Oblivion (2013 film)

Oblivion
Theatrical release poster
Directed by Joseph Kosinski
Produced by
  • Peter Chernin
  • Dylan Clark
  • Duncan Henderson
  • Joseph Kosinski
  • Barry Levine
Screenplay by
Based on Oblivion
by Joseph Kosinski
Starring
Music by
Cinematography Claudio Miranda
Edited by Richard Francis-Bruce
Production
company
Distributed by Universal Pictures
Release date
  • March 26, 2013 (2013-03-26) (Buenos Aires)
  • April 19, 2013 (2013-04-19) (United States)
Running time
 124 minutes[1]
Country United States[2][3]
Language English
Budget $160 million[4]
Box office $286.2 million[5]

Oblivion is a 2013 American post-apocalyptic science fiction action film based on Joseph Kosinski's unpublished graphic novel of the same name. The film was co-produced and directed by Kosinski.[6][7][8] It stars Tom Cruise, Morgan Freeman, Andrea Riseborough, and Olga Kurylenko.[9][10] The film was released in the U.S. on April 19, 2013.[11] According to Kosinski, Oblivion pays homage to science fiction films of the 1970s.[12]

Oblivion received mixed reviews. Cruise's performance and the visual effects were praised, while reception of the plot was mixed. Reviewers criticized the film's incorporation of elements from other sci-fi films and what Rotten Tomatoes called a "thinly scripted" story. It was, however, a modest commercial success, grossing $286 million worldwide against a $160 million budget.

Plot

In 2077, sixty years after a war with extraterrestrials that devastated Earth, humanity has relocated to Saturn's moon Titan via a giant space station called the Tet. Gigantic offshore fusion energy generators drain Earth's oceans to power the colonies on Titan.

Led by mission controller Sally and guided by his housemate and communications partner Victoria "Vika" Olsen, "Tech-49" Jack Harper regularly leaves his tower post to repair downed combat drones that guard the regions and generators against the alien scavengers. Although his memory has been wiped, he has had recurring dreams and visions of being on the observation deck of the Empire State Building with a dark-haired woman. He also collects the occasional artifact that he finds from humanity's past. Vika is concerned about Jack's curiosity, questioning whether they are still "an effective team," and encouraging him to do his job, so they can join the others on Titan soon.

After scavengers destroy a generator, Jack discovers that they have been using the Empire State Building's antenna to transmit coordinates to outer space. While taking a break at his secret lake house retreat, he watches a crash-landing module of a pre-war spacecraft called the Odyssey. Thinking that the ship contains aliens, he investigates, only to find humans in stasis chambers. One of the humans is the woman from his dreams. Jack protects her chamber from a drone that destroys the others, and later, revives the woman, Julia Rusakova, who makes Vika instinctively jealous. Jack and Julia return to recover her flight recorder, but are captured by the scavengers. They are taken to their headquarters at the Raven Rock Mountain Complex, and the scavengers are revealed to be human survivors.

Their leader, Malcolm Beech, wants Jack to reprogram their captured drone to carry nuclear fuel cells to blow up the Tet; he has sensed Jack is different because of the latter's hobby of collecting relics. Although Jack refuses, Beech releases them to seek the truth beyond the boundaries of the forbidden radiation zone. When they reach the Empire State Building, Julia reveals that she is his wife. Jack then remembers that he proposed to her there. Julia recalls that she was on a mission to Titan when they were diverted to investigate an alien presence. Back in the present, Jack's ship arrives remote-piloted by Vika after Jack used the scavenger beacon to call for pickup. As a result, a jealous Vika witnesses Jack and Julia's moment together.

When the two return to Jack's tower, Vika refuses them entry, and reports her findings to Sally, saying that they are "no longer an effective team." Sally acknowledges this, and surreptitiously activates an embedded combat drone that kills Vika, and intends to do the same to everyone at the tower, before Julia destroys it from the outside ship. Jack and Julia escape in his ship, but are disabled by pursuing drones. The two eject into the radiation zone, which turns out not to be radioactive. Jack discovers another ship with a technician who is trying to repair a downed drone. He is shocked to see that the tech is a clone of himself, who goes by "Tech-52". The clone also is shocked to see Jack. Jack battles and incapacitates his clone, but Julia is accidentally shot as she approaches the struggle. After flying to Tech-52's tower, and discovering an inquisitive Vika clone, he returns to treat Julia, then take her to the lake house.

At the scavenger base, Beech reveals to Jack and Julia that the Tet was an alien artificial intelligence that destroyed the Moon, causing massive devastation to the planet, and invaded Earth with thousands of Jack clones and later drones to wipe out the human race, extracting all of the planet's natural resources before moving on. Beech, who had witnessed the destruction of humanity and the various Jack clones over the years, knew Jack was different due to his interest in old relics and the fact that he saved Julia. As Jack repairs the captured drone, the base is attacked by other drones, gravely injuring Beech, and ruining the captured drone except for its fuel cells. Jack agrees to deliver Julia to Sally through the stasis chamber. On the way to the Tet, Jack listens to the Odyssey's flight recorder, and learns that he was the mission commander, Vika was his co-pilot, and their mission controller from Earth was Sally, whom the Tet had assumed the identity and voice of after the war in order to conceal its true nature from Jack. When the Tet started to draw in their ship, Jack jettisoned the pod of stasis chambers containing the crew members (including Julia) leaving himself and Vika to be captured.

Back in the present, Jack enters a large room full of capsules of Jack and Vika clones. He shows Tet the stasis chamber, but it carries Beech and the fuel cells, which they then detonate, killing themselves and destroying the Tet. At the mountain complex survivors witness the huge atmospheric explosion as particles rain down to Earth. Julia awakens at the lake house. At the same time, all of the drones go off-line, saving what's left of humanity, including the scavengers who were on the verge of total annihilation, until Jack and Beech destroyed the Tet. Three years later, she and her young daughter are tending the garden at the house. A noise captures Julia’s attention. She stands up and looks across the river. Fellow humans come into view. The figures in front part, and she recognizes "Tech-52" Jack, who wears a mysterious smile. He has recovered his memories and has led his group to this living bio-zone on the ravaged planet. The film fades out, with Procol Harum’s “A Whiter Shade of Pale” playing throughout the entire scene’s background.

Cast

Production

Development

Shot of the Bubble Ship from the 2013 movie Oblivion.
The Bubble Ship seen in the film (above) was inspired by the Bell 47 helicopter (below).
Shot of a Bell 47 helicopter

Kosinski wanted to film a cinematic adaptation of the graphic novel Oblivion, which he started to co-write with Arvid Nelson for Radical Comics. The graphic novel, however, was never finished, as Koskinski now admits that "It was just a stage in the project [of film development]". He explained in an interview with Empire that "partnership with Radical Comics allowed me to continue working on the story by developing a series of images and continuing to refine the story more over a period of years. Then I basically used all that development as a pitch kit to the studio. So even though we really never released it as an illustrated novel the story is being told as a film, which was always the intention."[13][14]

Walt Disney Pictures, which produced Kosinski's previous direction Tron: Legacy, acquired the Oblivion film adaptation rights from Radical Comics and Kosinski after a heated auction in August 2010. The film was a directing vehicle for Kosinski with Barry Levine producing and Jesse Berger as executive producer. Other studios that made bids on the film were Paramount, Fox's Chernin Entertainment and Universal.[15] Disney subsequently released the rights after realizing the PG-rated film they envisioned, in line with their family-oriented reputation, would require too many story changes. Universal Pictures, which had also bid for the original rights, then bought them from Kosinski and Radical Comics and authorized a PG-13 film version.[16]

The script for the film was originally written by Kosinski and William Monahan and underwent a first rewrite by Karl Gajdusek.[17] When the film passed into Universal's hands, a final rewrite was done by Michael Arndt.[18] Universal was particularly appreciative of the script, saying "It's one of the most beautiful scripts we've ever come across."[19]

The Bubble Ship operated by Cruise's main character, Jack 49, was inspired by the Bell 47 helicopter (often colloquially referred to as a "bubble cockpit" helicopter), a utilitarian 1947 vehicle with a transparent round canopy that Kosinski saw in the lobby of the Museum of Modern Art in Manhattan, and which he likened to a dragonfly. Daniel Simon, who previously worked with Kosinski as the lead vehicle designer on Tron: Legacy, was tasked with creating the Bubble Ship from this basis, incorporating elements evocative of an advanced fighter jet with the Bell 47 to create a light, functional vehicle that was both practical and aesthetically pleasing, much as he observed with the ships in 2001: A Space Odyssey.[20]

"When Kubrick made 2001, rather than going to the hotshot concept designers of the day, he hired NASA engineers," said Simon. "I believe in form follows function. I'm not a fan of excessive decoration, of putting fins on something because it looks cool." Rather than employ digital models, Wild Factory, a Camarillo concept car company, built the Bubble Ship as a 25-foot-long (7.6 m), 4,000–5,000 lb (1,800–2,300 kg), mostly aluminum prop. Elements of the cockpit, such as the placement of the joystick and pedals, were customized for Cruise, who is a qualified pilot, and who had some input into the design. The craft was also made to be easy to disassemble and assemble, in order to facilitate transport to the Iceland shooting locations, where it would be mounted on a gimbal for shots of it flying. The unmanned aerial drones that figure prominently in the plot were created to appear to be in the same design family as the Bubble Ship.[20]

Casting

Tom Cruise had expressed interest in the film for a long time, and officially committed to it on May 20, 2011.[21]

For casting the lead role of Julia opposite Cruise, the producers considered five actresses: Jessica Chastain, Olivia Wilde, Brit Marling, Noomi Rapace and Olga Kurylenko, and all five auditioned on August 27, 2011.[22] It was subsequently announced that Chastain would play one of the film's two female leads. In January 2012 Chastain entered into talks for a part in the Kathryn Bigelow film Zero Dark Thirty and subsequently dropped out of Oblivion contention. It was later announced that the role had been given to Kurylenko.[23]

In preparation for the role, Kurylenko watched astronaut training videos as well as classic science fiction and romance films (such as Solaris, Notorious, and Casablanca).[24] "What's funny is I actually watched Solaris; Joseph never brought it up," said Kurylenko. "I come from Tarkovsky-land, and at that point I hadn't watched it for many years. I watched the new one as well, with George Clooney and Natascha McElhone. The story – both in Solaris and Oblivion – deals with space and memory."[25]

For the other leading role, Victoria, the producers initially considered Hayley Atwell, Diane Kruger and Kate Beckinsale. The three actresses traveled to Pittsburgh to screen-test with Cruise, who was filming Jack Reacher.[26] The role finally went to Andrea Riseborough. Melissa Leo was cast at a later date as Sally.[27]

Filming

Production began on March 12, 2012, and concluded on July 14, 2012. Filming locations included Baton Rouge and New Orleans, Louisiana.[28][29][30] Out of approximately three months of shooting, 69 days were shot in Louisiana, from March through May 2012, 11 days were shot in New York in June 2012, a few in Mammoth in California in June 2012, and 10 days were filmed in Iceland in June 2012,[31] when the daylight lasts for nearly 24 hours a day. As well as showcasing Iceland's volcanic landscapes, the film's director Joseph Kosinski sought to take advantage of the round-the-clock light, in particular the 6pm to 1am waning light known as "magic hour", to "bring sci-fi out into the daylight", in contrast with films such as Alien, which spent their time in dark hulls or benighted planets.[20][32]

The single most difficult scene to film was when Harper takes a break to admire the view and waters a flower. It was filmed by having Cruise sit next to an 800-foot (240-meter) drop at the top of Iceland's Jarlhettur on the root of Langjökull, which is accessible only by helicopter.[33] The scenes set at Harper's idyllic forest retreat were filmed at Black's Pond in June Lake, California.[34]

Oblivion was filmed with Sony's CineAlta F65 camera, which was shipped in January 2012.[35] A Red Epic was also used for scenes that required going handheld or when body mount rigging was applied.[36] The film was shot in 4K resolution in Sony's proprietary raw image format, but for cost reasons (and over Kosinski's protests), both the digital intermediate and final version were done at 2K resolution.[37]

For the Sky Tower set (built on a soundstage in Baton Rouge), Kosinski and cinematographer Claudio Miranda worked closely with visual special-effects house Pixomondo to establish both environment and lighting by the use of 21 front-screen projectors aimed at a huge wraparound backdrop to form one continuous image, rather than blue screen backdrops.[38] The backdrop consisted of a single seamless piece of painted white muslin, 500 by 42 feet (152 by 13 meters), which was wrapped around the set for 270-degree coverage.[37] This enabled the full environment to be captured in camera, and assisted in lighting up to 90 percent of the set.[36]

Had blue screen been used on the "glass house" Sky Tower, the glass would have disappeared into the blue lighting, and would have had to be reproduced digitally in post-production.[37] The actors enjoyed working in the environment, as they could look outside and actually see sunrise or sunset imagery.[37] This new technique allowed them to cut down on both the effects shots, which ended up at around 800 in total, and the expenses. Even the "control table" which Victoria operates was filmed then displayed on a large screen.[39]

To obtain the necessary footage to create the illusion that the Sky Tower set was sitting high above the clouds, Pixomondo sent a crew to film the view from the peak of Haleakalā in Hawaii for four days with three Red Epic cameras mounted side-by-side on a single rig.[38] Pixomondo's Stuttgart office then stitched together the data from the three cameras to form a single gigantic video stream (with each still image consisting of 26 megapixels), and produced a variety of different time-of-day clips to be projected on the set.[38]

Music

On June 28, 2012, it was announced that French electronic band M83 would compose the soundtrack for Oblivion.[40] On why he chose M83 to score the film, director Joseph Kosinski said, "I went back and I found my first treatment for Oblivion from 2005 and it had listed in the treatment a soundtrack of M83. Obviously the Tron: Legacy collaboration with Daft Punk worked out as good as I would have ever hoped, [so] I wanted to do something similar in that I'm pulling an artist from outside the movie business to create an original sound for this film." Kosinski continued, "Daft Punk's music wouldn't make sense for this movie. It had to be an artist whose music fit the themes and story I was trying to tell. And M83's music I felt was fresh and original, and big and epic, but at the same time emotional and this is a very emotional film and it felt like a good fit."[41]

To guide Anthony Gonzalez of M83 through the scoring process, director Kosinski brought in Joseph Trapanese, who co-wrote the score alongside Gonzalez. Kosinski states, "Together they have created the score that I have dreamed about since I first put this story down on paper eight years ago."[42] Trapanese first came to Kosinski's attention when he collaborated with Daft Punk on Tron: Legacy as arranger and orchestrator.[43]

In an interview with Rolling Stone, M83 frontman Anthony Gonzalez said, "I started to write the soundtrack just reading the script, and then when you get the picture in, it's different, and you kind of switch to another vibe and change stuff and start experimenting a lot with the music." Gonzalez added, "I worked with Joseph a lot, and he's very particular about the music in his movies, so we spent a lot of time talking about music and working the arrangements together."[44]

Oblivion: Original Motion Picture Soundtrack
Soundtrack album by M83
Released April 9, 2013 (2013-04-09)[45]
Recorded 2013
Genre Soundtrack
electronic
Length 69:06 (standard edition)
113:36 (deluxe edition)
Label Back Lot Music
Producer Anthony Gonzalez
Joseph Trapanese
Bryan Lawson
M83 chronology
Hurry Up, We're Dreaming
(2011)Hurry Up, We're Dreaming2011		 Oblivion
(2013)		 Junk
(2016)Junk2016
Singles from Oblivion: Original Motion Picture Soundtrack
  1. "Oblivion"
    Released: 26 March 2013 (as single)
    9 April 2013 (on soundtrack)
Professional ratings
Aggregate scores
SourceRating
Metacritic55/100[46]
Review scores
SourceRating
Allmusic[47]
Consequence of Sound[48]
Digital Spy[49]
Filmtracks.com[50]
Pitchfork Media(4.5/10)[51]
Under the Radar[52]

The soundtrack album was released on April 9, 2013, by Back Lot Music.[45] A deluxe edition of the soundtrack was released the same day exclusively through iTunes. It features an additional 13 tracks.[53]

Track listing
No.TitleWriter(s)Length
1."Jack's Dream"M831:22
2."Waking Up"M834:09
3."Tech 49"M835:58
4."StarWaves"M833:41
5."Odyssey Rescue"M834:08
6."Earth 2077"M832:22
7."Losing Control"M833:56
8."Canyon Battle"M835:57
9."Radiation Zone"M834:11
10."You Can't Save Her"M834:56
11."Raven Rock"M834:33
12."I'm Sending You Away"M835:38
13."Ashes of Our Fathers"M833:30
14."Temple of Our Gods"M833:14
15."Fearful Odds"M833:09
16."Undimmed by Time, Unbound by Death"M832:26
17."Oblivion" (featuring Susanne Sundfør)M835:56
Total length:69:06

Distribution

Marketing

Details about Oblivion were kept secret, though the studio was said to have been "very excited" about the film. Promotions began April 2012, with a part of the footage being screened at the 2012 CinemaCon despite the fact that filming had begun just one month prior to the event. The footage was described as "a combination of early concept art, rough animation, and unfinished dailies," showcasing a glimpse of the film's landscapes.[19]

Theatrical release

Oblivion was first presented in Buenos Aires on March 26, 2013, Dublin on April 3, and in Hollywood on April 10 at the Dolby Theatre where Cruise himself announced before the screening that the film was actually the first feature to be mixed completely "from start to finish" in the latest state-of-the-art Dolby Atmos surround sound.[54]

Home media

The DVD and Blu-ray for Oblivion became available online for pre-order in North America on April 24, 2013, just five days after its initial release in the region.[55] One month later it was announced that the United Kingdom branch of Universal Studios would be releasing the film on home video in its region on August 6, 2013 with the on-demand version on August 18, 2013. The release was scheduled to be in both a standard and a SteelBook Limited Edition form.[56] In June 2013, it was announced that the film would be released on home video in America also on August 6, 2013. The Blu-ray releases will feature commentary with Tom Cruise and director Joseph Kosinski, deleted scenes, M83's isolated score, and a series of making-of featurettes.[57] The Blu-ray debuted at number 1 in sales for its opening week.[58]

Reception

Box office

In North America, the film earned $37.1 million on its opening weekend, including $5.5 million from IMAX screenings in 323 theaters, making it Cruise's best North American opening after Mission: Impossible film series and War of the Worlds.[59]

The film closed on June 27, 2013. Oblivion grossed $89,107,235 in the U.S. and $197,061,337 internationally, bringing the worldwide total to $286,168,572.[5]

Critical response

On review aggregation website Rotten Tomatoes, the film has an approval rating of 52% based on 241 reviews, with an average score of 5.9/10. The site's critical consensus reads, "Visually striking but thinly scripted, Oblivion benefits greatly from its strong production values and an excellent performance from Tom Cruise."[60] Metacritic gives the film a score of 54 out of 100, based on 41 critics, indicating "mixed or average reviews".[61]

Todd McCarthy of The Hollywood Reporter stated "Oblivion is an absolutely gorgeous film dramatically caught between its aspirations for poetic romanticism and the demands of heavy sci-fi action".[62] Justin Chang of Variety said "Insofar as Oblivion is first and foremost a visual experience, a movie to be seen rather than a puzzle to be deciphered, its chief pleasures are essentially spoiler-proof."[63] Kevin Harley of Total Film gave the film three stars and said "It isn't a reboot or reimagining, refreshingly, but Oblivion plays like a stylised remix of superior sci-fi ground-breakers".[64] Andrew O'Hehir of Salon praised it as a "...sly, surprising and visually magnificent Tom Cruise vehicle that has forced me - and many other people, I suspect - to revise my first opinion of director Joseph Kosinski."[65]

Tasha Robinson from The A.V. Club states that an "...unsettling sense of not-quite-right coats all of the film's steely surfaces, and Kosinski and his co-writers give audiences plenty of time to absorb the unease and gear up for the action."[65] Some reviewers noted the filmmakers' ambition. James Berardinelli of ReelViews calls the film "...imperfect but some of its imperfections result from being overly ambitious."[65] Bill Goodykoontz from the Arizona Republic states that the film "...may not live up fully to its grand ambitions, but it isn't for lack of trying."[65] Jake Coyle of the Associated Press states that "...[f]or those who enjoy the simple thrill of handsomely stylized image-making, Oblivion is mostly mesmerizing."[65] Alan Scherstuhl from the Village Voice states that "... Kosinski proves himself talented in ways his Tron: Legacy didn't suggest."[65]

Kenneth Turan from the Los Angeles Times called the film "[m]ore adventurous than your typical Hollywood tent pole, Oblivion makes you remember why science fiction movies pulled you in way back when and didn't let you go."[65] Michael O'Sullivan of the Washington Post states that "...[i]f you're able to forgive and forget, Oblivion isn't a bad place to start loving Tom Cruise all over again."[65] Steven Rea of the Philadelphia Inquirer states that "[Cruise] oversees some pretty impressive stuff here, from the drones that ping-pong around in the air to the bubbleship that Jack uses to go to and fro to that awesome house with its panoramic views."[65] Peter Howell of the Toronto Star states that the film "...gives us stars in the cast, stars in our eyes and it even tweaks a brain cell or three."[65]

Colin Covert from the Minneapolis Star Tribune states that the "....film is rife with elements from its finest predecessors - Kubrick, Lucas, the Wachowskis and Pixar could be listed as creative consultants - but it has the spirit of a love letter to classic sci-fi, not an opportunistic mash-up."[65] Cary Darling of the Fort Worth Star-Telegram states that the film is "stitched together from spare bits of other, often better films, stumbl[ing] awkwardly in story and plot, shuffling toward the predictable explosions and fireballs of the third act. Yet... Oblivion is so beautiful to look at."[65]

Richard Corliss of TIME stated that "[i]n space, Jack [Harper] hopes, someone may hear you dream. But in a movie theater, no one will see you yawn."[65] Anthony Lane of The New Yorker states that the film "[f]eels ever more grounded and stuck."[65] Richard Roeper of Richard Roeper.com called it the "...sci-fi movie equivalent of a pretty damn good cover band."[65] Tom Charity of CNN.com called it "[g]lossy, derivative, ambitious and fatally underpowered."[65] J. R. Jones of the Chicago Reader states that the "...story eventually devolves into a grab bag of sci-fi tropes but, as with so many other Cruise productions, the sheer scale of everything is so mind-numbing that you may not notice."[65] Rick Groen of Canada's The Globe and Mail called it "...an okay blockbuster, a multimillion-dollar exercise in competence."[65]

Tom Long of the Detroit News states that "Kosinski offers plenty of action here, and he lets the plot reveals bleed out slowly (explanations keep coming right to the end)." Long states that "...a great deal is derivative, but it's fast-moving derivative."[65] Stephen Whitty of the Newark Star-Ledger states that the movie "...combines a lot of different films, yet somehow remains less than the sum of its parts."[65] Claudia Puig of USA Today states that "...Kosinski focuses on cool visuals but stints on a compelling plot. It's a dazzler, but the story lacks the impact of the futuristic look."[65] Joe Morgenstern of the Wall Street Journal states that the "... mystery posed by Oblivion as a whole is why its mysteries are posed so clumsily, and worked out so murkily."[65]

Manohla Dargis of The New York Times states that the "...agony of being a longtime Tom Cruise fan has always been a burden, but now it's just, well, dispiriting."[65] Rafer Guzman of Newsday states that "[p]laying spot-the-influence is the most fun you'll have during this expensive-looking, slow-moving plod through familiar territory."[65] Joe Williams of the St. Louis Post-Dispatch states that "...[i]nstead of developing characters, Kosinski pours most of his imagination into the annihilated landscapes and futuristic gadgetry."[65] Michael Phillips of the Chicago Tribune states that "[w]hen you go to a futuristic, dystopian, post-apocalyptic barn dance starring Tom Cruise and his space guns, you expect a little zap with your thoughtful pauses."[65] Peter Travers of Rolling Stone calls it "...arid and antiseptic, untouched by human hands."[65]

Rene Rodriguez of the Miami Herald states that the "...filmmakers don't even have the courage to see the story to its proper end, opting for a ridiculous finale that feels vaguely insulting."[65] Soren Anderson from the Seattle Times states that "[y]ou start wondering whether director Joseph Kosinski and screenwriters Karl Gajdusek and Michael DeBruyn have any original ideas of their own. And then you realize they don't."[65] Randy Myers of the San Jose Mercury News states that the "...mix of gee-whiz gadgetry and the day-to-day routineness of Jack and Victoria's lives is interesting enough, but the film is too glacially paced for it to work."[65] Chris Nashawaty of Entertainment Weekly states that "...[a]ll the eye candy in the world can't mask the sensation that you've seen this all before...and done better. Too bad the movie's script wasn't given the same attention as its sleek, brave-new-world look."[65]

See also

References

  1. ↑ "Oblivion (12A)". British Board of Film Classification. Retrieved April 3, 2013.
  2. ↑ "Oblivion (2013)". TCM Movie Database.
  3. ↑ "Oblivion (2013)". American Film Institute. Retrieved July 7, 2014.
  4. ↑ FilmL.A. (March 2014). "2013 Feature Film Study" (PDF). FilmL.A. Feature Film Study.
  5. 1 2 "Oblivion (2013)". BoxOfficeMojo. Retrieved August 9, 2013.
  6. ↑ "That Oblivion "graphic novel" will probably never be published". April 1, 2013.
  7. ↑ Steve Suno (July 22, 2010). "CCI: KOSINSKI ILLUMINATES "OBLIVION"". comicbookresources.com. Retrieved July 22, 2010.
  8. ↑ Matt Goldberg (August 4, 2010). "Disney Locks Down OBLIVION for TRON: LEGACY Director Joseph Kosinski". Collider.com. Retrieved August 4, 2010.
  9. ↑ Trumbore, Dave (January 19, 2012). "Olga Kurylenko and Andrea Riseborough Join Tom Cruise in Untitled Sci-Fi Pic". Collider.com. Retrieved March 21, 2012.
  10. ↑ Chitwood, Adam (March 15, 2012). "Universal Moves Sci-Fi Film OBLIVION Starring Tom Cruise Up to April 26, 2013". Collider.com. Retrieved March 21, 2012.
  11. ↑ Lussier, Germaine (March 15, 2012). "Joseph Kosinski's Tom Cruise Vehicle 'Oblivion' Moves To April 2013". /Film. Retrieved March 21, 2012.
  12. ↑ Lussier, Germain (April 19, 2013). "/Film Interview: 'Oblivion' Director Joseph Kosinski". /Film. Retrieved May 4, 2013.
  13. ↑ Steve Sunu (July 22, 2010). "CCI: KOSINSKI ILLUMINATES "OBLIVION"". Comic Book Resources.
  14. ↑ Rich Johnston (April 12, 2013). "Oblivion, Based On The Non-Existing Graphic Novel". Bleeding Cool. Retrieved April 12, 2013.
  15. ↑ Fleming, Mike (August 4, 2010). "Disney Acquires Joseph Kosinski's Graphic Novel 'Oblivion'". Deadline. Retrieved March 25, 2012.
  16. ↑ Fleming, Mike (May 20, 2011). "Tom Cruise Commits To $100 Million Universal Sci-Fi Pic 'Oblivion' For Fall". Deadline. Retrieved March 21, 2012.
  17. ↑ Kit, Borys (March 16, 2011). "Karl Gajdusek Tapped to Re-Write Disney's Horizons (Exclusive)". The Hollywood Reporter. Retrieved March 21, 2012.
  18. ↑ Roper, Dave (January 24, 2012). "Olga Kurylenko and Andrea Riseborough Added To Tom Cruise Sci-Fi Project". Hey U Guys. Retrieved March 21, 2012.
  19. 1 2 Breznican, Antony (April 27, 2012). "CinemaCon 2012: Tom Cruise dives from heaven to hell in Oblivion footage". Entertainment Weekly. Retrieved May 8, 2012.
  20. 1 2 3 Keegan, Rebecca. "'Oblivion' Cruise-Mobile". HeroComplex.com. Los Angeles Times. Spring 2013. pp. 8 - 9.
  21. ↑ "Tom Cruise Joins Oblivion, Joseph Kosinski's Sci-Fi Film". The Huffington Post. May 21, 2011. Retrieved May 8, 2012.
  22. ↑ Rich, Katey (August 25, 2011). "Joe Kosinski's Oblivion Renamed Horizons Again, Five Hot Actresses Testing For Roles". Cinema Blend. Retrieved March 21, 2012.
  23. ↑ Eisenberg, Eric (January 19, 2012). "Jessica Chastain Out, Andrea Riseborough And Olga Kurylenko In For Joseph Kosinski's Next Science Fiction Film". Cinema Blend. Retrieved March 21, 2012.
  24. ↑ Vineyard, Jennifer (April 22, 2013). "Olga Kurylenko talks "Oblivion," "To The Wonder," and "Erased"". IFC.com. Retrieved April 25, 2013.
  25. ↑ Schmidlin, Charlie (April 19, 2013). "Olga Kurylenko Talks Romance Behind 'Oblivion,' Sharing 'Solaris' With Joseph Kosinksi & Making 'Empires Of The Deep'". The Playlist. Retrieved April 25, 2013.
  26. ↑ "Cruise's Oblivion Eyes Leading Lady". IGN. Newscorp. October 26, 2011. Retrieved May 8, 2012.
  27. ↑ Fleming, Mike (March 23, 2012). "Melissa Leo Joins Tom Cruise Pic 'Oblivion'". Deadline. Retrieved March 29, 2012.
  28. ↑ "Talent Search for Lead Role in Feature Film Starring Tom Cruise". Lead Casting Call. Archived from the original on March 7, 2012. Retrieved March 21, 2012.
  29. ↑ Plaisance, Stacey (February 3, 2012). "Tom Cruise movie headed for Louisiana". Deseret News. Retrieved March 21, 2012.
  30. ↑ "Current Productions UPCOMING PROJECTS". Film New Orleans. Retrieved March 21, 2012.
  31. ↑ "2013 Feature Film Production Report" (PDF). The Hollywood Reporter. Retrieved 30 August 2017.
  32. ↑ "'Oblivion': Cruise, Kosinski set for Hero Complex Imax screening". Los Angeles Times. April 2, 2013. Retrieved April 14, 2013.
  33. ↑ Ethan Sacks, "Tom Cruise’s most dangerous stunt in ‘Oblivion’? Sitting on mountain ledge for 'simple' dialogue scene inches away from 800-foot drop", New York Daily News, April 17, 2013.
  34. ↑ Helena de Bertodano, "California: moments from Tom Cruise's Oblivion", The Daily Telegraph, April 28, 2013.
  35. ↑ Giardina, Carolyn (April 15, 2012). "NAB 2012: Sony Launches $10,000 Super Slow Motion Camcorder With 4K Sensor". The Hollywood Reporter. Retrieved October 9, 2012.
  36. 1 2 Frazer, Bryant (April 4, 2013). "Cinematographer Claudio Miranda on Oblivion and Life of Pi". Studio Daily. Retrieved April 25, 2013.
  37. 1 2 3 4 Jon Fauer, "Claudio Miranda, ASC on "Oblivion", Jon Fauer's Film and Digital Times, March 29, 2013.
  38. 1 2 3 Vincent Frei, "OBLIVION: Bjørn Mayer – VFX Supervisor – Pixomondo", Art of VFX, April 16, 2013.
  39. ↑ "Interview: 'Oblivion' Director Joseph Kosinski on Sci-Fi Filmmaking". firstshowing.net. Retrieved September 9, 2016.
  40. ↑ Jagernauth, Kevin (June 28, 2012). "Exclusive: M83 Scoring Joseph Kosinski's Sci-Fi Film 'Oblivion' Starring Tom Cruise". The Playlist. Retrieved April 24, 2013.
  41. ↑ Weintraub, Steve (December 30, 2012). "Exclusive: Joseph Kosinski Talks OBLIVION, Working with Tom Cruise, Getting M83 to Compose the Score, the Film's Unique Design, the IMAX Release & More". Collider.com. Retrieved April 24, 2013.
  42. ↑ "Listen to a Track From the Oblivion Score". ComingSoon.net. March 7, 2013.
  43. ↑ Lee, Chris (December 23, 2010). "Daft Punk: We didn’t sell out for 'Tron: Legacy' soundtrack". Los Angeles Times. Retrieved May 22, 2013.
  44. ↑ Baltin, Steve (February 13, 2013). "M83 Enter 'Oblivion' With Tom Cruise: At Grammys, French group talk soundtrack debut". Rolling Stone. Retrieved April 24, 2013.
  45. 1 2 "Oblivion - Original Motion Picture Soundtrack: M83: Amazon.co.uk: MP3 Downloads". Amazon.co.uk. Retrieved April 19, 2013.
  46. ↑ "Oblivion [Original Motion Picture Soundtrack] – M83". Metacritic. CBS Interactive. Retrieved November 20, 2014.
  47. ↑ Phares, Heather. "Oblivion [Original Motion Picture Soundtrack] – M83". Allmusic. Retrieved April 24, 2013.
  48. ↑ "Album Review: Anthony Gonzalez and Joseph Trapanese – Oblivion: Original Motion Picture Soundtrack". Consequence of Sound. April 8, 2013. Retrieved April 19, 2013.
  49. ↑ Reynolds, Simon (April 10, 2013). "M83, Joseph Trapanese: 'Oblivion' movie soundtrack - Album review". Digital Spy. Hearst Corporation. Retrieved November 20, 2014.
  50. ↑ "Oblivion (Anthony Ganzalez/Joseph Trapanese)". Filmtracks.com. Retrieved November 20, 2014.
  51. ↑ Howe, Brian (April 26, 2013). "M83: Oblivion OST". Pitchfork Media. Retrieved April 26, 2013.
  52. ↑ Karim, Alee (April 25, 2013). "M83 and Joseph Trapanese: Oblivion: Original Motion Picture Soundtrack (Back Lot Music)". Under the Radar. Retrieved November 20, 2014.
  53. ↑ "iTunes – Music – Oblivion (Original Motion Picture Soundtrack) [Deluxe Edition]". Apple Inc. iTunes. April 9, 2013. Retrieved April 24, 2013.
  54. ↑ "Cruise in Dublin for movie and Irish roots". RTÉ. April 3, 2013. Retrieved April 20, 2013.
  55. ↑ "Oblivion with Tom Cruise Blu-ray Pre-Order Live, No Release Date Yet". The HD Room. April 24, 2013. Retrieved April 25, 2013.
  56. ↑ "Oblivion Available for Pre-Order". Blu-ray.com. May 24, 2013. Retrieved May 23, 2013.
  57. ↑ "Oblivion Blu-ray". Blu-ray.com. June 4, 2013. Retrieved June 4, 2013.
  58. ↑ "'Oblivion' Debuts at No. 1 on Blu-ray, DVD Charts". hollywoodreporter.com. Retrieved September 9, 2016.
  59. ↑ McClintock, Pamela (April 21, 2013). "Box Office Report: Tom Cruise's 'Oblivion' Rockets to Solid $38.2 Million Opening". The Hollywood Reporter. Retrieved April 24, 2013.
  60. ↑ "Oblivion (2013)". Rotten Tomatoes. Flixster. Retrieved January 30, 2014.
  61. ↑ "Oblivion". Metacritic. CBS Interactive. Retrieved January 30, 2014.
  62. ↑ McCarthy, Todd (April 10, 2013). "Oblivion review - The Hollywood Reporter". The Hollywood Reporter. Retrieved April 16, 2013.
  63. ↑ Chang, Justin. "Oblivion review - Variety". Variety. Retrieved April 16, 2013.
  64. ↑ Harley, Kevin (April 10, 2013). "Oblivion review - Total Film". Total Film. Retrieved April 16, 2013.
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