Oppenheimer sound engineer recalls meeting unrecognisable Cillian Murphy in supermarket

After Oppenheimer won seven Oscars on Sunday night, including Best Actor for Cillian Murphy, we are republishing this interview with Tony Kiernan who worked on the sound for the Christopher Nolan epic. Originally published in January 2024.

Strolling through a supermarket, perplexed by bargains that aren’t really bargains, and unimpressed by the modern ratio of crisp to bag, Tony Kiernan ran into an old friend still using the last of the COVID pandemic worry as an excuse to wear a mask and hide his identity from the people in aisle 4, Cillian Murphy.

At the time, Cillian had returned after shooting Oppenheimer, a film that would achieve global recognition and which, more recently, would see the Irishman receive a Golden Globe for his dedication, and Tony could then see why.

Looking at his friend of over 20 years, the Dublin-based sound engineer approached the Hollywood star with a degree of caution, noticing an incredible change in his appearance. “He'd lost stones of weight. Honestly, he looked like he'd aged ten years,” Tony remarked.

Almost unrecognisable (most likely a bonus while doing his weekly shop), Tony twigged that Cillian must have been facing a role that required infinite commitment, and he was; J. Robert Oppenheimer. Cillian, known for his steadfast dedication to his craft, took the role under his wing and didn’t let go until the film’s first premiere.

Having worked with the actor before, Tony agreed there was nothing the actor wouldn’t do to become his role. “His diet running up to the shoot for Oppenheimer was ridiculous,” he recalled. "[Cillian] wanted to completely turn into the guy, so he lost all this massive weight. And he did; he looked identical to him when he went to shoot it.”

Fast forward, and Tony’s co-owned company, Moynihan Russell Studios, gets a call from Hollywood. It’s Warner Brothers Studios, and they want him to aid production remotely. Seemingly, due to their previous professional successes, Cillian had recommended his pal to esteemed director Christopher Nolan, and after some thorough screening, he gave the green light to allow Cillian’s dialogue replacement, technically known as ADR, to be recorded from the comfort of a familiar studio in his homeplace, Dublin.

Tony worked alongside Cillian Murphy at his studio in Dublin

“I've been working with him probably, I'd say, for the last 15 years; he's been using the studios. Because he's so comfortable in the place, he tends to want to come back to it more often because he knows there's never any hassle. Everything just gets done the way it should be done, and he's in and out."

On the day of recording, the two old friends got down to business, but not before dialling into LA. “Cut from the same cloth” as Cillian, Tony describes Christopher’s immersive focus as he sat in on their session, giving notes and directing even without being in the room. 

Having idolised the 5-time Academy Award nominee and 2-time Golden Globe winner for years, after working together with the pair, Tony noted that Christopher has “got the same work drive, the same focus,” as Cillian, making them a remarkable duo.

Having worked with countless actors on countless productions, including the likes of the late John Hurt and Michael Gambon, the sound engineer admires the attitude the Oppenheimer cast and crew take on when it comes to their trade. “When Cillian takes on a role, he doesn't just take on a role; he is completely immersed in it. And same with Chris; they just completely become part of the film themselves.”

Tony displays the major productions he has worked on, including House of Cards and Vikings, across the walls of his Dublin studio

While working with Warner Brothers in the US, he notes the degree of professionalism that is shown each day. “On Oppenheimer, everybody at every point knew exactly what they were going to be doing, and I think that comes down to Chris because he just knows exactly what's happening. There's nothing left to chance.”

In previous interviews, Christopher has noted his aversion to using ADR and modifying the authenticity of the film’s sound in general. “He hates it,” Tony stated. “But there are a few reasons why you need it. Previous productions have seen Tony’s skillset become particularly useful.

Outside, in the real world, trains, planes, and automobiles all take a toll on the set’s sensitive microphones, and with the perfect take visually, ADR comes in to save the day audibly.

Noting that the work Moynihan-Russell did on the epic was “minimal” and “complimentary to the story," Tony shares insights into just how the director operates. “The thing with Christopher is, because he's so meticulous and he knows exactly where he wants things to land, usually he'd never have to do ADR because it's all in a moment for him.

“Everybody he's working with on location, on sound, is the best in the world. They don't make mistakes.”

Acknowledging his role in the film, Tony says: “Mine was more of a kind of technical role.” 

“Even though I was asked my opinion on a few bits and pieces, when [Cillian] knows that character so well and Chris knows what it's meant to be, even his accent was absolutely perfect."

So with such precision on set at the time of filming, all that is left is to add some “clarifying” sounds, because no matter the skill level, according to the pro, “sometimes you just need [it] to help the film move on a little bit.”

Think ‘Oppenheimer’ and think ‘explosion’. Tony details the meaning behind the infamous scene, its sound, and why the audience was left with dead silence before practically clasping their ears mid-way through the busy film.

“Sound travels at 750 miles an hour, and light obviously travels much, much farther than that. So, that's the reality of the bomb. That's exactly what happened; he just recreated it perfectly.”

As they tend to do, Twitter was overrun with memes the day after the Golden Globes. A video of Cillian sauntering down the red carpet, unphased by the lavishness, is nothing short of pure authenticity for the Corkman, and Tony can attest to that.

“He’s just a very normal, decent guy that just happens to be an amazingly good actor,” he smiles.

“He's an incredible family man as well; he spends so much time with his sons and his wife. That's all he wants to do.”

At the end of it all, it comes down to a memory he shares with the actor. Tony recounts: “I remember he was in a film a couple years ago with Morgan Freeman—and I love Morgan Freeman—and I asked him how he got on.”

Pausing, Tony laughed as he thought back on Cillian’s real, cool guy approach to having worked with one of Hollywood’s legends.

“He's just Morgan Freeman, no big deal!”