The ‘Oppenheimer’ creative team take you behind the scenes of the film’s key moments

Impossible is often just a starting point on a Christopher Nolan film and “Oppenheimer,”about the father of the atomic bomb, was no exception. YOU CAN’T HIDE IN IMAX Visual effects supervisor Andrew Jackson on the set of “Oppenheimer.” Aging 18 principal actors across multiple decades is hard enough, but as makeup lead Luisa Abel and head of hair design Jaime Leigh McIntosh quickly learned, there is no hiding in IMAX. Every time you went in there, it felt like a totally different kind of scene: It had a different feeling to it, or it had slightly different lighting or the shots were more menacing on certain characters.” Someone told her that they could have watched Kitty’s testimony, a big moment for actor Emily Blunt near the end of the film, for “20 minutes.” That moment also provided an opportunity for musical innovation with Ludwig Göransson’s score, blending blends Kitty’s theme — a piano and cello — with Oppenheimer’s – a violin. “What I wanted to capture was the energy that I’d seen in the visuals, when I sat there with Andrew Jackson and Chris Nolan in the IMAX theater and they showed me the first visual experiments — like the molecules going around and the energy of being on the brink of discovery,” he said. Göransson said it was only on a recent watch that he noticed how the chilling end moments of the film parallel the “Can You Hear the Music” montage from earlier with Lame’s quick cuts.