“My job is to convince the audience that Oppenheimer knows what he’s doing. I really spent most of the time working on his psychology.”
When did Christopher Nolan approach you about doing this film?
Oh, they were long and manifold. He came to Dublin to meet me and I went over to Los Angeles many times during prep, and we talked and talked and talked. Obviously, I read the bookas well, and then I dove into all the archival material that’s available. But I leaned on Chris a lot because we have known each other for so long and because I have such great admiration for him and trust in him.
The book was very useful for Oppenheimer — with firsthand accounts of how he carried himself, his kind of energy, how he smoked a cigarette. I lost a lot of weight. And then immediately, that does something to the way you walk, the way you hold yourself, the way clothes fall on you. So that was an unpleasant but useful exercise. Sometimes you can build a character from the outside in, or sometimes the sort of superficial appearance can help with the interior landscape.
Oh, a hundred percent. Everything is stage-directed in the script, everything is there. In Chris’s films, the script is the film. It doesn’t get moved around or experimented with much in the edit. So yes, it was all there. Damon’s Groves, Robert Downey Jr.’s Strauss, Emily Blunt’s Kitty — I feel like those are characters who serve as foils for Oppenheimer. Groves is so certain of who he is and where he stands on these issues. In a way, Strauss is too. And Kitty is the one who’s always telling Robert to fight. She’s frustrated that he’s not. Can you describe that dynamic with them?
I love that. That’s a great analogy. I think history is littered with that, with vanity and narcissism.
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