You Won’t Believe Christopher Nolan’s Shocking IMAX Advice to Ryan Coogler

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Director Ryan Coogler reveals the valuable tips he received from Christopher Nolan concerning the employment of IMAX cameras. In his next project following Black Panther: Wakanda Forever (2022), titled Sinners, Michael B. Jordan portrays both Smoke and Stack, twin brothers who establish a juke joint in their hometown during the year 1932, only to be besieged by vampires. Critics and audiences have showered the film with laudatory reviews, particularly commending its awe-inspiring IMAX theater display.

In a recent interview on the podcast The Big Picture, filmmaker Ryan Coogler discussed the process of creating his movie Sinners. He talked about using both IMAX and System 65 cameras during production, even consulting with Christopher Nolan about the use of IMAX technology. Nolan, who was working on the film Oppenheimer, offered valuable insights on how to effectively utilize these large and noisy cameras. Coogler emphasized that the most important advice he received was not to let the IMAX technology overshadow the production. You can listen to his detailed explanation in the excerpt below.

Concerning the format we were considering and debating, I had discussions with Chris Nolan and Emma Thomas. Since they had recently handled both camera setups that we eventually chose – our System 65 package employed various lenses while we used Ultra Panavision 276 lenses on another – he advised me not to be intimidated. Essentially, he said, “Don’t let the camera overpower you on set.” He acknowledged that the camera can seem daunting due to its size, especially since he often employs handheld camerawork in his films, and those cameras are difficult to handle with sync-sound equipment.

Sure thing!

“Hey there, let me geek out for a moment. [Laughs] The interesting thing about the IMAX camera setup is that it’s not actually designed for sync-sound recording, although the latest version he used on ‘The Odyssey’ might be. The one they used to film ‘Oppenheimer,’ ‘Dunkirk,’ and the last two ‘Dark Knight’ films, however, is the same one. These cameras are enormous and tear through celluloid at a rate of 15 frames per picture every second, which sounds like seven loud weedwhackers running in sync inside a metal box.”

“So, if you want to shoot an over-the-shoulder dialogue scene with this camera, it’s going to pick up the sound and make it difficult to use the original audio. In that case, you’ll need to re-record the dialogue later, or ADR.

The 65mm camera setup known as System 65 consists of two synchronized filming cameras, referred to as sync-sound cameras. An intriguing aspect about these cameras is that when they’re recording, you won’t hear any sound from them… This is because the camera is heavily soundproofed due to its intensive operations. However, this soundproofing makes it incredibly heavy, weighing around 100 pounds, and unfortunately, it lacks ergonomics, meaning it cannot be handheld during filming.

Chris hails from the same school as I do – the “whatever works for the scene” school. This means, in some movies, he’s often seen handheld-camera operating, which you might recognize. However, when it comes to shooting System 65 and requiring sync-sound camera work, you won’t find him handholding that. He’s not using a steadicam either due to the camera’s heavy weight. Instead, you’ll find him working on tripods or cranes, or the camera positioned on the ground.

Therefore, he admitted that there’s another model of this camera, the high-speed System 65 camera. This one is essentially identical to the original, but without soundproofing, you see? The weight of this camera is approximately 60lbs. It can be held manually or mounted on a steadycam. However, keep in mind that any dialogue recorded with this camera will need Automated Dialogue Replacement (ADR) right away, as it’s almost as loud, if not louder than, an IMAX camera.

[…]

Chris recommended that I should utilize it as if it were a regular camera. He explicitly stated that he positioned the camera close to Cillian’s face during scenes featuring Oppenheimer, and emphasized that getting up-close was crucial for the movie.

What This Means For Sinners

The Film’s Reception Explained

Using IMAX for filming brings an extra layer of difficulty to a production and also increases costs. Given that IMAX is typically associated with grand, blockbuster movies, some might find it surprising that Coogler chose to partially shoot Sinners in this format. However, it reflects his aspirations as a filmmaker. Despite a $90 million budget for the movie, it appears that Coogler’s decision to film it in IMAX has proven beneficial, as evidenced by its positive reception during the opening weekend.

In Rotten Tomatoes, the movie “Sinners” boasts an impressive 98% approval rating from critics, with the audience-driven Popcornmeter score following closely at 97%. The film had a strong debut at the box office, earning $63.5 million worldwide during its opening weekend. Critics have lauded the movie for its genre-blending and innovative use of music, as well as Ryan Coogler’s blend of traditional and modern filmmaking techniques. In her review for ScreenRant, Mae Abdulbanki gives “Sinners” a rating of 9 out of 10, emphasizing how the movie’s presentation enhances its deeper themes.

Working together with cinematographer Autumn Durald Arkapaw, who crafts a raw yet vibrant visual style, and editor Michael P. Shawver, whose skillful fast-paced edits in certain scenes intensify the horror, Coogler has developed a deeply emotional and captivating film that carries profound messages and does so eloquently and clearly.

Our Take On Coogler’s Use Of IMAX In Sinners

The Vampire Movie Should Start A Coogler Trend

In my opinion, a digital version of “Sinners” could have undoubtedly delivered a chilling horror experience, but the decision to shoot it on film, particularly IMAX, significantly enhances its eerie ambiance and visual appeal. The movie, boasting some contemporary touches and artistic flairs, maintains an authentic vintage vibe during numerous scenes. Moreover, there’s this breathtaking action sequence skillfully crafted for the expansive IMAX display, which intensifies the immersion and excitement levels.

It’s intriguing to speculate if Coogler will persist in using IMAX technology for his upcoming ventures. His next project isn’t set yet, but there’s a possibility that he might emulate Nolan and regard the larger format as an essential aspect of his filmmaking arsenal. If “Sinners” is any hint, he could effectively utilize it in future productions.

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2025-04-22 17:48