When audiences watch a film like ‘The Odyssey’ and see a giant Cyclops looming over Odysseus and his crew, it would be easy for them to assume that such a creature could only be brought to life with CGI. Not for Christopher Nolan. Whether it be by crafting a 60ft animatronic or by recreating a nuclear explosion, Nolan is committed to making the impossible feel possible in his films. One of Hollywood’s most acclaimed directors, Nolan is renowned for his ambitious concepts, huge-scale productions and preference for practical effects wherever possible. But what drives this approach? And in an industry where CGI can seemingly create anything, is Nolan right to favour the practical over the digital?
Who is Christopher Nolan?Christopher Nolan is a British filmmaker, born in London in 1970. His filmmaking career began in the late 1980s, making short films before directing his first feature, which was a neo-noir crime thriller ‘Following’, released in 1998. However, it was his 2000 psychological thriller Memento that established Nolan as a distinctive and ambitious voice in cinema. The film’s fragmented narrative structure and unconventional approach to storytelling quickly attracted critical attention and opened the door to increasingly large-scale productions, from ‘The Dark Knight’ trilogy to ‘Dunkirk’, ‘Tenet’ and ‘Oppenheimer’.
Nolan’s auteur style is defined by his eagerness to challenge conventional filmmaking practices. His films are recognised for experimental soundscapes, complex narratives, real-world locations and a preference for shooting on film rather than digitally. He frequently explores intricate characters alongside existential themes of time, memory, identity and morality. Arguably one of the most renowned elements of Nolan’s filmmaking style is his preference for practical effects over CGI. Despite creating some of modern cinema’s most impressive visual spectacles, Nolan is consistently looking for ways to capture the impossible physically, instead of creating it inside a computer.
What is CGI?CGI, which stands for computer-generated imagery, is the process of creating or manipulating visual film elements using computer software. It has become one of the most important tools in modern filmmaking, allowing directors to create environments and characters that would be impossible, impractical or unsafe to capture in real life. It is created through a multi-step process, beginning with concept development and pre-visualisation before moving into 3D modelling, animation and motion capture, followed by rendering and compositing to produce the final visuals. From the Na’vi people in ‘Avatar’ to the fantastical worlds of ‘The Lord of the Rings’, CGI has transformed what filmmakers can create on screen.However, CGI is not limited to creating entirely computer-generated worlds. It can also be used to enhance practical filmmaking, such as removing wires, extending sets, adding backgrounds or enlarging explosions. Although Nolan does utilise CGI when necessary, he generally prefers to avoid it. But why?
Why does Christopher Nolan avoid using CGI?Nolan is known for this preference to create physical environments and practical effects rather than using CGI, an approach stemming from several personal beliefs about what makes an image feel authentic.
One of Nolan’s key arguments is that there is “an absolute difference between animation and photography”. He believes that, regardless of how advanced CGI is, an image can feel fundamentally different when it has not originated from something physically present in front of the camera. Real objects naturally interact with gravity, light and their surroundings, giving them a sense of mass and momentum that can be difficult to replicate digitally. Nolan’s visual effects collaborator Paul Franklin, who worked with him on Batman Begins, The Dark Knight and Inception, told Wired in 2010 that the films contained approximately 620 and 500 visual effects shots, compared to the usual 1,500–2,000 often found in large-scale sci-fi films. Nolan’s aim, Franklin explained, was to “build on the existing reality that’d already been filmed”.
His preference for practical filmmaking also extends to the performers themselves. Nolan believes actors benefit from having genuine environments and physical objects around them, rather than being asked to imagine a location that will only exist after post-production. When performers can physically interact with their surroundings, they can respond more naturally to the space, movement and conditions around them. The presence of tangible danger, physical discomfort or a real environment can also produce instinctive reactions that may be difficult to recreate in front of a green screen. This can contribute to the grounded performances that have become a defining feature of Nolan’s films.
Nolan has also expressed concerns that CGI can become a “crutch” for filmmakers. When digital effects can be used to fix anything in post-production, he believes there is a danger that filmmakers can become less disciplined during production. As practical effects introduce real limitations, Nolan’s cast and crew are often forced to solve problems physically and to commit to decisions on set. His philosophy is therefore not simply about the appearance of CGI, but additionally that relying too heavily on it can remove the physical stakes, weight and unpredictability that make a cinematic moment feel real and impactful.
Does he actually need CGI?Despite Nolan’s reputation for avoiding CGI, he actually does use computer-generated imagery, but as a tool to enhance and support his filmmaking processes rather than to replace them entirely. Throughout his filmography, Nolan has repeatedly demonstratedthat amazing cinematic moments can be achieved through physical sets, real locations and on-set effects. But does this prove that he could make his films without CGI altogether? Looking at ‘Oppenheimer’, ‘Interstellar’ and his upcoming epic ‘The Odyssey’ reveals just how successful Nolan’s practical filmmaking philosophy can be.
OppenheimerOne of the clearest examples of Nolan’s commitment to practical filmmaking can be found in his 2023 film ‘Oppenheimer’. Telling the story of J. Robert Oppenheimer and the creation of the atomic bomb, the film presented Nolan with one of his greatest visual challenges. How do you recreate a nuclear explosion safely and realistically without generating it digitally? Rather than relying on CGI, Nolan and his team explored a range of techniques to recreate the scale, force and visual intensity of the Trinity Test.
Visual effects supervisor Andrew Jackson and special effects supervisor Scott Fisher used large-scale practical effects, chemical mixtures, and forced-perspective camera techniques to recreate the atomic blast. They mixed massive amounts of gasoline, propane, black powder, and high explosives, using magnesium and aluminum powder to replicate the blinding light of the nuclear flash. They also mimicked sub-atomic particles and the blast swirling by smashing ping-pong balls together, flinging paint against walls, and filming glowing magnesium solutions. This approach was vital for Nolan who stated that “CGI rarely is able to grab you. It tends to feel safe. Even if it's impressive and beautiful, it's difficult to make you feel danger. And we were presenting the ultimate danger. We needed it to feel threatening, nasty and frightening to the audience.”
InterstellarWhilst ‘Oppenheimer’ demonstrates Nolan’s commitment to practical effects, ‘Interstellar’ proves that his approach is not about rejecting CGI entirely, but about using it selectively. For a film set in space, Nolan faced the challenge of creating a believable environment whilst maintaining the physical realism that defines his auteur style. To achieve this, the production combined digital visual effects with large-scale practical models, full-sized sets and miniature spacecraft designs. Instead of relying solely on computer-generated ships, New Deal Studios constructed detailed miniatures of the Endurance, Ranger and Lander spacecraft, which were filmed using VistaVision cameras and realistic lighting techniques to create a genuine appearance.
For example, the Endurance model was built at a 1:15 scale, measuring approximately 14 feet, allowing the team to capture authentic reflections, shadows and movement that would naturally occur on a physical object.
However, ‘Interstellar’ also highlights where CGI becomes essential. Nolan teamed up with Nobel Prize-winning physicist Kip Thorne to depict the black hole ‘Gargantua', which required complex digital effects based on scientific calculations and gravitationalmodelling. This created an image that could not be realistically captured with practical methods alone. By combining practical effects with digital technology, Nolan created a universe that felt both extraordinary and believable.
The OdysseyChristopher Nolan’s most recent film ‘The Odyssey’ faced Nolan with the challenge of bringing gods, monsters and mythical landscapes to life. The director and his team once again turned to practical filmmaking techniques, including real locations, animatronics and practical creature effects.


The most notable example is the Cyclops, Polyphemus, who is one of the most iconic creatures in Greek mythology. Instead of creating the giant entirely through GGI, Nolan’s team constructed a towering 60ft figure which was developed using a combination of animatronics, puppetry and performance techniques. This allowed actor Bill Irwin to bring a human physicality to the monster and enabled the accompanying actors to interact with a physical presence on set and gave them a genuine sense of scale.
This approach reflects Nolan’s belief that even the most impossible concepts become more convincing when they are rooted in reality. By building real environments and physical creatures, the cast could react naturally to their surroundings, whilst the camera could capture authentic light, movement and texture.


By making Greek mythology feel real, Nolan continues to prove that practical effects can create a stronger emotional connection between the audience and the world on screen.
Christopher Nolan’s filmmaking philosophy centres around creating a sense of authenticity, using practical effects whenever he can to provide a more immersive and emotionally engaging experience. From recreating the vast power of the Trinity Test in Oppenheimer, to crafting miniature space models in Interstellar, and bringing mythology to life in The Odyssey, Nolan has demonstrated that physical filmmaking still holds immense value. In a world where CGI can create almost anything, Nolan’s films are a reminder that sometimes the most extraordinary moments are created by making them feel real first.

Acting is becoming increasingly popular and accessible with opening casting calls being posted every day. With auditions now a click away, acting is already incredibly saturated. So, what extra skills can actors have to make them stand out from the crowd?

ADR TRAINING

What is ADR?
Automated Dialogue Replacement (ADR) is part of the post-production process. Once filming has been wrapped, actors are often required to re-record their lines in a controlled environment like a studio. These lines can then be used to replace lines that have already been recorded on set. ADR is not the same as dubbing, dubbing often involves different actors entirely who deliver lines in a completely different language. This often means on-screen movements will not match with dialogue when dubbing is involved. Alternatively, ADR focuses on a seamless match between re-recorded dialogue and pre-recorded scenes.  Not all productions utilise ADR, but many of them do, especially if scenes are shot in busy or loud environments like a bustling city street.

Why do actors need ADR training?

ADR is primarily used to improve sound quality adding clarity and crisp sound to any scene. It can be used to correct any discrepancies within sound recordings, this may be a microphone issue, a faint cough in the background of a take or the gurgling of a tummy. Yes, the sound department can and do hear all sorts of things. As well as increasing sound quality ADR can also be utilised for performance quality. An actor or director may feel in post-production that a line can have more emotional depth, clarity or additional dialogue and so will request an ADR.

As an actor you must anticipate the potential for ADR days, even if you have initially wrapped production of a project. You may be required to perform the same lines over and over to match with on-screen delivery and facial expression or pre-recorded scenes. This requires you to be patient, adaptive and creative, heading into any ADR session with an open mind and with the ability to adjust approaches and performances when required.

VOICEOVER ACTING

What’s so important about voice acting?

Having the ability to voiceover act is a fantastic skill to have on any actor portfolio. Voice acting shows casting directors that you are a versatile performer with an ability to manipulate your acting and voice to suite different characters, emotions and contexts. Voice acting relies on voice delivery, breath control, timing and emotional precision without relying on body language, fancy sets or crazy costumes.

Being able to voice act provides actors with broader opportunity, with voice acting being present in a variety of productions including TV, film, animation, video games, advertisement, radio, documentaries, audio books and much more. Within this, voice acting can be broken down into different types – which are all equally important and useful skills to learn and continuously develop. Voice acting has character work, narration and advertisement styles.

Types of voice acting

Character work is the voice acting commonly attached to film, television, animation and video games. It is present in popular shows like Arcane (2021-24) and video games like Call of Duty: Modern Warfare 3 (2023). This type of voice acting requires large vocal range, strong line and emotional delivery and the ability to act out intense scenes and cues including fights, screams, gasps and sighs.

Narration in voice acting is often seen in productions like audiobooks and documentaries – think David Attenborough and Louis Theroux. Narrators guide listeners through fact and fiction, they are required to have strong communication skills and radiate confidence, authority and clarity. They are tasked with telling a story and portraying emotions that bring science, history, nature, literature and much more to life. Unlike documentaries, audiobooks have more room for playfulness, with the ability to characterise a performance, swapping tonality, vocal range and approach with different characters in a story. Imagine trying to swap from embodying Hermione Granger to Ron Weasley in a single take.

Lastly, you may also be required to voice act for advertisement purposes. Unlike narration or character work, advertisement is more focused on conveying a message rather than telling a story. As a voice actor for advertisement you are personifying a commodity or a brand and are often given a clear brief focusing on brand authenticity and relatability. Having the ability to voice act for a variety of productions displays your versatility, skill and adaptability as an actor. Voice acting allows you to focus on your script analysis skills, interpreting character motivations, emotions and scene contexts. It allows actors to develop their vocal control, range, tone, pitch, pace and delivery making you a well-rounded performer. If you are creating a voiceover showreel be sure to add different subjects, tones, mediums and approaches to the craft to really display your resourcefulness.

MOTION CAPTURE TECHNOLOGY

What is Mocap?

Motion Capture, also known as Mocap is the digital tracking and recording of a performer’s facial expressions and physical movements to then be translated into a 3D digital performance. Actors are often fitted with fancy suits consisting of reflective markers and sensors tracking your every move, from an eyebrow raise to a handstand. Mocap is used in many contemporary big budget films and video games to create CGI characters we know today. This includes Gollum in The Lord of the Rings franchise (2001-2003), Ceaser in the newest The Planet of the Apes franchise (2011-2024) and the beloved blue aliens in James Cameron’s incredibly acclaimed Avatar franchise (2009-2025). As well as big blockbuster films, plenty of video games utilise mocap to bring their actor’s performances to life such as in God of War (2018) and The Last of Us (2013).

Why do actors need Mocap training?
It is highly important that as technology continues to develop and integrate itself into the film and TV industry that actors are gaining some training in this technology and performance style. Gaining additional training in Mocap allows performers to develop their physical movements focusing and refining their posture, stance, and overall body language to better suit a character or scene adding to a well-rounded performance. Mocap relies on a heavy imagination, where actors are not expected to rely on sets, props or costumes to bring a character to life.

Often seen to bridge the gap between screen and stage acting, Mocap requires large stage like physical movements to digitally emote a character whilst requiring subtle and intentional facial expressions to humanise and ground a performance. Mocap requires performers to possess physical, emotional and spatial awareness. With your face closely monitored and your body free to exaggerate, Mocap allows actors to work on multi-faceted aspects of a balanced performance making it a very sought-after skill.

STAGE COMBAT

Is stage combat like martial arts?

Stage combat and stage combat training are another quiet force that actors should not be ignoring if they want to stand out to casting directors and also continuously develop their performances. It is a theatrical discipline that is a heavily choreographed routine portraying an illusion of violence. Stage combat is not to be misinterpreted as martial arts but instead is used to tell a story, however violent, through controlled and safe movements. Stage combat can include unarmed combat like fake punches, slaps, shoves and falls as well as weapon handling like sword fights. Such routines are often present in action-based films where actors are often required to display strong physicality.

Is it worth having stage combat training?

Stage combat on set is not a training session but a rehearsal. Rehearsals are planned based on production needs not your long-term training goals as a performer and so having some previous stage combat training is highly beneficial and sought after. Having such a skill is not only helpful for production purposes but also incredibly useful for you as an individual performer as you fully commit to and embody a character.

Having stage combat training displays to casting directors that you have strong spatial awareness, a collaborative nature and the ability to execute actions safely and effectively especially in high intensity and fast paced environments. Training in stage combat requires performers to have great listening skills and the ability to execute instructions clearly focusing on timing and response, focusing on safety of all performers involved. Stage combat is not a place for a big ego but for collaboration, communication and following instructions – all brilliant skills that display professionalism and a commitment to the craft.

GREEN SCREEN ACTING

At times, actors will be required to act in front of a large green screen, as it acts as a backdrop for a particular take. This green screen is then digitally replaced in post-production with digitally curated environments suited to that particular scene. This could be castles, cities, mountains and much more. Due to these scenes being shot in a studio, actors are required to rely heavily on their own imaginations and ability to work with their scene partners to execute performances that feel authentic alongside a digitally curated environment.

As an actor you must have strong physicality and emotional depth whilst reacting to situations unfolding within the background of your scene such as a loud explosion. Green screen acting requires you to have great timing, spatial awareness and the ability to main consistent in your performances as shots can be spliced together to create a scene from different takes. It is incredibly useful to practice acting in front of a green screen so you can get use to and feel comfortable in front of a background that doesn’t exist!

PRESENTING

Although presenting is not quite the same as acting or embodying a character from the pages of a script, many skills used for acting are easily transferrable to presenting and vice versa. Similar to voice acting, presenting is a great skill to obtain as it relies heavily on vocal range, vocal clarity, confidence, timing and execution. These are all skills actors need to ensure they have clean line delivery and character interpretation when on set or during audition processes.

What is the correlation between presenting and acting?

When presenting, performers are providing information directly to an audience, and at times a live audience. This requires performers to be extra vigilante and perceptive of their line pacing, delivery, body language, posture, stance and clarity of sound. You may utilise dramatic pauses to emphasise key points whilst adding your own authentic touch to you presenting style. This not only helps to improve confidence but allows you, as a performer to work on your own uniqueness and individuality. Speak with confidence, know your lines and ensure you are connecting with your audience - skills you need as an actor not just as a presenter. Such skills improve your script analysis, line delivery and overall self-assurance. Having the ability to present helps with your on- set performances, live performances and also your ability to head into auditions with confidence and professionalism

ACCENT & DIALECTS

Having an ability to switch between differing accents and dialects is a fantastic skill for any actor to have. Being able to portray multiple accents expands your casting range and helps build characters authentically. Not only does accents make actors more versatile and well-rounded but also broadens your own opportunities. Actors do not want to be limiting themselves to roles that only match their natural voice, adapting dialect and executing accents allows actors to audition for international projects and for well-known brands and companies. Honing in on a character’s individual accent allows for deeper characterisation and embodiment of that character’s lived experience.

How do I get better at accents?

Some of the common accents casting directors look out for include: general American, RP (Received Pronunciation) as seen in The Crown (2016-2023) on Netflix, standard British, Northern (Yorkshire, Newcastle etc), Scottish, Irish, Australian and Southern American (think western/cowboy dramas). You are not expected to have a polished accent for every accent listed above, quality over quantity is much more sought after in this case. To develop your accent and dialect skills, work directly with a dialect coach, immerse yourself in international television and practice, practice, practice. Be sure not to get lost in perfecting an accent during an audition or a performance that your acting suffers. Learning an accent is an iterative process that takes time, patience and tenacity but it is absolutely worth it in the end.

IMPROVISATION

Improvisation, otherwise known as Improv is an acting style in and of itself. It is however, sometimes utilised during scripted productions but not as frequently. Improvisation is when performers create stories, characters and dialogue on the spot. It is often a reactive form of acting that requires active listening, communication and strong amounts of collaboration, all skills required for screen acting. The golden rule of improve is “yes…and” to continue the narrative and avoid awkward pauses or discontinuations. Improv although often used for comedic purposes also carries many valuable lessons.

Improv teaches performers to embrace mistakes, respond authentically, be creative and adaptable, to think under pressure and respond creatively. These skills allow actors to harness confidence, flexibility and to have fun. Improv training should feel playful and engaging reminding performers to not take themselves so seriously because after all acting should also be fun!

Acting is a craft and it requires a plethora of skills, but however many and however overwhelming such skills and requirements seem, they can be taught. If actors are committed, passionate and genuinely enjoy what they do, such skills should not be seen as chores but opportunities to grow as a performer as well as helping actors stand out in a sea of talented performers. At IPM Acting Academy we teach a range of skills including voice acting, the basic of Mocap, Stage Combat and much more. So what’s stopping you? Enquire about our classes today !