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Sunday, November 9, 2014

How's you gonna keep'em down at the farm after they's seen the farm?

Speranza

   
Interstellar
A ringed spacecraft revolves around a reflective sphere.
Theatrical release poster
Directed byChristopher Nolan
Produced by
Written by
Starring
Music byHans Zimmer
CinematographyHoyte van Hoytema
Edited byLee Smith
Production
companies
Distributed by
Release dates
  • October 26, 2014 (2014-10-26) (premiere)
  • November 5, 2014 (2014-11-05) (North America)
  • November 7, 2014 (2014-11-07) (United Kingdom)
Running time169 minutes[1][2]
Country
  • United States
  • United Kingdom
LanguageEnglish
Budget$165 million[3]
Box office$50.2 million[4]


Interstellar is a 2014 science-fiction adventure film directed by Christopher Nolan.

It starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, and Michael Caine.

The film features a team of space travelers who travel through a worm-hole in search of a new habitable planet.

It was written by Jonathan Nolan and Christopher Nolan.

Christopher Nolan combined his idea with a script developed by his brother in 2007 for Paramount Pictures and producer Lynda Obst.

He produced the film with Obst and his wife, Emma Thomas.

Theoretical physicist Kip Thorne, whose work inspired the film, acted as both scientific consultant and executive producer.

Warner Bros., which produced and distributed some of Nolan's previous films, negotiated with Paramount for a financial stake in Interstellar.

Legendary Pictures, which formerly partnered with Warner Bros., also sought a stake.

The three companies co-financed the film, and the production companies Syncopy and Lynda Obst Productions were enlisted.

The director also hired cinematographer Hoyte van Hoytema since Nolan's long-time collaborator Wally Pfister was busy working on Transcendence, his directorial debut.

Interstellar was filmed with a combination of anamorphic 35 mm and IMAX 70 mm film photography.

Filming took place in the last quarter of 2013 in locations in the province of Alberta, Canada, in southern Iceland, and in Los Angeles, California.

The visual effects company Double Negative created visual effects for Interstellar.

Interstellar premiered on October 26, 2014 in Los Angeles, California.

Theatrically, it received a limited release in North America (United States and Canada) on November 5, 2014 and a wide release on November 7, 2014.

It was also 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.

For the limited release in North America, it was released in 70 mm and 35 mm film formats in 249 theaters which still project the formats, including at least 41 70 mm IMAX theaters.

For the wide release, it expanded to theaters that show it in digital format. Paramount Pictures is distributing the film in North America, and Warner Bros. distributes it in the remaining territories.


 

In the near future, the earth is no longer able to sustain humanity.

Crops are routinely ravaged by blight,[5] dust storms scour the land, and mankind has regressed to an agrarian society.

Coop, a former NASA test pilot and engineer turned farmer lives with his family, including his father-in-law Donald, son Tom, and ten-year-old daughter Murphie—better known as "Murph"—who believes their house is haunted by a "ghost" that is trying to communicate with her.

Challenging Murph to prove the ghost's existence through scientific inquiry, Coop discovers that the "ghost" is an unknown form of intelligence sending them coded messages by means of gravitational anomaly altering the dust on the floor in a pattern that resembles morse code, directing them to a secret NASA installation led by Professor Brand.

Brand reveals to Cooper that a worm-hole has been discovered in the solar system orbiting Saturn, and that humanity's only chance for survival is to traverse through the wormhole to colonise new worlds in another galaxy.

NASA scientists believe that extra-dimensional beings are communicating with them and have provided the worm-hole for humanity's use.

Coop is recruited to pilot Endurance, an experimental spacecraft, to follow the Lazarus Mission, a series of manned capsules sent through the wormhole to survey a dozen potential planets' long-term sustainability.

The data from Lazarus has given NASA three potential habitable planets: Miller, Edmunds, and Mann, named after the astronauts who carried out the surveys.

Once their viability is confirmed, humanity will follow aboard the NASA facility, which is an enormous space station.

Coop's decision to join Endurance breaks Murph's heart, and the two part on bad terms.

He joins Brand's daughter Amelia, physicist Romilly, geographer Doyle, and multi-purpose robots designated CASE and TARS on a 2-year space-flight to the worm-hole before crossing over into the new galaxy.

While traversing the worm-hole, Amelia encounters an extra-dimensional presence that she believes has created the worm-hole to save humanity.

Once through, Endurance follows the signal left by Miller's expedition, but they quickly encounter a problem.

The candidate planet is in close proximity to Gargantua, a nearby rotating black hole, and due to its gravitational pull, time on the planet is slower than on Earth.

They discover that the planet is inhospitable as giant tidal waves race across its surface.

Doyle is killed by a wave as the crew attempts to retrieve Miller's data recording instrument, and their departure is delayed by an hour.

They discover 23 years have passed for Romilly on Endurance when they return.

Back on Earth, Murph is now an adult and has joined NASA where she attempts to solve a physics problem that has troubled Brand for years.

The question is how humans can escape Earth's gravitational pull en masse.

Brand's health deteriorates, and he admits that he solved the necessary equation decades earlier but realised that he needed data from a singularity behind a black hole to complete it.

Coming to the conclusion that there is no hope that humanity can escape earth, Brand put his faith in a "population bomb", a mass re-population project using fertilised embryos to start humankind over, sacrificing Earth in the process.

With the lengthy mission to retrieve Miller's data having consumed valuable resources, Endurance is forced to choose between following Mann or Edmunds.

Coop and Amelia clash, with Coop accusing her of being compromised by her emotional attachment to Edmunds.

Amelia counter-accuses Coop of being compromised by his desire to see his family again as Endurance can reach both planets if they give up on returning to Earth and use the population bomb.

The crew seeks out Mann, finding him in stasis on an icy, ammonia-saturated planet and revive him.

However, Mann forged the data about the viability of his planet so the Endurance would come and end his isolation.

When Coop decides to return to Earth, Mann murders Romilly and attempts to kill Cooper before fleeing to Endurance with the shuttle, intending to take the population bomb to Edmunds's planet instead.

Amelia rescues Cooper, and the two give chase but are unable to prevent Mann from improperly docking with Endurance, which kills Mann when the airlock depressurizes.

With TARS's help, Coop manages to get a damaged Endurance back under control.

Cooper and Amelia formulate a plan to pilot Endurance to Gargantua's event horizon and to jettison TARS into it to gather data on the singularity behind the black hole which they can relay back to earth.

Once the robot transmits the data back to them, they would slingshot themselves on a course to Edmunds's planet.

Coop releases his shuttle into Gargantua to reduce the Endurance's weight, allowing Amelia to escape the gravitational pull.

He ejects before his craft is destroyed, and comes to a halt in an extra-dimensional space where time is not linear.

Cooper realises the extra-dimensional beings are in fact a future form of humanity who have evolved to the point of transcending time and space, and have come back in time to create the worm-hole to ensure humanity's survival.

Now equipped with TARS's data on the singularity, Cooper is able to communicate with Murph across the dimensional barrier from inside a tesseract through gravitational waves, making him the "ghost" from her childhood.

With this information, Murphie is able to complete Brand's equation, allowing Earth's population to be evacuated.

His mission now complete, Coop is transported back through the worm-hole and rescued by a NASA ship.

He awakens aboard the NASA station orbiting Saturn, which is now serving as a waypoint to marshal the remainder of humanity to cross the worm-hole, and is reunited with an elderly Murphie.

She convinces him to go to Amelia, who has located the remains of Edmunds's expedition and a planet that can sustain life.

After saying goodbye, he steals a NASA ship and begins the journey.

Cast

Astronaut crew
Additional characters
  • Timothée Chalamet as Young Tom[11]

Production

Development and financing



Director Christopher Nolan


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][14]

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.[15]

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.[16][17]

By March 2007, Jonathan Nolan was hired to write a screenplay for Interstellar.[18]

Steven 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 ultimately joined the project in 2012.[19]

Christopher Nolan met with Kip Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[3]

In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[20]

Nolan said he wanted to encourage again the goal of human spaceflight.[21]

He intended to write a screenplay based on his own idea that he would merge with his brother's screenplay.[22]

By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[23]

The Hollywood Reporter said Nolan will earn a salary of $20 million against 20% of what Interstellar grosses.[24]

To research for the film, Nolan visited NASA as well as the private space program SpaceX.[3]

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".[25]

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.[26]

Writing

Screenwriter Jonathan Nolan was hired by director Steven 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.[27]

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 said,

"He set the story in a dystopian future ravaged by blight but populated with hardy folk who refuse to bow to despair."[19]

 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 started to rewrite it.[28]

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.[29]

Director Christopher Nolan said he became interested in casting Matthew McConaughey after seeing him in an early cut of the 2012 film Mud,[30] 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.[31]

Paramount announced in April 2013 that both actors were cast in the film's starring roles.[32]

Nolan called McConaughey's character an everyman with whom "the audience could experience the story".[33]

Jessica Chastain was contacted while she was filming Miss Julie in Northern Ireland, and a script was delivered to her.[31]



Other well-known actors eventually joined what would become "an all-star cast".[34]

Actor Irrfan Khan said he declined a role since he wanted to be in India for the releases of The Lunchbox and D-Day.[35]

Actor Matt Damon was cast in late August 2013 in a supporting role and filmed his scenes in Iceland.[13]

Nolan filmed Interstellar with anamorphic 35mm and IMAX film photography.[9] 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.[36] IMAX cameras were used for Interstellar more than 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.[30] 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.[37]

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."[38]

As one security measure, Interstellar was filmed under the name Flora's Letter,[39] Flora being one of Nolan's four children with producer Emma Thomas.[3]


Part of the filming in Iceland took place at the Svínafellsjökull glacier


The film's principal photography was scheduled to last for four months.[13] It began on August 6, 2013 in the province of Alberta, Canada.[26] 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.[39] For a cornfield scene, Nolan sought to grow corn, which he learned was feasible from his involvement as producer on Man of Steel (2013).[3] Production designer Nathan Crowley planted 500 acres of corn that would be destroyed in an apocalyptic dust storm scene,[19] intended to be similar to storms experienced during the Dust Bowl in 1930s United States.[3] 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.[40] 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.[39]
Filming also took place in Iceland, where Nolan had previously filmed scenes for his 2005 film Batman Begins.[41]

The crew transported mock spaceships weighing approximately 10,000 pounds (4,500 kg) to the country,[3] 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[13] and a crew of approximately 350 people, including 130 locals, worked on it. Locations included the Svínafellsjökull glacier and the town of Klaustur.[42][43] While filming in Iceland, actor Anne Hathaway almost suffered hypothermia since her dry suit in a water scene was not secure.[3]
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.[44] Filming concluded in December 2013, and Nolan started editing the film for its release in 2014.[45] Production completed with a budget of $165 million, $10 million less than what was allotted by Paramount, Warner Bros., and Legendary Pictures.[3]

Production design



The Endurance spacecraft is based on the International Space Station
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 engineers Gregg Landaker and Gary Rizzo mixed the sound for Interstellar, supervised by sound editor Richard King.[46] Christopher Nolan said he sought to mix the film's sound to take maximum advantage of current sound equipment in theaters.[47] Nolan paid close attention to designing the sound mix, for instance focusing on what buttons being pressed with astronaut-suit gloves would sound like.[19] The studio's website said, "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."[48]

Music

 
Composer Hans Zimmer, who scored Nolan's Batman film trilogy, also scored Interstellar. Zimmer and Nolan had planned to move away from the trilogy's scores and to come up with a unique one. 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."[49] 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".[50] Nolan said he told Zimmer, "I said, '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 he embraced what Zimmer composed. Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. The soundtrack is scheduled to release on the November 18, 2014.[19]

Visual effects

The visual effects company Double Negative, which developed effects for Nolan's 2010 film Inception, worked on Interstellar.[51] 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 digital projectors could be used to display them behind the actors, rather than having the actors perform in front of green screens.[8]
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 25 feet, while a pyrotechnic model of a portion of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 46 and 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.[52]

Influences

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).[53]

Nolan said about 2001, "The movies you grow up with, the culture you absorb through the decades, becomes 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 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."[54] Andrei Tarkovsky's The Mirror influenced "elemental things in the story to do with wind and dust and water".[55]

Nolan compared Interstellar to The Treasure of the Sierra Madre (1948), as a film about human nature.[56]

He also sought to emulate films like Steven Spielberg's Jaws (1975) and Close Encounters of the Third Kind (1977).

"When you say you're making a family film," he said, "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.[3]
Outside of films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[3]

Theoretical physicist Kip Thorne is 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 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.


In creating the wormhole and a supermassive rotating black hole, which as opposed to a non-rotating black hole possesses an ergosphere, Thorne collaborated with visual effect 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 ultimately 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.

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.

Early in the process, Thorne laid down a couple of guidelines.

Nothing violates established physical laws, and that all the wild speculations would spring from science and not from the fertile mind of a screenwriter.

Nolan accepted these terms as long as they did not get in the way of the making of the film.

At one point Thorne spent two weeks trying to talk Nolan out of an idea about a character travelling faster than light before Nolan finally gave up.

According to Thorne, the element which has the largest degree of artistic license is the clouds of ice on one of the planets they visit, which are structures that probably goes beyond the material strength of ice would be able to support.

Marketing



Actor Matthew McConaughey was the focus of TV spots in Paramount's marketing campaign due to his performances in Dallas Buyers Club and True Detective
The teaser trailer for Interstellar debuted December 14, 2013 and featured clips related to space exploration, accompanied by a voiceover by Matthew McConaughey's character of Cooper.[62] The theatrical trailer debuted May 5, 2014 at the Lockheed Martin IMAX Theater at the National Air and Space Museum in Washington, D.C.[63] It was made available online later that month, and for the week ending May 19 it was the most-viewed movie trailer, with over 19.5 million views on YouTube.[64] The studio began airing TV spots for the film at the end of September 2014, expanding the early focus on McConaughey, who the Los Angeles Times said had high visibility to the public after winning an Academy Award for Dallas Buyers Club and for an acclaimed performance on the TV series True Detective. A TV spot aired during Sunday Night Football to appeal to a broad audience.[65]
Christopher Nolan and Matthew McConaughey made their first appearances at Comic-Con in July 2014 to promote Interstellar. The Hollywood Reporter said that prior to Nolan's appearance, he had "not spoken about his new movie at all".[66] The pair participated in a brief discussion and screened a new trailer of the film.[67] In the same month, Paramount Pictures launched a complex interactive Interstellar website in July 2014.[68] The Hollywood Reporter said the website was "both cryptic and, just maybe, filled with hidden meaning". It reported that online users uncovered a star chart related to the Apollo 11 moon landing.[69]
By October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[70] The film's website was relaunched to be a digital hub hosted on a Google domain.[71] The website debuted the film's final trailer, and allowed visitors to navigate theater locations and schedules to help them plan to see Interstellar in certain formats.[72] It also provided navigation of film-related content across Google platforms, collected feedback from film audiences, and linked to a mobile app.[71] The app, initially released by Paramount Digital Entertainment in September 2014, featured a game in which players could build solar system models and use a flight simulator for space travel.[73] The Paramount-Google partnership also included a virtual time capsule compiled with user-generated content to be available in 2015. Through the partnership, the cast of Interstellar will also talk about the film through the video chat platform Google Hangouts. 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.[70]
Paramount is providing a virtual reality walkthrough of the Endurance spacecraft using Oculus Rift technology. It is hosting the walkthrough sequentially in four theaters, in New York City, Houston, Los Angeles and Washington, DC, from October 6, 2014 through November 19, 2014.[74][75] The publisher Running Press will release Interstellar: Beyond Time and Space, a book by Mark Cotta Vaz about the making of the film, on November 11, 2014.[76] On November 7, 2014, W. W. Norton & Company released The Science of Interstellar, a book by Kip Thorne, a theoretical physicist who was a scientific adviser and executive producer for the film.[77]

Release

Pre-release screenings

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.[78] 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.[11] 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]
Paramount imposed a review embargo for the advance screenings until October 27, 2014. Aside from the embargo, very positive messages about the film were posted on Twitter.[82]

Box office forecast

In North America, Interstellar and Big Hero 6 will open the same weekend of November 7–9, 2014, with both forecast to earn between $55 million and $60 million. TheWrap said the pairing was "potentially a close race". It said Interstellar would appeal to men while Big Hero 6 would appeal to families.[83] 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.[84] 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. Interstellar also became the biggest pre-seller at the TCL Chinese Theatre.[85]

Theatrical run



The historical landmark TCL Chinese Theatre in Los Angeles, California had a 70 mm IMAX projector installed to show Interstellar
Interstellar was released early on November 4 at the Museum of Science & Industry IMAX Dome theater, and had a limited release in North America (United States and Canada) on November 5, 2014 and a wide release on November 7, 2014.[86] 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.[87] 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 2] 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.[72] Paramount Pictures is distributing the film in North America, and Warner Bros. will distribute it in the remaining territories.[9] The film is expected to be released in over 770 IMAX screens worldwide, which is the widest global release ever in IMAX cinemas.[88][89]
Interstellar is an exception to Paramount Pictures's goal to stop releasing films on film stock and to distribute them only in digital format.[90] The Hollywood Reporter said the initiative to project Interstellar from film would help preserve an endangered format,[72] an initiative supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[91] The Reporter said that several theater owners saw the initiative as "backward", as nearly all theaters in the United States have been converted to digital projection.[92]

Box office

North America
Interstellar had a limited early release in the United States and Canada in selected theatres on November 4 at 8:00 pm which was in contemporaneous with the 2014 US midterm elections.[93] The film topped the box office the following day on Wednesday earning $1.35 million (which includes its gross from Tuesday night) from 249 theatres (42 of which were IMAX screens) for which IMAX accounted for 62% of its total gross.[94] 240 of those theatres played in 35mm, 70mm, and IMAX 70mm film formats.[95] The film earned $3.5 million from Thursday late night preview for a previews total of $4.9 million (Tuesday - Thursday).[96][97][98] 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). The film earned $4.6 million (27%) from IMAX screens and $1.9 million (11%) from other premium large format screens on Friday.[99] The film played 52% male and 75% over 25 years old.[100]
Other territories
The film was released in France and Belgium on November 5 and accounted 50% of the marketshare of the top five films in the two territories. In its opening day it earned $743,000 debuting at number 26 at the French box office[101][102][103] and $538,000 (down 23%) in its second day. Warner Bros. said that it was "comfortable with given its a non-holiday and point to that the drop otherwise would be in the 40% range."[104][105] The film was released in 35 markets on November 6 including major markets like Germany, Russia, Australia and Brazil and earned $8.7 million in total[106]

The Los Angeles Times reported, "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."[107]

The film review website Metacritic surveyed 46 critics and assessed 35 reviews as positive, 10 as mixed, and 1 as negative.

It gave an aggregate score of 73 out of 100, which it said indicated "generally favorable reviews".[108] The similar website Rotten Tomatoes surveyed 216 critics and, categorizing the reviews as positive or negative, assessed 157 as positive and 59 as negative. Of the 216 reviews, it determined an average rating of 7 out of 10.

The website gave the film an overall score of 73% and said of the consensus, "Interstellar represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp."[109]

Scott Foundas, chief film critic at Variety, called Interstellar "as visually and conceptually audacious as anything Nolan has yet done". Foundas said the film also felt more personal than Nolan's previous films.[12] 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."[110] Time Out London '​s Dave Calhoun 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".[111] New York Post critic Lou Lumenick deemed Interstellar "a soulful, must-see masterpiece, one of the most exhilarating film experiences so far this century."[112] 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."[113] He also stated that Jessica Chastain "deserves a Best Supporting Actress consideration for her work."[114]
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.[115] 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."[116] Claudia Puig of USA Today called it a "flawed masterpiece", praising the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel".[117] Richard Corliss of Time gave the film a positive review, calling it "a must-take ride with a few narrative bumps". He further expressed his admiration for Nolan's "ambition to make great statements on a grand scale, and the vision and guts to realize them." He conceded that "Nolan's reach occasionally exceeds his grasp" but accepted this occurrence.[118] 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".[119]
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 critiquing the sound for being so loud as to make some of the dialogue inaudible, drawing parallels to Gravity and 2001: A Space Odyssey for its mix of technical accomplishment and metaphysical themes. 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.[120] 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."[121]

Accolades

Interstellar was nominated for Original Score for the Hollywood Music in Media Awards, contending with six other films. The advisory board received a five-minute trailer for the film that included Hans Zimmer's music.[122]

Cultural impact

In months leading up to Interstellar '​s release, parody video mashups referencing the film were created with space-related films, such as Spaceballs (1987) and WALL-E (2008).[123][124]

See also

Notes

  1. Jump up ^ The film credits read, "Paramount Pictures and Warner Bros. Pictures presents in association with Legendary Pictures a Syncopy/Lynda Obst Productions production."
  2. Jump up ^ The sequences shot on 65 mm IMAX film are displayed in their full 1.43:1 aspect ratio on 70 mm IMAX screens (the 5 mm difference is due to the addition of the audio track on the film print), but are cropped down to as large as 1.9:1 on digital IMAX screens, down to 2.20:1 on regular 70 mm screens, and down to 2.35:1 to match the 35 mm anamorphic footage on 35 mm film and all other digital screenings.

References

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Further reading

External links

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