#cillian murphy ceo

[viesantewrites]

𝐈𝐧 𝐇𝐞𝐫 𝐖𝐨𝐫𝐝𝐬

Robert Fischer (Inception) x Reader

summary: This story explores Robert's personality and describes how he met his wife (the reader) who helps him through his emotional struggles.

English isn't my first language so I apologise in advance for any mistakes

word count: 3500+

masterlist

Only the quiet ticking of the clock on the side table and the soft scratching of a pen on paper filled the room. Robert exhaled slowly and looked at his hands in silence.

"You went through a lot in your childhood, Mr. Fischer." The lady sitting opposite him in a dark blue armchair looked at him compassionately over the rim of her glasses.

"Yes, that’s true, madam."

He had told her everything. Everything that had happened in his childhood. It was a strange feeling to open up like that to a stranger, but that was why he was here.

"And you really feel that you were never enough for your father?" his therapist asked.

"I've never done right in his eyes. My grades were never good enough, he called me lazy, and he always accused me of living off his money." Robert sniffled softly. It was very hard for him to talk about all this.

The lady looked carefully at the clipboard in front of her. "But if I read this correctly, you're anything but lazy, Mr. Fischer. You have a master's degree in business administration and engineering and have completed further training in energy management. You're a department head at the energy company Fischer Morrow, and even the deputy CEO."

Robert bit his lower lip. "I know," he said quietly. "But it’s still not enough for my father."

"If I understand correctly, your father is the CEO of the company, is that right?" she asked.

He nodded. "Well, he still is. He's almost 67 years old, and his health is very poor."

The lady looked at him thoughtfully. "Oh, are you going to take over the company completely?"

"I don't know if I'm up to such a big job."

"Of course you are, Mr. Fischer. You underestimate yourself far too much." The therapist leafed through her files. "Let's move on to another subject. What about other people who are close to you? You're married, aren't you?"

A small smile appeared on his face as she mentioned his wife. "That's right. About a year now. We got married last August."

"Do you have any children together?"

"No," he replied immediately. "But I have a daughter with my ex-wife."

She looked at Robert with interest and put the clipboard on her lap. "So this is your second marriage."

He nodded slightly. "My ex-wife and I were married for nearly eight years. Suddenly it was over so quickly. She... she left me for another man."

The woman wrote something on the clipboard. "I'm very sorry, Mr. Fischer. Something like that can also affect you mentally."

"But my current wife is different... She's just wonderful." The therapist noticed how his eyes immediately lit up when he talked about her. "She is an incredibly warm and loving person. I've never felt so accepted and loved in my whole life as I do with her. And she's absolutely beautiful."

She smiled a little. "That’s wonderful, I'm really happy for you."

Robert looked thoughtfully out of the window. "But sometimes I can't believe why she's with me. There are so many other men around who are better than me."

"Maybe because you're a really nice, intelligent and attractive man and she loves you."

Robert's cheeks turned slightly pink after she said that. "I don't know why anyone would love me."

The therapist exhaled slightly and adjusted her glasses. "I can see you've got a lot to work through. You have quite low self-esteem. I'm afraid we're going to need a few more sessions. Mr. Fischer, do you think your wife would mind if we had a talk? I'd like to hear her point of view."

Robert shrugged a little. "No. I think that can be arranged. I'll ask her when I get home."

"This would be wonderful. Just let me know when she's free, you have my phone number." She smiled kindly at him.

And Robert got up from his chair. "I'll do that. See you then."

"Goodbye, Mr. Fischer."

***

She looked curiously at the young woman sitting in front of her. She was a couple of years younger than Mr. Fischer, had long hair and was wearing a beige blazer.

"How nice of you to come, Mrs Fischer." She smiled politely at her. "Your husband told me a lot about you."

YN laughed a little and crossed her legs. "Well, hopefully only good things."

"Don’t worry, he's raving about you."

YN ran her fingers through her hair. "You know... I've never talked to anyone like you before, I have to admit I'm a bit nervous."

"Oh, you don’t have to be. You can tell me anything. And if there's something you don't want your husband to know, then that stays between us."

"I have nothing to hide from him." She laughed a little and played with her necklace. A gift from Robert for their anniversary. A little 24-karat gold heart pendant.

The therapist also laughed and pinned a new blank page to her clipboard. "That's a very good sign." She cleared her throat and leaned back a little in her chair. "Right, let's get started. Your name is YN Fischer. You were born in Bristol, UK, and moved to Australia when you were six years old."

YN nodded.

"You married Mr Robert Michael Fischer in August last year and live together with him in Sydney. You know that he has some problems with himself as a result of his childhood and his, shall we say, troubled relationship with his father. Unfortunately, I can't talk to his father because he's in the hospital and very ill. That's why I wanted to talk to someone else in his life. The person who is probably closest to him—you, Mrs Fischer. My question to you now is: how do you perceive your husband? What do you think of him? Please be honest, you are not being judged for anything."

YN let out a short breath and sat up a little in her chair. She looked thoughtfully at her red-painted fingernails.

"Well, I think I can say that Robert is the best thing that's ever happened to me."

The therapist immediately began making notes on her clipboard.

"He's wonderful, intelligent, funny... And he’s always there for me. I can't believe a man like him married me."

With an interested look, the therapist lowered her pen and rubbed her chin. "That's exactly what your husband said about you, Mrs Fischer. Very interesting..."

She looked at her with a smile. "Really? He said that?"

"Yes, he did. But go on."

"Well... Robert has always been someone I looked up to. He always seemed so unattainable to me. He's incredibly intelligent and educated. I met him when I worked in his and his father's company. Almost every woman was secretly in love with him, but at the time he was still married to his ex-wife. I know it all sounds strange because he was sort of my boss. But I only had a romantic relationship with him after he got divorced and after I stopped working at Fischer Morrow."

"That sounds very interesting. Please tell me more about how you met him," the therapist told her.

YN closed her eyes and was silent for a moment. In her mind's eye, she saw the long corridors of Fischer Morrow. It all seemed so real again.

***

"Here's a list of all the tasks you have to do today," YN's new colleague handed her a piece of paper. She glanced at it, her eyebrows rising in surprise as she noticed every inch of the paper covered with tasks. "Wow, Ariane, that’s a lot. It‘s only my fourth day."

"Oh no, I’m pretty sure that you can do this," Ariane said. "The first person to arrive is MrRichard Lambert at 9:30 am. He has a job interview with Mr Fineman from Human Resources. You meet him at reception and take him to room 015, where Mr Fineman is waiting. Be friendly, smile a lot, it's very important. At 10:30 am, room 461 in the headquarters is free. An important meeting is taking place there between Maurice Fischer, his son Robert Fischer, and some representatives of the Ministry of the Environment. If I've understood correctly, it's about adjusting the emission limits for pollutants."

YN looked tiredly at the page in front of her and shrugged. "That doesn’t sound very interesting."

"You don't have to join the conversation, YN. You just have to prepare the conference room. I've already ordered the catering; it'll be delivered around 10:40 am. You put the drinks and sandwiches on the small side table. Put the coffee pot in the middle of the table. Then wait for the Fischers to arrive. It's best to offer the coffee to them personally. And remember to always be friendly; this is the CEO and his deputy, okay?"

YN looked at her colleague, a little overwhelmed. "My head is spinning, to be honest. I've already forgotten half of what you just told me."

"That's why I wrote it all down for you. You can do this, YN. And if something goes wrong, it's not the end of the world. You just have to be careful with Fischer Senior. He's a bit... strict." She gave her a meaningful look.

"This could be fun," YN sighed ironically and folded her arms across her chest.

"If there's anything, you can always call me. You know my extension." Ariane finally changed the subject. "What kind of training do you have, if I may ask?"

"Me?" YN laughed. "I'm a hairdresser. I don't really have anything to do with all that office stuff. I just wanted to try something new. Maybe I'll like it."

"So, a career changer, how interesting. But you'll manage, I'm quite confident."

At that moment, one of the glass doors opened, and a man in a formal black suit entered the corridor. He was slim, with perfectly styled dark brown hair, high cheekbones, sharp features, and bright blue eyes. His long coat hung loosely over his shoulders, and he typed absently on his phone. He was very attractive. If they hadn't been in the corridors of Fischer Morrow, YN would have mistaken him for a high-fashion model from Yves Saint Laurent or another well-known luxury brand.

"Who's that?" she whispered to Ariane, who was a little startled and looked at YN with wide eyes when she saw the man. "That's Robert Fischer! Don’t forget to greet him!"

"Good morning, Mr Fischer." Ariane gave him her best smile as he passed them, and YN did the same.

"Good morning, ladies," he greeted them politely, turning his attention back to the phone in his hands.

When he was out of earshot, YN started to giggle. "He looks gorgeous. I pictured a nerd when you told me about him."

"Yes, he’s really handsome." Ariane sighed a little. "He's really nice too, unlike his father."

YN was silent for a moment and then cleared her throat a little. "Is he... you know... single?"

Ariane looked at her colleague as if she had just said something completely stupid. "Are you crazy? A man like him? Of course not. Every woman here secretly fancies him. But he's been married for years."

YN bit her lower lip. "Just asking."

"I think you should go now. You have a busy schedule and the first visitors will arrive soon."

YN finally nodded, folded the piece of paper with the notes, and put it in her handbag before saying goodbye to Ariane and walking on her high heels to the lifts.

YN nervously brushed the sleeve of her blouse across her forehead. Everything had gone well so far. The man who was invited to the interview had arrived on time, and she had taken him to Fineman, the human resources manager, who had been very friendly to her and had thanked her almost five times.

She had then rushed to the car park outside the building, where the catering for the meeting had just arrived, and had taken it to the conference room, which she had fortunately found straight away. Then she had prepared everything as Ariane had explained.

She stood there a little breathlessly, her arms crossed behind her back, with a friendly smile on her face, waiting for the participants to arrive. Finally, the Fischers approached the meeting room.

"Good morning, ma'am, thank you for preparing everything for our meeting," Robert Fischer greeted her with a friendly smile and held out his hand. Trembling, YN took it and looked at him shyly. His fingers felt unbelievably soft, and she lost herself in his bright blue eyes for a second. "What's your name?" His deep voice cut through YN's thoughts, bringing her back to reality.

"YN... Y/LN..." she mumbled, struggling to articulate her own name.

"My name is Robert Fischer. Very nice to meet you."

"There's no need to thank her, Robert. This woman does her job and gets paid for it." Suddenly, a loud voice echoed from behind them, causing Robert to release her hand.

"Dad, please don't say such things." Robert gave her an apologetic look and then walked away to talk to his father. As far as YN had heard, it was about some energy guidelines or something like that.

She stood next to them, a little lost, while she greeted the arriving participants of the meeting. Eventually, her eyes fell on the coffee pot on the table. Wait, hadn't Ariane told her to serve the coffee to the Fischers?

She hurried towards them. "Coffee, gentlemen?" she asked, forcing a smile.

"Yes, ma'am, I would love some," Robert Fischer looked at her gratefully.

"With sugar," his father grumbled next to him, flicking through his papers.

YN quickly grabbed the two cups.

"You have nice legs," Maurice Fischer said suddenly, and YN flinched a little, wishing she had worn a longer skirt this morning.

"Dad!" his son interrupted him immediately, looking at him in shock.

"But Robert, I'm right, aren't I?" The older man grinned.

YN pretended she hadn't heard what he said and forced herself to smile again, even though her hands were slightly shaking and sweaty. She nervously poured the hot coffee into the cup and was about to hand it to Robert Fischer when the cup slipped out of her hand.

At that moment, everything happened in slow motion. YN's hand reaching into the void as she tried to catch the cup, the shocked faces of the two men in front of her, and Maurice Fischer, who quickly tried to get his documents to safety. But it was too late. A huge dark brown stain spread across the table, sparing all the important documents.

"Are you crazy?" The angry voice echoed through the room, and she stared into Maurice Fischer's angry face, which was slowly turning red. She felt the eyes of the others in the room on her.

"I'm so sorry, sir... Are you okay? Did the coffee scald you?" She felt tears well up in her eyes, and her vision blurred a little.

Suddenly, a hand rested protectively on her arm, and she looked up in surprise as she realized it was Robert Fischer's. "We're fine; luckily, the coffee only landed on the table."

"Luckily, Robert? All the documents are ruined!"

"Dad, it's not that bad. The most important thing is that no one is hurt and has to go to the hospital."

"She can't even serve coffee! Why did Fineman even hire her? Just because she's pretty?"

Without another word, YN grabbed a cloth lying next to her, wiped the table, dabbed the documents as best she could, looked back at the two men, and muttered, "I'm so sorry," before turning and leaving the room.

She blinked the tears away quickly. She wouldn't cry now. She wouldn't shed a single tear for this company and especially not for this dumb idiot. Sighing, she leaned against the wall and rubbed her forehead.

Of course, it was her fault, but if that old man hadn't said those stupid things, she wouldn't have been so upset, and none of this would have happened.

Suddenly, she remembered Robert Fischer's hand on her arm, and her heart immediately warmed. He had been so incredibly kind to her. How could such a disgusting man have such a kind and lovely son? "Miss YLN!" a familiar voice suddenly sounded behind her.

Confused, she turned and looked straight into two bright blue eyes. "I'm so sorry for the way my father reacted. I keep telling him to stop, but he won't listen."

"It's okay," YN said, smiling a little.

"It's really not that bad what happened. There weren't any original documents on the table, just copies. I think the shock was more than the damage itself." As Robert ran his hand through his hair, a loose strand fell onto his forehead. It looked kind of cute, YN thought. "You don't have to worry about him kicking you out. I'll talk to him later."

YN held her breath for a moment and shook her head. "That's really very kind of you, sir... But I think I'll be leaving. This job isn't for me. I wanted to try something else, and I did, only to find that my old job is what makes me happy after all. But thank you for everything. You've been so kind to me."

He lowered his hand and nodded slowly at her. "I'm sorry, of course, but I won't stand in your way. I wish you all the best in your future."

She closed her eyes for a short moment. "I wish you the same, Mr Fischer. I wish you the same."

***

YN blinked slowly and let out a deep breath. The words had left her mouth as if on their own and her listener seemed totally captivated by the story.

"So you've left Fischer Morrow and returned to your old job as a hairdresser?" the therapist asked.

"Yes," YN said. "I did."

"And how did he become your husband?" she wanted to know.

"Since that day, I've never been able to get him out of my mind. I've always tried to block him out... But it's like he's always been in my heart."

The therapist nodded slowly and tore a sheet of paper full of notes from her clipboard.

"Fate has brought us together. Robert doesn't believe in fate, but I do. Especially since that day." Thoughtfully, she leaned back in her chair.

"About eight months later, I was shopping alone in the mall when I saw Robert standing in front of a fashion store. At first, I thought about just walking on and pretending I hadn't seen him, afraid he'd still be mad at me for quitting Fischer Morrow. But then I decided to talk to him."

The therapist nodded and folded her hands in her lap.

"He was happy to see me and asked me how I was doing in my new job. I noticed immediately that he wasn't wearing a wedding ring anymore, but I tried to ignore it. We chatted for quite a while, and everything seemed so relaxed. Maybe it was because he was no longer my boss. Eventually, I asked him what he was looking for in the mall, and he replied that he wanted to buy some new shirts and suits, but he didn't know what would suit him, since he divorced his wife who helped him choosing his outfits. YN suddenly stopped and started to laugh.

The therapist looked at her questioningly. "And then what happened?"

"Then I told him that I had an eye for stuff like that and that I could help him. And he said yes," YN closed her eyes again. Her heart beat faster at the thought. "We started seeing each other more and became closer, and our relationship developed naturally from there. He needed someone to believe in him, to remind of his worth. And I wanted to be that person for him. When Robert's father found out that we were a couple, he wasn't happy at all. I think he was still angry with me after all this time. He also called me stupid and uneducated because I never went to university."

"And... What did your husband say?"

YN smiled a little. "Of course, it affected me. But Robert told me that a degree says nothing about you as a person. He believed that true intelligence lies in passion and determination".

She paused, listening to the gentle ticking of the clock. "We got married last summer. Robert's father didn't come to the wedding. To be honest, I was glad. We spent our honeymoon in Hawaii, and it was the best time of my life. Robert is an incredibly wonderful person, and I'm lucky to have him in my life. Only this man who still has the nerve to call himself his father has completely destroyed his self-image."

YN slowly rose from her chair and straightened her jacket. "I'm done now."

The therapist smiled at her as she said goodbye and placed the clipboard next to her. "Thank you for your trust, Mrs Fischer."

"You're welcome, madam."

***

thank you for reading🤍

[insanityclause]

Whether it's a supervillain suit or a black tie suit, Tom Hiddleston just, well… suits everything. He's the kinda guy who heads to brunch dressed to the nines, so when he's on his way to one of America's biggest talk shows, you just know that this top-tier tailoring will be flexed in full. And flex, he did.

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Spotted on the set of Jimmy Kimmel Live! yesterday, the Loki star, with his signature combed-back hair and show-stopping smoulder, rocked up in a navy suit. But this wasn't any ol' navy suit. This one's by Givenchy and it's made from a luxe wool-mohair blend in Italy, where some of the universe's most excellent menswear is crafted. The blazer was detailed with shiny satin lapels, and it was fitted with a metal clip along the front, engraved straight across with the French maison's logo.

RB/Bauer-Griffin

The British actor then wore this with a classic white dress shirt, a slim tie (by Givenchy, of course), and he jumped into some matching trousers and a pair of perfectly-polished Chelsea boots. Just like Cillian Murphy's favourite pair, these had a heel around the back for an extra bit of oomph.

Hiddleston has never been afraid to experiment with his tailoring. Back in February, for example, he slipped on a double-breasted corduroy number by Paul Smith. And just a few weeks later, he was seen in a wine red one, courtesy of Brunello Cucinelli. Compared to either of these, this one goes down a more traditional route, but with Hiddleston being Hiddleston, of course it looks damn good on him.

Tom Hiddleston: Golden Globe winner, West End star, and now, the CEO of good, solid suits.

Givenchy Slim Fit Suit

[izunias-meme-hole]

Since you’ve been doing a fair amount of Batman posting, mind if you list your favorite members of the Gotham Rouges?

Okay. I’ll list about 10 of my faves, though we’ll be counting backwards here.

Also I'll be listing the variations of my faves whom I like the most to make things clearer.

Number 10. Poison Ivy (B:TAS) - If we're talking about character alone, this is the blueprint for literally every present day version of Poison Ivy, however this specific incarnation of the character has aged pretty well. She's every bit the dangerous eco-warrior that she makes herself out to be and will gladly turn someone into a tree for bulldozing a forest, but there is still a level of humanity to her character much like half the villains in the show.

Number 9. Mr. Freeze (B:TAS & Batman Beyond) - I feel like this is a "to the surprise of absolutely nobody" moment, but come on! Mr. Freeze here not only was made into a more tragic character compared to his early comic counterpart, but he actually had a whole arc across the entirety of B:TAS which ended at Batman Beyond. Victor Fries was a scientist trying to save his wife, Nora, from a rare disease, so he put her into a cryopod to preserve her until he found a cure. Then he and Nora were almost killed, but Nora was still kept on ice, while Victor got turned into a literal cold hearted monster. Even after Nora was finally cured, Victor was forever unable to be with her due to his own condition worsening to the point where he was just a head in a jar, angry with the world. A couple of decades later, and he is given a new body by the Wayne Powers CEO, Derek Powers, and while things were finally going well at first and Victor was reforming as soon as he had the chance, things went horribly wrong again, resulting in Victor dying as Mr. Freeze. I may have missed some details here, but yeah that's a summary of this sad ice man.

Number 8. Dr. Crane/Scarecrow (Nolan Trilogy) - Crane wasn't a big villain in the grand scheme of the trilogy, but my god Cillian Murphy does a great job with the character. Like I wish that his supervillain outfit wasn't just a bag over his face, but Scarecrow manages to be quite the dangerous loon with a mask of sanity in Batman Begins, an active member of the underworld in The Dark Knight, and the guy actively sending folks to their deaths in The Dark Knight Rises. Could we have had more of him? Yes. Did he use up his screen time well? Absolutely. Though his fear toxin could've been infinitely wilder.

Number 7. The Phantasm (B:TAS but movie) - The Phantasm is the literal best darker counterpart to Batman a lot of levels.

Number 6. Harley Quinn (B:TAS yet again) - The minor side villainess turned breakout character of the show. If anyone has seen B:TAS and then seen the rest of the media she's in, then you know why this is the best version of her. A good amount of things about the character being based around her actress (R.I.P Arleen Sorkin), her interactions with half the cast, Peak HarIvy content, the best representation of how bad her situation with her abusive ex was, and the perfect mixture between being a not-so-great-person and a precious lil' thing who deserves better.

Number 5. Harvey Dent, Two-Face, & The Judge (B:TAS) - The first well developed Two-Face, and the definitive. I mean he was never a bad villain, but the character was never utilized to the fullest like he was in B:TAS. Harvey Dent was a good guy with an other half that was the literal manifestation of his bottled up anger, an anger that turned into something else entirely after the left side of his face got blown off. Now Harvey and his other half start their own crusade to eradicate organized crime by taking it over from within. In other words, Two-Face here wanted to originally wanted to achieve something good through something bad, and yes a lot of it is due to a fair coin flip. However Harvey began to disagree with some of the shit his other half was getting up to, and as a result developed a third personality that was so separate from both himself and Two-Face that it tried killing both of them and, by extension, himself. This third entity would end up being The Judge, a ruthless, wraith-like vigilante with a judge's attire. So after being detained in Arkham for good, all three Harvey's are literally stuck with each other, and in a spin-off comic set directly after that whole situation with The Judge, Two-Face was given another double headed coin that would constantly come up on the "good side," and spent a lot of time dismantling his criminal enterprise, before doing (another) suicide attempt. This take on Two-Face was something else.

Number 4. Oswald Cobblepot (Gotham) - If I were to list everything that this smug snake has done, along with some of the shit that happened to him, we'd be here all day. However, this is the most well characterized iteration of The Penguin that we've ever had, in my humble opinion.

Number 3. Catwoman (Batman Returns) - I'm dying on this hill gentlemen. Despite not being... anything like her comic counterpart, outside of name, confidence, etc, Michelle Pfeiffer's Selina is something great in her own right.

Number 2. The Riddler (The Batman 2022) - Turning the Riddler into a a catholic, terrorist, cult leader that looked up to a young and angry Year-Two Batman, while also keeping the core elements of his character the same is something I'll never stop praising. He's still intelligent, he's still creative, he's still on the verge of breakdowns when his ego is badly damaged, etc.

Number 1. The Joker (B:TAS & Batman Beyond) - This is a "to the surprise to absolutely nobody" moment, though in this case I cannot be blamed. B:TAS understood the assignment and provided the definitive iteration of The Joker, completely inspired by his early comic appearances and some elements from Jack Nicholson's take on the character. An ex-mafiosi turned Clown Prince of Crime that lives to only spread misery across Gotham in the most creative way possible with a smile on his face. That was the idea that Paul Dini and Bruce Timm ran with when conceptualizing this bastard, and they just explored the concept for all its worth. Not only that, but this was the first time that Mark Hamill ever voiced this bastard, and it was just perfect casting. Overall, nostalgia got me to re-examine this take on the character, and I can easily say that without a doubt, this is the best Joker.

[disbear]

cillian murphy’s character being subjected to non-consensual therapy and crying at his dead father’s bedside and finding resolution for his daddy issues where he does not feel compelled to follow in his father’s footsteps and be CEO anymore is something that can actually be so personal kendall roy could never.

[maxsix]

So I've been writing a lot of my AA story today but I re-watched Inception as a break. After getting thoroughly distracted by how pretty Cillian Murphy was in 2010 (spoiler: really really ridiculously pretty), I now face the real question: how crazy do I have to be to attempt this as an Ateez AU.

Hongjoong as Cobb. A man in exile for a crime he didn't commit. He is the best dream extractor and finds himself highly sought after on the black market because he in unparalled in his ability to steal secrets from other people's dreams. He is also just trying to find a way back home without being arrested at the airport. He meets Saito, who offers him an impossible job and also a solution home.

Seonghwa as Saito. CEO of a large energy corporation, under threat by a new competitor. Desperate to keep his company afloat, he hires Hongjoong to perform inception on the competitor (Yeosang/Fischer).

Yeosang as Fischer. CEO of the competing corporation, whose mind they will perform inception on.

Yunho as Arthur. Hongjoong's point man on this job. Hongjoong plans and directs the jobs, Yunho is the executive producer: there to research and make sure every knows and does their job correctly. He also looks really nice in a shirt and waistcoat. Yes that's important for his character, shut up.

Mingi as Eames. His role is as the forger, a person who has the ability to "forge" other identities and impersonate anyone required for the inception.

San as Yusuf. He is the chemist, in charge of creating the drugs needed for sedation and shared dreaming. He goes into the inception with the team because they need to go three layers deep.

Wooyoung as Ariadne. He is the architect who designs the foundations and mazes of the dreams. He is also the only one who really knows about the issues with Jongho (the Mal character).

Jongho as the Mal-type character (but not as a wife like in the movie). A very significant part of Hongjoong's subconscious and a source of his anguish.

[denimbex1986]

'In some ways, Oppenheimer, Christopher Nolan’s biggest non-superhero movie, was a product of the pandemic. Until the winter of 2020, the director had been loyal to Warner Bros., and their logo was to be found on every film that Nolan either wrote, directed or produced.

While he was never formally tethered to that studio, Nolan had been monogamous as its cornerstone tentpole filmmaker, ever since his 1999 breakout indie film Memento led him to create Insomnia there.

That year, however, everything changed. The usually mild-mannered director was outraged by the decision of former WarnerMedia CEO Jason Kilar to perpetrate a blindside dumping of the studio’s entire slate onto its HBO Max streaming service. This attempt to build subscribers for its streaming service at a time few were going to theaters incensed Nolan and many others. The filmmaker was still wounded by the studio’s decision to release Tenet while the world had yet to fully emerge from lockdown.

In fact, he didn’t even have a film in the bunch being dumped, but he was nevertheless upset to see films made for the big screen — like Dune, The Matrix Resurrections, Wonder Woman 1984 and future Oscar-winner King Richard — drop day and date. As much a warrior for the traditional theatrical experience as Martin Scorsese and Quentin Tarantino, Nolan decided he would look elsewhere; no idle threat when you consider that the movies he directed there grossed north of $6 billion (more when you consider the DC films he produced or godfathered).

When Deadline revealed that Nolan would make Oppenheimer, and that Cillian Murphy — still riding high on the success of showrunner Steven Knight’s period gangster series Peaky Blinders — would likely play the title role, the news landed like a bombshell. Every studio responded by chasing it, and there were rumors that Warner Bros. might not even get a meeting. The lucky winner was Donna Langley, NBCUniversal Studio Group Chairman, who, like several other studios, agreed to Nolan’s ask for $100 million to make his movie, along with creative control and a massive global theatrical release.

“I’d wanted to be in business with Chris for a long time,” she says, “and he was always near the top of my blue-sky wishlist of directors. Just as movie fans, whose movies do we love? Chris’s name was always close to the top of that. And from a strategic standpoint, as we were coming out of the pandemic, it was very clear to us that the cinematic experience needed to be undeniable in order to get people back into movie theaters. Chris’s work is undeniably cinematic. He makes films for the audience to see in the movie theater. And so that became a strategic imperative for us.”

Her determination to land the project increased when she read the script. Juggling multiple timeframes, Oppenheimer explains how the work done by scientist J. Robert Oppenheimer in the early 1940s — the top-secret Manhattan Project, based in Los Alamos — led to the creation of the atomic bomb and the end of the Second World War. It also deals with Oppenheimer’s guilt, and how the American establishment turned on him once he’d served his purpose.

In there were two career roles, one for Irish actor Murphy as Oppenheimer, and another for Robert Downey Jr. as Lewis Strauss, the bureaucrat nominated to be Eisenhower’s Secretary of Commerce. Strauss was so insecure about being snubbed by Oppenheimer, Einstein and other geniuses while a member of the U.S. Atomic Energy Commission that he would try to play silent assassin to Oppenheimer’s reputation by staging a controversial hearing to revoke his security clearance and render him a pariah.

“I was just transported by it,” Langley says. “I was so relieved that it wasn’t a mind-bending, twisty-turny, science fiction extravaganza that I needed an encyclopedia to understand. This was a story about a living person and a moment of time and history. It’s one of the best screenplays I’ve read in my career.”

It was a script with all the trappings of a Christopher Nolan movie — shifting timeframes, complex characters — and it had an emotional core that struck Langley deeply. “It’s very intimate on the one hand, but it also has a giant scope,” she notes. “The world is on the point of collapse, there’s technology and innovation being chased after by multiple countries, and America has to be first in the race to get there. At the time, being deep into the Ukraine war, I was really struck by how resonant and relevant the story was. And as Chris put it to me, ‘This is the greatest American story never told in cinema.’”

Kilar is long gone now, and Warner Bros. is a more theatrical-friendly place, as theatrical has become the priority for event films once again. Nolan won’t say whether this was a one-time fling, but it is hard to deny he saved his best film for Universal. Unusually for a three-hour, non-franchise film released in July, it has made a near-billion-dollar gross, won seven awards at the BAFTAs (including Best Film and Best Director), and is widely believed to be the Oscar favorite, receiving 13 Oscar nominations that put the film in the frame for the same key categories, while recognizing Murphy, Downey Jr. and Emily Blunt for their work in the acting categories.

Nolan vividly remembers the time first he ever saw Murphy: it was a photograph in a newspaper, probably the San Francisco Chronicle. The director was staying in a hotel in the Bay Area, writing and rewriting the script for Batman Begins, while at the same time scheduling screen tests for the lead role. At the time, he didn’t know who was going to play Batman. He was, he says, “just looking to see who was out there.”

What caught his eye was an image from Danny Boyle’s apocalyptic zombie thriller 28 Days Later: though Murphy was covered in blood, the actor’s bright blue eyes provided stark contrast to the bleakness of a new reality spent eluding flesh-eaters. “It was a cool photo,” says Nolan, turning to Murphy. “You could see your eyes, and your presence. I was just very struck by it.”

“Had you seen the movie then?” asks Murphy.

“No,” says Nolan. “I literally just saw a picture. I then watched the movie, but the truth is, I already was interested. These things are very instinctive, and that’s the relationship that an audience has with an actor as well. It’s an instinctive and instant connection. So, yeah, love at first sight. I see the picture and I’m like, ‘Man, that guy’s got something.’”

Nolan invited him to LA for a meeting. They met, connected, and suddenly Murphy was on the Caped Crusader shortlist of actors Nolan tested for the role that ultimately went to Christian Bale. “But I think at the time you were quite a bit… more slight than you are now,” recalls Nolan. “You walked in, and I remember thinking, ‘Are you really going to be able to be Batman?’”

Still, Nolan was interested to see what Murphy was capable of, shooting a screentest with the actor reading some of Bruce Wayne’s scenes. He shot them in 35mm on a Warners soundstage with full, professional lighting — “Because I really wanted the studio to really be able to see what this was going to be” — and the results surprised him. “I just remember a sort of ripple of excitement going through the crew,” he says. “Hollywood crews, particularly, they’re very professional, but quite jaded. They’ve seen a lot of stuff, so you don’t often get that kind of thing where you feel everyone is paying attention.”

Murphy wasn’t expecting to get the part. “I remember knowing it was a test,” he says. “From my point of view, I was already a fan of Chris’s work and I just wanted to get in the room and audition. That would have been enough. I was totally content at that stage of my career just to say, ‘Oh man, I was in a room with Christopher Nolan, and we worked on some scenes.’ And then he called me out of the blue. I did not expect him to say, ‘Well, how about this other part?’”

That other part was the film’s main villain, the Scarecrow, which marked a significant shift in the Batman franchise. “I don’t remember having any resistance whatsoever to having a relative unknown take on a big part like that,” Nolan says. “And previously all those villains were played by actors like Arnold Schwarzenegger or Jack Nicholson. They were the biggest stars in the films. But no, [the studio] got it. They were all blown away by the test.”

So, what made him right for the villain but not Batman? “I don’t think he had the physicality at the time,” says Nolan. “We tested everyone as Bruce Wayne and we tested them as Batman, and the thing that Christian had that was so striking was that he understood that so much of acting is about reality. So much of acting is about emotional truth. And when you put on a costume like the Batsuit, you have to become this icon. Christian had this crazy energy that he just directed. He’d figured out how that worked and what that would be — the way Bruce Wayne does in the film. He adopts this persona. It’s a very specific thing. And he tore a hole on the screen as Batman. It was like, there was no question.”

Nolan turns to Murphy. “But it was interesting watching Peaky Blinders years later and seeing you play Tommy Shelby,” he says. “Whatever it is we’re talking about here, you’d figured it out. That’s an iconic character with an oppressive presence, where he walks into the room, and everything goes quiet, and he owns that space. In the way Batman does, or an iconic character of that kind. There’s a physicality that’s extremely confident and strong in everything he does, in every gesture.” He pauses. “Is that a conscious thing you’ve developed over the years, or was it just looking at that part and thinking, ‘How do I do that?’”

“I think it was both,” says Murphy. “But I also think I felt, back then, that that was a part I hadn’t really explored before, that kind of physically imposing character. I’d never been offered those parts. But I always think, Chris, that one of your underrated strengths is casting. Everyone knows all of your amazing strengths, but you cast things exquisitely. And I think the Scarecrow was the right part for me to be in at that time in my career.”

So, what makes an actor right for the type of role he was wrong for earlier? “I’ll tell you a story,” says Nolan. “I was talking to one of the crew, Nathan Crowley, who designed the Batman films. He told me he had seen Peaky Blinders. I hadn’t. And he said to me, ‘Yeah, Cillian put on all this weight for the part. He’s big.’ I watch it, and I’m like, ‘That’s not what it is, it’s not that.’ I mean, maybe he did put some bulk on, maybe he’s just getting older and more filled out. But that’s not what I saw. I was like, ‘No, this is physically the same guy, but he is using his gift, his instrument, to project scale in a way that I hadn’t seen before.’”

While it took him time to summon that presence, Murphy agrees that it had more to do with craft than physical bulk. “When I was a kid, about 16, I had the great privilege of seeing Jonathan Pryce play Macbeth at the National Theatre in London,” he says. “I had only seen him in films like Brazil, and he was a fairly slight guy. I watched him in real life play this huge role and he just seemed like this enormous force. It was about projecting.”

“I don’t know how you do that,” says Nolan. “And it’s probably something you don’t like to be too self-conscious about, but what I saw you do, what Tommy showed me, that’s what I saw, was an ability to transcend your own physicality, your body, and work beyond that and make people see this character in a different way. I mean, that’s the gift of great actors. And I don’t know how it works, but I’ve seen it.”

“I don’t know what it is either,” says Murphy.

Whatever that elusive quality was, Nolan knew he needed it to tell the story of Robert Oppenheimer. From his feature-length debut, the sleight-of-hand thriller Memento, to the Dark Knight Trilogy, and the boundary-bending likes of Inception, Interstellar and Tenet, Nolan has always been unafraid to tackle ambitious and complex narratives. But framing Oppenheimer’s story was to be the biggest challenge of his career.

Nolan grew up in the U.K. in the 1980s, during the Cold War and the continued concern over the danger of the arms race between the U.S. and the Soviet Union. His curiosity about Oppenheimer began with a lyric in Sting’s 1985 song “Russians”, in the which the singer asks, “How can I save my little boy from Oppenheimer’s deadly toy?”

“I’m a little older than Cillian here, but he probably remembers growing up in the U.K. in the ’80s,” says Nolan. “It was a time of great fear of nuclear weapons. I talked to Steven Spielberg about this. It was like growing up in the ’60s, with the Cuban missile crisis. The ’80s were a very similar thing. There were protests, and there was a lot in the pop culture about nuclear weapons. But it was Sting’s song ‘Russians’ where I first heard Oppenheimer’s name, and there was this very palpable fear of nuclear Armageddon.”

The 2005 book American Prometheus, by Kai Bird and Martin J Sherwin, captured Nolan’s interest further (in Greek mythology, Prometheus defied the Olympian gods by giving man the gift of fire). “It was after reading American Prometheus that I started to see a way in which you could tell this as a story, by taking on Oppenheimer and seeing it really from his point of view. And everything else followed after that. With something like the fear of nuclear weapons, you have to have a human way into that, and, for me, that was Oppenheimer.”

What struck Nolan in reading the book was hearing that Oppenheimer and his brother would go to Los Alamos as children to camp. “The connection between Los Alamos and the nuclear weapon he was developing, that comes from Oppenheimer’s childhood,” he notes. “He wanted to combine his interest in New Mexico — playing cowboy like he did, that love of the outdoors — with physics, and that’s what he did with the Manhattan Project.”

More so than the propulsive elements of the story, that the Americans were in a race against time to beat the Nazis, it was that element that convinced Nolan he, indeed, had a movie. “Once I’d read that, that’s where I started to see a personal connection,” he says. “And once you have the personal, then you start looking at the events, this thriller aspect to it that just kept coming in with everything that happened to Oppenheimer after 1945. It was a bunch of different things coming together.”

Indeed, Oppenheimer was later subjected to a politically charged tribunal that stripped his security clearance and rendered him a pariah, adding to his burden of having unleashed a weapon that, in the wrong hands, could destroy the world and had already cost over 100,000 lives when the bombs were dropped on Hiroshima and Nagasaki to end WWII.

“American Prometheus is such a remarkable book,” Nolan muses. “Martin Sherwin worked on it for 20 years before Kai Bird joined. They did another five years. It’s a quarter of a century of research and interviews. I got the benefit of that, which was wonderful.”

Key to the story’s attraction was Oppenheimer himself, and Nolan was determined to unravel the scientist’s enigma. We’ve seen depictions of the fragility of genius in films like Shine, A Beautiful Mind, even Good Will Hunting, and how the brightest intellects can come unstuck. But Oppenheimer seemed to enjoy his post-WWII fame on the covers on Time and Life magazines, and in speeches. Was he a narcissist or a hero?

“I think he was definitely a hero, definitely a narcissist,” Nolan concludes. “He was a lot of different things. Very theatrical. What I got from American Prometheus, and what I started to get interested in is, he was someone who had a lot of neurosis and a lot of trouble very early in life, as he came of age at the same time that he was wrestling with these incredibly abstract concepts. We tried to fuse those things, show this kind of energy inside him and show how he masters that. And all the imagery of atoms and splitting atoms to me, they’re very related to his internal state, as a young man in particular. There’s a lot of dangerous tension inside this guy. A lot of dangerous mental energy.”

Murphy proved to be a strong physical match for Robert Oppenheimer; his handsome looks lent themselves to the theoretical physicist’s status as a womanizer, and those blue eyes were an ideal cipher for the wildness of those early scholarly years, when Oppenheimer was trying to harness his genius. All this came as a surprise to Murphy, back when Deadline revealed that Oppenheimer was Nolan’s next secret project and that he wanted Murphy to be number one on his call sheet, after five other movies with the director.

“I tried to ignore your story because I hadn’t heard from Chris or Emma [Thomas, Nolan’s partner and producer],” Murphy says. “It came out, everyone was texting me, and I said, ‘No, there must be some sort of mistake,’ or, ‘It’s just a rumor,’ because I hadn’t heard from those guys. A day or two later, Chris called me. This was out of the blue. Because Chris doesn’t write the script with actors in mind, which, when you think about it, is really, really smart because he doesn’t put any limitation on himself as a writer, or on the actor. So, it came out of the blue, and in the best way possible because I was unemployed. I hadn’t any work lined up.”

“It was perfect timing,” says Nolan. “He could have easily said, ‘Well, I’ve got a thing…’”

Murphy remembers that he had just finished up work on Peaky Blinders. “Bear in mind I said yes before I read the script,” he says, “because I always do that with Chris.”

Then it was Nolan’s turn to sweat, when he showed Murphy the script. “I said, ‘How about it?’ After Cillian said he was in, I flew to Dublin, and he came to my hotel and sat and read the script. I went off to the Hugh Lane Gallery and looked at Francis Bacon’s Studio, which I’d always wanted to see. And then we came back, and we had a chat about it. I remember doing this with Heath [Ledger] on The Dark Knight. He’d signed up for it, and then I showed him the script. There’s that moment of, like, ‘Are you going to feel good about that commitment?’”

He turns to Murphy. “But you seemed very into the script. You seemed very… I wouldn’t say relieved, I’d say you seemed excited.”

At this, Murphy breaks into a big smile. “It was one of the greatest scripts I’d ever read,” he says. “It was just astounding. But I knew it was huge. I knew this wasn’t just a part you could turn up at next week and get going. I was immediately going, ‘All right, f*ck, f*ck, f*ck. I’ve got to do all of this. This is huge.’ And, in fact, I was already working, getting going before I read the script. I knew I just had to go at it meticulously and make a strategy to go at it because there was just so much to do, emotionally, physically and intellectually.”

Murphy did more than just try on Oppenheimer’s signature hat. “I immediately started reducing calories,” he says, “which was a stupid thing to do, like, six months away from shooting. But I wanted to start feeling like him. I watched all the historical materials. I read the book, obviously. I started looking at all his lectures online. Any other stuff that was around. All the accounts from people that knew him were really, really interesting to me. Talking to [physicist] Kip Thorne, who was the scientific advisor on it. He had been lectured by Oppenheimer, which was really, really useful.”

Nolan interrupts. “That was a good thing,” he says, “because I’ve done a couple films with Kip; Interstellar was Kip’s original idea. I’d called him because I needed his help on the whole quantum physics thing. And in the course of the conversation, I realized that when he was at Princeton, he’d attended Oppenheimer’s lectures at the IAS. So immediately I was like, ‘Well, will you get on the phone with Cillian and talk to him about how he taught?’

Those testimonials helped Oppenheimer capture gestures and mannerisms that most of the audience for the film wouldn’t register.”

Says Murphy, “Kip talked about how Oppenheimer held his pipe on stage, and how he had the cigarette in one hand and the chalk in the other hand; We talked about how he was very aware of his presence, his legend, and his theatricality, all of that stuff.”

“I remember you telling me after you spoke to Kip, and we incorporated it into the staging as well,” says Nolan, “that Oppenheimer would let people talk. He was very good at summarizing a discussion. Which I think became absolutely key to the whole, to all of the Manhattan Project scenes.”

“He was an excellent synthesizer and manager,” Murphy agrees. “He didn’t seem the obvious choice for it, but he was.”

Together, Nolan and Murphy found the physical style for the lanky Oppenheimer, and one of the style influences was David Bowie, circa 1976. “Everything about him was constructed,” says Nolan. “Oppenheimer constructed his entire persona, his entire self. That’s why I threw the David Bowie photographs at you, Cillian. This was the Thin White Duke era. David Bowie has these crazy high-waisted trousers that were very, very similar in proportion to what Oppenheimer would wear at the end of Los Alamos. Bowie was always the ultimate self-constructed pop icon, and I think Oppenheimer was similar, in his own way. Obviously, it’s a completely different world, but he used his persona to achieve a mass of things.”

Murphy, who started out with the intention of a music career until he turned down a record deal and chose the acting life, sparked to the influence. “When Chris sent me that, I printed that picture out and I put it on my script,” Murphy says. “He sent it to me with no context, and I knew exactly what he meant, because I’m a music nerd and I could see the crossover. So, it was there in the back of my script for the whole shoot.”

More important, however, was getting Murphy ready for the emotional toll that playing Oppenheimer would bring, particularly after his triumph in Los Alamos. History hasn’t been kind to war heroes, as was seen when British mathematician/computer scientist Alan Turing cracked the Nazi enigma machine code — a breakthrough that shortened the Second World War — only to be punished for his homosexuality, which was illegal at the time. Similarly, Oppenheimer became a punching bag in a politically charged kangaroo court.

“I’m plagued by a line from The Dark Knight, and I’m plagued by it because I didn’t write it,” says Nolan. “My brother [Jonathan] wrote it. It kills me, because it’s the line that most resonates. And at the time, I didn’t even understand it. He says, ‘You either die a hero or you live long enough to become the villain.’ I read it in his draft, and I was like, ‘All right, I’ll keep it in there, but I don’t really know what it means. Is that really a thing?’ And then, over the years since that film’s come out, it just seems truer and truer. In this story, it’s absolutely that. Build them up, tear them down. It’s the way we treat people.”

Murphy believes that the security of 20 years working together emboldened him. “If you don’t have that history, or that level of trust, with a filmmaker,” he says, “I don’t know if you can be as brave or can dive in like I was able to on this one.”

Nolan has his own theory. “Maybe I’m wrong,” he says to Murphy, “but I feel like, after finishing Peaky Blinders, you were in a peculiar place in your career, because you’d been playing the same character for a lot of years. Very, very well with massive success, creative success and artistic success, and also people recognizing the success. You must have felt very comfortable in that character. Steven Knight’s writing is beautiful, and is always challenging the character, but it’s still a second skin that you’d developed that you were slipping into. But then you’re moving to an arena where all that’s gone. This was a true ‘out of the hot tub and into the cold plunge’ moment.”

Nolan appreciated the effort it took. “For me, particularly with such a big cast, Cillian was the element I was able to completely take for granted,” he says, “to the point where on Downey’s last day, he came up to me and said, ‘Do you understand how hard this guy is working for you?’ It was towards the end of the shoot. He was like, ‘He’s exhausted.’

And I said, ‘Thanks, Robert, he’ll be fine.’ And he was fine. But the point was taken that, yeah, I was able to take what he was doing on set for granted because I knew how great the work was. But the reality is, I didn’t realize the magnitude of the performance until I put it together in the edit suite. This is true, I think, of all great performances; you see what you see on set. But then, in the edit, you actually see it the way the actor has performed it. Even though you have been shooting in a crazy order, he’s figured out how all these pieces go together, and then you start to see it come together. It’s a really pretty magical thing.”

One of the first filmmakers Nolan showed the film to said something that really stuck with him. “There’s never that moment where you see the actor realize how great the part is,” he recalls this director telling him. Nolan knew exactly what he was talking about. “Because that’s the thing,” he says. “Particularly with serious movies, or when an actor has a great opportunity, you see them enjoying the taste of it a little too much. There’s always that moment. And that is not in this performance. This performance is totally pure. To me, this performance is much more about the real world, the way people are flawed, continuously flawed. There’s not one little thing they do wrong — we’re all good and bad, and there are layers of that. Oppenheimer is the absolute essence of that. The performance embraces that and carries the audience. But if the performance didn’t unselfconsciously embrace that, it wouldn’t work at all.”

Murphy is flattered. “It’s the nicest thing you could say,” he smiles. “But for me, I remember when I was doing it, if at any point I ever felt, I don’t know, anxious or insecure, I would always think, ‘No, Chris has seen something in me, and he’s drawing something in me out that I didn’t know was there really before.’ And I remember saying to him before we started shooting — because he’s always really pushed me in the best way, and he pushes all his performers in the best way — ‘Push me as hard as you possibly can on this one,’ because I knew we had to do that.”

The payoff comes in the ending, when the audience learns what Albert Einstein (Tom Conti) actually says to Oppenheimer. Strauss looks on, but Einstein walks past and ignores him. That Strauss was insecure and petty enough to believe their chat was about him, instead of being an intimate moment between geniuses who each bore the burden of creating weapons of mass destruction that pulled the world into a dangerous new age, is… Well, let Murphy describe it.

“I’m all about third acts and endings,” he says, “and when I read the script, that time in Dublin, knowing that’s one thing Chris always nails, I remember thinking, ‘What a f*cking ending.’ It’s extraordinary. And that’s from Chris’s imagination. It’s not from history, but it’s just genius. You can write an extraordinary script, but you can write yourself into a corner and the audience feels shortchanged if you don’t nail the f*cking ending.”

Says Nolan: “We talked very carefully about the moment where Kitty [Emily Blunt] says, ‘Did you think if you let them tar and feather you the world would forgive you? It won’t.’ I love the way Cillian performs in that moment, it was so important to me that it hit this exact note. And I didn’t know what that exact note was. I just knew that I’d know it when we hit it, because it needed to be sort of self-conscious in a slightly more open way.

“In the rest of the film, everything Oppenheimer does that’s a little bit vain or a little bit self-conscious, it’s almost as if he’s unaware of it,” Nolan says. “And I feel like in that moment, he opens up to the audience just a hair more, and says, ‘We’ll see.’ Because he puts the question to the audience, in a way. ‘Do you think the world will forgive you?’ ‘We’ll see.’ And I think the jury’s still out very much, but I think he’s definitely better thought of than he would be if he hadn’t been made to suffer.”

To Nolan, putting Oppenheimer, and Murphy, through the wringer in the latter part of the film evoked many higher themes. “When I showed it to Kai Bird for the first time, I said, ‘Look, this is my idea of who he is. This is who I feel he is. I feel that he’s ahead of those people in that room who are torturing him. I feel like he does have a vision to the world beyond that. And it’s partly a vision of fear, and a vision of the idea of the chain reaction. But it’s also partly how history will judge him. And if he fights too hard, or even if he won that fight…’

“It’s a bit Christ-like really, isn’t it?” he suggests. “It’s sort of knowing that the way to win is actually to lose. That was what I felt was inside him, and then the way you played it, Cillian. But there’s also great suffering. And I thought, I mean, Jason Clarke does such a wonderful job in the scene. And what nobody knows, because they weren’t there, but when we were filming your side, he just went nuts.”

Murphy interrupts. “Well, you f*cking made him go nuts! I thought at one point he was actually going to punch me out. It was like this big push in on me, each one, and I said to Chris, ‘I don’t know what you said to him, but he was like a f*cking animal, man.’ And then you used that take.”

Nolan lights up at the memory: “He was throwing stuff, and that’s mostly the take we used. It’s a combination of different takes, but that one was absolutely key. I just thought it was wonderful, but he hadn’t shot his side yet, and I worried he was going to lose his voice. But we came back the next day to do his side.”

“This is a case in point,” says Murphy, “where we were doing that big push. I remember going, ‘Do you think we got it, Chris?’ And you were like, ‘Eh. Let’s go again.’ I love that. You could say, ‘We can all go home now,’ but instead, you said, ‘Let’s just go again.’ Sometimes it doesn’t work, but that time it did.”

When the atomic bomb test succeeds, Oppenheimer is carried on the shoulders of others like a football coach who’s just won the Super Bowl. There’s even a scene in which Harry Truman (Gary Oldman), the president who dropped Oppenheimer’s bombs on Japan, is shown to be disgusted by the physicist’s remorse. But his role in the destruction and massive loss of life in Hiroshima and Nagasaki must have left Nolan with a real balancing act.

“As you put a script together,” he says, “you try and focus in on things like, what’s the key idea that has to work here? What are the key shifts that you need the audience to be struck by? And in the case of Oppenheimer, it was very clear to me that the whole purpose of the screenplay is to go from the absolute highest high of triumph, with Trinity, to the sheer lowest low of the realization of Hiroshima, in as short a time as possible.

“That was always going to be just a crazy shift,” he continues. “We talked about this a lot, in the moment where, earlier in the film, the atom is split. And then when Luis Alvarez [Alex Wolff] reproduces the experiment, in the script Oppenheimer immediately, as he did in real life, jumped to the idea that, you could make a bomb from this. The way in which Cillian performed that, it was very precise because it couldn’t be portentous. Obviously, he’s playing an intelligent man and he’s talking about bombs, but we couldn’t signal to the audience the negativity of where that was going to go, in terms of his frankly existential dilemma, the burden he’s going to carry later. You don’t want to foreshadow that in the performance. It was very important that the performance not foreshadow that, that it’d just be part of his journey that he’s interested in. To him, it’s actually exciting.”

In Nolan’s mind, the job is to paint a picture to help the audience form its own opinion about nukes, rather than betray his own morals and have it amount to feeding the audience cinematic spinach. “For me,” he says, “cinema can never be didactic, because as soon as it tells you what to think, you reject the art, you reject the storytelling. You see that a lot, particularly this time of year. It’s like people want movies to be able to send messages. But the truth is, I’m with whichever mogul who said, ‘Call Western Union if you want to send a message.’ In taking on Oppenheimer’s story, I don’t think there’s anyone who thinks that nuclear weapons are a good thing, so there’s not much point in telling the audience that.”

He pauses. “I’m sorry I’m going on a bit about this, but it’s a really interesting question. I had to explain this to everybody very early on: I’m not interested in making a story about how naive scientists accidentally created something that’s terrible for the world and then felt bad about it. Oppenheimer was one of the smartest people who ever lived. He knew exactly where this was going. The point is, they had to do it. They were put in a position where they believed that if the Nazis got the bomb, it would be the worst thing imaginable for the world. And so, they had to do what they had to do. But they did it knowing that the consequences would be potentially awful.

“That’s what makes the story so compelling from a human point of view. It’s not that they didn’t realize where this was going. It was that they felt they had no choice.”'

[tea-with-evan-and-me]

Tron OG anon - when I said villain I just meant bad guy in general. Like, isn’t he playing Dillinger Jr? The computer programmer and CEO guy who is corrupt? I’m pretty sure that’s the character. It was Cillian Murphy in the second film and now replaced by Evan. I reckon he will also look similar to Cillian with that haircut - remember Evan had long curls at the front earlier this year? Cillian had a long/side swept fringe when he played him 😉

👀 thank you for clarifying anon.

[claireandacat]

Barbenheimer weekend!

It’s Barbenheimer weekend and as a cinephile, I of course participated. Today was Barbie with my brother and yesterday I went to Oppenheimer. I bought shirts to wear to each one and went to my favorite theatre (I will never ever step into a chain theater with the exception of B&B bc it did start in MO where I am from)

This is a year for movies as a Wes Anderson movie and Chris Nolan movie came out this year. My two favorite directors. I know kinda contrasting. One makes serious, science-y movies and the other quirky indie films. I love them.

I got the guy’s name tattooed on my upper back, how super fan can one get? Next I just need a Chris Nolan tattoo and my super fan status will be extended 😂

I’ll start by talking about Barbie, now I’m not much of a fan of chick flicks, they’ve never really appealed to me but hey I’ve played with a Barbie or 10 in my childhood so this movie should be fun.

It was a fun movie. Margot Robbie was amazing as Barbie. The 2001 beginning scene was an awesome touch. I love that Will Farrell is the Mattel CEO. He is always so funny and dramatic with roles such as that.

I still liked Oppenheimer more.

I’m a HUGE fan of Cillian Murphy and have been waiting for Oppenheimer since I heard Cillian would be the star of the movie. Cillian is also in my top hot actors list, I’ve been in love with the guy since I saw 28 Days Later when I was 16.

I mean, have you seen the guy? He is up there with Sebastian Stan and Daniel Brühl in my opinion. 😍😍😍

Maybe I should make a post about my favorite hot actors?

Back to the subject at hand, Oppenheimer was a MASTERPIECE. Nolan never fails to disappoint. It is 3 hours long to do get a quiet fidget toy. I was pretty focused on the movie so it wasn’t too much of a problem. My favorite theater has a bar so I often saw people getting up for a 2nd and third drink based on the amount of cans I heard opening.

That’s what I hate about ASD you get in the focus of something and then you hear some measly background noise and the focus is gone.

Y’all Josh Peck makes an appearance.

I want to point out the scenes where Oppenheimer is overwhelmed/getting a sensory overload. I read another article that Nolan wanted to really capture what it’s really like to be in that situation. Like really really be in that situation. As someone that often (well not as often now that I left a stressful job) experiences being overwhelmed or a sensory overload Nolan was spot on. Especially with the amount of stress and trauma Oppie endured, the sounds and cinematography of it really had you feeling it. Heck for a minute I was feeling the feels of stress, anxiety and burnout I was feeling at my previous job.

I would definitely recommend doing some reading on the Manhattan Project before seeing. There is lots of awesome videos explaining the whole story. It will definitely give you a better understanding of the events unfolding.

Also, want to give a shout out to Gary Oldman (like he would see this post 😅) for playing president Truman the president from my home state and I even live half an hour away from his hometown 😂 and went to a school named after him. Oldman def got that Midwestern accent down 😂

I always forget that it was Truman that signed off on the big kaboom boom to go down. Makes me wanna say, way to go MO! We got buildings, streets, and schools named after this guy 😂 *I’m joking, the events of Hiroshima and Nagasaki were tragic*

I am definitely looking forward to seeing Oppenheimer again. I’ve yet to see it with my dad who is also a fan of Chris Nolan’s work. Heck the guy had not one but two professors that were involved in the Manhattan Project when he was at KU back in the early to mid eighties.

RIP my bank account buying all these movie tickets and snacks 😅

I hope you all can get a chance to participate in Barbenheimer fun this weekend.

Happy Friday!

[ignitedfms]

+ 01 WANTED CONNECTION ADDED

ANCHALI SHINAWATRA (our PAT CHAYANIT) is looking for their HEAD OF PR. They’re an ANY 40+  / ANY CLASS, who look like ANY FC like KADEE STRICKLAND, ANA DE LA REGUKADEE STRICKLAND, ANA DE LA REGUERA, CHRISTINA RICCI, JESSE WILLIAMS, REESE WITHERSPOON, DAGMARA DOMIŃCZYK, PATRICK J. ADAMS, MICHELLE MONAGHAN, MELANIE LYNSKEY, OMID ABTAHI, GWENDOLINE CHRISTIE, MICHIEL HUISMAN, VINNY CHHIBBER, KIERAN CULKIN, ALEXANDER SKARSGARD, SAM PAGE, JESSE METCALFE, CILLIAN MURPHY, TAYANÇ AYAYDIN, MILO VENTIMIGLIA, MATTHEW MACFADYEN, ETC. You DO NOT need to approach the player. 

Anchali’s father, the CEO of UNN, and the board have made the Head of PR the face of the company’s public image. This role requires managing media relations, event coordination, and crisis management to keep the company in the public’s good graces. Your muse would be the one responsible for making the company look polished and scandal-free, no small feat when Anchali, with her rebellious streak, frequently lands herself in trouble with the media. She’s already infamous for at least one scandal, and navigating her reckless actions will be part of the job. Whether your muse is ready to wring her neck for constantly dragging the company’s name through the mud or is happy to help her navigate the endless whirlwind of controversies, there’s room to explore a dynamic filled with tension, frustration, and possibly even begrudging respect. Since the family is very volatile, this muse has their work cut out for them- this muse, must also have ties to the GOLDEN TEARS ( could fill a role, of course ! ) 

[reddevilmcnt]

an independent and selective multi-muse roleplay blog with fluctuating activity, expect highly nsfw and smut friendly writing with a personal preference for all things gay. this is a side-blog so i cannot follow back, which makes this blog not mutuals only. muses are written by decimus, 30+, qpoc, any pronouns, advanced lit. all muses are dominant and tops.

discord can be given out in private for rp purposes.

STARTER CALLS. MEMES. WISHLIST.

mobile list of muses,

[ original characters ] slade simms ---- bio. mechanic, bisexual (male preference), 42. fc: ricky whittle

hades tiarius ---- bio. gladiator, bisexual, 38. fc: jason momoa

maksim archer ---- bio. alpha werewolf, homosexual, 38. fc: aaron taylor-johnson

teddy grey ---- bio. college jock/pro football player, homosexual, 20s-30s. fc: zac efron

[ canon characters ]

tommy shelby ---- peaky blinders. crime boss, bisexual (closeted), 39-43. fc: cillian murphy

frank castle ---- marvel. violent vigilante, bisexual, 43. fc: jon bernthal

eddie diaz ---- 911. firefighter and army vet, repressed gay, 32. fc: ryan guzman

bruce wayne ---- dc. billionaire ceo & vigilante, bisexual, 40s. fc: ben affleck

eric northman ---- true blood. vampire sherriff, bisexual, 1,000+. fc: alexander skarsgard

[viesantewrites]

𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

Cillian Murphy Characters

about me: hi i'm elle, i’m 26 and welcome to my blog :) this account is mostly an archive for my stories. they‘re fanfics about cillian murphy characters. almost all of them are about robert fischer, but I want to write about other characters in the future, too. i'm not a native english speaker, so it's kinda hard for me sometimes, but i try my best :)

thank you to all the people who are reading, liking and sharing my stories, it means so much to me! 🤍

✓ = finished

Robert Fischer

• Man In My Dreams ✓

The reader meets a mysterious man in a café who starts to visit her in her dreams.

• The Muse ✓

The reader works as an artist who has never had a breakthrough until she decides to paint Robert.

• Hidden Memories ✓

The reader is a former extractor (someone who’s able to invade someone else’s dreams) who now works as Robert Fischer's assistant. When Robert treats her quite unfriendly she plans to manipulate his subconscious mind through "dream-sharing" to make him a better person. Unfortunately this method doesn't work and she ends up deep in Robert's subconscious mind where she discovers his hidden memories.

• A Golden Life Part 1

Robert and the reader have nothing in common. He's the son of a multi millionaire and future heir to a massive energy company, she doesn't really stand out in the big city Paris. But then Robert catches her trying to steal from him. No longer able to stand the pressure from his father and his company, Robert offers her a deal.

• In Her Words ✓

This story explores Robert's personality and describes how he met his wife (the reader) who helps him through his emotional struggles.

• Locked In Mind ✓

The reader is hopelessly in love with her boss Robert Fischer, but he doesn't seem to be interested in her. By an unexpected coincidence, they meet in the city and his sudden intense affection for her confuses her. The reader begins to suspect that something is wrong, and when she finally uncovers the truth about her encounters with Fischer the heartbreaking reality is revealed to her.

• Second Chances

For the second time in his life, Robert Fischer is faced with a major decision: whether or not to take over his father's company. After his father's death, Fischer Morrow was split up and Peter Browning bought part of it but Robert remained an employee rather than a CEO. Over the past ten years, Browning has been approaching retirement and Robert is now 40. He is struggling emotionally with his divorce and the mockery of his ex-wife. The situation intensifies when he falls in love with a beautiful woman at the company and begins to see her in his dreams.

William Killick

• To William With Love ✓ | Chapter 1 | Chapter 2 | Chapter 3

Im summer 1936 William Killick takes a break from his London life and spends a few weeks at the country estate of the wealthy Hallward family. The family take an instant liking to William and try to get him to marry their beautiful daughter Norma. Also on the estate is the reader, who works as a maid. When William receives anonymous poems, he ends up falling in love with the mysterious writer instead of Norma.

• Timeless Love | Part1 Part 2

The reader finds a mysterious diary in a library that belonged to William Killick in the 1930s. When she writes something in it, her notes appear in the past (1937) which allows the two to communicate with each other and they eventually fall in love.

[ao3feed-brucewayne]

Interlinked

read it on AO3 at https://ift.tt/VYMPmA9 by dragomilfoy Bruce Wayne, Gotham's famous CEO, and Dr. Jonathan Crane both booked a room in a hotel on a rainy day. But, there seems to be a problem with the room reservations. Words: 2563, Chapters: 1/1, Language: English Fandoms: Batman (Movies - Nolan) Rating: Explicit Warnings: No Archive Warnings Apply Categories: M/M Characters: Jonathan Crane, Bruce Wayne Relationships: Jonathan Crane/Bruce Wayne Additional Tags: Hotel Sex, Dom/sub, Choking, How Do I Tag, Dirty Talk, Blow Jobs, Voyeurism, Safe Sane and Consensual, Bottom Jonathan Crane, Top Bruce Wayne, Batman Played by Christian Bale, Scarecrow (DCU) Played by Cillian Murphy, Plot What Plot/Porn Without Plot, Pet Names, Anal Sex, Anal Fingering, Mirror Sex, I Don't Even Know read it on AO3 at https://ift.tt/VYMPmA9

[denimbex1986]

'The stars of director Christopher Nolan's new film Oppenheimer left the London premiere of the movie early on Thursday ahead of the Screen Actors Guild strike announcement.

Cast members Cillian Murphy, Robert Downey Jr., Matt Damon, Emily Blunt, Florence Pugh, Kenneth Branagh, Josh Hartnett, and Rami Malek were all present to be photographed at the event, which began an hour earlier than had been scheduled because of the impending strike action, but the actors did not appear onstage with Nolan at Leicester Square's Odeon Luxe cinema.

According to footage from the event posted on Twitter by Deadline, Nolan first praised his cast and then explained that their absence was because of the likely strike action, which the filmmaker said he also supported.

"I have to acknowledge the work of our incredible cast, led by Cillian Murphy," says the director in the clip. "The list is enormous. Robert Downey Jr., Matt Damon, Emily Blunt, Florence Pugh, Kenneth Branagh, Rami Malek, and so many more. And we have to acknowledge, you've seen them here earlier on the red carpet, unfortunately, they're off to write their picket signs for what we believe to be an imminent strike by SAG, joining my guild, one of my guilds, the writers' guild, in the struggle for fair wages for working members of their union, and we support them."

SAG-AFTRA's national board voted unanimously to launch the guild's first strike, the union's President Fran Drescher and National Executive Director & Chief Negotiator Duncan Crabtree-Ireland announced Thursday.

After failing to reach a deal with the Alliance of Motion Pictures and Television Producers (AMPTP) when their June 30 contract deadline expired, the guild extended the negotiation period through July 12, but they were still unable to negotiate a contract that was agreeable to both parties. Their sister union, the Writers' Guild of America, has been on strike since May 1.

"It came with great sadness that we came to this crossroads. But we had no choice. We are the victims here," Drescher said during Thursday's press conference. "We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly. How far apart we are on so many things. How they plead poverty, that they're losing money left and right while giving hundreds and millions of dollars to their CEOS. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment."

In Nolan's film, Murphy plays theoretical physicist J. Robert Oppenheimer, the so-called "Father of the atomic bomb." Oppenheimer is released July 21.'

[sageglobalresponse]

FULL LIST: BAFTAs 2024 winners

The 77th edition of the British Academy Film Awards, popularly referred to as the BAFTA Awards, took place on Sunday, February 18, 2024.

Outstanding national and international films from 2023 were recognised at the event held at the Royal Festival Hall, situated within London’s Southbank Centre.

According to a post shared on Monday on the X handle, @BAFTA, the event was attended by the President of BAFTA, HRH, The Prince of Wales, K.G. K.T. and also the BAFTA CEO, Jane Millichip, and BAFTA chair, Sara Putt.

Below are the BAFTA Awards full lists of winners and nominees:

Best film

Oppenheimer (WINNER)

Anatomy of a Fall

The Holdovers

Killers of the Flower Moon

Poor Things

Leading actress

Emma Stone – Poor Things (WINNER)

Fantasia Barrino – The Color Purple

Sandra Hüller – Anatomy of a Fall

Carey Mulligan – Maestro

Vivian Oparah – Rye Lane

Margot Robbie – Barbie

Leading actor

Cillian Murphy – Oppenheimer (WINNER)

Bradley Cooper – Maestro

Colman Domingo – Rustin

Paul Giamatti – The Holdovers

Barry Keoghan – Saltburn

Teo Yoo – Past Lives

Supporting actress

Da’Vine Joy Randolph – The Holdovers (WINNER)

Emily Blunt – Oppenheimer

Danielle Brooks – The Color Purple

Claire Foy – All of Us Strangers

Sandra Hüller – The Zone of Interest

Rosamund Pike – Saltburn

Supporting actor

Robert Downey Jr – Oppenheimer (WINNER)

Robert De Niro – Killers of the Flower Moon

Jacob Elordi – Saltburn

Ryan Gosling – Barbie

Paul Mescal – All of Us Strangers

Dominic Sessa – The Holdovers

Director

Oppenheimer – Christopher Nolan (WINNER)

All of Us Strangers – Andrew Haigh

Anatomy of a Fall – Justine Triet

The Holdovers – Alexander Payne

Maestro – Bradley Cooper

The Zone of Interest – Jonathan Glazer

EE Bafta Rising Star Award (voted for by the public)

Mia McKenna-Bruce (WINNER)

Phoebe Dynevor

Ayo Edebiri

Jacob Elordi

Sophie Wilde

Outstanding British film

The Zone of Interest (WINNER)

All of Us Strangers

How To Have Sex

Napoleon

The Old Oak

Poor Things

Rye Lane

Saltburn

Scrapper

Wonka

Film not in the English language

The Zone of Interest (WINNER)

20 Days In Mariupol

Anatomy of a Fall

Past Lives

Society of the Snow

Animated film

The Boy and the Heron (WINNER)

Chicken Run: Dawn of the Nugget

Elemental

Spider-Man: Across the Spider-Verse

Documentary

20 Days In Mariupol (WINNER)

American Symphony

Beyond Utopia

Still: A Michael J Fox Movie

Wham!

Original screenplay

Anatomy of a Fall (WINNER)

Barbie

The Holdovers

Maestro

Past Lives

Adapted screenplay

American Fiction (WINNER)

All of Us Strangers

Oppenheimer

Poor Things

The Zone of Interest

Outstanding debut by a British writer, director or producer

Earth Mama(WINNER)

Blue Bag Life

Bobi Wine: The People’s President

How To Have Sex

Is There Anybody Out There?

Original score

Oppenheimer (WINNER)

Killers of the Flower Moon

Poor Things

Saltburn

Spider-Man: Across the Spider-Verse

Make-up and hair

Poor Things (WINNER)

Killers of the Flower Moon

Maestro

Napoleon

Oppenheimer

Costume design

Poor Things (WINNER)

Barbie

Killers of the Flower Moon

Napoleon

Oppenheimer

Production design

Poor Things (WINNER)

Barbie

Killers of the Flower Moon

Oppenheimer

The Zone of Interest

Sound

The Zone of Interest (WINNER)

Ferrari

Maestro

Mission: Impossible – Dead Reckoning Part One

Oppenheimer

Cinematography

Oppenheimer (WINNER)

Killers of the Flower Moon

Maestro

Poor Things

The Zone of Interest

Editing

Oppenheimer (WINNER)

Anatomy of a Fall

Killers of the Flower Moon

Poor Things

The Zone of Interest

Casting

The Holdovers (WINNER)

All of Us Strangers

Anatomy of a Fall

How To Have Sex

Killers of the Flower Moon

Special visual effects

Poor Things (WINNER)

The Creator

Guardians of the Galaxy Vol 3

Mission: Impossible – Dead Reckoning Part One

Napoleon

British short animation

Crab Day (WINNER)

Visible Mending

Wild Summon

British short film

Jellyfish and Lobster (WINNER)

Festival of Slaps

Gorka

Such a Lovely Day

Yellow

Bafta Fellowship

Samantha Morton (WINNER)

Outstanding British contribution to cinema

June Givanni (WINNER)

The top films

7 wins – Oppenheimer

5 – Poor Things

3 – The Zone of Interest

2 – The Holdovers

BAFTA Awards…

PUNCH Online reports that the BAFTA Awards are presented in an annual ceremony by the British Academy of Film and Television Arts (BAFTA).

These awards honour outstanding achievements in the film industry, both British and international, and are considered among the most prestigious film awards globally.

The BAFTA Awards were first held in 1947, making them one of the oldest film awards ceremonies. The awards ceremony usually takes place in London, and it attracts a significant amount of attention from the film industry and the public.

On categories, BAFTA Awards are presented in various categories, including Best Film, Best Director, Best Actor, Best Actress, and many technical and creative categories like cinematography, editing, and costume design.

BAFTA Awards eligibility and voting…

Meanwhile, films eligible for consideration are not limited to British productions; they include international films released in the United Kingdom during the qualifying period. BAFTA also has specific categories, such as Outstanding British Film, to recognize and celebrate British cinema.

The winners are determined through a voting process involving BAFTA members, who are professionals across various branches of the film industry. The voting process is designed to ensure that the awards represent the consensus of the industry.

While the BAFTA Awards are prestigious in their own right, they are also seen as influential in the larger awards season, including the Oscars. Many films that perform well at BAFTA often go on to receive nominations and accolades at other major film festivals and awards ceremonies.

The BAFTA Awards ceremony typically takes place in February, with nominees and celebrities from the film industry attending the event. The ceremony is popular for its red-carpet arrivals, speeches, and celebrations of outstanding achievements in film.

It contributes significantly to the recognition and celebration of excellence in the film industry, providing a platform for filmmakers and artists to showcase their work and receive acknowledgment for their contributions.

[zenblonde]

Award Season is among us. Our reviewer Actor, Producer and Journalist Alex von Roon can't wait to check out the contenders starting off with HBO' s "Succession". How do you like Alexander as "Ken" in the Hit Movie "Barbie"? Von Roon did work with the director before and enjoyed her performance in "Greenberg"

For "Bild am Sonntag" Alex also met SAG Award nominee Tony Shalhoub on set in his trailer. Some comments were very interesting. We wonder how Mr. Monk would deal with a pandemic such as Corona.

Below please find the complete list of nominations courtesy of SAGAFTRA. Which are your favorites? Comment below.

All rights reserved.

SAG AWARDS NOMINATIONS 2024

The Motion Picture Nominees are: 

Outstanding Performance by a Male Actor in a Leading Role  BRADLEY COOPER / Leonard Bernstein - "MAESTRO"  COLMAN DOMINGO / Bayard Rustin - "RUSTIN"  PAUL GIAMATTI / Paul Hunham - "THE HOLDOVERS"  CILLIAN MURPHY / J. Robert Oppenheimer - "OPPENHEIMER"  JEFFREY WRIGHT / Thelonious "Monk" Ellison - "AMERICAN FICTION"

Outstanding Performance by a Female Actor in a Leading Role  ANNETTE BENING / Diana Nyad - "NYAD"  LILY GLADSTONE / Mollie Burkhart - "KILLERS OF THE FLOWER MOON"  CAREY MULLIGAN / Felicia Montealegre - "MAESTRO"  MARGOT ROBBIE / Barbie - "BARBIE"  EMMA STONE / Bella Baxter - "POOR THINGS"

Outstanding Performance by a Male Actor in a Supporting Role  STERLING K. BROWN / Clifford Ellison - "AMERICAN FICTION"  WILLEM DAFOE / Godwin Baxter - "POOR THINGS"  ROBERT DE NIRO / William Hale - "KILLERS OF THE FLOWER MOON"  ROBERT DOWNEY JR. / Lewis Strauss - "OPPENHEIMER"  RYAN GOSLING / Ken - "BARBIE"

Outstanding Performance by a Female Actor in a Supporting Role  EMILY BLUNT / Kitty Oppenheimer - "OPPENHEIMER"  DANIELLE BROOKS / Sofia - "THE COLOR PURPLE"  PENÉLOPE CRUZ / Laura Ferrari - "FERRARI"  JODIE FOSTER / Bonnie Stoll - "NYAD"  DA’VINE JOY RANDOLPH / Mary Lamb - "THE HOLDOVERS"

Outstanding Performance by a Cast in a Motion Picture  AMERICAN FICTION  ERIKA ALEXANDER / Coraline ADAM BRODY / Wiley Valdespino STERLING K. BROWN / Clifford Ellison KEITH DAVID / Willy the Wonker JOHN ORTIZ / Arthur ISSA RAE / Sintara Golden TRACEE ELLIS ROSS / Lisa Ellison LESLIE UGGAMS / Agnes Ellison JEFFREY WRIGHT / Thelonious "Monk" Ellison

BARBIE  MICHAEL CERA / Allan WILL FERRELL / Mattel CEO AMERICA FERRERA / Gloria RYAN GOSLING / Ken ARIANA GREENBLATT / Sasha KATE MCKINNON / Barbie HELEN MIRREN / Narrator RHEA PERLMAN / Ruth ISSA RAE / Barbie MARGOT ROBBIE / Barbie

THE COLOR PURPLE  HALLE BAILEY / Young Nettie FANTASIA BARRINO / Celie JON BATISTE / Grady DANIELLE BROOKS / Sofia CIARA / Nettie COLMAN DOMINGO / Mister AUNJANUE ELLIS-TAYLOR / Mama LOUIS GOSSETT, JR. / Ol' Mister COREY HAWKINS / Harpo TARAJI P. HENSON / Shug Avery PHYLICIA PEARL MPASI / Young Celie GABRIELLA WILSON "H.E.R." / Squeak

KILLERS OF THE FLOWER MOON  TANTOO CARDINAL / Lizzie Q ROBERT DE NIRO / William Hale LEONARDO DICAPRIO / Ernest Burkhart BRENDAN FRASER / W.S. Hamilton LILY GLADSTONE / Mollie Burkhart JOHN LITHGOW / Prosecutor Peter Leaward JESSE PLEMONS / Tom White

OPPENHEIMER  CASEY AFFLECK / Boris Pash EMILY BLUNT / Kitty Oppenheimer KENNETH BRANAGH / Niels Bohr MATT DAMON / Leslie Groves ROBERT DOWNEY JR. / Lewis Strauss JOSH HARTNETT / Ernest Lawrence RAMI MALEK / David Hill CILLIAN MURPHY / J. Robert Oppenheimer FLORENCE PUGH / Jean Tatlock

The Television Program Nominees are: 

Outstanding Performance by a Male Actor in a Television Movie or Limited Series  MATT BOMER / Hawkins "Hawk" Fuller - "FELLOW TRAVELERS"  JON HAMM / Roy Tillman - "FARGO"  DAVID OYELOWO / Bass Reeves - "LAWMEN: BASS REEVES"  TONY SHALHOUB / Adrian Monk - "MR. MONK'S LAST CASE: A MONK MOVIE"  STEVEN YEUN / Danny Cho - "BEEF"

Outstanding Performance by a Female Actor in a Television Movie or Limited Series  UZO ADUBA / Edie Flowers - "PAINKILLER"  KATHRYN HAHN / Clare Pierce - "TINY BEAUTIFUL THINGS"  BRIE LARSON / Elizabeth Zott - "LESSONS IN CHEMISTRY"  BEL POWLEY / Miep Gies - "A SMALL LIGHT"  ALI WONG / Amy Lau - "BEEF"

Outstanding Performance by a Male Actor in a Drama Series  BRIAN COX / Logan Roy - "SUCCESSION"  BILLY CRUDUP / Cory Ellison - "THE MORNING SHOW"  KIERAN CULKIN / Roman Roy - "SUCCESSION"  MATTHEW MACFADYEN / Tom Wambsgans - "SUCCESSION"  PEDRO PASCAL / Joel - "THE LAST OF US"

Outstanding Performance by a Female Actor in a Drama Series  JENNIFER ANISTON / Alex Levy - "THE MORNING SHOW"  ELIZABETH DEBICKI / Princess Diana - "THE CROWN"  BELLA RAMSEY / Ellie - "THE LAST OF US"  KERI RUSSELL / Kate Wyler - "THE DIPLOMAT"  SARAH SNOOK / Shiv Roy - "SUCCESSION"

Outstanding Performance by a Male Actor in a Comedy Series  BRETT GOLDSTEIN / Roy Kent - "TED LASSO"  BILL HADER / Barry - "BARRY"  EBON MOSS-BACHRACH / Richard "Richie" Jerimovich - "THE BEAR"  JASON SUDEIKIS / Ted Lasso - "TED LASSO"  JEREMY ALLEN WHITE / Carmen "Carmy" Berzatto - "THE BEAR"

Outstanding Performance by a Female Actor in a Comedy Series  ALEX BORSTEIN / Susie Myerson - "THE MARVELOUS MRS. MAISEL"  RACHEL BROSNAHAN / Miriam "Midge" Maisel - "THE MARVELOUS MRS. MAISEL"  QUINTA BRUNSON / Janine Teagues - "ABBOTT ELEMENTARY"  AYO EDEBIRI / Sydney Adamu - "THE BEAR"  HANNAH WADDINGHAM / Rebecca Welton - "TED LASSO"

Outstanding Performance by an Ensemble in a Drama Series 

THE CROWN  KHALID ABDALLA / Dodi Fayed SEBASTIAN BLUNT / Prince Edward BERTIE CARVEL / Tony Blair SALIM DAW / Mohamed Al Fayed ELIZABETH DEBICKI / Princess Diana LUTHER FORD / Prince Harry CLAUDIA HARRISON / Princess Anne LESLEY MANVILLE / Princess Margaret ED MCVEY / Prince William JAMES MURRAY / Prince Andrew JONATHAN PRYCE / Prince Philip, Duke of Edinburgh IMELDA STAUNTON / Queen Elizabeth II MARCIA WARREN / Queen Elizabeth the Queen Mother DOMINIC WEST / Prince Charles OLIVIA WILLIAMS / Camilla Parker Bowles

THE GILDED AGE  BEN AHLERS / Jack ASHLIE ATKINSON / Mamie Fish CHRISTINE BARANSKI / Agnes van Rhijn DENÉE BENTON / Peggy Scott NICOLE BRYDON BLOOM / Maud Beaton MICHAEL CERVERIS / Watson CARRIE COON / Bertha Russell KELLEY CURRAN / Mrs. Winterton TAISSA FARMIGA / Gladys Russell DAVID FURR / Dashiell Montgomery JACK GILPIN / Church WARD HORTON / Charles Fane LOUISA JACOBSON / Marian Brook SIMON JONES / Bannister SULLIVAN JONES / T. Thomas Fortune CELIA KEENAN-BOLGER / Mrs. Bruce NATHAN LANE / Ward McAllister MATILDA LAWLER / Frances Montgomery ROBERT SEAN LEONARD / Luke Forte AUDRA MCDONALD / Dorothy Scott DEBRA MONK / Armstrong DONNA MURPHY / Mrs. Astor KRISTINE NIELSEN / Mrs. Bauer CYNTHIA NIXON / Ada Brook KELLI O'HARA / Aurora Fane PATRICK PAGE / Richard Clay HARRY RICHARDSON / Larry Russell TAYLOR RICHARDSON / Bridget BLAKE RITSON / Oscar van Rhijn JEREMY SHAMOS / Mr. Gilbert DOUGLAS SILLS / Borden MORGAN SPECTOR / George Russell JOHN DOUGLAS THOMPSON / Arthur Scott ERIN WILHELMI / Adelheid

THE LAST OF US  PEDRO PASCAL / Joel BELLA RAMSEY / Ellie

THE MORNING SHOW  JENNIFER ANISTON / Alex Levy NICOLE BEHARIE / Christina Hunter SHARI BELAFONTE / Julia NESTOR CARBONELL / Yanko Flores BILLY CRUDUP / Cory Ellison  MARK DUPLASS / Chip Black  JON HAMM / Paul Marks  THEO IYER / Kyle HANNAH LEDER / Isabella  GRETA LEE / Stella Bak  JULIANNA MARGULIES / Laura Peterson TIG NOTARO / Amanda Robinson KAREN PITTMAN / Mia Jordan REESE WITHERSPOON / Bradley Jackson

SUCCESSION  NICHOLAS BRAUN / Greg Hirsch JULIANA CANFIELD / Jess Jordan BRIAN COX / Logan Roy KIERAN CULKIN / Roman Roy DAGMARA DOMINCZYK / Karolina Novotney PETER FRIEDMAN / Frank Vernon JUSTINE LUPE / Willa MATTHEW MACFADYEN / Tom Wambsgans ARIAN MOAYED / Stewy Hosseini SCOTT NICHOLSON / Colin Stiles DAVID RASCHE / Karl Muller ALAN RUCK / Connor Roy ALEXANDER SKARSGÅRD / Lukas Matsson J. SMITH-CAMERON / Gerri Kellman SARAH SNOOK / Shiv Roy FISHER STEVENS / Hugo Baker JEREMY STRONG / Kendall Roy ZOË WINTERS / Kerry Castellabate

Outstanding Performance by an Ensemble in a Comedy Series  ABBOTT ELEMENTARY  QUINTA BRUNSON / Janine Teagues WILLIAM STANFORD DAVIS / Mr. Johnson JANELLE JAMES / Ava Coleman CHRIS PERFETTI / Jacob Hill SHERYL LEE RALPH / Barbara Howard LISA ANN WALTER / Melissa Schemmenti TYLER JAMES WILLIAMS / Gregory Eddie

BARRY  ANTHONY CARRIGAN / NoHo Hank SARAH GOLDBERG / Sally Reed ZACHARY GOLINGER / John BILL HADER / Barry ANDRE HYLAND / Jason ANDREW LEEDS /  Leo Cousineau FRED MELAMED / Tom Posorro CHARLES PARNELL / DA Buckner STEPHEN ROOT / Monroe Fuches TOBIE WINDHAM / Damian HENRY WINKLER / Gene Cousineau ROBERT WISDOM / Jim Moss

THE BEAR  LIONEL BOYCE / Marcus JOSE CERVANTES JR. / Angel LIZA COLÓN-ZAYAS / Tina AYO EDEBIRI / Sydney Adamu ABBY ELLIOTT / Natalie “Sugar” Berzatto RICHARD ESTERAS / Manny EDWIN LEE GIBSON / Ebraheim MOLLY GORDON / Claire COREY HENDRIX / Sweeps MATTY MATHESON / Neil Fak EBON MOSS-BACHRACH / Richard "Richie" Jerimovich OLIVER PLATT / Jimmy "Cicero" Kalinowski JEREMY ALLEN WHITE / Carmen "Carmy" Berzatto

ONLY MURDERS IN THE BUILDING  GERALD CAESAR / Ty MICHAEL CYRIL CREIGHTON / Howard Morris LINDA EMOND / Donna SELENA GOMEZ / Mabel Mora ALLISON GUINN / K.T. STEVE MARTIN / Charles-Haden Savage ASHLEY PARK / Kimber DON DARRYL RIVERA / Bobo PAUL RUDD / Ben Glenroy JEREMY SHAMOS / Dickie Glenroy MARTIN SHORT / Oliver Putnam MERYL STREEP / Loretta Durkin WESLEY TAYLOR / Cliff JASON VEASEY / Jonathan JESSE WILLIAMS / Tobert

TED LASSO  ANNETTE BADLAND / Mae Green KOLA BOKINNI / Isaac McAdoo EDYTA BUDNIK / Jade ADAM COLBORNE / Baz Primrose PHIL DUNSTER / Jamie Tartt CRISTO FERNÁNDEZ / Dani Rojas KEVIN "KG" GARRY / Paul La Fleur BRETT GOLDSTEIN / Roy Kent BILLY HARRIS / Colin Hughes ANTHONY HEAD / Rupert Mannion BRENDAN HUNT / Coach Beard TOHEEB JIMOH / Sam Obisanya JAMES LANCE / Trent Crimm NICK MOHAMMED / Nathan Shelley JASON SUDEIKIS / Ted Lasso JEREMY SWIFT / Leslie Higgins JUNO TEMPLE / Keeley Jones HANNAH WADDINGHAM / Rebecca Welton BRONSON WEBB / Jeremy Blumenthal KATY WIX / Barbara

The Stunt Ensemble Honors Nominees are:  Outstanding Action Performance by a Stunt Ensemble in a Motion Picture BARBIE GUARDIANS OF THE GALAXY VOL. 3 INDIANA JONES AND THE DIAL OF DESTINY JOHN WICK: CHAPTER 4 MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE

Outstanding Action Performance by a Stunt Ensemble in a Television Series  AHSOKA BARRY BEEF THE LAST OF US THE MANDALORIAN