(keyboard clacking)
- [Michael] Hi, I'm Michael.
This is "Lessons from the Screenplay".
(keyboard clacking)
Christopher Nolan films have
an amazing sense of momentum.
Whether it's Batman racing to save Gotham,
the evacuation of Dunkirk,
or a set up for the ultimate magic trick.
- Are you watching closely?
- [Michael] Nolan's use of cross-cutting
between various story
threads can create suspense
and prime us for cathartic twists.
(door thudding)
(building explosion booming)
But there's one particular
crosscut sequence
that has always bothered me.
It's in "Interstellar",
when the story thread
of Cooper and his team
is intercut with that of
his daughter back on Earth.
This sequence is as gorgeously
shot as any of his films,
the music is evocative, there
are strong performances.
Yet there's something about this sequence
that I think doesn't quite work.
So, today, I want to briefly
look at "The Dark Knight"
to uncover the elements of
an effective Nolan crosscut.
To test these elements
in similar sequences
in both "Inception" and "Interstellar",
and to ultimately discover
why the narrative power
of this "Interstellar" sequence
falls short of what we usually expect
from one of our most
ambitious modern filmmakers.
Let's take a look at the Nolan crosscut.
(suspenseful music)
In addition to being
almost universally beloved,
"The Dark Knight" is filled
with excellent examples
of the Nolan crosscut,
so let's start by examining one sequence
to discover the elements
that make it so successful.
As the film hurtles
towards its conclusion,
the audience is following
three parallel story threads.
Harvey Dent wants to
punish Commissioner Gordon
by targeting his wife and children,
two ferries have been
rigged with explosives,
and the only way for
the passengers on board
to save their own lives
is if they each blow up the other ferry.
And if they don't, the Joker
will blow both up both ferries
unless Batman can stop him.
Across all three threads,
there are clear and comparable stakes.
We understand that people's
lives are in danger.
But it's not just that
their lives are in danger,
they're in danger right now.
- [Barbara] He has the kids!
- [Michael] Dent has taken
Gordon's family hostage.
- Harvey?
Where's my family?
- [Harvey] Where my family died.
- [Michael] And the other
two story-threads feature
literal ticking clocks
counting down to midnight,
the Joker's deadline for
his ferry experiment.
So we also understand that
there's an equality of urgency.
All of their problems need
to be dealt with immediately.
But this sequence goes one step further.
To quickly define a term.
The dramatic question of a
film is the central question
that effectively summarizes
what a story is about
and is what keeps the audience watching.
And in this case, the dramatic
question of "The Dark Knight"
could be phrased,
will the Joker win the
battle for Gotham's soul?
All three story threads
in the crosscut sequence
directly relate to this question.
Batman is literally
trying to stop the Joker,
the people on the ferries
must resist playing
his twisted game, and Harvey
Dent becoming Two-Face
is the Joker's doing.
- You need an ace in the hole.
Mine's Harvey.
- [Michael] All three threads pertain
to a unified dramatic question.
So now that we've cracked the code
of an effective Christopher
Nolan crosscut sequence,
let's test our theory
against similar sequences
in "Inception" and "Interstellar".
Both "Inception" and "Interstellar"
feature extended crosscut sequences
at the end of their second acts.
Both bring the characters to
a moment of apparent defeat,
setting up the final acts of the films.
But do they both contain the
underlying dramatic elements
that are so effective
in "The Dark Knight"?
Let's find out.
First up, clear and comparable stakes.
In "Inception", a dream
thief named Cobb and his team
must descend through three levels
of an elaborate dream world
in order to implant an idea
in their target's mind.
During the final stage of this mind heist,
the film crosscuts between
parallel lines of action
in all three dream levels.
This cross-cutting creates suspense
because the audience
understands what's at stake
in each line of action.
As the film explains several times,
during this heist if they
die in the dream world,
they will be trapped in limbo,
instead of simply waking up.
- So what happens when we die?
- We drop into limbo.
- Are you serious?
- [Michael] And this is a problem
because there's an army of
subconscious security forces
trying to kill them in
all three dream levels.
- So now we're trapped in Fischer's mind
battling his own private army.
And if we get killed,
we'll be lost in limbo
until our brains turn to scrambled egg?
- [Michael] So in all three
crosscut story threads,
the characters face these
clear and comparable stakes.
In "Interstellar", a
farmer-astronaut named Cooper
leads a mission to find a habitable planet
for humankind.
While his daughter, Murph,
struggles to solve a gravity equation
that would enable the evacuation of Earth.
The crosscut sequence begins
when a stranded scientist,
Dr. Mann, also known
as surprise Matt Damon,
betrays Cooper.
(Cooper yells)
Intending to maroon Cooper and his team
on an uninhabitable planet
by stealing their ship.
- [Cooper] Dr. Mann, please respond.
- [Michael] In this space-bound thread,
the stakes are absolutely clear.
- If he takes control of
that ship, we're dead.
- [Michael] If Mann boards
their ship, he will strand them,
and potentially doom
all future human life.
This thread is crosscut with
Murph's earthbound story,
where the stakes are trickier to pin down.
- Do you have an idea?
- A feeling.
- [Michael] Murph has a feeling
that the solution to the gravity equation
lies in her childhood bedroom,
and that it has something
to do with her ghost.
- If there's an answer here
on Earth, it's back there.
Somehow in that room.
- [Michael] So I would say the stakes
of Murph's overall goal in
this sequence are comparable.
If Murph doesn't solve
the gravity equation,
human life on Earth will end.
But most of the earthbound thread we see
during this sequence is only indirectly
related to that goal.
Instead, the thread is primarily concerned
with the mechanics of
distracting her brother, Tom,
so she can gain access
to her childhood bedroom
and evacuate his family
whose health is in danger.
And while the lives of
Tom's family are important,
they are not equal to
the fate of humanity.
- He'd maroon us?
- He is marooning us.
- [Michael] So the overall
stakes for Murph are high,
but her immediate concerns
are not comparable
for the audience right now,
which connects directly to
the equality of urgency.
As in "The Dark Knight",
the team in "Inception" is
racing against a ticking clock.
They must complete the
mission before Yusuf
initiates the kick in the
uppermost dream level.
Once he does, the characters
at each lower-level
need to simultaneously
create the sensation
of falling in order to wake themselves up.
But in "Inception",
time progresses differently
at different dream levels.
- Yusuf's 10 seconds from the jump.
(van tires screeching)
Which gives Arthur three minutes.
- Hey!
- That's him!
- Which gives us what?
- 60 minutes.
- [Michael] So does this
count as equality of urgency?
Well, urgency depends not just
on how much time you have to do something,
but also what it is you
have to do in that time.
In each dream level, the
characters' tasks are scaled
such that they barely have
enough time to complete them.
- No, it's too soon.
- [Michael] Moreover, they all
face the same exact deadline.
(van thudding)
So as it approaches, the
urgency only continues to grow.
(avalanche rumbling)
In "Interstellar", the
space-bound story thread
is constantly ratcheting up the urgency.
(glass cracking)
(Cooper screams)
First, Dr. Mann attacks Cooper
and cracks open his helmet,
so Brand must race to his
rescue before Cooper suffocates.
- Cooper, we're coming.
Hang in there, don't talk.
- [Michael] Then, Mann attempts
to dock with their ship,
creating a new kind of ticking clock
as Cooper and Brand try to stop him.
- Do not attempt to docking.
I repeat, do not attempt to docking.
- [Michael] Every moment
of this space-bound thread
is a race against time.
Back on Earth, there is
also a sense of urgency,
but it's unclear why the
situation is so urgent.
Before Murph arrives at the farm,
she indicates that time is of the essence.
- We're running out of time.
- [Michael] But in this case,
she's referring to time
for humanity as a whole.
Once they get to the farm,
Murph's doctor friend
Getty examines the family.
All of the dust in the air is
causing respiratory issues.
- It's bad. They cannot stay here.
- [Michael] If the family stays,
presumably this would mean death for them,
but not right at this very moment.
The most urgent threat
facing Murph is her brother.
- Let me make something abundantly clear,
you have a responsibility.
(fist thudding)
- Oh, Jesus!
- [Michael] Who stubbornly
refuses to let his family leave
and keeps Murph from investigating
her childhood bedroom.
- Get out and don't come back.
- [Michael] So Murph decides
to light the farm's crops on fire,
knowing this will distract
her brother long enough
to allow her to get the family out
and to finally access the bedroom.
Here, the threat of Tom's
return does seem to be urgent.
- Go get in the backseat.
Get in the backseat, now!
- [Michael] But it's not
clear how urgent it is.
This is because we don't understand
what exactly Murph needs to
do to solve the equation,
nor how long she has before Tom returns.
In "Inception", the task is clear,
get Fischer into the strong room.
And occasional shots of the falling van,
as well as expositional dialogue,
continually update the
audience on the looming threat.
- Arthur has a couple minutes,
we have about 20 minutes.
- [Michael] In the space-bound
sequence of "Interstellar",
we follow Mann as he
progresses toward the ship
he's trying to steal.
We know he must be stopped
and we can see that time is running out.
But back on Earth, our only reference
for how much time they have left
is how concerned Getty
is at any given moment.
So unless the viewer knows
exactly how long it takes
to douse a corn crop fire
and decode the messages a
ghost sent you 23 years ago,
it's hard to feel the urgent
threat of Tom's return.
Ultimately, this means
that in this sequence,
Cooper gasping for breath
on a distant planet
while Brand races to save him
is intercut with Murph
pouring gasoline on corn.
Both situations are urgent,
but I think it would be hard to argue
that there is an equality of urgency.
And part of this urgency problem
is directly connected to the lack
of a unified dramatic question.
In "Inception", all three
story threads are tied together
by a fairly simple dramatic question.
Will Cobb's team pull off the
mind heist in time to escape?
And the crosscut scenes
are not just commenting on one another,
they're quite literally
affecting each other.
When Yusuf initiates the
first kick too early,
Arthur loses gravity
and has to find a new
way to drop the dreamers.
All while Cobb and the rest of the team
race to complete the mission
before the second and final kick.
So every crosscut is giving
us relevant information
because each thread directly
affects all the others.
To be fair, not every
movie can be "Inception",
where the external forces
in one crosscut thread
literally affect all the others.
And the threads of
"Interstellar" do eventually
connect to the same dramatic question.
Will the human species be saved?
- [Cooper] I repeat, do not
attempt docking. Please.
- But the problem is that
at this point in the movie,
we don't yet know how these
threads are connected.
And we won't know for a while.
The last image we see
from the earthbound thread
in this crosscut sequence
is Murph finding the
watch her father gave her.
The rest of the sequence then focuses
on Mann's attempt to dock with the ship,
his failure and death,
and Cooper's badassery
as he manages to save himself
and Brand from certain doom.
This effectively ends
the crosscut sequence,
as it completes the
dramatic action that began
when Mann decided to try to kill Cooper.
Once onboard the ship, Cooper and Brand
take stock of the
situation, make a new plan,
go their separate ways, and
Cooper flies into a black hole
and into act three.
And only after that, 16 minutes later,
do we pick up where we
left off with Murph,
and begin to understand how
these two story threads pertain
to the same dramatic question.
In "The Dark Knight" and "Inception",
the crosscut sequences work so effectively
because their lines of
action are ultimately unified
in their stakes, urgency,
and dramatic question.
Without these underlying
elements, cross-cutting can create
a disjointed experience for the viewer.
(dramatic music)
Christopher Nolan's films
have redefined what a
modern blockbuster can be.
They're not afraid to
challenge mainstream audiences
with labyrinthian plots
and heady thematic ideas.
But most of all, Nolan's films display
a distinct cinematic language,
embodied in the thrilling
momentum of a crosscut sequence.
By investigating when
these sequences work best,
we can better apply those
techniques to our own stories,
and perhaps even better appreciate
the next Nolan crosscut.
Hey guys, hope you enjoyed the video.
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