Real Oppenheimer's student Kip Thorne says science in Christopher Nolan's script was good
'It was just some of the personalities in the film that needed tweaking,' said the Nobel Prize laureate and theoretical physicist
Oppenheimer
Real J Oppenheimer’s student Kip Thorne has said in a statement that science in Christopher Nolan‘s script was good. “It was just some of the personalities in the film that needed tweaking,” said the Nobel Prize laureate and theoretical physicist. Thorne and Nolan have collaborated on multiple films in the past and the physicist is impressed by the filmmaker’s research and homework.
“He doesn’t have the necessity for that that other directors would have. He’s just an amazing person in that sense,” Thorne said.
“We are at a stage where we could go through a second period of extreme danger. So I think, to see the history of that period, I think it’s very important,” he added.
also read
Margot Robbie & Ryan Gosling's Barbie joins $1 billion club, breaks another record for female directors
In modern box office history, just 53 movies have made over $1 billion, not accounting for inflation, and Barbie is now the biggest to be directed by one woman
Hiroshima Day: Why scientist Oppenheimer and survivor Setsuko both advocated a world free of nuclear terror
Today nearly half of humanity lives in countries with nuclear weapons. Modern nuclear weapons are up to 80 times more powerful than the device Oppenheimer tested in Los Alamos
How the wave of 'Oppenheimer' and 'Barbie' impacted Tom Cruise's 'Mission: Impossible 7' at the box-office | Explained
Mission: Impossible – Dead Reckoning Part One opened worldwide on July 12 and Oppenheimer and Barbie came out merely nine days later, thus denting the commercial prospects of Cruise's juggernaut
Related Articles
Oppenheimer: Christopher Nolan reveals ‘honeymoon in Kyoto’ line was improvised by this actor on set
Christopher Nolan's 'Oppenheimer' beats 'Batman Begins' at the box-office, 'Dunkirk' collections next
Nolan, who is fresh off the success of Oppenheimer, recently spoke about the complexities of his films’ narrative and choosing a non-linear approach to tell his stories. He said, “Don’t try to understand it, just feel it. I don’t see movies in terms of a balance between simplicity and complexity. I think it’s really about mystery.”
He added, “And our expectations of films, really my whole life, but really since the 1950s, they’ve been informed by television and the expectations of television.”
On using non-linear structures
And sometimes that’s unfortunate. So I often use non-chronological structures, non-linear structures. That was something that was done a lot in the silent era, in early talkies, right up until television comes along. And then television sort of imposes a more linear, a more simple approach, because of the way in which we watched television from the 1950s onwards.
He continued, “Then when home video DVD comes along and now streaming we can once again be more adventurous because you can watch something, you can stop it, you can rewind something, have a look at it. And so we can make more dense narratives, more complicated narratives.”