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00:00 When I told one of my teenage sons what I was writing,

00:04 he actually said to me,

00:05 oh, well, is anyone concerned about that?

00:07 You know, do people think about nuclear weapons

00:09 in that way anymore?

00:10 Sadly, you know, a couple of years after that conversation,

00:14 neither he nor anyone else is asking that question anymore.

00:16 Unfortunately, it's now back in the world in an awful way.

00:21 - You are the man who gave them the power

00:23 to destroy themselves.

00:25 And the world is not prepared.

00:27 (dramatic music)

00:30 - Eight,

00:37 seven,

00:39 six,

00:41 five.

00:43 - I grew up in the 1980s in the United Kingdom

00:46 at a time of great fear of these weapons

00:49 and a lot of argument and concern about these weapons.

00:52 And then there's an ebb and a flow,

00:55 it recedes and comes back.

00:57 I think the only way we're going to be able

01:00 to survive this threat is to be mindful of it

01:04 and try and construct solutions

01:08 to how to manage this threat.

01:09 - We're in a race against the Nazis.

01:14 And I know what it means

01:17 if the Nazis have a bomb.

01:24 - My attempt in the film is to draw the audience

01:28 into the point of view and the experience

01:31 of the person who is at the center of creating the bomb.

01:34 I really wanted to show that entire experience

01:37 through his eyes and experience things

01:41 the way he experienced.

01:42 And so, for example, to learn that, you know,

01:46 Oppenheimer found out about the bombings

01:50 at Hiroshima and Nagasaki on the radio,

01:53 the same as the rest of America,

01:54 as if he had nothing to do with it.

01:56 That, to me, is an extraordinary thing.

01:58 This is an individual who his role in things

02:03 is very, very difficult, even for himself, to define.

02:08 And so he has to completely reconceive

02:11 his sense of responsibility and his role in things.

02:14 And I think it's something he struggled with

02:15 for the rest of his life after 1945.

02:19 (speaking in foreign language)

02:23 - I think admiration has to come first

02:38 with somebody you're interested in enough

02:42 to spend years, you know, figuring out

02:44 how to tell a story, as I have.

02:46 But more than anything else, I think fascination.

02:50 I think he's one of the most involving

02:53 and fascinating figures that I've come across.

02:56 These elements of himself and his psyche

02:58 ultimately change the world, define the world

03:03 we live in today and the world we will always live in.

03:05 I think his story is as dramatic as any story that I know.

03:10 And he's a very flawed, very human figure,

03:14 and very ambiguous, I think.

03:16 I was first struck by the drama of his story, the suspense.

03:21 The fact that he goes from,

03:25 as the title of the book I adapted,

03:27 it's called "American Prometheus, The Triumph of Tragedy."

03:30 And all really in ways that reflect

03:34 a lot of our modern concerns, a lot of our dilemmas

03:38 in terms of the relationship between scientists

03:42 and society as a whole, the responsibility

03:46 of people who invent technology,

03:49 and how their shifts in political thought over time

03:53 may or may not fall out of step with what's acceptable

03:58 in the society to which they belong.

04:00 And America has been seen over the years

04:02 to be very intolerant of those shifts,

04:05 of people who are out of step with those shifts.

04:06 And Oppenheimer is a very, very strong example.

04:10 His story is a very strong example

04:12 of the anti-communist fervor in the 1950s,

04:17 '40s and '50s, and McCarthyism in particular.

04:22 So really for me, the interest in the story

04:25 was the sheer drama of it.

04:29 I view the story as a thriller,

04:32 and there's a lot of fatalism involved.

04:34 There are a lot of things that happen early in his life

04:36 that become very, very important later in his life.

04:39 And as a dramatic storyteller,

04:40 those are the kind of stories that you're very drawn to.

04:44 - Let's go recruit some scientists.

04:46 - Build a town, build it fast.

04:51 If we don't let scientists bring their families,

04:53 we'll never get the best.

04:54 - Why would we go to the middle of nowhere

04:58 for who knows how long?

05:01 - Why?

05:04 Why?

05:05 How about because this is the most important thing

05:07 to ever happen in the history of the world?

05:10 - He was one of a group of leading physicists in the 1920s

05:15 who were following Einstein's theory of relativity

05:20 and seeing the implications of that and where it could go.

05:24 I was especially interested in his early life

05:27 in that when he was imagining these things,

05:31 when he was working with these other physicists

05:34 to revolutionize the way we think about the world,

05:38 other revolutions he was very aware of were going on,

05:41 political revolutions, artistic revolutions.

05:43 And so you look at the work of the cubists, Picasso,

05:47 the music of Stravinsky, communism in Russia,

05:52 all of these things,

05:53 all of these fundamental reframings in society

05:58 of how we look at different aspects of our existence.

06:01 And physics was in amongst those

06:04 probably the most radical of all of those.

06:06 - He knew the world would not be the same.

06:08 Few people laughed.

06:13 Few people cried.

06:17 Most people were silent.

06:19 - I think one of the paradoxes of the scientists

06:24 behind the Manhattan Project,

06:26 Oppenheimer at the center of that,

06:28 is they appear to have acted

06:34 with fervor in the heat of a desperate race

06:38 to beat the Nazis.

06:40 And yet, these are people of intellect

06:45 so far beyond the rest of us

06:47 who are able to foresee cause and effect,

06:51 consequences of actions,

06:52 are far beyond what the rest of us can see.

06:55 And that's one of the paradoxes,

06:57 and that's one of the fascinations I have,

06:58 particularly with post-1945 Oppenheimer.

07:03 Everything he says after 1945 about his involvement

07:08 in the creation of the atomic bomb,

07:09 in the bombings of Hiroshima and Nagasaki,

07:12 everything he says is extremely carefully worded.

07:15 He never apologizes.

07:17 He's very, very careful to never express

07:20 individual and specific shame

07:22 or a sense of apology for his involvement.

07:25 But every action he took post-1945,

07:29 to me, these are the actions of somebody

07:32 truly wracked by guilt.

07:33 And it's that disparity between

07:37 how he intellectualizes and how he presents himself

07:41 and then what he's doing, the actions he's taking,

07:44 that I think makes for great drama.

07:46 I'm drawn to protagonists like that in fiction,

07:50 who say one thing but do another.

07:52 And we spend a lot of time in a story

07:55 trying to identify the person,

07:58 or trying to figure out exactly who they are

08:00 and what makes them tick.

08:01 Because I think real human beings,

08:03 I think none of us are simple.

08:04 And I think none of us do things for simple reasons.

08:07 And often, we don't fully understand the reasons

08:10 for what we do.

08:11 We have mixed motivations.

08:13 We have layers of motivation.

08:15 (dramatic music)

08:18 - The world will remember this day.

08:23 - Certainly, Oppenheimer, as a film,

08:27 is an expression of faith on my part

08:29 that cinema can be anything.

08:31 Cinema has told these great stories many times in the past,

08:36 and I think will in the future as well.

08:39 It may have been a while since somebody did that,

08:41 but the tool of cinema, the medium,

08:44 how it can accommodate this type of story,

08:47 is very well established.

08:49 So I think, I'm certainly trying to work

08:51 in a great tradition.

08:52 It goes right back to "Lawrence of Arabia" or "Citizen Kane."

08:56 For me, cinema's not really about,

08:57 are you shooting people in a room talking,

09:00 or are you shooting cars running down a road

09:02 smashing into each other or whatever?

09:04 The energy of the drama comes from the narrative

09:08 and the narrative momentum.

09:09 And certainly for me, two of the genres

09:12 I find the most compelling from a suspense point of view.

09:16 One is the heist film.

09:17 And so for me, the whole Manhattan Project, to me,

09:19 seemed like the ultimate kind of heist movie,

09:22 where this team comes together,

09:24 all with different specialties,

09:26 focused on this goal to beat the Nazis,

09:28 to finish this thing in time.

09:30 And then the last section of "Oppenheimer's Life," to me,

09:34 is just the most suspenseful courtroom drama.

09:37 I love that genre.

09:39 I think it's one of the most tense genres.

09:41 You put people in that heightened situation,

09:44 and you're immediately sort of leaning forward

09:47 to wonder what's going to happen next

09:49 and how things are gonna play out.

09:52 I think anybody who's a fan of just a great story,

09:56 there's a lot for them in this film.

09:58 Truman needs to know what's next.

10:00 Two.

10:00 What's next?

10:01 One.

10:02 [gunshot]

10:04 (thunder rumbling)

Christopher Nolan : « Oppenheimer est un film de braquage »

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