IN the fall of 2021, Christopher Nolan knew just where to find Cillian Murphy. The director flew to Ireland with a document in his carry-on, Hollywood’s equivalent of the nuclear football. It was a script for his top secret new film, printed, apparently, on red paper. “Which is supposedly photocopy-proof,” Murphy explained. He wasn’t surprised by the in-person visit. The two had worked together on five previous films, and every Nolan script, Murphy said, had been dropped off by Nolan or one of his family members. “So, like, it’s been his mom who’s delivered the script to me before. Or his brother, he’ll go away and come back in three hours. Part of it has to do with keeping the story secret before it goes out. But part of it has to do with tradition. They’ve always done it this way, so why stop now? It does add a ritual to it, which I really appreciate. It suits me.”
Murphy met Nolan at his Dublin hotel room—and then Nolan left him to read. He read and read and read. All 197 pages, the rarest kind of script, written in the first person of the film’s protagonist, J. Robert Oppenheimer. All action, all incidence, swirling around this character—a big-brained, psychologically complex giant of world history. Murphy had never played a lead in a Nolan film before, but had committed to this role as soon as Nolan told him about it, before he’d even seen a page of the script. “He’d already called me and said he wanted me to play the part. And I had said Yes—because I always say Yes to him.” The afternoon ran out. “And he doesn’t have a phone or anything,” Murphy said. “But he knew instinctively when to come back.” Nolan in command of time, as ever. They spent the rest of the evening together—and then Murphy took the DART train home, and got to work.
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