“Home viewing has always been an enormously important part of the cycle of any film,” Nolan says. “I wanted to give viewers a narrative reason for looking at a car chase in a different way. “The biggest challenge overall was getting there every day and trying to determine which technique to use for which shot,” Nolan said. As he’d explored on “Dunkirk,” Nolan wanted Richard King’s sound design and Ludwig Göransson’s pulsating score to be fully integrated. “We did the whole chase backwards because these cars are in another timeline,” Cottle said, noting that he hasn’t seen a chase use cars like this previously.

Source: Los Angeles Times December 15, 2020 23:39 UTC