席尼墨菲揭開《奧本海默》拍攝秘辛！與諾蘭有心電感應？最愛高腰打褶褲？晚餐只吃杏仁？經典電影大解密｜GQ Taiwan

I never particularly know how I'm going to play a scene it's like us us as human beings we don't know when we walk into a room how we're going to react we just react in the moment so that's what you try and do as an actor was certainly what I try and do hello GQ this is Killian Murphy and I am going to answer some questions about offenheim in a previous GQ interview you said you felt like you weren't Bruce Wayne material did you feel that way with Oppenheimer uh yeah I certainly wasn't Bruce Wayne material I don't think maybe could have prayed Bruce Wayne but maybe not Batman but that's um a different story I always feel about parts that if it's easy or that I can do it then I don't really want to do it it has to feel like a challenge it has to feel impossible it has to feel like a huge undertaking and certainly with Oppenheimer he is this iconic 20th century figure and we were all living in the world that Oppenheimer created so it it was huge huge part and I recognized the scale of it but but that's that's what you want as an actor that's what you want you want to be pushed you want to be challenged and so it was a huge challenge but one that I embraced what was your favorite piece of your Oppenheimer wardrobe I mean I should say the Hat shouldn't I but um I didn't keep any of it hated the pipe it took me a long time to figure out the pipe even though that's probably technically a prop I loved the suits I love the tailoring of the suits I love those high-waisted pleaded pants they're very flattering I think to men but no one wears them anymore bring him back I say how did you feel about J Robert Oppenheimer before you started and how did you feel when you finished the role I've been asked this question a lot and the only answer that I can give that I think makes any sense is that I felt that he was intensely human and I felt that despite his sort of uh one in a million generational genius that he had that he was still as flawed and as contradictory and as fallible as the rest of US are as human beings you know the his Brilliance I treated it Le less like a gift and more like a burden in order to play the humanity of them they won't fear it until they understand it and they won't understand it until they've used it when the world learns the terrible secret of Los Alamos our work here will ensure a peace mankind has never seen and the other thing is I don't really go into to to projects to try and learn about characters I try to understand them I never particularly know how I'm going to play a scene before I get into it I mean I'll know the lines but you know like it's like us as human beings we don't know when we walk into a room how we're going to adjust to the to the to the changing Dynamics we just react in the moment so that's what you try and do as an actor was certainly what I try and do is it true you were only eating almonds for dinner during filming no this is apocryphal I think Emily was being very sympathetic to me and uh said of killi only had one am in a day I mean I had a bit more than that I didn't really have enough room in my brain to be socializing with with the rest of the cast and crew at at that time because so much work to do and you know I was kind of reducing calories and all of that stuff so just I didn't uh I didn't go out for dinner or any of that stuff but I had more than one amond a day for sure I wouldn't recommend anyone exists an Ammond a day what was it like shooting in oppenheimer's actual Los alos house that was amazing the whole film was shot on location there was only one studio built I think in the whole shoot and many of the locations were the ACT ual locasion where the events went down historically I remember myself and Emily Blunt walked into it and you can feel there's an energy in the room there's some vibrations molecularly in that space that you feel that you know that these actual people have have have lived there and it certainly adds something to your performance it can't help but but do that and we shot in Berkeley on the campus where he would have taught and Chris always has tried to do that that scene after the bomb is dropped in Japan he tries to give that speech that was shot in Los Alamos in Fuller Lodge where the scientists used to gather again you feel these these waves of energy these kind of resonances and I think it adds something to a performance I can't put my finger on what it is but I believe energetically it does change change the actors and the crew and everybody feels the significance of the import of what we're doing you how has your working relationship with Christopher Nolan evolved since begins through Inception and Don Kirk to Oppenheimer well I remember when we first started working we had no kids and now he has four and I have two so that's one thing that's change that evolved his vision has become more refined I think he really really knows very clearly the sorts of stories that he wants to tell with the way he tells the stories in terms of how he presents them in the IMX format I think has has been refined and honed and is unlike any other filmmaker on the planet I think our relationship has deepened no I think anytime you recolor with someone that many times which has been six times over 20 years I think you develop this Shand becomes almost um like telepathy you know we can understand what needs to happen in a scene without talking that much and that's why people Rec cabor I think because of that because you you can just cut through all the getting to know you and testing the waters and just go straight to the work sometimes the the themes and the scenes are are so large in what you're trying to tackle and like particularly on op Hammer because it was the greatest moral dilemmas that a human being could possibly un sort of begin to wrestle with or undertake I mean you know they thought when they were going to test the bomb there was a chance they were going to vaporize the world so you know you don't really have to discuss that neutrons smash into nucleus releasing neutrons dis smash into other nuclei criticality point of no return massive explosive force but this time the chain reaction doesn't stop it would ignite the atmosphere he and I have a similar taste in terms of performance and I knew from the beginning that the performance would have to be quite interior and I think he he understood that too and he was shooting at these you know these large form of cameras which meant that he was treating the face kind of as a landscape which he hadn't done before with him so I knew that I could have this interiority with the performance and and he trusted me with that so you said before that Christopher Nolan makes big films feel like small films does that apply to Oppenheimer did I say that you know he makes films about about human beings um but he's interested on in in in big big themes makes them on a on a big scale but when you're shooting them it certainly feels like it feels like an independent film because there's just Chris there's just uh one camera there's a boom mop and there's the actors there's no video Village there's none of these sort of trappings of conventional Studio huge movie that you normally expect so it feels very intimate so even when you're filming with that IMAX in your face how did you get through well I've been working with Chris for so long now I'm kind of used to them it's not it's not really a big deal and the only thing about them is they make a tremendous racket but then we do a sound take afterwards so you know you you get used to the environment it feels like a laboratory when you're working at Chris noan C because you're free to experiment and try and make a fool of yourself and he loves actors he's incredibly curious about actors so it feels it always feels like a very small private safe environment what was the most difficult scene for you to shoot it was all a challenge I really liked the the hearing scene at the end which Cuts backwards and forwards to when they're trying to take away his security clearance and they're just humiliating him in this tiny shitty awful little bureaucratic room and we shot it in a room just like that and we had the whole crew in there and the IMAX camera and to me it felt like my days in theater where you know it was just this company of actors this troop of actors and we would just go out it day after day and there were these long long dialogue scenes and this huge kind of one-on ones of tto tets with Jason Clark and then you know Emily Blunt would come in and do her wonderful work it was at the end of the shoot and we shot it for about two weeks I think so all these actors these incredible actors are coming in and giving their testimony but it was also their final scene on set so was this emotionality to it because we'd finished and we were all kind of saying goodbye in real life um and then of course we did the fin that final kind of climactic scene where you kind of feel at I would have done anything I was asked to do well then you would have built the H bomb too wouldn't you I could I didn't ask you that doctor it's almost like his whole psyche is kind of exploding in the room and of course with Chris he did that practical like blew the wall out and stuff like that and um all that crazy light and everything and that was the the segment of the shoot that I love the most I love being out in the desert as well except it was freezing which is not supposed to be in a desert was there a source material piece that you reference frequently I think with with all projects the script is your most valuable resource always because that's what's going to end up on on screen with this we also had American Prometheus the book which Chris adapted for his screenplay and then there is just endless endless amounts of uh um reading material available on on Oppenheimer and that time and there's there's so much archive footage available so I sampled from all of it and used all of it and I was kind of working on two different uh tracks I was kind of doing the academic part the kind of intellectual part and then I was doing the physical part and then there was a third track was just the kind of instinctual part they all kind of fed into to eventually what became the performance I love research uh and Chris loves prep so that worked but I think when you get on set you can't be finished do you know I mean the character can't be be there it has to evolve over the shoot um so it's always a work in progress all the time and for me acting is is always a as an instinctual exercise not an intellectual one I love reading and I love absorbing all the information but ultimately when you get on stage it has to be um emotional and truthful all the Academia in the world ain't going to help you then you know what are your thoughts on practical effects versus CGI well again because um I've worked with Chris for so long and I'm such a fan of how he makes and presents films I I really believe that the audience responds in a different way to in camera real effects and I think we've become so sophisticated at consuming films and that horrible word content we uh are much more cynical I think about uh effects that don't look true and truthful and I know it isn't um possible all all the time but I'm very much of the belief that when it can happen in camera it should certainly from a performers point of view when you're in the real environment and effects are happening around you it does something to you and how you respond you know that transfers uh um to the camera and it and it and it kind of electrifies the performance you know I mean I remember on Inception that first scene where I meet um Leo in the bar and Chris wanted the water and the glass to tilt so he built the whole set on a gimbal so that the whole set would tilt like that so we all were going like this on that set you know and that you feel that as performers so it does something to how you perform the day you finished filming how did you celebrate being able to step out of your upen Heimer brain that did I do uh I probably had a big sandwich and pinty Guinness or something like that it takes a while when you're deep into the work and you've been playing a character like that for such a long time and I'm not talking about sort of met the method or anything like that I'm just talking about the focus doing it for that long with all the prep for you know 15 16 17 hours a day and there's an abrupt stop there's you have an awful lot of displaced energy you're neither you're neither the character you're or yourself you're somewhere in the middle and yeah it takes it takes a minute it takes takes takes takes longer than that but you know you go on a holiday and you hang out with your family and then eventually you you you find somewhere else to put all that that kind of focused energy it's always a little heartbreaking finishing a job but then you kind of move on we're just like it's like a it's like a traveling circus you know what is your favorite historical time period that you've gotten to live through in your roles yeah I seem to have played a lot of characters from the past I don't know every time I was playing those characters they seem to be living through terrible upheaval and strife so I'm not quite sure I mean the 20s seemed like fun I'm sure if you had a bit of money but you know but and there was great there was great music in the 20s I would have been into that if I could just step off the set and just go to the clubs and listen to the music I'd be happy in the 70s or the 20s or even the 50s I'd be just in the clubs listen to music

Channel: GQ Taiwan

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Id: oVqYBgKvKTE

Length: 13min 5sec (785 seconds)

Published: Sun Feb 25 2024