Inside Oppenheimer: Tom Jenkins Reflects on Auditions, Secrecy, and Cinematic Mastery

Oppenheimer is nearing the 1 billion mark worldwide, solidifying its position as the third-biggest movie of the year and the second-highest-grossing R-rated film in history, despite being shot in half black and white. Producer Emma Thomas acknowledges that the film greatly exceeded all expectations. As Oppenheimer gears up for the awards season, it is anticipated to be a formidable contender, widely expected to secure nominations in categories like Best Picture, Best Director, Best Actor, and Best Supporting Actor, along with recognition in various technical fields.

Tom Jenkins takes immense pride in being part of this incredibly successful movie and is excited to share his journey—from the initial casting process for the film to the final wrap. Among Tom's recent achievements is his guest-starring role in the top-rated 'Yellowstone,' alongside Kevin Costner and Wes Bentley. Additionally, his acting credits extend to two Emmy-qualifying projects: the political satire 'Claire-ity,' written by star Marybeth Massett (The Social Network, Gold) and produced by Patrick Massett (Friday Night Lights, The Black List), and the short-form drama series 'Disconnected,' directed by Jeannette Godoy, which he co-produced with the star, a multi-talented actress/producer/director, and fellow Television Academy member, Meredith Thomas.

Tom Jenkins, David Rysdahl, Josh Peck. Photo provided by Tom Jenkins.

So Tom, now that the actors' strike is over, start from the beginning about getting a coveted role in the blockbuster movie, Oppenheimer.

It has been a surreal experience. I transitioned from spending about 18 months on the couch during the pandemic to boarding a plane and working on a film being touted as “ The Best and Most Important Film of the Century” from filmmaker Paul Schrader, led by Christopher Nolan and an A-List cast. It just proves that anything can happen in this industry.

As always, it all begins with an audition. My agent forwarded an audition piece from casting director John Papsidera, but, neither she nor I knew what it was for—it was shrouded in secrecy. After reaching out to other agents, it became clear that no one else had any insights either. John cast me for Yellowstone, so it was bound to be something ‘significant’. The scenes sent to me were from an unrelated project, essentially a 'dummy script' designed for confidentiality. I made some choices, recorded my audition, and submitted it.

So the audition piece that was sent to you yielded no clues? So you wait, right?

Yes. Two weeks later my agent called and said they wanted to send different material and wanted me to audition in person for Christopher Nolan and his wife, producer Emma Thomas the following week at their Universal Studios offices.

Obviously that worked out...

Yes. It was a great experience auditioning in person for Chris and Emma. Prior to that, we had only been sending in self tapes due to covid protocols. Auditioning in person again was very exciting. I looked forward to it.

Tom Jenkins behind the scenes on the set of Oppenheimer. Photo provided by Tom Jenkins.

What happened next?

I had my wardrobe fitting in Los Angeles before heading off to Los Alamos, NM, where a significant portion of the film was shot. My role was that of Oppenheimer's close friend, the Cal-Tech physicist Richard Tolman. During this phase, I had the pleasure of meeting Emmy award-winning costume designer Ellen Mirojnick, along with her assistant Josh Quinn, and producer Andy Thompson. All of them were amazing, wonderfully kind professionals.

Upon arriving in New Mexico, I found the same atmosphere of kindness and professionalism starting with the head of the Makeup department, Luisa Abel, along with Jamie Hess. The hair department, led by Jaime Leigh McIntosh, shared the same amazing level of excellence. It was an A-list crew that not only made me but everyone involved feel extremely comfortable, setting a positive tone for the entire shoot. Working with them, you just knew you were part of something truly awesome.

How did you prepare for your character?

It was during the wardrobe fitting that I had the chance to read most of the script. Due to confidentiality reasons, I couldn't take it from the location, but I managed to read about three-quarters of it before having to rush off to another appointment. The script totaled about 180 pages, and the words practically leaped off the page. It read like a thriller. A couple of days later, at the Universal production office, I had the chance to finish reading it., and I was utterly blown away; I couldn't wait to start working.

For background, I ordered the book the movie is based on, "American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer" by Kai Bird and Martin J. Sherwin. Though it was a bit back-ordered (I wonder why?), it arrived just in time for me to gain more insight into Tolman and his relationship with Oppenheimer. Currently, I'm engrossed in the entire 600-page book.

What was it like to work with Christopher Nolan?

Every day on set was a master class. He creates an incredibly creative and safe environment that encourages everyone to bring their A-game. His efficiency is remarkable, and he treats every member of the cast and crew with respect, collaborating and welcoming their ideas when necessary. Whether there are four people or forty in a scene, he approaches each shot with a thoughtful precision. It's an atmosphere that's difficult to articulate until you've experienced it firsthand.

The end result of Oppenheimer is, of course, cinematic mastery. From the cinematography by Hoyte Van Hoytema to the music score by Ludwig Göransson, and the editing and production design by Jennifer Lame and Ruth De Jong respectively, combined with the rhythm of his dialogue and the tremendous performances, it's a visual and visceral masterpiece. The experience is truly awe-inspiring.

What a memorable experience this must be for you. Any final thoughts you’d like to share?

Many of my scenes were alongside Cillian Murphy, and if he doesn't secure an Oscar win, it's definitely protest-worthy! The sheer volume of material he tackled daily, plus the incredibly powerful cinematic performance he created, I believe the academy voters won't be able to overlook. I extend this sentiment to all the supporting actors—Emily Blunt, Robert Downey, Jr., and Matt Damon. Working with these actors, whom I've watched and respected for years, was a truly wonderful experience. Hopefully, the entire film sweeps all categories.

I also forged some wonderful friendships and connections on this film. I'd like to express my love and gratitude to Olli Haaskivi, David Rysdahl, Jessica Martin, Rory Keane, Michael Angarano, Gustaf Skarsgård, Alden Ehrenreich , Devon Bostick, Trond Fausa, Olivia Thirlby, Louise Lombard, and Josh Peck. Our group was affectionately dubbed the 'Oppenhomies.' Special thanks also go to my team at ESI Network Management—Nelson Paredez Parks and Garrett Lindsey—and my agent, Mariko Ballentine from Minc Talent.

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