Hard to believe that eight years have already passed since Michael Jackson’s death, but time’s a goon like that. And as the King of Pop settles in the ground, the question of what shape his legacy will take must be answered. While we’d be remiss to gloss over the ethical lapses and general trainwreckishness of the man’s final years (and doubly remiss not to point out the cruel, exacting factors in his life that drove him to that mental state), the time has come for a bit of enshrinement. Next month, the Michael we prefer to remember — the virtuosic performer, the boundary-pushing titan of black art — will return for a glorious new tribute.
Christopher Nolan does things his own way. That’s led to some of his greatest technical coups to date; when he wanted to defy gravity for Inception, he built a giant rotating box the size of a hallway. Armed wth the biggest budgets studios can afford, he employs new technologies and puts them fully through their paces, all to bring his massively ambitious visions to life. And for his latest epic Dunkirk, Nolan wanted to blaze his own path yet again. But this time, his plans didn’t involve fancy equipment or elaborate sets.
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