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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
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 traditionally unusual 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 received 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]
Many critics have noted distinct similarities between the score and the work of Philip Glass, especially Koyaanisqatsi (1982). However, despite Interstellar's near-identical central melody and instrumentation, few have criticized Zimmer when drawing the comparison. 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.^ 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.^ Jensen, Jeff (October 16, 2014). "Inside 'Interstellar,' Christopher Nolan's emotional space odyssey". Entertainment Weekly. Retrieved November 7, 2014.
3.^ 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.^ 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.^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
6.^ Southall, James (30 November 2014). "Interstellar soundtrack review". Movie Wave. Retrieved 13 December 2014.
7.^ Geriak, Christopher (2 December 2014). "Interstellar(Hans Zimmer)-sputnikmusic". sputnikmusic.com. Retrieved 25 December 2014.
8.^ Tillnes, Jørn (18 November 2014). "Soundtrack Review: Interstellar". Soundtrackgeek.com. Retrieved 2 January 2015.
9.^ "Soundtrack review: Interstellar (Hans Zimmer – 2014)". Soundtrackdreams.com. 18 November 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
10.^ "REVIEW OF HANS ZIMMER’S INTERSTELLAR SOUNDTRACK". Spacecadetbling.com. 2 December 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
11.^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
12.^ Hurst, Steve (25 November 2014). "Interstellar Soundtrack Review". Filmwerk.com. Retrieved 3 January 2015.
13.^ Clemmensen, Christian (23 February 2015). "Interstellar Soundtrack Review". Filmtracks.com. Retrieved 17 January 2015.
14.^ Barber, Nicholas (7 November 2014). "Film review: Does Interstellar reach the stars?". BBC. Retrieved 7 November 2014.
15.^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
16.^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
17.^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
18.^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
19.^ Corliss, Richard (October 29, 2014). "Review: Interstellar Shows the Wonder of Worlds Beyond". Time Magazine. Retrieved October 29, 2014.
20.^ Aspinall, Jeremy. "Interstellar". Radio Times. Retrieved 7 November 2014.
21.^ Anderson, Jeffrey. "'Interstellar' traverses universe for little payoff". The Examiner. The Examiner. Retrieved 7 November 2014.
22.^ "Interstellar review: a little bit lost in space". Irish Times. 7 November 2014. Retrieved 7 November 2014.
23.^ "'Interstellar': Stunning And Bold, With Lots Of Corn". National Public Radio. November 6, 2014. Retrieved November 7, 2014.
24.^ "Interstellar’ Review: Too Many Faults in Its Stars". WSJ. November 6, 2014. Retrieved November 7, 2014.
25.^ "Interstellar". Rolling Stone. 5 November 2014. Retrieved 7 November 2014.
26.^ Lacey, Liam (4 November 2014). "Interstellar: Awesome to awful at warp speed". The Globe and Mail. Retrieved 7 November 2014.
27.^ "'Interstellar' (PG-13)". Miami Herald. 5 November 2014. Retrieved 7 November 2014.
28.^ "‘Interstellar’ movie review: There’s a lot, but does it add up to anything?". The Washington Post. Retrieved 7 November 2014.
29.^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
30.^ "Christopher Nolan Breaks Silence on 'Interstellar' Sound (Exclusive)". The Hollywood Reporter. Retrieved 23 November 2014.
31.^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
32.^ "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.^ "Awards 2014: For Your Consideration".
34.^ "Interstellar soundtrack information". Soundtrack.net. Retrieved 7 November 2014.
35.^ Details and Tracklist for Hans Zimmer’s ‘Interstellar’ Score Retrieved. 7 November 2014
36.^ "Interstellar Soundtrack 'Interstellar Soundtrack - Illuminated Star Projection Edition' @ Interstellar Soundtrack Store US". MyPlay Direct. Retrieved 9 January 2015.
37.^ "Interstellar - MovieTickets.com". MovieTickets.com. Retrieved 8 November 2014.
38.^ "Interstellar Original Motion Picture Soundtrack (CD notes)". October 2014. 
39.^ "One Direction Four Is ARIA No 1 Album". Noise11 (Australia). Retrieved November 23, 2014.
40.^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
41.^ "Soundtrack / Hans Zimmer – Interstellar" (in French). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
42.^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Dutchcharts.nl. Hung Medien. Retrieved January 22, 2015.
43.^ "Soundtrack / Hans Zimmer – Interstellar". Lescharts.com. Hung Medien. Retrieved January 22, 2015.
44.^ "Soundtrack / Hans Zimmer – Interstellar". Officialcharts.de. GfK Entertainment. Retrieved January 22, 2015.
45.^ "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.^ "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.^ "Soundtrack / Hans Zimmer – Interstellar". Spanishcharts.com. Hung Medien. Retrieved January 22, 2015.
48.^ "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 (soundtrack)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


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
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 traditionally unusual 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 received 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]
Many critics have noted distinct similarities between the score and the work of Philip Glass, especially Koyaanisqatsi (1982). However, despite Interstellar's near-identical central melody and instrumentation, few have criticized Zimmer when drawing the comparison. 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.^ 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.^ Jensen, Jeff (October 16, 2014). "Inside 'Interstellar,' Christopher Nolan's emotional space odyssey". Entertainment Weekly. Retrieved November 7, 2014.
3.^ 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.^ 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.^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
6.^ Southall, James (30 November 2014). "Interstellar soundtrack review". Movie Wave. Retrieved 13 December 2014.
7.^ Geriak, Christopher (2 December 2014). "Interstellar(Hans Zimmer)-sputnikmusic". sputnikmusic.com. Retrieved 25 December 2014.
8.^ Tillnes, Jørn (18 November 2014). "Soundtrack Review: Interstellar". Soundtrackgeek.com. Retrieved 2 January 2015.
9.^ "Soundtrack review: Interstellar (Hans Zimmer – 2014)". Soundtrackdreams.com. 18 November 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
10.^ "REVIEW OF HANS ZIMMER’S INTERSTELLAR SOUNDTRACK". Spacecadetbling.com. 2 December 2014. Retrieved 2 January 2015. |first1= missing |last1= in Authors list (help)
11.^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
12.^ Hurst, Steve (25 November 2014). "Interstellar Soundtrack Review". Filmwerk.com. Retrieved 3 January 2015.
13.^ Clemmensen, Christian (23 February 2015). "Interstellar Soundtrack Review". Filmtracks.com. Retrieved 17 January 2015.
14.^ Barber, Nicholas (7 November 2014). "Film review: Does Interstellar reach the stars?". BBC. Retrieved 7 November 2014.
15.^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
16.^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
17.^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
18.^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
19.^ Corliss, Richard (October 29, 2014). "Review: Interstellar Shows the Wonder of Worlds Beyond". Time Magazine. Retrieved October 29, 2014.
20.^ Aspinall, Jeremy. "Interstellar". Radio Times. Retrieved 7 November 2014.
21.^ Anderson, Jeffrey. "'Interstellar' traverses universe for little payoff". The Examiner. The Examiner. Retrieved 7 November 2014.
22.^ "Interstellar review: a little bit lost in space". Irish Times. 7 November 2014. Retrieved 7 November 2014.
23.^ "'Interstellar': Stunning And Bold, With Lots Of Corn". National Public Radio. November 6, 2014. Retrieved November 7, 2014.
24.^ "Interstellar’ Review: Too Many Faults in Its Stars". WSJ. November 6, 2014. Retrieved November 7, 2014.
25.^ "Interstellar". Rolling Stone. 5 November 2014. Retrieved 7 November 2014.
26.^ Lacey, Liam (4 November 2014). "Interstellar: Awesome to awful at warp speed". The Globe and Mail. Retrieved 7 November 2014.
27.^ "'Interstellar' (PG-13)". Miami Herald. 5 November 2014. Retrieved 7 November 2014.
28.^ "‘Interstellar’ movie review: There’s a lot, but does it add up to anything?". The Washington Post. Retrieved 7 November 2014.
29.^ Biscotti, Steven (18 November 2014). "Interstellar Soundtrack Review". Soundtrack.net. Retrieved 2 January 2015.
30.^ "Christopher Nolan Breaks Silence on 'Interstellar' Sound (Exclusive)". The Hollywood Reporter. Retrieved 23 November 2014.
31.^ Broxton, Jonathan (22 November 2014). "INTERSTELLAR - Hans Zimmer". Movie Music UK. Retrieved 13 December 2014.
32.^ "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.^ "Awards 2014: For Your Consideration".
34.^ "Interstellar soundtrack information". Soundtrack.net. Retrieved 7 November 2014.
35.^ Details and Tracklist for Hans Zimmer’s ‘Interstellar’ Score Retrieved. 7 November 2014
36.^ "Interstellar Soundtrack 'Interstellar Soundtrack - Illuminated Star Projection Edition' @ Interstellar Soundtrack Store US". MyPlay Direct. Retrieved 9 January 2015.
37.^ "Interstellar - MovieTickets.com". MovieTickets.com. Retrieved 8 November 2014.
38.^ "Interstellar Original Motion Picture Soundtrack (CD notes)". October 2014. 
39.^ "One Direction Four Is ARIA No 1 Album". Noise11 (Australia). Retrieved November 23, 2014.
40.^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
41.^ "Soundtrack / Hans Zimmer – Interstellar" (in French). Ultratop.be. Hung Medien. Retrieved January 22, 2015.
42.^ "Soundtrack / Hans Zimmer – Interstellar" (in Dutch). Dutchcharts.nl. Hung Medien. Retrieved January 22, 2015.
43.^ "Soundtrack / Hans Zimmer – Interstellar". Lescharts.com. Hung Medien. Retrieved January 22, 2015.
44.^ "Soundtrack / Hans Zimmer – Interstellar". Officialcharts.de. GfK Entertainment. Retrieved January 22, 2015.
45.^ "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.^ "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.^ "Soundtrack / Hans Zimmer – Interstellar". Spanishcharts.com. Hung Medien. Retrieved January 22, 2015.
48.^ "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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List of accolades received by Interstellar (film)

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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
Empire Awards[16] Best Film Interstellar Won
Best Director Christopher Nolan Won
Best Sci-Fi/Fantasy Interstellar Nominated
Florida Film Critics Circle[17][18] 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[19] Visually Striking Film of the Year  Nominated
Georgia Film Critics Association[20][21] 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[22] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[23] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
International Online Film Critics' Poll[24] Best Original Score Hans Zimmer Nominated
Best Visual Effects  Nominated
Las Vegas Film Critics Society Awards[25] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[26] 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[27] Feature English Language -Effects/Foley Richard King Nominated
Feature Music Alex Gibson Nominated
Nevada Film Critics Society[28] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects  Won
North Texas Film Critics Association[29] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[30][31] 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[32] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[33] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Nominated
Saturn Awards[34] Best Science Fiction Film Interstellar Pending
Best Director Christopher Nolan Pending
Best Editing Lee Smith Pending
Best Actor Matthew McConaughey Pending
Best Actress Anne Hathaway Pending
Best Supporting Actress Jessica Chastain Pending
Best Performance by a Younger Actor Mackenzie Foy Pending
Best Music Hans Zimmer Pending
Best Production Design Nathan Crowley Pending
Best Special Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Pending
St. Louis Gateway Film Critics Association[35][36] 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[37][38] 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[39] 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[40] 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 ^ THE JAMESON EMPIRE AWARDS 2015
17.Jump up ^ "‘Birdman’ leads 2014 Florida Film Critics Awards Nominations". December 16, 2014. Retrieved December 18, 2014.
18.Jump up ^ "2014 FFCC Award Winners". December 19, 2014. Retrieved January 12, 2015.
19.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.
20.Jump up ^ "Georgia Film Critics Association: Full List of Nominees". January 7, 2015. Retrieved January 7, 2015.
21.Jump up ^ "Jake Gyllenhaal, Tilda Swinton among Georgia Critics’ 2014 winners". Hitfix. January 9, 2015. Retrieved January 9, 2015.
22.Jump up ^ "Golden Globes 2015: full list of nominees". Radio Times. December 11, 2014. Retrieved December 18, 2014.
23.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' and usual critical darling suspects lead Houston critics' nominations". HitFix. Retrieved December 18, 2014.
24.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
25.Jump up ^ "Precursor: 18th Las Vegas Critics Awards". December 19, 2014. Retrieved January 12, 2015.
26.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.
27.Jump up ^ McNary, Dave (January 15, 2015). "Motion Picture Sound Editors Announce Golden Reel Nominees". Variety. Retrieved January 15, 2015.
28.Jump up ^ "'Gone Girl' Tops 2014 Nevada Film Critics Society Awards". December 20, 2014. Retrieved January 7, 2015.
29.Jump up ^ "North Texas Film Critic Association: Full List of Nominees". January 5, 2015. Retrieved January 5, 2015.
30.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.
31.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' comes away with six Phoenix film critics awards including Best Picture". HitFix. Retrieved January 12, 2015.
32.Jump up ^ "2014 San Diego Film Critics Award Nominations". December 11, 2014. Retrieved December 18, 2014.
33.Jump up ^ Pond, Steve (December 1, 2014). "‘Birdman’ Leads Satellite Awards Nominations". The Wrap. Retrieved December 18, 2014.
34.Jump up ^ "Saturn Awards: List of 2015 nominations". March 3, 2015. Retrieved March 3, 2015.
35.Jump up ^ Tapley, Kristopher (December 11, 2014). "'Birdman,' 'Grand Budapest' lead St. Louis film critics nominations". HitFix. Retrieved December 18, 2014.
36.Jump up ^ "St. Louis Gateway Film Critics Association: Full List of Winners". December 15, 2014. Retrieved January 12, 2015.
37.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.
38.Jump up ^ "13th Annual VES Award Recipients". February 4, 2015. Retrieved February 4, 2015.
39.Jump up ^ Anderson, Erik (December 6, 2014). "Washington D.C. Area Film Critics Association (WAFCA) Nominations". Awards Watch. Retrieved December 18, 2014.
40.Jump up ^ "The Women Film Critics Circle Awards: List of Winners". The Flick Chicks. December 14, 2014. Retrieved December 18, 2014.
External links[edit]
Awards for Interstellar at the Internet Movie Database
  


Categories: Lists of accolades by film


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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
Empire Awards[16] Best Film Interstellar Won
Best Director Christopher Nolan Won
Best Sci-Fi/Fantasy Interstellar Nominated
Florida Film Critics Circle[17][18] 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[19] Visually Striking Film of the Year  Nominated
Georgia Film Critics Association[20][21] 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[22] Best Original Score Hans Zimmer Nominated
Houston Film Critics Society[23] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
International Online Film Critics' Poll[24] Best Original Score Hans Zimmer Nominated
Best Visual Effects  Nominated
Las Vegas Film Critics Society Awards[25] Best Visual Effects  Won
Make-Up Artists and Hair Stylists Guild[26] 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[27] Feature English Language -Effects/Foley Richard King Nominated
Feature Music Alex Gibson Nominated
Nevada Film Critics Society[28] Best Cinematography Hoyte van Hoytema Won
Best Visual Effects  Won
North Texas Film Critics Association[29] Best Cinematography Hoyte van Hoytema Won
Phoenix Film Critics Society[30][31] 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[32] Best Cinematography Hoyte van Hoytema Nominated
Best Production Design Nathan Crowley Nominated
Satellite Awards[33] Best Cinematography Hoyte van Hoytema Nominated
Best Original Score Hans Zimmer Nominated
Best Visual Effects Andrew Lockley, Ian Hunter, Paul Franklin, Scott Fisher Nominated
Saturn Awards[34] Best Science Fiction Film Interstellar Pending
Best Director Christopher Nolan Pending
Best Editing Lee Smith Pending
Best Actor Matthew McConaughey Pending
Best Actress Anne Hathaway Pending
Best Supporting Actress Jessica Chastain Pending
Best Performance by a Younger Actor Mackenzie Foy Pending
Best Music Hans Zimmer Pending
Best Production Design Nathan Crowley Pending
Best Special Effects Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher Pending
St. Louis Gateway Film Critics Association[35][36] 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[37][38] 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[39] 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[40] 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 ^ THE JAMESON EMPIRE AWARDS 2015
17.Jump up ^ "‘Birdman’ leads 2014 Florida Film Critics Awards Nominations". December 16, 2014. Retrieved December 18, 2014.
18.Jump up ^ "2014 FFCC Award Winners". December 19, 2014. Retrieved January 12, 2015.
19.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.
20.Jump up ^ "Georgia Film Critics Association: Full List of Nominees". January 7, 2015. Retrieved January 7, 2015.
21.Jump up ^ "Jake Gyllenhaal, Tilda Swinton among Georgia Critics’ 2014 winners". Hitfix. January 9, 2015. Retrieved January 9, 2015.
22.Jump up ^ "Golden Globes 2015: full list of nominees". Radio Times. December 11, 2014. Retrieved December 18, 2014.
23.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' and usual critical darling suspects lead Houston critics' nominations". HitFix. Retrieved December 18, 2014.
24.Jump up ^ "Winners of the 2013 – 2014 International Online Film Critics’ Poll Announced". Monsters and Critics. January 26, 2015. Retrieved January 27, 2015.
25.Jump up ^ "Precursor: 18th Las Vegas Critics Awards". December 19, 2014. Retrieved January 12, 2015.
26.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.
27.Jump up ^ McNary, Dave (January 15, 2015). "Motion Picture Sound Editors Announce Golden Reel Nominees". Variety. Retrieved January 15, 2015.
28.Jump up ^ "'Gone Girl' Tops 2014 Nevada Film Critics Society Awards". December 20, 2014. Retrieved January 7, 2015.
29.Jump up ^ "North Texas Film Critic Association: Full List of Nominees". January 5, 2015. Retrieved January 5, 2015.
30.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.
31.Jump up ^ Tapley, Kristopher (December 16, 2014). "'Birdman' comes away with six Phoenix film critics awards including Best Picture". HitFix. Retrieved January 12, 2015.
32.Jump up ^ "2014 San Diego Film Critics Award Nominations". December 11, 2014. Retrieved December 18, 2014.
33.Jump up ^ Pond, Steve (December 1, 2014). "‘Birdman’ Leads Satellite Awards Nominations". The Wrap. Retrieved December 18, 2014.
34.Jump up ^ "Saturn Awards: List of 2015 nominations". March 3, 2015. Retrieved March 3, 2015.
35.Jump up ^ Tapley, Kristopher (December 11, 2014). "'Birdman,' 'Grand Budapest' lead St. Louis film critics nominations". HitFix. Retrieved December 18, 2014.
36.Jump up ^ "St. Louis Gateway Film Critics Association: Full List of Winners". December 15, 2014. Retrieved January 12, 2015.
37.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.
38.Jump up ^ "13th Annual VES Award Recipients". February 4, 2015. Retrieved February 4, 2015.
39.Jump up ^ Anderson, Erik (December 6, 2014). "Washington D.C. Area Film Critics Association (WAFCA) Nominations". Awards Watch. Retrieved December 18, 2014.
40.Jump up ^ "The Women Film Critics Circle Awards: List of Winners". The Flick Chicks. December 14, 2014. Retrieved December 18, 2014.
External links[edit]
Awards for Interstellar at the Internet Movie Database
  


Categories: Lists of accolades by film


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This page was last modified on 7 April 2015, at 17:56.
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)

























 



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
$672.7 million[3]
Interstellar is a British-American 2014 science fiction epic 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 has its origins in a script Jonathan developed in 2007. Christopher Nolan produced the film with his wife Emma Thomas, and Lynda Obst. Caltech 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, 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 generally 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, Jessica Chastain, 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, musical score, and the performance of Mackenzie Foy.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development and financing
4.2 Writing
4.3 Casting
4.4 Filming
4.5 Production design
4.6 Sound design and music
4.7 Visual effects
5 Influences
6 Scientific accuracy
7 Marketing
8 Release 8.1 Theatrical run
8.2 Home media
9 Reception 9.1 Box office
9.2 Critical response
10 Accolades
11 See also
12 Notes
13 References
14 Further reading
15 External links

Plot[edit]
On Earth, crop blight has caused civilization to regress into a failing agrarian society. Widowed former military pilot and NASA astronaut Cooper runs a farm with his father-in-law, teenage son, and 10-year-old daughter Murphy ("Murph"), who believes her room is haunted by a poltergeist trying to communicate with her by knocking books and model spacecraft off the shelves. They soon discover that Murphy's "ghost" is an unknown intelligence sending coded messages using gravitational waves. A set of binary coded coordinates in the dust directs them to a secret NASA installation. There they meet one of Cooper's college professors, Dr. John Brand, who reveals that a wormhole, apparently created by an advanced intelligence, has opened near Saturn and leads to new planets in another galaxy that may offer hope for humanity's survival. NASA has sent three "Lazarus missions" through the wormhole to identify potentially habitable worlds orbiting a supermassive black hole named Gargantua: these have been named Miller, Edmunds, and Mann, after the scientists who surveyed them. Brand recruits Cooper to command and pilot the spacecraft Endurance to recover the scientists' findings. Brand says he expects to be able to use the data from the black hole to solve the use of gravity for propulsion, to send surviving humanity on space stations to one of the habitable planets ("plan A"). As "plan B", Endurance will carry frozen human embryos to keep the race going on habitable new worlds. Cooper's decision to accept the mission devastates and angers Murphy, who refuses to talk to Cooper.
On Endurance, Cooper joins Brand's daughter, biotechnologist Amelia; scientists Romilly and Doyle; and robots TARS and CASE. They travel two years to Saturn, then through the wormhole to the distant galaxy. They decide to first head to Miller, realizing that its proximity to Gargantua causes severe gravitational time dilation; each hour spent on the surface is equivalent to seven years on Earth. Cooper, Amelia, and Doyle descend to the planet, finding it covered by a shallow ocean, and that Miller is dead. As Amelia attempts to recover the data, an enormous tidal wave hits, killing Doyle and delaying the shuttle's departure.
When Cooper and Amelia return to the Endurance, 23 years have passed on Earth, and the adult Murphy is a NASA scientist helping Brand solve his gravity equation. With his dying breath, Brand admits to her what she has come to suspect: he has already solved his equation and determined "plan A" to be impossible, lying to her to keep hope alive. However, Murphy keeps working on the problem, and concludes gravity propulsion might work, given enough information about the singularity inside the black hole.
Low on fuel, Endurance can only visit one more planet before returning to Earth. Cooper discovers that Amelia is in love with Edmunds. After a tense vote, the team selects Mann's planet over Edmunds', as Mann is still transmitting. However, they discover it is perpetually cold, covered with glaciers, and has a poisonous atmosphere. Mann, 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 sending Endurance spinning wildly and spiraling toward the planet, but Cooper manages to dock the cargo shuttle and use its engines to get Endurance under control and keep it in orbit.
Nearly out of fuel, Cooper and Amelia decide to slingshot Endurance around Gargantua on a course toward Edmunds on the other side of the black hole, while 51 years will pass on Earth. Cooper and TARS detach their shuttle into the black hole, sacrificing themselves to collect data on the singularity and propel Amelia and CASE faster by reducing the ship's mass. Cooper and TARS emerge into a five-dimensional region of space that has been compressed into a three-dimensional structure by its creators in order to help Cooper understand that gravity can be exerted across the dimensions to communicate. Looking through what appear to be rows and rows of book shelves, Cooper can see into Murphy's room at various moments in time, and realizes he was her "poltergeist". After agonizing over being unable to help the child Murphy convince him not to leave, he uses gravitational waves to encode TARS's data on the singularity through Morse code into a watch he gave Murphy before he left. When the adult Murphy retrieves the watch, she realizes that Cooper is manipulating the second hand to give her the data needed to solve Brand's quantum gravity equation. After the data is transmitted, the region collapses, and Cooper finds himself traveling back through the wormhole, entering into orbit around Saturn in 2156. He awakens aboard a NASA space station and tearfully reunites with Murphy, who is on her death bed after having led humanity's exodus. Satisfied that Cooper has kept his promise to come back for her, she convinces him to find Amelia. He steals a NASA shuttle and takes the rescued and reprogrammed TARS to Edmunds' planet, where Amelia is alone with CASE, implementing plan B.
Cast[edit]
Astronaut crewMatthew McConaughey as Cooper
Anne Hathaway as Dr. Amelia Brand
David Gyasi as Dr. Romilly
Wes Bentley as Dr. Doyle
Bill Irwin as robot TARS (voice and puppetry) and CASE (puppetry)
Josh Stewart as robot CASE (voice)
On EarthJessica Chastain as Murphy "Murph" Cooper
Mackenzie Foy as young Murphy
Ellen Burstyn as elderly Murphy
Michael Caine as Dr. John Brand
Casey Affleck as Tom Cooper, Murphy's brother
Timothée Chalamet as young Tom
John Lithgow as Donald, Cooper's father-in-law
Leah Cairns as Lois Cooper, Tom's wife
Topher Grace as Getty, Murphy's boyfriend[4]
David Oyelowo as School principal
William Devane as Williams, a NASA board member
Elyes Gabel as the NASA Administrator
Collette Wolfe as Ms. Hanley
In spaceMatt Damon as Dr. Mann[5]
Themes[edit]
Interstellar explores a post-apocalyptic future where civilization has regressed and mankind is in danger of extinction. A blight destroying all food sources has humanity on a path to starvation.
Brand, the professor, has a plan to save the species, saying "we were not meant to save the earth, we were meant to leave it." His plans for space colonization include launching a gigantic space ship by defying gravity and sending embryos to other planets to restart humanity. It is later revealed that the scientists never thought the space station plan was viable.
Richard Roeper says that one of the beautiful things about the movie is the "overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms: Love."[6] The hero decides to leave the daughter he loves to take a mission to find a new hospitable planet. All the time he keeps thinking of the sacrifice he made by leaving his daughter. At the end of the movie, as he enters a black hole he discovers that humans from the future have been trying to help them out all along. In the black hole he moves through time and space until he communicates with her in the past by affecting the physics of a watch. He finds her because he searches for her through the power of love. The New Yorker says that "The Nolans take us into the farthest mysteries of space-time, where, they assure us, love joins gravity as a force that operates across interstellar distances."[7]
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.[8][9] 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.[10] 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.[11][12] By March 2007, Jonathan Nolan was hired to write a screenplay for the film, titled Interstellar.[13]
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.[14] Christopher Nolan met with Kip Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[15] In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[16] Nolan said he wanted to encourage the goal of human spaceflight.[17] He intended to write a screenplay based on his own idea that he would merge with his brother's screenplay.[18] By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[19] The Hollywood Reporter said Nolan will earn a salary of $20 million against 20% of what Interstellar grosses.[20] To research for the film, Nolan visited NASA as well as the private space program SpaceX.[15]
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".[21] 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.[22]
Writing[edit]
Screenwriter Jonathan Nolan was hired by Spielberg to write a script for Interstellar, and he worked on it for four years.[8] To learn the science, he studied relativity at the California Institute of Technology while writing the script.[23] 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."[14] 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.[24][25] 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.[8] 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.[26]
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,[27] which he had an opportunity to see since he was friends with one of its producers, Aaron Ryder.[8] 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.[28] Paramount announced in April 2013 that both actors were cast in the film's starring roles.[29] Nolan called McConaughey's character an everyman with whom "the audience could experience the story".[30] Jessica Chastain was contacted while she was filming Miss Julie in Northern Ireland, and a script was delivered to her.[28] 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.[31] 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.[27] Van Hoytema retooled an IMAX camera to be handheld for shooting interior scenes.[8] Some of the film's sequences were shot with an IMAX camera installed in the nosecone of a Learjet.[32]
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."[33] As one security measure, Interstellar was filmed under the name Flora's Letter,[34] Flora being one of Nolan's four children with producer Emma Thomas.[15]

 

 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.[22] 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.[34] For a cornfield scene, production designer Nathan Crowley planted 500 acres of corn that would be destroyed in an apocalyptic dust storm scene,[14] intended to be similar to storms experienced during the Dust Bowl in 1930s United States.[15] 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.[35] 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.[34]
Filming also took place in Iceland, where Nolan had previously filmed scenes for his 2005 film Batman Begins.[36] The crew transported mock spaceships weighing approximately 10,000 pounds (4,500 kg) to the country,[15] which was chosen to represent two extraterrestrial planets: one covered in ice, and one covered in water.[8] 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.[37][38] 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.[15]
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.[39] Filming concluded in December 2013, and Nolan started editing the film for its release in 2014.[40] Production completed with a budget of $165 million, $10 million less than what was allotted by Paramount, Warner Bros., and Legendary Pictures.[15]
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".[8]
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.[8]
Sound design and music[edit]
Main article: Interstellar (soundtrack)
Gregg Landaker and Gary Rizzo were sound engineers for the film, tasked with sound mixing, while sound editor Richard King supervised the process.[41] Christopher Nolan said he sought to mix the film's sound to take maximum advantage of current sound equipment in theaters.[42] Nolan paid close attention to designing the sound mix, for instance focusing on what buttons being pressed with astronaut-suit gloves would sound like.[14] 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."[43] 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.[44]
Composer Hans Zimmer, who scored Nolan's Batman film trilogy and 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."[45] 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".[46] 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.[14]
Visual effects[edit]
The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[47] 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.[8] 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.[48]
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.[49] New Deal Studio's miniatures were used in 150 special effects shots.[48]
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).[50] 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."[51] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[52]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[53] 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.[8] 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.[15] 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.[54]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[55] Outside of films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[15]
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."[56]
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.[57]
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".[58]Despite the comprehensibility of Cooper's final transition to the singularity of the black hole, the effect on a real human would be more dramatic: tidal forces would rip a body to shreds as it encounters the extreme gravity conditions as one gets closer to the object. The film's relatively gentle approach is inconsistent with the current understanding of the physical forces in these entities. In addition, a black hole's event horizon makes an estimation of the experience definitionally impossible to predict.
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.[59] 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.[60]

 

 Computer image of the supermassive black hole "Gargantua". This simulation is approximately what a person would see in the vicinity of a black hole, according to equations of general relativity. All of the light shown here comes from the horizontal accretion disc. Gravity bends light from the back of the black hole to form the apparent vertical ring.
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."[12] 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.[12][61] 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.[12]
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.[62] 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.
Astrophysicist Neil deGrasse Tyson has explored the science behind the ending of Interstellar. He concludes that it is theoretically possible to interact with the past, and that "we don't really know what's in a Black Hole, so take it and run with it." [63]
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."[64]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[65]
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.[66] 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.[67]
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.[68]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[69] The film's website was relaunched to be a digital hub hosted on a Google domain.[70] The website collected feedback from film audiences, and linked to a mobile app.[70] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[71] 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.[69]
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.[72][73] 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.[74] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[75]
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.[76]
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.[77] 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.[78] 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.[79] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[80] It premiered in Europe on October 29, 2014 at Leicester Square in London.[81]
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.[82] 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.[83] 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.[84] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[4] The film was released in over 770 IMAX screens worldwide, which was widest global release in IMAX cinemas,[85][86] until surpassed by Universal Pictures' Furious 7 (810 IMAX theaters).[87]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[88] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[84] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[89] 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.[90]
Home media[edit]
Interstellar was released on home video on March 31, 2015 in both the United States and United Kingdom.[91][92]
Reception[edit]
Box office[edit]
As of March 19, 2015, Interstellar has earned $188 million in North America and $484.7 million in other territories for a worldwide total of $672.7 million, against a production budget of $165 million.[3] Calculating in all expenses, Deadline.com estimated that the film made a profit of $47.16 million.[93]
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.[94] It had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[95] It became the tenth highest-grossing film of 2014.[96] 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.[97][98][99]
Interstellar was released in the UK, Ireland and Malta, on November 6, 2014, and 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).[100] The film was released in 35 markets on the same day, including major markets like Germany, Russia, Australia and Brazil and earned $8.7 million in total.[101] Through Sunday, it earned an opening weekend total of $82.9 million from 11.1 million admissions from over 14,800 screens in 62 markets.[102] It earned $7.3 million from 206 IMAX screens, at an average of 35,400 per theater.[103] It went number one in South Korea ($14.4 million),[104] Russia ($8.9 million) and France ($5.3 million). Other high openings occured in 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).[105] 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.[106][107] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[108][109] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[110] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[111] and Pacific Rim ($45.2 million).[112][113]
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.[110] 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).[114] 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.[115][116] In total earnings, its largest markets outside of North America and China are South Korea ($73.4 million), the UK, Ireland and Malta ($31.3 million), and Russia and the CIS ($19 million).[117]
Interstellar and Big Hero 6 opened the same weekend (November 7–9, 2014) in the U.S. and Canada. 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.[118] 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 7th highest-grossing film that never hit No. 1 with a top rank of No. 2 in its opening weekend.[119] Interstellar had an early limited release in the U.S. and Canada in selected theaters on November 4, 2014 at 8:00 pm, coinciding with the 2014 US midterm elections.[120] It 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.[121] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[122] It earned $3.6 million from Thursday late-night shows for a previews total of $4.9 million (Tuesday — Thursday).[123][124][125] 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).[126] The film played 52% male and 75% over 25 years old.[127]
In its opening weekend the film earned $47,510,360[nb 2] from 3,561 theaters, debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million).[129] IMAX comprised $13.2 million (28%) of its opening weekend gross,[130] 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.[131][132] 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."[133] 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.[134][135] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[136][137] 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.[138]
Critical response[edit]
Interstellar received generally positive reviews from critics. It has a score of 72% on review aggregator website Rotten Tomatoes based on 284 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."[139] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[140]
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.[141] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[142] 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.[143] 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."[144]
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."[145] 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."[146] 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".[147] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[148] 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."[149]
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.[150] 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."[151] 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".[152] 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."[153]
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."[154] 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."[155]
Accolades[edit]
Main article: List of accolades received by Interstellar (film)
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Black holes in fiction
Bootstrap paradox
Interstellar spacecraft
Interstellar travel
List of films featuring drones
List of time travel science fiction
Wormholes in fiction
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 2.39:1 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.[128]
References[edit]
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98.Jump up ^ Dave McNary (December 15, 2014). "'Interstellar' Tops $100 Million in Imax Box Office". Variety. Retrieved December 16, 2014.
99.Jump up ^ Scott Mendelson (July 2, 2014). "'Gravity' Passes $100M In IMAX". Forbes. Retrieved December 16, 2014.
100.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.
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103.Jump up ^ Brent Lang (November 9, 2014). "'Interstellar' Tops Global Box Office with $132 Million Haul". Variety. Retrieved November 10, 2014.
104.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.
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107.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.
108.Jump up ^ Patrick Frater (November 17, 2014). "China Box Office: 'Interstellar' on Fast Track". Variety. Retrieved November 19, 2014.
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111.Jump up ^ Nancy Tartaglione (January 25, 2015). "‘Hobbit’ Storms China; ‘Sniper’ Takes Out More Records: International Box Office". Deadline.com. Retrieved January 26, 2015.
112.Jump up ^ Pamela McClintock (November 16, 2014). "Global Box Office: 'Interstellar' Rockets Past $300M Worldwide". The Hollywood Reporter. Retrieved November 17, 2014.
113.Jump up ^ Pamela McClintock (August 4, 2013). "'Pacific Rim' Scores Massive $45.2 Million China Debut". The Hollywood Reporter. Retrieved November 17, 2014.
114.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.
115.Jump up ^ Brent Lang (December 14, 2014). "'Hobbit: Battle of Five Armies' Rules Foreign Box Office With $117.6 Million". Variety. Retrieved December 15, 2014.
116.Jump up ^ Nancy Tartaglione (December 14, 2014). "Footloose ‘Hobbit’ Grows; ‘Mockingjay’ Tempers ‘Fire': Intl Box Office Final". Deadline.com. Retrieved December 15, 2014.
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122.Jump up ^ Scott Mendelson (November 6, 2014). "Box Office: Chris Nolan's 'Interstellar' Earns $1.35M Wednesday". Forbes. Retrieved November 7, 2014.
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124.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.
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131.Jump up ^ Scott Mendelson (November 9, 2014). "Box Office: 'Big Hero 6' Tops 'Interstellar' With $56.2M Weekend". Forbes. Retrieved November 10, 2014.
132.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.
133.Jump up ^ Brent Lang (November 9, 2014). "Box Office: 'Big Hero 6' Races Past 'Interstellar' With $56.2 Million". Variety. Retrieved November 10, 2014.
134.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.
135.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.
136.Jump up ^ Brent Lang (November 16, 2014). "Box Office: 'Dumb and Dumber To' On Top With $38.1 Million". Variety. Retrieved November 17, 2014.
137.Jump up ^ Scott Bowles (November 16, 2014). "'Dumb and Dumber To' Graduating Box Office Money Cum Laude". Deadline.com. Retrieved November 17, 2014.
138.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.
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148.Jump up ^ Lumenick, Lou (November 3, 2014). "'Interstellar' is a must-see masterpiece". New York Post. Retrieved November 4, 2014.
149.Jump up ^ Roeper, Richard (November 4, 2014). "'Interstellar': Epic Beauty In Its Effects and Its Ideas". Chicago Sun-Times. Retrieved November 4, 2014.
150.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
151.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
152.Jump up ^ Coyle, Jake (October 30, 2014). "Review: 'Interstellar' a sublime cosmic knockout". The Associated Press. Retrieved October 31, 2014.
153.Jump up ^ Mendelson, Scott (December 26, 2014). "'Interstellar,' 'The Interview,' And The Most Disappointing Films Of 2014". Forbes. Retrieved December 29, 2014.
154.Jump up ^ Brooks, David. "Love and Gravity". www.nytimes.com. The New York Times. Retrieved December 13, 2014.
155.Jump up ^ Dimock, Wai Chee (December 25, 2014). "Books in Space: Christopher Nolan’s “Interstellar”". The Los Angeles Review of Books. Archived from the original on December 29, 2014. Retrieved March 20, 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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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
$672.7 million[3]
Interstellar is a British-American 2014 science fiction epic 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 has its origins in a script Jonathan developed in 2007. Christopher Nolan produced the film with his wife Emma Thomas, and Lynda Obst. Caltech 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, 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 generally 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, Jessica Chastain, 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, musical score, and the performance of Mackenzie Foy.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development and financing
4.2 Writing
4.3 Casting
4.4 Filming
4.5 Production design
4.6 Sound design and music
4.7 Visual effects
5 Influences
6 Scientific accuracy
7 Marketing
8 Release 8.1 Theatrical run
8.2 Home media
9 Reception 9.1 Box office
9.2 Critical response
10 Accolades
11 See also
12 Notes
13 References
14 Further reading
15 External links

Plot[edit]
On Earth, crop blight has caused civilization to regress into a failing agrarian society. Widowed former military pilot and NASA astronaut Cooper runs a farm with his father-in-law, teenage son, and 10-year-old daughter Murphy ("Murph"), who believes her room is haunted by a poltergeist trying to communicate with her by knocking books and model spacecraft off the shelves. They soon discover that Murphy's "ghost" is an unknown intelligence sending coded messages using gravitational waves. A set of binary coded coordinates in the dust directs them to a secret NASA installation. There they meet one of Cooper's college professors, Dr. John Brand, who reveals that a wormhole, apparently created by an advanced intelligence, has opened near Saturn and leads to new planets in another galaxy that may offer hope for humanity's survival. NASA has sent three "Lazarus missions" through the wormhole to identify potentially habitable worlds orbiting a supermassive black hole named Gargantua: these have been named Miller, Edmunds, and Mann, after the scientists who surveyed them. Brand recruits Cooper to command and pilot the spacecraft Endurance to recover the scientists' findings. Brand says he expects to be able to use the data from the black hole to solve the use of gravity for propulsion, to send surviving humanity on space stations to one of the habitable planets ("plan A"). As "plan B", Endurance will carry frozen human embryos to keep the race going on habitable new worlds. Cooper's decision to accept the mission devastates and angers Murphy, who refuses to talk to Cooper.
On Endurance, Cooper joins Brand's daughter, biotechnologist Amelia; scientists Romilly and Doyle; and robots TARS and CASE. They travel two years to Saturn, then through the wormhole to the distant galaxy. They decide to first head to Miller, realizing that its proximity to Gargantua causes severe gravitational time dilation; each hour spent on the surface is equivalent to seven years on Earth. Cooper, Amelia, and Doyle descend to the planet, finding it covered by a shallow ocean, and that Miller is dead. As Amelia attempts to recover the data, an enormous tidal wave hits, killing Doyle and delaying the shuttle's departure.
When Cooper and Amelia return to the Endurance, 23 years have passed on Earth, and the adult Murphy is a NASA scientist helping Brand solve his gravity equation. With his dying breath, Brand admits to her what she has come to suspect: he has already solved his equation and determined "plan A" to be impossible, lying to her to keep hope alive. However, Murphy keeps working on the problem, and concludes gravity propulsion might work, given enough information about the singularity inside the black hole.
Low on fuel, Endurance can only visit one more planet before returning to Earth. Cooper discovers that Amelia is in love with Edmunds. After a tense vote, the team selects Mann's planet over Edmunds', as Mann is still transmitting. However, they discover it is perpetually cold, covered with glaciers, and has a poisonous atmosphere. Mann, 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 sending Endurance spinning wildly and spiraling toward the planet, but Cooper manages to dock the cargo shuttle and use its engines to get Endurance under control and keep it in orbit.
Nearly out of fuel, Cooper and Amelia decide to slingshot Endurance around Gargantua on a course toward Edmunds on the other side of the black hole, while 51 years will pass on Earth. Cooper and TARS detach their shuttle into the black hole, sacrificing themselves to collect data on the singularity and propel Amelia and CASE faster by reducing the ship's mass. Cooper and TARS emerge into a five-dimensional region of space that has been compressed into a three-dimensional structure by its creators in order to help Cooper understand that gravity can be exerted across the dimensions to communicate. Looking through what appear to be rows and rows of book shelves, Cooper can see into Murphy's room at various moments in time, and realizes he was her "poltergeist". After agonizing over being unable to help the child Murphy convince him not to leave, he uses gravitational waves to encode TARS's data on the singularity through Morse code into a watch he gave Murphy before he left. When the adult Murphy retrieves the watch, she realizes that Cooper is manipulating the second hand to give her the data needed to solve Brand's quantum gravity equation. After the data is transmitted, the region collapses, and Cooper finds himself traveling back through the wormhole, entering into orbit around Saturn in 2156. He awakens aboard a NASA space station and tearfully reunites with Murphy, who is on her death bed after having led humanity's exodus. Satisfied that Cooper has kept his promise to come back for her, she convinces him to find Amelia. He steals a NASA shuttle and takes the rescued and reprogrammed TARS to Edmunds' planet, where Amelia is alone with CASE, implementing plan B.
Cast[edit]
Astronaut crewMatthew McConaughey as Cooper
Anne Hathaway as Dr. Amelia Brand
David Gyasi as Dr. Romilly
Wes Bentley as Dr. Doyle
Bill Irwin as robot TARS (voice and puppetry) and CASE (puppetry)
Josh Stewart as robot CASE (voice)
On EarthJessica Chastain as Murphy "Murph" Cooper
Mackenzie Foy as young Murphy
Ellen Burstyn as elderly Murphy
Michael Caine as Dr. John Brand
Casey Affleck as Tom Cooper, Murphy's brother
Timothée Chalamet as young Tom
John Lithgow as Donald, Cooper's father-in-law
Leah Cairns as Lois Cooper, Tom's wife
Topher Grace as Getty, Murphy's boyfriend[4]
David Oyelowo as School principal
William Devane as Williams, a NASA board member
Elyes Gabel as the NASA Administrator
Collette Wolfe as Ms. Hanley
In spaceMatt Damon as Dr. Mann[5]
Themes[edit]
Interstellar explores a post-apocalyptic future where civilization has regressed and mankind is in danger of extinction. A blight destroying all food sources has humanity on a path to starvation.
Brand, the professor, has a plan to save the species, saying "we were not meant to save the earth, we were meant to leave it." His plans for space colonization include launching a gigantic space ship by defying gravity and sending embryos to other planets to restart humanity. It is later revealed that the scientists never thought the space station plan was viable.
Richard Roeper says that one of the beautiful things about the movie is the "overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms: Love."[6] The hero decides to leave the daughter he loves to take a mission to find a new hospitable planet. All the time he keeps thinking of the sacrifice he made by leaving his daughter. At the end of the movie, as he enters a black hole he discovers that humans from the future have been trying to help them out all along. In the black hole he moves through time and space until he communicates with her in the past by affecting the physics of a watch. He finds her because he searches for her through the power of love. The New Yorker says that "The Nolans take us into the farthest mysteries of space-time, where, they assure us, love joins gravity as a force that operates across interstellar distances."[7]
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.[8][9] 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.[10] 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.[11][12] By March 2007, Jonathan Nolan was hired to write a screenplay for the film, titled Interstellar.[13]
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.[14] Christopher Nolan met with Kip Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[15] In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[16] Nolan said he wanted to encourage the goal of human spaceflight.[17] He intended to write a screenplay based on his own idea that he would merge with his brother's screenplay.[18] By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[19] The Hollywood Reporter said Nolan will earn a salary of $20 million against 20% of what Interstellar grosses.[20] To research for the film, Nolan visited NASA as well as the private space program SpaceX.[15]
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".[21] 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.[22]
Writing[edit]
Screenwriter Jonathan Nolan was hired by Spielberg to write a script for Interstellar, and he worked on it for four years.[8] To learn the science, he studied relativity at the California Institute of Technology while writing the script.[23] 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."[14] 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.[24][25] 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.[8] 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.[26]
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,[27] which he had an opportunity to see since he was friends with one of its producers, Aaron Ryder.[8] 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.[28] Paramount announced in April 2013 that both actors were cast in the film's starring roles.[29] Nolan called McConaughey's character an everyman with whom "the audience could experience the story".[30] Jessica Chastain was contacted while she was filming Miss Julie in Northern Ireland, and a script was delivered to her.[28] 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.[31] 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.[27] Van Hoytema retooled an IMAX camera to be handheld for shooting interior scenes.[8] Some of the film's sequences were shot with an IMAX camera installed in the nosecone of a Learjet.[32]
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."[33] As one security measure, Interstellar was filmed under the name Flora's Letter,[34] Flora being one of Nolan's four children with producer Emma Thomas.[15]

 

 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.[22] 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.[34] For a cornfield scene, production designer Nathan Crowley planted 500 acres of corn that would be destroyed in an apocalyptic dust storm scene,[14] intended to be similar to storms experienced during the Dust Bowl in 1930s United States.[15] 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.[35] 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.[34]
Filming also took place in Iceland, where Nolan had previously filmed scenes for his 2005 film Batman Begins.[36] The crew transported mock spaceships weighing approximately 10,000 pounds (4,500 kg) to the country,[15] which was chosen to represent two extraterrestrial planets: one covered in ice, and one covered in water.[8] 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.[37][38] 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.[15]
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.[39] Filming concluded in December 2013, and Nolan started editing the film for its release in 2014.[40] Production completed with a budget of $165 million, $10 million less than what was allotted by Paramount, Warner Bros., and Legendary Pictures.[15]
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".[8]
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.[8]
Sound design and music[edit]
Main article: Interstellar (soundtrack)
Gregg Landaker and Gary Rizzo were sound engineers for the film, tasked with sound mixing, while sound editor Richard King supervised the process.[41] Christopher Nolan said he sought to mix the film's sound to take maximum advantage of current sound equipment in theaters.[42] Nolan paid close attention to designing the sound mix, for instance focusing on what buttons being pressed with astronaut-suit gloves would sound like.[14] 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."[43] 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.[44]
Composer Hans Zimmer, who scored Nolan's Batman film trilogy and 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."[45] 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".[46] 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.[14]
Visual effects[edit]
The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[47] 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.[8] 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.[48]
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.[49] New Deal Studio's miniatures were used in 150 special effects shots.[48]
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).[50] 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."[51] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water".[52]
Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[53] 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.[8] 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.[15] 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.[54]
The setting of the farm in the Midwest was inspired by Clark Kent's upbringing in Man of Steel.[55] Outside of films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[15]
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."[56]
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.[57]
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".[58]Despite the comprehensibility of Cooper's final transition to the singularity of the black hole, the effect on a real human would be more dramatic: tidal forces would rip a body to shreds as it encounters the extreme gravity conditions as one gets closer to the object. The film's relatively gentle approach is inconsistent with the current understanding of the physical forces in these entities. In addition, a black hole's event horizon makes an estimation of the experience definitionally impossible to predict.
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.[59] 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.[60]

 

 Computer image of the supermassive black hole "Gargantua". This simulation is approximately what a person would see in the vicinity of a black hole, according to equations of general relativity. All of the light shown here comes from the horizontal accretion disc. Gravity bends light from the back of the black hole to form the apparent vertical ring.
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."[12] 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.[12][61] 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.[12]
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.[62] 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.
Astrophysicist Neil deGrasse Tyson has explored the science behind the ending of Interstellar. He concludes that it is theoretically possible to interact with the past, and that "we don't really know what's in a Black Hole, so take it and run with it." [63]
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."[64]
Lawrence Krauss has called the science in Interstellar "miserable", and used the blight as an example.[65]
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.[66] 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.[67]
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.[68]
In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[69] The film's website was relaunched to be a digital hub hosted on a Google domain.[70] The website collected feedback from film audiences, and linked to a mobile app.[70] The app featured a game in which players could build solar system models and use a flight simulator for space travel.[71] 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.[69]
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.[72][73] 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.[74] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne.[75]
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.[76]
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.[77] 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.[78] 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.[79] The film officially premiered on October 26, 2014 at the TCL Chinese Theatre in Los, Angeles, California.[80] It premiered in Europe on October 29, 2014 at Leicester Square in London.[81]
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.[82] 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.[83] 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.[84] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[4] The film was released in over 770 IMAX screens worldwide, which was widest global release in IMAX cinemas,[85][86] until surpassed by Universal Pictures' Furious 7 (810 IMAX theaters).[87]
Interstellar is an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[88] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar from film would help preserve an endangered format,[84] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[89] 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.[90]
Home media[edit]
Interstellar was released on home video on March 31, 2015 in both the United States and United Kingdom.[91][92]
Reception[edit]
Box office[edit]
As of March 19, 2015, Interstellar has earned $188 million in North America and $484.7 million in other territories for a worldwide total of $672.7 million, against a production budget of $165 million.[3] Calculating in all expenses, Deadline.com estimated that the film made a profit of $47.16 million.[93]
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.[94] It had a worldwide opening of $132.6 million which is the tenth largest opening of 2014.[95] It became the tenth highest-grossing film of 2014.[96] 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.[97][98][99]
Interstellar was released in the UK, Ireland and Malta, on November 6, 2014, and 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).[100] The film was released in 35 markets on the same day, including major markets like Germany, Russia, Australia and Brazil and earned $8.7 million in total.[101] Through Sunday, it earned an opening weekend total of $82.9 million from 11.1 million admissions from over 14,800 screens in 62 markets.[102] It earned $7.3 million from 206 IMAX screens, at an average of 35,400 per theater.[103] It went number one in South Korea ($14.4 million),[104] Russia ($8.9 million) and France ($5.3 million). Other high openings occured in 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).[105] 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.[106][107] It went on to earn $41.7 million in its opening weekend, accounting 55% of the market shares.[108][109] It is Nolan's biggest opening in China, Warner Bros' biggest 2D opening[110] and the studio's third biggest opening of all time behind The Hobbit: The Battle of the Five Armies ($49.5 million)[111] and Pacific Rim ($45.2 million).[112][113]
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.[110] 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).[114] 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.[115][116] In total earnings, its largest markets outside of North America and China are South Korea ($73.4 million), the UK, Ireland and Malta ($31.3 million), and Russia and the CIS ($19 million).[117]
Interstellar and Big Hero 6 opened the same weekend (November 7–9, 2014) in the U.S. and Canada. 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.[118] 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 7th highest-grossing film that never hit No. 1 with a top rank of No. 2 in its opening weekend.[119] Interstellar had an early limited release in the U.S. and Canada in selected theaters on November 4, 2014 at 8:00 pm, coinciding with the 2014 US midterm elections.[120] It 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.[121] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[122] It earned $3.6 million from Thursday late-night shows for a previews total of $4.9 million (Tuesday — Thursday).[123][124][125] 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).[126] The film played 52% male and 75% over 25 years old.[127]
In its opening weekend the film earned $47,510,360[nb 2] from 3,561 theaters, debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million).[129] IMAX comprised $13.2 million (28%) of its opening weekend gross,[130] 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.[131][132] 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."[133] 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.[134][135] It earned $7.4 million from IMAX theatres from 368 screens in its second weekend.[136][137] 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.[138]
Critical response[edit]
Interstellar received generally positive reviews from critics. It has a score of 72% on review aggregator website Rotten Tomatoes based on 284 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."[139] On Metacritic, another review aggregator, the film has a score of 74 out of 100 on based on 46 critics, indicating "generally favorable reviews".[140]
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.[141] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[142] 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.[143] 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."[144]
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."[145] 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."[146] 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".[147] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[148] 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."[149]
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.[150] 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."[151] 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".[152] 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."[153]
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."[154] 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."[155]
Accolades[edit]
Main article: List of accolades received by Interstellar (film)
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Black holes in fiction
Bootstrap paradox
Interstellar spacecraft
Interstellar travel
List of films featuring drones
List of time travel science fiction
Wormholes in fiction
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 2.39:1 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.[128]
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70.^ 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.
71.Jump up ^ Watercutter, Angela (September 18, 2014). "Explore Black Holes and Destroy Planets in the Awesome New Interstellar Game". Retrieved September 19, 2014.
72.Jump up ^ Lussier, Germain (October 3, 2014). "'Interstellar' Oculus Rift Experience Coming To Select Theaters". /Film. Retrieved October 4, 2014.
73.Jump up ^ "Interstellar: Oculus Rift Immersive Experience". interstellarmovie.com. Paramount Pictures. Retrieved October 24, 2014.
74.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.
75.Jump up ^ Staff (September 17, 2014). "Science adviser to 'Interstellar' writing book". Yahoo! News (Associated Press). Retrieved September 29, 2014.
76.Jump up ^ Nolan, Christopher; Sean Gordon Murphy (November 18, 2014). Revealed: The Lost Chapter of Interstellar www.wired.com. Wired. Retrieved November 18, 2014.
77.Jump up ^ Smith, Emily (October 20, 2014). "Paramount chief holds private screening of 'Interstellar'". Page Six. Retrieved October 24, 2014.
78.Jump up ^ Waxman, Sharon (October 23, 2014). "Christopher Nolan's 'Interstellar' Explodes at Intimate, First-Look Screening". TheWrap. Retrieved October 24, 2014.
79.Jump up ^ Whipp, Glenn (October 24, 2014). "'Interstellar' makes some noise at Hollywood coming-out party". Los Angeles Times. Retrieved October 24, 2014.
80.Jump up ^ Ford, Rebecca (October 26, 2014). "'Interstellar' Premiere: Christopher Nolan's 'Love Letter' Takes Flight". The Hollywood Reporter. Retrieved October 27, 2014.
81.Jump up ^ Staff (October 30, 2014). "Interstellar: Christopher Nolan film premieres in London". BBC News. Retrieved October 30, 2014.
82.Jump up ^ Vlessing, Etan (October 1, 2014). "Christopher Nolan's 'Interstellar' Gets Advance Screenings in Film Formats". The Hollywood Reporter. Retrieved October 1, 2014.
83.Jump up ^ "Interstellar Movie 2014 – Worldwide Release Dates". Warner Bros. Pictures. Retrieved September 11, 2014.
84.^ Jump up to: a b McClintock, Pamela (October 1, 2014). "How Christopher Nolan's Crusade to Save Film is Working". The Hollywood Reporter. Retrieved October 1, 2014.
85.Jump up ^ Ben Child (October 24, 2014). "Interstellar wins celebrity raves as widest-ever IMAX rollout anticipated". The Guardian. Retrieved October 24, 2014.
86.Jump up ^ Etan Vlessing (October 23, 2014). "Imax Plans Biggest-Ever Theatrical Release For Christopher Nolan's 'Interstellar'". The Hollywood Reporter. Retrieved October 24, 2014.
87.Jump up ^ Ann Sommerlath. "UNIVERSAL PICTURES' FURIOUS 7 POISED TO IGNITE WORLDWIDE BOX OFFICE WITH WIDEST-EVER GLOBAL IMAX® RELEASE BEGINNING APRIL 1 (Press Release)". IMAX Corporation. Retrieved April 2, 2015.
88.Jump up ^ Verrier, Richard (January 28, 2014). "Paramount Pictures to make some exceptions to all-digital policy". Los Angeles Times. Retrieved January 28, 2014.
89.Jump up ^ McNary, Dave; Lang, Brent (October 1, 2014). "Christopher Nolan's 'Interstellar' Launching Early in Imax". Variety. Retrieved October 2, 2014.
90.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.
91.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
92.Jump up ^ "Epic Interstellar Blu-Ray Edition Launches Into Stores March 31". Space.com. February 4, 2015. Retrieved February 10, 2015.
93.Jump up ^ Mike Fleming Jr (March 10, 2015). "No. 20 ‘Interstellar’ – 2014 Most Valuable Movie Blockbuster Tournament". Deadline.com. Retrieved March 21, 2015.
94.Jump up ^ "INTERSTELLAR SCORES RECORD GLOBAL LAUNCH IN IMAX® WITH $20.5 MILLION OPENING WEEKEND (Press Release)". IMAX corporation. Retrieved January 3, 2015.
95.Jump up ^ "Worldwide Openings". Box Office Mojo. Retrieved November 27, 2014.
96.Jump up ^ "2014 Worldwide Grosses". Box Office Mojo. Retrieved December 1, 2014.
97.Jump up ^ Rebecca Ford (December 15, 2014). "Box Office: 'Interstellar' Rockets Past $100 Million Worldwide in Imax Theaters". The Hollywood Reporter. Retrieved December 16, 2014.
98.Jump up ^ Dave McNary (December 15, 2014). "'Interstellar' Tops $100 Million in Imax Box Office". Variety. Retrieved December 16, 2014.
99.Jump up ^ Scott Mendelson (July 2, 2014). "'Gravity' Passes $100M In IMAX". Forbes. Retrieved December 16, 2014.
100.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.
101.Jump up ^ Anita Busch (November 7, 2014). "'Interstellar' Ahead Of 'Gravity' In Opening Bow – International B.O.". Deadline.com. Retrieved November 8, 2014.
102.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.
103.Jump up ^ Brent Lang (November 9, 2014). "'Interstellar' Tops Global Box Office with $132 Million Haul". Variety. Retrieved November 10, 2014.
104.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.
105.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.
106.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.
107.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.
108.Jump up ^ Patrick Frater (November 17, 2014). "China Box Office: 'Interstellar' on Fast Track". Variety. Retrieved November 19, 2014.
109.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.
110.^ 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.
111.Jump up ^ Nancy Tartaglione (January 25, 2015). "‘Hobbit’ Storms China; ‘Sniper’ Takes Out More Records: International Box Office". Deadline.com. Retrieved January 26, 2015.
112.Jump up ^ Pamela McClintock (November 16, 2014). "Global Box Office: 'Interstellar' Rockets Past $300M Worldwide". The Hollywood Reporter. Retrieved November 17, 2014.
113.Jump up ^ Pamela McClintock (August 4, 2013). "'Pacific Rim' Scores Massive $45.2 Million China Debut". The Hollywood Reporter. Retrieved November 17, 2014.
114.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.
115.Jump up ^ Brent Lang (December 14, 2014). "'Hobbit: Battle of Five Armies' Rules Foreign Box Office With $117.6 Million". Variety. Retrieved December 15, 2014.
116.Jump up ^ Nancy Tartaglione (December 14, 2014). "Footloose ‘Hobbit’ Grows; ‘Mockingjay’ Tempers ‘Fire': Intl Box Office Final". Deadline.com. Retrieved December 15, 2014.
117.Jump up ^ "Interstellar (2014) — International Box Office". Box Office Mojo. Retrieved March 30, 2015.
118.Jump up ^ Scott Mendelson (October 27, 2014). "Review: 'Interstellar' Gets Lost In Space". Forbes. Retrieved October 27, 2014.
119.Jump up ^ "TOP GROSSING MOVIES THAT NEVER HIT #1, THE TOP 5 OR TOP 10* (1982–Present)". Box Office Mojo. Retrieved December 31, 2014.
120.Jump up ^ "WORLDWIDE RELEASE DATES". Warner Bros. Retrieved November 7, 2014.
121.Jump up ^ Anita Busch (November 6, 2014). "'Interstellar' Reports Grosses Before Weekend Showdown Against 'Big Hero 6'". Deadline.com. Retrieved November 7, 2014.
122.Jump up ^ Scott Mendelson (November 6, 2014). "Box Office: Chris Nolan's 'Interstellar' Earns $1.35M Wednesday". Forbes. Retrieved November 7, 2014.
123.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.
124.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.
125.Jump up ^ Dave MacNary (November 7, 2014). "Box Office: 'Interstellar,' 'Big Hero 6' Soar in Thursday Previews". Variety. Retrieved November 8, 2014.
126.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.
127.Jump up ^ Scott Mendelson (November 8, 2014). "Box Office: 'Interstellar' Tops 'Big Hero 6' With $17M Friday". Forbes. Retrieved November 9, 2014.
128.Jump up ^ "'Big Hero 6' Wins B.O. As 'Interstellar' Takes Second; Monday Returns". Deadline.com. November 10, 2014. Retrieved November 13, 2014.
129.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.
130.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.
131.Jump up ^ Scott Mendelson (November 9, 2014). "Box Office: 'Big Hero 6' Tops 'Interstellar' With $56.2M Weekend". Forbes. Retrieved November 10, 2014.
132.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.
133.Jump up ^ Brent Lang (November 9, 2014). "Box Office: 'Big Hero 6' Races Past 'Interstellar' With $56.2 Million". Variety. Retrieved November 10, 2014.
134.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.
135.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.
136.Jump up ^ Brent Lang (November 16, 2014). "Box Office: 'Dumb and Dumber To' On Top With $38.1 Million". Variety. Retrieved November 17, 2014.
137.Jump up ^ Scott Bowles (November 16, 2014). "'Dumb and Dumber To' Graduating Box Office Money Cum Laude". Deadline.com. Retrieved November 17, 2014.
138.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.
139.Jump up ^ "Interstellar". rottentomatoes.com. Rotten Tomatoes. Retrieved December 15, 2014.
140.Jump up ^ "Interstellar Reviews". metacritic.com. Metacritic. Retrieved November 17, 2014.
141.Jump up ^ Foundas, Scott (October 27, 2014). "Film Review: 'Interstellar'". Variety. Retrieved October 27, 2014.
142.Jump up ^ Puig, Claudia (October 27, 2014). "'Interstellar': Sci-fi saga gets lost in space". USA Today. Retrieved October 29, 2014.
143.Jump up ^ "Interstellar". At the Movies. November 4, 2014. Retrieved November 5, 2014.
144.Jump up ^ Barnes, Henry (October 28, 2014). "Interstellar review: McConaughey v the whole wide world". The Guardian. Retrieved October 31, 2014.
145.Jump up ^ Gettell, Oliver (November 5, 2014). "'Interstellar' is an ambitious, imperfect sci-fi epic, reviews say". Los Angeles Times. Retrieved November 6, 2014.
146.Jump up ^ Dyer, James (October 28, 2014). "Interstellar: Star Trek Into Greatness". Empire Magazine. Retrieved October 29, 2014.
147.Jump up ^ Calhoun, Dave (October 27, 2014). "Interstellar". Time Out London. Retrieved October 29, 2014.
148.Jump up ^ Lumenick, Lou (November 3, 2014). "'Interstellar' is a must-see masterpiece". New York Post. Retrieved November 4, 2014.
149.Jump up ^ Roeper, Richard (November 4, 2014). "'Interstellar': Epic Beauty In Its Effects and Its Ideas". Chicago Sun-Times. Retrieved November 4, 2014.
150.Jump up ^ Robey, Tim (October 27, 2014). "Interstellar, first-look review: 'close to a masterpiece'". The Telegraph. Retrieved October 29, 2014.
151.Jump up ^ McCarthy, Todd (October 27, 2014). "'Interstellar': Film Review". The Hollywood Reporter. Retrieved October 27, 2014.
152.Jump up ^ Coyle, Jake (October 30, 2014). "Review: 'Interstellar' a sublime cosmic knockout". The Associated Press. Retrieved October 31, 2014.
153.Jump up ^ Mendelson, Scott (December 26, 2014). "'Interstellar,' 'The Interview,' And The Most Disappointing Films Of 2014". Forbes. Retrieved December 29, 2014.
154.Jump up ^ Brooks, David. "Love and Gravity". www.nytimes.com. The New York Times. Retrieved December 13, 2014.
155.Jump up ^ Dimock, Wai Chee (December 25, 2014). "Books in Space: Christopher Nolan’s “Interstellar”". The Los Angeles Review of Books. Archived from the original on December 29, 2014. Retrieved March 20, 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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