CHRISTOPHER NOLAN

Oh, and there’s the small matter of the 747 jet that’s been crashed into the side of a hangar. Not a partial fibreglass replica of a jet. Not CGI. This is a real aeroplane, bought by the production. It bears a (fictional) Norskfreight logo. Debris is scattered underneath, the top draped with shreds of hangar roof. The left wing, in particular, looks worse for wear. The scale is jaw-dropping.

Nolan, wearing a regulation hi-vis vest over his trademark blazer, surveys the scene, checking in with department heads. He’s remarkably relaxed, given the circumstances (did we mention the full-size plane on the set?). Despite the enormity of the undertaking, the first shot is set up remarkably quickly, reflecting the precision and decisiveness talking via phone from the office at his LA home. “To be able to have a 747 at your disposal, and to ultimately perform stunt work with it? It’s every kid’s dream. Other than the creative tone you’re trying to get through this type of work, the experience of getting to play with these things on set, and giving that to the actors… it just brings something to the process that greenscreen and CG never can.”

For Nolan, it’s a way to get the actors and crew more engaged with the reality of what they’re shooting. “It’s a really common complaint from crews that greenscreen days are just some of the most miserable days on any set,” he continues. “You turn up to the studio, and you stand in front of a green screen