When the break of day brought with it news of the 95th Academy Awards nominations, director Christopher Nolan and his wife, producer Emma Thomas, were sound asleep. A cascade of celebratory messages on Thomas’ phone finally stirred them as their film “Oppenheimer,” which delves into the life of J. Robert Oppenheimer and the creation of the atomic bomb, secured a staggering 13 nominations. Nolan, chuckling, reassured, “Don’t take it as being blasé. We just didn’t want to jinx anything.” Acknowledging the anxiety surrounding the nominations, they had opted instead for a restless night’s slumber.
Tension, however, had little place in Nolan and Thomas’s minds as their cinematic epic has been blazing a trail as an Oscar favorite since its critically-lauded premiere in late July. Among the nominations are nods for Cillian Murphy, Robert Downey Jr., and Emily Blunt, comprising a star-studded recognition for their gripping performances.
Notably, “Oppenheimer” garnered nominations across a spectrum of categories, a testament to its mastery and Nolan’s vision: direction and adapted screenplay, Hoyte van Hoytema’s breathtaking cinematography, Jennifer Lame’s meticulous editing, elegantly grounded costume design by Ellen Mirojnick, Ruth De Jong and Claire Kaufman’s immersive production design, transformative makeup and hairstyling led by Luisa Abel, an enveloping soundscape, and Ludwig Göransson’s resonant score. It edged tantalizingly close to the all-time record for the most Oscar nominations.
The formidable duo of Nolan and Thomas reflected on the morning’s breakthrough with both astonishment and gratitude, as Thomas exclaimed, “It’s flabbergasting.” The routine task of waking their 16-year-old amplified by a newfound energy following the nominations.
Despite Nolan’s status as a titan of epic cinema, the Oscars have eluded his grasp, with neither a best picture award for his films nor a personal Academy Award. His only previous directorial nod came for the WWII saga “Dunkirk.” The Oscars’ curious history of overlooking Nolan’s work has often been a talking point, especially after the surprising omission of “The Dark Knight” in 2009 leading to an expansion of the best picture category.
Nolan’s reverence for Hollywood studio films and their potential to captivate audiences shone as brightly as ever this year. “It certainly confirms our faith in what studio filmmaking can be,” he mused, reflecting on the joyous audience reception and the movie’s staggering box office success, nearing $1 billion globally.
In analyzing the film’s appeal, Nolan credited the combination of a powerful narrative drawn from American history, a sterling cast, and the emotional accessibility they could collectively invoke. “Beyond that, sometimes you catch a wave, and it’s a wonderful and unique thing,” said Nolan, offering a humble take on the film’s success.
Thomas emphasized the contemporary relevance of “Oppenheimer,” highlighting how history from the cinematic lens can impact audiences today with real vitality. Nolan agreed, noting a perceptible shift in the public consciousness regarding nuclear threats and other modern concerns such as artificial intelligence, fueled in part by their timely movie.
Pondering the film’s recognition, the pair seem to be in uncharted waters, thrilled by the depth and breadth of appreciation. “It’s the pinnacle of the recognition of your peers,” Nolan reflected.
As for the celebratory plans post-nominations? Thomas envisages a family dinner – a fitting choice for a couple whose professional lives are deeply intertwined with their personal ones. They stand poised at what they consider a midpoint in their shared creative journey, with Nolan enthusiastically declaring, “We’re just getting started!”
As Oscar buzz continues to swell around “Oppenheimer,” Nolan and Thomas look forward to a night of potential triumph, an acknowledgment of their cinematic achievements, and perhaps, a harbinger of more storytelling wonders to come.
