Good afternoon, welcome to The Treatment. I'm Elvis Mitchell. My guest today was here a couple of years ago with this movie following, which was an amazing picture that I saw the slam dance film festival. And in the intervening time, his new picture Memento,

won the Waldos Salt Screenwriting Award at the Sundance Film Festival this year.

It's a remarkable movie.

He's Chris Nolan.

Chris, thanks for being here.

Thanks, Elvis.

Thanks for having me.

You movies are so much about sort of perception and memory and playing with time.

Where does that come from for you?

How big influences Nicholas Rogue on your work, I wonder?

Well, I'm a big fan of Rogue's work, and I think if you look back, particularly the first 20 minutes or so of performance, you know, there's just this incredible display

of nonlinear editing and shifting time

and different images from different points of the story to just create, you know, type of narrative

from that. So that's certainly a big influence. But other filmmakers, I mean, even back to

Orson Wells, you look at the structure of Citizen Kane. I mean, it's still, to this day,

an incredibly adventurous narrative structure. But I think my real interest is not so much,

you know, shifting time for the sake of it. My real interest is points of view, you know,

deciding what's the point of view we're trying to express in the story, whose eyes are we

seeing the story through. And in the case of Memento, you know, it's

very specifically, the structure is very specifically an attempt to see the events of the

story through Leonard's eyes, basically. But in both these movies, there's also about a deceptive

point of view. You're basically telling the audience, they think they're saying what they're seeing,

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