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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
Edited by
Alfonso Cuarón
Mark Sanger
Production
   company
Esperanto Filmoj
Heyday Films
Distributed by
Warner Bros. Pictures
Release date(s)
August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)

Running time
91 minutes[1]
Country
United Kingdom[2]
 United States[2]
Language
English
Budget
$100 million[3]
Box office
$716,392,705[3]
Gravity is a 2013 American-British science fiction space thriller film.[3][4] It was directed, co-written, co-produced and co-edited by Alfonso Cuarón, and stars Sandra Bullock and George Clooney as astronauts Dr. Ryan Stone and Lieutenant Matt Kowalski respectively. The film depicts the mid-orbit destruction of the space shuttle and Dr. Ryan's subsequent attempt to return to Earth after her first space mission.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. The rights were sold to Warner Bros. Pictures, where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. They filmed Gravity in the UK, where the British company Framestore spent more than three years creating most of the film's visual effects, which comprise over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival in August 2013 and had its North American premiere three days later at the Telluride Film Festival.[5] It was released to cinemas in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences; both groups praised Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects. It has grossed more than US$716 million worldwide, making it the eighth highest-grossing film of 2013.
At the 86th Academy Awards, Gravity received a leading ten nominations (tying American Hustle), and won seven, the most for the ceremony, including: Best Director for Cuarón, Best Cinematography for Lubezki, Best Visual Effects, and Best Original Score for Price.[6] The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, and seven Critics Choice Awards.[7][8][9]


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 the fictitious space shuttle mission STS-157. Dr. Ryan Stone (Sandra Bullock) is a medical engineer aboard the Explorer for her first space shuttle mission. Her companion is veteran astronaut Matt Kowalski (George Clooney), 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 debris in space. Mission Control orders that the mission be aborted and the shuttle begin re-entry immediately. Communication with Mission Control is lost shortly after.
High-speed debris from the Russian satellite strikes the Explorer and Hubble, and detaches Stone from the shuttle, leaving her tumbling through space. Kowalski, using a Manned Maneuvering Unit, soon recovers Stone and they make their way back to the Space Shuttle. They discover that it 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 1,450 km (900 mi) 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 home life 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 parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 100 km (60 mi) away and boarding a Chinese module 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 grabs 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 while Kowalski floats away.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to hastily make her way to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent the 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 that its engine has no fuel. After a brief radio communication with a fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski 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 the strength of will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong, which is rapidly deorbiting.
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. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. Stone declares that she is ready to head back to Earth, dead or alive. After re-entering the atmosphere, Stone hears Mission Control, which is tracking the capsule, over the radio. The capsule lands in a lake, but dense smoke from an electrical fire inside the capsule forces Stone to evacuate immediately. She opens the capsule hatch, allowing water to enter and sink it, forcing Stone to shed her spacesuit and swim ashore. She watches the remains of the Tiangong re-enter the atmosphere and 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 who is on her first space mission.
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 his team, and is 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.[10]
Phaldut Sharma (voice) as Shariff Dasari, the flight engineer on board the Explorer.
Amy Warren (voice) as the captain of Explorer.
Basher Savage (voice) as the captain of the International Space Station.
Themes[edit]
Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[11][12][13][14] 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.[4] The film incorporates spiritual or existential themes, in the facts of Stone's daughter's accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower.[12] Calamities occur but only the surviving astronauts see them.[15]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and predictability of the debris field, and silence of the vacuum of space with the sound of the score.[14][16] The film uses very long, uninterrupted shots throughout to draw the audience into the action but contrasts these with claustrophobic shots within space suits and capsules.[12][17]
Some commentators have noted religious themes in the film.[18][19][20][21] For instance, Fr. Robert Barron in The Catholic Register summarizes the tension between Gravity's technology and religious symbolism. He said, "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".[21]
The film also suggests themes of humanity's ubiquitous strategy of existential resilience; that, across cultures, individuals must posit meaning, beyond material existence, wherever none can be perceived. Human evolution and the resilience of life may also be seen as key themes of Gravity.[22][23][24][25] The film opens with the exploration of space—the climax of human civilization, and ends with an allegory of the dawn of mankind when Dr. Ryan Stone fights her way out of the water after the crash-landing, passing an amphibian, grabs the soil and slowly regains her capacity to stand upright and walk. Director Cuarón said, "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".[23] Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. 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 the form of meteorites.[26]
Production[edit]
Development[edit]



 David Heyman, Sandra Bullock, and Alfonso Cuarón at the 2013 San Diego Comic-Con International promoting Gravity
Alfonso Cuarón wrote the screenplay with his son Jonás. Cuarón told Wired magazine, "I watched the Gregory Peck movie Marooned over and over as a kid."[27] That film is about the first crew of an experimental space station returning to Earth in an Apollo capsule that suffers a thruster malfunction. Cuarón attempted to develop his project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project began development at Warner Bros, who acquired the project. In February 2010, it attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted.[28] Later in the month, she rejected Wanted 2,[29] partially because the studio did not want to pay the US$20 million fee[30] she had received for her latest two movies and because she wanted to direct her Bosnian war film In the Land of Blood and Honey.[31] In March, Robert Downey, Jr. entered talks to be cast in the male lead role.[32]
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.[30] 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 recently released Black Swan.[33] Portman rejected the project because of scheduling conflicts and Warner Bros. then approached Sandra Bullock for the role.[31] 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.[34] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[35]
The problem of shooting long scenes in a zero-g environment was a challenge. 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.[36] This meant that shots and blocking had to be planned well in advance for the robots to be programmed.[36] 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 film, but it took four and a half years.[37]
Filming[edit]



 The landing scene was filmed at Lake Powell, Arizona.
Gravity had a production budget of $100 million and was filmed digitally on multiple Arri Alexa cameras. Principal photography began in late May 2011.[38] Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[39] The landing scene was filmed at Lake Powell, Arizona—where the astronauts' landing scene in Planet of the Apes (1968) was also filmed.[40] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore, which was responsible for creating most of the film's visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the movie consisted of CG—compared to James Cameron's Avatar, which was 60 percent CG.[41] 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.[42] The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was 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.[43] The film contains 156 shots with an average length of 45 seconds—fewer and longer shots than in most films of this length.[44] Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. 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."[45] The soundtrack in the film's space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.
For most of Bullock's shots, she was placed inside a giant, mechanical rig.[36] Getting into the rig took a significant amount of time, so Bullock chose to stay in it for up to 10 hours a day, communicating with others through a headset.[36] 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 celebration each day when Bullock arrived. They nicknamed the rig "Sandy's cage" and gave it a lighted sign.[36] Most of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film.[46]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music for Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[47] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[48] Songs featured in the film include:[49]
"Angels Are Hard to Find" by Hank Williams, Jr.
"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, written by Estonian composer Arvo Pärt in 1978, was used.[50]
Release[edit]
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, 2013 and was released in the USA in 3D and IMAX 3D on October 4, 2013.[51] The film's release coincided with the beginning of World Space Week, which was 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 to allow the completion of extensive post-production effects work.[52]


Box office[edit]
Preliminary reports predicted the film would open with takings of over $10 million in North America.[53][54] The film earned $1.4 million from its Thursday night showings,[55] and reached $17.5 million on Friday.[56] Gravity topped the box office and broke Paranormal Activity 3's record as the highest-earning October and autumn openings, grossing $55.8 million.[57] 80 percent of the film's opening weekend gross came from its 3D showings, which grossed $44 million. $11.2 million—20 percent of the receipts—came from IMAX 3D showings; the highest percentage for a film opening more than $50 million.[58]
The film stayed at number one at the box office during its second and third weekends.[59][60] Gravity opened at number one in the United Kingdom, taking GB£6.23 million over the first weekend of release[61] and remained there for the second week.[62] The film's largest markets outside North America were China ($71.2m),[63] the United Kingdom ($47.0m) and France ($38.2m).[64] On February 17, 2014 the film grossed $700m worldwide.[65] Gravity grossed $274,092,705 in North America and $442,300,000 in other countries, making a worldwide gross of $716,392,705—making it the eighth-highest grossing film of 2013.[3]
Critical response[edit]
Gravity received positive reviews from critics who praised the acting (especially Sandra Bullock's performance), direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[66] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 303 critics, with a "Certified Fresh" rating and an average score of 9.0/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[67] On Metacritic, which assigns a normalized rating out of 100 based on reviews from critics, the film has a score of 96 based on 49 reviews, indicating "universal acclaim".[68] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Gravity an average grade of A- on an A+ to F scale.[58]
Matt Zoller Seitz, writing on RogerEbert.com, gave four stars out of four, calling it "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".[69] Justin Chang writing for Variety said that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide".[70] Richard Corliss of Time said, "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 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."[71]
Peter Travers of Rolling Stone gave the film the maximum four stars, stating that the film was "more than a movie. It's some kind of miracle."[72] A. O. Scott writing for The New York Times highlighted the use of 3-D which he said, "surpasses even what James Cameron accomplished in the flight sequences of Avatar". Scott also said that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them".[73] Quentin Tarantino said it was 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]
Some critics have compared Gravity with other notable films set in space. Lindsey Weber of Vulture.com said the choice of Ed Harris for the voice of Mission Control is a reference to Apollo 13.[78] Todd McCarthy of The Hollywood Reporter suggests the way "a weightless Stone goes floating about in nothing but her underwear" references Alien.[16] Other critics make connections with 2001: A Space Odyssey.[79] James Cameron praised the film and 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".[80] Empire Online, Ask Men, and Huffington Post also put Gravity as one of the best space films ever made.[81][82][83]
However, on June 12, 2014, the same The Huffington Post listed Gravity on their list, "8 Movies From The Last 15 Years That Are Super Overrated."[84]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards; together with American Hustle it received the greatest number of nominations for the 2014 ceremony. These included Best Picture, Best Actress for Bullock, and Best Production Design.[85] The film won the most of the night with seven Academy Awards: for Best Director, Best Cinematography, Best Visual Effects, Best Film Editing, Best Original Score, Best Sound Editing and Best Sound Mixing.[86][87]
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was also nominated for Best Motion Picture – Drama, Best Actress – Drama for Bullock and Best Original Score.[88]
Gravity received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013. Its nominations included Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Cuarón was the most-nominated person at the awards; he was nominated for five awards, including his nominations as producer for Best Film awards and editor.[89][90] Despite not winning Best Film, Gravity won six awards, the greatest number of awards in 2013. It won the awards for Outstanding British Film, Best Direction, Best Original Music, Best Cinematography, Best Sound, and Best Visual Effects.[91]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and was released on DVD, Blu-ray and Blu-ray 3D on February 25, 2014, in the United States and on March 3, 2014, in the United Kingdom.[92] As of March 16, 2014, Gravity has sold 908,756 DVDs along with 957,355 Blu-ray discs for $16,465,600 and $22,183,843 respectively for a total of $38,649,443.[93]
Scientific accuracy[edit]



 A diagram showing the orbits of the International Space Station and Hubble Space Telescope
Cuarón has stated that Gravity is not always scientifically accurate and that some liberties were needed to sustain the story.[94] "This is not a documentary," Cuarón said. "It is a piece of fiction."[95] The film has been praised for the realism of its premises and its overall adherence to physical principles, despite several inaccuracies and exaggerations.[96][97][98] According to NASA Astronaut Michael J. Massimino, who took part in the Hubble Space Telescope 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."[99]
Astronaut Buzz Aldrin called the visual effects "remarkable", and said, "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."[100] Former NASA astronaut Garrett Reisman said, "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."[101]
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.[98][102][103] Examples of differences from reality include:
The Hubble Space Telescope, which is being repaired at the beginning of the movie, has an altitude of about 559 kilometres (347 mi) and an orbital inclination of 28.5 degrees. The ISS has an altitude of around 420 kilometres (260 mi) and an orbital inclination of 51.65 degrees. The significant differences between orbital parameters would make it impossible to travel between the two spacecraft without precise preparation, planning, calculation, the appropriate technology, and a large quantity of fuel.[97][98][103]
Several observers (including Plait and Tyson) said that in the scene in which Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, Stone would simply need to tug the tether gently to pull Kowalski toward her. According to the film's science adviser Kevin Grazier and NASA engineer Robert Frost, however, the pair are still decelerating with Stone's leg caught in the parachute cords from the Soyuz. The cords stretch as they absorb her kinetic energy. Kowalski thinks that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must release the tether to give Stone a chance of stopping before the cords fail and doom both of them.[104]
Stone is shown not wearing liquid-cooled ventilation garments or even socks, which are always worn under the EVA suit to protect against extreme temperatures in space. Neither was she shown wearing space diapers.[98]
Stone's tears first roll down her face in micro-gravity, and are later seen floating off her face. Without sufficient force to dislodge the tears, they would remain on her face because of surface tension.[105] However, the movie correctly portrays the spherical nature of drops of liquid in a micro-gravity environment.[97]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski said they enjoyed watching the film.[98][102][103] Aldrin said he 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.[100]
See also[edit]
Apollo 13, a 1995 film dramatising the Apollo 13 incident
Kessler syndrome
List of films featuring space stations
Survival film
References[edit]
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External links[edit]
 Wikimedia Commons has media related to Gravity (film).
 Wikiquote has a collection of quotations related to: Gravity (film)
Official website
Gravity at the Internet Movie Database
Gravity at AllMovie


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Apollo 13 (film)
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Apollo 13
A thin light-gray crescent Moon stretches diagonally from lower left to upper right against a black background, with a blue and white crescent Earth in the far distance. In front of the portion of the moon that is in shadow on the left appears a small image of the Apollo 13 Command/Service module joined to the Lunar Module, with vapor streaming from a hole in the side of the Service Module — the words "Houston, we have a problem" appear directly above the craft in white lower case lettering. The names of the principal actors appear in white lettering at the top of the image, and the title APOLLO 13 in block white upper-case letters appears at the lower right.
Theatrical release poster

Directed by
Ron Howard
Produced by
Brian Grazer
Screenplay by
William Broyles, Jr.
Al Reinert
Based on
Lost Moon
 by Jim Lovell
Starring
Tom Hanks
Kevin Bacon
Bill Paxton
Gary Sinise
Ed Harris
Music by
James Horner
Cinematography
Dean Cundey
Edited by
Daniel P. Hanley
Mike Hill
Production
   company
Imagine Entertainment
Distributed by
Universal Pictures
Release date(s)
June 30, 1995 (United States)

Running time
140 minutes
Country
United States
Language
English
Budget
$52 million[1]
Box office
$355,237,933[2]
Apollo 13 is a 1995 American historical docudrama film directed by Ron Howard. The film stars Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris. The screenplay by William Broyles, Jr. and Al Reinert, that dramatizes the aborted 1970 Apollo 13 lunar mission, is an adaptation of the book Lost Moon: The Perilous Voyage of Apollo 13 by astronaut Jim Lovell and Jeffrey Kluger.
The film depicts astronauts Lovell, Jack Swigert and Fred Haise aboard Apollo 13 for America's third Moon landing mission. En route, an on-board explosion deprives their spacecraft of most of its oxygen supply and electric power, forcing NASA's flight controllers to abort the Moon landing, and turning the mission into a struggle to get the three men home safely.
Howard went to great lengths to create a technically accurate movie, employing NASA's technical assistance in astronaut and flight controller training for his cast, and even obtaining permission to film scenes aboard a reduced gravity aircraft for realistic depiction of the "weightlessness" experienced by the astronauts in space.
Released in the United States on June 30, 1995, Apollo 13 garnered critical acclaim and was nominated for many awards, including nine Academy Awards (winning for Best Film Editing and Best Sound).[3] In total, the film grossed over $355 million worldwide during its theatrical releases.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Pre-production and props
3.2 Cast training and filming
4 Soundtrack
5 Release 5.1 Box-office performance
5.2 Reception
5.3 Home media
6 Accolades
7 Technical and historical accuracy
8 See also
9 References
10 External links

Plot[edit]
On July 20, 1969, veteran astronaut Jim Lovell hosts a party for other astronauts and their families, who watch on television as Neil Armstrong takes his first steps on the Moon during the Apollo 11 mission. After the party, Lovell, who orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon and walk on its surface.
On October 30, while giving a VIP tour of NASA's Vehicle Assembly Building, Lovell is informed by his boss Deke Slayton that he and his crew will fly the Apollo 13 mission instead of Apollo 14. Lovell, Ken Mattingly, and Fred Haise begin training for their new mission. Days before launch, it is discovered that Mattingly was exposed to measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert, as a safety precaution. Lovell resists breaking up his team, but relents after Slayton gives him the ultimatum of either accepting the switch, or else being bumped to a later mission.
As the launch date approaches, Marilyn's fears for her husband's safety manifest in nightmares, but she goes to Cape Kennedy the night before launch, to see him off despite her misgivings.
On April 11, 1970, Apollo 13 Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for launch. As the Saturn V rocket climbs into the sky, an engine on the second stage cuts off prematurely, but the craft successfully reaches Earth orbit. After the third stage fires, sending Apollo 13 on a trajectory to the Moon, Swigert docks the Command/Service Module Odyssey with the Lunar Module Aquarius, and pulls it away from the spent stage.
Three days into the mission, the crew send a live television transmission from Odyssey, but the networks, believing the public now regards lunar missions as routine, decline to carry the broadcast live. Swigert is told to perform a standard housekeeping procedure of stirring the two liquid oxygen tanks in the Service Module. When he flips the switch, one tank explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking, prompting Mission Control to abort the Moon landing, and forcing Lovell and Haise to hurriedly power up Aquarius as a "lifeboat" for the return home, while Swigert shuts down Odyssey before its battery power runs out. On Earth, Kranz rallies his team to do what is necessary to get the astronauts home safely, declaring "failure is not an option." Controller John Aaron recruits Mattingly to help him figure out how to restart Odyssey for the final return to Earth.
As Swigert and Haise watch the Moon passing beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the task of getting home. With Aquarius running on minimum systems to conserve power, the crew is soon subjected to freezing conditions. Swigert suspects Mission Control is unable to get them home and is withholding this from them. In a fit of rage, Haise blames Swigert's inexperience for the accident; the ensuing argument is quickly squelched by Lovell. When the carbon dioxide exhaled by the astronauts reaches the Lunar Module's filter capacity and approaches dangerous levels, an engineering team quickly invents a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, and despite Haise's fever and miserable living conditions, the crew succeeds in making a difficult but vital course correction by manually igniting the Lunar Module's engine.
Mattingly and Aaron struggle to find a way to power up the Command Module with its limited available power, but finally succeed and transmit the procedures to Swigert, who successfully restarts Odyssey by transmitting extra power from Aquarius. When the Service Module is jettisoned, the crew finally see the extent of the damage and prepare for re-entry, unsure whether Odyssey's heat shield is intact. If it is not, they will incinerate during reentry. They release Aquarius and re-enter the Earth's atmosphere in Odyssey. After a tense, longer than normal period of radio silence due to ionization blackout, the astronauts report all is well and splash down in the Pacific Ocean. The three men are brought aboard the amphibious assault ship USS Iwo Jima.
As the astronauts are given a hero's welcome on deck, Lovell's narration describes the events that follow their return from space—including the investigation into the explosion, and the subsequent careers and lives of Haise, Swigert, Mattingly and Kranz—and ends with him wondering when mankind will return to the Moon.
Cast[edit]











Top to bottom: Hanks, Bacon and Paxton, who portray astronauts Lovell, Swigert and Haise respectively.
Tom Hanks as Apollo 13 Commander Jim Lovell. Jim Lovell stated that before the book was even written, the rights were being shopped to potential buyers[4] and that his first reaction was that actor Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that there was a script being passed around, he had the script sent to him.[4] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup CMP Jack Swigert.
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise.
Gary Sinise as Apollo 13 prime Command Module Pilot (CMP) Ken Mattingly. Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[4]
Ed Harris as White team Flight Director Gene Kranz. Harris described the film as "cramming for a final exam". Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew.[4]
Kathleen Quinlan as Lovell's wife Marilyn.
Chris Ellis as Director of Flight Crew Operations Deke Slayton.
Joe Spano as "NASA Director", a composite character based loosely on Chris Kraft.
Marc McClure as Black team Flight Director Glynn Lunney.
Clint Howard as White team EECOM (Electrical, Environmental and Consumables Manager) Sy Liebergot.
Ray McKinnon as White team FIDO (Flight Dyamics Officer).
Todd Louiso as White Team FAO (Flight Activities Officer).
Loren Dean as EECOM John Aaron.
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member.[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as CAPCOM 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's then-wife Mary
Mary Kate Schellhardt as Lovell's older daughter Barbara.
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight.
Emily Ann Lloyd as Lovell's younger daughter Susan.
Miko Hughes as Lovell's younger son Jeffrey.
Thom Barry as an orderly at Blanch's retirement home.
The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a Captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Saturn V Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his proteges' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[5][5] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[5]
In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]
Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11] Reportedly, the real Pete Conrad expressed interest in appearing in the film.[5]
Jeffrey Kluger appears as a television reporter.[10]
Production[edit]
Pre-production and props[edit]
While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[12] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, who also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[13]
The real Mission Control center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming but Howard declined, opting instead to make his own replica from scratch.[5][12] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[13] The Mission Control room built for the film was on the ground floor.[12] One NASA employee who was a consultant for the film said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[5] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[12]



"For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was."
—Tom Hanks[13]
Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[14]
Cast training and filming[edit]
To prepare for their roles in the film, Hanks, Paxton, and Bacon all attended the U.S. Space Camp in Huntsville, Alabama. While there, astronauts Jim Lovell and David Scott, commander of Apollo 15, did actual training exercises with the actors inside a simulated Command Module and Lunar Module.[dubious – discuss] The actors were also taught about each of the 500 buttons, toggles, and switches used to operate the spacecraft.[citation needed]
The actors then traveled to Johnson Space Center in Houston where they flew in NASA's KC-135 reduced gravity aircraft to simulate weightlessness in outer space. While in the KC-135, filming took place in bursts of 25 seconds, the length of each period of weightless that the plane could produce. The filmmakers eventually flew 612 parabolas which added up to a total of three hours and 54 minutes of weightlessness. Parts of the Command Module, Lunar Module and the tunnel that connected them were built by production designer Michael Corenblith, art directors David J. Bomba and Bruce Alan Miller and their crew to fit inside the KC-135. Filming in such an environment, while never done before for a film, was a tremendous time saver. In the KC-135, the actors moved wherever they wanted, surrounded by floating props; the camera and cameraman were weightless so filming could take place on any axis from which a shot could be set up.[citation needed]
In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts and attended a crash course in physics.[12][13] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[4]
Soundtrack[edit]

Apollo 13: Music From The Motion Picture

Soundtrack album by James Horner

Released
27 June 1995
Genre
Soundtrack
Length
77:41
Label
MCA

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[15]
Filmtracks.com 5/5 stars[16]
SoundtrackNet 4/5 stars[17]
Tracksounds 9/10 stars[18]
The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-three minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[19]
All music composed by James Horner, except where noted.

Apollo 13: Original Motion Picture Soundtrack

No.
Title
Length

1. "Main Title"   1:32
2. "One Small Step"   0:42
3. "Night Train" (performed by James Brown) 3:27
4. "Groovin'" (performed by The Young Rascals) 2:26
5. "Somebody to Love" (performed by Jefferson Airplane) 2:55
6. "I Can See for Miles" (performed by The Who) 4:09
7. "Purple Haze" (performed by The Jimi Hendrix Experience) 2:48
8. "Launch Control"   3:28
9. "All Systems Go/The Launch"   6:39
10. "Welcome to Apollo 13"   0:38
11. "Spirit in the Sky" (performed by Norman Greenbaum) 3:50
12. "House Cleaning/Houston, We Have a Problem"   1:34
13. "Master Alarm"   2:54
14. "What's Going On?"   0:34
15. "Into the L.E.M."   3:43
16. "Out of Time/Shut Her Down"   2:20
17. "The Darkside of the Moon" (performed by Annie Lennox) 5:09
18. "Failure is Not an Option"   1:18
19. "Honky Tonkin'" (performed by Hank Williams) 2:42
20. "Blue Moon" (performed by The Mavericks) 4:09
21. "Waiting for Disaster/A Privilege"   0:43
22. "Re-Entry & Splashdown"   9:05
23. "End Titles" (performed by Annie Lennox) 5:34
Release[edit]
The film was released on 30 June 1995 in North America and on 22 September 1995 in the UK.
In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[20]
Box-office performance[edit]
The film was a box-office success, gaining $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2] The film's opening weekend and the latter two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]
Apollo 13 box office revenue

Source
Gross (USD)
 % Total
All time rank (unadjusted)
US $173,837,933[2] 48.9% 126[2]
Non-US $181,400,000[2] 51.1% N/A
Worldwide $355,237,933[2] 100.0% 140[2]
Reception[edit]
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95% based on 81 reviews, with a weighted average score of 8.1/10.[21] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews.[22]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[23] Richard Corliss from Time Magazine highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[24] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[25] Peter Travers from Rolling Stone Magazine praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[26] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told".[27]
Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, “like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind).”[28]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[29] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[4]
Home media[edit]
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[30] The IMAX version has a 1.66:1 aspect ratio.[31]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc, on the 40th anniversary of the Apollo 13 accident (Central Standard Time).[30]
Accolades[edit]

Year
Award
Category
Recipient
Result
Ref.
1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [3]
Best Sound Rick Dior, Steve Pederson, Scott Millan, David MacMillan Won
Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in Usual Suspects) Nominated
Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino Mighty Aphrodite) Nominated
Best Art Direction Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration) Nominated
Best Original Dramatic Score James Horner (lost to Il Postino) Nominated
Best Picture Brian Grazer (lost to Braveheart) Nominated
Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe) Nominated
Best Adapted Screenplay William Broyles Jr., Al Reinert (lost to Sense & Sensibility) Nominated
American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley Nominated 
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey Nominated 
BAFTA Film Awards Best Production Design Michael Corenblith Won 
Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Won
Best Cinematography Dean Cundey Nominated
Best Editing Mike Hill, Daniel Hanley Nominated
Best Sound David MacMillan, Rick Dior, Scott Millan, Steve Pederson Nominated
Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Nominated 
Chicago Film Critics Association Awards Best Picture Apollo 13 Won 
Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Won 
Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Nominated 
Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Nominated
Best Director – Motion Picture Ron Howard Nominated
Best Motion Picture – Drama Apollo 13 Nominated
Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Won 
Hugo Awards Best Dramatic Presentation Apollo 13 Nominated 
MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Nominated 
Best Movie Apollo 13 Nominated
PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Won 
Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 Nominated 
Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Ed Harris as Gene Kranz Won 
Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise Won
Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama Apollo 13 Won [32]
Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Nominated 
Young Artist Awards Best Family Feature – Drama Apollo 13 Nominated 
2001 American Film Institute AFI's 100 Years... 100 Thrills Apollo 13 Nominated 
2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem." (#50) Won [33]
2006 American Film Institute AFI's 100 Years... 100 Cheers Apollo 13 (#12) Won [33]
Technical and historical accuracy[edit]
The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[34]
The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[35]
One other incorrect dialogue is after the reentry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again". In the actual reentry, the Command Module was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. Capcom and fellow astronaut Joe Kerwin (not Mattingly, who serves as Capcom in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[36]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an email by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option', you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like?' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked?' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it.' Of course, they gave it to the Kranz character, and the rest is history."[37]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both the original and 10th-anniversary editions,[30] mentions several inaccuracies included in the film, all done for reasons of artistic license:



"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[38]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[5]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job,[38] but he admitted that it made a nice sub-plot for the film. What Lovell and Haise were really worried about was rendezvousing with Swigert as they left the Moon.[5]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[5]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[38] but the drain trap caught the ring and his wife was able to retrieve it.[5] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[38]
See also[edit]
From the Earth to the Moon, a docudrama mini-series based around the Apollo missions.
Gravity, a 2013 film about astronauts escaping from orbit
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.


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References[edit]
 This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration.
1.Jump up ^ "CNN Showbiz News:Apollo 13". CNN. Retrieved 9 April 2009.
2.^ Jump up to: a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved 9 April 2009.
3.^ Jump up to: a b "Academy Awards, USA: 1996". awardsdatabase.oscars.org. Archived from the original on 27 February 2009. Retrieved 8 April 2009.
4.^ Jump up to: a b c d e f "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
5.^ Jump up to: a b c d e f g h i j k Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Jim and Marilyn Lovell (DVD). Universal Studios. 19 April 2005.
6.Jump up ^ "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
7.Jump up ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Retrieved 1 January 2012.
8.Jump up ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed.). New York: Pocket Books. pp. 118, 209–210, 387. ISBN 0-671-53464-5.
9.Jump up ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved 1 January 2012.
10.^ Jump up to: a b c Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features:Commentary track by Ron Howard (DVD). Universal Studios. 19 April 2005.
11.Jump up ^ "Brad Pitt - A Quick Overview". Retrieved 1 January 2012.
12.^ Jump up to: a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. 19 March 2005.
13.^ Jump up to: a b c d "Production Notes (Press Release)". IMAX. Retrieved 9 April 2009.
14.Jump up ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Retrieved 16 December 2011.
15.Jump up ^ Apollo 13 at AllMusic
16.Jump up ^ Filmtracks review
17.Jump up ^ Soundtrack.Net review
18.Jump up ^ Tracksounds review
19.Jump up ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
20.Jump up ^ "History of IMAX". Retrieved 11 February 2011.
21.Jump up ^ "Rotten Tomatoes – Apollo 13". Rotten Tomatoes. Flixster. Archived from the original on 20 August 2010. Retrieved 24 August 2010.
22.Jump up ^ "Apollo 13 Reviews". Metacritic. CBS Interactive. Retrieved 25 September 2011.
23.Jump up ^ "Apollo 13: Roger Ebert". Chicago Suntimes. 30 June 1995. Retrieved 11 April 2009.
24.Jump up ^ "Apollo 13:Review". Time Magazine. 3 July 1995. Retrieved 11 April 2009.[dead link]
25.Jump up ^ Guthmann, Edward (30 June 1995). "Apollo 13 Review: Story heroic, but it just doesn't fly.". San Francisco Chronicle. Retrieved 11 April 2009.
26.Jump up ^ "Apollo 13 Review:Rolling Stone". Rolling Stone Magazine. Retrieved 11 April 2009.
27.Jump up ^ "Movie Review: "Apollo 13"". Movie Room Reviewsaccessdate=February 26, 2013.
28.Jump up ^ Maslin, Janet (30 June 1995). "Apollo 13, a Movie for the Fourth of July". NYT Critics' Pick (The New York Times). Retrieved 30 September 2011.
29.Jump up ^ Howard, Ron (8 December 2008). "A conversation about the film "Frost/Nixon"". Charlie Rose show. Archived from the original on 11 December 2008. Retrieved 8 December 2008.
30.^ Jump up to: a b c "Apollo 13 Blu Ray Release". Universal Studios. Retrieved 29 September 2011.[not in citation given]
31.Jump up ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved 30 December 2011.
32.Jump up ^ "Symposium Awards". National Space Symposium. Retrieved 26 April 2009.[dead link]
33.^ Jump up to: a b "AFI's 100 years...100 quotes". AFI. Archived from the original on 26 March 2009. Retrieved 13 April 2009.
34.Jump up ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20."
35.Jump up ^ "Page 167 of Apollo 13's transcript on Spacelog". Retrieved 10 June 2011.
36.Jump up ^ "Apollo 13's reentry transcript on Spacelog".
37.Jump up ^ "ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION."". SPACEACTS.COM. Retrieved 4 April 2010.
38.^ Jump up to: a b c d William, Lena (19 July 1995). "In Space, No Room For Fear". The New York Times. Retrieved 30 September 2011.
External links[edit]
 Wikiquote has a collection of quotations related to: the film Apollo 13
Apollo 13 at the TCM Movie Database
Apollo 13 at the Internet Movie Database
Apollo 13 at AllMovie
Apollo 13 at Rotten Tomatoes
Apollo 13 at Box Office Mojo


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Marooned (film)
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Marooned
Marooned.jpg
theatrical release poster

Directed by
John Sturges
Produced by
M. J. Frankovich
Screenplay by
Mayo Simon
Based on
Marooned (novel)
 by Martin Caidin
Starring
Gregory Peck
Richard Crenna
David Janssen
James Franciscus
Gene Hackman
Cinematography
Daniel L. Fapp
Edited by
Walter Thompson
Distributed by
Columbia Pictures
Release date(s)
November 10, 1969 (US)

Running time
134 minutes
Country
United States
Language
English
Budget
$8-10 million[1]
Box office
$4.1 million (USA / Canada rentals)[1][2]
Marooned is a 1969 Eastmancolor American film directed by John Sturges and starring Gregory Peck, Richard Crenna, David Janssen, James Franciscus, and Gene Hackman.[3] It was based on the 1964 novel Marooned by Martin Caidin; however, while the original novel was based on the single-pilot Mercury program, the film depicted an Apollo Command/Service Module with three astronauts and a space station resembling Skylab. Caidin acted as technical adviser and updated the novel, incorporating appropriate material from the original version.
The film was released less than four months after the Apollo 11 moon landing and was tied to the public fascination with the event. It won an Academy Award for Visual Effects for Robbie Robertson.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Legacy
5 In popular culture
6 See also
7 References
8 External links

Plot[edit]
Three American astronauts – commander Jim Pruett (Richard Crenna), "Buzz" Lloyd (Gene Hackman), and Clayton "Stoney" Stone (James Franciscus) – are the first crew of an experimental space station on an extended duration mission. While returning to Earth, the main engine on the Apollo spacecraft Ironman One fails. Mission Control determines that Ironman does not have enough backup thruster capability to initiate atmospheric reentry, or to re-dock with the station and wait for rescue. The crew is marooned in orbit.
NASA debates whether a rescue flight can reach the crew before their oxygen runs out in approximately two days. There are no backup launch vehicles or rescue systems available at Kennedy Space Center and NASA director Charles Keith (Peck) opposes using an experimental Air Force X-RV lifting body that would be launched on a Titan IIIC booster; neither the spacecraft nor the booster is man-rated, and there is insufficient time to put a new manned NASA mission together. Even though a booster is already on the way to nearby Cape Canaveral Air Force Station for an already-scheduled Air Force launch, many hundreds of hours of preparation, assembly, and testing would be necessary.
Ted Dougherty (David Janssen), the Chief Astronaut, opposes Keith and demands that something be done. The president agrees with Dougherty and tells Keith that failing to try a rescue mission will kill public support for the manned space program. The President tells Keith that money is no factor; "whatever you need, you've got it".
While the astronauts' wives (Lee Grant, Mariette Hartley, and Nancy Kovack) agonize over the fates of their husbands, all normal checklist procedures are bypassed to prepare the X-RV for launch. A hurricane headed for the launch area threatens to cancel the mission, scrubbing the final attempt to launch in time to save all three Ironman astronauts. However, the eye of the storm passes over the Cape 90 minutes later during a launch window, permitting a launch with Dougherty aboard in time to reach the ship while at least some of the crew survives.
Insufficient oxygen remains for all three astronauts to survive until Dougherty arrives. There is possibly enough for two. Pruett and his crew then debate what to do. Stone tries to reason that they can somehow survive by taking sleeping pills or otherwise reducing oxygen consumption. Lloyd offers to leave since he is "using up most of the oxygen anyway", but Pruett overrules him. He orders everyone into their spacesuits then leaves the ship, ostensibly to attempt repairs (although this option has been repeatedly dismissed as impractical).
When Lloyd sees Pruett going out the hatch, he attempts to follow. Before he can reach him, Pruett's space suit has been torn on a metal protrusion and oxygen rapidly escapes, leading to Pruett's death by anoxia. (It is not made explicit in the movie whether Pruett's death is intentional or not. While he had discussed the oxygen supply issue with the other astronauts, he shows clear alarm and shock when he sees the tear in his suit.) Lloyd looks on as Pruett's body drifts away into space. With Pruett gone, Stone takes command.
A Soviet spacecraft suddenly appears and its cosmonaut tries to make contact. It can do nothing but deliver oxygen since the Soviet ship is too small to carry additional passengers. Stone and Lloyd, suffering oxygen deprivation, cannot understand the cosmonaut's gestures or obey Keith's orders.
Dougherty arrives and he and the cosmonaut transfer the two surviving and mentally dazed Ironman astronauts into the rescue ship. Both the Soviet ship and the X-RV return to Earth, and the final scene fades out with a view of the abandoned Ironman One adrift in orbit.
Cast[edit]
Gregory Peck as Charles Keith
Richard Crenna as Jim Pruett
David Janssen as Ted Dougherty
James Franciscus as Clayton Stone
Gene Hackman as Buzz Lloyd
Lee Grant as Celia Pruett
Nancy Kovack as Teresa Stone
Mariette Hartley as Betty Lloyd
 Scott Brady as Public Affairs Officer
Frank Marth as Air Force Systems Director
Craig Huebing as Flight Director
John Carter as Flight Surgeon
Vincent Van Lynn as Aerospace Journalist
George Gaynes as Mission Director
Tom Stewart as Houston Cap Com

Cast notes:
Martin Caidin, the author of the book the movie was based on, and a technical advisor for the film, makes a brief appearance in the film as a reporter describing the arrival of the X-RV at Cape Canaveral.
Production[edit]
Given that Apollo missions were being watched regularly by television audiences, it was very important to the producers that the look of the film be as authentic as possible. NASA, and its primary contractors such as North American Aviation and Philco-Ford, helped with the design of the film's hardware, including the crew's chairs inside the capsule, the orbiting laboratory - which used an early mock-up of the Skylab concept, the service module,[4] the actual Plantronics headsets worn by the actors in the spacecraft, as well as authentic replicas of actual facilities such as the Mission Operations Control Room (MOCR) at Johnson Space Center in Houston and the Air Force Launch Control Center (AFLCC) at Cape Canaveral AFS. Contractors' technicians also worked on the film.
The Apollo Command Module used in making the film was an actual "boilerplate" version of the "Block I" Apollo spacecraft; no Block I ever flew with a crew aboard. While the Block II series had a means of rapidly blowing the hatch open, the Block I did not, and the interior set was constructed using the boilerplate as a model. To blow the hatch in the movie, Buzz pulls on a handle attached to a hinge.
Astronaut Jim Lovell and his wife Marilyn Lovell referred to the film years later in a special interview. Their recollection is shared as a feature on the DVD release of Apollo 13, a 1995 film directed by Ron Howard. The couple describes a 1969 film – never specifically named – in which an astronaut in an Apollo spacecraft "named Jim" faces mortal peril. The couple says the film gave Lovell's wife nightmares. Her experience inspired a dream sequence in Apollo 13.
There were a number of discrepencies between actual real-life procedures and what is shown in the film. For instance, several scenes show various people communicating directly with the astronauts in space. In actuality, only CAPCOM (an astronaut) and astronauts' wives would have been permitted to communicate with the spacecraft, all others in MOCR and AFLCC would only be able to communicate on the internal network or to their respective backroom teams.[5] Conspicuously absent from the film is any person resembling a flight director. In real life, "Flight" is in charge of a space mission during that director's shift. The filmmakers felt that adding a flight director would distract from the interpersonal dynamic between Keith and Dougherty.
Legacy[edit]
During the preliminary discussions for the Apollo-Soyuz Test Project the film was discussed as a means of alleviating Soviet suspicion.[6] One purpose of the mission was to develop and test capabilities for international space rescue.
In popular culture[edit]
The 1970 Mad magazine satire of Marooned, called Moroned, described story events in actual film time. NASA officials are pressed to launch the X-RT — "the Experimental Rescue Thing" — in "about an hour…maybe, tops, an hour and a half". One astronaut sacrifices his life to escape the film critics.
In 1991, Marooned was redistributed under the name Space Travelers by Film Ventures International, an ultra-low-budget production company that prepared quickie television and video releases of films that were in the public domain or could be purchased inexpensively. As Space Travelers, Marooned was mocked on a 1992 episode of Mystery Science Theater 3000, becoming the only Academy Award winning film ever to receive the MST3K treatment.
The second launch sequence served as the speech base for the comm chatter in the Disney rollercoaster Space Mountain.[citation needed]
Alfonso Cuarón, director of 2013's Gravity, told Wired magazine, "I watched the Gregory Peck movie Marooned over and over as a kid."[7]
See also[edit]

Portal icon Film portal
Portal icon Space portal
Portal icon Spaceflight portal
Portal icon USA portal
Portal icon USSR portal
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Gravity, a 2013 3D science-fiction space drama film
List of films featuring space stations
Love, a 2011 film about being stranded in space
Survival film, about the film genre, with a list of related films
References[edit]
Notes
1.^ Jump up to: a b Lovell, Glenn. Escape Artist: The Life and Films of John Sturges, Madison, Wisconsin: University of Wisconsin Press, 2008, p 268-273
2.Jump up ^ "Big Rental Films of 1970", Variety (January 6, 1971), p 11
3.Jump up ^ Thompson, Howard. "Marooned (1969)" New York Times (December 16, 1969)
4.Jump up ^ Mateas, Lisa. "Marooned (1969)" (article) TCM.com
5.Jump up ^ Arstechnica.com
6.Jump up ^ Edward Clinton Ezell & Linda Neuman Ezell, The Partnership: A History of the Apollo-Soyuz Test Project
7.Jump up ^ Roper, Caitlin. "Why Gravity Director Alfonso Cuarón Will Never Make a Space Movie Again" Wired (October 1, 2013)
External links[edit]
Marooned at the Internet Movie Database
Marooned at the TCM Movie Database
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Marooned at the American Film Institute Catalog





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Categories: 1969 films
English-language films
American films
Films that won the Best Visual Effects Academy Award
1960s science fiction films
Films about the Apollo program
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Films based on science fiction novels
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Films directed by John Sturges





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Marooned (novel)
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Marooned
Cover of the paperback version of "Marooned", the original novel by Martin Caidin.jpg
Author
Martin Caidin
Country
United States
Language
English
Genre
Fiction
Publisher
Dutton (1964), Bantam (1965)

Publication date
 1964
Media type
Paperback
Marooned is a 1964 science fiction thriller novel by Martin Caidin, about a manned spacecraft stranded in earth orbit, oxygen running out, and only an experimental craft available to attempt a rescue. A film based on the novel led Caidin to prepare a revised version of it in 1968. The film was released in 1969, four months after the Apollo 11 mission, with the revised novel hitting book stores a few weeks earlier.


Contents  [hide]
1 1964 version
2 1968-69 version
3 References
4 First edition
5 Current publication
6 References

1964 version[edit]
The first edition of the novel Marooned opens with the central character, Major Richard “Dick” Pruett, attempting to come to terms with his impending doom. Pruett, an astronaut in the Mercury-Atlas IV program, is in orbit alone. His engines have failed to fire for re-entry and he is stranded in orbit, where he faces death due to asphyxiation as he depletes the on-board supply of oxygen. The story goes into an extended flashback that reviews Pruett’s development as a US Air Force fighter test pilot and training as an astronaut.
As Pruett reviews his life, a friend of his in the astronaut corps, Jim Dougherty, refuses to accept that all is lost. He pushes NASA officials to mount a rescue mission using the prototype of a new spacecraft in development, the two-man Gemini.
The challenges are formidable. The rescue mission must be prepared and launched in a matter of mere days. Dougherty must fly the untested Gemini spacecraft solo, achieve a rendezvous with the Mercury vessel stranded in orbit, get Pruett on board the new spacecraft in the empty co-pilot's seat, and return to earth. (At the time the novel was written, none of these tasks - Gemini launch, rendezvous or EVA - had even been attempted.)
As NASA scrambles to prepare and launch the rescue mission, the Soviets secretly make their own plans to rescue Pruett first, rushing to send a cosmonaut aloft in a Vostok spacecraft. (In this version, the Soviets have already achieved the orbital objectives of rendezvous, docking and extravehicular activity [EVA]; in real life the Soviets did not achieve all these milestones until 1969.) Ultimately Dougherty succeeds in his mission and rescues Pruett; cosmonaut Andrei Yakovlev in the Vostok does rendezvous with the Mercury and provides assistance in the rescue (by using high-intensity spotlights to improve visibility) but does not take an active physical role in it. The novel ends with all three spacemen returning safely to Earth.
1968-69 version[edit]



 Novelization of Marooned, written in 1969 by Martin Caidin and based on the movie of the same name.
In 1969 a film based on the novel, also entitled Marooned, was released. The year coincided with the first moon landings and public interest in human space flight was high. By 1969 both the Mercury and Gemini programs had passed into history. Plans were being made for the Apollo Applications Program, a series of missions to take place after the moon missions. Flights would take place in earth orbit and make use of the Apollo and Saturn V hardware. Among the applications planned was the first American space station, made from a converted Saturn V S-IVB booster stage. (The station and its associated missions would acquire the name Skylab, with missions flown 1973-74.) The film's plot remained the same as the 1964 book but the story was revised to make the space hardware and mission plans current.
Caidin prepared a revised version of the novel in 1968 that was released in 1969 to coincide with the film. The revision concerns three US astronauts—Jim Pruett, "Buzz" Lloyd and Clayton "Stoney" Stone—stranded in an Apollo spacecraft named Ironman One. Pruett's back story was also rewritten to include a wife; in the 1964 version, Dick Pruitt was single. The astronauts have concluded their visit to the space station and separated from it; now, with the engine failing, they have insufficient fuel to return and wait there. Pruett's friend, now named Ted Dougherty, plans a rescue mission using an experimental X-RV lifting body spacecraft, an early study for the space shuttle orbiter. The X-RV will be mounted on a Titan III-C rocket re-assigned for the purpose.
In the revised novel the Soviet plans involve a Soyuz spacecraft. Caidin named the flight "Soyuz 11". (The real-life Soyuz 11 mission, in 1971, ended in tragedy when all three cosmonauts perished during re-entry while returning from Salyut 1, the first manned space station.) The film's screenplay was less current on this detail, referring to the Russian spacecraft as a Voskhod. In this version, Pruett dies in open space while trying to fix the Ironman; Lloyd and Stone are rescued. In a departure from the 1964 version, cosmonaut Andrei Yakovlev actually does physically assist Dougherty in an EVA rescuing the Ironman astronauts.
The 1969 version also features Dougherty's launch in the Titan IIIC being through the eye of a hurricane. In the 1964 version, Dougherty's launch is in uneventful conditions.
References[edit]
Caidin makes a brief appearance in the film as a reporter describing the arrival of the X-RV at Cape Canaveral. He made Marooned the subject of a self-reference in a later novel, Cyborg IV.[1] The main character, Steve Austin, says of a situation: "A friend of mine wrote about it. Did you ever read the book Marooned?"
Astronaut Jim Lovell and his wife Marilyn Lovell referred to the film years later in a special interview. Their recollection is shared as a feature on the DVD release of Apollo 13, a 1995 film directed by Ron Howard. The couple describes a 1969 film (never specifically named) in which an astronaut in an Apollo spacecraft "named Jim" faces mortal peril. The couple says the film gave Lovell's wife nightmares. Her experience inspired a dream sequence in Apollo 13 that recalls the 1960s-vintage cinematic look of Marooned.
First edition[edit]
New York : Dutton, 1964
Current publication[edit]
Caidin, Martin (1970). Marooned: a novel. London: Corgi. ISBN 0-552-08370-4.
References[edit]
1.Jump up ^ Cyborg IV (Warner Books: May, 1976. Library of Congress # 74-80703), p.82
 


Categories: 1964 novels
Techno-thriller novels
1960s science fiction novels
Novels by Martin Caidin




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Love (2011 film)
From Wikipedia, the free encyclopedia
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Love
Love 2011 poster
Theatrical release poster

Directed by
William Eubank
Produced by
Angels & Airwaves
Tom DeLonge
Mark Eaton
Daniel Figur
Vertel Scott
Nate Kolbeck

Written by
William Eubank
Starring
Gunner Wright
Music by
Angels & Airwaves
Cinematography
William Eubank
Edited by
Brian Berdan
Scott Chestnut

Production
   company
New Dog Media
Griffin Interplanetary Studios (vfx)
Five VFX (vfx)
Zoic Studios (vfx)
Company 3 (post)

Distributed by
National CineMedia (United States)
Release date(s)
February 2, 2011 (SBIFF)
August 10, 2011 (United States)
November 1, 2011 (International)

Running time
86 minutes
Country
United States
Language
English
Budget
$500,000[1]
Box office
$1,495,102
Love is a 2011 science fiction drama film produced and scored by the alternative rock band Angels & Airwaves. The film is the directorial debut of filmmaker William Eubank. The film's world-premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival and the film was later featured in the Seattle International Film Festival, FanTasia 2011, and a number of other festivals around the world. The film was screened in 460 theatres across the United States on August 10, 2011, in the Love Live event.[2]
Love portrays the personal-psychological effects of isolation and loneliness when an astronaut becomes stranded in space and through this, emphasizes the importance of human connection and love. Additionally, it touches on the fragility of humanity's existence (explored through a dying Earth-apocalyptic doomsday scenario) inspired by the cautions of Carl Sagan in Pale Blue Dot and considers the importance of memories and stories as humanity's legacy.[3]


Contents  [hide]
1 Synopsis
2 Production
3 Release 3.1 Festival circuit
3.2 Limited release
3.3 DVD
4 Reception
5 See also
6 References
7 External links

Synopsis[edit]
During an 1864 battle of the American Civil War, a lone Union soldier, Captain Lee Briggs (Bradley Horne), is dispatched on a mission to investigate a mysterious object reported to Union forces. 175 years later, in the year 2039, United States Astronaut Lee Miller (Gunner Wright) is sent to the International Space Station as a one-man skeleton crew to examine if it is safe for use and to perform necessary modifications after it had been abandoned two decades earlier for reasons unknown. Shortly after arriving on board, tumultuous events break out on Earth, eventually resulting in Miller losing contact with CAPCOM and finding himself stranded in orbit alone, forced to helplessly watch events on Earth from portholes 200 miles above his home planet. Miller struggles to maintain his sanity while in isolation by interacting with Polaroid pictures of former ISS crewmembers left aboard the ship. When the station has some power glitches, Miller journeys into an unpressurised module of the space station to perform repairs and discovers the 1864 journal of Briggs. Miller reads Brigg's account of the war and becomes enthralled by the mysterious object he is searching for, not realizing he will soon become more familiar with the very same object, and not by accident. Six years after losing contact with CAPCOM and with a failing O2 system inside the ISS, Miller puts on a space suit and ventures into space heading for earth, deciding that it would be easier for him to do this than slowly suffocate to death on board the ISS. He finds, however, that he is unable to go through with his suicide.
Miller is then seen still aboard the ISS, presumably much later: his hair has grown extremely long, and he is extensively tattooed. The cramped quarters of the space station have become a rat's nest symbolic of his diminished sanity. He then seems to be contacted from outside the ISS, and to receive instructions to dock and transfer over. He does so, and seems to arrive in a giant uninhabited structure of distinctly human making. It is unclear whether this is true or imagined.
Miller wanders around until he happens upon a server mainframe where he finds a book titled "'A Love Story' As Told by 'You'". Inside this book, he finds pictures of Captain Lee Briggs with his discovery, a gigantic cube-like alien object that may have helped advance Human society. In the index of the book Miller finds a reference to himself and types it into the computer prompt. He then finds himself inside a generic hotel room, where a disembodied voice says:

"How are you doing Lee? Sorry about this projection but it's the only way we could reach you. We can't tell you how relieved we are to have you here. Now, before we get ahead of ourselves, we have to tell you something. You're the last one, it's all gone. We understand how you might feel. Connection is perhaps the most cherished thing any being can have. That's the thing. That's why we've been listening. The place you see here is a scrapbook of sorts, a collection of memories and mementos of mankind's existence. It's a good thing we found you. We look forward to meeting you Lee."
During the speech we see the same cube-like object in space in the year 2045. The viewer is left to assume that this object has 'obtained' Lee Miller and is speaking directly to him. The film ends with the voice of a computer speaking of human connections and love.
Production[edit]




The ISS set built in a driveway, seen here protected from the rain by plastic tarps.




The interior of the space station set.




Gunner Wright in the film Love.

Reviewers have also noted the production design, with the space-station set reportedly being built in William Eubank's parents' backyard.[4] In a making-of video uploaded to his Vimeo account, Eubank details the construction of the set and lists materials such as packing quilts, MDF, pizza bags, velcro, insulation, Christmas lights, and other salvaged material as components to the ISS set.[5] According to Tom DeLonge, the production was going to rent the space station from another movie but instead opted to construct it from salvaged materials for budget reasons.[1]
Early teasers were released in 2007 and 2009. On January 10, 2011, the film's final trailer was released on Apple Trailers. The release of this trailer saw coverage on several industry websites.[6] Based on the style choices seen in the film's trailer, reviewers have mentioned similarities to 2001: A Space Odyssey, Moon, and Solaris.[4]
Release[edit]
Festival circuit[edit]



"I can tell you, honestly, the movie is ten times better than I thought it would be. But it's not meant to compete with Transformers. This is an art-house film and no band has really done this in a very long time. So we're hoping that we catch some people off guard and we're also hoping that we do something that is very credible as far its artistic acumen goes."[7]
—Tom DeLonge, April 11, 2010
The film's world premiere took place on February 2, 2011 at the 26th Annual Santa Barbara International Film Festival, with additional screenings on February 3, 4 and 5 at the Metro 4 and Arlington Theater. The film was screened for free on February 11 at the Riviera Theatre in Santa Barbara as one of eleven films chosen as "Best of the Fest".
The 2011 Seattle International Film Festival featured Love in both their Sci-Fi and Beyond Pathway and their New American Cinema program. The film played on May 21 at the Pacific Place Theatre and May 22 at the SIFF Cinema. The film played a third time, June 11, at the Egyptian Theatre.
Love was accepted into the 2011 Fantasia International Film Festival held in Montreal, Quebec. Its FanTasia screening on July 18 in Hall Theatre, as part of the festival's Camera Lucida Section, marked the film's international premiere. The film also screened in Athens, Lund, London, Nantes, South Korea, Spain, Israel, and elsewhere.

Date
Festival
Location
Awards
Link
Feb 2–5, Feb 11 Santa Barbara International Film Festival Santa Barbara, California  USA Top 11 "Best of the Fest" Selection sbiff.org
May 21–22, Jun 11 Seattle International Film Festival Seattle, Washington  USA  siff.net
Jul 18, Jul 25 Fantasia Festival Montreal, Quebec  Canada Pythian award laurel branchSpecial MentionPythian award laurel branch
"for the resourcefulness and unwavering determination by a director to realize his unique vision"
 FanTasia
Aug 10 – Love Live Nationwide Screening United States
Sep 16 Athens International Film Festival Athens, Attica
 Greece Pythian award laurel branchBest DirectorPythian award laurel branch aiff.gr
Sep 19 Lund International Fantastic Film Festival Lund, Skåne
 Sweden  fff.se
Sep 28 Fantastic Fest Austin, Texas
 USA  FantasticFest.com
Oct 9 London Int. Festival of Science Fiction Film London, England
 UK Closing Night Film Sci-Fi London
Oct 9, Oct 11 Sitges Film Festival Sitges, Catalonia
 Spain  Sitges Festival
Oct 1, Oct 15 Gwacheon International SF Festival Gwacheon, Gyeonggi-do
 South Korea  gisf.org
Oct 17, Oct 20 Icon TLV Tel Aviv, Central
 Israel  icon.org.il
Oct 23 Toronto After Dark Toronto, Ontario
 Canada Pythian award laurel branchBest Special EffectsPythian award laurel branch
Pythian award laurel branchBest Musical ScorePythian award laurel branch torontoafterdark.com
Nov 11 Les Utopiales Nantes, Pays de la Loire
 France  utopiales.org
Nov 12, Nov 18 Indonesia Fantastic Film Festival Jakarta, Bandung
 Indonesia  inaff.com
Nov 16–18 AFF Wrocław, Lower Silesia
 Poland  AFF Poland
Limited release[edit]
Main article: Angels & Airwaves Presents Love Live
Love was shown nationwide[clarification needed] on August 10, 2011.[8]
DVD[edit]
Angels & Airwaves released a box set containing the film Love, the soundtrack to the film, Love Part I, and the band's fourth studio album Love Part II on November 8, 2011.
Reception[edit]
At the Santa Barbara International Film Festival, the film was originally slotted three showings but two additional showings in the Arlington Theatre were added after some original showings sold-out.
Dennis Harvey, for Los Angeles-based magazine Variety, wrote "[The film's] spiritual abstruseness and the script's myriad other ambiguities might infuriate in a film less ingeniously designed on more tangible fronts. But Love delights with the detail of its primary set as well as in accomplished effects, consistently interesting yet subservient soundtrack textures (the sole original song is reserved for the [closing-credit crawl] and a brisk editorial pace…"[9]
Dustin Hucks, for Ain't It Cool News, wrote "Love can at times get very broad with scenes, dialogue, and flow… if you’re keen on clarity and the linear, Love is going to leave you frustrated. For others, however–the challenge of understanding what is what may lead to a desire for repeat viewings, which for me – is a lot of fun… This is a film that’s clearly not for everyone – but has a lot to offer the Inception and Moon crowds."
Hucks continued to say Love was one of the most visually exciting low-budget films he'd seen in some time and concluded with an overall endorsement: "Love is well worth seeking out in theaters – but don’t miss it on DVD if you don’t get the opportunity to view it in theaters."[10]
See also[edit]
Apollo 13, a 1995 film dramatizing the Apollo 13 incident
Gravity, 2013 3D science-fiction space drama film
List of films featuring space stations
References[edit]
1.^ Jump up to: a b "RockSound.tv | Tom Delonge Q + A". RockSound.tv. January 24, 2011. Retrieved 2011-02-04.
2.Jump up ^ "MTV News | EXCLUSIVE: Angels & Airwaves Present 3-For-1 Live Music And Film Experience". moviesblog.mtv.com. July 15, 2011. Retrieved 2011-07-19.
3.Jump up ^ Eubank, William (2011-02-03). Director Q&A. Interview with SBIFF. Santa Barbara International Film Festival. Santa Barbara, California.
4.^ Jump up to: a b Russ Fischer (January 17, 2011). "‘Love’ Trailer Channels ‘2001’, ‘Moon’ and ‘Solaris’ Into a Promising New Concoction". Slashfilm.com. Retrieved 2011-01-17.
5.Jump up ^ Behind the Scenes.
6.Jump up ^ Wired, io9, Film School Rejects, FirstShowing, CinemaBlend, /Film, The Hollywood Reporter
7.Jump up ^ "Angels & Airwaves Interview – Tom DeLonge and David Kennedy". ThePunksite.com. April 11, 2010. Retrieved 2010-03-21.
8.Jump up ^ http://www.fathomevents.com/concerts/event/angelsandairwaves.aspx
9.Jump up ^ "Film Reviews: Love". Variety. 2011-02-09. Retrieved 2011-02-10.
10.Jump up ^ "Dustin falls in love with... well, LOVE!". Ain't It Cool News. 2011-02-18. Retrieved 2011-02-20.
External links[edit]
 Wikimedia Commons has media related to Love (2011 film).
Official website
Love on Facebook
Love at the Internet Movie Database
Love at the iTunes Preview
 UPC 811481012617


[hide]
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Angels & Airwaves


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Studio albums
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 I-Empire ·
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Categories: 2011 films
English-language films
2010s science fiction films
American Civil War films
American films
American science fiction films
Dying Earth subgenre
Films set in 1864
Films set in the 2030s
Films shot in California
Post-apocalyptic films
Solitude in fiction
Space adventure films
Human extinction






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From the Earth to the Moon (TV miniseries)
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Jump to: navigation, search

This article is about the 1998 HBO miniseries. For the 1865 Jules Verne novel, see From the Earth to the Moon. For the 1958 film adaptation of the novel, see From the Earth to the Moon (film).


 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011)

From the Earth to the Moon
From the Earth to the Moon Title.jpg
Title caption of From the Earth to the Moon

Genre
Docudrama
Theme music composer
Michael Kamen
Composer(s)
Michael Kamen
Mark Mancina
Mark Isham
Mason Daring
James Newton Howard
Brad Fiedel
Jeff Beal
Marc Shaiman
Country of origin
United States
Original language(s)
English
No. of episodes
12
Production

Executive producer(s)
Tom Hanks
Producer(s)
Brian Grazer
Ron Howard
 Michael Bostick
Running time
60 minutes
Broadcast

Original channel
HBO
Original run
April 5, 1998 – May 10, 1998
From the Earth to the Moon is a twelve-part HBO television miniseries (1998) co-produced by Ron Howard, Brian Grazer, Tom Hanks, and Michael Bostick, telling the story of the landmark Apollo expeditions to the Moon during the 1960s and early 1970s in docudrama format. Largely based on Andrew Chaikin's book, A Man on the Moon, the series is known for its accurate telling of the story of Apollo and the outstanding special effects under visual director Ernest D. Farino.
The series takes its title from, but is not based upon, the famous Jules Verne science fiction novel From the Earth to the Moon. Hanks appears in every episode, introducing each of the first eleven. The last episode is represented in a pseudo-documentary format narrated by Blythe Danner, which is interspersed with a reenactment of the making of Georges Méliès' film Le Voyage dans la Lune. Hanks narrates and appears in these scenes as Méliès' assistant.


Contents  [hide]
1 Cast
2 Episodes
3 Integration with existing films
4 Production information
5 Awards
6 References
7 External links

Cast[edit]
Main article: List of From the Earth to the Moon characters
The miniseries has a fairly large cast, driven in part by the fact that it portrays 30 of the 32 astronauts who flew (or were preparing to fly) the 12 missions of the Apollo program. (The only two Apollo astronauts not portrayed by credited actors are Apollo 13 Command Module pilot Jack Swigert, and Apollo 17 Command Module pilot Ronald Evans, who had a brief appearance in the liftoff scene of Apollo 17 in the final episode.) Members of many of the astronauts' families, and other NASA and non-NASA personnel, are also portrayed.
Several fictional (or fictionalized) characters are also included, notably television newscaster Emmett Seaborn (Lane Smith) who appears in 9 of the 12 episodes.
Episodes[edit]
The twelve episodes, each directed by different individuals, use a variety of viewpoints and themes, while sequentially covering the Mercury, Gemini and Apollo programs. Lane Smith portrays Emmett Seaborn, a seasoned reporter for a fictional television network who covers the U.S. space program from its earliest days, providing continuity for most of the episodes.

Number
Title
Directed by
Written by
Original air date

01
"Can We Do This?" Tom Hanks Steven Katz April 5, 1998
Covers the early years of the United States' "space race" with the Soviet Union, including the creation of NASA and the decision to send men to the Moon. Provides an overview of the Mercury and Gemini programs, concentrating on reconstructions of Alan Shepard's pioneering Freedom 7 Mercury flight; Edward H. White's first US spacewalk on Gemini 4, the near-disastrous in-flight failure during Neil Armstrong's and David Scott's Gemini 8 mission; and the successful completion of Gemini with Buzz Aldrin's perfection of extravehicular activity on Gemini 12.
02
"Apollo One" David Frankel Graham Yost April 5, 1998
Portrays the tragedy of the Apollo 1 fire from the perspective of its subsequent investigation by NASA and the US Congress. Its effects on key individuals are shown, including Harrison Storms of North American Aviation, Joseph Shea of NASA, astronaut Frank Borman charged with supporting NASA's investigation, and the widows of Gus Grissom, Ed White and Roger Chaffee.
03
"We Have Cleared the Tower" Lili Fini Zanuck Remi Aubuchon April 12, 1998
Portrays the Apollo program's recovery to manned flight after the Apollo One tragedy, from the perspective of a fictional documentary team covering the flight of Apollo 7. This flight is commanded by strong-willed Mercury veteran Wally Schirra, who is focused on safety after the death of his colleague Grissom. Pad Leader Guenter Wendt, another zealous guardian of astronaut safety, is featured by the documentary team.
04
"1968" David Frankel Al Reinert April 12, 1998
Depicts Apollo 8's historic first manned lunar flight, as the redemption of an otherwise strife-torn year filled with political assassinatons, war, and unrest. Documentary footage of the turbulent political events are interspersed with the drama, which is mostly filmed in black and white except for scenes aboard the spacecraft and some color newsreel footage. The fears of mission commander Frank Borman's wife Susan of the possibility of her husband dying in a spacecraft trapped in lunar orbit are highlighted. Includes the Apollo 8 Genesis reading.
05
"Spider" Graham Yost Andy Wolk April 19, 1998
Returns to 1961, and NASA engineer John Houbolt's lonely fight to convince management that the easiest way to land men on the Moon will be to use a separate landing craft. It then traces the design and development of the Lunar Module by a team led by Grumman engineer Tom Kelly. Covers the selection and training of the first crew selected to fly it, Jim McDivitt and Rusty Schweickart (along with Command Module pilot David Scott), and culminates with their first flight of Spider in Earth orbit on Apollo 9. The Apollo 10 lunar "dress rehearsal" is briefly mentioned.
06
"Mare Tranquilitatis" Frank Marshall Al Reinert
Graham Yost
Tom Hanks April 19, 1998
A dramatization of the Apollo 11 first Moon landing in Mare Tranquilitatis ("Sea of Tranquility") is interspersed with flashback sequences of Emmett Seaborn's television interview with the crew of Neil Armstrong, Lunar Module pilot Buzz Aldrin, and Command Module pilot Michael Collins.
07
"That's All There Is" Jon Turteltaub Paul McCudden
Erik Bork
Tom Hanks April 26, 1998
The story of the Apollo 12 second lunar landing mission is told by Lunar Module Pilot Alan Bean. Bean, the last member of NASA Astronaut Group 3 to fly in space, narrates his experience with the tightly-knit, all-Navy crew commanded by Gemini veteran Pete Conrad, and accepts with humor and grace his responsibility for the failure of the first color TV camera on the lunar surface, and for almost fracturing his own skull by failing to properly secure the Command Module's TV camera before splashdown.
08
"We Interrupt This Program" David Frankel Peter Osterland
 Amy Brooke Baker April 26, 1998
This episode covers the perilous flight of Apollo 13 entirely from the ground point of view; the astronauts are only heard on radio. Veteran TV spaceflight reporter Emmett Seaborn (Lane Smith) is summoned to broadcast the breaking news of the in-flight failure, as young reporter Brett Hutchings (Jay Mohr) is pulled off of sports to help with the coverage. As the crisis unfolds, Seaborn finds himself at odds with Hutchings' style of sensationalizing its impact on the astronauts' families, and criticizing NASA. Seaborn starts to feel he is being marginalized when the network decides to leave Hutchings on location in Houston, while sending him back to headquarters to provide only background coverage. The last straw falls when, after the successful recovery of the astronauts, Hutchings horns in on his traditional post-flight interview with flight controller Gene Kranz. Seaborn leaves dejectedly, not to be seen again until the flight of Apollo 17 in the final episode.
09
"For Miles and Miles" Gary Fleder Erik Bork May 3, 1998
In 1964, while riding high on his fame as America's first man in space and his expected command of the first Gemini mission, Alan Shepard is suddenly struck with Ménière's disease, characterized by vertigo and nausea. Flight operations director Deke Slayton must ground him, but offers him the job of chief astronaut, effectively making Shepard Slayton's assistant as supervisor of all the astronauts. A few years later, a surgeon tries an experimental surgery which cures Shepard's symptoms, and he is returned to the flight rotation, commanding Apollo 14 in early 1971, which accomplishes Apollo 13's failed Fra Mauro landing. Shepard smuggles a golf ball and six-iron club head on board, which he fastens to a soil-collecting tool handle and uses to hit the ball "for miles and miles".
10
"Galileo Was Right" David Carson Jeffrey Fiskin
Remi Aubuchon May 3, 1998
Scientist astronaut Harrison "Jack" Schmitt, a geologist, persuades his mentor, professor Lee Silver, to train the Apollo astronauts in selecting appropriate rock samples to collect through field experience, rather than the boring classroom lectures NASA has been using. Silver takes the four Apollo 15 prime and backup landing crew members (David Scott, James Irwin, Richard F. Gordon, Jr., and Schmitt) to the southwestern desert, while lunar geologist Farouk El-Baz trains the Command Module pilots (Alfred Worden and Vance Brand) in high-altitude recognition of geological features using airplane flights over Hawaii. Schmitt is disappointed to learn his own Apollo 18 flight will be cancelled, but he still believes the training of the other astronauts is vital. It pays off when Scott and Irwin find the "Genesis Rock", originally believed to come from the Moon's primordial crust. The title refers to Scott's reproduction of an experiment proving Galileo's hypothesis that gravity will cause bodies of differing masses to fall at the same rate in a vacuum, by dropping a hammer and a feather.
11
"The Original Wives' Club" Sally Field Karen Janszen
Tom Hanks
Erik Bork May 10, 1998
Shows the Apollo program from the point of view of the nine wives of NASA's second group of astronauts, from 1962 beyond the end of the program. The burdens placed on them include maintaining a home while presenting a positive image to the news media, shielding their husbands from any family concerns which could affect their position in the flight rotation or ability to return to Earth safely, and comforting each other in the face of tragedy as Elliot See and Ed White are killed. The episode is anchored by the Apollo 16 mission, during which recently married Ken Mattingly loses his wedding ring in the Command Module, and Lunar Module pilot Charles Duke finds it while Mattingly is performing a walk in deep space.
12
"Le Voyage dans la Lune" Jonathan Mostow Tom Hanks May 10, 1998
The story of the final lunar mission, Apollo 17, is told as a pseudo-documentary set several decades after the fact. Simulated interviews of various characters such as Emmett Seaborn and flight director Christopher C. Kraft, Jr., in old-age makeup, are included. The documentary is interspersed with the story of early French film maker Georges Méliès' creation of his vision of a trip to the Moon, the 1902 Le Voyage dans la Lune. Scenes from the original film are merged with the recreation of its filming.
Integration with existing films[edit]
The miniseries, concentrating on the Apollo space program, was produced with an intent not to repeat other dramatic portrayals of events of the space race.
Project Mercury, which was portrayed in the film The Right Stuff, was briefly summarized in the first episode. Miniseries producers Hanks, Howard and Grazer, who had previously produced Apollo 13, deliberately shot the episode We Interrupt This Program from the perspective of the media covering that flight, as the film had already covered the story from the point of view of the crew and the mission control team.
Production information[edit]
Many of the actors had opportunity to interact and form friendships with the real life astronauts they were portraying. Brett Cullen, who played Apollo 9 Command Module pilot and Apollo 15 commander David Scott, was invited to the Scott family home each time an episode he appeared in was first televised.
Two short clips from the final scenes of Apollo 13 were used in "That's All There Is"; a splashdown sequence, and a view of the recovery ship USS Iwo Jima (portrayed by USS New Orleans).
The original series was shot in 1.33:1 aspect ratio, intended to be viewed on standard television sets. The series was released on DVD as a 4-disc set. With the proliferation of widescreen flat-panel TV sets the series was remastered in 1.78:1 aspect ratio and rereleased in 2005 as a 5-disc DVD box set. New framing causes loss of top and bottom parts of the frames from the original movie. This is not always noticeable because of careful transfer process, but in some scenes important details are lost. For example, in Disc 1, when the Gemini 8 / Agena assembly is tumbling around the sky with a stuck thruster, the thruster is not visible in the new widescreen version as it is cut off by the top of the frame. Some captions have also been compromised.[1]
To simulate Moon gravity, weather balloons filled with helium were attached to the backs of the actors playing the astronauts in the Lunar extra-vehicular activity scenes, effectively reducing their Earth-bound weights to that of on the Moon.
The score of "Spider" prominently features an imitation of the main title theme from the 1963 World War II movie The Great Escape, and Tom Kelly jokes about having a crew digging a tunnel out of the Grumman plant. The episode also featured a real Lunar Module (LM-13), which had been built for the Apollo 18 mission but was never used due to budget cuts.
Parts of the mini-series were filmed at the Disney-MGM Studios (now Disney's Hollywood Studios) in Orlando, Florida.
Scenes of the moonwalks were shot inside the blimp hangars on the former Marine base in Tustin, California. Approximately half the area inside was converted to the moon's surface with the remaining used for production trailers.
Blythe Danner, who narrated the final episode, had previously worked on location at the Johnson Space Center for the 1976 movie Futureworld, filmed in the same buildings where Apollo moonwalkers had recently trained.[2][3]
Awards[edit]
The series won 3 Emmy awards for Outstanding Miniseries, Outstanding Casting for a Miniseries or a Movie and Outstanding Hairstyling for a Miniseries, Movie or a Special. a 1999 Golden Globe Award for Best Mini-Series or Motion Picture Made for TV.
References[edit]
1.Jump up ^ "From the Earth to the Moon: 2005 Signature Series DVD Box set, user's comments".
2.Jump up ^ Blythe Danner playing an astronaut in Futureworld, filmed on location at JSC
3.Jump up ^ Apollo test hardware featured in Futureworld
External links[edit]
From the Earth to the Moon at the Internet Movie Database
From the Earth to the Moon at TV.com
From the Earth to the Moon - Featurette (Making Of the mini-series, on YouTube)


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Categories: American television miniseries
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List of From the Earth to the Moon characters
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 This is a list of characters, real and fictional, in the 1998 HBO docudrama TV miniseries From the Earth to the Moon.


Contents  [hide]
1 Fictional and/or connective characters
2 Astronauts 2.1 First Astronaut Group ("The Mercury Seven")
2.2 Second Astronaut Group ("The New Nine")
2.3 Third Astronaut Group
2.4 Fourth Astronaut Group
2.5 Fifth Astronaut Group
3 NASA ground personnel
4 Astronauts' family members
5 Non-NASA personnel (non-fictional)
6 Cameo appearances
7 Notes
8 References

Fictional and/or connective characters[edit]
Tom Hanks appears as host of the first 11 episodes, introducing each from in front of a huge relief sculpture of the Greek god Apollo. This format is not used for the final episode, Le Voyage dans la Lune, in which Hanks appears in character as Jean-Luc Despont, assistant to French filmmaker Georges Méliès.
Blythe Danner provides voice-over narration for much of episode 12, which is presented in a documentary format.
Lane Smith portrays Emmett Seaborn, a fictional news reporter for a fictitious television network. Seaborn appears in the first 8 episodes, covering America's space program from the earliest days through the flight of Apollo 13. He also appears in the final episode, reporting on the final Apollo 17 lunar mission, and is himself an interview subject in a mock documentary. The fictional character was added to provide a sense of continuity to the series, often serving as a Greek chorus. Seaborn's personality is similar in some respects to Walter Cronkite, though the real Cronkite is mentioned at times and seen in archive footage. The use of a fictional character also allows for dramatic conflict to be created more easily in the episode We Interrupt This Program, with another fictional reporter Brett Hutchings (Jay Mohr).
Jay Mohr as Brett Hutchings, a fictional young television reporter who competes for Emmett Seaborn's job in episode 8.
Clint Howard as flight controller "Paul Lucas" in episode 5, Spider.
John Michael Higgins as the host of a fashion show featuring the nine wives of NASA Astronaut Group 2 in episode 11, The Original Wives' Club.
Astronauts[edit]
First Astronaut Group ("The Mercury Seven")[edit]
Ted Levine as Alan Shepard, one of the original Mercury Seven astronauts. America's first astronaut to fly in episode 1 Can We Do This?, and commander of the Apollo 14 Moon landing mission in episode 9 For Miles and Miles.
Mark Rolston as Gus Grissom, Mercury and Gemini veteran who commands the ill-fated Apollo 1 in episode 2 Apollo One, killed along with Ed White and Roger Chaffee, also seen at CAPCOM station, during White's EVA on Gemini 4 in episode 1.
Mark Harmon as Wally Schirra, Mercury and Gemini veteran who commands Apollo 7 in episode 3, We Have Cleared the Tower, originally backup commander of Apollo 1.
Robert C. Treveiler as Gordon Cooper, Mercury and Gemini veteran seen at CAPCOM during Gemini 4 in episode 11, The Original Wives' Club, and in TV interview during episode 9.
Second Astronaut Group ("The New Nine")[edit]
Tony Goldwyn as Neil Armstrong, performs first docking in space as commander of Gemini 8 in episode 1, and is the first man to set foot on the Moon on Apollo 11 in episode 6, Mare Tranquilitatus.
David Andrews as Frank Borman, commands his first flight on the Gemini 7 14-day endurance mission, and also commands the first flight to the Moon on Apollo 8 in episode 4, 1968. He also serves on the investigation board of the Apollo 1 fire in episode 2, Apollo One, and appears in episode 11, The Original Wives' Club.
Peter Scolari portrays Pete Conrad in episode 1 as he joins NASA in 1962 in the second group of astronauts, intended to fly in Project Gemini. Paul McCrane is cast as Conrad in episode 7 That's All There Is, as commander of the second lunar landing mission, Apollo 12.
Tim Daly as Jim Lovell, who flies with Borman on Gemini 7 and commands Gemini 12 in episode 1, flies with Borman again on Apollo 8 in episode 4, commands Apollo 13 (off-screen) in episode 8, We Interrupt This Broadcast, and appears in episode 11.
Conor O'Farrell as James McDivitt, commander of Gemini 4 in episode 1, and commander of Apollo 9 in episode 9, Spider. Later seen as Manager of the Apollo Spacecraft Program in episode 8, and heard briefly in radio broadcast during Gemini 4 in episode 11
Steve Zahn as Elliot See, scheduled to command Gemini 9 but killed in a plane crash before the flight in episode 1.
Steve Hofvendahl as Thomas P. Stafford, flew on Gemini 6, and commanded Gemini 9A (both off-screen), seen briefly as commander of Apollo 10 in episode 5. Also backup commander of Apollo 7 in episode 3, and originally slated to fly with Alan Shepard on first manned flight of Project Gemini, before Shepard`s grounding in episode 9. Also seen during astronaut briefing in episode 1.
Chris Isaak as Edward H. White, America's first astronaut to walk in space on Gemini 4 in episode 1, later killed in a fire preparing for Apollo 1 in episode 2.
John Posey as John Young, who flew two Gemini missions and on Apollo 10 (all off-screen), and commands the Apollo 16 lunar landing mission in episode 11. Also backup crew member of Apollo 7 in episode 3. Also seen arrival of astronaut group, and later astronaut briefing, in episode 1.
Third Astronaut Group[edit]
Brett Cullen as David Scott, Gemini veteran and Command Module pilot on Apollo 9, and commander of lunar landing mission Apollo 15 in episode 10, Galileo Was Right.
Bryan Cranston as Buzz Aldrin, performs EVA during Gemini 12 in episode 1, seen as Lunar Module pilot of Apollo 11 in episode 6.
Daniel Hugh Kelly as Gene Cernan, Gemini veteran and lunar module pilot of Apollo 10 in episode 5, backup commander of Apollo 14 in episode 9, and commander of Apollo 17 in episode 12, Le Voyage dans la Lune. Also seen during astronaut briefing in episode 1.
Ben Marley as Roger Chaffee, assigned to fly his first mission on Apollo 1 in episode 1, killed in accidental fire along with Grissom and White in episode 2. Seen briefly in episode 7, That's All There Is.
John Mese as Donn F. Eisele, Apollo 7 crew member in episode 3. Mentioned as being originally intended for Apollo 1 crew before being dropped due to shoulder injury.
Fredric Lehne as Walter Cunningham, Apollo 7 crew member, episode 3.
Robert John Burke as William Anders, Apollo 8 crew member, episode 4.
Kieran Mulroney as Russell "Rusty" Schweickart, the first Lunar Module pilot on Apollo 9, episode 5.
Cary Elwes as Michael Collins, Gemini veteran and Command Module pilot on Apollo 11, episode 6, also CAPCOM during Apollo 8 in episode 4.
Dave Foley as Alan Bean, Lunar Module pilot on Apollo 12 in episode 7.
Tom Verica as Richard F. Gordon, Gemini veteran and Command Module pilot on Apollo 12 in episode 7, backup commander of Apollo 15 in episode 10. Seen during astronaut briefing in episode 1.
Jim Leavy as C.C. Williams, originally intended for assignment on Pete Conrad's lunar landing crew (what would become Apollo 12), before being killed in a plane crash and replaced with Alan Bean, in episode 7. Also seen during astronaut briefing in episode 1.
Fourth Astronaut Group[edit]
Tom Amandes as Harrison "Jack" Schmitt, a geologist-astronaut responsible for improving the method of training the lunar explorers as part of Apollo 15 backup crew in episode 10. He flies as Lunar Module pilot on the last lunar mission, Apollo 17 in episode 12.
Fifth Astronaut Group[edit]
Adam Baldwin as Fred Haise, Lunar Module pilot on Apollo 13 (off-screen), seen as CAPCOM during Apollo 14 in episode 9.
George Newbern as Stuart Roosa, CAPCOM during Apollo 1 fire in episode 2, Command Module pilot on Apollo 14 in episode 9.
Gary Cole as Edgar Mitchell, Lunar Module pilot on Apollo 14 in episode 9.
Michael Raynor as Alfred Worden, Command Module pilot on Apollo 15 in episode 10.
Gareth Williams as James Irwin, Lunar Module pilot on Apollo 15 in episode 10.
Zeljko Ivanek as Ken Mattingly, Command Module pilot on Apollo 16 in episode 10.
J. Downing as Charles Duke, CAPCOM during Apollo 11 landing in episode 6, Lunar Module pilot on Apollo 16 in episode 10.
NASA ground personnel[edit]
Nick Searcy as Deke Slayton, grounded Project Mercury astronaut who becomes Director of Flight Operations, responsible for supervising the astronauts and determining the flight rotation, appears in all the episodes except The Original Wives' Club.
Dan Lauria as James E. Webb, NASA's second Administrator from 1961 to 1968; appears mainly in episodes 1 and 2.
Norbert Weisser as Dr. Wernher von Braun
George Bartenieff as Hugh L. Dryden, NASA's first Deputy Administrator until 1965.
John Carroll Lynch as Robert Gilruth, first Director of the Manned Spacecraft Center
Stephen Root as Christopher Kraft, NASA's first Flight Director, later second Director of the Manned Spacecraft Center.
Dakin Matthews as Dr. Floyd L. Thompson, director of NASA's Langley Research Center, who led the Apollo 1 accident review board.
Joe Spano as George Mueller, Associate Administrator of the Office of Manned Space Flight from September 1963 until December 1969; appears in episode 2.
Kevin Pollak as Joseph Francis Shea, head of the Apollo Spacecraft Program Office.
Dann Florek as Robert Seamans, NASA's second Deputy Administrator from 1965 to 1968; appears in episodes 2 and 5.
Max Wright as Guenter Wendt, Pad Leader for the Mercury, Gemini and Apollo programs.[1]
Reed Birney as John Houbolt, the NASA Langley engineer who fought to persuade NASA management that a separate spacecraft (the Lunar Module) was the easiest way to achieve a manned lunar landing.
Barry Bell as Rocco Petrone, Apollo Program Director
Dan Butler as Flight Director Gene Kranz.
Sam Anderson as Thomas O. Paine, Webb's successor as NASA Administrator.
Astronauts' family members[edit]
Ruth Reid as Betty Grissom, wife of Gus Grissom
Jo Anderson as Pat White, wife of Edward H. White
Rhoda Griffis as Martha Chaffee, wife of Roger Chaffee
Betsy Brantley and Ann Cusack as Jan Armstrong, wife of Neil Armstrong
Rita Wilson as Susan Borman, wife of Frank Borman.
Cynthia Stevenson as Jane Conrad, wife of Pete Conrad
Elizabeth Perkins as Marilyn Lovell, wife of James Lovell
DeLane Matthews as Pat McDivitt, wife of James McDivitt
Debra Jo Rupp as Marilyn See, wife of Elliott See
Wendy Crewson as Faye Stafford, wife of Thomas Stafford
Deirdre O'Connell as Barbara Young, wife of John Young
JoBeth Williams as Marge Slayton, wife of Deke Slayton
Sally Field as Trudy Cooper, wife of L. Gordon Cooper
Non-NASA personnel (non-fictional)[edit]
Al Franken as Jerome Wiesner, President John F. Kennedy's science advisor in episode 1.
Jack Gilpin as Theodore Sorensen, Deputy Counsel to President Kennedy.
Ronny Cox as Lee Atwood, president of North American Aviation, the Apollo spacecraft prime contractor.
James Rebhorn as Harrison Storms, vice president of North American.
Mason Adams as Senator Clinton P. Anderson, chairman of the Senate committee investigating the Apollo 1 fire in episode 2.
John Slattery as Senator Walter Mondale
Janis Benson as Senator Margaret Chase Smith
Andrew Rubin as Jules Bergman, ABC TV science editor
Matt Craven as Tom Kelly, Grumman engineer responsible for managing the design and construction of the Lunar Module.
David Clennon as geology professor Lee Silver, who trains the Apollo 15-17 landing crews to recognize important lunar material to collect, in episodes 10 and 12.
Isa Totah as Farouk El-Baz, a lunar geologist who trains Apollo 15 Command Module Pilot Al Worden to recognize lunar surface features from orbit in episode 10.
Tchéky Karyo as Georges Méliès, a French filmmaker who made the 1902 film Le Voyage dans la Lune.
Alan Ruck as Tom Dolan, an engineer at Chance Vought Industries who made the Moon-rendezvous report that landed at Houbolts desk.
Cameo appearances[edit]
Andrew Chaikin, the author of the book A Man on the Moon on which the miniseries is largely based, appears in episode 1 as the moderator of NBC's Meet the Press.
Guenter Wendt appears as an anonymous flight controller reviewing a flight plan with Deke Slayton, in the background of a scene in We Have Cleared the Tower.
Winona Ryder appears in a non-speaking role in the episode The Original Wives Club.[citation needed]
Notes[edit]
1.Jump up ^ Technically, Wendt was not a NASA employee; though he worked at the Florida launch facilities, he was employed by McDonnell Aircraft during the Mercury and Gemini programs, and by North American Rockwell for the Apollo program. Wendt was not Pad Leader at the time of the Apollo 1 fire; Wally Schirra insisted on North American hiring him so he could be the Apollo Pad Leader.
References[edit]
Farmer, Gene; Dora Jane Hamblin (1970). First On the Moon: A Voyage With Neil Armstrong, Michael Collins and Edwin E. Aldrin, Jr. Boston: Little, Brown and Co. pp. 51–54. Library of Congress 76-103950.


 


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A Man on the Moon
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For the 2002 Simon Bartram book, see Man on the Moon (book).
For other uses, see Man on the Moon (disambiguation).
A Man on the Moon

Author
Andrew Chaikin
Language
English
Subject
Apollo program
Genre
Non-fiction
Publisher
Viking

Publication date
 1994
ISBN
0-670-81446-6
OCLC
29548704
A Man on the Moon: The Voyages of the Apollo Astronauts is a book by Andrew Chaikin, first published in 1994. It describes the voyages of the Apollo program astronauts in detail, from Apollos 8 to 17.
“A decade in the making, this book is based on hundreds of hours of in-depth interviews with each of the twenty-four moon voyagers, as well as those who contributed their brain power, training and teamwork on Earth."[1]
This book formed the basis of the television miniseries From the Earth to the Moon. It was released in paperback in 2007 by Penguin Books, ISBN 978-0-14-311235-8.



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From the Earth to the Moon
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This article is about the Jules Verne novel. For the 1958 film adaptation, see From the Earth to the Moon (film). For the unrelated miniseries, see From the Earth to the Moon (TV miniseries).
From the Earth to the Moon
From the Earth to the Moon Jules Verne.jpg
Cover of an early English translation

Author
Jules Verne
Original title
De la terre à la lune
Translator
Anonymous (1867)
 J. K. Hoyt (1869)
Louis Mercier & Eleanor Elizabeth King (1873)
 Edward Roth (1874)
 Thomas H. Linklater (1877)
 I. O. Evans (1959)
 Lowell Bair (1967)
 Jacqueline and Robert Baldick (1970)
 Harold Salemson (1970)
Walter James Miller (1996)
 Frederick Paul Walter (2010)
Illustrator
Henri de Montaut
Country
France
Language
French
Series
Voyages Extraordinaires #4
Genre
Science fiction novel
Publisher
Pierre-Jules Hetzel

Publication date
 1865

Published in English
 1867
Media type
Print (Hardback)
From the Earth to the Moon (French: De la terre à la lune) is an 1865 novel by Jules Verne. It tells the story of the Baltimore Gun Club, a post-American Civil War society of weapons aficionados, and their attempts to build an enormous sky-facing Columbiad space gun and launch three people — the Gun Club's president, his Philadelphian armor-making rival, and a French poet — in a projectile with the goal of a moon landing.
The story is also notable in that Verne attempted to do some rough calculations as to the requirements for the cannon and, considering the comparative lack of any data on the subject at the time, some of his figures are surprisingly close to reality. However, his scenario turned out to be impractical for safe manned space travel since a much longer muzzle would have been required to reach escape velocity while limiting acceleration to survivable limits for the passengers.
The character of Michel Ardan, the French poet in the novel, was inspired by the real-life photographer Félix Nadar.


Contents  [hide]
1 Plot
2 Technical feasibility of a space cannon
3 Influence on popular culture 3.1 Disneyland Paris
3.2 Project Epicus version
4 See also
5 References
6 External links

Plot[edit]



 The projectile, as pictured in an engraving from the 1872 Illustrated Edition.


 The firing of the Columbiad.
It has been some time since the end of the American Civil War. The Gun Club, a society based in Baltimore and dedicated to the design of weapons of all kinds (especially cannons), meets when Impey Barbicane, its president, calls them to support his idea: according to his calculations, a cannon can shoot a projectile so that it reaches the moon. After receiving the whole support of his companions, a few of them meet to decide the place from where the projectile will be shot, the dimensions and makings of both the cannon and the projectile, and which kind of powder are they to use.
An old enemy of Barbicane, a Captain Nicholl of Philadelphia, designer of plate armor, declares that the enterprise is absurd and makes a series of bets with Barbicane, each of them of increasing amount over the impossibility of such feat.
The first obstacle, the money, and over which Nicholl has bet 1000 dollars, is raised from most countries in America and Europe, in which the mission reaches variable success (while the USA gives 4 million dollars, England does not give a farthing, being envious of the United States in matters of science), but in the end nearly five and a half million dollars are raised, which ensures the financial feasibility of the project.
After deciding the place for the launch (Stone's Hill in "Tampa Town", Florida; predating Kennedy Space Center's placement in Florida by almost 100 years; Verne gives the exact position as 27°7' northern latitude and 5°7' western longitude, of course relative to the meridian of Washington that is
27°7′0″N 82°9′0″W[1]), the Gun Club travels there and starts the construction of the Columbiad cannon, which requires the excavation of a 900-foot-deep (270 m) and 60-foot-wide (18 m) circular hole, which is made in the nick of time, but a surprise awaits Barbicane: Michel Ardan, a French adventurer, plans to travel aboard the projectile.
During a meeting between Ardan, the Gun Club, and the inhabitants of Florida, Nicholl appears and challenges Barbicane to a duel. The duel is stopped when Ardan—having been warned by J. T. Maston, secretary of the Gun Club—meets the rivals in the forest where they have agreed to duel. Meanwhile, Barbicane finds the solution to the problem of surviving the incredible acceleration that the explosion would cause. Ardan suggests that Barbicane and Nicholl travel with him in the projectile, and the offer is accepted.
In the end, the projectile is successfully launched, but the destinies of the three astronauts are left inconclusive. The sequel, Around the Moon, deals with what happens to the three men in their travel from the earth to the moon.
Technical feasibility of a space cannon[edit]
In his 1903 publication on space travel, Konstantin Tsiolkovsky refuted Verne's idea of using a cannon for space travel. He concluded that a gun would have to be impossibly long. The gun in the story would subject the payload to about 22,000 g of acceleration (see formula). However, he was nevertheless inspired by the story and developed the theory of spaceflight.
Gerald Bull and the Project HARP proved after 1961 that a cannon can shoot a 180 kg (400 lb) projectile to an altitude of 180 kilometres (110 mi) and reach 32 percent of the needed escape velocity.[citation needed] Additionally, during the Plumbbob nuclear test series, a 900 kg (2,000 lb) capping plate made of steel was blasted away and never found. It has been speculated that the plate entered outer space because its speed was estimated to be between two and six times the escape velocity,[2] but engineers believe it melted in the atmosphere.[2]
Influence on popular culture[edit]
The novel was adapted as the opera Le voyage dans la lune in 1875, with music by Jacques Offenbach.
In H. G. Wells' 1901 novel The First Men in the Moon (also relating to the first voyagers to the Moon) the protagonist, Mr. Bedford, mentions Verne's novel to his companion, Professor Cavor, who replies (in a possible dig at Verne) that he does not know what Bedford is referring to. Verne returned the dig later when he pointed out that he used gun cotton to send his men to the moon, and one could see it any day. "Can Mr. Wells show me some "cavourite"?", he asked archly.
The novel (along with Wells' The First Men in the Moon) inspired the first science fiction film, A Trip to the Moon, made in 1902 by Georges Méliès. In 1958, another film adaptation of this story was released, titled From the Earth to the Moon. It was one of the last films made under the RKO Pictures banner. The story also became the basis for the very loose adaptation Jules Verne's Rocket to the Moon (1967), a caper-style British comedy starring Burl Ives and Terry-Thomas. The 1961 Czechoslovak film The Fabulous Baron Munchausen combines characters and plot elements from the Verne novel with those of the stories of Baron Münchhausen and Cyrano de Bergerac.
The novel and its sequel were the inspiration for the computer game Voyage: Inspired by Jules Verne.
In 1889 Verne wrote a second sequel to the novel, The Purchase of the North Pole, which has the gun club members (led by J. T. Maston) plan to use the "Columbiad" to alter the tilt of the earth to enable the mineral wealth of the Arctic region to be put within reach of exploitation.
Among its other homages to classic science fiction, an issue of Planetary involved the Planetary group finding that the Gun Club had been successful in launching the projectile, but that a miscalculation led to a slowly decaying orbit over the decades with the astronauts long dead from lack of air and food.
Barbicane appears in Kevin J. Anderson's novel Captain Nemo: The Fantastic History of a Dark Genius as an Ottoman official whose chief rival, Robur, designs a number of innovative weapons to counteract him, including an attempt to launch a three-man mission to the Moon.
During their return journey from the moon, the crew of Apollo 11 made reference to Jules Verne's book during a TV broadcast on July 23.[3] The mission's commander, astronaut Neil Armstrong, said, "A hundred years ago, Jules Verne wrote a book about a voyage to the Moon. His spaceship, Columbia [sic], took off from Florida and landed in the Pacific Ocean after completing a trip to the Moon. It seems appropriate to us to share with you some of the reflections of the crew as the modern-day Columbia completes its rendezvous with the planet Earth and the same Pacific Ocean tomorrow."
In Back to the Future Part III, Clara Clayton asks Emmett Brown if he believes mankind will ever "travel to the moon the way we travel across the country on trains." Being from the future Doc already knows that doesn't happen for another 84 years, but he affirms they will while quoting a passage of From the Earth to the Moon. Clara calls him out on this, and it's from this encounter that the pair discovers their mutual love of Jules Verne novels. However, Dr. Brown mentions that the voyages will be taken in "rockets", whereas a space gun is used in the novel.
The second sequel to the 2008 film Journey to the Center of the Earth and Journey 2: The Mysterious Island is loosely based on From Earth to the Moon. It is called Journey 3: From Earth to the Moon, and the script is in development.[when?]
In March 1953, the Gilberton Company published a comic-book adaptation of From the Earth to the Moon as issue No. 105 in its Classics Illustrated series. An unidentified scriptwriter combined Verne's From the Earth to the Moon with the sequel, Around the Moon. Gilberton art director Alex A. Blum supplied both the cover painting and the 44 pages of interior art. The title went through twelve printings between 1953 and 1971.[4]
The League of Extraordinary Gentlemen, Volume III: Century, text-story entitled Minions of the Moon the Americans are from the Gun Club, a society based in Baltimore, suggesting the Baltimore Gun Club.
The fourth opening credit sequence of a popular anime called Uchuu Kyoudai is based on the book.
Disneyland Paris[edit]
Main article: Space Mountain: Mission 2
The first incarnation of the roller coaster Space Mountain in Disneyland Paris, named Space Mountain: De la Terre à la Lune, was based loosely on this novel, the ambience being that of the book being noted throughout the ride with its rivet and boiler plate effect. The ride includes the "Columbiad", which recoils with a bang and produces smoke as each car passes, giving riders the perception of being shot into space.
The attraction was built after the opening of Euro Disneyland and opened in 1995. The attraction's exterior was designed using a Verne era retro-futuristic influence, in keeping with the rest of Discoveryland.
During 2005, the ride was refurbished and renamed Space Mountain: Mission 2 as part of the Happiest Celebration on Earth. The ride no longer features any of the original storyline based on the novel, with the exception of the name of the cannon (Columbiad) and "Baltimore Gun Club" signs.
In 1995 the BBC made a documentary about the creation of Space Mountain, called "Shoot For The Moon". The 44-minute program followed Tim Delaney and his team in bringing the book From the Earth to the Moon by Jules Verne to life. The program shows the development of the attraction, from conception over construction up to testing and fine-tuning the final attraction, including its soundtrack. The documentary, originally broadcast on BBC Two in the United Kingdom, was also aired on other channels in many countries.
Space Mountain is also located next to the walk-through attraction "Les Mystères du Nautilus" based on Walt Disney's adaptation of Jules Verne's other famous literary work Twenty Thousand Leagues Under the Sea.
Project Epicus version[edit]
In 2013, a new film version of the story was announced, under the banner of Project Epicus[5] – an online collaborative film project - with the full blessing of Jules Verne’s great-grandson Jean Verne and due for a 2015 release.[6][7]
See also[edit]

Portal icon Novels portal
Around the Moon
Verneshot
Moon in art and literature
Amédée Guillemin
Apollo CSM, the US lunar spacecraft whose dimensions were "predicted" by Verne's novel
References[edit]
1.Jump up ^ "Earth to the Moon", Jules Verne, Page by Page books.
2.^ Jump up to: a b Brownlee, Robert R (June 2002), "Learning to Contain Underground Nuclear Explosions", USA tests, Nuclear weapon archive, retrieved 2006-07-31.
3.Jump up ^ "History", JSC, US: Nasa.
4.Jump up ^ Jones, William B Jr (2011), Classics Illustrated: A Cultural History (2 ed.), McFarland, p. 329.
5.Jump up ^ Unknown. "Project Epicus website". Retrieved 23 September 2013.
6.Jump up ^ Project Epicus. "Youtube: Jean Verne Interview, Project Epicus". Retrieved 23 September 2013.
7.Jump up ^ Movie Prop Sites, LLC. "RPF From the Earth to the Moon". Retrieved 23 September 2013.
External links[edit]
 Wikisource has the 1874 translation by Mercier & King):
From the Earth to the Moon

 French Wikisource has original text related to this article:
De la Terre à la Lune

 Wikimedia Commons has media related to From the Earth to the Moon.
From the Earth to the Moon; and, Round the Moon at Project Gutenberg — This is the original translation of Mercier and King published by Sampson Low et al. in 1873 and deletes about 20% of the original French text, along with numerous other errors.
From the Earth to the Moon, IL: Gilead — Gut. text #83 in HTML format with original illustrations.
The Moon Voyage, Project Gutenberg — This the version of both parts of Earth to the Moon and Round the Moon as published by Ward Lock in London in 1877. The translation is more complete than the Mercier version, but still has flaws, referring to the space capsule as a "bullet".
Jules Verne Moon Gun, Encyclopedia Astronautica, an analysis and comparison to Apollo.
A Jules Verne Centennial (images) (Scribner ed.), Smithsonian Institution, 1874.
Gioia, Ted, From the Earth to the Moon by Jules Verne (review), Conceptual Fiction.
Verne, Jules, De la Terre à la Lune (MP3) (audio) (in French), Litterature audio.


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A Trip to the Moon
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This article is about the film. For the historical fair ride, see A Trip to the Moon (attraction).
"Le voyage dans la lune" redirects here. For the opéra féerie, see Le voyage dans la lune (operetta). For the Air album, see Le Voyage dans la lune (album).

A Trip to the Moon
Voyage dans la lune title card.png
Title card

Directed by
Georges Méliès
Produced by
Georges Méliès
Written by
Georges Méliès
Based on
From the Earth to the Moon and Around the Moon
 by Jules Verne (see also Inspirations section below)
Starring
Georges Méliès
Bleuette Bernon
François Lallement
Henri Delannoy

Cinematography
Théophile Michault
Lucien Tainguy

Production
   company
Star Film Company
Release date(s)
1 September 1902 (France)[1]

Running time
260 meters/845 feet[2]
18 minutes (12 frame/s)[3]
16 minutes (14 frame/s)[3]
9 minutes (24 frame/s)[3]

Country
France
Language
Silent
Budget
₣10,000
A Trip to the Moon (French: Le Voyage dans la Lune)[a] is a 1902 French silent film directed by Georges Méliès, generally considered to be the earliest film of the science fiction genre. Inspired by a wide variety of sources, including Jules Verne's novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return with a splashdown to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.
The film was an internationally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other film-makers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film's extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence on later film-makers and its artistic significance within the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered in the late 1920s, when Méliès's importance to the history of cinema was first recognized by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.
A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th,[6] and in 2002 it became the first work designated as a UNESCO World Heritage film. The film remains the best-known of the hundreds of films made by Méliès, and the moment in which the capsule lands in the Moon's eye remains one of the most iconic and frequently referenced images in the history of cinema.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Inspiration
3.2 Filming
3.3 Coloring
4 Style
5 Themes
6 Release and reception
7 Rediscovery 7.1 Black-and-white print
7.2 Hand-colored print
8 Legacy
9 References 9.1 Notes
9.2 Citations
9.3 Bibliography
10 External links

Plot[edit]



 The iconic image of the Man in the Moon
At a meeting of the Astronomic Club, its president, Professor Barbenfouillis,[b][c] proposes a trip to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus, Alcofrisbas, Omega, Micromegas and Parafaragaramus—agree to the plan. They build a space capsule in the shape of a bullet, and a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by a bevy of young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and it hits him in the eye.[d]
Landing safely on the Moon, the astronomers get out of the capsule and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his ringed planet, and Phoebe, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself.
At this point, a Selenite (an insectoid alien inhabitant of the Moon, named after one of the Greek moon goddesses, Selene) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode.
The astronomers run back to their capsule while continuing to hit the pursuing Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer, capsule, and Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honor of the travelers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "Labor omnia vincit".[e]
Cast[edit]



 Georges Méliès
When A Trip to the Moon was made, film actors performed anonymously and no credits were given; the practice of supplying opening and closing credits in films was a later innovation.[10] Nonetheless, the following cast details can be reconstructed from available evidence:
Georges Méliès as Professor Barbenfouillis.[1][11] Méliès, a pioneering French film-maker and magician now generally regarded as the first person to recognize the potential of narrative film,[12] had already achieved considerable success with his film versions of Cinderella (1899) and Joan of Arc (1900).[13] His extensive involvement in all of his films as director, producer, writer, designer, technician, publicist, editor, and often actor makes him one of the first cinematic auteurs.[14] Speaking about his work late in life, Méliès commented: "The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist."[15] All told, Méliès took an acting role in at least 300 of his 520 films.[16]
Bleuette Bernon as Phoebe (the woman on the crescent moon). Méliès discovered Bernon in the 1890s, when she was performing as a singer at the cabaret L'Enfer. She also appeared in his 1899 adaption of Cinderella.[17]
François Lallement as the officer of the marines. Lallement was one of the salaried camera operators for the Star Film Company.[17]
Henri Delannoy as the captain of the rocket[1]
Jules-Eugène Legris as the parade leader. Legris was a magician who performed at Méliès's theater of stage illusions, the Théâtre Robert-Houdin in Paris.[18]
Victor André, Delpierre, Farjaux, Kelm, and Brunnet as the astronomers. André worked at the Théâtre de Cluny; the others were singers in French music halls.[19]
Ballet of the Théâtre du Châtelet as stars[19]
Acrobats of the Folies Bergère as Selenites[19]
Production[edit]
Inspiration[edit]



Stereoscope card showing a scene from Jacques Offenbach's Le voyage dans la lune
When asked in 1930 what inspired him for A Trip to the Moon, Méliès credited Jules Verne's novels From the Earth to the Moon and Around the Moon. Cinema historians, the mid-20th-century French writer Georges Sadoul first among them, have frequently suggested H. G. Wells's The First Men in the Moon, a French translation of which was published a few months before Méliès made the film, as another likely influence, with Sadoul arguing that the first half of the film (up to the shooting of the projectile) is derived from Verne and that the second half (the travelers' adventures on and in the moon) is derived from Wells.[20]
In addition to these literary sources, various film scholars have suggested that Méliès was heavily influenced by other works, especially Jacques Offenbach's operetta Le voyage dans la lune (an unauthorized parody of Verne's novels) and the A Trip to the Moon attraction at the 1901 Pan-American Exposition in Buffalo, New York.[21][22] In the opinion of the French film historian Thierry Lefebvre, Méliès appears to have taken the structure of the film—"a trip to the moon, a moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a brutal return to reality back on earth"—directly from the 1901 attraction. He incorporated many plot elements (including the presence of six astronomers with pseudo-scientific names, telescopes that transform into stools, a moonshot cannon mounted above ground, a scene in which the moon appears to approach the viewer, a lunar snowstorm, an earthrise scene, and umbrella-wielding travelers), as well as the parodic tone of the film, from the Offenbach operetta.[23]
Filming[edit]



 Méliès (at left) in the studio where A Trip to the Moon was filmed
Ron Miller, the author of a book on special effects in films, notes that A Trip to the Moon was one of the most complex films that Méliès had made, and that he employed "every trick he had learned or invented".[24] It was his longest film at the time,[f] and both the budget and filming duration were unusually lavish, costing ₣10,000 to make[28] and taking three months to complete.[29] The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the Star Film Company. In addition to their work as cameramen, Méliès's operators also did odd jobs for the company such as developing film and helping to set up scenery, and another salaried operator, François Lallement, appeared onscreen as the marine officer.[30] By contrast, Méliès hired his actors on a film-by-film basis, drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They were paid one Louis d'or per day, a considerably higher salary than that offered by competitors, and came together with Méliès for a full free meal at noon.[31]
Méliès's film studio, which he had built in Montreuil, Seine-Saint-Denis in 1897,[32] was a greenhouse-like building with glass walls and a glass ceiling to let in as much sunlight as possible, a concept used by most still photography studios from the 1860s onward; it was built with the same dimensions as Méliès's own Théâtre Robert-Houdin (13.5×6.6m).[33] Throughout his film career, Méliès worked on a strict schedule of planning films in the morning, filming scenes during the brightest hours of the day, tending to the film laboratory and the Théâtre Robert-Houdin in the late afternoon, and attending performances at Parisian theaters in the evening.[31]



 The workshop set includes a glass roof, evoking the actual studio.
According to Méliès's recollections, much of the unusual cost of A Trip to the Moon was due to the mechanically operated scenery and the Selenite costumes in particular, which were made for the film using cardboard and canvas. Méliès himself sculpted prototypes for the heads, feet, and kneecap pieces in terra cotta, and then created plaster molds for them; a specialist in mask-making used these molds to produce cardboard versions for the actors to wear.[34] One of the backdrops for the film, showing the inside of the glass-roofed workshop in which the space capsule is built, was painted to look like the actual glass-roofed studio in which the film was made.[35]
Many of the special effects in A Trip to the Moon, as in numerous other Méliès films, were created using the stop trick technique (also known as substitution splicing), in which the camera operator stopped filming long enough for something onscreen to be altered, added, or taken away. Méliès carefully spliced the resulting shots together to create apparently magical effects, such as the transformation of the astronomers' telescopes into stools[36] or the disappearance of the exploding Selenites in puffs of smoke.[37] The use of special effects in the film as a result, as Barbara Creed puts it, "present the trip to the moon as pure fantasy rather than as a scientific event".[38]
The pseudo-tracking shot in which the camera appears to approach the Man in the Moon, was accomplished using an effect Méliès had invented the previous year for the film The Man with the Rubber Head.[39] Rather than attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-fitted ramp, placed the actor (covered up to the neck in black velvet) on the chair, and pulled him toward the camera.[40] In addition to its technical practicality, this technique also allowed Méliès to control the placement of the face within the frame to a much greater degree of specificity than moving his camera allowed.[40] A substitution splice allowed a model capsule to suddenly appear in the eye of the actor playing the Moon, completing the shot.[36] Another notable sequence in the film, the plunge of the capsule into real ocean waves filmed on location, was created through multiple exposure, with a shot of the capsule falling in front of a black background superimposed upon the footage of the ocean. The shot is followed by an underwater glimpse of the capsule floating back to the surface, created by combining a moving cardboard cutout of the capsule with an aquarium containing tadpoles and air jets.[9] The descent of the rocket from the Moon was covered in four shots, taking up only about twenty seconds of film time.[41]
Coloring[edit]
As with at least 4% of Méliès's output (including major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville), some prints of A Trip to the Moon were individually hand-colored by Elisabeth Thuillier's coloring lab in Paris.[42] Thuillier, a former colorist of glass and celluloid products, directed a studio of two hundred people painting directly on film stock with brushes, in the colors she chose and specified; each worker was assigned a different color in assembly line style, with more than twenty separate colors often used for a single film. On average, Thuillier's lab produced about sixty hand-colored copies of a film.[43]
Style[edit]





Uncropped production still from the film, showing the edges of the backdrop and the floor of the studio



The scene as it appears in the hand-colored print of the film
The film's style, like that of most of Méliès's films, is deliberately theatrical, with a stylized mise en scéne recalling the traditions of the 19th-century stage, and filmed by a stationary camera placed to evoke the perspective of an audience member sitting in a theatre.[44] This stylistic choice was one of Méliès's first and biggest innovations. Although he had initially followed the popular trend of the time by making mainly actuality films (short "slice of life" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his scènes composées or "artificially arranged scenes."[10][g] The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, and in an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets."[46]
Because A Trip to the Moon preceded the development of narrative film editing by filmmakers such as Edwin S. Porter and D. W. Griffith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas.[47] Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.[48][h] Similarly, film scholars have noted that the most famous moment in A Trip to the Moon plays with temporal continuity by showing an event twice: first the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in a much closer shot, the landing occurs very differently, and much more realistically, with the capsule actually plummeting into believable lunar terrain.[50] This kind of nonlinear storytelling, in which time is treated as repeatable and flexible rather than linear and causal, is highly unconventional by the standards of Griffith and his followers, but before the development of continuity editing it was not uncommon for filmmakers to make similar experiments with time; Porter, for instance, used temporal discontinuity and repetition extensively in his 1902 film Life of an American Fireman.[50][51] Later in the twentieth century, with sports television's development of the instant replay, temporal repetition again became a familiar device to screen audiences.[50]
Because Méliès does not use a modern cinematic vocabulary, some film scholars have created other frameworks of thought with which to assess his films; for example, some recent academicians, while not necessarily denying Méliès's influence on film, have argued that his works are better understood as spectacular theatrical creations rooted in the 19th-century stage tradition of the féerie.[52] Similarly, Tom Gunning has argued that to fault Méliès for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his films; in Gunning's view, the first decade of film history may be considered a "cinema of attractions," in which filmmakers experimented with a presentational style based on spectacle and direct address rather than on intricate editing. Though the attraction style of filmmaking declined in popularity in favor of a more integrated "story film" approach, it remains an important component of certain types of cinema, including science fiction films, musicals, and avant-garde films.[53]
Themes[edit]



 The statue of Barbenfouillis (here seen in a frame from the hand-colored print) may be intended to satirize colonialism[54]
A Trip to the Moon is highly satirical in tone, poking fun at nineteenth-century science by exaggerating it in the format of an adventure story.[55] The film scholar Alison McMahan calls it one of the earliest examples of pataphysical film, saying it "aims to show the illogicality of logical thinking" with its satirically portrayed inept scientists, anthropomorphic moon face, and impossible transgressions of laws of physics.[56] The film historian Richard Abel believes Méliès aimed in the film to "invert the hierarchal values of modern French society and hold them up to ridicule in a riot of the carnivalesque".[56] Similarly, the literary and film scholar Edward Wagenknecht described the film as a work "satirizing the pretensions of professors and scientific societies while simultaneously appealing to man's sense of wonder in the face of an unexplored universe."[57]
There is also a strong anti-imperialist vein in the film's satire.[4][54] The film scholar Matthew Solomon notes that the last part of the film (the parade and commemoration sequence missing in some prints) is especially forceful in this regard. He argues that Méliès, who had previously worked as an anti-Boulangist political cartoonist, mocks imperialistic domination in the film by presenting his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with a mistreated captive amid fanfares of self-congratulation. The statue of Barbenfouillis shown in the film's final shot even resembles the pompous, bullying colonialists in Méliès's political cartoons.[54] The film scholar Elizabeth Ezra agrees that "Méliès mocks the pretensions of colonialist accounts of the conquest of one culture by another," and adds that "his film also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth."[4]
Release and reception[edit]


File:Le Voyage dans la Lune (Georges Méliès, 1902).ogv
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 A black-and-white print of A Trip to the Moon, with the final sequence missing.
Méliès, who had begun A Trip to the Moon in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month.[34] From September through December 1902, a hand-colored print of A Trip to the Moon was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes.[18] Méliès sold black-and-white and color prints of the film through his Star Film Company,[18] where the film was assigned the catalogue number 399–411[2][i] and given the descriptive subtitle Pièce à grand spectacle en 30 tableaux.[11][j] In France, black-and-white prints sold for ₣560, and hand-colored prints for ₣1,000.[28] Méliès also sold the film indirectly through Charles Urban's Warwick Trading Company in London.[18] In 1903, the English composer Ezra Read published an original score for the film under the title A Trip to the Moon: Comic Descriptive Fantasia;[60] the score may have been commissioned by Méliès himself, who had likely met Read on one of his trips to England.[61]
Many circumstances surrounding the film—including its unusual budget, length, and production time, as well as its similarities to the 1901 New York attraction—indicate that Méliès was especially keen to release the film in the United States.[29][k] Because of rampant film piracy, Méliès never received most of the profits of the popular film.[63] One account reports that Méliès sold a print of the film to the Paris photographer Charles Gerschel for use in an Algiers theatre, under strict stipulation that the print only be shown in Algeria. Gerschel sold the print, and various other Méliès films, to the Edison Manufacturing Company employee Alfred C. Abadie, who sent them directly to Edison's laboratories to be illegally duplicated and sold by Vitagraph. Copies of the print spread to other firms, and by 1904 Siegmund Lubin, the Selig Polyscope Company, and Edison were all redistributing it illegally.[18] Edison's print of the film was even offered in a hand-colored version available at a higher price, just as Méliès had done.[64] Because these American copies were illegal, Méliès was often uncredited altogether; for the first six months of the film's distribution, the only American exhibitor to credit Méliès in advertisements for the film was Thomas Lincoln Tally,[65] who chose the film as the inaugural presentation of his Electric Theater.[28]
In order to combat the problem of film piracy that became clear during the release of A Trip to the Moon, Méliès opened an American branch of the Star Film Company, directed by his brother Gaston Méliès, in New York in 1903. The office was designed to sell Méliès's films directly and to protect them by registering them under United States copyright.[66] The introduction to the English-language edition of the Star Film Company catalog announced: "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!"[67]
In addition to the opening of the American branch, various trade arrangements were made with other film companies, including American Mutoscope and Biograph, the Warwick Trading Company, the Charles Urban Trading Co., Robert W. Paul's studio, and Gaumont.[66] In these negotiations, a print sale price of US$0.15 per foot was standardized across the American market, which proved useful to Méliès; later price standardizations by the Motion Picture Patents Company in 1908 hastened Méliès's financial ruin, as his films were impractically expensive under the new standards. In addition, in the years following 1908 his films suffered from the fashions of the time, as the fanciful magic films he made were no longer in vogue.[66]
According to Méliès's memoirs, his initial attempts to sell A Trip to the Moon to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theater packed until midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add ₣200 to compensate "for [Méliès's] inconvenience."[67]
A Trip to the Moon was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in New York City, Washington D.C., Cleveland, Detroit, New Orleans, and Kansas City reported on the film's great success in their theaters.[68] The film also did well in other countries, including Germany, Canada, and Italy, where it was featured as a headline attraction through 1904.[68]
A Trip to the Moon was one of the most popular films of the first few years of the twentieth century, rivaled only by a small handful of others (similarly spectacular Méliès films such as The Kingdom of the Fairies and The Impossible Voyage among them).[69] Late in life, Méliès remarked that A Trip to the Moon was "surely not one of my best," but acknowledged that it was widely considered his masterpiece and that "it left an indelible trace because it was the first of its kind."[70] The film which Méliès was proudest of was Humanity Through the Ages, a serious historical drama now presumed lost.[71]
Rediscovery[edit]
Black-and-white print[edit]
After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a moment of anger and burned all his remaining negatives in his garden in Montreuil.[72] In 1925, he began selling toys and candy from a stand in the Gare Montparnasse in Paris.[73] A Trip to the Moon was largely forgotten to history and went unseen for years.[69]
Thanks to the efforts of film history devotées, especially René Clair, Jean-George Auriol, and Paul Gilson, Méliès and his work were rediscovered in the late 1920s. A "Gala Méliès" was held at the Salle Pleyel in Paris on 16 December 1929 in celebration of the filmmaker, and he was awarded the Legion of Honor in 1931.[74] During this renaissance of interest in Méliès, the cinema manager Jean Mauclaire and the early film experimenter Jean Acme LeRoy both set out independently to locate a surviving print of A Trip to the Moon. Mauclaire obtained a copy from Paris in October 1929, and LeRoy one from London in 1930, though both prints were incomplete; Mauclaire's lacked the first and last scenes, and LeRoy's was missing the entire final sequence featuring the parade and commemorative statue. These prints were occasionally screened at retrospectives (including the Gala Méliès), avant-garde cinema showings, and other special occasions, sometimes in presentations by Méliès himself.[75]
Following LeRoy's death in 1932, his film collection was bought by the Museum of Modern Art in 1936; the museum's acquisition and subsequent screenings of A Trip to the Moon, under the direction of MoMA's film curator Iris Barry, opened the film up once again to a wide audience of Americans and Canadians[75] and established it definitively as a landmark in the history of cinema.[36] LeRoy's incomplete print became the most commonly seen version of the film and the source print for most other copies, including the Cinémathèque française's print.[75] A complete version of the film, including the entire celebration sequence, was finally reconstructed in 1997 from various sources by the Cinémathèque Méliès, a foundation set up by the Méliès family.[76]
Hand-colored print[edit]


File:Le Voyage dans la lune colour.ogv
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 The restored hand-colored print
No hand-colored prints of A Trip to the Moon were known to survive until 1993, when one was given to the Filmoteca de Catalunya by an anonymous donor as part of a collection of two hundred silent films.[77] It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved during the launching scene in this copy is colored to resemble the flag of Spain, indicating that the hand-colored copy was made for a Spanish exhibitor.[78]
In 1999, Anton Gimenez of the Filmoteca de Catalunya mentioned the existence of this print, which he believed to be in a state of total decomposition, to Serge Bromberg and Eric Lange of the French film company Lobster Films. Bromberg and Lange offered to trade a recently rediscovered film by Segundo de Chomón for the hand-colored print, and Gimenez accepted. Bromberg and Lange consulted various specialist laboratories in an attempt to restore the film, but because the reel of film had apparently decomposed into a rigid mass, none believed restoration to be possible. Consequently, Bromberg and Lange themselves set to work separating the film frames, discovering that only the edges of the film stock had decomposed and congealed together, and thus that many of the frames themselves were still salvageable.[79] Between 2002 and 2005, various digitization efforts allowed 13,375 fragments of images from the print to be saved.[80] In 2010, a complete restoration of the hand-colored print was launched by Lobster Films, the Groupama Gan Foundation for Cinema, and the Technicolor Foundation for Cinema Heritage.[77] The digitized fragments of the hand-colored print were reassembled and restored, with missing frames recreated with the help of a black-and-white print in the possession of the Méliès family, and time-converted to run at an authentic silent-film speed, 14 frames per second. The restoration was completed in 2011[81] at Technicolor's laboratories in Los Angeles.[82]
The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new soundtrack by the French band Air.[83] The restoration was released by Flicker Alley in a 2-disc Blu-Ray and DVD edition also including The Extraordinary Voyage, a feature-length documentary by Bromberg and Lange about the film's restoration, in 2012.[84] In The New York Times, A. O. Scott called the restoration "surely a cinematic highlight of the year, maybe the century."[85]
Legacy[edit]
See also: Georges Méliès in culture § A Trip to the Moon


File:Excursion dans la lune (1908).ogv
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 Segundo de Chomón's Excursion to the Moon, a remake of the film
A Trip to the Moon is widely considered to be the first science fiction film in cinematic history,[38][86] and a film which demonstrated that science fiction could work magically in cinema and that reality could be transformed on the big screen.[87][88] The book A Short History of Film notes that the film combined "spectacle, sensation, and technical wizardly to create a cosmic fantasy that was an international sensation", and that it formed "many of the basic generic situations that are still used in science fiction films today".[87] Film expert and author Andrew J. Rausch includes A Trip to the Moon in his book Turning Points In Film History, which documents the "32 most pivotal moments in the history of the medium that changed the way movies were produced".[89] It remains Méliès's most famous film as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moon's eye particularly well-known.[90] David Seed also considers the spaceship in the film to be one of the "key icons of science fiction, with its sleek rocket design, promising freedom and escape".[91]
Film scholars have generally considered Georges Méliès's films to be important precursors to further developments in modern narrative cinema, with A Trip to the Moon the most influential among them.[92] In a 1940 interview, Edwin S. Porter said that it was by seeing A Trip to the Moon and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction."[36] Similarly, D. W. Griffith said simply of Méliès: "I owe him everything."[12] Since these American directors are widely credited with developing modern film narrative technique, the literary and film scholar Edward Wagenknecht once summed up Méliès's importance to film history by commenting that Méliès "profoundly influenced both Porter and Griffith and through them the whole course of American film-making."[57] Film scholar Chiara Ferrari in the book 1001 Movies You Must See Before You Die, in which A Trip to the Moon is the first entry, argues that the film "directly reflects the histrionic personality its director", and that the film "deserves a legitimate place among the milestones in world cinema history". Ferrari considers the film to be profoundly influential on later filmmakers in that it brought creativity to the cinematic medium and offered fantasy for pure entertainment which was very rare in film at the time, and that Méliès's techniques, including superimpositions, dissolves, and editing practices, were widely used later on.[93]
The film has been evoked in other creative works many times,[18] ranging from Segundo de Chomón's 1908 unauthorized remake Excursion to the Moon[94] through the extensive tribute to Méliès and the film in the Brian Selznick novel The Invention of Hugo Cabret and its 2011 Martin Scorsese film adaptation Hugo.[95]
References[edit]
Notes[edit]
a.Jump up ^ A Trip to the Moon, the common English-language title,[2][4] was first used in Méliès's American catalogues. It was initially labeled in British catalogues as Trip to the Moon, without the initial article.[5] Similarly, though the film was first sold in France without an initial article in the title,[5] it has subsequently been commonly known as Le Voyage dans la Lune.[2][4]
b.Jump up ^ Proper names taken from the authorized English-language catalogue description of the film: see Méliès 2011a, pp. 227–229.
c.Jump up ^ Barbenfouillis is French for "Tangled-Beard."[7]
d.Jump up ^ The image is a visual pun: the phrase dans l'œil, literally "in the eye," is the French equivalent of the English word "bullseye."[8]
e.Jump up ^ "Labor omnia vincit" is Latin for "work conquers all".[9]
f.Jump up ^ The film's total length is about 260 meters (roughly 845 feet) of film,[2] which, at Méliès's preferred projection speed of 12 to 14 frames per second,[25] is about 17 minutes.[3] Films made in the same era by Méliès's contemporaries, the Edison Manufacturing Company and the Lumière Brothers, were on average about one-third this length.[26] Méliès went on to make longer films; his longest, The Conquest of the Pole, runs to 650 meters[27] or about 44 minutes.[3]
g.Jump up ^ The stationary position of the camera, which became known as one of Méliès's characteristic trademarks, was one of the most important elements of the style. Though he often moved his camera when making actualities outdoors (for example, 15 of his 19 short films about the 1900 Paris Exposition were shot with a moving camera setup), he considered a theatrical viewpoint more appropriate for the fiction films staged in his studio.[45]
h.Jump up ^ The specification of visible editing is necessary because, in reality, Méliès used much splicing and editing within his scenes, not only for stop-trick effects but also to break down his long scenes into smaller takes during production. Thus, A Trip to the Moon actually contains more than fifty shots. All such editing was deliberately designed to be unnoticeable by the viewer; the camera angle remained the same, and action continued fluidly through the splice by means of careful shot-matching.[49]
i.Jump up ^ In Méliès's numbering system, films were listed and numbered according to their order of production, and each catalogue number denotes about 20 meters of film; thus A Trip to the Moon, at about 260 meters long, is listed as #399–411.[58]
j.Jump up ^ In French, the term pièce à grand spectacle is usually used to describe the spectacular stage extravaganzas popular in Paris in the second half of the nineteenth century.[59] The word tableau, used in French theatre to mean "scene" or "stage picture," refers in Méliès's catalogues to distinct episodes in the film, rather than changes of scene; thus, Méliès counted thirty tableaux within the scenes of A Trip to the Moon.[26]
k.Jump up ^ The historian Richard Abel notes that stories involving trips to the moon, whether in print, on stage, or as themed attractions, were highly popular in America at the time; indeed, a previous film of Méliès's, The Astronomer's Dream, was often shown in the United States under the title "A Trip to the Moon."[62]
Citations[edit]
1.^ Jump up to: a b c Wemaere & Duval 2011, p. 186
2.^ Jump up to: a b c d e Hammond 1974, p. 141
3.^ Jump up to: a b c d e Frame rate calculations produced using the following formula: 845 feet / ((n frame/s * 60 seconds) / 16 frames per foot) = x. See Elkins, David E. (2013), "Tables & Formulas: Feet Per Minute for 35mm, 4-perf Format", The Camera Assistant Manual Web Site (companion site for The Camera Assistant's Manual [Burlington, MA: Focal Press, 2013]), retrieved 8 August 2013.
4.^ Jump up to: a b c d Ezra 2000, pp. 120–121
5.^ Jump up to: a b Malthête & Mannoni 2008, p. 344
6.Jump up ^ Village Voice Critics' Poll (2001), "100 Best Films", filmsite.org (AMC), retrieved 2 August 2013
7.Jump up ^ Rosen 1987, p. 748
8.Jump up ^ Kessler 2011, p. 123
9.^ Jump up to: a b Frazer 1979, p. 98
10.^ Jump up to: a b Ezra 2000, p. 13
11.^ Jump up to: a b Malthête & Mannoni 2008, p. 125
12.^ Jump up to: a b Cook 2004, p. 18
13.Jump up ^ Malthête & Mannoni 2008, p. 106
14.Jump up ^ Ezra 2000, p. 17
15.Jump up ^ Wemaere & Duval 2011, p. 166
16.Jump up ^ Malthête & Mannoni 2008, p. 88
17.^ Jump up to: a b Wemaere & Duval 2011, p. 165
18.^ Jump up to: a b c d e f Solomon 2011, p. 2
19.^ Jump up to: a b c Méliès 2011b, p. 234: "I remember that in "Trip to the Moon," the Moon (the woman in a crescent,) was Bleuette Bernon, music hall singer, the Stars were ballet girls, from theatre du Châtelet—and the men (principal ones) Victor André, of Cluny theatre, Delpierre, Farjaux—Kelm—Brunnet, music-hall singers, and myself—the Sélenites were acrobats from Folies Bergère."
20.Jump up ^ Lefebvre 2011, pp. 50, 58
21.Jump up ^ Wemaere & Duval 2011, pp. 166–167
22.Jump up ^ Lefebvre 2011, pp. 51–58
23.Jump up ^ Lefebvre 2011, pp. 53–58
24.Jump up ^ Miller 2006, p. 15
25.Jump up ^ Solomon 2012, p. 191
26.^ Jump up to: a b Cook 2004, p. 15
27.Jump up ^ Malthête & Mannoni 2008, p. 285
28.^ Jump up to: a b c Frazer 1979, p. 99
29.^ Jump up to: a b Lefebvre 2011, p. 51
30.Jump up ^ Wemaere & Duval 2011, pp. 165–167
31.^ Jump up to: a b Frazer 1979, pp. 42–43
32.Jump up ^ Malthête & Mannoni 2008, p. 9
33.Jump up ^ Frazer 1979, p. 41; dimensions from Wemaere & Duval 2011, p. 163
34.^ Jump up to: a b Méliès 2011b, pp. 233–234
35.Jump up ^ Frazer 1979, p. 95
36.^ Jump up to: a b c d Solomon 2011, p. 6
37.Jump up ^ Wemaere & Duval 2011, p. 85
38.^ Jump up to: a b Creed 2009, p. 58
39.Jump up ^ Frazer 1979, p. 96
40.^ Jump up to: a b Frazer 1979, pp. 91–93
41.Jump up ^ Gunning 1994, p. 37
42.Jump up ^ Yumibe 2012, pp. 71–74
43.Jump up ^ Wemaere & Duval 2011, p. 169
44.Jump up ^ Cook 2004, pp. 15–16
45.Jump up ^ Malthête 2002, §2
46.Jump up ^ Kovács, Katherine Singer (Autumn 1976), "Georges Méliès and the Féerie", Cinema Journal 16 (1): 1, doi:10.2307/1225446, JSTOR 1225446
47.Jump up ^ Dancyger 2007, pp. 3–4
48.Jump up ^ Cook 2004, p. 14
49.Jump up ^ Solomon 2011, pp. 6–7
50.^ Jump up to: a b c Sklar 1993, pp. 33–36
51.Jump up ^ Cook 2004, p. 22
52.Jump up ^ Gaudreault, André; Le Forestier, Laurent (2011), Méliès, carrefour des attractions (academic conference program), Centre culturel international de Cerisy-la-Salle, retrieved 23 July 2013
53.Jump up ^ Cook 2004, pp. 16–17
54.^ Jump up to: a b c Solomon 2011, pp. 9–12
55.Jump up ^ Frazer 1979, pp. 98–99
56.^ Jump up to: a b McMahan 2005, p. 4
57.^ Jump up to: a b Wagenknecht 1962, pp. 35–6
58.Jump up ^ Solomon 2011, p. 7
59.Jump up ^ Margot 2003, p. 13
60.Jump up ^ Marks, Martin (4 February 2012), Music for A Trip to the Moon: An Obscure English Score for a Famous French Fantasy (conference abstract), American Musicological Society, retrieved 8 March 2014
61.Jump up ^ Bayer, Katia (26 May 2011), "Le Voyage dans la lune de Georges Méliès par Serge Bromberg", Format Court, retrieved 8 March 2014
62.Jump up ^ Abel 2011, pp. 130–135
63.Jump up ^ Frazer 1979, p. 46
64.Jump up ^ Yumibe 2012, pp. 71–4
65.Jump up ^ Abel 2011, p. 136
66.^ Jump up to: a b c Frazer 1979, pp. 46–48
67.^ Jump up to: a b Rosen 1987, p. 755
68.^ Jump up to: a b Solomon 2011, pp. 2–3
69.^ Jump up to: a b Solomon 2011, p. 3
70.Jump up ^ Wemaere & Duval 2011, p. 162
71.Jump up ^ Frazer 1979, p. 191
72.Jump up ^ Frazer 1979, p. 54
73.Jump up ^ Malthête & Mannoni 2008, p. 10
74.Jump up ^ Frazer 1979, pp. 55–56
75.^ Jump up to: a b c Solomon 2011, pp. 3–5
76.Jump up ^ Solomon 2011, p. 8
77.^ Jump up to: a b Wemaere & Duval 2011, p. 12
78.Jump up ^ Bromberg, Serge (October 2012), "Le Voyage dans la Lune: Une restauration exemplaire", Journal of Film Preservation 87: 13, retrieved 12 January 2014
79.Jump up ^ Wemaere & Duval 2011, p. 183
80.Jump up ^ Wemaere & Duval 2011, pp. 183–4
81.Jump up ^ Wemaere & Duval 2011, pp. 184–6
82.Jump up ^ Savage, Sophia (2 May 2011), "Cannes 2011: Méliès's Fully Restored A Trip To The Moon in Color To Screen Fest's Opening Night", Thompson on Hollywood, retrieved 23 February 2014
83.Jump up ^ Festival de Cannes (20 May 2011), "A Trip to the Moon – a return journey", The Daily 2011 (Cannes Film Festival), retrieved 23 February 2014
84.Jump up ^ Flicker Alley (21 January 2012), "Your Questions Answered – A Trip to the Moon in Color", Flicker Alley, retrieved 23 February 2014
85.Jump up ^ Scott, A. O.; Dargis, Manohla (14 December 2011), "Old-Fashioned Glories in a Netflix Age", The New York Times: AR8, retrieved 2 August 2013
86.Jump up ^ Fischer 2011, p. 9
87.^ Jump up to: a b Dixon & Foster 2008, p. 12
88.Jump up ^ Kawin 1992, p. 51
89.Jump up ^ Rausch 2004
90.Jump up ^ Solomon 2011, p. 1
91.Jump up ^ Seed 2011, p. 15
92.Jump up ^ Cook 2004, pp. 15–18
93.Jump up ^ Schneider 2012, p. 20
94.Jump up ^ Solomon 2011, p. 13
95.Jump up ^ Hoberman, J. (24 February 2012), "Hugo and the Magic of Film Trickery", The Guardian, retrieved 4 May 2014
Bibliography[edit]
Abel, Richard (2011), "A Trip to the Moon as an American Phenomenon", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 129–142, ISBN 978-1-4384-3581-7
Cook, David A. (2004), A History of Narrative Film, New York: W. W. Norton & Company, ISBN 0-393-97868-0
Creed, Barbara (2009), Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema, Academic Monographs, ISBN 978-0-522-85258-5
Dancyger, Ken (2007), The Technique of Film and Video Editing: History, Theory, and Practice, New York: Focal Press, ISBN 978-0-240-80765-2
Dixon, Wheeler Winston; Foster, Gwendolyn Audrey (2008), A Short History of Film, Rutgers University Press, ISBN 978-0-8135-4475-5
Ezra, Elizabeth (2000), Georges Méliès, Manchester: Manchester University Press, ISBN 0-7190-5395-1
Fischer, Dennis (17 June 2011), Science Fiction Film Directors, 1895–1998, McFarland, ISBN 978-0-7864-8505-5
Frazer, John (1979), Artificially Arranged Scenes: The Films of Georges Méliès, Boston: G. K. Hall & Co., ISBN 0-8161-8368-6
Gunning, Tom (1994), D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, University of Illinois Press, ISBN 978-0-252-06366-4
Hammond, Paul (1974), Marvellous Méliès, London: Gordon Fraser, p. 141, ISBN 0-900406-38-0
Kessler, Frank (2011), "A Trip to the Moon as Féerie", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 115–128, ISBN 978-1-4384-3581-7
Kawin, Bruce F. (January 1992), How Movies Work, University of California Press, ISBN 978-0-520-07696-9
Lefebvre, Thierry (2011), "A Trip to the Moon: A Composite Film", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 49–64, ISBN 978-1-4384-3581-7
Malthête, Jacques (2002), "Les Vues spéciales de l'Exposition de 1900, tournées par Georges Méliès", 1895: Revue de l'Association française de recherche sur l'histoire du cinéma 36, retrieved 24 January 2014
Margot, Jean-Michel (2003), "Introduction", in Verne, Jules, Journey Through the Impossible, Amherst, N.Y.: Prometheus Books, ISBN 1-59102-079-4
Malthête, Jacques; Mannoni, Laurent (2008), L'oeuvre de Georges Méliès, Paris: Éditions de La Martinière, ISBN 978-2-7324-3732-3
McMahan, Alison (2005), The Films of Tim Burton: Animating Live Action in Contemporary Hollywood, Continuum International Publishing Group, ISBN 0-8264-1566-0
Méliès, Georges (2011a) [originally published 1902], "A Fantastical ... Trip to the Moon", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 227–232, ISBN 978-1-4384-3581-7
Méliès, Georges (2011b) [written 1930], "Reply to Questionary", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 233–234, ISBN 978-1-4384-3581-7
Miller, Ron (1 January 2006), Special Effects: An Introduction to Movie Magic, Twenty-First Century Books, ISBN 978-0-7613-2918-3
Rosen, Miriam (1987), "Méliès, Georges", in Wakeman, John, World Film Directors: Volume I, 1890–1945, New York: The H. W. Wilson Company, pp. 747–765, ISBN 0-8242-0757-2
Rausch, Andrew J. (2004), Turning Points In Film History, Citadel Press, ISBN 978-0-8065-2592-1
Schneider, Steven Jay (1 October 2012), 1001 Movies You Must See Before You Die 2012, Octopus Publishing Group, ISBN 978-1-84403-733-9
Sklar, Robert (1993), Film: An International History of the Medium, New York: Harry N. Abrams
Seed, David (23 June 2011), Science Fiction: A Very Short Introduction, Oxford University Press, ISBN 978-0-19-162010-2
Solomon, Matthew (2011), "Introduction", in Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination: Georges Méliès's Trip to the Moon, Albany: State University of New York Press, pp. 1–24, ISBN 978-1-4384-3581-7
Solomon, Matthew (Fall 2012), "Georges Méliès: First Wizard of Cinema (1896–1913)/Georges Méliès Encore: New Discoveries (1896–1911)", Moving Image 12 (2): 187–192, ISSN 1532-3978, JSTOR 10.5749/movingimage.12.2.0187
Wagenknecht, Edward (1962), The Movies in the Age of Innocence, Norman: University of Oklahoma Press
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Yumibe, Joshua (2012), Moving Color: Early Film, Mass Culture, Modernism, New Brunswick, N.J.: Rutgers University Press, pp. 71–74, ISBN 978-0-8135-5296-5
External links[edit]
 Wikimedia Commons has media related to A Trip to the Moon.
A Trip to the Moon at the Internet Movie Database
A Trip to the Moon at AllMovie
A Trip to the Moon at Rotten Tomatoes
Was the NASA splash down inspired by Georges Méliès? — A letter to NASA
Le Voyage dans la lune is available for free download at the Internet Archive [more]
Le Voyage dans la lune (A Trip to the Moon) – English narration is available for free download at the Internet Archive [more]
The hand-colored, restored version of "A Trip to the Moon" on Hulu
A Trip to the Moon complete film on YouTube
A Trip to the Moon (Hand-colored) complete film on YouTube


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Around the Moon
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Around the Moon
'Around the Moon' by Bayard and Neuville 01.jpg
Author
Jules Verne
Original title
Autour de la Lune
Translator
Louis Mercier & Eleanor E. King (1873); Edward Roth (1874); Thomas H. Linklater (1877); I. O. Evans (1959), Jacqueline and Robert Baldick (1970), Harold Salemson (1970)
Illustrator
Émile-Antoine Bayard and Alphonse-Marie de Neuville
Country
France
Language
French
Series
The Extraordinary Voyages #7
Genre
Science fiction novel
Publisher
Pierre-Jules Hetzel

Publication date
 1870

Published in English
 1873
Media type
Print (Hardback)
ISBN
N/A
Preceded by
Twenty Thousand Leagues Under the Sea
Followed by
A Floating City
Around the Moon (French: Autour de la Lune, 1870), Jules Verne's sequel to From the Earth to the Moon, is a science fiction novel continuing the trip to the moon which left the reader in suspense after the previous novel. It was later combined with From the Earth to the Moon to create A Trip to the Moon and Around It.
Plot[edit]
Having been fired out of the giant Columbiad space gun, the Baltimore Gun Club's bullet-shaped projectile, along with its three passengers, Barbicane, Nicholl and Michel Ardan, begins the five-day trip to the moon. A few minutes into the journey, a small, bright asteroid passes within a few hundred yards of them, but luckily does not collide with the projectile. The asteroid had been captured by the Earth's gravity and had become a second moon.



 An illustration from Jules Verne's novel "Around the Moon" drawn by Émile-Antoine Bayard and Alphonse de Neuville, September 16, 1872
The three travelers undergo a series of adventures and misadventures during the rest of the journey, including disposing of the body of a dog out a window, suffering intoxication by gases, and making calculations leading them, briefly, to believe that they are to fall back to Earth. During the latter part of the voyage, it becomes apparent that the gravitational force of their earlier encounter with the asteroid has caused the projectile to deviate from its course.
The projectile enters lunar orbit, rather than landing on the moon as originally planned. Barbicane, Ardan and Nicholl begin geographical observations with opera glasses. The projectile then dips over the northern hemisphere of the moon, into the darkness of its shadow. It is plunged into extreme cold, before emerging into the light and heat again. They then begin to approach the moon's southern hemisphere. From the safety of their projectile, they gain spectacular views of Tycho, one of the greatest of all craters on the moon. The three men discuss the possibility of life on the moon, and conclude that it is barren. The projectile begins to move away from the moon, towards the 'dead point' (the place at which the gravitational attraction of the moon and Earth becomes equal). Michel Ardan hits upon the idea of using the rockets fixed to the bottom of the projectile (which they were originally going to use to deaden the shock of landing) to propel the projectile towards the moon and hopefully cause it to fall onto it, thereby achieving their mission.
When the projectile reaches the point of neutral attraction, the rockets are fired, but it is too late. The projectile begins a fall onto the Earth from a distance of 160,000 miles, and it is to strike the Earth at a speed of 115,200 miles per hour, the same speed at which it left the mouth of the Columbiad. All hope seems lost for Barbicane, Nicholl and Ardan. Four days later, the crew of a US Navy vessel USS Susquehanna spots a bright meteor fall from the sky into the sea. This turns out to be the returning projectile, and the three men inside are found to be alive and are rescued. They are treated to lavish homecoming celebrations as the first people to leave Earth.
References[edit]
Kytasaari, Dennis (2006-07-13). "The Works of Jules Verne". Archived from the original on 18 August 2006. Retrieved August 27, 2006.
External links[edit]
 Wikisource has the 1874 translation by Mercier & King):
Around the Moon

 French Wikisource has original text related to this article:
Autour de la Lune

 Wikimedia Commons has media related to Around the Moon.
From the Earth to the Moon; and, Round the Moon at Project Gutenberg — This is the original translation of Mercier and King published by Sampson Low et al. in 1873 and deletes about 20% of the original French text, along with numerous other errors.
Round the Moon — Gut. text #83 in HTML format.
Round the Moon — This is the original translation of Lewis Page Mercier and Eleanor E. King published by Sampson Low et al. in 1873, revised and reconstituted by Christian Sánchez and Norman Wolcott. The parts Mercier and King left out are shown in red type.
Project Gutenberg's The Moon Voyage — This the version of both parts of Earth to the Moon and Round the Moon as published by Ward Lock in London in 1877. The translation is more complete than the Mercier version, but still has flaws, referring to the space capsule as a "bullet".
Project Gutenberg's All Around the Moon — This is the translation of Edward Roth first published in 1876 by King and Baird, Philadelphia. This translation has been vilified by Verne scholars for the large amount of additional non-Verne material included. However the book does contain the first printed corrected equation of motion for moon travel and also the first correct printed derivation of the formula for the escape velocity for a space capsule to leave the earth for the moon.
Gallery of images, from the 1874 edition, from the Smithsonian Institution
(French) Autour de la lune, audio version Speaker Icon.svg


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Jules Verne's From the Earth to the Moon and Around the Moon


Film versions
A Trip to the Moon (1902) ·
 From the Earth to the Moon (1958) ·
 Jules Verne's Rocket to the Moon (1967)
 

Other media
Le voyage dans la lune (operetta) ·
 Space Mountain: Mission 2 (ride) ·
 Voyage: Inspired by Jules Verne (video game)
 

Related works
The Purchase of the North Pole ·
 From the Earth to the Moon (TV miniseries) ·
 Journey Through the Impossible ·
 Autour de la Lune
 



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