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Clark muss ein "Man of Steel" werden, um die Menschen, die er liebt zu schützen und gleichzeitig als Format: Prime Video (Online-Video wird gestreamt). Kal-El vom Planeten Krypton wird von seinem Vater Jor-El in einer Rettungskapsel auf die ferne Erde gesendet, um dem drohenden Untergang des Planeten zu. Schauen Sie sich kostenlos Filme online an. Voller Man of Steel [] FullMovie Online Man of Steel [] Film Online ansehen. Man.

Studio executive Jeff Robinov planned to have the film released either by or , explaining " Superman Returns didn't quite work as a film in the way that we wanted it to.

It didn't position the character the way he needed to be positioned. Had Superman worked in , we would have had a movie for Christmas of this year or Now the plan is just to reintroduce Superman without regard to a Batman and Superman movie at all.

He elaborated, "Everyone is waiting for Nolan to sign on for another Batman, once that happens, the release date for Superman and all other future projects will follow.

However, if they did not begin production on a Superman film by , then the Siegel estate would have been able to sue for lost revenue on an unproduced film.

The plot of Man of Steel employs a nonlinear narrative , and tells parts of the story in flashback. Goyer told Christopher Nolan his idea regarding how to present Superman in a modern context.

I only know the way that has worked for us that's what I know how to do," emphasizing the idea that Batman exists in a world where he is the only superhero and a similar approach to the Man of Steel would assure the integrity needed for the film.

They have nothing to do with each other. Jeff Robinov, president of Warner Bros. Pictures Group, spoke to Entertainment Weekly , and allowed a peek over the wall of secrecy surrounding their DC Comics plans: "It's setting the tone for what the movies are going to be like going forward.

In that, it's definitely a first step. When Zod destroys a satellite, the words "Wayne Enterprises" are scrolled on the satellite.

The film's storyboard was created by Filipino-American storyboard artist Jay Oliva , in his first live-action feature film project, along with Snyder.

During the film's brainstorming, Oliva pitched the idea as, "I could come up with something I've never seen in live-action American cinema and only in anime".

Principal photography began on August 1, , at an industrial park near DuPage Airport under the codename "Autumn Frost".

Man of Steel filmed in the Chicago area, California and Burnaby 's Mammoth Studios, which was transformed into Superman's home planet of Krypton and myriad extraterrestrial aircraft.

Metro lands on Vancouver's North Shore waterfront hosted the shoot for the dramatic oil rig rescue that introduces audiences to Superman.

Ucluelet and Nanaimo , British Columbia , feature prominently in the film's first hour—the trademark winter mist and rough seas are passed off as Alaska in the film.

Filming took place in the Chicago Loop from September 7 to The costume preserves the color scheme and "S" logo, but adopts darker tones, and notably does not feature the red trunks usually worn by Superman.

Zack Snyder said the costume is "a modern aesthetic". He and the producers attempted to devise a suit featuring the red trunks, but could not design one that fit into the tone of the film, leading to their removal from the suit.

A lot of the efforts we took in the film were to explain why the suit looks the way it does. We didn't want it to be a random, ornamental decision.

We start the film on the planet of Krypton, which is where the suit comes from, and we go to great pains to show the suit fitting into the culture.

All of the people you see on Krypton are wearing this chainmail-like suit, with the same detailing as the Superman suit. Everyone has their family crests on their chests.

The cuff and the boot details are shared through all of the different characters we meet on Krypton. So by the time we see Superman in his suit we understand why it looks the way it looks.

A lot of the rules are the Battlestar Galactica rules for the space cams that Gary Hurtzel [ sic ] developed for that miniseries , where we want to make sure if we're translating the camera at all it makes sense.

Unless the action is so over the top, like in the end where Superman is beating up Zod—we had to break it a bit.

For the first act of the film taking place on the planet Krypton, Weta Digital placed alien-like planet environments, creatures and the principal means of display—a technology the filmmakers called "liquid geometry".

Weta Digital visual effects supervisor Dan Lemmon explained that, "It's a bunch of silver beads that are suspended through a magnetic field, and the machine is able to control that magnetic field so that the collection of beads behave almost like three-dimensional pixels , and they can create a surface that floats in the air and describes whatever the thing is you're supposed to be seeing.

In the modeling and animation aspect of the liquid geometry, Goodwin explained, "We had to develop a pipeline to bring in assets, so instead of going through the route of reducing the polygon count to something usable what we would then do—you would take the model in whatever way it was made and just scatter discrete points onto it, and extract the matrix onto the animation and copy these points onto the matrix and have these sparse points behaving in a way that the model would.

Sims were then run "on all the targets which would be discrete beads floating around on top of the surface which would have its own set of parameters," said Goodwin.

That was then saved to disk and we would use that sim as the final target for the simulation. Lighting solutions directly worked on the set.

Weta utilized RenderMan to take advantage of improved ray tracing and instancing objects. The sequences where Superman utilizes close-combat fight scenes with the other Kryptonians proved to be a major challenge for the filmmakers and the visual effects crew.

Because that's us animating the characters to the camera. So we would do that animation with the characters—grappling, punching or flying away—and we would take the real guys up until the point until they were supposed to do that and we'd cut.

Then we'd put an environment camera there and take the environment. And then a camera for reference of the actors and get each moment. So then we had a set of high-res stills for the environment and the characters.

Then, in post, we take the digi-doubles and animate them according to the speeds we want them to move in our digital environment.

MPC handled the visual effects for the "Smallville encounter" sequence. Before providing the visual effects, the shots were previsualized for the fight choreography.

After the previsualizations, live action portions of the scene would be filmed in small pieces. A camera rig would then obtain key frames of the choreographed actor.

On set, a camera rig was used to capture the environment of the sequence. Dubbed "enviro-cam", the visual effects crew would mount a Canon EOS 5D and a motorized nodal head, allowing the crew to capture the environment at a degree angle with 55K resolution for every shot, the process would take approximately two to four minutes.

The set capture resulted in lighting and textures that could be reprojected onto geometry. Digital armor was also added, along with the energy-based Kryptonian helmets.

Cyberscan and FACS were conducted with the actors, and polarized and non-polarized reference photos were taken.

Superman's cape and costume were scanned in high detail—the cape in particular became a direct extensions of Superman's actions. For the sequences involving the terraforming of the city Metropolis, Double Negative handled the visual effects for the sequence.

In order to construct a Metropolis that seemed convincing and realistic, Double Negative utilized Esri 's CityEngine to help procedurally deliver the city.

The work we were doing was based around the Downtowns for New York, L. We'd skin those volumes with kit parts, but most of it then had to fall down!

So we had to rig it for destruction and use it for other aspects of the work as well. For the destruction of the buildings, the studio rewrote its own asset system to focus towards its dynamic events.

The Bullet physics software was a heavily impacted component for the utilization of the destruction. The studio transitioned between the existing proprietary volume rendering software to rendering in Mantra for elements such as fireball sims.

Double Negative also used the in-house fluids tool "Squirt" to handle larger-scale sims and interaction for more tightly coupled volumes and particles.

Regarding the battle between Superman and Zod, Double Negative implemented real photography onto its digital doubles. Hans Zimmer initially denied popular rumors that he would be composing the film's score.

Many reviewers interpreted Man of Steel as a religious allegory , especially since Warner Bros. Originally reluctant to reveal his identity and powers to the world, Supes decides to turn himself over to Zod to save humanity from annihilation.

Before Jor-El sends his son off to Earth baby Moses-style, he tells his wife that, like Jesus, 'He'll be a god to them. Warner Bros.

On December 3, , the "exclusive reward" was revealed to be an official Man of Steel teaser poster. It was discovered to be related to the film due to the copyright on the website.

Viral marketing campaigns for the film began when the official website was replaced by "deep space radio waves".

The message was decoded to reveal a voice that said "You Are Not Alone". The official site continued to be updated with new static files that slowly revealed the symbol for the film's villain, General Zod.

Shortly after, the website was replaced with a "message" from Zod, who requested that Earth must return Kal-El to his custody and told Kal-El to surrender within 24 hours or the world would suffer the consequences.

Special trailers were created outlining the religious tones, due to Hollywood studios frequently marketing movies to specific religious and cultural groups.

God-given purpose. Man of Steel isn't just a movie. It's a Bible study in a cape. The messages are so strong that its marketers been [ sic ] explicitly pushing the film to Christian audiences.

The opening-day gross was the second-highest for a non-sequel, and the 20th-largest overall. Box Office Mojo called it an "abnormally large drop," close to the second-weekend decline for Green Lantern.

The site's consensus reads, " Man of Steel ' s exhilarating action and spectacle can't fully overcome its detours into generic blockbuster territory.

Richard Roeper of the Chicago Sun-Times said that Man of Steel covered no new ground with regard to Superman films, and instead, "we're plunged back into a mostly-underwhelming film, with underdeveloped characters and supercharged-fight scenes that drag on and offer nothing new in the way of special-effects creativity".

But there's no way to stay blind to its wonders. On the other hand, barring Lois Lane's own knowledge of the dual nature of Clark and Superman thus depriving one of fiction's greatest reveals , the hero we see in the final moments of Man of Steel is nothing if not the character Jerry Siegel and Joe Shuster created The super part of Man of Steel is just okay, but the man part is super.

But he criticized the film for not having more personal and intimate moments between Clark and Lois. Listen, the movie's not perfect but I just cannot fathom it.

It was a good movie, you guys. Reaction to the film among comics creators was mixed. Van Sciver singled out Cavill in particular for praise.

Gage called it the best Superman film since 's Superman II. Hardman said that he liked a lot of the mechanics but did not connect with the characters, which robbed the story of tension.

Waid, who wrote the origin miniseries Superman: Birthright , criticized the film for its overall "joyless" tone, and for Superman's decision to kill Zod, [] [] a criticism echoed by other creators.

Writer Grant Morrison , who wrote the critically acclaimed miniseries All-Star Superman , expressed mixed reaction to the film, saying that while he "kinda liked it and kinda didn't", it did not present anything new, as he would have preferred a "second act" type story with Lex Luthor instead of re-establishing the character by presenting information Morrison is already familiar with.

Morrison also questioned the need for a superhero to kill, [] as did artist Neal Adams. Adams suggested that other alternatives were open to Superman when Zod threatened innocent people with his vision of heat, such as covering his eyes.

He also criticized Superman for not moving the battle away from Metropolis as the character did at the end of Superman II.

The success of Man of Steel started Warner Bros. In June , Goyer was hired to write the sequel to Man of Steel , as well as a Justice League script, with the previous draft being scrapped.

Cavill, Adams, Lane and Fishburne were signed on to reprise their roles. From Wikipedia, the free encyclopedia. Redirected from Man of Steel 2.

Theatrical release poster. Superman by Jerry Siegel Joe Shuster. Release date. Running time. United Kingdom [2] United States [2].

He basically told me, 'I have this thought about how you would approach Superman', I immediately got it, loved it and thought: That is a way of approaching the story I've never seen before that makes it incredibly exciting.

I wanted to get Emma Thomas and I involved in shepherding the project right away and getting it to the studio and getting it going in an exciting way.

Main article: Man of Steel soundtrack. Main article: DC Extended Universe. British Board of Film Classification. May 21, Archived from the original on November 4, Retrieved July 10, British Film Institute.

Archived from the original on March 10, Box Office Mojo. Archived from the original on November 15, Retrieved October 2, Deadline Hollywood.

Archived from the original on March 4, Retrieved March 22, Archived from the original on July 21, Retrieved July 22, Archived from the original on April 11, Retrieved March 29, Superhero Hype!

January 30, Archived from the original on December 24, Retrieved January 30, Archived from the original on February 2, Retrieved February 2, Archived from the original on June 13, The Daily Telegraph.

Archived from the original on February 1, Retrieved March 27, Archived from the original on April 13, Retrieved May 5, Retrieved May 12, Archived from the original on April 8, Style Weekly.

Archived from the original on February 6, Archived from the original on February 9, Retrieved December 25, Entertainment Weekly.

Archived from the original on September 22, Screen Rant. Archived from the original on May 26, Retrieved May 22, Archived from the original on February 4, Retrieved June 6, Archived from the original on September 26, Los Angeles Times.

Archived from the original on April 2, Retrieved June 3, Daily News. New York. Archived from the original on June 16, Archived from the original on September 3, Retrieved March 26, Geek Tyrant.

Archived from the original on June 15, Our flagship theme is highly customizable through the options panel, so you can modify the design, layout and typography.

Latest Tweets. Home Recomended Samstag, Dezember New. Goyer, David S. Diane Lane Martha Kent. Laurence Fishburne Perry White.

Ayelet Zurer Lara Lor-Van. Russell Crowe Jor-El. Antje Traue Faora-Ul. Chris Meloni Colonel Hardy. David S. Goyer Writer.

Christopher Nolan Writer. Additional information Directors Zack Snyder. Directors Zack Snyder. Studio Warner Bros. Subtitles English CC.

Released year Age rating Parental guidance Duration 2 h 22 min. Writers David S. Goyer Christopher Nolan.

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To allow access to dangerous situations without attracting attention, he covertly maintains his civilian identity and takes a job as a freelance reporter for the Daily Planet.

In June , Warner Bros. In August , Warner Bros. Studio executive Jeff Robinov planned to have the film released either by or , explaining " Superman Returns didn't quite work as a film in the way that we wanted it to.

It didn't position the character the way he needed to be positioned. Had Superman worked in , we would have had a movie for Christmas of this year or Now the plan is just to reintroduce Superman without regard to a Batman and Superman movie at all.

He elaborated, "Everyone is waiting for Nolan to sign on for another Batman, once that happens, the release date for Superman and all other future projects will follow.

However, if they did not begin production on a Superman film by , then the Siegel estate would have been able to sue for lost revenue on an unproduced film.

The plot of Man of Steel employs a nonlinear narrative , and tells parts of the story in flashback. Goyer told Christopher Nolan his idea regarding how to present Superman in a modern context.

I only know the way that has worked for us that's what I know how to do," emphasizing the idea that Batman exists in a world where he is the only superhero and a similar approach to the Man of Steel would assure the integrity needed for the film.

They have nothing to do with each other. Jeff Robinov, president of Warner Bros. Pictures Group, spoke to Entertainment Weekly , and allowed a peek over the wall of secrecy surrounding their DC Comics plans: "It's setting the tone for what the movies are going to be like going forward.

In that, it's definitely a first step. When Zod destroys a satellite, the words "Wayne Enterprises" are scrolled on the satellite.

The film's storyboard was created by Filipino-American storyboard artist Jay Oliva , in his first live-action feature film project, along with Snyder.

During the film's brainstorming, Oliva pitched the idea as, "I could come up with something I've never seen in live-action American cinema and only in anime".

Principal photography began on August 1, , at an industrial park near DuPage Airport under the codename "Autumn Frost".

Man of Steel filmed in the Chicago area, California and Burnaby 's Mammoth Studios, which was transformed into Superman's home planet of Krypton and myriad extraterrestrial aircraft.

Metro lands on Vancouver's North Shore waterfront hosted the shoot for the dramatic oil rig rescue that introduces audiences to Superman.

Ucluelet and Nanaimo , British Columbia , feature prominently in the film's first hour—the trademark winter mist and rough seas are passed off as Alaska in the film.

Filming took place in the Chicago Loop from September 7 to The costume preserves the color scheme and "S" logo, but adopts darker tones, and notably does not feature the red trunks usually worn by Superman.

Zack Snyder said the costume is "a modern aesthetic". He and the producers attempted to devise a suit featuring the red trunks, but could not design one that fit into the tone of the film, leading to their removal from the suit.

A lot of the efforts we took in the film were to explain why the suit looks the way it does. We didn't want it to be a random, ornamental decision.

We start the film on the planet of Krypton, which is where the suit comes from, and we go to great pains to show the suit fitting into the culture.

All of the people you see on Krypton are wearing this chainmail-like suit, with the same detailing as the Superman suit. Everyone has their family crests on their chests.

The cuff and the boot details are shared through all of the different characters we meet on Krypton. So by the time we see Superman in his suit we understand why it looks the way it looks.

A lot of the rules are the Battlestar Galactica rules for the space cams that Gary Hurtzel [ sic ] developed for that miniseries , where we want to make sure if we're translating the camera at all it makes sense.

Unless the action is so over the top, like in the end where Superman is beating up Zod—we had to break it a bit.

For the first act of the film taking place on the planet Krypton, Weta Digital placed alien-like planet environments, creatures and the principal means of display—a technology the filmmakers called "liquid geometry".

Weta Digital visual effects supervisor Dan Lemmon explained that, "It's a bunch of silver beads that are suspended through a magnetic field, and the machine is able to control that magnetic field so that the collection of beads behave almost like three-dimensional pixels , and they can create a surface that floats in the air and describes whatever the thing is you're supposed to be seeing.

In the modeling and animation aspect of the liquid geometry, Goodwin explained, "We had to develop a pipeline to bring in assets, so instead of going through the route of reducing the polygon count to something usable what we would then do—you would take the model in whatever way it was made and just scatter discrete points onto it, and extract the matrix onto the animation and copy these points onto the matrix and have these sparse points behaving in a way that the model would.

Sims were then run "on all the targets which would be discrete beads floating around on top of the surface which would have its own set of parameters," said Goodwin.

That was then saved to disk and we would use that sim as the final target for the simulation. Lighting solutions directly worked on the set.

Weta utilized RenderMan to take advantage of improved ray tracing and instancing objects. The sequences where Superman utilizes close-combat fight scenes with the other Kryptonians proved to be a major challenge for the filmmakers and the visual effects crew.

Because that's us animating the characters to the camera. So we would do that animation with the characters—grappling, punching or flying away—and we would take the real guys up until the point until they were supposed to do that and we'd cut.

Then we'd put an environment camera there and take the environment. And then a camera for reference of the actors and get each moment. So then we had a set of high-res stills for the environment and the characters.

Then, in post, we take the digi-doubles and animate them according to the speeds we want them to move in our digital environment.

MPC handled the visual effects for the "Smallville encounter" sequence. Before providing the visual effects, the shots were previsualized for the fight choreography.

After the previsualizations, live action portions of the scene would be filmed in small pieces. A camera rig would then obtain key frames of the choreographed actor.

On set, a camera rig was used to capture the environment of the sequence. Dubbed "enviro-cam", the visual effects crew would mount a Canon EOS 5D and a motorized nodal head, allowing the crew to capture the environment at a degree angle with 55K resolution for every shot, the process would take approximately two to four minutes.

The set capture resulted in lighting and textures that could be reprojected onto geometry. Digital armor was also added, along with the energy-based Kryptonian helmets.

Cyberscan and FACS were conducted with the actors, and polarized and non-polarized reference photos were taken. Superman's cape and costume were scanned in high detail—the cape in particular became a direct extensions of Superman's actions.

For the sequences involving the terraforming of the city Metropolis, Double Negative handled the visual effects for the sequence. In order to construct a Metropolis that seemed convincing and realistic, Double Negative utilized Esri 's CityEngine to help procedurally deliver the city.

The work we were doing was based around the Downtowns for New York, L. We'd skin those volumes with kit parts, but most of it then had to fall down!

So we had to rig it for destruction and use it for other aspects of the work as well. For the destruction of the buildings, the studio rewrote its own asset system to focus towards its dynamic events.

The Bullet physics software was a heavily impacted component for the utilization of the destruction. The studio transitioned between the existing proprietary volume rendering software to rendering in Mantra for elements such as fireball sims.

Double Negative also used the in-house fluids tool "Squirt" to handle larger-scale sims and interaction for more tightly coupled volumes and particles.

Regarding the battle between Superman and Zod, Double Negative implemented real photography onto its digital doubles. Hans Zimmer initially denied popular rumors that he would be composing the film's score.

Many reviewers interpreted Man of Steel as a religious allegory , especially since Warner Bros. Originally reluctant to reveal his identity and powers to the world, Supes decides to turn himself over to Zod to save humanity from annihilation.

Before Jor-El sends his son off to Earth baby Moses-style, he tells his wife that, like Jesus, 'He'll be a god to them.

Warner Bros. On December 3, , the "exclusive reward" was revealed to be an official Man of Steel teaser poster. It was discovered to be related to the film due to the copyright on the website.

Viral marketing campaigns for the film began when the official website was replaced by "deep space radio waves". The message was decoded to reveal a voice that said "You Are Not Alone".

The official site continued to be updated with new static files that slowly revealed the symbol for the film's villain, General Zod.

Shortly after, the website was replaced with a "message" from Zod, who requested that Earth must return Kal-El to his custody and told Kal-El to surrender within 24 hours or the world would suffer the consequences.

Special trailers were created outlining the religious tones, due to Hollywood studios frequently marketing movies to specific religious and cultural groups.

God-given purpose. Man of Steel isn't just a movie. It's a Bible study in a cape. The messages are so strong that its marketers been [ sic ] explicitly pushing the film to Christian audiences.

The opening-day gross was the second-highest for a non-sequel, and the 20th-largest overall. Box Office Mojo called it an "abnormally large drop," close to the second-weekend decline for Green Lantern.

The site's consensus reads, " Man of Steel ' s exhilarating action and spectacle can't fully overcome its detours into generic blockbuster territory.

Richard Roeper of the Chicago Sun-Times said that Man of Steel covered no new ground with regard to Superman films, and instead, "we're plunged back into a mostly-underwhelming film, with underdeveloped characters and supercharged-fight scenes that drag on and offer nothing new in the way of special-effects creativity".

But there's no way to stay blind to its wonders. On the other hand, barring Lois Lane's own knowledge of the dual nature of Clark and Superman thus depriving one of fiction's greatest reveals , the hero we see in the final moments of Man of Steel is nothing if not the character Jerry Siegel and Joe Shuster created The super part of Man of Steel is just okay, but the man part is super.

But he criticized the film for not having more personal and intimate moments between Clark and Lois.

Listen, the movie's not perfect but I just cannot fathom it. It was a good movie, you guys. Reaction to the film among comics creators was mixed.

Van Sciver singled out Cavill in particular for praise. Gage called it the best Superman film since 's Superman II. Hardman said that he liked a lot of the mechanics but did not connect with the characters, which robbed the story of tension.

Waid, who wrote the origin miniseries Superman: Birthright , criticized the film for its overall "joyless" tone, and for Superman's decision to kill Zod, [] [] a criticism echoed by other creators.

Writer Grant Morrison , who wrote the critically acclaimed miniseries All-Star Superman , expressed mixed reaction to the film, saying that while he "kinda liked it and kinda didn't", it did not present anything new, as he would have preferred a "second act" type story with Lex Luthor instead of re-establishing the character by presenting information Morrison is already familiar with.

Morrison also questioned the need for a superhero to kill, [] as did artist Neal Adams. Adams suggested that other alternatives were open to Superman when Zod threatened innocent people with his vision of heat, such as covering his eyes.

He also criticized Superman for not moving the battle away from Metropolis as the character did at the end of Superman II. The success of Man of Steel started Warner Bros.

In June , Goyer was hired to write the sequel to Man of Steel , as well as a Justice League script, with the previous draft being scrapped.

Cavill, Adams, Lane and Fishburne were signed on to reprise their roles. From Wikipedia, the free encyclopedia. Redirected from Man of Steel 2. Theatrical release poster.

Superman by Jerry Siegel Joe Shuster. Release date. Running time. United Kingdom [2] United States [2].

He basically told me, 'I have this thought about how you would approach Superman', I immediately got it, loved it and thought: That is a way of approaching the story I've never seen before that makes it incredibly exciting.

I wanted to get Emma Thomas and I involved in shepherding the project right away and getting it to the studio and getting it going in an exciting way.

Main article: Man of Steel soundtrack. Main article: DC Extended Universe. British Board of Film Classification. May 21, Archived from the original on November 4, Retrieved July 10, British Film Institute.

Archived from the original on March 10, Box Office Mojo. Archived from the original on November 15, Retrieved October 2, Deadline Hollywood.

Archived from the original on March 4, Retrieved March 22, Archived from the original on July 21, Retrieved July 22, Archived from the original on April 11, Retrieved March 29, Superhero Hype!

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Latest Tweets. Home Recomended Available on Xbox One. Mobile device. Xbox Description Superman takes to the skies once more as Henry Cavill dons the mantle of the Man of Steel -- wrestling with a past he can't comprehend and a future he cannot escape.

Cast and crew. Zack Snyder Director. Amy Adams Lois Lane. Michael Shannon General Zod. Kevin Costner Jonathan Kent. Diane Lane Martha Kent. Laurence Fishburne Perry White.

Ayelet Zurer Lara Lor-Van. Russell Crowe Jor-El. Antje Traue Faora-Ul. Chris Meloni Colonel Hardy. David S. Goyer Writer. Christopher Nolan Writer.