What an interesting guy:

Over the last 10 years, Nolan has emerged, along with Tarantino and Paul Thomas Anderson, as one of Hollywood’s most visible advocates for film, with its exacting texture and granularity of hue, over the Styrofoam flatness of digital. Nolan is a gestalt thinker and entertainer, and he thinks that it’s technical details like these, even the ones we register only unconsciously, that make the theatrical experience a vivid and continuous dream: “At the movies, we’re going to see someone else put on a show, and I feel a responsibility to put on the best show possible.”
I always love how a person’s formative years help define the course of his life:
To hear Nolan tell it, however, the film’s true origin story begins much earlier, when Nolan was 7; his father, a British advertising copywriter, took him to see, within the span of about a year, the initial release of “Star Wars” and a theatrical rerelease of “2001.” The age of 7, perhaps not coincidentally, was also the year in which he started to make his own movies, on a Super 8 he borrowed from his dad. Those two movies — one that helped inaugurate the auteur-driven New Hollywood, and one that inadvertently ushered in the era of the reinvigorated, blockbuster-based studio system — have remained his touchstones, and “Interstellar” represents his opportunity to repay his debt to both of them at the same time. Jonah, when he came to visit the set and saw the spaceships, said to him, “Of course we’re doing something like this; this was our whole childhood.”
And:
His childhood was apportioned between London and Chicago. Jonah, who is six years younger, told me that his very earliest memories were of his older brother making stop-motion space odysseys, painstaking processes of tweaking the gestures of action figures. They went to the movies constantly, and Jonah recalls that they brooked no distinction between the arty and the mainstream; they’d go to Scala Cinema Club in London to see “Akira” or a Werner Herzog film one month and then go to the Biograph in Chicago to see “The Commitments” the next. (When Jonah was 13 or 14, Nolan gave him two Frank Miller volumes, “Batman: Year One” and “The Dark Knight Returns,” which the two revered.)
I’m really looking forward to Interstellar.