And the model makes sense for Netflix, which is making movies for its members, whose monthly subscription fees help bankroll the productions. “It seemed to me like the right thing to do was to give the people, our subscribers, who pay to make these movies, access to them immediately all over the world,” Netflix’s chief content officer Ted Sarandos told the New York Times (paywall), during the Cannes Film Festival in May.

We’ll see over the weekend whether Dunkirk supports Nolan’s theory that using the same format that was used for 2001: A Space Odyssey, Lawrence of Arabia, and Ben Hur will fill more cinema seats. The movie will be screened in 70mm at 125 US locations, including 30 IMAX theaters. That’s more than the 50 venues Nolan’s last movie, Interstellar, screened in and the 100 Quentin Tarantino’s The Hateful Eight played in two years ago, Deadline reported.

The Weinstein Company invested $11 million in 2015 to help get theaters the extra equipment that’s sometimes needed to play films on 70mm for that Christmas Day release—and opened the door for Nolan to screen Dunkirk in even more cinemas. Warner Bros. reportedly bought those projectors from TWC for the Dunkirk release.

(Nolan has argued that he can make movies at his scale more cheaply on film than in digital, but there’s also a cost on the cinema side. Most US theaters have switched from film to digital by this point. And the old projectors used to screen 70mm aren’t easy to work with, as Deadline detailed.)

Dunkirk is expected to bring in around $40 million (though some expect it to do more like $50 million) at the North American box office this weekend, and mark one of the biggest openings for a World War II movie.

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