INTERSTELLAR

CHRISTOPHER NOLANS BLEAK SCI-FI

THE INSIDE STORY ON 2014S MOST PROMISING FILM
2 Movie Taco www.buzzhub.info
Movie Taco October 2014 3
REVIEWS
04 THE EXPENDABLES 3

06 GUARDIANS OF THE
GALAXY
08 BOYHOOD
10 DAWN OF THE PLANET OF THE
APES
12 TRANSFORMERS: AGE OF
EXTINCTION

FEATURES
14 THE WORK OF CHRISTOPHER
NOLAN

16 OUT OF THIS WORLD
The Story of Interstellar.
FROM THE EDITOR
Hello, and welcome to this fine edition of Movie
Taco Magazine. This months cover features our
Most Anticipated Film of 2014, Christopher Nolans
Interstellar, and its stars- Matthew McConaughey,
Anne Hathaway and Michael Caine- grace it.
Inside we have a comprehensive feature on the
November sci-fi drama with some beautiful,
exclusive stills.
Plus, reviews of the Summers biggest films-
Transformers, Guardians of the Galaxy, The
Expendables 3- and the Summers best films-
Boyhood, Planet of the Apes.
Next month, Jennifer Lawrence returns to Movie
Taco for The Hunger Games: Mockingjay- Part 1.
Until then, enjoy the issue!
4 Movie Taco www.buzzhub.info
Its ironic that in a film with perhaps the most distinctive and memorable character
names ever, every actor is merely playing themselves. Arnold Schwarzeneger may be
playing Trench, but at one point, during one of the films laughably (and somewhat
deliberately) overblown action scenes he even shouts get to the chopper!, one of The
Governators most famous lines.
Back for more fun are Sylvester Stallone, who directed the first Expendables and was
the screenwriter on 2 and 3. Joining him at the start of the film are Jason Statham,
Dolph Lundgren, Terry Crews and newcomer Wesley Snipes, the man who is being
broken out of a moving-train-prison. The opening is about as entertaining as a
moving-train-prisonbreak could ever be, especially one involving a helicopter and
Jason Statham. The rest of the film fails to hit this level of fun, and is merely a badly
THE EXPENDABLES 3
Where
action
heroes go
to die
Movie Taco October 2014 5
Theres nothing fun
or memorable here.
Move along!
assembled montage of team assembling,
back-breaking and tank-shooting. The
franchises right-wing, pro-military
politics (which surely attracted known
Republicans Kelsey Grammar, Mel Gibson
and Arnie) are extremely questionable,
and I pity Harrison Ford (long-time friend
of Bill Clinton) for having to put up with
so much nonsense.
When Terry Crews character (Hale
Caesar, if you must know) is almost
killed, Stallones character (Barney Ross)
decides to retire his old friends from the
team and recruit some fresh blood. He
and Grammer go on a little tour to find
some young folk willing to fly around the
world on a plane blowing up people, and
along the way they pick up Kellan Lutz,
Victor Ortiz and Ronda Rousey (token
female character alert!). Their first mis-
sion: to take down Gibsons evil mega-
lomaniac CONRAD STONEBANKS, who is
evil. . . so hes evil.
The problem is- CONRAD STONEBANKS
is a sneaky fellow, and he captures the
new recruits, leaving Sly and ANTONIO
BANDERAS? to save the world all by
themselves! Then the old team return.
And Harrison Ford turns up. Flying a heli-
copter. And Jet Li pops his head in for two
minutes and gets THIRD BILLING!
The problem with criticising the
Expendables films is that they often
seem fully aware of how bad they are,
but they think that the prolonged action
scenes are stupid fun rather than bor-
ing and stupid. Since everyones playing
themselves, the actors who are known
to be despicable people in real life are
even harder to watch than usual, and the
only people who seem to be awake are
Banderas and Rousey (and no, she isnt
a strong female character. Her only pur-
pose is to wear a form-fitting jumpsuit
and jump around, and she says about
two lines).
Apart from the opening moving-train-
prisonbreak and a karaoke scene invok-
ing Neil Youngs Old Man, theres nothing
fun or memorable here. Move along.
6 Movie Taco www.buzzhub.info
GUARDIANS OF THE
GALAXY
When we reviewed Transformers: Age of Extinction, we made great mockery of Michael Bays use of the slow-mo
NOOOOO!, which made an appearance as Mark Wahlbergs character pounded his meaty fist into the ground.
There is also a dramatic slow-mo NOOOOO! in James Gunns Guardians of the Galaxy, but we have a very strong
feeling that, in this case, the filmmakers are in on the joke.
Tongue-in-cheek from start-to-finish, never resorting to clichs without immediately pointing out their clichd
nature, this is a refreshingly unique work from Marvel Studios, the team who- like Pixar before them- have
fallen into somewhat of a rut over the past year or so, with Iron Man 3, Thor: The Dark World and Mays Captain
America: The Winter Soldier all following a similar narrative formula and lacking any new or interesting char-
acters. Guardians, meanwhile is packed to the brim with new and interesting characters, from Chris Pratts Peter
Star-Lord Quill to Vin Diesels Groot to Xandars local pawnbroker. There isnt a single person onscreen who isnt
intriguing to look at, and the detailed sets arent bad either! Pratt, who has done a superb job as the likeable,
buffoonish Andy on Parks and Recreation for several years, provides the charm and wit necessary to make the
experienced but arrogant Quill a tolerable, never mind likeable, leading man. Joining him for the McGuffin-based
adventure are Zoe Saldana as the mysterious Gamora, Dave Bautista as hulking, big-hearted fighter Drax and
Bradley Cooper and Vin Diesel as Rocket Raccoon and Groot, the undisputed stars of the film and serious contend-
ers (along with Apes Caesar and Koba) for the best CGI characters of 2014. Rocket is not only one seriously cool
dude, but brings the required cynicism to the screen whenever things are about to get too obvious/emotionally
manipulative/boring. He is the soul of the film, and Groot is the true heart, with kindness and loyalty running
through his branches and showing in his eyes. Both are an absolute delight to watch, and get the best of Gunns
excellent, fast-paced script to play with.
Movie Taco October 2014 7
The opening scene (unusually taking place BEFORE the Marvel Studios fanfare has played), sees Quill lose his
mother to cancer before being captured by Michael Rookers Yondu, a snappy space pirate, and propelled into the
dark realms of outer space to fend for himself. Hence having not been on Earth since the late 1980s, all of Quills
cultural references come from and from shortly before that time, as do the songs on the films soundtrack- Blue
Swede, The Runaways, Bowie, 10cc, The Jackson 5 and Marvin Gaye- whose music also played a substantial part
in The Winter Soldier. Conveniently, Quill is a big fan of making cultural references, and so his fellow Guardians
are introduced to, at least the idea of, Footloose, Shel Silversteins The Giving Tree and Diana Ross. Whilst this
peppering of references does make Guardians substantially less timeless than the films it pays tribute to (Stars
Wars and Trek), it does give it an added sense of nostalgia, and harks back to such minor classics as Joe Dantes
Explorers, which had the idea of aliens being introduced to our pop culture at its core.
While James Gunns screenwriting brings this film up a level from its recent MCU, his directing style isnt par-
ticularly unique, and theres nothing interesting visually that Shane Black, Alan Taylor or the Russo Brothers
couldnt have done. That said, the whole tone of the film, and its reliance on hip, niche references, would appear
to be Gunns sole doing, and gives his involvement a major purpose.
As expected, the film descends into formulaic, stuff-exploding-over-city nonsense in the last act, and Lee Pace
and Karen Gillan are utterly forgettable as the primary antagonists who join Chris Ecclestons Dark Elf in the jail
of Bad Marvel Villains. Give us Robert Redford any day!
Not sophisticated or unique enough to be truly excellent, but surprisingly intelligent and witty all the same, this
entry into the Marvelverse has the heart and the humour that we feared would be beaten out of it. Youll laugh,
youll cry, youll stop crying because a talking raccoon tells you youre being pathetic.
8 Movie Taco www.buzzhub.info
BOYHOOD
The average mainstream American film gives the viewer between 20 and 30 minutes
worth of thought. Those who paid to see Michael Bays Transformers films think why did
I put myself through that? while more intelligent fare like Gravity raise some simplified
moral issues about the human experience. Boyhood is the first film ive seen in a long,
long time that has provided me with what I expect will be many years of thought- many
years of reflection on my own life through the eyes of Richard Linklater, the writer-direc-
tor who has spent over 12 years creating and perfecting this cinematic marvel, this poem
on childhood (and parenthood).
Ellar Coltrane, the much-publicised lead of the film, whose real childhood was docu-
mented on film between the ages of 7 and 19, is an absolute pleasure to watch in every
scene. From about half an hour until an hour in, the focus shifts from his character Mason
to his sister Samantha (Lorelei Linklater) and his parents, and it is a great relief when he
takes control of the camera once again in Act 2. Richard Linklater must have had psychic
abilities to know Coltrane would grow into both such a confident and competent young
actor and such a handsome, photogenic man!
It has been discussed in the media that Boyhood is only one minute longer than
Transformers: Age of Extinction, the unwatchably stupid fourth entry into the blockbuster
franchise, but while Michael Bay uses his three hours to fill the screen with racial ste-
reotypes, underwritten and underdressed female characters and talking cars, Richard
Linklater shows us the results of a decade-long experiment by which, in the opposite
fashion to the modern dramality show formula, in which real people are placed in
engineered situations, he puts actors in very real situations, and lets them do their work.
Movie Taco October 2014 9
In fact, this calm, steady film may be the perfect
antidote for Bays explosion-fest! If you must see
Transformers, make sure to watch this beautiful work
immediately afterwards!
Whilst the majority of the film is simple, genuine sit-
uations (moving house, camping trips, teenage par-
ties, applying to college), there are some moments
of intellectual and existential maturity which raise
the quality of the script even higher. Mason and his
father (Ethan Hawke)s conversation about the real-
ism of elves, and the fact that whales are just as
magical as fantastical creatures, and a darkroom-set
conversation between Mason and his teacher are
about as intense as the film gets. A few short scenes
of domestic violence aside, there is nothing dramatic
or soap opera-esque about Boyhood. Remember- its
simple and its real!
When Linklater was making the film, he gathered the
actors together for about a week every year and shot
a portion. Some are longer (the final, 2013 portion is
about half-an-hour) and some are very brief, but the
transitions are consistently subtle, and often would
be impossible to notice were it not for Mason and
Samanthas changing looks. Each portion focuses
on a particular time/event in the familys year (we
dont get to see February 2006 AND October 2006,
for example), and hence many things change during
the quick transitions. One of Masons mother (Patricia
Arquette, the emotional core of the
story)s husbands, who plays a large role
in the story for two or three years, dis-
appears entirely before the next scene,
without a trace. Why? Because this film
is like Masons memories of his child-
hood. He doesnt remember the cine-
matic, clichd, dramatic moments, like a
wedding or a break-up. He remembers
the simple but important moments,
and those brilliant moments are what
this film is made of. We dip in and out
of a boys life not at random moments,
or moments of significance, but of the
moments that made that boy the man
he is in the films final frame.
There isnt a person alive who will
watch Boyhood and not be able to
relate deeply to a significant amount of
what happens on screen. The constant
characters (Mason, Samantha, mom,
dad) are so varied in their outlook on
the world, and the situations they are
placed in cover so much ground, that
this truly is, by its closing scene, a film
for EVERYONE.
Never flashy or overdramatic, Linklaters
film is like childhood itself: natural,
simple and mesmerising.
10 Movie Taco www.buzzhub.info
DAWN OF THE PLANET
OF THE APES
The plot of Dawn of the Planet of the Apes goes a little like this: monkeys live in forest, humans live in
city. Most humans hate monkeys because they think monkeys made millions of other humans die. Some
humans know that it was in fact a few other humans who made millions of humans die- not monkeys.
Monkeys do not like humans because humans do not like monkeys. When humans trespass in monkey
forest, monkeys get angry. Monkeys retaliate by trespassing in human city, and humans get scared.
Humans try to ask monkeys for help. And so on and so forth
This may seem simple, and thats just what 20th Century Fox want you to think it is- a simple film. The
trailers boast HUGE ACTION SCENES and LOTS OF HUMAN CHARACTERS, but fail to show what makes
this film (and its predecessor, 2011s Rise of the Planet of the Apes) so special- its sophistication, its
intensity and its heart.
Andy Serkis, who has over the past 15 years proven himself to be one of Hollywoods finest actors, gets
his first top billing here, in the role of Caesar, the ape adopted by James Franco (who is, ten years after
the events of Rise, nowhere to be seen), but who later started the simian revolution. Now, he is the
leader of the thousand-strong ape community living in the Muir Woods outside San Francisco, and the
magnificent opening scene sees him lead his comrades into battle with a pack of deer and a very big
bear. Like all great leaders, Caesar is charismatic (the most charming blockbuster lead of the Summer?)
and, at heart, a family man. As the film begins, his second child is born, and his eldest son (Nick Thurston)
struggles with supporting his fathers controversial ruling decisions. Caesar and the orang-utan Maurice
(Karin Konoval, returning after Rise) ponder if there are any humans left alive, minutes before Jason
Clarke, Keri Russell and a band of San Franciscan survivors show up at the apes home. Clarke is Malcolm,
the de facto leader of the survivors, who answers only to Gary Oldmans Dreyfus. Along with his partner
and son (Russell and Kodi Smit-McPhee), he is attempting to access a damn located within the apes
part of the forest which will provide the human community with much-needed power. His relationship
with his son looks set to be mirrored with Caesar and his sons, but is never really explored. In fact,
none of the human characters are ever given much depth, and the presence in particular of Oldmans
Movie Taco October 2014 11
character- whose motivations become extremely vague in the final act- is somewhat questionable. That
said, Smit-McPhees short-lived friendship with Maurice, and their reading of a book together, is one of
the films most moving moments.
Good human characters are not necessary in Matt Reeves film, however, as Serkis, Thurston, Konoval and
Toby Kebbell excel in their motion-capture performances as the apes. As the audience can see genuine
warmth in Caesers eyes, so too can they see a lust for power in the eyes of Koba (Kebbell), the second
most influential ape and the cause of the human-ape tensions eventual eruption. Serkis and Kebbell
work brilliantly together, and when they fight each other brutally, its easy to forget that these are two
men in leotards rolling around on the floor.
The cinematography (by Prisoner of Azkaban DOP Michael Seresin) is at times spectacular, with the con-
trast between the apes bodies and blazing fire being a particular visual highlight. Michael Giacchino
provides a beautiful and haunting a score as he always does, with hints of Lost and Jeff Russos work
on the Fargo miniseries. As for Reeves, who takes over from Rupert Wyatt, who directed Rise, he does a
great job of keeping the story as fresh as it could possibly, giving the humans enough screen time to be
differentiated from the apes in their behaviour, and pulling off some of the most interesting filmmaking
tactics of the Summer- for example, a long, single take of Malcolm running through an abandoned build-
ing as bullets fly from all sides which is very reminiscent of Children of Men.
Andy Serkis didnt get an Oscar for The Lord of the Rings or King Kong, and he probably wont get one
for this, but for his captivating, heartbreaking performance as Caesar, with pain and love on his mo-cap
ape face in equal measure, the least you can do is support this brilliantly-directed, brilliantly-acted film.
12 Movie Taco www.buzzhub.info
TRANSFORMERS: AGE
OF EXTINCTION
If his films are to be believed (and they surely are), Michael Bay loves three things: America, cartoon
violence and young women in tight pants. His fourth (and, at almost three hours, longest) extended
toy commercial features a lot of all of these things- Age of Extinction is basically a $250m big-screen
adaptation of one creepy directors personal sex fantasies.
Unlike Bays first three Transformers ETCs (extended toy commercials; after all, theyre not really films
are they?), Age of Extinction does not star Shia LaBeouf as the whimpering, arrogant Sam Witwicky, nor
do Megan Fox or Rosie Huntington-Whitely make appearances as his two respective Body-With-A-Face
girlfriends. We can thank the Good Lord for this, as the lack of these three abominably bad actors makes
the ETC at least 20% more bearable than its predecessors. Thats not to say that the new cast are any
good, mind you. Mark Wahlberg and Jack Reynor, both of whom have previously proven themselves to be
Competent Actors, can be forgiven for their awful work here (Bay was clearly too busy giving directions
to the Autobot actors to actually give Reynor a script), whilst Nicola Peltz isnt so much attempting to act
as to model a shirt. Kelsey Grammar and Titus Welliver, as the ETCs instantly forgettable Human Villains
(a position previously occupied by such thespians as John Malkovich, John Voight and Patrick Dempsey),
bring to the screen what the returning Peter Cullen brings to his voice performance as Optimus Prime-
sheer pretentious po-facedness!
Michael Bay doesnt just consider himself the new Steven Spielberg, he considers himself the new
Charlie Chaplin too. Meet Michael Bay: COMEDIAN! Like the 2007, 2009 and 2011 ETCs, Age of
Extinction features a mixture of jokes about statutory rape (the Texan Romeo and Juliet Law, permitting
the male in underage couples to be excluded from the Register of Sex Offenders), fat people falling over,
extremely graphic violence and the stupidity of all women everywhere, always. Oh yeah- and theres a
loud, shouting, middle-aged African-American lady, just to give the ETC some racial diversity, you see! Of
the Autobot cast, there are token Drunken Scot and Samurai Japanese Transformers, the latter of which
is voiced by Ken Watanabe, who seems to be the only English-speaking Japanese actors currently living,
if Hollywood is to be believed (and they SURELY are!)
It is clear by now that this franchises CGI budget is so large, Bay cant afford to hire a cinematographer,
and hence, the camera is operated alternately by a rabid dog and a young child with ADD whos just
Movie Taco October 2014 13
eaten lots and lots of birthday cake. Theres just as much slow-motion action as always, but this time Bay has
added the ultimate Hollywood Parody joke, something I dont believe has ever ACTUALLY been done before
in a film/ETC of this scale- the slo-mo NOOOOOOOOOOO!, as Marky Mark pounds his fist into the ground
as his daughter is kidnapped in a giant net by the evil robot with a gun in his face.
Speaking of that giant net, there are lots of things in this ETC which seem to be heavily inspired by the clas-
sic musical Chitty Chitty Bang Bang. Mark Wahlbergs character, like Caractacus Potts, is an INVENTOR. He,
along with two children, goes on a magic journey with a magic car, only for a giant net to take away (one
of) the children. The similarities dont end there, but if we continue well never be able to watch CCBB again!
About two-thirds of the way into the ETC, Bay decides to take the action to CHINA! Why? Because he wants
to show America the sights of his second favourite country? Because Hong Kong would be a great place to
stage a giant Robot battle? FUCK NO! The reason is that China is now the #2 biggest market for cinema ON
EARTH, and that- unsurprisingly- at time of writing, Age of Extinction has just become the Highest Grossing
Motion Picture in the history of China. After 11 days. This. Transformers 4. Ever. And, when we get to China,
does Bay show us some usually unseen, beautiful locations? Not in the least. We get a laughably unneces-
sary helicopter shot of the Birds Nest Olympic Stadium and a scene of the Decepticons ship flying over the
Great Wall. Like we havent seen that before!
Explosion BOOM. SEXXXXXXX! EXPLOSION. BOOM BOOM BOOM BOOM BAZOOOOOOOM! TEENAGE
SEX! CARS! FAST CARS! FASTER FASTER FASTER! SCREEEEEEE! KABLOOOOMBAMMMMBAAAAAAM!
AAAAARGH! SCREEEEEEE! EEEEEEEEEECH! USA! USA! THE MILITARY! AMERICA! USA! F-WORD! F-WORD!
FUNNY FAT PERSON! KABLEEEEEEEESH! BIG GUN! FACE-GUN! GUN-SWORD! WOMAN WITH GUN! CHINESE
PERSON WITH GUN! FUN! GUN! FRAISER WITH GUN! SMOKE MONSTER WITH GUN! WAHLBERG WITH GUN!
SEXXXXXX!
Calling Michael Bay a filmmaker is like calling Kim Jong-Un a Democratic Leader. He doesnt know one end
of a film from the other, but he sure makes nice-looking commercials. Its funny how they get released in
cinemas though, and people have to pay to see them, and they make billions of dollars at the box office. How
did we get here, and more importantly, how do we get out?
14 Movie Taco www.buzzhub.info
THE WORK OF CHRISTOPHER NOLAN
Movie Taco October 2014 15
THE WORK OF CHRISTOPHER NOLAN
1. INCEPTION (2010)
2. BATMAN BEGINS (2005)
THE DARK KNIGHT (2008)
3. THE PRESTIGE (2006)
4. THE DARK KNIGHT RISES (2012)

5. MEMENTO (2000)
6. INSOMNIA (2002)
7. FOLLOWING (1998)
16 Movie Taco www.buzzhub.info
OUT OF
THIS
WORLD
OVER THE PAST DECADE, CHRISTOPHER
NOLAN HAS PRODUCED SOME OF THE
GREATEST AMERICAN FILMS OF THE 21ST
CENTURY.
IN NOVEMBER, HE WILL UNVEIL HIS LATEST
CREATION: INTERSTELLAR
Movie Taco October 2014 17
OUT OF
THIS
WORLD
18 Movie Taco www.buzzhub.info
The premise for Interstellar was conceived by film producer Lynda Obst and theoretical physicist
Kip Thorne, who were long-time friends. Based on Thornes work, the two conceived a scenario
about the most exotic events in the universe suddenly becoming accessible to humans that would
attract filmmaker Steven Spielbergs interest in directing. The film began development in June
2006 when Spielberg and Paramount Pictures announced plans for a science fiction film based on
Thornes treatment. Obst was attached to produce the film, which Variety said would take several
years to come together before Spielberg directed it. By March 2007, Jonathan Nolan was hired to
write a screenplay for Interstellar. To learn the science, Nolan studied relativity at the California
Institute of Technology over the course of four years while writing the script. Later in 2007, Thorne
told The Australian that the film was based on warped space-time. Thorne also said people want-
ed him to be cast as himself in the film.
The film remained in development for several years. In January 2013, Christopher Nolan entered
negotiations with Paramount and Warner Bros. to direct Interstellar. Nolan said he wanted to
encourage again the goal of human spaceflight. He intended to write a screenplay based on his own
idea that he would merge with his brothers screenplay. He cited the films 2001: A Space Odyssey,
Movie Taco October 2014 19
Star Wars, and Blade Runner as influences on Interstellar. By the following March, Nolan was confirmed to
direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.
Though Paramount and Warner Bros. are traditionally rival studios, Warner Bros. , who released Nolans
Batman films and works with Nolans Syncopy, sought a stake in Nolans production of Interstellar for
Paramount. Warner Bros. agreed to give Paramount its rights to co-finance the next film in the Friday the
13th horror franchise and to have a stake in a future film based on the TV series South Park. Warner Bros.
also agreed to let Paramount co-finance a to-be-determined A-list Warners property. In August 2013,
sources reported that Legendary Pictures finalized an agreement with Warner Bros. to finance approxi-
mately 25 percent of the films production. Although it failed to renew its eight-year production partner-
ship with Warner Bros. , Legendary reportedly agreed to forego financing for Batman v Superman: Dawn
of Justice in exchange for the stake in Interstellar. Nolan filmed Interstellar with anamorphic 35mm and
IMAX film photography. IMAX cameras were used for Interstellar more than any of Nolans previous films.
The director had practical locations built to minimize the use of computer-generated imagery, such as the
interior of a space shuttle. Some sequences of the film were shot with an IMAX camera installed in the
20 Movie Taco www.buzzhub.info
nosecone of a Learjet. Nolan, known to keep details of his pro-
ductions secret, strove to ensure secrecy for Interstellar. The Wall
Street Journal reported, The famously secretive filmmaker has
gone to extreme lengths to guard the script to . . . Interstellar, just
as he did with the blockbuster Dark Knight trilogy. As one security
measure, Interstellar was filmed under the name Floras Letter. For
the films production, cinematographer Hoyte van Hoytema was
hired for Interstellar. Wally Pfister had been the cinematographer
on all of Nolans past films but was not available for Interstellar
due to working on his directorial debut Transcendence.
Part of the filming in Iceland took place at the Svnafellsjkull
glacier
The films principal photography was scheduled to last for four
months. It began on August 6, 2013 in the province of Alberta,
Canada. Towns in Alberta where filming took place included
Nanton, Longview, Lethbridge, and Okotoks. In Okotoks, filming
took place at the Seaman Stadium and the Olde Town Plaza.
Filming in the province lasted till September 9, 2013 and involved
hundreds of extras as well as approximately 130 crew members,
most of them local. Filming also took place in Iceland, where Nolan
had previously filmed scenes for his 2005 film Batman Begins. In
Iceland, a two-week shoot was scheduled. A crew of approximately
350 people, including 130 locals, worked on the shoot in Iceland.
Locations included the Svnafellsjkull glacier and the town of
Klaustur. After the crew finished filming in Iceland, it moved to
Los Angeles, California to film for 54 days. Filming in the state was
relatively unusual since Californias tax credit was not available
for films with a budget greater than $75 million. Filming locations
include the Westin Bonaventure Hotel and Suites, the Los Angeles
Convention Center, a Sony Pictures soundstage in Culver City, and
a private residence in Altadena. Filming concluded in December
2013, and Nolan started editing the film for its release in 2014.
Composer Hans Zimmer, who scored Nolans Batman film trilogy,
is scoring Interstellar. Zimmer and Nolan plan to move away from
the trilogys scores and to come up with a unique one. Zimmer
said, The textures, the music, and the sounds, and the thing we
sort of created has sort of seeped into other peoples movies a
bit, so its time to reinvent. The endless string [ostinatos] need
to go by the wayside, the big drums are probably in the bin.[34]
Zimmer also said that Nolan did not provide him a script or any
plot details for writing music for the film and instead gave the
composer one page of text that had more to do with [Zimmers]
story than the plot of the movie.
Right:
Topher Grace, Michael Caine, Casey Affleck and
Wes Bentley in Interstellar.
Movie Taco October 2014 21
22 Movie Taco www.buzzhub.info
Above:
Anne Hathaway, Mackenzie Foy and Jessica
Chastain.
Movie Taco October 2014 23
Above and below:
Matthew McConaughey
24 Movie Taco www.buzzhub.info
IN NEXT MONTHS ISSUE
MOCKINGJAY
Movie Taco October 2014 25
IN NEXT MONTHS ISSUE
MOCKINGJAY
PART ONE