device. But the very literary ambitions that made "The Prestige" a memorable novel (it won the World Fantasy Award and the James Tait Black Memorial Prize) turned it into a nearly unsolvable cinematic riddle, one that would take the Nolan brothers seven years to crack.

    "It's a really tough adaptation," says Chris. "It's just sprawling. It's got all this different crazy stuff in it. But you know there's a great movie in there." Adds Jonah: "It's just a grind figuring it out."

    The resulting movie — like so much of the Nolans' earlier work — revolves around identity, the distinct differences of personality even within the same person. (Chris' first feature film, 1998's "Following," a movie about a mysterious voyeur made without his brother, as well as "Memento" and "Batman Begins" all dwell on various explorations of the self, the struggle between what a person assumes he is or wants to be and what he truly is destined to be.)

    Those themes play a prominent role in "The Prestige," but there's not much more that can be said about the movie without giving away its plot twists. Let it be said that magic is only part of the deceit.

    Full article at
    "If you don't know how to draw, you don't belong in this building" - John Lasseter 2006

Ad Widget