克里斯托弗·诺兰 Christopher Nolan

性别:
星座:
狮子座
身高:
181cm
地区:
英国
出生:
1970-07-30 , 伦敦,英国,英国
职业:
导演  制片人  演员  
出生名:
Christopher Edward Nolan
更多外文名:
Christopher Johnathan James Nolan (本名) / Chris (昵称)
更多中文名:
克里斯多福·诺蓝 / 基斯杜化路兰(港)
人物关系:
艾玛·托马斯 ( 1997- 至今 4个孩子 )

个人简介

“我是克里斯托弗·诺兰,一个典型的英国人,像我的前辈希区柯克那样,不仅是一个导演,也是一个拥有奇想能力的人。”这是诺兰对自己的评价。
  克里斯托弗·诺兰生于伦敦,7岁时就开始使用父亲的小型摄像机试着拍摄。1989年,他的超现实主义短片《塔兰特拉》在美国公共广播频道上映。在伦敦读大学时,他与一些志同道合的朋友组织了“16毫米”社团。
  他第一部真正意义上的电影——超低成本的《追随》,于1999年在伦敦上映。这部粗加工的影片在电影节上的轰动给诺兰带来了巨大的成功,其充满魅力的 拍摄手法和无与伦比的灵感与才能把诺兰快速推向事业的巅峰。在这部不到70分钟的黑白片中,诺兰以倒叙作为基本的电影叙事语言,然后在倒叙的基础上又将时间彻底地敲碎,再将这些时间的碎片粘贴在一起,使得这部不到70分钟的电影有了不可思议的长度。 因为参与者都是全职工作者,所以只有每个星期六才能聚在一起拍摄15分钟的影片,就这样整整用了1年的时间才拍摄完成了这部影片。所以说《追随》是一部游击式拍摄的影片,从灯光到布景都是DIY,每个人穿着各自的衣服在彼此的房间拍摄。正因为以上种种原因,《追随》成为一部“怀揣着年轻的梦想与野心,酷毙了的黑白电影”。《追随》无疑是一部花销很低的电影,成本大约是6000美元。如果是在英格兰,这种事情根本没有人可以办到——因为电影拍得非常美国化。但诺兰觉得这种感觉很好,拍出了自己想要的效果,后来《记忆碎片》的成功更证明了这一点。《追随》为《记忆碎片》铺平了道路。《追随》拍摄完毕提交到电影节后,诺兰开始创作《记忆碎片》。《记忆碎片》在各大电影节上连连获奖,其中包括:独立精神奖的最佳脚本及最佳导演奖,圣丹斯国际电影节的最佳电影剧本奖,广播电影协会的最佳电影脚本奖。当然还有大家十分熟悉的金球奖和奥斯卡奖的最佳电影剧本提名。 虽然凭借《记忆碎片》、《失眠症》等这样的心理惊悚片奠定了他新锐导演的地位和非常敏锐的角色感及超自信的导演风格,但原创力十足的诺兰发誓要给过去的导演形象来一个转身。其超乎寻常的想像力,让克里斯托弗·诺兰的加入成为电影《蝙蝠侠:侠影之谜》最让人惊喜的部分。这个风格奇特、个性十足的导演与本属黑暗的蝙蝠侠一拍即合。35位影评人86%的认同率,这部电影所得的评分超过了横扫全球票房的《星战前传Ⅲ》。所以看这部电影的时候,保持冷静几乎是不可能的任务。他增加了一些伟大的场面。“这是一部比漫画原作还要好的电影。”在看过电影之后的影评人这样认为。2006年的导演作品《致命魔术》以其诡异的气氛和精细的结构再次赢得了影评人和影迷的心,而2008年,新一部“蝙蝠侠”电影让全球为诺兰疯狂!!诺兰凭借《蝙蝠侠:黑暗骑士》获第35届土星奖最佳编剧奖,该片上映一周就打破北美多项票房纪录成为全球第四部票房达到10亿美元的电影 。2010年,凭《盗梦空间》获得金球奖最佳导演及最佳原创剧本提名。2012年,再度执导系列电影《蝙蝠侠:黑暗骑士崛起》,该片几乎是赢尽了票房和口碑,是比前作《侠影之谜》更为黑暗和成熟的作品,令全世界都掀起一股“蝙蝠”狂潮。诺兰凭借此片获土星奖最佳导演提名。2015年3月,凭借执导电影《星际穿越》入围第41届美国科幻恐怖电影奖土星奖最佳导演。2017年,凭借《敦刻尔克》荣获亚特兰大影评人协会奖最佳导演 、第90届奥斯卡金像奖最佳导演提名。
  诺兰的电影都围绕於哲学社会学的概念、探索人类的道德、时间与记忆理念。使用后设小说的元素、时空变化、唯我论、非线性叙事、视觉语言和叙事元素也是诺兰常用的手法。比起在室内工作诺兰较喜欢外景拍摄,他常使用实际效果来拍摄,而不用电脑成像。此外,他也是一个胶卷电影的支持者,这也是他用来拍摄电影的方式。

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  • 克里斯托弗·诺兰
  • 克里斯托弗·诺兰
  • 克里斯托弗·诺兰
  • 克里斯托弗·诺兰
  • 克里斯托弗·诺兰

获奖

获奖(105)提名(155)

黄金德比

▪ 2020   Director of the Decade 《》 (获奖)

▪ 2018   导演 《敦刻尔克》 (获奖)

▪ 2011   导演 《》 (获奖)

▪ 2010   Creative Person of the Decade 《》 (获奖)

▪ 2010   Director of the Decade 《蝙蝠侠:黑暗骑士》 (获奖)

▪ 2009   导演 《蝙蝠侠:黑暗骑士》 (获奖)

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代表作品

最新作品

影视作品

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大众印象(人物特点、作品风格或人设)

  • Begins his movies and introduces his main characters with a close up of their hands performing an action.
    Frequently casts 克里斯蒂安·贝尔, 肯尼思·布拉纳 迈克尔·凯恩, 汤姆·哈迪, 安妮·海瑟薇 and 基里安·墨菲.
    Opening scenes are usually a flashback or a piece of a scene from the middle or ending of the movie.
    Films conclude with the two central characters discussing the results which have stemmed from the events of the film.
    Non-linear timelines (跟踪 (1998), 蝙蝠侠:侠影之谜 (2005) and 致命魔术 (2006))
    Crosscutting several scenes of parallel action to build to a climax (致命魔术 (2006), 蝙蝠侠:黑暗骑士 (2008), 盗梦空间 (2010), 蝙蝠侠:黑暗骑士崛起 (2012) and 星际穿越 (2014)).
    His endings have a recurring theme of justified dishonesty. (Examples: 盖·皮尔斯's "Do I lie to myself to be happy" monologue in 记忆碎片 (2000), 迈克尔·凯恩's closing remark that the audience "wants to be fooled" from 致命魔术 (2006) and 克里斯蒂安·贝尔's rationale of how the citizens of Gotham City "deserve to have their faith rewarded" in the ending of 蝙蝠侠:黑暗骑士 (2008)).
    His films usually revolve around characters that are afflicted with some kind of psychological disorder. (Examples: 盖·皮尔斯's short-term memory "condition" in 记忆碎片 (2000), 阿尔·帕西诺's titular sleeping disorder in 失眠症 (2002), 克里斯蒂安·贝尔's phobia of bats in 蝙蝠侠:侠影之谜 (2005) and 艾伦·艾克哈特's dual personality in 蝙蝠侠:黑暗骑士 (2008) and 莱昂纳多·迪卡普里奥 not being able to grasp onto reality in 盗梦空间 (2010)).
    The storyline in his films usually involves a determined character seeking vengeance over the death of a loved one. (Examples: 盖·皮尔斯 in 记忆碎片 (2000), 克里斯蒂安·贝尔 in 蝙蝠侠:侠影之谜 (2005), 休·杰克曼 in 致命魔术 (2006), 艾伦·艾克哈特 in 蝙蝠侠:黑暗骑士 (2008), and 玛丽昂·歌迪亚 in 蝙蝠侠:黑暗骑士崛起 (2012)).
    Often casts actors against type
    Frequently uses hard cuts when transitioning to the next scenes. This is most prominent in his films from 蝙蝠侠:侠影之谜 (2005) onward, especially in 蝙蝠侠:黑暗骑士 (2008), where, in some instances, the hard cuts he uses will go so far as to nearly cut off character's lines in order to quickly and efficiently get to the next scene.
    All of his films contain a major referential connection to his prior film (e.g. the Joker performs a deadly magic trick in 蝙蝠侠:黑暗骑士 (2008); Nolan's previous film, 致命魔术 (2006), was about magicians performing magic tricks that turn deadly).
    His protagonists will often resort to tactics of physical or psychological torture to gain information (e.g. (SPOILERS) in 蝙蝠侠:侠影之谜 (2005), Batman uses the hallucinagenic fear compound on Jonathan Crane in order to gain information about his "boss"; in 致命魔术 (2006), Angier buries Borden's assistant alive in order to get Borden to talk; in 蝙蝠侠:黑暗骑士 (2008), Batman throws Salvatore Maroni off a building, breaking his legs, in order to gain information about the Joker; in the same movie, Harvey Dent puts a gun to one of the Joker's henchman and flips a coin for his life every second he doesn't talk to scare him into talking. Also in this movie, Batman uses physical intimidation for the interrogation of the Joker; in 失眠症 (2002), Dormer drives into oncoming traffic in order to scare the victim's best friend into talking; in 盗梦空间 (2010), Cobb demands that Saito discloses information to him on gunpoint; in 蝙蝠侠:黑暗骑士崛起 (2012), Batman physically threatens Bane to accquire the location of the trigger).
    His characters often gain a physical or psychological handicap in the course of the film (SPOILERS: in 致命魔术 (2006), Angier gets a crippled leg while Borden loses two fingers; in 蝙蝠侠:黑暗骑士 (2008), Salvatore Maroni gets a crippled leg; in 失眠症 (2002), Dormer gets insomnia; in 记忆碎片 (2000), Leonard gains a memory handicap, the event of which is shown in flashback during the film)
    His films often have obsessive protagonists with a troubled past, who are obsessed to gain justice by any means in life (e.g. Leonard in 记忆碎片 (2000), Al Pacino's character in 失眠症 (2002), Bruce Wayne in 蝙蝠侠:侠影之谜 (2005). Also the protagonist of 跟踪 (1998) and Hugh Jackman in 致命魔术 (2006) were obsessive)
    Lonely troubled protagonists who are unwillingly forced to hide their true identity from the world.
    Typically ends his films with a character giving a philosophical monologue
    Frequently in his films, at some crucial moment, the protagonists feel let down or betrayed by their mentors whom they have been following blindly and with respect. (e.g. The protagonist being cheated by Cobb in 跟踪 (1998), Leonard "discovering" that Teddy is the culprit in 记忆碎片 (2000), 希拉里·斯万克's character respecting 阿尔·帕西诺 as a great detective in 失眠症 (2002) only to find out that he is also flawed, Bruce Wayne and 连姆·尼森's character's confrontation in 蝙蝠侠:侠影之谜 (2005), Cutter not supporting Angier in 致命魔术 (2006), Ariadne feeling betrayed by her mentor Cobb when he does not tell her about Mal's domain over his dreams in 盗梦空间 (2010), Blake feeling let down by Gordon when his lie about Dent's death is exposed in 蝙蝠侠:黑暗骑士崛起 (2012), Murph finding out the truth about Professor Brand's work in 星际穿越 (2014).
    His films' protagonists have mostly lost their loved ones and/or failed in love, a circumstance that causes them turn into malevolent and/or apathetic forever. (e.g. Leonard in 记忆碎片 (2000) has lost his wife in a brutal murder in the past, Bruce Wayne in 蝙蝠侠:侠影之谜 (2005) has lost Rachel Dawes' faith in him throughout the film, Borden in 致命魔术 (2006) does not get his wife's love because of his character's 'act' in the movie and Angier loses his beloved in a mishap during a magic trick, Harvey Dent in 蝙蝠侠:黑暗骑士 (2008) loses Rachel as well as Bruce Wayne is not able to win her love back)
    Often casts non-American actors in American roles. (e.g. 盖·皮尔斯, 克里斯蒂安·贝尔, 休·杰克曼, 希斯·莱杰, 基里安·墨菲, 连姆·尼森, 加里·奥德曼, 汤姆·威尔金森)
    Uses camera revolving around a character. (The Prestige (2006), The Dark Knight (2005), Memento (2002) and Inception (2010))
    Displays the title before the ending credits (Batman Begins (2005), The Dark Knight (2008), Inception (2010), The Dark Knight Rises (2012))
    The original scores of his films usually play over most of the film, or one piece of music will play over many small scenes, as if they are edited in a montage; there are few moments in his films when there is no music playing in the background.
    Characters who are unreliable narrators (e.g. Borden, through his journal, in 致命魔术 (2006), the Joker through his conflicting monologues in 蝙蝠侠:黑暗骑士 (2008), and Leonard through his memory problem and 'conditioning' from 记忆碎片 (2000), Dom with his mind in 盗梦空间 (2010)
    Very frequently his films contain blackmail, attempted blackmail or a reference to blackmail.
    His films almost always end with the character's fate open to interpretation
    Enormous visual scope and heavy emphasis on location and architecture
    Villains in his films often threaten to harm the hero's friends or family
    His antagonists are often motivated by a philosophical belief rather than money
    Often works with editor Lee Smith, composer 汉斯·季默, cinematographer 沃利·菲斯特, production designer Nathan Crowley and wife-producer Emma Thomas.
    Frequently uses symmetric image composition, possibly inspired by 斯坦利·库布里克.
    Many of his films contain a scene where the dynamic of a conversation changes when one of the characters reveals that he owns the establishment or event the characters are currently attending/talking about (e.g. a restaurant in 蝙蝠侠:黑暗骑士 (2008), a charity ball in 蝙蝠侠:黑暗骑士崛起 (2012), an airline in 盗梦空间 (2010), or is closely linked with the person who does (a bar in 跟踪 (1998)). This strangely specific trademark reaches its furthest extreme in 蝙蝠侠:侠影之谜 (2005) when, at the end of a scene, Bruce Wayne actually buys the place he is in (a restaurant) to change the dynamic between him and an angry waiter.
    His films almost always end with a sudden (and very effective) smash cut to black. (Memento (2002), The Prestige (2006), The Dark Knight (2008), and especially Inception (2010) are prime examples.)
    Protagonists have a desire to return to their children (Cobb in Inception (2010) and Cooper in Interstellar (2014))
  • Frequently casts 克里斯蒂安·贝尔, 肯尼思·布拉纳 迈克尔·凯恩, 汤姆·哈迪, 安妮·海瑟薇 and 基里安·墨菲.
  • Opening scenes are usually a flashback or a piece of a scene from the middle or ending of the movie.
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早年经历

  • Gained major funding during the 1999 Hong Kong Film Festival by showing his film 跟踪 (1998) and then asking the audience to donate money to his next film 记忆碎片 (2000).
  • Older brother of 乔纳森·诺兰.
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个人语录

  • 爱是唯一可以超越时间与空间的事物。

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认领时间:2020-11-25

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