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This is an original Universal Pictures press kit for Apollo 13 The Imax Experience. It comes housed in the original Universal Pictures folder with a 40-page press book, an IMAX DMR fact sheet and sheet detailing the film format differences between IMAX and standard 35mm film and screen and a photo CD with nine press images. Note: The disc isn’t readable by my 2020 iMac, but it opens up just fine in my Windows PC running Windows 10. BACKGROUND ON THE FILM: Apollo 13 is a 1995 American docudrama film directed by Ron Howard and starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris and Kathleen Quinlan. The screenplay by William Broyles Jr. and Al Reinert dramatizes the aborted 1970 Apollo 13 lunar mission and is an adaptation of the 1994 book Lost Moon: The Perilous Voyage of Apollo 13, by astronaut Jim Lovell and Jeffrey Kluger. The film tells the story of astronauts Lovell, Jack Swigert, and Fred Haise aboard Apollo 13 for America’s fifth crewed mission to the Moon, which was intended to be the third to land. En route, an on-board explosion deprives their spacecraft of much of its oxygen supply and electrical power, which forces NASA’s flight controllers to abandon the Moon landing and improvise scientific and mechanical solutions to get the three astronauts to Earth safely. Howard went to great lengths to create a technically accurate movie, employing NASA’s assistance in astronaut and flight-controller training for his cast and obtaining permission to film scenes aboard a reduced-gravity aircraft for realistic depiction of the weightlessness experienced by the astronauts in space. Released to cinemas in the United States on June 30, 1995,[3] Apollo 13 received critical acclaim and was nominated for nine Academy Awards, including Best Picture (winning for Best Film Editing and Best Sound).[4] The film also won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture, as well as two British Academy Film Awards. In total, the film grossed over $355 million worldwide during its theatrical releases. Since then, it is considered to be among the best films of all time.[5] In 2023, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being «culturally, historically or aesthetically significant.»[6] Plot On July 20, 1969, astronaut Jim Lovell hosts a party where guests watch Neil Armstrong’s televised first steps on the Moon from Apollo 11. Lovell, who orbited the Moon on Apollo 8, tells his wife Marilyn that he will return to the Moon to walk on its surface. Three months later, as Lovell is conducting a VIP tour of NASA’s Vehicle Assembly Building, his boss Deke Slayton informs him that his crew will fly Apollo 13 instead of 14, swapping flights with Alan Shepard’s crew. Lovell, Ken Mattingly, and Fred Haise train for their mission. Days before launch in April 1970, Mattingly is exposed to German measles, and the flight surgeon demands his replacement with Mattingly’s backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband dying in space, and tells Lovell she will not go to Kennedy Space Center to see him off for an unprecedented fourth launch. She later changes her mind and surprises him. On launch day, Flight Director Gene Kranz in Houston’s Mission Control Center gives the go for launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires again to send Apollo 13 to the Moon, Swigert performs the maneuver to turn the Command Module Odyssey around to dock with the Lunar Module Aquarius and pull it away from the spent rocket. Three days into the mission, by order of Mission Control, Swigert turns on the liquid oxygen stirring fans. An electrical short causes a tank to explode, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking. Consumables manager Sy Liebergot convinces Kranz that shutting off two of Odyssey’s three fuel cells offers the best chance to stop the leak, but this does not work. With only one fuel cell, mission rules dictate the Moon landing be aborted. Lovell and Haise power up Aquarius to use as a «lifeboat», while Swigert shuts down Odyssey to save its battery power for the return to Earth. Kranz charges his team with bringing the astronauts home, declaring «failure is not an option». Consumables manager John Aaron recruits Mattingly to help him improvise a procedure to restart Odyssey for the landing on Earth. As the crew watches the Moon pass beneath them, Lovell laments his lost dream of walking on its surface, then turns his crew’s attention to the business of getting home. With Aquarius running on minimal electrical power and rationed water supply, the crew suffers from freezing conditions, and Haise develops a urinary tract infection. Swigert suspects Mission Control is concealing the fact they are doomed; Haise angrily blames Swigert’s inexperience for the accident; but Lovell squelches the argument. As Aquarius’s carbon dioxide filters run out, concentration of the gas approaches a dangerous level. Ground control improvises a «Rube Goldberg» device to make the Command Module’s incompatible filter cartridges work in the Lunar Module. With Aquarius’s navigation systems shut down, the crew makes a vital course correction manually by steering the Lunar Module and controlling its engine. Mattingly and Aaron struggle to find a way to power up the Command Module systems without drawing too much power, and finally read the procedure to Swigert, who restarts Odyssey by drawing the extra power from Aquarius. When the crew jettisons the Service Module, they are surprised by the extent of the damage, raising the possibility that the ablative heat shield was compromised. As they release Aquarius and re-enter the Earth’s atmosphere, no one is sure that Odyssey’s heat shield is intact. The tense period of radio silence due to ionization blackout is longer than normal, but the astronauts report all is well, and the world watches Odyssey splash down and celebrates their return. As helicopters bring the crew aboard the USS Iwo Jima for a hero’s welcome, Lovell’s voice-over describes the cause of the explosion, and the subsequent careers of Haise, Swigert, Mattingly, and Kranz. He wonders if and when mankind will return to the Moon. Cast(Left to right) Tom Hanks (pictured in 2016), Kevin Bacon (2014), Bill Paxton (2014), Gary Sinise (2011), and Ed Harris (2017) Apollo 13 crew: Tom Hanks as Commander Jim LovellKevin Bacon as backup Command Module Pilot Jack Swigert[7]Bill Paxton as Lunar Module Pilot Fred HaiseGary Sinise as prime Command Module Pilot Ken Mattingly, who was grounded shortly before the mission Other astronauts: Mark Wheeler as Apollo 11 Commander Neil ArmstrongLarry Williams as Apollo 11 Lunar Module Pilot Buzz AldrinDavid Andrews as Apollo 12 Commander Pete ConradBen Marley as Apollo 13 backup Commander John YoungBrett Cullen as capsule communicator (CAPCOM) 1 «Andy» (a composite astronaut, based on Jack Lousma and William Pogue)Ned Vaughn as CAPCOM 2 (a composite astronaut) NASA ground personnel: Ed Harris as White Team Flight Director Gene Kranz. Harris described the film as «cramming for a final exam.» Harris described Gene Kranz as «corny and like a dinosaur», but respected by the crew.[8]Chris Ellis as Director of Flight Crew Operations Deke SlaytonJoe Spano as NASA Director, a composite character loosely based on Manned Spacecraft Center director Christopher C. Kraft, Jr.Marc McClure as Black Team Flight Director Glynn LunneyClint Howard as White Team Electrical, Environmental and Consumables Manager (EECOM) Sy LiebergotRay McKinnon as White Team Flight Dynamics Officer (FIDO) Jerry BostickTodd Louiso as White Team Flight Activities Officer (FAO)Gabriel Jarret as White Team Guidance, Navigation, and Controls Systems Engineer (GNC)Andy Milder as White Team Guidance Officer (GUIDO)Jim Meskimen as White Team Telemetry, Electrical, EVA Mobility Unit Officer (TELMU)Loren Dean as EECOM John AaronChristian Clemenson as Flight Surgeon Dr. Charles BerryCarl Gabriel Yorke as SIM (Simulator) 1Xander Berkeley as Henry Hurt, a fictional NASA Office of Public Affairs staff member[9] Civilians: Kathleen Quinlan as Marilyn Gerlach Lovell, Jim’s wifeJean Speegle Howard (Ron Howard’s mother) as Blanche Lovell, Jim’s motherMary Kate Schellhardt as Barbara Lovell, Jim’s older daughterMax Elliott Slade as James «Jay» Lovell, Jim’s older sonEmily Ann Lloyd as Susan Lovell, Jim’s younger daughterMiko Hughes as Jeffrey Lovell, Jim’s younger sonRance Howard (Ron Howard’s father) as the Lovell family ministerTracy Reiner as Mary Haise, Fred’s wifeMichele Little as Jane Conrad Cameos: Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a captain, chose to appear in his actual rank (and wearing his own Navy uniform).Marilyn Lovell appears among the spectators during the launch sequence.[10]Jeffrey Kluger appears as a television reporter.[11]Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his protégés’ films.[12][11]CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[10]Cheryl Howard (Ron Howard’s wife) and Bryce Dallas Howard (Ron Howard’s eldest daughter) as uncredited background performers in the scene where the astronauts wave goodbye to their families.[11] ProductionDevelopment The movie rights to Jim Lovell’s book Lost Moon were being shopped to potential buyers before it was written.[8] He stated that his first reaction was that Kevin Costner would be a good choice to play him.[8][10] Pre-production The original screenplay by William Broyles Jr. and Al Reinert was written with Costner in mind because of his facial similarities with Lovell. By the time Ron Howard acquired the director’s position, Tom Hanks had expressed interest in doing a film based on Apollo 13. When Hanks’ representative informed him that a script was being passed around he had it sent to him, and Costner’s name never came up in serious discussion.[8] Hanks was ultimately cast as Lovell because of his knowledge of Apollo and space history.[13] Because of his interest in aviation, John Travolta asked Howard for the role of Lovell, but was politely turned down.[14] John Cusack was offered the role of Fred Haise but turned it down, and the role went to Bill Paxton. Brad Pitt was offered the role of Jack Swigert, but also turned it down in favor of Seven, so the role went to Kevin Bacon.[14][15] Howard invited Gary Sinise to read for any of the characters, and Sinise chose Ken Mattingly.[8] After Hanks had been cast and construction of the spacecraft sets had begun, John Sayles rewrote the script. While planning the film, Howard decided that every shot would be original and that no mission footage would be used.[16] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center’s Space Works, which also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. Composed of some original Apollo materials, they were built so that different sections were removable, which allowed filming to take place inside them. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced-gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When suited up with their helmets locked in place, the actors were cooled by and breathed air pumped into the suits, as in actual Apollo suits.[17] The Christopher C. Kraft Jr. Mission Control Center consisted of two control rooms on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming, but Howard declined, opting instead to make his own replica.[10][16] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. It was equipped with giant rear-screen projection capabilities, and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers could communicate with each other on a private audio loop.[17] The Mission Control room built for the film was on the ground floor.[16] One NASA employee, a consultant for the film, said the set was so realistic that he would leave at the end of the day and look for the elevator before he remembered he was not in Mission Control.[10] The recovery ship USS Iwo Jima had been scrapped by the time the film was made, so her sister ship, New Orleans, was used instead.[16] To prepare for their roles in the film, Hanks, Paxton, and Bacon all attended the U.S. Space Camp in Huntsville, Alabama. While there, astronauts Jim Lovell and David Scott, commander of Apollo 15, did actual training exercises with the actors inside a simulated Command Module and Lunar Module. The actors were also taught about each of the 500 buttons, toggles, and switches used to operate the spacecraft. The actors then traveled to Johnson Space Center in Houston where they flew in the KC-135 to simulate weightlessness in outer space. Each member of the cast performed extensive research for the project to provide an authentic story. Technical adviser Scott[18] was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[8] In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts, and attended a crash course in physics.[16][17] Reportedly, Pete Conrad expressed interest in appearing in the film.[10] Filming For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was. —Tom Hanks[17] Ron Howard (right) with Tom Hanks (left) and the production crew during filming at the KSC in December 1994 Principal photography for Apollo 13 started in August 1994.[19] Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested filming aboard the KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA’s permission and assistance[20] to obtain three hours and 54 minutes of filming time in 612 zero-g maneuvers.[16][17] Filming in this environment was a time and cost saver because the stage recreation and computer graphics would have been expensive.[21] The final three weeks of filming took place in the stages on the Universal Studios Lot in Universal City, California, where two life-size replicas of both the command module and the lunar module were built for simultaneous shooting on different soundstages.[22] Air-cooling units lowered the temperatures inside each soundstage to around 38 °F (3 °C), to simulate the conditions necessary for condensation and the visibility of the actors’ breath inside the spacecraft.[17] Filming wrapped on February 25, 1995. The final scene to be filmed was the splashdown sequence at the film’s conclusion, which was shot on a large, artificial lake on the Universal lot.[23] Safety While filming in a 25-second burst of weightlessness was «charged and frenetic», the cast and crew only suffered from bumps and bruises, and most injuries occurred when they bumped on non-padded items. The cast and crew of Apollo 13 describe the weightlessness experience as being in a «vomit comet» and «roller coaster ride», but the motion sickness afflicted only a few members.[21] During filming of the low-temperature scenes in the Universal stages, signs that explained frostbite symptoms were posted on the stages’ walls, and the crew worked in parkas.[22] Post-production The visual effects supervisor was Robert Legato. To avoid awkward visible switches to stock news footage in a live action film, he decided to produce the Saturn V launch sequence using miniature models and digital image stitching to create a panoramic background.[24] On Howard’s request to «shoot it like Martin Scorsese would shoot it», Legato studied Scorsese’s scenes of pool games from The Color of Money, and copied his technique of creating a sense of rhythm by repeating two or three frames between each cut (just enough to be undetectable) for the engine ignition sequence. Legato says this scene inspired James Horner’s soundtrack music for the launch.[24] The long-range shot of the vehicle in flight was filmed using a $25 1:144 scale model Revell kit, with the camera realistically shaking, and it was digitized and re-filmed off of a high resolution monitor through a black filter, slightly overexposed to keep it from «looking like a video game».[24] The exhaust of the attitude control thrusters was generated with computer-generated imagery (CGI). This was also attempted to show the astronaut’s urine dump into space, but wasn’t high enough resolution to look right, so droplets sprayed from an Evian bottle were photographed instead.[24] The producers wanted to use CGI to render the splashdown, but Legato adamantly insisted this would not look realistic. Real parachutes were used with a prop capsule tossed out of a helicopter.[24] During weightless filming, all of the dialogue had been rendered unusable by the loudness of the plane. This required Hanks, Bacon and Paxton to attend ADR sessions, where they redubbed all of the lines for the weightless scenes.[25] SoundtrackMain article: Apollo 13 (soundtrack) The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a total running time of nearly seventy-eight minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score. ReleaseTheatrical Apollo 13 was released on June 30, 1995, in North America[26] and on September 22, 1995, in the United Kingdom.[27] In September 2002, the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[28] Home media Apollo 13 was released on VHS on November 21, 1995 and on LaserDisc the following week.[29] On September 9, 1997, the film debuted on a THX certified widescreen VHS release.[30] A 10th-anniversary DVD of the film was released in 2005; it included both the original theatrical version and the IMAX version, along with several extras.[31] The IMAX version has a 1.66:1 aspect ratio.[32] Thomas Jeffrey Hanks (born July 9, 1956) is an American actor and filmmaker. Known for both his comedic and dramatic roles, he is one of the most popular and recognizable film stars worldwide, and is regarded as an American cultural icon.[2] Hanks’s films have grossed more than $4.9 billion in North America and more than $9.96 billion worldwide,[3] making him the fourth-highest-grossing actor in North America.[4] He has received numerous honors including the AFI Life Achievement Award in 2002, the Kennedy Center Honor in 2014, the Presidential Medal of Freedom and the French Legion of Honor both in 2016,[5][6] as well as the Golden Globe Cecil B. DeMille Award in 2020.[7] Hanks made his breakthrough with leading roles in a series of comedy films that received positive media attention, such as Splash (1984), The Money Pit (1986), Big (1988) and A League of Their Own (1992). He won two consecutive Academy Awards for Best Actor for starring as a gay lawyer suffering from AIDS in Philadelphia (1993) and the title character in Forrest Gump (1994).[8] Hanks collaborated with film director Steven Spielberg on five films: Saving Private Ryan (1998), Catch Me If You Can (2002), The Terminal (2004), Bridge of Spies (2015) and The Post (2017), as well as the World War II miniseries Band of Brothers (2001), The Pacific (2010) and Masters of the Air (2024). With the former, he launched his career as a director, producer and screenwriter. He has also frequently collaborated with film directors Ron Howard, Nora Ephron and Robert Zemeckis. Hanks’s other films include the romantic comedies Sleepless in Seattle (1993) and You’ve Got Mail (1998); the dramas Apollo 13 (1995), The Green Mile (1999), Cast Away (2000), Road to Perdition (2002) and Cloud Atlas (2012); and the biographical dramas Charlie Wilson’s War (2007), Captain Phillips (2013), Saving Mr. Banks (2013), Sully (2016), A Beautiful Day in the Neighborhood (2019), News of the World (2020) and Elvis (2022). He has also appeared as the title character in the Robert Langdon film series, and voiced Sheriff Woody in the Toy Story film series (1995–2019). Hanks directed the comedy That Thing You Do! (1996), followed by the romantic comedy Larry Crowne (2011), in both of which he acted. In 1998, Hanks launched his production company Playtone, which has an exclusive television development deal with HBO. For his work on television, Hanks has won seven Primetime Emmy Awards for his work as a producer of various limited series and television movies, including From the Earth to the Moon (1998), Band of Brothers (2001), John Adams (2008), The Pacific (2009), Game Change (2012) and Olive Kitteridge (2015). He made his Broadway debut in Nora Ephron’s Lucky Guy (2013) earning a Tony Award for Best Actor in a Play nomination.[9] Kevin Norwood Bacon[1] (born July 8, 1958)[2] is an American actor. Known for his leading man and character roles, Bacon has received numerous accolades, including a Golden Globe Award, a Screen Actors Guild Award, and a nomination for a Primetime Emmy Award. Bacon made his feature film debut in National Lampoon’s Animal House (1978) before his breakthrough role in the musical-drama film Footloose (1984). Since then, he has starred in critically acclaimed films such as Diner (1982), JFK (1991), A Few Good Men (1992), Apollo 13 (1995), Mystic River (2003), and Frost/Nixon (2008). Other notable credits include Friday the 13th (1980), Tremors (1990), The River Wild (1994), The Woodsman (2004), Crazy, Stupid, Love (2011), X-Men: First Class (2011), and Patriots Day (2016). Bacon has also directed the films Losing Chase (1996) and Loverboy (2005). On television, Bacon received a Golden Globe Award and a Screen Actors Guild Award for his role as Lt. Col. Michael Strobl in the HBO original film Taking Chance (2009). He starred in the Fox drama series The Following from 2013 to 2015. Bacon played the title role in Amazon Prime Video series I Love Dick from 2016 to 2017; he was nominated for a Golden Globe Award for his work on the show. From 2019 to 2022, he starred in the Showtime series City on a Hill.[3] The Guardian named Bacon one of the best actors never to have received an Academy Award nomination.[4] In 2003, he received a star on the Hollywood Walk of Fame.[5] Bacon’s prolific career in a variety of genres has led him to become associated with the concept of interconnectedness among people, as evidenced by the trivia game «Six Degrees of Kevin Bacon». He is a brand ambassador for British mobile network operator EE and has been featured in several ads for the company.[6] Bacon is married to actress Kyra Sedgwick.
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