Christopher Nolan

Begins his movies and introduces his main characters with a close up of their hands performing an action.
Frequently casts Christian Bale, Michael Caine, Gary Oldman, Cillian Murphy, Tom Hardy, Jeremy Theobald, John Nolan, Larry Holden, Anne Hathaway, Josh Stewart, Matt Damon and Kenneth Branagh
Opening scenes are usually a flashback or a piece of a scene from the middle or ending of the movie.
Films conclude with the two central characters discussing the results which have stemmed from the events of the film.
Non-linear timelines (Following (1998), Batman Begins (2005) and El truco final (El prestigio) (2006))

He initially directed his Batman films so he could get funding and support for his bigger films. The one he had planned for years was Origen (2010).
His film, Interstellar (2014), is the sixth consecutive movie of his to have a role played by Michael Caine.
Gained major funding during the 1999 Hong Kong Film Festival by showing his film Following (1998) and then asking the audience to donate money to his next film Memento (2000).
Considers Stanley Kubrick, Michael Mann, Ridley Scott, and Orson Welles as his primary influences.
Always refuses to use a second unit in his movies, preferring instead to oversee every shot himself with the DP.

[on different acting styles] The best actors instinctively feel out what the other actors need, and they just accommodate it.
...I studied English Literature. I wasn't a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.
As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.
A lot of it is being done in commercials and music videos. I've never done them, but I think that those are forms in which cross-cutting and parallel action are absolutely standard and accepted as a mainstream language. Filmmakers like myself enjoy the fruits of that experimentation and absorption by the mainstream. I think people's capacity to absorb a fractured mise-en-scene is extraordinary now compared to forty years ago.
Yes, to me that's one of the most compelling fears in film noir and the psychological thriller genre - that fear of conspiracy. It's definitely something that I have a fear of - not being in control of your own life. I think that's something people can relate to, and those genres are most successful when they derive the material from genuine fears that people have.