Oppenheimer is the IMAX-shot epic from the mind of acclaimed director and writer, Christopher Nolan. Based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, the film tells the story of the enigmatic man who led the Manhattan Project and helped create the first nuclear weapons. A devastating moment … Tom Conti as Albert Einstein and Cillian Murphy as J Robert Oppenheimer. Photograph: Melinda Sue Gordon/Universal Pictures Working with an exceptionally talented group of musicians, we were able to capture nuanced performances that would add another dimension to the breathtaking visual world and performances of Oppenheimer, forging what we hope will be a transportive experience for the audience. Göransson, inspired by Nolan’s suggestion and the vivid imagery he witnessed during the early stages of pre-production, embarked on a creative exploration, harnessing the expressive potential of the violin. Driven by an unwavering desire to capture the delicate intersection between beauty and dread, Göransson’s creative endeavors manifested in an array of captivating experiments. The film ends with a conversation between the godfather of the nuclear bomb and Albert Einstein in 1947, in which Oppenheimer (Cillian Murphy) reminds the German-born theoretical physicist that he had once approached him about fears that his project would “destroy the entire world”. Einstein, played by Tom Conti, says: “What of it?” To which Oppenheimer replies: “I believe we did.”

Christopher Nolan's massive historical drama Oppenheimer is finally in theaters after months of anticipation, allowing audiences everywhere the chance to experience the story of the father of the atomic bomb like never before.

Notes

Triple opaque colored vinyl LP pressing. Driven by an unwavering desire to capture the delicate intersection between beauty and dread, Göransson's creative endeavors manifested in an array of captivating experiments. Techniques such as the incorporation of microtonal glissandos were deftly employed to expand the sonic palette, infusing the music with an ethereal quality. Collaborating with esteemed musicians from the Hollywood Studio Orchestra, Göransson began shaping Oppenheimer's musical world with an intimate solo violin performance, capturing the essence of the character. As the story evolved, the ensemble gradually expanded to include a quartet, octet and ultimately a large ensemble of strings and brass. This progressive orchestration reflected the deepening complexity of Oppenheimer's journey, enriching the musical tapestry with each new addition. The film is based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and the late Martin J. Sherwin. The film is produced by Oscar nominee Emma Thomas p.g.a. (Dunkirk, Inception), for Atlas Entertainment by Oscar nominee Charles Roven p.g.a. (The Dark Knight trilogy, American Hustle), and Christopher Nolan p.g.a.

The film shows the first ever nuclear explosion in an impressively staged sequence but does not show what followed: the weapon’s use on civilian targets in Hiroshima and Nagasaki. This drew criticism from one nuclear campaigner, who told the Guardian that the result was an “unbalanced” film, with the impact of the Japan blasts instead portrayed by a quasi-nightmare sequence where Oppenheimer is beset by disturbing visions in a supposedly triumphal speech to Manhattan Project workers in Los Alamos. As the story evolved, the ensemble gradually expanded to include a quartet, octet, and ultimately a large ensemble of strings and brass. This progressive orchestration reflected the deepening complexity of Oppenheimer’s journey, enriching the musical tapestry with each new addition. We embarked on a mission to create a score that could authentically convey the intricate inner world and journey of Oppenheimer,” Goransson said. “With the violin serving as the emotional core of the music alongside string ensembles, an impressive display of brass and nuclear synths underpinning the impending doom that was to come, the score swiftly transcends from a personal journey to a grandiose and almost operatic spectacle, oscillating between realms of hope and despair. Working with an exceptionally talented group of musicians, we were able to capture nuanced performances that would add another dimension to the breathtaking visual world and performances of Oppenheimer, forging what we hope will be a transportive experience for the audience."We embarked on a mission to create a score that could authentically convey the intricate inner world and journey of Oppenheimer,” Ludwig states. “With the violin serving as the emotional core of the music alongside string ensembles, an impressive display of brass and nuclear synths underpinning the impending doom that was to come, the score swiftly transcends from a personal journey to a grandiose and almost operatic spectacle, oscillating between realms of hope and despair. It achieves the effect of building out an emotional world to accompany the visual world that production designer Ruth De Jong designed and director of photography Hoyte van Hoytema shot, and it draws the audience into the emotional dilemmas of the characters and their interactions with the vast geopolitical situations that they’re confronting.”

Nolan says he had no preconceptions about the music for the film, but he did offer Göransson an idea for a starting point. “I suggested he base the score on the violin,” Nolan says. “There’s something about the violin to me that seemed very apt to Oppenheimer. The tuning is precarious and totally at the mercy of the playing and emotion of the player. It can be very beautiful one moment and turn frightening or sour instantly. So, there’s a tension—a neuroses—to the sound that I think fits the highly strung intellect and emotion of Robert Oppenheimer.” Murphy’s leading man credentials are not in doubt, with a résumé that includes Peaky Blinders and critical hits such as Sunshine. His performance in Oppenheimer is even more impressive in the context of the nuanced, assiduous biography by Bird and Sherwin, which portrays an individual as complex as you would expect a high-achieving theoretical physicist to be. If there is one detail Murphy captures in particular, it is Oppenheimer’s soft voice and, of course, their similarity in looks (Murphy, at 47, is broadly the same age as Oppenheimer was, at 41, when the bomb was first tested in 1945). I suggested he base the score on the violin,” Nolan said in a press release. “There’s something about the violin to me that seemed very apt to Oppenheimer. The tuning is precarious and totally at the mercy of the playing and emotion of the player. It can be very beautiful one moment and turn frightening or sour instantly. So, there’s a tension — a neuroses — to the sound that I think fits the highly strung intellect and emotion of Robert Oppenheimer.”

Author

Driven by an unwavering desire to capture the delicate intersection between beauty and dread, Göransson’s creative endeavors manifested in an array of captivating experiments. Techniques such as the incorporation of microtonal glissandos were deftly employed to expand the sonic palette, infusing the music with an ethereal quality. Collaborating with esteemed musicians from the Hollywood Studio Orchestra, Göransson began shaping OPPENHEIMER’s musical world with an intimate solo violin performance, capturing the essence of the character. As the story evolved, the ensemble gradually expanded to include a quartet, octet and ultimately a large ensemble of strings and brass. This progressive orchestration reflected the deepening complexity of OPPENHEIMER’s journey, enriching the musical tapestry with each new addition. As a record producer and songwriter, Göransson has worked with a wide range of artists including Haim, Rihanna, Travis Scott, Adele, and Donald Glover (aka Childish Gambino). A longtime collaborator of Glover’s, Göransson has been nominated for six Grammys with the artist, including two in 2019 for the Billboard Hot 100 Number One hit song “This Is America,” which became a cultural phenomenon that garnered world-wide acclaim. Goransson took his director's advice, using the violin to start laying out themes that would run through the entire film, and eventually expanding to an entire orchestra for the film's moments of high tension and drama.

The effect of the [Hiroshima and Nagasaki] blasts was to remove the skin in a much more gory and horrible way – in the film it was tastefully, artfully presented. There’s nothing wrong with that, but if you look at photographs of actual survivors and read accounts of what happened to them it was a very horrifying, gory death,” said Carol Turner, a co-chair of the Campaign for Nuclear Disarmament’s London branch.

Barcode and Other Identifiers

So, how did Goransson shape this particular musical journey? According to Nolan, he let the composer pretty much run free when it came to laying out the music, but did offer one instrument as a suggested point of entry for the whole piece. Oppenheimer is very clear about its focus on the protagonist … Robert Downey Jr as Lewis Strauss. Photograph: Melinda Sue Gordon/AP