Issue link: https://digital.copcomm.com/i/1521562
14 S U M M E R 2 0 2 4 I C A S Q U A R T E R L Y M E E T T H E W I N N E R S Christopher Nolan's Oppenheimer is a provocative scientific biopic that delves into the life of J. Robert Oppenheimer and his role in the creation of the atomic bomb. With a compelling and exquisitely performed narrative, stunning visuals, and a bold, compassionate soundtrack, the film stands out as a marvel in all filmmaking disciplines. The brilliance of this film is the mental struggle and genius of Oppenheimer's character, which is unveiled concurrently with the historical events leading up to the development of the atomic bomb. We feel a continuity of urgency and doom in dramatized interpersonal scenes and historical reenactments. Using a 65-millimeter film format (projected in 70-millimeter), cinematographer Hoyte van Hoytema creates images that take on a monumental impression to the viewer. Cast performances caught on chromatically provocative sets are seamed together by Jennifer Lame, film editor, who often intercuts extreme close-ups with a collapsed depth of field frenetically with abstract images and textures that make a comparison between Oppenheimer's neural synapses and the energy released through a nuclear reaction or radioactive decay process. The effect is visceral. And, as always, the sound is responsible for at least half of the experience. The veteran sound team comprised of production sound mixer Willie D. Burton CAS; scoring mixer Chris Fogel CAS; Foley mixers Tavish Grade, Jack Cucci, and Mikel Parraga-Wills; and re-recording mixers Gary A. Rizzo CAS and Kevin O'Connell CAS garnered a CAS Award in the Motion Pictures – Live Action category for this achievement. First on the scene was production sound mixer Willie D. Burton. Willie came on during pre-production, read the script, and began mapping the needs of the sound department, building his production team. Adam Mohundro was the boom on the Los Angeles shoot, Brett Becker's boom/utility was on for the New Mexico shoot, and Christy Illius was the sound utility in New Jersey. They commenced filming in late February in Los Angeles to embark on approximately 57 days of shooting. First was Santa Fe, New Mexico, to film at Ghost Ranch and the surrounding city. They then moved onto Albuquerque. Filming continued at Princeton University in New Jersey and around the city, and finally, they returned to Los Angeles to complete the film. Burton explains, "There are always challenges filming on location, especially in New Mexico, where you must deal with dust storms, snow, rain, and wind. I Production sound mixer Willie D. Burton CAS on set in Albuquerque, New Mexico MOTION PICTURES – LIVE ACTION OPPENHEIMER b y K a r o l U r b a n C A S M P S E