Interstellar English Subtitles

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NARRATOR: Humans are natural-born explorers.

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We charge into uncharted territory
and seek out the unknown.

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We 've mapped nearly every inch
of Mother Earth...

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...and left tracks on the moon.

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But to set foot on another planet...

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...to travel beyond our solar system...

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...that is a dream for the future.

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A dream that comes to life
in the feature film Interstellar.

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BRAND: We must think not as individuals
but as a species.

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THOMAS: The beginning of the movie, the part that takes place on Earth...

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...is a really interesting piece
of the movie for me...

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...because it's idyllic, but at the same time...

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...you know, things are clearly going wrong.

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And l think that it really reminds you
what is so amazing about this Earth...

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...the beauty of our surroundings,
the nurturing.

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NOLAN: I think the Americana of the world
in which the film is set...

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...the idea of this bucolic setting...

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...this kind of notion of a simpler way of life
that we often hark back to...

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NOLAN: This idea of Interstellar, this idea of a film...

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...that basically tries to explain or imagine...

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...the next step in human evolution,
which is that Earth is the nest...

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...and at some point
we'll have to leave the nest.

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I thought that that was
an incredibly exciting idea for a movie.

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The idea that you could make a film
that would fully invest in that next step...

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...really hadn't been done before.

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That was my attraction to the project.

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THOMAS: Clearly from the involvement
of Kip Thorne...

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On Dark Knight Rises we'd actually
done a fair amount of dust work.

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A lot of which didn't make it
into the finished film.

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But seeing the potential of how big
an area was possible...

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...for Scott Fisher and his guys
to put dust in the air...

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...from using this very safe product
that's used as filler in food...

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...and so forth, but it sits in the air.
It really looks like thick dust.

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Chris gives us a lot of leeway...

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...to try and get more machines, and more
material, and guys and whatever...

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NOLAN: I always referred to TARS and CASE as articulating machines...

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...rather than robots
because to me the idea of a robot...

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...is, you know, a machine
that's impersonating a hu man being.

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These are purely machines.
They have personality, intelligence.

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The physicality of the thing
can be completely unrelated to that...

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...in a way that no creature
that's ever come along before...

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...has been able to be, you know, that separate
terms of the mind from the body.

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I thought it would be fascinating to explore
this question of...

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It was very important to me that the music
not pay attention to the genre of the film.

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What I wanted to do was to engage Hans
in a very pure, creative process.

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ZIMMER: I was working on a completely
different movie and Chris said to me:

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"If you were to write one page of something--"
He wouldn't tell me what the movie was about.

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But just write one page
where I give him one day...

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...and just whatever came to my mind...
I would start writing.

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NOLAN: What I wrote for Hans to get him started
was some dialogue that I'd written for the film...

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...mixed with some ideas behind the film...

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We wanted the space suits to be...

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...very, very firmly based on existing
spacesuit technology that people have seen...

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...and believe it.

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The spacesuit has a NASA aesthetic...

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...that's a little bit more modern,
a little bit updated...

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...as opposed to a slick sci-fi aesthetic.

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THOMAS: You couldn't identify it as something
that comes from the NASA missions...

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...but you feel like it's of that world.

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NOLAN:
We wanted to always be tapping into...

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CROWLEY: The Endurance is our main Interstellar ship.

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It's the vehicle that carries our characters
out of our solar system.

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It was always gonna be grounded in NASA...

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...and the International Space Station,
and the shuttle...

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...and those technologies.

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NOLAN:
When we came to look...

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...at how we would make the actual design
of the Endurance for the movie...

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...we decided we wanted it
to have something of the character of the ISS...

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...in that we wanted it to look modular.

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OTERO: Chris has a real feel to his movies that belies the scale.

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To do that,
you have to go to the real places.

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A science fiction picture like this,
you have to go to places that really stamp...

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...a kind of reality on the script.

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In the story, Iceland is used as both
what we call Miller's planets and Mann's planet.

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And Mann's planet is all ice.

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I participate in Miller's planet,
which is a planet completely covered in water.

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NOLAN: We went to Iceland because,
having shot sections of Batman Begins...

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...the stuff set in the Himalayas...

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NOLAN: The initial impetus for the project had been to say:

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"Why not examine real possibilities.

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Where are we now?
Where has the world got to...

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...in terms of its thinking about gravity
being able to traverse dimensions...

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...gravitational lensing?
Effects of gravity and light around a black hole.

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Why not actually look
at the real science there?"

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JONATHAN:
Luckily we had Kip.

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And Kip is the foremost authority
on all-things gravitational.

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NOLAN: The tesseract towards the end of the film...

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...was one of the most complicated things
to design for the film.

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It was the thing we started with,
Nathan and myself...

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...and it was the very last thing
that we actually pinned down.

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Even though it was a considerable set
that needed to be built, that took a long time.

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The complexity of it is something that l don't
think the audience will be able to grasp...

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...while they're watching the film,
because it's based on the concept...

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...of suppressing a spatial dimension
and substituting time...

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COTTLE: We obviously knew from the very early stages in the making of this film...

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...that the zero-G would play a huge part.

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We were lucky because we'd had
a practice run on the gravity front...

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...in making Inception.

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COTTLE: We were using some
of the similar techniques...

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...but we also wanted to take it
to the next stage.

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We knew a very, very big part of making
Inception look so good was the rehearsal time.

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During our rehearsal time,
which was seven or eight weeks...

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...we really push the boundaries

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NOLAN: When I was a kid, everybody wanted
to be an astronaut.

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You know, we all wanted to be astronauts.

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It's one of the reasons I was really drawn
to telling this story in this setting...

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...because astronauts
are extraordinary people...

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...and they should be allowed
to be extraordinary.

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This idea of Interstellar, this idea of a film...

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...that basically tries to explain...

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...or imagine the next step
in human evolution...

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...which is that the Earth is the nest, and at

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NOLAN: We wanted the design of the ships to
reflect the cutting edge of contemporary design.

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But not be overly futurist in its design.

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We took a very good look at the Endeavor.

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Paid particular attention to the tiling on the
outside, the heat shield, the way that works.

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We also went down to Elon Musk's SpaceX
and had a look at his capsule...

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...and what those guys are doing there,
how they put it together.

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Learned a Lot of valuable information.

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And got a very good sense
of what the textures of these ships...

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...were gonna need to be like,

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NOLAN: I think we're at a point in visual effects...

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...where computer graphics have been around
so long that there's nothing new...

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...or fresh about it as a technology.

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So now it sits there as one of any number
of different techniques.

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What that means is you can use it
for the things that it's good for...

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...but there are all kinds of other
tricks you have to have up your sleeve...

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...in terms of how you're going to convince
an audience of the reality of something.

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What we wanted to try to do
with Interstellar...

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