‘Luckiest’ Oppenheimer Biographer Rooting for Oscar Wins 

The book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin is seen on display March 5, 2024 at a bookstore in Los Angeles. (AFP)
The book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin is seen on display March 5, 2024 at a bookstore in Los Angeles. (AFP)
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‘Luckiest’ Oppenheimer Biographer Rooting for Oscar Wins 

The book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin is seen on display March 5, 2024 at a bookstore in Los Angeles. (AFP)
The book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin is seen on display March 5, 2024 at a bookstore in Los Angeles. (AFP)

Kai Bird has just returned from the Jaipur literature festival, where he signed countless copies of his two-decade-old book for hundreds of young Indians who all watched the film "Oppenheimer."

"American Prometheus," Bird's Pulitzer-winning biography of the father of the atomic bomb, was the basis for the $1 billion-grossing global smash hit movie that is tipped to dominate the Oscars on Sunday.

"It's really an astonishing phenomenon," Bird told AFP.

"I'm probably the luckiest biographer on the planet," he added.

Christopher Nolan's drama was the fourth attempt to adapt Bird and Martin Sherwin's 720-page opus about J. Robert Oppenheimer -- the man who was hailed as an American hero, before being publicly humiliated just a few years later.

Previous efforts had failed to convince Hollywood studio bosses, who found the material too difficult, controversial or complicated, explained Bird.

"I'm actually glad in retrospect, because Nolan came along. And he did something, I think, that is quite special," he said.

Nolan's film hews closely to the 2005 book, often lifting entire lines of dialogue. Bird was involved in the adaptation process.

He first met Nolan for tea in New York in September 2021. The director had been given the book six months earlier, had already written a screenplay, and was about to fly to Ireland to pitch the project to his leading man, Cillian Murphy.

Bird later visited the movie's set in New Mexico, where he was introduced to Murphy during a break in filming.

"As he approached, I couldn't resist -- I shouted out 'Oh, Dr. Oppenheimer, I've been waiting for decades to meet you!'" said Bird.

'Beware'

Even at three hours, Nolan's film cannot possibly capture all the information of a book that took 25 years to research and write.

In the biography, Bird and Sherwin revisit Oppenheimer's wealthy childhood, spent in a luxurious New York apartment adorned with art by Picasso, Cezanne and Van Gogh, attended by nannies and chauffeurs.

Oppenheimer had multiple breakdowns that veered into suicidal thoughts during his early 20s.

He spent much of his final dozen years living in a beach cottage in the Caribbean.

But for Bird, the movie smartly focused on several "timely" themes evoked by Oppenheimer's tragic arc.

"Even the younger generation, they see the film, and they realize that they and their parents have become quite too complacent about living with the bomb," he said.

Russian President Vladimir Putin last week again raised the "real threat" of nuclear war over his invasion of Ukraine.

Bird also believes the highly divisive state of US politics today can be directly traced to the 1950s McCarthyite witch hunts that brought down suspected Communist sympathizers including Oppenheimer.

Donald Trump's mentor, the lawyer Roy Cohn, was chief counsel to Senator Joseph McCarthy, noted Bird.

"So there's a direct connection between the two," he said.

Finally, in another age dominated by rapid technological change -- artificial intelligence, rather than atomic physics -- there is today a lack of famous scientists willing to speak out on politics.

"Part of the reason is exactly what happened to Oppenheimer in 1954, when he was humiliated and destroyed as a public intellectual precisely because he was using his scientific expertise to speak out" on nuclear proliferation, said Bird.

"That sends a message to scientists everywhere. 'Beware of getting out of your narrow band of expertise.'"

Oscars

On Sunday, Bird and his wife will attend the Oscars in Hollywood. His tuxedo is already packed.

They will be rooting for "Oppenheimer" across its 13 nominations, but in particular for best adapted screenplay.

Should "Oppenheimer" win best picture, as widely expected, Nolan's speech may well include his oft-repeated belief that Oppenheimer was the most important person who has ever lived.

Does Bird agree?

"When I first heard Nolan say that, I thought, 'Oh, well, this is a little bit of hype for the film,'" he laughed.

But "Oppenheimer gave us the atomic age, he symbolizes that era that we are still living in," Bird said.

"We're always going to be living with the bomb. So in that sense, he actually is the most important man who ever lived."



Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
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Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)

The imagination of Tim Burton has produced ghosts and ghouls, Martians, monsters and misfits – all on display at an exhibition that is opening in London just in time for Halloween.

But you know what really scares him? Artificial intelligence.

Burton said Wednesday that seeing a website that had used AI to blend his drawings with Disney characters “really disturbed me.”

“It wasn’t an intellectual thought — it was just an internal, visceral feeling,” Burton told reporters during a preview of “The World of Tim Burton” exhibition at London’s Design Museum. “I looked at those things and I thought, ‘Some of these are pretty good.’ ... (But) it gave me a weird sort of scary feeling inside.”

Burton said he thinks AI is unstoppable, because “once you can do it, people will do it.” But he scoffed when asked if he’d use the technology in this work.

“To take over the world?” he laughed.

The exhibition reveals Burton to be an analogue artist, who started off as a child in the 1960s experimenting with paints and colored pencils in his suburban Californian home.

“I wasn’t, early on, a very verbal person,” Burton said. “Drawing was a way of expressing myself.”

Decades later, after films including “Edward Scissorhands,” “Batman,” “The Nightmare Before Christmas” and “Beetlejuice,” his ideas still begin with drawing. The exhibition includes 600 items from movie studio collections and Burton's personal archive, and traces those ideas as they advance from sketches through collaboration with set, production and costume designers on the way to the big screen.

London is the exhibition’s final stop on a decade-long tour of 14 cities in 11 countries. It has been reconfigured and expanded with 90 new objects for its run in the British capital, where Burton has lived for a quarter century.

The show includes early drawings and oddities, including a competition-winning “crush litter” sign a teenage Burton designed for Burbank garbage trucks. There’s also a recreation of Burton’s studio, down to the trays of paints and “Curse of Frankenstein” mug full of pencils.

Alongside hundreds of drawings, there are props, puppets, set designs and iconic costumes, including Johnny Depp’s “Edward Scissorhands” talons and the black latex Catwoman costume worn by Michelle Pfeiffer in “Batman.”

“We had very generous access to Tim’s archive in London, stuffed full of thousands of drawings, storyboards from stop-motion films, sketches, character notes, poems,” said exhibition curator Maria McLintock. “And how to synthesize such a wide ranging and meandering career within one exhibition was a fun challenge — but definitely a challenge.”

Seeing it has not been a wholly fun experience for Burton, who said he’s unable to look too closely at the items on display.

“It’s like seeing your dirty laundry put on the walls,” he said. “It’s quite amazing. It’s a bit overwhelming.”

Burton, whose long-awaited horror-comedy sequel “Beetlejuice Beetlejuice” opened at the Venice Film Festival in August, is currently filming the second series of Netflix’ Addams Family-themed series “Wednesday.”

These days he is a major Hollywood director whose American gothic style has spawned an adjective – “Burtoneqsue.” But he still feels like an outsider.

“Once you feel that way, it never leaves you,” he said.

“Each film I did was a struggle,” he added, noting that early films like “Pee-wee’s Big Adventure” from 1985 and “Beetlejuice” in 1988 received some negative reviews. “It seems like it was a pleasant, fine, easy journey, but each one leaves its emotional scars.”

McLintock said Burton “is a deeply emotional filmmaker."

“I think that’s what drew me to his films as a child,” she said. "He really celebrates the misunderstood outcast, the benevolent monster. So it’s been quite a weird but fun experience spending so much time in his brain and his creative process.

“His films are often called dark,” she added. “I don’t agree with that. And if they are dark, there’s a very much a kind of hope in the darkness. You always want to hang out in the darkness in his films.”