![]() ![]() “And that’s how it all builds up towards that piece of silence.”īut it wasn’t until Göransson was watching the finished film that he realized he had used no drums at all. ![]() “Once he presses the button, there’s no turning back,” Göransson says. launch the famous Trinity test of the nuclear weapon, the film cuts to silence. Thumping bass and metallic ticking, like a clock, define the second music movement, as the race to build the atomic bomb kicks off. ![]() “But Serena said, ‘They’re great musicians, why don’t we try different recording techniques and figure out how to do it in one continuous take?’ So, we figured out a way to do it, and that’s why you hear this crazy energy that is causing that momentum.” “I thought we had to do it in segments and record it bar by bar,” he says. So we added four violins, and when the whole class shows up, we have an entire orchestra come in.”įor the scene in which physicist Niels Bohr (Kenneth Branagh) asks Oppenheimer if he can “hear the music,” Göransson created a two-minute piece with 21 tempo changes. When you see him in class, there’s one person followed by four people joining him. Göransson explains, “It starts with a haunting melody, which starts off as an intimate solo violin. He knew he needed a live string orchestra, but his biggest challenge was how to capture the energy and movement through tempo. That was so jaw-dropping for me, and that’s how I wanted the music to sound,” Göransson says. “I remember being in the theater and being hit with fluorescent lights. There’s also the United States Atomic Energy Commission hearing, woven across several timelines, and Oppie’s romance with Kitty (Emily Blunt) and dalliance with Florence Pugh’s Jean Tatlock.Īfter Göransson first read the script, and before he started working on the first movement, Nolan invited the composer to an IMAX theater to screen some of the visual experiments he was working on. Göransson says the score essentially follows three movements to reflect the different phases of the film, as Nolan follows Oppenheimer’s love of physics into the building of the atomic bomb and the Trinity Test in Los Alamos. Musically, that meant he had to establish an unsettling tone from the beginning: “You feel this unease in this character, and it shifts.” Oppenheimer is a genius, but he also has demons in his closet.” You’re seeing the world through his eyes. “I had never read a script like that before where he immediately puts you in the mind of Oppenheimer. “Violins have been used a lot in horror movies, and Serena and I looked at how to take that technique of horror clusters and turn it on its head into a beautiful melodic vibrato,” Göransson says. ![]()
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