金獎大導片場其實很窮酸？《奧本海默》三巨頭談和諾蘭的合作心得！麥特戴蒙又落單？｜經典電影大解密｜GQ Taiwan

by the way Matt Damon is generally included in the homies but I think he's shooting a Dunkin Donuts Commercial right now hi Vanity Fair I'm Emily Blunt hello Vanity Fair I'm Killian marphy I'm Robert Downey Jr and we're going to give you the entire oral history of the Cinematic Masterpiece Oppenheimer Chris um he generally tends to just call me out of the blue or Emma Thomas's wife and producer calls me because Chris doesn't possess a phone or a computer or an email what he always does though uh I think that people know this now is that he flies to wherever you are and gives you the actual script himself in person and it's always printed on red paper with black ink and it's a like it was a Tome it was a door stopper of a thing in the Marvel days everything was watermarked and they had dummy scripts and phony things you remember all all those days to keep people from and then Chris is just like I want to just make this impossible for anyone to ever read except the people I'm asking to read it yeah by the way it's so hard to read a script on red paper with black type I suggest any of you try it so private in a lovely way it's just the coolest just usually everything you know everyone's in the know and your your agents and your team and you know all the producers know and you know you're being discussed by people there's sort of the chatter the noise around putting a project together and this feels really distinctive and calm and private and peaceful and reasonable yeah yeah and the thing I should say as well is that every time Chris has called me I've always said yes before I've read the script so it's sort of it's just a formality read reading the script you know when we discussed it on the phone I knew I knew it was it was it was a huge part I've always said this I need to feel intimidated by work it needs to feel dangerous or impossible for me if it feels like I know how to play that I'm not I'm not really interested it needs to feel like a huge leap and this was one of the biggest leaps it's a sort of wild combination of like abandonment working with him and also knowing that you're going to have the screws tightened on you as an actor to such a degree that it becomes one of the most thrilling experiences of your life we had a long prep period we had like we had 6 months I was going from the outside in which was trying to get the physicality and trying to get the walk and the voice and all of that and then there was an interior thing going on which was all this sort of research and this sort of of um I suppose the intellectual sort of side of it what was the thing Chris told you about David Bowie that was just some little thing he just he just dropped in the mix at one point he sent me a picture of him I think it was during the thin white Juke year you know and he was so cool but so slim and he had those beautiful high-waisted cleeter tailored trousers and he had the coat and the the jacket and the hat and it was just cuz Bo is always creating his own iconography and his own um Aura do you know what I mean and he struggled to figure out how is he going to break in he felt very much like an outsider and he went from the outside in and then the inside right yeah totally and I think that's probably where there was some sort of crossover it doesn't seem logical or obvious in any way he began to find himself and design his own sort of uh Aura and you see it in the movie you know when we do that little Montage he put the hat and the pipe and he just becomes this character you want to talk about a story where the stakes are High the stakes are the future of Western civilization and so that a lot of my prep was just recognizing that all these people are taking place in a story where the fate of humanity yeah rested on the decisions they made so when there's these complicated relationships I'm reading the script and going man their marriage has to work broken as it is because we won't survive it was just all that stuff so it was so implicit in his writing it's always a bit scary like I remember the first time we read a scene in front of him and I was so scared because I you know we both decided to do quite a specific voice for them I remember finishing the scene you went yeah great okay and that was it and you're like oh thank God you know that means I think he really likes it I think every single crew member every single actor wants to be on a Chris Nolan set we were discussing this it's a little bit of a let down when you go on to another set no dis supect every director in the world but that efficiency uh you know that that like real rigorous efficiency that happens and like Robert was saying that just there's a lot of wasted time wasted money that build that is surrounds our industry like everybody knows that it's a Legendary Legendary so but with Chris it isn't and you just go straight to the work and I think the reason he Rec collaborates a lot with people is that he likes to do that thing where it's just the work there are all these legends about what it's like on a Christopher noan set and you've hinted at some of them like lack of chairs is that a real thing I mean there's an Apple box around now occasionally there's an Apple box Park your boot on an Apple box human resources are scarce and the idea is that this is a Spartan Endeavor and also I think that Chris from all the films he's done he deplores waste yes he is a conservationist of the highest order like all this stuff has this kind of convention has developed around film sets that is kind of crackers like that people are on their phone why would why would you be on your phone on a film set doesn't make any sense there's no video Village there's no monitors all of these things that just are the norm now but why do we need them if the director knows exactly what Matt said every not everything's happening in front of the camera everything is happening in front of the camera there is no budget for anything that's not happening in front of the camera so the other thing is if I see Chris Nolan I throw my phone and this is NE not shooting still to this day yes if you see him just put your phone down and he doesn't even really like it when you go to the bathroom but he understands you have to yeah and I asked him dude what when are you go and he goes 11:00 a.m. and 6:00 p.m. and I was like are you are you with me and drink so much tea I know but does he it's not a diuretic tea no it's not because he won't do anything he won't ask anyone to do anything that he's not a th% willing to do himself twice as hard that's it I remember we were doing a scene on DK do do you remember that scene where my character is found on the bow of this sunken I remember all the marine guys and all the stunt guys were very unsure about me getting up there was it was very kind of bad weather and Chris was like okay I'll get up there so he got up there did it all and they checked it out with him doing it and then he was like okay put kilan up there then that's just one example there's so many of them I love our scene where you find me by the Rocks yeah yeah you yourself together you know people here depend on you s because we kind of knew we were losing the light like it was just that that sort of simmer of tension on set where you're like wo and you see it was it was just we shot it so fast so fast yeah and Chris wants to keep that obey but you could kind of feel it just sort of we needed to get it he'd already shot five scenes before it but I I the the way it's important for me or or or significant for me is I I suppose I I knew that we had to get to a place in that scene just tion for the story for their for their story together to work ratchet it up so intensely and so fast I could not have done it with anybody else other than Emily there is no there is no way that I could have got to that place without you in that scene you know and to be able to lock into SLA the out of you and he cut it out exactly he cut it out but but it was just one of those it was one of those scenes where you know um you need to have that level of trust with the actor you're working with and with the director you can go straight to it there's a scene after after he doesn't get his uh his appointment what I'm denied yeah I'm afraid so sir all right all the veneer has to come down you have to see who's kind of been running the show the whole time and I'm there and it's me and Alden and Scott Grimes we blocked we blocked it and then it kind of made more sense and it gave me a little more room and then we did it we did it we didn't I like thought I had it and I was like all right now I'm getting tired I think we had it and he goes we we may have it we may not but um now I know I may have got something else in you and I was like yeah no you don't and I don't my gosh and I was like anyway it was one of those things where he was like I'm sorry but we didn't come this far for me to let you off the hook even if there's nothing left to find we still have time I'm not rushing and by the way I'm not trying to shoot tomorrow today I'm just trying to shoot today today so you're until we're done until you bring it no it was great and I feel like if it was a big moment of like I have to break through this inherent whatever our own lazy meter is it's in there somewhere and that's the thing you have to find in a race to grow that scene is stop my heart masterful stop my heart it feels more like a a celebration of the work you know then you know when you're promoting something it's a 3-hour or rated picture about a physicist you know then this phenomenon happens and it connects with audiences in a way that we could never ever ever have anticipated the film kind of went out there and and had it went into its adolescence and its own maturity and we just had to kind of just reconnect with each other so you know we're trying to hook up or FaceTime I was going up to see you and and C at your pad we just kind of like tried to socially reintegrate and the enormity of drink again in the cells in England yeah baby I love an indulgent set I love choppering into Avengers back lot I just think it's great I love the whole conspicuous consumption but the the Chris Nolan way is not for the faint of heart so it's nice because you wind up knowing What You're Made Of when you're done working for him yeah we like making dad proud yeah best dad ever thanks for watching if you haven't seen Oppenheimer twice uh go see it again you're going to love it thanks Vanity Fair thank you nice one wow that was nice one was quite a sh yeah man

Channel: GQ Taiwan

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Id: M6AxjEypLMY

Length: 10min 44sec (644 seconds)

Published: Tue Feb 13 2024