Reelgood: Where to Stream Oscar Winners Cillian Murphy, Emma Stone, Christopher Nolan’s Top Content

On the heels of the 96th Academy Awards, Reelgood.com released the top 10 TV shows and movies from Oscar winners Cillian Murphy, Emma Stone, and Christopher Nolan (based on viewership interest) — and where to stream them.

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Cillian Murphy Top 10 (and full-list) titles:
 
  1. Peaky Blinders – Reelgood Score: 94 (Netflix)
  2. Batman Begins – Reelgood Score: 93 (Max, Hulu)
  3. Dunkirk – Reelgood Score: 91 (Hulu)
  4. Oppenheimer – Reelgood Score: 89 (Peacock)
  5. A Quiet Place Part II – Reelgood Score: 88 (Hulu, Paramount+)
  6. Red Eye – Reelgood Score: 79 (Paramount+, FuboTV)
  7. Anna – Reelgood Score: 77 (Prime Video)
  8. The Wind That Shakes the Barley – Reelgood Score: 76 (AMC+, Roku)
  9. Anthropoid – Reelgood Score: 75 (Max)
  10. Free Fire – Reelgood Score: 72 (Max)

 

Emma Stone Top 10 and full-list titles:
 
  1. The Help – Reelgood Score: 91 (FuboTV, Hulu)
  2. Zombieland – Reelgood Score: 90 (Apple TV+)
  3. Crazy, Stupid, Love – Reelgood Score: 89 (Hulu)
  4. La La Land – Reelgood Score: 88 (TBS, TruTV)
  5. The Amazing Spider-Man – Reelgood Score: 87 (Disney+, Netflix)
  6. Cruella – Reelgood Score: 85 (Disney+)
  7. Birdman or (The Unexpected Virtue of Ignorance) – Reelgood Score: 84 (Hulu)
  8. Poor Things – Reelgood Score: 84 (Hulu)
  9. The Favourite – Reelgood Score: 83 (Hulu)
  10. Zombieland: Double Tap – Reelgood Score: 82 (Hulu)

 

Christopher Nolan Top 10 and full-list titles:

  1. The Dark Knight – Reelgood Score: 98 (Max)
  2. Inception – Reelgood Score: 97 (Hulu)
  3. Interstellar – Reelgood Score: 96 (Prime Video, Paramount+)
  4. The Prestige – Reelgood Score: 95 (Apple TV+)
  5. Memento – Reelgood Score: 94 (Prime Video, Peacock)
  6. The Dark Knight Rises – Reelgood Score: 94 (Max)
  7. Batman Begins – Reelgood Score: 93 (Max, Hulu)
  8. Dunkirk – Reelgood Score: 91 (Hulu)
  9. Oppenheimer – Reelgood Score: 89 (Peacock)
  10. Insomnia – Reelgood Score: 84 (Paramount+)

‘Oppenheimer’ Tops Winners List at 96th Academy Awards

Universal Pictures’ Oppenheimer capped a dominant awards season run by taking home seven Oscars at the 96th Academy Awards ceremony March 10 in Los Angeles.

In addition to winning Best Picture, the biopic about “father of the atomic bomb” J. Robert Oppenheimer won Best Director for Christopher Nolan, Best Actor for Cillian Murphy, Best Supporting Actor for Robert Downey Jr., Best Original Score, Best Editing and Best Cinematography.

Oppenheimer’s seven wins equals the haul of last year’s top winner, Everything Everywhere All of Once. It had received a total of 13 nominations to lead all films heading into the night.

The Best Picture win completes an awards season sweep that included top prizes at the Golden Globes, Critics Choice Awards and the BAFTAs, as well as the awards from the Screen Actors Guild, Producers Guild and Directors Guild of America. (The Writers Guild doesn’t announce their winners until April 14, though Oppenheimer isn’t expected to win.) 

The film is widely available on Blu-ray, DVD and 4K Disc, through digital retailers and for streaming on Peacock.

The other half of the “Barbenheimer” equation, Warner’s Barbie, took home just a single trophy, winning Best Original Song for “What Was I Made For?” by Billie Eilish and her brother, Finneas O’Connell.

Searchlight’s Poor Things won four Oscars, led by Emma Stone for Best Actress, her second Oscar after 2016’s La La Land. It also won Best Makeup and Hairstyling, Best Costume Design, and Best Production Design. The film is now streaming on Hulu and arrives on Blu-ray Disc and DVD March 12.

The Best Supporting Actress Oscar was awarded to Da’Vine Joy Randolph for Universal’sThe Holdovers, capping off a dominant awards run of her own.

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A24’s The Zone of Interest, a tale of a family’s apathy living near a concentration camp presented primarily won two awards — Best International Film and Best Sound. The film represented the United Kingdom but is presented in German, Polish and Yiddish.

Rounding out the feature awards, Studio Ghibli’s The Boy and the Heron won Best Animated Feature Film; Best Documentary Feature went to 20 Days in Mariupol, which is available through PBS; Best Original Screenplay went to the French film Anatomy of a Fall; Best Adapted Screenplay went to MGM’s American Fiction; and Best Visual Effects went to Japan’s Godzilla Minus One.

In the short-film categories, Best Live Action Short Film was given to Wes Anderson’s The Wonderful Story of Henry Sugar (available on Netflix), Best Animated Short Film went to War Is Over!, and Best Documentary Short Subject went to The Last Repair Shop.

 

‘Oppenheimer’ Sweeps SAG and Producers Guild Awards in Final Push Before Oscars

Universal Pictures’ Oppenheimer spent the weekend of Feb. 24-25 continuing what it has been doing for most of the past two months: taking home Hollywood’s top prizes in the lead-up to the March 10 Academy Awards ceremony.

On Saturday, Feb. 24, the Christopher Nolan-directed biopic took home three trophies from the 30th Screen Actors Guild Awards — Outstanding Performance by a Cast in a Motion Picture, Outstanding Performance by a Male Actor in a Leading Role for Cillian Murphy, and Outstanding Performance by a Male Actor in a Supporting Role for Robert Downey Jr. Murphy plays J. Robert Oppenheimer, director of the Manhattan Project and “Father of the Atomic Bomb,” while Downey plays Lewis Strauss, a high-level bureaucrat who seeks to remove the scientist from influencing public policy. Both actors are seen as strong frontrunners for the Oscars in their respective categories, having also won at the BAFTAs and Golden Globes.

Oppenheimer‘s winning streak continued into the 35th Producers Guild of America Awards Sunday, Feb. 25, when Nolan, his wife, Emma Thomas, and Charles Roven were awarded the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures, the guild’s top prize in filmmaking.

These wins come on the heels of Nolan winning the prize for Feature Film Directing at the 76th Directors Guild of America Awards Feb. 10, all but cementing his position as the likely Best Picture Oscar winner.

The three guild wins, on top of wins in January for the Golden Globe for Best Drama Film and the Critics Choice Award for Best Picture, and the top BAFTA prize, would seem to give Oppenheimer nearly insurmountable momentum to claim the Best Picture Oscar. Since the SAG instituted its best cast award 29 years ago, 10 films have won the top prize from all three guilds, and all went on to win the Best Picture Oscar except Apollo 13 (which also lost out at the Golden Globes and CCAs, and was snubbed for a Best Director Oscar nomination).

Thus, in terms of precedent, for Oppenheimer not to win Best Picture and Nolan not to win Best Director at the Academy Awards would be practically inconceivable.

Oppenheimer, which is now streaming on Peacock, is also up for Best Adapted Screenplay at the 76th Writers Guild of America Awards, which won’t be announced until April 14.

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In other results from the SAG Awards, which were streamed live for the first time on Netflix, Lily Gladstone won Outstanding Performance by a Female Actor in a Leading Role for Killers of the Flower Moon, which is now streaming on Apple TV+. Her win, the first SAG Award for a Native American performer, follows a number of victories in corresponding categories at other ceremonies by Emma Stone for Poor Things, and thus tightens the race for the Best Actress Oscar. Meanwhile, Da’Vine Joy Randolph won Outstanding Performance by a Female Actor in a Supporting Role for The Holdovers, continuing her winning streak that should also culminate in Oscar gold.

On the TV side, SAG’s results mostly mirrored the industry trend. Steven Yeun and Ali Wong won for Male and Female Actor, respectively, in a Television Movie or Limited Series, for Netflix’s Beef. Jeremy Allen White and Ayo Edebiri won for Male and Female Actor, respectively, in a Comedy Series for Hulu’s “The Bear,” which also won the comedy series ensemble award. And HBO’s “Succession” wrapped up its awards haul with Outstanding Performance by an Ensemble in a Drama Series.

For Outstanding Performance in a Drama Series, the Male Actor award went to Pedro Pascal for HBO’s “The Last of Us,” while Female Actor went to Elizabeth Debicki for playing Princess Diana on Netflix’s “The Crown.”

Outstanding Performance by a Stunt Ensemble went to Paramount’s Mission: Impossible — Dead Reckoning in the motion picture category, and “The Last of Us” in the TV series category.

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Rounding out the PGAs, the top animated movie was Sony Pictures’ Spider-Man: Across the Spider-Verse and top documentary went to Netflix’s American Symphony (which is not nominated for the Documentary Oscar).

The Norman Felton Award for Outstanding Producer of Episodic Television, Drama went to “Succession,” while the Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy went to “The Bear,” and the David L. Wolper Award for Outstanding Producer of Limited or Anthology Series Television went to Beef. The award for producing streamed or televised motion pictures was given to Netflix’s Black Mirror: Beyond the Sea.

“Succession: Controlling the Narrative” won for Outstanding Short-Form Program.

Outstanding Producer of Non-Fiction Television went to FX’s “Welcome to Wrexham,” while the game and competition television prize went to MTV’s “RuPaul’s Drag Race.” Outstanding Producer of Live Entertainment, Variety, Sketch, Standup & Talk Television was given to HBO’s “Last Week Tonight With John Oliver.”

Outstanding Sports Program was Netflix’s “Beckham,” and Outstanding Children’s Program was Max’s “Sesame Street.”

Christopher Nolan Wins Top Directors Guild Award for ‘Oppenheimer’

Christopher Nolan push toward a Best Director Oscar was given a huge boost at the 76th Directors Guild of America Awards when he took home the top prize for feature film directing for Oppenheimer at the Feb. 10 ceremony.

Only eight directors to win the DGA have not gone on to win the directing Oscar (and three of those weren’t even nominated for the Oscar).

The award for documentaries went to Mstyslav Chernov for 20 Days in Mariupol, which is available from PBS Distribution in the United States.

The winner for First-Time Feature Film was Celine Song for Past Lives.

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In the television categories, Peter Hoar won for drama series directing for the episode HBO’s “The Last of Us” and the episode “Long, Long Time.” For comedy series, Christopher Storer won for the episode “Fishes” for Hulu’s “The Bear.” For Movies for Television and Limited Series, Sarah Adina Smith won for the “Her and Him” episode of Lessons in Chemistry on Apple TV+.

For Variety/Talk/News/Sports, the award for Regularly Scheduled Programming went to Michael Mancini and Liz Patrick for the Pedro Pascal/Coldplay episode of NBC’s “Saturday Night Live.” For Specials, the award went to Paul Miller for NBC’s Carol Burnett: 90 Years of Laughter + Love.

The award for Reality Programs was given to Niharika Desai for Peacock’s “Rainn Wilson and the Geography of Bliss” for the episode “Happiness is a Bottle of Cod Liver Oil.” For children’s programs, the winner was Amy Schatz for HBO’s Stand Up & Shout: Songs From a Philly High School.

The top commercial director was Kim Gehrig for Apple’s “Run This Town” and Expedia’s “The Travelers.”

Imax Bringing Christopher Nolan’s ‘Tenet’ Back to the Big Screen For One Week Beginning Feb. 23

Ahead of the upcoming release of Dune: Part Two from director Denis Villeneuve, Warner Bros. Pictures is bringing Christopher Nolan’s sci-fi actioner Tenet back to 70mm Imax screens for one week, beginning Feb. 23.

The movie will be released in theaters in major cities across the U.S. and Canada in Imax Digital and Standard 70mm. Theaters include AMC Lincoln Square, Universal CityWalk Imax, TCL Chinese Imax and AMC Metreon on 70mm Imax film.

The Oscar-winning visual effects and Oscar-nominated production design movie was the last film Nolan made for Warner — the only major studio the acclaimed director had been associated with. Nolan departed Warner after the studio — during the height of the pandemic — agreed to bow its entire 2021 theatrical slate concurrently on the Max streaming platform.

Nolan went to Universal Pictures to produce his Golden Globe-winning and Oscar-nominated Oppenheimer.

The re-release of Tenet will include exclusive footage from Dune: Part Two, which hits big screens on March 1.

“Seeing the way audiences responded to our large format presentations of Oppenheimer, I’m thrilled that Warner Bros. is giving audiences a chance to see Tenet the way it was intended to be seen, on the largest Imax and large format film screens,” Nolan said in a statement.

Director Villeneuve said he values Nolan’s “forward thinking” when it comes to shooting on film and especially in large formats.

“As directors, we are completely in sync,” he said.

Tickets are on sale today for both Tenet and Dune: Part Two. In addition to their ticket purchase, moviegoers will be gifted a collectible filmstrip from Tenet, while supplies last.

Peacock Streaming Golden Globe Winner ‘Oppenheimer’ Beginning Feb. 16

NBCUniversal’s Peacock subscription streaming video platform will begin offering Golden Globe winning and Oscar nominee Oppenheimer on Feb. 16 — seven months after its theatrical release.

From director Christopher Nolan, the film follows the father of the nuclear bomb John Robert Oppenheimer, played by Cillian Murphy. It generated more than $950 million at the global box office in an extended box office run that differed from Universal’s recent strategy of rushing theatrical releases into both the retail and streaming markets.

Oppenheimer, along with Warner Bros. Pictures’ Barbie, boosted the summer box office, combining to generate more than $2 billion in global ticket sales and helping to jumpstart the theatrical business following the pandemic.

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Universal’s other Golden Globe winner and Oscar-nominee The Holdovers bowed on Peacock on Dec. 29, 2023.

Peacock reportedly will begin streaming Nolan’s previous titles Batman Begins, The Dark Knight, The Dark Knight Rises, Dunkirk, Inception and Memento on Feb. 1.

‘Oppenheimer’ Claims Top Spot on Disc Sales Charts

Universal Pictures Home Entertainment’s Oppenheimer debuted at No. 1 on the Circana VideoScan First Alert chart, which tracks combined DVD and Blu-ray Disc unit sales, and the dedicated Blu-ray Disc chart the week ended Nov. 25.

The film from director Christopher Nolan, a biopic of J. Robert Oppenheimer, father of the atomic bomb, earned more than $325 million at the domestic box office and $950 million worldwide.

The No. 2 overall and Blu-ray seller was Warner’s Barbie, shades of the “Barbenheimer” meme over the summer that encouraged many people to see both films in theaters. With Black Friday sales in full swing, Barbie in its sixth week on disc sold 74% as many copies as Oppenheimer did in its first.

No. 3 on both charts was Universal’s animated The Super Mario Bros. Movie in its 24th week.

The No. 4 overall disc seller was another new release, Lionsgate’s The Expendbles 4, an action sequel with Jason Statham and Sylvester Stallone that underperformed at the box office with just $16.7 million in domestic earnings. It was No. 6 on the Blu-ray Disc chart.

The No. 5 overall seller and No. 4 Blu-ray was Sony Pictures’ Spider-Man: Across the Spider-Verse, while the No. 5 Blu-ray (No. 8 overall) was Lionsgate’s John Wick: Chapter 4. The previous week’s top seller, Sony Pictures’ The Equalizer 3, dropped to No. 6 overall and No. 8 on the Blu-ray chart.

The only other newcomer in the weekly top 10 sellers was Lionsgate’s horror sequel Saw X, which debuted at No. 9 overall and No. 10 on the Blu-ray chart after earning $53.6 million at the domestic box office.

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HD formats accounted for 74% of first-week Oppenheimer sales, with 38% from the regular Blu-ray edition and 36% from the 4K Ultra HD combo pack, which was widely reported to have sold out at most retailers. Needless to say, Oppenheimer also easily topped the dedicated 4K sales chart.

Expendables 4 saw 61% of its sales tally come from HD formats (38% regular Blu-ray, 23% 4K) and was No. 7 on the 4K chart. Saw X registered 70% of its unit sales from Blu-ray formats (45% regular Blu-ray and 25% 4K), grabbing No. 11 on the 4K chart.

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The Media Play News rental chart for the week ended Nov. 26 had Barbie in the top spot for a sixth week, followed by three Universal releases — Strays at No. 2, Fast X at No. 3, and The Grinch at No. 4. John Wick: Chapter 4 rounded out the top five disc rentals.

Top 20 Sellers for Week Ended 11-25-23
Top 20 Rentals for Week Ended 11-26-23
Top 20 Selling Blu-ray and 4K Discs for Week Ended 11-25-23
Top HD Formats Disc Share Per Title for Week Ended 11-25-23
Sales Report for Week Ended 11-25-23
Digital Transactions Snapshot for Week Ended 11-27-23

Oppenheimer

4K ULTRA HD BLU-RAY REVIEW:

Universal;
Drama;
Box Office $325.37 million;
$34.98 DVD, $39.98 Blu-ray, $49.99 UHD BD;
Rated ‘R’ for some sexuality, nudity and language.
Stars Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Benny Safdie, Jason Clarke, Dylan Arnold, Tom Conti, James D’Arcy, David Dastmalchian, Dane DeHaan, Alden Ehrenreich, Tony Goldwyn, Jefferson Hall, David Krumholtz, Matthew Modine, Scott Grimes, Jack Quaid, Christopher Denham, Olivia Thirlby, Gary Oldman.

Director Christopher Nolan’s meticulously crafted Oppenheimer is a bit of a throwback to the kinds of epics stocked with all-star casts Hollywood used to pump out in the 1950s and ’60s.

Yet this biopic of J. Robert Oppenheimer, labeled by history as the “father of the atomic bomb,” is also distinctly Nolan, marked by his penchant for nonlinear storytelling and pushing the boundaries of traditional filmmaking. It’s a testament to Nolan’s skill as a director that he’s able to craft a riveting character drama from what is essentially three hours of people just talking to each other.

Based on the book American Prometheus by Kai Bird and Martin J. Sherwin, Oppenheimer frames the story of its title subject through the proceedings of two political hearings. One, set in 1954, finds Oppenheimer (longtime Nolan collaborator Cillian Murphy) attempting to restore his security clearance in the face of efforts to silence him from influencing nuclear policy. The other, set in 1959, focuses on the Senate confirmation hearing of Lewis Strauss (Robert Downey Jr.), a former member of the U.S. Atomic Energy Commission who sheds light on Oppenheimer’s ouster.

Nolan uses similar points of discussion from the testimony given at both events to explore Oppenheimer’s life through flashbacks depicting the young scientist’s study of physics in Europe and his efforts to expand the field of quantum mechanics research in the United States.

Oppenheimer is poised to pioneer the study of black holes when World War II breaks out, and he is recruited by Gen. Leslie Groves (Matt Damon) to head the Manhattan Project to create an atomic bomb before Nazi Germany.

Scenes stemming from Strauss’ point of view are presented in black and white and meant to convey a more objective reality, while scenes in color represent Oppenheimer’s perspective and a more subjective interpretation of events.

The highlight of the three-hour film is obviously the middle section depicting the creation of the atomic bomb, with Oppenheimer and Groves bringing many of America’s top minds to a makeshift town in the New Mexico desert in order to turn theory into reality, culminating in the Trinity test.

Oppenheimer, however, is constantly dogged by earlier associations with left-wing causes, and friendships with a number of Communist Party members and Soviet sympathizers, that will ultimately be used as a sledgehammer against him.

Nolan in the Blu-ray bonus features describes the film’s structure as moving from the beginning of the hero’s journey, to a heist movie (the recruiting of a team for a caper of sorts), to a courtroom drama.

Through Murphy’s transformative performance, Oppenheimer comes to life as a man constantly struggling to balance the accolades of his historic achievements with the moral weight of their implications.

The last hour of the film depicts this sort of tug-of-war between America’s efforts to maintain nuclear superiority in the face of Russia developing the technology, and Oppenheimer’s desire to pursue international policies to contain the genie he helped escape from the bottle.

Nolan famously shot the film using large-format Imax cameras, and the results are evident in a pristine 4K Ultra HD Blu-ray presentation. The 4K and Blu-ray disc versions of the film take advantage of this with a variable aspect ratio that shifts between a letterboxed 2.20:1 image and an immersive 1.78:1 that occupies the entirety of a big-screen TV. The DVD and digital presentations are locked at a consistent 2.20:1 ratio.

Sound is booming but dialogue is easy to understand despite most scenes taking place in a conversational tone.

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The 4K and Blu-ray combo packs include a bonus disc containing nearly three-and-a-half hours of supplemental material, led by the seven-part “The Story of Our Time: The Making of Oppenheimer” behind-the-scenes documentary.

Clocking in at more than 72 minutes, the program offers a comprehensive look at the making of the film and the exquisite level of detail employed by Nolan in re-creating the period settings, for the most part. Of note, the set of Oppenheimer’s office includes the actual clock he had in his real office, and scenes taking place at the Oppenheimers’ home were filmed at their actual house in Los Alamos. Nolan was also keen on using practical in-camera effects as opposed to CGI, which lends to the film’s air of authenticity.

The seven featurettes are also available with digital copies of the film. The remaining extras are exclusive to the Blu-ray.

The eight-minute “Innovations in Film” focuses on the use of 65mm to shoot the picture, delving into the cinematography and editing challenges presented. Of note, the production had to invent black-and-white 65mm film stock to achieve the film’s visual style. There’s also a segment on how the film was prepared for digital projection and home video, with the digital version of the film being carefully rendered to match the look and feel of the 70mm Imax presentation.

For some comparisons of the different presentation styles of the film, there’s a full package of the film’s trailers, including an Imax trailer that displays footage from the film in the square Imax ratio, plus the five-minute promo video that played during the early summer. The footage in these trailers isn’t as refined as the film presentation, which demonstrates how much care went into making the film look the best it can be.

A 35-minute “Meet the Press” episode features a Q&A from July 15, 2023, featuring Nolan, author Bird, physicist and Nolan science advisor Dr. Kip Thorne, current Los Alamos director Dr. Thom Mason, and physicist Dr. Carlo Rovelli. It’s an interesting discussion about the relationship between science and policy, and includes some tidbits about how Nolan the screenwriter went a bit deeper than the book in depicting the Strauss confirmation hearing by digging up the actual transcripts.

Rounding out the extras is the hour-and-a-half To End All War: Oppenheimer & the Atomic Bomb, a great biographical documentary about the real Oppenheimer that gives a better context to the events depicted in the film. Seeing the copious footage of the soft-spoken Oppenheimer — he comes across as a bit of a professorial Mr. Rogers — really crystalizes how much Murphy was able to embody him in his performance. This is the kind of bonus feature more movies about real events should include on home video but just don’t anymore.

‘Oppenheimer’ Home Release Celebration

In celebration of the Oppenheimer home entertainment release, Universal Nov. 13 hosted a screening of an Oppenheimer making-of documentary, introduced by director Christopher Nolan and followed by a panel of production team members who discussed the challenges of making the sweeping epic.

(Photos by Alex J. Berliner/ABImages for Universal Pictures)

Director Christopher Nolan Touts Disc Release of ‘Oppenheimer,’ Production Team Recalls Challenges of Making Sweeping Epic

Universal Nov. 13 in Los Angeles hosted a screening of an Oppenheimer making-of documentary for the home release, introduced by director Christopher Nolan and followed by a panel of production team members who discussed the challenges of making the sweeping epic.

The event was held at the Linwood Dunn Theater at the Academy of Motion Picture Arts and Sciences’ Pickford Center for Motion Picture Study in Hollywood.

Universal Pictures Home Entertainment will release the biopic Oppenheimer through digital retailers and on Blu-ray Disc, DVD and 4K Ultra HD Blu-ray Nov. 21.

Written and directed by Nolan, Oppenheimer tells the story of theoretical physicist J. Robert Oppenheimer (Cillian Murphy), whose landmark work as the director of the Manhattan Project’s Los Alamos Laboratory created the first atomic bomb. The cast also includes Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek and Kenneth Branagh.

The home release version of Oppenheimer includes more than three hours of bonus materials, led by “The Story of Our Time: The Making of Oppenheimer,” a 70-plus minute making-of documentary screened at the event and showcasing behind-the-scenes footage and interviews with Nolan and his creative collaborators about the process, performances, effects, music and artistry in the film.

Oppenheimer’s been quite a ride for all of us and now is the release of the home version of the film that we’ve been working very hard on for months,” Nolan told the crowd. “I’m known for my love of theatrical and putting a lot of effort into that, but the truth is the way the film goes out into the home is equally important to me. The Dark Knight was one of the first films where we formatted the film especially for Blu-ray release, because it was a new format at the time. And in the case of Oppenheimer we put a lot of care and attention to the Blu-ray version but also in particular the 4K UHD version.”

He said his team put lots of work into translating the photography and sound formatted for Imax into the “digital realm for a version that you can buy and own at home and put it on a shelf so no evil streaming service can come and take it from you.”

“If you’re a collector like me, I have so much joy and interest as a film buff in watching all kinds of secrets revealed and unveiled by some of my favorite filmmakers on the DVD extras,” he added. “So I’m a big, passionate fan of that format.”

He also touted other extras on the disc release including an NBC News companion documentary “To End All War: Oppenheimer and the Atomic Bomb”; a Trinity anniversary panel discussion moderated by “Meet the Press” host Chuck Todd, featuring Nolan, Nobel Prize winner Dr. Kip Throne, physicist Dr. Carlo Rovelli, Los Alamos National Laboratory director Dr. Thom Mason, and Kai Bird, the Pulitzer Prize-winning co-author of American PrometheusThe Triumph and Tragedy of J. Robert Oppenheimer, on which the film is based; and “Innovations in Film: 65 mm Black-and-White Film in Oppenheimer,” which has FotoKem opening the door to its film labs, where new technologies were invented for using color and black and white 65 mm film to visualize Oppenheimer’s different timelines.

“It’s kind of fun sharing with you some of the experiences we had making the film and highlighting some of the incredible work that went into this film from the different departments,” Nolan said.

In the home release, he said, “We get to share some of our secrets with the world, get to share some of this experience and hopefully generate renewed excitement around our movie.”

He thanked the team at FotoKem “who worked so hard on this version of the film.”

“I think it’s a tremendous package,” he said. “I’m really proud of all the work that’s gone into it.”

After the screening, a production team panel discussed the task of making a film that spanned several time periods and locations.

Production team panelists discuss making Oppenheimer.

“Whenever I read one of Chris’s scripts I try to enjoy it and have an idea of what an audience is going to think when they eventually get to see the film, but it is really hard sometimes not to read it and think, ‘Oh my god how are we going to do that,’” said producer Emma Thomas.

She found it “intimidating” to make a three hour film that was about a very serious subject to be released in the summer. The film had to be no more than three hours because the Imax format could not accommodate more.

Producer Emma Thomas (left) and composer Ludwig Goransson speak on the panel. (Photo by Alex J. Berliner/ABImages for Universal Pictures)

“One of the earliest things I saw was Andrew Jackson’s and Scott’s [Fisher] visual effects when they were doing the molecules going around [simulating Oppenheimer’s thoughts about physics],” said composer Ludwig Goransson. “I’d never seen anything like that. So that really inspired me to create music that felt like that energy.”

Nolan asked him to use the violin to evoke Oppenheimer’s personality and he and his violinist wife collaborated to create a theme for the physicist.

“Somehow this melody came to me,” he said. He sent it to Nolan who declared it “Oppy’s theme.”

The film spans 45 years, creating a challenge for the make-up and costume teams.

“We had 73 characters with speaking roles and 18 agings that we had to do and with the agings there were three to five periods that they had to be in — so it was challenging,” said makeup and prosthetics specialist Luisa Abel.

An additional challenge was doing the transformations so that they looked seamless on Imax.

“Being on Imax there really isn’t anywhere to hide,” she noted.

With the costumes, designer Ellen Mirojnick said Nolan asked the team to “find a way to make it appear to be accessible for a modern audience.”

Nolan produced images of rocker David Bowie to evoke the Oppenheimer aesthetic.

“It was to just key into a shape, a silhouette,” she said. “It was so similar to Oppenheimer’s silhouette.”

It informed the iconic hat, suit and pipe of the physicist in the film.

“He changes from his uniform to his suit, takes his hat and his pipe,” she said. “He is empowered. He is the man. He is the rock star. And he becomes iconic. That image becomes totally seared in our memory.”

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Production designer Ruth de Jong recalled a particularly harrowing set build (chronicled in the making-of documentary) when the team lost the ability to film at the Nixon library for Gary Oldman’s turn as President Harry Truman in the film. Luckily, they secured an Oval Office set from the TV show “Veep,” which they could re-dress.

“In addition to the Oval Office, we had to do the White House lobby and the cabinet room,” she recalled. “I don’t think any of us actually believed we could do it [in the time of less than a week].”

But they did, just under the wire.

During filming, “the paint, it was completely wet,” she said.

See photos.