Exploring the Blend of Elegance and Character: An Insightful Interview with Costume Designer Ellen Mirojnick from 'Oppenheimer'
Chat with Costume Designer Ellen Mirojnick About Christopher Nolan's Blockbuster 'Oppenheimer'
Hey there! In this fascinating conversation, we dig deep into the world of costume design with the fantastic Ellen Mirojnick, the creative mastermind behind the stunning costumes for Christopher Nolan's groundbreaking film, Oppenheimer. We delve into the intricate details and smart choices behind the costumes, which transport us to the pivotal era of J. Robert Oppenheimer and his associates. Mirojnick's insights reveal the depth of her research, her collaboration with an exceptional team including Christopher Nolan and Emma Thomas, and the intricate nuances in costume design that make Oppenheimer more than just a period piece - it's a powerful, emotionally resonant cinematic experience.
Spencer Williams: Hi Ellen, I'm so excited to chat with you about Oppenheimer!
Ellen Mirojnick: Hi Spencer! Thanks for having me. I'm excited too!
Spencer Williams: So, let's dive into Oppenheimer then, shall we? What originally drew you to this story and the project?
Ellen Mirojnick: Chris Nolan asking to meet me. *laughs* You know, I listened to as much of the book as possible before the meeting just to have an idea. I think it was the 80th film or show I did. I don't know if it was because this was the project, the set, or the film, but there was nothing like this experience - in my entire career.
Spencer Williams: That's incredible, especially considering the career you've had. I don't know many people who have had that experience. You mentioned the book, a 2005 biography titled American Prometheus. It dives into Oppenheimer's extraordinary life and deep tragedy. I'm curious to learn more about your research process and preparing for the film.
Ellen Mirojnick: Starting Oppenheimer, the amount of visual material was vast. There wasn't a need to make it up - we had plenty of it from photos. I compiled storybooks with photos that best represented each decade and each character. For example, at the beginning of Los Alamos and building up Los Alamos, there was a Western feeling. I had to capture that rough, tumble, not sophisticated vibe. Every visual material is there - we didn't have to dream it up.
Spencer Williams: This leads me to my next question. When I think of a physicist, I think of lab coats and a kind of nerdy guy. I was fascinated by how Oppenheimer presented himself, especially before Los Alamos. There's a bit of a style there, even if his silhouette never changes.
Ellen Mirojnick: He's very stylish and conscious of how he presents himself. He's a genius, and there's so much turmoil inside that nervous system of his brain; there's an explosiveness within him. In some ways, he's unconventional for a physicist and is very presentational. Oppenheimer was also a ladies man, and he liked very fine things. It was clear from the research that from the beginning to the end of his life, his silhouette basically never changed. And that was very clear to me from the get-go.
Spencer Williams: I loved seeing Oppenheimer at one of the first parties. I remember thinking, "Wow, this man has style and swag!"
Ellen Mirojnick: You know, Cillian Murphy is the most collaborative and committed actor that you could find, and because Oppenheimer has a particular feel to him... I mean, he was empowered, he was the leader, he was the head of the town. He was everything! The silhouette was something that we worked on, and we were very careful about how it looked natural and not forced.
Spencer Williams: Oppenheimer isn't the only character in the film, though. He has an exceptional team working with him. How did this collaboration come together? What was it like working with your team?
Ellen Mirojnick: I had a brilliant team. It was hectic as hell. We were constantly fitting, producing, and going! We had to cover a lot of ground, but without the brilliance of the team, it wouldn't have been possible.
When it comes to large scenes - say, Los Alamos or the hearings - it's not a biopic, but a powerful and emotionally resonant cinematic experience. That portrait slides from the beginning to the end of his life in different ways. If we included hats, it might take you out of the story and the intimacy of the story.
Spencer Williams: I applaud everyone on your team and their contributions! There are characters like Kitty Oppenheimer, played by Emily Blunt, who goes through her own sets of challenges throughout the story, alongside Oppenheimer. What does Kitty's costume say about her throughout her life?
Ellen Mirojnick: I hope that you felt from Kitty that she was an ambitious woman who transferred her ambition to her husband, who never forgot about ambition in their relationship. Kitty came from a well-bred background and had a sophistication about her. What was important about Kitty was that she also wasn't allowed to be precious in terms of "period." What was essential to me was that we created her character in a way that the costumes - if you will - were somewhat natural and worn-out. I didn't want her clothes to feel like costumes. Kitty becomes somewhat of a plain woman, but not dowdy. She lost a sophistication that she might have found in an urban environment.
Spencer Williams: On the other hand, we have Florence Pugh, who plays Jean Tatlock, and her costumes speak to her personality and mindset.
Ellen Mirojnick: I always felt that with his women, Jean represented love and passion, while Kitty represented ambition and character traits we didn't see.
Spencer Williams: Jean's colors are just as passionate, with a bit of spice. I could see the fire burning between these two characters - Jean and Oppenheimer.
Ellen Mirojnick: Without a question.
Spencer Williams: Looking back on this project, what do you take away from the experience? And what do you hope the audience takes away from this story?
Ellen Mirojnick: I hope the audience takes away the beauty of this masterpiece. I really do-the beauty of this story and this story of history. The film is incredibly relevant today, instead of just being a historical reference. It is a story of consequences and purpose. His life was filled with conflict and consequences. It is a story that we all live through today because of his actions, which were so purposeful at that time. Look what happened with the touch of a button. The world changed, and the world changed in a way that we are still living the consequence of. It begs us as a society to ask, "What will we do? What will we do to potentially change the world and make it better instead of continually going down that path?"
Artistically, I hope people take away from it viscerally the magnificence of what is before them - physically, visually, and emotionally. It captures a period of time in a way that hopefully will speak to us in a modern, narrative sense.
Oppenheimer is in Theaters Now - Click Link for Tickets
Extra Reading- Oscar Nominations for Ellen Mirojnick- David Bowie's Influence on Oppenheimer's Costumes
Spencer Williams: considering the various characters in 'Oppenheimer', how did you approach designing costumes for movies-and-tv that reflect their unique personalities and story arcs?
Ellen Mirojnick: To design costumes that resonate with the characters, I delved deep into their histories, personally connecting with their stories, making sure to preserve their authenticity and individuality in the entertainment industry.
Spencer Williams: As costume design plays a crucial role in setting the tone and transporting viewers to specific eras, what were some of the challenges you faced when designing costumes for 'Oppenheimer'?
Ellen Mirojnick: One of the main challenges was to strike a balance between representing the characters' styles accurately,while adhering to the constraints of the entertainment industry, which often requires a timeless quality to endure various media platforms, including movies-and-tv and theater.
