The problem when making central characters scientists, or at least defining them by their rationality, is that in order to abide by the format of Hollywood cinema, they’ll have to step down as hero or cave to the pressure of the spiritual or supernatural. Director Chris Nolan goes one better in Interstellar, attempting to explain away the mysticism of the narrative through science.
The conflict is introduced early on when ex-NASA pilot and apparent rationalist Cooper (McConaughey) dismisses his daughters claim that there is a ghost in her room – knocking books off the shelf, and parting dust into piles on the ground. This poltergeist isn’t like most others, acting arbitrarily and making shit move to be spooky; this one has a message.
Granted this message changes from the word ‘STAY’ to the missing quantum data of the gravitation problem, communicated in binary on the second hand of a watch. Pretty much the opposite of stay. And a tad more complex. But our hero of the third act is the little girl grown up, daughter Murphy Cooper: scientist and ghost-whisperer. She embodies both the religious and the rational, reconciling the faith-driven attitude of Hollywood with the scientific method by eventually providing proof of her own spiritual experiences.