Oppenheimer - General Information

The upcoming epic thriller based on J. Robert Oppenheimer, the enigmatic man who must risk destroying the world in order to save it.
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Nolan62 wrote:
October 16th, 2021, 8:09 am
Nolan adds a new set decorator for this project(along with Kathy Lucas), Adam Willis, who worked for Nichols in Midnight Special/Loving/Take Shelter, Scorsese(Killers of the Flower Moon recently), Refn(The Neon Demon) etc...
Yeah saw that. Wondering why they haven't added Nathan Crowley yet. He is currently filming Wonka.

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SCORPIO16 wrote:
October 16th, 2021, 9:17 am
Nolan62 wrote:
October 16th, 2021, 8:09 am
Nolan adds a new set decorator for this project(along with Kathy Lucas), Adam Willis, who worked for Nichols in Midnight Special/Loving/Take Shelter, Scorsese(Killers of the Flower Moon recently), Refn(The Neon Demon) etc...
Yeah saw that. Wondering why they haven't added Nathan Crowley yet. He is currently filming Wonka.
He's credited, on ImdbPro.

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Nolan62 wrote:
October 16th, 2021, 9:56 am
SCORPIO16 wrote:
October 16th, 2021, 9:17 am
Nolan62 wrote:
October 16th, 2021, 8:09 am
Nolan adds a new set decorator for this project(along with Kathy Lucas), Adam Willis, who worked for Nichols in Midnight Special/Loving/Take Shelter, Scorsese(Killers of the Flower Moon recently), Refn(The Neon Demon) etc...
Yeah saw that. Wondering why they haven't added Nathan Crowley yet. He is currently filming Wonka.
He's credited, on ImdbPro.
Mate, I've just checked ImdbPro. He's not been credited yet.

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SCORPIO16 wrote:
October 16th, 2021, 3:01 pm
Nolan62 wrote:
October 16th, 2021, 9:56 am
SCORPIO16 wrote:
October 16th, 2021, 9:17 am


Yeah saw that. Wondering why they haven't added Nathan Crowley yet. He is currently filming Wonka.
He's credited, on ImdbPro.
Mate, I've just checked ImdbPro. He's not been credited yet.
Yeah, that's what I've noticed, at least he was, but I don't know why they removed from it.

But I am sure he will be part of the crew! Since filming doesn't start until early next year, he will have finished this project by then.

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Will be interesting to see Nolan's film based on this source material. Could a clue for how he films this be similar to near the end of Dunkirk and the Spitfire gliding without fuel for 20 mins? Or, would this be too "basic" of a thing for Nolan to do where you start and end the movie with the airplane flying with the bomb and keep going back to it throughout the "pulse pounding" drama that will be presented? So, for his "time" manipulation this time it will be more about suspending time, maybe? Holding suspense the whole way through. What are some other thoughts as to how Nolan will make this totally cinematic with $100 million budget?

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I have a theory for how Nolan will approach this movie, so I’m sticking it here in case it ends up playing out this way.

Biopics are often known to be kind of stuffy, dry reenactments of history, but given that Nolan has a made a career of putting his own stamp on different genres, I’m assuming he has a vision for tinkering with the biopic format. The fact that it’s described as an “epic thriller” makes sense if the film is only focusing on the period of his life that deals with the race to build the atomic bomb, but it’s also intriguing that it will also apparently follow Oppenheimer’s later decision to call for more international control of nuclear weapons and his opposition to the hydrogen bomb. If Nolan is interested in the man’s contradictions and highlighting certain thematic ideas in the way that I believe he is, then I think a nonlinear narrative approach could potentially work to draw out those ideas powerfully.

It’s easy to say “Nolan will probably do the nonlinear thing like he did with Dunkirk because that’s the gimmick that he frequently relies on,” so maybe it’s not that bold of a prediction, but I’ve never felt like Nolan’s narrative conceits were ever arbitrary – to me they always serve the story and act as tools that enhance the stories he’s telling, and in this case I actually think a nonlinear approach would be appropriately motivated here.

After WWII, there was a security hearing held in 1954 that investigated Oppenheimer’s Communist ties because there was doubt about his loyalty and suspicion that he was a Soviet agent (it also focused on his opposition to the H-bomb and stances in later projects). The hearing resulted in Oppenheimer's security clearance being revoked, ending his role in the US government, and he became an academic exile.

I could see Nolan structuring the whole film by cutting back and forth between two narrative strands showing the process of developing the bomb and the security hearing years later (sort of like how Godfather 2 cuts between young Vito and Michael’s senate hearings). This would not only sustain tension across the film (the race to end the war interwoven with the paranoia of McCarthyism), but would also strongly highlight the irony of Oppenheimer’s story – the heroism of ending the war contrasted with the later perception of him as a traitor and an outcast, and also the juxtaposition of victorious scientific innovation and later confronting the moral consequences of scientific progress. The film would then culminate with the dropping of the bomb cut together with Oppenheimer’s alienation and regret following the security hearing (contrasting the personal with a large-scale, world-altering event).

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Janky Sam wrote:
October 17th, 2021, 1:29 pm
I have a theory for how Nolan will approach this movie, so I’m sticking it here in case it ends up playing out this way.

Biopics are often known to be kind of stuffy, dry reenactments of history, but given that Nolan has a made a career of putting his own stamp on different genres, I’m assuming he has a vision for tinkering with the biopic format. The fact that it’s described as an “epic thriller” makes sense if the film is only focusing on the period of his life that deals with the race to build the atomic bomb, but it’s also intriguing that it will also apparently follow Oppenheimer’s later decision to call for more international control of nuclear weapons and his opposition to the hydrogen bomb. If Nolan is interested in the man’s contradictions and highlighting certain thematic ideas in the way that I believe he is, then I think a nonlinear narrative approach could potentially work to draw out those ideas powerfully.

It’s easy to say “Nolan will probably do the nonlinear thing like he did with Dunkirk because that’s the gimmick that he frequently relies on,” so maybe it’s not that bold of a prediction, but I’ve never felt like Nolan’s narrative conceits were ever arbitrary – to me they always serve the story and act as tools that enhance the stories he’s telling, and in this case I actually think a nonlinear approach would be appropriately motivated here.

After WWII, there was a security hearing held in 1954 that investigated Oppenheimer’s Communist ties because there was doubt about his loyalty and suspicion that he was a Soviet agent (it also focused on his opposition to the H-bomb and stances in later projects). The hearing resulted in Oppenheimer's security clearance being revoked, ending his role in the US government, and he became an academic exile.

I could see Nolan structuring the whole film by cutting back and forth between two narrative strands showing the process of developing the bomb and the security hearing years later (sort of like how Godfather 2 cuts between young Vito and Michael’s senate hearings). This would not only sustain tension across the film (the race to end the war interwoven with the paranoia of McCarthyism), but would also strongly highlight the irony of Oppenheimer’s story – the heroism of ending the war contrasted with the later perception of him as a traitor and an outcast, and also the juxtaposition of victorious scientific innovation and later confronting the moral consequences of scientific progress. The film would then culminate with the dropping of the bomb cut together with Oppenheimer’s alienation and regret following the security hearing (contrasting the personal with a large-scale, world-altering event).
Totally agree, he does not have a single form that he constantly develops and deepens with each film but create and try to find each time a new form that responds in an original way to the story of the film he puts forward.
The aesthetic and narrative development of the film is closely related to the story it develops and the themes it deals with etc...

So that's why he renews himself every time and you have to expect something new, never treated and unexpected for every project he works on, so this is one of them.

It's going to be something new, and boy am I looking forward to seeing what narrative and immersive tools he's going to bring to the table.

But Nolan has entered a point in his career where he wants to try new approaches more than ever, so even though we may be dealing with a non-linearity in this new project, I don't think we should expect the same deconstructed narrative and the same as those put forward in The Prestige, or Following, or even Memento, necessarily.

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Give us news about the cast please.
:gonf: :gonf: :gonf:

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Nolan62 wrote:
October 18th, 2021, 12:45 pm
Give us news about the cast please.
:gonf: :gonf: :gonf:
any day now...

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Nolan62 wrote:
October 18th, 2021, 12:45 pm
Give us news about the cast please.
:gonf: :gonf: :gonf:
I'd expect big cast announcements in November, but full cast won't be revealed until production starts next year

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