《奧本海默》製作設計師解析電影道具與場景！核彈是真是假？超肝劇組只花57天就殺青｜經典電影大解密｜GQ Taiwan

about 7 days from when we were to shoot the Oval Office I get a call from locations we lost this location and so Chris just looked at me and said you have to build this and walked away hi I am Ruth D young and this is how I designed Christopher Nolan's appenheimer I actually sat down with Chris Nolan and Emma Thomas his producer and wife I was actually filming nope at the time and H van HOA was the cinematographer on nope and he also has been a longtime collaborator with Chris and Emma and team and they were looking for a production designer unbeknownst to me and thought I would be a great fit the way Chris likes to work is he works very closely with his designer and in previous films he had done the same where he'll spend six to eight weeks alone working one-on-one with his production designer together Laura and I are extraordinary um researcher Lauren Sandoval and she has some just incredible relationships with archist universities the US government and was able to get her hands on a lot of Declassified documentation and imagery but also you know Chris was very careful to remind me he was not interested in making a documentary we were not interested in replicating these pictures it was essentially you know study this get the essence of this imagery and then I was to divorce myself from it and we were to make the Oppenheimer that we made first I'll sketch out sort of how I'm seeing things we'll send it to my set designer this is our official plan view of our finalized Los Alamos drawn by Jim hwit a fabulous set designer who's been on my team for many projects Jim is a hand draftsman so he draws by hand we will go from plan view to elevations to sections and simultaneously we will have art directors make these threedimensional in the computer so we're able to fly through see scale understand it immediately simultaneously with going from 2D to 3D we will go 3D with our model maker these are elevations and then these will get broken down to actual build plans I always love to do foam core White model very simple very efficient you can understand the scale the real low Alamos was very expansive and big and epic and the US government spent about 2 billion dollar and four years and had a lot of support had neither I had I think less than 8 weeks to get this entire thing ready this is where we were going to start Chris and I scouted the American West New Mexico Utah full well knowing that Los almus was located in New Mexico but the very first thing that interested Chris was finding the most epic cinematic Vista we landed on Ghost Ranch outside of abacu and we found this epic Plateau uninhibited views nothing we had to take out there was no interest on Chris's part to use any CGI or postwork no set extension so everything needed to be built 360 in camera all of it we had to build a road for the crew to even access to get up here and we were able to hide base camp way out of the way so we could be up on this plateau and 360 see north south east west and we had these rock formations that Chris and I fell in love with and it truly was wow and cinematic and exactly I think what he had in his Mind's Eye somehow we just landed on a tea of Main Street and Trinity Avenue Trinity Avenue is what went into the technical section which is often referred to as the t-section which is where Oppenheimer held all of his this was completely surrounded by barbed wire and fencing and towers and guards Main Street was more it serviced from the bar in the school in the hospital and the laundry and the trading post and there was a theater there was a church it was 25 total 360 sets one of them being a massive building with a bridge coming out of the main lecture hall and where you see in a scene where the bomb is loaded and carried off and every single building was finished 360 so Chris and hoyaa shot every single side of all of these buildings I fully understand they may say oh this is all I need to see I'm never going to see over there but I think with the way Chris works it's intuitive it's felt I think he already knows and sees what he's going to shoot that day but also he and hoyaa will lean into things if the light is epic if the Windstorm picks up if the rain is coming if the snow we dealt with all of it and they don't have to worry about oh well the set's not finished we treated the entire film this way as we as we went through I think Los Alamos I want to say we did that in about 12 weeks start to finish construction started in December and began shooting the end of February and we were hit with several snow storms I remember riding Tom hlip our executive producer maybe two or 3 weeks before we were literally supposed to land here and shoot and we got hit with a huge snowstorm and I was like these sets will not be ready and he goes so what are you telling me I was like I don't know I just have to tell somebody because we can't get up there and there's snow on the ground and um he goes it's going to be great the Trinity Tower was an old radio tower that actually existed in the White Sands Missile Range and that is what Oppenheimer and his team chose to take over and build the shed on top and lift the bomb up to the top for the first test Chris and I scouted the actual location that was a very moving day we stood at the base of the tower the four um concrete pieces are there and there's a maybe like a foot each of the metal you know disintegrated it completely it was very somber you know thinking about this was the very beginning of nuclear weapons being a thing so it was very important to us to be there and see this and take this in and that was infused into the Trinity base camp that Chris and I designed and recreated from scratch we were offered to be able to shoot inside the White Sands Missile Range but they are doing periodic bomb tests and they said oh you guys can film but we we go forward with all of our testing we're like that doesn't work we went 60 Mi North exactly 5 miles off the mountain range to me those 360 views of Opie on the tower as well as just setting up and getting ready for this was very iconic a huge storm hit us the day we decided to shoot there there was so much sand flying through the air and everybody had on goggles and we had the IMAX camera and it was just getting inundated with dirt it was a mess and Chris is like and we will carry on that's when Killian was climbing the tower and he loved it and it made those scenes really incredible and come alive and you can't create that in a studio or inside he thrives off of that which is amazing and he has a crew that supports him through all of it we built one bomb it's not a real bomb it's no plutonium it was really important I I saw the bomb as as really the main character alongside Oppenheimer Chris and I talked a lot about he needed to see the entire bomb throughout and we wanted to capture these initial tests they were doing Chris was thinking well I can see the entire bomb but maybe you don't need to build all of the components of the bomb it told a lot and it was just there and it was present and you see the scene when they walk into the rad lab in Los Alamos and you see them placing the lenses we had a wonderful set designer Justin draw this up for us and then we sent it over to some incredible prop makers who essentially recreated the bomb and it was sort of art Department props and special effects and together we came up with all of it as you see there's that really iconic shot that Chris captures of Oppenheimer standing in the tower and you see all the components including this plate that we fabricated this diamond plate we tried to match the metal finish almost to the tea in size and scale and proportion it was an exact replica m is it being real the O office Chris and I had pre-selected most all of our locations in in around Los Angeles for whichever places they were playing Berkeley DC Etc scouted it thought we had a deal thought we could shoot there about 7 days from when we were to shoot this and my art Department was getting some frantic calls they weren't getting access to the building they had all the drapery everything was measured for the Nixon Library to turn that over and make it into a tman Oval Office and then there were other locations that we were going to use for the lobby and the cabinet room so this would be a location with just a complete dress and transformation I get a call from locations we lost this location and I was thinking I'm going to probably have to build this there's no other option for an opal office in La surely we can put it at the end of our shooting schedule a few weeks from now Emma let us know that our actor was locked and there was no chance in moving his date Gary Oldman play Truman and so Chris just looked at me and said you have to build this and walked away and I remember standing there going I have no idea if this is humanly possible I knew in 7 days we couldn't erect an oval office this scale even if with 24 hours a day running a crew early on in prep we had researched standing sets that might have been flat packed Samantha Englander my supervisor our director she had put on hold I don't know if it was just a spidey sense or what I think it was the vep set we immediately locked in a stage at Universal we had been planning on doing a cabinet room and lobby at the Nixon Library so we had a lot of flats that construction had been building we took those and repurposed them and we had I guess a total of five days running a crew 24 hours a day we did it I don't think any of us knew if it would be possible or we would pull it off and this was one of three locations we shot that day Chris arrived to and I remember he walked in and it's still rre of wet paint just that thick smell of wet paint but it was done it was perfect they shot the scenes it was if nothing happened yeah I never want to do that again we shot this entire movie 180 page script in 57 days we moved so fast across the entire country starting in New Mexico going to New Jersey then New York back to California to be able to design and shoot and act on this palacial level was like nothing thing I had ever experienced in my entire career and I don't know if I ever will again thank you so much for watching this is how we designed Oppenheimer

Channel: GQ Taiwan

Views: 173,940

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Id: M1CQhOGwdYM

Length: 10min 12sec (612 seconds)

Published: Thu Jan 11 2024