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Here in london, there s a threat of actors joining the writers strike, which some people are reporting might mean that if that happens this afternoon, your actors won t turn up for the film because for the film premiere, because they ll be going on strike. i wonder how you read the situation as it is now. that s about pay. it relates to your earlier question about cinemas, actually, and about the theatrical window. you know, we re in a time right now of great upheaval financially in the film and television business. and a lot of this is driven by television. and we re dealing with companies, very, very wealthy companies who chose, in order to appeal to to wall street and have their share prices go up, they chose to radically reinvent the way in which they sell their products with some success and some failure. but in doing so, they have not paid attention to the way in which our contracts need to work as writers, and the actors have other issues. ....
Tested by scientists in the desert in new mexico in 1945, and then dropped co ntroversially on hiroshima and nagasaki, ending world war ii. i sat down with christopher nolan ahead of the film s premiere in london. well, christopher nolan, thank you so much for talking to us at the bbc. your actors speak very highly of you. i ve seen that cillian murphy hails you as a genius, that emily blunt says you ve singlehandedly changed cinema for everybody. 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, martin scorsese. they all praising yourfilmmaking. without embarrassing you, how do you do it? gosh, that s a that s a long list of of accolades. some deserved, some probably not. how do i do it? i just love making films. i started making films ....
And of course, the way scientists analyse probability is very different to the way the rest of us do. the magnitude of the consequences doesn t really factor into their assessment of the likelihood of something, you know, a bit more mathematical, but more scientific than than we all are. but that was really the hook for me. i put it in tenet, referred to it there. and actually when when we wrapped that film, rob pattinson, who s in that film, he gave me a book of oppenheimer s speeches from the 1950s, where oppenheimer is giving a series of speeches, really wrangling with the consequences of this technology that they ve unleashed on the world. and it s such a compelling thing to imagine to be with this person, with his fellow scientists, trying to reckon with the consequences of unleashing atomic power on the world. we knew the world would not be the same. few people laughed. ....
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 ....