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- [00:02]
A
Welcome to the vergecast, the flagship podcast of seven story high movie screens. I'm Jennifer Patterson Tuohy, the Verge's senior reviewer and today we're talking imax. Christopher Nolan's the Odyssey has already been selling out IMAX theaters and now Brand New Day, which has just had the biggest box office debut ever, is expanding to IMAX 2. So it is a big week if you want to see 80 foot tall close ups of Tom Holland and Zendaya. But what is it about this 60 year old technological technology that is suddenly the hottest thing in movies other than Matt Damon's biceps? The Verge's TV and film reporter Charles Pullimore is going to be joining me to give us the view from the top. But first, here's what's happening on the Verge today. This is 90 seconds on the verge for Thursday, August 6, 2026. Major moves are afoot among Google's AI leadership Jeff Dean, Google DeepMind's chief scientist, is leaving to start Discovery Loop, where he'll build deeply positive AI systems. Demis Hassabis is out as leader and will become chair and Alphabet's chief scientist. DeepMind CTO Kuray Kavachukulu replaces him. The Verge's Hayden Field says this laundry list of executive changes likely signal deeper issues within Google's AI organization, including Dean's opposition to Google's DoD contract and an overall push towards faster, more product focused leadership. Nintendo just made a bunch of money, thanks in part to a $300 million tariff refund. The company reported a 150% profit increase in its first quarter thanks to strong game sales and a whopping big check from the US government. Despite raising prices on Switch consoles and blaming tariffs, Nintendo is keeping the refund and it's not alone. Sony is also keeping its refunds from PlayStation price increases and both companies are now facing lawsuits from users. Bose has announced its long awaited second gen QuietComfort headphones. The ANC models will be available for Pre order on August 8th for $359 and come in some fun new colors including a gorgeous deep red rose and a vaguely urine coloured one. The second gen will feature an upgraded Aware mode and new immersive audio listening modes including head tracking and a simulated theater like experience that's going to be fun while you're riding on the subway. You can read more about all of these stories@theverge.com that's 90 seconds on the Verge for Thursday, August 6, 2026.
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C
AWS AI is how support for this show comes from Odoo. Running a business is hard enough, so why make it harder With a dozen different apps that don't talk to each other? Introducing Odoo. It's the only business software you'll ever need. It's an all in one, fully integrated platform that makes your work easier. CRM, accounting, inventory, E commerce, and more. And the best part, Odoo replaces multiple expensive platforms for a fraction of the cost. That's why over thousands of businesses have made the switch. So why not you try Odoo for free@odoo.com that's o d o o dot com.
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A
Welcome Charles. Thanks for joining me.
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B
Thank you so much for having me. I'm very excited to talk about the Odyssey, imax, but also Matt Damon.
- [03:39]
A
Yes.
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C
Yay.
- [03:41]
A
Excellent. Okay, so let's just start, right, like 101 film school here. Okay, tell me, what specifically is IMAX other than a big screen?
- [03:54]
B
So huge screens are obviously like a huge part of the IMAX brand, but imax, right. IMAX encompasses a handful of different proprietary filmmaking and projection technology. So we're talking about the cameras that the films are shot with. We're talking about the specific kind of film that is loaded into those cameras and then, you know, next to the screen of it. We are talking specifically about a very particular kind of hard to build projector. Many of them are very old right now. And then we're also talking about massive, massive screens. Right? We talk about, yes, the IMAX screen is big. And we all sort of know, we all sort of have a vague idea of what an IMAC screen looks like. But like true iMacs, they are these humongous screens that are able to show films in 1.43 to 1, which is just like immersive and really sort of if you are not specifically trying to look around the theater and you are focused on the screen, it is kind of like you're being pulled into the image, which is kind of the image Max. IMAX of it all.
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A
Oh, I didn't know that. Okay, that makes sense. Great image, Max. I was.
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B
Yeah, they are one of the first maxing companies out there.
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A
Like they're just a trend.
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B
Yeah, they were ahead of the curve.
- [05:11]
A
So I have to admit up front that I am an IMAX virgin. I have never seen an IMAX movie, but I quickly. Why would I want to see any movie in imax. Like, what is the experience going to be like? You mentioned immersive, but is there anything else that kind of really stands out about imax?
- [05:28]
B
So you're going to get a really high quality picture and depending on the specific film that you're seeing, seeing something that's shot on 70mm truly can. It's hard. It's almost hard to put into words. I know that we're talking about the Odyssey right now, specifically, but I think the last time that there was a really big sort of public push to go see something that was shot in imax, at least partially was Sinners. Right. And the big appeal with that film was that the scenes that were shot, it was like 15 perf. 15 perforations per minute. 70 millimeter, 70 millimeters. Was that it lent itself to these wide, expansive shots. Right. Of just like the country in the south. Right. It really makes you sort of like feel what it means to have to drive through an old dirt road as you're just like trying to get somewhere. And I think that when filmmakers make the choice to shoot something at imax, particularly if they're ideally, there's like sort of an artistic motivation behind it. Right. You are trying to depict something at a larger scale that's going to evoke a particular kind of feeling in the audience. Right. And I think that really comes to the fore in the Odyssey. It is an epic poem. And Nolan goes out of his way to sort of present what he's crafted, much of which is done with practical effects in such a way that makes it look and feel larger than life. That's what gets me excited about imax. And it's not, you know, just because something's out in imax. It's not always. That's not always immediately something that's going to like catch my eye. But when you can tell that a filmmaker has intentionally worked in that format in order for. In order to like strengthen the narrative, that's kind of what I think. The format's real. Like draw is.
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A
Well, and I mean, this is a 60 year old technology. You mentioned, like these old cameras. Why is it suddenly going through such a resurgence? Is it just because Christopher Nolan is doing it or. I mean, I know we had. Was it Avatar a few years back that was a big imax, but there hasn't been this amount of buzz. I mean, we've got Spider man coming out now and I mean, I was doing some research and I heard that theaters with true IMAX theaters were selling out like a year in advance. I Mean, this isn't the eras tour, people. I mean, why does everyone want to go and see IMAX all of a sudd?
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B
I do think a lot of the popularity of the format can be attributed to not just Nolan as an individual filmmaker, but sort of what he has done to draw attention to the format. Right? Like, the Dark Knight was not entirely shot in imax, but there were sequences that were shot that way. In those sequences, you do get the sense that, like, Nolan's like, I'm going to. I'm making a grounded superhero film, right? This is sort of the beginning of that wave of, like, ooh, it's moody and grim, dark and serious. But Nolan was very intentionally trying to make something that could still be a spectacle that's being become sort of common and standard in superhero films, you know, in the time sense. But he was intentionally trying to be like, how can I make something that hits you in the face and in the feelings? The same way that like a splashy comics book, comic book layout can, right? And he has consistently sort of incorporated IMAX cameras and filmmaking into the bulk of his filmography over the years. You see it in the Dark Knight Rises and Interstellar Oppenheimer, right? Over those years, right? As Nolan is becoming more and more of a celebrity director, I think as his star was on the rise, the same sort of happened for imax, right? He has played a really important role in teaching the public a lot about imax. And I think that theater owners are thankful for it, right? As few true IMAX theaters as there are out there, the fact that you have filmmakers like Christopher Nolan, Denis Villeneuve, Ryan Coogler out here doing things in imax, right? It gets people excited to go to the movie theater. And even if they aren't necessarily going to see something that's projected in 70 millimeters, they're like, Ooh, it's IMAX. That's fun. That's great. Right? And as much as we all talk about like, oh, the movies are dead, the movies are back, part of that constant ebb and flow is, well, how many films are coming out that have sort of done a job or done a solid job of capitalizing on the public's interest in that kind of format, right? Like Sinners. I keep bringing it back to Sinners because that was a really big part of the marketing push. They went so far as to give out little strips of film as, like, the little giveaway at certain theaters. And that's film strip, that's cool. But the idea. But the idea of, like, in the 21st century, people are going to movie theaters and sort of marveling at a film and then taking a little strip of it home. Not the literal thing, but a facsimile of it that really does remind you, like, hey, so everything that you just saw, it's a bunch of images on some film, and it's, you know, being projected real fast, and that becomes a moving image. Right? Like, that's. That's cool, right? Like, I think. I think that that's something that filmmakers like Nolan have been trying to advocate for. For the general public, like a deeper understanding of an appreciation for film as an art form and what all goes into it, which is I think, really kind of all culminating in the Odyssey in a really sort of, like, big, bombastic way that everyone can kind of recognize as being, like, a success, you know?
- [10:52]
A
So is this is very much more like, about the art form then, like, it's. And Nolan is notoriously a Luddite, right. He doesn't use technology at all. He doesn't have a smartphone or anything. I think no email. I think I was. People print out his emails and give them to him. I saw Interview. So was this kind of part. Is this almost like a musician releasing all their albums only on vinyl? Is it like going back to the kind of core of filmmaking, plus taking advantage of this huge screen element? So, like, you know. Cause it sounds like shooting in this format, especially the 70 millimeter IMAX as opposed to. I guess there's two types of IMAX you can see, there's 70 millimeter or there's like, digital. Is that right? So it's.
- [11:37]
B
We can get into that.
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A
Okay, so. But it sounds like it's a real pain to do the 70 millimeter. And this is why this is the first movie ever to have done it entirely. So, you know, what's. Why would he choose to do something that's this hard?
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B
So I think part of it is the challenge, right? I think that Christopher Nolan, you know, he's not a spring chicken anymore. He has sort of more than demonstrated his bona fides. And at this point in his career, he's like, what does me working at the height of my powers look like? Exactly. Right. I've sort of proven that I am a capable visual storyteller. We can debate as to whether or not he's particularly great at writing certain types of characters, women in particular. Right. But he's like, inasmuch as I am a filmmaker who puts butts in theaters to see gorgeous tableaus just sort of like, exploding all around you. How can I do that? In a way that really sort of challenges me to step my game up. And I think that shooting in 70 millimeter is kind of like. I don't want to say his dream situation, but it's kind of. It's. It's stacked with all of these kinds of challenges that are surmountable, right? They. They can be worked around, but it's going to take. It took a lot of technical know how and just sort of faith and money, right? Like.
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A
Right.
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B
But, like, once you see the Odyssey and take a beat to sort of look into what all it took to put it together, it's like, oh, like, that is. That is impressive, right? Like, there is a reason that people do not shoot on IMAX like this, beyond just, like, the expensiveness of it. Cameras are heavy, right? They're really big. They're really big. And you really can't. You're not going to get a lot of dynamic action shots because you can't run with that thing, right? You. It's not going to work that way. They're loud, right? They make a whole hell of a lot of noise. And one of the cool things about. About Nolan's production process on this, he had to, like, wrap or outfit the cameras in blimps, right, in order to muffle the sound, right, so that he could actually do dialogue, right. A lot of Nolan' previous films, that feature that were shot with imax, right, Those are like the big, loud scenes, right? It's not necessarily, like a quiet, intimate moment, but for this, because the entire thing is shot on imax and a lot of this is, you know, quiet asides, you know, in the throne room while there's someone hiding in the shadows, you had to do all this to the camera. But because it was covered in all this muffling, this muffling, like, exterior, you have to put special mirrors on it so that everyone can get, like, their eyelines, right? And it's kind of like. It didn't have to be this complicated.
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A
Very complicated.
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B
It did not have to be this complicated. But you listen to. You listen to or watch interviews with any of the members of the cast and you can see that they were unaccustomed to working like this, right? But how to put men fascinated by it and really excited about, like, oh, my goodness, like, why are we doing it like this? I love it. But, like, tell me more about how that works. I think that that's a big part of why people are really, like, glomming onto this.
- [14:35]
A
What would be the difference between Seeing this in a 70 millimeter IMAX, of which there are apparently only 40 in the entire world or 41 or something, versus seeing it in a digital. Is it digital IMAX or.
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B
The biggest immediate difference between real IMAX and Limax, as people like to call it. It is the. I don't think that's fair.
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A
But that's not the official name.
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B
No, no, no. But I think the biggest difference is literally just the aspect ratio of the screen. It is that tall. Tall 1.43 to 1 versus I don't know, the. It's not a 16 by 9 for like, for the widespread IMAX, but it's something closer to that, wider and bigger than what you would get in a regular screen, like in a regular theater. But it is missing some of the visual information that you would get in a true imax. I. In my mind there's like three tiers. There's like true IMAX and then like the IMAX we all kind of have. And then there's just like a regular screening. All three are great, right? Like you're going to. I think you would have an enjoyable experience at all of them.
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D
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- [18:01]
C
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- [18:42]
E
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A
So you mentioned, we mentioned earlier that there's only like 40 theaters worldwide that can show the 70 millimeter theater IMAX movies. Why only 40? Like can they not build more projectors? I mean it sounds like the ones that they're using now are like half a century old. So why is this limitation? Is this like, is this a marketing ploy or can we see more, see more of these movie theaters?
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B
Jen, like you've kind of answered it. They just don't have any more.
- [19:54]
A
But it's the modern day, can't they build?
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B
So, so, so the thing is like, it's actually sort of tragic and fascinating at the same time, right? The V majority of these projectors were built 50 years ago, right. And the ones that they are, the ones that are still being used right now, they have just been maintained and retrofitted to the best of IMAX's ability. One of the main reasons that they haven't been able to produce new ones because you think to yourself it's 2026, just like crack open one of the ones you have and build one. But part of the issue is one, they're very delicate. You crack it open, it's going to be hard to fix. Two, a lot of the original blueprints for how to manufacture these are gone. IMAX did not do in the same way. A lot of, a lot of companies just do not keep great records. IMAX does not have a lot of the original plans as to how to put these things together. That compounded with the fact that there has been an industry wide shift away from film more towards digital projectors.
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A
So people haven't got the institutional knowledge,
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B
people don't have the understanding of how to build these things. And the parts manufacturers, right, that once would have been able to build the parts, either they have gone out of business or they have pivoted into other industries. Right. Just in order to stay alive. So all of this has added up to IMAX being like, oh my God, I'm sorry guys, we simply can't build anymore. Is that true? Question mark? Maybe. I feel like, I feel like if, if, if IMAX were really to sort of like get down to brass tacks and be like, look, the people want more of these projectors, we need them, they could figure it out. I think probably right. But again, that would take a lot of R and D on their part.
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A
Right.
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B
You have to weigh how much money actually goes into this versus how many you're going to get out of them. And then whether or not that investment is actually going to pay off for imax. You know, their CEO has talked about. Yeah, it doesn't really make sense for us financially to install these into. We can't really build, you know, 2,000 more of these just from a technical perspective. But also getting them into theaters is hard, right. In order for. So there's the projector side of things. Right. We were talking earlier about you needing a massive screen. A lot of theaters don't have the space for those kinds of screens. They would then have to undergo a construction process to build an auditorium that could actually house it. That's money that the movie theater would need to put up. And movie theaters are already, right, the like, the margins on those profits are already so thin that's them taking a cut out of their fill, like out of their money, rather. So it's like all of that makes it easy to understand why the company's like, yeah, we don't really have any more. Maybe you just want to get on a plan to go find one of the ones we have. Right.
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A
That makes that an expensive movie night out.
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E
Yeah.
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B
And I think that, like, as time goes on, right. I don't know that. I don't know that, like every film isn't going to be shot in imax. Right.
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A
Like, that's just also the problem, Right. There aren't many of these. Can they make more of the cameras as well, or no?
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B
So I think, yes, I think they can build more of the cameras. Nolan actually was working with a specific kind of IMAX camera. I think it's called the Keely Camera. It's named for one of IMAX's co founders. But the thing is, the vast majority of filmmakers still aren't going to be working in IMAX, right? Especially not 70 millimeter IMAX. Again, like, Christopher Nolan has quite a bit of sway and quite a bit of pull in the industry and the ability to, you know, drum up the finances to be able to pull this kind of stuff off. That's not always going to be the case. And just because a theater, or rather just because a film is big, doesn't necessarily mean that that's going to get people to flock to the theaters. Which is another reason that I think that IMAX has been like, we'll think about it, we'll think about it. I imagine in the next 20 years, maybe they'll roll out like two more, maybe, and it'll be like a big deal.
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A
Two decades and we might get two
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B
more, but we'll see.
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A
You actually wrote about. So you've seen it both ways, right? You've seen standard format and imax.
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B
Yes.
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A
Are you gonna miss out by seeing just seeing the Odyssey on a standard screen? Like, how was your experience between the two? So spoilers, by the way, spoilers.
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B
I'm so sorry for spoiling details from this epic poem that is thousands of
- [23:55]
A
years, how many thousands of years old? But just, just spoiler alert.
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B
But yes, right. Odysseus and his men, they get past the whirlpool and they're like, we're good. Oh, my goodness. And then monster arm just reaches down now. I went into the theater expecting it, but I was really hoping to get like a better look at, like, what Nolan's silo looks like. Right. Because as much magic as much present in the film, it's few and far between. Those moments are impressive and interesting, but it's always like, okay, we've seen the Cyclops and we've seen the giants and we've seen Cersei do her thing, but, like, what do the other beasts look like? And when I saw the film the first time, a regular 35 millimeter screening, you see a couple of Scylla's tendrils, tentacles, arms.
- [24:36]
A
What's just little bits?
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B
Yeah, you see a couple of them, and I was like, huh, that was cool. But I left the theater. As much as I loved the film, the first time I saw it, I was like, there was something. There's just something. It's not that it didn't sit right with me, but I felt like something was missing. That's so odd. And I thought, was it a creative choice to sort of be like Odysseus and his men? Or rather Odysseus men? Cause Odysseus knows what's gonna happen at that point. But we're supposed to sort of be with them in the sense that they're unaware of what's going on around them and they're just kind of listless. Saw the film a second time and it's like, oh, no, there she is, right?
- [25:10]
A
So in the imax, you could actually see her, right?
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B
And this was not. This was not the 70 millimeter. This was just regular IMAX. And there was. I. There was more, right? You see more of the creature's form, you see that she scuttles back into a hole like a hermit crab, and it's like, oh. Like, that's like that little. That little bit of detail, I don't want to say would have fundamentally changed my viewing experience, but it made me like. I was like, oh. So it's not that you weren't going for subtlety, it's just not there, right? And that is like, one of the drawbacks to shooting in 70 millimeter, right? The vast majority of people are not going to be able to see your film. There's been some debate online as to whether or not Nolan thinks of 70 millimeters as the way that the film is meant to be seen. But there is a version of the film that has more going on in it visually. More visual information that you're just not getting access to. If you see it at one of these other formats, which there's a debate as to whether or not that's like, oh, like, there's a premium on seeing the film in its full Form. Right. Like there's already. To bring it back to the movie theater. Economics of it all. Like, that's also part of that. That's a factor into how people engage with this kind of stuff. IMAX tickets are much more expensive, Right. And I'm kind of like, well, do I want to pay more for the ticket? Like, why aren't all the. Why aren't the tickets the same? Exactly. At the same time of the day? Yeah.
- [26:35]
A
So if you, if you have the choice though, you should see it in imax.
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B
I think so. Right?
- [26:42]
A
Yeah.
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B
I'm of the opinion that, like, if you have the ability to get to the theater and get a reservation, why not? Right?
- [26:50]
A
Can you. Is that even possible now?
- [26:52]
B
It depends on where you live, right? Who, you know, if you're willing to buy some aftermarket tickets, like, if you're willing.
- [26:59]
A
This is crazy.
- [27:00]
B
It's, it's. Which is. It is kind of wild, right? And that I think, I think that is exciting. It's exciting, right? Like all the, all the film bros and cinephiles are just like, this is our moment. Oh, my goodness, we did it. Everyone's talking about film formats, right? And I think that's cool, right? I think that. But something else that this kind of film and films like it are doing are getting people to appreciate that. Yeah. Like seeing a film in one of these larger formats can be a very different kind of very fun, enjoyable experience. That like, maybe that's something that you want to do more. Right. We talk so much about what can theaters do to get more people to see films. I don't necessarily know that screen big people come is going to be the. I don't think that that's necessarily an equation that the industry can rely on, but I do think that just to focus more on the theatergoers, I think that the movie theater, rather the movie theater experience can be something that is fundamentally different than watching something in your home.
- [27:59]
A
What we're seeing now is some, some studios moving towards this, specifically Disney now. They're hyping up something called Infinity Vision. And from the look on your face, I can tell this is perhaps not IMAX 70mm. Can you tell me a bit about what this is? And is this something. This is for the new Avengers, I guess. And is this something that's gonna bring us all back to the movie theaters?
- [28:21]
B
Yeah, yeah, yeah. So whereas IMAX refers to a very specific set of proprietary technologies, Right. The film make the cameras and the projectors. Infinity Vision, very clever. Is a set of standards, Right. A set of Marvel approved or Disney approved standards that theaters have to adhere to in order to be able to say that a scre screening is being shown in Infinity Vision. But these are all things that like a theater can tweak, right? It doesn't actually have anything to do with the way that the movie itself was shot or the way that the movie is being projected. That's more just sort of if you do ABC xyz, then we can slap something on this. I don't know or think that the Infinity Vision screenings are coming at like a premium price, but it is that kind of thing where you put it in the commercials. People talk about it, right? They're like, ooh, I saw it in Infinity Vision. And I don't know what that is exactly, but it kind of sounds a little bit like VistaVision, which is a very specific kind of way of shooting right Films. And I think that for your average consumer, like, it's like it's the kind of thing that might get their, their brain tickled a little bit. Will it sell tickets to Avengers Doomsday? I forgot the name for a second. Avengers Doomsday.
- [29:35]
A
It's easy to do. They kind of all Avengers.
- [29:37]
B
Avengers Doomsday is going to make money regardless. Regardless, right? I talk about this online all the time. As much as people like to say nobody even watches superhero movies anymore, maybe those box offices beg to differ.
- [29:49]
A
You nailed it. You nailed it. Thank you, Charles. Of course, that's it for today. As always, we love to hear from you. Email us@vergecastheverge.com or call the hotline 866-Verge 11 to support what we do and get ad free podcasts, go to theverge.com subscribe the Verge Cast is produced by Josh Karhas, Eric Gomez, Brandon Kiefer and Travis Larchuk. See you next time. Matt Damon forever.
- [30:19]
B
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- [30:36]
A
That's it.
- [30:37]
B
Happy ending, zero tiers. Give it a try@mintmobile.com Switch upfront payment
- [30:42]
A
of $45 for three months, $90 for six months or $180 for a 12 month plan required $15 per month equivalent to taxes and fees. Extra initial plan term only greater than 50 gigabytes. Me slow when network is busy. See terms.
- [30:50]
E
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