Oppenheimer's Ludwig Göransson & Hoyte van Hoytema Interview
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- čas přidán 4. 06. 2024
- Following our very special IMAX screening of Oppenheimer, Collider's Steve Weintraub hosted a Q&A with cinematographer Hoyte van Hoytema and composer Ludwig Göransson to talk about the behind-the-scenes of one of this year's biggest blockbusters. It's little wonder why the auteur has worked with them on multiple occasions - both are masters at their crafts.
To celebrate Oppenheimer, Collider was thrilled to give readers an opportunity to see Nolan's grandiose biopic in the format that was intended one more time. As well as seeing the performances of the stellar cast, including Robert Downey Jr., Florence Pugh, and Emily Blunt, led by Cillian Murphy, the audience got to experience Göransson's score and Hoytema's camera work that brought the turmoil of the father of the atom bomb back to life.
Check out the video above or the transcript below to find out what the most difficult elements of Oppenheimer were to capture on film, how Göransson worked with Nolan to create the movie's sound world, and what it's actually like to work alongside a director like Nolan. The pair also discuss the real reason Nolan doesn't use CGI (when he can help it), building sets in one day, how many cameras he uses on set, and tons more.
#LudwigGoransson #HoytevanHoytema #Oppenheimer
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Masters of their craft. Hope they keep on collaborating with Nolan. The fact they made this film look and sound as engaging as a big summer blockbuster disguised as a character drama is terrific.
Not to forget the editor
Both of these guys are geniuses.
They are 2 talented individuals. Not genius.
@@bygmesterfinnegan6938theyre geniuses
They’re european
Two masters at the top of their game
19:33 “The human mind cannot compete with what nature gives us naturally”
26:36 Chris jumping on some makeshift train to get the shot of the train moving 😂
28:38 love that answer about not needing a more convenient smaller size camera bc you have a set and you plant something in the middle all the life and all the chemistry starts evolving around this big center. It’s a certain respect. I’m not so much into ergonomic and more handy solutions that make it easy for me, I think it’s good that there’s a little resistance, it works.”
42:32 “lessons to bring along…to me the best prep is to be in tune it has to do with your chemistry and knowing each other’s taste from past projects and Chris and I rely on that way more than if we came up with a concept in a glass cubicle 12 weeks before.” Important answer
Very interesting interview! Thank you for uploading it in full
Glad interviewer finally realised that it wasn't worth continuing the battle about how heavy an IMAX camera is at 31:45
What a treat, love both of their work ✨✨
They are fantastic ❤
Very insightful!
These two are the cream of the crop.
What a wonderful creation🌹🌹🙏
How did they create the visual effect of the fire spreading around the globe? That one seems really difficult to do.
I think they flew into an outer orbit and waited for Russia and Co to launch their atomics and then went back via Tenet time chamber with the footage
Does Hoyte have one Dress code for any where he go? That's the only question I would want to ask him.
so whos getting fired for messing up the collider logo on hoytes mic?
Haha. That's great! Ironic it was the host himself.
17:29
Hoyte says, "Of course there's a distinction between CGI and VFX." That's a ridiculous statement and obfuscates the fact that Nolan's films incorperate many computer generated images or the compositing of various live action plates together with the use of green screen. I'm sure Oppenheimer had fewer VFX components than some of Nolan's other movies, but this "No CGI" thing is false advertising and needs to die. When people hear that they understand it to mean, "Everything you see was captured in camera", and that's simply not true.
Man, shut up
But there is a difference in VFX and CGI. VFX makes use of practical elements to patch them up together in order to create that illusion of unity. Like the shots of missiles firing in the sky have the shot of the sky and the shot of a missile, sure the missile might have been animated to give it a specific movement but the missile has been practically shot and not Computer Generated. That is what he means when he says zero CGI.
@@rdpathan That may be true for this movie which is 99% just people talking in rooms, (so I'm not even sure why it's brought up in this context), but the "no CGI" or "no green screen" claim has been made about Nolan's films for the last 20 years.
@tylerjhunter Inception has green screen and CGI, so does TDKR. Those aren’t things Nolan tries to hide. But it’s also a fact that since Interstellar he stopped using green screen, and in Oppenheimer there was no computer generated imagery - and all visual elements come from something shot in-camera. They still could’ve used “VFX” to composite effects together or remove wires. If you don’t believe me, Nolan, or Hoyte, you can trust the VFX supervisor of the film Andrew Jackson.
@@chrillex91 my bad, have edited the comment