You were named back in 2015 as one of the 100 most influential people in the world by time magazine. Then the likes of steven spielberg, denis villeneuve, Martin Scorsese all praising your film making. Without embarrassing you, how do you do it . Gosh, thats a. Thats a long list of accolades some deserved, some probably not. Um. How do i do it . I just love making films. I started making films when i was a kid. I borrowed my dads super 8 camera, started making super 8 films when i was seven or eight years old and ive never stopped. Itsjust something i love doing and i feel very fortunate and privileged to be able to work with a team of really, really talented people on each film. In the case of oppenheimer, this Incredible Cast that, you know, youve already mentioned, cillian and emily, but also, you know, Robert Downeer and matt damon and ken branagh you know, a very, very long list. Florence pugh and many others. Um. For me, how i do it is to bring together talented people like that
looked right. i m sure you didn t. but the scene of the trinity test in the film is very powerful and very real. what was your process and your thinking when you were recreating that moment of the atom bomb first detonating on film? well, taking on oppenheimer s story, it s very clear that the trinity test has to be the showstopper. it s the the fulcrum around which the whole story turns. and one of the people i, i showed the script to first was andrew jackson, my visual effects coordinator. he. he s very good with computer graphics, but he s also very good with analog methods. and i said to him, i really don t want to use any computer graphics in this film because i think computer graphics, however versatile they are, and they can be used for all kinds of wonderful things, but they tend to feel a little bit safe, a little anodyne. i wanted him to have spikier imagery stuff with bite to it, because what we re trying to do with all of this imagery is starting
it s the the fulcrum around which the whole story turns. and one of the people i, i showed the script to first was andrew jackson, my visual effects coordinator. he. he s very good with computer graphics, but he s also very good with analog methods. and i said to him, i really don t want to use any computer graphics in this film because i think computer graphics, however versatile they are, and they can be used for all kinds of wonderful things, but they tend to feel a little bit safe, a little anodyne. i wanted him to have spikier imagery stuff with bite to it, because what we re trying to do with all of this imagery is starting with, as a young man, oppenheimer s visualisations of what s inside dull matter what makes up the universe. this was a revolutionary new way of looking at it,
that moment of the atom bomb first detonating on film? well, taking on oppenheimer s story, it s very clear that the trinity test has to be the showstopper. it s the the fulcrum around which the whole story turns. and one of the people i, i showed the script to first was andrew jackson, my visual effects coordinator. he. he s very good with computer graphics, but he s also very good with analog methods. and i said to him, i really don t want to use any computer graphics in this film because i think computer graphics, however versatile they are, and they can be used for all kinds of wonderful things, but they tend to feel a little bit safe, a little anodyne. i wanted him to have spiky imagery stuff with bite to it, because what we re trying to do with all of this imagery is starting with as a young man,
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