Ah, Christopher Nolan.
For a lot of years, I did not have any sort of relationship with Warner Bros. publicity, and when I did finally start talking to them, one of the first guys I dealt with was Don Buckley, a legendary publicity guy who was with the studio back in the days when Warner Bros. was the home of Stanley Kubrick.
What was most amazing to me about the Kubrick years at Warner Bros. was the way they just left him alone to cook up his masterpieces, and when he was ready, he made them the way he wanted, and they sold them the way he wanted, and they were happy to do it. They had a pure unrelenting faith that Kubrick would give them something to be proud of each and every time, something that would be part of the cultural conversation. And when they sold those movies, they sold them on the cultivated mystique of Kubrick's name, and on the films he'd made before that.
I'm not saying I think Christopher Nolan is Stanley Kubrick. Because only Stanley Kubrick will ever be Stanley Kubrick.
But I think Nolan is in that rare sweet spot for a filmmaker with as strong and personal a voice as he has, where he has had tremendous commercial success for the studio, enough that they're willing to not only support a strange and risky personal vision, but they'll also sell it on his name and they'll let him play with the audience and keep his secrets instead of ruining the whole thing six months early like so often happens with big movies. And since Warner's biggest financial co-partner right now, Legendary Pictures, is also onboard the Nolan train, he's pretty much found a home for the foreseeable future.