![]() It was tight, and hot, and the only people who could fit in the room were the actors (usually at least 6 at any given time), Nolan and van Hoytema. It was the perfect claustrophobic, unglamourous and period-specific setting for a humiliating ordeal designed to make Oppenheimer feel small. There was old tape on one of the walls of the narrow, dingy room De Jong found in a shaving company's old headquarters in Southern California used for Oppenheimer's security clearance hearing. LEANING INTO THE CLAUSTROPHOBIA OF ROOM 2022 ![]() "Who would have thought that the color of the costumes could do that? But they do." ![]() and an insight into his state of mind," Thomas said. "I can't imagine what it would be if it wasn't that, because it feels like this kind of crazy dream. It wasn't part of the plan but, Mirojnick said, it was the right note for this disorienting scene where Oppenheimer starts having horrific visions about his creation. Luckily, she was able to get a costumer friend in Los Angeles to pull a big batch of 1940s clothes, in reds, yellows, greens and blues, and ship them to New Mexico within 20 hours. A day before they shot Oppenheimer's post-Trinity test speech in the auditorium, Nolan asked costume designer Ellen Mirojnick to put the audience in bright colors. "As an artist it's incredibly helpful to have a director who is communicative and can give you feedback."įor as precisely planned as "Oppenheimer" was there were still some last-minute fits of inspiration. "He really pays attention to every detail for every department," McIntosh said. And Nolan was involved in it all - down to Cillian Murphy's haircuts. They mapped out detailed aging diagrams for each character, which helped enormously in a non-chronological shoot. Even younger actors have pieces on before they were meant to be older because I think everybody looks a lot younger now than people did in that era," Abel said. "We were in the elements a lot and a lot of the actors have prosthetic pieces on. "Because Chris holds himself to the same standards, everyone's willing to go there with him," Thomas said.Īging 18 principal actors across multiple decades is hard enough, but as makeup lead Luisa Abel and head of hair design Jaime Leigh McIntosh quickly learned, there is no hiding in IMAX. Key craft department heads spoke to the AP about the challenges and triumphs of making this film, which has earned more than $950 million at the box office. For others, like cinematographer Hoyte van Hoytema and editor Jennifer Lame, it was making an "opera of faces and emotions" compelling for three hours. But that's where the magic happens."įor some, like production designer Ruth De Jong, that would involve building Los Alamos and finding Washington D.C. "Every day there's something that happens and you have to figure out a way out of it. They will move mountains if they have to," Thomas told The Associated Press. She told them at the time that if there were ever a zombie apocalypse, they were the people she'd want to be with. But she marveled at what the crew accomplished. Looking back on that moment now, producer Emma Thomas can't help feeling bad about the timing. The wild scramble to find and construct a new Oval Office is detailed in a making-of documentary included in the newly available home entertainment release. In fact, it's often where inspiration was born.ĭuring one especially stressful stretch, filmmakers lost their White House set five days before they had one day to shoot with Gary Oldman, who was flying in to play President Harry S. Impossible is often just a starting point on a Christopher Nolan film and "Oppenheimer,"about the father of the atomic bomb, was no exception. After earning more than $950 million in theaters, "Oppenheimer" is available for home viewing this week. All spoke to the AP about the various challenges, and triumphs, of making the film. Producer Emma Thomas tells The Associated Press: "There's nothing film crews can't do." That's part of the reason why top craftspeople, like production designer Ruth De Jong, cinematographer Hoyte van Hoytema and visual effects supervisor Andrew Jackson, want to be part of their films, for the challenge, for the precision and to help bring Nolan's vision to life. ![]() Impossible is often just a starting point on a Christopher Nolan film and "Oppenheimer," about the father of the atomic bomb, was no exception.
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