| Photos (See all 82 | slideshow) | Videos (see all 11) |
| George Clooney | ... | Chris Kelvin | |
| Natascha McElhone | ... | Rheya | |
| Viola Davis | ... | Gordon | |
| Jeremy Davies | ... | Snow | |
| Ulrich Tukur | ... | Gibarian | |
| John Cho | ... | DBA Emissary #1 | |
| Morgan Rusler | ... | DBA Emissary #2 | |
| Shane Skelton | ... | Gibarian's Son | |
| Donna Kimball | ... | Mrs. Gibarian | |
| Michael Ensign | ... | Friend #1 | |
| Elpidia Carrillo | ... | Friend #2 | |
| Kent Faulcon | ... | Patient #1 (as Kent D. Faulcon) | |
| Lauren Cohn | ... | Patient #2 (as Lauren M. Cohn) | |
| rest of cast listed alphabetically: | |||
| Tony Clemons | ... | Dinner Guest | |
| Jennie Baek | ... | Passenger (uncredited) | |
| Annie Morgan | ... | Nurse (uncredited) | |
| Jude S. Walko | ... | City Dweller (uncredited) | |
Directed by | |||
| Steven Soderbergh | |||
Writing credits(WGA) | ||
| Stanislaw Lem | (novel) | |
| Steven Soderbergh | (screenplay) | |
Produced by | |||
| Charles V. Bender | .... | co-producer | |
| James Cameron | .... | producer | |
| Gregory Jacobs | .... | executive producer | |
| Jon Landau | .... | producer | |
| Michael Polaire | .... | co-producer | |
| Rae Sanchini | .... | producer | |
Original Music by | |||
| Cliff Martinez | |||
Cinematography by | |||
| Steven Soderbergh | (as Peter Andrews) | ||
Film Editing by | |||
| Steven Soderbergh | (as Mary Ann Bernard) | ||
Casting by | |||
| Debra Zane | |||
Production Design by | |||
| Philip Messina | |||
Art Direction by | |||
| Steve Arnold | |||
| Keith P. Cunningham | |||
Set Decoration by | |||
| Mike Malone | |||
| Kristen Toscano Messina | |||
Costume Design by | |||
| Milena Canonero | |||
Makeup Department | |||
| Cheryl Eckert | .... | hair stylist | |
| Linda D. Flowers | .... | hair stylist | |
| Kathrine Gordon | .... | hair department head | |
| Julie Hewett | .... | makeup department head | |
| Lori Rozman | .... | assistant hair stylist | |
| Waldo Sanchez | .... | hair stylist: Mr. Clooney | |
| Nikoletta Skarlatos | .... | makeup artist | |
| Christien Tinsley | .... | key makeup artist | |
| Buffy Zerefski | .... | makeup artist | |
Production Management | |||
| Julie M. Anderson | .... | production supervisor | |
| Monica De Armond | .... | post-production supervisor | |
| Michael Polaire | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Trey Batchelor | .... | first assistant director: second unit | |
| Gregory Jacobs | .... | first assistant director | |
| Basti Van Der Woude | .... | second assistant director | |
Art Department | |||
| Scott M. Anderson | .... | set dresser | |
| Adam L. Barker | .... | lead plaster foreman | |
| Brent W. Bell | .... | set dresser | |
| Scott Bobbitt | .... | lead person | |
| Dawn Brown | .... | set designer | |
| John Bullard | .... | propmaker foreman | |
| Bryan Corbett | .... | propmaker | |
| Kirk Corwin | .... | property master | |
| Andrea Dopaso | .... | set designer | |
| Monica Fedrick | .... | graphic artist: video playback material | |
| Mariano Fernandez | .... | welder | |
| Joey Genitempo | .... | painter | |
| Hank Giardina | .... | paint supervisor | |
| Wylie Griffin | .... | art department coordinator | |
| John Harrington | .... | assistant property master | |
| Sean Haworth | .... | assistant art director | |
| Guy Hietala | .... | paint gang boss | |
| Bill 'Kauhane' Hoyt | .... | stand-by painter | |
| Blair Huizingh | .... | graphic designer | |
| Helen Kozora | .... | set decoration buyer | |
| Steven Ladish | .... | set dresser | |
| Lance Larson | .... | prop assistant | |
| Tom Mahoney | .... | graphic artist: video playback material | |
| Mike Malone | .... | on-set dresser | |
| Geoffrey Mandel | .... | scenic artist | |
| Victor James Martinez | .... | set designer | |
| Ron Mendell | .... | set designer | |
| Jeff Ozimek | .... | set designer | |
| Edward V. Pannozzo | .... | set dressing estimator | |
| Ron Pekkala | .... | construction medic | |
| Eric Ramirez | .... | set dresser | |
| Richard Reynolds | .... | set designer | |
| Lori Rozzi | .... | property and set dressing fabricator | |
| Lissette Schettini | .... | set decorating coordinator | |
| Quentin Schierenberg | .... | set dresser | |
| Jeff Shewbert | .... | propmaker | |
| Bruce G. Smith | .... | paint foreman | |
| Easton Michael Smith | .... | set designer | |
| Chris Snyder | .... | construction coordinator | |
| Aaron Sowd | .... | conceptual designer | |
| Keith Stalker | .... | foreman construction | |
| Rick Sternbach | .... | graphic artist: video playback material | |
| Mark Robert Taylor | .... | art department assistant | |
| Suzan Wexler | .... | set designer | |
| Frank White | .... | welder | |
| T.C. Williams | .... | mold maker foreman | |
| Suzy Zarate | .... | illustrator (as Susan Zarate) | |
| Gustavo R. Ferreyra | .... | digital set designer (uncredited) | |
| Gustavo R. Ferreyra | .... | propshop supervisor (uncredited) | |
| Ryan Handt | .... | construction propmaker (uncredited) | |
| J. Bryan Holloway | .... | sculptor (uncredited) | |
| Ellen Lampl | .... | graphic designer (uncredited) | |
| Michele Mulkey | .... | props (uncredited) | |
| Sid Nicholson | .... | props (uncredited) | |
| George Sartiano | .... | props (uncredited) | |
Sound Department | |||
| Larry Blake | .... | sound re-recording mixer | |
| Larry Blake | .... | supervising sound editor | |
| Derek Casari | .... | adr engineer | |
| Matt Coby | .... | mix assistant | |
| Mick Gormaley | .... | assistant sound editor | |
| Matthew Griffin | .... | editing room assistant (as Matt Griffin) | |
| Randall L. Johnson | .... | boom operator | |
| Mark Kenna | .... | sound consultant: Dolby (foreign language versions) | |
| Paul Ledford | .... | production sound mixer | |
| Kimberly R. McCord-Wilson | .... | dialogue editor (as Kimberly McCord Wilson) | |
| Brian McKinney | .... | utility boom | |
| Alex Names | .... | sound utility | |
| John Pospisil | .... | sound editor | |
| Eric Potter | .... | sound effects recordist | |
| Nicholas Renbeck | .... | lead sound editor | |
| Paul Urmson | .... | sound editor | |
| Shawn Holden | .... | sound mixer: reshoots (uncredited) | |
| John Soukup | .... | sound transfer (uncredited) | |
Visual Effects by | |||
| Matthew Adams | .... | rotoscope supervisor | |
| Danny Albano | .... | digital effects artist | |
| Kenneth Au | .... | Inferno artist: Rhythm & Hues (as Ken Au) | |
| Randall Bahnsen | .... | 3D tracker: Cinesite (as Randy Bahnsen) | |
| Randall Bahnsen | .... | motion tracking supervisor: Cinesite (as Randy Bahnsen) | |
| Chris Bailey | .... | CG animation supervisor: Cinesite | |
| Richard 'Dr.' Baily | .... | digital planet animation: Image Savant | |
| Jeffrey Edward Baksinski | .... | 3D manager: Cinesite (as Jeff Baksinski) | |
| Scott Ballard | .... | CG character setup: Cinesite | |
| Jil-Sheree Bergin | .... | visual effects production coordinator: Rhythm & Hues (as Jill-Sheree Bergin) | |
| Chris Bergman | .... | digital compositor: Rhythm & Hues | |
| Douglas Bloom | .... | CG effects: Rhythm & Hues (as Doug Bloom) | |
| Brigitte Bourque | .... | composite supervisor: Cinesite | |
| Brooke Breton | .... | visual effects supervising producer | |
| Melissa Brockman | .... | visual effects producer: Cinesite (as Melissa Brockman Kalmus) | |
| Billy Brooks | .... | CG lighter: Cinesite | |
| Thomas Burkhart | .... | visual effects | |
| Brian Burks | .... | CG animator: Cinesite | |
| Jesus Castillo | .... | systems operations: Rhythm & Hues | |
| Oscar G. Castillo | .... | CG technical director: Cinesite (as Oscar Castillo) | |
| Daniel Aristoteles Collins | .... | systems/operations: Rhythm & Hues | |
| Brandon Craig | .... | render supervisor | |
| Chris Dawson | .... | motion control camera operator | |
| Michelle Deniaud | .... | texture painter: Rhythm & Hues | |
| Ralph Denson | .... | visual effects production manager | |
| Scott Dougherty | .... | executive producer: Cinesite | |
| Anders Ericson | .... | CG effects: Rhythm & Hues | |
| Adam Francis | .... | motion control technician | |
| Vijoy Gaddipati | .... | technical director: Rheya face sequence | |
| Bill Georgiou | .... | digital compositor: Rhythm & Hues | |
| Jonathan Gerber | .... | CG supervisor: Cinesite | |
| Glen Gustafson | .... | 3D texture painter: Cinesite | |
| David Gutman | .... | digital compositor: Rhythm & Hues | |
| Erik Hakanen | .... | scanning & recording coordinator | |
| Michael S. Harbour | .... | digital compositor: Cinesite (as Michael Harbour) | |
| John Heller | .... | CG planet supervisor: Rhythm & Hues | |
| Nicole Herr | .... | 3D tracker: Cinesite | |
| John Hewitt | .... | CG supervisor: Cinesite | |
| Phil Holland | .... | scanning & recording operator | |
| Richard E. Hollander | .... | visual effects supervisor: Rhythm & Hues (as Richard Hollander) | |
| Shaina Holmes | .... | digital compositor | |
| Arkay Hur | .... | digital painter: Cinesite | |
| Patrick D. Hurd | .... | production coordinator | |
| Chris Jensen | .... | digital imaging operations | |
| Jimmy Jewell | .... | digital compositor: Rhythm & Hues | |
| Nori Kaneko | .... | texture painter: Rhythm & Hues | |
| Michael Karp | .... | 3D matchmover: Cinesite | |
| Michael Karp | .... | 3D tracker: Cinesite | |
| Frances Kumashiro | .... | CG lighter: Cinesite | |
| Bill LaBarge | .... | CG technical director: Cinesite | |
| Kevin LaNeave | .... | video editor | |
| Vincent Lavares | .... | digital asset manager: Cinesite Hollywood | |
| Sonserae Leese | .... | texture painter: Cinesite | |
| Kenneth Littleton | .... | 2D manager | |
| Mike Makara | .... | CG animator: Cinesite | |
| Valerie McMahon | .... | digital painter: Cinesite | |
| Sean McPherson | .... | 2D supervisor: Rhythm & Hues | |
| Sal Migliore | .... | high def digitizing | |
| Kama Moiha | .... | digital compositor: Cinesite | |
| Carl S.G. Moore | .... | visual effects associate producer: Cinesite (as Carl Moore) | |
| Andrew Mumford | .... | Inferno artist: Rhythm & Hues | |
| Bill Murphy | .... | visual effects coordinator | |
| Ofer Nave | .... | render coordinator | |
| Tony Noel | .... | compositor: Planet Creation/Rhythm & Hues | |
| Gary Nolin | .... | visual effects producer: Rhythm & Hues | |
| Sean O'Connor | .... | digital compositor: Cinesite | |
| Mike O'Neal | .... | digital artist | |
| Nathan Ortiz | .... | render coordinator | |
| James Parris | .... | visual effects concept artist | |
| Corinne Pooler | .... | digital paint supervisor: Cinesite | |
| Travis Price | .... | texture painter: Cinesite | |
| Dante Quintana | .... | technical director: CG modelling & rendering, Cinesite | |
| Jon Quon | .... | technical assistant: Cinesite | |
| Steve Rhee | .... | visual effects editor: Cinesite | |
| Olun Riley | .... | CG previsualization: Cinesite | |
| Jonathan Robinson | .... | digital compositor: Rhythm & Hues | |
| Christopher Romano | .... | CG effects: Rhythm & Hues (as Chris Romano) | |
| Tomás Rosenfeldt | .... | CG effects: Rhythm & Hues | |
| Justine Sagar | .... | texture painter: Cinesite | |
| Joe Salazar | .... | digital compositor: Rhythm & Hues | |
| David Satchwell | .... | CG lighter: Cinesite | |
| Kino Scialabba | .... | visual effects artist | |
| Rasha Shalaby | .... | compositor: Rhythm & Hues | |
| Mark Shoaf | .... | CG lead technical director: Cinesite | |
| Cybele Sierra | .... | digital compositor: Cinesite | |
| Suzanne Smith | .... | texture painter | |
| Thomas J. Smith | .... | visual effects supervisor: Cinesite | |
| Robert Stromberg | .... | planet designer: Rhythm & Hues | |
| Kenji Sweeney | .... | 3D CG supervisor: Cinesite | |
| Rob Trent | .... | Inferno artist: Rhythm & Hues | |
| Andrew Ryan Turner | .... | assistant visual effects editor: Cinesite | |
| Renée Tymn | .... | digital compositor: Cinesite (as Rene Chamblin) | |
| Marla Valentine | .... | systems operator: Rhythm & Hues | |
| Nico Van den Bosch | .... | pipeline setup: Rhythm & Hues | |
| Wayne Vincenzi | .... | CG lighting supervisor: Cinesite | |
| Dan Wanket | .... | CG modeler: Cinesite | |
| Eric Weinschenk | .... | digital compositor: Rhythm & Hues | |
| Steve Wright | .... | digital compositor: Cinesite | |
| Serkan Zelzele | .... | digital compositor: Rhythm & Hues (as Sherkan Zelzele) | |
| Patrick Zentis | .... | matte artist: Digital Backlot | |
| Bjorn Zipprich | .... | CG modeler: Cinesite | |
| Scot Byrd | .... | publicist: Rhythm & Hues (uncredited) | |
| Wally Chin | .... | 3D technical assistant (uncredited) | |
| J. Todd Constantine | .... | technical assistant: Cinesite (uncredited) | |
| Robert Coquia Jr. | .... | 3D technical assistant (uncredited) | |
| Fred Jimenez | .... | 3D technical assistant: Cinesite Hollywood (uncredited) | |
| Stuart Mintz | .... | digital effects artist (uncredited) | |
| Monty Phillips | .... | digital artist (uncredited) | |
| Sean Rourke | .... | visual effects editor: Cinesite (uncredited) | |
| Kevin Tengan | .... | systems administrator (uncredited) | |
Casting Department | |||
| Rich King | .... | extras casting | |
| Terri Taylor | .... | casting associate | |
| Erin Toner | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Corey Bronson | .... | set costumer | |
| Eduardo Castro | .... | associate costume designer | |
| Jordanna Fineberg | .... | assistant costume designer | |
| Sarah Jane Gardam | .... | costume production assistant | |
| Betsy Glick | .... | costumer | |
| Joby Harris | .... | costume concepts | |
| Shoshana Rubin | .... | set costumer | |
| Aya Tanimura | .... | wardrobe | |
| Catherine Wall | .... | cutter/fitter | |
| Beverly Woods | .... | costumer | |
| Annie Yun | .... | costume production assistant | |
Editorial Department | |||
| Brian Patrick Chalk | .... | negative cutter | |
| Greg Curry | .... | dailies colorist (as Greg 'Curly' Curry) | |
| David Kirchner | .... | first assistant editor | |
| Susan Littenberg | .... | associate editor | |
| Vincent Mourou | .... | assistant editor | |
| Dan Muscarella | .... | color timer | |
| Aaron Scully | .... | editorial assistant | |
| Tim Streeto | .... | assistant editor | |
| Norman R. Walker | .... | assistant editor | |
| Dava Whisenant | .... | editorial assistant | |
| Harold Lee Yen | .... | post-production assistant | |
Music Department | |||
| Slamm Andrews | .... | additional score mixer | |
| Tom Boyd | .... | musician: oboe soloist | |
| Bruce Fowler | .... | conductor | |
| Bruce Fowler | .... | orchestrator | |
| Shiro Gutzie | .... | soundtrack producer | |
| Sadik Hakim | .... | composer: song "Eronel" | |
| Charles B. Kim | .... | music programmer (as Charles Kim) | |
| Jason Lloyd | .... | scoring crew | |
| David Low | .... | scoring contractor | |
| Alan Meyerson | .... | score mixer | |
| Alan Meyerson | .... | score recordist | |
| John Rodd | .... | orchestral scoring recordist | |
| John Rodd | .... | score recordist | |
| Fredrik Sarhagen | .... | additional score mixer | |
| Tom Steel | .... | scoring crew | |
| Bill Talbott | .... | scoring technician (as Bill Talbot) | |
| Leanne Ungar | .... | musician: steel drum | |
Transportation Department | |||
| Gina August | .... | driver | |
| Rich Bennetti | .... | transportation captain | |
| Chris Gorden | .... | driver | |
| Shane Greedy | .... | transportation coordinator | |
| Paul Tumber | .... | transportation | |
Other crew | |||
| Alex Apple | .... | key assistant location manager | |
| Kate Burgess | .... | production assistant: Chicago | |
| Lisa Butala | .... | assistant to producer | |
| Wendy Chesebrough Lowe | .... | assistant: Mr. Cameron (as Wendy Chesebrough) | |
| Todd Cogan | .... | assistant: Mr. Cameron | |
| Amy Minda Cohen | .... | assistant: Mr. Clooney | |
| Kimberly Cooper | .... | production executive: Fox | |
| Renee D. Czarapata | .... | first assistant accountant | |
| Monica De Armond | .... | assistant: Mr. Soderbergh, New York | |
| Betsy Dennis | .... | assistant: Steven Soderbergh and Gregory Jacobs | |
| Virginie Drouot | .... | office production assistant | |
| Robb Earnest | .... | production coordinator: additional photography | |
| Brent Ekstrand | .... | video and computer engineer | |
| Tim Flattery | .... | conceptual illustrator | |
| Monica Frommholz | .... | assistant production coordinator | |
| Martin Garner | .... | computer engineer (as Marty Garner) | |
| Marc C. Geschwind | .... | extras coordinator | |
| Jenny Gienger | .... | assistant to cast | |
| Noelle Green | .... | production office coordinator (as Noelle Chapin) | |
| Jason Hinkel | .... | first assistant accountant | |
| Marisol Jiménez | .... | construction accountant | |
| Greg Kappy | .... | assistant location manager | |
| Christian Krieger | .... | assistant location manager | |
| James R. Maceo | .... | location manager | |
| Todd A. Marks | .... | computer/video supervisor (as Todd Aron Marks) | |
| Lynne Martin | .... | set production assistant | |
| Debbie Merritt | .... | assistant production office coordinator: re-shoots | |
| Debbie Merritt | .... | production secretary | |
| Kevin D. Reagan | .... | computer consultant | |
| Alice Ritscher | .... | assistant accountant | |
| Sonny Ritscher | .... | production accountant | |
| Andrea Roa | .... | production assistant | |
| Sarah Shackleton | .... | assistant: Mr. Cameron | |
| Monica Lee Steen | .... | assistant: Mr. Landau | |
| Spooky Stevens | .... | unit publicist | |
| Kim E.F. Troy | .... | assistant: Ms. Sanchini | |
| Danny A. White | .... | medic | |
| Jeff Winn | .... | craft service | |
| Mariusz Zych | .... | assistant: Charles V. Bender, Stanislaw Lem (uncredited) | |
Thanks | |||
| Mike Nichols | .... | special thanks | |
| Recent Posts (updated daily) | User |
|---|---|
| Thoughts? | christihopethisnameisntt |
| Worth watching both? | ianpwilliams |
| Ending | rossrjensen |
| how did they dare to? | m_mammone |
| They sent one man?? | leaverus |
| similar movies | ExpandUrMind |
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| Solaris | Moon | Dreamcatcher | The Far Side of the Moon | In Her Shoes |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
As a science fiction film, Solaris follows the same rule as the best of the genre, namely that it isn't the creatures or technology that makes the viewers want to watch, it is the human drama. Which is just as well, because the film itself is slower than the proverbial wet week, in spite of being less than a hundred minutes in length. Nonetheless, I will be very interested to see future projects from Steven Soderbergh.
The plot revolves around a psychologist who is suffering deep emotional problems, which mainly seem to revolve around the suicide of his wife. So when he is floating aimlessly around a spaceship that orbits the titular planet, apparitions of his wife begin appearing. From what I am able to discern, an alien intelligence is trying to take over the ship's crew, in the hope that the ship will return to Earth and take them with it. Of course, the crew have other ideas.
In essence, it sounds a lot like the basic plot for Alien, minus the violence. Alien has a degree of violence, most of which is implied, and so too does Solaris. The difference here is that the violence is not essential to the plot. In fact, aside from a couple of corpses, you never really get to see any. Instead, we are given a good deal of exposition regarding the doctor's feelings regarding his wife and what he would do to have her back in any shape or form. When the Solaris alien appears in his cabin, it tells him everything he wants to hear, and appears exactly as he desires.
The big question posed by the film is whether we are the sum of how we, and more importantly other people, remember us, or whether there's more that defines our reality. Having struggled with other people's wrong impressions of me for most of my life, I have often pondered this question myself. When the apparition-clone of Rheya is suddenly deciding that it would be best for her and Chris if she no longer existed in this form, she asks simply if she has simply been slapped together from Chris' memories or desires. Nobody ever knows all there is to know about another person, and that's what makes the surrealism of the story so compelling.
I gave Solaris a seven out of ten. It was slow, and it could have been at least ten minutes longer, but it works as a nice little piece of thinking entertainment. Give it a once over, and you might be pleasantly surprised.