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
help with keeping it, keeping it fast moving? i don t encourage you discourage people from sitting down on set. they do what they want. but i don t sort sort of, it s become a thing over time that i don t sit in my chair when it s put out. and so eventually they stop bothering to put it out for me. why is that? why don t you? because it s pretty hard to get up once you ve sat. you know, directing films, it s quite a physicaljob. it s quite tiring, very long days. you re on your feet all day. when you sit down, your energy level ebbs, you know, and it s harder to get up. makes sense. so i keep my energy levels up by by not sitting down, but i don t i don t impose that. it might make them feel a bit guilty, but that s on of them, not me. absolutely. you re known for your realism, for putting observed reality in front of your camera. there was even a rumour, i think, only halfjoking, that you d actually detonated a real bomb for this film in order to make sure it looked
it s become a thing over time that i don t sit in my chair when it s put out. and so eventually they stop bothering to put it out for me. why is that? why don t you? because it s pretty hard to get up once you ve sat. you know, directing films, it s quite a physicaljob. it s quite tiring, very long days. you re on your feet all day. when you sit down, your energy level ebbs, you know, and it s harder to get up. makes sense. so i keep my energy levels up by by not sitting down, but i don t i don t impose that. it might make them feel a bit guilty, but that s on of them, not me. absolutely. you re known for your realism, for putting observed reality in front of your camera. there was even a rumour, i think, only halfjoking, that you d actually detonated a real bomb for this film in order to make sure it looked 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
it fast moving? i don t encourage you discourage people from sitting down on set. they do what they want. but i don t sort of it s become a thing over time that i don t sit in my chair when it s put out. and so eventually they stop bothering to put it out for me. but the reason is that why don t you? you know, directing films. it s quite a physicaljob. it s quite tiring, very long days. you re on your feet all day. when you sit down, your energy level ebbs, you know, and it s harder to get up. so make sense. so i keep my energy levels up by by not sitting down, but i don t i don t impose that. it might make them feel a bit guilty, but that s on of them, not me. absolutely. you re known for your realism, for putting observed reality in front of your camera. there was even a room, i think, only halfjoking that you d actually detonated a real bomb for this film in order to make sure it looked. looked right. i m sure you didn t. but the scene of the trinity test in the film is very powerfu
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