Tom Holland Says Christopher Nolan's The Odyssey is ‘Unlike Anything We've Ever Seen'
Holland plays Telemachus, the son of Odysseus, portrayed by Matt Damon, in what is shaping up to be Nolan's most ambitious release since Oppenheimer.
Working with Nolan: A front row seat to greatness
Filming on The Odyssey gave Holland an inside look at what he described as one of the most demanding and rewarding creative environments he's ever experienced. 'Working with Chris, getting to know him and Emma [Thomas] was absolutely fantastic,' Holland said in the interview with GQ. 'There is a reason they're the best in the business.'
He called working on the film as 'exciting' and 'different,' adding that audiences should expect something entirely new from Nolan's take on Homer's classic, 'The job of a lifetime, without a doubt…I think the movie is going to be unlike anything we've ever seen.' The movie is the first major studio release to be shot entirely on Imax cameras.
Damon and Hathaway: 'Always been a hero of mine'
Sharing the screen with longtime idols was another major highlight for the Spider-Man actor. ' Matt Damon has always been a hero of mine. Anne Hathaway has always been a hero of mine,' Holland told the publication. 'To share scenes with them, to learn from them, to become friends with them, I couldn't have asked for a better job.'
He described arriving at the set with a strong sense of purpose, saying he felt proud of the work and grateful for the trust Nolan placed in him. The film's first trailer, now screening in theaters, features a scene of Holland's Telemachus breaking down as he searches for answers about his missing father. The Odyssey is set to release on July 17, 2026.
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The Hindu
2 hours ago
- The Hindu
The sound of a superhero: The musical evolution of Superman
There are few things in cinema as unmistakable as John Williams' Superman theme. Since hitting the silver screen in 1978, the character had already flown through four decades of comic book pages, animated reels, and radio waves. But somehow, with just a brass fanfare and three commanding notes, the legendary composer gave the character a voice. Not a literal voice, of course, but a sound. A sonic identity so perfectly fitted it may as well have been stitched into the suit. A melody that told you who's coming before you see the cape. That impossibly proud leitmotif made gravity feel a little more optional. It felt loud enough to shake heaven, yet hopeful enough to reassure Earth. It would go on to be borrowed by composers across decades, each trying in their own way to touch that same electric optimism. What's often forgotten is how hard it is to pull that off. Williams composed not one, but seven thematic ideas for 1978's Superman. But it's the big one — the triumphant, three-note main theme ('Sup-er-man,' if you hum it right) — that embedded itself into our cultural muscle memory. Williams distilled the essence of Superman so perfectly into music, it almost feels discovered — as if the theme had always existed, waiting for a hero to claim it. Before Williams came along, Superman had been bouncing around pop culture for decades, from comic-books to grainy television to the Saturday matinee serials of the 1940s. Sammy Timberg's 'Sup-er-man' triplet that would eventually be immortalised in the Williams score, first appeared in those early Max Fleischer cartoons. But Williams gave it bones, breath and somehow made it feel eternal. Like any good myth, it needed ceremony, so he gave Superman something regal, declarative, and built from the very instruments that history itself has used to signal kings and generals. There's always been something mystical about the way Williams scores identity. His themes feel coded into the character's DNA. The magic here is in the construction: Copland-esque harmonies that call back to wide-open plains and honest labour, Sousa-like romantic rhythms that march with purpose, and orchestration that lets the French horns sing like they believe in something. It comes as close to the ideals of 'truth, justice and the 'American Way'' that Superman originally represented. Not the cynical, postmodern America, but the hopeful, mythic one, a country that wants to believe its heroes are kind. That sense of musical certainty was baked into Superman itself, and a charming young Christopher Reeve wore that sincerity on his chest. Part of what made the project so enjoyable, Williams has said, was how little it took itself seriously, and the music reflected that unabashed grandeur. Reeve once joked that trying to fly without it would get you nowhere. And watching Superman today, it's hard not to agree. But immortality is a complicated thing, and can become a shadow as much as a beacon. So when Man of Steel arrived in 2013, Hans Zimmer did what any seasoned composer would do when asked to reinvent a god and turned away from the sun. This shift was existential, for this was not a theme you would whistle on the way home. In Richard Donner's 1978 vision, heroism was innate, bright and uncomplicated. In Zack Snyder's version, it's fraught, burdened, and deeply ambiguous. So, naturally, the music follows suit. Zimmer introduces Superman with two almost embryonic notes being slowly drawn like a question mark. It's easy to miss them at first, buried in ambient textures, but over the course of the film, that two-note figure returns again and again, reshaped by context. On piano, it's wistful; on strings, it's determined; and on brass, it finally finds its wings. Zimmer's score also avoided leitmotifs in the Wagnerian sense. There's no tight tether between character and phrase and no musical shorthand for the audience to cling to. Instead, Zimmer writes in movements of emotional atmosphere that shift and swirl, gaining intensity as the character does. His Superman score builds, like an argument being made. It asks us to wait. To believe, perhaps, in a new kind of saviour. Zimmer's Superman earns his theme. It's beautiful, in its way. And yet, there's a sense of mourning running through it like an elegy for something more certain and melodic. As compelling as Zimmer's score is, it often feels like it's chasing something it refuses to name. That something, of course, is John Williams. Zimmer once said he avoided referencing Williams out of respect — it would have been, in his words, 'like painting over the Mona Lisa.' And perhaps he was right. But the absence is felt. The Man of Tomorrow, it turned out, still needed the music of yesterday. For all its remastered modernity, Zimmer's theme does still carry that same core idea of hope. However, some would argue that the film itself never fully earns the theme. The darkness of Man of Steel often feels at odds with the light Zimmer is striving to inject into its score. The music wants you to believe, and the film, less so. Ironically, Zimmer's score often works better when divorced from its source—as a sonic idea of Superman, even if the character on screen seems unsure of who he is. Which brings us to now. James Gunn's Superman is already bending the arc back toward something closer to the light. And what do you know, Williams is coming back with him… in spirit at least. Gunn, like many of us, grew up worshipping that soundtrack. He's called it his favourite, saying it was the one part of Superman he carried with him longest. When handed the keys to the DCEU and tasked with helming the new David Corenswet reboot, he asked composer John Murphy to go back to the well. The original melody appears, but on electric guitar, twanged like something out of a dusty American road trip. Then the orchestra steps in, reclaiming the theme with reverence and newness. Williams' original leitmotif was crafted like an edifice built to Greiving, Williams' biographer, put it best when he said the theme feels like it came with Superman from Krypton. And really, how could it not? There's a reason it still plays in PVR bathrooms nearly half a century later. It's lodged in the cultural imagination the way lullabies are. We hum it because it tells us who Superman is, and if we're honest, who we want to be. It's a tricky thing, writing music for someone who can fly, but somehow, across decades and discographies, the message remains the same: Look up. Superman is currently running in theatres
Time of India
6 hours ago
- Time of India
Superman box office collection day 2: James Gunn's superhero saga witnesses growth of 32%, earns Rs 9.25 cr in India
Superman box office collection day 2: Superman, which hit the screens on July 11, opened to a good response in India and earned Rs 7 crore (nett) on the first day. It also received positive reviews. The superhero saga continued its run on July 12 and remained the choice of the audience on day 2. Superman shines on the second day James Gunn is in the limelight because of his latest film, Superman, which is doing well in India. According to Sacnilk, a trade website, it earned Rs 9.25 crore on Saturday. The figure is 32% higher than what it earned on the first day. Superman's English version had an overall occupancy of 32.5% on the second day. The occupancy was around 19.47% in the morning. It rose to 33% in the afternoon. The evening and night shows had occupancies of 41.15% and 36.05%, respectively. It recorded its best overall occupancy in Chennai (60.25%) and Bengaluru (~36%). However, the film stayed relatively low in markets such as Kochi (22%) and Ahmedabad (26%). Similarly, the Hindi and Tamil versions had an overall occupancy of ~22% and 15.41%, respectively. Here's the day-wise box office report Day 1: Rs 7 crore Day 2: Rs 9.25 crore The total 2-day collection stands at Rs 16.25 crore. Superman review Superman received positive reviews with critics praising the performances and the execution. The Times of India gave it a rating of 3.5/5 and described it as ' entertaining and enjoyable'. 'Superman is entertaining, enjoyable, even epic but never intense. James Gunn's non-origin story soars high visually but stays limited emotionally. The director's unyielding need to go traditional comes at a cost. It is still a tremendous cinematic experience that deserves to be watched in IMAX,'read a portion of the review. The healthy word-of-mouth is expected to stay strong today (July 13) despite the fact that it has reportedly been leaked online. About Superman Superman is a superhero film directed and written by James Gunn. It features David Corenswet as Clark Kent. Rachel Brosnahan plays Lois Lane and Nicholas Hoult essays the role of Lex Luthor. It centres on a young hero already active in Metropolis, trying to balance his alien roots with his life on Earth. Superman is the beginning of a new era for DC Studios under the leadership of Gunn and Peter Safran.
Pink Villa
14 hours ago
- Pink Villa
Box Office: F1 continues its victory lap in 3rd weekend despite Jurassic World and Superman; Nets Rs 63 crore plus in 16 days
F1, directed by Joseph Kosinski and starring Brad Pitt, Kerry Condon, Damson Idris, Javier Bardem and others, is holding like a beast at the box office. The film's collections have not been affected, despite it losing all of its high performing IMAX screens. After collecting Rs 1.55 crore net on its 3rd Friday, Brad Pitt 's movie jumped by 90 percent, netting Rs 3 crore. The total collections of the movie stand at Rs 63.55 crore after 16 days and it is far from done. The Day Wise India Net Collections Of F1 Are As Under F1 Aims For A Rs 85 Crore Plus India Net Finish Going by the phenomenal hold of F1 through the weeks, and then the excellent growth in collections over the weekend, it seems like the racing movie is in no mood to take a pit stop. New competition has not affected the movie, one bit, atleast in India. The movie can fancy a finish in India, to the north of Rs 85 crore net (Rs 105 crore gross). That would make it the second highest grossing original movie in India, only behind Oppenheimer. Two Of The World's Most Populous Countries Are On Board For F1 The film looks to end its global run in the vicinity of USD 500-525 million, with Asia literally carrying the movie. Two of the most populous countries of the world - India and China, have accepted the movie like their very own. The film shall breakeven theatrically and the non-theatrical revenues should essentially be the film's profits. Brad Pitt Finally Tastes Big Global Success Brad Pitt, who was going through a difficult phase in his filmy career, has got himself a solid theatrical comeback. While his next film is for the streamers, the fans and exhibitors would really hope that he makes more films for the big screen. F1 In Theatres F1 plays in theatres now. Stay tuned to Pinkvilla for more updates.
