In the logical, rational films of Christopher Nolan, heroes often make a mythical journey into the land of the dead, Ryan writes...
Christopher Nolan stands in front of a chalk board, carefully scratching out a network of lines and arrows. He's attempting to describe the complex structure of Memento, his second film, which cuts between two intertwining stories - one told in a conventional order, the other told in reverse.
"Most movies present a quite comfortable universe," Nolan says, standing in front of his odd hairpin-shaped diagram, "where we're given an objective truth that we don't get in everyday life. That's one of the reasons we go to the movies."
For many, Memento was their first encounter with Nolan's style of filmmaking, which seems fixated on the precise and the concrete. He favours the use of celluloid and practical, in-camera effects. Like Stanley Kubrick before him, Nolan