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㽶ƵֱTenet㽶Ƶֱ returning to theaters and why 㽶ƵֱDune 2㽶Ƶֱ will be shown on film

A Q&A with top directors Christopher Nolan and Denis Villeneuve
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Denis Villeneuve, left, and Christopher Nolan pose for a portrait on Friday, Feb. 2, 2024, in Los Angeles. (Photo by Rebecca Cabage/Invision/AP)

Christopher Nolan has, by any account, had a banner year with 㽶ƵֱOppenheimer.㽶Ƶֱ But 㽶ƵֱTenet㽶Ƶֱ was still on his mind.

The starring John David Washington and Robert Pattinson was , when many theaters were open internationally but not yet in New York and Los Angeles. And all those IMAX 70mm and 70mm film prints, which proved so were just sitting around.

㽶ƵֱIt㽶Ƶֱs a film that was designed, almost more than any I㽶Ƶֱve made, to be enjoyed in this form,㽶Ƶֱ Nolan told The Associated Press. 㽶ƵֱWhen I heard they were going to be making film prints on 㽶ƵֱDune: Part Two,㽶Ƶֱ I jumped at that and thought what if we opened up the week before? We can dust off the projectors.㽶Ƶֱ

Nolan showed one to Warner Bros. film chiefs Pam Abdy and Michael De Luca, and 㽶Ƶֱthey got it.㽶Ƶֱ

Beginning Feb. 23, 㽶ƵֱTenet㽶Ƶֱ , .

Longtime friends, Nolan and Denis Villeneuve spoke to the AP last week, outside of a sold out showing of the re-release, about 㽶ƵֱTenet,㽶Ƶֱ 㽶ƵֱDune: Part Two,㽶Ƶֱ and the sense that, a decade after Kodak almost stopped making film altogether, movie audiences are embracing and rallying around film too.

Below are excerpts from the conversation, which has been edited for clarity and brevity.

AP: I spoke to people who held off on seeing 㽶ƵֱTenet㽶Ƶֱ entirely, holding on to the hope that it would get a proper re-release.

NOLAN: For me, living in Los Angeles, I never got to see it with an audience. It came to streaming first here, so this is a really fun opportunity to get it in front of people the way it was intended. The thing with 㽶ƵֱTenet㽶Ƶֱ is, I think of all the films I have made, it㽶Ƶֱs the one that㽶Ƶֱs very much about the experience of watching films. It㽶Ƶֱs about watching spy movies in a way. It tries to build on that experience and take it to this very magnified, slightly crazy place. A lot of that is about sound and music and this huge image.

More than any film I㽶Ƶֱve made, 㽶ƵֱTenet㽶Ƶֱ was designed to have this very theatrical, IMAX, larger than life identity.

AP: 㽶ƵֱDune: Part Two㽶Ƶֱ was shot on IMAX digital but will be shown in film. Can you explain how this works?

VILLENEUVE: It was not planned that I would get an IMAX film release. It was a bit like a gift from life, the movie being delayed because of the . Someone came with the idea to try it. They mentioned this once and then I was like a dog not letting it go. The idea to experiment, and, frankly, Chris will say 㽶Ƶֱcheat㽶Ƶֱ because㽶Ƶֱ

NOLAN: I wasn㽶Ƶֱt going to say that!

VILLENEUVE: But still, I left film a long time ago. Or, I didn㽶Ƶֱt leave film, film left me and my heart was broken.

NOLAN: Film wants you back.

VILLENEUVE: I㽶Ƶֱm flirting with the idea, Chris Nolan.

I cannot give numbers, but I know that many of the pre-sales for 㽶ƵֱDune: Part Two㽶Ƶֱ are in 70mm. There㽶Ƶֱs the notion of an event and that is something people are starving for, they are craving it.

NOLAN: As filmmakers we㽶Ƶֱre competing with incredible home technology. We have to raise our game, but it㽶Ƶֱs great to see a new generation seeing what the difference is. There㽶Ƶֱs an emotional response to it that I think is very hard to quantify. It㽶Ƶֱs hard to justify to the studio sometimes. So it㽶Ƶֱs wonderful when they look at the numbers and they see that they sell more tickets that way, because audiences get something.

VILLENEUVE: The idea to put 㽶ƵֱDune㽶Ƶֱ on film didn㽶Ƶֱt come from me, to be honest. It came from Warners.

NOLAN: I㽶Ƶֱm admitting nothing, but we might have pointed out to them some of the numbers that we made.

VILLENEUVE: It always ends up being about the money.

NOLAN: I just like hearing the guy who made 㽶ƵֱDune Two㽶Ƶֱ be like 㽶Ƶֱit㽶Ƶֱs all about money.㽶Ƶֱ I㽶Ƶֱve seen that film. That㽶Ƶֱs not a cheap film, my friend.

VILLENEUVE: I have a question for you Chris. You must have strong shoulders because you were able to keep film alive by yourself. You㽶Ƶֱre pretty stubborn, my friend, but was there a moment where you felt a bit alone?

NOLAN: Emma was always on the exact same page. I think it would have been very hard if my producing partner hadn㽶Ƶֱt understood it the same way I understood it, emotionally. I㽶Ƶֱve never felt on my own because it was always at least the two of us together. (But) there was a strange feeling of, hang on, how can it come down to this? We㽶Ƶֱve achieved this incredible goal to be able to make films on a large scale, surely they won㽶Ƶֱt take the tools away at the last minute.

VILLENEUVE: I think that㽶Ƶֱs the way movies will survive. Large formats, like IMAX more precisely, is definitely the future of cinema because you cannot reproduce that at home. Not even in your home.

NOLAN: Well, mine㽶Ƶֱs pretty good (laughs).

VILLENEUVE: Yours is the BEST. But it㽶Ƶֱs not IMAX.





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