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The Mirror (1975 film)
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Mirror
Zerkalo.gif
RUSCICO DVD cover

Directed by
Andrei Tarkovsky
Produced by
Erik Waisberg
Written by
Aleksandr Misharin
Andrei Tarkovsky
Starring
Margarita Terekhova
 Ignat Daniltsev
Larisa Tarkovskaya
Alla Demidova
Anatoli Solonitsyn
 Tamara Ogorodnikova
Narrated by
Innokenty Smoktunovsky
Arseny Tarkovsky
Music by
Eduard Artemyev
Cinematography
Georgi Rerberg
Edited by
Lyudmila Feiginova

Release dates
 7 March 1975 (USSR)

Running time
 107 minutes
Country
Soviet Union
Language
Russian
Budget
SUR 622,000[1]
Mirror (Russian: Зеркало, tr. Zerkalo; known in the United States as The Mirror [2]) is a 1975 Russian art film directed by Andrei Tarkovsky. It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director's father, Arseny Tarkovsky. The film features Margarita Terekhova, Ignat Daniltsev, Alla Demidova, Anatoli Solonitsyn, Tarkovsky's wife Larisa Tarkovskaya and his mother Maria Vishnyakova, with a soundtrack by Eduard Artemyev.
Mirror unfolds as an organic flow of memories recalled by a dying poet (based on Tarkovsky's own father Arseny who in reality would outlive his filmmaker son by three years) of key moments in his life both with respect to his immediate family as well as that of the Russian people as a whole during the tumultuous events of the twentieth century. The film combines contemporary scenes with childhood memories, dreams, and newsreel footage. The cinematography slips unpredictably from color to black-and-white to Sepia then back again to color. The loose flow of visually oneiric images has been compared to stream of consciousness technique in literature. The unconventional non-linear structure of the film combined with its rich - often symbolic - imagery lends the film an unusual power of expression that has found favour with Russians for whom it remains their most beloved of Tarkovsky's films.[3]
The concept of Mirror dates as far back as 1964. Over the years Tarkovsky wrote several screenplay variants, at times working with Aleksandr Misharin. Their mutually developed script initially was not approved by the film committee of Goskino, and it was only after several years of waiting that Tarkovsky would be allowed to realize the project. At various times the script was known under different names, most notably Confession and A White, White Day. The completed film was initially rejected by Goskino, and after some delay was given only limited release in the Soviet Union.
Mirror has grown in reputation over many years and ranked ninth in Sight and Sound's 2012 directors poll of the best films ever made.[4]


Contents  [hide]
1 Plot 1.1 Structure and content
1.2 Synopsis
2 Cast
3 Production 3.1 Writing
3.2 Casting
3.3 Filming
4 Distribution
5 Responses
6 Trivia
7 Further Reading
8 References
9 External links

Plot[edit]
Structure and content[edit]
Mirror depicts the thoughts, emotions and memories of Alexei, or Alyosha (Ignat Daniltsev), and the world around him as a child, adolescent, and forty-year-old. The adult Alexei is only briefly glimpsed, but is present as a voice-over in some scenes including substantial dialogue. The structure of the film is discontinuous and nonchronological, without a conventional plot, and combines incidents, dreams and memories along with some news-reel footage. The film switches among three different time-frames: prewar (1935), war-time (1940s), and postwar (1960s or '70s).
Mirror draws heavily on Tarkovsky's own childhood. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, feature prominently.
Synopsis[edit]
The film opens with Alexei's adolescent son Ignat (also played by Ignat Daniltsev) switching on a televisor and watching the examination of a stammerer by a physician. After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria (Margarita Terekhova) — also called Masha and Marusya — talks with a doctor (Anatoli Solonitsyn) who chances to be passing by. The exterior and interior of Alexei's grandfather's country house are seen. The young Alexei, his mother and sister watch as the family barn burns down. In a dream sequence Maria is washing her hair. Now in the postwar time-frame, Alexei is heard talking with his mother Maria on the phone while rooms of an apartment are seen. Switching back to the prewar time-frame, Maria is seen rushing frantically to her work-place as a proof-reader at a printing press. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then abruptly reduces her to tears with withering criticism. Back in postwar time, Alexei quarrels with his wife, Natalia (also played by Margarita Terekhova), who has divorced him and is living with their son Ignat. This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U.S.S.R. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman (Tamara Ogorodnikova) sitting at a table. At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei. The strange woman vanishes mysteriously. Switching to war-time, the adolescent Alexei is seen undergoing rifle training with a dour instructor, intercut with news-reel footage of World War II and the Sino-Soviet border conflict. The reunion of Alexei and his sister with their father (Oleg Yankovsky) at war's end is shown. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady. The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old. (Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova.)
Cast[edit]
Margarita Terekhova as the young Maria/Natalia
Filipp Yankovsky as the child Alexei
Ignat Daniltsev as the adolescent Alexei/Ignat
Larisa Tarkovskaya as Nadezhda
Alla Demidova as Liza, Maria's friend at printing house
Anatoli Solonitsyn as Forensic doctor & pedestrian
Tamara Ogorodnikova as Strange woman at the tea table
Oleg Yankovsky, Alexei's father
Maria Vishnyakova as the elderly Maria
Innokenty Smoktunovsky as the adult Alexei (voice only)
Arseny Tarkovsky as Narrator/Poet (voice only)
Production[edit]
Writing[edit]
The concept of Mirror dates as far back as 1964, when Tarkovsky wrote down his idea for a film about the dreams, thoughts and memories of a man, without the man appearing on screen as he would in a conventional film. The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. These episodes were published as a short story under the title A White Day in 1970. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. In 1968, after having finished Andrei Rublev, Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin. This script was titled Confession and was proposed to the film committee at Goskino. Although it contained popular themes, for example, a heroic mother, the war and patriotism, the proposal was turned down. The main reason was most likely the complex and unconventional nature of the script. Moreover, Tarkovsky and Misharin clearly stated that they did not know what the final form of the film would be – this was to be determined in the process of filming.[5]
With the script being turned down by the film committee, Tarkovsky went on to make the film Solaris. But his diary entries show that he was still eager to make the film. Finally, the script was approved by the new head of Goskino, Filipp Ermash in the summer of 1973. Tarkovsky was given a budget of 622,000 Soviet ruble and 7500 metres (24,606 feet) of Kodak film, corresponding to 110 minutes, or roughly three takes assuming a film length of 3000 metres (10,000 feet).[6]
Several versions of the script for Mirror exist, as Tarkovsky constantly rewrote parts of the script, with the latest variant of the script written in 1974 while he was in Italy. One scene that was in the script but that was removed during shooting was an interview with his mother. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film. This scene was one of the main reasons why Vadim Yusov, who was the camera-man for all of Tarkovsky's previous films refused to work with him on this film.[7] At various times, the script and the film was known under the titles Confession, Redemption, Martyrology, Why are you standing so far away?, The Raging Stream and A White, White Day (sometimes also translated as A Bright, Bright Day.). Only while filming Tarkovsky decided to finally title the film Mirror.[5] (The final film does indeed feature several mirrors with some scenes shot in reflection.)
A poster of Tarkovsky's 1966 film Andrei Rublev is seen on a wall.[8] Mirror thus forms the third part, together with Tarkovsky's previous film Solaris which was made in 1972 and which references Andrei Rublev by having an icon made by him being placed in the main character's room,[9] in a series of three fims by Tarkovsky referencing Andrei Rublev.
Casting[edit]
Initially Tarkovsky considered Alla Demidova and Swedish actress Bibi Andersson for the role of the mother. In the end Margarita Terekhova was chosen.[10]
Filming[edit]
Filming began in September 1973 and ended in March 1974. The outdoor scenes were shot in Tutshkovo near Moscow. The indoor scenes were shot at the Mosfilm studio.[11]
The completed film was initially rejected by Filipp Ermash, the head of Goskino in July 1974. One reason given was that the film is incomprehensible. Tarkovsky was infuriated about this rejection and even toyed with the idea of going abroad and making a film outside the Soviet Union. Mirror was ultimately approved by Goskino without any changes in fall 1974.[12]
Distribution[edit]
[icon] This section requires expansion. (December 2012)
Mirror never had an official premiere and had only a limited, second category release with only 73 copies. Although it was officially announced for September 1975, it was shown as early as March 1975.
Responses[edit]
[icon] This section requires expansion. (December 2012)
Despite very limited distribution, Mirror was well received by the audiences. Goskino did not allow it to be shown at the Cannes Film Festival. The managing director of the festival, Maurice Bessy, was sympathetic to Tarkovsky. Upon hearing that Mirror would not be allowed to be shown in Cannes, he unsuccessfully threatened to not take any other Soviet film.[13] In 2012, Will Self argued that The Mirror remains the most beautiful film ever made.[14]
Trivia[edit]
Wintertime scenes in the Mirror echo Bruegel's paintings Winter Landscape with a Bird Trap and The Hunters in the Snow, the latter of which is shown several times in Solaris.
The scene where the neighbour tries on earrings offered by the main heroine, references the painting Girl with a Pearl Earring by Johannes Vermeer.
A recitative from Johan Sebastian Bach's Johannes-Passion , ("Und siehe da, der Vorhang im Tempel...") features in the score, as does the opening chorus from the Johannes-Passion ("Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!") accompanying the film's memorable closing scene.
Another of Bach's works Das alte Jahr vergangen ist Chorale (BWV 614) from Orgelbüchlein is heard during the opening credits.
A poster of Tarkovsky's 1966 film Andrei Rublev is seen on a wall.[15]
Further Reading[edit]
Mirror, Natasha Synessios; 2001, I.B.Tauris & Co Ltd
References[edit]
1.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 77 (July 11, 1973). ISBN 81-7046-083-2.
2.Jump up ^ Tarkovsky's official English translator, Kitty Hunter-Blair, always referred to the film as Mirror not The Mirror which was a later innovation unauthorised by the filmmaker.
3.Jump up ^ "...remains today most Russians' favourite Tarkovsky film." Synessios (2001). Tarkovsky himself recounts in Sculpting In Time that Mirror provoked an overwhelming audience response that dwarfed his other movies. He received hundreds of letters expressing in the most movingly intimate terms how the film had made a profound impact on them.
4.Jump up ^ "Sight & Sound Revises Best-Films-Ever Lists". studiodaily. 1 August 2012. Retrieved 1 August 2012.
5.^ Jump up to: a b Tarkovsky, Andrei; edited by William Powell (1999). Collected Screenplays. London: Faber & Faber.
6.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 77 (July 11, 1973). ISBN 81-7046-083-2.
7.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 60–61 (September 17, 1972). ISBN 81-7046-083-2.
8.Jump up ^ Cairns, David (16 July 2011). "Mirror". Electric Sheep. Retrieved 18 August 2014.
9.Jump up ^ Jones, Jonathan (12 February 2005). "Out of this world". The Guardian. Retrieved 18 August 2014.
10.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 41 (August 20, 1971). ISBN 81-7046-083-2.
11.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 78, 92–93 (September 30, 1973 & March 8, 17, 1974). ISBN 81-7046-083-2.
12.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 96–97 (July 27, 29 & August 1, 1974). ISBN 81-7046-083-2.
13.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 106–109 (March 2, April 8, 11, 1975). ISBN 81-7046-083-2.
14.Jump up ^ "Looking In, Looking Out Film Festival". The Quietus. 2012-06-27. Retrieved 2012-06-29.
15.Jump up ^ Cairns, David (16 July 2011). "Mirror". Electric Sheep. Retrieved 18 August 2014.
External links[edit]
The Mirror at the Internet Movie Database
The Mirror at AllMovie
The Mirror at official Mosfilm site with English subtitles
Poems of Arseny Tarkovsky recited in the film (Russian)
Voted #16 on The Arts and Faith Top 100 Films (2010)


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The Mirror (1975 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Mirror
Zerkalo.gif
RUSCICO DVD cover

Directed by
Andrei Tarkovsky
Produced by
Erik Waisberg
Written by
Aleksandr Misharin
Andrei Tarkovsky
Starring
Margarita Terekhova
 Ignat Daniltsev
Larisa Tarkovskaya
Alla Demidova
Anatoli Solonitsyn
 Tamara Ogorodnikova
Narrated by
Innokenty Smoktunovsky
Arseny Tarkovsky
Music by
Eduard Artemyev
Cinematography
Georgi Rerberg
Edited by
Lyudmila Feiginova

Release dates
 7 March 1975 (USSR)

Running time
 107 minutes
Country
Soviet Union
Language
Russian
Budget
SUR 622,000[1]
Mirror (Russian: Зеркало, tr. Zerkalo; known in the United States as The Mirror [2]) is a 1975 Russian art film directed by Andrei Tarkovsky. It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director's father, Arseny Tarkovsky. The film features Margarita Terekhova, Ignat Daniltsev, Alla Demidova, Anatoli Solonitsyn, Tarkovsky's wife Larisa Tarkovskaya and his mother Maria Vishnyakova, with a soundtrack by Eduard Artemyev.
Mirror unfolds as an organic flow of memories recalled by a dying poet (based on Tarkovsky's own father Arseny who in reality would outlive his filmmaker son by three years) of key moments in his life both with respect to his immediate family as well as that of the Russian people as a whole during the tumultuous events of the twentieth century. The film combines contemporary scenes with childhood memories, dreams, and newsreel footage. The cinematography slips unpredictably from color to black-and-white to Sepia then back again to color. The loose flow of visually oneiric images has been compared to stream of consciousness technique in literature. The unconventional non-linear structure of the film combined with its rich - often symbolic - imagery lends the film an unusual power of expression that has found favour with Russians for whom it remains their most beloved of Tarkovsky's films.[3]
The concept of Mirror dates as far back as 1964. Over the years Tarkovsky wrote several screenplay variants, at times working with Aleksandr Misharin. Their mutually developed script initially was not approved by the film committee of Goskino, and it was only after several years of waiting that Tarkovsky would be allowed to realize the project. At various times the script was known under different names, most notably Confession and A White, White Day. The completed film was initially rejected by Goskino, and after some delay was given only limited release in the Soviet Union.
Mirror has grown in reputation over many years and ranked ninth in Sight and Sound's 2012 directors poll of the best films ever made.[4]


Contents  [hide]
1 Plot 1.1 Structure and content
1.2 Synopsis
2 Cast
3 Production 3.1 Writing
3.2 Casting
3.3 Filming
4 Distribution
5 Responses
6 Trivia
7 Further Reading
8 References
9 External links

Plot[edit]
Structure and content[edit]
Mirror depicts the thoughts, emotions and memories of Alexei, or Alyosha (Ignat Daniltsev), and the world around him as a child, adolescent, and forty-year-old. The adult Alexei is only briefly glimpsed, but is present as a voice-over in some scenes including substantial dialogue. The structure of the film is discontinuous and nonchronological, without a conventional plot, and combines incidents, dreams and memories along with some news-reel footage. The film switches among three different time-frames: prewar (1935), war-time (1940s), and postwar (1960s or '70s).
Mirror draws heavily on Tarkovsky's own childhood. Memories such as the evacuation from Moscow to the countryside during the war, a withdrawn father and his own mother, who actually worked as a proof-reader at a printing press, feature prominently.
Synopsis[edit]
The film opens with Alexei's adolescent son Ignat (also played by Ignat Daniltsev) switching on a televisor and watching the examination of a stammerer by a physician. After the opening titles roll, a scene is set in the countryside during prewar times in which Alexei's mother Maria (Margarita Terekhova) — also called Masha and Marusya — talks with a doctor (Anatoli Solonitsyn) who chances to be passing by. The exterior and interior of Alexei's grandfather's country house are seen. The young Alexei, his mother and sister watch as the family barn burns down. In a dream sequence Maria is washing her hair. Now in the postwar time-frame, Alexei is heard talking with his mother Maria on the phone while rooms of an apartment are seen. Switching back to the prewar time-frame, Maria is seen rushing frantically to her work-place as a proof-reader at a printing press. She is worrying about a mistake she may have overlooked, but is comforted by her colleague Liza (Alla Demidova), who then abruptly reduces her to tears with withering criticism. Back in postwar time, Alexei quarrels with his wife, Natalia (also played by Margarita Terekhova), who has divorced him and is living with their son Ignat. This is followed by news-reel scenes from the Spanish Civil War and of a balloon ascent in the U.S.S.R. In the next scene, set in Alexei's apartment, Ignat meets with a strange woman (Tamara Ogorodnikova) sitting at a table. At her request, Ignat reads a passage from a letter by Pushkin and receives a telephone call from his father Alexei. The strange woman vanishes mysteriously. Switching to war-time, the adolescent Alexei is seen undergoing rifle training with a dour instructor, intercut with news-reel footage of World War II and the Sino-Soviet border conflict. The reunion of Alexei and his sister with their father (Oleg Yankovsky) at war's end is shown. The film then returns to the quarrel between Alexei and his wife Natalia in the postwar sequence. Switching again to prewar time, vistas of the country house and surrounding countryside are followed by a dreamlike sequence showing a levitating Maria. The film then moves to the postwar time, showing Alexei apparently on his death-bed with a mysterious malady. The final scene plays in the prewar time-frame, showing a pregnant mother, Maria, intercut with scenes showing Maria young and old. (Old Maria is played by Tarkovsky's own mother, Maria Vishnyakova.)
Cast[edit]
Margarita Terekhova as the young Maria/Natalia
Filipp Yankovsky as the child Alexei
Ignat Daniltsev as the adolescent Alexei/Ignat
Larisa Tarkovskaya as Nadezhda
Alla Demidova as Liza, Maria's friend at printing house
Anatoli Solonitsyn as Forensic doctor & pedestrian
Tamara Ogorodnikova as Strange woman at the tea table
Oleg Yankovsky, Alexei's father
Maria Vishnyakova as the elderly Maria
Innokenty Smoktunovsky as the adult Alexei (voice only)
Arseny Tarkovsky as Narrator/Poet (voice only)
Production[edit]
Writing[edit]
The concept of Mirror dates as far back as 1964, when Tarkovsky wrote down his idea for a film about the dreams, thoughts and memories of a man, without the man appearing on screen as he would in a conventional film. The first episodes of Mirror were written while Tarkovsky was working on Andrei Rublev. These episodes were published as a short story under the title A White Day in 1970. The title was taken from a 1942 poem by his father, Arseny Tarkovsky. In 1968, after having finished Andrei Rublev, Tarkovsky went to the cinematographer's resort in Repino intending to write the script for The Mirror together with Aleksandr Misharin. This script was titled Confession and was proposed to the film committee at Goskino. Although it contained popular themes, for example, a heroic mother, the war and patriotism, the proposal was turned down. The main reason was most likely the complex and unconventional nature of the script. Moreover, Tarkovsky and Misharin clearly stated that they did not know what the final form of the film would be – this was to be determined in the process of filming.[5]
With the script being turned down by the film committee, Tarkovsky went on to make the film Solaris. But his diary entries show that he was still eager to make the film. Finally, the script was approved by the new head of Goskino, Filipp Ermash in the summer of 1973. Tarkovsky was given a budget of 622,000 Soviet ruble and 7500 metres (24,606 feet) of Kodak film, corresponding to 110 minutes, or roughly three takes assuming a film length of 3000 metres (10,000 feet).[6]
Several versions of the script for Mirror exist, as Tarkovsky constantly rewrote parts of the script, with the latest variant of the script written in 1974 while he was in Italy. One scene that was in the script but that was removed during shooting was an interview with his mother. Tarkovsky wanted to use a hidden camera to interview her on the pretext that it was research for the film. This scene was one of the main reasons why Vadim Yusov, who was the camera-man for all of Tarkovsky's previous films refused to work with him on this film.[7] At various times, the script and the film was known under the titles Confession, Redemption, Martyrology, Why are you standing so far away?, The Raging Stream and A White, White Day (sometimes also translated as A Bright, Bright Day.). Only while filming Tarkovsky decided to finally title the film Mirror.[5] (The final film does indeed feature several mirrors with some scenes shot in reflection.)
A poster of Tarkovsky's 1966 film Andrei Rublev is seen on a wall.[8] Mirror thus forms the third part, together with Tarkovsky's previous film Solaris which was made in 1972 and which references Andrei Rublev by having an icon made by him being placed in the main character's room,[9] in a series of three fims by Tarkovsky referencing Andrei Rublev.
Casting[edit]
Initially Tarkovsky considered Alla Demidova and Swedish actress Bibi Andersson for the role of the mother. In the end Margarita Terekhova was chosen.[10]
Filming[edit]
Filming began in September 1973 and ended in March 1974. The outdoor scenes were shot in Tutshkovo near Moscow. The indoor scenes were shot at the Mosfilm studio.[11]
The completed film was initially rejected by Filipp Ermash, the head of Goskino in July 1974. One reason given was that the film is incomprehensible. Tarkovsky was infuriated about this rejection and even toyed with the idea of going abroad and making a film outside the Soviet Union. Mirror was ultimately approved by Goskino without any changes in fall 1974.[12]
Distribution[edit]
[icon] This section requires expansion. (December 2012)
Mirror never had an official premiere and had only a limited, second category release with only 73 copies. Although it was officially announced for September 1975, it was shown as early as March 1975.
Responses[edit]
[icon] This section requires expansion. (December 2012)
Despite very limited distribution, Mirror was well received by the audiences. Goskino did not allow it to be shown at the Cannes Film Festival. The managing director of the festival, Maurice Bessy, was sympathetic to Tarkovsky. Upon hearing that Mirror would not be allowed to be shown in Cannes, he unsuccessfully threatened to not take any other Soviet film.[13] In 2012, Will Self argued that The Mirror remains the most beautiful film ever made.[14]
Trivia[edit]
Wintertime scenes in the Mirror echo Bruegel's paintings Winter Landscape with a Bird Trap and The Hunters in the Snow, the latter of which is shown several times in Solaris.
The scene where the neighbour tries on earrings offered by the main heroine, references the painting Girl with a Pearl Earring by Johannes Vermeer.
A recitative from Johan Sebastian Bach's Johannes-Passion , ("Und siehe da, der Vorhang im Tempel...") features in the score, as does the opening chorus from the Johannes-Passion ("Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!") accompanying the film's memorable closing scene.
Another of Bach's works Das alte Jahr vergangen ist Chorale (BWV 614) from Orgelbüchlein is heard during the opening credits.
A poster of Tarkovsky's 1966 film Andrei Rublev is seen on a wall.[15]
Further Reading[edit]
Mirror, Natasha Synessios; 2001, I.B.Tauris & Co Ltd
References[edit]
1.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 77 (July 11, 1973). ISBN 81-7046-083-2.
2.Jump up ^ Tarkovsky's official English translator, Kitty Hunter-Blair, always referred to the film as Mirror not The Mirror which was a later innovation unauthorised by the filmmaker.
3.Jump up ^ "...remains today most Russians' favourite Tarkovsky film." Synessios (2001). Tarkovsky himself recounts in Sculpting In Time that Mirror provoked an overwhelming audience response that dwarfed his other movies. He received hundreds of letters expressing in the most movingly intimate terms how the film had made a profound impact on them.
4.Jump up ^ "Sight & Sound Revises Best-Films-Ever Lists". studiodaily. 1 August 2012. Retrieved 1 August 2012.
5.^ Jump up to: a b Tarkovsky, Andrei; edited by William Powell (1999). Collected Screenplays. London: Faber & Faber.
6.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 77 (July 11, 1973). ISBN 81-7046-083-2.
7.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 60–61 (September 17, 1972). ISBN 81-7046-083-2.
8.Jump up ^ Cairns, David (16 July 2011). "Mirror". Electric Sheep. Retrieved 18 August 2014.
9.Jump up ^ Jones, Jonathan (12 February 2005). "Out of this world". The Guardian. Retrieved 18 August 2014.
10.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. p. 41 (August 20, 1971). ISBN 81-7046-083-2.
11.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 78, 92–93 (September 30, 1973 & March 8, 17, 1974). ISBN 81-7046-083-2.
12.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 96–97 (July 27, 29 & August 1, 1974). ISBN 81-7046-083-2.
13.Jump up ^ Tarkovsky, Andrei; transl. by Kitty Hunter-Blair (1991). Time Within Time: The Diaries 1970–1986. Calcutta: Seagull Book. pp. 106–109 (March 2, April 8, 11, 1975). ISBN 81-7046-083-2.
14.Jump up ^ "Looking In, Looking Out Film Festival". The Quietus. 2012-06-27. Retrieved 2012-06-29.
15.Jump up ^ Cairns, David (16 July 2011). "Mirror". Electric Sheep. Retrieved 18 August 2014.
External links[edit]
The Mirror at the Internet Movie Database
The Mirror at AllMovie
The Mirror at official Mosfilm site with English subtitles
Poems of Arseny Tarkovsky recited in the film (Russian)
Voted #16 on The Arts and Faith Top 100 Films (2010)


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Categories: Russian-language films
1970s avant-garde and experimental films
Art films
Soviet avant-garde and experimental films
1975 films
1975 in the Soviet Union
Films directed by Andrei Tarkovsky
Mosfilm films
Soviet films
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Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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The Treasure of the Sierra Madre (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Treasure of the Sierra Madre
Treasuremadre.jpg
Theatrical poster

Directed by
John Huston
Produced by
Henry Blanke
Screenplay by
John Huston
Based on
The Treasure of the Sierra Madre
 by B. Traven
Starring
Humphrey Bogart
Walter Huston
Tim Holt
Bruce Bennett
Music by
Max Steiner
Cinematography
Ted D. McCord
Edited by
Owen Marks

Production
 company

Warner Bros.-First National Picture

Distributed by
Warner Bros.

Release dates

January 6, 1948


Running time
 126 minutes
Country
United States
Language
English
Budget
$3 million[1]
Box office
$4,307,000 (rentals)
The Treasure of the Sierra Madre (1948) is an American dramatic adventurous neo-western written and directed by John Huston. It is a feature film adaptation of B. Traven's 1927 novel of the same name, about two financially desperate Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), who in the 1920s join initially reluctant old-timer Howard (Walter Huston, the director's father) in Mexico to prospect for gold.
The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although many scenes were filmed back in the studio and elsewhere in the US. The film is quite faithful to the source novel. In 1990, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[2]


Contents  [hide]
1 Background
2 Plot
3 Cast
4 Production
5 Themes
6 Quotation
7 Awards and honors
8 References
9 External links

Background[edit]
By the 1920s in Mexico the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits.
Foreigners, like three gold prospectors from the U.S. (Fred, Bob, and Howard) were at very real risk of being murdered by the bandits if their paths crossed. The bandits suffered a similar fate if captured by the Mexican Federales or army units. On-the-spot, bandidos were forced to dig their own graves and given a "last cigarette" before the death sentence was carried out.
Plot[edit]
Dobbs (Humphrey Bogart) and Curtin (Tim Holt), cheated out of promised wages and down on their luck, meet old prospector Howard (Walter Huston) in the Mexican oil-town of Tampico. They set out to strike it rich by searching for gold in the remote Sierra Madre mountains.
They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek. A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners.
A fourth American named James Cody (Bruce Bennett) appears, which sets up a moral debate about what to do with the new stranger. The men decide to kill Cody, but just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales. (This results in a now-famous exchange between Dobbs and the bandits about not needing to show any "stinking badges.") After a gunfight with the bandits, in which Cody is killed, a real troop of Federales appears and chases the bandits away.
Howard is called away to assist local villagers to save the life of a seriously ill little boy. When the boy recovers, the next day, the villagers insist that Howard return to the village to be honored. However, he leaves his goods with Dobbs and Curtin. Dobbs, whose paranoia continues, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, grabs all three shares of the gold, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night.
Dobbs is later ambushed and killed by some of the bandits. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand, and they scatter the gold to the winds. Curtin is discovered by indios and taken to Howard's village, where he recovers. The bandits try to sell the packing donkeys but a child recognizes the donkeys and Dobbs' clothes and reports them to the police. The bandits are captured, sentenced to death and forced to dig their own graves before being executed. Curtin and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone.
While checking the area where the bandits dropped the gold, Howard surmises that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to the indio village, where the natives have offered him a permanent home and position of honour, and Curtin returning home to the United States.
Cast[edit]



 Frame from the film trailerHumphrey Bogart as Fred C. Dobbs
Walter Huston as Howard
Tim Holt as Bob Curtin
Bruce Bennett as James Cody
Barton MacLane as Pat McCormick
Alfonso Bedoya as Gold Hat
Arturo Soto Rangel as El Presidente
Manuel Dondé as El Jefe
José Torvay as Pablo
Margarito Luna as Pancho
Production[edit]
A few notable uncredited actors appear in the film. In an opening cameo, director John Huston is pestered for money by Bogart's character. Actor Robert Blake also appears as a young boy selling lottery tickets. However, the most controversial cameo is the rumored one by Ann Sheridan. Sheridan allegedly did a cameo as a streetwalker. After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is her. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for undetermined reasons.[3] Many film-history sources credit Sheridan for the part.
Co-star Tim Holt's father, Jack Holt, a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck.
Significant portions of the film's dialog are in Spanish without sub-titles.
The opening scenes, filmed in longshot on the Plaza de la Libertad in Tampico, show modern (i.e. of the 1940s) cars and buses, even though the story opens in 1925, as evidenced by the lottery number's poster.
Themes[edit]
The film is often described as a story about the corrupting influence of greed.[4] Film critic Roger Ebert enlarged upon this idea, saying that "The movie has never really been about gold but about character." [5] In addition, reviewers have noted the importance not just of greed and gold, but also of nature and its desolateness as an influence on the actions of the men.[6] However, the ability of the film to comment on human nature generally has been questioned, in view of the fact that Dobbs' character is so evidently flawed from the beginning.[7]
Quotation[edit]
Main article: Stinking badges
The film is the origin of a famous line, often misquoted as "We don't need no stinking badges!" (homaged in Mel Brooks' Blazing Saddles, also a Warner Bros. film). The correct dialogue is:
Gold Hat (Alfonso Bedoya): "We are Federales... you know, the mounted police."Dobbs (Bogart): "If you're the police, where are your badges?"Gold Hat (Bedoya): "Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinkin' badges!"
In 2005, the quotation was chosen as No. 36 on the American Film Institute list, AFI's 100 Years...100 Movie Quotes.
Awards and honors[edit]
John Huston won the Academy Award for Directing and Academy Award for Writing Adapted Screenplay in 1948 for his work on The Treasure of the Sierra Madre. Walter Huston, John Huston's father, also won the Academy Award for Best Supporting Actor for his role in this film, the first father-son win. The film was nominated for the Best Picture award, but lost to Laurence Olivier's film adaptation of Hamlet.
In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film was among the first 100 films to be selected.[2]
Director Stanley Kubrick listed The Treasure of the Sierra Madre as his 4th favorite film of all time in his list of his top ten favorite films in a 1963 edition of Cinema magazine.[8] Director Sam Raimi ranked it as his favorite film of all time in an interview with Rotten Tomatoes and director Paul Thomas Anderson watched it at night before bed while writing his film There Will Be Blood.[9]
American Film Institute recognitionAFI's 100 Years... 100 Movies – No. 30
AFI's 100 Years... 100 Thrills – No. 67
AFI's 100 Years... 100 Heroes and Villains: Fred C. Dobbs – Nominated Villain[10]
AFI's 100 Years... 100 Movie Quotes: "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!" – No. 36
AFI's 100 Years of Film Scores – Nominated[11]
AFI's 100 Years... 100 Movies (10th Anniversary Edition) – No. 38
Breaking Bad creator Vince Gilligan has also cited the film as one of his personal favorites. A key scene from the film was emulated in "Buyout", the sixth episode of the fifth season of Breaking Bad.
References[edit]
1.Jump up ^ The Treasure of the Sierra Madre, Filmsite Movie Review. AMC's FilmSite. Retrieved April 15, 2013.
2.^ Jump up to: a b Gamarekian, Barbara (October 19, 1990). "Library of Congress Adds 25 Titles to National Film Registry". The New York Times. Retrieved July 22, 2009.
3.Jump up ^ Discovering Treasure: The Story of The Treasure of the Sierra Madre, Turner Classic Movies, 2003
4.Jump up ^ "The Treasure of the Sierra Madre (1948)". The New York Times. 1948.
5.Jump up ^ "Treasure of the Sierra Madre". rogerebert.com. 2003.
6.Jump up ^ "The Treasure of the Sierra Madre". The Nation. 1948.
7.Jump up ^ "The Treasure of the Sierra Madre". The Nation. 1948.
8.Jump up ^ Baxter 1997, p. 12.
9.Jump up ^ Lynn Hirschberg (November 11, 2007). "The New Frontier's Man". The New York Times. Retrieved November 10, 2007.
10.Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
11.Jump up ^ AFI's 100 Years of Film Scores Nominees
BibliographyBaxter, John (1997). Stanley Kubrick: A Biography. HarperCollins. ISBN 978-0-00-638445-8.
External links[edit]
 Wikimedia Commons has media related to The Treasure of the Sierra Madre (film).
 Wikiquote has quotations related to: The Treasure of the Sierra Madre (film)
The Treasure of the Sierra Madre at the Internet Movie Database
The Treasure of the Sierra Madre at Rotten Tomatoes
The Treasure of the Sierra Madre at the TCM Movie Database
The Treasure of Sierra Madre at AllMovie
Literature on The Treasure of the Sierra Madre
The Treasure of the Sierra Madre on Lux Radio Theater: April 18, 1949


[hide]
v ·
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Films directed by John Huston


The Maltese Falcon (1941) ·
 In This Our Life (1942) ·
 Across the Pacific (1942) ·
 Report from the Aleutians (1943) ·
 The Battle of San Pietro (1945) ·
 Let There Be Light (1946) ·
 The Treasure of the Sierra Madre (1948) ·
 Key Largo (1948) ·
 We Were Strangers (1949) ·
 The Asphalt Jungle (1950) ·
 The Red Badge of Courage (1951) ·
 The African Queen (1951) ·
 Moulin Rouge (1952) ·
 Beat the Devil (1953) ·
 Moby Dick (1956) ·
 Heaven Knows, Mr. Allison (1957) ·
 The Barbarian and the Geisha (1958) ·
 The Roots of Heaven (1958) ·
 The Unforgiven (1960) ·
 The Misfits (1961) ·
 Freud: The Secret Passion (1962) ·
 The List of Adrian Messenger (1963) ·
 The Night of the Iguana (1964) ·
 The Bible: In the Beginning... (1966) ·
 Casino Royale (1967) ·
 Reflections in a Golden Eye (1967) ·
 Sinful Davey (1969) ·
 A Walk with Love and Death (1969) ·
 The Kremlin Letter (1970) ·
 Fat City (1972) ·
 The Life and Times of Judge Roy Bean (1972) ·
 The Mackintosh Man (1973) ·
 The Man Who Would Be King (1975) ·
 Independence (1976) ·
 Wise Blood (1979) ·
 Phobia (1980) ·
 Victory (1981) ·
 Annie (1982) ·
 Under the Volcano (1984) ·
 Prizzi's Honor (1985) ·
 The Dead (1987)
 

  


Categories: 1948 films
English-language films
American films
1940s adventure films
American adventure drama films
Best Drama Picture Golden Globe winners
Black-and-white films
Film scores by Max Steiner
Films based on novels
Films directed by John Huston
Films featuring a Best Supporting Actor Academy Award winning performance
Films set in the 1920s
Films set in Mexico
Films whose director won the Best Director Academy Award
Films whose director won the Best Director Golden Globe
Films whose writer won the Best Adapted Screenplay Academy Award
Films about capital punishment
Treasure hunt films
United States National Film Registry films
Warner Bros. films
Mining in film
Screenplays by John Huston
Films produced by Henry Blanke






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This page was last modified on 9 January 2015, at 02:58.
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The Treasure of the Sierra Madre (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Treasure of the Sierra Madre
Treasuremadre.jpg
Theatrical poster

Directed by
John Huston
Produced by
Henry Blanke
Screenplay by
John Huston
Based on
The Treasure of the Sierra Madre
 by B. Traven
Starring
Humphrey Bogart
Walter Huston
Tim Holt
Bruce Bennett
Music by
Max Steiner
Cinematography
Ted D. McCord
Edited by
Owen Marks

Production
 company

Warner Bros.-First National Picture

Distributed by
Warner Bros.

Release dates

January 6, 1948


Running time
 126 minutes
Country
United States
Language
English
Budget
$3 million[1]
Box office
$4,307,000 (rentals)
The Treasure of the Sierra Madre (1948) is an American dramatic adventurous neo-western written and directed by John Huston. It is a feature film adaptation of B. Traven's 1927 novel of the same name, about two financially desperate Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), who in the 1920s join initially reluctant old-timer Howard (Walter Huston, the director's father) in Mexico to prospect for gold.
The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although many scenes were filmed back in the studio and elsewhere in the US. The film is quite faithful to the source novel. In 1990, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[2]


Contents  [hide]
1 Background
2 Plot
3 Cast
4 Production
5 Themes
6 Quotation
7 Awards and honors
8 References
9 External links

Background[edit]
By the 1920s in Mexico the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits.
Foreigners, like three gold prospectors from the U.S. (Fred, Bob, and Howard) were at very real risk of being murdered by the bandits if their paths crossed. The bandits suffered a similar fate if captured by the Mexican Federales or army units. On-the-spot, bandidos were forced to dig their own graves and given a "last cigarette" before the death sentence was carried out.
Plot[edit]
Dobbs (Humphrey Bogart) and Curtin (Tim Holt), cheated out of promised wages and down on their luck, meet old prospector Howard (Walter Huston) in the Mexican oil-town of Tampico. They set out to strike it rich by searching for gold in the remote Sierra Madre mountains.
They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek. A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners.
A fourth American named James Cody (Bruce Bennett) appears, which sets up a moral debate about what to do with the new stranger. The men decide to kill Cody, but just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales. (This results in a now-famous exchange between Dobbs and the bandits about not needing to show any "stinking badges.") After a gunfight with the bandits, in which Cody is killed, a real troop of Federales appears and chases the bandits away.
Howard is called away to assist local villagers to save the life of a seriously ill little boy. When the boy recovers, the next day, the villagers insist that Howard return to the village to be honored. However, he leaves his goods with Dobbs and Curtin. Dobbs, whose paranoia continues, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, grabs all three shares of the gold, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night.
Dobbs is later ambushed and killed by some of the bandits. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand, and they scatter the gold to the winds. Curtin is discovered by indios and taken to Howard's village, where he recovers. The bandits try to sell the packing donkeys but a child recognizes the donkeys and Dobbs' clothes and reports them to the police. The bandits are captured, sentenced to death and forced to dig their own graves before being executed. Curtin and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone.
While checking the area where the bandits dropped the gold, Howard surmises that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to the indio village, where the natives have offered him a permanent home and position of honour, and Curtin returning home to the United States.
Cast[edit]



 Frame from the film trailerHumphrey Bogart as Fred C. Dobbs
Walter Huston as Howard
Tim Holt as Bob Curtin
Bruce Bennett as James Cody
Barton MacLane as Pat McCormick
Alfonso Bedoya as Gold Hat
Arturo Soto Rangel as El Presidente
Manuel Dondé as El Jefe
José Torvay as Pablo
Margarito Luna as Pancho
Production[edit]
A few notable uncredited actors appear in the film. In an opening cameo, director John Huston is pestered for money by Bogart's character. Actor Robert Blake also appears as a young boy selling lottery tickets. However, the most controversial cameo is the rumored one by Ann Sheridan. Sheridan allegedly did a cameo as a streetwalker. After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is her. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for undetermined reasons.[3] Many film-history sources credit Sheridan for the part.
Co-star Tim Holt's father, Jack Holt, a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck.
Significant portions of the film's dialog are in Spanish without sub-titles.
The opening scenes, filmed in longshot on the Plaza de la Libertad in Tampico, show modern (i.e. of the 1940s) cars and buses, even though the story opens in 1925, as evidenced by the lottery number's poster.
Themes[edit]
The film is often described as a story about the corrupting influence of greed.[4] Film critic Roger Ebert enlarged upon this idea, saying that "The movie has never really been about gold but about character." [5] In addition, reviewers have noted the importance not just of greed and gold, but also of nature and its desolateness as an influence on the actions of the men.[6] However, the ability of the film to comment on human nature generally has been questioned, in view of the fact that Dobbs' character is so evidently flawed from the beginning.[7]
Quotation[edit]
Main article: Stinking badges
The film is the origin of a famous line, often misquoted as "We don't need no stinking badges!" (homaged in Mel Brooks' Blazing Saddles, also a Warner Bros. film). The correct dialogue is:
Gold Hat (Alfonso Bedoya): "We are Federales... you know, the mounted police."Dobbs (Bogart): "If you're the police, where are your badges?"Gold Hat (Bedoya): "Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinkin' badges!"
In 2005, the quotation was chosen as No. 36 on the American Film Institute list, AFI's 100 Years...100 Movie Quotes.
Awards and honors[edit]
John Huston won the Academy Award for Directing and Academy Award for Writing Adapted Screenplay in 1948 for his work on The Treasure of the Sierra Madre. Walter Huston, John Huston's father, also won the Academy Award for Best Supporting Actor for his role in this film, the first father-son win. The film was nominated for the Best Picture award, but lost to Laurence Olivier's film adaptation of Hamlet.
In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film was among the first 100 films to be selected.[2]
Director Stanley Kubrick listed The Treasure of the Sierra Madre as his 4th favorite film of all time in his list of his top ten favorite films in a 1963 edition of Cinema magazine.[8] Director Sam Raimi ranked it as his favorite film of all time in an interview with Rotten Tomatoes and director Paul Thomas Anderson watched it at night before bed while writing his film There Will Be Blood.[9]
American Film Institute recognitionAFI's 100 Years... 100 Movies – No. 30
AFI's 100 Years... 100 Thrills – No. 67
AFI's 100 Years... 100 Heroes and Villains: Fred C. Dobbs – Nominated Villain[10]
AFI's 100 Years... 100 Movie Quotes: "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!" – No. 36
AFI's 100 Years of Film Scores – Nominated[11]
AFI's 100 Years... 100 Movies (10th Anniversary Edition) – No. 38
Breaking Bad creator Vince Gilligan has also cited the film as one of his personal favorites. A key scene from the film was emulated in "Buyout", the sixth episode of the fifth season of Breaking Bad.
References[edit]
1.Jump up ^ The Treasure of the Sierra Madre, Filmsite Movie Review. AMC's FilmSite. Retrieved April 15, 2013.
2.^ Jump up to: a b Gamarekian, Barbara (October 19, 1990). "Library of Congress Adds 25 Titles to National Film Registry". The New York Times. Retrieved July 22, 2009.
3.Jump up ^ Discovering Treasure: The Story of The Treasure of the Sierra Madre, Turner Classic Movies, 2003
4.Jump up ^ "The Treasure of the Sierra Madre (1948)". The New York Times. 1948.
5.Jump up ^ "Treasure of the Sierra Madre". rogerebert.com. 2003.
6.Jump up ^ "The Treasure of the Sierra Madre". The Nation. 1948.
7.Jump up ^ "The Treasure of the Sierra Madre". The Nation. 1948.
8.Jump up ^ Baxter 1997, p. 12.
9.Jump up ^ Lynn Hirschberg (November 11, 2007). "The New Frontier's Man". The New York Times. Retrieved November 10, 2007.
10.Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
11.Jump up ^ AFI's 100 Years of Film Scores Nominees
BibliographyBaxter, John (1997). Stanley Kubrick: A Biography. HarperCollins. ISBN 978-0-00-638445-8.
External links[edit]
 Wikimedia Commons has media related to The Treasure of the Sierra Madre (film).
 Wikiquote has quotations related to: The Treasure of the Sierra Madre (film)
The Treasure of the Sierra Madre at the Internet Movie Database
The Treasure of the Sierra Madre at Rotten Tomatoes
The Treasure of the Sierra Madre at the TCM Movie Database
The Treasure of Sierra Madre at AllMovie
Literature on The Treasure of the Sierra Madre
The Treasure of the Sierra Madre on Lux Radio Theater: April 18, 1949


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Films directed by John Huston


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Categories: 1948 films
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Best Drama Picture Golden Globe winners
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The Right Stuff (film)
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The Right Stuff
Right stuff ver1.jpg
Theatrical release poster

Directed by
Philip Kaufman
Produced by
Irwin Winkler
Screenplay by
Philip Kaufman
Based on
The Right Stuff by Tom Wolfe
Starring
Fred Ward
Dennis Quaid
Ed Harris
Scott Glenn
Sam Shepard
Barbara Hershey
Lance Henriksen
Veronica Cartwright
Jane Dornacker
Harry Shearer
Jeff Goldblum
Kim Stanley
Eric Sevareid
Narrated by
Levon Helm
Music by
Bill Conti
Cinematography
Caleb Deschanel
Edited by
Glenn Farr
Lisa Fruchtman
Stephen A. Rotter
Douglas Stewart
 Tom Rolf

Production
 company

The Ladd Company

Distributed by
Warner Bros.

Release dates

October 21, 1983 (Limited)
February 17, 1984 (Wide)


Running time
 192 minutes[1]
Country
United States
Language
English
 Russian
Budget
$19 - 27 million
Box office
$21,192,102[2]
The Right Stuff is a 1983 American drama film that was adapted from Tom Wolfe's best-selling 1979 book of the same name about the Navy, Marine and Air Force test pilots who were involved in aeronautical research at Edwards Air Force Base, California, as well as the seven military pilots who were selected to be the astronauts for Project Mercury, the first attempt at manned spaceflight by the United States. The Right Stuff stars Ed Harris, Scott Glenn, Sam Shepard, Fred Ward, Dennis Quaid and Barbara Hershey. Levon Helm is the narrator in the introduction and elsewhere in the film, as well as having a co-starring role as Air Force test pilot Jack Ridley. In 2013 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3]


Contents  [hide]
1 Plot
2 Cast
3 Production


4 Reception

5 Awards and nominations
6 Media
7 Soundtrack
8 See also
9 References


10 External links
Plot[edit]
The film begins in 1947 at Muroc Army Air Field, an arid California military base where test pilots often die flying high-speed aircraft such as the rocket-powered Bell X-1. After another pilot, Slick Goodlin, demands $150,000 to attempt to break the sound barrier, war hero Captain Chuck Yeager receives the chance to fly the X-1. While on a horseback ride with his wife Glennis, Yeager collides with a tree branch and breaks his ribs, which inhibits him from leaning over and locking the door to the X-1. Worried that his injury might become known, Yeager confides in friend and fellow pilot Jack Ridley. Ridley cuts off part of a broomstick and tells Yeager to use it as a lever to help seal the hatch to the X-1, and Yeager becomes the first man to fly at supersonic speed, defeating the "demon in the sky".
In 1953 Muroc, now Edwards Air Force Base, still attracts the best test pilots. Yeager (now a colonel) and friendly rival Scott Crossfield repeatedly break the other's speed records. They often visit the Happy Bottom Riding Club run by Pancho Barnes, who classifies the pilots at Edwards as either "prime" (such as Yeager and Crossfield) that fly the best equipment or newer "pudknockers" who only dream about it. Gordon "Gordo" Cooper, Virgil "Gus" Grissom and Donald "Deke" Slayton, captains of the United States Air Force, are among the "pudknockers" that hope to also prove that they have "the Right Stuff". The tests are no longer secret, as the military soon recognizes that it needs good publicity for funding, and with "no bucks, no Buck Rogers". Cooper's wife, Trudy, and other wives are afraid of becoming widows, but cannot change their husbands' ambitions and desire for success and fame.
In 1957, the launch of the Russian Sputnik satellite alarms the United States government. Politicians such as Senator Lyndon B. Johnson and military leaders demand that NASA help America defeat the Russians in the new Space Race. The search for the first Americans in space excludes Yeager, because he lacks a college degree. Grueling physical and mental tests select the Mercury Seven astronauts, including John Glenn of the United States Marine Corps, Alan Shepard, Walter Schirra and Scott Carpenter of the United States Navy, as well as Cooper, Grissom and Slayton; they immediately become national heroes. Although many early NASA rockets explode during launch, the ambitious astronauts all hope to be the first in space as part of Project Mercury. Although engineers see the men as passengers, the pilots insist that the Mercury spacecraft have a window, a hatch with explosive bolts, and pitch-yaw-roll controls. However, Russia beats them on April 12, 1961 with the launch of Vostok 1 carrying Yuri Gagarin into space. The seven astronauts then decide they've been waiting long enough, and to "get the show on the road".
Shepard is the first American to reach space on the 15-minute sub-orbital flight of Mercury-Redstone 3 on May 5. After Grissom's similar flight of Mercury-Redstone 4 on July 21, the capsule's hatch blows open and quickly fills with water. Grissom escapes, but the spacecraft, overweight with seawater, sinks. Many criticize Grissom for possibly panicking and opening the hatch prematurely. Glenn becomes the first American to orbit the Earth on Mercury-Atlas 6 on February 20, 1962, surviving a possibly loose heat shield, and receives a ticker-tape parade. He, his colleagues, and their families become celebrities, including a gigantic celebration in the Sam Houston Coliseum to announce the opening of the Manned Space Center in Houston, despite Glenn's wife Annie's fear of public speaking due to a stutter.
Although test pilots at Edwards mock the Mercury program for sending "spam in a can" into space, they recognize that they are no longer the fastest men on Earth, and Yeager states that "it takes a special kind of man to volunteer for a suicide mission, especially when it's on national TV." While testing the new Lockheed NF-104A, Yeager attempts to set a new altitude record at the edge of space but is nearly killed in a high-speed ejection when his engine failed. Though badly burned, after reaching the ground Yeager gathers up his parachute and walks to the ambulance, proving that he still has the Right Stuff.
The film ends with Cooper's successful launch on May 15, 1963 on Mercury-Atlas 9, ending the Mercury program. As the last American to fly into space alone, he "went higher, farther, and faster than any other American ... for a brief moment, Gordo Cooper became the greatest pilot anyone had ever seen."
Cast[edit]
##Fred Ward as Gus Grissom, USAF
##Dennis Quaid as Gordon Cooper, USAF
##Ed Harris as John Glenn, USMC
##Scott Glenn as Alan Shepard, USN
##Sam Shepard as Chuck Yeager, Colonel, USAF
##Barbara Hershey as Glennis Yeager
##Lance Henriksen as Walter Schirra, USN
##Veronica Cartwright as Betty Grissom
##Jane Dornacker as Nurse Murch
##Harry Shearer and Jeff Goldblum as the NASA recruiters sent to find astronaut candidates
##Kim Stanley as Pancho Barnes
##Pamela Reed as Trudy Cooper
##Scott Paulin as Donald K. Slayton, USAF
##Charles Frank as Scott Carpenter, USN
##Donald Moffat as U.S. Senator and Vice President Lyndon B. Johnson
##Levon Helm as Jack Ridley, USAF and the narrator
##Mary Jo Deschanel as Annie Glenn
##Scott Wilson as Scott Crossfield, a civilian test pilot for the North American Aviation Company
 ##Kathy Baker as Louise Shepard
##Mickey Crocker as Marge Slayton
##Susan Kase as Rene Carpenter
##Mittie Smith as Jo Schirra
##Royal Dano as a Minister
##David Clennon as a Liaison Man
##John P. Ryan as the Head of the Manned Space Program
##Eric Sevareid as himself
##William Russ as Slick Goodlin
##Robert Beer as President Dwight D. Eisenhower
##Peggy Davis as Sally Rand
##John Dehner as Henry Luce
##Royce Grones as the first X-1 pilot, who was Jack Woolams
##Brigadier General Chuck Yeager, USAF (Ret) as Fred, the bartender at Pancho's saloon
##Anthony Munoz as Gonzales

The following real people also appeared in archive footage in uncredited cameos: Ed Sullivan with Bill Dana (playing his character José Jiménez). Yuri Gagarin and Nikita Khrushchev are seen embracing at a review, along with Georgi Malenkov, Nikolai Bulganin, Kliment Voroshilov, and Anastas Mikoyan in attendance. Lyndon B. Johnson and John F. Kennedy are also seen.
Production[edit]
In 1979, independent producers Robert Chartoff and Irwin Winkler outbid Universal Pictures for the movie rights to Tom Wolfe's book,[4] hiring William Goldman to write the screenplay. At Winkler's suggestion, Goldman's adaptation focused on the astronauts, entirely ignoring Chuck Yeager.[5] Goldman was inspired to accept the job because he wanted to say something patriotic about America in the wake of the Iran hostage crisis.
In June 1980, United Artists agreed to finance the film up to $20 million and the producers began looking for a director. Michael Ritchie and John Avildsen were originally attached but both fell through.[6] They approached director Philip Kaufman who agreed to make the film but did not like Goldman's script, disliking the emphasis on patriotism and wanting Yeager put back in the film.[7] Eventually Goldman quit the project in August 1980 and United Artists pulled out.
When Wolfe showed no interest in adapting his own book, Kaufman wrote a draft in eight weeks.[4] His draft restored Yeager to the story because "if you're tracing how the future began, the future in space travel, it began really with Yeager and the world of the test pilots. The astronauts descended from them".[8]
After the financial failure of Heaven's Gate, the studio put The Right Stuff in turnaround and The Ladd Company stepped in with an estimated $17 million.
Actor Ed Harris auditioned twice in 1981 for the role of John Glenn. Originally, Kaufman wanted to use a troupe of contortionists to portray the press corps, but settled on the improvisational comedy troupe Fratelli Bologna, known for its sponsorship of "St. Stupid's Day" in San Francisco.[9] The director created a snake-like hiss to accompany the press corps whenever they appear, which was achieved through a sound combination of (among other things) motorized Nikon cameras and clicking beetles.[9]
Shot between March and October 1982, with additional filming continuing into January 1983, most of the film was shot in and around San Francisco, where a waterfront warehouse was transformed into a studio.[4][Note 1] Location shooting took place primarily at the abandoned Hamilton Air Force Base north of San Francisco which was converted into a sound stage for the numerous interior sets.[10] No location could substitute for the distinctive Edwards Air Force Base landscape which necessitated the entire production crew move to the Mojave Desert for the opening sequences that framed the story of the test pilots at Muroc Army Air Field, later Edwards AFB.[11]
Yeager was hired as a technical consultant on the film. He took the actors flying, studied the storyboards and special effects, and pointed out the errors. To prepare for their roles, Kaufman gave the actors playing the seven astronauts an extensive videotape collection to study.[4]
The efforts at making an authentic feature led to the use of many full size aircraft, scale models and special effects to replicate the scenes at Edwards Air Force Base and Cape Canaveral Air Force Station.[12] According to special visual effects supervisor Gary Gutierrez, the first special effects were too clean and they wanted a "dirty, funky, early NASA look."[4] K Gutierrez and his team started from scratch, employing unconventional techniques—like going up a hill with model airplanes on wires and fog machines to create clouds, or shooting model F-104s from a crossbow device and capturing their flight with up to four cameras.[4] Avant garde filmmaker Jordan Belson created the background of the Earth as seen from high-flying planes and from orbiting spacecraft.[8]
Kaufman gave his five editors a list of documentary images the film required and they searched the country for film from NASA, the Air Force, and Bell Aircraft vaults.[4] They also discovered Russian stock footage not viewed in 30 years. During the course of the production, Kaufman met with resistance from the Ladd Company and threatened to quit several times.[4] In December 1982, 8,000 feet of film portraying John Glenn's trip in orbit and return to Earth disappeared or was stolen from Kaufman's editing facility in Berkeley, California. The missing footage was never found but the footage was reconstructed from copies.[9]
Historical accuracy[edit]
Although The Right Stuff was based on historical events and real people, as chronicled in Wolfe's book, some substantial dramatic liberties were taken. Neither Yeager's flight in the X-1 to break the sound barrier early in the film or his later, nearly-fatal flight in the NF-104A were spur-of-moment, capriciously decided events, as the film seems to imply - they actually were part of the routine testing program for both aircraft. Yeager had already test-flown both aircraft a number of times previously and was very familiar with them.[13][14] Jack Ridley had actually died in 1957,[15] even though his character appears in several key scenes taking place after that, most notably including Yeager's 1963 flight of the NF-104A.
The Right Stuff depicts Cooper arriving at Edwards in 1953, reminiscing with Grissom there about the two of them having supposedly flown together at the Langley Air Force Base and then hanging out with Grissom and Slayton, including all three supposedly being present at Edwards when Scott Crossfield flew at Mach 2 in November 1953.[16] They talk about being recruited together there for the astronaut program in late 1957, with Grissom supposedly expressing keen interest in becoming a "star-voyager". According to their respective NASA biographies, none of the three was posted to Edwards before 1955 (Slayton)[17] or 1956 (Grissom and Cooper),[18][19] and neither of the latter two had previously trained at Langley. By the time astronaut recruitment began in late 1957 after the Soviets had orbited Sputnik, Grissom had already left Edwards and returned to Wright-Patterson Air Force Base, where he had served previously and was happy with his new assignment there. Grissom did not even know he was under consideration for the astronaut program until he received mysterious orders "out of the blue" to report to Washington in civilian clothing for what turned out to be a recruitment session for NASA.[18]
While the film took liberties with certain historical facts as part of "dramatic license", criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch's explosive bolts was caused by mechanical failure not associated with direct human error or deliberate detonation by Grissom.[Note 2] This determination had been made long before the film was completed,[20] and both Schirra and Gordon Cooper were critical of The Right Stuff for its treatment of Grissom.[21][22] However, Kaufman was closely following Tom Wolfe's book, which focused not on how or why the hatch actually blew, but how NASA engineers and some of Grissom's colleagues (and even his own wife) believed he caused the accident; much of the dialogue in this sequence was taken directly from Wolfe's prose.[23][24]
There were other inaccuracies as well, notably about the engineers who built the Mercury craft.[8]
Film models[edit]



 A replica of the Glamorous Glennis which was used in filming The Right Stuff. Now on display at the Kansas Cosmosphere and Space Center in Hutchinson, Kansas.
A large number of film models were assembled for the production; for the more than 80 aircraft appearing in the film, static mock-ups and models were used as well as authentic aircraft of the period.[25] Lieutenant Colonel Duncan Wilmore, USAF (Ret) acted as the United States Air Force liaison to the production, beginning his role as a technical consultant in 1980 when the pre-production planning had begun. The first draft of the script in 1980 had concentrated only on the Mercury 7 but as subsequent revisions developed the treatment into more of the original story that Wolfe had envisioned, the aircraft of late-1940s that would have been seen at Edwards AFB were required. Wilmore gathered World War II era "prop" aircraft including:
##Douglas A-26 Invader
##North American P-51 Mustang
##North American T-6 Texan and
##Boeing B-29 Superfortress
The first group were mainly "set dressing" on the ramp while the Confederate Air Force (now renamed the Commemorative Air Force) B-29 "Fifi" was modified to act as the B-29 "mothership" to carry the Bell X-1 and X-1A rocket-powered record-breakers.[26]
Other "real" aircraft included the early jet fighters and trainers as well as current USAF and United States Navy examples. These flying aircraft and helicopters included:
##Douglas A-4 Skyhawk
##LTV A-7 Corsair II
##North American F-86 Sabre
##Convair F-106 Delta Dart
##McDonnell Douglas F-4 Phantom II
##Sikorsky H-34 Choctaw
##Sikorsky SH-3 Sea King
##Lockheed T-33 Shooting Star
##Northrop T-38 Talon[27]
A number of aircraft significant to the story had to be recreated. The first was an essentially static X-1 that had to at least roll and even realistically "belch flame" which was accomplished by a simulated rocket blast from the exhaust pipes.[25] A series of wooden mock-up X-1s were used to depict interior shots of the cockpit, the mating up of the X-1 to a modified B-29 fuselage and bomb bay and ultimately to recreate flight in a combination of model work and live-action photography. The "follow-up" X-1A was also an all-wooden model.[26]
The U.S. Navy's Douglas D-558-2 Skyrocket that Crossfield duelled with Yeager's X-1 and X-1A was recreated from a modified Hawker Hunter jet fighter. The climactic flight of Yeager in a Lockheed NF-104A was originally to be made with a modified Lockheed F-104 Starfighter but ultimately, Wilmore decided that the production had to make do with a repainted Luftwaffe F-104G, which lacks the rocket engine of the NF-104.[26]
Wooden mock-ups of the Mercury space capsules also realistically depicted the NASA spacecraft and were built from the original mold.[8]
For many of the flying sequences, scale models were produced by USFX Studios and filmed outdoors in natural sunlight against the sky. Even off-the-shelf plastic scale models were utilized for aerial scenes. The X-1, F-104 and B-29 models were built in large numbers as a number of the more than 40 scale models were destroyed in the process of filming.[28] The blending together of miniatures, full-scale mock-ups and actual aircraft was seamlessly integrated into the live-action footage. The addition of original newsreel footage was used sparingly but to effect to provide another layer of authenticity.[29]
MPAA Rating[edit]
The film was originally rated "R" (Restricted, which means no one under 17 admitted) by the Motion Picture Association of America because of some strong language (the word "fuck" is used 5 times, which meant a near-impossible chance of it not being rated "R") a scene of implied masturbation and other hard content; but it was given a "PG" rating on appeal (the PG-13 rating did not exist then; it was created the year after this film was released).[30]
Reception[edit]
Box office[edit]
The Right Stuff had its world premiere on October 16, 1983, at the Kennedy Center in Washington, D.C., to benefit the American Film Institute.[31][32] It was given a limited release on October 21, 1983, in 229 theaters, grossing $1.6 million on its opening weekend. It went into wide release on February 17, 1984, in 627 theaters where it grossed an additional $1.6 million on that weekend.
As part of the promotion for the film, Veronica Cartwright, Chuck Yeager, Gordon Cooper, Scott Glenn and Dennis Quaid appeared in 1983 at ConStellation, the 41st World Science Fiction Convention in Baltimore.[33]
Reviews[edit]
The Right Stuff was well received by critics and currently holds a 97% approval rating on Rotten Tomatoes.[34] Film critic Roger Ebert named The Right Stuff best film of 1983, and wrote, "it joins a short list of recent American movies that might be called experimental epics: movies that have an ambitious reach through time and subject matter, that spend freely for locations or special effects, but that consider each scene as intently as an art film".[35] He later named it one of the best films of the decade and wrote, "The Right Stuff is a greater film because it is not a straightforward historical account but pulls back to chronicle the transition from Yeager and other test pilots to a mighty public relations enterprise". He later put it at #2 on his 10 best of the 1980s, behind Martin Scorsese's Raging Bull.[36] Gene Siskel, Ebert's co-host of At the Movies, also named The Right Stuff the best film of 1983, and said "It's a great film, and I hope everyone sees it." Siskel also went on to include The Right Stuff at #3 on his list of the best films of the 1980s, behind Shoah and Raging Bull.[37]
In his review for Newsweek, David Ansen wrote, "When The Right Stuff takes to the skies, it can't be compared with any other movie, old or new: it's simply the most thrilling flight footage ever put on film".[4] Gary Arnold in his review for the Washington Post, wrote, "The movie is obviously so solid and appealing that it's bound to go through the roof commercially and keep on soaring for the next year of so".[32] In his review for The New York Times, Vincent Canby praised Shepard's performance: "Both as the character he plays and as an iconic screen presence, Mr. Shepard gives the film much well-needed heft. He is the center of gravity".[38] Pauline Kael wrote, "The movie has the happy, excited spirit of a fanfare, and it's astonishingly entertaining, considering what a screw-up it is".[39]
Yeager said of the film: "Sam [Shepard] is not a real flamboyant actor, and I'm not a real flamboyant-type individual ... he played his role the way I fly airplanes".[4] Deke Slayton said that none of the film "was all that accurate, but it was well done".[40] Slayton later described the film as being "as bad as the book was good, just a joke".[41] Walter Schirra said, "They insulted the lovely people who talked us through the program - the NASA engineers. They made them like bumbling Germans".[40] Scott Carpenter felt that it was a "great movie in all regards".[40]
Robert Osborne, who introduced showings of the film on Turner Classic Movies, was quite enthusiastic about the film. The cameo appearance by the real Chuck Yeager in the film was a particular "treat" which Osborne cited. The recounting of many of the legendary aspects of Yeager's life was left in place, including the naming of the X-1, "Glamorous Glennis" after his wife and his superstitious preflight ritual of asking for a stick of Beemans chewing gum from his best friend, Jack Ridley.[Note 3]
When the film came out, the former (and future) astronaut and Senator John Glenn of Ohio was running for the Democratic nomination for President of the United States.
Awards and nominations[edit]
The Right Stuff won four Academy Awards: for Best Sound Effects Editing (Jay Boekelheide); for Best Film Editing; for Best Original Score; and for Best Sound (Mark Berger, Tom Scott, Randy Thom and David MacMillan).[42]
The film was also nominated for Best Actor in a Supporting Role (Sam Shepard), Best Art Direction-Set Decoration (Geoffrey Kirkland, Richard Lawrence, W. Stewart Campbell, Peter R. Romero, Jim Poynter, George R. Nelson), Best Cinematography (Caleb Deschanel) and Best Picture.[43] The movie was also nominated for the Hugo Award in 1984 for Best Dramatic Presentation.[44]
Media[edit]
On June 23, 2003, Warner Bros. released a two-disc DVD Special Edition that featured scene-specific commentaries with key cast and crew members, deleted scenes, three documentaries on the making of The Right Stuff including interviews with Mercury astronauts and Chuck Yeager, and a feature-length PBS documentary, John Glenn: American Hero. These extras are also included in the November 5, 2013 release of the 30th Anniversary edition, which also includes a 40-page book binding case, with the film in Blu-ray format. The extras are in standard DVD format.
In addition, the British Film Institute published a book on The Right Stuff by Tom Charity in October 1997 that offered a detailed analysis and behind-the-scenes anecdotes.
Soundtrack[edit]
The soundtrack to The Right Stuff was released on September 20, 2013.

No.
Title
Artist
Length

1. "Breaking The Sound Barrier"   Bill Conti 4:46
2. "Mach I"   Bill Conti 1:23
3. "Training Hard / Russian Moon"   Bill Conti 2:17
4. "Tango"   Bill Conti 2:20
5. "Mach II"   Bill Conti 1:58
6. "The Eyes Of Texas Are Upon You / The Yellow Rose Of Texas / Deep In The Heart Of Texas / Dixie"   Bill Conti 2:50
7. "Yeager and the F104"   Bill Conti 2:26
8. "Light This Candle"   Bill Conti 2:45
9. "Glenn's Flight"   Bill Conti 5:08
10. "Daybreak in Space"   Bill Conti 2:48
11. "Yeager's Triumph"   Bill Conti 5:39
12. "The Right Stuff (Single)"   Bill Conti 3:11
Total length:
 37:31[45] 
See also[edit]
##Astronaut
##Flight airspeed record
##Test pilot
References[edit]
Notes[edit]
1.Jump up ^ Downtown San Francisco doubled for Lower Manhattan in the ticker-tape parade scene after John Glenn's return to Earth. The scene was shot at the intersection of California and Montgomery Streets in the Financial District, and the Pacific Stock Exchange on the corner of Sansome and Pine Streets can be spotted doubling for the New York Stock Exchange in the final part of the scene.[4]
2.Jump up ^ Schirra proved that activating the hatch explosives would have left a large welt on any part of the body that came in contact with the trigger. He proved this on his Mercury flight when he intentionally blew the hatch on October 3, 1962 when his spacecraft was on the deck of the recovery carrier.[20]
3.Jump up ^ This allusion to Beemans chewing gum was later included in The Rocketeer (1991).
Citations[edit]
1.Jump up ^ "Columbia-EMI Warner: The Right Stuff". British Board of Film Classification, November 29, 1983, Retrieved: October 16, 2013.
2.Jump up ^ The Right Stuff at Box Office Mojo
3.Jump up ^ "Library of Congress announces 2013 National Film Registry selections" (Press release). Washington Post, December 18, 2013. Retrieved: December 18, 2013.
4.^ Jump up to: a b c d e f g h i j k Ansen, David and Katrine Ames. "A Movie with All 'The Right Stuff'." Newsweek, October 3, 1983, p. 38.
5.Jump up ^ Goldman 2001, p. 254.
6.Jump up ^ Goldman 2001, p 257.
7.Jump up ^ Goldman 2001, p. 258.
8.^ Jump up to: a b c d Wilford, John Noble. "'The Right Stuff': From Space to Screen." The New York Times, October 16, 1983. Retrieved: December 29, 2008.
9.^ Jump up to: a b c Williams, Christian. "A Story that Pledges Allegiance to Drama and Entertainment." Washington Post, October 20, 1983, A18.
10.Jump up ^ Farmer 1984, p. 34.
11.Jump up ^ Farmer 1984, p. 41.
12.Jump up ^ Farmer 1983, p. 47.
13.Jump up ^ Young, Dr. James.. "Mach Buster." Air Force Flight Test Center History Office, 2014. Retrieved: July 14, 2014.
14.Jump up ^ "Chuck Yeager, in his our words, regarding his experience with the NF-104." Check-six.com, April 23, 2014. Retrieved: July 14, 2014.
15.Jump up ^ "Jack Ridley." Nasa September 18, 1997. Retrieved: July 14, 2014.
16.Jump up ^ "Famed aviator Scott Crossfield dies in plane crash." The Seattle Times, April 19, 2006.
17.Jump up ^ Gray, Tara. "Donald K. 'Deke' Slayton". NASA. Retrieved: July 14, 2014.
18.^ Jump up to: a b Zornio, Mary C. Virgil Ivan 'Gus' Grissom." NASA. Retrieved: July 14, 2014.
19.Jump up ^ Gray, Tara. "L. Gordon Cooper, Jr." NASA. Retrieved: July 14, 2014.
20.^ Jump up to: a b Buckbee and Schirra 2005, pp. 72–73.
21.Jump up ^ Buckbee and Schirra 2005, p. 72.
22.Jump up ^ Cooper 2000, p. 33.
23.Jump up ^ Wolfe 1983, chapter 10 "The Unscrewable Pooch".
24.Jump up ^ Ebert, Roger. "The Right Stuff" Roger Ebert.com. Retrieved: July 14, 2014.
25.^ Jump up to: a b Farmer 1983, p. 49.
26.^ Jump up to: a b c Farmer 1983, pp. 50–51.
27.Jump up ^ Farmer 1983, p. 51.
28.Jump up ^ Farmer 1984, pp. 72–73.
29.Jump up ^ Farmer 1984, p. 66.
30.Jump up ^ "Parent's Gude to 'The Right Stuff' (1983)." IMDb. Retrieved: August 22, 2013.
31.Jump up ^ Morganthau, Tom and Richard Manning. "Glenn Meets the Dream Machine." Newsweek, October 3, 1983, p. 36.
32.^ Jump up to: a b Arnold, Gary. "The Stuff of Dreams." Washington Post, October 16, 1983, p. G1.
33.Jump up ^ "1983 World Science Fiction Convention." fanac.org, 2012. Retrieved: September 5, 2012.
34.Jump up ^ "The Right Stuff." rottentomatoes.com. Retrieved: February 22, 2010.
35.Jump up ^ Ebert, Roger. "'The Right Stuff'." Chicago Sun-Times, October 21, 1983. Retrieved: December 29, 2008.
36.Jump up ^ Ebert, Roger. "'The Right Stuff': Great Movies." Chicago Sun-Times, March 16, 2002. Retrieved: December 29, 2008.
37.Jump up ^ "At the Movies-Best of 1983." Youtube. Retrieved: May 14, 2013.
38.Jump up ^ Canby, Vincent. "'Right Stuff', On Astronauts." The New York Times, October 21, 1983. Retrieved: December 29, 2008
39.Jump up ^ Kael, Pauline. "The Sevens". The New Yorker, October 17, 1983.
40.^ Jump up to: a b c Bumiller, Elisabeth and Phil McCombs. "The Premiere: A Weekend Full of American Heroes and American Hype." Washington Post, October 17, 1983, p. B1.
41.Jump up ^ Slayton 1994, p. 317.
42.Jump up ^ "The 56th Academy Awards (1984) Nominees and Winners." oscars.org. Retrieved: October 10, 2011.
43.Jump up ^ "'The Right Stuff'." The New York Times. Retrieved: January 1, 2009.
44.Jump up ^ "1984 Hugo Awards." thehugoawards.org. Retrieved: September 5, 2012.
45.Jump up ^ "The Right Stuff Soundtrack." AllMusic. Retrieved: February 2, 2014.
Bibliography[edit]
##Buckbee, Ed and Walter Schirra. The Real Space Cowboys. Burlington, Ontario: Apogee Books, 2005. ISBN 1-894959-21-3.
##Charity, Tom. The Right Stuff (BFI Modern Classics). London: British Film Institute, 1991. ISBN 0-85170-624-X.
##Conti, Bill (with London Symphony Orchestra). The Right Stuff: Symphonic Suite; North and South: Symphonic Suite. North Hollywood, California: Varèse Sarabande, 1986 (WorldCat).
##Cooper, Gordon. Leap of Faith. New York: Harper Collins Publishers, 2000. ISBN 0-06-019416-2.
##Farmer, Jim. "Filming the Right Stuff." Air Classics, Part One: Vol. 19, No. 12, December 1983, Part Two: Vol. 20, No. 1, January 1984.
##Glenn, John. John Glenn: A Memoir. New York: Bantam, 1999. ISBN 0-553-11074-8.
##Goldman, William. Which Lie Did I Tell?: More Adventures in the Screen Trade. New York: Vintage Books USA, 2001. ISBN 0-375-70319-5.
##Hansen, James R. First Man: The Life of Neil A. Armstrong. New York: Simon & Schuster, 2005. ISBN 0-7432-5631-X.
##Wolfe, Tom. The Right Stuff. New York: Bantam, 2001. ISBN 0-553-38135-0.
##Slayton, Deke and Michael Cassutt. Deke! U.S. Manned Space: From Mercury to the Shuttle. New York: Tom Doherty Associates, 1994. ISBN 0-312-85503-6.
External links[edit]
 Wikiquote has quotations related to: The Right Stuff (film)
##The Right Stuff at the Internet Movie Database
##The Right Stuff at the TCM Movie Database
##The Right Stuff at Box Office Mojo
##The Right Stuff at Rotten Tomatoes


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The Right Stuff (film)
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The Right Stuff
Right stuff ver1.jpg
Theatrical release poster

Directed by
Philip Kaufman
Produced by
Irwin Winkler
Screenplay by
Philip Kaufman
Based on
The Right Stuff by Tom Wolfe
Starring
Fred Ward
Dennis Quaid
Ed Harris
Scott Glenn
Sam Shepard
Barbara Hershey
Lance Henriksen
Veronica Cartwright
Jane Dornacker
Harry Shearer
Jeff Goldblum
Kim Stanley
Eric Sevareid
Narrated by
Levon Helm
Music by
Bill Conti
Cinematography
Caleb Deschanel
Edited by
Glenn Farr
Lisa Fruchtman
Stephen A. Rotter
Douglas Stewart
 Tom Rolf

Production
 company

The Ladd Company

Distributed by
Warner Bros.

Release dates

October 21, 1983 (Limited)
February 17, 1984 (Wide)


Running time
 192 minutes[1]
Country
United States
Language
English
 Russian
Budget
$19 - 27 million
Box office
$21,192,102[2]
The Right Stuff is a 1983 American drama film that was adapted from Tom Wolfe's best-selling 1979 book of the same name about the Navy, Marine and Air Force test pilots who were involved in aeronautical research at Edwards Air Force Base, California, as well as the seven military pilots who were selected to be the astronauts for Project Mercury, the first attempt at manned spaceflight by the United States. The Right Stuff stars Ed Harris, Scott Glenn, Sam Shepard, Fred Ward, Dennis Quaid and Barbara Hershey. Levon Helm is the narrator in the introduction and elsewhere in the film, as well as having a co-starring role as Air Force test pilot Jack Ridley. In 2013 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[3]


Contents  [hide]
1 Plot
2 Cast
3 Production


4 Reception

5 Awards and nominations
6 Media
7 Soundtrack
8 See also
9 References


10 External links
Plot[edit]
The film begins in 1947 at Muroc Army Air Field, an arid California military base where test pilots often die flying high-speed aircraft such as the rocket-powered Bell X-1. After another pilot, Slick Goodlin, demands $150,000 to attempt to break the sound barrier, war hero Captain Chuck Yeager receives the chance to fly the X-1. While on a horseback ride with his wife Glennis, Yeager collides with a tree branch and breaks his ribs, which inhibits him from leaning over and locking the door to the X-1. Worried that his injury might become known, Yeager confides in friend and fellow pilot Jack Ridley. Ridley cuts off part of a broomstick and tells Yeager to use it as a lever to help seal the hatch to the X-1, and Yeager becomes the first man to fly at supersonic speed, defeating the "demon in the sky".
In 1953 Muroc, now Edwards Air Force Base, still attracts the best test pilots. Yeager (now a colonel) and friendly rival Scott Crossfield repeatedly break the other's speed records. They often visit the Happy Bottom Riding Club run by Pancho Barnes, who classifies the pilots at Edwards as either "prime" (such as Yeager and Crossfield) that fly the best equipment or newer "pudknockers" who only dream about it. Gordon "Gordo" Cooper, Virgil "Gus" Grissom and Donald "Deke" Slayton, captains of the United States Air Force, are among the "pudknockers" that hope to also prove that they have "the Right Stuff". The tests are no longer secret, as the military soon recognizes that it needs good publicity for funding, and with "no bucks, no Buck Rogers". Cooper's wife, Trudy, and other wives are afraid of becoming widows, but cannot change their husbands' ambitions and desire for success and fame.
In 1957, the launch of the Russian Sputnik satellite alarms the United States government. Politicians such as Senator Lyndon B. Johnson and military leaders demand that NASA help America defeat the Russians in the new Space Race. The search for the first Americans in space excludes Yeager, because he lacks a college degree. Grueling physical and mental tests select the Mercury Seven astronauts, including John Glenn of the United States Marine Corps, Alan Shepard, Walter Schirra and Scott Carpenter of the United States Navy, as well as Cooper, Grissom and Slayton; they immediately become national heroes. Although many early NASA rockets explode during launch, the ambitious astronauts all hope to be the first in space as part of Project Mercury. Although engineers see the men as passengers, the pilots insist that the Mercury spacecraft have a window, a hatch with explosive bolts, and pitch-yaw-roll controls. However, Russia beats them on April 12, 1961 with the launch of Vostok 1 carrying Yuri Gagarin into space. The seven astronauts then decide they've been waiting long enough, and to "get the show on the road".
Shepard is the first American to reach space on the 15-minute sub-orbital flight of Mercury-Redstone 3 on May 5. After Grissom's similar flight of Mercury-Redstone 4 on July 21, the capsule's hatch blows open and quickly fills with water. Grissom escapes, but the spacecraft, overweight with seawater, sinks. Many criticize Grissom for possibly panicking and opening the hatch prematurely. Glenn becomes the first American to orbit the Earth on Mercury-Atlas 6 on February 20, 1962, surviving a possibly loose heat shield, and receives a ticker-tape parade. He, his colleagues, and their families become celebrities, including a gigantic celebration in the Sam Houston Coliseum to announce the opening of the Manned Space Center in Houston, despite Glenn's wife Annie's fear of public speaking due to a stutter.
Although test pilots at Edwards mock the Mercury program for sending "spam in a can" into space, they recognize that they are no longer the fastest men on Earth, and Yeager states that "it takes a special kind of man to volunteer for a suicide mission, especially when it's on national TV." While testing the new Lockheed NF-104A, Yeager attempts to set a new altitude record at the edge of space but is nearly killed in a high-speed ejection when his engine failed. Though badly burned, after reaching the ground Yeager gathers up his parachute and walks to the ambulance, proving that he still has the Right Stuff.
The film ends with Cooper's successful launch on May 15, 1963 on Mercury-Atlas 9, ending the Mercury program. As the last American to fly into space alone, he "went higher, farther, and faster than any other American ... for a brief moment, Gordo Cooper became the greatest pilot anyone had ever seen."
Cast[edit]
##Fred Ward as Gus Grissom, USAF
##Dennis Quaid as Gordon Cooper, USAF
##Ed Harris as John Glenn, USMC
##Scott Glenn as Alan Shepard, USN
##Sam Shepard as Chuck Yeager, Colonel, USAF
##Barbara Hershey as Glennis Yeager
##Lance Henriksen as Walter Schirra, USN
##Veronica Cartwright as Betty Grissom
##Jane Dornacker as Nurse Murch
##Harry Shearer and Jeff Goldblum as the NASA recruiters sent to find astronaut candidates
##Kim Stanley as Pancho Barnes
##Pamela Reed as Trudy Cooper
##Scott Paulin as Donald K. Slayton, USAF
##Charles Frank as Scott Carpenter, USN
##Donald Moffat as U.S. Senator and Vice President Lyndon B. Johnson
##Levon Helm as Jack Ridley, USAF and the narrator
##Mary Jo Deschanel as Annie Glenn
##Scott Wilson as Scott Crossfield, a civilian test pilot for the North American Aviation Company
 ##Kathy Baker as Louise Shepard
##Mickey Crocker as Marge Slayton
##Susan Kase as Rene Carpenter
##Mittie Smith as Jo Schirra
##Royal Dano as a Minister
##David Clennon as a Liaison Man
##John P. Ryan as the Head of the Manned Space Program
##Eric Sevareid as himself
##William Russ as Slick Goodlin
##Robert Beer as President Dwight D. Eisenhower
##Peggy Davis as Sally Rand
##John Dehner as Henry Luce
##Royce Grones as the first X-1 pilot, who was Jack Woolams
##Brigadier General Chuck Yeager, USAF (Ret) as Fred, the bartender at Pancho's saloon
##Anthony Munoz as Gonzales

The following real people also appeared in archive footage in uncredited cameos: Ed Sullivan with Bill Dana (playing his character José Jiménez). Yuri Gagarin and Nikita Khrushchev are seen embracing at a review, along with Georgi Malenkov, Nikolai Bulganin, Kliment Voroshilov, and Anastas Mikoyan in attendance. Lyndon B. Johnson and John F. Kennedy are also seen.
Production[edit]
In 1979, independent producers Robert Chartoff and Irwin Winkler outbid Universal Pictures for the movie rights to Tom Wolfe's book,[4] hiring William Goldman to write the screenplay. At Winkler's suggestion, Goldman's adaptation focused on the astronauts, entirely ignoring Chuck Yeager.[5] Goldman was inspired to accept the job because he wanted to say something patriotic about America in the wake of the Iran hostage crisis.
In June 1980, United Artists agreed to finance the film up to $20 million and the producers began looking for a director. Michael Ritchie and John Avildsen were originally attached but both fell through.[6] They approached director Philip Kaufman who agreed to make the film but did not like Goldman's script, disliking the emphasis on patriotism and wanting Yeager put back in the film.[7] Eventually Goldman quit the project in August 1980 and United Artists pulled out.
When Wolfe showed no interest in adapting his own book, Kaufman wrote a draft in eight weeks.[4] His draft restored Yeager to the story because "if you're tracing how the future began, the future in space travel, it began really with Yeager and the world of the test pilots. The astronauts descended from them".[8]
After the financial failure of Heaven's Gate, the studio put The Right Stuff in turnaround and The Ladd Company stepped in with an estimated $17 million.
Actor Ed Harris auditioned twice in 1981 for the role of John Glenn. Originally, Kaufman wanted to use a troupe of contortionists to portray the press corps, but settled on the improvisational comedy troupe Fratelli Bologna, known for its sponsorship of "St. Stupid's Day" in San Francisco.[9] The director created a snake-like hiss to accompany the press corps whenever they appear, which was achieved through a sound combination of (among other things) motorized Nikon cameras and clicking beetles.[9]
Shot between March and October 1982, with additional filming continuing into January 1983, most of the film was shot in and around San Francisco, where a waterfront warehouse was transformed into a studio.[4][Note 1] Location shooting took place primarily at the abandoned Hamilton Air Force Base north of San Francisco which was converted into a sound stage for the numerous interior sets.[10] No location could substitute for the distinctive Edwards Air Force Base landscape which necessitated the entire production crew move to the Mojave Desert for the opening sequences that framed the story of the test pilots at Muroc Army Air Field, later Edwards AFB.[11]
Yeager was hired as a technical consultant on the film. He took the actors flying, studied the storyboards and special effects, and pointed out the errors. To prepare for their roles, Kaufman gave the actors playing the seven astronauts an extensive videotape collection to study.[4]
The efforts at making an authentic feature led to the use of many full size aircraft, scale models and special effects to replicate the scenes at Edwards Air Force Base and Cape Canaveral Air Force Station.[12] According to special visual effects supervisor Gary Gutierrez, the first special effects were too clean and they wanted a "dirty, funky, early NASA look."[4] K Gutierrez and his team started from scratch, employing unconventional techniques—like going up a hill with model airplanes on wires and fog machines to create clouds, or shooting model F-104s from a crossbow device and capturing their flight with up to four cameras.[4] Avant garde filmmaker Jordan Belson created the background of the Earth as seen from high-flying planes and from orbiting spacecraft.[8]
Kaufman gave his five editors a list of documentary images the film required and they searched the country for film from NASA, the Air Force, and Bell Aircraft vaults.[4] They also discovered Russian stock footage not viewed in 30 years. During the course of the production, Kaufman met with resistance from the Ladd Company and threatened to quit several times.[4] In December 1982, 8,000 feet of film portraying John Glenn's trip in orbit and return to Earth disappeared or was stolen from Kaufman's editing facility in Berkeley, California. The missing footage was never found but the footage was reconstructed from copies.[9]
Historical accuracy[edit]
Although The Right Stuff was based on historical events and real people, as chronicled in Wolfe's book, some substantial dramatic liberties were taken. Neither Yeager's flight in the X-1 to break the sound barrier early in the film or his later, nearly-fatal flight in the NF-104A were spur-of-moment, capriciously decided events, as the film seems to imply - they actually were part of the routine testing program for both aircraft. Yeager had already test-flown both aircraft a number of times previously and was very familiar with them.[13][14] Jack Ridley had actually died in 1957,[15] even though his character appears in several key scenes taking place after that, most notably including Yeager's 1963 flight of the NF-104A.
The Right Stuff depicts Cooper arriving at Edwards in 1953, reminiscing with Grissom there about the two of them having supposedly flown together at the Langley Air Force Base and then hanging out with Grissom and Slayton, including all three supposedly being present at Edwards when Scott Crossfield flew at Mach 2 in November 1953.[16] They talk about being recruited together there for the astronaut program in late 1957, with Grissom supposedly expressing keen interest in becoming a "star-voyager". According to their respective NASA biographies, none of the three was posted to Edwards before 1955 (Slayton)[17] or 1956 (Grissom and Cooper),[18][19] and neither of the latter two had previously trained at Langley. By the time astronaut recruitment began in late 1957 after the Soviets had orbited Sputnik, Grissom had already left Edwards and returned to Wright-Patterson Air Force Base, where he had served previously and was happy with his new assignment there. Grissom did not even know he was under consideration for the astronaut program until he received mysterious orders "out of the blue" to report to Washington in civilian clothing for what turned out to be a recruitment session for NASA.[18]
While the film took liberties with certain historical facts as part of "dramatic license", criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch's explosive bolts was caused by mechanical failure not associated with direct human error or deliberate detonation by Grissom.[Note 2] This determination had been made long before the film was completed,[20] and both Schirra and Gordon Cooper were critical of The Right Stuff for its treatment of Grissom.[21][22] However, Kaufman was closely following Tom Wolfe's book, which focused not on how or why the hatch actually blew, but how NASA engineers and some of Grissom's colleagues (and even his own wife) believed he caused the accident; much of the dialogue in this sequence was taken directly from Wolfe's prose.[23][24]
There were other inaccuracies as well, notably about the engineers who built the Mercury craft.[8]
Film models[edit]



 A replica of the Glamorous Glennis which was used in filming The Right Stuff. Now on display at the Kansas Cosmosphere and Space Center in Hutchinson, Kansas.
A large number of film models were assembled for the production; for the more than 80 aircraft appearing in the film, static mock-ups and models were used as well as authentic aircraft of the period.[25] Lieutenant Colonel Duncan Wilmore, USAF (Ret) acted as the United States Air Force liaison to the production, beginning his role as a technical consultant in 1980 when the pre-production planning had begun. The first draft of the script in 1980 had concentrated only on the Mercury 7 but as subsequent revisions developed the treatment into more of the original story that Wolfe had envisioned, the aircraft of late-1940s that would have been seen at Edwards AFB were required. Wilmore gathered World War II era "prop" aircraft including:
##Douglas A-26 Invader
##North American P-51 Mustang
##North American T-6 Texan and
##Boeing B-29 Superfortress
The first group were mainly "set dressing" on the ramp while the Confederate Air Force (now renamed the Commemorative Air Force) B-29 "Fifi" was modified to act as the B-29 "mothership" to carry the Bell X-1 and X-1A rocket-powered record-breakers.[26]
Other "real" aircraft included the early jet fighters and trainers as well as current USAF and United States Navy examples. These flying aircraft and helicopters included:
##Douglas A-4 Skyhawk
##LTV A-7 Corsair II
##North American F-86 Sabre
##Convair F-106 Delta Dart
##McDonnell Douglas F-4 Phantom II
##Sikorsky H-34 Choctaw
##Sikorsky SH-3 Sea King
##Lockheed T-33 Shooting Star
##Northrop T-38 Talon[27]
A number of aircraft significant to the story had to be recreated. The first was an essentially static X-1 that had to at least roll and even realistically "belch flame" which was accomplished by a simulated rocket blast from the exhaust pipes.[25] A series of wooden mock-up X-1s were used to depict interior shots of the cockpit, the mating up of the X-1 to a modified B-29 fuselage and bomb bay and ultimately to recreate flight in a combination of model work and live-action photography. The "follow-up" X-1A was also an all-wooden model.[26]
The U.S. Navy's Douglas D-558-2 Skyrocket that Crossfield duelled with Yeager's X-1 and X-1A was recreated from a modified Hawker Hunter jet fighter. The climactic flight of Yeager in a Lockheed NF-104A was originally to be made with a modified Lockheed F-104 Starfighter but ultimately, Wilmore decided that the production had to make do with a repainted Luftwaffe F-104G, which lacks the rocket engine of the NF-104.[26]
Wooden mock-ups of the Mercury space capsules also realistically depicted the NASA spacecraft and were built from the original mold.[8]
For many of the flying sequences, scale models were produced by USFX Studios and filmed outdoors in natural sunlight against the sky. Even off-the-shelf plastic scale models were utilized for aerial scenes. The X-1, F-104 and B-29 models were built in large numbers as a number of the more than 40 scale models were destroyed in the process of filming.[28] The blending together of miniatures, full-scale mock-ups and actual aircraft was seamlessly integrated into the live-action footage. The addition of original newsreel footage was used sparingly but to effect to provide another layer of authenticity.[29]
MPAA Rating[edit]
The film was originally rated "R" (Restricted, which means no one under 17 admitted) by the Motion Picture Association of America because of some strong language (the word "fuck" is used 5 times, which meant a near-impossible chance of it not being rated "R") a scene of implied masturbation and other hard content; but it was given a "PG" rating on appeal (the PG-13 rating did not exist then; it was created the year after this film was released).[30]
Reception[edit]
Box office[edit]
The Right Stuff had its world premiere on October 16, 1983, at the Kennedy Center in Washington, D.C., to benefit the American Film Institute.[31][32] It was given a limited release on October 21, 1983, in 229 theaters, grossing $1.6 million on its opening weekend. It went into wide release on February 17, 1984, in 627 theaters where it grossed an additional $1.6 million on that weekend.
As part of the promotion for the film, Veronica Cartwright, Chuck Yeager, Gordon Cooper, Scott Glenn and Dennis Quaid appeared in 1983 at ConStellation, the 41st World Science Fiction Convention in Baltimore.[33]
Reviews[edit]
The Right Stuff was well received by critics and currently holds a 97% approval rating on Rotten Tomatoes.[34] Film critic Roger Ebert named The Right Stuff best film of 1983, and wrote, "it joins a short list of recent American movies that might be called experimental epics: movies that have an ambitious reach through time and subject matter, that spend freely for locations or special effects, but that consider each scene as intently as an art film".[35] He later named it one of the best films of the decade and wrote, "The Right Stuff is a greater film because it is not a straightforward historical account but pulls back to chronicle the transition from Yeager and other test pilots to a mighty public relations enterprise". He later put it at #2 on his 10 best of the 1980s, behind Martin Scorsese's Raging Bull.[36] Gene Siskel, Ebert's co-host of At the Movies, also named The Right Stuff the best film of 1983, and said "It's a great film, and I hope everyone sees it." Siskel also went on to include The Right Stuff at #3 on his list of the best films of the 1980s, behind Shoah and Raging Bull.[37]
In his review for Newsweek, David Ansen wrote, "When The Right Stuff takes to the skies, it can't be compared with any other movie, old or new: it's simply the most thrilling flight footage ever put on film".[4] Gary Arnold in his review for the Washington Post, wrote, "The movie is obviously so solid and appealing that it's bound to go through the roof commercially and keep on soaring for the next year of so".[32] In his review for The New York Times, Vincent Canby praised Shepard's performance: "Both as the character he plays and as an iconic screen presence, Mr. Shepard gives the film much well-needed heft. He is the center of gravity".[38] Pauline Kael wrote, "The movie has the happy, excited spirit of a fanfare, and it's astonishingly entertaining, considering what a screw-up it is".[39]
Yeager said of the film: "Sam [Shepard] is not a real flamboyant actor, and I'm not a real flamboyant-type individual ... he played his role the way I fly airplanes".[4] Deke Slayton said that none of the film "was all that accurate, but it was well done".[40] Slayton later described the film as being "as bad as the book was good, just a joke".[41] Walter Schirra said, "They insulted the lovely people who talked us through the program - the NASA engineers. They made them like bumbling Germans".[40] Scott Carpenter felt that it was a "great movie in all regards".[40]
Robert Osborne, who introduced showings of the film on Turner Classic Movies, was quite enthusiastic about the film. The cameo appearance by the real Chuck Yeager in the film was a particular "treat" which Osborne cited. The recounting of many of the legendary aspects of Yeager's life was left in place, including the naming of the X-1, "Glamorous Glennis" after his wife and his superstitious preflight ritual of asking for a stick of Beemans chewing gum from his best friend, Jack Ridley.[Note 3]
When the film came out, the former (and future) astronaut and Senator John Glenn of Ohio was running for the Democratic nomination for President of the United States.
Awards and nominations[edit]
The Right Stuff won four Academy Awards: for Best Sound Effects Editing (Jay Boekelheide); for Best Film Editing; for Best Original Score; and for Best Sound (Mark Berger, Tom Scott, Randy Thom and David MacMillan).[42]
The film was also nominated for Best Actor in a Supporting Role (Sam Shepard), Best Art Direction-Set Decoration (Geoffrey Kirkland, Richard Lawrence, W. Stewart Campbell, Peter R. Romero, Jim Poynter, George R. Nelson), Best Cinematography (Caleb Deschanel) and Best Picture.[43] The movie was also nominated for the Hugo Award in 1984 for Best Dramatic Presentation.[44]
Media[edit]
On June 23, 2003, Warner Bros. released a two-disc DVD Special Edition that featured scene-specific commentaries with key cast and crew members, deleted scenes, three documentaries on the making of The Right Stuff including interviews with Mercury astronauts and Chuck Yeager, and a feature-length PBS documentary, John Glenn: American Hero. These extras are also included in the November 5, 2013 release of the 30th Anniversary edition, which also includes a 40-page book binding case, with the film in Blu-ray format. The extras are in standard DVD format.
In addition, the British Film Institute published a book on The Right Stuff by Tom Charity in October 1997 that offered a detailed analysis and behind-the-scenes anecdotes.
Soundtrack[edit]
The soundtrack to The Right Stuff was released on September 20, 2013.

No.
Title
Artist
Length

1. "Breaking The Sound Barrier"   Bill Conti 4:46
2. "Mach I"   Bill Conti 1:23
3. "Training Hard / Russian Moon"   Bill Conti 2:17
4. "Tango"   Bill Conti 2:20
5. "Mach II"   Bill Conti 1:58
6. "The Eyes Of Texas Are Upon You / The Yellow Rose Of Texas / Deep In The Heart Of Texas / Dixie"   Bill Conti 2:50
7. "Yeager and the F104"   Bill Conti 2:26
8. "Light This Candle"   Bill Conti 2:45
9. "Glenn's Flight"   Bill Conti 5:08
10. "Daybreak in Space"   Bill Conti 2:48
11. "Yeager's Triumph"   Bill Conti 5:39
12. "The Right Stuff (Single)"   Bill Conti 3:11
Total length:
 37:31[45] 
See also[edit]
##Astronaut
##Flight airspeed record
##Test pilot
References[edit]
Notes[edit]
1.Jump up ^ Downtown San Francisco doubled for Lower Manhattan in the ticker-tape parade scene after John Glenn's return to Earth. The scene was shot at the intersection of California and Montgomery Streets in the Financial District, and the Pacific Stock Exchange on the corner of Sansome and Pine Streets can be spotted doubling for the New York Stock Exchange in the final part of the scene.[4]
2.Jump up ^ Schirra proved that activating the hatch explosives would have left a large welt on any part of the body that came in contact with the trigger. He proved this on his Mercury flight when he intentionally blew the hatch on October 3, 1962 when his spacecraft was on the deck of the recovery carrier.[20]
3.Jump up ^ This allusion to Beemans chewing gum was later included in The Rocketeer (1991).
Citations[edit]
1.Jump up ^ "Columbia-EMI Warner: The Right Stuff". British Board of Film Classification, November 29, 1983, Retrieved: October 16, 2013.
2.Jump up ^ The Right Stuff at Box Office Mojo
3.Jump up ^ "Library of Congress announces 2013 National Film Registry selections" (Press release). Washington Post, December 18, 2013. Retrieved: December 18, 2013.
4.^ Jump up to: a b c d e f g h i j k Ansen, David and Katrine Ames. "A Movie with All 'The Right Stuff'." Newsweek, October 3, 1983, p. 38.
5.Jump up ^ Goldman 2001, p. 254.
6.Jump up ^ Goldman 2001, p 257.
7.Jump up ^ Goldman 2001, p. 258.
8.^ Jump up to: a b c d Wilford, John Noble. "'The Right Stuff': From Space to Screen." The New York Times, October 16, 1983. Retrieved: December 29, 2008.
9.^ Jump up to: a b c Williams, Christian. "A Story that Pledges Allegiance to Drama and Entertainment." Washington Post, October 20, 1983, A18.
10.Jump up ^ Farmer 1984, p. 34.
11.Jump up ^ Farmer 1984, p. 41.
12.Jump up ^ Farmer 1983, p. 47.
13.Jump up ^ Young, Dr. James.. "Mach Buster." Air Force Flight Test Center History Office, 2014. Retrieved: July 14, 2014.
14.Jump up ^ "Chuck Yeager, in his our words, regarding his experience with the NF-104." Check-six.com, April 23, 2014. Retrieved: July 14, 2014.
15.Jump up ^ "Jack Ridley." Nasa September 18, 1997. Retrieved: July 14, 2014.
16.Jump up ^ "Famed aviator Scott Crossfield dies in plane crash." The Seattle Times, April 19, 2006.
17.Jump up ^ Gray, Tara. "Donald K. 'Deke' Slayton". NASA. Retrieved: July 14, 2014.
18.^ Jump up to: a b Zornio, Mary C. Virgil Ivan 'Gus' Grissom." NASA. Retrieved: July 14, 2014.
19.Jump up ^ Gray, Tara. "L. Gordon Cooper, Jr." NASA. Retrieved: July 14, 2014.
20.^ Jump up to: a b Buckbee and Schirra 2005, pp. 72–73.
21.Jump up ^ Buckbee and Schirra 2005, p. 72.
22.Jump up ^ Cooper 2000, p. 33.
23.Jump up ^ Wolfe 1983, chapter 10 "The Unscrewable Pooch".
24.Jump up ^ Ebert, Roger. "The Right Stuff" Roger Ebert.com. Retrieved: July 14, 2014.
25.^ Jump up to: a b Farmer 1983, p. 49.
26.^ Jump up to: a b c Farmer 1983, pp. 50–51.
27.Jump up ^ Farmer 1983, p. 51.
28.Jump up ^ Farmer 1984, pp. 72–73.
29.Jump up ^ Farmer 1984, p. 66.
30.Jump up ^ "Parent's Gude to 'The Right Stuff' (1983)." IMDb. Retrieved: August 22, 2013.
31.Jump up ^ Morganthau, Tom and Richard Manning. "Glenn Meets the Dream Machine." Newsweek, October 3, 1983, p. 36.
32.^ Jump up to: a b Arnold, Gary. "The Stuff of Dreams." Washington Post, October 16, 1983, p. G1.
33.Jump up ^ "1983 World Science Fiction Convention." fanac.org, 2012. Retrieved: September 5, 2012.
34.Jump up ^ "The Right Stuff." rottentomatoes.com. Retrieved: February 22, 2010.
35.Jump up ^ Ebert, Roger. "'The Right Stuff'." Chicago Sun-Times, October 21, 1983. Retrieved: December 29, 2008.
36.Jump up ^ Ebert, Roger. "'The Right Stuff': Great Movies." Chicago Sun-Times, March 16, 2002. Retrieved: December 29, 2008.
37.Jump up ^ "At the Movies-Best of 1983." Youtube. Retrieved: May 14, 2013.
38.Jump up ^ Canby, Vincent. "'Right Stuff', On Astronauts." The New York Times, October 21, 1983. Retrieved: December 29, 2008
39.Jump up ^ Kael, Pauline. "The Sevens". The New Yorker, October 17, 1983.
40.^ Jump up to: a b c Bumiller, Elisabeth and Phil McCombs. "The Premiere: A Weekend Full of American Heroes and American Hype." Washington Post, October 17, 1983, p. B1.
41.Jump up ^ Slayton 1994, p. 317.
42.Jump up ^ "The 56th Academy Awards (1984) Nominees and Winners." oscars.org. Retrieved: October 10, 2011.
43.Jump up ^ "'The Right Stuff'." The New York Times. Retrieved: January 1, 2009.
44.Jump up ^ "1984 Hugo Awards." thehugoawards.org. Retrieved: September 5, 2012.
45.Jump up ^ "The Right Stuff Soundtrack." AllMusic. Retrieved: February 2, 2014.
Bibliography[edit]
##Buckbee, Ed and Walter Schirra. The Real Space Cowboys. Burlington, Ontario: Apogee Books, 2005. ISBN 1-894959-21-3.
##Charity, Tom. The Right Stuff (BFI Modern Classics). London: British Film Institute, 1991. ISBN 0-85170-624-X.
##Conti, Bill (with London Symphony Orchestra). The Right Stuff: Symphonic Suite; North and South: Symphonic Suite. North Hollywood, California: Varèse Sarabande, 1986 (WorldCat).
##Cooper, Gordon. Leap of Faith. New York: Harper Collins Publishers, 2000. ISBN 0-06-019416-2.
##Farmer, Jim. "Filming the Right Stuff." Air Classics, Part One: Vol. 19, No. 12, December 1983, Part Two: Vol. 20, No. 1, January 1984.
##Glenn, John. John Glenn: A Memoir. New York: Bantam, 1999. ISBN 0-553-11074-8.
##Goldman, William. Which Lie Did I Tell?: More Adventures in the Screen Trade. New York: Vintage Books USA, 2001. ISBN 0-375-70319-5.
##Hansen, James R. First Man: The Life of Neil A. Armstrong. New York: Simon & Schuster, 2005. ISBN 0-7432-5631-X.
##Wolfe, Tom. The Right Stuff. New York: Bantam, 2001. ISBN 0-553-38135-0.
##Slayton, Deke and Michael Cassutt. Deke! U.S. Manned Space: From Mercury to the Shuttle. New York: Tom Doherty Associates, 1994. ISBN 0-312-85503-6.
External links[edit]
 Wikiquote has quotations related to: The Right Stuff (film)
##The Right Stuff at the Internet Movie Database
##The Right Stuff at the TCM Movie Database
##The Right Stuff at Box Office Mojo
##The Right Stuff at Rotten Tomatoes


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


Interstellar
A ringed spacecraft, revolves around a wormhole, here depicted as a reflective sphere.
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Emma Thomas
Christopher Nolan
Lynda Obst

Written by
Jonathan Nolan
Christopher Nolan

Starring
Matthew McConaughey
Anne Hathaway
Jessica Chastain
Bill Irwin
Ellen Burstyn
Michael Caine

Music by
Hans Zimmer
Cinematography
Hoyte van Hoytema
Edited by
Lee Smith

Production
 companies

Legendary Pictures
Syncopy
Lynda Obst Productions

Distributed by
Paramount Pictures (North America)
Warner Bros. Pictures (International)


Release dates

October 26, 2014 (TCL Chinese Theatre)
November 5, 2014 (North America)
November 7, 2014 (United Kingdom)


Running time
 169 minutes[1]
Country
United Kingdom[2]
United States[2]

Language
English
Budget
$165 million[3]
Box office
$671.1 million[3]
Interstellar is a 2014 science fiction film directed by Christopher Nolan, starring Matthew McConaughey, Anne Hathaway, Jessica Chastain and Michael Caine. The film features a crew of astronauts who travel through a wormhole in search of a new home for humanity. Brothers Christopher and Jonathan Nolan wrote the screenplay, merging a script Jonathan developed in 2007 with Christopher's ideas. Christopher Nolan produced the film with his wife, Emma Thomas, and Lynda Obst. Theoretical physicist Kip Thorne, whose work inspired the film, acted as scientific consultant and executive producer.
Warner Bros., Paramount Pictures, and Legendary Pictures co-financed the film, while Syncopy and Lynda Obst Productions served as production companies. Cinematographer Hoyte van Hoytema shot the film on anamorphic 35 mm and IMAX 70 mm photography. Filming commenced in late 2013 in Alberta, Canada; Iceland; and Los Angeles. The film features an extensive use of practical and miniature effects, while Double Negative created additional digital effects.
Interstellar premiered on October 26, 2014, in Los Angeles. In North America, it was released in film stock to theaters still equipped to project the format, before expanding to venues using digital projectors. It was successful at the box office and received generally positive reviews from critics, who gave particular attention to the film's scientific accuracy, musical score and visual effects. At the 87th Academy Awards, the film received five nominations — Best Original Score, Best Sound Mixing, Best Sound Editing, Best Visual Effects and Best Production Design.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development and financing
3.2 Writing
3.3 Casting
3.4 Filming
3.5 Production design
3.6 Sound design and music
3.7 Visual effects
4 Influences
5 Scientific accuracy
6 Marketing
7 Release 7.1 Theatrical run
7.2 Box office 7.2.1 North America
7.2.2 Other territories
7.3 Critical response
7.4 Accolades
8 See also
9 Notes
10 References
11 Further reading
12 External links

Plot[edit]
In the future, crop blight has caused civilization to regress into a failing agrarian society. Former NASA pilot Cooper (Matthew McConaughey) runs a farm with his family. Murphy (Mackenzie Foy), Cooper's 10-year-old daughter, believes her room is haunted by a ghost trying to communicate with her. They discover the "ghost" is an unknown intelligence sending coded messages using gravitational waves, leaving binary coordinates in the dust that direct them to a secret NASA installation led by Professor John Brand (Michael Caine). Brand reveals that a wormhole, apparently created by an alien intelligence, leads to new planets that may offer hope for survival. NASA's "Lazarus missions" have identified three potentially habitable worlds orbiting the black hole Gargantua: Miller, Edmunds, and Mann, named after the astronauts who surveyed them. Brand recruits Cooper to pilot the spacecraft Endurance to recover the astronauts' data; if one of the planets is habitable, humanity will follow on space stations. Cooper's departure devastates Murphy, and they part on bad terms.
On Endurance, Cooper joins Brand's daughter, biotechnologist Amelia (Anne Hathaway); scientists Romilly (David Gyasi) and Doyle (Wes Bentley); and robots TARS and CASE. They enter the wormhole and head to Miller, but discover the planet is so close to Gargantua that it experiences severe gravitational time dilation: each hour on the surface is seven years on Earth. A team descends to the planet, which proves inhospitable as it is covered by a shallow ocean roiled by enormous tidal waves. As Amelia attempts to recover Miller's data, a wave hits, killing Doyle and delaying the shuttle's departure. When the others return to Endurance, 23 years have passed.
On Earth, the adult Murphy (Jessica Chastain) is now a NASA scientist assisting Dr. Brand with an equation that will enable NASA to launch the space stations via gravity. On his deathbed, Brand admits to Murphy that he already solved the problem and determined the project is impossible. He concealed his findings to keep hope alive and put his faith in "Plan B": using frozen embryos aboard the Endurance to start humanity anew. However, Murphy concludes that Brand's equation could work with additional data from a black hole's singularity.
Low on fuel, Endurance can only visit one more planet before returning to Earth. After a tense vote, the team selects Mann's planet, as Mann is still transmitting. However, they discover it is icy and inhospitable; Mann (Matt Damon) always knew Plan B was the mission's true goal, and faked data about his planet's viability so Endurance would rescue him. Mann breaks Cooper's spacesuit visor and leaves him to die, and flees to Endurance on a shuttle; Romilly is killed by a bomb Mann set to protect his secret. Amelia rescues Cooper using the other cargo shuttle, and they arrive at Endurance in time to witness Mann docking improperly. The airlock explodes, killing Mann and causing serious damage, but Cooper uses the cargo shuttle to get Endurance under control.
Nearly out of fuel, Cooper and Amelia plan to slingshot Endurance around Gargantua on a course toward Edmunds. Due to being directly in the heavy gravity of Gargantua, 51 years actually pass back on Earth during the maneuver while TARS and Cooper detach their shuttles and fall back into the black hole, sacrificing themselves to collect data on the singularity and to propel Amelia by dropping the ship's mass. They emerge in an extra-dimensional "tesseract", where time appears as a spatial dimension and portals show glimpses of Murphy's childhood bedroom at various times. Cooper realizes the alien beings are future humans who have constructed this space so he can communicate with Murphy and save humanity. Using gravitational waves, Cooper encodes TARS's data on the singularity into the adult Murphy's watch, allowing her to solve Brand's equation and evacuate Earth. Cooper awakens aboard a NASA space station and reunites with the now elderly Murphy (Ellen Burstyn), who has led humanity's exodus. Murphy convinces Cooper to search for Amelia and CASE, who have completed their one-way trip to Edmunds' planet, and are setting Plan B into motion.
Cast[edit]
Astronaut crew
Matthew McConaughey as Cooper
Anne Hathaway as Amelia Brand
David Gyasi as Romilly
Wes Bentley as Doyle
Bill Irwin as the voice of the robot TARS
Josh Stewart as the voice of the robot CASE
Matt Damon as Dr. Mann[4]
On Earth
Jessica Chastain as Murphy "Murph" Cooper
Mackenzie Foy as young Murphy
Ellen Burstyn as elderly Murphy
Michael Caine as Professor John Brand
Casey Affleck as Tom Cooper
Timothée Chalamet as young Tom
John Lithgow as Donald
Leah Cairns as Lois Cooper
Topher Grace as Getty[5]
David Oyelowo as School principal
William Devane as Williams
Elyes Gabel as the Administrator
Collette Wolfe as Ms. Hanley
Production[edit]
Christopher Nolan – director, producer, writer
Jonathan Nolan – writer
Emma Thomas – producer
Lynda Obst – producer
Hoyte van Hoytema – cinematographer
Nathan Crowley – production designer
Mary Zophres – costume designer
Lee Smith – editor
Hans Zimmer – music composer
Paul Franklin – visual effects supervisor
Kip Thorne – consultant, executive producer
Development and financing[edit]
The premise for Interstellar was conceived by film producer Lynda Obst and theoretical physicist Kip Thorne, who collaborated on the 1997 film Contact and had known each other since Carl Sagan once set them up on a blind date.[6][7] Based on Thorne's work, the two conceived a scenario about "the most exotic events in the universe suddenly becoming accessible to humans", and attracted filmmaker Steven Spielberg's interest in directing.[8] The film began development in June 2006, when Spielberg and Paramount Pictures announced plans for a science fiction film based on an eight-page treatment written by Obst and Thorne. Obst was attached to produce the film, which Variety said would "take several years to come together" before Spielberg directed it.[9][10] By March 2007, Jonathan Nolan was hired to write a screenplay for the film, titled Interstellar.[11]
Spielberg moved his production company DreamWorks in 2009 from Paramount to The Walt Disney Company, and Paramount needed a new director for Interstellar. Jonathan Nolan recommended his brother Christopher, who joined the project in 2012.[12] Christopher Nolan met with Kip Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[13] In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[14] Nolan said he wanted to encourage the goal of human spaceflight.[15] He intended to write a screenplay based on his own idea that he would merge with his brother's screenplay.[16] By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[17] The Hollywood Reporter said Nolan will earn a salary of $20 million against 20% of what Interstellar grosses.[18] To research for the film, Nolan visited NASA as well as the private space program SpaceX.[13]
Though Paramount and Warner Bros. are traditionally rival studios, Warner Bros., who released Nolan's Batman films and works with Nolan's Syncopy, sought a stake in Nolan's production of Interstellar for Paramount. Warner Bros. agreed to give Paramount its rights to co-finance the next film in the Friday the 13th horror franchise and to have a stake in a future film based on the TV series South Park. Warner Bros. also agreed to let Paramount co-finance "a to-be-determined A-list Warners property".[19] In August 2013, Legendary Pictures finalized an agreement with Warner Bros. to finance approximately 25 percent of the film's production. Although it failed to renew its eight-year production partnership with Warner Bros., Legendary reportedly agreed to forego financing for Batman v Superman: Dawn of Justice in exchange for the stake in Interstellar.[20]
Writing[edit]
Screenwriter Jonathan Nolan was hired by Spielberg to write a script for Interstellar, and he worked on it for four years.[6] To learn the science, he studied relativity at the California Institute of Technology while writing the script.[21] Jonathan said he was pessimistic about the Space Shuttle program ending and how NASA lacked financing for a manned mission to Mars. The screenwriter found inspiration in science fiction films with apocalyptic themes, such as WALL-E (2008) and Avatar (2009). Entertainment Weekly has commented: "He set the story in a dystopian future ravaged by blight but populated with hardy folk who refuse to bow to despair."[12] Jonathan's brother, director Christopher Nolan, had worked on other science fiction scripts but decided to take the Interstellar script and choose amongst the vast array of ideas presented by Jonathan and Kip Thorne, picking what he felt he as a director could get "across to the audience and hopefully not lose them", before he merged it with a script he had been working on for years on his own.[22][23] Christopher kept in place Jonathan's conception of the first hour, which is set on a resource-depleted Earth in the near future. The setting was inspired by the Dust Bowl that took place in the United States during the Great Depression in the 1930s. Christopher instead revised the rest of the script, in which a team travels into space.[6] After watching the 2012 documentary The Dust Bowl for inspiration, Christopher contacted director Ken Burns and producer Dayton Duncan, requesting permission to use some of their featured interviews in Interstellar.[24]
Casting[edit]
Director Christopher Nolan said he became interested in casting Matthew McConaughey after seeing him in an early cut of the 2012 film Mud,[25] which he had an opportunity to see since he was friends with one of its producers, Aaron Ryder.[6] While McConaughey was in New Orleans, Louisiana, filming for the TV series True Detective, Nolan invited the actor to visit him at his home. Anne Hathaway was also invited to Nolan's home, where she read the script for Interstellar.[26] Paramount announced in April 2013 that both actors were cast in the film's starring roles.[27] Nolan called McConaughey's character an everyman with whom "the audience could experience the story".[28] Jessica Chastain was contacted while she was filming Miss Julie in Northern Ireland, and a script was delivered to her.[26] Matt Damon was cast in late August 2013 in a supporting role and filmed his scenes in Iceland.[4]
Filming[edit]
Nolan filmed Interstellar with anamorphic 35mm and IMAX film photography.[5] Cinematographer Hoyte van Hoytema was hired for Interstellar, as Wally Pfister, Nolan's cinematographer on all of his past films, was working on his directorial debut, Transcendence.[29] IMAX cameras were used for Interstellar more than for any of Nolan's previous films. To minimize the use of computer-generated imagery, the director had practical locations built, such as the interior of a space shuttle.[25] Van Hoytema retooled an IMAX camera to be handheld for shooting interior scenes.[6] Some of the film's sequences were shot with an IMAX camera installed in the nosecone of a Learjet.[30]
Nolan, who is known to keep details of his productions secret, strove to ensure secrecy for Interstellar. The Wall Street Journal reported: "The famously secretive filmmaker has gone to extreme lengths to guard the script to ... Interstellar, just as he did with the blockbuster Dark Knight trilogy."[31] As one security measure, Interstellar was filmed under the name Flora's Letter,[32] Flora being one of Nolan's four children with producer Emma Thomas.[13]



 The Svínafellsjökull glacier in Iceland was used as a filming location for Interstellar, doubling for Mann's planet.
The film's principal photography was scheduled to last for four months.[4] It began on August 6, 2013, in the province of Alberta, Canada.[20] Towns in Alberta where filming took place included Nanton, Longview, Lethbridge, and Okotoks. In Okotoks, filming took place at the Seaman Stadium and the Olde Town Plaza.[32] For a cornfield scene, production designer Nathan Crowley planted 500 acres of corn that would be destroyed in an apocalyptic dust storm scene,[12] intended to be similar to storms experienced during the Dust Bowl in 1930s United States.[13] Additional scenes involving the dust storm and McConaughey's character were also filmed in Fort Macleod, where the giant dust clouds were created on location using large fans to blow cellulose-based synthetic dust through the air.[33] Filming in the province lasted until September 9, 2013, and involved hundreds of extras as well as approximately 130 crew members, most of them local.[32]
Filming also took place in Iceland, where Nolan had previously filmed scenes for his 2005 film Batman Begins.[34] The crew transported mock spaceships weighing approximately 10,000 pounds (4,500 kg) to the country,[13] which was chosen to represent two extraterrestrial planets: one covered in ice, and one covered in water.[6] A two-week Iceland shoot was scheduled[4] and a crew of approximately 350 people, including 130 locals, worked on it. Locations included the Svínafellsjökull glacier and the town of Klaustur.[35][36] While filming a water scene in Iceland, actress Anne Hathaway almost suffered hypothermia because the dry suit she was wearing had not been properly secured.[13]
After the Iceland shoot, the crew moved to Los Angeles to film for 54 days. Filming in California was relatively unusual since California's tax credit was not available for films with a budget greater than $75 million. Filming locations included the Westin Bonaventure Hotel and Suites, the Los Angeles Convention Center, a Sony Pictures soundstage in Culver City, and a private residence in Altadena.[37] Filming concluded in December 2013, and Nolan started editing the film for its release in 2014.[38] Production completed with a budget of $165 million, $10 million less than what was allotted by Paramount, Warner Bros., and Legendary Pictures.[13]
Production design[edit]









The Endurance spacecraft (left) is based on the International Space Station (right).
Interstellar features three spacecraft: the Ranger, the Endurance, and the Lander. The Ranger's function is similar to the Space Shuttle's, being able to enter and exit planetary atmospheres. The Endurance, the crew's mother ship, has a circular structure formed by 12 capsules: four with planetary colonization equipment, four with engines, and four with the permanent functions of cockpit, medical labs and habitation. Production designer Nathan Crowley said the Endurance was based on the International Space Station: "It's a real mish-mash of different kinds of technology. You need analogue stuff as well as digital stuff, you need back-up systems and tangible switches. It's really like a submarine in space. Every inch of space is used, everything has a purpose." Lastly, the Lander transports the capsules with colonization equipment to planetary surfaces. Crowley compared it to "a heavy Russian helicopter".[6]
The film also features two robots, CASE and TARS. Nolan wanted to avoid making the robots anthropomorphic and chose a five-foot quadrilateral design. The director said: "It has a very complicated design philosophy. It's based on mathematics. You've got four main blocks and they can be joined in three ways. So you have three combinations you follow. But then within that, it subdivides into a further three joints. And all the places we see lines—those can subdivide further. So you can unfold a finger, essentially, but it's all proportional." Actor Bill Irwin voiced and physically controlled both robots, but his image was digitally removed from the film and his voicing for CASE was replaced.[6]
Sound design and music[edit]
Main article: Interstellar: Original Motion Picture Soundtrack
Gregg Landaker and Gary Rizzo were sound engineers for the film, tasked with sound mixing, while sound editor Richard King supervised the process.[39] Christopher Nolan said he sought to mix the film's sound to take maximum advantage of current sound equipment in theaters.[40] Nolan paid close attention to designing the sound mix, for instance focusing on what buttons being pressed with astronaut-suit gloves would sound like.[12] The studio's website said that "The sound on Interstellar has been specially mixed to maximize the power of the low end frequencies in the main channels as well as in the subwoofer channel."[41]
Composer Hans Zimmer, who scored Nolan's Batman film trilogy & Inception, also scored Interstellar. Zimmer and Nolan strived to develop a unique sound for Interstellar. Zimmer said: "The textures, the music, and the sounds, and the thing we sort of created has sort of seeped into other people's movies a bit, so it's time to reinvent. The endless string (ostinatos) need to go by the wayside, the big drums are probably in the bin."[42] Zimmer also said that Nolan did not provide him a script or any plot details for writing music for the film and instead gave the composer "one page of text" that "had more to do with [Zimmer's] story than the plot of the movie".[43] Nolan has stated that he said to Zimmer: "I am going to give you an envelope with a letter in it. One page. It's going to tell you the fable at the center of the story. You work for one day, then play me what you have written", and that he embraced what Zimmer composed. Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. The soundtrack was released on November 18, 2014.[12]
Visual effects[edit]
The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[44] Visual effects supervisor Paul Franklin said the number of effects in the film was not much greater than in Nolan's The Dark Knight Rises or Inception, but that for Interstellar, they created the effects first, so that digital projectors could be used to display them behind the actors, rather than having the actors perform in front of green screens.[6]
The Ranger, Endurance, and Lander spacecraft were created using miniature effects by production designer Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. Created through a combination of 3D printing and hand sculpting, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th scale miniature of the Endurance module spanned over 7.6 m (25 feet), while a pyrotechnic model of a portion of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 14 m (46 feet) and over 15 m (50 feet), respectively. The miniatures were large enough for Hoyte van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using VistaVision cameras on a smaller motion control rig.[45]
Influences[edit]
Director Christopher Nolan said influences on Interstellar included the "key touchstones" of science fiction cinema: Metropolis (1927), 2001: A Space Odyssey (1968), and Blade Runner (1982).[46] About 2001, Nolan said: "The movies you grow up with, the culture you absorb through the decades, become part of your expectations while watching a film. So you can't make any film in a vacuum. We're making a science-fiction film... You can't pretend 2001 doesn't exist when you're making Interstellar." He also said that Star Wars (1977) and Alien (1979) influenced Interstellar '​s production design: "Those always stuck in my head as being how you need to approach science-fiction. It has to feel used—as used and as real as the world we live in."[47] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[48]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[49] He also sought to emulate films like Steven Spielberg's Jaws (1975) and Close Encounters of the Third Kind (1977). He stated: "When you say you're making a family film, it has all these pejorative connotations that it'll be somehow soft. But when I was a kid, these were family films in the best sense, and they were as edgy and incisive and challenging as anything else on the blockbuster spectrum. I wanted to bring that back in some way." He also cited the space drama The Right Stuff (1983) as an example to follow, and screened it for the crew before production.[6] To emulate that film, he sought to capture reflection on the Interstellar astronauts' visors. For further inspiration grounded in real-world space travel, the director also invited former astronaut Marsha Ivins to the set.[13] Nolan and his crew studied the IMAX NASA documentaries of filmmaker Toni Myers for visual reference of spacefaring missions, and sought to emulate the look of their use of IMAX cameras in the enclosed spaces of a spacecraft interior.[50]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[51] Outside of films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[13]
Scientific accuracy[edit]



Kip Thorne, theoretical physicist, served as scientific consultant and executive producer for the film.
Theoretical physicist Kip Thorne was a scientific consultant for the film, to ensure the depictions of wormholes and relativity were as accurate as possible. "For the depictions of the wormholes and the black hole," he said, "we discussed how to go about it, and then I worked out the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on Einstein's general relativity equations."[52]
In creating the wormhole and a supermassive rotating black hole (which possesses an ergosphere, as opposed to a non-rotating black hole), Thorne collaborated with visual effects supervisor Paul Franklin and a team of 30 computer effects artists at Double Negative. Thorne would provide pages of deeply sourced theoretical equations to the artists, who then wrote new CGI rendering software based on these equations to create accurate computer simulations of the gravitational lensing caused by these phenomena. Some individual frames took up to 100 hours to render, and resulted in 800 terabytes of data. The resulting visual effect provided Thorne with new insight into the effects of gravitational lensing and accretion disks surrounding black holes, and will lead to the creation of two scientific papers, one for the astrophysics community and one for the computer graphics community.[53]
Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience and would require the effects team to unrealistically alter its appearance. However, Nolan found the finished effect to be understandable, provided that he maintained consistent camera perspectives. "What we found was as long as we didn't change the point of view too much, the camera position, we could get something very understandable".[54]
The portrayal of what a wormhole would look like is considered scientifically correct. Rather than a two-dimensional hole in space, it is depicted as a sphere, showing a distorted view of the target galaxy.[55] The accretion disk of the black hole was described by Thorne as "anemic and at low temperature—about the temperature of the sun," allowing it to emit appreciable light, but not enough gamma- and X-rays to threaten nearby astronauts and planets.[56]
Early in the process, Thorne laid down two guidelines: "First, that nothing would violate established physical laws. Second, that all the wild speculations... would spring from science and not from the fertile mind of a screenwriter."[10] Nolan accepted these terms as long as they did not get in the way of the making of the movie. At one point, Thorne spent two weeks trying to talk Nolan out of an idea about a character traveling faster than light before Nolan finally gave up.[10][57] According to Thorne, the element which has the highest degree of artistic freedom is the clouds of ice on one of the planets they visit, which are structures that probably go beyond the material strength that ice would be able to support.[10]
Astrobiologist David Grinspoon points out that even with a voracious blight it would have taken millions of years to draw down the atmosphere's content of oxygen. He also notes that the ice clouds should have been pulled down by gravity and the planet orbiting the black hole had sunlight in the film when it should not.[58] However, as Thorne mentioned above, this kind of rotating black hole has an accretion disk that has a temperature similar to that of the sun, so that the emission of light reaching the planet is likely due to such an energetic/radiating accretion disk of matter approaching the black hole's event horizon. Additionally, a neutron star is mentioned in the movie by Cooper as part of the system.
Neil deGrasse Tyson has explored the science behind the ending of Interstellar.[59]
Dr. Michio Kaku praised the film for its scientific accuracy and has said Interstellar "could set the gold standard for science fiction movies for years to come." Likewise, Timothy Reyes, a former NASA software engineer, said, "Thorne's and Nolan's accounting of black holes and wormholes and the use of gravity is excellent."[60]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[61]
Marketing[edit]
The teaser trailer for Interstellar debuted December 14, 2013 and featured clips related to space exploration, accompanied by a voiceover by Matthew McConaughey's character of Cooper.[62] The theatrical trailer debuted May 5, 2014 at the Lockheed Martin IMAX Theater and was made available online later that month. For the week ending May 19 it was the most-viewed movie trailer, with over 19.5 million views on YouTube.[63]
Christopher Nolan and McConaughey made their first appearances at Comic-Con in July 2014 to promote Interstellar. In the same month, Paramount Pictures launched a complex interactive Interstellar website. It reported that online users uncovered a star chart related to the Apollo 11 moon landing.[64]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[65] The film's website was relaunched to be a digital hub hosted on a Google domain.[66] The website collected feedback from film audiences, and linked to a mobile app.[66] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[67] The Paramount-Google partnership also included a virtual time capsule compiled with user-generated content to be available in 2015. The initiative Google for Education will also use the film as a basis for promoting lesson plans for math science in schools around the United States.[65]
Paramount is providing a virtual reality walkthrough of the Endurance spacecraft using Oculus Rift technology. It hosted the walkthrough sequentially in four theaters, in New York City, Houston, Los Angeles, and Washington, D.C., from October 6 through November 19, 2014.[68][69] The publisher Running Press released Interstellar: Beyond Time and Space, a book by Mark Cotta Vaz about the making of the film, on November 11, 2014.[70] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[71]
On November 18, 2014 Wired released a tie-in online comic titled Absolute Zero, written by Christopher Nolan and drawn by Sean Gordon Murphy. The comic serves as a prequel to the film following Mann.[72]
Release[edit]
Theatrical run[edit]
Prior to Interstellar '​s public release, Paramount CEO Brad Grey hosted a private screening on October 19, 2014 at an IMAX theater in Lincoln Square, Manhattan.[73] Paramount then showed Interstellar to some of the industry's filmmakers and actors in a first-look screening at the California Science Center on October 22, 2014.[74] On the following day, the film was screened at the TCL Chinese Theatre in Los Angeles, California for over 900 members of the Screen Actors Guild. Actors McConaughey, Chastain, and Hathaway appeared afterward for a Q&A session.[75] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[76] It premiered in Europe on October 29, 2014 at Leicester Square in London.[77]



 The TCL Chinese Theatre in Los Angeles, California had a 70 mm IMAX projector installed to show Interstellar.
Interstellar was released early on November 4 in various 70mm IMAX film, 70mm film and 35mm film theaters and had a limited release in North America (United States and Canada) on November 5, 2014 and a wide release on November 7, 2014.[78] The film was released in Belgium, France, and Switzerland on November 5, 2014 and in additional territories in the following days, including the United Kingdom on November 7, 2014.[79] For the limited North America release, Interstellar is projected from 70 mm and 35 mm film in 249 theaters that still support those formats, including at least 41 70 mm IMAX theaters.[nb 1] A 70 mm IMAX projector was installed at the TCL Chinese Theatre in Los Angeles, California to display the format. The film's wide release expanded to theaters that show it digitally.[80] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[5] The film was expected to be released in over 770 IMAX screens worldwide, which would have been the widest global release in IMAX cinemas.[81][82] However, the film was released to only 574 IMAX theaters worldwide.[83]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[84] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[80] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[85] McClintock reported that several theater owners saw the initiative as "backward", as nearly all theaters in the United States have been converted to digital projection.[86]
Box office[edit]
As of January 25, 2015, Interstellar has earned $186,350,542 in North America and $484,700,000 in other territories for a worldwide total of $671,050,542, against a production budget of $165 million.[3] The film set an IMAX opening record worldwide with $20.6 million from 574 IMAX theaters, surpassing the $17.1 million record held by The Hunger Games: Catching Fire and is also the best opening for an IMAX 2D, non-sequel and November IMAX release.[83] The film had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[87] It reached a milestone of $200 million in 6 days, $300 million in 10 days,[88] $400 million in 17 days[89] $500 million in 24 days[90] and $600 million in 37 days.[91] It is the tenth highest-grossing film of 2014.[92] Interstellar is the fourth film to gross over $100 million worldwide from IMAX ticket sales. It trails Avatar, The Dark Knight Rises and Gravity in total IMAX box office revenue.[93][94][95]
North America[edit]
Interstellar and Big Hero 6 opened the same weekend (November 7–9, 2014) in North America. Both were forecast to earn between $55 million and $60 million. TheWrap said the pairing was "potentially a close race". Scott Mendelson of Forbes called the race between the two films a "tight one" and compared it to competitions between Shrek 2 and The Day After Tomorrow as well as Monsters University and World War Z.[96] Fandango reported that pre-sales for Interstellar were outpacing Christopher Nolan's earlier film Inception, as well as Dawn of the Planet of the Apes, released earlier in 2014.
In North America, the film is the 10th highest-grossing film that never hit #1, with a top rank of #2 its opening week.[97] Interstellar had an early limited release in the United States and Canada in selected theatres on November 4, 2014 at 8:00 pm, coinciding with the 2014 US midterm elections.[98] The film topped the box office the following day on Wednesday earning $1.35 million (which includes its gross from Tuesday night) from 249 theatres (42 of which were IMAX screens) for which IMAX accounted for 62% of its total gross.[99] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[100] The film earned $3.6 million from Thursday late night preview for a previews total of $4.9 million (Tuesday - Thursday).[101][102][103] The film was widely released on November 7 and topped the box office on its opening day earning $17 million (which includes the Thursday preview haul but not the Tuesday-Wednesday gross which would make up to $19.15 million) ahead of Big Hero 6 ($15.8 million).[104] The film played 52% male and 75% over 25 years old.[105]
In its opening weekend the film earned $47,510,360[nb 2] from 3,561 theatres ($13,342 per theatre) debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million).[107][108][109] IMAX comprised $13.2 million (28%) of its opening weekend gross,[110] while other premium large format screens comprised $5.25 million (10.5%) of the gross. It is Nolan's first film to not debut at number one since 2002, when Insomnia debuted at number two.[111][112] Commenting about the heat of competition between the two films and their subsequent results, Phil Contrino, vice president and chief analyst at BoxOffice.com said, "It's good for the marketplace". He added: "The programming this weekend was very intelligent, and we didn't have a lot of that this year. Neither movie hurt the other one. They were both operating in separate camps and they both found an audience."[113] In its second weekend the film fell to number three behind old rival Big Hero 6 and newcomer Dumb and Dumber To and dropped 39% earning $29.12 million for a two weekend total of $97.8 million.[114][115] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[116][117] In its third week, the film earned $15.1 million and remained at #3, below newcomer The Hunger Games: Mockingjay – Part 1 and Big Hero 6.[118]
Other territories[edit]
Interstellar was released in 35 markets on November 6 including major markets like Germany, Russia, Australia and Brazil and earned $8.7 million in total.[119] In its opening weekend Interstellar earned $82.9 million from 11.1 admissions on over 14,800 screens in 62 markets.[120] It earned $7.2 million from 206 IMAX screens, at an average of 35,000 per theatre.[121] The film went number one in South Korea ($14.4 million),[122] Russia ($8.9 million) and France ($5.3 million). Other high openings include Germany ($4.6 million), Italy ($3.7 million), Australia ($3.7 million), Spain ($2.7 million), Mexico ($3.1 million) and Brazil ($1.9 million).[123] In the United Kingdom the film debuted at number one earning £5.37 million ($8.6 million) in its opening weekend which was lower than the openings of The Dark Knight Rises (£14.36 million), Gravity (£6.24 million) and Inception (£5.91 million).[124] Interstellar was released in China on November 12 and earned $5.4 million on its opening day on Wednesday which is Nolan's biggest opening in China surpassing the $4.61 million opening record of The Dark Knight Rises.[125][126] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[127][128] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[129] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[130] and Pacific Rim ($45.2 million).[131][132]
It topped the box office outside of North America for two comsecutive weekends before being overtaken by The Hunger Games: Mockingjay - Part 1 in its third weekend.[129] 31 days after its release, the film became the 13th most successful film and 3rd most successful foreign film in South Korea with 9.1 million admissions trailing only behind Avatar (13.3 million admissions) and Frozen (10.3 million admissions).[133] The film closed down its theatrical run in China on December 12, 2014 (on Friday, 31 days after its initial release) with a total revenue of $122.6 million.[91][134]
Critical response[edit]
Interstellar received generally positive reviews from critics. It has a score of 72% on review aggregator website Rotten Tomatoes based on 281 reviews, with a rating average of 7 out of 10. The site's critical consensus reads: "Interstellar represents more of the thrilling, thought-provoking, and visually resplendent film-making moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp."[135] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[136]
Scott Foundas, chief film critic at Variety, said that Interstellar is "as visually and conceptually audacious as anything Nolan has yet done" and considered the film more personal than Nolan's previous films.[137] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[138] David Stratton of At the Movies rated the film four and a half stars out of five, praising the film's ambition, effects and 70mm IMAX presentation, though criticizing the sound for being so loud as to make some of the dialogue inaudible. Conversely, cohost Margaret Pomeranz rated the film three out of five, as she felt the human drama got lost amongst the film's scientific concepts.[139] Henry Barnes of The Guardian scored the film three out of five stars, calling it "a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour."[140]
Oliver Gettell, writing for Los Angeles Times, reported that "Film critics largely agree that Interstellar is an entertaining, emotional and thought-provoking sci-fi saga, even if it can also be clunky and sentimental at times."[141] James Dyer, reviewing the film for Empire, awarded the film a full five stars, describing it as "Brainy, barmy and beautiful to behold ... a mind-bending opera of space and time with a soul wrapped up in all the science."[142] Time Out London '​s Dave Calhoun of Time Out London also granted the film a maximum score of five stars, stating that it is "a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike".[143] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[144] Richard Roeper of Chicago Sun-Times awarded the film a full four stars and wrote, "This is one of the most beautiful films I have ever seen — in terms of its visuals, and its overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms. Love."[145]
Describing Nolan as a "merchant of awe", Tim Robey of The Telegraph felt Interstellar was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and the "deep-digging intelligence" of the film.[146] Todd McCarthy, reviewing for The Hollywood Reporter, said, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that."[147] Richard Corliss of Time gave the film a positive review, calling it "a must-take ride with a few narrative bumps". He conceded that "Nolan's reach occasionally exceeds his grasp" but accepted this occurrence.[148] In his review for The Associated Press, Jake Coyle praised the film for its "big-screen grandeur", while finding some of the dialogue "clunky". He further described it as "an absurd endeavor" and "one of the most sublime movies of the decade".[149] Scott Mendelson of Forbes listed Interstellar as one of the most disappointing films of 2014, stating that the film has a lack of flow, loss of momentum following the climax, clumsy sound mixing, and "thin characters" despite seeing the film twice in order to "give it a second chance". Mendelson writes that Interstellar "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies."[150]
New York Times columnist David Brooks concludes that Interstellar explores the relationships among "science and faith and science and the humanities" and "illustrates the real symbiosis between these realms."[151] Wai Chee Dimock, in the Los Angeles Review of Books, writes that Nolan's films are "rotatable at 90, 180, and 360 degrees," and that "although there is considerable magical thinking here, making it almost an anti-sci-fi film, holding out hope that the end of the planet is not the end of everything, it reverses itself, however, when that magic falls short, when the poetic license is naked and plain for all to see. In those moments, it suddenly dawns upon us that the ocean that rises up 90 degrees and comes at us like a wall is not just a special effect on some faraway planet, but a scenario all too close to home."[152][full citation needed]
Accolades[edit]
Interstellar was nominated for Original Score for the Hollywood Music in Media Awards, contending with six other films. The advisory board received a five-minute trailer for the film that included Hans Zimmer's music.[153]

List of Accolades

Award / Film Festival
Category
Recipient(s)
Result
Academy Awards[154] Best Original Score Hans Zimmer Pending
Best Sound Editing Richard King Pending
Best Sound Mixing Mark Weingarten, Gary Rizzo, Gregg Landaker Pending
Best Production Design Nathan Crowley, Gary Fettis Pending
Best Visual Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Pending
Alliance of Women Film Journalists[155] Best Cinematography Hoyte van Hoytema Nominated
American Film Institute Awards[156] Movies of the Year Emma Thomas, Christopher Nolan, Lynda Obst (shared with American Sniper, Birdman, Boyhood, Foxcatcher, The Imitation Game, Into the Woods, Nightcrawler, Selma, Unbroken, and Whiplash) Won (shared)
Art Directors Guild[157] Excellence in Production Design for a Fantasy Film Nathan Crowley Pending
Black Reel Awards[158] Outstanding Breakthrough Performance — Male David Gyasi Pending
British Academy Film Awards[159] Best Original Music Hans Zimmer Pending
Best Cinematography Hoyte van Hoytema Pending
Best Production Design Nathan Crowley, Gary Fettis Pending
Best Special Visual Effects Paul Franklin, Scott Fisher, Andrew Lockley Pending
Central Ohio Film Critics Association[160] Best Cinematography Hoyte van Hoytema Nominated
Best Score Hans Zimmer Nominated
Chicago Film Critics Association[161] Best Director Christopher Nolan Nominated
Best Art Direction Nathan Crowley, Gary Fettis Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Cinema Audio Society Awards[162] Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action Mark Weingarten, Gary Rizzo, Gregg Landaker, Alan Meyerson, Thomas J. O’Connell, Mary Jo Lang Pending
Costume Designers Guild[163] Excellence in Contemporary Film Mary Zophres Pending
Critics' Choice Movie Award[164][165] Best Young Performer Mackenzie Foy Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Art Direction Nathan Crowley (Production Designer), Gary Fettis (Set Decorator) Nominated
Best Editing Lee Smith Nominated
Best Visual Effects  Nominated
Best Sci-Fi/Horror Movie  Won
Best Score Hans Zimmer Nominated
Dallas–Fort Worth Film Critics Association[166] Best Cinematography Hoyte van Hoytema 2nd Place
Best Original Score Hans Zimmer Won
Denver Film Critics Society[167] Best Director Christopher Nolan Nominated
Best Science Fiction/Horror Film  Nominated
Best Cinematography Hoyte van Hoytema Nominated
Florida Film Critics Circle[168][169] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects  Won
Best Art Direction/Production Design Nathan Crowley, Gary Fettis Runner-up
Best Score Hans Zimmer Nominated
Gay and Lesbian Entertainment Critics Association[170] Visually Striking Film of the Year  Pending
Georgia Film Critics Association[171][172] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Score Hans Zimmer Won
Breakthrough Award David Oyelowo (Also for Default, A Most Violent Year, Nightingale, Selma) Won
Golden Globe Awards[173] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[174] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Las Vegas Film Critics Society Awards[175] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[176] Best Contemporary Make-Up Luisa Abel, Jay Wejebe Pending
Best Contemporary Hair Styling Patricia DeHaney, Jose L. Zamora Pending
Motion Picture Sound Editors Golden Reel Awards[177] Feature English Language -Effects/Foley Richard King Pending
Feature Music Alex Gibson Pending
Nevada Film Critics Society[178] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects Hans Zimmer Won
North Texas Film Critics Association[179] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[180][181] Best Original Score Hans Zimmer Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Film Editing Lee Smith Nominated
Best Production Design Nathan Crowley Nominated
Best Visual Effects Andrew Lockley, Ian Hunter Won
Best Performance by a Youth — Female Mackenzie Foy Nominated
San Diego Film Critics Society[182] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[183] Best Cinematography Hoyte van Hoytema Pending
Best Original Score Hans Zimmer Pending
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Pending
St. Louis Gateway Film Critics Association[184][185] Best Supporting Actress Mackenzie Foy Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Visual Effects  Won
Best Music Score Hans Zimmer Nominated
Visual Effects Society Awards[186] Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture Paul Franklin, Kevin Elam, Ann Podlozny, Andrew Lockley, Scott Fisher Pending
Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture Tom Bracht, Graham Page, Thomas Døhlen, Kirsty Clark (for Tesseract) Pending
Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project Faraz Hameed, Stephen Painter, Hoyte van Hoytema, Dorian Knapp (for Tesseract) Pending
Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture Raphael Hamm, Isaac Layish, Sebastian Von Overheidtm, Tristan Myles (for Water) Pending
Washington D.C. Area Film Critics Association[187] Best Art Direction Nathan Crowley (Production Designer), Gary Fettis (Set Decorator) Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Editing Lee Smith Nominated
Best Original Score Hans Zimmer Nominated
Best Youth Performance Mackenzie Foy Nominated
Women Film Critics Circle[188] A Woman's Right to Male Roles in Movies Jessica Chastain Won
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Black holes in fiction
Bootstrap paradox
Interstellar spacecraft
Interstellar travel
List of time travel science fiction
Wormholes in fiction
List of films featuring drones
Notes[edit]
1.Jump up ^ The sequences shot on 65 mm IMAX film are displayed in their full 1.43:1 aspect ratio on 70 mm IMAX screens (the 5 mm difference is due to the addition of the audio track on the film print), but are cropped down to as large as 1.9:1 on digital IMAX screens, down to 2.20:1 on regular 70 mm screens, and down to 2.35:1 to match the 35 mm anamorphic footage on 35 mm film and all other digital screenings.
2.Jump up ^ The opening weekend gross does not include the revenue it earned from Tuesday and Wednesday night previews. In total the film earned $2,151,453 from the two late night showings which would bring its opening weekend gross to $49,661,813.[106]
References[edit]
1.Jump up ^ "INTERSTELLAR". British Board of Film Classification. Retrieved October 20, 2014.
2.^ Jump up to: a b "Interstellar (2014)". British Film Institute. Retrieved December 10, 2014.
3.^ Jump up to: a b c "Interstellar (2014)". Box Office Mojo. Retrieved January 27, 2015.
4.^ Jump up to: a b c d Jagernauth, Keith (August 28, 2013). "Exclusive: Matt Damon Joins Christopher Nolan's 'Interstellar,' Lines Up Directorial Debut 'The Foreigner'". The Playlist (Indiewire Network). Retrieved November 18, 2013.
5.^ Jump up to: a b c Fleming, Mike (August 13, 2013). "Christopher Nolan Starts 'Interstellar'". Deadline.com. Retrieved August 13, 2013.
6.^ Jump up to: a b c d e f g h i j Jolin, Dan (November 2014). "The Ultimate Trip". Empire.
7.Jump up ^ "How Building A Black Hole For 'Interstellar' Led To An Amazing Scientific Discovery - Wired". WIRED.
8.Jump up ^ Fernandez, Jay A. (March 28, 2007). "Writer with real stars in his eyes". Los Angeles Times. Retrieved May 14, 2014.
9.Jump up ^ Fleming, Michael (June 14, 2006). "Space chase pic on Par launch pad". Variety. Retrieved October 1, 2014.
10.^ Jump up to: a b c d "Physicist who inspired Interstellar spills the backstory—and the scene that makes him cringe".
11.Jump up ^ Fernandez, Jay (March 24, 2007). "Spielberg, Nolan plan sci-fi project". Los Angeles Times. Retrieved October 1, 2014.
12.^ Jump up to: a b c d e Jensen, Jeff (October 16, 2014). "Inside 'Interstellar,' Christopher Nolan's emotional space odyssey". Entertainment Weekly. Retrieved October 16, 2014.
13.^ Jump up to: a b c d e f g h i Galloway, Stephen (October 22, 2014). "'Interstellar's' Christopher Nolan, Stars Gather to Reveal Secrets of the Year's Most Mysterious Film". The Hollywood Reporter. Retrieved October 22, 2014.
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Further reading[edit]
Thorne, Kip (November 7, 2014). The Science of Interstellar. Book about the science behind the film. W. W. Norton & Company. ISBN 978-0-393-35137-8.
Vaz, Mark Cotta (November 11, 2014). Interstellar: Beyond Time and Space. Book about the making of the film. Running Press. ISBN 978-0-7624-5683-3.
MacKay, John. "On INTERSTELLAR (2014) (preliminary notes)." [1]
External links[edit]
 Wikiquote has quotations related to: Interstellar (film)
 Wikimedia Commons has media related to Interstellar.
Official website
Interstellar at the Internet Movie Database
Interstellar at AllMovie
Interstellar at Metacritic
Interstellar at Rotten Tomatoes


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Interstellar (film)
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Interstellar
A ringed spacecraft, revolves around a wormhole, here depicted as a reflective sphere.
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Emma Thomas
Christopher Nolan
Lynda Obst

Written by
Jonathan Nolan
Christopher Nolan

Starring
Matthew McConaughey
Anne Hathaway
Jessica Chastain
Bill Irwin
Ellen Burstyn
Michael Caine

Music by
Hans Zimmer
Cinematography
Hoyte van Hoytema
Edited by
Lee Smith

Production
 companies

Legendary Pictures
Syncopy
Lynda Obst Productions

Distributed by
Paramount Pictures (North America)
Warner Bros. Pictures (International)


Release dates

October 26, 2014 (TCL Chinese Theatre)
November 5, 2014 (North America)
November 7, 2014 (United Kingdom)


Running time
 169 minutes[1]
Country
United Kingdom[2]
United States[2]

Language
English
Budget
$165 million[3]
Box office
$671.1 million[3]
Interstellar is a 2014 science fiction film directed by Christopher Nolan, starring Matthew McConaughey, Anne Hathaway, Jessica Chastain and Michael Caine. The film features a crew of astronauts who travel through a wormhole in search of a new home for humanity. Brothers Christopher and Jonathan Nolan wrote the screenplay, merging a script Jonathan developed in 2007 with Christopher's ideas. Christopher Nolan produced the film with his wife, Emma Thomas, and Lynda Obst. Theoretical physicist Kip Thorne, whose work inspired the film, acted as scientific consultant and executive producer.
Warner Bros., Paramount Pictures, and Legendary Pictures co-financed the film, while Syncopy and Lynda Obst Productions served as production companies. Cinematographer Hoyte van Hoytema shot the film on anamorphic 35 mm and IMAX 70 mm photography. Filming commenced in late 2013 in Alberta, Canada; Iceland; and Los Angeles. The film features an extensive use of practical and miniature effects, while Double Negative created additional digital effects.
Interstellar premiered on October 26, 2014, in Los Angeles. In North America, it was released in film stock to theaters still equipped to project the format, before expanding to venues using digital projectors. It was successful at the box office and received generally positive reviews from critics, who gave particular attention to the film's scientific accuracy, musical score and visual effects. At the 87th Academy Awards, the film received five nominations — Best Original Score, Best Sound Mixing, Best Sound Editing, Best Visual Effects and Best Production Design.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development and financing
3.2 Writing
3.3 Casting
3.4 Filming
3.5 Production design
3.6 Sound design and music
3.7 Visual effects
4 Influences
5 Scientific accuracy
6 Marketing
7 Release 7.1 Theatrical run
7.2 Box office 7.2.1 North America
7.2.2 Other territories
7.3 Critical response
7.4 Accolades
8 See also
9 Notes
10 References
11 Further reading
12 External links

Plot[edit]
In the future, crop blight has caused civilization to regress into a failing agrarian society. Former NASA pilot Cooper (Matthew McConaughey) runs a farm with his family. Murphy (Mackenzie Foy), Cooper's 10-year-old daughter, believes her room is haunted by a ghost trying to communicate with her. They discover the "ghost" is an unknown intelligence sending coded messages using gravitational waves, leaving binary coordinates in the dust that direct them to a secret NASA installation led by Professor John Brand (Michael Caine). Brand reveals that a wormhole, apparently created by an alien intelligence, leads to new planets that may offer hope for survival. NASA's "Lazarus missions" have identified three potentially habitable worlds orbiting the black hole Gargantua: Miller, Edmunds, and Mann, named after the astronauts who surveyed them. Brand recruits Cooper to pilot the spacecraft Endurance to recover the astronauts' data; if one of the planets is habitable, humanity will follow on space stations. Cooper's departure devastates Murphy, and they part on bad terms.
On Endurance, Cooper joins Brand's daughter, biotechnologist Amelia (Anne Hathaway); scientists Romilly (David Gyasi) and Doyle (Wes Bentley); and robots TARS and CASE. They enter the wormhole and head to Miller, but discover the planet is so close to Gargantua that it experiences severe gravitational time dilation: each hour on the surface is seven years on Earth. A team descends to the planet, which proves inhospitable as it is covered by a shallow ocean roiled by enormous tidal waves. As Amelia attempts to recover Miller's data, a wave hits, killing Doyle and delaying the shuttle's departure. When the others return to Endurance, 23 years have passed.
On Earth, the adult Murphy (Jessica Chastain) is now a NASA scientist assisting Dr. Brand with an equation that will enable NASA to launch the space stations via gravity. On his deathbed, Brand admits to Murphy that he already solved the problem and determined the project is impossible. He concealed his findings to keep hope alive and put his faith in "Plan B": using frozen embryos aboard the Endurance to start humanity anew. However, Murphy concludes that Brand's equation could work with additional data from a black hole's singularity.
Low on fuel, Endurance can only visit one more planet before returning to Earth. After a tense vote, the team selects Mann's planet, as Mann is still transmitting. However, they discover it is icy and inhospitable; Mann (Matt Damon) always knew Plan B was the mission's true goal, and faked data about his planet's viability so Endurance would rescue him. Mann breaks Cooper's spacesuit visor and leaves him to die, and flees to Endurance on a shuttle; Romilly is killed by a bomb Mann set to protect his secret. Amelia rescues Cooper using the other cargo shuttle, and they arrive at Endurance in time to witness Mann docking improperly. The airlock explodes, killing Mann and causing serious damage, but Cooper uses the cargo shuttle to get Endurance under control.
Nearly out of fuel, Cooper and Amelia plan to slingshot Endurance around Gargantua on a course toward Edmunds. Due to being directly in the heavy gravity of Gargantua, 51 years actually pass back on Earth during the maneuver while TARS and Cooper detach their shuttles and fall back into the black hole, sacrificing themselves to collect data on the singularity and to propel Amelia by dropping the ship's mass. They emerge in an extra-dimensional "tesseract", where time appears as a spatial dimension and portals show glimpses of Murphy's childhood bedroom at various times. Cooper realizes the alien beings are future humans who have constructed this space so he can communicate with Murphy and save humanity. Using gravitational waves, Cooper encodes TARS's data on the singularity into the adult Murphy's watch, allowing her to solve Brand's equation and evacuate Earth. Cooper awakens aboard a NASA space station and reunites with the now elderly Murphy (Ellen Burstyn), who has led humanity's exodus. Murphy convinces Cooper to search for Amelia and CASE, who have completed their one-way trip to Edmunds' planet, and are setting Plan B into motion.
Cast[edit]
Astronaut crew
Matthew McConaughey as Cooper
Anne Hathaway as Amelia Brand
David Gyasi as Romilly
Wes Bentley as Doyle
Bill Irwin as the voice of the robot TARS
Josh Stewart as the voice of the robot CASE
Matt Damon as Dr. Mann[4]
On Earth
Jessica Chastain as Murphy "Murph" Cooper
Mackenzie Foy as young Murphy
Ellen Burstyn as elderly Murphy
Michael Caine as Professor John Brand
Casey Affleck as Tom Cooper
Timothée Chalamet as young Tom
John Lithgow as Donald
Leah Cairns as Lois Cooper
Topher Grace as Getty[5]
David Oyelowo as School principal
William Devane as Williams
Elyes Gabel as the Administrator
Collette Wolfe as Ms. Hanley
Production[edit]
Christopher Nolan – director, producer, writer
Jonathan Nolan – writer
Emma Thomas – producer
Lynda Obst – producer
Hoyte van Hoytema – cinematographer
Nathan Crowley – production designer
Mary Zophres – costume designer
Lee Smith – editor
Hans Zimmer – music composer
Paul Franklin – visual effects supervisor
Kip Thorne – consultant, executive producer
Development and financing[edit]
The premise for Interstellar was conceived by film producer Lynda Obst and theoretical physicist Kip Thorne, who collaborated on the 1997 film Contact and had known each other since Carl Sagan once set them up on a blind date.[6][7] Based on Thorne's work, the two conceived a scenario about "the most exotic events in the universe suddenly becoming accessible to humans", and attracted filmmaker Steven Spielberg's interest in directing.[8] The film began development in June 2006, when Spielberg and Paramount Pictures announced plans for a science fiction film based on an eight-page treatment written by Obst and Thorne. Obst was attached to produce the film, which Variety said would "take several years to come together" before Spielberg directed it.[9][10] By March 2007, Jonathan Nolan was hired to write a screenplay for the film, titled Interstellar.[11]
Spielberg moved his production company DreamWorks in 2009 from Paramount to The Walt Disney Company, and Paramount needed a new director for Interstellar. Jonathan Nolan recommended his brother Christopher, who joined the project in 2012.[12] Christopher Nolan met with Kip Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[13] In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[14] Nolan said he wanted to encourage the goal of human spaceflight.[15] He intended to write a screenplay based on his own idea that he would merge with his brother's screenplay.[16] By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[17] The Hollywood Reporter said Nolan will earn a salary of $20 million against 20% of what Interstellar grosses.[18] To research for the film, Nolan visited NASA as well as the private space program SpaceX.[13]
Though Paramount and Warner Bros. are traditionally rival studios, Warner Bros., who released Nolan's Batman films and works with Nolan's Syncopy, sought a stake in Nolan's production of Interstellar for Paramount. Warner Bros. agreed to give Paramount its rights to co-finance the next film in the Friday the 13th horror franchise and to have a stake in a future film based on the TV series South Park. Warner Bros. also agreed to let Paramount co-finance "a to-be-determined A-list Warners property".[19] In August 2013, Legendary Pictures finalized an agreement with Warner Bros. to finance approximately 25 percent of the film's production. Although it failed to renew its eight-year production partnership with Warner Bros., Legendary reportedly agreed to forego financing for Batman v Superman: Dawn of Justice in exchange for the stake in Interstellar.[20]
Writing[edit]
Screenwriter Jonathan Nolan was hired by Spielberg to write a script for Interstellar, and he worked on it for four years.[6] To learn the science, he studied relativity at the California Institute of Technology while writing the script.[21] Jonathan said he was pessimistic about the Space Shuttle program ending and how NASA lacked financing for a manned mission to Mars. The screenwriter found inspiration in science fiction films with apocalyptic themes, such as WALL-E (2008) and Avatar (2009). Entertainment Weekly has commented: "He set the story in a dystopian future ravaged by blight but populated with hardy folk who refuse to bow to despair."[12] Jonathan's brother, director Christopher Nolan, had worked on other science fiction scripts but decided to take the Interstellar script and choose amongst the vast array of ideas presented by Jonathan and Kip Thorne, picking what he felt he as a director could get "across to the audience and hopefully not lose them", before he merged it with a script he had been working on for years on his own.[22][23] Christopher kept in place Jonathan's conception of the first hour, which is set on a resource-depleted Earth in the near future. The setting was inspired by the Dust Bowl that took place in the United States during the Great Depression in the 1930s. Christopher instead revised the rest of the script, in which a team travels into space.[6] After watching the 2012 documentary The Dust Bowl for inspiration, Christopher contacted director Ken Burns and producer Dayton Duncan, requesting permission to use some of their featured interviews in Interstellar.[24]
Casting[edit]
Director Christopher Nolan said he became interested in casting Matthew McConaughey after seeing him in an early cut of the 2012 film Mud,[25] which he had an opportunity to see since he was friends with one of its producers, Aaron Ryder.[6] While McConaughey was in New Orleans, Louisiana, filming for the TV series True Detective, Nolan invited the actor to visit him at his home. Anne Hathaway was also invited to Nolan's home, where she read the script for Interstellar.[26] Paramount announced in April 2013 that both actors were cast in the film's starring roles.[27] Nolan called McConaughey's character an everyman with whom "the audience could experience the story".[28] Jessica Chastain was contacted while she was filming Miss Julie in Northern Ireland, and a script was delivered to her.[26] Matt Damon was cast in late August 2013 in a supporting role and filmed his scenes in Iceland.[4]
Filming[edit]
Nolan filmed Interstellar with anamorphic 35mm and IMAX film photography.[5] Cinematographer Hoyte van Hoytema was hired for Interstellar, as Wally Pfister, Nolan's cinematographer on all of his past films, was working on his directorial debut, Transcendence.[29] IMAX cameras were used for Interstellar more than for any of Nolan's previous films. To minimize the use of computer-generated imagery, the director had practical locations built, such as the interior of a space shuttle.[25] Van Hoytema retooled an IMAX camera to be handheld for shooting interior scenes.[6] Some of the film's sequences were shot with an IMAX camera installed in the nosecone of a Learjet.[30]
Nolan, who is known to keep details of his productions secret, strove to ensure secrecy for Interstellar. The Wall Street Journal reported: "The famously secretive filmmaker has gone to extreme lengths to guard the script to ... Interstellar, just as he did with the blockbuster Dark Knight trilogy."[31] As one security measure, Interstellar was filmed under the name Flora's Letter,[32] Flora being one of Nolan's four children with producer Emma Thomas.[13]



 The Svínafellsjökull glacier in Iceland was used as a filming location for Interstellar, doubling for Mann's planet.
The film's principal photography was scheduled to last for four months.[4] It began on August 6, 2013, in the province of Alberta, Canada.[20] Towns in Alberta where filming took place included Nanton, Longview, Lethbridge, and Okotoks. In Okotoks, filming took place at the Seaman Stadium and the Olde Town Plaza.[32] For a cornfield scene, production designer Nathan Crowley planted 500 acres of corn that would be destroyed in an apocalyptic dust storm scene,[12] intended to be similar to storms experienced during the Dust Bowl in 1930s United States.[13] Additional scenes involving the dust storm and McConaughey's character were also filmed in Fort Macleod, where the giant dust clouds were created on location using large fans to blow cellulose-based synthetic dust through the air.[33] Filming in the province lasted until September 9, 2013, and involved hundreds of extras as well as approximately 130 crew members, most of them local.[32]
Filming also took place in Iceland, where Nolan had previously filmed scenes for his 2005 film Batman Begins.[34] The crew transported mock spaceships weighing approximately 10,000 pounds (4,500 kg) to the country,[13] which was chosen to represent two extraterrestrial planets: one covered in ice, and one covered in water.[6] A two-week Iceland shoot was scheduled[4] and a crew of approximately 350 people, including 130 locals, worked on it. Locations included the Svínafellsjökull glacier and the town of Klaustur.[35][36] While filming a water scene in Iceland, actress Anne Hathaway almost suffered hypothermia because the dry suit she was wearing had not been properly secured.[13]
After the Iceland shoot, the crew moved to Los Angeles to film for 54 days. Filming in California was relatively unusual since California's tax credit was not available for films with a budget greater than $75 million. Filming locations included the Westin Bonaventure Hotel and Suites, the Los Angeles Convention Center, a Sony Pictures soundstage in Culver City, and a private residence in Altadena.[37] Filming concluded in December 2013, and Nolan started editing the film for its release in 2014.[38] Production completed with a budget of $165 million, $10 million less than what was allotted by Paramount, Warner Bros., and Legendary Pictures.[13]
Production design[edit]









The Endurance spacecraft (left) is based on the International Space Station (right).
Interstellar features three spacecraft: the Ranger, the Endurance, and the Lander. The Ranger's function is similar to the Space Shuttle's, being able to enter and exit planetary atmospheres. The Endurance, the crew's mother ship, has a circular structure formed by 12 capsules: four with planetary colonization equipment, four with engines, and four with the permanent functions of cockpit, medical labs and habitation. Production designer Nathan Crowley said the Endurance was based on the International Space Station: "It's a real mish-mash of different kinds of technology. You need analogue stuff as well as digital stuff, you need back-up systems and tangible switches. It's really like a submarine in space. Every inch of space is used, everything has a purpose." Lastly, the Lander transports the capsules with colonization equipment to planetary surfaces. Crowley compared it to "a heavy Russian helicopter".[6]
The film also features two robots, CASE and TARS. Nolan wanted to avoid making the robots anthropomorphic and chose a five-foot quadrilateral design. The director said: "It has a very complicated design philosophy. It's based on mathematics. You've got four main blocks and they can be joined in three ways. So you have three combinations you follow. But then within that, it subdivides into a further three joints. And all the places we see lines—those can subdivide further. So you can unfold a finger, essentially, but it's all proportional." Actor Bill Irwin voiced and physically controlled both robots, but his image was digitally removed from the film and his voicing for CASE was replaced.[6]
Sound design and music[edit]
Main article: Interstellar: Original Motion Picture Soundtrack
Gregg Landaker and Gary Rizzo were sound engineers for the film, tasked with sound mixing, while sound editor Richard King supervised the process.[39] Christopher Nolan said he sought to mix the film's sound to take maximum advantage of current sound equipment in theaters.[40] Nolan paid close attention to designing the sound mix, for instance focusing on what buttons being pressed with astronaut-suit gloves would sound like.[12] The studio's website said that "The sound on Interstellar has been specially mixed to maximize the power of the low end frequencies in the main channels as well as in the subwoofer channel."[41]
Composer Hans Zimmer, who scored Nolan's Batman film trilogy & Inception, also scored Interstellar. Zimmer and Nolan strived to develop a unique sound for Interstellar. Zimmer said: "The textures, the music, and the sounds, and the thing we sort of created has sort of seeped into other people's movies a bit, so it's time to reinvent. The endless string (ostinatos) need to go by the wayside, the big drums are probably in the bin."[42] Zimmer also said that Nolan did not provide him a script or any plot details for writing music for the film and instead gave the composer "one page of text" that "had more to do with [Zimmer's] story than the plot of the movie".[43] Nolan has stated that he said to Zimmer: "I am going to give you an envelope with a letter in it. One page. It's going to tell you the fable at the center of the story. You work for one day, then play me what you have written", and that he embraced what Zimmer composed. Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. The soundtrack was released on November 18, 2014.[12]
Visual effects[edit]
The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[44] Visual effects supervisor Paul Franklin said the number of effects in the film was not much greater than in Nolan's The Dark Knight Rises or Inception, but that for Interstellar, they created the effects first, so that digital projectors could be used to display them behind the actors, rather than having the actors perform in front of green screens.[6]
The Ranger, Endurance, and Lander spacecraft were created using miniature effects by production designer Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. Created through a combination of 3D printing and hand sculpting, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th scale miniature of the Endurance module spanned over 7.6 m (25 feet), while a pyrotechnic model of a portion of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 14 m (46 feet) and over 15 m (50 feet), respectively. The miniatures were large enough for Hoyte van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using VistaVision cameras on a smaller motion control rig.[45]
Influences[edit]
Director Christopher Nolan said influences on Interstellar included the "key touchstones" of science fiction cinema: Metropolis (1927), 2001: A Space Odyssey (1968), and Blade Runner (1982).[46] About 2001, Nolan said: "The movies you grow up with, the culture you absorb through the decades, become part of your expectations while watching a film. So you can't make any film in a vacuum. We're making a science-fiction film... You can't pretend 2001 doesn't exist when you're making Interstellar." He also said that Star Wars (1977) and Alien (1979) influenced Interstellar '​s production design: "Those always stuck in my head as being how you need to approach science-fiction. It has to feel used—as used and as real as the world we live in."[47] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[48]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[49] He also sought to emulate films like Steven Spielberg's Jaws (1975) and Close Encounters of the Third Kind (1977). He stated: "When you say you're making a family film, it has all these pejorative connotations that it'll be somehow soft. But when I was a kid, these were family films in the best sense, and they were as edgy and incisive and challenging as anything else on the blockbuster spectrum. I wanted to bring that back in some way." He also cited the space drama The Right Stuff (1983) as an example to follow, and screened it for the crew before production.[6] To emulate that film, he sought to capture reflection on the Interstellar astronauts' visors. For further inspiration grounded in real-world space travel, the director also invited former astronaut Marsha Ivins to the set.[13] Nolan and his crew studied the IMAX NASA documentaries of filmmaker Toni Myers for visual reference of spacefaring missions, and sought to emulate the look of their use of IMAX cameras in the enclosed spaces of a spacecraft interior.[50]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[51] Outside of films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[13]
Scientific accuracy[edit]



Kip Thorne, theoretical physicist, served as scientific consultant and executive producer for the film.
Theoretical physicist Kip Thorne was a scientific consultant for the film, to ensure the depictions of wormholes and relativity were as accurate as possible. "For the depictions of the wormholes and the black hole," he said, "we discussed how to go about it, and then I worked out the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on Einstein's general relativity equations."[52]
In creating the wormhole and a supermassive rotating black hole (which possesses an ergosphere, as opposed to a non-rotating black hole), Thorne collaborated with visual effects supervisor Paul Franklin and a team of 30 computer effects artists at Double Negative. Thorne would provide pages of deeply sourced theoretical equations to the artists, who then wrote new CGI rendering software based on these equations to create accurate computer simulations of the gravitational lensing caused by these phenomena. Some individual frames took up to 100 hours to render, and resulted in 800 terabytes of data. The resulting visual effect provided Thorne with new insight into the effects of gravitational lensing and accretion disks surrounding black holes, and will lead to the creation of two scientific papers, one for the astrophysics community and one for the computer graphics community.[53]
Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience and would require the effects team to unrealistically alter its appearance. However, Nolan found the finished effect to be understandable, provided that he maintained consistent camera perspectives. "What we found was as long as we didn't change the point of view too much, the camera position, we could get something very understandable".[54]
The portrayal of what a wormhole would look like is considered scientifically correct. Rather than a two-dimensional hole in space, it is depicted as a sphere, showing a distorted view of the target galaxy.[55] The accretion disk of the black hole was described by Thorne as "anemic and at low temperature—about the temperature of the sun," allowing it to emit appreciable light, but not enough gamma- and X-rays to threaten nearby astronauts and planets.[56]
Early in the process, Thorne laid down two guidelines: "First, that nothing would violate established physical laws. Second, that all the wild speculations... would spring from science and not from the fertile mind of a screenwriter."[10] Nolan accepted these terms as long as they did not get in the way of the making of the movie. At one point, Thorne spent two weeks trying to talk Nolan out of an idea about a character traveling faster than light before Nolan finally gave up.[10][57] According to Thorne, the element which has the highest degree of artistic freedom is the clouds of ice on one of the planets they visit, which are structures that probably go beyond the material strength that ice would be able to support.[10]
Astrobiologist David Grinspoon points out that even with a voracious blight it would have taken millions of years to draw down the atmosphere's content of oxygen. He also notes that the ice clouds should have been pulled down by gravity and the planet orbiting the black hole had sunlight in the film when it should not.[58] However, as Thorne mentioned above, this kind of rotating black hole has an accretion disk that has a temperature similar to that of the sun, so that the emission of light reaching the planet is likely due to such an energetic/radiating accretion disk of matter approaching the black hole's event horizon. Additionally, a neutron star is mentioned in the movie by Cooper as part of the system.
Neil deGrasse Tyson has explored the science behind the ending of Interstellar.[59]
Dr. Michio Kaku praised the film for its scientific accuracy and has said Interstellar "could set the gold standard for science fiction movies for years to come." Likewise, Timothy Reyes, a former NASA software engineer, said, "Thorne's and Nolan's accounting of black holes and wormholes and the use of gravity is excellent."[60]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[61]
Marketing[edit]
The teaser trailer for Interstellar debuted December 14, 2013 and featured clips related to space exploration, accompanied by a voiceover by Matthew McConaughey's character of Cooper.[62] The theatrical trailer debuted May 5, 2014 at the Lockheed Martin IMAX Theater and was made available online later that month. For the week ending May 19 it was the most-viewed movie trailer, with over 19.5 million views on YouTube.[63]
Christopher Nolan and McConaughey made their first appearances at Comic-Con in July 2014 to promote Interstellar. In the same month, Paramount Pictures launched a complex interactive Interstellar website. It reported that online users uncovered a star chart related to the Apollo 11 moon landing.[64]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[65] The film's website was relaunched to be a digital hub hosted on a Google domain.[66] The website collected feedback from film audiences, and linked to a mobile app.[66] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[67] The Paramount-Google partnership also included a virtual time capsule compiled with user-generated content to be available in 2015. The initiative Google for Education will also use the film as a basis for promoting lesson plans for math science in schools around the United States.[65]
Paramount is providing a virtual reality walkthrough of the Endurance spacecraft using Oculus Rift technology. It hosted the walkthrough sequentially in four theaters, in New York City, Houston, Los Angeles, and Washington, D.C., from October 6 through November 19, 2014.[68][69] The publisher Running Press released Interstellar: Beyond Time and Space, a book by Mark Cotta Vaz about the making of the film, on November 11, 2014.[70] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[71]
On November 18, 2014 Wired released a tie-in online comic titled Absolute Zero, written by Christopher Nolan and drawn by Sean Gordon Murphy. The comic serves as a prequel to the film following Mann.[72]
Release[edit]
Theatrical run[edit]
Prior to Interstellar '​s public release, Paramount CEO Brad Grey hosted a private screening on October 19, 2014 at an IMAX theater in Lincoln Square, Manhattan.[73] Paramount then showed Interstellar to some of the industry's filmmakers and actors in a first-look screening at the California Science Center on October 22, 2014.[74] On the following day, the film was screened at the TCL Chinese Theatre in Los Angeles, California for over 900 members of the Screen Actors Guild. Actors McConaughey, Chastain, and Hathaway appeared afterward for a Q&A session.[75] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[76] It premiered in Europe on October 29, 2014 at Leicester Square in London.[77]



 The TCL Chinese Theatre in Los Angeles, California had a 70 mm IMAX projector installed to show Interstellar.
Interstellar was released early on November 4 in various 70mm IMAX film, 70mm film and 35mm film theaters and had a limited release in North America (United States and Canada) on November 5, 2014 and a wide release on November 7, 2014.[78] The film was released in Belgium, France, and Switzerland on November 5, 2014 and in additional territories in the following days, including the United Kingdom on November 7, 2014.[79] For the limited North America release, Interstellar is projected from 70 mm and 35 mm film in 249 theaters that still support those formats, including at least 41 70 mm IMAX theaters.[nb 1] A 70 mm IMAX projector was installed at the TCL Chinese Theatre in Los Angeles, California to display the format. The film's wide release expanded to theaters that show it digitally.[80] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[5] The film was expected to be released in over 770 IMAX screens worldwide, which would have been the widest global release in IMAX cinemas.[81][82] However, the film was released to only 574 IMAX theaters worldwide.[83]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[84] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[80] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[85] McClintock reported that several theater owners saw the initiative as "backward", as nearly all theaters in the United States have been converted to digital projection.[86]
Box office[edit]
As of January 25, 2015, Interstellar has earned $186,350,542 in North America and $484,700,000 in other territories for a worldwide total of $671,050,542, against a production budget of $165 million.[3] The film set an IMAX opening record worldwide with $20.6 million from 574 IMAX theaters, surpassing the $17.1 million record held by The Hunger Games: Catching Fire and is also the best opening for an IMAX 2D, non-sequel and November IMAX release.[83] The film had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[87] It reached a milestone of $200 million in 6 days, $300 million in 10 days,[88] $400 million in 17 days[89] $500 million in 24 days[90] and $600 million in 37 days.[91] It is the tenth highest-grossing film of 2014.[92] Interstellar is the fourth film to gross over $100 million worldwide from IMAX ticket sales. It trails Avatar, The Dark Knight Rises and Gravity in total IMAX box office revenue.[93][94][95]
North America[edit]
Interstellar and Big Hero 6 opened the same weekend (November 7–9, 2014) in North America. Both were forecast to earn between $55 million and $60 million. TheWrap said the pairing was "potentially a close race". Scott Mendelson of Forbes called the race between the two films a "tight one" and compared it to competitions between Shrek 2 and The Day After Tomorrow as well as Monsters University and World War Z.[96] Fandango reported that pre-sales for Interstellar were outpacing Christopher Nolan's earlier film Inception, as well as Dawn of the Planet of the Apes, released earlier in 2014.
In North America, the film is the 10th highest-grossing film that never hit #1, with a top rank of #2 its opening week.[97] Interstellar had an early limited release in the United States and Canada in selected theatres on November 4, 2014 at 8:00 pm, coinciding with the 2014 US midterm elections.[98] The film topped the box office the following day on Wednesday earning $1.35 million (which includes its gross from Tuesday night) from 249 theatres (42 of which were IMAX screens) for which IMAX accounted for 62% of its total gross.[99] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[100] The film earned $3.6 million from Thursday late night preview for a previews total of $4.9 million (Tuesday - Thursday).[101][102][103] The film was widely released on November 7 and topped the box office on its opening day earning $17 million (which includes the Thursday preview haul but not the Tuesday-Wednesday gross which would make up to $19.15 million) ahead of Big Hero 6 ($15.8 million).[104] The film played 52% male and 75% over 25 years old.[105]
In its opening weekend the film earned $47,510,360[nb 2] from 3,561 theatres ($13,342 per theatre) debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million).[107][108][109] IMAX comprised $13.2 million (28%) of its opening weekend gross,[110] while other premium large format screens comprised $5.25 million (10.5%) of the gross. It is Nolan's first film to not debut at number one since 2002, when Insomnia debuted at number two.[111][112] Commenting about the heat of competition between the two films and their subsequent results, Phil Contrino, vice president and chief analyst at BoxOffice.com said, "It's good for the marketplace". He added: "The programming this weekend was very intelligent, and we didn't have a lot of that this year. Neither movie hurt the other one. They were both operating in separate camps and they both found an audience."[113] In its second weekend the film fell to number three behind old rival Big Hero 6 and newcomer Dumb and Dumber To and dropped 39% earning $29.12 million for a two weekend total of $97.8 million.[114][115] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[116][117] In its third week, the film earned $15.1 million and remained at #3, below newcomer The Hunger Games: Mockingjay – Part 1 and Big Hero 6.[118]
Other territories[edit]
Interstellar was released in 35 markets on November 6 including major markets like Germany, Russia, Australia and Brazil and earned $8.7 million in total.[119] In its opening weekend Interstellar earned $82.9 million from 11.1 admissions on over 14,800 screens in 62 markets.[120] It earned $7.2 million from 206 IMAX screens, at an average of 35,000 per theatre.[121] The film went number one in South Korea ($14.4 million),[122] Russia ($8.9 million) and France ($5.3 million). Other high openings include Germany ($4.6 million), Italy ($3.7 million), Australia ($3.7 million), Spain ($2.7 million), Mexico ($3.1 million) and Brazil ($1.9 million).[123] In the United Kingdom the film debuted at number one earning £5.37 million ($8.6 million) in its opening weekend which was lower than the openings of The Dark Knight Rises (£14.36 million), Gravity (£6.24 million) and Inception (£5.91 million).[124] Interstellar was released in China on November 12 and earned $5.4 million on its opening day on Wednesday which is Nolan's biggest opening in China surpassing the $4.61 million opening record of The Dark Knight Rises.[125][126] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[127][128] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[129] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[130] and Pacific Rim ($45.2 million).[131][132]
It topped the box office outside of North America for two comsecutive weekends before being overtaken by The Hunger Games: Mockingjay - Part 1 in its third weekend.[129] 31 days after its release, the film became the 13th most successful film and 3rd most successful foreign film in South Korea with 9.1 million admissions trailing only behind Avatar (13.3 million admissions) and Frozen (10.3 million admissions).[133] The film closed down its theatrical run in China on December 12, 2014 (on Friday, 31 days after its initial release) with a total revenue of $122.6 million.[91][134]
Critical response[edit]
Interstellar received generally positive reviews from critics. It has a score of 72% on review aggregator website Rotten Tomatoes based on 281 reviews, with a rating average of 7 out of 10. The site's critical consensus reads: "Interstellar represents more of the thrilling, thought-provoking, and visually resplendent film-making moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp."[135] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[136]
Scott Foundas, chief film critic at Variety, said that Interstellar is "as visually and conceptually audacious as anything Nolan has yet done" and considered the film more personal than Nolan's previous films.[137] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[138] David Stratton of At the Movies rated the film four and a half stars out of five, praising the film's ambition, effects and 70mm IMAX presentation, though criticizing the sound for being so loud as to make some of the dialogue inaudible. Conversely, cohost Margaret Pomeranz rated the film three out of five, as she felt the human drama got lost amongst the film's scientific concepts.[139] Henry Barnes of The Guardian scored the film three out of five stars, calling it "a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour."[140]
Oliver Gettell, writing for Los Angeles Times, reported that "Film critics largely agree that Interstellar is an entertaining, emotional and thought-provoking sci-fi saga, even if it can also be clunky and sentimental at times."[141] James Dyer, reviewing the film for Empire, awarded the film a full five stars, describing it as "Brainy, barmy and beautiful to behold ... a mind-bending opera of space and time with a soul wrapped up in all the science."[142] Time Out London '​s Dave Calhoun of Time Out London also granted the film a maximum score of five stars, stating that it is "a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike".[143] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[144] Richard Roeper of Chicago Sun-Times awarded the film a full four stars and wrote, "This is one of the most beautiful films I have ever seen — in terms of its visuals, and its overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms. Love."[145]
Describing Nolan as a "merchant of awe", Tim Robey of The Telegraph felt Interstellar was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and the "deep-digging intelligence" of the film.[146] Todd McCarthy, reviewing for The Hollywood Reporter, said, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that."[147] Richard Corliss of Time gave the film a positive review, calling it "a must-take ride with a few narrative bumps". He conceded that "Nolan's reach occasionally exceeds his grasp" but accepted this occurrence.[148] In his review for The Associated Press, Jake Coyle praised the film for its "big-screen grandeur", while finding some of the dialogue "clunky". He further described it as "an absurd endeavor" and "one of the most sublime movies of the decade".[149] Scott Mendelson of Forbes listed Interstellar as one of the most disappointing films of 2014, stating that the film has a lack of flow, loss of momentum following the climax, clumsy sound mixing, and "thin characters" despite seeing the film twice in order to "give it a second chance". Mendelson writes that Interstellar "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies."[150]
New York Times columnist David Brooks concludes that Interstellar explores the relationships among "science and faith and science and the humanities" and "illustrates the real symbiosis between these realms."[151] Wai Chee Dimock, in the Los Angeles Review of Books, writes that Nolan's films are "rotatable at 90, 180, and 360 degrees," and that "although there is considerable magical thinking here, making it almost an anti-sci-fi film, holding out hope that the end of the planet is not the end of everything, it reverses itself, however, when that magic falls short, when the poetic license is naked and plain for all to see. In those moments, it suddenly dawns upon us that the ocean that rises up 90 degrees and comes at us like a wall is not just a special effect on some faraway planet, but a scenario all too close to home."[152][full citation needed]
Accolades[edit]
Interstellar was nominated for Original Score for the Hollywood Music in Media Awards, contending with six other films. The advisory board received a five-minute trailer for the film that included Hans Zimmer's music.[153]

List of Accolades

Award / Film Festival
Category
Recipient(s)
Result
Academy Awards[154] Best Original Score Hans Zimmer Pending
Best Sound Editing Richard King Pending
Best Sound Mixing Mark Weingarten, Gary Rizzo, Gregg Landaker Pending
Best Production Design Nathan Crowley, Gary Fettis Pending
Best Visual Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Pending
Alliance of Women Film Journalists[155] Best Cinematography Hoyte van Hoytema Nominated
American Film Institute Awards[156] Movies of the Year Emma Thomas, Christopher Nolan, Lynda Obst (shared with American Sniper, Birdman, Boyhood, Foxcatcher, The Imitation Game, Into the Woods, Nightcrawler, Selma, Unbroken, and Whiplash) Won (shared)
Art Directors Guild[157] Excellence in Production Design for a Fantasy Film Nathan Crowley Pending
Black Reel Awards[158] Outstanding Breakthrough Performance — Male David Gyasi Pending
British Academy Film Awards[159] Best Original Music Hans Zimmer Pending
Best Cinematography Hoyte van Hoytema Pending
Best Production Design Nathan Crowley, Gary Fettis Pending
Best Special Visual Effects Paul Franklin, Scott Fisher, Andrew Lockley Pending
Central Ohio Film Critics Association[160] Best Cinematography Hoyte van Hoytema Nominated
Best Score Hans Zimmer Nominated
Chicago Film Critics Association[161] Best Director Christopher Nolan Nominated
Best Art Direction Nathan Crowley, Gary Fettis Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Cinema Audio Society Awards[162] Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action Mark Weingarten, Gary Rizzo, Gregg Landaker, Alan Meyerson, Thomas J. O’Connell, Mary Jo Lang Pending
Costume Designers Guild[163] Excellence in Contemporary Film Mary Zophres Pending
Critics' Choice Movie Award[164][165] Best Young Performer Mackenzie Foy Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Art Direction Nathan Crowley (Production Designer), Gary Fettis (Set Decorator) Nominated
Best Editing Lee Smith Nominated
Best Visual Effects  Nominated
Best Sci-Fi/Horror Movie  Won
Best Score Hans Zimmer Nominated
Dallas–Fort Worth Film Critics Association[166] Best Cinematography Hoyte van Hoytema 2nd Place
Best Original Score Hans Zimmer Won
Denver Film Critics Society[167] Best Director Christopher Nolan Nominated
Best Science Fiction/Horror Film  Nominated
Best Cinematography Hoyte van Hoytema Nominated
Florida Film Critics Circle[168][169] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects  Won
Best Art Direction/Production Design Nathan Crowley, Gary Fettis Runner-up
Best Score Hans Zimmer Nominated
Gay and Lesbian Entertainment Critics Association[170] Visually Striking Film of the Year  Pending
Georgia Film Critics Association[171][172] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Score Hans Zimmer Won
Breakthrough Award David Oyelowo (Also for Default, A Most Violent Year, Nightingale, Selma) Won
Golden Globe Awards[173] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[174] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Las Vegas Film Critics Society Awards[175] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[176] Best Contemporary Make-Up Luisa Abel, Jay Wejebe Pending
Best Contemporary Hair Styling Patricia DeHaney, Jose L. Zamora Pending
Motion Picture Sound Editors Golden Reel Awards[177] Feature English Language -Effects/Foley Richard King Pending
Feature Music Alex Gibson Pending
Nevada Film Critics Society[178] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects Hans Zimmer Won
North Texas Film Critics Association[179] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[180][181] Best Original Score Hans Zimmer Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Film Editing Lee Smith Nominated
Best Production Design Nathan Crowley Nominated
Best Visual Effects Andrew Lockley, Ian Hunter Won
Best Performance by a Youth — Female Mackenzie Foy Nominated
San Diego Film Critics Society[182] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[183] Best Cinematography Hoyte van Hoytema Pending
Best Original Score Hans Zimmer Pending
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Pending
St. Louis Gateway Film Critics Association[184][185] Best Supporting Actress Mackenzie Foy Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Visual Effects  Won
Best Music Score Hans Zimmer Nominated
Visual Effects Society Awards[186] Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture Paul Franklin, Kevin Elam, Ann Podlozny, Andrew Lockley, Scott Fisher Pending
Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture Tom Bracht, Graham Page, Thomas Døhlen, Kirsty Clark (for Tesseract) Pending
Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project Faraz Hameed, Stephen Painter, Hoyte van Hoytema, Dorian Knapp (for Tesseract) Pending
Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture Raphael Hamm, Isaac Layish, Sebastian Von Overheidtm, Tristan Myles (for Water) Pending
Washington D.C. Area Film Critics Association[187] Best Art Direction Nathan Crowley (Production Designer), Gary Fettis (Set Decorator) Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Editing Lee Smith Nominated
Best Original Score Hans Zimmer Nominated
Best Youth Performance Mackenzie Foy Nominated
Women Film Critics Circle[188] A Woman's Right to Male Roles in Movies Jessica Chastain Won
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Black holes in fiction
Bootstrap paradox
Interstellar spacecraft
Interstellar travel
List of time travel science fiction
Wormholes in fiction
List of films featuring drones
Notes[edit]
1.Jump up ^ The sequences shot on 65 mm IMAX film are displayed in their full 1.43:1 aspect ratio on 70 mm IMAX screens (the 5 mm difference is due to the addition of the audio track on the film print), but are cropped down to as large as 1.9:1 on digital IMAX screens, down to 2.20:1 on regular 70 mm screens, and down to 2.35:1 to match the 35 mm anamorphic footage on 35 mm film and all other digital screenings.
2.Jump up ^ The opening weekend gross does not include the revenue it earned from Tuesday and Wednesday night previews. In total the film earned $2,151,453 from the two late night showings which would bring its opening weekend gross to $49,661,813.[106]
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68.Jump up ^ Lussier, Germain (October 3, 2014). "'Interstellar' Oculus Rift Experience Coming To Select Theaters". /Film. Retrieved October 4, 2014.
69.Jump up ^ "Interstellar: Oculus Rift Immersive Experience". interstellarmovie.com. Paramount Pictures. Retrieved October 24, 2014.
70.Jump up ^ Kramer, Miriam (May 13, 2014). "New 'Interstellar' Book Will Go Behind the Scenes of Sci-Fi Film". Space.com. Retrieved July 11, 2014.
71.Jump up ^ Staff (September 17, 2014). "Science adviser to 'Interstellar' writing book". Yahoo! News (Associated Press). Retrieved September 29, 2014.
72.Jump up ^ Nolan, Christopher; Sean Gordon Murphy (November 18, 2014). Revealed: The Lost Chapter of Interstellar www.wired.com. Wired. Retrieved November 18, 2014.
73.Jump up ^ Smith, Emily (October 20, 2014). "Paramount chief holds private screening of 'Interstellar'". Page Six. Retrieved October 24, 2014.
74.Jump up ^ Waxman, Sharon (October 23, 2014). "Christopher Nolan's 'Interstellar' Explodes at Intimate, First-Look Screening". TheWrap. Retrieved October 24, 2014.
75.Jump up ^ Whipp, Glenn (October 24, 2014). "'Interstellar' makes some noise at Hollywood coming-out party". Los Angeles Times. Retrieved October 24, 2014.
76.Jump up ^ Ford, Rebecca (October 26, 2014). "'Interstellar' Premiere: Christopher Nolan's 'Love Letter' Takes Flight". The Hollywood Reporter. Retrieved October 27, 2014.
77.Jump up ^ Staff (October 30, 2014). "Interstellar: Christopher Nolan film premieres in London". BBC News. Retrieved October 30, 2014.
78.Jump up ^ Vlessing, Etan (October 1, 2014). "Christopher Nolan's 'Interstellar' Gets Advance Screenings in Film Formats". The Hollywood Reporter. Retrieved October 1, 2014.
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81.Jump up ^ Ben Child (October 24, 2014). "Interstellar wins celebrity raves as widest-ever IMAX rollout anticipated". The Guardian. Retrieved October 24, 2014.
82.Jump up ^ Etan Vlessing (October 23, 2014). "Imax Plans Biggest-Ever Theatrical Release For Christopher Nolan's 'Interstellar'". The Hollywood Reporter. Retrieved October 24, 2014.
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89.Jump up ^ Pamela McClintock (November 24, 2014). "Global Box Office: 'Interstellar' Crossing $450M; 'Mockingjay' Mammoth Overseas". The Hollywood Reporter. Retrieved November 27, 2014.
90.Jump up ^ Brent Lang (November 30, 2014). "'Hunger Games' Dominates Foreign Box Office, 'Interstellar' Soars Past $500 Million". Variety. Retrieved December 1, 2014.
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94.Jump up ^ Dave McNary (December 15, 2014). "'Interstellar' Tops $100 Million in Imax Box Office". Variety. Retrieved December 16, 2014.
95.Jump up ^ Scott Mendelson (July 2, 2014). "'Gravity' Passes $100M In IMAX". Forbes. Retrieved December 16, 2014.
96.Jump up ^ Scott Mendelson (October 27, 2014). "Review: 'Interstellar' Gets Lost In Space". Forbes. Retrieved October 27, 2014.
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99.Jump up ^ Anita Busch (November 6, 2014). "'Interstellar' Reports Grosses Before Weekend Showdown Against 'Big Hero 6'". Deadline.com. Retrieved November 7, 2014.
100.Jump up ^ Scott Mendelson (November 6, 2014). "Box Office: Chris Nolan's 'Interstellar' Earns $1.35M Wednesday". Forbes. Retrieved November 7, 2014.
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102.Jump up ^ Scott Mendelson (November 7, 2014). "Box Office: 'Interstellar' Nabs $3.5M Thursday, Has $4.9M Heading Into Weekend". Forbes. Retrieved November 8, 2014.
103.Jump up ^ Dave MacNary (November 7, 2014). "Box Office: 'Interstellar,' 'Big Hero 6' Soar in Thursday Previews". Variety. Retrieved November 8, 2014.
104.Jump up ^ Maane Khatchatourian (November 8, 2014). "'Interstellar' Tops Friday Box Office, 'Big Hero 6' Skyrocketing to Weekend Win of $56 Million". Variety. Retrieved November 9, 2014.
105.Jump up ^ Scott Mendelson (November 8, 2014). "Box Office: 'Interstellar' Tops 'Big Hero 6' With $17M Friday". Forbes. Retrieved November 9, 2014.
106.Jump up ^ "'Big Hero 6' Wins B.O. As 'Interstellar' Takes Second; Monday Returns". Deadline.com. November 10, 2014. Retrieved November 13, 2014.
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108.Jump up ^ Pamela McClintock (November 11, 2014). "Final Box Office: 'Interstellar' Falls Short of $50M Launch". The Hollywood Reporter. Retrieved November 11, 2014.
109.Jump up ^ Brent Lang (November 10, 2014). "'Interstellar' Final Box Office Fails to Hit $50 Million Estimates". Variety. Retrieved November 11, 2014.
110.Jump up ^ Ray Subers (November 9, 2014). "Weekend Report: Disney's 'Big Hero 6' Eclipses Nolan's 'Interstellar'". Box Office Mojo. Retrieved November 15, 2014.
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113.Jump up ^ Brent Lang (November 9, 2014). "Box Office: 'Big Hero 6' Races Past 'Interstellar' With $56.2 Million". Variety. Retrieved November 10, 2014.
114.Jump up ^ Scott Mendelson (November 16, 2014). "Box Office: 'Dumb And Dumber To' Scores $38.1M Weekend, 'Interstellar' Tops $320M Global". Forbes. Retrieved November 17, 2014.
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118.Jump up ^ Brent Lang (November 23, 2014). "Box Office: 'Hunger Games: Mockingjay – Part 1' Scores Year's Biggest Opening With $123 Million". Variety. Retrieved November 24, 2014.
119.Jump up ^ Anita Busch (November 7, 2014). "'Interstellar' Ahead Of 'Gravity' In Opening Bow – International B.O.". Deadline.com. Retrieved November 8, 2014.
120.Jump up ^ Nancy Tartaglione (November 10, 2014). "'Interstellar' Lifts Off With $82.9M Overseas Open: International B.O. Final". Box Office Mojo. Retrieved November 11, 2014.
121.Jump up ^ Brent Lang (November 9, 2014). "'Interstellar' Tops Global Box Office with $132 Million Haul". Variety. Retrieved November 10, 2014.
122.Jump up ^ Catherine Shoard (November 10, 2014). "Interstellar dominates global box office but Big Hero 6 wins in US". The Guardian. Retrieved November 11, 2014.
123.Jump up ^ Ray Subers (November 9, 2014). "Around-the-World Roundup: 'Interstellar' Opens to $82.9 Million Overseas". Box Office Mojo. Retrieved November 11, 2014.
124.Jump up ^ Charles Gant (November 11, 2014). "Interstellar goes into orbit at UK box office with Mr Turner rising fast". The Guardian. Retrieved November 12, 2014.
125.Jump up ^ Pamela McClintock (November 12, 2014). "Global Box Office: Christopher Nolan's 'Interstellar' Breaks Records in China". The Hollywood Reporter. Retrieved November 14, 2014.
126.Jump up ^ Nancy Tartaglione (November 13, 2014). "'Interstellar' Blasts Off Hot In China As 'Penguins' Rev Engines: Int'l Box Office". Deadline.com. Retrieved November 14, 2014.
127.Jump up ^ Patrick Frater (November 17, 2014). "China Box Office: 'Interstellar' on Fast Track". Variety. Retrieved November 19, 2014.
128.Jump up ^ Nancy Tartaglione (November 24, 2014). "Katniss Hot With $154.3M, 'Interstellar' Logs $330.6M: Int'l B.O. – Update". Deadline.com. Retrieved November 27, 2014.
129.^ Jump up to: a b Nancy Tartaglione (November 16, 2014). "'Interstellar' Blasts Past $200M With $42M China Lift-Off: International Box Office". Deadline.com. Retrieved November 17, 2014.
130.Jump up ^ Nancy Tartaglione (January 25, 2015). "‘Hobbit’ Storms China; ‘Sniper’ Takes Out More Records: International Box Office". Deadline.com. Retrieved January 26, 2015.
131.Jump up ^ Pamela McClintock (November 16, 2014). "Global Box Office: 'Interstellar' Rockets Past $300M Worldwide". The Hollywood Reporter. Retrieved November 17, 2014.
132.Jump up ^ Pamela McClintock (August 4, 2013). "'Pacific Rim' Scores Massive $45.2 Million China Debut". The Hollywood Reporter. Retrieved November 17, 2014.
133.Jump up ^ Lee Hyo-won (December 8, 2014). "South Korean Box Office: 'Exodus' Debuts in First, 'Interstellar' Becomes Third Best Foreign Film Ever". The Hollywood Reporter. Retrieved December 9, 2014.
134.Jump up ^ Nancy Tartaglione (December 14, 2014). "'Hobbit' Rings Up $117.6M Debut, Sets IMAX Record; More Intl Box Office". Deadline.com. Retrieved December 15, 2014.
135.Jump up ^ "Interstellar". rottentomatoes.com. Rotten Tomatoes. Retrieved December 15, 2014.
136.Jump up ^ "Interstellar Reviews". metacritic.com. Metacritic. Retrieved November 17, 2014.
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138.Jump up ^ Puig, Claudia (October 27, 2014). "'Interstellar': Sci-fi saga gets lost in space". USA Today. Retrieved October 29, 2014.
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140.Jump up ^ Barnes, Henry (October 28, 2014). "Interstellar review: McConaughey v the whole wide world". The Guardian. Retrieved October 31, 2014.
141.Jump up ^ Gettell, Oliver (November 5, 2014). "'Interstellar' is an ambitious, imperfect sci-fi epic, reviews say". Los Angeles Times. Retrieved November 6, 2014.
142.Jump up ^ Dyer, James (October 28, 2014). "Interstellar: Star Trek Into Greatness". Empire Magazine. Retrieved October 29, 2014.
143.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
144.Jump up ^ Lumenick, Lou (November 3, 2014). "'Interstellar' is a must-see masterpiece". New York Post. Retrieved November 4, 2014.
145.Jump up ^ Roeper, Richard (November 4, 2014). "'Interstellar': Epic Beauty In Its Effects and Its Ideas". Chicago Sun-Times. Retrieved November 4, 2014.
146.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
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149.Jump up ^ Coyle, Jake (October 30, 2014). "Review: 'Interstellar' a sublime cosmic knockout". The Associated Press. Retrieved October 31, 2014.
150.Jump up ^ Mendelson, Scott (December 26, 2014). Forbes http://www.forbes.com/sites/scottmendelson/2014/12/26/interstellar-the-interview-and-the-most-disappointing-films-of-2014/2/ |url= missing title (help). Retrieved December 29, 2014.
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167.Jump up ^ "DFCS Nominates ‘Birdman,’ ‘Boyhood’ for Group’s Major Awards". January 7, 2015. Retrieved January 7, 2015.
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Further reading[edit]
Thorne, Kip (November 7, 2014). The Science of Interstellar. Book about the science behind the film. W. W. Norton & Company. ISBN 978-0-393-35137-8.
Vaz, Mark Cotta (November 11, 2014). Interstellar: Beyond Time and Space. Book about the making of the film. Running Press. ISBN 978-0-7624-5683-3.
MacKay, John. "On INTERSTELLAR (2014) (preliminary notes)." [1]
External links[edit]
 Wikiquote has quotations related to: Interstellar (film)
 Wikimedia Commons has media related to Interstellar.
Official website
Interstellar at the Internet Movie Database
Interstellar at AllMovie
Interstellar at Metacritic
Interstellar at Rotten Tomatoes


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Amistad (film)
From Wikipedia, the free encyclopedia
  (Redirected from Amistad (1997 movie))
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Not to be confused with La Amistad.

Amistad
Amistad-Poster.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Debbie Allen
 Steven Spielberg
Colin Wilson
Written by
David Franzoni
Starring
Morgan Freeman
Anthony Hopkins
Djimon Hounsou
Matthew McConaughey
Nigel Hawthorne
Stellan Skarsgård
Harry Blackmun
Anna Paquin
Music by
John Williams
Cinematography
Janusz Kamiński
Edited by
Michael Kahn

Production
 company

HBO Films

Distributed by
DreamWorks Pictures

Release dates

December 10, 1997


Running time
 154 minutes
Country
United States
Language
English
Budget
$36 million
Box office
$44,229,441
Amistad is a 1997 historical drama film directed by Steven Spielberg based on the notable uprising in 1839 by newly abducted Mende tribesmen who took control of the ship La Amistad off the coast of Cuba, and the international legal battle that followed their capture by a U.S. revenue cutter. It became a United States Supreme Court case of 1841.
Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou, and Matthew McConaughey had starring roles. David Franzoni's screenplay was based on the book Mutiny on the Amistad: The Saga of a Slave Revolt and Its Impact on American Abolition, Law, and Diplomacy (1987), by the historian Howard Jones.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Music 4.1 Original Motion Picture Soundtrack
5 Historical accuracy
6 Reception 6.1 Critical response
6.2 Box office
6.3 Awards
7 See also
8 References
9 External links

Plot[edit]
Amistad is the name of a slave ship traveling from Cuba to the U.S. in 1839. It is carrying a cargo of Africans who have been sold into slavery in Cuba, taken on board, and chained in the cargo hold of the ship. As the ship is crossing from Cuba to the U.S., Cinque, who was a tribal leader in Africa, leads a mutiny and takes over the ship. They continue to sail, hoping to find help when they land. Instead, when they reach the United States, they are imprisoned as runaway slaves. They don't speak a word of English, and it seems like they are doomed to die for killing their captors when an abolitionist lawyer decides to take their case, arguing that they were free citizens of another country and not slaves at all. The case finally gets to the Supreme Court, where John Quincy Adams makes an impassioned and eloquent plea for their release.
Cast[edit]
Morgan Freeman as Theodore Joadson
Nigel Hawthorne as Martin Van Buren
Anthony Hopkins as John Quincy Adams
Djimon Hounsou as Sengbe Pieh / Joseph Cinqué
Matthew McConaughey as Roger Sherman Baldwin
David Paymer as Secretary of State John Forsyth
Pete Postlethwaite as William S. Holabird
Stellan Skarsgård as Lewis Tappan
Razaaq Adoti as Yamba
Abu Bakaar Fofanah as Fala
Anna Paquin as Queen Isabella II of Spain
Tomas Milian as Ángel Calderón de la Barca y Belgrano
Chiwetel Ejiofor as Ens. James Covey
Derrick Ashong as Buakei
Geno Silva as Jose Ruiz
John Ortiz as Pedro Montes
Ralph Brown as Lieutenant Thomas L.Gedney
Darren E. Burrows as Lieutenant Richard W.Meade
Allan Rich as Judge Andrew T.Juttson
Paul Guilfoyle as Attorney
Peter Firth as Captain Fitzgerald
Xander Berkeley as Ledger Hammond
Jeremy Northam as Judge Coglin
Arliss Howard as John C. Calhoun
Austin Pendleton as Professor Josiah Willard Gibbs, Sr.
Pedro Armendáriz Jr. as General Baldomero Espartero
Harry Blackmun as Justice Joseph Story
Retired U.S. Supreme Court Justice Harry Blackmun appears in the film as Justice Joseph Story.
Production[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2014)
Actress and director Debbie Allen had run across some books about the mutiny on the ship, La Amistad, and brought the subject to HBO films, which chose to make a film adaption of the subject. She later presented the project to DreamWorks SKG to release the film, which agreed. Steven Spielberg, who wanted to stretch his artistic wings after making The Lost World: Jurassic Park (1997), was interested in directing it for DreamWorks, which he also co-founded as well. Spielberg was an unlikely person to tackle the Amistad story, since his previous picture about black characters, The Color Purple, had been badly received by the black community.
Filming took place in the Marble House mansion which was used for the exterior and interior court scenes. Filming moved to Sonalyst Studios, with the opening scene using a sound stage in Universal Studios was used. Production then went to Puerto Rico for the Africa scenes and the fortress building.
Post Production work was done rarely with Spielberg, due to his commitment to another DreamWorks film, Saving Private Ryan.
Music[edit]

Amistad

Soundtrack album by John Williams

Released
December 9, 1997
Recorded
1997
Genre
Score
Length
55:51
Label
DreamWorks Records
John Williams chronology

Seven Years in Tibet
 (1997) Amistad
 (1997) Saving Private Ryan
 (1998)


Professional ratings

Review scores

Source
Rating
AllMusic 4/5 stars
Filmtracks 4/5 stars
Movie Wave 3/5 stars
Original Motion Picture Soundtrack[edit]

[show]Track listing







  
  
  
  
  
  
  
  
  
  
  
  
  
  
The lyrics from "Dry Your Tears, Afrika"m a 1967 poem by French-speaking Ivorian poet Bernard Binlin Dadié. The words are primarily in Mende, one of Sierra Leone's major languages.
Historical accuracy[edit]
The Supreme Court decision reversed District and Circuit decrees regarding Africans' conveyance back to Africa. They were to be deemed free, but the U.S. government could not take them back to Africa, as they had arrived on American soil as free people.[1]
Many academics, including Columbia University professor Eric Foner, have criticized Amistad for historical inaccuracy and the misleading characterizations of the Amistad case as a "turning point" in the American perspective on slavery. [2] Foner wrote:
“ In fact, the Amistad case revolved around the Atlantic slave trade — by 1840 outlawed by international treaty — and had nothing whatsoever to do with slavery as a domestic institution. Incongruous as it may seem, it was perfectly possible in the nineteenth century to condemn the importation of slaves from Africa while simultaneously defending slavery and the flourishing slave trade within the United States. ”
“ Amistad's problems go far deeper than such anachronisms as President Martin Van Buren campaigning for re-election on a whistle-stop train tour (in 1840, candidates did not campaign), or people constantly talking about the coming Civil War, which lay twenty years in the future. ”
The film version of Adams' closing speech before the Supreme Court and the court's decision bear no resemblance to the much longer historical versions; they are not even fair summaries.[3][4]
Several inaccuracies occur during the film's final scenes:
During the scene depicting the destruction of the Lomboko Fortress by a Royal Navy schooner, the vessel's captain refers to another officer as "ensign". This rank has never been used by the Royal Navy.[5]
Reception[edit]
Critical response[edit]
Amistad received mainly positive reviews. Rotten Tomatoes gives the film a score of 76% based on reviews from 59 critics, with an average score of 6.9/10.[6] Susan Wloszczyna of USA Today summed up the feelings of many reviewers when she wrote: "as Spielberg vehicles go, Amistad — part mystery, action thriller, courtroom drama, even culture-clash comedy — lands between the disturbing lyricism of Schindler's List and the storybook artificiality of The Color Purple."[7] Roger Ebert awarded the film three out of four stars, writing:

"Amistad," like Spielberg's "Schindler's List," is [...] about the ways good men try to work realistically within an evil system to spare a few of its victims. [...] "Schindler's List" works better as narrative because it is about a risky deception, while "Amistad" is about the search for a truth that, if found, will be small consolation to the millions of existing slaves. As a result, the movie doesn't have the emotional charge of Spielberg's earlier film — or of "The Color Purple," which moved me to tears. [...] What is most valuable about "Amistad" is the way it provides faces and names for its African characters, whom the movies so often make into faceless victims.[8]
Box office[edit]
The film earned $44,229,441 at the box office in the United States, debuting at No. 5 on December 10, 1997.[9]
Awards[edit]
Amistad was nominated for Academy Awards in four categories: Best Supporting Actor (Anthony Hopkins), Best Original Dramatic Score (John Williams), Best Cinematography (Janusz Kamiński), and Best Costume Design (Ruth E. Carter).[10]

Award
Category
Nominee(s)
Result

Academy Award
Best Cinematography Janusz Kamiński Nominated
Best Costume Design Ruth E. Carter Nominated
Best Original Dramatic Score John Williams Nominated
Best Supporting Actor Anthony Hopkins Nominated
American Society of Cinematographers
Outstanding Achievement in Cinematography in Theatrical Releases Janusz Kamiński Nominated
Art Directors Guild
Excellence in Production Design for a Feature Film Rick Carter (production designer),
 Tony Fanning, Christopher Burian-Mohr, William James Teegarden (art directors)
 Lauren Polizzi, John Berger, Paul Sonski (assistant art directors)
 Nicholas Lundy, Hugh Landwehr (new york art directors) Nominated
Chicago Film Critics Association
Best Supporting Actor Anthony Hopkins Nominated
Most Promising Actor Djimon Hounsou Nominated
Critics' Choice Movie Award
Best Film Nominated
Best Supporting Actor Anthony Hopkins Won
David di Donatello
Best Foreign Film Steven Spielberg Nominated
Directors Guild of America Award
Outstanding Directing – Feature Film Nominated
European Film Awards
Achievement in World Cinema
(also for Good Will Hunting) Stellan Skarsgård Won
Golden Globe Award
Best Actor – Motion Picture Drama Djimon Hounsou Nominated
Best Director Steven Spielberg Nominated
Best Motion Picture – Drama Nominated
Best Supporting Actor – Motion Picture Anthony Hopkins Nominated
Grammy Award
Best Instrumental Composition Written for a Motion Picture or for Television John Williams Nominated
NAACP Image Award
Outstanding Actor in a Motion Picture Djimon Hounsou Won
Outstanding Motion Picture Nominated
Outstanding Supporting Actor in a Motion Picture Morgan Freeman Won
Online Film Critics Society
Best Supporting Actor Anthony Hopkins Nominated
Producers Guild of America Award
Best Theatrical Motion Picture Steven Spielberg, Debbie Allen, Colin Wilson Nominated
Political Film Society Awards
Exposé Nominated
Satellite Award
Best Actor – Motion Picture Drama Djimon Hounsou Nominated
Best Adapted Screenplay David Franzoni Nominated
Best Art Direction and Production Design Rick Carter Nominated
Best Cinematography Janusz Kamiński Won
Best Costume Design Ruth E. Carter Nominated
Best Director Steven Spielberg Nominated
Best Editing Michael Kahn Nominated
Best Film – Drama Steven Spielberg, Debbie Allen, Colin Wilson Nominated
Best Original Score John Williams Nominated
Screen Actors Guild Award
Outstanding Performance by a Male Actor in a Supporting Role Anthony Hopkins Nominated
Southeastern Film Critics Association
Best Supporting Actor 2nd place
See also[edit]
United States v. The Amistad, an 1841 U.S. Supreme Court case concerning a slave rebellion on the ship
Tecora
List of films featuring slavery
White savior narrative in film
Supreme Court of the United States in fiction
Trial movies

Portal icon Film portal
References[edit]
1.Jump up ^ Story, Joseph. "The United States, Appellants, v. The Libellants and Claimants of the Schooner Amistad, Her Tackle, Apparel, and Furniture, Together With Her Cargo, and the Africans Mentioned and Described in the Several Libels and Claims, Appellees", Supreme Court of the United States 40 U.S. 518; 10 L. Ed. 826 (January 1841 Term), Cornell University Law School. Accessed December 8, 2011.
2.Jump up ^ Foner, Eric. "The Amistad Case in Fact and Film", History Matters. Accessed December 8, 2011.
3.Jump up ^ "The United States, Appellants, v. The Libellants and Claimants of the Schooner Amistad...".
4.Jump up ^ "JQA Adams Before the Supreme Court", History Central.
5.Jump up ^ British Royal Navy ranks (including relevant time period) "Officer Ranks in the Royal Navy", Royal Naval Museum. Accessed February 15, 2012.
6.Jump up ^ "Amistad Movie Reviews, Pictures". Rotten Tomatoes. Flixster. Retrieved 2011-02-15.
7.Jump up ^ Wloszczyna, Susan. "Amistad review", USA Today. Accessed December 8, 2011.
8.Jump up ^ Ebert, Roger (December 12, 1997). "Amistad :: rogerebert.com :: Reviews". Chicago Sun-Times. Retrieved Dec 8, 2011.
9.Jump up ^ "Amistad". Box Office Mojo. Internet Movie Database. Retrieved 2011-12-08.
10.Jump up ^ "Academy Awards: Amistad". Box Office Mojo. Internet Movie Database. Retrieved 2011-12-08.
External links[edit]
 Wikiquote has quotations related to: Amistad (film)
Amistad at the Internet Movie Database
Amistad at AllMovie
Amistad at Box Office Mojo
Amistad at Rotten Tomatoes
2 speeches from the movie in text, audio, video from American Rhetoric
Amistad at Virtual History


[hide]
v ·
 t ·
 e
 
Steven Spielberg


Filmography ·
 Awards and nominations
 

Directorial
 works
Firelight (1964) ·
 Slipstream (1967) ·
 Amblin' (1968) ·
 "L.A. 2017" (1971) ·
 Duel (1971) ·
 Something Evil (1972) ·
 Savage (1973) ·
 The Sugarland Express (1974, also wrote) ·
 Jaws (1975) ·
 Close Encounters of the Third Kind (1977, also wrote) ·
 1941 (1979) ·
 Raiders of the Lost Ark (1981) ·
 E.T. the Extra-Terrestrial (1982) ·
 Twilight Zone: The Movie ("Kick the Can" segment, 1983) ·
 Indiana Jones and the Temple of Doom (1984) ·
 The Color Purple (1985) ·
 Empire of the Sun (1987) ·
 Indiana Jones and the Last Crusade (1989) ·
 Always (1989) ·
 Hook (1991) ·
 Jurassic Park (1993) ·
 Schindler's List (1993) ·
 The Lost World: Jurassic Park (1997) ·
 Amistad (1997) ·
 Saving Private Ryan (1998) ·
 A.I. Artificial Intelligence (2001, also wrote) ·
 Minority Report (2002) ·
 Catch Me If You Can (2002) ·
 The Terminal (2004) ·
 War of the Worlds (2005) ·
 Munich (2005) ·
 Indiana Jones and the Kingdom of the Crystal Skull (2008) ·
 The Adventures of Tintin (2011) ·
 War Horse (2011) ·
 Lincoln (2012) ·
 St. James Place (2015) ·
 The BFG (2016)
 

Written only
Ace Eli and Rodger of the Skies (1973) ·
 Poltergeist (1982, also produced) ·
 The Goonies (1985)
 

Produced only
An American Tail: Fievel Goes West (1991) ·
 Memoirs of a Geisha (2005) ·
 Flags of Our Fathers (2006) ·
 Letters from Iwo Jima (2006) ·
 Super 8 (2011) ·
 The Hundred-Foot Journey (2014)
 

Created for TV
Amazing Stories (1985–1987) ·
 High Incident (1996–1997) ·
 Invasion America (1998)
 

See also
Steven Spielberg bibliography ·
 Amblin Entertainment  (Amblimation)
   ·
 DreamWorks ·
 USC Shoah Foundation Institute for Visual History and Education
 



[show]
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John Quincy Adams

























































































































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Categories: 1997 films
English-language films
American films
1990s drama films
American drama films
American legal films
Courtroom films
Courtroom dramas
Military courtroom films
DreamWorks Pictures films
Epic films
Films about mutinies
Films about American slavery
Films based on actual events
Films directed by Steven Spielberg
Films produced by Steven Spielberg
Films about Presidents of the United States
Films set in Connecticut
Films set in Cuba
Films set in Boston, Massachusetts
Films set in Massachusetts
Films set in New York
Films set in Sierra Leone
Films set in the 1830s
Films set in the 1840s
Films set in Washington, D.C.
Films shot in Connecticut
Films shot in Massachusetts
Films shot in Rhode Island
Films about race and ethnicity
La Amistad
Film scores by John Williams
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Amistad (film)
From Wikipedia, the free encyclopedia
  (Redirected from Amistad (1997 movie))
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Not to be confused with La Amistad.

Amistad
Amistad-Poster.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Debbie Allen
 Steven Spielberg
Colin Wilson
Written by
David Franzoni
Starring
Morgan Freeman
Anthony Hopkins
Djimon Hounsou
Matthew McConaughey
Nigel Hawthorne
Stellan Skarsgård
Harry Blackmun
Anna Paquin
Music by
John Williams
Cinematography
Janusz Kamiński
Edited by
Michael Kahn

Production
 company

HBO Films

Distributed by
DreamWorks Pictures

Release dates

December 10, 1997


Running time
 154 minutes
Country
United States
Language
English
Budget
$36 million
Box office
$44,229,441
Amistad is a 1997 historical drama film directed by Steven Spielberg based on the notable uprising in 1839 by newly abducted Mende tribesmen who took control of the ship La Amistad off the coast of Cuba, and the international legal battle that followed their capture by a U.S. revenue cutter. It became a United States Supreme Court case of 1841.
Morgan Freeman, Nigel Hawthorne, Anthony Hopkins, Djimon Hounsou, and Matthew McConaughey had starring roles. David Franzoni's screenplay was based on the book Mutiny on the Amistad: The Saga of a Slave Revolt and Its Impact on American Abolition, Law, and Diplomacy (1987), by the historian Howard Jones.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Music 4.1 Original Motion Picture Soundtrack
5 Historical accuracy
6 Reception 6.1 Critical response
6.2 Box office
6.3 Awards
7 See also
8 References
9 External links

Plot[edit]
Amistad is the name of a slave ship traveling from Cuba to the U.S. in 1839. It is carrying a cargo of Africans who have been sold into slavery in Cuba, taken on board, and chained in the cargo hold of the ship. As the ship is crossing from Cuba to the U.S., Cinque, who was a tribal leader in Africa, leads a mutiny and takes over the ship. They continue to sail, hoping to find help when they land. Instead, when they reach the United States, they are imprisoned as runaway slaves. They don't speak a word of English, and it seems like they are doomed to die for killing their captors when an abolitionist lawyer decides to take their case, arguing that they were free citizens of another country and not slaves at all. The case finally gets to the Supreme Court, where John Quincy Adams makes an impassioned and eloquent plea for their release.
Cast[edit]
Morgan Freeman as Theodore Joadson
Nigel Hawthorne as Martin Van Buren
Anthony Hopkins as John Quincy Adams
Djimon Hounsou as Sengbe Pieh / Joseph Cinqué
Matthew McConaughey as Roger Sherman Baldwin
David Paymer as Secretary of State John Forsyth
Pete Postlethwaite as William S. Holabird
Stellan Skarsgård as Lewis Tappan
Razaaq Adoti as Yamba
Abu Bakaar Fofanah as Fala
Anna Paquin as Queen Isabella II of Spain
Tomas Milian as Ángel Calderón de la Barca y Belgrano
Chiwetel Ejiofor as Ens. James Covey
Derrick Ashong as Buakei
Geno Silva as Jose Ruiz
John Ortiz as Pedro Montes
Ralph Brown as Lieutenant Thomas L.Gedney
Darren E. Burrows as Lieutenant Richard W.Meade
Allan Rich as Judge Andrew T.Juttson
Paul Guilfoyle as Attorney
Peter Firth as Captain Fitzgerald
Xander Berkeley as Ledger Hammond
Jeremy Northam as Judge Coglin
Arliss Howard as John C. Calhoun
Austin Pendleton as Professor Josiah Willard Gibbs, Sr.
Pedro Armendáriz Jr. as General Baldomero Espartero
Harry Blackmun as Justice Joseph Story
Retired U.S. Supreme Court Justice Harry Blackmun appears in the film as Justice Joseph Story.
Production[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2014)
Actress and director Debbie Allen had run across some books about the mutiny on the ship, La Amistad, and brought the subject to HBO films, which chose to make a film adaption of the subject. She later presented the project to DreamWorks SKG to release the film, which agreed. Steven Spielberg, who wanted to stretch his artistic wings after making The Lost World: Jurassic Park (1997), was interested in directing it for DreamWorks, which he also co-founded as well. Spielberg was an unlikely person to tackle the Amistad story, since his previous picture about black characters, The Color Purple, had been badly received by the black community.
Filming took place in the Marble House mansion which was used for the exterior and interior court scenes. Filming moved to Sonalyst Studios, with the opening scene using a sound stage in Universal Studios was used. Production then went to Puerto Rico for the Africa scenes and the fortress building.
Post Production work was done rarely with Spielberg, due to his commitment to another DreamWorks film, Saving Private Ryan.
Music[edit]

Amistad

Soundtrack album by John Williams

Released
December 9, 1997
Recorded
1997
Genre
Score
Length
55:51
Label
DreamWorks Records
John Williams chronology

Seven Years in Tibet
 (1997) Amistad
 (1997) Saving Private Ryan
 (1998)


Professional ratings

Review scores

Source
Rating
AllMusic 4/5 stars
Filmtracks 4/5 stars
Movie Wave 3/5 stars
Original Motion Picture Soundtrack[edit]

[show]Track listing







  
  
  
  
  
  
  
  
  
  
  
  
  
  
The lyrics from "Dry Your Tears, Afrika"m a 1967 poem by French-speaking Ivorian poet Bernard Binlin Dadié. The words are primarily in Mende, one of Sierra Leone's major languages.
Historical accuracy[edit]
The Supreme Court decision reversed District and Circuit decrees regarding Africans' conveyance back to Africa. They were to be deemed free, but the U.S. government could not take them back to Africa, as they had arrived on American soil as free people.[1]
Many academics, including Columbia University professor Eric Foner, have criticized Amistad for historical inaccuracy and the misleading characterizations of the Amistad case as a "turning point" in the American perspective on slavery. [2] Foner wrote:
“ In fact, the Amistad case revolved around the Atlantic slave trade — by 1840 outlawed by international treaty — and had nothing whatsoever to do with slavery as a domestic institution. Incongruous as it may seem, it was perfectly possible in the nineteenth century to condemn the importation of slaves from Africa while simultaneously defending slavery and the flourishing slave trade within the United States. ”
“ Amistad's problems go far deeper than such anachronisms as President Martin Van Buren campaigning for re-election on a whistle-stop train tour (in 1840, candidates did not campaign), or people constantly talking about the coming Civil War, which lay twenty years in the future. ”
The film version of Adams' closing speech before the Supreme Court and the court's decision bear no resemblance to the much longer historical versions; they are not even fair summaries.[3][4]
Several inaccuracies occur during the film's final scenes:
During the scene depicting the destruction of the Lomboko Fortress by a Royal Navy schooner, the vessel's captain refers to another officer as "ensign". This rank has never been used by the Royal Navy.[5]
Reception[edit]
Critical response[edit]
Amistad received mainly positive reviews. Rotten Tomatoes gives the film a score of 76% based on reviews from 59 critics, with an average score of 6.9/10.[6] Susan Wloszczyna of USA Today summed up the feelings of many reviewers when she wrote: "as Spielberg vehicles go, Amistad — part mystery, action thriller, courtroom drama, even culture-clash comedy — lands between the disturbing lyricism of Schindler's List and the storybook artificiality of The Color Purple."[7] Roger Ebert awarded the film three out of four stars, writing:

"Amistad," like Spielberg's "Schindler's List," is [...] about the ways good men try to work realistically within an evil system to spare a few of its victims. [...] "Schindler's List" works better as narrative because it is about a risky deception, while "Amistad" is about the search for a truth that, if found, will be small consolation to the millions of existing slaves. As a result, the movie doesn't have the emotional charge of Spielberg's earlier film — or of "The Color Purple," which moved me to tears. [...] What is most valuable about "Amistad" is the way it provides faces and names for its African characters, whom the movies so often make into faceless victims.[8]
Box office[edit]
The film earned $44,229,441 at the box office in the United States, debuting at No. 5 on December 10, 1997.[9]
Awards[edit]
Amistad was nominated for Academy Awards in four categories: Best Supporting Actor (Anthony Hopkins), Best Original Dramatic Score (John Williams), Best Cinematography (Janusz Kamiński), and Best Costume Design (Ruth E. Carter).[10]

Award
Category
Nominee(s)
Result

Academy Award
Best Cinematography Janusz Kamiński Nominated
Best Costume Design Ruth E. Carter Nominated
Best Original Dramatic Score John Williams Nominated
Best Supporting Actor Anthony Hopkins Nominated
American Society of Cinematographers
Outstanding Achievement in Cinematography in Theatrical Releases Janusz Kamiński Nominated
Art Directors Guild
Excellence in Production Design for a Feature Film Rick Carter (production designer),
 Tony Fanning, Christopher Burian-Mohr, William James Teegarden (art directors)
 Lauren Polizzi, John Berger, Paul Sonski (assistant art directors)
 Nicholas Lundy, Hugh Landwehr (new york art directors) Nominated
Chicago Film Critics Association
Best Supporting Actor Anthony Hopkins Nominated
Most Promising Actor Djimon Hounsou Nominated
Critics' Choice Movie Award
Best Film Nominated
Best Supporting Actor Anthony Hopkins Won
David di Donatello
Best Foreign Film Steven Spielberg Nominated
Directors Guild of America Award
Outstanding Directing – Feature Film Nominated
European Film Awards
Achievement in World Cinema
(also for Good Will Hunting) Stellan Skarsgård Won
Golden Globe Award
Best Actor – Motion Picture Drama Djimon Hounsou Nominated
Best Director Steven Spielberg Nominated
Best Motion Picture – Drama Nominated
Best Supporting Actor – Motion Picture Anthony Hopkins Nominated
Grammy Award
Best Instrumental Composition Written for a Motion Picture or for Television John Williams Nominated
NAACP Image Award
Outstanding Actor in a Motion Picture Djimon Hounsou Won
Outstanding Motion Picture Nominated
Outstanding Supporting Actor in a Motion Picture Morgan Freeman Won
Online Film Critics Society
Best Supporting Actor Anthony Hopkins Nominated
Producers Guild of America Award
Best Theatrical Motion Picture Steven Spielberg, Debbie Allen, Colin Wilson Nominated
Political Film Society Awards
Exposé Nominated
Satellite Award
Best Actor – Motion Picture Drama Djimon Hounsou Nominated
Best Adapted Screenplay David Franzoni Nominated
Best Art Direction and Production Design Rick Carter Nominated
Best Cinematography Janusz Kamiński Won
Best Costume Design Ruth E. Carter Nominated
Best Director Steven Spielberg Nominated
Best Editing Michael Kahn Nominated
Best Film – Drama Steven Spielberg, Debbie Allen, Colin Wilson Nominated
Best Original Score John Williams Nominated
Screen Actors Guild Award
Outstanding Performance by a Male Actor in a Supporting Role Anthony Hopkins Nominated
Southeastern Film Critics Association
Best Supporting Actor 2nd place
See also[edit]
United States v. The Amistad, an 1841 U.S. Supreme Court case concerning a slave rebellion on the ship
Tecora
List of films featuring slavery
White savior narrative in film
Supreme Court of the United States in fiction
Trial movies

Portal icon Film portal
References[edit]
1.Jump up ^ Story, Joseph. "The United States, Appellants, v. The Libellants and Claimants of the Schooner Amistad, Her Tackle, Apparel, and Furniture, Together With Her Cargo, and the Africans Mentioned and Described in the Several Libels and Claims, Appellees", Supreme Court of the United States 40 U.S. 518; 10 L. Ed. 826 (January 1841 Term), Cornell University Law School. Accessed December 8, 2011.
2.Jump up ^ Foner, Eric. "The Amistad Case in Fact and Film", History Matters. Accessed December 8, 2011.
3.Jump up ^ "The United States, Appellants, v. The Libellants and Claimants of the Schooner Amistad...".
4.Jump up ^ "JQA Adams Before the Supreme Court", History Central.
5.Jump up ^ British Royal Navy ranks (including relevant time period) "Officer Ranks in the Royal Navy", Royal Naval Museum. Accessed February 15, 2012.
6.Jump up ^ "Amistad Movie Reviews, Pictures". Rotten Tomatoes. Flixster. Retrieved 2011-02-15.
7.Jump up ^ Wloszczyna, Susan. "Amistad review", USA Today. Accessed December 8, 2011.
8.Jump up ^ Ebert, Roger (December 12, 1997). "Amistad :: rogerebert.com :: Reviews". Chicago Sun-Times. Retrieved Dec 8, 2011.
9.Jump up ^ "Amistad". Box Office Mojo. Internet Movie Database. Retrieved 2011-12-08.
10.Jump up ^ "Academy Awards: Amistad". Box Office Mojo. Internet Movie Database. Retrieved 2011-12-08.
External links[edit]
 Wikiquote has quotations related to: Amistad (film)
Amistad at the Internet Movie Database
Amistad at AllMovie
Amistad at Box Office Mojo
Amistad at Rotten Tomatoes
2 speeches from the movie in text, audio, video from American Rhetoric
Amistad at Virtual History


[hide]
v ·
 t ·
 e
 
Steven Spielberg


Filmography ·
 Awards and nominations
 

Directorial
 works
Firelight (1964) ·
 Slipstream (1967) ·
 Amblin' (1968) ·
 "L.A. 2017" (1971) ·
 Duel (1971) ·
 Something Evil (1972) ·
 Savage (1973) ·
 The Sugarland Express (1974, also wrote) ·
 Jaws (1975) ·
 Close Encounters of the Third Kind (1977, also wrote) ·
 1941 (1979) ·
 Raiders of the Lost Ark (1981) ·
 E.T. the Extra-Terrestrial (1982) ·
 Twilight Zone: The Movie ("Kick the Can" segment, 1983) ·
 Indiana Jones and the Temple of Doom (1984) ·
 The Color Purple (1985) ·
 Empire of the Sun (1987) ·
 Indiana Jones and the Last Crusade (1989) ·
 Always (1989) ·
 Hook (1991) ·
 Jurassic Park (1993) ·
 Schindler's List (1993) ·
 The Lost World: Jurassic Park (1997) ·
 Amistad (1997) ·
 Saving Private Ryan (1998) ·
 A.I. Artificial Intelligence (2001, also wrote) ·
 Minority Report (2002) ·
 Catch Me If You Can (2002) ·
 The Terminal (2004) ·
 War of the Worlds (2005) ·
 Munich (2005) ·
 Indiana Jones and the Kingdom of the Crystal Skull (2008) ·
 The Adventures of Tintin (2011) ·
 War Horse (2011) ·
 Lincoln (2012) ·
 St. James Place (2015) ·
 The BFG (2016)
 

Written only
Ace Eli and Rodger of the Skies (1973) ·
 Poltergeist (1982, also produced) ·
 The Goonies (1985)
 

Produced only
An American Tail: Fievel Goes West (1991) ·
 Memoirs of a Geisha (2005) ·
 Flags of Our Fathers (2006) ·
 Letters from Iwo Jima (2006) ·
 Super 8 (2011) ·
 The Hundred-Foot Journey (2014)
 

Created for TV
Amazing Stories (1985–1987) ·
 High Incident (1996–1997) ·
 Invasion America (1998)
 

See also
Steven Spielberg bibliography ·
 Amblin Entertainment  (Amblimation)
   ·
 DreamWorks ·
 USC Shoah Foundation Institute for Visual History and Education
 



[show]
v ·
 t ·
 e
 
John Quincy Adams

























































































































Commons page
Wikibooks page
Wikiquote page
Wikisource page


  


Categories: 1997 films
English-language films
American films
1990s drama films
American drama films
American legal films
Courtroom films
Courtroom dramas
Military courtroom films
DreamWorks Pictures films
Epic films
Films about mutinies
Films about American slavery
Films based on actual events
Films directed by Steven Spielberg
Films produced by Steven Spielberg
Films about Presidents of the United States
Films set in Connecticut
Films set in Cuba
Films set in Boston, Massachusetts
Films set in Massachusetts
Films set in New York
Films set in Sierra Leone
Films set in the 1830s
Films set in the 1840s
Films set in Washington, D.C.
Films shot in Connecticut
Films shot in Massachusetts
Films shot in Rhode Island
Films about race and ethnicity
La Amistad
Film scores by John Williams
Mende-language films








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This page was last modified on 30 January 2015, at 15:31.
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http://en.wikipedia.org/wiki/Amistad_(film)