How the 'Oppenheimer' Team Decided Which Shots to Film in IMAX
The Big Picture Oppenheimer is breaking multiple records at the box office, with Christopher Nolan's drama film about the man behind the atomic bomb clearly being of interest for audiences from all over the world. But one of the most impressive aspects from the feature is the use the filmmaker gave to the IMAX format for the movie.
As I said before, as a lot of it is very much pulled out, we also work a little bit with our intuition there. That intuition is also very much led by the idea that we just wanna shoot as much as possible on as rich as possible negative. So, we love shooting as much as possible on IMAX. And also, in this film, the more intimate the situation got, the more sort of up close and personal things got, the more we want to get in there with an IMAX camera.
The cinematographer also spoke about the difficulties of filming dialogue in the format: "Now, of course, the IMAX camera has a few technical limitations that make it very hard and very challenging. It's a very loud camera, and it’s also bulky, and it's big. You cannot be a fly on the wall, for instance, with it, so in some situations, as much as you want to, they sort of require you to rethink it a little bit.
In Christopher Nolan's film about a man facing the consequences of his action, Cillian Murphy plays Robert Oppenheimer, the director of the Manhattan Project. While the movie spends a lot of its time exploring how the scientist became a leader in his quest to build an atomic bomb, it also focuses on the intimate relationships he shared with the people around him. Some of these moments included his marriage with Katherine and how it was affected by his affair with Jean Tatlock .
Nolan's Fascination With IMAX Oppenheimer takes the opportunity of experimenting with IMAX cameras after a long list of projects directed by Nolan that have allowed him to perfect his use of the format.
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