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Lost Moon
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Lost Moon: The Perilous Voyage of Apollo 13
Lost Moon.jpg
Cover of Lost Moon first Edition

Author
Jim Lovell and Jeffrey Kluger
Country
United States
Language
English
Subject
Aerospace engineering
Published
1994 (Houghton Mifflin Company)
1995 (Pocket Books)

Media type
Print
Pages
378 (first edition)
ISBN
0-395-67029-2

Dewey Decimal
 629.45
Lost Moon: The Perilous Voyage of Apollo 13 (published in paperback as Apollo 13), is a non-fiction book first published in 1994 by astronaut James Lovell and journalist Jeffrey Kluger, about the failed April, 1970 Apollo 13 lunar landing mission which Lovell commanded. The book is the basis of the 1995 film adaptation Apollo 13, directed by Ron Howard.
Apollo 13 was the third mission of the Apollo program intended to land men on the Moon. An explosion of an onboard liquid oxygen tank in the Service Module, when the craft was close to reaching the Moon, crippled the electrical power generation and propulsion systems for the command ship Odyssey. This necessitated the abort of the lunar landing, and placed the lives of astronauts Lovell, Jack Swigert, and Fred Haise in serious jeopardy. The mission became famous for the safe return of the men, made possible by the flight controllers' resourceful adaptation of the electrical, propulsion, and life support systems of the lunar landing ship Aquarius as a "lifeboat".
Physical description[edit]
Hardcover, 378 pages
Publisher: Houghton Mifflin (T) (October 1994)
Language: English
ISBN 0-395-67029-2
Dimensions: 1.5 × 6.2 × 9.2 inches



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Lost Moon
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Lost Moon: The Perilous Voyage of Apollo 13
Lost Moon.jpg
Cover of Lost Moon first Edition

Author
Jim Lovell and Jeffrey Kluger
Country
United States
Language
English
Subject
Aerospace engineering
Published
1994 (Houghton Mifflin Company)
1995 (Pocket Books)

Media type
Print
Pages
378 (first edition)
ISBN
0-395-67029-2

Dewey Decimal
 629.45
Lost Moon: The Perilous Voyage of Apollo 13 (published in paperback as Apollo 13), is a non-fiction book first published in 1994 by astronaut James Lovell and journalist Jeffrey Kluger, about the failed April, 1970 Apollo 13 lunar landing mission which Lovell commanded. The book is the basis of the 1995 film adaptation Apollo 13, directed by Ron Howard.
Apollo 13 was the third mission of the Apollo program intended to land men on the Moon. An explosion of an onboard liquid oxygen tank in the Service Module, when the craft was close to reaching the Moon, crippled the electrical power generation and propulsion systems for the command ship Odyssey. This necessitated the abort of the lunar landing, and placed the lives of astronauts Lovell, Jack Swigert, and Fred Haise in serious jeopardy. The mission became famous for the safe return of the men, made possible by the flight controllers' resourceful adaptation of the electrical, propulsion, and life support systems of the lunar landing ship Aquarius as a "lifeboat".
Physical description[edit]
Hardcover, 378 pages
Publisher: Houghton Mifflin (T) (October 1994)
Language: English
ISBN 0-395-67029-2
Dimensions: 1.5 × 6.2 × 9.2 inches



Stub icon This article about a biographical or autobiographical book is a stub. You can help Wikipedia by expanding it.




Stub icon This article about a book on outer space or spaceflight is a stub. You can help Wikipedia by expanding it.




  


Categories: 1994 books
Apollo program
American non-fiction books
Non-fiction novels
Biography book stubs
Space stubs
Astronomy book stubs




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Create account
Log in



Article

Talk









Read

Edit

View history

















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Contents
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Contact page

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What links here
Related changes
Upload file
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Permanent link
Page information
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Cite this page

Print/export
Create a book
Download as PDF
Printable version

Languages
Português
Edit links
This page was last modified on 23 December 2014, at 17:33.
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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Apollo 13 (film)
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Jump to: navigation, search


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

Directed by
Ron Howard
Produced by
Brian Grazer
Screenplay by
William Broyles, Jr.
Al Reinert
Based on
Lost Moon
 by Jim Lovell
Jeffrey Kluger
Starring
Tom Hanks
Kevin Bacon
Bill Paxton
Gary Sinise
Ed Harris
Music by
James Horner
Cinematography
Dean Cundey
Edited by
Daniel P. Hanley
Mike Hill

Production
 company

Imagine Entertainment

Distributed by
Universal Pictures

Release dates

June 30, 1995 (United States)


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


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

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












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



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

Apollo 13: Music From The Motion Picture

Soundtrack album by James Horner

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

Professional ratings

Review scores

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

Apollo 13: Original Motion Picture Soundtrack

No.
Title
Length

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

Source
Gross (USD)
 % Total
All time rank (unadjusted)
US $173,837,933[2] 48.9% 126[2]
Non-US $181,400,000[2] 51.1% N/A
Worldwide $355,237,933[2] 100.0% 140[2]
Reception[edit]
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95% based on 81 reviews, with a weighted average score of 8.1/10.[21] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews.[22]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[23] Richard Corliss from Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[24] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[25] Peter Travers from Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[26] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told."[27]
Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind)."[28] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late twentieth-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'."[29]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[30] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[4]
Home media[edit]
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[31] The IMAX version has a 1.66:1 aspect ratio.[32]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc as the 15th anniversary edition, on the 40th anniversary of the Apollo 13 accident (Central Standard Time).[31]
Accolades[edit]

Year
Award
Category
Recipient
Result
Ref.
1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [3]
Best Sound Rick Dior, Steve Pederson, Scott Millan, David MacMillan Won
Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in Usual Suspects) Nominated
Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite) Nominated
Best Art Direction Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration) Nominated
Best Original Dramatic Score James Horner (lost to Il Postino) Nominated
Best Picture Brian Grazer (lost to Braveheart) Nominated
Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe) Nominated
Best Adapted Screenplay William Broyles Jr., Al Reinert (lost to Sense & Sensibility) Nominated
American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley Nominated 
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey Nominated 
BAFTA Film Awards Best Production Design Michael Corenblith Won 
Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Won
Best Cinematography Dean Cundey Nominated
Best Editing Mike Hill, Daniel Hanley Nominated
Best Sound David MacMillan, Rick Dior, Scott Millan, Steve Pederson Nominated
Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Nominated 
Chicago Film Critics Association Awards Best Picture Apollo 13 Won 
Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Won 
Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Nominated 
Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Nominated
Best Director – Motion Picture Ron Howard Nominated
Best Motion Picture – Drama Apollo 13 Nominated
Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Won 
Hugo Awards Best Dramatic Presentation Apollo 13 Nominated 
MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Nominated 
Best Movie Apollo 13 Nominated
PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Won 
Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 Nominated 
Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Ed Harris as Gene Kranz Won 
Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise Won
Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama Apollo 13 Won [33]
Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Nominated 
Young Artist Awards Best Family Feature – Drama Apollo 13 Nominated 
2001 American Film Institute AFI's 100 Years... 100 Thrills Apollo 13 Nominated 
2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem." (#50) Won [34]
2006 American Film Institute AFI's 100 Years... 100 Cheers Apollo 13 (#12) Won [34]
Technical and historical accuracy[edit]



 Apollo 13 space capsule prop from the film.
The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[35]
The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[36]
One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again." In the actual re-entry, the Command Module was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. Capcom and fellow astronaut Joe Kerwin (not Mattingly, who serves as Capcom in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[37]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option,' you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like?' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked?' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it.' Of course, they gave it to the Kranz character, and the rest is history."[38]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions,[31] mentions several inaccuracies included in the film, all done for reasons of artistic license:



"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[39]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[5]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job,[39] but he admitted that it made a nice sub-plot for the film. What Lovell and Haise were really worried about was the rendezvous with Swigert as they left the Moon.[5]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[5]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[39] but the drain trap caught the ring and his wife was able to retrieve it.[5] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[39]
See also[edit]
From the Earth to the Moon, a docudrama mini-series based around the Apollo missions.
Gravity, a 2013 film about astronauts escaping from orbit.
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.


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References[edit]
 This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration.
1.Jump up ^ "CNN Showbiz News: Apollo 13". CNN. Retrieved 9 April 2009.
2.^ Jump up to: a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved 9 April 2009.
3.^ Jump up to: a b "Academy Awards, USA: 1996". awardsdatabase.oscars.org. Archived from the original on 27 February 2009. Retrieved 8 April 2009.
4.^ Jump up to: a b c d e f "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
5.^ Jump up to: a b c d e f g h i j Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features: Commentary track by Jim and Marilyn Lovell (DVD). Universal Studios. 19 April 2005.
6.Jump up ^ "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
7.Jump up ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Retrieved 1 January 2012.
8.Jump up ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed.). New York: Pocket Books. pp. 118, 209–210, 387. ISBN 0-671-53464-5.
9.Jump up ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved 1 January 2012.
10.^ Jump up to: a b c Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features: Commentary track by Ron Howard (DVD). Universal Studios. 19 April 2005.
11.Jump up ^ "Brad Pitt - A Quick Overview". Retrieved 1 January 2012.
12.^ Jump up to: a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. 19 March 2005.
13.^ Jump up to: a b c d "Production Notes (Press Release)". IMAX. Retrieved 9 April 2009.
14.Jump up ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Retrieved 16 December 2011.
15.Jump up ^ Apollo 13 at AllMusic
16.Jump up ^ Filmtracks review
17.Jump up ^ Soundtrack.Net review
18.Jump up ^ Tracksounds review
19.Jump up ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
20.Jump up ^ "History of IMAX". Retrieved 11 February 2011.
21.Jump up ^ "Apollo 13". Rotten Tomatoes. Archived from the original on 20 August 2010. Retrieved 24 August 2010.
22.Jump up ^ "Apollo 13 Reviews". Metacritic. Retrieved 25 September 2011.
23.Jump up ^ "Apollo 13: Roger Ebert". Chicago Sun-Times. 30 June 1995. Retrieved 11 April 2009.
24.Jump up ^ "Apollo 13: Review". Time. 3 July 1995. Retrieved 11 April 2009.
25.Jump up ^ Guthmann, Edward (30 June 1995). "Apollo 13 Review: Story heroic, but it just doesn't fly.". San Francisco Chronicle. Retrieved 11 April 2009.
26.Jump up ^ "Apollo 13 Review: Rolling Stone". Rolling Stone. Retrieved 11 April 2009.
27.Jump up ^ "Movie Review: "Apollo 13"". Movie Room Reviews. Retrieved February 26, 2013.
28.Jump up ^ Maslin, Janet (30 June 1995). "Apollo 13, a Movie for the Fourth of July". The New York Times. Retrieved 30 September 2011.
29.Jump up ^ Malewitz, Raymond (5 September 2014). "getting Rugged With Thing Theory". Stanford UP. Retrieved 30 September 2014.
30.Jump up ^ Howard, Ron (8 December 2008). "A conversation about the film "Frost/Nixon"". Charlie Rose. Archived from the original on 11 December 2008. Retrieved 8 December 2008.
31.^ Jump up to: a b c "Apollo 13 Blu-Ray Release". Universal Studios. Retrieved 29 September 2011.
32.Jump up ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved 30 December 2011.
33.Jump up ^ "Symposium Awards". National Space Symposium. Retrieved 26 April 2009.
34.^ Jump up to: a b "AFI's 100 years...100 quotes". AFI. Archived from the original on 26 March 2009. Retrieved 13 April 2009.
35.Jump up ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20."
36.Jump up ^ "Page 167 of Apollo 13's transcript on Spacelog". Retrieved 10 June 2011.
37.Jump up ^ "Apollo 13's re-entry transcript on Spacelog".
38.Jump up ^ "ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION."". SPACEACTS.COM. Retrieved 4 April 2010.
39.^ Jump up to: a b c d William, Lena (19 July 1995). "In Space, No Room For Fear". The New York Times. Retrieved 30 September 2011.
External links[edit]
 Wikimedia Commons has media related to Apollo 13 (film).
 Wikiquote has quotations related to: the film Apollo 13
Apollo 13 at the TCM Movie Database
Apollo 13 at the Internet Movie Database
Apollo 13 at AllMovie
Apollo 13 at Rotten Tomatoes
Apollo 13 at Box Office Mojo


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

Directed by
Ron Howard
Produced by
Brian Grazer
Screenplay by
William Broyles, Jr.
Al Reinert
Based on
Lost Moon
 by Jim Lovell
Jeffrey Kluger
Starring
Tom Hanks
Kevin Bacon
Bill Paxton
Gary Sinise
Ed Harris
Music by
James Horner
Cinematography
Dean Cundey
Edited by
Daniel P. Hanley
Mike Hill

Production
 company

Imagine Entertainment

Distributed by
Universal Pictures

Release dates

June 30, 1995 (United States)


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


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

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












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



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

Apollo 13: Music From The Motion Picture

Soundtrack album by James Horner

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

Professional ratings

Review scores

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

Apollo 13: Original Motion Picture Soundtrack

No.
Title
Length

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

Source
Gross (USD)
 % Total
All time rank (unadjusted)
US $173,837,933[2] 48.9% 126[2]
Non-US $181,400,000[2] 51.1% N/A
Worldwide $355,237,933[2] 100.0% 140[2]
Reception[edit]
Apollo 13 received very positive reviews from film critics. Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95% based on 81 reviews, with a weighted average score of 8.1/10.[21] At Metacritic, which assigns a normalized 0–100 rating to reviews from mainstream critics, calculated an average score of 77 based on 22 reviews.[22]
Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[23] Richard Corliss from Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[24] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[25] Peter Travers from Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[26] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told."[27]
Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind)."[28] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late twentieth-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'."[29]
Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[30] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[4]
Home media[edit]
A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[31] The IMAX version has a 1.66:1 aspect ratio.[32]
In 2006, Apollo 13 was released on HD DVD; on 13 April 2010, it was released on Blu-ray disc as the 15th anniversary edition, on the 40th anniversary of the Apollo 13 accident (Central Standard Time).[31]
Accolades[edit]

Year
Award
Category
Recipient
Result
Ref.
1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [3]
Best Sound Rick Dior, Steve Pederson, Scott Millan, David MacMillan Won
Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in Usual Suspects) Nominated
Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite) Nominated
Best Art Direction Michael Corenblith (art director), Merideth Boswell (set decorator) (lost to Restoration) Nominated
Best Original Dramatic Score James Horner (lost to Il Postino) Nominated
Best Picture Brian Grazer (lost to Braveheart) Nominated
Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, Matt Sweeney (lost to Babe) Nominated
Best Adapted Screenplay William Broyles Jr., Al Reinert (lost to Sense & Sensibility) Nominated
American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley Nominated 
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey Nominated 
BAFTA Film Awards Best Production Design Michael Corenblith Won 
Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Won
Best Cinematography Dean Cundey Nominated
Best Editing Mike Hill, Daniel Hanley Nominated
Best Sound David MacMillan, Rick Dior, Scott Millan, Steve Pederson Nominated
Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Nominated 
Chicago Film Critics Association Awards Best Picture Apollo 13 Won 
Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Won 
Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Nominated 
Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Nominated
Best Director – Motion Picture Ron Howard Nominated
Best Motion Picture – Drama Apollo 13 Nominated
Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Won 
Hugo Awards Best Dramatic Presentation Apollo 13 Nominated 
MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Nominated 
Best Movie Apollo 13 Nominated
PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Won 
Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 Nominated 
Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Ed Harris as Gene Kranz Won 
Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan and Gary Sinise Won
Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama Apollo 13 Won [33]
Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Nominated 
Young Artist Awards Best Family Feature – Drama Apollo 13 Nominated 
2001 American Film Institute AFI's 100 Years... 100 Thrills Apollo 13 Nominated 
2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem." (#50) Won [34]
2006 American Film Institute AFI's 100 Years... 100 Cheers Apollo 13 (#12) Won [34]
Technical and historical accuracy[edit]



 Apollo 13 space capsule prop from the film.
The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[35]
The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "I believe we've had a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[36]
One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again." In the actual re-entry, the Command Module was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. Capcom and fellow astronaut Joe Kerwin (not Mattingly, who serves as Capcom in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[37]
The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick:
"As far as the expression 'Failure is not an option,' you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on 'What are the people in Mission Control really like?' One of their questions was 'Weren't there times when everybody, or at least a few people, just panicked?' My answer was 'No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.' I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, 'That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it.' Of course, they gave it to the Kranz character, and the rest is history."[38]
A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions,[31] mentions several inaccuracies included in the film, all done for reasons of artistic license:



"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."
—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[39]
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[5]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module pilot and that no one was really worried about whether he was up to the job,[39] but he admitted that it made a nice sub-plot for the film. What Lovell and Haise were really worried about was the rendezvous with Swigert as they left the Moon.[5]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[5]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[39] but the drain trap caught the ring and his wife was able to retrieve it.[5] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[39]
See also[edit]
From the Earth to the Moon, a docudrama mini-series based around the Apollo missions.
Gravity, a 2013 film about astronauts escaping from orbit.
Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo Command/Service Module.


Moon-Mdf-2005.jpgMoon portal
 Earth-moon.jpgSpace portal
 RocketSunIcon.svgSpaceflight portal
 STS-41-B MMU.jpgHuman spaceflight portal
 Video-x-generic.svgFilm portal
 

References[edit]
 This article incorporates public domain material from websites or documents of the National Aeronautics and Space Administration.
1.Jump up ^ "CNN Showbiz News: Apollo 13". CNN. Retrieved 9 April 2009.
2.^ Jump up to: a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved 9 April 2009.
3.^ Jump up to: a b "Academy Awards, USA: 1996". awardsdatabase.oscars.org. Archived from the original on 27 February 2009. Retrieved 8 April 2009.
4.^ Jump up to: a b c d e f "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
5.^ Jump up to: a b c d e f g h i j Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features: Commentary track by Jim and Marilyn Lovell (DVD). Universal Studios. 19 April 2005.
6.Jump up ^ "Lost Moon: The Triumph of Apollo 13". Retrieved 1 January 2012.
7.Jump up ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Retrieved 1 January 2012.
8.Jump up ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed.). New York: Pocket Books. pp. 118, 209–210, 387. ISBN 0-671-53464-5.
9.Jump up ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved 1 January 2012.
10.^ Jump up to: a b c Apollo 13: 2-Disc Anniversary Edition (Disc 1), Special Features: Commentary track by Ron Howard (DVD). Universal Studios. 19 April 2005.
11.Jump up ^ "Brad Pitt - A Quick Overview". Retrieved 1 January 2012.
12.^ Jump up to: a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. 19 March 2005.
13.^ Jump up to: a b c d "Production Notes (Press Release)". IMAX. Retrieved 9 April 2009.
14.Jump up ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Retrieved 16 December 2011.
15.Jump up ^ Apollo 13 at AllMusic
16.Jump up ^ Filmtracks review
17.Jump up ^ Soundtrack.Net review
18.Jump up ^ Tracksounds review
19.Jump up ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011.
20.Jump up ^ "History of IMAX". Retrieved 11 February 2011.
21.Jump up ^ "Apollo 13". Rotten Tomatoes. Archived from the original on 20 August 2010. Retrieved 24 August 2010.
22.Jump up ^ "Apollo 13 Reviews". Metacritic. Retrieved 25 September 2011.
23.Jump up ^ "Apollo 13: Roger Ebert". Chicago Sun-Times. 30 June 1995. Retrieved 11 April 2009.
24.Jump up ^ "Apollo 13: Review". Time. 3 July 1995. Retrieved 11 April 2009.
25.Jump up ^ Guthmann, Edward (30 June 1995). "Apollo 13 Review: Story heroic, but it just doesn't fly.". San Francisco Chronicle. Retrieved 11 April 2009.
26.Jump up ^ "Apollo 13 Review: Rolling Stone". Rolling Stone. Retrieved 11 April 2009.
27.Jump up ^ "Movie Review: "Apollo 13"". Movie Room Reviews. Retrieved February 26, 2013.
28.Jump up ^ Maslin, Janet (30 June 1995). "Apollo 13, a Movie for the Fourth of July". The New York Times. Retrieved 30 September 2011.
29.Jump up ^ Malewitz, Raymond (5 September 2014). "getting Rugged With Thing Theory". Stanford UP. Retrieved 30 September 2014.
30.Jump up ^ Howard, Ron (8 December 2008). "A conversation about the film "Frost/Nixon"". Charlie Rose. Archived from the original on 11 December 2008. Retrieved 8 December 2008.
31.^ Jump up to: a b c "Apollo 13 Blu-Ray Release". Universal Studios. Retrieved 29 September 2011.
32.Jump up ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved 30 December 2011.
33.Jump up ^ "Symposium Awards". National Space Symposium. Retrieved 26 April 2009.
34.^ Jump up to: a b "AFI's 100 years...100 quotes". AFI. Archived from the original on 26 March 2009. Retrieved 13 April 2009.
35.Jump up ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20."
36.Jump up ^ "Page 167 of Apollo 13's transcript on Spacelog". Retrieved 10 June 2011.
37.Jump up ^ "Apollo 13's re-entry transcript on Spacelog".
38.Jump up ^ "ORIGIN OF APOLLO 13 QUOTE: "FAILURE IS NOT AN OPTION."". SPACEACTS.COM. Retrieved 4 April 2010.
39.^ Jump up to: a b c d William, Lena (19 July 1995). "In Space, No Room For Fear". The New York Times. Retrieved 30 September 2011.
External links[edit]
 Wikimedia Commons has media related to Apollo 13 (film).
 Wikiquote has quotations related to: the film Apollo 13
Apollo 13 at the TCM Movie Database
Apollo 13 at the Internet Movie Database
Apollo 13 at AllMovie
Apollo 13 at Rotten Tomatoes
Apollo 13 at Box Office Mojo


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List of accolades received by Gravity (film)
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List of accolades received by Gravity


Photograph of producer David Heyman, actress Sandra Bullock and director Alfonso Cuarón attending San Diego Comic-Con in 2013
From left: producer David Heyman, actress Sandra Bullock, and director Alfonso Cuarón at San Diego Comic-Con in 2013

[show]Accolades
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

Total number of awards and nominations[Note 1]
Totals 129 208
References
Gravity is a 2013 3D science-fiction thriller film directed, produced, co-written, and co-edited by Alfonso Cuarón. The film's musical score was composed by Steven Price, with the cinematography provided by Cuarón's longtime collaborator, Emmanuel Lubezki.[1] The film stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a space shuttle and their attempt to return to Earth.
Gravity premiered at the 70th Venice International Film Festival on August 28, 2013 where it won the Future Film Festival Digital Award.[2][3] The film then received a wide release at over 3,500 theaters in the United States and Canada on October 4, 2013 by Warner Bros.[4] On its opening weekend, it grossed over $55 million which broke the North American opening weekend record for the month of October.[5] Gravity has grossed a worldwide total of over $716 million on a budget of $100 million.[4] As of 2014, it is both Bullock's and Clooney's highest grossing film to date.[6][7] Rotten Tomatoes, a review aggregator, surveyed 305 reviews and judged 97 percent to be positive.[8]
Gravity has garnered awards and nominations in a variety of categories with particular praise for its direction, cinematography, score, and visual effects. The film received ten nominations at the 86th Academy Awards, the most nominations of 2014's ceremony tied with American Hustle.[9] It went on to earn the most awards at the ceremony, winning seven including Best Director for Cuarón, Best Cinematography for Lubezki, Best Original Score for Price, and Best Visual Effects.[10] The film received four nominations at the 70th Golden Globe Awards, with Cuarón winning for Best Director.[11][12] Gravity led the nominations at the 67th British Academy Film Awards with eleven nominations.[13] The film won six awards, the most at the ceremony, including Outstanding British Film, Best Director for Cuarón, Best Cinematography for Lubezki, Best Original Music for Price, and Best Visual Effects.[14]
At the Producers Guild Awards, Gravity tied for Best Theatrical Motion Picture with 12 Years a Slave.[15] Cuarón received the Best Director award from the Directors Guild of America and Bullock was also nominated for Best Actress at the Screen Actors Guild Awards.[16][17] At the 40th Saturn Awards, Gravity joint-led the nominations with The Hobbit: The Desolation of Smaug, both films receiving eight nominations.[18] The film went on to win five Saturn Awards including Best Science Fiction Film, Best Director for Cuarón and Best Actress for Bullock. The film's visual effects were acclaimed by the Visual Effects Society, which gave the film six awards including their top award for Outstanding Visual Effects in an Effects Driven Film.[19] Both the American Film Institute and National Board of Review included the film in their list of top ten films of 2013.[20][21]


Contents  [hide]
1 Accolades
2 See also
3 Notes
4 References
5 External links

Accolades[edit]

Award
Date
Category
Recipient(s) and nominee(s)
Result
Ref(s)


AARP Annual Movies for Grownups Awards
January 6, 2014 Best Director Alfonso Cuarón Won [22]
Academy Awards
March 2, 2014 Best Picture Alfonso Cuarón and David Heyman Nominated [10]
[23]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Production Design Andy Nicholson, Rosie Goodwin, and Joanne Woodlard Nominated
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Original Score Steven Price Won
Best Sound Editing Glenn Freemantle Won
Best Sound Mixing Skip Lievsay, Christopher Benstead, Niv Adiri, and Chris Munro Won
Best Visual Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
African-American Film Critics Association
December 13, 2013 Top Ten Films of the Year Gravity 5th place [24]
Best Actress Sandra Bullock Won
Alliance of Women Film Journalists
December 19, 2013 Best Film Gravity Nominated [25]
[26]
Best Director (Female or Male) Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Music or Score Steven Price Nominated
Kick Ass Award for Best Female Action Star Sandra Bullock Won
Actress Defying Age and Agism Won
AWJF Female Icon Award Sandra Bullock "for the strong, capable and very positive female image presented in Gravity" Nominated
Unforgettable Moment Award "George Clooney reappears" Nominated
American Cinema Editors
February 7, 2014 Best Edited Feature Film (Dramatic) Alfonso Cuarón and Mark Sanger Nominated [27]
American Film Institute
January 10, 2014 Top 10 Movies of the Year Alfonso Cuarón and David Heyman Won [20]
American Society of Cinematographers Awards
February 1, 2014 Outstanding Achievement in Cinematography in Theatrical Releases Emmanuel Lubezki Won [28]
Art Directors Guild
February 8, 2014 Excellence in Production Design – Fantasy Film Andy Nicholson Won [29]
Australian Academy of Cinema and Television Arts International Awards
January 10, 2014 Best Film Gravity Won [30]
[31]
Best Direction Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Bodil Awards
February 1, 2014 Best US Feature Gravity Nominated [32]
Boston Online Film Critics Association
December 7, 2013 Top 10 Films of the Year Gravity 4th place [33]
Boston Society of Film Critics
December 8, 2013 Best Cinematography Emmanuel Lubezki Won [34]
British Academy Film Awards
February 16, 2014 Best Film Alfonso Cuarón and David Heyman Nominated [13]
[14]
Outstanding British Film Alfonso Cuarón, David Heyman, and Jonás Cuarón Won
Best Director Alfonso Cuarón Won
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Actress in a Leading Role Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Original Music Steven Price Won
Best Production Design Andy Nicholson, Rosie Goodwin, and Joanne Woodlard Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Sound Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, and Chris Munro Won
Best Special Visual Effects Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, and Nikki Penny Won
Broadcast Film Critics Association
January 16, 2014 Best Picture Gravity Nominated [35]
[36]
Best Sci-Fi/Horror Movie Gravity Won
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Actress in an Action Movie Won
Best Cinematography Emmanuel Lubezki Won
Best Art Direction Andy Nicholson and Rosie Goodwin Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Score Steven Price Won
Best Visual Effects Gravity Won
César Awards
February 28, 2014 Best Foreign Film Gravity Nominated [37]
Chicago Film Critics Association
December 13, 2013 Best Film Gravity Nominated [38]
[39]
Best Director Alfonso Cuarón Nominated
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Original Score Steven Price Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Art Direction/Production Design Gravity Won
Cinema Audio Society Awards
February 22, 2014 Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action Chris Munro, Skip Lievsay, Niv Adiri, Christopher Benstead, Gareth Cousins, Chris Navarro, Thomas J. O’Connell, and Adam Fil Mendez Won [40]
[41]
Denver Film Critics Society
January 13, 2014 Best Picture Gravity Won [42]
[43]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Original Score Steven Price Won
Best Sci-Fi/Horror Film Gravity Won
Detroit Film Critics Society
December 13, 2013 Best Film Gravity Nominated [44]
[45]
Best Director Alfonso Cuarón Won
Directors Guild of America Award
January 25, 2014 Outstanding Directorial Achievement in Motion Pictures Alfonso Cuarón Won [16]
Dorian Awards
January 21, 2014 Film of the Year Gravity Nominated [46]
[47]
Film Performance of the Year – Actress Sandra Bullock Nominated
Visually Striking Film of the Year Gravity Won
Wilde Artist of the Year Alfonso Cuarón Nominated
Empire Awards
March 30, 2014 Best Film Gravity Won [48]
[49]
Best Sci-Fi/Fantasy Gravity Nominated
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Golden Globe Awards
January 12, 2014 Best Motion Picture – Drama Gravity Nominated [11]
[12]
Best Director Alfonso Cuarón Won
Best Performance by an Actress in a Motion Picture – Drama Sandra Bullock Nominated
Best Original Score Steven Price Nominated
Golden Tomato Awards
January 9, 2014 Wide Release Gravity Won [50]
Action/Adventure Gravity Won
Grammy Awards
February 8, 2015 Best Score Soundtrack for Visual Media Steven Price Nominated [51]
Hollywood Film Festival
October 17, 2013 Actress of the Year Sandra Bullock Won [52]
Houston Film Critics Society
December 15, 2013 Best Picture Gravity Nominated [53]
[54]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Won
Best Cinematography Emmanuel Lubezki Won
Best Original Score Steven Price Won
Hugo Awards
August 17, 2014 Best Dramatic Presentation, Long Form Alfonso Cuarón (writer and director) and Jonás Cuarón (writer) Won [55]
International Online Film Critics' Poll
January 25, 2015 Best Cinematography Emmanuel Lubezki Won [56]
Best Production Design Andy Nicholson Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Original Score Steven Price Nominated
Best Visual Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
Irish Film & Television Awards
April 5, 2014 International Film Gravity Nominated [57]
[58]
International Actress Sandra Bullock Nominated
Kansas City Film Critics Circle
December 15, 2013 Best Director Alfonso Cuarón (tied with Steve McQueen for 12 Years a Slave) Tied [59]
Best Actress Sandra Bullock Won
Kids' Choice Awards
March 29, 2014 Favorite Movie Actress Sandra Bullock Nominated [60]
Favorite Female Buttkicker
Las Vegas Film Critics Society
December 18, 2013 LVFCS Top 10 Films of 2013 Gravity 3rd place [61]
Best Cinematography Emmanuel Lubezki Won
Best Art Direction Andy Nicholson Won
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Visual Effects Gravity Won
London Film Critics Circle Awards
February 2, 2014 Film of the Year Gravity Nominated [62]
[63]
Actress of the Year Sandra Bullock Nominated
Director of the Year Alfonso Cuarón Won
Technical Achievement Award Tim Webber (special effects) Won
Los Angeles Film Critics Association
December 8, 2013 Best Film Gravity (tied with Her) Tied [64]
Best Director Alfonso Cuarón Won
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Motion Picture Sound Editors Golden Reel Awards
February 16, 2014 Best Sound Editing: Music Score in a Feature Film Christopher Benstead Nominated [65]
[66]
Best Sound Editing: Sound Effects & Foley in a Feature Film Glenn Freemantle Won
Best Sound Editing: Dialogue & ADR in a Feature Film Glenn Freemantle Nominated
MTV Movie Awards
April 13, 2014 Best Female Performance Sandra Bullock Nominated [67]
National Board of Review
December 4, 2013 Creative Innovation in Filmmaking Alfonso Cuarón Won [21]
Top Ten Films Gravity Won
New York Film Critics Online
December 8, 2013 Best Director Alfonso Cuarón Won [68]
Best Cinematography Emmanuel Lubezki Won
North Texas Film Critics Association
January 7, 2014 Best Picture Gravity Won [69]
Best Actress Sandra Bullock Won
Best Director Alfonso Cuarón Won
Best Cinematography Emmanuel Lubezki Won
Oklahoma Film Critics Circle
January 7, 2014 10 Best Films Gravity 4th place [70]
Best Director Alfonso Cuarón Won
Online Film Critics Society Awards
December 16, 2013 Best Picture Gravity Nominated [71]
[72]
Best Director Alfonso Cuarón Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Cinematography Emmanuel Lubezki Won
Palm Springs International Film Festival
January 13, 2014 Desert Palm Achievement Award Sandra Bullock Won [73]
People's Choice Awards
January 8, 2014 Favorite Dramatic Movie Gravity Won [74]
Favorite Dramatic Movie Actress Sandra Bullock Won
Favorite Movie Duo Sandra Bullock and George Clooney Won
Phoenix Film Critics Society
December 17, 2013 Top 10 Films Gravity Won [75]
[76]
Best Film Gravity Nominated
Best Director Alfonso Cuarón Won
Best Actress in a Leading Role Sandra Bullock Nominated
Best Screenplay – Original Alfonso Cuarón and Jonás Cuarón Nominated
Best Cinematography Emmanuel Lubezki Won
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Production Design Andy Nicholson and Rosie Goodwin Won
Best Visual Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Producers Guild of America Awards
January 19, 2014 Best Theatrical Motion Picture Alfonso Cuarón and David Heyman (tied with Anthony Katagas, Jeremy Kleiner, Steve McQueen, Brad Pitt, and Dede Gardner for 12 Years a Slave) Tied [77]
San Diego Film Critics Society
December 11, 2013 Best Film Gravity Nominated [78]
[79]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Original Score Steven Price Nominated
Best Production Design Andy Nicholson and Rosie Goodwin Nominated
San Francisco Film Critics Circle
December 13, 2013 Best Picture Gravity Nominated [80]
[81]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Production Design Andy Nicholson Won
Satellite Awards
February 23, 2014 Best Motion Picture Gravity Nominated [82]
[83]
Best Director Alfonso Cuarón Nominated
Best Actress – Motion Picture Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Visual Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Best Original Score Steven Price Won
Best Sound (Editing and Mixing) Glenn Freemantle, Niv Adiri, and Skip Lievsay Won
Saturn Awards
June 26, 2014 Best Science Fiction Film Gravity Won [18]
[84]
Best Director Alfonso Cuarón Won
Best Writing Alfonso Cuarón and Jonás Cuarón Nominated
Best Actress Sandra Bullock Won
Best Supporting Actor George Clooney Nominated
Best Production Design Andy Nicholson Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Special Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
Science Fiction and Fantasy Writers of America
May 17, 2014 Ray Bradbury Award for Outstanding Dramatic Presentation Alfonso Cuarón and Jonás Cuarón Won [85]
Screen Actors Guild Awards
January 18, 2014 Outstanding Performance by a Female Actor in a Leading Role Sandra Bullock Nominated [17]
Society of Camera Operators Awards
March 8, 2014 Camera Operator of the Year – Feature Film Peter Taylor Won [86]
St. Louis Gateway Film Critics Association
December 16, 2013 Best Picture Gravity Nominated [87]
[88]
Best Director Alfonso Cuarón Runner-up
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Runner-up
Best Visual Special Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Best Musical Score Steven Price Nominated
Best Scene "The opening tracking shot" Runner-up
Utah Film Critics Association
December 20, 2013 Best Picture Gravity Won [89]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock (tied with Cate Blanchett for Blue Jasmine) Runner-up
Best Cinematography Emmanuel Lubezki Won
Venice Film Festival
September 7, 2013 Future Film Digital Award Alfonso Cuarón Won [2]
[3]
Visual Effects Society Awards
February 12, 2014 Outstanding Visual Effects in an Effects Driven Feature Motion Picture Tim Webber, Nikki Penny, Chris Lawrence, and Richard McBride Won [19]
[90]
Outstanding Animated Character in a Live Action Feature Motion Picture Max Solomon, Mathieu Vig, Michael Brunet, and David Shirk Nominated
Outstanding Created Environment in a Live Action Feature Motion Picture Interior:
Harry Bardak, Nathan Walster, Jonathan Fawkner, and Claire Michaud
Exterior:
 Paul Beilby, Kyle McCulloch, Stuart Penn, and Ian Comley Won
Outstanding Virtual Cinematography in a Live Action Feature Motion Picture Tim Webber, Emmanuel Lubezki, Richard McBride, and Dale Newton Won
Outstanding Models in a Feature Motion Picture Ben Lambert, Paul Beilby, Chris Lawrence, and Andy Nicholson Won
Outstanding FX and Simulation Animation in a Live Action Feature Motion Picture Alexis Wajsbrot, Sylvain Degrotte, Horacio Mendoza, and Juan‐Luis Sanchez Won
Outstanding Compositing in a Feature Motion Picture Mark Bakowski, Anthony Smith, Theodor Groeneboom, and Adrian Metzelaar Won
Washington D.C. Area Film Critics Association
December 9, 2013 Best Film Gravity Nominated [91]
[92]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Art Direction Andy Nicholson and Rosie Goodwin Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Score Steven Price Nominated

^[I] Each date is linked to the article about the awards held that year wherever possible.
See also[edit]
2013 in film
Notes[edit]
1.Jump up ^ Certain award groups do not simply award one winner. They recognize several different recipients and have runner-ups. Since this is a specific recognition and is different from losing an award, runner-up mentions are considered wins in this award tally.
References[edit]
1.Jump up ^ "Cuaron, Lubezki Talk Mistakes, Long Takes and How Peter Gabriel Made ‘Gravity’ Possible". Variety. February 13, 2014. Retrieved April 25, 2014.
2.^ Jump up to: a b "Mostra Venezia: a 'Gravity' di Cuaron il 'Future Film Festival Digital Award 2013'" (in Italian). Foundation for subsidiarity. September 6, 2013. Retrieved September 6, 2013.
3.^ Jump up to: a b "Gravity by Alfonso Cuarón wins the Future Film Festival Digital Award 2013". Future Film Festival. September 6, 2013. Retrieved June 15, 2014.
4.^ Jump up to: a b "Gravity (2013)". Box Office Mojo. Retrieved April 23, 2014.
5.Jump up ^ "Weekend Report: Houston, 'Gravity' Does Not Have a Problem". Box Office Mojo. Retrieved April 23, 2014.
6.Jump up ^ "Sandra Bullock Movie Box Office Results". Box Office Mojo. Retrieved April 23, 2014.
7.Jump up ^ "George Clooney Movie Box Office Results". Box Office Mojo. Retrieved April 23, 2014.
8.Jump up ^ "Gravity". Rotten Tomatoes. Retrieved February 1, 2015.
9.Jump up ^ "Oscars: 'American Hustle,' 'Gravity' Score 10 Nominations Each". The Hollywood Reporter (Prometheus Global Media). January 16, 2014. Retrieved April 19, 2014.
10.^ Jump up to: a b "Oscars 2014 Winners: The Complete List". The Hollywood Reporter (Prometheus Global Media). March 2, 2014. Retrieved March 9, 2014.
11.^ Jump up to: a b "Golden Globes Nominations: The Full List". Variety (Penske Media Corporation). January 11, 2014. Retrieved March 10, 2014.
12.^ Jump up to: a b "Golden Globe Awards Winners". Variety (Penske Media Corporation). January 12, 2014. Retrieved March 10, 2014.
13.^ Jump up to: a b "Bafta Film Awards 2014: Full list of nominees". BBC News. January 8, 2014. Retrieved January 8, 2014.
14.^ Jump up to: a b "Bafta Film Awards 2014: Full list of winners". BBC News. February 16, 2014. Retrieved March 9, 2014.
15.Jump up ^ "PGA Awards: 'Gravity,' '12 Years a Slave' Win Guild's Top Prize in Unprecedented Tie". The Hollywood Reporter (Prometheus Global Media). January 19, 2014.
16.^ Jump up to: a b "Alfonso Cuaron scoops top Directors Guild prize". BBC News. January 26, 2014. Retrieved April 17, 2014.
17.^ Jump up to: a b Kilday, Gregg (December 11, 2013). "Screen Actors Guild Awards: '12 Years a Slave' leads Screen Actors Guild nominations". The Guardian. Retrieved December 20, 2013.
18.^ Jump up to: a b "‘Gravity,’ ‘The Hobbit: The Desolation of Smaug’ Lead Saturn Awards Noms". Variety (Penske Media Corporation). February 25, 2014. Retrieved April 17, 2014.
19.^ Jump up to: a b "VES Awards: ‘Gravity’ Wins 6 Including Top Prize; ‘Frozen’ Goes 4-For-4; 3 Nods For ‘Game Of Thrones’". Deadline.com. February 12, 2014. Retrieved April 17, 2014.
20.^ Jump up to: a b "AFI Awards 2013: Top 10 Films List Is Good News For Major Studios". Deadline.com. December 9, 2014. Retrieved April 17, 2014.
21.^ Jump up to: a b "National Board of Review Announces 2013 Award Winners". National Board of Review. December 4, 2013. Retrieved April 17, 2014.
22.Jump up ^ "AARP Names ’12 Years a Slave’ Best Movie for Grownups". Variety (Penske Media Corporation). January 6, 2014. Retrieved January 6, 2014.
23.Jump up ^ "2014 Oscar Nominees". Academy of Motion Picture Arts and Sciences. January 16, 2014. Archived from the original on October 6, 2014. Retrieved January 16, 2014.
24.Jump up ^ "2013 African-American Film Critics Association winners". HitFix. December 13, 2013. Retrieved April 17, 2014.
25.Jump up ^ "2013 EDA Award Nominees". Alliance of Women Film Journalists. December 11, 2013. Retrieved December 20, 2013.
26.Jump up ^ "2013 EDA Award Winners". Alliance of Women Film Journalists. December 11, 2013. Retrieved December 20, 2013.
27.Jump up ^ "Film Editors Unveil ACE Eddie Award Nominations". Deadline.com. January 20, 2014. Retrieved June 13, 2014.
28.Jump up ^ "28th Annual ASC Awards: ‘Gravity’s Emmanuel Lubezki Wins Feature Film Honor; TV Winners Include ‘Killing Lincoln’, ‘Game Of Thrones’, ‘Drunk History’". Deadline.com. February 1, 2014. Retrieved April 17, 2014.
29.Jump up ^ "Winners Announced". Art Directors Guild. February 8, 2014. Retrieved February 12, 2014.
30.Jump up ^ "2013 AACTA International Awards". HitFix. January 13, 2014. Retrieved April 17, 2014.
31.Jump up ^ "'Gravity' Wins Best Film At Australian Academy Awards; '12 Years A Slave' Nabs Two Acting Nods". Deadline.com. 11 January 2014. Retrieved 11 January 2014.
32.Jump up ^ "Denmark’s Bodil Prizes: ‘Nympho-maniac’, ‘The Hunt’ Lead Nominations". Deadline.com. January 7, 2014. Retrieved February 8, 2014.
33.Jump up ^ "2013 Boston Online Film Critics Association winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
34.Jump up ^ "2013 Boston Society of Film Critics winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
35.Jump up ^ "American Hustle, 12 Years A Slave Lead BFCA’s Critics Choice Movie Awards Nominations". Deadline.com. December 17, 2013. Retrieved December 17, 2013.
36.Jump up ^ "Critics' Choice Awards: The Winners". The Hollywood Reporter (Prometheus Global Media). January 17, 2014. Retrieved January 17, 2014.
37.Jump up ^ "Berenice Bejo, Lea Seydoux, Roman Polanski Among France's Cesar Awards Nominees". The Hollywood Reporter (Prometheus Global Media). January 31, 2014. Retrieved February 1, 2014.
38.Jump up ^ "2013 Chicago Film Critics Association Nominations". HitFix. December 13, 2013. Retrieved December 20, 2013.
39.Jump up ^ "Chicago film critics name '12 Years a Slave' 2013's best movie". The Daily Herald. December 17, 2013. Retrieved December 20, 2013.
40.Jump up ^ "Cinema Audio Society Unveils Nominations For The 50th Annual CAS Awards". Deadline.com. January 14, 2014. Retrieved January 14, 2014.
41.Jump up ^ "Cinema Audio Society Awards: 'Gravity', 'Frozen' Take Film Honors". Deadline.com. February 22, 2014. Retrieved February 23, 2014.
42.Jump up ^ "2013 Denver Film Critics Society Nominations". HitFix. December 6, 2013. Retrieved January 6, 2014.
43.Jump up ^ "2013 Denver Film Critics Society winners". HitFix. January 22, 2014. Retrieved April 17, 2014.
44.Jump up ^ "The 2013 Detroit Film Critics Society Awards Nominations". Detroit Film Critics Society. December 9, 2013. Retrieved April 25, 2014.
45.Jump up ^ "2013 Detroit Film Critics Society Winners". HitFix. December 13, 2013. Retrieved April 17, 2014.
46.Jump up ^ "'12 Years a Slave,' 'American Hustle' Among Dorian Award Nominees (Exclusive)". The Hollywood Reporter (Prometheus Global Media). January 14, 2014. Retrieved April 17, 2014.
47.Jump up ^ "2013 Gay and Lesbian Entertainment Critics Association Awards". HitFix. January 22, 2014. Retrieved April 17, 2014.
48.Jump up ^ "The Jameson Empire Awards 2014 Nominations Are Here!". Empire. February 24, 2014. Retrieved March 4, 2014.
49.Jump up ^ "Jameson Empire Awards 2014: The Winners". Empire. March 31, 2014. Retrieved March 31, 2014.
50.Jump up ^ "The 15th Annual Golden Tomato". Rotten Tomatoes. Retrieved January 10, 2014.
51.Jump up ^ "Grammy Nominees 2015: The Full List". Forbes. December 5, 2014. Retrieved December 20, 2014.
52.Jump up ^ "Hollywood Film Awards: Sandra Bullock Thanks Hollywood for Making Her a Better Parent (Video)". The Hollywood Reporter (Prometheus Global Media). October 22, 2013. Retrieved April 17, 2014.
53.Jump up ^ "2013 Houston Film Critics Society nominations". HitFix. December 8, 2013. Retrieved December 20, 2013.
54.Jump up ^ "2013 Houston Film Critics Society winners". HitFix. December 15, 2013. Retrieved April 17, 2014.
55.Jump up ^ "2014 Hugo Award Winners". The Hugo Awards. August 17, 2014. Retrieved August 17, 2014.
56.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
57.Jump up ^ "Award Categories". Irish Film & Television Awards. Retrieved March 6, 2014.
58.Jump up ^ "IFTA Announces Winners of the 11th Annual Irish Film & Television Awards". Irish Film and Television Network. April 5, 2014. Retrieved April 6, 2014.
59.Jump up ^ "2013 Kansas City Film Critics Circle winners". HitFix. December 15, 2013. Retrieved April 22, 2014.
60.Jump up ^ "Nickelodeon's Kids' Choice Awards Nominations Revealed". The Hollywood Reporter (Prometheus Global Media). February 24, 2014. Retrieved February 25, 2014.
61.Jump up ^ "2013 Las Vegas Film Critics' Society Award winners". HitFix. December 18, 2013. Retrieved April 17, 2014.
62.Jump up ^ "London Critics’ Circle Announces 2014 Film Awards Nominations". London Film Critics Circle. December 17, 2013. Retrieved February 3, 2014.
63.Jump up ^ "2013 London Film Critics' Circle winners". HitFix. February 2, 2014. Retrieved April 17, 2014.
64.Jump up ^ "‘Gravity,’ ‘Her’ Tie for Best Picture With L.A. Film Critics". Variety (Penske Media Corporation). December 8, 2013. Retrieved December 20, 2013.
65.Jump up ^ Walsh, Jason (January 15, 2014). "Sound Editors Announce 2013 Golden Reel Nominees". Variety (Penske Media Corporation). Retrieved January 15, 2014.
66.Jump up ^ "Complete list of 2014 Golden Reel award winners". Los Angeles Times. February 16, 2014. Retrieved April 17, 2014.
67.Jump up ^ "2014 MTV Movie Awards: Full Nominations List". MTV. March 6, 2014. Retrieved April 17, 2014.
68.Jump up ^ Gray, Tim (December 8, 2013). "’12 Years’ Tops New York Online Critics Awards". Variety (Penske Media Corporation). Retrieved December 20, 2013.
69.Jump up ^ "2013 North Texas Film Critics Association winners". HitFix. January 5, 2014. Retrieved April 17, 2014.
70.Jump up ^ McDonnell, Brandy (January 7, 2014). "Oklahoma Film Critics Circle names "Her" best film of the year". The Oklahoman. Retrieved January 7, 2014.
71.Jump up ^ "Online Film Critics Announce Nominees; Miyazaki and To Surprise with Multiple Nominations". Indiewire (Snagfilms). December 9, 2013. Retrieved December 20, 2013.
72.Jump up ^ "2013 Online Film Critics Society winners". HitFix. December 16, 2013. Retrieved April 17, 2014.
73.Jump up ^ "Palm Springs Film Fest: Sandra Bullock to Receive Acting Honor for 'Gravity'". The Hollywood Reporter (Prometheus Global Media). November 15, 2013. Retrieved April 17, 2014.
74.Jump up ^ "People's Choice Awards: Complete Winners List". The Hollywood Reporter (Prometheus Global Media). January 8, 2014. Retrieved April 17, 2014.
75.Jump up ^ "Phoenix Film Critics Society 2013 Award Nominations". Phoenix Film Critics Society. Retrieved December 20, 2013.
76.Jump up ^ "Phoenix Film Critics Society 2013 Awards". Phoenix Film Critics Society. Retrieved April 17, 2014.
77.Jump up ^ "25th Annual PGA Awards: First-Ever Tie For Best Motion Picture — ‘Gravity’ And ‘12 Years A Slave’; ‘Breaking Bad’ & ‘Modern Family’ Take Top TV Awards; Winners List". Deadline.com. January 19, 2014. Retrieved April 17, 2014.
78.Jump up ^ "San Diego Film Critics Nominate Top Films for 2013". San Diego Film Critics Society. December 10, 2013. Retrieved December 20, 2013.
79.Jump up ^ "2013 San Diego Film Critics Society winners". HitFix. December 11, 2013. Retrieved April 17, 2014.
80.Jump up ^ "2013 San Francisco Film Critics Circle Nominations". HitFix. December 13, 2013. Retrieved December 20, 2013.
81.Jump up ^ "2013 San Francisco Film Critics Circle winners". HitFix. December 15, 2013. Retrieved April 17, 2014.
82.Jump up ^ Kilday, Gregg (December 2, 2013). "Satellite Awards: '12 Years a Slave' Leads Film Nominees". The Hollywood Reporter (Prometheus Global Media). Retrieved December 20, 2013.
83.Jump up ^ "Satellite Awards: '12 Years a Slave' Wins Best Motion Picture". The Hollywood Reporter (Prometheus Global Media). February 23, 2014. Retrieved March 21, 2014.
84.Jump up ^ "'Gravity,' 'Iron Man 3,' 'Breaking Bad' and 'The Walking Dead' lead 2014 Saturn Award winners". HitFix. June 27, 2014. Retrieved July 1, 2014.
85.Jump up ^ "2013 Nebula Awards Winners Announced". Science Fiction and Fantasy Writers of America. May 17, 2014. Retrieved May 22, 2014.
86.Jump up ^ "‘Midnight Rider’ Victim Sarah Jones Memorialized at Camera Operators Awards Ceremony Among Honors For ‘Gravity’ And ‘Mad Men’". Deadline.com. March 8, 2014. Retrieved March 9, 2014.
87.Jump up ^ "St. Louis Film Critics Awards Nominees For 2013 Announced". St. Louis Gateway Film Critics Association. December 9, 2013. Retrieved December 20, 2013.
88.Jump up ^ "2013 St. Louis Gateway Film Critics Association winners". HitFix. December 16, 2013. Retrieved April 17, 2014.
89.Jump up ^ "2013 Utah Film Critics Association winners". HitFix. December 20, 2013. Retrieved April 17, 2014.
90.Jump up ^ "‘Gravity’ Tops Visual Effects Society Nominations". Variety (Penske Media Corporation). January 14, 2014. Retrieved January 14, 2014.
91.Jump up ^ "2013 Washington D.C. Area Film Critics Association nominations". HitFix. December 9, 2013. Retrieved April 17, 2014.
92.Jump up ^ "2013 Washington D.C. Area Film Critics Association winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
External links[edit]
Accolades for Gravity at the Internet Movie Database
  


Categories: Lists of accolades by film





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List of accolades received by Gravity (film)
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List of accolades received by Gravity


Photograph of producer David Heyman, actress Sandra Bullock and director Alfonso Cuarón attending San Diego Comic-Con in 2013
From left: producer David Heyman, actress Sandra Bullock, and director Alfonso Cuarón at San Diego Comic-Con in 2013

[show]Accolades
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

Total number of awards and nominations[Note 1]
Totals 129 208
References
Gravity is a 2013 3D science-fiction thriller film directed, produced, co-written, and co-edited by Alfonso Cuarón. The film's musical score was composed by Steven Price, with the cinematography provided by Cuarón's longtime collaborator, Emmanuel Lubezki.[1] The film stars Sandra Bullock and George Clooney as astronauts involved in the mid-orbit destruction of a space shuttle and their attempt to return to Earth.
Gravity premiered at the 70th Venice International Film Festival on August 28, 2013 where it won the Future Film Festival Digital Award.[2][3] The film then received a wide release at over 3,500 theaters in the United States and Canada on October 4, 2013 by Warner Bros.[4] On its opening weekend, it grossed over $55 million which broke the North American opening weekend record for the month of October.[5] Gravity has grossed a worldwide total of over $716 million on a budget of $100 million.[4] As of 2014, it is both Bullock's and Clooney's highest grossing film to date.[6][7] Rotten Tomatoes, a review aggregator, surveyed 305 reviews and judged 97 percent to be positive.[8]
Gravity has garnered awards and nominations in a variety of categories with particular praise for its direction, cinematography, score, and visual effects. The film received ten nominations at the 86th Academy Awards, the most nominations of 2014's ceremony tied with American Hustle.[9] It went on to earn the most awards at the ceremony, winning seven including Best Director for Cuarón, Best Cinematography for Lubezki, Best Original Score for Price, and Best Visual Effects.[10] The film received four nominations at the 70th Golden Globe Awards, with Cuarón winning for Best Director.[11][12] Gravity led the nominations at the 67th British Academy Film Awards with eleven nominations.[13] The film won six awards, the most at the ceremony, including Outstanding British Film, Best Director for Cuarón, Best Cinematography for Lubezki, Best Original Music for Price, and Best Visual Effects.[14]
At the Producers Guild Awards, Gravity tied for Best Theatrical Motion Picture with 12 Years a Slave.[15] Cuarón received the Best Director award from the Directors Guild of America and Bullock was also nominated for Best Actress at the Screen Actors Guild Awards.[16][17] At the 40th Saturn Awards, Gravity joint-led the nominations with The Hobbit: The Desolation of Smaug, both films receiving eight nominations.[18] The film went on to win five Saturn Awards including Best Science Fiction Film, Best Director for Cuarón and Best Actress for Bullock. The film's visual effects were acclaimed by the Visual Effects Society, which gave the film six awards including their top award for Outstanding Visual Effects in an Effects Driven Film.[19] Both the American Film Institute and National Board of Review included the film in their list of top ten films of 2013.[20][21]


Contents  [hide]
1 Accolades
2 See also
3 Notes
4 References
5 External links

Accolades[edit]

Award
Date
Category
Recipient(s) and nominee(s)
Result
Ref(s)


AARP Annual Movies for Grownups Awards
January 6, 2014 Best Director Alfonso Cuarón Won [22]
Academy Awards
March 2, 2014 Best Picture Alfonso Cuarón and David Heyman Nominated [10]
[23]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Production Design Andy Nicholson, Rosie Goodwin, and Joanne Woodlard Nominated
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Original Score Steven Price Won
Best Sound Editing Glenn Freemantle Won
Best Sound Mixing Skip Lievsay, Christopher Benstead, Niv Adiri, and Chris Munro Won
Best Visual Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
African-American Film Critics Association
December 13, 2013 Top Ten Films of the Year Gravity 5th place [24]
Best Actress Sandra Bullock Won
Alliance of Women Film Journalists
December 19, 2013 Best Film Gravity Nominated [25]
[26]
Best Director (Female or Male) Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Music or Score Steven Price Nominated
Kick Ass Award for Best Female Action Star Sandra Bullock Won
Actress Defying Age and Agism Won
AWJF Female Icon Award Sandra Bullock "for the strong, capable and very positive female image presented in Gravity" Nominated
Unforgettable Moment Award "George Clooney reappears" Nominated
American Cinema Editors
February 7, 2014 Best Edited Feature Film (Dramatic) Alfonso Cuarón and Mark Sanger Nominated [27]
American Film Institute
January 10, 2014 Top 10 Movies of the Year Alfonso Cuarón and David Heyman Won [20]
American Society of Cinematographers Awards
February 1, 2014 Outstanding Achievement in Cinematography in Theatrical Releases Emmanuel Lubezki Won [28]
Art Directors Guild
February 8, 2014 Excellence in Production Design – Fantasy Film Andy Nicholson Won [29]
Australian Academy of Cinema and Television Arts International Awards
January 10, 2014 Best Film Gravity Won [30]
[31]
Best Direction Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Bodil Awards
February 1, 2014 Best US Feature Gravity Nominated [32]
Boston Online Film Critics Association
December 7, 2013 Top 10 Films of the Year Gravity 4th place [33]
Boston Society of Film Critics
December 8, 2013 Best Cinematography Emmanuel Lubezki Won [34]
British Academy Film Awards
February 16, 2014 Best Film Alfonso Cuarón and David Heyman Nominated [13]
[14]
Outstanding British Film Alfonso Cuarón, David Heyman, and Jonás Cuarón Won
Best Director Alfonso Cuarón Won
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Actress in a Leading Role Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Original Music Steven Price Won
Best Production Design Andy Nicholson, Rosie Goodwin, and Joanne Woodlard Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Sound Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, and Chris Munro Won
Best Special Visual Effects Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, and Nikki Penny Won
Broadcast Film Critics Association
January 16, 2014 Best Picture Gravity Nominated [35]
[36]
Best Sci-Fi/Horror Movie Gravity Won
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Actress in an Action Movie Won
Best Cinematography Emmanuel Lubezki Won
Best Art Direction Andy Nicholson and Rosie Goodwin Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Score Steven Price Won
Best Visual Effects Gravity Won
César Awards
February 28, 2014 Best Foreign Film Gravity Nominated [37]
Chicago Film Critics Association
December 13, 2013 Best Film Gravity Nominated [38]
[39]
Best Director Alfonso Cuarón Nominated
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Won
Best Original Score Steven Price Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Art Direction/Production Design Gravity Won
Cinema Audio Society Awards
February 22, 2014 Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action Chris Munro, Skip Lievsay, Niv Adiri, Christopher Benstead, Gareth Cousins, Chris Navarro, Thomas J. O’Connell, and Adam Fil Mendez Won [40]
[41]
Denver Film Critics Society
January 13, 2014 Best Picture Gravity Won [42]
[43]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Original Score Steven Price Won
Best Sci-Fi/Horror Film Gravity Won
Detroit Film Critics Society
December 13, 2013 Best Film Gravity Nominated [44]
[45]
Best Director Alfonso Cuarón Won
Directors Guild of America Award
January 25, 2014 Outstanding Directorial Achievement in Motion Pictures Alfonso Cuarón Won [16]
Dorian Awards
January 21, 2014 Film of the Year Gravity Nominated [46]
[47]
Film Performance of the Year – Actress Sandra Bullock Nominated
Visually Striking Film of the Year Gravity Won
Wilde Artist of the Year Alfonso Cuarón Nominated
Empire Awards
March 30, 2014 Best Film Gravity Won [48]
[49]
Best Sci-Fi/Fantasy Gravity Nominated
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Golden Globe Awards
January 12, 2014 Best Motion Picture – Drama Gravity Nominated [11]
[12]
Best Director Alfonso Cuarón Won
Best Performance by an Actress in a Motion Picture – Drama Sandra Bullock Nominated
Best Original Score Steven Price Nominated
Golden Tomato Awards
January 9, 2014 Wide Release Gravity Won [50]
Action/Adventure Gravity Won
Grammy Awards
February 8, 2015 Best Score Soundtrack for Visual Media Steven Price Nominated [51]
Hollywood Film Festival
October 17, 2013 Actress of the Year Sandra Bullock Won [52]
Houston Film Critics Society
December 15, 2013 Best Picture Gravity Nominated [53]
[54]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Won
Best Cinematography Emmanuel Lubezki Won
Best Original Score Steven Price Won
Hugo Awards
August 17, 2014 Best Dramatic Presentation, Long Form Alfonso Cuarón (writer and director) and Jonás Cuarón (writer) Won [55]
International Online Film Critics' Poll
January 25, 2015 Best Cinematography Emmanuel Lubezki Won [56]
Best Production Design Andy Nicholson Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Original Score Steven Price Nominated
Best Visual Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
Irish Film & Television Awards
April 5, 2014 International Film Gravity Nominated [57]
[58]
International Actress Sandra Bullock Nominated
Kansas City Film Critics Circle
December 15, 2013 Best Director Alfonso Cuarón (tied with Steve McQueen for 12 Years a Slave) Tied [59]
Best Actress Sandra Bullock Won
Kids' Choice Awards
March 29, 2014 Favorite Movie Actress Sandra Bullock Nominated [60]
Favorite Female Buttkicker
Las Vegas Film Critics Society
December 18, 2013 LVFCS Top 10 Films of 2013 Gravity 3rd place [61]
Best Cinematography Emmanuel Lubezki Won
Best Art Direction Andy Nicholson Won
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Visual Effects Gravity Won
London Film Critics Circle Awards
February 2, 2014 Film of the Year Gravity Nominated [62]
[63]
Actress of the Year Sandra Bullock Nominated
Director of the Year Alfonso Cuarón Won
Technical Achievement Award Tim Webber (special effects) Won
Los Angeles Film Critics Association
December 8, 2013 Best Film Gravity (tied with Her) Tied [64]
Best Director Alfonso Cuarón Won
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Motion Picture Sound Editors Golden Reel Awards
February 16, 2014 Best Sound Editing: Music Score in a Feature Film Christopher Benstead Nominated [65]
[66]
Best Sound Editing: Sound Effects & Foley in a Feature Film Glenn Freemantle Won
Best Sound Editing: Dialogue & ADR in a Feature Film Glenn Freemantle Nominated
MTV Movie Awards
April 13, 2014 Best Female Performance Sandra Bullock Nominated [67]
National Board of Review
December 4, 2013 Creative Innovation in Filmmaking Alfonso Cuarón Won [21]
Top Ten Films Gravity Won
New York Film Critics Online
December 8, 2013 Best Director Alfonso Cuarón Won [68]
Best Cinematography Emmanuel Lubezki Won
North Texas Film Critics Association
January 7, 2014 Best Picture Gravity Won [69]
Best Actress Sandra Bullock Won
Best Director Alfonso Cuarón Won
Best Cinematography Emmanuel Lubezki Won
Oklahoma Film Critics Circle
January 7, 2014 10 Best Films Gravity 4th place [70]
Best Director Alfonso Cuarón Won
Online Film Critics Society Awards
December 16, 2013 Best Picture Gravity Nominated [71]
[72]
Best Director Alfonso Cuarón Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Cinematography Emmanuel Lubezki Won
Palm Springs International Film Festival
January 13, 2014 Desert Palm Achievement Award Sandra Bullock Won [73]
People's Choice Awards
January 8, 2014 Favorite Dramatic Movie Gravity Won [74]
Favorite Dramatic Movie Actress Sandra Bullock Won
Favorite Movie Duo Sandra Bullock and George Clooney Won
Phoenix Film Critics Society
December 17, 2013 Top 10 Films Gravity Won [75]
[76]
Best Film Gravity Nominated
Best Director Alfonso Cuarón Won
Best Actress in a Leading Role Sandra Bullock Nominated
Best Screenplay – Original Alfonso Cuarón and Jonás Cuarón Nominated
Best Cinematography Emmanuel Lubezki Won
Best Film Editing Alfonso Cuarón and Mark Sanger Won
Best Production Design Andy Nicholson and Rosie Goodwin Won
Best Visual Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Producers Guild of America Awards
January 19, 2014 Best Theatrical Motion Picture Alfonso Cuarón and David Heyman (tied with Anthony Katagas, Jeremy Kleiner, Steve McQueen, Brad Pitt, and Dede Gardner for 12 Years a Slave) Tied [77]
San Diego Film Critics Society
December 11, 2013 Best Film Gravity Nominated [78]
[79]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Original Score Steven Price Nominated
Best Production Design Andy Nicholson and Rosie Goodwin Nominated
San Francisco Film Critics Circle
December 13, 2013 Best Picture Gravity Nominated [80]
[81]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Original Screenplay Alfonso Cuarón and Jonás Cuarón Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Production Design Andy Nicholson Won
Satellite Awards
February 23, 2014 Best Motion Picture Gravity Nominated [82]
[83]
Best Director Alfonso Cuarón Nominated
Best Actress – Motion Picture Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Nominated
Best Editing Alfonso Cuarón and Mark Sanger Nominated
Best Visual Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Best Original Score Steven Price Won
Best Sound (Editing and Mixing) Glenn Freemantle, Niv Adiri, and Skip Lievsay Won
Saturn Awards
June 26, 2014 Best Science Fiction Film Gravity Won [18]
[84]
Best Director Alfonso Cuarón Won
Best Writing Alfonso Cuarón and Jonás Cuarón Nominated
Best Actress Sandra Bullock Won
Best Supporting Actor George Clooney Nominated
Best Production Design Andy Nicholson Nominated
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Special Effects Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould Won
Science Fiction and Fantasy Writers of America
May 17, 2014 Ray Bradbury Award for Outstanding Dramatic Presentation Alfonso Cuarón and Jonás Cuarón Won [85]
Screen Actors Guild Awards
January 18, 2014 Outstanding Performance by a Female Actor in a Leading Role Sandra Bullock Nominated [17]
Society of Camera Operators Awards
March 8, 2014 Camera Operator of the Year – Feature Film Peter Taylor Won [86]
St. Louis Gateway Film Critics Association
December 16, 2013 Best Picture Gravity Nominated [87]
[88]
Best Director Alfonso Cuarón Runner-up
Best Actress Sandra Bullock Nominated
Best Cinematography Emmanuel Lubezki Runner-up
Best Visual Special Effects Chris Howell, Chris Lawrence, and Tim Webber Won
Best Musical Score Steven Price Nominated
Best Scene "The opening tracking shot" Runner-up
Utah Film Critics Association
December 20, 2013 Best Picture Gravity Won [89]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock (tied with Cate Blanchett for Blue Jasmine) Runner-up
Best Cinematography Emmanuel Lubezki Won
Venice Film Festival
September 7, 2013 Future Film Digital Award Alfonso Cuarón Won [2]
[3]
Visual Effects Society Awards
February 12, 2014 Outstanding Visual Effects in an Effects Driven Feature Motion Picture Tim Webber, Nikki Penny, Chris Lawrence, and Richard McBride Won [19]
[90]
Outstanding Animated Character in a Live Action Feature Motion Picture Max Solomon, Mathieu Vig, Michael Brunet, and David Shirk Nominated
Outstanding Created Environment in a Live Action Feature Motion Picture Interior:
Harry Bardak, Nathan Walster, Jonathan Fawkner, and Claire Michaud
Exterior:
 Paul Beilby, Kyle McCulloch, Stuart Penn, and Ian Comley Won
Outstanding Virtual Cinematography in a Live Action Feature Motion Picture Tim Webber, Emmanuel Lubezki, Richard McBride, and Dale Newton Won
Outstanding Models in a Feature Motion Picture Ben Lambert, Paul Beilby, Chris Lawrence, and Andy Nicholson Won
Outstanding FX and Simulation Animation in a Live Action Feature Motion Picture Alexis Wajsbrot, Sylvain Degrotte, Horacio Mendoza, and Juan‐Luis Sanchez Won
Outstanding Compositing in a Feature Motion Picture Mark Bakowski, Anthony Smith, Theodor Groeneboom, and Adrian Metzelaar Won
Washington D.C. Area Film Critics Association
December 9, 2013 Best Film Gravity Nominated [91]
[92]
Best Director Alfonso Cuarón Won
Best Actress Sandra Bullock Nominated
Best Art Direction Andy Nicholson and Rosie Goodwin Nominated
Best Cinematography Emmanuel Lubezki Won
Best Editing Alfonso Cuarón and Mark Sanger Won
Best Score Steven Price Nominated

^[I] Each date is linked to the article about the awards held that year wherever possible.
See also[edit]
2013 in film
Notes[edit]
1.Jump up ^ Certain award groups do not simply award one winner. They recognize several different recipients and have runner-ups. Since this is a specific recognition and is different from losing an award, runner-up mentions are considered wins in this award tally.
References[edit]
1.Jump up ^ "Cuaron, Lubezki Talk Mistakes, Long Takes and How Peter Gabriel Made ‘Gravity’ Possible". Variety. February 13, 2014. Retrieved April 25, 2014.
2.^ Jump up to: a b "Mostra Venezia: a 'Gravity' di Cuaron il 'Future Film Festival Digital Award 2013'" (in Italian). Foundation for subsidiarity. September 6, 2013. Retrieved September 6, 2013.
3.^ Jump up to: a b "Gravity by Alfonso Cuarón wins the Future Film Festival Digital Award 2013". Future Film Festival. September 6, 2013. Retrieved June 15, 2014.
4.^ Jump up to: a b "Gravity (2013)". Box Office Mojo. Retrieved April 23, 2014.
5.Jump up ^ "Weekend Report: Houston, 'Gravity' Does Not Have a Problem". Box Office Mojo. Retrieved April 23, 2014.
6.Jump up ^ "Sandra Bullock Movie Box Office Results". Box Office Mojo. Retrieved April 23, 2014.
7.Jump up ^ "George Clooney Movie Box Office Results". Box Office Mojo. Retrieved April 23, 2014.
8.Jump up ^ "Gravity". Rotten Tomatoes. Retrieved February 1, 2015.
9.Jump up ^ "Oscars: 'American Hustle,' 'Gravity' Score 10 Nominations Each". The Hollywood Reporter (Prometheus Global Media). January 16, 2014. Retrieved April 19, 2014.
10.^ Jump up to: a b "Oscars 2014 Winners: The Complete List". The Hollywood Reporter (Prometheus Global Media). March 2, 2014. Retrieved March 9, 2014.
11.^ Jump up to: a b "Golden Globes Nominations: The Full List". Variety (Penske Media Corporation). January 11, 2014. Retrieved March 10, 2014.
12.^ Jump up to: a b "Golden Globe Awards Winners". Variety (Penske Media Corporation). January 12, 2014. Retrieved March 10, 2014.
13.^ Jump up to: a b "Bafta Film Awards 2014: Full list of nominees". BBC News. January 8, 2014. Retrieved January 8, 2014.
14.^ Jump up to: a b "Bafta Film Awards 2014: Full list of winners". BBC News. February 16, 2014. Retrieved March 9, 2014.
15.Jump up ^ "PGA Awards: 'Gravity,' '12 Years a Slave' Win Guild's Top Prize in Unprecedented Tie". The Hollywood Reporter (Prometheus Global Media). January 19, 2014.
16.^ Jump up to: a b "Alfonso Cuaron scoops top Directors Guild prize". BBC News. January 26, 2014. Retrieved April 17, 2014.
17.^ Jump up to: a b Kilday, Gregg (December 11, 2013). "Screen Actors Guild Awards: '12 Years a Slave' leads Screen Actors Guild nominations". The Guardian. Retrieved December 20, 2013.
18.^ Jump up to: a b "‘Gravity,’ ‘The Hobbit: The Desolation of Smaug’ Lead Saturn Awards Noms". Variety (Penske Media Corporation). February 25, 2014. Retrieved April 17, 2014.
19.^ Jump up to: a b "VES Awards: ‘Gravity’ Wins 6 Including Top Prize; ‘Frozen’ Goes 4-For-4; 3 Nods For ‘Game Of Thrones’". Deadline.com. February 12, 2014. Retrieved April 17, 2014.
20.^ Jump up to: a b "AFI Awards 2013: Top 10 Films List Is Good News For Major Studios". Deadline.com. December 9, 2014. Retrieved April 17, 2014.
21.^ Jump up to: a b "National Board of Review Announces 2013 Award Winners". National Board of Review. December 4, 2013. Retrieved April 17, 2014.
22.Jump up ^ "AARP Names ’12 Years a Slave’ Best Movie for Grownups". Variety (Penske Media Corporation). January 6, 2014. Retrieved January 6, 2014.
23.Jump up ^ "2014 Oscar Nominees". Academy of Motion Picture Arts and Sciences. January 16, 2014. Archived from the original on October 6, 2014. Retrieved January 16, 2014.
24.Jump up ^ "2013 African-American Film Critics Association winners". HitFix. December 13, 2013. Retrieved April 17, 2014.
25.Jump up ^ "2013 EDA Award Nominees". Alliance of Women Film Journalists. December 11, 2013. Retrieved December 20, 2013.
26.Jump up ^ "2013 EDA Award Winners". Alliance of Women Film Journalists. December 11, 2013. Retrieved December 20, 2013.
27.Jump up ^ "Film Editors Unveil ACE Eddie Award Nominations". Deadline.com. January 20, 2014. Retrieved June 13, 2014.
28.Jump up ^ "28th Annual ASC Awards: ‘Gravity’s Emmanuel Lubezki Wins Feature Film Honor; TV Winners Include ‘Killing Lincoln’, ‘Game Of Thrones’, ‘Drunk History’". Deadline.com. February 1, 2014. Retrieved April 17, 2014.
29.Jump up ^ "Winners Announced". Art Directors Guild. February 8, 2014. Retrieved February 12, 2014.
30.Jump up ^ "2013 AACTA International Awards". HitFix. January 13, 2014. Retrieved April 17, 2014.
31.Jump up ^ "'Gravity' Wins Best Film At Australian Academy Awards; '12 Years A Slave' Nabs Two Acting Nods". Deadline.com. 11 January 2014. Retrieved 11 January 2014.
32.Jump up ^ "Denmark’s Bodil Prizes: ‘Nympho-maniac’, ‘The Hunt’ Lead Nominations". Deadline.com. January 7, 2014. Retrieved February 8, 2014.
33.Jump up ^ "2013 Boston Online Film Critics Association winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
34.Jump up ^ "2013 Boston Society of Film Critics winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
35.Jump up ^ "American Hustle, 12 Years A Slave Lead BFCA’s Critics Choice Movie Awards Nominations". Deadline.com. December 17, 2013. Retrieved December 17, 2013.
36.Jump up ^ "Critics' Choice Awards: The Winners". The Hollywood Reporter (Prometheus Global Media). January 17, 2014. Retrieved January 17, 2014.
37.Jump up ^ "Berenice Bejo, Lea Seydoux, Roman Polanski Among France's Cesar Awards Nominees". The Hollywood Reporter (Prometheus Global Media). January 31, 2014. Retrieved February 1, 2014.
38.Jump up ^ "2013 Chicago Film Critics Association Nominations". HitFix. December 13, 2013. Retrieved December 20, 2013.
39.Jump up ^ "Chicago film critics name '12 Years a Slave' 2013's best movie". The Daily Herald. December 17, 2013. Retrieved December 20, 2013.
40.Jump up ^ "Cinema Audio Society Unveils Nominations For The 50th Annual CAS Awards". Deadline.com. January 14, 2014. Retrieved January 14, 2014.
41.Jump up ^ "Cinema Audio Society Awards: 'Gravity', 'Frozen' Take Film Honors". Deadline.com. February 22, 2014. Retrieved February 23, 2014.
42.Jump up ^ "2013 Denver Film Critics Society Nominations". HitFix. December 6, 2013. Retrieved January 6, 2014.
43.Jump up ^ "2013 Denver Film Critics Society winners". HitFix. January 22, 2014. Retrieved April 17, 2014.
44.Jump up ^ "The 2013 Detroit Film Critics Society Awards Nominations". Detroit Film Critics Society. December 9, 2013. Retrieved April 25, 2014.
45.Jump up ^ "2013 Detroit Film Critics Society Winners". HitFix. December 13, 2013. Retrieved April 17, 2014.
46.Jump up ^ "'12 Years a Slave,' 'American Hustle' Among Dorian Award Nominees (Exclusive)". The Hollywood Reporter (Prometheus Global Media). January 14, 2014. Retrieved April 17, 2014.
47.Jump up ^ "2013 Gay and Lesbian Entertainment Critics Association Awards". HitFix. January 22, 2014. Retrieved April 17, 2014.
48.Jump up ^ "The Jameson Empire Awards 2014 Nominations Are Here!". Empire. February 24, 2014. Retrieved March 4, 2014.
49.Jump up ^ "Jameson Empire Awards 2014: The Winners". Empire. March 31, 2014. Retrieved March 31, 2014.
50.Jump up ^ "The 15th Annual Golden Tomato". Rotten Tomatoes. Retrieved January 10, 2014.
51.Jump up ^ "Grammy Nominees 2015: The Full List". Forbes. December 5, 2014. Retrieved December 20, 2014.
52.Jump up ^ "Hollywood Film Awards: Sandra Bullock Thanks Hollywood for Making Her a Better Parent (Video)". The Hollywood Reporter (Prometheus Global Media). October 22, 2013. Retrieved April 17, 2014.
53.Jump up ^ "2013 Houston Film Critics Society nominations". HitFix. December 8, 2013. Retrieved December 20, 2013.
54.Jump up ^ "2013 Houston Film Critics Society winners". HitFix. December 15, 2013. Retrieved April 17, 2014.
55.Jump up ^ "2014 Hugo Award Winners". The Hugo Awards. August 17, 2014. Retrieved August 17, 2014.
56.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
57.Jump up ^ "Award Categories". Irish Film & Television Awards. Retrieved March 6, 2014.
58.Jump up ^ "IFTA Announces Winners of the 11th Annual Irish Film & Television Awards". Irish Film and Television Network. April 5, 2014. Retrieved April 6, 2014.
59.Jump up ^ "2013 Kansas City Film Critics Circle winners". HitFix. December 15, 2013. Retrieved April 22, 2014.
60.Jump up ^ "Nickelodeon's Kids' Choice Awards Nominations Revealed". The Hollywood Reporter (Prometheus Global Media). February 24, 2014. Retrieved February 25, 2014.
61.Jump up ^ "2013 Las Vegas Film Critics' Society Award winners". HitFix. December 18, 2013. Retrieved April 17, 2014.
62.Jump up ^ "London Critics’ Circle Announces 2014 Film Awards Nominations". London Film Critics Circle. December 17, 2013. Retrieved February 3, 2014.
63.Jump up ^ "2013 London Film Critics' Circle winners". HitFix. February 2, 2014. Retrieved April 17, 2014.
64.Jump up ^ "‘Gravity,’ ‘Her’ Tie for Best Picture With L.A. Film Critics". Variety (Penske Media Corporation). December 8, 2013. Retrieved December 20, 2013.
65.Jump up ^ Walsh, Jason (January 15, 2014). "Sound Editors Announce 2013 Golden Reel Nominees". Variety (Penske Media Corporation). Retrieved January 15, 2014.
66.Jump up ^ "Complete list of 2014 Golden Reel award winners". Los Angeles Times. February 16, 2014. Retrieved April 17, 2014.
67.Jump up ^ "2014 MTV Movie Awards: Full Nominations List". MTV. March 6, 2014. Retrieved April 17, 2014.
68.Jump up ^ Gray, Tim (December 8, 2013). "’12 Years’ Tops New York Online Critics Awards". Variety (Penske Media Corporation). Retrieved December 20, 2013.
69.Jump up ^ "2013 North Texas Film Critics Association winners". HitFix. January 5, 2014. Retrieved April 17, 2014.
70.Jump up ^ McDonnell, Brandy (January 7, 2014). "Oklahoma Film Critics Circle names "Her" best film of the year". The Oklahoman. Retrieved January 7, 2014.
71.Jump up ^ "Online Film Critics Announce Nominees; Miyazaki and To Surprise with Multiple Nominations". Indiewire (Snagfilms). December 9, 2013. Retrieved December 20, 2013.
72.Jump up ^ "2013 Online Film Critics Society winners". HitFix. December 16, 2013. Retrieved April 17, 2014.
73.Jump up ^ "Palm Springs Film Fest: Sandra Bullock to Receive Acting Honor for 'Gravity'". The Hollywood Reporter (Prometheus Global Media). November 15, 2013. Retrieved April 17, 2014.
74.Jump up ^ "People's Choice Awards: Complete Winners List". The Hollywood Reporter (Prometheus Global Media). January 8, 2014. Retrieved April 17, 2014.
75.Jump up ^ "Phoenix Film Critics Society 2013 Award Nominations". Phoenix Film Critics Society. Retrieved December 20, 2013.
76.Jump up ^ "Phoenix Film Critics Society 2013 Awards". Phoenix Film Critics Society. Retrieved April 17, 2014.
77.Jump up ^ "25th Annual PGA Awards: First-Ever Tie For Best Motion Picture — ‘Gravity’ And ‘12 Years A Slave’; ‘Breaking Bad’ & ‘Modern Family’ Take Top TV Awards; Winners List". Deadline.com. January 19, 2014. Retrieved April 17, 2014.
78.Jump up ^ "San Diego Film Critics Nominate Top Films for 2013". San Diego Film Critics Society. December 10, 2013. Retrieved December 20, 2013.
79.Jump up ^ "2013 San Diego Film Critics Society winners". HitFix. December 11, 2013. Retrieved April 17, 2014.
80.Jump up ^ "2013 San Francisco Film Critics Circle Nominations". HitFix. December 13, 2013. Retrieved December 20, 2013.
81.Jump up ^ "2013 San Francisco Film Critics Circle winners". HitFix. December 15, 2013. Retrieved April 17, 2014.
82.Jump up ^ Kilday, Gregg (December 2, 2013). "Satellite Awards: '12 Years a Slave' Leads Film Nominees". The Hollywood Reporter (Prometheus Global Media). Retrieved December 20, 2013.
83.Jump up ^ "Satellite Awards: '12 Years a Slave' Wins Best Motion Picture". The Hollywood Reporter (Prometheus Global Media). February 23, 2014. Retrieved March 21, 2014.
84.Jump up ^ "'Gravity,' 'Iron Man 3,' 'Breaking Bad' and 'The Walking Dead' lead 2014 Saturn Award winners". HitFix. June 27, 2014. Retrieved July 1, 2014.
85.Jump up ^ "2013 Nebula Awards Winners Announced". Science Fiction and Fantasy Writers of America. May 17, 2014. Retrieved May 22, 2014.
86.Jump up ^ "‘Midnight Rider’ Victim Sarah Jones Memorialized at Camera Operators Awards Ceremony Among Honors For ‘Gravity’ And ‘Mad Men’". Deadline.com. March 8, 2014. Retrieved March 9, 2014.
87.Jump up ^ "St. Louis Film Critics Awards Nominees For 2013 Announced". St. Louis Gateway Film Critics Association. December 9, 2013. Retrieved December 20, 2013.
88.Jump up ^ "2013 St. Louis Gateway Film Critics Association winners". HitFix. December 16, 2013. Retrieved April 17, 2014.
89.Jump up ^ "2013 Utah Film Critics Association winners". HitFix. December 20, 2013. Retrieved April 17, 2014.
90.Jump up ^ "‘Gravity’ Tops Visual Effects Society Nominations". Variety (Penske Media Corporation). January 14, 2014. Retrieved January 14, 2014.
91.Jump up ^ "2013 Washington D.C. Area Film Critics Association nominations". HitFix. December 9, 2013. Retrieved April 17, 2014.
92.Jump up ^ "2013 Washington D.C. Area Film Critics Association winners". HitFix. December 8, 2013. Retrieved April 17, 2014.
External links[edit]
Accolades for Gravity at the Internet Movie Database
  


Categories: Lists of accolades by film





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Gravity (film)
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Gravity
Poster
Theatrical release poster

Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Screenplay by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Edited by
Alfonso Cuarón
Mark Sanger

Production
 company

Esperanto Filmoj
Heyday Films

Distributed by
Warner Bros. Pictures

Release dates

August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)


Running time
 91 minutes[1]
Country
United Kingdom[2]
 United States[2]
Language
English
Budget
$100 million[3]
Box office
$716.4 million[3]
Gravity is a 2013 science fiction thriller film directed, co-written, and produced by Alfonso Cuarón. It stars Sandra Bullock and George Clooney as astronauts, and sees them stranded in space after the mid-orbit destruction of their space shuttle and their subsequent attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. The rights were sold to Warner Bros. Pictures, where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban (2004), produced the film with him. Gravity was produced entirely in the UK, where the British visual effects company Framestore spent more than three years creating most of the film's visual effects, which comprise over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival on 28 August 2013 and had its North American premiere three days later at the Telluride Film Festival. It was released to cinemas in the United States and Canada on 4 October 2013. The film was met with near-universal acclaim from critics, who praised Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects. It has grossed more than US$716 million worldwide, making it the eighth-highest-grossing film of 2013.
At the 86th Academy Awards, Gravity received a leading ten nominations—tying with American Hustle (2013)—and won seven, the most for the ceremony, including Best Director for Cuarón, Best Cinematography for Lubezki, Best Visual Effects, and Best Original Score for Price. The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, and seven Critics Choice Awards.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
4 Themes
5 Music
6 Release 6.1 Box office
6.2 Critical response
6.3 Piracy
6.4 Accolades
6.5 Budget comparison to real life space explorations
6.6 Home media
7 Scientific accuracy
8 Controversy
9 See also
10 References
11 External links

Plot[edit]
Dr. Ryan Stone is a biomedical engineer aboard the NASA space shuttle Explorer for her first space mission, STS-157. Veteran astronaut Matt Kowalski is commanding his final mission. During a spacewalk to service the Hubble Space Telescope and Stone's upgrades to the Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has inadvertently caused a chain reaction forming a cloud of debris in space. Mission Control orders that the mission be aborted and the shuttle begin re-entry immediately because the debris is speeding towards the telescope. Communication with Mission Control is lost shortly thereafter.
High speed debris from the Russian satellite strikes the Explorer and Hubble, detaching Stone from the shuttle and leaving her tumbling through space. Kowalski, using a manned maneuvering unit (MMU), recovers Stone and they return to the Explorer. They discover that it has suffered catastrophic damage and the rest of the crew is dead. They use the MMU to reach the International Space Station (ISS), which is in orbit about 1,450 km (900 mi) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's home life and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 100 km (60 mi) away, in order to board a Chinese module to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she grabs a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS while Kowalski floats away to certain death. He continues to support her until he is out of communications reach.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent it from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers that its engine has no fuel.
After a poignant attempt at radio communication with an Eskimo–Aleut-speaking fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance was not real, but has nonetheless given her the strength of will to continue. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong, which is rapidly deorbiting.
Unable to maneuver the Soyuz to dock with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel the final meters to Tiangong. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. Stone radios that she is ready to head back to Earth. After re-entering the atmosphere, Stone hears Mission Control, which is tracking the capsule. But due to a harsh reentry and the premature separation of the heat shield a fire is starting inside the capsule.
After speeding through the atmosphere, the capsule lands in a lake, but dense smoke forces Stone to evacuate immediately after the splashdown. She opens the capsule hatch, allowing water to enter and sink it, forcing Stone to shed her spacesuit and swim ashore. She watches the remains of the Tiangong re-enter the atmosphere and takes her first shaky steps on land.
Cast[edit]



Sandra Bullock

George Clooney

Sandra Bullock and George Clooney star as Dr. Ryan Stone and Lieutenant Matt Kowalski respectively.
##Sandra Bullock as Dr. Ryan Stone,[4] a medical engineer and mission specialist who is on her first space mission.[5]
##George Clooney as Lieutenant Matt Kowalski,[4] the commander of the team. Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with his team, and is determined to protect the lives of his fellow astronauts.[6]
##Ed Harris (voice) as Mission Control in Houston, Texas.[4][7]
##Orto Ignatiussen (voice) as Aningaaq,[4] a Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[8][9]
##Phaldut Sharma (voice) as Shariff Dasari,[4] the flight engineer on board the Explorer.[10]
##Amy Warren (voice) as the captain of Explorer.[4]
##Basher Savage (voice) as the captain of the International Space Station.[4]
Production[edit]
Development[edit]
Alfonso Cuarón wrote the screenplay with his son Jonás. Cuarón told Wired magazine, "I watched the Gregory Peck movie Marooned (1969) over and over as a kid."[11] That film is about the first crew of an experimental space station returning to Earth in an Apollo capsule that suffers a thruster malfunction. Cuarón attempted to develop his project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project began development at Warner Bros., who acquired the project. In 2010, Angelina Jolie, who had rejected a sequel to Wanted (2008), was in contact with Warner Bros. to star in the film.[5][12] Scheduling conflicts involving Jolie's Bosnian war film In the Land of Blood and Honey (2011), and a possible Salt (2009) sequel led Jolie to exit her involvement with Gravity, leaving Warner Bros. with doubts that the film would get made.[5]
In March, Robert Downey, Jr. entered discussions to be cast in the male lead role.[13] In mid-2010, Marion Cotillard attended a screen test for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were potential candidates for the role.[14] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was praised for her performance in Black Swan (2010) at that time.[15] Portman rejected the project because of scheduling conflicts and Warner Bros. then approached Sandra Bullock for the role.[5] In November 2010, Downey left the project to star in How to Talk to Girls—a project in development with Shawn Levy attached to direct.[16] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[6]
The problem of shooting long scenes in a zero-g environment was a challenge. Eventually, the team decided to use computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock's character for interior space station scenes.[17] This meant that shots and blocking had to be planned well in advance for the robots to be programmed.[17] It also made the production period much longer than expected. When the script was finalized, Cuarón assumed it would take about a year to complete the film, but it took four and a half years.[18]
Filming[edit]



 The landing scene was filmed at Lake Powell, Arizona.
Made on a production budget of $100 million, Gravity was filmed digitally on multiple Arri Alexa cameras. Principal photography began in late May 2011.[19] CG elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[20] The landing scene was filmed at Lake Powell, Arizona—where the astronauts' landing scene in Planet of the Apes (1968) was also filmed.[21] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore, which was responsible for creating most of the film's visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the movie consisted of CG—compared to James Cameron's Avatar (2009), which was 60 percent CG.[22] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[23] The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was converted into 3D in post production—principally at Prime Focus, London, with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker.
Filming began in London in May 2011.[24] The film contains 156 shots with an average length of 45 seconds—fewer and longer shots than in most films of this length.[25] Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[26] The soundtrack in the film's space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.[27]
For most of Bullock's shots, she was placed inside a giant, mechanical rig.[17] Getting into the rig took a significant amount of time, so Bullock chose to stay in it for up to 10 hours a day, communicating with others through a headset.[17] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a celebration each day when Bullock arrived. They nicknamed the rig "Sandy's cage" and gave it a lighted sign.[17] Most of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film.[28]
Themes[edit]
Although Gravity is often cited in the media as a science fiction film,[29] Cuarón told BBC that he sees the film rather as "a drama of a woman in space".[30]
Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[31][32][33][34] Cuarón uses the character, Stone, to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the consequences of a relentless Murphy's law.[29] The film incorporates spiritual or existential themes, in the facts of Stone's daughter's accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower.[32] Calamities occur but only the surviving astronauts see them.[35]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and predictability of the debris field, and silence of the vacuum of space with the background score giving the desired effect.[34][36] The film uses very long, uninterrupted shots throughout to draw the audience into the action but contrasts these with claustrophobic shots within space suits and capsules.[32][37]
Some commentators have noted religious themes in the film.[38][39][40][41] For instance, Fr. Robert Barron in The Catholic Register summarizes the tension between Gravity's technology and religious symbolism. He said, "The technology which this film legitimately celebrates... can't save us, and it can't provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access ... the reality of God".[41]
The film also suggests themes of humanity's ubiquitous strategy of existential resilience; that, across cultures, individuals must postulate meaning, beyond material existence, wherever none can be perceived. Human evolution and the resilience of life may also be seen as key themes of Gravity.[42][43][44][45] The film opens with the exploration of space—the climax of human civilization, and ends with an allegory of the dawn of mankind when Dr. Ryan Stone fights her way out of the water after the crash-landing, passing an amphibian, grabs the soil and slowly regains her capacity to stand upright and walk. Director Cuarón said, "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[43] Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on Earth may have come from outer space in the form of meteorites.[46]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music for Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[47] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[48] Songs featured in the film include:[49]
##"Angels Are Hard to Find" by Hank Williams, Jr.
##"Sinigit Meerannguaq" by Juaaka Lyberth
##"Destination Anywhere" by Chris Benstead and Robin Baynton
##"922 Anthem" by 922 (featuring Gaurav Dayal)
##"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel, written by Estonian composer Arvo Pärt in 1978, was used.[50]
Release[edit]



 David Heyman, Sandra Bullock, and Alfonso Cuarón at the 2013 San Diego Comic-Con International promoting Gravity
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, 2013, and had its North American premiere three days later at the Telluride Film Festival.[51] It was released in the USA in 3D and IMAX 3D on October 4, 2013 and in the UK on November 8, 2013.[52][53] The film's US release coincided with the beginning of World Space Week, which was observed from October 4 to 10. The film was originally scheduled to be released in the US on November 21, 2012, before being re-scheduled for a 2013 release to allow the completion of extensive post-production work.[54]


Box office[edit]
Preliminary reports predicted the film would open with takings of over $10 million in North America.[55][56] The film earned $1.4 million from its Thursday night showings,[57] and reached $17.5 million on Friday.[58] Gravity topped the box office and broke the record held by Paranormal Activity 3 (2011) as the highest-earning October and autumn openings, grossing $55.8 million.[59] 80 percent of the film's opening weekend gross came from its 3D showings, which grossed $44 million. $11.2 million—20 percent of the receipts—came from IMAX 3D showings; the highest percentage for a film opening more than $50 million.[60]
The film stayed at number one at the box office during its second and third weekends.[61][62] Gravity opened at number one in the United Kingdom, taking GB£6.23 million over the first weekend of release,[63] and remained there for the second week.[64] The film's largest markets outside North America were China ($71.2m),[65] the United Kingdom ($47.0m) and France ($38.2m).[66] On February 17, 2014, the film grossed $700m worldwide.[67] Gravity grossed $274,092,705 in North America and $442,300,000 in other countries, making a worldwide gross of $716,392,705—making it the eighth-highest grossing film of 2013.[3]
Critical response[edit]



Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view.
Richard Corliss of Time[68]
Gravity was met with nearly universal acclaim from critics who praised the acting (especially Sandra Bullock's performance), direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[69] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 305 critics, with a "Certified Fresh" rating and an average score of 9.0/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[70] On Metacritic, which assigns a normalized rating out of 100 based on reviews from critics, the film has a score of 96 based on 49 reviews, indicating "universal acclaim", making it the second highest scoring widely-released film of its year.[71] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Gravity an average grade of A- on an A+ to F scale.[60]
Matt Zoller Seitz, writing on RogerEbert.com, gave the film four out of four stars, calling it "a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely".[72] Justin Chang writing for Variety said that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide".[73] Richard Corliss of Time praised Cuarón for playing "daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[68]
Peter Bradshaw of The Guardian gave the film five out of five stars, writing " a brilliant and inspired movie-cyclorama...a glorious imaginary creation that engulfs you utterly."[74] Robbie Collin of The Daily Telegraph also awarded the film five out of five stars.[75]
Peter Travers of Rolling Stone gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle."[76] A. O. Scott writing for The New York Times highlighted the use of 3-D which he said, "surpasses even what James Cameron accomplished in the flight sequences of Avatar". Scott also said that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them".[77] Quentin Tarantino said it was one of his top ten movies of 2013.[78] Empire, Time, and Total Film ranked the film as the best of 2013.[79][80][81]
Some critics have compared Gravity with other notable films set in space. Lindsey Weber of Vulture.com said the choice of Ed Harris for the voice of Mission Control is a reference to Apollo 13.[82] Todd McCarthy of The Hollywood Reporter suggests the way "a weightless Stone goes floating about in nothing but her underwear" references Alien (1979).[36] Other critics made connections with 2001: A Space Odyssey (1968).[83] James Cameron praised the film and stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[84] Empire Online, Ask Men, and The Huffington Post also considered Gravity to be one of the best space films ever made,[85][86][87] though The Huffington Post later included Gravity on their list of "8 Movies From The Last 15 Years That Are Super Overrated".[88]
Piracy[edit]
According to piracy tracking site Excipio, Gravity was one of the most pirated films of 2014 with over 29.3 million illegal downloads via torrent sites.[89]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards; together with American Hustle it received the greatest number of nominations for the 2014 ceremony, including Best Picture, Best Actress for Bullock, and Best Production Design.[90] The film won the most of the night with seven Academy Awards: for Best Director, Best Cinematography, Best Visual Effects, Best Film Editing, Best Original Score, Best Sound Editing, and Best Sound Mixing.[91][92][93] The film is second only to Cabaret (1972) to receive the most Academy Awards in its year without achieving the award for Best Picture.
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was also nominated for Best Motion Picture – Drama, Best Actress – Drama for Bullock and Best Original Score.[94][95]
Gravity received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013. Its nominations included Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Cuarón was the most-nominated person at the awards; he was nominated for five awards, including his nominations as producer for Best Film awards and editor.[96][97] Despite not winning Best Film, Gravity won six awards, the greatest number of awards in 2013. It won the awards for Outstanding British Film, Best Direction, Best Original Music, Best Cinematography, Best Sound, and Best Visual Effects.[98][99]
Gravity also won the 2014 Hugo Award for Best Dramatic Presentation, Long Form.[100]
Budget comparison to real life space explorations[edit]
Indian Prime Minister Narendra Modi while praising the cost-effective nature of Indian space programme, observed that the country's Mars Orbiter Mission had cost less than the film's production budget.[101]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and was released on DVD, Blu-ray and Blu-ray 3D on February 25, 2014, in the United States and on March 3, 2014, in the United Kingdom.[102] As of March 16, 2014, Gravity has sold 908,756 DVDs along with 957,355 Blu-ray discs for $16,465,600 and $22,183,843 respectively for a total of $38,649,443.[103] Gravity was also offered for free in HD on Google Play and Nexus devices in late October 2014 to early November 2014.
A "special edition" Blu-ray is scheduled to be released March 31, 2015. The release includes a "Silent Space Version" of the film which omits the score composed by Steven Price.[104]
Scientific accuracy[edit]



 A diagram showing the orbits of the International Space Station and Hubble Space Telescope
Cuarón has stated that Gravity is not always scientifically accurate and that some liberties were needed to sustain the story.[105] "This is not a documentary," Cuarón said. "It is a piece of fiction."[106] The film has been praised for the realism of its premises and its overall adherence to physical principles, despite several inaccuracies and exaggerations.[107][108][109] According to NASA Astronaut Michael J. Massimino, who took part in the Hubble Space Telescope Servicing Missions STS-109 and STS-125, "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[110]
Astronaut Buzz Aldrin called the visual effects "remarkable", and said, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[111] Former NASA astronaut Garrett Reisman said, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[112]
Astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[109][113][114] 'The Dissolve' characterized these complaints as "absurd", problems "only an astrophysicist would find".[115]
Examples of differences from reality include:
##Several observers (including Plait and Tyson) said that in the scene in which Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, Stone would simply need to tug the tether gently to pull Kowalski toward her. According to the film's science adviser Kevin Grazier and NASA engineer Robert Frost, however, the pair are still decelerating with Stone's leg caught in the parachute cords from the Soyuz. The cords stretch as they absorb her kinetic energy. Kowalski thinks that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must release the tether to give Stone a chance of stopping before the cords fail and doom both of them.[116]
##Stone is shown not wearing liquid-cooled ventilation garments or even socks, which are always worn under the EVA suit to protect against extreme temperatures in space. Neither was she shown wearing space diapers.[109] No helmet is able to display images on the visor itself, as was featured in the film. Visors in space reflect sunlight, and thus would be opaque, in contrast to their transparency of the helmets in the film.[117]
##Stone's tears first roll down her face in micro-gravity, and are later seen floating off her face. Without sufficient force to dislodge the tears, they would remain on her face because of surface tension.[118] However, the movie correctly portrays the spherical nature of drops of liquid in a micro-gravity environment.[108]
##The Hubble Space Telescope, which is being repaired at the beginning of the movie, previously had an altitude of about 559 kilometres (347 mi) and an orbital inclination of 28.5 degrees. As of the release of the movie, the ISS had an altitude of around 420 kilometres (260 mi) and an orbital inclination of 51.65 degrees. The significant differences between orbital parameters would have made it impossible to travel between the two spacecraft without precise preparation, planning, calculation, the appropriate technology, and a large quantity of fuel at the time.[108][109][114] However, the ISS has changed orbit multiple times making this criticism only applicable to the release date of the movie. [119] [120]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski said they enjoyed watching the film.[109][113][114] Aldrin said he hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[111]
Controversy[edit]
On April 2014, author Tess Gerritsen sued Warner Bros. for at least $10 million in damages, alleging breach of contract after, in 1999, selling the film rights to her book Gravity, about a female medical doctor/astronaut who is stranded aboard the International Space Station after the rest of her crew is killed by a gruesome alien infection, to Katja, a company owned by New Line Cinema, now a subsidiary of Warner Bros., for $1 million plus a $500,000 production bonus and 2.5 percent of defined net proceeds if the movie was ever made.[121] After years of production, in which Gerritsen re-wrote the third act to include "scenes of satellite debris destroying ISS and the lone surviving female astronaut adrift in her spacesuit", the project was closed down. Upon hearing of Cuarón's involvement in the adaptation from her literary agent, and seeing the similarities between her book and the film, she sought legal help.[122]
On January 2015, a judge grounded Gerritsen's lawsuit, calling the allegations "entirely speculative", but giving her 20 days to file an amended lawsuit.[123]
See also[edit]
##Apollo 13, a 1995 film dramatizing the Apollo 13 incident
##Kessler syndrome
##List of films featuring space stations
##Survival film
##Space exploration technologies
References[edit]
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101.Jump up ^ "India's Mars mission cost less than Hollywood film Gravity: PM Narendra Modi". The Times of India. June 30, 2014. Retrieved October 4, 2014.
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113.^ Jump up to: a b "Astrophysicist Neil deGrasse Tyson Fact-Checks Gravity on Twitter". Wired. October 7, 2013. Retrieved October 8, 2013.
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119.Jump up ^ Unknown, Unknown. "International Space Station to change orbit to avoid possible collision with debris". Telegraph. Retrieved October 3, 2012.
120.Jump up ^ Zhang, Sarah. "The Space Station Had to Change Its Orbit to Avoid Space Junk". Gizmodo. Retrieved November 4, 2014.
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122.Jump up ^ "My Gravity Lawsuit". Author's Blog. Retrieved February 1, 2015.
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External links[edit]
 Wikimedia Commons has media related to Gravity (film).
 Wikiquote has quotations related to: Gravity (film)
##Official website
##Gravity at the Internet Movie Database
##Gravity at AllMovie


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Gravity (film)
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Gravity
Poster
Theatrical release poster

Directed by
Alfonso Cuarón
Produced by
Alfonso Cuarón
David Heyman
Screenplay by
Alfonso Cuarón
Jonás Cuarón
Starring
Sandra Bullock
George Clooney
Music by
Steven Price
Cinematography
Emmanuel Lubezki
Edited by
Alfonso Cuarón
Mark Sanger

Production
 company

Esperanto Filmoj
Heyday Films

Distributed by
Warner Bros. Pictures

Release dates

August 28, 2013 (Venice)
October 4, 2013 (United States)
November 8, 2013 (United Kingdom)


Running time
 91 minutes[1]
Country
United Kingdom[2]
 United States[2]
Language
English
Budget
$100 million[3]
Box office
$716.4 million[3]
Gravity is a 2013 science fiction thriller film directed, co-written, and produced by Alfonso Cuarón. It stars Sandra Bullock and George Clooney as astronauts, and sees them stranded in space after the mid-orbit destruction of their space shuttle and their subsequent attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. The rights were sold to Warner Bros. Pictures, where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban (2004), produced the film with him. Gravity was produced entirely in the UK, where the British visual effects company Framestore spent more than three years creating most of the film's visual effects, which comprise over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival on 28 August 2013 and had its North American premiere three days later at the Telluride Film Festival. It was released to cinemas in the United States and Canada on 4 October 2013. The film was met with near-universal acclaim from critics, who praised Emmanuel Lubezki's cinematography, Steven Price's musical score, Cuarón's direction, Bullock's performance and Framestore's visual effects. It has grossed more than US$716 million worldwide, making it the eighth-highest-grossing film of 2013.
At the 86th Academy Awards, Gravity received a leading ten nominations—tying with American Hustle (2013)—and won seven, the most for the ceremony, including Best Director for Cuarón, Best Cinematography for Lubezki, Best Visual Effects, and Best Original Score for Price. The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, and seven Critics Choice Awards.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
4 Themes
5 Music
6 Release 6.1 Box office
6.2 Critical response
6.3 Piracy
6.4 Accolades
6.5 Budget comparison to real life space explorations
6.6 Home media
7 Scientific accuracy
8 Controversy
9 See also
10 References
11 External links

Plot[edit]
Dr. Ryan Stone is a biomedical engineer aboard the NASA space shuttle Explorer for her first space mission, STS-157. Veteran astronaut Matt Kowalski is commanding his final mission. During a spacewalk to service the Hubble Space Telescope and Stone's upgrades to the Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has inadvertently caused a chain reaction forming a cloud of debris in space. Mission Control orders that the mission be aborted and the shuttle begin re-entry immediately because the debris is speeding towards the telescope. Communication with Mission Control is lost shortly thereafter.
High speed debris from the Russian satellite strikes the Explorer and Hubble, detaching Stone from the shuttle and leaving her tumbling through space. Kowalski, using a manned maneuvering unit (MMU), recovers Stone and they return to the Explorer. They discover that it has suffered catastrophic damage and the rest of the crew is dead. They use the MMU to reach the International Space Station (ISS), which is in orbit about 1,450 km (900 mi) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone's home life and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 100 km (60 mi) away, in order to board a Chinese module to return safely to Earth. Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone's leg gets entangled in Soyuz's parachute cords and she grabs a strap on Kowalski's suit. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS while Kowalski floats away to certain death. He continues to support her until he is out of communications reach.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent it from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers that its engine has no fuel.
After a poignant attempt at radio communication with an Eskimo–Aleut-speaking fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz's landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski's reappearance was not real, but has nonetheless given her the strength of will to continue. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong, which is rapidly deorbiting.
Unable to maneuver the Soyuz to dock with the station, Stone ejects herself via explosive decompression and uses a fire extinguisher as a makeshift thruster to travel the final meters to Tiangong. Stone enters the Shenzhou capsule just as Tiangong starts to break up on the upper edge of the atmosphere. Stone radios that she is ready to head back to Earth. After re-entering the atmosphere, Stone hears Mission Control, which is tracking the capsule. But due to a harsh reentry and the premature separation of the heat shield a fire is starting inside the capsule.
After speeding through the atmosphere, the capsule lands in a lake, but dense smoke forces Stone to evacuate immediately after the splashdown. She opens the capsule hatch, allowing water to enter and sink it, forcing Stone to shed her spacesuit and swim ashore. She watches the remains of the Tiangong re-enter the atmosphere and takes her first shaky steps on land.
Cast[edit]



Sandra Bullock

George Clooney

Sandra Bullock and George Clooney star as Dr. Ryan Stone and Lieutenant Matt Kowalski respectively.
##Sandra Bullock as Dr. Ryan Stone,[4] a medical engineer and mission specialist who is on her first space mission.[5]
##George Clooney as Lieutenant Matt Kowalski,[4] the commander of the team. Kowalski is a veteran astronaut planning to retire after the Explorer expedition. He enjoys telling stories about himself and joking with his team, and is determined to protect the lives of his fellow astronauts.[6]
##Ed Harris (voice) as Mission Control in Houston, Texas.[4][7]
##Orto Ignatiussen (voice) as Aningaaq,[4] a Greenlandic Inuit fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in a self-titled short written and directed by Gravity co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.[8][9]
##Phaldut Sharma (voice) as Shariff Dasari,[4] the flight engineer on board the Explorer.[10]
##Amy Warren (voice) as the captain of Explorer.[4]
##Basher Savage (voice) as the captain of the International Space Station.[4]
Production[edit]
Development[edit]
Alfonso Cuarón wrote the screenplay with his son Jonás. Cuarón told Wired magazine, "I watched the Gregory Peck movie Marooned (1969) over and over as a kid."[11] That film is about the first crew of an experimental space station returning to Earth in an Apollo capsule that suffers a thruster malfunction. Cuarón attempted to develop his project at Universal Pictures, where it stayed in development for several years. After the rights to the project were sold, the project began development at Warner Bros., who acquired the project. In 2010, Angelina Jolie, who had rejected a sequel to Wanted (2008), was in contact with Warner Bros. to star in the film.[5][12] Scheduling conflicts involving Jolie's Bosnian war film In the Land of Blood and Honey (2011), and a possible Salt (2009) sequel led Jolie to exit her involvement with Gravity, leaving Warner Bros. with doubts that the film would get made.[5]
In March, Robert Downey, Jr. entered discussions to be cast in the male lead role.[13] In mid-2010, Marion Cotillard attended a screen test for the female lead role. By August 2010, Scarlett Johansson and Blake Lively were potential candidates for the role.[14] In September, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was praised for her performance in Black Swan (2010) at that time.[15] Portman rejected the project because of scheduling conflicts and Warner Bros. then approached Sandra Bullock for the role.[5] In November 2010, Downey left the project to star in How to Talk to Girls—a project in development with Shawn Levy attached to direct.[16] The following December, with Bullock signed for the co-lead role, George Clooney replaced Downey.[6]
The problem of shooting long scenes in a zero-g environment was a challenge. Eventually, the team decided to use computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock's character for interior space station scenes.[17] This meant that shots and blocking had to be planned well in advance for the robots to be programmed.[17] It also made the production period much longer than expected. When the script was finalized, Cuarón assumed it would take about a year to complete the film, but it took four and a half years.[18]
Filming[edit]



 The landing scene was filmed at Lake Powell, Arizona.
Made on a production budget of $100 million, Gravity was filmed digitally on multiple Arri Alexa cameras. Principal photography began in late May 2011.[19] CG elements were shot at Pinewood and Shepperton Studios in the United Kingdom.[20] The landing scene was filmed at Lake Powell, Arizona—where the astronauts' landing scene in Planet of the Apes (1968) was also filmed.[21] Visual effects were supervised by Tim Webber at the London-based VFX company Framestore, which was responsible for creating most of the film's visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the movie consisted of CG—compared to James Cameron's Avatar (2009), which was 60 percent CG.[22] To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built.[23] The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CG at Framestore. The remaining footage was converted into 3D in post production—principally at Prime Focus, London, with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker.
Filming began in London in May 2011.[24] The film contains 156 shots with an average length of 45 seconds—fewer and longer shots than in most films of this length.[25] Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that."[26] The soundtrack in the film's space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.[27]
For most of Bullock's shots, she was placed inside a giant, mechanical rig.[17] Getting into the rig took a significant amount of time, so Bullock chose to stay in it for up to 10 hours a day, communicating with others through a headset.[17] Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible. The team attempted to do this by having a celebration each day when Bullock arrived. They nicknamed the rig "Sandy's cage" and gave it a lighted sign.[17] Most of the movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film.[28]
Themes[edit]
Although Gravity is often cited in the media as a science fiction film,[29] Cuarón told BBC that he sees the film rather as "a drama of a woman in space".[30]
Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of catastrophe.[31][32][33][34] Cuarón uses the character, Stone, to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the consequences of a relentless Murphy's law.[29] The film incorporates spiritual or existential themes, in the facts of Stone's daughter's accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower.[32] Calamities occur but only the surviving astronauts see them.[35]
The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and predictability of the debris field, and silence of the vacuum of space with the background score giving the desired effect.[34][36] The film uses very long, uninterrupted shots throughout to draw the audience into the action but contrasts these with claustrophobic shots within space suits and capsules.[32][37]
Some commentators have noted religious themes in the film.[38][39][40][41] For instance, Fr. Robert Barron in The Catholic Register summarizes the tension between Gravity's technology and religious symbolism. He said, "The technology which this film legitimately celebrates... can't save us, and it can't provide the means by which we establish real contact with each other. The Ganges in the sun, the St. Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access ... the reality of God".[41]
The film also suggests themes of humanity's ubiquitous strategy of existential resilience; that, across cultures, individuals must postulate meaning, beyond material existence, wherever none can be perceived. Human evolution and the resilience of life may also be seen as key themes of Gravity.[42][43][44][45] The film opens with the exploration of space—the climax of human civilization, and ends with an allegory of the dawn of mankind when Dr. Ryan Stone fights her way out of the water after the crash-landing, passing an amphibian, grabs the soil and slowly regains her capacity to stand upright and walk. Director Cuarón said, "She’s in these murky waters almost like an amniotic fluid or a primordial soup. In which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she’s a bit curved until she is completely erect. It was the evolution of life in one, quick shot".[43] Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on Earth may have come from outer space in the form of meteorites.[46]
Music[edit]
Main article: Gravity: Original Motion Picture Soundtrack
Steven Price composed the incidental music for Gravity. In early September 2013, a 23-minute preview of the soundtrack was released online.[47] A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music.[48] Songs featured in the film include:[49]
##"Angels Are Hard to Find" by Hank Williams, Jr.
##"Sinigit Meerannguaq" by Juaaka Lyberth
##"Destination Anywhere" by Chris Benstead and Robin Baynton
##"922 Anthem" by 922 (featuring Gaurav Dayal)
##"Ready" by Charles Scott (featuring Chelsea Williams)
In most of the film's official trailers, Spiegel im Spiegel, written by Estonian composer Arvo Pärt in 1978, was used.[50]
Release[edit]



 David Heyman, Sandra Bullock, and Alfonso Cuarón at the 2013 San Diego Comic-Con International promoting Gravity
Gravity had its world premiere at the 70th Venice International Film Festival on August 28, 2013, and had its North American premiere three days later at the Telluride Film Festival.[51] It was released in the USA in 3D and IMAX 3D on October 4, 2013 and in the UK on November 8, 2013.[52][53] The film's US release coincided with the beginning of World Space Week, which was observed from October 4 to 10. The film was originally scheduled to be released in the US on November 21, 2012, before being re-scheduled for a 2013 release to allow the completion of extensive post-production work.[54]


Box office[edit]
Preliminary reports predicted the film would open with takings of over $10 million in North America.[55][56] The film earned $1.4 million from its Thursday night showings,[57] and reached $17.5 million on Friday.[58] Gravity topped the box office and broke the record held by Paranormal Activity 3 (2011) as the highest-earning October and autumn openings, grossing $55.8 million.[59] 80 percent of the film's opening weekend gross came from its 3D showings, which grossed $44 million. $11.2 million—20 percent of the receipts—came from IMAX 3D showings; the highest percentage for a film opening more than $50 million.[60]
The film stayed at number one at the box office during its second and third weekends.[61][62] Gravity opened at number one in the United Kingdom, taking GB£6.23 million over the first weekend of release,[63] and remained there for the second week.[64] The film's largest markets outside North America were China ($71.2m),[65] the United Kingdom ($47.0m) and France ($38.2m).[66] On February 17, 2014, the film grossed $700m worldwide.[67] Gravity grossed $274,092,705 in North America and $442,300,000 in other countries, making a worldwide gross of $716,392,705—making it the eighth-highest grossing film of 2013.[3]
Critical response[edit]



Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, Gravity shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view.
Richard Corliss of Time[68]
Gravity was met with nearly universal acclaim from critics who praised the acting (especially Sandra Bullock's performance), direction, screenplay, cinematography, visual effects, production design, the use of 3D, and Steven Price's musical score.[69] Review aggregator Rotten Tomatoes gives the film a score of 97% based on reviews from 305 critics, with a "Certified Fresh" rating and an average score of 9.0/10. The site's consensus states: "Alfonso Cuarón's Gravity is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning."[70] On Metacritic, which assigns a normalized rating out of 100 based on reviews from critics, the film has a score of 96 based on 49 reviews, indicating "universal acclaim", making it the second highest scoring widely-released film of its year.[71] In CinemaScore polls conducted during the opening weekend, cinema audiences gave Gravity an average grade of A- on an A+ to F scale.[60]
Matt Zoller Seitz, writing on RogerEbert.com, gave the film four out of four stars, calling it "a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely".[72] Justin Chang writing for Variety said that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide".[73] Richard Corliss of Time praised Cuarón for playing "daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."[68]
Peter Bradshaw of The Guardian gave the film five out of five stars, writing " a brilliant and inspired movie-cyclorama...a glorious imaginary creation that engulfs you utterly."[74] Robbie Collin of The Daily Telegraph also awarded the film five out of five stars.[75]
Peter Travers of Rolling Stone gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle."[76] A. O. Scott writing for The New York Times highlighted the use of 3-D which he said, "surpasses even what James Cameron accomplished in the flight sequences of Avatar". Scott also said that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them".[77] Quentin Tarantino said it was one of his top ten movies of 2013.[78] Empire, Time, and Total Film ranked the film as the best of 2013.[79][80][81]
Some critics have compared Gravity with other notable films set in space. Lindsey Weber of Vulture.com said the choice of Ed Harris for the voice of Mission Control is a reference to Apollo 13.[82] Todd McCarthy of The Hollywood Reporter suggests the way "a weightless Stone goes floating about in nothing but her underwear" references Alien (1979).[36] Other critics made connections with 2001: A Space Odyssey (1968).[83] James Cameron praised the film and stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time".[84] Empire Online, Ask Men, and The Huffington Post also considered Gravity to be one of the best space films ever made,[85][86][87] though The Huffington Post later included Gravity on their list of "8 Movies From The Last 15 Years That Are Super Overrated".[88]
Piracy[edit]
According to piracy tracking site Excipio, Gravity was one of the most pirated films of 2014 with over 29.3 million illegal downloads via torrent sites.[89]
Accolades[edit]


Main article: List of accolades received by Gravity (film)
Gravity received ten nominations at the 86th Academy Awards; together with American Hustle it received the greatest number of nominations for the 2014 ceremony, including Best Picture, Best Actress for Bullock, and Best Production Design.[90] The film won the most of the night with seven Academy Awards: for Best Director, Best Cinematography, Best Visual Effects, Best Film Editing, Best Original Score, Best Sound Editing, and Best Sound Mixing.[91][92][93] The film is second only to Cabaret (1972) to receive the most Academy Awards in its year without achieving the award for Best Picture.
Alfonso Cuarón won the Golden Globe Award for Best Director, and the film was also nominated for Best Motion Picture – Drama, Best Actress – Drama for Bullock and Best Original Score.[94][95]
Gravity received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013. Its nominations included Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Cuarón was the most-nominated person at the awards; he was nominated for five awards, including his nominations as producer for Best Film awards and editor.[96][97] Despite not winning Best Film, Gravity won six awards, the greatest number of awards in 2013. It won the awards for Outstanding British Film, Best Direction, Best Original Music, Best Cinematography, Best Sound, and Best Visual Effects.[98][99]
Gravity also won the 2014 Hugo Award for Best Dramatic Presentation, Long Form.[100]
Budget comparison to real life space explorations[edit]
Indian Prime Minister Narendra Modi while praising the cost-effective nature of Indian space programme, observed that the country's Mars Orbiter Mission had cost less than the film's production budget.[101]
Home media[edit]
Gravity was released on digital download on February 11, 2014, and was released on DVD, Blu-ray and Blu-ray 3D on February 25, 2014, in the United States and on March 3, 2014, in the United Kingdom.[102] As of March 16, 2014, Gravity has sold 908,756 DVDs along with 957,355 Blu-ray discs for $16,465,600 and $22,183,843 respectively for a total of $38,649,443.[103] Gravity was also offered for free in HD on Google Play and Nexus devices in late October 2014 to early November 2014.
A "special edition" Blu-ray is scheduled to be released March 31, 2015. The release includes a "Silent Space Version" of the film which omits the score composed by Steven Price.[104]
Scientific accuracy[edit]



 A diagram showing the orbits of the International Space Station and Hubble Space Telescope
Cuarón has stated that Gravity is not always scientifically accurate and that some liberties were needed to sustain the story.[105] "This is not a documentary," Cuarón said. "It is a piece of fiction."[106] The film has been praised for the realism of its premises and its overall adherence to physical principles, despite several inaccuracies and exaggerations.[107][108][109] According to NASA Astronaut Michael J. Massimino, who took part in the Hubble Space Telescope Servicing Missions STS-109 and STS-125, "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."[110]
Astronaut Buzz Aldrin called the visual effects "remarkable", and said, "I was so extravagantly impressed by the portrayal of the reality of zero gravity. Going through the space station was done just the way that I've seen people do it in reality. The spinning is going to happen—maybe not quite that vigorous—but certainly we've been fortunate that people haven't been in those situations yet. I think it reminds us that there really are hazards in the space business, especially in activities outside the spacecraft."[111] Former NASA astronaut Garrett Reisman said, "The pace and story was definitely engaging and I think it was the best use of the 3-D IMAX medium to date. Rather than using the medium as a gimmick, Gravity uses it to depict a real environment that is completely alien to most people. But the question that most people want me to answer is, how realistic was it? The very fact that the question is being asked so earnestly is a testament to the verisimilitude of the movie. When a bad science fiction movie comes out, no one bothers to ask me if it reminded me of the real thing."[112]
Astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies.[109][113][114] 'The Dissolve' characterized these complaints as "absurd", problems "only an astrophysicist would find".[115]
Examples of differences from reality include:
##Several observers (including Plait and Tyson) said that in the scene in which Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, Stone would simply need to tug the tether gently to pull Kowalski toward her. According to the film's science adviser Kevin Grazier and NASA engineer Robert Frost, however, the pair are still decelerating with Stone's leg caught in the parachute cords from the Soyuz. The cords stretch as they absorb her kinetic energy. Kowalski thinks that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must release the tether to give Stone a chance of stopping before the cords fail and doom both of them.[116]
##Stone is shown not wearing liquid-cooled ventilation garments or even socks, which are always worn under the EVA suit to protect against extreme temperatures in space. Neither was she shown wearing space diapers.[109] No helmet is able to display images on the visor itself, as was featured in the film. Visors in space reflect sunlight, and thus would be opaque, in contrast to their transparency of the helmets in the film.[117]
##Stone's tears first roll down her face in micro-gravity, and are later seen floating off her face. Without sufficient force to dislodge the tears, they would remain on her face because of surface tension.[118] However, the movie correctly portrays the spherical nature of drops of liquid in a micro-gravity environment.[108]
##The Hubble Space Telescope, which is being repaired at the beginning of the movie, previously had an altitude of about 559 kilometres (347 mi) and an orbital inclination of 28.5 degrees. As of the release of the movie, the ISS had an altitude of around 420 kilometres (260 mi) and an orbital inclination of 51.65 degrees. The significant differences between orbital parameters would have made it impossible to travel between the two spacecraft without precise preparation, planning, calculation, the appropriate technology, and a large quantity of fuel at the time.[108][109][114] However, the ISS has changed orbit multiple times making this criticism only applicable to the release date of the movie. [119] [120]
Despite the inaccuracies in Gravity, Tyson, Plait and Parazynski said they enjoyed watching the film.[109][113][114] Aldrin said he hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field.[111]
Controversy[edit]
On April 2014, author Tess Gerritsen sued Warner Bros. for at least $10 million in damages, alleging breach of contract after, in 1999, selling the film rights to her book Gravity, about a female medical doctor/astronaut who is stranded aboard the International Space Station after the rest of her crew is killed by a gruesome alien infection, to Katja, a company owned by New Line Cinema, now a subsidiary of Warner Bros., for $1 million plus a $500,000 production bonus and 2.5 percent of defined net proceeds if the movie was ever made.[121] After years of production, in which Gerritsen re-wrote the third act to include "scenes of satellite debris destroying ISS and the lone surviving female astronaut adrift in her spacesuit", the project was closed down. Upon hearing of Cuarón's involvement in the adaptation from her literary agent, and seeing the similarities between her book and the film, she sought legal help.[122]
On January 2015, a judge grounded Gerritsen's lawsuit, calling the allegations "entirely speculative", but giving her 20 days to file an amended lawsuit.[123]
See also[edit]
##Apollo 13, a 1995 film dramatizing the Apollo 13 incident
##Kessler syndrome
##List of films featuring space stations
##Survival film
##Space exploration technologies
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92.Jump up ^ "Oscar Winners 2014 List". Daily Telegraph. Retrieved March 3, 2014.
93.Jump up ^ "Gravity dominates, but 12 Years a Slave wins best film". Guardian. March 3, 2014. Retrieved March 4, 2014.
94.Jump up ^ "Golden Globe Awards 2014: Nominees Announced For 71st Annual Golden Globes". The Huffington Post. December 12, 2013. Retrieved December 12, 2013.
95.Jump up ^ "'12 Years,' 'Hustle' win film Globes". CNN. January 13, 2014. Retrieved March 4, 2014.
96.Jump up ^ "2013 Nominations". BAFTA. Retrieved January 8, 2014.
97.Jump up ^ "Bafta Film Awards 2014: Full list of nominees". BBC News. January 8, 2014. Retrieved January 8, 2014.
98.Jump up ^ "BAFTA Awards: ‘12 Years A Slave’ Wins Best Film But ‘Gravity’ Carries Most Weight With Six Total Nods; Chiwetel Ejiofor & Cate Blanchett Take Actor Wins; ‘American Hustle’ Scores 3 Including For Jennifer Lawrence". BAFTA. Retrieved February 16, 2014.
99.Jump up ^ "Gravity wins outstanding British film". Guardian. February 16, 2014. Retrieved March 4, 2014.
100.Jump up ^ "2014 Hugo Award Winners". The Hugo Awards. August 17, 2014. Retrieved August 17, 2014.
101.Jump up ^ "India's Mars mission cost less than Hollywood film Gravity: PM Narendra Modi". The Times of India. June 30, 2014. Retrieved October 4, 2014.
102.Jump up ^ Brew, Simon (January 21, 2014). "Gravity DVD and Blu-ray release date confirmed". Den of Geek. DenOfGeek.com. Retrieved February 17, 2014.
103.Jump up ^ "Gravity". Retrieved November 14, 2014.
104.Jump up ^ Franich, Darren. Entertainment Weekly, November 11, 2014, "'Gravity' is getting a scientifically accurate 'Silent Space Version'".
105.Jump up ^ "Gravity". Space.com.
106.Jump up ^ Lisa Respers France (October 8, 2013). "5 things that couldn't happen in 'Gravity'". CNN.com. Retrieved November 25, 2013.
107.Jump up ^ "What's behind the science of 'Gravity'?". CNN. September 28, 2013. Retrieved October 2, 2013.
108.^ Jump up to: a b c Margot, Jean-Luc (September 28, 2013). "How realistic is 'Gravity'?". UCLA. Retrieved October 8, 2013.
109.^ Jump up to: a b c d e Watkins, Gwynne (October 8, 2013). "An Astronaut Fact-checks Gravity". Vulture. Retrieved October 12, 2013.
110.Jump up ^ "Gravity: Ripped from the Headlines?". Space Safety Magazine. October 3, 2013. Retrieved October 3, 2013.
111.^ Jump up to: a b "'Gravity' Review by Astronaut Buzz Aldrin". The Hollywood Reporter. October 3, 2013. Retrieved October 7, 2013.
112.Jump up ^ Reisman, Garrett. "What Does A Real Astronaut Think Of 'Gravity'?". Forbes. Retrieved October 20, 2013.
113.^ Jump up to: a b "Astrophysicist Neil deGrasse Tyson Fact-Checks Gravity on Twitter". Wired. October 7, 2013. Retrieved October 8, 2013.
114.^ Jump up to: a b c Plait, Phil (October 4, 2013). "Bad Astronomy Movie Review: Gravity". Slate. Retrieved October 24, 2013.
115.Jump up ^ "One Year Later: Gravity". The Dissolve. Retrieved November 14, 2014.
116.Jump up ^ Dewey, Caitlin (October 21, 2013). "Here's what 'Gravity' gets right and wrong about space". Washington Post.
117.Jump up ^ Barry Koltnow (October 11, 2013). "Nitpickers try to bring 'Gravity' down to Earth". Orangecounty.com. Retrieved November 4, 2014.
118.Jump up ^ Hadfield, Chris (April 11, 2013). "How Astronauts Cry in Space (Video)". Space.com. Retrieved October 22, 2013.
119.Jump up ^ Unknown, Unknown. "International Space Station to change orbit to avoid possible collision with debris". Telegraph. Retrieved October 3, 2012.
120.Jump up ^ Zhang, Sarah. "The Space Station Had to Change Its Orbit to Avoid Space Junk". Gizmodo. Retrieved November 4, 2014.
121.Jump up ^ "Tess Gerritsen Sues Warner Bros. Over 'Gravity'". Hollywood Reporter. Retrieved April 30, 2014.
122.Jump up ^ "My Gravity Lawsuit". Author's Blog. Retrieved February 1, 2015.
123.Jump up ^ "Warner Bros. Knocks Down Best-Selling Author's $10 Million Lawsuit Over 'Gravity' (Exclusive)". Hollywood Reporter. Retrieved January 30, 2015.
External links[edit]
 Wikimedia Commons has media related to Gravity (film).
 Wikiquote has quotations related to: Gravity (film)
##Official website
##Gravity at the Internet Movie Database
##Gravity at AllMovie


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List of accolades received by Interstellar (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

The following is the complete accolades received by the 2014 film Interstellar.
Accolades[edit]

List of Accolades

Award / Film Festival
Category
Recipient(s)
Result
Academy Awards[1] Best Original Score Hans Zimmer Nominated
Best Sound Editing Richard King Nominated
Best Sound Mixing Mark Weingarten, Gary Rizzo, Gregg Landaker Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Visual Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Won
Alliance of Women Film Journalists[2] Best Cinematography Hoyte van Hoytema Nominated
American Film Institute Awards[3] 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[4] Excellence in Production Design for a Fantasy Film Nathan Crowley Nominated
Black Reel Awards[5] Outstanding Breakthrough Performance — Male David Gyasi Nominated
British Academy Film Awards[6][7] Best Original Music Hans Zimmer Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Special Visual Effects Paul Franklin, Scott Fisher, Andrew Lockley Won
Central Ohio Film Critics Association[8] Actor of the Year Jessica Chastain (Also for The Disappearance of Eleanor Rigby, Miss Julie, A Most Violent Year) Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Score Hans Zimmer Nominated
Chicago Film Critics Association[9] 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[10] 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 Nominated
Costume Designers Guild[11] Excellence in Contemporary Film Mary Zophres Nominated
Critics' Choice Movie Award[12][13] 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[14] Best Cinematography Hoyte van Hoytema 2nd Place
Best Original Score Hans Zimmer Won
Denver Film Critics Society[15] Best Director Christopher Nolan Nominated
Best Science Fiction/Horror Film  Nominated
Best Cinematography Hoyte van Hoytema Nominated
Florida Film Critics Circle[16][17] 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[18] Visually Striking Film of the Year  Nominated
Georgia Film Critics Association[19][20] 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[21] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[22] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
International Online Film Critics' Poll[23] Best Original Score Hans Zimmer Nominated
Best Visual Effects  Nominated
Las Vegas Film Critics Society Awards[24] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[25] Best Contemporary Make-Up Luisa Abel, Jay Wejebe Nominated
Best Contemporary Hair Styling Patricia DeHaney, Jose L. Zamora Nominated
Motion Picture Sound Editors Golden Reel Awards[26] Feature English Language -Effects/Foley Richard King Nominated
Feature Music Alex Gibson Nominated
Nevada Film Critics Society[27] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects Hans Zimmer Won
North Texas Film Critics Association[28] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[29][30] 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[31] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[32] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Nominated
St. Louis Gateway Film Critics Association[33][34] 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[35][36] Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture Paul Franklin, Kevin Elam, Ann Podlozny, Andrew Lockley, Scott Fisher Nominated
Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture Tom Bracht, Graham Page, Thomas Døhlen, Kirsty Clark (for Tesseract) Won
Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project Faraz Hameed, Stephen Painter, Hoyte van Hoytema, Dorian Knapp (for Tesseract) Nominated
Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture Raphael Hamm, Isaac Layish, Sebastian Von Overheidtm, Tristan Myles (for Water) Nominated
Washington D.C. Area Film Critics Association[37] 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[38] A Woman's Right to Male Roles in Movies Jessica Chastain Won
References[edit]
1.Jump up ^ "The 87th Academy Award Nominations for the 2015 Oscars". January 15, 2015. Retrieved January 15, 2015.
2.Jump up ^ "2014 EDA Awards Nominees". January 9, 2015. Retrieved January 9, 2015.
3.Jump up ^ Kilday, Gregg (December 9, 2014). "AFI List of Top Ten Films Expands to Include 11 Movies". The Hollywood Reporter. Retrieved December 18, 2014.
4.Jump up ^ "Art Direction Guilds:Nominees for Best Production Design for a Fantasy Film". January 5, 2015. Retrieved January 5, 2015.
5.Jump up ^ "15th Annual Black Reel Awards Nominate a Spate of Familiar Faces". December 17, 2014. Retrieved January 9, 2015.
6.Jump up ^ "Baftas 2015: full list of nominations". The Guardian. January 9, 2015. Retrieved January 9, 2015.
7.Jump up ^ "Baftas 2015: full list of winners". February 8, 2015. Retrieved February 8, 2015.
8.Jump up ^ Stone, Sasha (January 5, 2015). "Central Ohio Film Critics Nominations". Awards Daily. Retrieved January 5, 2015.
9.Jump up ^ "Chicago Film Critics Awards: Full List of Nominees". December 12, 2014. Retrieved December 18, 2014.
10.Jump up ^ Kay, Jeremy (January 13, 2015). "Cinema Audio Society unveils 2014 nominations". Screendaily. Retrieved January 13, 2015.
11.Jump up ^ Tapley, Kristopher (January 7, 2015). "'Selma,' 'Interstellar,' 'Into the Woods' pick up Costume Designers Guild nominations". HitFix. Retrieved January 7, 2015.
12.Jump up ^ "Nominees for the 2015 Broadcast Film Critics Assn. Critics' Choice Awards". LA Times. December 15, 2014. Retrieved December 18, 2014.
13.Jump up ^ Pedersen, Erik (January 16, 2015). "Critics' Choice Awards Winners". Deadline. Retrieved January 16, 2015.
14.Jump up ^ Patches, Matt (December 15, 2014). "Dallas-Fort Worth Film Critics Association winners include 'Birdman' as best film of 2014". HitFix. Retrieved December 18, 2014.
15.Jump up ^ "DFCS Nominates ‘Birdman,’ ‘Boyhood’ for Group’s Major Awards". January 7, 2015. Retrieved January 7, 2015.
16.Jump up ^ "‘Birdman’ leads 2014 Florida Film Critics Awards Nominations". December 16, 2014. Retrieved December 18, 2014.
17.Jump up ^ "2014 FFCC Award Winners". December 19, 2014. Retrieved January 12, 2015.
18.Jump up ^ Banks, Alicia (January 13, 2015). "Dorian Awards: ‘Birdman’ and ‘Transparent’ Lead Nominations for Gay and Lesbian Critics". The Wrap. Retrieved January 13, 2015.
19.Jump up ^ "Georgia Film Critics Association: Full List of Nominees". January 7, 2015. Retrieved January 7, 2015.
20.Jump up ^ "Jake Gyllenhaal, Tilda Swinton among Georgia Critics’ 2014 winners". Hitfix. January 9, 2015. Retrieved January 9, 2015.
21.Jump up ^ "Golden Globes 2015: full list of nominees". Radio Times. December 11, 2014. Retrieved December 18, 2014.
22.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' and usual critical darling suspects lead Houston critics' nominations". HitFix. Retrieved December 18, 2014.
23.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
24.Jump up ^ "Precursor: 18th Las Vegas Critics Awards". December 19, 2014. Retrieved January 12, 2015.
25.Jump up ^ McNary, Dave (January 9, 2015). "‘Guardians of the Galaxy,’ ‘Into the Woods’ Lead Make-Up Artists and Hair Stylists Guild Awards Nominations". Variety. Retrieved January 9, 2015.
26.Jump up ^ McNary, Dave (January 15, 2015). "Motion Picture Sound Editors Announce Golden Reel Nominees". Variety. Retrieved January 15, 2015.
27.Jump up ^ "'Gone Girl' Tops 2014 Nevada Film Critics Society Awards". December 20, 2014. Retrieved January 7, 2015.
28.Jump up ^ "North Texas Film Critic Association: Full List of Nominees". January 5, 2015. Retrieved January 5, 2015.
29.Jump up ^ Stone, Sasha (December 9, 2014). "Phoenix Film Critics Announce Nominations, Birdman leads with 11, Boyhood and Gone Girl with 9". Awards Daily. Retrieved December 18, 2014.
30.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' comes away with six Phoenix film critics awards including Best Picture". HitFix. Retrieved January 12, 2015.
31.Jump up ^ "2014 San Diego Film Critics Award Nominations". December 11, 2014. Retrieved December 18, 2014.
32.Jump up ^ Pond, Steve (December 1, 2014). "‘Birdman’ Leads Satellite Awards Nominations". The Wrap. Retrieved December 18, 2014.
33.Jump up ^ Tapley, Kristopher (December 11, 2014). "'Birdman,' 'Grand Budapest' lead St. Louis film critics nominations". HitFix. Retrieved December 18, 2014.
34.Jump up ^ "St. Louis Gateway Film Critics Association: Full List of Winners". December 15, 2014. Retrieved January 12, 2015.
35.Jump up ^ Giardina, Carolyn (January 13, 2015). "'Dawn of the Planet of the Apes' Leads VFX Feature Nominations". The Hollywood Reporter. Retrieved January 13, 2015.
36.Jump up ^ "13th Annual VES Award Recipients". February 4, 2015. Retrieved February 4, 2015.
37.Jump up ^ Anderson, Erik (December 6, 2014). "Washington D.C. Area Film Critics Association (WAFCA) Nominations". Awards Watch. Retrieved December 18, 2014.
38.Jump up ^ "The Women Film Critics Circle Awards: List of Winners". The Flick Chicks. December 14, 2014. Retrieved December 18, 2014.
  


Categories: Lists of accolades by film


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This page was last modified on 23 February 2015, at 17:27.
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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http://en.wikipedia.org/wiki/List_of_accolades_received_by_Interstellar_(film)










List of accolades received by Interstellar (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

The following is the complete accolades received by the 2014 film Interstellar.
Accolades[edit]

List of Accolades

Award / Film Festival
Category
Recipient(s)
Result
Academy Awards[1] Best Original Score Hans Zimmer Nominated
Best Sound Editing Richard King Nominated
Best Sound Mixing Mark Weingarten, Gary Rizzo, Gregg Landaker Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Visual Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Won
Alliance of Women Film Journalists[2] Best Cinematography Hoyte van Hoytema Nominated
American Film Institute Awards[3] 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[4] Excellence in Production Design for a Fantasy Film Nathan Crowley Nominated
Black Reel Awards[5] Outstanding Breakthrough Performance — Male David Gyasi Nominated
British Academy Film Awards[6][7] Best Original Music Hans Zimmer Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley, Gary Fettis Nominated
Best Special Visual Effects Paul Franklin, Scott Fisher, Andrew Lockley Won
Central Ohio Film Critics Association[8] Actor of the Year Jessica Chastain (Also for The Disappearance of Eleanor Rigby, Miss Julie, A Most Violent Year) Nominated
Best Cinematography Hoyte van Hoytema Nominated
Best Score Hans Zimmer Nominated
Chicago Film Critics Association[9] 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[10] 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 Nominated
Costume Designers Guild[11] Excellence in Contemporary Film Mary Zophres Nominated
Critics' Choice Movie Award[12][13] 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[14] Best Cinematography Hoyte van Hoytema 2nd Place
Best Original Score Hans Zimmer Won
Denver Film Critics Society[15] Best Director Christopher Nolan Nominated
Best Science Fiction/Horror Film  Nominated
Best Cinematography Hoyte van Hoytema Nominated
Florida Film Critics Circle[16][17] 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[18] Visually Striking Film of the Year  Nominated
Georgia Film Critics Association[19][20] 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[21] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[22] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
International Online Film Critics' Poll[23] Best Original Score Hans Zimmer Nominated
Best Visual Effects  Nominated
Las Vegas Film Critics Society Awards[24] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[25] Best Contemporary Make-Up Luisa Abel, Jay Wejebe Nominated
Best Contemporary Hair Styling Patricia DeHaney, Jose L. Zamora Nominated
Motion Picture Sound Editors Golden Reel Awards[26] Feature English Language -Effects/Foley Richard King Nominated
Feature Music Alex Gibson Nominated
Nevada Film Critics Society[27] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects Hans Zimmer Won
North Texas Film Critics Association[28] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[29][30] 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[31] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[32] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Nominated
St. Louis Gateway Film Critics Association[33][34] 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[35][36] Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture Paul Franklin, Kevin Elam, Ann Podlozny, Andrew Lockley, Scott Fisher Nominated
Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture Tom Bracht, Graham Page, Thomas Døhlen, Kirsty Clark (for Tesseract) Won
Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project Faraz Hameed, Stephen Painter, Hoyte van Hoytema, Dorian Knapp (for Tesseract) Nominated
Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture Raphael Hamm, Isaac Layish, Sebastian Von Overheidtm, Tristan Myles (for Water) Nominated
Washington D.C. Area Film Critics Association[37] 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[38] A Woman's Right to Male Roles in Movies Jessica Chastain Won
References[edit]
1.Jump up ^ "The 87th Academy Award Nominations for the 2015 Oscars". January 15, 2015. Retrieved January 15, 2015.
2.Jump up ^ "2014 EDA Awards Nominees". January 9, 2015. Retrieved January 9, 2015.
3.Jump up ^ Kilday, Gregg (December 9, 2014). "AFI List of Top Ten Films Expands to Include 11 Movies". The Hollywood Reporter. Retrieved December 18, 2014.
4.Jump up ^ "Art Direction Guilds:Nominees for Best Production Design for a Fantasy Film". January 5, 2015. Retrieved January 5, 2015.
5.Jump up ^ "15th Annual Black Reel Awards Nominate a Spate of Familiar Faces". December 17, 2014. Retrieved January 9, 2015.
6.Jump up ^ "Baftas 2015: full list of nominations". The Guardian. January 9, 2015. Retrieved January 9, 2015.
7.Jump up ^ "Baftas 2015: full list of winners". February 8, 2015. Retrieved February 8, 2015.
8.Jump up ^ Stone, Sasha (January 5, 2015). "Central Ohio Film Critics Nominations". Awards Daily. Retrieved January 5, 2015.
9.Jump up ^ "Chicago Film Critics Awards: Full List of Nominees". December 12, 2014. Retrieved December 18, 2014.
10.Jump up ^ Kay, Jeremy (January 13, 2015). "Cinema Audio Society unveils 2014 nominations". Screendaily. Retrieved January 13, 2015.
11.Jump up ^ Tapley, Kristopher (January 7, 2015). "'Selma,' 'Interstellar,' 'Into the Woods' pick up Costume Designers Guild nominations". HitFix. Retrieved January 7, 2015.
12.Jump up ^ "Nominees for the 2015 Broadcast Film Critics Assn. Critics' Choice Awards". LA Times. December 15, 2014. Retrieved December 18, 2014.
13.Jump up ^ Pedersen, Erik (January 16, 2015). "Critics' Choice Awards Winners". Deadline. Retrieved January 16, 2015.
14.Jump up ^ Patches, Matt (December 15, 2014). "Dallas-Fort Worth Film Critics Association winners include 'Birdman' as best film of 2014". HitFix. Retrieved December 18, 2014.
15.Jump up ^ "DFCS Nominates ‘Birdman,’ ‘Boyhood’ for Group’s Major Awards". January 7, 2015. Retrieved January 7, 2015.
16.Jump up ^ "‘Birdman’ leads 2014 Florida Film Critics Awards Nominations". December 16, 2014. Retrieved December 18, 2014.
17.Jump up ^ "2014 FFCC Award Winners". December 19, 2014. Retrieved January 12, 2015.
18.Jump up ^ Banks, Alicia (January 13, 2015). "Dorian Awards: ‘Birdman’ and ‘Transparent’ Lead Nominations for Gay and Lesbian Critics". The Wrap. Retrieved January 13, 2015.
19.Jump up ^ "Georgia Film Critics Association: Full List of Nominees". January 7, 2015. Retrieved January 7, 2015.
20.Jump up ^ "Jake Gyllenhaal, Tilda Swinton among Georgia Critics’ 2014 winners". Hitfix. January 9, 2015. Retrieved January 9, 2015.
21.Jump up ^ "Golden Globes 2015: full list of nominees". Radio Times. December 11, 2014. Retrieved December 18, 2014.
22.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' and usual critical darling suspects lead Houston critics' nominations". HitFix. Retrieved December 18, 2014.
23.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
24.Jump up ^ "Precursor: 18th Las Vegas Critics Awards". December 19, 2014. Retrieved January 12, 2015.
25.Jump up ^ McNary, Dave (January 9, 2015). "‘Guardians of the Galaxy,’ ‘Into the Woods’ Lead Make-Up Artists and Hair Stylists Guild Awards Nominations". Variety. Retrieved January 9, 2015.
26.Jump up ^ McNary, Dave (January 15, 2015). "Motion Picture Sound Editors Announce Golden Reel Nominees". Variety. Retrieved January 15, 2015.
27.Jump up ^ "'Gone Girl' Tops 2014 Nevada Film Critics Society Awards". December 20, 2014. Retrieved January 7, 2015.
28.Jump up ^ "North Texas Film Critic Association: Full List of Nominees". January 5, 2015. Retrieved January 5, 2015.
29.Jump up ^ Stone, Sasha (December 9, 2014). "Phoenix Film Critics Announce Nominations, Birdman leads with 11, Boyhood and Gone Girl with 9". Awards Daily. Retrieved December 18, 2014.
30.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' comes away with six Phoenix film critics awards including Best Picture". HitFix. Retrieved January 12, 2015.
31.Jump up ^ "2014 San Diego Film Critics Award Nominations". December 11, 2014. Retrieved December 18, 2014.
32.Jump up ^ Pond, Steve (December 1, 2014). "‘Birdman’ Leads Satellite Awards Nominations". The Wrap. Retrieved December 18, 2014.
33.Jump up ^ Tapley, Kristopher (December 11, 2014). "'Birdman,' 'Grand Budapest' lead St. Louis film critics nominations". HitFix. Retrieved December 18, 2014.
34.Jump up ^ "St. Louis Gateway Film Critics Association: Full List of Winners". December 15, 2014. Retrieved January 12, 2015.
35.Jump up ^ Giardina, Carolyn (January 13, 2015). "'Dawn of the Planet of the Apes' Leads VFX Feature Nominations". The Hollywood Reporter. Retrieved January 13, 2015.
36.Jump up ^ "13th Annual VES Award Recipients". February 4, 2015. Retrieved February 4, 2015.
37.Jump up ^ Anderson, Erik (December 6, 2014). "Washington D.C. Area Film Critics Association (WAFCA) Nominations". Awards Watch. Retrieved December 18, 2014.
38.Jump up ^ "The Women Film Critics Circle Awards: List of Winners". The Flick Chicks. December 14, 2014. Retrieved December 18, 2014.
  


Categories: Lists of accolades by film


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Interstellar (soundtrack)
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Interstellar: Original Motion Picture Soundtrack

Film score by Hans Zimmer

Released
November 17, 2014
Recorded
October 2012–14
Lyndhurst Hall, AIR Studios, London
Temple Church, London
Genre
Soundtrack
Label
WaterTower
Producer
Christopher Nolan ·
 Hans Zimmer ·
 Alex Gibson
 
Hans Zimmer chronology

The Amazing Spider Man 2
 (2014) Interstellar
 (2014) Chappie
 (2015)

Interstellar: Original Motion Picture Soundtrack is the soundtrack album to the 2014 film Interstellar directed by Christopher Nolan. The film score is composed by Hans Zimmer who previously scored Nolan's Batman film trilogy and Inception. The soundtrack garnered critical acclaim. Prior to its digital release, it was nominated for Original Score at the Hollywood Music in Media Awards.[1] The soundtrack was released on November 17, 2014 via the WaterTower label.


Contents  [hide]
1 Background
2 Critical response
3 Track listing 3.1 Standard edition[34]
3.2 Deluxe edition bonus tracks[35]
3.3 Illuminated Star Projection edition[36]
3.4 MovieTickets.com bonus track[37]
4 Personnel credits
5 Charts
6 References
7 External links

Background[edit]
“ 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. ”
—Christopher Nolan, on the film score composition process with Hans Zimmer[2]

In mid-October 2012, Christopher Nolan sent Hans Zimmer a typewritten note that detailed the theme of his film and asked Zimmer to spend a day writing some musical ideas.[3] When Zimmer received the note, he was attending a gathering of students at Loyola Marymount University's School of Film and Television.[3] In one night, Zimmer wrote a four-minute piece with piano and organ. The composed piece as per Zimmer asserted feelings of "what it meant to be a father".[3] Nolan heard the piece and superficially explained about the film. As the film also explores a father-daughter relationship, Nolan called that piece the "heart of the story".[3] Nolan began writing with this piece of music sort of giving him company through the writing process, through the shoot. According to Zimmer, composers typically become involved toward the end of a film's creation, but for Interstellar, Zimmer began composing two years prior to its release.[3] In an interview with The Hollywood Reporter, Zimmer stated that he could relate his relationship with his own son to the part mentioned in Nolan's first letter.[3] Zimmer was quoted saying, "This story, this fable, these bits of dialogue he wrote for me were full of personal information that he has about myself and my children."[3] According to Zimmer, Interstellar related to people in complete isolation. In summer of 2013, Zimmer isolated himself at his apartment in London for a month to live as a hermit. For Interstellar, Zimmer and Nolan both talked about Time Life books, the space, pictures by NASA available in books that kids read.[3]
It took two years for Zimmer to conceptualize and compose the score, in parallel with the scripting and shooting of the film. Usually, by the time Nolan was shooting a scene in the film, Zimmer was ready with the score for that particular scene. However, most of the actual recording was done in the late spring of 2014.[4] Zimmer played every note of the score himself, making extensive use of his computers and synthesizers, and explained that it gave the music a singular quality. However, later, he needed musicians to perform complex instrument score. For one scene, Zimmer visited London's Temple Church to record notes played on the 1926 four-manual Harrison & Harrison organ by the church's music director Roger Sayer.[4] Further, for the overall score, Zimmer added an ensemble of 34 strings, 24 woodwinds and four pianos and recorded it at AIR's Lyndhurst Hall studios. Zimmer himself played the solo piano for the scenes in the film near Saturn.[4] He also added a 60-voice mixed choir. As per Zimmer, the concept of air and breath resonates throughout the score, as the film revolves much with astronauts in spacesuits. Richard Harvey with Gavin Greenaway conducted the score.[4] Zimmer told them to assemble a group of top woodwind players, then asked the musicians to play strange and unusual sounds with their instruments. The choral elements were experimental.[4] Zimmer used the choir in strange ways, for example, "to hear the exhalation of 60 people as if the wind flows through the dunes in the Sahara."[4] He made the choir face away from the microphones, using them as reverb for the pianos. Zimmer explained, "The further we get away from Earth in the movie, the more the sound is generated by humans—but an alienation of human sounds. Like the video messages in the movie, they're a little more corroded, a little more abstract."[4]
Critical response[edit]

Professional ratings

Review scores

Source
Rating
Movie Music UK Positive[5]
Movie Wave 5/5 stars[6]
Sputnikmusic 4.5/5 stars[7]
Soundtrack Geek 8.45/10 stars[8]
Soundtrack Dreams 9.8/10 stars[9]
Space Cadet Bling 5/5 stars[10]
Soundtrack.net 5/5 stars[11]
Filmwerk 4/5 stars[12]
Filmtracks.com 2/5 stars[13]
The score itself received immense critical acclaim. Reviewing for BBC News, Nicholas Barber felt, "Hans Zimmer’s music makes the film seem even more colossal than it would otherwise: Zimmer invokes the original meaning of ‘pulls out all the stops’, rattling our teeth with reverberating pipe-organ chords."[14] Scott Foundas, a chief film critic at Variety, stated, "Hans Zimmer contributes one of his most richly imagined and inventive scores, which ranges from a gentle electronic keyboard melody to brassy, Strauss-ian crescendos.[15] Time Out London '​s Dave Calhoun exclaimed, "Listen to unnerving silence as well as Hans Zimmer’s organ-heavy score!"[16] Tim Robey of The Telegraph felt "With the vast sounds of a composer set loose on his grandest ever assignment. But it relies less on Straussian majesty à la 2001 than something rather more pointed: the hypnotic, metronomically surging, and oddly sacred homage Zimmer gives us to Koyaanisqatsi, by Philip Glass."[17] Todd McCarthy, reviewing for The Hollywood Reporter, praised it as, "soaring, sometimes domineering and unconventionally orchestrated wall-of-sound score"[18] Richard Corliss of Time called it "pounding organ score".[19] Jeremy Aspinall of Radio Times called the score subtle but evocative.[20] Critic Jeffrey M. Anderson for The San Francisco Examiner writes, "rumbling and thundering sound effects and music".[21] At The Irish Times, Donald Clarke wrote that "Hans Zimmer slumps on the biggest pipe organ in town".[22] For NPR, Chris Klimek stated that Zimmer's gives a church-organ score.[23] Joe Morgenstern for Wall Street Journal felt that "At one point the orchestral churnings of Hans Zimmer's score suggest something epic under way".[24] American film critic Peter Travers at Rolling Stone noted, "thrilling images oomphed by Hans Zimmer's score, and you'll get the meaning of "rock the house."[25] For The Globe and Mail, Liam Lacey stated, "Throughout, Hans Zimmer’s music throbs obtrusively, occasionally fighting with the dialogue for our attention."[26] "As usual, Nolan's frequent collaborator Hans Zimmer has come up with a score that fits the impossible dimensions of the film, and the music adds tremendously to the excitement," said critic Rene Rodriguez, writing for The Miami Herald.[27] Ann Hornaday for The Washington Post commented, "Hans Zimmer's basso profundo organ-music score and pummeling sound effects."[28]Steven Biscotti of Soundtrack.net too praised the soundtrack stating, "Hans Zimmer has created a close to perfect musical canvas for those extremely dedicated to the audio experience. The compositional technique on the album may turn off a few, as it is different than Zimmer's recent offerings. However, for those that stick with the album, they will see it "not go gentle into that good night." Zimmer's Interstellar rages!" and awarded a perfect five out of five stars. [29]
In response to criticisms about the music being too overpowering and at times drowning out the dialogue, Nolan told The Hollywood Reporter: "“Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways. I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions—I try to achieve that in a very layered way using all the different things at my disposal—picture and sound.”[30]
Jonathan Broxton of Movie Music UK acclaimed the album, stating, "The orchestration choices, especially the stripped down ensemble and the use of the pipe organ, shows a composer not afraid to think outside the box, and find unique solutions to the musical problems his film presents, and the emotional content of the score is high, but not overwhelming," and summarised with, "It’s an absolute lock for an Oscar nomination, and is one of the best scores of 2014." [31]
Track listing[edit]
The soundtrack releases in three forms: "Star Wheel Constellation Chart Digipak" (16 tracks), "Digital Deluxe Album" (24 tracks) and "The Illuminated Star Projection Edition" in special illuminated star projection packaging consisting 2 CDs (29 tracks).[32] All music composed by Hans Zimmer; "Do Not Go Gentle Into That Good Night", written by Dylan Thomas. In the run-up to Awards Season, Paramount Pictures uploaded the complete score for free, streaming it online. There are 33 tracks in total.[33]
Standard edition[34][edit]

No.
Title
Length

1. "Dreaming of the Crash"   3:55
2. "Cornfield Chase"   2:06
3. "Dust"   5:41
4. "Day One"   3:19
5. "Stay"   6:52
6. "Message from Home"   1:40
7. "The Wormhole"   1:30
8. "Mountains"   3:39
9. "Afraid of Time"   2:32
10. "A Place Among the Stars"   3:27
11. "Running Out"   1:57
12. "I'm Going Home"   5:48
13. "Coward"   8:26
14. "Detach"   6:42
15. "S.T.A.Y."   6:23
16. "Where We're Going"   7:41
Total length:
 71:47 
Deluxe edition bonus tracks[35][edit]

No.
Title
Length

17. "First Step"   1:47
18. "Flying Drone"   1:53
19. "Atmospheric Entry"   1:40
20. "No Need to Come Back"   4:32
21. "Imperfect Lock"   6:54
22. "No Time for Caution"   4:06
23. "What Happens Now?"   2:26
24. "Do Not Go Gentle Into That Good Night" (recited by John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey, Mackenzie Foy) 1:39
Total length:
 20:51 
Illuminated Star Projection edition[36][edit]

Disc 1

No.
Title
Length

1. "Dreaming of the Crash"   3:55
2. "Cornfield Chase"   2:06
3. "Dust"   5:41
4. "Day One"   3:19
5. "Stay"   6:52
6. "Message from Home"   1:40
7. "The Wormhole"   1:30
8. "Mountains"   3:39
9. "Afraid of Time"   2:32
10. "A Place Among the Stars"   3:27
11. "Running Out"   1:57
12. "I'm Going Home"   5:48
13. "Coward"   8:26
14. "Detach"   6:42
15. "S.T.A.Y."   6:23
16. "Where We're Going"   7:41
Total length:
 71:38 

Disc 2

No.
Title
Length

1. "First Step"   1:48
2. "Flying Drone"   1:53
3. "Atmospheric Entry"   1:39
4. "No Need to Come Back"   4:33
5. "Imperfect Lock"   6:55
6. "What Happens Now?"   2:05
7. "Who's They?"   7:17
8. "Murph"   11:21
9. "Organ Variation"   4:52
10. "Tick-Tock"   8:19
11. "Day One (Original Demo)"   3:49
12. "Do Not Go Gentle Into That Good Night" (recited by John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey, Mackenzie Foy) 1:37
13. "No Time For Caution" (not listed) 4:06
Total length:
 60:14 
MovieTickets.com bonus track[37][edit]

No.
Title
Length

1. "Day One Dark"   6:58
Total length:
 6:58 
Personnel credits[edit]
Credits adapted from CD liner notes.[38]
All music composed by Hans Zimmer
##Producers: Christopher Nolan, Hans Zimmer, Alex Gibson
##Soundtrack album producers: Chris Craker, Hans Zimmer, Christopher Nolan
##Supervising music editor: Alex Gibson
##Music editor: Ryan Rubin
##Music consultant: Czarina Russell
##Sequencer programming: Andrew Kawczynski, Steve Mazzaro
##Music production services: Steven Kofsky
##Technical score engineer: Chuck Choi
##Technical score engineer: Stephanie McNally
##Technical assistants: Jacqueline Friedberg, Leland Cox
##Digital instrument design: Mark Wherry
##Supervising orchestrator: Bruce Fowler
##Orchestrators: Walt Fowler, Suzette Moriarty, Kevin Kaska, Carl Rydlund, Elizabeth Finch, Andrew Kinney
##Orchestra conducted by Gavin Greenaway, Richard Harvey
##Score recorded at Lyndhurst Hall, Air Studios and Temple Church, London
##Score recorded by Geoff Foster, Alan Meyerson
##Score mixed by Alan Meyerson
##Score mix assistant: John Witt Chapman
##Additional engineering: Christian Wenger, Seth Waldmann, Daniel Kresco
##Assistant to Hans Zimmer: Cynthia Park
##Studio manager for Remote Control Productions: Shalini Singh
##Contractor: Isobel Griffiths
##Sampling team: Ben Robinson, Taurees Habib, Raul Vega
##Music preparation: Booker T. White
##Music librarian: Jill Streater
##Score mixed at Remote Control Productions, Santa Monica, California
Air Studios sessions##Air Studios bookings: Alison Burton Booth
##Reader: Chris Craker
##Pro Tools recordist at Lyndhurst Hall: Chris Barrett
##Pro Tools recordist in Studio 1: Laurence Anslow
Temple Church session##Pro Tools recordist at Temple Church: John Prestage
##Assistant / Abbey Road Mobile: John Barrett
##Assistant / Abbey Road Mobile: Jon Alexander
##Technical engineer: Dan Cole
##Technical engineer: Matt Kingdon
##Booth reader: Steve Mazzaro
##Scoring session photography: Jordan Goldberg
##Executive in charge of music for Warner Bros. Pictures: Paul Broucek
##Executive in charge of music for Paramount Pictures: Randyspendlove
##Executive in charge of Watertower Music: Jason Linn
##Art direction and soundtrack coordination: Sandeep Sriram
##Music business affairs executive: Lisa Margolis
Featured musicians##Ambient music design: Mario Reinsch
##Organ: Roger Sayer
##Piano: Hans Zimmer
##Violin: Ann Marie Simpson
##Steel guitar: Chas Smith
##Tuned percussion: Frank Ricotti
##Harp: Skaila Kanga
##Synth programming: Hans Zimmer
##Leader of the firsts: Thomas Bowes
##Leader of the seconds: Roger Garland
##First cellist: Caroline Dale
##First French horn: Richard Watkins
##First viola: Peter Lale
##Bass: Mary Scully
Woodwinds##Choir: London Voices
##Choirmasters: Ben Parry, Terry Edwards
##String quartet: Rita Manning, Emlyn Singleton, Bruce White, Tim Gill
##Piano quartet: Simon Chamberlain, Dave Arch, John Lenehan, Andy Vinter
##Flute 1: Karen Jones
##Flute / Piccolo 2: Helen Keen
##Flute / Piccolo 3: Paul Edmund-davies
##Flute / Piccolo / Alto 4: Anna Noakes
##Flute / Alto 5: Rowland Sutherland
##Flute / Alto 6: Siobhan Grealy
##Oboe 1: David Theodore
##Oboe 2: Matthew Draper
##Oboe / Cor anglais 3: Jane Marshall
##Oboe / Cor anglais 4: Janey Miller
##Clarinet 1: Nicholas Bucknall
##Clarinet 2: Nick Rodwell
##Clarinet/Bass clarinet - C extension 3: Martin Robertson
##Clarinet/Bass clarinet - C extension 4: Duncan Ashby
##Clarinet/Eb contrabass clarinet 5: Dave Fuest
##Clarinet/Bb contrabass clarinet 6: Alan Andrews
##Bassoon 1: Richard Skinner
##Bassoon 2: Lorna West
##Bassoon/Contrabassoon 3: Rachel Simms
##Bassoon/Contrabassoon 4: Gordon Laing
Charts[edit]

Chart (2014)
Peak
 position

Australian Albums (ARIA)[39] 82
Belgian Albums (Ultratop Flanders)[40] 8
Belgian Albums (Ultratop Wallonia)[41] 3
Dutch Albums (MegaCharts)[42] 66
French Albums (SNEP)[43] 41
German Albums (Official Top 100)[44] 59
Korean Albums (Gaon)[45] 14
Korean International Albums (Gaon)[46] 1
Spanish Albums (PROMUSICAE)[47] 49
Swiss Albums (Schweizer Hitparade)[48] 32

References[edit]
1.Jump up ^ Tapley, Kristopher (October 8, 2014). "Guardians of the Galaxy, Gone Girl, Interstellar scores get a jump on awards season". HitFix. Retrieved October 9, 2014.
2.Jump up ^ Jensen, Jeff (October 16, 2014). "Inside 'Interstellar,' Christopher Nolan's emotional space odyssey". Entertainment Weekly. Retrieved November 7, 2014.
3.^ Jump up to: a b c d e f g h Appelo, Tim (November 3, 2014). "Composer Hans Zimmer Talks 'Interstellar' Origin, Punk Influence on 'Dark Knight'". The Hollywood Reporter. Retrieved November 7, 2014.
4.^ Jump up to: a b c d e f g Burlingame, John (November 6, 2014). "Hans Zimmer's Interstellar Adventure". The Film Music Society. Retrieved November 7, 2014.
5.Jump up ^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
6.Jump up ^ Southall, James (30 November 2014). "Interstellar soundtrack review". Movie Wave. Retrieved 13 December 2014.
7.Jump up ^ Geriak, Christopher (2 December 2014). "Interstellar(Hans Zimmer)-sputnikmusic". sputnikmusic.com. Retrieved 25 December 2014.
8.Jump up ^ Tillnes, Jørn (18 November 2014). "Soundtrack Review: Interstellar". Soundtrackgeek.com. Retrieved 2 January 2015.
9.Jump up ^ "Soundtrack review: Interstellar (Hans Zimmer – 2014)". Soundtrackdreams.com. 18 November 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
10.Jump up ^ "REVIEW OF HANS ZIMMER’S INTERSTELLAR SOUNDTRACK". Spacecadetbling.com. 2 December 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
11.Jump up ^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
12.Jump up ^ Hurst, Steve (25 November 2014). "Interstellar Soundtrack Review". Filmwerk.com. Retrieved 3 January 2015.
13.Jump up ^ Clemmensen, Christian (23 February 2015). "Interstellar Soundtrack Review". Filmtracks.com. Retrieved 17 January 2015.
14.Jump up ^ Barber, Nicholas (7 November 2014). "Film review: Does Interstellar reach the stars?". BBC. Retrieved 7 November 2014.
15.Jump up ^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
16.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
17.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
18.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
19.Jump up ^ Corliss, Richard (October 29, 2014). "Review: Interstellar Shows the Wonder of Worlds Beyond". Time Magazine. Retrieved October 29, 2014.
20.Jump up ^ Aspinall, Jeremy. "Interstellar". Radio Times. Retrieved 7 November 2014.
21.Jump up ^ Anderson, Jeffrey. "'Interstellar' traverses universe for little payoff". The Examiner. The Examiner. Retrieved 7 November 2014.
22.Jump up ^ "Interstellar review: a little bit lost in space". Irish Times. 7 November 2014. Retrieved 7 November 2014.
23.Jump up ^ "'Interstellar': Stunning And Bold, With Lots Of Corn". National Public Radio. November 6, 2014. Retrieved November 7, 2014.
24.Jump up ^ "Interstellar’ Review: Too Many Faults in Its Stars". WSJ. November 6, 2014. Retrieved November 7, 2014.
25.Jump up ^ "Interstellar". Rolling Stone. 5 November 2014. Retrieved 7 November 2014.
26.Jump up ^ Lacey, Liam (4 November 2014). "Interstellar: Awesome to awful at warp speed". The Globe and Mail. Retrieved 7 November 2014.
27.Jump up ^ "'Interstellar' (PG-13)". Miami Herald. 5 November 2014. Retrieved 7 November 2014.
28.Jump up ^ "‘Interstellar’ movie review: There’s a lot, but does it add up to anything?". The Washington Post. Retrieved 7 November 2014.
29.Jump up ^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
30.Jump up ^ "Christopher Nolan Breaks Silence on 'Interstellar' Sound (Exclusive)". The Hollywood Reporter. Retrieved 23 November 2014.
31.Jump up ^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
32.Jump up ^ "Interstellar - Original Motion Picture Soundtrack". WaterTower Music. Retrieved 8 November 2014. Also, apart from CD Quality which is 16-Bit/44.1KHz, 24-Bit/44.1KHz Deluxe OST is available on HDTRACKS.COM
33.Jump up ^ "Awards 2014: For Your Consideration".
34.Jump up ^ "Interstellar soundtrack information". Soundtrack.net. Retrieved 7 November 2014.
35.Jump up ^ Details and Tracklist for Hans Zimmer’s ‘Interstellar’ Score Retrieved. 7 November 2014
36.Jump up ^ "Interstellar Soundtrack 'Interstellar Soundtrack - Illuminated Star Projection Edition' @ Interstellar Soundtrack Store US". MyPlay Direct. Retrieved 9 January 2015.
37.Jump up ^ "Interstellar - MovieTickets.com". MovieTickets.com. Retrieved 8 November 2014.
38.Jump up ^ "Interstellar Original Motion Picture Soundtrack (CD notes)". October 2014. 
39.Jump up ^ "One Direction Four Is ARIA No 1 Album". Noise11 (Australia). Retrieved November 23, 2014.
40.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
41.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in French). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
42.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Dutchcharts.nl. Hung Medien. Retrieved January 22, 2015.
43.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Lescharts.com. Hung Medien. Retrieved January 22, 2015.
44.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Officialcharts.de. GfK Entertainment. Retrieved January 22, 2015.
45.Jump up ^ "South Korea Gaon Album Chart". On the page, select "2014.11.16~2014.11.22" to obtain the corresponding chart. Gaon Chart Retrieved January 22, 2015.
46.Jump up ^ "South Korea Gaon International Album Chart". On the page, select "2014.11.16~2014.11.22", then "국외", to obtain the corresponding chart. Gaon Chart Retrieved January 22, 2015.
47.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Spanishcharts.com. Hung Medien. Retrieved January 22, 2015.
48.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar [Warner"]. Swisscharts.com. Hung Medien. Retrieved January 22, 2015.
External links[edit]
##Official movie website
##Interstellar at the Internet Movie Database
##Interstellar at Rotten Tomatoes


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 http://en.wikipedia.org/wiki/Interstellar_(soundtrack)










Interstellar (soundtrack)
From Wikipedia, the free encyclopedia
  (Redirected from Interstellar: Original Motion Picture Soundtrack)
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Interstellar: Original Motion Picture Soundtrack

Film score by Hans Zimmer

Released
November 17, 2014
Recorded
October 2012–14
Lyndhurst Hall, AIR Studios, London
Temple Church, London
Genre
Soundtrack
Label
WaterTower
Producer
Christopher Nolan ·
 Hans Zimmer ·
 Alex Gibson
 
Hans Zimmer chronology

The Amazing Spider Man 2
 (2014) Interstellar
 (2014) Chappie
 (2015)

Interstellar: Original Motion Picture Soundtrack is the soundtrack album to the 2014 film Interstellar directed by Christopher Nolan. The film score is composed by Hans Zimmer who previously scored Nolan's Batman film trilogy and Inception. The soundtrack garnered critical acclaim. Prior to its digital release, it was nominated for Original Score at the Hollywood Music in Media Awards.[1] The soundtrack was released on November 17, 2014 via the WaterTower label.


Contents  [hide]
1 Background
2 Critical response
3 Track listing 3.1 Standard edition[34]
3.2 Deluxe edition bonus tracks[35]
3.3 Illuminated Star Projection edition[36]
3.4 MovieTickets.com bonus track[37]
4 Personnel credits
5 Charts
6 References
7 External links

Background[edit]
“ 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. ”
—Christopher Nolan, on the film score composition process with Hans Zimmer[2]

In mid-October 2012, Christopher Nolan sent Hans Zimmer a typewritten note that detailed the theme of his film and asked Zimmer to spend a day writing some musical ideas.[3] When Zimmer received the note, he was attending a gathering of students at Loyola Marymount University's School of Film and Television.[3] In one night, Zimmer wrote a four-minute piece with piano and organ. The composed piece as per Zimmer asserted feelings of "what it meant to be a father".[3] Nolan heard the piece and superficially explained about the film. As the film also explores a father-daughter relationship, Nolan called that piece the "heart of the story".[3] Nolan began writing with this piece of music sort of giving him company through the writing process, through the shoot. According to Zimmer, composers typically become involved toward the end of a film's creation, but for Interstellar, Zimmer began composing two years prior to its release.[3] In an interview with The Hollywood Reporter, Zimmer stated that he could relate his relationship with his own son to the part mentioned in Nolan's first letter.[3] Zimmer was quoted saying, "This story, this fable, these bits of dialogue he wrote for me were full of personal information that he has about myself and my children."[3] According to Zimmer, Interstellar related to people in complete isolation. In summer of 2013, Zimmer isolated himself at his apartment in London for a month to live as a hermit. For Interstellar, Zimmer and Nolan both talked about Time Life books, the space, pictures by NASA available in books that kids read.[3]
It took two years for Zimmer to conceptualize and compose the score, in parallel with the scripting and shooting of the film. Usually, by the time Nolan was shooting a scene in the film, Zimmer was ready with the score for that particular scene. However, most of the actual recording was done in the late spring of 2014.[4] Zimmer played every note of the score himself, making extensive use of his computers and synthesizers, and explained that it gave the music a singular quality. However, later, he needed musicians to perform complex instrument score. For one scene, Zimmer visited London's Temple Church to record notes played on the 1926 four-manual Harrison & Harrison organ by the church's music director Roger Sayer.[4] Further, for the overall score, Zimmer added an ensemble of 34 strings, 24 woodwinds and four pianos and recorded it at AIR's Lyndhurst Hall studios. Zimmer himself played the solo piano for the scenes in the film near Saturn.[4] He also added a 60-voice mixed choir. As per Zimmer, the concept of air and breath resonates throughout the score, as the film revolves much with astronauts in spacesuits. Richard Harvey with Gavin Greenaway conducted the score.[4] Zimmer told them to assemble a group of top woodwind players, then asked the musicians to play strange and unusual sounds with their instruments. The choral elements were experimental.[4] Zimmer used the choir in strange ways, for example, "to hear the exhalation of 60 people as if the wind flows through the dunes in the Sahara."[4] He made the choir face away from the microphones, using them as reverb for the pianos. Zimmer explained, "The further we get away from Earth in the movie, the more the sound is generated by humans—but an alienation of human sounds. Like the video messages in the movie, they're a little more corroded, a little more abstract."[4]
Critical response[edit]

Professional ratings

Review scores

Source
Rating
Movie Music UK Positive[5]
Movie Wave 5/5 stars[6]
Sputnikmusic 4.5/5 stars[7]
Soundtrack Geek 8.45/10 stars[8]
Soundtrack Dreams 9.8/10 stars[9]
Space Cadet Bling 5/5 stars[10]
Soundtrack.net 5/5 stars[11]
Filmwerk 4/5 stars[12]
Filmtracks.com 2/5 stars[13]
The score itself received immense critical acclaim. Reviewing for BBC News, Nicholas Barber felt, "Hans Zimmer’s music makes the film seem even more colossal than it would otherwise: Zimmer invokes the original meaning of ‘pulls out all the stops’, rattling our teeth with reverberating pipe-organ chords."[14] Scott Foundas, a chief film critic at Variety, stated, "Hans Zimmer contributes one of his most richly imagined and inventive scores, which ranges from a gentle electronic keyboard melody to brassy, Strauss-ian crescendos.[15] Time Out London '​s Dave Calhoun exclaimed, "Listen to unnerving silence as well as Hans Zimmer’s organ-heavy score!"[16] Tim Robey of The Telegraph felt "With the vast sounds of a composer set loose on his grandest ever assignment. But it relies less on Straussian majesty à la 2001 than something rather more pointed: the hypnotic, metronomically surging, and oddly sacred homage Zimmer gives us to Koyaanisqatsi, by Philip Glass."[17] Todd McCarthy, reviewing for The Hollywood Reporter, praised it as, "soaring, sometimes domineering and unconventionally orchestrated wall-of-sound score"[18] Richard Corliss of Time called it "pounding organ score".[19] Jeremy Aspinall of Radio Times called the score subtle but evocative.[20] Critic Jeffrey M. Anderson for The San Francisco Examiner writes, "rumbling and thundering sound effects and music".[21] At The Irish Times, Donald Clarke wrote that "Hans Zimmer slumps on the biggest pipe organ in town".[22] For NPR, Chris Klimek stated that Zimmer's gives a church-organ score.[23] Joe Morgenstern for Wall Street Journal felt that "At one point the orchestral churnings of Hans Zimmer's score suggest something epic under way".[24] American film critic Peter Travers at Rolling Stone noted, "thrilling images oomphed by Hans Zimmer's score, and you'll get the meaning of "rock the house."[25] For The Globe and Mail, Liam Lacey stated, "Throughout, Hans Zimmer’s music throbs obtrusively, occasionally fighting with the dialogue for our attention."[26] "As usual, Nolan's frequent collaborator Hans Zimmer has come up with a score that fits the impossible dimensions of the film, and the music adds tremendously to the excitement," said critic Rene Rodriguez, writing for The Miami Herald.[27] Ann Hornaday for The Washington Post commented, "Hans Zimmer's basso profundo organ-music score and pummeling sound effects."[28]Steven Biscotti of Soundtrack.net too praised the soundtrack stating, "Hans Zimmer has created a close to perfect musical canvas for those extremely dedicated to the audio experience. The compositional technique on the album may turn off a few, as it is different than Zimmer's recent offerings. However, for those that stick with the album, they will see it "not go gentle into that good night." Zimmer's Interstellar rages!" and awarded a perfect five out of five stars. [29]
In response to criticisms about the music being too overpowering and at times drowning out the dialogue, Nolan told The Hollywood Reporter: "“Many of the filmmakers I’ve admired over the years have used sound in bold and adventurous ways. I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions—I try to achieve that in a very layered way using all the different things at my disposal—picture and sound.”[30]
Jonathan Broxton of Movie Music UK acclaimed the album, stating, "The orchestration choices, especially the stripped down ensemble and the use of the pipe organ, shows a composer not afraid to think outside the box, and find unique solutions to the musical problems his film presents, and the emotional content of the score is high, but not overwhelming," and summarised with, "It’s an absolute lock for an Oscar nomination, and is one of the best scores of 2014." [31]
Track listing[edit]
The soundtrack releases in three forms: "Star Wheel Constellation Chart Digipak" (16 tracks), "Digital Deluxe Album" (24 tracks) and "The Illuminated Star Projection Edition" in special illuminated star projection packaging consisting 2 CDs (29 tracks).[32] All music composed by Hans Zimmer; "Do Not Go Gentle Into That Good Night", written by Dylan Thomas. In the run-up to Awards Season, Paramount Pictures uploaded the complete score for free, streaming it online. There are 33 tracks in total.[33]
Standard edition[34][edit]

No.
Title
Length

1. "Dreaming of the Crash"   3:55
2. "Cornfield Chase"   2:06
3. "Dust"   5:41
4. "Day One"   3:19
5. "Stay"   6:52
6. "Message from Home"   1:40
7. "The Wormhole"   1:30
8. "Mountains"   3:39
9. "Afraid of Time"   2:32
10. "A Place Among the Stars"   3:27
11. "Running Out"   1:57
12. "I'm Going Home"   5:48
13. "Coward"   8:26
14. "Detach"   6:42
15. "S.T.A.Y."   6:23
16. "Where We're Going"   7:41
Total length:
 71:47 
Deluxe edition bonus tracks[35][edit]

No.
Title
Length

17. "First Step"   1:47
18. "Flying Drone"   1:53
19. "Atmospheric Entry"   1:40
20. "No Need to Come Back"   4:32
21. "Imperfect Lock"   6:54
22. "No Time for Caution"   4:06
23. "What Happens Now?"   2:26
24. "Do Not Go Gentle Into That Good Night" (recited by John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey, Mackenzie Foy) 1:39
Total length:
 20:51 
Illuminated Star Projection edition[36][edit]

Disc 1

No.
Title
Length

1. "Dreaming of the Crash"   3:55
2. "Cornfield Chase"   2:06
3. "Dust"   5:41
4. "Day One"   3:19
5. "Stay"   6:52
6. "Message from Home"   1:40
7. "The Wormhole"   1:30
8. "Mountains"   3:39
9. "Afraid of Time"   2:32
10. "A Place Among the Stars"   3:27
11. "Running Out"   1:57
12. "I'm Going Home"   5:48
13. "Coward"   8:26
14. "Detach"   6:42
15. "S.T.A.Y."   6:23
16. "Where We're Going"   7:41
Total length:
 71:38 

Disc 2

No.
Title
Length

1. "First Step"   1:48
2. "Flying Drone"   1:53
3. "Atmospheric Entry"   1:39
4. "No Need to Come Back"   4:33
5. "Imperfect Lock"   6:55
6. "What Happens Now?"   2:05
7. "Who's They?"   7:17
8. "Murph"   11:21
9. "Organ Variation"   4:52
10. "Tick-Tock"   8:19
11. "Day One (Original Demo)"   3:49
12. "Do Not Go Gentle Into That Good Night" (recited by John Lithgow, Ellen Burstyn, Casey Affleck, Jessica Chastain, Matthew McConaughey, Mackenzie Foy) 1:37
13. "No Time For Caution" (not listed) 4:06
Total length:
 60:14 
MovieTickets.com bonus track[37][edit]

No.
Title
Length

1. "Day One Dark"   6:58
Total length:
 6:58 
Personnel credits[edit]
Credits adapted from CD liner notes.[38]
All music composed by Hans Zimmer
##Producers: Christopher Nolan, Hans Zimmer, Alex Gibson
##Soundtrack album producers: Chris Craker, Hans Zimmer, Christopher Nolan
##Supervising music editor: Alex Gibson
##Music editor: Ryan Rubin
##Music consultant: Czarina Russell
##Sequencer programming: Andrew Kawczynski, Steve Mazzaro
##Music production services: Steven Kofsky
##Technical score engineer: Chuck Choi
##Technical score engineer: Stephanie McNally
##Technical assistants: Jacqueline Friedberg, Leland Cox
##Digital instrument design: Mark Wherry
##Supervising orchestrator: Bruce Fowler
##Orchestrators: Walt Fowler, Suzette Moriarty, Kevin Kaska, Carl Rydlund, Elizabeth Finch, Andrew Kinney
##Orchestra conducted by Gavin Greenaway, Richard Harvey
##Score recorded at Lyndhurst Hall, Air Studios and Temple Church, London
##Score recorded by Geoff Foster, Alan Meyerson
##Score mixed by Alan Meyerson
##Score mix assistant: John Witt Chapman
##Additional engineering: Christian Wenger, Seth Waldmann, Daniel Kresco
##Assistant to Hans Zimmer: Cynthia Park
##Studio manager for Remote Control Productions: Shalini Singh
##Contractor: Isobel Griffiths
##Sampling team: Ben Robinson, Taurees Habib, Raul Vega
##Music preparation: Booker T. White
##Music librarian: Jill Streater
##Score mixed at Remote Control Productions, Santa Monica, California
Air Studios sessions##Air Studios bookings: Alison Burton Booth
##Reader: Chris Craker
##Pro Tools recordist at Lyndhurst Hall: Chris Barrett
##Pro Tools recordist in Studio 1: Laurence Anslow
Temple Church session##Pro Tools recordist at Temple Church: John Prestage
##Assistant / Abbey Road Mobile: John Barrett
##Assistant / Abbey Road Mobile: Jon Alexander
##Technical engineer: Dan Cole
##Technical engineer: Matt Kingdon
##Booth reader: Steve Mazzaro
##Scoring session photography: Jordan Goldberg
##Executive in charge of music for Warner Bros. Pictures: Paul Broucek
##Executive in charge of music for Paramount Pictures: Randyspendlove
##Executive in charge of Watertower Music: Jason Linn
##Art direction and soundtrack coordination: Sandeep Sriram
##Music business affairs executive: Lisa Margolis
Featured musicians##Ambient music design: Mario Reinsch
##Organ: Roger Sayer
##Piano: Hans Zimmer
##Violin: Ann Marie Simpson
##Steel guitar: Chas Smith
##Tuned percussion: Frank Ricotti
##Harp: Skaila Kanga
##Synth programming: Hans Zimmer
##Leader of the firsts: Thomas Bowes
##Leader of the seconds: Roger Garland
##First cellist: Caroline Dale
##First French horn: Richard Watkins
##First viola: Peter Lale
##Bass: Mary Scully
Woodwinds##Choir: London Voices
##Choirmasters: Ben Parry, Terry Edwards
##String quartet: Rita Manning, Emlyn Singleton, Bruce White, Tim Gill
##Piano quartet: Simon Chamberlain, Dave Arch, John Lenehan, Andy Vinter
##Flute 1: Karen Jones
##Flute / Piccolo 2: Helen Keen
##Flute / Piccolo 3: Paul Edmund-davies
##Flute / Piccolo / Alto 4: Anna Noakes
##Flute / Alto 5: Rowland Sutherland
##Flute / Alto 6: Siobhan Grealy
##Oboe 1: David Theodore
##Oboe 2: Matthew Draper
##Oboe / Cor anglais 3: Jane Marshall
##Oboe / Cor anglais 4: Janey Miller
##Clarinet 1: Nicholas Bucknall
##Clarinet 2: Nick Rodwell
##Clarinet/Bass clarinet - C extension 3: Martin Robertson
##Clarinet/Bass clarinet - C extension 4: Duncan Ashby
##Clarinet/Eb contrabass clarinet 5: Dave Fuest
##Clarinet/Bb contrabass clarinet 6: Alan Andrews
##Bassoon 1: Richard Skinner
##Bassoon 2: Lorna West
##Bassoon/Contrabassoon 3: Rachel Simms
##Bassoon/Contrabassoon 4: Gordon Laing
Charts[edit]

Chart (2014)
Peak
 position

Australian Albums (ARIA)[39] 82
Belgian Albums (Ultratop Flanders)[40] 8
Belgian Albums (Ultratop Wallonia)[41] 3
Dutch Albums (MegaCharts)[42] 66
French Albums (SNEP)[43] 41
German Albums (Official Top 100)[44] 59
Korean Albums (Gaon)[45] 14
Korean International Albums (Gaon)[46] 1
Spanish Albums (PROMUSICAE)[47] 49
Swiss Albums (Schweizer Hitparade)[48] 32

References[edit]
1.Jump up ^ Tapley, Kristopher (October 8, 2014). "Guardians of the Galaxy, Gone Girl, Interstellar scores get a jump on awards season". HitFix. Retrieved October 9, 2014.
2.Jump up ^ Jensen, Jeff (October 16, 2014). "Inside 'Interstellar,' Christopher Nolan's emotional space odyssey". Entertainment Weekly. Retrieved November 7, 2014.
3.^ Jump up to: a b c d e f g h Appelo, Tim (November 3, 2014). "Composer Hans Zimmer Talks 'Interstellar' Origin, Punk Influence on 'Dark Knight'". The Hollywood Reporter. Retrieved November 7, 2014.
4.^ Jump up to: a b c d e f g Burlingame, John (November 6, 2014). "Hans Zimmer's Interstellar Adventure". The Film Music Society. Retrieved November 7, 2014.
5.Jump up ^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
6.Jump up ^ Southall, James (30 November 2014). "Interstellar soundtrack review". Movie Wave. Retrieved 13 December 2014.
7.Jump up ^ Geriak, Christopher (2 December 2014). "Interstellar(Hans Zimmer)-sputnikmusic". sputnikmusic.com. Retrieved 25 December 2014.
8.Jump up ^ Tillnes, Jørn (18 November 2014). "Soundtrack Review: Interstellar". Soundtrackgeek.com. Retrieved 2 January 2015.
9.Jump up ^ "Soundtrack review: Interstellar (Hans Zimmer – 2014)". Soundtrackdreams.com. 18 November 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
10.Jump up ^ "REVIEW OF HANS ZIMMER’S INTERSTELLAR SOUNDTRACK". Spacecadetbling.com. 2 December 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
11.Jump up ^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
12.Jump up ^ Hurst, Steve (25 November 2014). "Interstellar Soundtrack Review". Filmwerk.com. Retrieved 3 January 2015.
13.Jump up ^ Clemmensen, Christian (23 February 2015). "Interstellar Soundtrack Review". Filmtracks.com. Retrieved 17 January 2015.
14.Jump up ^ Barber, Nicholas (7 November 2014). "Film review: Does Interstellar reach the stars?". BBC. Retrieved 7 November 2014.
15.Jump up ^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
16.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
17.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
18.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
19.Jump up ^ Corliss, Richard (October 29, 2014). "Review: Interstellar Shows the Wonder of Worlds Beyond". Time Magazine. Retrieved October 29, 2014.
20.Jump up ^ Aspinall, Jeremy. "Interstellar". Radio Times. Retrieved 7 November 2014.
21.Jump up ^ Anderson, Jeffrey. "'Interstellar' traverses universe for little payoff". The Examiner. The Examiner. Retrieved 7 November 2014.
22.Jump up ^ "Interstellar review: a little bit lost in space". Irish Times. 7 November 2014. Retrieved 7 November 2014.
23.Jump up ^ "'Interstellar': Stunning And Bold, With Lots Of Corn". National Public Radio. November 6, 2014. Retrieved November 7, 2014.
24.Jump up ^ "Interstellar’ Review: Too Many Faults in Its Stars". WSJ. November 6, 2014. Retrieved November 7, 2014.
25.Jump up ^ "Interstellar". Rolling Stone. 5 November 2014. Retrieved 7 November 2014.
26.Jump up ^ Lacey, Liam (4 November 2014). "Interstellar: Awesome to awful at warp speed". The Globe and Mail. Retrieved 7 November 2014.
27.Jump up ^ "'Interstellar' (PG-13)". Miami Herald. 5 November 2014. Retrieved 7 November 2014.
28.Jump up ^ "‘Interstellar’ movie review: There’s a lot, but does it add up to anything?". The Washington Post. Retrieved 7 November 2014.
29.Jump up ^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
30.Jump up ^ "Christopher Nolan Breaks Silence on 'Interstellar' Sound (Exclusive)". The Hollywood Reporter. Retrieved 23 November 2014.
31.Jump up ^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
32.Jump up ^ "Interstellar - Original Motion Picture Soundtrack". WaterTower Music. Retrieved 8 November 2014. Also, apart from CD Quality which is 16-Bit/44.1KHz, 24-Bit/44.1KHz Deluxe OST is available on HDTRACKS.COM
33.Jump up ^ "Awards 2014: For Your Consideration".
34.Jump up ^ "Interstellar soundtrack information". Soundtrack.net. Retrieved 7 November 2014.
35.Jump up ^ Details and Tracklist for Hans Zimmer’s ‘Interstellar’ Score Retrieved. 7 November 2014
36.Jump up ^ "Interstellar Soundtrack 'Interstellar Soundtrack - Illuminated Star Projection Edition' @ Interstellar Soundtrack Store US". MyPlay Direct. Retrieved 9 January 2015.
37.Jump up ^ "Interstellar - MovieTickets.com". MovieTickets.com. Retrieved 8 November 2014.
38.Jump up ^ "Interstellar Original Motion Picture Soundtrack (CD notes)". October 2014. 
39.Jump up ^ "One Direction Four Is ARIA No 1 Album". Noise11 (Australia). Retrieved November 23, 2014.
40.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
41.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in French). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
42.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Dutchcharts.nl. Hung Medien. Retrieved January 22, 2015.
43.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Lescharts.com. Hung Medien. Retrieved January 22, 2015.
44.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Officialcharts.de. GfK Entertainment. Retrieved January 22, 2015.
45.Jump up ^ "South Korea Gaon Album Chart". On the page, select "2014.11.16~2014.11.22" to obtain the corresponding chart. Gaon Chart Retrieved January 22, 2015.
46.Jump up ^ "South Korea Gaon International Album Chart". On the page, select "2014.11.16~2014.11.22", then "국외", to obtain the corresponding chart. Gaon Chart Retrieved January 22, 2015.
47.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar". Spanishcharts.com. Hung Medien. Retrieved January 22, 2015.
48.Jump up ^ "Soundtrack / Hans Zimmer – Interstellar [Warner"]. Swisscharts.com. Hung Medien. Retrieved January 22, 2015.
External links[edit]
##Official movie website
##Interstellar at the Internet Movie Database
##Interstellar 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
$672.3 million[3]
Interstellar is a 2014 epic 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, which had as its origins a script Jonathan developed in 2007. Christopher Nolan produced the film with his wife, Emma Thomas, and Lynda Obst. Theoretical physicist Kip Thorne, whose work inspired the film, was an executive producer and acted as scientific consultant.
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, expanding to venues using digital projectors. It was successful at the box office and received positive reviews from critics, who gave particular attention to the film's scientific accuracy, musical score, visual effects and performances from Matthew McConaughey, Anne Hathaway and Mackenzie Foy. At the 87th Academy Awards, the film won the Best Visual Effects award and received four other nominations — Best Original Score, Best Sound Mixing, Best Sound Editing and Best Production Design, as well as several other awards and nominations particularly for its visual effects, cinematography, and musical score.


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 Home media
8 Accolades
9 Sequel
10 See also
11 Notes
12 References
13 Further reading
14 External links

Plot[edit]
In the near 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 poltergeist trying to communicate with her. They come across a malfunctioning Indian unmanned aerial vehicle that they salvage for spare parts. They soon discover that Murphy's "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 in another galaxy that may offer hope for survival. NASA's "Lazarus missions" have identified three potentially habitable worlds orbiting a supermassive black hole named 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 that 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 helping Brand with an equation that will enable NASA to launch the space stations via gravity. With his last breath, Brand admits 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 perpetually cold, covered with icy glaciers, and inhospitable. Mann (Matt Damon), who always knew Plan B was the mission's true goal, 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 on the other side of the black hole while many years will pass on Earth. TARS and Cooper detach their shuttles 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 that the wormhole's creators are future humans transcending time and space, who have constructed this space so he can communicate with Murphy as her "ghost" 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, who is implementing Plan B on Edmunds's desert planet.
Cast[edit]
Astronaut crewMatthew McConaughey as Cooper
Anne Hathaway as Amelia Brand
David Gyasi as Romilly
Wes Bentley as Doyle
Bill Irwin as TARS (voice)
Josh Stewart as CASE (voice)
On EarthJessica 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[4]
David Oyelowo as School principal
William Devane as Williams
Elyes Gabel as the Administrator
Collette Wolfe as Ms. Hanley
In spaceMatt Damon as Dr. Mann[5]
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.[5]
Filming[edit]
Nolan filmed Interstellar with anamorphic 35mm and IMAX film photography.[4] 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.[5] 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[5] 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] Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasising that this effect was intentional and not a fault in their equipment.[42]
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."[43] 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".[44] 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.[45] 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] Ultimately the film contained 850 visual effect shots at a resolution of 5600 x 4000 lines: 150 shots that were created in camera using digital projectors, and another 700 were created in post production. Of those, 620 were presented in IMAX, while the rest were anamorphic.[46]
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.[47] New Deal Studio's miniatures were used in 150 special effects shots.[46]
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).[48] 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."[49] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[50]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[51] 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.[52]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[53] 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 consultant and executive producer.
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."[54]
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.[55]
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".[56]
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.[57] The accretion disk of the black hole was described by Thorne as "anemic and at low temperature—about the temperature of the surface of the sun," allowing it to emit appreciable light, but not enough gamma radiation and X-rays to threaten nearby astronauts and planets.[58]



 Computer image of the supermassive black hole "Gargantua". This simulation is approximately what a person would see in reality of a nearby black hole made from equations of general relativity for the film.
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][59] 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.[60] 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.[61]
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."[62]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[63]
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.[64] 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.[65]
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.[66]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[67] The film's website was relaunched to be a digital hub hosted on a Google domain.[68] The website collected feedback from film audiences, and linked to a mobile app.[68] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[69] 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.[67]
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.[70][71] 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.[72] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[73]
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.[74]
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.[75] 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.[76] 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.[77] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[78] It premiered in Europe on October 29, 2014 at Leicester Square in London.[79]
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.[80] 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.[81] 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.[82] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[4] The film was expected to be released in over 770 IMAX screens worldwide, which would have been the widest global release in IMAX cinemas.[83][84] However, the film was released to only 574 IMAX theaters worldwide.[85]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[86] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[82] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[87] 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.[88]
Box office[edit]
As of February 26, 2015, Interstellar has earned $187,642,651 in North America and $484,700,000 in other territories for a worldwide total of $672,342,651, against a production budget of $165 million.[3] The film set an IMAX opening record worldwide with $20.5 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.[85] The film had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[89] It reached a milestone of $200 million in 6 days, $300 million in 10 days,[90] $400 million in 17 days[91] $500 million in 24 days[92] and $600 million in 37 days.[93] It is the tenth highest-grossing film of 2014.[94] 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.[95][96][97]
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.[98] 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.[99] 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.[100] 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.[101] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[102] The film earned $3.6 million from Thursday late night preview for a previews total of $4.9 million (Tuesday — Thursday).[103][104][105] 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).[106] The film played 52% male and 75% over 25 years old.[107]
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).[109][110][111] IMAX comprised $13.2 million (28%) of its opening weekend gross,[112] 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.[113][114] 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."[115] 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.[116][117] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[118][119] 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.[120]
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.[121] In its opening weekend Interstellar earned $82.9 million from 11.1 admissions on over 14,800 screens in 62 markets.[122] It earned $7.3 million from 206 IMAX screens, at an average of 35,400 per theatre.[123] The film went number one in South Korea ($14.4 million),[124] 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).[125] 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).[126] 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.[127][128] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[129][130] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[131] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[132] and Pacific Rim ($45.2 million).[133][134]
It topped the box office outside of North America for two consecutive weekends before being overtaken by The Hunger Games: Mockingjay - Part 1 in its third weekend.[131] 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).[135] 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.[93][136]
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."[137] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[138]
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.[139] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[140] 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.[141] 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."[142]
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."[143] 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."[144] 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".[145] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[146] 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."[147]
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.[148] 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."[149] 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".[150] 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."[151]
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."[152] 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."[153][full citation needed]
Home media[edit]
Interstellar will be released on home video on March 30, 2015 in the United Kingdom.[154] It will be released on home video on March 31, 2015 in the United States.[155]
Accolades[edit]
Main article: List of accolades received by Interstellar (film)
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.[156]
Sequel[edit]
On the possibility of potential sequel McCounaughey said, "It's teed up for that possibility."[157]
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
Wings of Honneamise
Space Battleship Yamato
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.[108]
References[edit]
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120.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.
121.Jump up ^ Anita Busch (November 7, 2014). "'Interstellar' Ahead Of 'Gravity' In Opening Bow – International B.O.". Deadline.com. Retrieved November 8, 2014.
122.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.
123.Jump up ^ Brent Lang (November 9, 2014). "'Interstellar' Tops Global Box Office with $132 Million Haul". Variety. Retrieved November 10, 2014.
124.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.
125.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.
126.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.
127.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.
128.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.
129.Jump up ^ Patrick Frater (November 17, 2014). "China Box Office: 'Interstellar' on Fast Track". Variety. Retrieved November 19, 2014.
130.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.
131.^ 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.
132.Jump up ^ Nancy Tartaglione (January 25, 2015). "‘Hobbit’ Storms China; ‘Sniper’ Takes Out More Records: International Box Office". Deadline.com. Retrieved January 26, 2015.
133.Jump up ^ Pamela McClintock (November 16, 2014). "Global Box Office: 'Interstellar' Rockets Past $300M Worldwide". The Hollywood Reporter. Retrieved November 17, 2014.
134.Jump up ^ Pamela McClintock (August 4, 2013). "'Pacific Rim' Scores Massive $45.2 Million China Debut". The Hollywood Reporter. Retrieved November 17, 2014.
135.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.
136.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.
137.Jump up ^ "Interstellar". rottentomatoes.com. Rotten Tomatoes. Retrieved December 15, 2014.
138.Jump up ^ "Interstellar Reviews". metacritic.com. Metacritic. Retrieved November 17, 2014.
139.Jump up ^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
140.Jump up ^ Puig, Claudia (October 27, 2014). "'Interstellar': Sci-fi saga gets lost in space". USA Today. Retrieved October 29, 2014.
141.Jump up ^ "Interstellar". At the Movies. November 4, 2014. Retrieved November 5, 2014.
142.Jump up ^ Barnes, Henry (October 28, 2014). "Interstellar review: McConaughey v the whole wide world". The Guardian. Retrieved October 31, 2014.
143.Jump up ^ Gettell, Oliver (November 5, 2014). "'Interstellar' is an ambitious, imperfect sci-fi epic, reviews say". Los Angeles Times. Retrieved November 6, 2014.
144.Jump up ^ Dyer, James (October 28, 2014). "Interstellar: Star Trek Into Greatness". Empire Magazine. Retrieved October 29, 2014.
145.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
146.Jump up ^ Lumenick, Lou (November 3, 2014). "'Interstellar' is a must-see masterpiece". New York Post. Retrieved November 4, 2014.
147.Jump up ^ Roeper, Richard (November 4, 2014). "'Interstellar': Epic Beauty In Its Effects and Its Ideas". Chicago Sun-Times. Retrieved November 4, 2014.
148.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
149.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
150.Jump up ^ Coyle, Jake (October 30, 2014). "Review: 'Interstellar' a sublime cosmic knockout". The Associated Press. Retrieved October 31, 2014.
151.Jump up ^ Mendelson, Scott (December 26, 2014). "'Interstellar,' 'The Interview,' And The Most Disappointing Films Of 2014". Forbes. Retrieved December 29, 2014.
152.Jump up ^ Brooks, David. "Love and Gravity". www.nytimes.com. The New York Times. Retrieved December 13, 2014.
153.Jump up ^ http://lareviewofbooks.org/essay/books-space-christopher-nolans-interstellar
154.Jump up ^ http://www.amazon.co.uk/Interstellar-Blu-ray-Region-Matthew-McConaughey/dp/B00EXPOCNO/ref=sr_1_1?s=dvd&ie=UTF8&qid=1424459592&sr=1-1&keywords=interstellar
155.Jump up ^ "Epic 'Interstellar' Blu-Ray Edition Launches Into Stores March 31". Space.com. 2015-02-04. Retrieved 2015-02-10.
156.Jump up ^ Tapley, Kristopher (October 8, 2014). "Guardians of the Galaxy, Gone Girl, Interstellar scores get a jump on awards season". HitFix. Retrieved October 9, 2014.
157.Jump up ^ "COULD INTERSTELLAR 2 HAPPEN?". IGN. November 10, 2014. Retrieved February 8, 2015.
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)"
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
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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
$672.3 million[3]
Interstellar is a 2014 epic 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, which had as its origins a script Jonathan developed in 2007. Christopher Nolan produced the film with his wife, Emma Thomas, and Lynda Obst. Theoretical physicist Kip Thorne, whose work inspired the film, was an executive producer and acted as scientific consultant.
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, expanding to venues using digital projectors. It was successful at the box office and received positive reviews from critics, who gave particular attention to the film's scientific accuracy, musical score, visual effects and performances from Matthew McConaughey, Anne Hathaway and Mackenzie Foy. At the 87th Academy Awards, the film won the Best Visual Effects award and received four other nominations — Best Original Score, Best Sound Mixing, Best Sound Editing and Best Production Design, as well as several other awards and nominations particularly for its visual effects, cinematography, and musical score.


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 Home media
8 Accolades
9 Sequel
10 See also
11 Notes
12 References
13 Further reading
14 External links

Plot[edit]
In the near 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 poltergeist trying to communicate with her. They come across a malfunctioning Indian unmanned aerial vehicle that they salvage for spare parts. They soon discover that Murphy's "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 in another galaxy that may offer hope for survival. NASA's "Lazarus missions" have identified three potentially habitable worlds orbiting a supermassive black hole named 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 that 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 helping Brand with an equation that will enable NASA to launch the space stations via gravity. With his last breath, Brand admits 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 perpetually cold, covered with icy glaciers, and inhospitable. Mann (Matt Damon), who always knew Plan B was the mission's true goal, 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 on the other side of the black hole while many years will pass on Earth. TARS and Cooper detach their shuttles 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 that the wormhole's creators are future humans transcending time and space, who have constructed this space so he can communicate with Murphy as her "ghost" 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, who is implementing Plan B on Edmunds's desert planet.
Cast[edit]
Astronaut crewMatthew McConaughey as Cooper
Anne Hathaway as Amelia Brand
David Gyasi as Romilly
Wes Bentley as Doyle
Bill Irwin as TARS (voice)
Josh Stewart as CASE (voice)
On EarthJessica 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[4]
David Oyelowo as School principal
William Devane as Williams
Elyes Gabel as the Administrator
Collette Wolfe as Ms. Hanley
In spaceMatt Damon as Dr. Mann[5]
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.[5]
Filming[edit]
Nolan filmed Interstellar with anamorphic 35mm and IMAX film photography.[4] 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.[5] 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[5] 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] Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasising that this effect was intentional and not a fault in their equipment.[42]
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."[43] 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".[44] 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.[45] 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] Ultimately the film contained 850 visual effect shots at a resolution of 5600 x 4000 lines: 150 shots that were created in camera using digital projectors, and another 700 were created in post production. Of those, 620 were presented in IMAX, while the rest were anamorphic.[46]
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.[47] New Deal Studio's miniatures were used in 150 special effects shots.[46]
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).[48] 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."[49] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[50]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[51] 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.[52]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[53] 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 consultant and executive producer.
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."[54]
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.[55]
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".[56]
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.[57] The accretion disk of the black hole was described by Thorne as "anemic and at low temperature—about the temperature of the surface of the sun," allowing it to emit appreciable light, but not enough gamma radiation and X-rays to threaten nearby astronauts and planets.[58]



 Computer image of the supermassive black hole "Gargantua". This simulation is approximately what a person would see in reality of a nearby black hole made from equations of general relativity for the film.
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][59] 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.[60] 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.[61]
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."[62]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[63]
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.[64] 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.[65]
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.[66]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[67] The film's website was relaunched to be a digital hub hosted on a Google domain.[68] The website collected feedback from film audiences, and linked to a mobile app.[68] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[69] 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.[67]
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.[70][71] 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.[72] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[73]
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.[74]
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.[75] 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.[76] 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.[77] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[78] It premiered in Europe on October 29, 2014 at Leicester Square in London.[79]
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.[80] 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.[81] 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.[82] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[4] The film was expected to be released in over 770 IMAX screens worldwide, which would have been the widest global release in IMAX cinemas.[83][84] However, the film was released to only 574 IMAX theaters worldwide.[85]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[86] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[82] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[87] 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.[88]
Box office[edit]
As of February 26, 2015, Interstellar has earned $187,642,651 in North America and $484,700,000 in other territories for a worldwide total of $672,342,651, against a production budget of $165 million.[3] The film set an IMAX opening record worldwide with $20.5 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.[85] The film had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[89] It reached a milestone of $200 million in 6 days, $300 million in 10 days,[90] $400 million in 17 days[91] $500 million in 24 days[92] and $600 million in 37 days.[93] It is the tenth highest-grossing film of 2014.[94] 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.[95][96][97]
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.[98] 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.[99] 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.[100] 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.[101] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[102] The film earned $3.6 million from Thursday late night preview for a previews total of $4.9 million (Tuesday — Thursday).[103][104][105] 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).[106] The film played 52% male and 75% over 25 years old.[107]
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).[109][110][111] IMAX comprised $13.2 million (28%) of its opening weekend gross,[112] 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.[113][114] 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."[115] 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.[116][117] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[118][119] 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.[120]
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.[121] In its opening weekend Interstellar earned $82.9 million from 11.1 admissions on over 14,800 screens in 62 markets.[122] It earned $7.3 million from 206 IMAX screens, at an average of 35,400 per theatre.[123] The film went number one in South Korea ($14.4 million),[124] 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).[125] 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).[126] 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.[127][128] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[129][130] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[131] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[132] and Pacific Rim ($45.2 million).[133][134]
It topped the box office outside of North America for two consecutive weekends before being overtaken by The Hunger Games: Mockingjay - Part 1 in its third weekend.[131] 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).[135] 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.[93][136]
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."[137] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[138]
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.[139] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[140] 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.[141] 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."[142]
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."[143] 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."[144] 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".[145] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[146] 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."[147]
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.[148] 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."[149] 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".[150] 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."[151]
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."[152] 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."[153][full citation needed]
Home media[edit]
Interstellar will be released on home video on March 30, 2015 in the United Kingdom.[154] It will be released on home video on March 31, 2015 in the United States.[155]
Accolades[edit]
Main article: List of accolades received by Interstellar (film)
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.[156]
Sequel[edit]
On the possibility of potential sequel McCounaughey said, "It's teed up for that possibility."[157]
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
Wings of Honneamise
Space Battleship Yamato
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.[108]
References[edit]
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54.Jump up ^ "New 'Interstellar' Trailer Goes Deep; Plus Kip Thorne Featurette". /Film. October 1, 2014. Retrieved October 5, 2014.
55.Jump up ^ "WRINKLES IN SPACETIME: The Warped Astrophysics of Interstellar". Wired. October 23, 2014. Retrieved October 25, 2014.
56.Jump up ^ "Does new film Interstellar have the most realistic black hole EVER? Movie's special effects may result in important scientific discovery". The Daily Mail. October 24, 2014. Retrieved October 25, 2014.
57.Jump up ^ "The Science of 'Interstellar': Black Holes, Wormholes and Space Travel". Space.com.
58.Jump up ^ "Were Online Critics Too Harsh With Interstellar's Science?".
59.Jump up ^ For Christopher Nolan, Making 'Interstellar' Was A Childhood Dream
60.Jump up ^ Corn, David (November 12, 2014). "What's Wrong With the Science of "Interstellar"?". Mother Jones. Retrieved November 18, 2014.
61.Jump up ^ Gray, Sarah. "Neil deGrasse Tyson explains the science behind the ending of "Interstellar"". www.salon.com. Salon. Retrieved December 13, 2014.
62.Jump up ^ "Why scientists are in a love-hate relationship with 'Interstellar'". Mashable.
63.Jump up ^ Simons, Ted (December 3, 2014). "Krauss on Science". Eight, Arizona PBS. Retrieved December 17, 2014.
64.Jump up ^ McIntyre, Gina (December 14, 2013). "'Interstellar' trailer: McConaughey ponders space travel, human spirit". Los Angeles Times. Retrieved May 27, 2014.
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66.Jump up ^ McMillan, Graeme (July 30, 2014). "'Interstellar' Website Invites Users to Look Around and Find Answers". The Hollywood Reporter. Retrieved July 30, 2014.
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68.^ Jump up to: a b Jarvey, Natalie (October 3, 2014). "Google Promotes Christopher Nolan's 'Interstellar' With Interactive Digital Hub". The Hollywood Reporter. Retrieved October 4, 2014.
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71.Jump up ^ "Interstellar: Oculus Rift Immersive Experience". interstellarmovie.com. Paramount Pictures. Retrieved October 24, 2014.
72.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.
73.Jump up ^ Staff (September 17, 2014). "Science adviser to 'Interstellar' writing book". Yahoo! News (Associated Press). Retrieved September 29, 2014.
74.Jump up ^ Nolan, Christopher; Sean Gordon Murphy (November 18, 2014). Revealed: The Lost Chapter of Interstellar www.wired.com. Wired. Retrieved November 18, 2014.
75.Jump up ^ Smith, Emily (October 20, 2014). "Paramount chief holds private screening of 'Interstellar'". Page Six. Retrieved October 24, 2014.
76.Jump up ^ Waxman, Sharon (October 23, 2014). "Christopher Nolan's 'Interstellar' Explodes at Intimate, First-Look Screening". TheWrap. Retrieved October 24, 2014.
77.Jump up ^ Whipp, Glenn (October 24, 2014). "'Interstellar' makes some noise at Hollywood coming-out party". Los Angeles Times. Retrieved October 24, 2014.
78.Jump up ^ Ford, Rebecca (October 26, 2014). "'Interstellar' Premiere: Christopher Nolan's 'Love Letter' Takes Flight". The Hollywood Reporter. Retrieved October 27, 2014.
79.Jump up ^ Staff (October 30, 2014). "Interstellar: Christopher Nolan film premieres in London". BBC News. Retrieved October 30, 2014.
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81.Jump up ^ "Interstellar Movie 2014 – Worldwide Release Dates". Warner Bros. Pictures. Retrieved September 11, 2014.
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87.Jump up ^ McNary, Dave; Lang, Brent (October 1, 2014). "Christopher Nolan's 'Interstellar' Launching Early in Imax". Variety. Retrieved October 2, 2014.
88.Jump up ^ McClintock, Pamela (October 2, 2014). "Why Theater Owners Aren't Happy About Christopher Nolan's 'Interstellar' Film Initiative". The Hollywood Reporter. Retrieved October 2, 2014.
89.Jump up ^ "Worldwide Openings". Box Office Mojo. Retrieved November 27, 2014.
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91.Jump up ^ Pamela McClintock (November 24, 2014). "Global Box Office: 'Interstellar' Crossing $450M; 'Mockingjay' Mammoth Overseas". The Hollywood Reporter. Retrieved November 27, 2014.
92.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 ^ "2014 Worldwide Grosses". Box Office Mojo. Retrieved December 1, 2014.
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96.Jump up ^ Dave McNary (December 15, 2014). "'Interstellar' Tops $100 Million in Imax Box Office". Variety. Retrieved December 16, 2014.
97.Jump up ^ Scott Mendelson (July 2, 2014). "'Gravity' Passes $100M In IMAX". Forbes. Retrieved December 16, 2014.
98.Jump up ^ Scott Mendelson (October 27, 2014). "Review: 'Interstellar' Gets Lost In Space". Forbes. Retrieved October 27, 2014.
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102.Jump up ^ Scott Mendelson (November 6, 2014). "Box Office: Chris Nolan's 'Interstellar' Earns $1.35M Wednesday". Forbes. Retrieved November 7, 2014.
103.Jump up ^ Anita Busch (November 7, 2014). "'Interstellar' & 'Big Hero 6' Off To Strong Box Office Starts – Thursday B.O.". Deadline.com. Retrieved November 8, 2014.
104.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.
105.Jump up ^ Dave MacNary (November 7, 2014). "Box Office: 'Interstellar,' 'Big Hero 6' Soar in Thursday Previews". Variety. Retrieved November 8, 2014.
106.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.
107.Jump up ^ Scott Mendelson (November 8, 2014). "Box Office: 'Interstellar' Tops 'Big Hero 6' With $17M Friday". Forbes. Retrieved November 9, 2014.
108.Jump up ^ "'Big Hero 6' Wins B.O. As 'Interstellar' Takes Second; Monday Returns". Deadline.com. November 10, 2014. Retrieved November 13, 2014.
109.Jump up ^ Ray Subers (November 9, 2014). "Weekend Report: Disney's 'Big Hero 6' Eclipses Nolan's 'Interstellar'". Box Office Mojo. Retrieved November 11, 2014.
110.Jump up ^ Pamela McClintock (November 11, 2014). "Final Box Office: 'Interstellar' Falls Short of $50M Launch". The Hollywood Reporter. Retrieved November 11, 2014.
111.Jump up ^ Brent Lang (November 10, 2014). "'Interstellar' Final Box Office Fails to Hit $50 Million Estimates". Variety. Retrieved November 11, 2014.
112.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.
113.Jump up ^ Scott Mendelson (November 9, 2014). "Box Office: 'Big Hero 6' Tops 'Interstellar' With $56.2M Weekend". Forbes. Retrieved November 10, 2014.
114.Jump up ^ Pamela McClintock (November 10, 2014). "Final Box Office: 'Interstellar' Falls Short of $50M Launch Hollywood Reporter". The Hollywood Reporter. Retrieved November 11, 2014.
115.Jump up ^ Brent Lang (November 9, 2014). "Box Office: 'Big Hero 6' Races Past 'Interstellar' With $56.2 Million". Variety. Retrieved November 10, 2014.
116.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.
117.Jump up ^ Pamela McClintock (November 16, 2014). "Box Office: 'Dumb and Dumber To' Laughs Past 'Big Hero 6' With $38.1M". The Hollywood Reporter. Retrieved November 17, 2014.
118.Jump up ^ Brent Lang (November 16, 2014). "Box Office: 'Dumb and Dumber To' On Top With $38.1 Million". Variety. Retrieved November 17, 2014.
119.Jump up ^ Scott Bowles (November 16, 2014). "'Dumb and Dumber To' Graduating Box Office Money Cum Laude". Deadline.com. Retrieved November 17, 2014.
120.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.
121.Jump up ^ Anita Busch (November 7, 2014). "'Interstellar' Ahead Of 'Gravity' In Opening Bow – International B.O.". Deadline.com. Retrieved November 8, 2014.
122.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.
123.Jump up ^ Brent Lang (November 9, 2014). "'Interstellar' Tops Global Box Office with $132 Million Haul". Variety. Retrieved November 10, 2014.
124.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.
125.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.
126.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.
127.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.
128.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.
129.Jump up ^ Patrick Frater (November 17, 2014). "China Box Office: 'Interstellar' on Fast Track". Variety. Retrieved November 19, 2014.
130.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.
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132.Jump up ^ Nancy Tartaglione (January 25, 2015). "‘Hobbit’ Storms China; ‘Sniper’ Takes Out More Records: International Box Office". Deadline.com. Retrieved January 26, 2015.
133.Jump up ^ Pamela McClintock (November 16, 2014). "Global Box Office: 'Interstellar' Rockets Past $300M Worldwide". The Hollywood Reporter. Retrieved November 17, 2014.
134.Jump up ^ Pamela McClintock (August 4, 2013). "'Pacific Rim' Scores Massive $45.2 Million China Debut". The Hollywood Reporter. Retrieved November 17, 2014.
135.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.
136.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.
137.Jump up ^ "Interstellar". rottentomatoes.com. Rotten Tomatoes. Retrieved December 15, 2014.
138.Jump up ^ "Interstellar Reviews". metacritic.com. Metacritic. Retrieved November 17, 2014.
139.Jump up ^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
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142.Jump up ^ Barnes, Henry (October 28, 2014). "Interstellar review: McConaughey v the whole wide world". The Guardian. Retrieved October 31, 2014.
143.Jump up ^ Gettell, Oliver (November 5, 2014). "'Interstellar' is an ambitious, imperfect sci-fi epic, reviews say". Los Angeles Times. Retrieved November 6, 2014.
144.Jump up ^ Dyer, James (October 28, 2014). "Interstellar: Star Trek Into Greatness". Empire Magazine. Retrieved October 29, 2014.
145.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
146.Jump up ^ Lumenick, Lou (November 3, 2014). "'Interstellar' is a must-see masterpiece". New York Post. Retrieved November 4, 2014.
147.Jump up ^ Roeper, Richard (November 4, 2014). "'Interstellar': Epic Beauty In Its Effects and Its Ideas". Chicago Sun-Times. Retrieved November 4, 2014.
148.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
149.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
150.Jump up ^ Coyle, Jake (October 30, 2014). "Review: 'Interstellar' a sublime cosmic knockout". The Associated Press. Retrieved October 31, 2014.
151.Jump up ^ Mendelson, Scott (December 26, 2014). "'Interstellar,' 'The Interview,' And The Most Disappointing Films Of 2014". Forbes. Retrieved December 29, 2014.
152.Jump up ^ Brooks, David. "Love and Gravity". www.nytimes.com. The New York Times. Retrieved December 13, 2014.
153.Jump up ^ http://lareviewofbooks.org/essay/books-space-christopher-nolans-interstellar
154.Jump up ^ http://www.amazon.co.uk/Interstellar-Blu-ray-Region-Matthew-McConaughey/dp/B00EXPOCNO/ref=sr_1_1?s=dvd&ie=UTF8&qid=1424459592&sr=1-1&keywords=interstellar
155.Jump up ^ "Epic 'Interstellar' Blu-Ray Edition Launches Into Stores March 31". Space.com. 2015-02-04. Retrieved 2015-02-10.
156.Jump up ^ Tapley, Kristopher (October 8, 2014). "Guardians of the Galaxy, Gone Girl, Interstellar scores get a jump on awards season". HitFix. Retrieved October 9, 2014.
157.Jump up ^ "COULD INTERSTELLAR 2 HAPPEN?". IGN. November 10, 2014. Retrieved February 8, 2015.
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)"
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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