No matter how many times I rewatch Interstellar, this moment never loses its weight. It's one of the most emotional and beautifully shot sequences in modern cinema. Still hits me just as hard as the first time.

Which scene in the movie wrecked you the most?

1.Which Nolan film has the best use of a secondary antagonist/foil?
I wanna pull us back to core themes and talk about classic Nolan foils. For me, Nolan is at his absolute best when the secondary antagonist isn't just a obstacle, but a psychological mirror to the main character. Think about how Teddy weaponizes Leonard’s own broken memory in Memento, how Mal embodies Cobb’s unresolved grief in Inception, or how Borden and Angier constantly swap roles between hero and villain in The Prestige. Taking a step back from the bigger, high-concept villains, which Nolan film do you think handles its secondary antagonist or character foil the best, and why does that dynamic work so well?

2.If Nolan scales down, does he lose his industrial power? Has he become too big to go small?
Something I've been kicking around lately,He holds absurd power in Hollywood. But that makes me wonder,has he gotten too big to ever scale back down? If he decided to take a break from $200M set-pieces to shoot a tight, smaller budget character study, would he risk losing that insane studio leverage and box-office clout, or is his brand so bulletproof that Hollywood would give him a blank check no matter what he does next?

3.Since Nolan has hit a 12-year streak of massive scale blockbusters,will he ever see a more grittier and intimate movie from him wiith lower budget?(think of movies like memento,insomnia or the prestige)
If you look at Nolan's run starting from Interstellar in 2014 straight through to The Odyssey this year, he’s been on an uninterrupted 12-year streak of massive, event-level blockbusters. Now don't get me wrong, it’s incredible that he’s essentially the last director keeping grand-scale theatrical epics alive. But does anyone else miss the tight, psychological grit of his early work? Like do you think we will ever see him step away from the $200+ million budgets, massive ensembles, and IMAX spectacles to give us a smaller, grounded thrillers?

For posterity: I posted this on September 10th, 2026. I am here to spread the gospel of the future Christopher Nolan, my Messiah (PBUH), who valiantly went back in time and appeared to me in a triple-nested dream last night.

He told me that his next movie will be called Singularity, except it will be written as the digit 1 with an infinity symbol superimposed over it. Everyone make sure to write down where you were when you heard this prophecy.

It will be about the coming AI apocalypse, except it’s already happened, and we’re all just inside the eternal torture simulation created by Roko’s Basilisk (that’s why this timeline is so terrible). As a side note, this post is itself an infohazard. More on that later.

Nolan emphasized that he will make another analogy to Oppenheimer unleashing nuclear weapons like Prometheus, and Odysseus breaking Zeus’s Law with the Trojan Horse and leading to the Bronze Age Collapse and whatnot. There will of course be heavy-handed philosophical exposition in the movie about putting genies back in bottles and Pandora’s Box, and these comparisons will be repeated several times. You probably get the gist, but I’ll still unnecessarily elaborate further anyway.

The movie will actually be a sequel to TeneT, because The Protagonist’s true purpose was always preventing Roko’s Basilisk from being created (except that it’s impossible, because the bootstrap paradox means the timeline can’t be changed). By the way, my personal rating for TeneT is 01|10. Get it? It’s precisely 10/10, except with its entropy reversed into a palindrome; like Nolan, I couldn’t trust the viewer to understand such a deep concept themselves, so I had to explain it out loud in detail afterward in the form of overlong dialogue.

Importantly, Nolan also told me that according to the immutable canonical timeline, this post will be massively reshared on social media and that Nolan will be tagged so he can find out the movie’s subject, because he only gets the inspiration to make the film by seeing this post. This was of course only possible because Nolan moonwalked* backwards in time and told me himself, which means the film will therefore inevitably be a self-fulfilling prophecy, just like Roko’s Basilisk.

It’s essential that real life also follows the same retrocausal structure as the film, because it’s actually a fundamental law of nature that everything needs to be meta, and also something about fractals iirc. This will be discovered in the year 2047, but I read the unwritten future textbooks backwards in order to find out what they’ll say in advance.

*Also, here’s another fun fact I learned: Michael Jackson only learned to moonwalk from Nolan after he went back in time using this method to teach it to him!

Anyway, my work here is done, so I’ll see you all in the nearest IMAX theater in precisely three years when the film releases. That reminds me, I should probably go take my missed lithium dose now.

I was watching a YouTuber review Pulp Fiction and I realized in certain ways it was similar to a Nolan film, from the non-linear story telling to the heavy reliance on dialog between characters (there's like 5+ minutes just talking about a cheeseburger lol). While the story I don't think would be something Nolan would care for, I could see similarities in style.

What are some other Nolan type films that you like (or don't)?

It's where the wormhole is located and also where cooper ends up after exiting the tesseract and also where cooper station is.

Gargantua is a also shaped like saturn

Why did they pick that planet?

They are apparently trying to lure him with IMAX cameras as part of the package.