Carl Robichaud

In fact, 90% of the budget for the Manhattan Project was spent on producing the fissile material, the enriched uranium and the plutonium.

And Leslie Groves oversaw this project.

It was an enormous engineering feat.

And that work was done primarily in Oak Ridge, Tennessee and Hanford, Washington, and has had various health and environmental effects that have lasted for generations.

We're still paying some of the cleanup costs there.

So there are victims of this nuclear age.

that are not depicted in this film, both the victims of the nuclear production in the United States and the victims of nuclear use in Japan, which are never really depicted in the film.

And I think part of that is that this is told from Oppenheimer's perspective.

And you see him looking away.

You see him averting his gaze from this part of the history.

And I think that's really clever, the way the film portrays Oppenheimer being unwilling or unable to look at the destruction that his work has created.

And the film itself is looking away from these second and third order effects.

And I think it just reflects a collective failure of imagination that we have around nuclear weapons.

And these weapons still have a legacy that we live with today.

That sound in the auditorium scene is just shaking.

And the test itself and the way you realize that the flash comes before the sound and then it just washes over you.

I mean, I think it does a brilliant job telling the story that it tells.

And I think it's also our job to tell the parts of the story that are not in the film and as a compliment to the film.

So I first discovered nuclear weapons in a course in college, and it was with Jonathan Schell, who is someone who you've spoken about before.

I was at Wesleyan University and I had never thought especially about nuclear weapons, but I was interested in writing.