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Winter's Tale (film)
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Winter's Tale
Winter's tale (film).jpg
Theatrical release poster

Directed by
Akiva Goldsman
Produced by
Akiva Goldsman
Marc E. Platt
 Michael Tadross
 Tony Allard
Written by
Akiva Goldsman
Based on
Winter's Tale
 by Mark Helprin
Starring
Colin Farrell
Jessica Brown Findlay
Jennifer Connelly
Russell Crowe
Eva Marie Saint
Will Smith
Music by
Hans Zimmer
Rupert Gregson-Williams
KT Tunstall
Cinematography
Caleb Deschanel
Editing by
Wayne Wahrman
Tim Squyres
Studio
Village Roadshow Pictures
Weed Road Pictures
Distributed by
Warner Bros. Pictures
Release dates
February 14, 2014[1]

Running time
118 minutes[2]
Country
United States
Language
English
Budget
$46 million
Winter's Tale (released in the United Kingdom as A New York Winter's Tale[2]) is an upcoming 2014 American supernatural drama film based on the 1983 novel by Mark Helprin. The film is directed and written by Akiva Goldsman and stars Colin Farrell as Peter Lake, Jessica Brown Findlay as Beverly Penn, Jennifer Connelly as Virginia Gamely, Russell Crowe as Pearly Soames, and Will Smith as Lucifer though originally credited as "Judge". The movie marks Goldsman's debut as director of a feature film.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Music
4 Reception
5 References
6 External links

Plot[edit]
Set in 1916 and present-day Manhattan, Winter's Tale follows the story of Peter Lake, a thief who falls in love with Beverly Penn, a dying girl who has tuberculosis and occupies one of the houses he breaks into. Lake is saved from the insane Irish gangster Pearly Soames and his henchmen by Athansor, a mysterious white horse who becomes his guardian angel.
Cast[edit]



 Listo, an Andalusian stallion that plays AthansorColin Farrell as Peter Lake
Jessica Brown Findlay as Beverly Penn
Jennifer Connelly as Virginia Gamely
Russell Crowe as Pearly Soames
Eva Marie Saint as Adult Willa
Will Smith as Lucifer
William Hurt as Isaac Penn
Ripley Sobo as Abby
Matt Bomer as Peter's father
Lucy Griffiths as Peter's mother
Finn Wittrock as Gabriel[3][unreliable source?]
Listo, an Andalusian stallion, plays the number one version of the white horse Athansor[citation needed]
Production[edit]
Development[edit]
Winter's Tale has been described as a "passion project" for director Akiva Goldsman, who was given the go-ahead for the film by Warner Bros. in February 2011 with a budget of $75 million.[4][5] It was reported that the film's budget was dropped to $46 million in February 2012; at the same time Will Smith and Russell Crowe were linked to the project in supporting roles.[6]
Various actors were considered for the central roles of Peter Lake and Beverley Penn. Benjamin Walker, Tom Hiddleston, Aaron Johnson and Garrett Hedlund auditioned for the role of Peter Lake[7] while Elizabeth Olsen, Bella Heathcote, Gabriella Wilde and Sarah Gadon tested for the role of Beverly.[8] In March 2012 it was reported that Jessica Brown Findlay had been offered the role of Beverly; Colin Farrell was linked to the role of Peter Lake in the following month.[7]
William Hurt joined the cast as Beverly's father, Isaac Penn, in August 2012.[9] In September 2012 multiple new cast members were announced, including Matt Bomer, Lucy Griffiths and Eva Marie Saint.[10] The final major addition to the cast was Jennifer Connelly, whose involvement was confirmed in October 2012 shortly before the start of filming.[11]
Filming[edit]
Principal photography began in October 2012, but was quickly delayed due to Hurricane Sandy.[12] Shooting took place at various locations across New York City including Grand Central Terminal, Red Hook, Brooklyn, East Village, Manhattan and Central Park.[13][14][15] Filming was also done at Lyndhurst (mansion) in Tarrytown, New York.[16] Cinematography was done by Caleb Deschanel.[17]
Music[edit]
The musical score for Winter's Tale is composed by KT Tunstall, Hans Zimmer, and Rupert Gregson-Williams.[17] A soundtrack album is scheduled to be released on February 11, 2014 by WaterTower Music.[18]
On February 4, 2014, four tracks were revealed on Soundcloud, and are scheduled for release on February 14. "Miracle", by Scottish singer and "Suddenly I See" star KT Tunstall would be the lead single of the soundtrack. Three other tracks are revealed each co-composed by Hans Zimmer and Rupert Gregson-Williams: "What's the Best Thing You've Ever Stolen?", "You Don't Quit Me, Boy", and "She Was Like a Bright Light".[19]
Reception[edit]
Early reviews for Winter's Tale were negative. On Rotten Tomatoes, the film has a 13% rating, with an average score of 6.1/10, based on 8 reviews.[20]
References[edit]
1.Jump up ^ "'Winter's Tale's' Release Date Announced By Warner Bros". The Hollywood Reporter. 2013-08-16. Retrieved 2013-11-08.
2.^ Jump up to: a b "A NEW YORK WINTER'S TALE (12A)". Warner Bros. British Board of Film Classification. February 5, 2014. Retrieved February 5, 2014.
3.Jump up ^ "Full cast and crew for Winter's Tale". Internet Movie Database. January 30, 2013. Retrieved January 30, 2013.
4.Jump up ^ "Akiva Goldsman Gets Green Light On ‘Winter’s Tale’ At Warner Bros". Deadline.com. February 1, 2011. Retrieved January 28, 2013.
5.Jump up ^ Kit, Borys (April 11, 2011). "Casting Couch: Who's Testing for Directors Roland Emmerich, Akiva Goldsman and 'Die Hard 5' (Exclusive)". The Hollywood Reporter. Retrieved 28 January 2013.
6.Jump up ^ "Russell Crowe and Will Smith Save Akiva Goldsman's Directing Debut, Winter’s Tale". Vulture.com. February 1, 2012. Retrieved January 29, 2013.
7.^ Jump up to: a b "Colin Farrell Offered Lead In Akiva Goldsman's 'Winter's Tale' Opposite 'Downton Abbey' Star Jessica Brown-Findlay". IndieWire. April 26, 2012. Retrieved January 29, 2013.
8.Jump up ^ "Elizabeth Olsen, Tom Hiddleston Up For Akiva Goldsman's Winter's Tale". Cinema Blend. November 7, 2011. Retrieved January 29, 2013.
9.Jump up ^ Fleming, Mike (August 1, 2012). "William Hurt Joins Akiva Goldsman's ‘Winter’s Tale’". Deadline.com. Retrieved 28 January 2013.
10.Jump up ^ Fleming, Mike (September 21, 2012). "Akiva Goldsman’s ‘Winter’s Tale’ Sets Matt Bomer, Lucy Griffiths, Eva Marie Saint". Deadline.com. Retrieved 28 January 2013.
11.Jump up ^ Fleming, Mike (October 11, 2012). "Jennifer Connelly Joining Akiva Goldsman’s ‘Winter’s Tale’". Deadline.com. Retrieved 28 January 2013.
12.Jump up ^ Verrier, Richard; Blake, Meredith (October 29, 2012). "Hurricane Sandy shuts down film and TV production on East Coast". Los Angeles Times. Retrieved 28 January 2013.
13.Jump up ^ "Crowe ‘Tale’ of B’klyn woe". New York Post. November 27, 2012. Retrieved 28 January 2013.
14.Jump up ^ "'Winter's Tale' filming around Cooper Square; Russell Crowe Alert". EV Grieve. December 2, 2012. Retrieved 28 January 2013.
15.Jump up ^ "Adam Levine soaks up the L.A. sun while Jennifer Connelly freezes in New York". EV Grieve. January 16, 2013. Retrieved 28 January 2013.
16.Jump up ^ "Hollywood Snow Falls on Lyndhurst". Rye Patch. January 29, 2013. Retrieved February 11, 2014.
17.^ Jump up to: a b "Below-the-Line Impact Report 2012". Variety. July 30, 2012. Retrieved January 28, 2013.
18.Jump up ^ "WaterTower Music to Release Hans Zimmer’s and Rupert Gregson-Williams’ ‘Winter’s Tale’ Score". Film Music Reporter. December 17, 2013. Retrieved December 18, 2013.
19.Jump up ^ "Get Ready for Romance With Four Exclusive Tracks From the 'Winter's Tale' Soundtrack". Moviefone. February 4, 2014. Retrieved February 4, 2014.
20.Jump up ^ "Winter's Tale (2014)". Rotten Tomatoes. Retrieved February 12, 2014.
External links[edit]
Official website
Winter's Tale at the Internet Movie Database
Winter's Tale at Rotten Tomatoes
Winter's Tale at Metacritic
Russell Crowe horses around with Colin Farrell on set of Winter's Tale
Getty Images from the set
A Winter's Tale: Jennifer Connelly and Colin Farrell brave the cold as they film scenes for their new movie


[hide]
v ·
 t ·
 e
 
Akiva Goldsman


As director
Kings (2009–present) ·
 Fringe (2009–2013) ·
 Winter's Tale (2014)
 

As screenwriter
The Client (1994) ·
 Silent Fall (1994) ·
 Batman Forever (1995) ·
 A Time to Kill (1996) ·
 Batman & Robin (1997) ·
 Lost in Space (1998) ·
 Practical Magic (1998) ·
 A Beautiful Mind (2001) ·
 I, Robot (2004) ·
 Cinderella Man (2005) ·
 The Da Vinci Code (2006) ·
 I Am Legend (2007) ·
 Angels & Demons (2008) ·
 Fringe (2009–2013) ·
 Winter's Tale (2014)
 

As producer
Lost in Space (1998) ·
 Deep Blue Sea (1999) ·
 Starsky & Hutch (2004) ·
 Mindhunters (2004) ·
 Constantine (2004) ·
 Mr. & Mrs. Smith (2005) ·
 Poseidon (2006) ·
 I Am Legend (2007) ·
 Hancock (2008) ·
 Fringe (2009–2013) ·
 The Losers (2010) ·
 Fair Game (2010) ·
 Jonah Hex (2010) ·
 Lone Survivor (2013) ·
 Winter's Tale (2014)
 

 


Categories: Upcoming films
English-language films
2014 films
2010s fantasy films
2010s romantic drama films
American films
American romantic drama films
American romantic fantasy films
Directorial debut films
Film scores by Hans Zimmer
Films about horses
Films based on American novels
Films based on fantasy novels
Films set in 1916
Films set in New York City
Films shot in New York City
Warner Bros. films
Village Roadshow Pictures films








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This page was last modified on 12 February 2014 at 13:28.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
 Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Winter's Tale (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Winter's Tale
Winter's tale (film).jpg
Theatrical release poster

Directed by
Akiva Goldsman
Produced by
Akiva Goldsman
Marc E. Platt
 Michael Tadross
 Tony Allard
Written by
Akiva Goldsman
Based on
Winter's Tale
 by Mark Helprin
Starring
Colin Farrell
Jessica Brown Findlay
Jennifer Connelly
Russell Crowe
Eva Marie Saint
Will Smith
Music by
Hans Zimmer
Rupert Gregson-Williams
KT Tunstall
Cinematography
Caleb Deschanel
Editing by
Wayne Wahrman
Tim Squyres
Studio
Village Roadshow Pictures
Weed Road Pictures
Distributed by
Warner Bros. Pictures
Release dates
February 14, 2014[1]

Running time
118 minutes[2]
Country
United States
Language
English
Budget
$46 million
Winter's Tale (released in the United Kingdom as A New York Winter's Tale[2]) is an upcoming 2014 American supernatural drama film based on the 1983 novel by Mark Helprin. The film is directed and written by Akiva Goldsman and stars Colin Farrell as Peter Lake, Jessica Brown Findlay as Beverly Penn, Jennifer Connelly as Virginia Gamely, Russell Crowe as Pearly Soames, and Will Smith as Lucifer though originally credited as "Judge". The movie marks Goldsman's debut as director of a feature film.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Music
4 Reception
5 References
6 External links

Plot[edit]
Set in 1916 and present-day Manhattan, Winter's Tale follows the story of Peter Lake, a thief who falls in love with Beverly Penn, a dying girl who has tuberculosis and occupies one of the houses he breaks into. Lake is saved from the insane Irish gangster Pearly Soames and his henchmen by Athansor, a mysterious white horse who becomes his guardian angel.
Cast[edit]



 Listo, an Andalusian stallion that plays AthansorColin Farrell as Peter Lake
Jessica Brown Findlay as Beverly Penn
Jennifer Connelly as Virginia Gamely
Russell Crowe as Pearly Soames
Eva Marie Saint as Adult Willa
Will Smith as Lucifer
William Hurt as Isaac Penn
Ripley Sobo as Abby
Matt Bomer as Peter's father
Lucy Griffiths as Peter's mother
Finn Wittrock as Gabriel[3][unreliable source?]
Listo, an Andalusian stallion, plays the number one version of the white horse Athansor[citation needed]
Production[edit]
Development[edit]
Winter's Tale has been described as a "passion project" for director Akiva Goldsman, who was given the go-ahead for the film by Warner Bros. in February 2011 with a budget of $75 million.[4][5] It was reported that the film's budget was dropped to $46 million in February 2012; at the same time Will Smith and Russell Crowe were linked to the project in supporting roles.[6]
Various actors were considered for the central roles of Peter Lake and Beverley Penn. Benjamin Walker, Tom Hiddleston, Aaron Johnson and Garrett Hedlund auditioned for the role of Peter Lake[7] while Elizabeth Olsen, Bella Heathcote, Gabriella Wilde and Sarah Gadon tested for the role of Beverly.[8] In March 2012 it was reported that Jessica Brown Findlay had been offered the role of Beverly; Colin Farrell was linked to the role of Peter Lake in the following month.[7]
William Hurt joined the cast as Beverly's father, Isaac Penn, in August 2012.[9] In September 2012 multiple new cast members were announced, including Matt Bomer, Lucy Griffiths and Eva Marie Saint.[10] The final major addition to the cast was Jennifer Connelly, whose involvement was confirmed in October 2012 shortly before the start of filming.[11]
Filming[edit]
Principal photography began in October 2012, but was quickly delayed due to Hurricane Sandy.[12] Shooting took place at various locations across New York City including Grand Central Terminal, Red Hook, Brooklyn, East Village, Manhattan and Central Park.[13][14][15] Filming was also done at Lyndhurst (mansion) in Tarrytown, New York.[16] Cinematography was done by Caleb Deschanel.[17]
Music[edit]
The musical score for Winter's Tale is composed by KT Tunstall, Hans Zimmer, and Rupert Gregson-Williams.[17] A soundtrack album is scheduled to be released on February 11, 2014 by WaterTower Music.[18]
On February 4, 2014, four tracks were revealed on Soundcloud, and are scheduled for release on February 14. "Miracle", by Scottish singer and "Suddenly I See" star KT Tunstall would be the lead single of the soundtrack. Three other tracks are revealed each co-composed by Hans Zimmer and Rupert Gregson-Williams: "What's the Best Thing You've Ever Stolen?", "You Don't Quit Me, Boy", and "She Was Like a Bright Light".[19]
Reception[edit]
Early reviews for Winter's Tale were negative. On Rotten Tomatoes, the film has a 13% rating, with an average score of 6.1/10, based on 8 reviews.[20]
References[edit]
1.Jump up ^ "'Winter's Tale's' Release Date Announced By Warner Bros". The Hollywood Reporter. 2013-08-16. Retrieved 2013-11-08.
2.^ Jump up to: a b "A NEW YORK WINTER'S TALE (12A)". Warner Bros. British Board of Film Classification. February 5, 2014. Retrieved February 5, 2014.
3.Jump up ^ "Full cast and crew for Winter's Tale". Internet Movie Database. January 30, 2013. Retrieved January 30, 2013.
4.Jump up ^ "Akiva Goldsman Gets Green Light On ‘Winter’s Tale’ At Warner Bros". Deadline.com. February 1, 2011. Retrieved January 28, 2013.
5.Jump up ^ Kit, Borys (April 11, 2011). "Casting Couch: Who's Testing for Directors Roland Emmerich, Akiva Goldsman and 'Die Hard 5' (Exclusive)". The Hollywood Reporter. Retrieved 28 January 2013.
6.Jump up ^ "Russell Crowe and Will Smith Save Akiva Goldsman's Directing Debut, Winter’s Tale". Vulture.com. February 1, 2012. Retrieved January 29, 2013.
7.^ Jump up to: a b "Colin Farrell Offered Lead In Akiva Goldsman's 'Winter's Tale' Opposite 'Downton Abbey' Star Jessica Brown-Findlay". IndieWire. April 26, 2012. Retrieved January 29, 2013.
8.Jump up ^ "Elizabeth Olsen, Tom Hiddleston Up For Akiva Goldsman's Winter's Tale". Cinema Blend. November 7, 2011. Retrieved January 29, 2013.
9.Jump up ^ Fleming, Mike (August 1, 2012). "William Hurt Joins Akiva Goldsman's ‘Winter’s Tale’". Deadline.com. Retrieved 28 January 2013.
10.Jump up ^ Fleming, Mike (September 21, 2012). "Akiva Goldsman’s ‘Winter’s Tale’ Sets Matt Bomer, Lucy Griffiths, Eva Marie Saint". Deadline.com. Retrieved 28 January 2013.
11.Jump up ^ Fleming, Mike (October 11, 2012). "Jennifer Connelly Joining Akiva Goldsman’s ‘Winter’s Tale’". Deadline.com. Retrieved 28 January 2013.
12.Jump up ^ Verrier, Richard; Blake, Meredith (October 29, 2012). "Hurricane Sandy shuts down film and TV production on East Coast". Los Angeles Times. Retrieved 28 January 2013.
13.Jump up ^ "Crowe ‘Tale’ of B’klyn woe". New York Post. November 27, 2012. Retrieved 28 January 2013.
14.Jump up ^ "'Winter's Tale' filming around Cooper Square; Russell Crowe Alert". EV Grieve. December 2, 2012. Retrieved 28 January 2013.
15.Jump up ^ "Adam Levine soaks up the L.A. sun while Jennifer Connelly freezes in New York". EV Grieve. January 16, 2013. Retrieved 28 January 2013.
16.Jump up ^ "Hollywood Snow Falls on Lyndhurst". Rye Patch. January 29, 2013. Retrieved February 11, 2014.
17.^ Jump up to: a b "Below-the-Line Impact Report 2012". Variety. July 30, 2012. Retrieved January 28, 2013.
18.Jump up ^ "WaterTower Music to Release Hans Zimmer’s and Rupert Gregson-Williams’ ‘Winter’s Tale’ Score". Film Music Reporter. December 17, 2013. Retrieved December 18, 2013.
19.Jump up ^ "Get Ready for Romance With Four Exclusive Tracks From the 'Winter's Tale' Soundtrack". Moviefone. February 4, 2014. Retrieved February 4, 2014.
20.Jump up ^ "Winter's Tale (2014)". Rotten Tomatoes. Retrieved February 12, 2014.
External links[edit]
Official website
Winter's Tale at the Internet Movie Database
Winter's Tale at Rotten Tomatoes
Winter's Tale at Metacritic
Russell Crowe horses around with Colin Farrell on set of Winter's Tale
Getty Images from the set
A Winter's Tale: Jennifer Connelly and Colin Farrell brave the cold as they film scenes for their new movie


[hide]
v ·
 t ·
 e
 
Akiva Goldsman


As director
Kings (2009–present) ·
 Fringe (2009–2013) ·
 Winter's Tale (2014)
 

As screenwriter
The Client (1994) ·
 Silent Fall (1994) ·
 Batman Forever (1995) ·
 A Time to Kill (1996) ·
 Batman & Robin (1997) ·
 Lost in Space (1998) ·
 Practical Magic (1998) ·
 A Beautiful Mind (2001) ·
 I, Robot (2004) ·
 Cinderella Man (2005) ·
 The Da Vinci Code (2006) ·
 I Am Legend (2007) ·
 Angels & Demons (2008) ·
 Fringe (2009–2013) ·
 Winter's Tale (2014)
 

As producer
Lost in Space (1998) ·
 Deep Blue Sea (1999) ·
 Starsky & Hutch (2004) ·
 Mindhunters (2004) ·
 Constantine (2004) ·
 Mr. & Mrs. Smith (2005) ·
 Poseidon (2006) ·
 I Am Legend (2007) ·
 Hancock (2008) ·
 Fringe (2009–2013) ·
 The Losers (2010) ·
 Fair Game (2010) ·
 Jonah Hex (2010) ·
 Lone Survivor (2013) ·
 Winter's Tale (2014)
 

 


Categories: Upcoming films
English-language films
2014 films
2010s fantasy films
2010s romantic drama films
American films
American romantic drama films
American romantic fantasy films
Directorial debut films
Film scores by Hans Zimmer
Films about horses
Films based on American novels
Films based on fantasy novels
Films set in 1916
Films set in New York City
Films shot in New York City
Warner Bros. films
Village Roadshow Pictures films








Navigation menu



Create account
Log in



Article

Talk










Read

Edit

View history









 Search 






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Featured content
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Languages
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Italiano
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This page was last modified on 12 February 2014 at 13:28.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
 Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Powered by MediaWiki
 






























Gravity (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Gravity
Gravity Poster.jpg
Theatrical release poster

Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Written by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Editing by
Alfonso Cuarón
 Mark Sanger
Studio
Esperanto Filmoj
Heyday Films
Distributed by
Warner Bros. Pictures
Release dates
August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)

Running time
91 minutes[1]
Country
United Kingdom[2][3]
 United States[2]
Language
English
Budget
$100 million[4]
Box office
$698,218,000 [4]
Gravity is a 2013 British-American 3D science-fiction thriller[4][5] and space drama film.[6][7] Directed, co-written, co-produced and co-edited by Alfonso Cuarón, the film stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a Space Shuttle and their attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Studios. The rights to the project were sold and the project later found traction at Warner Bros. The studio approached multiple actresses before casting Bullock in the female lead role. Robert Downey Jr. was also involved as the male lead before leaving the project and being replaced by Clooney. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. Made in the UK, London-based VFX company Framestore spent over 3 years creating most of the visual effects for the entire movie encompassing over 80 minutes of screen time.
Gravity opened the 70th Venice International Film Festival in August 2013.[8] Its North American premiere was three days later at the Telluride Film Festival. It received a wide release in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences alike; both groups giving praise for Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects.
In 2014, Gravity was nominated for 10 Academy Awards, including Best Picture, Best Director for Cuarón and Best Actress for Bullock. The film was also awarded seven Critics Choice Awards and a Golden Globe Award for Best Director for Cuarón.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Filming
4.3 Music
5 Release 5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Home media
6 Scientific accuracy
7 See also
8 References
9 External links

Plot[edit]
The film is set during fictitious Space Shuttle mission STS-157. Dr. Ryan Stone (Bullock) is a medical engineer on her first space shuttle mission aboard the Space Shuttle Explorer. She is accompanied by veteran astronaut Matt Kowalski (Clooney), who is commanding his final expedition. During a spacewalk to service the Hubble Space Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has caused a chain reaction forming a cloud of space debris. Mission Control orders that the mission be aborted. Communications with Mission Control are lost shortly after, though the astronauts continue to transmit, hoping that the ground crew can still hear them.
High-speed debris strikes the Explorer and Hubble, and detaches Stone from the shuttle, leaving her tumbling through space. Kowalski soon recovers Stone and they make their way back to the Space Shuttle. They discover that the Shuttle has suffered catastrophic damage and the crew is dead. They use the thruster pack to make their way to the International Space Station (ISS), which is in orbit only about 900 mi (1,450 km) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's life back home and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The remaining Soyuz has suffered damage causing its parachute to deploy, rendering it useless for returning to Earth. Kowalski suggests it be used to travel to the nearby Chinese space station Tiangong, 100 mi (160 km) away, and board one of its modules to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she is able to grab a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS. As Kowalski floats away, he radios her additional instructions and encouragement.
Nearly out of oxygen, Stone manages to enter the ISS via an airlock but must hastily make her way to the Soyuz to escape a fire. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent Soyuz from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers the craft's engine has no fuel. After a brief radio communication with a Greenlandic Inuit fisherman and listening to him cooing to a baby, Stone resigns herself to being stranded and shuts down the oxygen supply of the cabin in order to commit suicide. As she begins to lose consciousness, Kowalski appears outside and enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance is not real, but has nonetheless given her new strength and the will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong.
Unable to dock the Soyuz with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel to Tiangong. Space debris knocks Tiangong from its trajectory, and it begins rapidly deorbiting. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. As the capsule re-enters the Earth's atmosphere, Stone hears Mission Control over the radio tracking the capsule. It lands in a lake, but dense smoke due to an electrical fire inside the capsule forces Stone to evacuate immediately. Opening the capsule hatch allows water to rapidly fill the capsule, which sinks, forcing Stone to shed her spacesuit underwater and swim ashore. She takes her first shaky steps on land, in the full gravity of Earth.
Cast[edit]
Sandra Bullock as Dr. Ryan Stone: A medical engineer and Mission Specialist on her first mission in space.
George Clooney as Lieutenant Matt Kowalski: The commander of the team, Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with the team, but is also determined to protect the lives of his fellow astronauts.
Ed Harris (voice) as Mission Control in Houston, Texas.
Orto Ignatiussen (voice) as Aningaaq: A Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[9]
Paul Sharma (voice) as Shariff Dasari: The flight engineer on board the Explorer. Shariff has a wife and child and keeps a family photo on his suit.
Amy Warren (voice) as Explorer captain.
Basher Savage (voice) as International Space Station Captain
Themes[edit]
Despite being set in outer space, the film draws upon motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[10][11][12][13] Cuarón uses Stone to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the mortal consequences of a relentless Murphy's Law.[5]
The film incorporates spiritual themes both in terms of Ryan's daughter's accidental death, the will to survive in the face of overwhelming odds, as well as the impossibility of rescue.[11] Calamities unfold but there are no witnesses to them, save for the surviving astronauts.[14]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the planet and the depths of dark space, the chaos but also predictability of the deadly debris field, and silence of the vacuum of space with the sound of the score.[13][15] The film uses very long and uninterrupted shots throughout to draw the audience into the action but also contrasts these with claustrophobic shots within space suits and capsules.[11][16]
Some commentators have noted religious themes in the film.[17][18][19][20] For instance, Catholic author Fr. Robert Barron summarizes the tension between Gravity's technology and religious symbolism, "The technology which this film legitimately celebrates... can’t save us, and it can’t provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access... the reality of God".[20]
Human evolution and the resilience of life may also be seen as a key theme of the movie.[21][22][23][24] The movie opens with the hitherto climax of human civilization, the exploration of space, and ends with an allegory to the dawn of mankind, when Dr. Ryan Stone (Bullock) fights her way out of the ocean after the crash-landing, passing an amphibian, grabbing the soil of the shore and slowly regaining her capacity to stand upright and walk. In an interview director Cuarón notes: "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[22] Other imagery depicting the formation of life include a scene in which Dr. Ryan Stone rests in an embryonic position, surrounded with a rope strongly resembling an umbilical cord. Dr. Ryan Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on earth may have come from outer space in form of meteorites.[25]
Production[edit]
Development[edit]



 Sandra Bullock (center) and Alfonso Cuarón (right) at the 2013 San Diego Comic-Con International promoting Gravity
Alfonso Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project found traction at Warner Bros. instead. Warner Bros. acquired the project, which in February 2010, attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted.[26] Later in the month, she passed on the project,[27] partially because the studio did not want to pay the $20 million fee[28] she had received for her latest two movies, but also because she wanted to work on directing her Bosnian war film In the Land of Blood and Honey.[29] In March, Robert Downey, Jr. entered talks to be cast in the male lead role.[30]
In mid-2010, Marion Cotillard tested for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were in the running for the role.[28] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was being praised for her performance in the then-recently released Black Swan.[31] Portman passed on the project due to scheduling conflicts, and Warner Bros. then approached Sandra Bullock for the role.[29] In November 2010, Downey left the project to star in How to Talk to Girls, a project in development with Shawn Levy attached to direct.[32] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[33]
A big challenge for the team was the question of how to shoot long takes in a zero-g environment. Eventually the team decided to use computer-generated imagery for the spacewalk scenes, and automotive robots to move Bullock's character for interior space station scenes.[34] This meant that shots and blocking had to be planned well in advance in order for the robots to be programmed.[34] It also made the production period much longer than expected. When the script was finished, Cuarón assumed it would take about a year to complete the movie, but it took four and a half years instead.[35]
Filming[edit]



Lake Powell, Arizona, where the landing scene was filmed
Gravity had a production budget of $100 million and was filmed digitally on multiple Arri Alexas. Principal photography on the film began in late May 2011.[36] Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[37] The landing scene was filmed at Lake Powell, Arizona (incidentally where the astronauts' landing scene was filmed in Planet of the Apes).[38] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore which was responsible for creating most of the visual effects for the entire movie except for 17 shots. Framestore was also heavily involved in the Art Direction and Previz along with The Third Floor. Tim Webber stated that 80 percent of the movie consisted of CG while in comparison James Cameron's Avatar had a percentage of 60.[39] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[40] The 3D was designed and supervised by Chris Parks. The majority of the 3D was created through stereo rendering the CG at Framestore with the rest converted into 3D in post production, principally at Prime Focus, London with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker. Filming began in London in May 2011.[41] The film contains only 156 or so shots, with an average shot length of 45 seconds, resulting in fewer and longer shots than in most films of this length.[42] Although the first trailer had audible explosions and other sounds, in the final film these scenes are silent. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[43] The soundtrack in the film's space scenes is populated only by the musical score and sounds astronauts would hear in their suits or the space vehicles.
Most of Bullock's shots were done with her inside of a giant mechanical rig.[34] Getting into the rig took a significant amount of time, so Bullock opted to stay in it for up to 10 hours a day, communicating with others only through a headset.[34] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a massive celebration when Bullock arrived each day. They also nicknamed the rig "Sandy's cage" and gave it a lighted sign reflecting this.[34]
The majority of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. However the final scene of the film which takes place on Earth was shot on an Arri 765 camera on 65mm film in order to provide the sequence a visual contrast compared to the rest of the picture.[44]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music to Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[45] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[46] Additional songs featured in the film include:[47]
"Angels Are Hard to Find" by Hank Williams, Jr.
"Mera Joota hai Japani" by Shailendra and Shankar Jaikishan
"Sinigit Meerannguaq" by Juaaka Lyberth
"Destination Anywhere" by Chris Benstead and Robin Baynton
"922 Anthem" by 922 (featuring Gaurav Dayal)
"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel was used, written by Estonian composer Arvo Pärt in 1978.[48]
Release[edit]
Gravity was released in 3D and IMAX 3D on October 4, 2013.[49] The film's release coincided with the beginning of World Space Week, observed from October 4 to 10. The film was originally scheduled to be released on November 21, 2012, before being re-scheduled for a 2013 release in order to complete extensive post-production effects work.[50]


Box office[edit]
As of February 7, 2014, Gravity has grossed $264,802,800 in North America, and $430,000,000 in other countries, for a worldwide total of $694,802,800, making it the eighth highest grossing film of 2013.[4]
Preliminary reports had the film tracking for a debut of over $40 million in North America.[51][52] The film earned $1.4 million from its Thursday night showings,[53] and reached a $17.5 million Friday total.[54] It topped the box office and also went on to break Paranormal Activity 3's record as the biggest October and autumn openings ever, as the film brought in $55.8 million.[55] Of the film's opening weekend gross, 80 percent of the total was derived from its 3D showings for a sum of $44 million—which also includes $11.2 million, or 20 percent of the total receipts, from IMAX 3D showings, the highest percentage ever for a film opening more than $50 million.[56] The movie retained the top spot at the box office during its second and third weekends.[57][58] Gravity opened at number one in the United Kingdom at £6.23 million over the first weekend of release[59] and remained at the top spot for the second week running.[60] The film's largest markets outside North America were China ($71.17 million),[61] the United Kingdom ($48.59 million) and France (38.23 million).[62]
Critical response[edit]
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, where it received universal acclaim from critics and audiences, praising the acting, direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[63] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 295 critics, with a "Certified Fresh" rating, and an average score of 9.1/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[64] On Metacritic, which assigns a normalised rating out of 100 based on reviews from critics, the film has a score of 96 (indicating "universal acclaim") based on 49 reviews.[65] CinemaScore polls conducted during the opening weekend revealed the average grade cinemagoers gave Gravity was A- on an A+ to F scale.[56]
Matt Zoller Seitz, writing on RogerEbert.com, gave the film a maximum four stars, stating that "Alfonso Cuarón's Gravity, about astronauts coping with disaster, is a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely."[66] At Variety, Justin Chang posits that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide."[67] Richard Corliss of Time proclaimed that "Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view." He also praised Cuarón for "[playing] daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[68]
Peter Travers of Rolling Stone gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle."[69] A. O. Scott, writing for The New York Times highlighted the use of 3-D "which surpasses even what James Cameron accomplished in the flight sequences of Avatar." Scott went on to say that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them." [70]
Critics have also compared Gravity with other notable movies set in space. The choice of Ed Harris as the voice of Mission Control is seen as a nod to Apollo 13.[71] Other references include Alien,[15] and 2001: A Space Odyssey.[72]
The film was praised by James Cameron, who stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[73] Quentin Tarantino named it one of his top ten movies of 2013.[74]
Empire, Time and Total Film ranked the film as the best of 2013.[75][76][77] It was also the highest-rated film of the year on IMDb.[78]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards, the most nominations of this year's ceremony tied with American Hustle. The nominations includes Best Picture, Best Director for Cuarón, Best Actress for Bullock, and Best Original Score for Price, among others.[79]
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was further nominated for Best Motion Picture – Drama, Best Actress in Drama for Bullock and Best Original Score.[80]
It received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013, including Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Including his nominations as producer (for Best Film awards) and editor, Cuarón was also the person with the most nominations, with five overall.[81][82]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and will be released on DVD, Blu-ray, and Blu-ray 3D on February 25, 2014.
Scientific accuracy[edit]
Cuarón has stated that the film is not always scientifically accurate and that some liberties were needed to sustain the story.[83] "This is not a documentary," Cuarón said. "It is a piece of fiction."[84]
Nevertheless, the film has been praised for the realism of its premises and its overall adherence to physical principles, despite a number of inaccuracies and exaggerations.[85][86][87] According to NASA Astronaut Michael J. Massimino, who took part in two Hubble Space Telescope (HST) Servicing Missions (STS-109 and STS-125), "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[88] Astronaut Buzz Aldrin called the visual effects "remarkable". He adds, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[89] Garrett Reisman, a former NASA astronaut, noted that, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[90]



 Comparison of International Space Station and Hubble Space Telescope orbits
On the other hand, astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[87][91][92] Examples of such mistakes include:
The HST, which is being repaired at the beginning of the movie, has an altitude of about 559 kilometers (347 mi), and an orbital inclination of 28.5 degrees. The ISS has an altitude of around 420 kilometers (260 mi), and an orbital inclination of 51.65 degrees. With such significant differences in orbital parameters, it would be impossible to travel between them without precise preparation, planning, calculation, appropriate technology and a large amount of fuel.[86][87][92]
When Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, several observers (including Plait and Tyson) contend that all Stone had to do was to give the tether a gentle tug, and Kowalski would have been safely pulled toward her, since the movie shows the pair having stopped and there would thus be no centrifugal force to pull Kowalski away.[92] Others, however, such as Kevin Grazier, science adviser for the movie, and NASA engineer Robert Frost, maintain that the pair are actually still decelerating, with Stone's leg caught in the parachute cords from the Soyuz. As the cords absorb her kinetic energy, they stretch. Kowalski's interpretation of the situation is that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must therefore release the tether in order to give her a chance of stopping before the cords fail and doom both of them.[93]
Stone was shown not wearing liquid-cooled ventilation garments or even socks (always worn to protect against temperature extremes of space) under the EVA suit. Neither was she shown wearing space diapers.[87]
Stone's tears first roll down her face in zero gravity, and later are seen floating off her face. Without sufficient force to dislodge the tears, the tears would remain on her face due to surface tension.[94] However, the movie does correctly portray the spherical appearance of liquid drops in a micro-gravity environment.[86]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski have all said they enjoyed watching the film.[87][91][92] Aldrin hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[89]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Kessler syndrome
List of films featuring space stations
Love, a 2011 film about being stranded in space
Marooned, 1969 film about survival in space
Mercury-Redstone 4#Splashdown, a Mercury capsule that sank after splashdown
Survival film
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87.^ Jump up to: a b c d e Watkins, Gwynne (October 8, 2013). "An Astronaut Fact-checks Gravity". Vulture. Retrieved October 12, 2013.
88.Jump up ^ "Gravity: Ripped from the Headlines?". Space Safety Magazine. October 3, 2013. Retrieved October 3, 2013.
89.^ Jump up to: a b "'Gravity' Review by Astronaut Buzz Aldrin". The Hollywood Reporter. October 3, 2013. Retrieved October 7, 2013.
90.Jump up ^ Reisman, Garrett. "What Does A Real Astronaut Think Of 'Gravity'?". Forbes. Retrieved October 20, 2013.
91.^ Jump up to: a b "Astrophysicist Neil deGrasse Tyson Fact-Checks Gravity on Twitter". Wired. October 7, 2013. Retrieved October 8, 2013.
92.^ Jump up to: a b c d Plait, Phil (October 4, 2013). "Bad Astronomy Movie Review: Gravity". Slate. Retrieved October 24, 2013.
93.Jump up ^ Dewey, Caitlin (October 21, 2013). "Here’s what ‘Gravity’ gets right and wrong about space". Washington Post.
94.Jump up ^ Hadfield, Chris (April 11, 2013). "How Astronauts Cry In Space (Video)". Space.com. Retrieved October 22, 2013.
External links[edit]
Official website
Gravity at the Internet Movie Database
Gravity at allmovie
Gravity at Box Office Mojo
Gravity at Metacritic
Gravity at Rotten Tomatoes


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Gravity (film)
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Gravity
Gravity Poster.jpg
Theatrical release poster

Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Written by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Editing by
Alfonso Cuarón
 Mark Sanger
Studio
Esperanto Filmoj
Heyday Films
Distributed by
Warner Bros. Pictures
Release dates
August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)

Running time
91 minutes[1]
Country
United Kingdom[2][3]
 United States[2]
Language
English
Budget
$100 million[4]
Box office
$698,218,000 [4]
Gravity is a 2013 British-American 3D science-fiction thriller[4][5] and space drama film.[6][7] Directed, co-written, co-produced and co-edited by Alfonso Cuarón, the film stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a Space Shuttle and their attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Studios. The rights to the project were sold and the project later found traction at Warner Bros. The studio approached multiple actresses before casting Bullock in the female lead role. Robert Downey Jr. was also involved as the male lead before leaving the project and being replaced by Clooney. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. Made in the UK, London-based VFX company Framestore spent over 3 years creating most of the visual effects for the entire movie encompassing over 80 minutes of screen time.
Gravity opened the 70th Venice International Film Festival in August 2013.[8] Its North American premiere was three days later at the Telluride Film Festival. It received a wide release in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences alike; both groups giving praise for Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects.
In 2014, Gravity was nominated for 10 Academy Awards, including Best Picture, Best Director for Cuarón and Best Actress for Bullock. The film was also awarded seven Critics Choice Awards and a Golden Globe Award for Best Director for Cuarón.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Filming
4.3 Music
5 Release 5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Home media
6 Scientific accuracy
7 See also
8 References
9 External links

Plot[edit]
The film is set during fictitious Space Shuttle mission STS-157. Dr. Ryan Stone (Bullock) is a medical engineer on her first space shuttle mission aboard the Space Shuttle Explorer. She is accompanied by veteran astronaut Matt Kowalski (Clooney), who is commanding his final expedition. During a spacewalk to service the Hubble Space Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has caused a chain reaction forming a cloud of space debris. Mission Control orders that the mission be aborted. Communications with Mission Control are lost shortly after, though the astronauts continue to transmit, hoping that the ground crew can still hear them.
High-speed debris strikes the Explorer and Hubble, and detaches Stone from the shuttle, leaving her tumbling through space. Kowalski soon recovers Stone and they make their way back to the Space Shuttle. They discover that the Shuttle has suffered catastrophic damage and the crew is dead. They use the thruster pack to make their way to the International Space Station (ISS), which is in orbit only about 900 mi (1,450 km) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's life back home and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The remaining Soyuz has suffered damage causing its parachute to deploy, rendering it useless for returning to Earth. Kowalski suggests it be used to travel to the nearby Chinese space station Tiangong, 100 mi (160 km) away, and board one of its modules to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she is able to grab a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS. As Kowalski floats away, he radios her additional instructions and encouragement.
Nearly out of oxygen, Stone manages to enter the ISS via an airlock but must hastily make her way to the Soyuz to escape a fire. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent Soyuz from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers the craft's engine has no fuel. After a brief radio communication with a Greenlandic Inuit fisherman and listening to him cooing to a baby, Stone resigns herself to being stranded and shuts down the oxygen supply of the cabin in order to commit suicide. As she begins to lose consciousness, Kowalski appears outside and enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance is not real, but has nonetheless given her new strength and the will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong.
Unable to dock the Soyuz with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel to Tiangong. Space debris knocks Tiangong from its trajectory, and it begins rapidly deorbiting. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. As the capsule re-enters the Earth's atmosphere, Stone hears Mission Control over the radio tracking the capsule. It lands in a lake, but dense smoke due to an electrical fire inside the capsule forces Stone to evacuate immediately. Opening the capsule hatch allows water to rapidly fill the capsule, which sinks, forcing Stone to shed her spacesuit underwater and swim ashore. She takes her first shaky steps on land, in the full gravity of Earth.
Cast[edit]
Sandra Bullock as Dr. Ryan Stone: A medical engineer and Mission Specialist on her first mission in space.
George Clooney as Lieutenant Matt Kowalski: The commander of the team, Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with the team, but is also determined to protect the lives of his fellow astronauts.
Ed Harris (voice) as Mission Control in Houston, Texas.
Orto Ignatiussen (voice) as Aningaaq: A Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[9]
Paul Sharma (voice) as Shariff Dasari: The flight engineer on board the Explorer. Shariff has a wife and child and keeps a family photo on his suit.
Amy Warren (voice) as Explorer captain.
Basher Savage (voice) as International Space Station Captain
Themes[edit]
Despite being set in outer space, the film draws upon motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[10][11][12][13] Cuarón uses Stone to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the mortal consequences of a relentless Murphy's Law.[5]
The film incorporates spiritual themes both in terms of Ryan's daughter's accidental death, the will to survive in the face of overwhelming odds, as well as the impossibility of rescue.[11] Calamities unfold but there are no witnesses to them, save for the surviving astronauts.[14]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the planet and the depths of dark space, the chaos but also predictability of the deadly debris field, and silence of the vacuum of space with the sound of the score.[13][15] The film uses very long and uninterrupted shots throughout to draw the audience into the action but also contrasts these with claustrophobic shots within space suits and capsules.[11][16]
Some commentators have noted religious themes in the film.[17][18][19][20] For instance, Catholic author Fr. Robert Barron summarizes the tension between Gravity's technology and religious symbolism, "The technology which this film legitimately celebrates... can’t save us, and it can’t provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access... the reality of God".[20]
Human evolution and the resilience of life may also be seen as a key theme of the movie.[21][22][23][24] The movie opens with the hitherto climax of human civilization, the exploration of space, and ends with an allegory to the dawn of mankind, when Dr. Ryan Stone (Bullock) fights her way out of the ocean after the crash-landing, passing an amphibian, grabbing the soil of the shore and slowly regaining her capacity to stand upright and walk. In an interview director Cuarón notes: "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[22] Other imagery depicting the formation of life include a scene in which Dr. Ryan Stone rests in an embryonic position, surrounded with a rope strongly resembling an umbilical cord. Dr. Ryan Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on earth may have come from outer space in form of meteorites.[25]
Production[edit]
Development[edit]



 Sandra Bullock (center) and Alfonso Cuarón (right) at the 2013 San Diego Comic-Con International promoting Gravity
Alfonso Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project found traction at Warner Bros. instead. Warner Bros. acquired the project, which in February 2010, attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted.[26] Later in the month, she passed on the project,[27] partially because the studio did not want to pay the $20 million fee[28] she had received for her latest two movies, but also because she wanted to work on directing her Bosnian war film In the Land of Blood and Honey.[29] In March, Robert Downey, Jr. entered talks to be cast in the male lead role.[30]
In mid-2010, Marion Cotillard tested for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were in the running for the role.[28] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was being praised for her performance in the then-recently released Black Swan.[31] Portman passed on the project due to scheduling conflicts, and Warner Bros. then approached Sandra Bullock for the role.[29] In November 2010, Downey left the project to star in How to Talk to Girls, a project in development with Shawn Levy attached to direct.[32] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[33]
A big challenge for the team was the question of how to shoot long takes in a zero-g environment. Eventually the team decided to use computer-generated imagery for the spacewalk scenes, and automotive robots to move Bullock's character for interior space station scenes.[34] This meant that shots and blocking had to be planned well in advance in order for the robots to be programmed.[34] It also made the production period much longer than expected. When the script was finished, Cuarón assumed it would take about a year to complete the movie, but it took four and a half years instead.[35]
Filming[edit]



Lake Powell, Arizona, where the landing scene was filmed
Gravity had a production budget of $100 million and was filmed digitally on multiple Arri Alexas. Principal photography on the film began in late May 2011.[36] Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[37] The landing scene was filmed at Lake Powell, Arizona (incidentally where the astronauts' landing scene was filmed in Planet of the Apes).[38] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore which was responsible for creating most of the visual effects for the entire movie except for 17 shots. Framestore was also heavily involved in the Art Direction and Previz along with The Third Floor. Tim Webber stated that 80 percent of the movie consisted of CG while in comparison James Cameron's Avatar had a percentage of 60.[39] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[40] The 3D was designed and supervised by Chris Parks. The majority of the 3D was created through stereo rendering the CG at Framestore with the rest converted into 3D in post production, principally at Prime Focus, London with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker. Filming began in London in May 2011.[41] The film contains only 156 or so shots, with an average shot length of 45 seconds, resulting in fewer and longer shots than in most films of this length.[42] Although the first trailer had audible explosions and other sounds, in the final film these scenes are silent. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[43] The soundtrack in the film's space scenes is populated only by the musical score and sounds astronauts would hear in their suits or the space vehicles.
Most of Bullock's shots were done with her inside of a giant mechanical rig.[34] Getting into the rig took a significant amount of time, so Bullock opted to stay in it for up to 10 hours a day, communicating with others only through a headset.[34] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a massive celebration when Bullock arrived each day. They also nicknamed the rig "Sandy's cage" and gave it a lighted sign reflecting this.[34]
The majority of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. However the final scene of the film which takes place on Earth was shot on an Arri 765 camera on 65mm film in order to provide the sequence a visual contrast compared to the rest of the picture.[44]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music to Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[45] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[46] Additional songs featured in the film include:[47]
"Angels Are Hard to Find" by Hank Williams, Jr.
"Mera Joota hai Japani" by Shailendra and Shankar Jaikishan
"Sinigit Meerannguaq" by Juaaka Lyberth
"Destination Anywhere" by Chris Benstead and Robin Baynton
"922 Anthem" by 922 (featuring Gaurav Dayal)
"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel was used, written by Estonian composer Arvo Pärt in 1978.[48]
Release[edit]
Gravity was released in 3D and IMAX 3D on October 4, 2013.[49] The film's release coincided with the beginning of World Space Week, observed from October 4 to 10. The film was originally scheduled to be released on November 21, 2012, before being re-scheduled for a 2013 release in order to complete extensive post-production effects work.[50]


Box office[edit]
As of February 7, 2014, Gravity has grossed $264,802,800 in North America, and $430,000,000 in other countries, for a worldwide total of $694,802,800, making it the eighth highest grossing film of 2013.[4]
Preliminary reports had the film tracking for a debut of over $40 million in North America.[51][52] The film earned $1.4 million from its Thursday night showings,[53] and reached a $17.5 million Friday total.[54] It topped the box office and also went on to break Paranormal Activity 3's record as the biggest October and autumn openings ever, as the film brought in $55.8 million.[55] Of the film's opening weekend gross, 80 percent of the total was derived from its 3D showings for a sum of $44 million—which also includes $11.2 million, or 20 percent of the total receipts, from IMAX 3D showings, the highest percentage ever for a film opening more than $50 million.[56] The movie retained the top spot at the box office during its second and third weekends.[57][58] Gravity opened at number one in the United Kingdom at £6.23 million over the first weekend of release[59] and remained at the top spot for the second week running.[60] The film's largest markets outside North America were China ($71.17 million),[61] the United Kingdom ($48.59 million) and France (38.23 million).[62]
Critical response[edit]
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, where it received universal acclaim from critics and audiences, praising the acting, direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[63] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 295 critics, with a "Certified Fresh" rating, and an average score of 9.1/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[64] On Metacritic, which assigns a normalised rating out of 100 based on reviews from critics, the film has a score of 96 (indicating "universal acclaim") based on 49 reviews.[65] CinemaScore polls conducted during the opening weekend revealed the average grade cinemagoers gave Gravity was A- on an A+ to F scale.[56]
Matt Zoller Seitz, writing on RogerEbert.com, gave the film a maximum four stars, stating that "Alfonso Cuarón's Gravity, about astronauts coping with disaster, is a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely."[66] At Variety, Justin Chang posits that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide."[67] Richard Corliss of Time proclaimed that "Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view." He also praised Cuarón for "[playing] daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[68]
Peter Travers of Rolling Stone gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle."[69] A. O. Scott, writing for The New York Times highlighted the use of 3-D "which surpasses even what James Cameron accomplished in the flight sequences of Avatar." Scott went on to say that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them." [70]
Critics have also compared Gravity with other notable movies set in space. The choice of Ed Harris as the voice of Mission Control is seen as a nod to Apollo 13.[71] Other references include Alien,[15] and 2001: A Space Odyssey.[72]
The film was praised by James Cameron, who stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[73] Quentin Tarantino named it one of his top ten movies of 2013.[74]
Empire, Time and Total Film ranked the film as the best of 2013.[75][76][77] It was also the highest-rated film of the year on IMDb.[78]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards, the most nominations of this year's ceremony tied with American Hustle. The nominations includes Best Picture, Best Director for Cuarón, Best Actress for Bullock, and Best Original Score for Price, among others.[79]
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was further nominated for Best Motion Picture – Drama, Best Actress in Drama for Bullock and Best Original Score.[80]
It received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013, including Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Including his nominations as producer (for Best Film awards) and editor, Cuarón was also the person with the most nominations, with five overall.[81][82]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and will be released on DVD, Blu-ray, and Blu-ray 3D on February 25, 2014.
Scientific accuracy[edit]
Cuarón has stated that the film is not always scientifically accurate and that some liberties were needed to sustain the story.[83] "This is not a documentary," Cuarón said. "It is a piece of fiction."[84]
Nevertheless, the film has been praised for the realism of its premises and its overall adherence to physical principles, despite a number of inaccuracies and exaggerations.[85][86][87] According to NASA Astronaut Michael J. Massimino, who took part in two Hubble Space Telescope (HST) Servicing Missions (STS-109 and STS-125), "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[88] Astronaut Buzz Aldrin called the visual effects "remarkable". He adds, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[89] Garrett Reisman, a former NASA astronaut, noted that, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[90]



 Comparison of International Space Station and Hubble Space Telescope orbits
On the other hand, astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[87][91][92] Examples of such mistakes include:
The HST, which is being repaired at the beginning of the movie, has an altitude of about 559 kilometers (347 mi), and an orbital inclination of 28.5 degrees. The ISS has an altitude of around 420 kilometers (260 mi), and an orbital inclination of 51.65 degrees. With such significant differences in orbital parameters, it would be impossible to travel between them without precise preparation, planning, calculation, appropriate technology and a large amount of fuel.[86][87][92]
When Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, several observers (including Plait and Tyson) contend that all Stone had to do was to give the tether a gentle tug, and Kowalski would have been safely pulled toward her, since the movie shows the pair having stopped and there would thus be no centrifugal force to pull Kowalski away.[92] Others, however, such as Kevin Grazier, science adviser for the movie, and NASA engineer Robert Frost, maintain that the pair are actually still decelerating, with Stone's leg caught in the parachute cords from the Soyuz. As the cords absorb her kinetic energy, they stretch. Kowalski's interpretation of the situation is that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must therefore release the tether in order to give her a chance of stopping before the cords fail and doom both of them.[93]
Stone was shown not wearing liquid-cooled ventilation garments or even socks (always worn to protect against temperature extremes of space) under the EVA suit. Neither was she shown wearing space diapers.[87]
Stone's tears first roll down her face in zero gravity, and later are seen floating off her face. Without sufficient force to dislodge the tears, the tears would remain on her face due to surface tension.[94] However, the movie does correctly portray the spherical appearance of liquid drops in a micro-gravity environment.[86]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski have all said they enjoyed watching the film.[87][91][92] Aldrin hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[89]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Kessler syndrome
List of films featuring space stations
Love, a 2011 film about being stranded in space
Marooned, 1969 film about survival in space
Mercury-Redstone 4#Splashdown, a Mercury capsule that sank after splashdown
Survival film
References[edit]
1.Jump up ^ "GRAVITY (12A)". Warner Bros. British Board of Film Classification. August 23, 2013. Retrieved August 23, 2013.
2.^ Jump up to: a b "Gravity". Toronto International Film Festival.
3.Jump up ^ "Gravity producer David Heyman on 10 Oscar nominations". BBC News. Heyman; "It's very much a British film"
4.^ Jump up to: a b c d Staff (January 16, 2014). "Gravity". Box Office Mojo. Retrieved February 7, 2014.
5.^ Jump up to: a b Berardinelli, James (October 3, 2013). "Gravity – A Movie Review". ReelViews. Retrieved October 7, 2013.
6.Jump up ^ Chris Lackner (September 27, 2013). "Pop Forecast: Gravity is gripping space drama and it’s gimmick free". The Vancouver Sun. Retrieved October 3, 2013.
7.Jump up ^ "Girl on a wire: Sandra Bullock talks about her new space drama, Gravity". South China Morning Post. Retrieved October 3, 2013.
8.Jump up ^ "George Clooney and Sandra Bullock to open Venice film festival". BBC News.
9.Jump up ^ "La Biennale di Venezia – Aningaaq". LaBiennale.org.
10.Jump up ^ Zoller Seitz, Matt (October 4, 2013). "Review: Gravity". RogerEbert.com.
11.^ Jump up to: a b c "Gravity". The Miami Herald. October 3, 2013.
12.Jump up ^ Hornaday, Ann (October 3, 2013). ""Gravity" works as both thrilling sci-fi spectacle and brilliant high art". The Washington Post.
13.^ Jump up to: a b Scott, A.O. (October 3, 2013). "Between Earth and Heaven". The New York Times.
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28.^ Jump up to: a b Kit, Borys (August 11, 2010). "Blake Lively, Scarlett Johansson vie for sci-fi film". Reuters. Thomson Reuters.
29.^ Jump up to: a b Kroll, Justin (October 6, 2010). "Sandra Bullock in talks for 'Gravity'". Variety. Retrieved April 27, 2013.
30.Jump up ^ Rosenberg, Adam (April 27, 2013). "Robert Downey Jr. In Talks To Star In 'Children Of Men' Director Alfonso Cuaron's 'Gravity'". MTV. Viacom Media Networks.
31.Jump up ^ Fernandez, Jay A. (September 8, 2010). "Natalie Portman offered lead in 3D survival story". Reuters. Thomson Reuters. Retrieved April 27, 2013.
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33.Jump up ^ McNary, Dave (December 16, 2010). "Clooney to replace Downey Jr. in 'Gravity'". Variety. Retrieved April 27, 2013.
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35.Jump up ^ Sandra Bullock: the pain of Gravity
36.Jump up ^ Fitzmaurice, Sarah (June 9, 2011). "Feeling broody? George Clooney gets snap happy with Sandra Bullock and her son Louis on set of new film". Daily Mail. Retrieved October 6, 2013.
37.Jump up ^ "Gravity | Pinewood filming locations". Pinewood Group. Pinewood Studios. Retrieved October 6, 2013.
38.Jump up ^ "What Is The Mind Blowing Connection Between GRAVITY And PLANET OF THE APES?". badass digest. Retrieved November 26, 2013.
39.Jump up ^ "Gravity". Framestore. Retrieved October 22, 2013.
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41.Jump up ^ Dang, Simon (April 17, 2011). "Producer David Heyman Says Alfonso Cuarón’s 3D Sci-Fi Epic ‘Gravity’ Will Shoot This May". The Playlist. IndieWire. Retrieved April 27, 2013.
42.Jump up ^ Raup, Jordan. "Alfonso Cuaron’s 2-Hour ‘Gravity’ Revealed; 17-Minute Opening Take Confirmed". The Film Stage. Retrieved November 18, 2013.
43.Jump up ^ Child, Ben (July 22, 2013). "Comic-Con 2013: five things we learned". The Guardian. Retrieved July 22, 2013.
44.Jump up ^ "Emmanuel Lubezki, ASC, AMC and his collaborators detail their work on Gravity, a technically ambitious drama set in outer space.". The American Society of Cinematographers. November 2013. Retrieved January 1, 2014.
45.Jump up ^ "'Gravity' Soundtrack Preview Highlights 23 Minutes Of Steven Price's Nerve-Rattling Score". Huffington Post. September 5, 2013. Retrieved September 8, 2013.
46.Jump up ^ "‘Gravity’ Soundtrack Details". Film Music Reporter. August 28, 2013. Retrieved September 12, 2013.
47.Jump up ^ "Gravity (2013) – Song Credits". Soundtrack.net. Retrieved October 7, 2013.
48.Jump up ^ Wickman, Forrest (May 9, 2013). "Trailer Critic: Alfonso Cuarón’s Gravity". Slate. Retrieved May 12, 2013.
49.Jump up ^ "UPDATE: Warner Bros. and IMAX Sign Up to 20 Picture Deal!". ComingSoon.net. CraveOnline. April 25, 2010. Retrieved August 17, 2011.
50.Jump up ^ Vary, Adam (May 14, 2012). "Sandra Bullock, George Clooney sci-fi drama 'Gravity' moved to 2013". Entertainment Weekly. Retrieved May 15, 2012.
51.Jump up ^ Stewart, Andrew (October 4, 2013). "Box Office: ‘Gravity’ Tracking for a $40 Mil-Plus Bow With Record 3D Sales". Variety. Penske Media Corporation. Retrieved October 6, 2013.
52.Jump up ^ Smith, Grady (October 3, 2013). "Box office preview: 'Gravity' headed for a stellar debut". Entertainment Weekly. CNN. Retrieved October 6, 2013.
53.Jump up ^ McClintock, Pamela (October 4, 2013). "Box Office: 'Gravity' Takes Flight With $1.4 Million Thursday Night". The Hollywood Reporter. Retrieved October 6, 2013.
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58.Jump up ^ Subers, Ray (October 20, 2013). "Weekend Report: 'Gravity' Wins Again, 'Carrie' Leads Weak Newcomers". Box Office Mojo. Amazon.com. Retrieved January 17, 2014.
59.Jump up ^ "Space thriller Gravity takes £6.23 million at UK box office on opening weekend". Evening Standard. January 16, 2014
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62.Jump up ^ "Gravity Foreign by country". Box Office Mojo. Retrieved 10 February 2014.
63.Jump up ^ Trumbore, Dave (August 28, 2013). "GRAVITY Reviews Praise Sandra Bullock and George Clooney's Performances". Collider. Retrieved August 28, 2013.
64.Jump up ^ "Gravity". Rotten Tomatoes. Retrieved September 19, 2013.
65.Jump up ^ "Gravity Reviews". Metacritic. Retrieved September 19, 2013.
66.Jump up ^ "Gravity review". RogerEbert.com. Archived from the original on October 5, 2013. Retrieved October 7, 2013.
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68.Jump up ^ "Gravity at the Venice Film Festival: Dread and Awe in Space". Time. August 28, 2013. Retrieved October 2, 2013.
69.Jump up ^ Travers, Peter. "Gravity". Rolling Stone. Retrieved November 20, 2013.
70.Jump up ^ Scott, A.O. "Between Earth and Heaven". The New York Times. Retrieved November 20, 2013.
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72.Jump up ^ Morgenstern, Joe (October 3, 2013). ""Gravity" Exerts Cosmic Pull". The Wall Street Journal.
73.Jump up ^ "Alfonso Cuaron Returns to the Bigscreen After Seven Years With 'Gravity'". Variety. September 3, 2013. Retrieved September 5, 2013.
74.Jump up ^ "Quentin Tarantino's Top 10 Films of 2013 – SO FAR". The Quentin Tarantino Archives. October 5, 2013. Retrieved October 7, 2013.
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85.Jump up ^ "What's behind the science of 'Gravity'?". CNN. September 28, 2013. Retrieved October 2, 2013.
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88.Jump up ^ "Gravity: Ripped from the Headlines?". Space Safety Magazine. October 3, 2013. Retrieved October 3, 2013.
89.^ Jump up to: a b "'Gravity' Review by Astronaut Buzz Aldrin". The Hollywood Reporter. October 3, 2013. Retrieved October 7, 2013.
90.Jump up ^ Reisman, Garrett. "What Does A Real Astronaut Think Of 'Gravity'?". Forbes. Retrieved October 20, 2013.
91.^ Jump up to: a b "Astrophysicist Neil deGrasse Tyson Fact-Checks Gravity on Twitter". Wired. October 7, 2013. Retrieved October 8, 2013.
92.^ Jump up to: a b c d Plait, Phil (October 4, 2013). "Bad Astronomy Movie Review: Gravity". Slate. Retrieved October 24, 2013.
93.Jump up ^ Dewey, Caitlin (October 21, 2013). "Here’s what ‘Gravity’ gets right and wrong about space". Washington Post.
94.Jump up ^ Hadfield, Chris (April 11, 2013). "How Astronauts Cry In Space (Video)". Space.com. Retrieved October 22, 2013.
External links[edit]
Official website
Gravity at the Internet Movie Database
Gravity at allmovie
Gravity at Box Office Mojo
Gravity at Metacritic
Gravity at Rotten Tomatoes


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Gravity (film)
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Gravity
Gravity Poster.jpg
Theatrical release poster

Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Written by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Editing by
Alfonso Cuarón
 Mark Sanger
Studio
Esperanto Filmoj
Heyday Films
Distributed by
Warner Bros. Pictures
Release dates
August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)

Running time
91 minutes[1]
Country
United Kingdom[2][3]
 United States[2]
Language
English
Budget
$100 million[4]
Box office
$698,218,000 [4]
Gravity is a 2013 British-American 3D science-fiction thriller[4][5] and space drama film.[6][7] Directed, co-written, co-produced and co-edited by Alfonso Cuarón, the film stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a Space Shuttle and their attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Studios. The rights to the project were sold and the project later found traction at Warner Bros. The studio approached multiple actresses before casting Bullock in the female lead role. Robert Downey Jr. was also involved as the male lead before leaving the project and being replaced by Clooney. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. Made in the UK, London-based VFX company Framestore spent over 3 years creating most of the visual effects for the entire movie encompassing over 80 minutes of screen time.
Gravity opened the 70th Venice International Film Festival in August 2013.[8] Its North American premiere was three days later at the Telluride Film Festival. It received a wide release in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences alike; both groups giving praise for Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects.
In 2014, Gravity was nominated for 10 Academy Awards, including Best Picture, Best Director for Cuarón and Best Actress for Bullock. The film was also awarded seven Critics Choice Awards and a Golden Globe Award for Best Director for Cuarón.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Filming
4.3 Music
5 Release 5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Home media
6 Scientific accuracy
7 See also
8 References
9 External links

Plot[edit]
The film is set during fictitious Space Shuttle mission STS-157. Dr. Ryan Stone (Bullock) is a medical engineer on her first space shuttle mission aboard the Space Shuttle Explorer. She is accompanied by veteran astronaut Matt Kowalski (Clooney), who is commanding his final expedition. During a spacewalk to service the Hubble Space Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has caused a chain reaction forming a cloud of space debris. Mission Control orders that the mission be aborted. Communications with Mission Control are lost shortly after, though the astronauts continue to transmit, hoping that the ground crew can still hear them.
High-speed debris strikes the Explorer and Hubble, and detaches Stone from the shuttle, leaving her tumbling through space. Kowalski soon recovers Stone and they make their way back to the Space Shuttle. They discover that the Shuttle has suffered catastrophic damage and the crew is dead. They use the thruster pack to make their way to the International Space Station (ISS), which is in orbit only about 900 mi (1,450 km) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's life back home and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The remaining Soyuz has suffered damage causing its parachute to deploy, rendering it useless for returning to Earth. Kowalski suggests it be used to travel to the nearby Chinese space station Tiangong, 100 mi (160 km) away, and board one of its modules to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she is able to grab a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS. As Kowalski floats away, he radios her additional instructions and encouragement.
Nearly out of oxygen, Stone manages to enter the ISS via an airlock but must hastily make her way to the Soyuz to escape a fire. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent Soyuz from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers the craft's engine has no fuel. After a brief radio communication with a Greenlandic Inuit fisherman and listening to him cooing to a baby, Stone resigns herself to being stranded and shuts down the oxygen supply of the cabin in order to commit suicide. As she begins to lose consciousness, Kowalski appears outside and enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance is not real, but has nonetheless given her new strength and the will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong.
Unable to dock the Soyuz with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel to Tiangong. Space debris knocks Tiangong from its trajectory, and it begins rapidly deorbiting. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. As the capsule re-enters the Earth's atmosphere, Stone hears Mission Control over the radio tracking the capsule. It lands in a lake, but dense smoke due to an electrical fire inside the capsule forces Stone to evacuate immediately. Opening the capsule hatch allows water to rapidly fill the capsule, which sinks, forcing Stone to shed her spacesuit underwater and swim ashore. She takes her first shaky steps on land, in the full gravity of Earth.
Cast[edit]
Sandra Bullock as Dr. Ryan Stone: A medical engineer and Mission Specialist on her first mission in space.
George Clooney as Lieutenant Matt Kowalski: The commander of the team, Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with the team, but is also determined to protect the lives of his fellow astronauts.
Ed Harris (voice) as Mission Control in Houston, Texas.
Orto Ignatiussen (voice) as Aningaaq: A Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[9]
Paul Sharma (voice) as Shariff Dasari: The flight engineer on board the Explorer. Shariff has a wife and child and keeps a family photo on his suit.
Amy Warren (voice) as Explorer captain.
Basher Savage (voice) as International Space Station Captain
Themes[edit]
Despite being set in outer space, the film draws upon motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[10][11][12][13] Cuarón uses Stone to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the mortal consequences of a relentless Murphy's Law.[5]
The film incorporates spiritual themes both in terms of Ryan's daughter's accidental death, the will to survive in the face of overwhelming odds, as well as the impossibility of rescue.[11] Calamities unfold but there are no witnesses to them, save for the surviving astronauts.[14]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the planet and the depths of dark space, the chaos but also predictability of the deadly debris field, and silence of the vacuum of space with the sound of the score.[13][15] The film uses very long and uninterrupted shots throughout to draw the audience into the action but also contrasts these with claustrophobic shots within space suits and capsules.[11][16]
Some commentators have noted religious themes in the film.[17][18][19][20] For instance, Catholic author Fr. Robert Barron summarizes the tension between Gravity's technology and religious symbolism, "The technology which this film legitimately celebrates... can’t save us, and it can’t provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access... the reality of God".[20]
Human evolution and the resilience of life may also be seen as a key theme of the movie.[21][22][23][24] The movie opens with the hitherto climax of human civilization, the exploration of space, and ends with an allegory to the dawn of mankind, when Dr. Ryan Stone (Bullock) fights her way out of the ocean after the crash-landing, passing an amphibian, grabbing the soil of the shore and slowly regaining her capacity to stand upright and walk. In an interview director Cuarón notes: "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[22] Other imagery depicting the formation of life include a scene in which Dr. Ryan Stone rests in an embryonic position, surrounded with a rope strongly resembling an umbilical cord. Dr. Ryan Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on earth may have come from outer space in form of meteorites.[25]
Production[edit]
Development[edit]



 Sandra Bullock (center) and Alfonso Cuarón (right) at the 2013 San Diego Comic-Con International promoting Gravity
Alfonso Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project found traction at Warner Bros. instead. Warner Bros. acquired the project, which in February 2010, attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted.[26] Later in the month, she passed on the project,[27] partially because the studio did not want to pay the $20 million fee[28] she had received for her latest two movies, but also because she wanted to work on directing her Bosnian war film In the Land of Blood and Honey.[29] In March, Robert Downey, Jr. entered talks to be cast in the male lead role.[30]
In mid-2010, Marion Cotillard tested for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were in the running for the role.[28] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was being praised for her performance in the then-recently released Black Swan.[31] Portman passed on the project due to scheduling conflicts, and Warner Bros. then approached Sandra Bullock for the role.[29] In November 2010, Downey left the project to star in How to Talk to Girls, a project in development with Shawn Levy attached to direct.[32] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[33]
A big challenge for the team was the question of how to shoot long takes in a zero-g environment. Eventually the team decided to use computer-generated imagery for the spacewalk scenes, and automotive robots to move Bullock's character for interior space station scenes.[34] This meant that shots and blocking had to be planned well in advance in order for the robots to be programmed.[34] It also made the production period much longer than expected. When the script was finished, Cuarón assumed it would take about a year to complete the movie, but it took four and a half years instead.[35]
Filming[edit]



Lake Powell, Arizona, where the landing scene was filmed
Gravity had a production budget of $100 million and was filmed digitally on multiple Arri Alexas. Principal photography on the film began in late May 2011.[36] Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[37] The landing scene was filmed at Lake Powell, Arizona (incidentally where the astronauts' landing scene was filmed in Planet of the Apes).[38] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore which was responsible for creating most of the visual effects for the entire movie except for 17 shots. Framestore was also heavily involved in the Art Direction and Previz along with The Third Floor. Tim Webber stated that 80 percent of the movie consisted of CG while in comparison James Cameron's Avatar had a percentage of 60.[39] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[40] The 3D was designed and supervised by Chris Parks. The majority of the 3D was created through stereo rendering the CG at Framestore with the rest converted into 3D in post production, principally at Prime Focus, London with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker. Filming began in London in May 2011.[41] The film contains only 156 or so shots, with an average shot length of 45 seconds, resulting in fewer and longer shots than in most films of this length.[42] Although the first trailer had audible explosions and other sounds, in the final film these scenes are silent. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[43] The soundtrack in the film's space scenes is populated only by the musical score and sounds astronauts would hear in their suits or the space vehicles.
Most of Bullock's shots were done with her inside of a giant mechanical rig.[34] Getting into the rig took a significant amount of time, so Bullock opted to stay in it for up to 10 hours a day, communicating with others only through a headset.[34] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a massive celebration when Bullock arrived each day. They also nicknamed the rig "Sandy's cage" and gave it a lighted sign reflecting this.[34]
The majority of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. However the final scene of the film which takes place on Earth was shot on an Arri 765 camera on 65mm film in order to provide the sequence a visual contrast compared to the rest of the picture.[44]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music to Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[45] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[46] Additional songs featured in the film include:[47]
"Angels Are Hard to Find" by Hank Williams, Jr.
"Mera Joota hai Japani" by Shailendra and Shankar Jaikishan
"Sinigit Meerannguaq" by Juaaka Lyberth
"Destination Anywhere" by Chris Benstead and Robin Baynton
"922 Anthem" by 922 (featuring Gaurav Dayal)
"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel was used, written by Estonian composer Arvo Pärt in 1978.[48]
Release[edit]
Gravity was released in 3D and IMAX 3D on October 4, 2013.[49] The film's release coincided with the beginning of World Space Week, observed from October 4 to 10. The film was originally scheduled to be released on November 21, 2012, before being re-scheduled for a 2013 release in order to complete extensive post-production effects work.[50]


Box office[edit]
As of February 7, 2014, Gravity has grossed $264,802,800 in North America, and $430,000,000 in other countries, for a worldwide total of $694,802,800, making it the eighth highest grossing film of 2013.[4]
Preliminary reports had the film tracking for a debut of over $40 million in North America.[51][52] The film earned $1.4 million from its Thursday night showings,[53] and reached a $17.5 million Friday total.[54] It topped the box office and also went on to break Paranormal Activity 3's record as the biggest October and autumn openings ever, as the film brought in $55.8 million.[55] Of the film's opening weekend gross, 80 percent of the total was derived from its 3D showings for a sum of $44 million—which also includes $11.2 million, or 20 percent of the total receipts, from IMAX 3D showings, the highest percentage ever for a film opening more than $50 million.[56] The movie retained the top spot at the box office during its second and third weekends.[57][58] Gravity opened at number one in the United Kingdom at £6.23 million over the first weekend of release[59] and remained at the top spot for the second week running.[60] The film's largest markets outside North America were China ($71.17 million),[61] the United Kingdom ($48.59 million) and France (38.23 million).[62]
Critical response[edit]
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, where it received universal acclaim from critics and audiences, praising the acting, direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[63] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 295 critics, with a "Certified Fresh" rating, and an average score of 9.1/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[64] On Metacritic, which assigns a normalised rating out of 100 based on reviews from critics, the film has a score of 96 (indicating "universal acclaim") based on 49 reviews.[65] CinemaScore polls conducted during the opening weekend revealed the average grade cinemagoers gave Gravity was A- on an A+ to F scale.[56]
Matt Zoller Seitz, writing on RogerEbert.com, gave the film a maximum four stars, stating that "Alfonso Cuarón's Gravity, about astronauts coping with disaster, is a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely."[66] At Variety, Justin Chang posits that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide."[67] Richard Corliss of Time proclaimed that "Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view." He also praised Cuarón for "[playing] daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[68]
Peter Travers of Rolling Stone gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle."[69] A. O. Scott, writing for The New York Times highlighted the use of 3-D "which surpasses even what James Cameron accomplished in the flight sequences of Avatar." Scott went on to say that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them." [70]
Critics have also compared Gravity with other notable movies set in space. The choice of Ed Harris as the voice of Mission Control is seen as a nod to Apollo 13.[71] Other references include Alien,[15] and 2001: A Space Odyssey.[72]
The film was praised by James Cameron, who stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[73] Quentin Tarantino named it one of his top ten movies of 2013.[74]
Empire, Time and Total Film ranked the film as the best of 2013.[75][76][77] It was also the highest-rated film of the year on IMDb.[78]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards, the most nominations of this year's ceremony tied with American Hustle. The nominations includes Best Picture, Best Director for Cuarón, Best Actress for Bullock, and Best Original Score for Price, among others.[79]
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was further nominated for Best Motion Picture – Drama, Best Actress in Drama for Bullock and Best Original Score.[80]
It received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013, including Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Including his nominations as producer (for Best Film awards) and editor, Cuarón was also the person with the most nominations, with five overall.[81][82]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and will be released on DVD, Blu-ray, and Blu-ray 3D on February 25, 2014.
Scientific accuracy[edit]
Cuarón has stated that the film is not always scientifically accurate and that some liberties were needed to sustain the story.[83] "This is not a documentary," Cuarón said. "It is a piece of fiction."[84]
Nevertheless, the film has been praised for the realism of its premises and its overall adherence to physical principles, despite a number of inaccuracies and exaggerations.[85][86][87] According to NASA Astronaut Michael J. Massimino, who took part in two Hubble Space Telescope (HST) Servicing Missions (STS-109 and STS-125), "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[88] Astronaut Buzz Aldrin called the visual effects "remarkable". He adds, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[89] Garrett Reisman, a former NASA astronaut, noted that, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[90]



 Comparison of International Space Station and Hubble Space Telescope orbits
On the other hand, astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[87][91][92] Examples of such mistakes include:
The HST, which is being repaired at the beginning of the movie, has an altitude of about 559 kilometers (347 mi), and an orbital inclination of 28.5 degrees. The ISS has an altitude of around 420 kilometers (260 mi), and an orbital inclination of 51.65 degrees. With such significant differences in orbital parameters, it would be impossible to travel between them without precise preparation, planning, calculation, appropriate technology and a large amount of fuel.[86][87][92]
When Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, several observers (including Plait and Tyson) contend that all Stone had to do was to give the tether a gentle tug, and Kowalski would have been safely pulled toward her, since the movie shows the pair having stopped and there would thus be no centrifugal force to pull Kowalski away.[92] Others, however, such as Kevin Grazier, science adviser for the movie, and NASA engineer Robert Frost, maintain that the pair are actually still decelerating, with Stone's leg caught in the parachute cords from the Soyuz. As the cords absorb her kinetic energy, they stretch. Kowalski's interpretation of the situation is that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must therefore release the tether in order to give her a chance of stopping before the cords fail and doom both of them.[93]
Stone was shown not wearing liquid-cooled ventilation garments or even socks (always worn to protect against temperature extremes of space) under the EVA suit. Neither was she shown wearing space diapers.[87]
Stone's tears first roll down her face in zero gravity, and later are seen floating off her face. Without sufficient force to dislodge the tears, the tears would remain on her face due to surface tension.[94] However, the movie does correctly portray the spherical appearance of liquid drops in a micro-gravity environment.[86]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski have all said they enjoyed watching the film.[87][91][92] Aldrin hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[89]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Kessler syndrome
List of films featuring space stations
Love, a 2011 film about being stranded in space
Marooned, 1969 film about survival in space
Mercury-Redstone 4#Splashdown, a Mercury capsule that sank after splashdown
Survival film
References[edit]
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92.^ Jump up to: a b c d Plait, Phil (October 4, 2013). "Bad Astronomy Movie Review: Gravity". Slate. Retrieved October 24, 2013.
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94.Jump up ^ Hadfield, Chris (April 11, 2013). "How Astronauts Cry In Space (Video)". Space.com. Retrieved October 22, 2013.
External links[edit]
Official website
Gravity at the Internet Movie Database
Gravity at allmovie
Gravity at Box Office Mojo
Gravity at Metacritic
Gravity at Rotten Tomatoes


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Frozen (2013 film)
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Frozen
Frozen (2013 film) poster.jpg
Theatrical release poster

Directed by
Chris Buck
Jennifer Lee
Produced by
Peter Del Vecho
Screenplay by
Jennifer Lee
Story by
Chris Buck
 Jennifer Lee
 Shane Morris
Based on
The Snow Queen
 by Hans Christian Andersen
Starring
Kristen Bell
Idina Menzel
Jonathan Groff
Josh Gad
Santino Fontana
Music by
Christophe Beck
Editing by
Jeff Draheim
Studio
Walt Disney Pictures
Walt Disney Animation Studios
Distributed by
Walt Disney Studios
 Motion Pictures
Release dates
November 19, 2013 (El Capitan Theatre)
November 27, 2013 (United States)

Running time
102 minutes[1][2]
Country
United States
Language
English
Budget
$150 million[3][4]
Box office
$914,180,767[4]
Frozen is a 2013 American 3D computer-animated musical fantasy-comedy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures.[5] It is the 53rd animated feature in the Walt Disney Animated Classics series. Loosely based on Hans Christian Andersen's fairy tale The Snow Queen, and featuring the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana, the film tells the story of a fearless princess who sets off on an epic journey alongside a rugged, thrill-seeking mountain man, his loyal pet reindeer, and a hapless snowman to find her estranged sister, whose icy powers have trapped the kingdom in eternal winter.
The film underwent several story treatments for several years, before being commissioned in 2011, with a screenplay written by Jennifer Lee, and both Chris Buck and Lee serving as directors. Christophe Beck, who had worked on Disney's award-winning short Paperman, was hired to compose the film's orchestral score, while husband-and-wife songwriting team Robert Lopez and Kristen Anderson-Lopez penned the songs.
Frozen premiered at the El Capitan Theatre on November 19, 2013,[6] and went into general theatrical release on November 27. The film has so far grossed $914 million in worldwide box office revenue, $369 million of which has been earned in the United States and Canada; it has been met with widespread critical acclaim, with several film critics considering it to be the best Disney animated musical since the studio's renaissance era.[7][8] The film won the Golden Globe Award for Best Animated Feature Film, five Annie Awards (including Best Animated Feature), two Critics' Choice Awards for Best Animated Feature and Best Original Song for "Let It Go," and has received Academy Award (Best Animated Feature and Best Original Song), BAFTA, and Satellite Award nominations.[9]


Contents  [hide]
1 Plot
2 Voice cast
3 Development 3.1 Origins
3.2 Later efforts
3.3 Revitalization
4 Production 4.1 Animation 4.1.1 Scandinavian inspiration
4.2 Music
5 Release 5.1 Home media
5.2 Possible stage adaptation
5.3 Video games
6 Reception 6.1 Box office
6.2 Critical response 6.2.1 Portrayal of female emotions
6.3 Accolades
7 References
8 External links

Plot
Elsa, princess of Arendelle, possesses the ability to create ice and snow. One night while playing, she accidentally injures her younger sister Anna. The king and queen seek help from trolls, who heal Anna and remove her memories of her sister's magic. The royal couple decides to lock the family away in their castle until Elsa learns to control her powers. Afraid of hurting her sister again, Elsa spends most of her time alone in her room, causing a rift between the sisters as they grow up. When the girls are teenagers, their parents are lost at sea during a storm.
When Elsa comes of age, the kingdom prepares for her coronation. Among the guests is the Duke of Weselton, a tradesman seeking to exploit Arendelle for profit. Excited to be allowed out of the castle again, Anna explores the town and meets Prince Hans of the Southern Isles, and the two immediately develop a mutual attraction. Despite Elsa's fear, her coronation goes off without incident. During the reception, Hans proposes and Anna hastily accepts. However, Elsa refuses to grant her blessing and forbids their sudden marriage. The two sisters argue, culminating in Elsa's abilities being exposed to everyone as she is unable to control her emotions.
Panicking, Elsa flees the palace, inadvertently unleashing eternal winter on the kingdom in the process. High in the mountains far from Arendelle, she casts off restraint, building herself a solitary ice palace, and unknowingly brings to life her and Anna's childhood snowman, Olaf. Meanwhile, Anna sets out in search of her sister, determined to return her to Arendelle, end the winter, and mend their relationship. While getting supplies, she meets mountain man Kristoff and his reindeer Sven. She convinces him to guide her up the North Mountain. The group then encounters Olaf, who leads them to Elsa's hideaway.
Anna and Elsa are reunited, but Elsa still fears hurting her sister. When Anna persists in persuading her older sister to return, Elsa becomes agitated, and accidentally strikes Anna in the heart with her powers. She then creates a giant snow creature to run the friends out of her castle. As they flee, Kristoff notices that Anna's hair is turning white, and seeks help from his adoptive family of trolls. They are told that Anna's heart has been frozen, and unless it's thawed by "an act of true love," she will become frozen solid forever. Believing that only Hans can save her, Kristoff races back with her to Arendelle.
Meanwhile, Hans, who had gone on a search for Anna, encounters Elsa's palace. In the ensuing battle against the Duke's men, she is knocked unconscious and imprisoned back at the kingdom. There, Hans pleads with her to undo the winter, but Elsa confesses she doesn't know how. When Anna is reunited with Hans and begs him to kiss her to break the curse, Hans refuses and reveals that his true intention in marrying her is to seize control of Arendelle's throne. Leaving Anna to die, Hans charges Elsa with treason for her younger sister's apparent death.
Elsa escapes and heads out into the blizzard on the fjord. Olaf finds Anna and reveals Kristoff is in love with her. The two then rush onto the fjord to find him. Hans confronts Elsa and tells her Anna is dead because of her. In Elsa's despair, the storm suddenly stops, giving Kristoff and Anna the chance to reach each other. However Anna, seeing that Hans is about to kill Elsa, decides to throw herself between the two and subsequently freezes solid, blocking the blow.
As Elsa grieves for her sister, Anna begins to thaw; her decision to sacrifice herself to save her sister constitutes "an act of true love." Realizing love is the key to controlling her powers, Elsa is able to thaw the kingdom and even helps Olaf survive in summer. Hans is sent back to the Southern Isles to face punishment for his crimes against the royal family of Arendelle, and Elsa cuts off trade with Weselton. Anna and Kristoff share a kiss, and the two sisters reconcile, with Elsa promising never to shut the castle gates again.
Voice cast














From left to right: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad.
Kristen Bell as Anna, princess of Arendelle and Elsa's younger sister[10] Livvy Stubenrauch as Young Anna[11]
Katie Lopez as Young Anna (singing)[12]
Agatha Lee Monn as Teenage Anna (singing)[13]
Idina Menzel as Elsa, the Snow Queen and Anna's elder sister[10][14] Eva Bella as Young Elsa[15][16]
Spencer Lacey Ganus as Teenage Elsa[16][17]
Jonathan Groff as Kristoff, a mountain man, who owns a reindeer named Sven[18][19]
Josh Gad as Olaf, a humorous snowman with intentions of experiencing summer[10][20][21]
Santino Fontana as Hans, a prince from the Southern Isles[18]
Alan Tudyk as the Duke of Weselton[21]
Ciarán Hinds as Grand Pabbie the Troll King[22]
Chris Williams as Oaken, the owner of Wandering Oaken's Trading Post and Sauna[23]
Maia Wilson as Bulda, a troll[24]
Maurice LaMarche as the King of Arendelle, Anna and Elsa's father[24]
Jennifer Lee as the Queen of Arendelle, Anna and Elsa's mother[25]
Development
Origins



 Concept art from Disney's shelved hand-drawn film, The Snow Queen.[26]
In 1943, Walt Disney and Samuel Goldwyn had considered the possibility of collaborating to produce a biography film of author and poet Hans Christian Andersen, where Goldwyn's studio would shoot the live-action sequences of Andersen's life and Disney would create the animated sequences. The animated sequences were to include stories of Andersen's works, such as The Little Mermaid, The Little Match Girl, The Steadfast Tin Soldier, The Snow Queen, Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor's New Clothes. Disney and his animators encountered difficulty with The Snow Queen, as they could not find a way to adapt and relate the Snow Queen character to modern audiences. Even as far back as the 1940s, Disney's animation department saw great cinematic possibilities with the source material, but the Snow Queen character proved to be too problematic. This, among other things, led to the cancellation of the Disney-Goldwyn project. Goldwyn went on to produce his own live-action film version in 1952, entitled Hans Christian Andersen, with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser penning the songs. All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film. It went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved.[27]
Later efforts



"Hans Christian Andersen’s original version of The Snow Queen is a pretty dark tale and it doesn’t translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen. When we decided to make the Snow Queen Elsa and our protagonist Anna sisters, that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today’s audiences. This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her. “Inspired by” means exactly that. There is snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit. We do try to bring scope and the scale that you would expect but do it in a way that we can understand the characters and relate to them."
— Producer Peter Del Vecho, on the difficulties adapting The Snow Queen[28]
In the late 1990s, Walt Disney Feature Animation started on their own adaptation of The Snow Queen after the tremendous success of their recent films, but the project was scrapped completely in late 2002, when Glen Keane notoriously quit the project.[26] Even before then, Harvey Fierstein pitched his version of the story to the Disney executives, but was turned down. Dick Zondag and Dave Goetz all had their try on it, but failed. Disney shelved the project again. Michael Eisner, then-CEO and chairman of The Walt Disney Company, offered his support to the project and suggested doing it with John Lasseter at Pixar Animation Studios, when the studios would get their contracts renewed.[27]
The project was revived again around 2008 when Chris Buck pitched Disney his version of the adaptation.[29] At the time, the project went under name of Anna and the Snow Queen, and was planned to be traditionally animated.[30] By early 2010, the project entered development hell once again, when the studio failed to find a way to make the story and the Snow Queen character work.[31][32]
Revitalization
On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, a release date, November 27, 2013, and a different crew from the previous attempt.[33] A month later, it was confirmed that the film would be a computer animated feature in stereoscopic 3D, instead of the intended hand drawn animation.[26] On March 5, 2012, it was announced that Chris Buck would be directing, with John Lasseter and Peter Del Vecho producing.[34]
After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who in that earlier version of the story was a villain. Buck and Del Vecho presented their storyboards to John Lasseter, with the entire production team adjourned to a conference to hear Lasseter's thoughts on this work-in-progress. Production designer Michael Giaimo, recalled; "That was the game changer...I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them." The production team then addressed the film's problems, drafting several different variations on The Snow Queen story until the characters and story felt relevant. Finally, their decision to rewrite the film's protagonist, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, effectively establishing a family dynamic between the characters.[35]
Production
Actress Kristen Bell was cast as the voice of Anna on March 5, 2012.[18][34] Lee admitted that Bell's casting selection was influenced after the filmmakers listened to a series of vocal tracks Bell had recorded when she was young, where the actress performed several songs from The Little Mermaid, including "Part of Your World."[36] Bell completed her recording sessions while she was pregnant, and subsequently re-recorded some of her character's lines after her pregnancy, as her voice had deepened.[37] When asked on her approach to Anna, Kristen Bell replied, "I'm really excited to show it to people. I became a part of the kind of movie I wanted to see as a kid," she said. "I always loved Disney animation, but there was something about the females that was unattainable to me. Their posture was too good and they were too well-spoken, and I feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward. I'm really proud of that."[38]



Frozen is "a bit of a feminist movie for Disney. I'm really proud of that. It has everything, but it's essentially about sisterhood. I think that these two women are competitive with one another, but always trying to protect each other – sisters are just so complicated. It's such a great relationship to have in movies, especially for young kids."
— Idina Menzel, on her impression of Frozen[36]
Idina Menzel, a Broadway veteran, was cast as Elsa. She and Bell impressed the directors with a duet at an early table read.[14][35] Between December 2012 and June 2013, additional casting roles were announced; including Jonathan Groff as Kristoff,[19] Alan Tudyk as the Duke of Weselton, Santino Fontana as Prince Hans, and Josh Gad as Olaf.[21]
On November 30, 2012, it was announced that Jennifer Lee, one of the screenwriters of Wreck-It Ralph, had joined Buck as co-director.[39] The filmmakers hired Lee initially as a screenwriter, following her work on Wreck-It Ralph. Lee then became heavily involved with the film's pre-development process, working closely with director Chris Buck and songwriters, Robert Lopez and Kristen Anderson-Lopez.[28] Following the announcement, Jennifer Lee became the first woman to direct a full-length animated motion picture produced by Walt Disney Animation Studios.[35]
Animation



 In an example of the film's animation, Elsa finally embraces her cryokinetic abilities during her song "Let It Go."
Similar to Tangled, Frozen employed a unique artistic style by blending features of both computer-generated imagery (CGI) and traditional hand-drawn animation together.[40] The film's animators visited an Ice Hotel in Quebec City to study how light reflects and refracts on snow and ice. For the film's setting, the animators used the landscape of Norway and the feel of the winter season of Wyoming for inspiration.[41] "We had a very short time schedule for this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the material and creating a believable world, and again that doesn't mean it's a realistic world - but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Del Vecho remarked. "There is a real feeling of Lawrence of Arabia scope and scale to this," he finished. Back at the studio, Del Vecho explained the film's production: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it’s always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna."[28][35][42] In order to get the general feeling of each scene, some animators did their own acting. "I actually film myself acting the scene out, which I find very helpful," said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable.[43]
Regarding the look and nature of the film's cinematography, the film's art director Michael Giaimo was greatly influenced by Jack Cardiff's work in Black Narcissus. According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. From a design perspective, since I was stressing the horizontal and vertical aspects, and what the fjords provide, it was perfect. We encased the sibling story in scale." Ted D. McCord's work in The Sound of Music was another major influence for Giaimo; "The juxtaposition of character and environment and the counterpart of how they played in terms of cinematography was brilliant in that film." It was also Giaimo's idea that Frozen should be filmed in CinemaScope, which was approved by Lasseter.[44] Giaimo also wanted to ensure that Norway's fjords, architecture and rosemaling folk art, were critical factors in designing the environment of Arendelle. Giaimo, whose background is animation, noted that the art design environment represents a unity of character and environment and that he originally wanted to incorporate saturated colors, which is typically ill-advised in computer animation.[42] A live reindeer was brought into the studio for animators to study its movements and mannerisms for the character, Sven.
During production, the film's English title was changed from The Snow Queen to Frozen, a decision that drew comparisons to Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie. Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen, though." He also mentioned that the film will still retain its original title, The Snow Queen, in some foreign countries: "because that just resonated stronger in some countries than Frozen. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that."[28]



 Test scenes demonstrating snow effects employed in the film.
The studio also developed several new tools to generate realistic and believable shots, particularly the heavy and deep snow and its interactions with the characters. Disney wanted an 'all-encompassing' and organic tool to provide snow effects but not require switching between different methods.[45] Dr. Kenneth Libbrecht, a professor from the California Institute of Technology, was invited to give lectures to the effects group on how snow and ice form, and why snowflakes are unique. Using this knowledge, together with maths, physics and the help of computers, the effects group created a snow simulator and snowflake generator called Matterhorn that allowed them to randomly create 2,000 unique snowflake shapes for the film, according to effects supervisor Dale Mayeda.[43] The software was also capable of depicting realistic snow in a virtual environment and it held responsibility for several key sequences of the film.[35][45][46] This method, in addition, gave audiences an illusion that the snow packs together as one thing and then breaks into pieces, while they are actually pieces already, the snow particles are just moving around, as explained by principal software engineer Andrew Selle.[45] Other tools designed to help artists complete complicated effects included Spaces, which allowed Olaf's deconstructible parts to be moved around and rebuilt, Flourish, which aided extra movement such as leaves and twigs to be art-directed; Snow Batcher, which helped preview the final look of the snow, especially when characters were interacting with an area of snow by walking through a volume, and Tonic, which enabled artists to sculpt their characters' hair as procedural volumes.[45] Tonic essentially aided in animating elements such as Elsa's hair, which contains 420,000 CG threads, while the average number for human is only 100,000. The number of character rigs in Frozen is 312 and the number of simulated costumes also reached 245 cloth rigs, which were far beyond all other Disney films to date, according to Frank Hanner, character CG supervisor.[13][43] Besides 3D effects, the filmmakers also used 2D artworks and drawings for specific elements and sequences in the film, including Elsa's magic and snow sculptures, as well as freezing fountains and floor.[45][46] The effects group created a "capture stage" where the entire world of Frozen gets displayed on monitors, which can be "filmed" on special cameras to operate a three-dimensional scene. "We can take this virtual set that's mimicking all of my actions and put it into any one of our scenes in the film," said technology manager Evan Goldberg.[43]
Scandinavian inspiration
While the setting was principally based on Norway, the cultural influences in the film come from Scandinavian culture as a whole and from Scandinavia's indigenous Sámi culture. Several landmarks in Norway appear in the film, including the Akershus Fortress in Oslo, the Nidaros Cathedral in Trondheim and Bryggen in Bergen. Numerous other typical cultural Scandinavian elements are also included in the film, such as a stave church, trolls, Viking ships, Fjord horses, clothes and food such as lutefisk. A maypole is also present in the film, as well as the brief appearance of runes on the king and queen's grave.[47][48] The movie also contains several elements specifically drawn from the Sámi culture, such as the usage of reindeer for transportation and the equipment used to control these, clothing styles (the outfits of the ice cutters), and parts of the musical score.[49][50] Decorations, such as those on the castle pillars and Kristoff's sled are also in styles inspired by Sámi duodji decorations. During their field work in Norway, Disney's team visited Rørosrein, a Sámi family-owned company in the village Plassje which produces reindeer meat and arranges tourist events, for inspiration.[51] Arendelle was inspired by Naeroyfjord, a branch of Norway's longest fjord Sognefjorden, which has been listed as a UNESCO World Heritage Site.[52]
The filmmakers' trip to Norway provided essential knowledge for the animators to come up with the design aesthetic for the film in terms of color, light, and atmosphere. According to Giaimo, there were three important factors that they had acquired from this research trip: the fjords, which are the massive vertical rock formations, and serve as the setting for the secluded kingdom of Arendelle; the medieval stave churches, whose rustic triangular rooflines and shingles inspired the castle compound; and the rosemaling folk art, whose distinctive paneling and grid patterns informed the architecture, decor, and costumes.[42]
Music
Main article: Frozen (soundtrack)



 Christophe Beck composed the film's score.
The songs for Frozen were written and composed by the husband-and-wife songwriting team of Robert Lopez and Kristen Anderson-Lopez, both of whom had previously worked with Walt Disney Animation Studios on Winnie the Pooh.[14][53] Lopez and Anderson-Lopez's "Let It Go" and "In Summer" were previewed at the 2013 D23 Expo, with the former being performed by Idina Menzel.[54] In February 2013, Christophe Beck was hired to score the film, following his highly acclaimed work on Paperman, a Disney animated short film released the year prior to Frozen.[55] Kristen Bell also confirmed that there would be a duet between her and Menzel.[18] It was also revealed on September 14, 2013 that Sámi musician Frode Fjellheim's Eatnemen Vuelie would be the film's opening song, as it contains elements of the traditional Sámi singing style joik.[56][57] The songs by Lopez and Anderson-Lopez were arranged and orchestrated by Dave Metzger, who also orchestrated a significant portion of Beck's score.[58]
For the orchestral film score, composer Christophe Beck gave homage to the Norway- and Sápmi-inspired setting, employing regional instruments such as the bukkehorn and traditional vocal techniques, such as kulning.[59] The music producers recruited a Norwegian linguist to assist with the lyrics for an Old Norse song written for Elsa's coronation, and also traveled to Norway to record the all-female choir Cantus, for a piece inspired by traditional Sámi music.[59] The score was recorded by an 80-piece orchestra, featuring 32 vocalists, including native Norwegian Christine Hals.[59] Beck worked with Lopez and Anderson-Lopez on incorporating their songs into arrangements in the score. The trio's goal "was to create a cohesive musical journey from beginning to end."[59]
Release



 Peter Del Vecho, producer; Jennifer Lee, writer and director; and Chris Buck, director, at the film's premiere at the El Capitan Theatre in Hollywood, California.
Frozen was released to 3,742 theaters on November 27, 2013,[60] and it was accompanied by the new Mickey Mouse animated short film, Get a Horse![61] The film's premiere was at the El Capitan Theatre in Hollywood, California on November 19, 2013,[62] and had a five-day limited release there, starting from November 22, before going into wide opening.[63][64] Frozen was promoted heavily at several Disney theme parks including Disneyland's Fantasyland, Disney California Adventure's World of Color, Epcot's Norway pavilion, and Disneyland Paris' Disney Dreams! show.[65][66][67] On November 6, 2013, Disney Consumer Products began releasing a line of toys and other merchandise relating to the film in Disney Store and other retailers.[68] The teaser trailer for Frozen was released on June 18, 2013,[69][70] and its official trailer was released on September 26, 2013.[71][72][73]
On January 31, 2014, a sing-along issue of Frozen was released in 2,057 theaters in the United States. This version features on-screen lyrics, and viewers are invited to follow the bouncing snowflake and sing along with the songs from the film.[74][75][76]
Home media
Frozen will be released by Walt Disney Studios Home Entertainment on Blu-ray Disc, DVD, and digital copy on March 18, 2014. Bonus features for the Blu-ray release will include the making of the film, an inside look at how Disney tried to adapt the original fairy tale into an animated feature, four deleted scenes with introduction by the directors, the original theatrical short Get a Horse!, the film's teaser trailer, and "Let It Go" music videos by Demi Lovato, Martina Stoessel, and Marsha Milan Londoh.[77][78]
Possible stage adaptation
Bob Iger, chairman and chief executive officer of The Walt Disney Company, stated in a January 2014 interview with Fortune that Disney Theatrical Productions is in early development of a Broadway stage musical adaptation of Frozen.[79][80] No specific date has yet been set for this adaptation. "We're not demand­ing speed," Iger said. "We're demand­ing excellence."[81] A microsite for the stage adaptation has been launched by Disney, where users can sign up to get email updates on the musical.[82]
Video games
A video game titled Frozen: Olaf's Quest was released on November 19, 2013 for Nintendo DS and Nintendo 3DS.[83] Developed by 1st Playable Productions and published by GameMill Entertainment,[84] it takes place after the events of the film. In the game, Olaf must use his unique snowman abilities to try and stay in one piece throughout 60 levels.[83] Anna and Elsa were released as figurines for the toy-based video game Disney Infinity on November 26, 2013.[85] Additionally, Disney Mobile released a match-three game titled Frozen Free Fall for iOS, Android, and Windows Phone platforms. It takes place in the kingdom of Arendelle and closely follows the original story of the film, in which players can team up with Anna, Elsa, Kristoff, Hans, and Pabbie to match puzzles with the help of each character's special power-ups.[86][87]
Reception
Box office
Frozen has earned $369,080,767 in North America, as of February 10, 2014, and $545,100,000 in other countries, for a worldwide total of $914,180,767.[4] It is the twenty-eighth highest-grossing film,[88] the sixth highest-grossing animated film, the third highest-grossing 2013 film,[89] the second highest-grossing 2013 animated film,[89] the third highest-grossing non-sequel animated film,[90] and the second highest-grossing animated film produced by Walt Disney Animation Studios, behind only The Lion King. The film earned $110.6 million worldwide on its opening weekend.[91] Excluding re-releases, it is the highest-grossing non-sequel animated film in North America, outside North America and worldwide.[92]
North America
Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record-holder Brave,[93] and became the top-selling animated film in the company's history in late January 2014.[76] The sing-along version of the film later topped the best-selling list of the movie ticketing service again for three days.[76] Frozen opened on Friday, November 22, 2013, exclusively at the El Capitan Theatre in Hollywood for a five-day limited release and earned $342,839 before its wide opening on Wednesday, November 27, 2013.[94] During the three-day weekend it earned $243,390, scoring the seventh largest per-theater average.[95] On the opening day of its wide release, the film earned $15.2 million[96] (including $800,000 from Tuesday previews)[97] and set a record for the highest pre-Thanksgiving Wednesday opening, ahead of Tangled ($11.9 million).[98] It was also the second largest pre-Thanksgiving Wednesday among all films, behind Catching Fire ($20.8 million). The film finished in second place over the traditional three-day weekend (Friday-to-Sunday) with $67.4 million, setting an opening weekend record among Walt Disney Animation Studios films.[99] It also scored the second largest opening weekend among films that did not debut at #1.[100][101] Among films that opened during Thanksgiving, it set new records; three-day ($67.4 million from Friday to Sunday)[102] and five-day ($93.6 million from Wednesday to Sunday).[103] It also achieved the second largest three-day[104] and five-day[105] Thanksgiving gross among all films, behind Catching Fire.[106] During its second weekend of wide release, Frozen declined 53% to $31.6 million, but jumped to first place, setting a record for the largest post-Thanksgiving weekend, ahead of Toy Story 2 ($27.8 million).[107] It became the first film since Avatar to reach first place in its sixth weekend of wide release (January 3–5, 2014) with $19.6 million.[60][108] Frozen also achieved the third largest fifth[109] and sixth[110] weekends of wide release,[108][111] as well as the fourth largest seventh,[112] eighth,[113] and tenth weekends.[114]
In North America, Frozen is the twenty-fifth highest-grossing film, the third highest-grossing 2013 film,[115] the fifth highest-grossing animated film,[116] the highest-grossing 2013 animated film, the third highest-grossing non-sequel animated film, and the second highest-grossing Walt Disney Animation Studios film (after The Lion King). Excluding re-releases, it has achieved the highest-grossing initial run among non-sequel animated films (a record previously held by Finding Nemo)[117] and among Walt Disney Animation Studios films (a record previously held by The Lion King). However, due to ticket price inflation and 3-D surcharges, The Lion King still has a higher attendance.[118] It is also the seventh animated film to reach $300 million, and the third original animated film to reach that milestone.[119]
Outside North America
Frozen is the thirty-sixth highest-grossing film,[120] the seventh highest-grossing animated film, and the fifth highest-grossing 2013 film.[121] It had its debut on the same weekend as its wide North American release and earned $16.7 million from sixteen foreign markets.[101] Overall, its largest opening weekends occurred in China (Wednesday-to-Sunday opening of $14.1 million), Russia and the CIS ($11.9 million, including previews from previous weekend), where the film set an opening-weekend record among Disney animated films (ahead of Tangled) and non-sequel animated films,[122] and France and the Maghreb region (Wednesday-to-Sunday opening of $9.16 million).[123] It set an opening-weekend record among animated films in Sweden.[124] In total earnings, it is the highest-grossing animated film of all time in South Korea and Denmark.[124][125] It is also the highest-grossing Walt Disney Animation Studios film in at least 45 territories,[92] including the Latin America region (as well as specifically in Mexico and Brazil), the UK, Ireland and Malta, Russia and the CIS, Ukraine, Norway, Malaysia, Singapore and China.[90][126][127][128] Frozen topped the box office outside North America in its seventh weekend (January 10–12, 2014), with $27.8 million.[129]
Critical response
Frozen received widespread critical acclaim,[8] with several critics comparing the film favorably to the films of the Disney Renaissance, particularly The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King.[22][130][131][132] The film was praised for its visuals, themes, musical numbers, screenplay, and voice acting, especially of Kristen Bell, Idina Menzel, and Josh Gad.[133] The "Let It Go" musical sequence was repeatedly singled out for praise, with some critics calling it one of the best film sequences of the year.[134][135][136] The review aggregation website Rotten Tomatoes reports that 89% of critics gave the film a positive review based on 177 reviews, with an average score of 7.7/10, making it the highest-rated family film in 2013. The site's consensus reads: "Beautifully animated, smartly written, and stocked with singalong songs, Frozen adds another worthy entry to the Disney canon."[137] Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 74 based on 43 reviews, indicating "generally favorable reviews."[138] CinemaScore gave Frozen a rare "A+" on an A+ to F scale, based on polls conducted during the opening weekend.[139][140] Surveys conducted by Fandango among 1,000 ticket buyers showed that 75% of purchasers have seen the film at least once, and 52% have seen it twice. It was also pointed out that 55% of audiences identified Let It Go as their favorite song, while Do You Want to Build a Snowman and For the First Time in Forver held proportions of 21% and 9%, respectively.[76] Frozen was named the seventh best film of 2013 by Richard Corliss of Time[141] and Kyle Smith of The New York Post.[142]
Alonso Duralde of The Wrap hailed the film as "the best animated musical to come out of Disney since the tragic death of lyricist Howard Ashman, whose work on The Little Mermaid and Beauty and the Beast helped build the studio’s modern animated division into what it is today." He also elaborated that "while it lags the tiniest bit on its way to the conclusion, the script...really delivers; it offers characters to care about, along with some nifty twists and surprises along the way."[22] Todd McCarthy of The Hollywood Reporter observes Frozen as a true musical and wrote "You can practically see the Broadway musical Frozen is destined to become while watching Disney's 3D animated princess tale." McCarthy described the film as "energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare and, beginning with its Thanksgiving opening, should live up to box office expectations as one of the studio's hoped-for holiday-spanning blockbusters."[143] Kyle Smith of the New York Post awarded the film 3.5 out of 4 stars and praised the film as "a great big snowy pleasure with an emotionally gripping core, brilliant Broadway-style songs and a crafty plot. Its first and third acts are better than the jokey middle, but this is the rare example of a Walt Disney Animation Studios effort that reaches as deep as a Pixar film."[144] Scott Mendelson of Forbes enthused; "Frozen is both a declaration of Disney’s renewed cultural relevance and a reaffirmation of Disney coming to terms with its own legacy and its own identity. It’s also a just plain terrific bit of family entertainment."[145]
The Los Angeles Times extolled the film's ensemble voice talent and elaborate musical sequences, and declared Frozen as "a welcome return to greatness for Walt Disney Animation Studios."[130] Entertainment Weekly's Owen Gleiberman gave the film a "B+" grade and labeled it as a "squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift."[131] Richard Corliss of Time also lauded the film, writing that, "It's great to see Disney returning to its roots and blooming anew: creating superior musical entertainment that draws on the Walt tradition of animation splendor and the verve of Broadway present."[146] Richard Roeper acclaimed the film as an "absolute delight from start to finish."[147] Both Michael Phillips of Chicago Tribune and Stephen Holden of The New York Times praised the film's characters and musical sequences, which also drew comparisons to the theatrics found in Wicked.[148][149] Emma Dibdin of Digital Spy awarded the film five out of five stars and called the film "a new Disney classic" and "an exhilarating, joyous, human story that's as frequently laugh-out-loud funny as it is startling and daring and poignant." Hot on the heels of the 90th anniversary, it's impossible to imagine a more perfect celebration of everything Disney is at its best."[150] Frozen was also praised in Norwegian Sámi media as showcasing Sámi culture (which was earlier attempted to be eradicated by the Norwegian state) to a broad audience in a good way. Composer Frode Fjellheim was lauded by Norwegian Sámi President Aili Keskitalo for his contribution to the film, during the President's 2014 New Year's speech.[151][152]
However, the film was not without its criticisms. Scott Foundas of Variety, was not as equally impressed with the film, but nevertheless commended the film's voice acting and technical artistry: "The tactile, snow-capped Arendelle landscape, including Elsa’s ice-castle retreat is Frozen's other true marvel, enhanced by 3D and the decision to shoot in widescreen – a nod to the CinemaScope richness of Sleeping Beauty and Lady and the Tramp."[153] The Seattle Times gave the film two out of four stars, stating that "While it is an often gorgeous film with computer-generated fjords and ice sculptures and castle interiors, the important thing that glues all this stuff together — story — is sadly lacking."[154] Joe Williams of St. Louis Post-Dispatch also criticized the story as the film's weakest point.[155] Writing on Roger Ebert's website, Christy Lemire gave a mixed review, awarding the film two-and-a-half stars out of four. Lemire praised the visuals and the performance of "Let It Go," as well as the positive messages Frozen sends. However, she referred to the film as "cynical" and criticized it as an "attempt to shake things up without shaking them up too much."[156]
Portrayal of female emotions
Allegations of sexism occurred[157][158][159] following a statement from head of animation for Frozen, Lino DiSalvo:
“ Historically speaking, animating female characters are really, really difficult, because they have to go through these range of emotions, but you have to keep them pretty and they're very sensitive too—you can get them off a model very quickly. So, having a film with two hero female characters was really tough, and having them both in the scene and look very different if they're echoing the same expression; that Elsa looking angry looks different from Anna being angry. ”
Some media commentators took this to mean that a difficulty exists due to a limited range of facial variation for recent Disney female animated characters because of the need to keep them "pretty."[157][158][159] A Disney spokesperson told Time that DiSalvo's quote was widely misinterpreted stating that he was "describing some technical aspects of CG animation and not making a general comment on animating females versus males or other characters."[157][159] Director Jennifer Lee also expressed her sadness towards the case, explaining that his words were recklessly taken out of context, and that he was talking in very technical terms about CG animation. "It is hard no matter what the gender is. I felt horrible for him. He was so proud what achieved in the movie. We never had such sophisticated rigs (the skeletal structure of the figures used to model characters on a computer) to show awkwardness and grief on a face. I'm so proud of them." she stated.[13]
Accolades
Main article: List of accolades received by Frozen (2013 film)
Frozen was nominated for various awards and won a number of them, mostly for the Best Animated Feature category, and recognition for the song "Let It Go." The film was nominated for two Golden Globes at the 71st Golden Globe Awards and won for Best Animated Feature, becoming the first Walt Disney Animation Studios film to win at this category.[9] It also won five Annie Awards (including Best Animated Feature)[160][161] and two Critics' Choice Awards for Best Animated Feature and Best Original Song for "Let It Go," It received two Academy Award nominations (Best Animated Feature and Best Original Song),[162] and received similar nominations at the British Academy Film Awards (BAFTA),[163] the Satellite Awards,[164] and various critics' groups and circles.
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144.Jump up ^ Smith, Kyle. "Disney's 'Frozen' will melt your heart". New York Post. Retrieved November 22, 2013.
145.Jump up ^ Mendelson, Scott (November 19, 2013). "'Frozen' Is Disney's Triumphant Reaffirmation Of Its Cultural Legacy". Forbes. Retrieved November 21, 2013.
146.Jump up ^ Corliss, Richard (November 23, 2013). "Frozen: This Disney Princess Movie Is Thaw-some". TIME. Retrieved November 25, 2013.
147.Jump up ^ Roeper, Richard (November 26, 2013). "Richard Roeper & the Movies: 'Frozen' Review". The Chicago Sun-Times. Retrieved November 27, 2013.
148.Jump up ^ Phillips, Michael (November 26, 2013). "'Frozen': Defying meteorology". Chicago Tribune. Retrieved November 27, 2013.
149.Jump up ^ Holden, Stephen (November 26, 2013). "From the Heat of Royal Passion, Poof! It’s Permafrost". The New York Times. Retrieved November 27, 2013.
150.Jump up ^ Dibdin, Emma. "'Frozen' review: Heartfelt fairytale musical is a new Disney classic". Digital Spy. Retrieved November 15, 2013.
151.Jump up ^ Staff (January 1, 2014). "Sámi thing: President's New Year speech" (in Norwegian). Sametinget. Retrieved 17 January 2014.
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153.Jump up ^ Foundas, Scott (November 3, 2013). "Film Review: 'Frozen'". Variety. Retrieved November 3, 2013.
154.Jump up ^ Keogh, Tom (November 26, 2013). "‘Frozen’: Visuals are solid, but narrative is on thin ice". The Seattle Times. Retrieved November 30, 2013.
155.Jump up ^ Williams, Joe (November 27, 2013). "'Frozen' is pretty but pointless". St. Louis Post-Dispatch. Retrieved November 27, 2013.
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159.^ Jump up to: a b c Cunningham, Todd. "Disney's 'Frozen' Animator Draws Heat for Female Character Comments". The Wrap. Retrieved November 27, 2013.
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Frozen (2013 film)
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Frozen
Frozen (2013 film) poster.jpg
Theatrical release poster

Directed by
Chris Buck
Jennifer Lee
Produced by
Peter Del Vecho
Screenplay by
Jennifer Lee
Story by
Chris Buck
 Jennifer Lee
 Shane Morris
Based on
The Snow Queen
 by Hans Christian Andersen
Starring
Kristen Bell
Idina Menzel
Jonathan Groff
Josh Gad
Santino Fontana
Music by
Christophe Beck
Editing by
Jeff Draheim
Studio
Walt Disney Pictures
Walt Disney Animation Studios
Distributed by
Walt Disney Studios
 Motion Pictures
Release dates
November 19, 2013 (El Capitan Theatre)
November 27, 2013 (United States)

Running time
102 minutes[1][2]
Country
United States
Language
English
Budget
$150 million[3][4]
Box office
$914,180,767[4]
Frozen is a 2013 American 3D computer-animated musical fantasy-comedy film produced by Walt Disney Animation Studios and released by Walt Disney Pictures.[5] It is the 53rd animated feature in the Walt Disney Animated Classics series. Loosely based on Hans Christian Andersen's fairy tale The Snow Queen, and featuring the voices of Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, and Santino Fontana, the film tells the story of a fearless princess who sets off on an epic journey alongside a rugged, thrill-seeking mountain man, his loyal pet reindeer, and a hapless snowman to find her estranged sister, whose icy powers have trapped the kingdom in eternal winter.
The film underwent several story treatments for several years, before being commissioned in 2011, with a screenplay written by Jennifer Lee, and both Chris Buck and Lee serving as directors. Christophe Beck, who had worked on Disney's award-winning short Paperman, was hired to compose the film's orchestral score, while husband-and-wife songwriting team Robert Lopez and Kristen Anderson-Lopez penned the songs.
Frozen premiered at the El Capitan Theatre on November 19, 2013,[6] and went into general theatrical release on November 27. The film has so far grossed $914 million in worldwide box office revenue, $369 million of which has been earned in the United States and Canada; it has been met with widespread critical acclaim, with several film critics considering it to be the best Disney animated musical since the studio's renaissance era.[7][8] The film won the Golden Globe Award for Best Animated Feature Film, five Annie Awards (including Best Animated Feature), two Critics' Choice Awards for Best Animated Feature and Best Original Song for "Let It Go," and has received Academy Award (Best Animated Feature and Best Original Song), BAFTA, and Satellite Award nominations.[9]


Contents  [hide]
1 Plot
2 Voice cast
3 Development 3.1 Origins
3.2 Later efforts
3.3 Revitalization
4 Production 4.1 Animation 4.1.1 Scandinavian inspiration
4.2 Music
5 Release 5.1 Home media
5.2 Possible stage adaptation
5.3 Video games
6 Reception 6.1 Box office
6.2 Critical response 6.2.1 Portrayal of female emotions
6.3 Accolades
7 References
8 External links

Plot
Elsa, princess of Arendelle, possesses the ability to create ice and snow. One night while playing, she accidentally injures her younger sister Anna. The king and queen seek help from trolls, who heal Anna and remove her memories of her sister's magic. The royal couple decides to lock the family away in their castle until Elsa learns to control her powers. Afraid of hurting her sister again, Elsa spends most of her time alone in her room, causing a rift between the sisters as they grow up. When the girls are teenagers, their parents are lost at sea during a storm.
When Elsa comes of age, the kingdom prepares for her coronation. Among the guests is the Duke of Weselton, a tradesman seeking to exploit Arendelle for profit. Excited to be allowed out of the castle again, Anna explores the town and meets Prince Hans of the Southern Isles, and the two immediately develop a mutual attraction. Despite Elsa's fear, her coronation goes off without incident. During the reception, Hans proposes and Anna hastily accepts. However, Elsa refuses to grant her blessing and forbids their sudden marriage. The two sisters argue, culminating in Elsa's abilities being exposed to everyone as she is unable to control her emotions.
Panicking, Elsa flees the palace, inadvertently unleashing eternal winter on the kingdom in the process. High in the mountains far from Arendelle, she casts off restraint, building herself a solitary ice palace, and unknowingly brings to life her and Anna's childhood snowman, Olaf. Meanwhile, Anna sets out in search of her sister, determined to return her to Arendelle, end the winter, and mend their relationship. While getting supplies, she meets mountain man Kristoff and his reindeer Sven. She convinces him to guide her up the North Mountain. The group then encounters Olaf, who leads them to Elsa's hideaway.
Anna and Elsa are reunited, but Elsa still fears hurting her sister. When Anna persists in persuading her older sister to return, Elsa becomes agitated, and accidentally strikes Anna in the heart with her powers. She then creates a giant snow creature to run the friends out of her castle. As they flee, Kristoff notices that Anna's hair is turning white, and seeks help from his adoptive family of trolls. They are told that Anna's heart has been frozen, and unless it's thawed by "an act of true love," she will become frozen solid forever. Believing that only Hans can save her, Kristoff races back with her to Arendelle.
Meanwhile, Hans, who had gone on a search for Anna, encounters Elsa's palace. In the ensuing battle against the Duke's men, she is knocked unconscious and imprisoned back at the kingdom. There, Hans pleads with her to undo the winter, but Elsa confesses she doesn't know how. When Anna is reunited with Hans and begs him to kiss her to break the curse, Hans refuses and reveals that his true intention in marrying her is to seize control of Arendelle's throne. Leaving Anna to die, Hans charges Elsa with treason for her younger sister's apparent death.
Elsa escapes and heads out into the blizzard on the fjord. Olaf finds Anna and reveals Kristoff is in love with her. The two then rush onto the fjord to find him. Hans confronts Elsa and tells her Anna is dead because of her. In Elsa's despair, the storm suddenly stops, giving Kristoff and Anna the chance to reach each other. However Anna, seeing that Hans is about to kill Elsa, decides to throw herself between the two and subsequently freezes solid, blocking the blow.
As Elsa grieves for her sister, Anna begins to thaw; her decision to sacrifice herself to save her sister constitutes "an act of true love." Realizing love is the key to controlling her powers, Elsa is able to thaw the kingdom and even helps Olaf survive in summer. Hans is sent back to the Southern Isles to face punishment for his crimes against the royal family of Arendelle, and Elsa cuts off trade with Weselton. Anna and Kristoff share a kiss, and the two sisters reconcile, with Elsa promising never to shut the castle gates again.
Voice cast














From left to right: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad.
Kristen Bell as Anna, princess of Arendelle and Elsa's younger sister[10] Livvy Stubenrauch as Young Anna[11]
Katie Lopez as Young Anna (singing)[12]
Agatha Lee Monn as Teenage Anna (singing)[13]
Idina Menzel as Elsa, the Snow Queen and Anna's elder sister[10][14] Eva Bella as Young Elsa[15][16]
Spencer Lacey Ganus as Teenage Elsa[16][17]
Jonathan Groff as Kristoff, a mountain man, who owns a reindeer named Sven[18][19]
Josh Gad as Olaf, a humorous snowman with intentions of experiencing summer[10][20][21]
Santino Fontana as Hans, a prince from the Southern Isles[18]
Alan Tudyk as the Duke of Weselton[21]
Ciarán Hinds as Grand Pabbie the Troll King[22]
Chris Williams as Oaken, the owner of Wandering Oaken's Trading Post and Sauna[23]
Maia Wilson as Bulda, a troll[24]
Maurice LaMarche as the King of Arendelle, Anna and Elsa's father[24]
Jennifer Lee as the Queen of Arendelle, Anna and Elsa's mother[25]
Development
Origins



 Concept art from Disney's shelved hand-drawn film, The Snow Queen.[26]
In 1943, Walt Disney and Samuel Goldwyn had considered the possibility of collaborating to produce a biography film of author and poet Hans Christian Andersen, where Goldwyn's studio would shoot the live-action sequences of Andersen's life and Disney would create the animated sequences. The animated sequences were to include stories of Andersen's works, such as The Little Mermaid, The Little Match Girl, The Steadfast Tin Soldier, The Snow Queen, Thumbelina, The Ugly Duckling, The Red Shoes, and The Emperor's New Clothes. Disney and his animators encountered difficulty with The Snow Queen, as they could not find a way to adapt and relate the Snow Queen character to modern audiences. Even as far back as the 1940s, Disney's animation department saw great cinematic possibilities with the source material, but the Snow Queen character proved to be too problematic. This, among other things, led to the cancellation of the Disney-Goldwyn project. Goldwyn went on to produce his own live-action film version in 1952, entitled Hans Christian Andersen, with Danny Kaye as Andersen, Charles Vidor directing, Moss Hart writing, and Frank Loesser penning the songs. All of Andersen's fairy tales were, instead, told in song and ballet in live-action, like the rest of the film. It went on to receive six Academy Award nominations the following year. Back at Disney, The Snow Queen, along with other Andersen fairy tales (including The Little Mermaid), were shelved.[27]
Later efforts



"Hans Christian Andersen’s original version of The Snow Queen is a pretty dark tale and it doesn’t translate easily into a film. For us the breakthrough came when we tried to give really human qualities to the Snow Queen. When we decided to make the Snow Queen Elsa and our protagonist Anna sisters, that gave a way to relate to the characters in a way that conveyed what each was going through and that would relate for today’s audiences. This film has a lot of complicated characters and complicated relationships in it. There are times when Elsa does villainous things but because you understand where it comes from, from this desire to defend herself, you can always relate to her. “Inspired by” means exactly that. There is snow and there is ice and there is a Queen, but other than that, we depart from it quite a bit. We do try to bring scope and the scale that you would expect but do it in a way that we can understand the characters and relate to them."
— Producer Peter Del Vecho, on the difficulties adapting The Snow Queen[28]
In the late 1990s, Walt Disney Feature Animation started on their own adaptation of The Snow Queen after the tremendous success of their recent films, but the project was scrapped completely in late 2002, when Glen Keane notoriously quit the project.[26] Even before then, Harvey Fierstein pitched his version of the story to the Disney executives, but was turned down. Dick Zondag and Dave Goetz all had their try on it, but failed. Disney shelved the project again. Michael Eisner, then-CEO and chairman of The Walt Disney Company, offered his support to the project and suggested doing it with John Lasseter at Pixar Animation Studios, when the studios would get their contracts renewed.[27]
The project was revived again around 2008 when Chris Buck pitched Disney his version of the adaptation.[29] At the time, the project went under name of Anna and the Snow Queen, and was planned to be traditionally animated.[30] By early 2010, the project entered development hell once again, when the studio failed to find a way to make the story and the Snow Queen character work.[31][32]
Revitalization
On December 22, 2011, following the success of Tangled, Disney announced a new title for the film, Frozen, a release date, November 27, 2013, and a different crew from the previous attempt.[33] A month later, it was confirmed that the film would be a computer animated feature in stereoscopic 3D, instead of the intended hand drawn animation.[26] On March 5, 2012, it was announced that Chris Buck would be directing, with John Lasseter and Peter Del Vecho producing.[34]
After Disney decided to advance The Snow Queen into development again, one of the main challenges Buck and Del Vecho faced was the character of the Snow Queen, who in that earlier version of the story was a villain. Buck and Del Vecho presented their storyboards to John Lasseter, with the entire production team adjourned to a conference to hear Lasseter's thoughts on this work-in-progress. Production designer Michael Giaimo, recalled; "That was the game changer...I remember John saying that the latest version of The Snow Queen story that Chris Buck and his team had come up with was fun, very light-hearted. But the characters didn't resonate. They aren't multi-faceted. Which is why John felt that audiences wouldn't really be able to connect with them." The production team then addressed the film's problems, drafting several different variations on The Snow Queen story until the characters and story felt relevant. Finally, their decision to rewrite the film's protagonist, Anna (who was based on the Gerda character from The Snow Queen), as the younger sibling of Elsa, effectively establishing a family dynamic between the characters.[35]
Production
Actress Kristen Bell was cast as the voice of Anna on March 5, 2012.[18][34] Lee admitted that Bell's casting selection was influenced after the filmmakers listened to a series of vocal tracks Bell had recorded when she was young, where the actress performed several songs from The Little Mermaid, including "Part of Your World."[36] Bell completed her recording sessions while she was pregnant, and subsequently re-recorded some of her character's lines after her pregnancy, as her voice had deepened.[37] When asked on her approach to Anna, Kristen Bell replied, "I'm really excited to show it to people. I became a part of the kind of movie I wanted to see as a kid," she said. "I always loved Disney animation, but there was something about the females that was unattainable to me. Their posture was too good and they were too well-spoken, and I feel like I really made this girl much more relatable and weirder and scrappier and more excitable and awkward. I'm really proud of that."[38]



Frozen is "a bit of a feminist movie for Disney. I'm really proud of that. It has everything, but it's essentially about sisterhood. I think that these two women are competitive with one another, but always trying to protect each other – sisters are just so complicated. It's such a great relationship to have in movies, especially for young kids."
— Idina Menzel, on her impression of Frozen[36]
Idina Menzel, a Broadway veteran, was cast as Elsa. She and Bell impressed the directors with a duet at an early table read.[14][35] Between December 2012 and June 2013, additional casting roles were announced; including Jonathan Groff as Kristoff,[19] Alan Tudyk as the Duke of Weselton, Santino Fontana as Prince Hans, and Josh Gad as Olaf.[21]
On November 30, 2012, it was announced that Jennifer Lee, one of the screenwriters of Wreck-It Ralph, had joined Buck as co-director.[39] The filmmakers hired Lee initially as a screenwriter, following her work on Wreck-It Ralph. Lee then became heavily involved with the film's pre-development process, working closely with director Chris Buck and songwriters, Robert Lopez and Kristen Anderson-Lopez.[28] Following the announcement, Jennifer Lee became the first woman to direct a full-length animated motion picture produced by Walt Disney Animation Studios.[35]
Animation



 In an example of the film's animation, Elsa finally embraces her cryokinetic abilities during her song "Let It Go."
Similar to Tangled, Frozen employed a unique artistic style by blending features of both computer-generated imagery (CGI) and traditional hand-drawn animation together.[40] The film's animators visited an Ice Hotel in Quebec City to study how light reflects and refracts on snow and ice. For the film's setting, the animators used the landscape of Norway and the feel of the winter season of Wyoming for inspiration.[41] "We had a very short time schedule for this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the material and creating a believable world, and again that doesn't mean it's a realistic world - but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Del Vecho remarked. "There is a real feeling of Lawrence of Arabia scope and scale to this," he finished. Back at the studio, Del Vecho explained the film's production: "On this movie we do have character leads, supervising animators on specific characters. The animators themselves may work on multiple characters but it’s always under one lead. I think it was different on Tangled, for example, but we chose to do it this way as we wanted one person to fully understand and develop their own character and then be able to impart that to the crew. Hyrum Osmond, the animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee, it's her first time leading a character and we wanted her to lead Anna."[28][35][42] In order to get the general feeling of each scene, some animators did their own acting. "I actually film myself acting the scene out, which I find very helpful," said animation supervisor Rebecca Wilson Bresee. This helped her discover elements that made the scene feel real and believable.[43]
Regarding the look and nature of the film's cinematography, the film's art director Michael Giaimo was greatly influenced by Jack Cardiff's work in Black Narcissus. According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. From a design perspective, since I was stressing the horizontal and vertical aspects, and what the fjords provide, it was perfect. We encased the sibling story in scale." Ted D. McCord's work in The Sound of Music was another major influence for Giaimo; "The juxtaposition of character and environment and the counterpart of how they played in terms of cinematography was brilliant in that film." It was also Giaimo's idea that Frozen should be filmed in CinemaScope, which was approved by Lasseter.[44] Giaimo also wanted to ensure that Norway's fjords, architecture and rosemaling folk art, were critical factors in designing the environment of Arendelle. Giaimo, whose background is animation, noted that the art design environment represents a unity of character and environment and that he originally wanted to incorporate saturated colors, which is typically ill-advised in computer animation.[42] A live reindeer was brought into the studio for animators to study its movements and mannerisms for the character, Sven.
During production, the film's English title was changed from The Snow Queen to Frozen, a decision that drew comparisons to Tangled. Peter Del Vecho explained that "the title Frozen came up independently of the title Tangled. It's because, to us, it represents the movie. Frozen plays on the level of ice and snow but also the frozen relationship, the frozen heart that has to be thawed. We don't think of comparisons between Tangled and Frozen, though." He also mentioned that the film will still retain its original title, The Snow Queen, in some foreign countries: "because that just resonated stronger in some countries than Frozen. Maybe there's a richness to The Snow Queen in the country's heritage and they just wanted to emphasize that."[28]



 Test scenes demonstrating snow effects employed in the film.
The studio also developed several new tools to generate realistic and believable shots, particularly the heavy and deep snow and its interactions with the characters. Disney wanted an 'all-encompassing' and organic tool to provide snow effects but not require switching between different methods.[45] Dr. Kenneth Libbrecht, a professor from the California Institute of Technology, was invited to give lectures to the effects group on how snow and ice form, and why snowflakes are unique. Using this knowledge, together with maths, physics and the help of computers, the effects group created a snow simulator and snowflake generator called Matterhorn that allowed them to randomly create 2,000 unique snowflake shapes for the film, according to effects supervisor Dale Mayeda.[43] The software was also capable of depicting realistic snow in a virtual environment and it held responsibility for several key sequences of the film.[35][45][46] This method, in addition, gave audiences an illusion that the snow packs together as one thing and then breaks into pieces, while they are actually pieces already, the snow particles are just moving around, as explained by principal software engineer Andrew Selle.[45] Other tools designed to help artists complete complicated effects included Spaces, which allowed Olaf's deconstructible parts to be moved around and rebuilt, Flourish, which aided extra movement such as leaves and twigs to be art-directed; Snow Batcher, which helped preview the final look of the snow, especially when characters were interacting with an area of snow by walking through a volume, and Tonic, which enabled artists to sculpt their characters' hair as procedural volumes.[45] Tonic essentially aided in animating elements such as Elsa's hair, which contains 420,000 CG threads, while the average number for human is only 100,000. The number of character rigs in Frozen is 312 and the number of simulated costumes also reached 245 cloth rigs, which were far beyond all other Disney films to date, according to Frank Hanner, character CG supervisor.[13][43] Besides 3D effects, the filmmakers also used 2D artworks and drawings for specific elements and sequences in the film, including Elsa's magic and snow sculptures, as well as freezing fountains and floor.[45][46] The effects group created a "capture stage" where the entire world of Frozen gets displayed on monitors, which can be "filmed" on special cameras to operate a three-dimensional scene. "We can take this virtual set that's mimicking all of my actions and put it into any one of our scenes in the film," said technology manager Evan Goldberg.[43]
Scandinavian inspiration
While the setting was principally based on Norway, the cultural influences in the film come from Scandinavian culture as a whole and from Scandinavia's indigenous Sámi culture. Several landmarks in Norway appear in the film, including the Akershus Fortress in Oslo, the Nidaros Cathedral in Trondheim and Bryggen in Bergen. Numerous other typical cultural Scandinavian elements are also included in the film, such as a stave church, trolls, Viking ships, Fjord horses, clothes and food such as lutefisk. A maypole is also present in the film, as well as the brief appearance of runes on the king and queen's grave.[47][48] The movie also contains several elements specifically drawn from the Sámi culture, such as the usage of reindeer for transportation and the equipment used to control these, clothing styles (the outfits of the ice cutters), and parts of the musical score.[49][50] Decorations, such as those on the castle pillars and Kristoff's sled are also in styles inspired by Sámi duodji decorations. During their field work in Norway, Disney's team visited Rørosrein, a Sámi family-owned company in the village Plassje which produces reindeer meat and arranges tourist events, for inspiration.[51] Arendelle was inspired by Naeroyfjord, a branch of Norway's longest fjord Sognefjorden, which has been listed as a UNESCO World Heritage Site.[52]
The filmmakers' trip to Norway provided essential knowledge for the animators to come up with the design aesthetic for the film in terms of color, light, and atmosphere. According to Giaimo, there were three important factors that they had acquired from this research trip: the fjords, which are the massive vertical rock formations, and serve as the setting for the secluded kingdom of Arendelle; the medieval stave churches, whose rustic triangular rooflines and shingles inspired the castle compound; and the rosemaling folk art, whose distinctive paneling and grid patterns informed the architecture, decor, and costumes.[42]
Music
Main article: Frozen (soundtrack)



 Christophe Beck composed the film's score.
The songs for Frozen were written and composed by the husband-and-wife songwriting team of Robert Lopez and Kristen Anderson-Lopez, both of whom had previously worked with Walt Disney Animation Studios on Winnie the Pooh.[14][53] Lopez and Anderson-Lopez's "Let It Go" and "In Summer" were previewed at the 2013 D23 Expo, with the former being performed by Idina Menzel.[54] In February 2013, Christophe Beck was hired to score the film, following his highly acclaimed work on Paperman, a Disney animated short film released the year prior to Frozen.[55] Kristen Bell also confirmed that there would be a duet between her and Menzel.[18] It was also revealed on September 14, 2013 that Sámi musician Frode Fjellheim's Eatnemen Vuelie would be the film's opening song, as it contains elements of the traditional Sámi singing style joik.[56][57] The songs by Lopez and Anderson-Lopez were arranged and orchestrated by Dave Metzger, who also orchestrated a significant portion of Beck's score.[58]
For the orchestral film score, composer Christophe Beck gave homage to the Norway- and Sápmi-inspired setting, employing regional instruments such as the bukkehorn and traditional vocal techniques, such as kulning.[59] The music producers recruited a Norwegian linguist to assist with the lyrics for an Old Norse song written for Elsa's coronation, and also traveled to Norway to record the all-female choir Cantus, for a piece inspired by traditional Sámi music.[59] The score was recorded by an 80-piece orchestra, featuring 32 vocalists, including native Norwegian Christine Hals.[59] Beck worked with Lopez and Anderson-Lopez on incorporating their songs into arrangements in the score. The trio's goal "was to create a cohesive musical journey from beginning to end."[59]
Release



 Peter Del Vecho, producer; Jennifer Lee, writer and director; and Chris Buck, director, at the film's premiere at the El Capitan Theatre in Hollywood, California.
Frozen was released to 3,742 theaters on November 27, 2013,[60] and it was accompanied by the new Mickey Mouse animated short film, Get a Horse![61] The film's premiere was at the El Capitan Theatre in Hollywood, California on November 19, 2013,[62] and had a five-day limited release there, starting from November 22, before going into wide opening.[63][64] Frozen was promoted heavily at several Disney theme parks including Disneyland's Fantasyland, Disney California Adventure's World of Color, Epcot's Norway pavilion, and Disneyland Paris' Disney Dreams! show.[65][66][67] On November 6, 2013, Disney Consumer Products began releasing a line of toys and other merchandise relating to the film in Disney Store and other retailers.[68] The teaser trailer for Frozen was released on June 18, 2013,[69][70] and its official trailer was released on September 26, 2013.[71][72][73]
On January 31, 2014, a sing-along issue of Frozen was released in 2,057 theaters in the United States. This version features on-screen lyrics, and viewers are invited to follow the bouncing snowflake and sing along with the songs from the film.[74][75][76]
Home media
Frozen will be released by Walt Disney Studios Home Entertainment on Blu-ray Disc, DVD, and digital copy on March 18, 2014. Bonus features for the Blu-ray release will include the making of the film, an inside look at how Disney tried to adapt the original fairy tale into an animated feature, four deleted scenes with introduction by the directors, the original theatrical short Get a Horse!, the film's teaser trailer, and "Let It Go" music videos by Demi Lovato, Martina Stoessel, and Marsha Milan Londoh.[77][78]
Possible stage adaptation
Bob Iger, chairman and chief executive officer of The Walt Disney Company, stated in a January 2014 interview with Fortune that Disney Theatrical Productions is in early development of a Broadway stage musical adaptation of Frozen.[79][80] No specific date has yet been set for this adaptation. "We're not demand­ing speed," Iger said. "We're demand­ing excellence."[81] A microsite for the stage adaptation has been launched by Disney, where users can sign up to get email updates on the musical.[82]
Video games
A video game titled Frozen: Olaf's Quest was released on November 19, 2013 for Nintendo DS and Nintendo 3DS.[83] Developed by 1st Playable Productions and published by GameMill Entertainment,[84] it takes place after the events of the film. In the game, Olaf must use his unique snowman abilities to try and stay in one piece throughout 60 levels.[83] Anna and Elsa were released as figurines for the toy-based video game Disney Infinity on November 26, 2013.[85] Additionally, Disney Mobile released a match-three game titled Frozen Free Fall for iOS, Android, and Windows Phone platforms. It takes place in the kingdom of Arendelle and closely follows the original story of the film, in which players can team up with Anna, Elsa, Kristoff, Hans, and Pabbie to match puzzles with the help of each character's special power-ups.[86][87]
Reception
Box office
Frozen has earned $369,080,767 in North America, as of February 10, 2014, and $545,100,000 in other countries, for a worldwide total of $914,180,767.[4] It is the twenty-eighth highest-grossing film,[88] the sixth highest-grossing animated film, the third highest-grossing 2013 film,[89] the second highest-grossing 2013 animated film,[89] the third highest-grossing non-sequel animated film,[90] and the second highest-grossing animated film produced by Walt Disney Animation Studios, behind only The Lion King. The film earned $110.6 million worldwide on its opening weekend.[91] Excluding re-releases, it is the highest-grossing non-sequel animated film in North America, outside North America and worldwide.[92]
North America
Frozen became Fandango's top advance ticket seller among original animated films, ahead of previous record-holder Brave,[93] and became the top-selling animated film in the company's history in late January 2014.[76] The sing-along version of the film later topped the best-selling list of the movie ticketing service again for three days.[76] Frozen opened on Friday, November 22, 2013, exclusively at the El Capitan Theatre in Hollywood for a five-day limited release and earned $342,839 before its wide opening on Wednesday, November 27, 2013.[94] During the three-day weekend it earned $243,390, scoring the seventh largest per-theater average.[95] On the opening day of its wide release, the film earned $15.2 million[96] (including $800,000 from Tuesday previews)[97] and set a record for the highest pre-Thanksgiving Wednesday opening, ahead of Tangled ($11.9 million).[98] It was also the second largest pre-Thanksgiving Wednesday among all films, behind Catching Fire ($20.8 million). The film finished in second place over the traditional three-day weekend (Friday-to-Sunday) with $67.4 million, setting an opening weekend record among Walt Disney Animation Studios films.[99] It also scored the second largest opening weekend among films that did not debut at #1.[100][101] Among films that opened during Thanksgiving, it set new records; three-day ($67.4 million from Friday to Sunday)[102] and five-day ($93.6 million from Wednesday to Sunday).[103] It also achieved the second largest three-day[104] and five-day[105] Thanksgiving gross among all films, behind Catching Fire.[106] During its second weekend of wide release, Frozen declined 53% to $31.6 million, but jumped to first place, setting a record for the largest post-Thanksgiving weekend, ahead of Toy Story 2 ($27.8 million).[107] It became the first film since Avatar to reach first place in its sixth weekend of wide release (January 3–5, 2014) with $19.6 million.[60][108] Frozen also achieved the third largest fifth[109] and sixth[110] weekends of wide release,[108][111] as well as the fourth largest seventh,[112] eighth,[113] and tenth weekends.[114]
In North America, Frozen is the twenty-fifth highest-grossing film, the third highest-grossing 2013 film,[115] the fifth highest-grossing animated film,[116] the highest-grossing 2013 animated film, the third highest-grossing non-sequel animated film, and the second highest-grossing Walt Disney Animation Studios film (after The Lion King). Excluding re-releases, it has achieved the highest-grossing initial run among non-sequel animated films (a record previously held by Finding Nemo)[117] and among Walt Disney Animation Studios films (a record previously held by The Lion King). However, due to ticket price inflation and 3-D surcharges, The Lion King still has a higher attendance.[118] It is also the seventh animated film to reach $300 million, and the third original animated film to reach that milestone.[119]
Outside North America
Frozen is the thirty-sixth highest-grossing film,[120] the seventh highest-grossing animated film, and the fifth highest-grossing 2013 film.[121] It had its debut on the same weekend as its wide North American release and earned $16.7 million from sixteen foreign markets.[101] Overall, its largest opening weekends occurred in China (Wednesday-to-Sunday opening of $14.1 million), Russia and the CIS ($11.9 million, including previews from previous weekend), where the film set an opening-weekend record among Disney animated films (ahead of Tangled) and non-sequel animated films,[122] and France and the Maghreb region (Wednesday-to-Sunday opening of $9.16 million).[123] It set an opening-weekend record among animated films in Sweden.[124] In total earnings, it is the highest-grossing animated film of all time in South Korea and Denmark.[124][125] It is also the highest-grossing Walt Disney Animation Studios film in at least 45 territories,[92] including the Latin America region (as well as specifically in Mexico and Brazil), the UK, Ireland and Malta, Russia and the CIS, Ukraine, Norway, Malaysia, Singapore and China.[90][126][127][128] Frozen topped the box office outside North America in its seventh weekend (January 10–12, 2014), with $27.8 million.[129]
Critical response
Frozen received widespread critical acclaim,[8] with several critics comparing the film favorably to the films of the Disney Renaissance, particularly The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King.[22][130][131][132] The film was praised for its visuals, themes, musical numbers, screenplay, and voice acting, especially of Kristen Bell, Idina Menzel, and Josh Gad.[133] The "Let It Go" musical sequence was repeatedly singled out for praise, with some critics calling it one of the best film sequences of the year.[134][135][136] The review aggregation website Rotten Tomatoes reports that 89% of critics gave the film a positive review based on 177 reviews, with an average score of 7.7/10, making it the highest-rated family film in 2013. The site's consensus reads: "Beautifully animated, smartly written, and stocked with singalong songs, Frozen adds another worthy entry to the Disney canon."[137] Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 74 based on 43 reviews, indicating "generally favorable reviews."[138] CinemaScore gave Frozen a rare "A+" on an A+ to F scale, based on polls conducted during the opening weekend.[139][140] Surveys conducted by Fandango among 1,000 ticket buyers showed that 75% of purchasers have seen the film at least once, and 52% have seen it twice. It was also pointed out that 55% of audiences identified Let It Go as their favorite song, while Do You Want to Build a Snowman and For the First Time in Forver held proportions of 21% and 9%, respectively.[76] Frozen was named the seventh best film of 2013 by Richard Corliss of Time[141] and Kyle Smith of The New York Post.[142]
Alonso Duralde of The Wrap hailed the film as "the best animated musical to come out of Disney since the tragic death of lyricist Howard Ashman, whose work on The Little Mermaid and Beauty and the Beast helped build the studio’s modern animated division into what it is today." He also elaborated that "while it lags the tiniest bit on its way to the conclusion, the script...really delivers; it offers characters to care about, along with some nifty twists and surprises along the way."[22] Todd McCarthy of The Hollywood Reporter observes Frozen as a true musical and wrote "You can practically see the Broadway musical Frozen is destined to become while watching Disney's 3D animated princess tale." McCarthy described the film as "energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare and, beginning with its Thanksgiving opening, should live up to box office expectations as one of the studio's hoped-for holiday-spanning blockbusters."[143] Kyle Smith of the New York Post awarded the film 3.5 out of 4 stars and praised the film as "a great big snowy pleasure with an emotionally gripping core, brilliant Broadway-style songs and a crafty plot. Its first and third acts are better than the jokey middle, but this is the rare example of a Walt Disney Animation Studios effort that reaches as deep as a Pixar film."[144] Scott Mendelson of Forbes enthused; "Frozen is both a declaration of Disney’s renewed cultural relevance and a reaffirmation of Disney coming to terms with its own legacy and its own identity. It’s also a just plain terrific bit of family entertainment."[145]
The Los Angeles Times extolled the film's ensemble voice talent and elaborate musical sequences, and declared Frozen as "a welcome return to greatness for Walt Disney Animation Studios."[130] Entertainment Weekly's Owen Gleiberman gave the film a "B+" grade and labeled it as a "squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift."[131] Richard Corliss of Time also lauded the film, writing that, "It's great to see Disney returning to its roots and blooming anew: creating superior musical entertainment that draws on the Walt tradition of animation splendor and the verve of Broadway present."[146] Richard Roeper acclaimed the film as an "absolute delight from start to finish."[147] Both Michael Phillips of Chicago Tribune and Stephen Holden of The New York Times praised the film's characters and musical sequences, which also drew comparisons to the theatrics found in Wicked.[148][149] Emma Dibdin of Digital Spy awarded the film five out of five stars and called the film "a new Disney classic" and "an exhilarating, joyous, human story that's as frequently laugh-out-loud funny as it is startling and daring and poignant." Hot on the heels of the 90th anniversary, it's impossible to imagine a more perfect celebration of everything Disney is at its best."[150] Frozen was also praised in Norwegian Sámi media as showcasing Sámi culture (which was earlier attempted to be eradicated by the Norwegian state) to a broad audience in a good way. Composer Frode Fjellheim was lauded by Norwegian Sámi President Aili Keskitalo for his contribution to the film, during the President's 2014 New Year's speech.[151][152]
However, the film was not without its criticisms. Scott Foundas of Variety, was not as equally impressed with the film, but nevertheless commended the film's voice acting and technical artistry: "The tactile, snow-capped Arendelle landscape, including Elsa’s ice-castle retreat is Frozen's other true marvel, enhanced by 3D and the decision to shoot in widescreen – a nod to the CinemaScope richness of Sleeping Beauty and Lady and the Tramp."[153] The Seattle Times gave the film two out of four stars, stating that "While it is an often gorgeous film with computer-generated fjords and ice sculptures and castle interiors, the important thing that glues all this stuff together — story — is sadly lacking."[154] Joe Williams of St. Louis Post-Dispatch also criticized the story as the film's weakest point.[155] Writing on Roger Ebert's website, Christy Lemire gave a mixed review, awarding the film two-and-a-half stars out of four. Lemire praised the visuals and the performance of "Let It Go," as well as the positive messages Frozen sends. However, she referred to the film as "cynical" and criticized it as an "attempt to shake things up without shaking them up too much."[156]
Portrayal of female emotions
Allegations of sexism occurred[157][158][159] following a statement from head of animation for Frozen, Lino DiSalvo:
“ Historically speaking, animating female characters are really, really difficult, because they have to go through these range of emotions, but you have to keep them pretty and they're very sensitive too—you can get them off a model very quickly. So, having a film with two hero female characters was really tough, and having them both in the scene and look very different if they're echoing the same expression; that Elsa looking angry looks different from Anna being angry. ”
Some media commentators took this to mean that a difficulty exists due to a limited range of facial variation for recent Disney female animated characters because of the need to keep them "pretty."[157][158][159] A Disney spokesperson told Time that DiSalvo's quote was widely misinterpreted stating that he was "describing some technical aspects of CG animation and not making a general comment on animating females versus males or other characters."[157][159] Director Jennifer Lee also expressed her sadness towards the case, explaining that his words were recklessly taken out of context, and that he was talking in very technical terms about CG animation. "It is hard no matter what the gender is. I felt horrible for him. He was so proud what achieved in the movie. We never had such sophisticated rigs (the skeletal structure of the figures used to model characters on a computer) to show awkwardness and grief on a face. I'm so proud of them." she stated.[13]
Accolades
Main article: List of accolades received by Frozen (2013 film)
Frozen was nominated for various awards and won a number of them, mostly for the Best Animated Feature category, and recognition for the song "Let It Go." The film was nominated for two Golden Globes at the 71st Golden Globe Awards and won for Best Animated Feature, becoming the first Walt Disney Animation Studios film to win at this category.[9] It also won five Annie Awards (including Best Animated Feature)[160][161] and two Critics' Choice Awards for Best Animated Feature and Best Original Song for "Let It Go," It received two Academy Award nominations (Best Animated Feature and Best Original Song),[162] and received similar nominations at the British Academy Film Awards (BAFTA),[163] the Satellite Awards,[164] and various critics' groups and circles.
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External links

Portal icon Disney portal
 Wikiquote has a collection of quotations related to: Frozen (2013 film)
Official website
Frozen at the Internet Movie Database
Frozen at the TCM Movie Database
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Frozen at Rotten Tomatoes
Frozen at Walt Disney Animation Studios


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