00:01This is a national emergency.
00:04Our work here will ensure a peace mankind has never seen.
00:10The world will remember this day.
00:18This is arguably the most important story of our time.
00:21The stakes really couldn't be any higher.
00:23It's profound, but it's told in a very human way.
00:26Everything Chris Nolan has done has been a prelude to this.
00:32This is not a film. This is an experience.
00:35It is a heart-in-your-mouth thriller.
00:40I've been interested in Oppenheimer's story for a long time.
00:43At some point, I learned this key piece of information
00:47that in the lead-up to the Trinity test,
00:49they were dealing with the very small possibility
00:52that when they pushed that button,
00:54they would set fire to the atmosphere of the Earth
00:56and destroy the entire planet.
00:58And yet, they pushed that button.
01:03I wanted to take the audience into that extraordinary moment
01:07in human history.
01:08Three, two, one, zero.
01:15All America's industrial might and scientific innovation
01:18connected here, the secret laboratory.
01:22Killian playing Oppenheimer was the centerpiece of the film,
01:25but I knew that he was going to need the most extraordinary ensemble around him.
01:29Let's go recruit some scientists.
01:30The people involved in the Manhattan Project were charismatic individuals.
01:35They're very talented.
01:36The world that Oppenheimer inhabits is filled with rock star scientists.
01:41And I think because we have all these fantastic actors, you really buy that.
01:47It felt like I was playing sports with some of the best athletes.
01:50Every single person has come to set knowing that they have been hired
01:53because somewhere along the line, Chris thought that you did a good job.
01:56And this goes for crew as well.
02:01Action!
02:04My preference is to always do things in camera as much as possible.
02:08It sets a big challenge for every department
02:10to actually bring the reality of a thing there for the actors.
02:14Every crew member on this film has to adjust their work for the IMAX screen.
02:20IMAX can contain 18K resolution per frame,
02:24which is by far more than any digital camera.
02:27It gets thrown up on a gigantic screen,
02:29and the moment you watch it, it's very evident.
02:32The quality is unprecedented.
02:33This is a story of America in the 20th century,
02:36so I think it can be painted on that big of a canvas,
02:39and what better way to do that but with IMAX cameras.
02:42Why would we go to the middle of nowhere for who knows how long?
02:47I always try to use real locations as much as possible.
02:50With location shooting or sets,
02:52the more things can just be real,
02:54the better they're going to feel to the audience.
02:56There's almost no studio work on this film.
02:58Everything is location.
03:00The sets were built in such a way that they felt incredibly authentic.
03:05We built our Los Alamos at Ghost Ranch, New Mexico,
03:08which is along the same mountain range that Los Alamos proper sits on.
03:13This was very important, and I based all of this on research.
03:17We built all of these buildings 360.
03:20We wanted to feel like you are right there.
03:22You are in this.
03:23This is happening.
03:24This is real.
03:26This isn't a back lot.
03:27It's just the most transporting thing, you know,
03:30when you're there and it just looks exactly like Los Alamos 1940s must have looked,
03:35and you know that no detail has been overlooked.
03:39You know, we also shot in a huge amount of the real locations.
03:43We shot in Oppenheimer's house in Los Alamos.
03:46We shot in Princeton.
03:48Walking through Princeton, it's really very funny,
03:51because people, you know, they're walking in and they go...
03:57Shooting those scenes,
03:59playing the characters who really had versions of these events happen there,
04:04you just get a real charge out of it, you know?
04:08This is a matter of life and death,
04:10but I can perform this miracle.
04:12When you do Chris's movies,
04:13things that when you read a script you normally would think would be visual effects,
04:17you know that you're going to be doing this stuff practically.
04:21They had to film the world of quantum physics.
04:25Their whole unit was one big science project.
04:28I was daily very jealous.
04:29This is kind of back to the old days.
04:31We did a lot of experimentation.
04:33We came up with some very interesting analog methods of how to approach this,
04:38all of which was leading to the Trinity test,
04:42which had to feel nightmarish and terrifying
04:45in a way that computer graphics never really is.
04:51What we were able to get into the finished film, to me,
04:54is extraordinarily beautiful, but also very frightening.
05:00Working with this whole team was such a great camaraderie
05:03and with the commonality of,
05:06we are going to get this in camera.
05:07I love Chris's dedication to that.
05:10It really speaks to Chris and the way he directs.
05:13All of the energy goes around the camera.
05:17Like, we're all here to do the same thing.
05:19Chris makes films for theaters, for movie-going audiences.
05:23You know, so you want to see that as it's designed to be seen.
05:28Watching this very different sort of film on that big screen,
05:32it sort of makes you gasp.
05:34You're right in their experience.
05:39This is, I think, a definitive moment
05:41in the history of modern filmmaking.
05:44Do yourself a favor
05:45and go see this on as big a screen as you can.
05:48With the sound design and the score
05:51and the emotionality of it,
05:52this is an unforgettable,
05:55unmissable experience in a theater.
05:58You are the man who gave them the power
06:00to destroy themselves.
06:02We've made Oppenheimer on the largest scale possible
06:04because the idea is to come and experience this.
06:07His story is monumental and epic and extraordinary.
06:11It really has to be seen on a big screen to be believed.
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