Interstellar (2014)

PG-13 | 169 mins | Science fiction | 5 November 2014

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
You may also like these titles from the AFI Catalog of Feature Films, the most authoritative documentation of the First 100 Years of American filmmaking.
Full page view
HISTORY

End credits include the following statements: "'Do Not Go Gentle into That Good Night' by Dylan Thomas; Filmed on location in Los Angeles, U.S.A., Alberta, Canada, and Iceland; The Producers would like to thank: Ken Burns, Dayton Duncan, Florentine Films, PBS, and those interviewed for The Dust Bowl who participated in the making of this film: Sam Arguello, Minnie Louise Forester Briggs, Floyd Coen, Melbourne Headrick, Pauline Heimann Robertson, Charles Shaw, Don Wells, Lorene Del White, Dorothy Christenson Williamson Sears Family, County of Lethbridge, U.S. Department of the Interior, Bureau of Land Management, Barstow Field Office and Inland Empire Film Commission; Filmed partly on location in Alberta, Canada, with the assistance of the Government of Alberta, Alberta Media Fund; With support from Atvinnuvega- og Nýsköpunarráðuneytið - Ministry of Industries and Innovation; [and] This motion picture was shot and finished on film."
       A 23 Mar 2007 DV brief announced that Steven Spielberg and Jonathan “Jonah” Nolan would collaborate on the science-fiction film Interstellar, set up at Paramount Pictures. Spielberg was attached to direct, and Jonathan Nolan was set to adapt the ideas of physicist Kip S. Thorne into a screenplay. According to a 28 Mar 2007 LAT article, the idea for Interstellar sprang from a longstanding friendship between producer and “astronomy enthusiast” Lynda Obst and executive producer Thorne, who collaborated on Contact (1997, see entry). After Thorne created a “wormhole” concept for Contact that “advanced the field of theoretical physics,” he and Obst began brainstorming a scenario in which “the most exotic events in the universe suddenly becom[e] accessible to humans,” and the idea for ... More Less

End credits include the following statements: "'Do Not Go Gentle into That Good Night' by Dylan Thomas; Filmed on location in Los Angeles, U.S.A., Alberta, Canada, and Iceland; The Producers would like to thank: Ken Burns, Dayton Duncan, Florentine Films, PBS, and those interviewed for The Dust Bowl who participated in the making of this film: Sam Arguello, Minnie Louise Forester Briggs, Floyd Coen, Melbourne Headrick, Pauline Heimann Robertson, Charles Shaw, Don Wells, Lorene Del White, Dorothy Christenson Williamson Sears Family, County of Lethbridge, U.S. Department of the Interior, Bureau of Land Management, Barstow Field Office and Inland Empire Film Commission; Filmed partly on location in Alberta, Canada, with the assistance of the Government of Alberta, Alberta Media Fund; With support from Atvinnuvega- og Nýsköpunarráðuneytið - Ministry of Industries and Innovation; [and] This motion picture was shot and finished on film."
       A 23 Mar 2007 DV brief announced that Steven Spielberg and Jonathan “Jonah” Nolan would collaborate on the science-fiction film Interstellar, set up at Paramount Pictures. Spielberg was attached to direct, and Jonathan Nolan was set to adapt the ideas of physicist Kip S. Thorne into a screenplay. According to a 28 Mar 2007 LAT article, the idea for Interstellar sprang from a longstanding friendship between producer and “astronomy enthusiast” Lynda Obst and executive producer Thorne, who collaborated on Contact (1997, see entry). After Thorne created a “wormhole” concept for Contact that “advanced the field of theoretical physics,” he and Obst began brainstorming a scenario in which “the most exotic events in the universe suddenly becom[e] accessible to humans,” and the idea for Interstellar was born. Although the LAT noted that Obst and Thorne might retain story credit, they only receive producer credits onscreen.
       Steven Spielberg eventually left the project, and a 25 Jan 2013 HR brief announced that Christopher Nolan, writer Jonathan Nolan’s brother, was in negotiations to direct and produce. An 11 Mar 2013 DV item confirmed Christopher Nolan’s involvement, and stated that Paramount Pictures and Warner Bros. would co-produce and co-distribute. Legendary Pictures came on as a third financier. However, Legendary’s deal with Warner Bros. ended while production on Interstellar was underway. A 15 Aug 2013 HR article announced that, despite the split, Legendary would retain a stake in the film, financing at least twenty-five percent of the $165 million budget. Paramount was set to handle domestic distribution, while Warner Bros. retained international distribution rights. Actor Matthew McConaughey’s involvement was announced in a 4 Apr 2013 HR brief.
       A 2 Nov 2014 LAT brief stated that director Christopher Nolan took inspiration from the Ken Burns documentary, The Dust Bowl (2012), for the dust storm sequences portrayed in Interstellar. As noted in a 7 Nov 2014 HR article, the biodegradable substance “C90” was used to create dust fields. Nolan also took inspiration from Ludwig Mies van der Rohe’s architecture, astronaut Marsha Ivins, who visited the director on set, the 1983 film The Right Stuff (see entry), and the music of Hans Zimmer, the film’s composer. According to a 5 Apr 2014 Var article, Zimmer composed the score for Interstellar without a script, having received from Christopher Nolan nothing more than a page of text that had nothing to do with the film’s premise.
       As noted in the 7 Nov 2014 HR, physical sets were favored over computer-generated imagery (CGI). Actor Bill Irwin, who voiced “TARS,” also served as the robot’s puppeteer.
       The four-month shoot began 6 Aug 2013 in Alberta, Canada, as stated in a 27 Nov 2013 LAT article. Alberta doubled as the American Corn Belt. The company then moved to Iceland, which stood in for “Mann’s” frozen planet. Finally, fifty-four days of filming were completed in Los Angeles, CA, where locations included the Westin Bonaventure Hotel and Suites in downtown, a sound stage at Sony Pictures in Culver City, the Los Angeles Convention Center, and a private residence in Altadena. For secrecy, the project was referred to as Flora’s Letter during production, a reference to the director’s daughter, Flora, according to a 7 Nov 2014 HR article.
       The film was shot and post-produced on 35mm and 70mm film stock, according to the 27 Oct 2014 Var review. One hour of footage was filmed using an IMAX camera, as noted in a 24 Nov 2014 Var brief.
       To promote the film, Paramount partnered with Google Inc., as noted in a 4 Oct 2014 LAT article, for a marketing campaign involving the “Interstellar Space Hub,” an immersive online experience using the platforms Google Play, Google+, Google for Education, and YouTube. Visitors to the Interstellar Space Hub could embark on a “space hunt” which revealed movie-related facts, and generate content for short films created in the “Time Capsule Project.” In addition, users could buy tickets to the film and take part in “Google+ Hangouts.” The collaboration marked the first time Google used several of its platforms to promote a single film.
       Select footage from the film premiered at San Diego, CA’s Comic-Con convention, according to a 31 Jul 2014 Jerusalem Post article, which noted that Christopher Nolan and Matthew McConaughey were in attendance. In another marketing collaboration, a 5 Oct 2014 Var item stated that Paramount joined with IMAX to offer sneak peaks of Interstellar in a traveling exhibit featuring Oculus Rift virtual reality headsets. Free of charge, science-fiction fans in New York City, Houston, TX, Los Angeles, and Chantilly, VA, were offered early looks at the film’s Endurance spacecraft while the Oculus Rift headsets created the illusion of zero gravity.
       According to the 4 Nov 2014 NYT review, the film was projected in theaters on 70mm film. Critical reception was generally positive. The 27 Oct 2014 Var review stated that the film “reaffirms Nolan as the premiere big-canvas storyteller of his generation,” while the HR review of the same date claimed the film “tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results.”
       In its opening weekend, the film grossed $52.2 million, as noted in a 10 Nov 2014 LAT item. According to the 24 Nov 2014 Var, the picture had taken in $120.9 million in the U.S. and $330.6 million worldwide, to that time. IMAX ticket sales comprised more than twenty-five percent of domestic ticket sales, equaling $31.4 million, and around eleven percent of international ticket sales. The film was poised to become IMAX’s first to exceed a twenty-five percent market share. According to a 17 Nov 2014 Var brief, AMC Theatres and Paramount teamed up to offer a higher-priced ticket to Interstellar which would allow moviegoers to see the film an unlimited number of times. The unlimited tickets ranged from $19.99 to $34.99 depending on the AMC theater location.
       Interstellar was named one of AFI’s Movies of the Year. Hans Zimmer received a Golden Globe Award nomination for Best Original Score – Motion Picture, and the film was nominated for the following Academy Awards: Music (Original Score), Production Design, Sound Editing, Sound Mixing, and Visual Effects.
More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
23 Mar 2007.
---
Daily Variety
11 Mar 2013
p. 1, 14.
Hollywood Reporter
25 Jan 2013.
---
Hollywood Reporter
4 Apr 2013.
---
Hollywood Reporter
15 Aug 2013.
---
Hollywood Reporter
27 Oct 2014.
---
Hollywood Reporter
7 Nov 2014
p. 48.
Hollywood Reporter
11 Nov 2014.
---
Hollywood Reporter
17 Nov 2014
pp. 2-3.
Jerusalem Post
31 Jul 2014
p. 24.
Los Angeles Times
24 Mar 2007
Section E, p. 2.
Los Angeles Times
28 Mar 2007
Section E, p. 1.
Los Angeles Times
27 Nov 2013
Section B, p. 3.
Los Angeles Times
29 Jan 2014
Calendar, p. 2.
Los Angeles Times
4 Oct 2014
Section B, p. 3.
Los Angeles Times
2 Nov 2014
Calendar, p. 3.
Los Angeles Times
5 Nov 2014
Calendar, p. 1.
Los Angeles Times
10 Nov 2014
Calendar, p. 1.
New York Times
4 Nov 2014.
---
Variety
5 Apr 2014.
---
Variety
5 Oct 2014.
---
Variety
27 Oct 2014.
---
Variety
5 Nov 2014.
---
Variety
17 Nov 2014.
---
Variety
24 Nov 2014.
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A Paramount Pictures and Warner Bros. Pictures presentation
In Association with Legendary Pictures
A Syncopy/ Lynda Obst Productions Production
A Film by Christopher Nolan
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
Addl 2d asst dir
Addl 2d asst dir
Unit prod mgr, Alberta Unit
2d asst dir, Alberta Unit
3d asst dir, Alberta Unit
Unit prod mgr, Iceland Unit
2d 2d asst dir, Iceland Unit
PRODUCERS
Prod
Exec prod
Exec prod
Exec prod
Exec prod
Line prod, Iceland Unit
PHOTOGRAPHY
Dir of photog
Chief lighting tech
Key grip
IMAX consultant
1st asst 'A' cam
2d asst 'A' cam
1st asst 'B' cam
2d asst 'B' cam
IMAX cam tech
Aerial dir of photog
Still photog
Key video asst / Computer video asst
24 frame playback
Asst chief lighting tech
Rigging gaffer
Rigging best boy
Best boy grip
Dolly grip
Dolly grip
Rigging key grip
Rigging best boy
1st asst 'B' cam, Alberta Unit
2d asst 'B' cam, Alberta Unit
Loader, Alberta Unit
Still photog, Alberta Unit
Video tech, Alberta Unit
Chief lighting tech, Alberta unit
Asst chief lighting tech, Alberta Unit
Rigging gaffer, Alberta Unit
Rigging best boy, Alberta Unit
Key grip, Alberta Unit
Best boy grip, Alberta Unit
Dolly grip "B" cam, Alberta Unit
Key rigging grip, Alberta Unit
Best boy rigging grip, Alberta Unit
Gaffer, Iceland Unit
Key grip, Iceland Unit
ART DIRECTORS
Prod des
Supv art dir
Art dir
Asst art dir
Asst art dir
Graphic des
Illustrator
Concept artist
Concept artist
Concept artist
Graphics supv
Graphics
Art dir, Alberta Unit
Art dir, Alberta Unit
Art dept coord, Alberta Unit
Art dept trainee, Alberta Unit
Art dir, Iceland Unit
FILM EDITORS
Assoc ed
1st asst ed
1st asst ed
Asst ed
Asst ed
Asst ed
Negative cutter
Negative cutter
Negative cutter
Negative cutter
SET DECORATORS
Set des
Set des
Set des
Set des
Set des
Set des
Set des
Lead model maker
Lead model maker
Set dec
On-set dresser
Prop master
Asst prop master
Const coord
Const foreman
Const foreman
Head sculptor
Head greensman
Paint supv
Head plasterer
Welding foreman
Set dec, Alberta Unit
On set dresser, Alberta Unit
Set dresser, Alberta Unit
Set dresser, Alberta Unit
Prop master, Alberta Unit
Asst prop master, Alberta Unit
Const coord, Alberta Unit
Const foreman, Alberta Unit
Const foreman, Alberta Unit
Const foreman, Alberta Unit
Lead carpenter, Alberta Unit
Lead carpenter, Alberta Unit
Lead painter, Alberta Unit
Paint foreman, Alberta Unit
Paint foreman, Alberta Unit
On set painter, Alberta Unit
Plaster foreman, Alberta Unit
Greens supv, Alberta Unit
Lead greens, Alberta Unit
On set greens, Alberta Unit
Asst prop master, Iceland Unit
COSTUMES
Cost des
Cost supv
Key costumer
Key costumer
Key costumer
Key costumer
Key set costumer
Key set costumer
Set costumer
Costumer
Costumer
Costumer
Costumer
Costumer
Costumer
Ager/ Dyer
Suit tech
Suit tech
Suit tech
Cost supv, Alberta Unit
Set costumer, Alberta Unit
Set costumer, Alberta Unit
MUSIC
Supv mus ed
Mus ed
Mus prod services
Sequencer programming
Sequencer programming
Technical score eng
Digital instrument des
Supv orchestrator
Supv orchestrator
Orch conducted by
Orch conducted by
Organ soloist
Violin soloist
Steel guitar soloist
Tuned percussion soloist
Orch leader
Score rec at
Score rec and mixed by
Score rec by
Supv score coord
Score coord
Score coord
SOUND
Sd des / Supv sd ed
Re-rec mixer
Re-rec mixer
Prod sd mixer
Boom op
Sd utility
1st asst sd ed
1st asst sd ed
Dial ed
ADR/ Dial ed
Sd eff ed
Addl sd des
Addl sd des
Sd eff rec mixer
Sd eff rec mixer
Addl re-rec mixer
Foley supv
Foley ed
Foley ed
Foley artist
Foley artist
Foley mixer
Foley mixer
Mix tech
Mix stage eng
Prod sd mixer, Alberta Unit
Boom op, Alberta Unit
VISUAL EFFECTS
Visual eff supv
Spec eff supv
Visual eff prod
Spec eff tech consultant
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff foreman
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Spec eff tech
Visual eff ed
Visual eff ed
Visual eff asst ed
Visual eff asst ed
Visual eff prod supv
Visual eff prod supv
Visual eff coord
Visual eff coord
Visual eff data wrangler
Visual eff prod asst
Spec eff coord, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff, Alberta Unit
Spec eff foreman, Iceland Unit
Spec eff foreman, Iceland Unit
Spec eff tech, Iceland Unit
Spec eff tech, Iceland Unit
Visual eff by
Visual eff supv, Visual eff by Double Negative Ltd
CG supv, Visual eff by Double Negative Ltd.
CG supv, Visual eff by Double Negative Ltd.
Compositing supv, Visual eff by Double Negative Lt
Previsualization supv, Visual eff by Double Negati
Anim supv, Visual eff by Double Negative Ltd.
CG eff supv, Visual eff by Double Negative Ltd.
Matchmove supv, Visual eff by Double Negative Ltd.
Matchmove supv, Visual eff by Double Negative Ltd.
CG lighting supv, Visual eff by Double Negative Lt
Software development supv, Visual eff by Double Ne
Visual eff ed, Visual eff by Double Negative Ltd.
Visual eff ed, Visual eff by Double Negative Ltd.
Visual eff digital col timer, Visual eff by Double
Visual eff digital col timer, Visual eff by Double
Prod supv, Visual eff by Double Negative Ltd.
Line prod, Visual eff by Double Negative Ltd.
Line prod, Visual eff by Double Negative Ltd.
Line prod, Visual eff by Double Negative Ltd.
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Visual eff coord, Visual eff by Double Negative Lt
Compositing sequence supv, Visual eff by Double Ne
Compositing sequence supv, Visual eff by Double Ne
Compositing sequence supv, Visual eff by Double Ne
Compositing sequence supv, Visual eff by Double Ne
Compositing sequence supv, Visual eff by Double Ne
CG sequence supv, Visual eff by Double Negative Lt
CG sequence supv, Visual eff by Double Negative Lt
CG sequence supv, Visual eff by Double Negative Lt
CG sequence supv, Visual eff by Double Negative Lt
CG sequence supv, Visual eff by Double Negative Lt
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Lead digital artist, Visual eff by Double Negative
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Digital artist, Visual eff by Double Negative Ltd.
Research & Development, Visual eff by Double Negat
Research & Development, Visual eff by Double Negat
Research & Development, Visual eff by Double Negat
Research & Development, Visual eff by Double Negat
Research & Development, Visual eff by Double Negat
Research & Development, Visual eff by Double Negat
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Tech support, Visual eff by Double Negative Ltd.
Visual eff by
Visual eff supv,Visual eff by New Deal Studios, In
Visual eff prod,Visual eff by New Deal Studios, In
Sr modeler, Visual eff by New Deal Studios, Inc.
Sr modeler, Visual eff by New Deal Studios, Inc.
Sr workshop tech,Visual eff by New Deal Studios, I
Sr workshop tech,Visual eff by New Deal Studios, I
Sr SFX tech,Visual eff by New Deal Studios, Inc.
Sr SFX tech,Visual eff by New Deal Studios, Inc.
Visual eff dir of photog,Visual eff by New Deal St
Motion control op,Visual eff by New Deal Studios,
Visual eff cam, Visual eff by New Deal Studios, In
Visual eff cam, Visual eff by New Deal Studios, In
Model unit gaffer/Key grip,Visual eff by New Deal
Model unit gaffer/Key grip,Visual eff by New Deal
Visual eff coord, Visual eff by New Deal Studios,
Visual eff coord, Visual eff by New Deal Studios,
Opticals by
Titles by
MAKEUP
Make-up dept head
Key make-up artist
Make-up artist / Prosthetics
Hair dept head
Key hair stylist
Key hair, Alberta Unit
Hair stylist, Alberta Unit
Make-up artist, Alberta Unit
PRODUCTION MISC
Casting
Post prod supv
Prod controller
Scr supv
Clearance coord
Pilot
Computer eng
Prod accountant
Prod accountant
Asst accountant
Asst accountant
Asst accountant
Asst accountant
Asst accountant
Asst accountant
Prod coord
Asst prod coord
Prod secy
Travel coord
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Set prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Asst to Mr. Nolan & Ms. Thomas
Asst to Mr. Nolan & Ms. Thomas
Loc mgr
Asst loc mgr
Asst loc mgr
Asst loc mgr
Asst loc mgr
Asst loc mgr
Asst loc mgr
Post prod coord
Post prod asst
Post prod asst
Post prod asst
Transportation coord
Transportation capt
Casting assoc
Casting asst
Set medic
Craft service
Tech consultant
Post prod asst, Alberta Unit
Prod accountant. Alberta Unit
Asst accountant, Alberta Unit
Asst accountant, Alberta Unit
Asst accountant, Alberta Unit
Asst accountant, Alberta Unit
Prod coord, Alberta Unit
Prod coord, Alberta Unit
Asst prod coord, Alberta Unit
Asst prod coord, Alberta Unit
Set prod asst, Alberta Unit
Set prod asst, Alberta Unit
Prod asst. Alberta Unit
Prod asst, Alberta Unit
Prod asst, Alberta Unit
Prod asst. Alberta Unit
Prod asst, Alberta Unit
Loc mgr, Alberta Unit
Asst loc mgr, Alberta Unit
Transportation coord, Alberta Unit
Transportation capt, Alberta Unit
Medic, Alberta Unit
Catering, Alberta Unit
Prod services, Iceland Unit
Prod accountant, Iceland Unit
Asst prod accountant, Iceland Unit
Prod supv, Iceland Unit
Prod coord, Iceland Unit
Asst prod coord, Iceland Unit
Asst prod coord, Iceland Unit
Prod asst, Iceland Unit
Prod asst, Iceland Unit
Prod asst, Iceland Unit
Set prod asst, Iceland Unit
Set prod asst, Iceland Unit
Set prod asst, Iceland Unit
Loc mgr, Iceland Unit
Asst loc mgr, Iceland Unit
Transportation coord, Iceland Unit
Transportation capt, Iceland Unit
Catering, Iceland Unit
Catering, Iceland Unit
Medic, Iceland Unit
STAND INS
Stunt coord
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunt coord, Alberta Unit
COLOR PERSONNEL
Col and prints by
[Col]
DETAILS
Alternate Title:
Flora's Letter
Release Date:
5 November 2014
Premiere Information:
Los Angeles and New York openings: 5 November 2014
Production Date:
began 6 August 2013
Physical Properties:
Sound
Dolby© Digital in Selected theatres; Datasat Digital Sound in Selected Theatres
Color
gauge
35mm/70mm Imax
Lenses
Camera and Lenses by Panavision ® and IMAX ®
Prints
FOTOKEM
Duration(in mins):
169
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
49218
Passed by NBR:
No
SYNOPSIS

Sometime in the future, frequent dust storms ravage the Earth, crops are destroyed by blight, and the human population has plummeted. Cooper, a farmer who once flew for NASA (National Aeronautics and Space Administration), lives with his son Tom and daughter “Murph,” and their grandfather, Donald, the father of Cooper’s deceased wife. At a parent-teacher conference, Cooper learns that Tom did not score high enough to be considered for college. The principal recommends the boy go into farming, and reminds Cooper that only a handful of students are granted admission to college. Murph’s teacher, Ms. Hanley, informs Cooper that his daughter brought an outdated textbook to school to discuss NASA’s lunar landings. She insists Murph stick to the new textbook, which states that the United States faked the moon missions to bankrupt Russia. Cooper is incensed by the school’s revisionist history, and argues that better education is needed for human survival. He blames his wife’s death on a lack of properly trained doctors, stating that if her tumor had been detected earlier, she would have lived. Back at the farm, Cooper finds several unmanned combine harvesters that have moved from the fields to his driveway. He attributes the phenomenon to a magnetic pull. Later, Cooper’s family must evacuate from a baseball game when a dust storm hits. Murph forgot to close her window before leaving the house, and finds dust pouring into her bedroom. Cooper shuts the window and notices the dust settling in a distinct pattern on the floor. Murph believes a ghost has been haunting her room and suggests the pattern is a communication, but Cooper believes it is caused by gravity. Determining that the thick and ... +


Sometime in the future, frequent dust storms ravage the Earth, crops are destroyed by blight, and the human population has plummeted. Cooper, a farmer who once flew for NASA (National Aeronautics and Space Administration), lives with his son Tom and daughter “Murph,” and their grandfather, Donald, the father of Cooper’s deceased wife. At a parent-teacher conference, Cooper learns that Tom did not score high enough to be considered for college. The principal recommends the boy go into farming, and reminds Cooper that only a handful of students are granted admission to college. Murph’s teacher, Ms. Hanley, informs Cooper that his daughter brought an outdated textbook to school to discuss NASA’s lunar landings. She insists Murph stick to the new textbook, which states that the United States faked the moon missions to bankrupt Russia. Cooper is incensed by the school’s revisionist history, and argues that better education is needed for human survival. He blames his wife’s death on a lack of properly trained doctors, stating that if her tumor had been detected earlier, she would have lived. Back at the farm, Cooper finds several unmanned combine harvesters that have moved from the fields to his driveway. He attributes the phenomenon to a magnetic pull. Later, Cooper’s family must evacuate from a baseball game when a dust storm hits. Murph forgot to close her window before leaving the house, and finds dust pouring into her bedroom. Cooper shuts the window and notices the dust settling in a distinct pattern on the floor. Murph believes a ghost has been haunting her room and suggests the pattern is a communication, but Cooper believes it is caused by gravity. Determining that the thick and thin lines of dust are binary code, Cooper deciphers geographical coordinates. That night, he sets out to find the coordinates and Murph sneaks into his truck to accompany him. They arrive at a locked gate, where Cooper and Murph are taken into custody by TARS, an ex-Marine companion robot. Inside a secret compound, Dr. Amelia Brand introduces herself to Cooper and leads him to a conference room where he is reunited with Amelia’s father, Professor Brand, who worked with Cooper at NASA. Brand and his colleagues are stunned that Cooper found their hidden location, and Cooper refuses to explain how he obtained the coordinates. Pleased Cooper has found them, Brand informs him that NASA is still functioning, albeit with secret government funding. The professor discusses blight, which thrives off of nitrogen and will eventually deplete the Earth’s atmosphere of oxygen, causing humans to suffocate. His goal is to find a habitable planet in another galaxy in time to save humanity. Brand reveals the details of the Lazarus missions, in which twelve astronauts piloted solo missions to different planets in search of a new home for humankind. The astronauts were able to travel to another galaxy via a “wormhole” which connects vastly separated regions of space-time. Of the twelve missions, NASA has received promising data from three, piloted by scientists Miller, Edmunds, and Mann. Brand’s “Plan A” is to send the spacecraft Endurance to find which of those three planets is habitable, then launch the NASA compound, which will act as a space station, with the remainder of humankind. Brand is still working on an equation to harness gravity so he can launch the space station, but promises to have it done by the time the next mission is completed. In case Plan A fails, “Plan B” will entail repopulation on the new planet, via fertilized eggs. Brand asks Cooper to pilot Endurance, and he agrees. Back home, Murph refuses to speak to her father. Cooper begs for her understanding, believing he has been chosen. He explains that time will pass differently in space and gives Murph a wristwatch so they can compare watches when he returns. He admits that, due to relative time, they might be the same age when he gets back. After parting with his family, Cooper pilots a space shuttle carrying Amelia Brand, fellow astronauts Romilly and Doyle, and two robots, TARS and CASE. In space, he docks the shuttle on the Endurance, a space exploration vehicle that rotates at a rate high enough to create gravity. The astronauts begin their two-year journey to the wormhole, which is located outside Saturn, by climbing into “cryo-pods,” cryogenic chambers that allow them to go into deep sleep at low temperatures for years at a time. When they wake up two years later, they receive video messages from loved ones. Cooper watches videos from his son, Tom, and father-in-law, Donald, but none from Murph. When the wormhole appears outside the Endurance, Cooper marvels that it is a sphere. He loses control of the Endurance as it passes through the wormhole. They arrive in another galaxy and make plans to stop at Miller’s planet, which is the shortest trip but dangerously close to Gargantua, a black hole. Because of Gargantua’s pull, an hour on Miller’s planet will equate to seven years on Earth, so they must act quickly. Romilly stays behind on the Endurance, while Cooper, Amelia, and Doyle take the shuttle to Miller’s planet, which is covered in a shallow layer of water. Amelia and Doyle leave the shuttle to search for Miller’s data. However, a giant wave approaches and Cooper calls them back. Amelia is rescued by CASE, but Doyle is washed away by the wave. Cooper must wait to launch the waterlogged shuttle, and when they return to Endurance, an aged Romilly informs them that twenty-three years have passed. Cooper watches Tom’s video messages, informing him of Donald’s death, and the birth of Tom’s children. Cooper also receives one message from Murph, who has become Brand’s protégée at NASA. Murph tells Cooper she is now as old as he was when he left on the mission. With fuel running low, Cooper, Amelia, and Romilly must decide between the two remaining planets: Mann’s and Edmunds’s. Amelia recommends Edmunds’s planet, because it is further from Gargantua, but Cooper argues that Mann’s data is superior. Having discovered that Amelia is in love with Edmunds, Cooper says she cannot be objective. Amelia admits it is true, but argues that love is a powerful force, capable of transcending time and space, and she wants to follow her heart. Disregarding her, Cooper instructs CASE to chart a course to Mann’s planet. On Earth, Tom’s family subsists off the blight-resistant corn grown on their farm, and his son and wife suffer from a constant cough. At NASA, Murph sits with Dr. Brand on his deathbed. He admits there was never a Plan A, and that he sent Cooper on the mission knowing he would not be able to save his family. Meanwhile, landing on Mann’s frozen planet, Cooper’s crew finds Mann in cryo-sleep in a bunker. Upon waking, Mann cries tears of joy and says he thought he would die before he saw another human being. Mann explains there are sixty-seven hours in the days and nights on his planet, gravity is eighty-percent of the Earth’s, and there is breathable air at the surface. Although Mann’s robot, KIPP, has been dismantled, he discourages TARS from fixing it, saying it needs a human touch. Amelia receives a video message from Murph, announcing the death of Professor Brand. Unable to contain her outrage, Murph asks Amelia if she was aware that there was no Plan A, and wonders if her father knew he was leaving Murph to die. Cooper overhears, and Amelia promises him she had no idea. Mann says there was never a Plan A, because Brand’s gravity equation could not reconcile relativity and quantum physics without data from a black hole. Eager to return to his family, Cooper plans to set up a base camp at the surface, then fly the Endurance back to Earth. Cooper and Mann set out for the surface, but on the way, Mann admits his mission was a failure. He disconnects Cooper’s radio transmitter and pushes him over a cliff. While Cooper hangs on the side of the cliff, Mann announces plans to fly the Endurance to Edmunds’s planet, since his planet is uninhabitable. Cooper realizes Mann misrepresented his data in order to be rescued. On Earth, Murph returns to her old bedroom, desperate to solve Brand’s gravity equation. Meanwhile, Cooper struggles back up the cliff, but Mann head butts his helmet, causing it to crack and leak oxygen. Mann leaves Cooper to die, but Cooper reconnects his radio transmitter and calls for help. Amelia flies the shuttle to his location and rescues him. Cooper tells Amelia that Mann lied about his data, while, back in the bunker, Romilly attempts to fix KIPP but is killed when a bomb inside the robot explodes. Amelia, Cooper, and TARS fly back to the Endurance, but Mann pilots another shuttle and reaches the spacecraft first. He attempts to dock without authorization and opens an airlock hatch despite a faulty docking. The spacecraft goes into a rapid spin, and Mann floats to his death. Cooper is forced to dock by matching the Endurance’s spin. As they head toward Gargantua’s pull, Cooper determines that the only way to get to Edmunds’s planet on such low fuel is to harness Gargantua’s gravity. He charts a course to slingshot the spacecraft around the black hole. To lighten their load, TARS will disengage and fly into Gargantua to cull data for NASA. Without warning Amelia, Cooper disengages in another shuttle, leaving her to fly to Edmunds’s planet alone. Cooper goes into the black hole and loses control of his shuttle. He ejects from the craft and is sucked into a structure of light beams. Over the radio, TARS explains that five-dimensional beings have created this “tesseract,” a three-dimensional space, just for them. Cooper recognizes infinite versions of Murph’s childhood bedroom in the tesseract. Stuck behind the bookshelf on her wall, he realizes that he was the ghost communicating with Murph as a child, because the black hole allows him to transcend time and space. TARS obtains the quantum data Murph needs to merge with Brand’s gravity equation, and Cooper transmits the information, via Morse code, to the second hand on the wristwatch he gave Murph. At the same time, Murph sees the watch, realizes her father is the ghost, and tells Tom that Cooper is going to save them. Inside Gargantua, Cooper suggests to TARS that fifth-dimensional beings did not create this space but more intelligent humans from the future. Emerging from the black hole, Cooper floats outside Saturn before being rescued by other astronauts. He wakes up in a hospital on Cooper Space Station, named after his daughter. Cooper is told he is 124 years old, yet he still appears middle-aged due to the relative time in Gargantua. The next day, an elderly Murph is brought out of cryo-sleep to visit Cooper. In a tearful reunion between father and daughter, Murph urges Cooper to go to Amelia, who is alone on Edmunds’s planet, setting up a new world. Following his daughter’s advice, Cooper dons a space suit and climbs into a shuttle with TARS. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.