Gravity (2013 film)

Science fiction thriller by Alfonso CuarónTemplate:SHORTDESC:Science fiction thriller by Alfonso Cuarón

 Produced by | * Alfonso Cuarón
 Starring | * Sandra Bullock
* August 28, 2013 (2013-08-28) (Venice)
* October 4, 2013 (2013-10-04) (United States)
* November 7, 2013 (2013-11-07) (United Kingdom)

***Gravity*** is a 2013 science fiction thriller film directed by Alfonso Cuarón, who also co-wrote, co-edited, and produced the film. It stars Sandra Bullock and George Clooney as American astronauts who are stranded in space after the mid-orbit destruction of their Space Shuttle, and attempt to return to Earth.

Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. Later, the distribution rights were acquired by Warner Bros. Pictures. David Heyman, who previously worked with Cuarón on *Harry Potter and the Prisoner of Azkaban* (2004), produced the film with him. *Gravity* was produced entirely in the United Kingdom, where British visual effects company Framestore spent more than three years creating most of the film's visual effects, which involve over 80 of its 91 minutes.

*Gravity* opened the 70th Venice International Film Festival on August 28, 2013, and had its North American premiere three days later at the Telluride Film Festival. Upon its release, *Gravity* was met with widespread critical acclaim, with praise for its direction and visuals. Considered one of the best films of 2013, it appeared on numerous critics' year-end lists, and was selected by the American Film Institute in their annual *Movies of the Year* list. The film became the eighth highest-grossing film of 2013 with a worldwide gross of over $723 million, against a production budget of around $100 million.

The film earned accolades from numerous critics and guilds. At the 86th Academy Awards, *Gravity* received ten nominations, including Best Actress for Bullock and Best Picture, and won seven awards, including Best Director, Best Original Score, Best Cinematography, and Best Visual Effects. The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, seven Critics' Choice Movie Awards, the 2013 Ray Bradbury Award, and the 2014 Hugo Award for Best Dramatic Presentation.

## Plot

The Space Shuttle *Explorer*, commanded by veteran astronaut Matt Kowalski, is in Earth orbit to service the Hubble Space Telescope (HST). Dr. Ryan Stone is aboard on her first space mission, to perform a set of hardware upgrades on the Hubble. During a spacewalk, Mission Control in Houston warns *Explorer*'s crew about a rapidly-expanding cloud of space debris accidentally caused by the Russians having shot down a presumed defunct spy satellite (see Kessler syndrome) and orders the crew to return to Earth immediately. Communication with Mission Control is lost shortly thereafter as more communication satellites are knocked out by the debris.

High-speed debris strikes the *Explorer* and Hubble, tearing Stone from the shuttle and leaving her tumbling through space. Kowalski, using a Manned Maneuvering Unit (MMU), rescues Stone, and they return to the Explorer, soon discovering that the Shuttle has suffered catastrophic damage and the rest of the crew are dead. Stone and Kowalski decide to use the MMU to reach the International Space Station (ISS), which is in orbit about 1,450 km (900 mi) away, Kowalski estimating that they have 90 minutes before the debris field completes an orbit and threatens them again.

On their way to the ISS, the two discuss Stone's home life and her daughter, who died young in an accident. As they approach the station, they see that the ISS's crew has evacuated using one of its two Soyuz spacecraft, the remaining Soyuz spacecraft exhibiting damage with its parachute having been deployed in space rendering it unable to return to Earth. Kowalski suggests using it to travel to the nearby Tiangong space station, 100 km (60 mi) away, in order to board the Shenzhou spacecraft to return safely to Earth. Out of air and maneuvering fuel, the two try to grab onto the ISS; the duo's tether snaps on one of the station's solar panels. Stone's leg gets entangled in the Soyuz's parachute cords and she grabs a strap on Kowalski's suit, but it soon becomes clear that the cords will not support them both. Despite Stone's protests, Kowalski detaches himself from the tether to save her from drifting away with him. Stone is pulled back towards the ISS, while Kowalski floats away.

Stone enters the space station via the airlock of the *Pirs* module. She cannot re-establish communication with Kowalski or Earth, and concludes that she is now the sole survivor. Inside the station, a fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the Soyuz away from the ISS, the tangled parachute tethers snag, preventing the spacecraft from leaving; Stone performs a spacewalk to cut the cables, succeeding just as the debris field returns, destroying the station. Stone angles the Soyuz towards Tiangong, but soon discovers that the Soyuz's engine has no fuel.

After an attempt at radio communication with an Inuk on Earth, Stone resigns herself to her fate and shuts down the cabin's oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski seemingly enters the capsule; scolding her for giving up, he tells her to rig the Soyuz's soft landing rockets to propel the capsule toward Tiangong, before himself disappearing. Realizing Kowalski's appearance was a hallucination, Stone regains the will to go on, restoring the spacecraft's oxygen flow and rigging the landing rockets to propel the capsule towards Tiangong.

Unable to dock with Tiangong, Stone ejects herself from the Soyuz and uses a fire extinguisher as a makeshift thruster to travel to the rapidly deorbiting Tiangong. Stone manages to enter Tiangong's Shenzhou capsule just as the station enters the upper atmosphere, undocking the capsule just in time.

The Shenzhou capsule re-enters the atmosphere successfully despite having sustained debris damage during its descent, and lands in a lake. Radio communication from Houston informs Stone that she has been tracked on radar and that rescue crews are on their way. Stone opens the hatch but is unable to exit due to water rushing in. She takes a deep breath and holds it until the capsule sinks, allowing her to swim through the hatch. She sheds her Sokol space suit that is weighing her down, and crawls onto the beach before standing up triumphantly and walking away.

## Cast

Sandra Bullock
* Sandra Bullock as Dr. Ryan Stone, a medical engineer and mission specialist from Lake Zurich, Illinois who is on her first space mission. According to Cuarón, Stone is "a character who lives in her own bubble", and in the film "she's trapped in her space suit." Bullock's role was extremely demanding and daunting. She called the experience "lonely" and said there was "frustrating, painful isolation" on set, but in the best way, and described her working day on the shoot as a "morose headspace". She was cast in 2010, just a few months after finalizing her divorce from Jesse James. *The Hollywood Reporter* estimated that Bullock would earn at least $70 million based on theatrical returns alone for the film.
* George Clooney as Lieutenant Matt Kowalski, the commander of the team. Kowalski is a veteran astronaut planning to retire after the *Explorer* expedition. He enjoys telling stories about himself and joking with his team, and is determined to protect the lives of his fellow astronauts.
* Ed Harris (voice) as Mission Control in Houston, Texas.
* Orto Ignatiussen (voice) as Aningaaq, a Greenlandic Inuk fisherman who intercepts one of Stone's transmissions. Aningaaq also appears in an eponymous short, written and directed by *Gravity* co-writer Jonás Cuarón, which depicts the conversation between him and Stone from his perspective.
* Phaldut Sharma (voice) as Shariff Dasari, the flight engineer on board the *Explorer*.
* Amy Warren (voice) as the captain of *Explorer*.
* Basher Savage (voice) as the captain of the International Space Station.

## Themes

Although *Gravity* is often considered to be a science fiction film, Cuarón told the BBC that he does not, rather seeing it as "a drama of a woman in space". According to him, the main theme of the film was "adversity" and he uses the debris as a metaphor for this.

Despite being set in space, the film uses motifs from shipwreck and wilderness survival stories about psychological change and resilience in the aftermath of a catastrophe. Cuarón uses the Stone character to illustrate clarity of mind, persistence, training, and improvisation in the face of isolation and the consequences of a relentless Murphy's law. The film incorporates spiritual or existential themes, in the facts of Stone's daughter's accidental and meaningless death, and in the necessity of summoning the will to survive in the face of overwhelming odds, without future certainties, and with the impossibility of rescue from personal dissolution without finding this willpower. Calamities occur but only the surviving astronauts see them.

The impact of scenes is heightened by alternating between objective and subjective perspectives, the warm face of the Earth and the depths of dark space, the chaos and unpredictability of the debris field, and silence in the vacuum of space with the background score giving the desired effect. The film uses very long, uninterrupted shots throughout to draw the audience into the action, but contrasts these with claustrophobic shots within space suits and capsules.

Human evolution and the resilience of life may also be seen as key themes of *Gravity*. The film opens with the exploration of space—the vanguard of human civilization—and ends with an allegory of the dawn of mankind when Ryan Stone fights her way out of the water after the crash-landing, passing a frog, grabs the soil, and slowly regains her capacity to stand upright and walk. Director Cuarón said, "She's in these murky waters almost like an amniotic fluid or a primordial soup, in which you see amphibians swimming. She crawls out of the water, not unlike early creatures in evolution. And then she goes on all fours. And after going on all fours she's a bit curved until she is completely erect. It was the evolution of life in one, quick shot". Other imagery depicting the formation of life includes a scene in which Stone rests in an embryonic position, surrounded by a rope strongly resembling an umbilical cord. Stone's return from space, accompanied by meteorite-like debris, may be seen as a hint that elements essential to the development of life on Earth may have come from outer space in the form of meteorites.Template:Whom The film also suggests themes of humanity's ubiquitous strategy of existential resilience; that, across cultures, individuals must postulate meaning, beyond material existence, wherever none can be perceived.

Some commentators have noted possible religious themes in the film. For instance, Robert Barron in *The Catholic Register* summarizes the tension between *Gravity*'s technology and religious symbolism. He said, "The technology which this film legitimately celebrates ... can't save us, and it can't provide the means by which we establish real contact with each other. The Ganges in the sun, the Saint Christopher icon, the statue of Budai, and above all, a visit from a denizen of heaven, signal that there is a dimension of reality that lies beyond what technology can master or access  ...  the reality of God".

## Production

### Development

As a child, Alfonso Cuarón had an affinity for space programs, dreamed of becoming an astronaut, and would watch live Moon landings on television. He was 8 years old when Apollo 11 landed on the Moon in 1969 and was profoundly influenced by Neil Armstrong. At that time, his grandmother bought a new television in order to be able to see the Moon landing. He watched space films, like *A Trip to the Moon* (1902), and was further drawn to films featuring the technology of space exploration and trying to honor the laws of physics, such as *Marooned* (1969) and *Woman in the Moon* (1929).

In 2008, money dried up on a project titled *A Boy and His Shoe* written by Cuarón and his son Jonás. They wrote a first draft of what would become *Gravity* in three weeks. After they finished the screenplay, Cuarón attempted to develop his project at Universal Pictures, where it stayed in development hell. When co-chairmen Marc Shmuger and David Linde were ousted from Universal in 2009, Cuarón asked for the project to be released, and then Warner Bros Pictures chief Jeff Robinov stepped in. After the rights to the project were sold, it began development at Warner Bros. Three years later, when the movie was still unfinished, Robinov was let go.

In 2014, author Tess Gerritsen filed a lawsuit against Warner Bros. for breach of contract, alleging that the film *Gravity* is an adaptation of her 1999 novel of the same name. The suit was dismissed twice in 2015.

### Writing

Cuarón co-wrote the screenplay with his son Jonás. However, Cuarón never intended to make a space film. Before conceiving the story, he started out with a theme: adversity. He would discuss with Jonás survival scenarios in hostile, isolated locations, such as the desert (Jonás wrote a desert film, *Desierto*, which was released in 2015). Finally, he decided to take it to an extreme place where there's nothing: "I had this image of an astronaut spinning into space away from human communication. The metaphor was already so obvious."

### Casting

 File:Warner Brothers studio tour (13084977233).jpg
For the female role, Cuarón was in search of a lead that could "carry" the film in a manner akin to Tom Hanks's character in *Cast Away*, being the only person onscreen for a large part of the movie, and he began looking at a wide range of actors for the role. In 2010, Angelina Jolie, who had rejected a sequel to *Wanted* (2008), was in contact with Warner Bros. to star in the film. Scheduling conflicts involving Jolie's Bosnian war film *In the Land of Blood and Honey* (2011), and a possible sequel to *Salt* (2010) led Jolie to end her involvement with *Gravity*, leaving Warner Bros. with doubts that the film would get made. The studio approached her for a second time to reconsider her former decision, but Jolie again declined.

In mid-2010, Marion Cotillard screen-tested for the part but instead went on to accept a role in another sci-fi film, *Inception* and the comedy–drama *Little White Lies*. Scheduling conflicts with the television series *Gossip Girl* in Manhattan and the film *The Town* in Boston prevented actress Blake Lively from getting the part. In September 2010, Cuarón received approval from Warner Bros. to offer the role without a screen test to Natalie Portman, who was praised for her performance in *Black Swan* (2010) at that time. Portman rejected the project because of scheduling conflicts. Other stars considered to some degree included Naomi Watts, Carey Mulligan, Scarlett Johansson, Sienna Miller, Abbie Cornish, Rebecca Hall, and Olivia Wilde. Warner Bros. then approached Sandra Bullock for the role, and she was cast in October 2010.

In March 2010, Robert Downey Jr. had entered discussions to be cast in the male lead role, but he left the project that November to star in *How to Talk to Girls*—a project in development with Shawn Levy attached to direct. In December, with Bullock signed for the co-lead role, George Clooney replaced Downey.

### Filming

 File:Lake Powell03.jpg
Made on a production budget of $100 million, *Gravity* was filmed digitally on multiple Arri Alexa cameras. Most of the film is computer generated. In the majority of shots the only elements captured with a camera are the faces. The movie was shot digitally using Arri Alexa Classics cameras equipped with wide Arri Master Prime lenses. The final scene, which takes place on Earth, was shot on an Arri 765 camera using 65mm film to provide the sequence with a visual contrast to the rest of the film. CGI elements were shot at Pinewood and Shepperton Studios in the United Kingdom. The landing scene was filmed at Lake Powell, Arizona—where the astronauts' landing scene in *Planet of the Apes* (1968) was also filmed.

Principal photography began in London, on 9 May 2011. The film contains 156 shots, with an average length of 45 seconds—fewer and longer shots than in most films of its length. Although the first trailer had audible explosions and other sounds, these scenes are silent in the finished film. Cuarón said, "They put in explosions [in the trailer]. As we know, there is no sound in space. In the film, we don't do that." The soundtrack in the film's space scenes consists of the musical score and sounds astronauts would hear in their suits or in the space vehicles.

For most of Bullock's shots, she was placed inside a large mechanical rig with thousands of LED bulbs to simulate outer space. Getting into the "lightbox" rig took a significant amount of time, and so Bullock stayed in it for up to 10 hours a day, communicating through a headset. Costume Designer Jany Temime said the spacesuits were fictitious – "no space suit opens up at the front – but we had to do that in order for her to get out. So I had to redesign it and readapt all the functions of the suit for front opening." Cuarón said his biggest challenge was to make the set feel as inviting and non-claustrophobic as possible, including having a large celebration each day when Bullock arrived. Shooting long scenes in a zero-g environment was a challenge, and so they used computer-generated imagery for the spacewalk scenes and automotive robots to move Bullock's character for interior space station scenes. Shots and blocking had to be planned well in advance for the robots to be programmed, which caused the production period to last four and half years. Cuarón had initially assumed it would take about a year to complete the film after completing the script. The lightbox was named one of 2013's best inventions by Time Magazine, and is suggested as a breakthrough in entertainment technology comparable to the motion-capture technology of *Avatar* (2009), the battle-scene software of *Lord of the Rings* (2001–2003), and the "bullet time" effect of *Matrix* (1999).

Warner Bros started screening the movie to test audiences well before it was finished, with crude animation instead of finished special effects. Initial feedback asked for monsters or aliens. Cuarón refused. It was only at the 2012 Comic-Con, where the opening sequence was successfully showcased, the studio was finally convinced the project could succeed.

### Cinematography

 File:ISS-42 Earth from the ISS.jpg
Cuarón wanted to do tracking shots, in part because the producers wanted to film it like an IMAX-style Discovery Channel documentary. Like his previous films, Emmanuel Lubezki did not use prior footage as the starting point of his work on *Gravity*. Instead, he carried out a search of images from NASA and Roscosmos. He and his team put together a large collection of photographs and picked what was best for the film. Lubezki said that they based the visuals on descriptions from astronauts, with some artistic license in depicting how the stars looked during the daytime in space. He wanted to incorporate the stars as much as possible to feel as deep as possible and avoid plain darkness and two dimensional feeling.

The 13-minute opening scene was challenging for the team to shoot. Cuarón asked Lubezki to start the film with a brightly lit Earth, adding shadows and dusk as the threat grows stronger. The light was constantly changing from one frame to the other with the actors spinning around the shuttle, the shuttle itself spinning, and the Earth spinning as well as orbiting around the sun all simultaneously. It took many months to design it and years to shoot it. When the team designed the sequence, Lubezki had in mind one of his favorite cinematographers, Vittorio Storaro, and how he utilized lighting in his films.

### Visual effects

 File:Framestore offices London March 2014.jpg
Visual effects were supervised by Tim Webber at the British VFX company Framestore, which was responsible for creating most of the film's visual effects—except for 17 shots. Framestore was also heavily involved in the art direction and, along with The Third Floor, the previsualization. Tim Webber stated that 80 percent of the film consisted of CGI—compared to James Cameron's *Avatar* (2009), which was 60 percent CGI. To simulate the authenticity and reflection of unfiltered light in space, a manually controlled lighting system consisting of 1.8 million individually controlled LED lights was built. The 3D imagery was designed and supervised by Chris Parks. The majority of the 3D was created by stereo rendering the CGI at Framestore. The remaining footage was converted into 3D in post-production—principally at Prime Focus, London, with additional conversion work by Framestore.

## Music

Steven Price composed the incidental music for *Gravity*. In early September 2013, a 23-minute preview of the soundtrack was released online. A soundtrack album was released digitally on September 17, 2013, and in physical formats on October 1, 2013, by WaterTower Music. Songs featured in the film include:

* "Angels Are Hard to Find" by Hank Williams Jr.
* "Mera Joota Hai Japani" by Shailendra and Shankar Jaikishan
* "Sinigit Meerannguaq" by Juaaka Lyberth
* "Destination Anywhere" by Chris Benstead and Robin Baynton
* "922 Anthem" by Djay Adx and Gaurav Dayal
* "Ready" by Charles Scott (featuring Chelsea Williams)

In most of the film's official trailers, *Spiegel im Spiegel*, written by Estonian composer Arvo Pärt in 1978, was used.

## Release

 File:SDCC13 - Gravity panel (9345233475).jpg
*Gravity* had its world premiere at the 70th Venice International Film Festival on August 28, 2013, and had its North American premiere three days later at the Telluride Film Festival. It was released in the US in RealD 3D and IMAX 3D on October 4, 2013, and in the UK on November 1, 2013. The film's US release coincided with the beginning of World Space Week, which was observed from October 4 to 10. The film was originally scheduled to be released in the US on November 21, 2012, before being rescheduled for a 2013 release to allow the completion of extensive post-production work.

## Reception

### Box office

*Gravity* emerged as one of the most successful sci-fi films of all time, and the biggest box office hit of both Sandra Bullock and George Clooney's careers. It became the highest-grossing feature film in October history, surpassing the animated *Puss in Boots* and holding the record until 2019's *Joker*. Bullock's previous highest-grossing film was *Speed* ($350.2 million) while Clooney's benchmark was *Ocean's Eleven* ($450.6 million).

Preliminary reports predicted the film would open with around $40 million in the US and Canada. The film earned $1.4 million from its Thursday night showings, and reached $17.5 million on Friday. *Gravity* topped the box office and broke the record held by *Paranormal Activity 3* (2011) as the highest-earning October and autumn openings, grossing $55.8 million from 3,575 theaters. 80 percent of the film's opening weekend gross came from its 3D showings, which grossed $44.2 million from 3,150 theaters. $11.2 million—20 percent of the receipts—came from IMAX 3D showings, the highest percentage for a film opening of more than $50 million. The film stayed at number one at the box office during its second and third weekends. IMAX alone generated $34.7 million from 323 theaters, a record for IMAX opening in October.

*Gravity* earned $27.4 million in its opening weekend overseas from 27 countries with $2.8 million from roughly 4,763 screens. Warner Bros. said the 3D showing "exceeded all expectations" and generated 70 percent of the opening grosses. In China, its second largest market, the film opened on November 19, 2013, and faced competition with *The Hunger Games: Catching Fire* which opened on November 21, 2013. At the end of the weekend *Gravity* emerged victorious, generating $35.76 million in six days. It opened at number one in the United Kingdom, taking Template:GBP over the first weekend of release, and remained there for the second week. The film's high notable openings were in Russia and the CIS ($8.1 million), Germany ($3.8 million), Australia ($3.2 million), Italy ($2.6 million) and Spain ($2.3 million). The film's largest markets outside North America were China ($71.2 million), the United Kingdom ($47 million) and France ($38.2 million). By February 17, 2014, the film had grossed $700 million worldwide. *Gravity* grossed $274,092,705 in North America and $449,100,000 in other countries, making a worldwide gross of $723,192,705—making it the eighth-highest-grossing film of 2013. Calculating in all expenses, *Deadline Hollywood* estimated that the film made a profit of $209.2 million.

According to the tracking site Excipio, *Gravity* was one of the most copyright-infringed films of 2014 with over 29.3 million downloads via torrent sites.

### Critical reception

Cuarón shows things that cannot be but, miraculously, are, in the fearful, beautiful reality of the space world above our world. If the film past is dead, *Gravity* shows us the glory of cinema's future. It thrills on so many levels. And because Cuarón is a movie visionary of the highest order, you truly can't beat the view.

—Richard Corliss of *Time*

On review aggregator Rotten Tomatoes, the film has an approval rating of 96% based on 356 reviews, with an average rating of 9.00/10. The website's critical consensus states: "Alfonso Cuarón's *Gravity* is an eerie, tense sci-fi thriller that's masterfully directed and visually stunning." On Metacritic, which assigns a normalized rating out based on reviews, the film has a weighted average score of 96 out of 100, based on 49 critics, indicating "universal acclaim", and making it the second-highest scoring widely released film of its year. In CinemaScore polls conducted during the opening weekend, cinema audiences gave *Gravity* an average grade of "A–" on an A+ to F scale. CinemaScore later issued an apology for the grade, saying they should have limited the poll to 3D showings instead of both 2D and 3D screenings (*The Hollywood Reporter* said it was "playing like an A+ film").

Matt Zoller Seitz, writing on RogerEbert.com, gave the film four out of four stars, calling it "a huge and technically dazzling film and that the film's panoramas of astronauts tumbling against starfields and floating through space station interiors are at once informative and lovely". Justin Chang, writing for *Variety,* said that the film "restores a sense of wonder, terror and possibility to the big screen that should inspire awe among critics and audiences worldwide". Richard Corliss of *Time* praised Cuarón for playing "daringly and dexterously with point-of-view: at one moment you're inside Ryan's helmet as she surveys the bleak silence, then in a subtle shift you're outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler's thoughts at the realization of being truly alone in the universe."

Peter Bradshaw of *The Guardian* gave the film five out of five stars, writing "a brilliant and inspired movie-cyclorama ... a glorious imaginary creation that engulfs you utterly." Robbie Collin of *The Daily Telegraph* also awarded the film five out of five stars.

Peter Travers of *Rolling Stone* gave the film four out of four stars, stating that the film was "more than a movie. It's some kind of miracle." A. O. Scott, writing for *The New York Times*, highlighted the use of 3-D which he said, "surpasses even what James Cameron accomplished in the flight sequences of *Avatar*". Scott also said that the film "in a little more than 90 minutes rewrites the rules of cinema as we have known them". Quentin Tarantino said it was one of his top ten films of 2013. *Empire*, *Time* and *Total Film* ranked the film as the best of 2013.

Some critics have compared *Gravity* with other notable films set in space. Lindsey Weber of Vulture.com said the choice of Ed Harris for the voice of Mission Control is a reference to *Apollo 13*. Todd McCarthy of *The Hollywood Reporter* suggests the way "a weightless Stone goes floating about in nothing but her underwear" references *Alien* (1979). Other critics made connections with *2001: A Space Odyssey* (1968). James Cameron praised the film and stated, "I think it's the best space photography ever done, I think it's the best space film ever done, and it's the movie I've been hungry to see for an awful long time". Empire Online, AskMen and *The Huffington Post* also considered *Gravity* to be one of the best space films ever made,. While *The Huffington Post's* Lauren Duca later included *Gravity* on the site's list of "8 Movies from the Last 15 Years That Are Super Overrated", another of the site's film critics, Christopher Rosen, placed it at the top of his list of Best Movies of 2013.

### Accolades

*Gravity* received ten nominations at the 86th Academy Awards; together with *American Hustle* it received the greatest number of nominations for the 2014 ceremony, including Best Picture, Best Actress for Bullock, and Best Production Design. The film won the most awards of the night with seven Academy Awards: for Best Director, Best Cinematography, Best Visual Effects, Best Film Editing, Best Original Score, Best Sound Editing, and Best Sound Mixing. The film is second only to *Cabaret* (1972) to receive the most Academy Awards in its year without winning Best Picture, and has since been the most awarded film since *Slumdog Millionaire* (2008).

Cuarón won the Golden Globe Award for Best Director, and the film was also nominated for Best Motion Picture – Drama, Best Actress – Drama for Bullock and Best Original Score.

*Gravity* received eleven nominations at the 67th British Academy Film Awards, more than any other film of 2013. Its nominations included Best Film, Outstanding British Film, Best Director, Best Original Screenplay, and Best Actress in a Leading Role. Cuarón was the most-nominated person at the awards; he was nominated for five awards, including his nominations as producer for Best Film awards and editor. Despite not winning Best Film, *Gravity* won six awards, the greatest number of awards in 2013. It won the awards for Outstanding British Film, Best Direction, Best Original Music, Best Cinematography, Best Sound, and Best Visual Effects.

*Gravity* also won the 2014 Hugo Award for Best Dramatic Presentation, Long Form.

### Home media

*Gravity* was released on digital download on February 11, 2014, and was released on DVD, Blu-ray and Blu-ray 3D on February 25, 2014, in the United States and on March 3, 2014, in the United Kingdom. As of March 16, 2014[update], *Gravity* has sold 908,756 DVDs along with 957,355 Blu-ray discs for $16,465,600 and $22,183,843, respectively, for a total of $38,649,443. *Gravity* was also offered for free in HD on Google Play and Nexus devices from late October 2014 to early November 2014.

A "special edition" Blu-ray was released on March 31, 2015. The release includes a "Silent Space Version" of the film which omits the score composed by Steven Price.

## Scientific accuracy

 File:Comparison ISS HST orbits globe centered in Cape Verde.svg
Cuarón has stated that *Gravity* is not always scientifically accurate and that some liberties were needed to sustain the story. Despite this, the film has been praised for the realism of its premises and its overall adherence to physical principles, although several inaccuracies and exaggerations were still noted. According to NASA Astronaut Michael J. Massimino, who took part in Hubble Space Telescope Servicing Missions STS-109 and STS-125, "nothing was out of place, nothing was missing. There was a one-of-a-kind wirecutter we used on one of my spacewalks and sure enough they had that wirecutter in the movie."

Astronaut Buzz Aldrin called the visual effects "remarkable" and he hoped that the film would stimulate the public to find an interest in space again, after decades of diminishing investments into advancements in the field: Template:Cquote Former NASA astronaut Garrett Reisman said: Template:Cquote

Former astronaut Chris Hadfield was critical of *Gravity*'s portrayal of astronauts, particularly its depiction of Bullock's character, saying "When she's faced with a problem, she's panicking and has no idea what to do. George Clooney is driving around like some sort of space cowboy and he's the only one who has any idea what's going on. I think it set back a little girl's vision of what a woman astronaut can be an entire generation." In contrast, Vanessa Reich-Shackelford from Westcoast Women in Engineering, Science and Technology while considering the character of Dr. Ryan Stone wrote: "I came to realize that writers Alfonso (also director) and Jonás Cuarón had created one of the most positive representation of a woman in STEM on screen so far."

Astrophysicist Neil deGrasse Tyson, astronomer and skeptic Phil Plait, and veteran NASA astronaut and spacewalker Scott E. Parazynski have offered comments about some of the most "glaring" inaccuracies. *The Dissolve* characterized these complaints as "absurd", problems "only an astrophysicist would find".

Examples of differences from reality include:

* Several observers (including Plait and Tyson) said that in the scene in which Kowalski unclips his tether and floats away to his death to save Stone from being pulled away from the ISS, Stone would simply need to tug the tether gently to pull Kowalski toward her. According to the film's science adviser Kevin Grazier and NASA engineer Robert Frost, however, the pair are still decelerating with Stone's leg caught in the parachute cords from the Soyuz. The cords stretch as they absorb her kinetic energy. Kowalski thinks that the cords are not strong enough to absorb his kinetic energy as well as hers, and that he must release the tether to give Stone a chance of stopping before the cords fail and doom both of them.
* By the time Tiangong-1 was launched in 2011, the Space Shuttle had been retired from service.
* Stone is shown not wearing liquid-cooled ventilation garments or even socks, which are always worn under the EVA suit to protect against extreme temperatures in space. Neither was she shown wearing space diapers. Unlike real space suits, Stone can open her suit in the front, by herself.
* Stone's tears first roll down her face in micro-gravity, and are later seen floating off her face. After being pushed from her eye by her eyelid, the surface tension is not sufficient for the tears to continue adhering to her jawline. However, the film correctly portrays the spherical nature of drops of liquid in a micro-gravity environment.
* Kowalski's use of the MMU as his personal jet pack zipping around the spacewalking scene was criticized by *Time*'s Jeffery Kluger as being unrealistic. NASA's spacewalks are strictly choreographed in advance.
* The Hubble Space Telescope, which is what shuttle *Explorer* is there to repair at the beginning of the film, previously had an altitude of about 559 kilometres (347 mi) and an orbital inclination of 28.5 degrees. As of the release of the film, the International Space Station, which is where they travel using only Kowalski's MMU, had an altitude of around 420 kilometres (260 mi) and an orbital inclination of 51.65 degrees. The significant differences between orbital parameters would have made it impossible to travel between the two spacecraft without precise preparation, planning, calculation, the appropriate technology, and a large quantity of fuel at the time.

Despite the inaccuracies in *Gravity*, Tyson, Plait and Parazynski all said they enjoyed watching the film. Astronaut Cady Coleman advised Sandra Bullock on the film.

## See also

* Kessler syndrome
* List of films featuring space stations
* Survival film
* 2013 in film
* List of American films of 2013
* List of British films of 2013

## References

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## External links

Template:Wikiquote

* Official website
* *Gravity* at IMDb
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* Template:Rotten Tomatoes
* Template:Metacritic film
* Template:Mojo title

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