"Chris is now the only director I work with," said Wally Pfister, the director's Oscar-winning cinematographer, in Empire back in 2010. That's no longer entirely the case - he's since shot Bennett Miller's Moneyball - but the bond between the two former Chicagoans is still as weighty as one of those 200lb IMAX cameras Pfister uses to get Nolan's grand visions on film. And it is film. The pair have so-far eschewed digital cameras in favour of celluloid ("When it's as good as film and it makes sense, I'll be open to it," Nolan told The Hollywood Report). He'd be the first to praise Pfister's contributions: from the bright noir of Memento, which Nolan jokes was "because I probably didn't know how to light back then", to the "textures and depths" of Insomnia, to the IMAX majesty of Dark Knight's midnight mayhem. After all, as the director says, "A director has to have a DP that he trusts."