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Anne Hathaway, Jessica Chastain; Country=UK; Scores=1428602 Vote; Tomatometers=9,1 / 10 stars; Sci-Fi; Jonathan Nolan

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Interstellar sad scene. Franklin knew that his computers would do anything he told them to. That was a problem and a temptation. “It's very easy to fall into the trap of breaking the rules of reality, ” says Franklin, a senior supervisor of Academy Award-winning effects house Double Negative. “And those rules are actually quite strict. ” So he asked Thorne to generate equations that would guide their effects software the way physics governs the real world. They started with wormholes. If light around a wormhole wouldn't behave classically—that is, travel in a straight line—what would it do? How could that be described mathematically? Thorne sent his answers to Franklin in the form of heavily researched memos. Pages long, deeply sourced, and covered in equations, they were more like scientific journal articles than anything else. Franklin's team wrote new rendering software based on these equations and spun up a wormhole. The result was extraordinary. It was like a crystal ball reflecting the universe, a spherical hole in spacetime. “Science fiction always wants to dress things up, like it's never happy with the ordinary universe, ” he says. “What we were getting out of the software was compelling straight off. ” McConaughey explores another world in Interstellar (top). Thorne’s diagram of how a black hole distorts light. Diagrams courtesy of Kip Thorne Their success with the wormhole emboldened the effects team to try the same approach with the black hole. But black holes, as the name suggests, are murder on light. Filmmakers often use a technique called ray tracing to render light and reflections in images. “But ray-tracing software makes the generally reasonable assumption that light is traveling along straight paths, ” says Eugénie von Tunzelmann, a CG supervisor at Double Negative. This was a whole other kind of physics. “We had to write a completely new renderer, ” she says. Some individual frames took up to 100 hours to render, the computation overtaxed by the bendy bits of distortion caused by an Einsteinian effect called gravitational lensing. In the end the movie brushed up against 800 terabytes of data. “I thought we might cross the petabyte threshold on this one, ” von Tunzelmann says. “Chris really wanted us to sell the idea that the black hole is spherical, ” Franklin says. “I said, ‘You know, it's going to look like a disk. ’ The only thing you can see is the way it warps starlight. ” Then Franklin started reading about accretion disks, agglomerations of matter that orbit some black holes. Franklin figured that he could use this ring of orbiting detritus to define the sphere. Von Tunzelmann tried a tricky demo. She generated a flat, multicolored ring—a stand-in for the accretion disk—and positioned it around their spinning black hole. Something very, very weird happened. “We found that warping space around the black hole also warps the accretion disk, ” Franklin says. “So rather than looking like Saturn's rings around a black sphere, the light creates this extraordinary halo. ” That's what led Thorne to his “why, of course” moment when he first saw the final effect. The Double Negative team thought it must be a bug in the renderer. But Thorne realized that they had correctly modeled a phenomenon inherent in the math he'd supplied. Still, no one knew exactly what a black hole would look like until they actually built one. Light, temporarily trapped around the black hole, produced an unexpectedly complex fingerprint pattern near the black hole's shadow. And the glowing accretion disk appeared above the black hole, below the black hole, and in front of it. “I never expected that, ” Thorne says. “Eugénie just did the simulations and said, ‘Hey, this is what I got. ’ It was just amazing. ” In the end, Nolan got elegant images that advance the story. Thorne got a movie that teaches a mass audience some real, accurate science. But he also got something he didn't expect: a scientific discovery. “This is our observational data, ” he says of the movie's visualizations. “That's the way nature behaves. Period. ” Thorne says he can get at least two published articles out of it. When Thorne discusses the astrophysics that he likes best—colliding black holes, space dragged into motion by a whirling star, time warps—he uses a lot of analogies. He talks about two tornadoes running into each other or rays of light cast about like straw in the wind. But metaphors can be deceptive; they can make people think they understand something when they only understand what it is like. But Thorne's haloed, spinning black hole and galaxy-spanning wormhole are not just metaphors. Most Interstellar viewers will see these images—the wormhole, the black hole, the weird light—and think, “Whoa. That's beautiful. ” Thorne looks at them and thinks, “Whoa. That's true. ” And from a certain perspective, that's beautiful too. Courtesy Paramount.

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Interstellar badshah. Interstellar 123movies. Community See All 1, 861, 734 people like this 1, 839, 811 people follow this About See All Movie Page Transparency See More Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - April 3, 2013. Interstellar stay. Interstellar online. Interstellar bbq austin tx. Interstellar ending scene. Interstellar mouse. Interstellar technologies. Interstellar streaming. Interstellar quotes. Interstellar miller's planet. Top Rated Movies #30 | Won 1 Oscar. Another 43 wins & 147 nominations. See more awards » Learn more More Like This Action Adventure Sci-Fi 2 3 4 5 6 7 8 9 10 8. 8 / 10 X A thief who steals corporate secrets through the use of dream-sharing technology is given the inverse task of planting an idea into the mind of a C. E. O. Director: Christopher Nolan Stars: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page Crime Drama 9 / 10 When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman must accept one of the greatest psychological and physical tests of his ability to fight injustice. Christian Bale, Heath Ledger, Aaron Eckhart An insomniac office worker and a devil-may-care soapmaker form an underground fight club that evolves into something much, much more. David Fincher Brad Pitt, Edward Norton, Meat Loaf Romance The presidencies of Kennedy and Johnson, the events of Vietnam, Watergate and other historical events unfold through the perspective of an Alabama man with an IQ of 75, whose only desire is to be reunited with his childhood sweetheart. Robert Zemeckis Tom Hanks, Robin Wright, Gary Sinise 8. 7 / 10 A computer hacker learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers. Directors: Lana Wachowski, Lilly Wachowski Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss Mystery 8. 6 / 10 Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his motives. Morgan Freeman, Kevin Spacey 8. 9 / 10 The lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of violence and redemption. Quentin Tarantino John Travolta, Uma Thurman, Samuel L. Jackson 8. 5 / 10 After a tragic accident, two stage magicians engage in a battle to create the ultimate illusion while sacrificing everything they have to outwit each other. Hugh Jackman, Scarlett Johansson A meek Hobbit from the Shire and eight companions set out on a journey to destroy the powerful One Ring and save Middle-earth from the Dark Lord Sauron. Peter Jackson Elijah Wood, Ian McKellen, Orlando Bloom Fantasy Gandalf and Aragorn lead the World of Men against Sauron's army to draw his gaze from Frodo and Sam as they approach Mount Doom with the One Ring. Viggo Mortensen, Ian McKellen 9. 3 / 10 Two imprisoned men bond over a number of years, finding solace and eventual redemption through acts of common decency. Frank Darabont Tim Robbins, Bob Gunton While Frodo and Sam edge closer to Mordor with the help of the shifty Gollum, the divided fellowship makes a stand against Sauron's new ally, Saruman, and his hordes of Isengard. Viggo Mortensen Edit Storyline Earth's future has been riddled by disasters, famines, and droughts. There is only one way to ensure mankind's survival: Interstellar travel. A newly discovered wormhole in the far reaches of our solar system allows a team of astronauts to go where no man has gone before, a planet that may have the right environment to sustain human life. Written by ahmetkozan Plot Summary Plot Synopsis Taglines: Mankind's next step will be our greatest. See more » Motion Picture Rating ( MPAA) Rated PG-13 for some intense perilous action and brief strong language. See all certifications » Did You Know? Trivia The robot personalities were inspired by Douglas Adams ' universe ("Hitchhiker's Guide to the Galaxy"), where the Sirius Cybernetics Corporation created the Genuine People Personalities ("GPP"), which imbue their robots with intelligence and emotion. The most recognized example in Adams' universe is Marvin, a depressed android. See more » Goofs In one scene where the older Murph takes the watch outside the box in her room, a boom mic is being reflected in the glass of the watch. See more » Quotes Dr. Mann: This is not about my life, or Cooper's life; this is about all mankind! Crazy Credits There are no opening credits, except for the title. See more » Alternate Versions The 70mm IMAX version is two minutes shorter than the regular 70mm, Digital IMAX, 35mm, and digital projection versions. This is because the end credits are played in an abbreviated slide-show form (rather than scrolling from bottom to top), due to the size capacity of the IMAX platters, which can hold a maximum of 167 minutes of film. See more » Connections Referenced in PWN: Best of 2016: PWN #12 (2017) Soundtracks Do Not Go Gentle Into that Good Night Written by Dylan Thomas See more » Frequently Asked Questions See more » Details Release Date: 7 November 2014 (USA) Also Known As: Untitled Steven Spielberg Space Project Box Office Budget: $165, 000, 000 (estimated) Opening Weekend USA: $47, 510, 360, 9 November 2014 Cumulative Worldwide Gross: $677, 471, 339 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

Interstellar final scene. Interstellar docking music. Interstellar soundtrack. Interstellar roblox. Interstellar reaction. Interstellar medium. Interstellar cast. Interstellar review. Interstellar 2. Interstellar live online: Will Meera save HDan. Interstellar trailer. Deep space travel and finding another habitable planet are two of my favorite topics to read about online. I had been keeping up on this movie's development since a year ago. I like Christopher Nolan's movies, even though I always feel like his plots tend to squander some brilliant ideas. The best example was Inception - he could have done so much more with that brilliant premise for a movie. He sort of did it again with Interstellar, there was an opportunity to do much more, but the end product was a highly impressive movie that I really enjoyed.
Seeing the visuals of this movie in an IMAX theater is enough enjoyment for the ticket price. But Nolan managed to make the plot worth following as well. He took the plot in a direction that I wasn't crazy about, but I can't really talk about it because it would become a spoiler. I kept thinking during the movie. If Nolan would have done this, or taken the movie this way it would have been so much better. the same way I said it to myself during Inception. I ended up not being impressed by Inception, but this movie was different. His way was pretty darn good. There were several scenes that had me literally on the edge of my seat. Great suspense.
I had a preexisting hatred of Anne Hathaway's acting, but she was actually pretty good in this. She played her part perfectly. I've always been a fan of Wes Bentley and I hope to see him take on some bigger roles now that he's back and recovered from drug abuse. And I don't get why so many people don't like Matthew McConaughey, but he is on some kind of a roll lately with his movies. He was superb in this one, very believable both as an astronaut and as a caring father. I really think he's going to win another Best Actor for this, he was that good.
We need more great, serious space exploration / sci-fi films, and this is a terrific start. I really liked the effort by Nolan to make this movie seem real. You could tell that they spent a lot of time with Kip Thorne and incorporated his ideas very well.
I know that it's far fetched, but I would really like to see a sequel to this movie. As great a job as Nolan did, I'm already anxious to see more. I think he could do it and I think that with the story he built, it could be even better.

Interstellar coward. Interstellar 5555. Interstellar piano easy. Interstellar travel. Interstellar director christopher. Interstellar full movie. Interstellar. Interstellar marines. Interstellar summary. Interstellar trailer in hindi. Interstellar watch. Something went wrong, but don’t fret — let’s give it another shot. Interstellar Christopher Nolan’s "Interstellar, " about astronauts traveling to the other end of the galaxy to find a new home to replace humanity’s despoiled home-world, is frantically busy and earsplittingly loud. It uses booming music to jack up the excitement level of scenes that might not otherwise excite. It features characters shoveling exposition at each other for almost three hours, and a few of those characters have no character to speak of: they’re mouthpieces for techno-babble and philosophical debate. And for all of the director’s activism on behalf of shooting on film, the tactile beauty of the movie’s 35mm and 65mm textures isn’t matched by a sense of composition. The camera rarely tells the story in Nolan’s movies. More often it illustrates the screenplay, and there are points in this one where I felt as if I was watching the most expensive NBC pilot ever made. And yet "Interstellar" is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away. I’ve packed the first paragraph of this review with those objections (they could apply to any Nolan picture post "Batman Begins"; he is who he is) so that people know that he’s still doing the things that Nolan always does. Whether you find those things endearing or irritating will depend on your affinity for Nolan's style. In any case, t here’s something pure and powerful about this movie. I can’t recall a science fiction film hard-sold to a director’s fans as multiplex-“awesome” in which so many major characters wept openly in close-up, voices breaking, tears streaming down their cheeks. Matthew McConaughey ’s widowed astronaut Cooper and his colleague Amelia Brand ( Anne Hathaway) pour on the waterworks in multiple scenes, with justification: like everyone on the crew of the Endurance, the starship sent to a black hole near Jupiter that will slingshot the heroes towards colonize-able worlds, they’re separated from everything that defines them: their loved ones, their personal histories, their culture, the planet itself. Other characters—including Amelia's father, an astrophysicist played by Michael Caine, and a space explorer (played by an un-billed guest actor) who’s holed up on a forbidding arctic world—express a vulnerability to loneliness and doubt that’s quite raw for this director. The film’s central family (headed by Cooper, grounded after the dismantling of NASA) lives on a corn farm, for goodness’ sake, like the gentle Iowans in " Field of Dreams " (a film whose daddy-issues-laden story syncs up nicely with the narrative of " Interstellar"). Granted, they're growing the crop to feed the human race, which is whiling away its twilight hours on a planet so ecologically devastated that at first you mistake it for the American Dust Bowl circa 1930 or so; but there's still something amusingly cheeky about the notion of corn as sustenance, especially in a survival story in which the future of humanity is at stake. ( Ellen Burstyn plays one of many witnesses in a documentary first glimpsed in the movie's opening scene—and which, in classic Nolan style, is a setup for at least two twists. ) The state-of-the-art sci-fi landscapes are deployed in service of Hallmark card homilies about how people should live, and what’s really important. ("We love people who have died—what's the social utility in that? " "Accident is the first step in evolution. ") After a certain point it sinks in, or should sink in, that Nolan and his co-screenwriter, brother Jonathan Nolan, aren’t trying to one-up the spectacular rationalism of “2001. " The movie's science fiction trappings are just a wrapping for a spiritual/emotional dream about basic human desires (for home, for family, for continuity of bloodline and culture), as well as for a horror film of sorts—one that treats the star voyagers’ and their earthbound loved ones’ separation as spectacular metaphors for what happens when the people we value are taken from us by death, illness, or unbridgeable distance. (“Pray you never learn just how good it can be to see another face, ” another astronaut says, after years alone in an interstellar wilderness. ) While "Interstellar" never entirely commits to the idea of a non-rational, uncanny world, it nevertheless has a mystical strain, one that's unusually pronounced for a director whose storytelling has the right-brained sensibility of an engineer, logician, or accountant. There's a ghost in this film, writing out messages to the living in dust. Characters strain to interpret distant radio messages as if they were ancient texts written in a dead language, and stare through red-rimmed eyes at video messages sent years ago, by people on the other side of the cosmos. "Interstellar" features a family haunted by the memory of a dead mother and then an absent father; a woman haunted by the memory of a missing father, and another woman who's separated from her own dad (and mentor), and driven to reunite with a lover separated from her by so many millions of miles that he might as well be dead. With the possible exception of the last act of " Memento" and the pit sequence in "The Dark Knight Rises"—a knife-twisting hour that was all about suffering and transcendence—I can’t think of a Nolan film that ladles on misery and valorizes gut feeling (faith) the way this one does; not from start to finish, anyway. T he most stirring sequences are less about driving the plot forward than contemplating what the characters' actions mean to them, and to us. The best of these is the lift-off sequence, which starts with a countdown heard over images of Cooper leaving his family. It continues in space, with Caine reading passages from Dylan Thomas's villanelle "Do Not Go Gentle Into that Good Night": "Old age should burn and rave at close of day; Rage, rage against the dying of the light. " (If it wasn't already obvious, this sequence certifies Nolan as the most death-and-control obsessed major American filmmaker, along with Wes Anderson. ) The film's widescreen panoramas feature harsh interplanetary landscapes, shot in cruel Earth locales; some of the largest and most detailed starship miniatures ever built, and space sequences presented in scientifically accurate silence, a la "2001. " But for all its high-tech glitz, "Interstellar" has a defiantly old-movie feeling. It's not afraid to switch, even lurch, between modes. At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture, or a Steven Spielberg film made in the spirit of a Ford picture: a movie that would rather try to be eight or nine things than just one. Bruising outer-space action sequences, with astronauts tumbling in zero gravity and striding across forbidding landscapes, give way to snappy comic patter (mostly between Cooper and the ship's robot, TARS, designed in Minecraft-style, pixel-ish boxes, and voiced by Bill Irwin). There are long explanatory sequences, done with and without dry erase boards, dazzling vistas that are less spaces than mind-spaces, and tearful separations and reconciliations that might as well be played silent, in tinted black-and-white, and scored with a saloon piano. (Spielberg originated "Interstellar" in 2006, but dropped out to direct other projects. ) McConaughey, a super-intense actor who wholeheartedly commits to every line and moment he's given, is the right leading man for this kind of film. Cooper proudly identifies himself as an engineer as well as an astronaut and farmer, but he has the soul of a goofball poet; when he stares at intergalactic vistas, he grins like a kid at an amusement park waiting to ride a new roller coaster. Cooper's farewell to his daughter Murph—who's played by McKenzie Foy as a young girl—is shot very close-in, and lit in warm, cradling tones; it has some of the tenderness of the porch swing scene in " To Kill a Mockingbird. " When Murph grows up into Jessica Chastain —a key member of Caine's NASA crew, and a surrogate for the daughter that the elder Brand "lost' to the Endurance 's mission—we keep thinking about that goodbye scene, and how its anguish drives everything that Murph and Cooper are trying to do, while also realizing that similar feelings drive the other characters—indeed, the rest of the species. (One suspects this is a deeply personal film for Nolan: it's about a man who feels he has been "called" to a particular job, and whose work requires him to spend long periods away from his family. ) The movie's storytelling masterstroke comes from adherence to principles of relativity: the astronauts perceive time differently depending on where Endurance is, which means that when they go down onto a prospective habitable world, a few minutes there equal weeks or months back on the ship. Meanwhile, on Earth, everyone is aging and losing hope. Under such circumstances, even tedious housekeeping-type exchanges become momentous: one has to think twice before arguing about what to do next, because while the argument is happening, people elsewhere are going grey, or suffering depression from being alone, or withering and dying. Here, more so than in any other Nolan film (and that's saying a lot), time is everything. "I'm an old physicist, " Brand tells Cooper early in the film. "I'm afraid of time. " Time is something we all fear. There's a ticking clock governing every aspect of existence, from the global to the familial. Every act by every character is an act of defiance, born of a wish to not go gently. Matt Zoller Seitz Matt Zoller Seitz is the Editor at Large of, TV critic for New York Magazine and, and a finalist for the Pulitzer Prize in criticism. Interstellar (2014) Rated PG-13 for some intense perilous action and brief strong language 169 minutes about 3 hours ago 1 day ago.

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