You were listening to the Next Best Picture podcast, and this is my interview with the cinematographer for Oppenheimer, Hoytah, then Hoytima, followed by Brendan Hodges' interview with the film's editor, Jennifer Lane, and the sound designer Richard King.

Then we have Will Mavity's interview with the makeup and hairstylist Louisa Abel. Then we go back to Brendan for his talk with production designer Roof Day Young.

And then we end with Will Mavity again, speaking with costume designer Ellen Nirozinnik.

All of them are nominated for Academy Awards this year for Oppenheimer.

We hope you enjoy this behind-the-scenes look, Christopher Nolan's film.

This is a national emergency.

Didn't need a charge.

All right, I'm being joined right now by Academy Award nominee, Hoyt van Hoitma, the cinematographer for many, many directors out there, particularly Christopher

Nolan. His latest work on Oppenheimer has been gaining all kinds of accolades, including

the New York Film Critics Circle Award, which you are receiving actually this evening, sir.

Yeah. Thank you so much for taking the time to be here with me. No, thank you.

My pleasure.

Yeah, so I want to know first and foremost, you find out you're going to have to develop black and white, IMAX film stock for this movie.

What does that conversation look like?

How does one actually go about developing that and who do you call and what does that entail?

Well, you know, I mean, it's a conversation I think that involves for me. It involves always a lot

more people because having somebody manufactures stock, that's one thing, but the stock has to be

developed, you know, the stock has to be developed you know the stock has to run

through cameras as well so so so it is of course a you know a venture that that entails a little

bit more parties you know so so you know I talked a lot with Andrew Or, at PhotoCamp, you know, our film lab in Los Angeles.

I talked to Panavision, you know, the people that provided the cameras.

I talked to David Keely.

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