And then we would go to the IMAX film projector at CityWalk and project it there,” he said. “We shot a lot of our hair and makeup tests using black and white. Nolan’s desire for the black and white portions to be of equal image quality to the rest of the film led to the development of the first ever black and white IMAX film stock, which Kodak made and Fotokem developed. It’s a more objective view of his story from a different character’s point of view.” Then the other is a black and white timeline. “One is in color, and that’s Oppenheimer’s subjective experience. “I knew that I had two timelines that we were running in the film,” Nolan said. Some of “Oppenheimer” is presented in black and white for a very specific story reason. It really is just a great way of giving people an experience that they can’t possibly get in the home.” “We put a lot of effort into shooting the film in a way that we can get it out on these large format screens. “You rarely get the chance to really talk to moviegoers directly about why you love a particular format and why if they can find an IMAX screen to see the film on that’s great,” Nolan said. Knowing that even those words can get overwhelming and technical, Nolan went a step further: In an exclusive interview with The Associated Press, he offered a guide to his favorite formats, explaining why it matters and even where he likes to sit so that audiences don’t feel like they need a film school degree (or one in theoretical physics) before settling on a theater. That’s part of the reason why Universal Pictures has made “Oppenheimer” tickets available early for over a thousand “premium large format” (or PLF) screens, with options including IMAX 70mm, 70mm, IMAX digital, 35mm, Dolby Cinema and more. But not all big screens are created equal. It’s no secret that Christopher Nolan made “Oppenheimer” to be seen on the big screen.

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