When quoting this interview, please explicitly cite the program name 'SBS <News Hunters>'.
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■ Broadcast: SBS <News Hunters> Mon–Fri (18:50 – 19:50)
■ Anchors: Kim Jong-won, Yoon Tae-jin
■ Guest: Christopher Nolan (Film Director, Screenwriter, Producer)
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※ Watch the video for the full interview.

[Yoon Tae-jin] Welcome to 'Issue In,' a segment where we look at the world through life stories.
We have a truly special guest visiting <News Hunters> today.
[Kim Jong-won] Yes, what more needs to be said? As announced, we have Director Christopher Nolan of the film <The Odyssey> with us.
[Nolan] Thank you.
[Kim Jong-won] A warm welcome to <News Hunters>.
Thank you so much for making the trip to South Korea. This is your first visit, but coincidentally, you arrived when South Korea's temperatures are at their hottest in over 100 years since weather observation began. So fans were worrying, "Isn't he hot wearing a jacket?" How did you find the temperature in Korea?
[Nolan] It's not terribly hot. Before coming to Korea, I visited China and India. So I think I'm getting used to the hot weather. And unlike you, anchor, I don't have to wear a tie, so I'm doing fine.

[Yoon Tae-jin] That's a relief. Many fans welcomed you in the SBS lobby as well, and you gave great fan service by signing autographs for each of them. In fact, Korean fans love you very much, Director Nolan. <Interstellar> also reached over 10 million admissions. Why do you think Korean audiences in particular love your films so much?
[Nolan] It's a difficult question to pinpoint a single answer, but one of the reasons I've wanted to come to Korea for a long time is that when <Interstellar> was released several years ago, so many Korean moviegoers came to see it. When a film is released worldwide, it can be challenging from a director's perspective. There are many countries I've never visited, yet I have to communicate with audiences in those countries through the film. But it was clear that Korean audiences responded with immense enthusiasm to <Interstellar>. Ever since then, I really wanted to come to Korea, meet the audience, and feel that passion firsthand. I hadn't had the chance until now, but with the release of <The Odyssey>, I've finally come to Korea. I'm very excited to present this film in Korea and communicate directly with the audience. I've spoken with many people throughout the day today, and it's truly fascinating to see how my work resonates with people from different cultural backgrounds.

[Yoon Tae-jin] Let's talk about <The Odyssey>. It is Homer's epic poem dealing with the aftermath of the Trojan War. In Hollywood, ancient Greek mythology is sometimes avoided because of the high financial risk relative to production costs. What made you decide that this film needed to be released to the world at this time?
[Nolan] My previous film, <Oppenheimer>, was a great stroke of fortune for me. It was a huge success, with so many people in Korea and around the world coming to see it. From a director's standpoint, that kind of success creates an opportunity. It allows you to produce films that would otherwise be difficult to make. There's something I've always paid attention to: Homer's <The Odyssey> is a myth that forms the foundation of Western literature, and Greek mythology has been a fascinating and compelling story for countless generations over thousands of years. Yet, it has never been made into a modern film utilizing large-format IMAX screens. From a director's perspective, this is a tremendous opportunity to attempt something new that hasn't been done before. It's also a chance to offer audiences a story about a journey they've never experienced in a theater before and invite them to participate in it.

[Kim Jong-won] These days people say we live in the "AI era," and I saw in another interview where you said, "Reinterpreting and adapting this ancient work is my domain." In this AI era, in what direction did you reinterpret and adapt this classic, <The Odyssey>?
[Nolan] I didn't want to follow the old Hollywood approach. Films from the 1950s and '60s, or going back to the 1920s and '30s, often portrayed classical or ancient civilizations as overly grand, overly formal, and alien spaces. The original epic poem I read was not like that. When you read <The Odyssey>, even though it's a story from thousands of years ago, you feel a strong sense of connection with the people of that time. So I wanted to make a film that modern audiences could relate to with familiarity, as if it were their own story.

[Kim Jong-won] I am also a huge fan of your films and have watched them all. Looking back, I feel <The Dark Knight> and <Oppenheimer> captured the agony of a hero; <Inception> and <Interstellar> were about homecoming, returning back; and <Dunkirk> focused on the scars of war. Having watched <The Odyssey> ourselves, we felt it is an ultimate story that encompasses all of these elements. Did I see it correctly?
[Nolan] You saw it accurately. Re-reading <The Odyssey>, I was also very surprised.
It didn't just contain the story of <Interstellar>. In fact, when making <Interstellar>, I think I had <The Odyssey> in mind to some degree. But looking back at <The Dark Knight> trilogy, <Tenet>, and my other films, so many of the themes and story archetypes I've dealt with throughout my filmmaking career actually had their roots in the epic poem <The Odyssey>. It was a fascinating discovery. It also gave me the confidence that I knew how to bring this story to film. Because this ancient story archetype contained elements I had explored throughout my career, it felt as familiar as an old friend. Thanks to that, I was able to build a deep connection with the original text and gain confidence in conveying this story well.

[Yoon Tae-jin] Personally, watching your films gives me a strong impression that you deeply explore human emotions. So while watching <The Odyssey>, the scenes of fighting monsters were very impressive. Rather than being mere opponents to defeat in battle, they seemed to target and tempt human weaknesses. I'm curious about your view on what temptations modern people are most prone to fall into, and what mindset is needed to overcome them.
[Nolan] That's a good question. A very profound question. I think <The Odyssey>, as you said, shows the dangers and temptations that we as human beings must overcome. Since there are people who haven't seen the film yet, I won't spoil too much of the story, as it opens in Korea this Wednesday. But by the time you reach the end of the film, you will clearly see why such an ancient work remains meaningful today. At its core is the concept of 'xenia.' In the film, it is described as 'the Law of Zeus.' To explain it, back then, whenever people traveled anywhere, they had to rely on the goodwill of strangers. So there existed a code called 'the Law of Zeus.' It means respecting others and treating them as you would like to be treated, because the stranger you are dealing with might be a god in disguise. When I first read <The Odyssey>, this concept felt very alien to me, like a way of thinking from a completely different culture, based on faith in gods and various beings. But in preparing the film, refining the script, and actually shooting it, I came to realize that this concept of mutual respect is a vital principle forming the foundation of civilization. In a way, the ultimate message of this film is that 'anyone who ignores or fails to respect these principles will ultimately face grave danger.'

[Kim Jong-won] I'd like to move on to a technical topic. I heard this is the world's first feature film shot entirely on IMAX film. I actually realized for the first time how large IMAX cameras are—they are enormous. I also heard they generate severe noise, so you had to build special equipment, and that this had been a dream of yours since your teenage years. Did you shoot entirely in IMAX because it was <The Odyssey>, or was <The Odyssey> chosen because the conditions finally allowed a film to be shot entirely in IMAX?
[Nolan] I think both reasons are true. As you mentioned, I had wanted to make a film like this since I was 16. It started when I first saw an IMAX documentary at the Museum of Science and Industry in Chicago. I've been using IMAX technology since <The Dark Knight>—for action sequences, grand landscapes, and helicopter shots. I tried to use IMAX more, but there was always an obstacle: camera noise. Using IMAX allows you to achieve incredible image quality, but noise is generated as a massive amount of film passes through the camera all at once. So I thought if shooting entirely on IMAX could ever be realized, <The Odyssey> was the opportunity. As a film telling the grandest story, it had ample justification to take on that challenge. So I contacted IMAX and consulted with friends there. I said, "If we are going to achieve shooting an entire film on IMAX, this movie is the chance." "Is there a way to reduce camera noise?" "Is there a way to capture the actors' delicate, emotional performances?" IMAX responded to the request by developing not only a new camera but also a "blimping" system—a system that houses the camera inside to effectively block out noise. Thanks to that, the camera could get very close and capture the actors' subtle emotional acting. However, the camera is still large and heavy. It's not easy to handle. So cinematographer Hoyte van Hoytema and the camera crew had to come up with creative solutions to move like a small, agile camera. But thanks to that, we were able to shoot the entire story with the same level of technical perfection. Capturing the world this way allows audiences to be immersed in the film. IMAX is the sharpest and clearest film format ever developed, with the best color reproduction. I hope everyone watching this movie in theaters, in any cinema, will fall deeply into the story.

[Kim Jong-won] I heard this was extremely tough work. I'm curious if you would consider trying this approach again in another film.
[Nolan] Of course, I intend to challenge myself again. Through this process, we found solutions to many problems. If I make another IMAX film, we can build upon these achievements. But ultimately, what matters is "what story you want to tell and how you want to tell it."
What I'm really looking forward to is seeing how other directors will utilize IMAX technology.
Now that people know this technology exists and is an option, someone will gain the courage to attempt something new. My colleague, director Ryan Coogler, also shot his recent work using a combination of IMAX and 65mm film. Another colleague, director Denis Villeneuve, utilized IMAX cameras in his new <Dune> installment coming out later this year. What I really look forward to seeing is another director, perhaps a younger, emerging director, capturing an entire story in the way we did with <The Odyssey>.

[Yoon Tae-jin] Oh, there seems to be so much more to look forward to! You are well known for minimizing CG effects and putting immense effort into production design. This time, the era was the Late Bronze Age. What did you focus on most when designing these sets and production designs?
[Nolan] Archaeologically, very little is known about that era. We started with research, but soon realized we had to exercise imagination and intellectual inference. We referenced architectural records, of course, but ultimately we had to create a cohesive world that the audience could believe in. So production designer Ruth De Jong, with whom I worked on <Oppenheimer>, stepped in. She is someone who always works based on meticulous historical verification. We began by looking at "materials." We pondered what materials were available back then, how they would have been used, and how they were processed to make costumes, weapons, houses, and ships. Starting from research, it evolved into finding believable solutions through that process of intellectual inference I mentioned.
However, in terms of shooting methodology, we pursued realism. I wanted to film the actors in real environments. Taking ships as an example, we had to find functional ships with hull structures and rigging that could have existed in the Bronze Age. We wanted to be on real ships with the actors, hitting actual waves while filming. That sense of realism and tactility formed the foundation of the work across all departments.

[Kim Jong-won] I see. I was personally curious about something: as Anchor Yoon mentioned earlier, one of the reasons Korean audiences love you so much is that you don't use CG heavily, which many viewers find fascinating and interesting. In today's world, creating everything with CG might seem easier in some ways—and that industry itself is huge, of course. Coming up with ideas to substitute CG with physical art and practical effects must take a lot of time. What is that process like for you? Is it a painful time?
[Nolan] This film features incredible, fantastical creatures including the Cyclops, Scylla, and Charybdis. But we wanted to give these creatures the same sense of reality and tangibility as any other scene in the movie. So I instructed the crew to figure out ways to shoot as much as possible practically. Computer graphics were utilized after that, applied where they could have the greatest effect—such as seamlessly compositing elements shot in real life or erasing safety gear used during filming so it wouldn't show on screen.
However, the most important fact is that whether we use computer graphics, puppets, or animatronics, the core is ultimately human creativity, and collaborating with creative human artists. Whether an artist uses a computer or another method, the essence doesn't change. Having this perspective allows us to maintain a consistent vision across the entire film. Through collaboration with our crew, I create results that harmonize with the worldview of the whole movie. This perspective is always crucial to me, and an indispensable element in this perspective is human creativity. These days, there seems to be a strong tendency to take easy shortcuts instead of relying on human creativity, or to treat computer graphics as something to be automated with AI. But my interest lies in utilizing these technological tools alongside the creative human artists I collaborate with. I believe that only when technology is used in this way can we produce a work that everyone feels proud of, a work that audiences can genuinely believe in and immerse themselves in.

[Yoon Tae-jin] We saw in overseas media interviews that because <The Odyssey> was such a massive project, you mentioned feeling exhausted and wanting to take a rest for a while. But fans are cheering you on, saying, "Right now, immediately, quickly, hurry up!"
[Kim Jong-won] "Don't stop!"
[Yoon Tae-jin] Saying "Get to work!" So we are curious: are there any Korean actors you'd like to work with on your next project, or any Korean works you've been keeping an eye on?
[Nolan] Today I had the chance to speak at length with Director Park Chan-wook. Toward the end of our conversation, Director Park asked what my next project would be. I replied that I didn't know, because I really don't know yet. To that, Director Park said, "Enjoy your vacation and get some rest. But don't rest for too long, because I really want to see your next film." Honestly, hearing that made me feel very tired! But he is a truly extraordinary filmmaker. I've admired his work for a long time. Korea has so many great directors. The momentum of Korean filmmakers expanding onto the world stage is remarkable. Their works are spreading globally and changing the cultural current internationally. I'm watching the achievements of Korean filmmakers with great interest.

[Kim Jong-won] <The Odyssey> hasn't been released in Korea yet, but it's coming soon. Many people are familiar with the original work, so many are curious about how you adapted it. Could you offer a tip on what aspects Korean audiences—especially Korean fans who love your movies—should pay attention to?
[Nolan] There is one thing I would like everyone to keep in mind. This film is a work that can be enjoyed even by people who know nothing about or have no interest in the classic <The Odyssey>. <The Odyssey> is one of the greatest adventure stories in history, and that's precisely why I wanted to adapt it into a film. I wanted to make the most entertaining movie possible to the best of my ability. To Korean moviegoers and those who enjoyed my previous works, I ask you to go to the theater without any preconceptions, have a truly great time, and fully enjoy this adventure with Odysseus.

[Yoon Tae-jin] Well, it looks like we have to say goodbye to the director here today. We hope you make many wonderful memories in Korea. Let's say goodbye. We hope to see you again.
[Kim Jong-won] That was Director Christopher Nolan. Thank you.
<End>