Tagline: If the sun dies, so do we.
Stars do not live forever. In our universe, one star dies every second. The star that keeps our planet alive, the Sun, is a massive nuclear fusion reactor that scientists estimate has enough fuel to burn for another five billion years. But what if it doesn’t? What will happen to the Earth and to humankind? And could humanity alter the very course of nature if the Sun began to flicker out?
These are the questions that drive the high-tension space thriller Sunshine, the new film from acclaimed director Danny Boyle (Millions, 29 Days Later, The Beach, Trainspotting) from a script by novelist / screenwriter Alex Garland (28 Days Later, The Beach).
The story begins in the year 2057, as our Sun begins to die and mankind faces the unthinkable: extinction. Earth’s last hope lies with the Icarus II, a spacecraft manned with eight men and women led by Captain Kaneda. Their mission — to deliver a nuclear device designed to reignite the Sun. Deep into their voyage, far out of radio contact with Earth, the lonely, restless crew hears a distress beacon from the Icarus I, the ship which disappeared without a trace on the same mission seven years earlier. But when an attempt at rescue throws the Icarus II into jeopardy, the increasingly desperate crew soon find themselves literally gripped in the shadow of the Sun, fighting for their lives, their sanity, and the future of us all…
If the Sun Dies: The Origins of Sunshine
With a mix of far-reaching imagination and technical virtuosity, director Danny Boyle ventures into unexplored realms of outer space with Sunshine — an intense, claustrophobic adventure about a crew of scientists and astronauts who literally are humanity’s last stand for survival, even as their mission to save the Sun, and their sanity itself, starts to fall apart under the massive stress.
The project began with a singularly compelling concept. “The premise of SUNSHINE is that in 50 years from now the Sun is dying,” explains producer Andrew Macdonald, whose recent string of provocative features includes the Oscar-winning The Last King of Scotland, Notes on a Scandal and the recent sequel, 28 Weeks Later. “The entire global community pools its resources to send a mission into space to deliver a bomb to reignite the part of the Sun that is failing. Our story concerns the eight astronauts and scientists who lead this mission — and how they react under the enormous pressure of their endeavor to save mankind.”
The idea was born in the agile imagination of writer Alex Garland, the leading British novelist who made waves with his debut book The Beach and has gone on to write the multilayered crime story The Tesseract and an intrigue-filled exploration of consciousness, The Coma, as well as the screenplay for the acclaimed sci-fi thriller 28 Days Later, in which zombies take over modern-day London. It was while reading an article in an American science magazine, that inspiration struck.
“I’ve always had a desire to explore this idea of a man traveling into deep space and what he discovers there, as well as what he finds in his own subconscious,” says Garland. “I had been looking for a storyline to hang this idea on when I read an article projecting the future of mankind from a physics-based perspective. It contained theories on when the Sun would die and what would actually happen when it eventually did. What I found interesting about that was that it is easy to speculate about the potential end of mankind billions of years from now — but what if it was a certainty within our lifetime? I was intrigued by the idea that it could get to a point where the entire planet’s survival might rest on the shoulders of one man, and by the question of what that would do to his head. That became the trigger point for the story.”
Eight months later Garland arranged to meet director Danny Boyle — who had directed the screen adaptation of his novel The Beach and for whom Garland had previously written the smash hit 28 Days Later — in a West End pub and gave him the first draft of SUNSHINE. Within 24 hours, Boyle called Garland wanting to make the film.
“What I love about Alex’s work is he has these big ideas,” explains Boyle. “The British film industry tends to make quite small films, but Alex’s writing always contains these massive ideas and concepts, which is wonderful, though they can be complex to finalize and realize.”
Boyle has already forged a reputation for daring eclecticism, having traversed from the irreverent and influential cult film Trainspotting to the family fable Millions to a harrowing, through-provoking reinvention of the zombie film with 28 Days Later. With Sunshine, Boyle was drawn in not only by the chance to envision a futuristic space voyage but especially to explore the crew’s psychological journey as they head out across the cosmos, towards the literal center of our lives, the Sun.
“Traveling to the Sun is a great concept visually, but also very interesting psychologically,” Boyle muses. “There is the question about what happens to your mind when you meet the creator of all things in the universe, which for some people is a spiritual, religious idea, and for other people is a purely scientific idea. We are all made up of particles of exploded star, so what would it be like to get close to the Sun, the star from which all the life in our solar system comes from? I thought it would be a huge mental challenge to try and capture that.”
Boyle in turn handed the script over to producer Andrew Macdonald, who found himself furiously turning the pages. “Alex writes in a tremendously visual style, and, unlike a lot of scripts you read, SUNSHINE has got a driving narrative that really pulls you along,” he says.
Macdonald was instantly sold on the concept. He was also eager to reunite with Boyle and Garland after their bracingly creative collaboration on 28 Days Later. “We share a love of certain types of films, but we all have our own opinions of how they should play out, which I think makes the relationship even stronger,” observes Macdonald. “One of the key things is that Alex is very much the writer and Danny is very much the director and they both have very strong voices. My job is to help them realize what is in their imaginations, while at the same time balancing that with the practical realities of making a successful film.”
Boyle agrees that the trio has hit upon an unusually symbiotic filmmaking process. “I think we are all very ambitious people but for some reason when we get together we abandon our egos,” the director comments. “I kick into the script and Alex kicks into the film and we are quite blunt and honest with each other and that helps the storytelling enormously.”
From the start, a key idea that all three agreed upon was to ground the film in as much science fact, rather than science fiction, as possible. Their distinctive ambition was to present on screen a starkly believable space mission of the near future, rather than a piece of pure fantasy. To accomplish this, the filmmakers looked first to NASA in their research. They also watched numerous space documentaries and met with as many scientists and astronauts as possible.
After seeing the young British physicist Dr. Brian Cox on television, Macdonald contacted him with a view to discussing the project. Thereafter Cox, who works at CERN [the Centre for European Nuclear Research], the world’s largest particle physics laboratory in Geneva, joined the production as scientific consultant, and his input was to prove invaluable. He remained on hand during production to give the cast and crew a better understanding of the Solar system, and also worked intensively with Cillian Murphy, who plays Capa, the ship’s physicist. Cox’s goal throughout was to keep the science as authentic as possible within the bounds of an imaginative thriller.
“The science is extremely sound in the film,” explains Cox. “You can tell Alex Garland is a fan of science as well as a science fiction fan. There were a few edges we ironed out but basically it was the back story rather than the plot that my expertise was needed for.” Next, to get a visceral sense of what human beings trapped in extremely tight, austere spaces for long periods of time go through psychologically, the filmmakers of SUNSHINE journeyed to Scotland to visit the closest approximation to a cramped spaceship carrying a massive bomb: a nuclear submarine.
“I wanted to explore contemporary conditions that best capture the claustrophobia of living in a confined space for a prolonged length of time,” explains Boyle.
In addition, Macdonald flew to Moscow to visit Zvezdny Gorodov, or “Star City”, the once highly secret Soviet training complex that instructs more cosmonauts and astronauts than anywhere else in the world. “It was an amazing place to visit,” he recalls. “In fact, in the early stages, we even considered shooting the film right there. But in the end it just was not viable.”
All of the preliminary research ultimately lent to the film a palpable realism that only increased the psychological intensity and build-up of suspense on screen, as the crew hurtles towards the sun with its atomic payload.
Yet, even in the midst of all its terror, anxiety and darkness, Danny Boyle notes that SUNSHINE indeed also uncovers illuminating rays of light. “I try to make optimistic films,” concludes Boyle, “and although some of them might be a bit tough, I hope that there’s a life spirit in them that kind of transcends that, so you feel more alive when you come out than when you went in.”
More NASA Than Star Wars: The Film’s Design
Set just 50 years into Earth’s now terribly uncertain future, SUNSHINE presents its own original vision of a deep space journey – one that is at once science-inspired with an emphasis on stark realism while also pushing into the realms of cosmic mystery – resulting in arresting visuals and design. From the hauntingly claustrophobic corridors of the Icarus II to the mesmerizing images of solar activity, the film creates its own utterly enveloping, and increasingly frightening, world.
To transform Boyle and Garland’s conception of this near-future space mission into the film’s distinctive look, the filmmakers worked closely with a talented technical team, including director of photography Alwin Küchler, who most recently shot John Madden’s screen adaptation of PROOF starring Gwyneth Paltrow and Anthony Hopkins. Küchler brought both daring and nuance to the project.
“It was very important to us that the film be quite unusual cinematically,” Boyle comments. “When Icarus II approaches the Sun, the question of the balance of light was key, and Alwin was a great cinematographer for that challenge.”
For Küchler, it was only when he started prepping SUNSHINE that he began to realize just how difficult it was going to be, working with an element as all-encompassing, beautiful and powerful as the Sun itself. Explains Küchler: “If you were to take just a teaspoon of the material that makes up the Sun and place it on top of St Paul’s Cathedral, the whole of England would be vaporized. Imagine that scale and how you transfer that to celluloid. It made me very aware of the limitations when competing with that power.”
The whole film became, even more so than most films, about the play of light. “One of the things I wanted to get across was the physical sense of light. The whole spaceship is designed around the fact that it’s being protected from the Sun, so on one side you have the gold shield, which reflects all the sunlight away, and on the other side you have absolute darkness,” continues Küchler, who shot the film in anamorphic format. “To heighten the contrasts, we shot certain sequences in a very dark environment, which you get used to, so that when the Sun plays a role the audience has a very physical reaction to it.”
Meanwhile, to imaginatively forge the interiors and exteriors of the Icarus II, Boyle reunited with award-winning production designer Mark Tildesley who had worked with him on 28 Days Later and Millions. “Mark is a genuine creative person and, like me, loves photography books which was a great language for us to work through,” Boyle notes. “We set the parameters early on — that it was going to be more NASA than Star Wars in terms of the balance.”
Adds Andrew Macdonald, “The design of the ship came largely from reality, inspired by the research we did involving nuclear submarines, oil-rigs, and, of course, NASA. We learned that on a Space Shuttle every single screw has a number and a fitting and that is the only screw that can go into that hole and we wanted to get that level of detail into the film.”
As with his previous films, Boyle collected a portfolio of images and visual references for SUNSHINE which he made available to both cast and crew. His brief to Tildesley was to design the Icarus II with the sense of it being an organic, living thing that could break down and would need to be fixed. “We wanted the actors to feel that they could have been living in this confined space for months on end,” Tildesley explains. “We talked about not using ‘space funk,’ meaning beautiful things for the sake of it, and more about finding beauty in science. We also made a policy that we were not going to reinvent anything — we wanted there to still be elements of our world that people clearly recognize.”
The Icarus II consists of a massive shield, a mile in diameter, made up of gold panels, which protects the ship from the sun by deflecting the Sun’s heat away from the ship. Behind the shield sits the bomb, the size of Manhattan, and of equal mass to the Moon. In comparison to the shield and the bomb, the living quarters are intensely confined, consisting of a main corridor that runs the length of the ship, off of which branches the social area, the sleeping quarters, the flight deck, the observation room, the med center, the Earth room and the oxygen garden.
Tildesley built the ship in complete 360-degree environments at Three Mills Studios in the East of London, where the production took up more than eight soundstages. “I focused on a real contrast of scales,” he explains. “The ship in our terms is enormous and within that ship there are tiny spaces for the living quarters, much as you would find on a submarine. In the living quarters we had the wiring and leads running across the bedrooms and throughout the corridors so there is a sense that you could see the veins of the ship, to show that it is living and working all the time.”
“The sets were amazing,” says cast member Chris Evans. “I mean, it was so nice to be able to have things that are tangible, and to be able to run around a spaceship that’s actually there, and it’s not just half of a spaceship or three quarters of a spaceship. It really helped bring the film to life.”
Also helping to forge the film’s look was Suttirat Anne Larlarb, who had worked in the art department on THE BEACH, and was chosen for her skills in both costume and production design. She was brought on board to devise a new kind of space suit as well as the crew’s costumes. “We wanted the space suit to break away from the more traditional, more conventional suits that you always see in space films,” says Boyle. “Suttirat’s sense of taste and her flamboyance in terms of her visual ideas made her the right person for the job.”
“The spacesuit needed to be a costume with its own specific technical requirements, almost like a vehicle or a prop,” explains Larlarb. “Danny’s brief was to design the suit so that it is based on logic and did not look too far-fetched. The suit had to be flexible and durable and look like it would give protection against radiation and the Sun.”
Both Boyle and Larlarb looked at many and far-ranging reference sources, from Samurai warriors, to medieval suits of armor to deep-sea diving suits; before settling on a look for the space suit.
Once the space suit’s design was locked in, Larlarb handed over her reference material and sketches to costume fabrication supervisor James Enright and his team for the manufacturing process. “Space suits in real life are quite restricting and the team was conscious of creating as much movement in the suit as possible,” Enright explains. “We developed rings that interlock with each other around the legs, arms and the wrists, so in theory you can run in it which you can’t really do in a real space suit.”
When looking for a material for the suits, Boyle fell in love with Mylar, which is much like the insulating foil that runners use to keep warm. “From pre-light and wire rehearsals we wrapped the stunt team in it,” Enright says. “Danny loved the way the material reflected and bounced light around. It gave the small subtle movement of space walking real energy.”
The main point of difference between the SUNSHINE space suit and others of its kind, apart from its gold color, was the idea of a large protecting hood that all but covered the wearer’s face, with visibility via a small, rectangular slit at the front of the helmet. “The idea of the large projecting hood evolved because it would be necessary for protection from light, heat and radiation. You could only just see the eyes of the astronaut as they needed shielding from the harmful rays of the Sun,” says Larlarb. “The character has to be able to see out of the helmet but you would not be able to see into the suit. So we came up with this idea of putting the camera inside the helmet so you could stay with the actor on an emotional level,” explains Boyle.
“The ‘Helmet cam’ was another one of Danny’s wonderful creations,” says cast member Cillian Murphy. “It was physically tough because the helmet and camera combined weighed a ton, but those scenes do look believable on screen because a lot of the time we were genuinely sweating and out of breathe.”
While the interiors of the Icarus II were built on stage, its exteriors were all created entirely by using computer-generated imagery created through the digital wizardry of the visual effects team at the Moving Pictures Company. Their mission was massive. “We created about 500 shots,” explains visual effects supervisor Tom Wood. “The key visual effects shots are sequences dealing with the exterior of the space ship and the Sun, both being almost entirely computer-generated, which is quite unusual. Space ships are usually a combination of CGI and miniature, but we went for a wholly CGI-designed exterior, apart from a little bit of an airlock sequence where we needed some physical action.”
The ultimate challenge for the visual effects team was to create the Sun itself, a planet that has never been photographed or filmed from anything other than from millions of miles away. “One of the hardest things is to convey is the scale of the Sun, how incredibly massive and incomprehensibly large the Sun actually is,” Wood explains. “It loses four million tons of matter every second. It has massive prominent projections of matter shooting constantly from its surface, which it ejects at a million miles an hour – these were the ludicrous values that we had to compete with. I think, at the very least, our Sun is beautiful and awe-inspiring. And I hope it will be edge-of-the-seat terrifying as well.”
Manning The Icarus II: The Cast and Characters
On board the Icarus II is a crew of 8 brave men and women – an unusual mix of scientists and astronauts willing to attempt this last-ditch, long-shot mission to save the Earth.
In imagining what the crew would look like, Danny Boyle took into consideration current predictions that, over the next 50 years, Asia will continue to expand in both economic and social power in close competition with the U.S.. Notes Boyle, “The Icarus II has a largely American and Asian crew because we felt that in 50 years time the Chinese and American space programs would be the most developed and only they would have the economic power to bankroll such an endeavor. Ideally we were looking for actors from all around the world.”
To that end, auditions were held in Los Angeles, New York and London, with Boyle eventually bringing together actors hailing from America, Japan, Malaysia, Australia, New Zealand, Ireland and Britain.
Much of the film unfolds through the eyes of the Icarus II’s physicist, Capa, played by Irish actor Cillian Murphy, who came to the fore in 28 Days Later. The only crewmember who really knows how to operate the incredibly sophisticated bomb the ship is carrying, Murphy describes the character as an “outsider.” “He’s a scientist who is into a level of physics that is way beyond normal comprehension and that does something to his mind in a way,” says Murphy. “He doesn’t have great people skills, though, which keeps him slightly removed from the rest of the crew.”
Says Boyle of Murphy: “We were looking for a lead actor on whom the audience could project their hopes and fears throughout the film, and Cillian has that rare quality. For those who think he’s a bit good-looking for a physicist, the uncanny thing is that he looks remarkably like our science advisor Brian Cox which was not intentional.”
Capa often finds himself at odds with the ship’s brash engineer, Mace, played by American actor Chris Evans, who recently made a lasting impression as the Human Torch in the hit comic book adaptation the Fantastic Four sequel. Evans notes that his character contrasts with Capa as a more typical “man of action.” “Mace hails from a military family and background, so he’s very cut and dry, and morally uncomplicated,” explains Evans. “He is the guy on board who is always able to perform under the most pressure-filled situations.”
“Chris is tremendous as Mace,” says Boyle. “When we met him we just knew he was the real thing – a serious, thoroughbred actor, prepared to do anything. I liked him immediately and cast him very quickly. He has the confidence to play this role and I think he is someone who’s on the brink of something quite big.”
The filmmakers searched for an Asian actor to play the most experienced astronaut among the crew, Icarus II’s Captain Kaneda. Boyle had seen Japanese actor Hiroyuki Sanada in Yoji Yamada’s highly acclaimed, Oscar-nominated THE TWILIGHT SAMURAI and was bowled over by his presence.
“He gives this extraordinary and majestic performance,” Boyle recalls. “When I met him I felt he had that kind of natural authority that makes people respect him automatically, which was crucial for the character.”
For Sanada, playing Kaneda was a huge challenge, with SUNSHINE only his second English-language feature. “I love Danny’s films, they have good tension and rhythm in the world he creates,” says Sanada. “The script has great human drama. It is not only great entertainment but also has very profound meaning and a deep soul.”
Also joining the crew is Asian superstar Michelle Yeoh as Corazon, the biologist in charge of the Icarus II’s oxygen garden — the ship’s primary source of oxygen and fresh food. “Even while reading the script, I knew I wanted Michelle to be in the film,” Boyle explains. “Before I’d seen Crouching Tiger, Hidden Dragon, I’d seen her in Tomorrow Never Dies and I was completely captivated by her. She takes the Bond Girl and inhabits it with her own individuality and identity and I loved her in it.”
Yeoh loved that her character is the only one who has a source of peace during the searingly tense journey. “I almost want to say that Corazon is the luckiest crew member as she has the oxygen garden,” says Yeoh. “She just keeps on running her experiments and growing food. What was interesting to me is that the journey for the crew turned out to be so much more psychological and spiritual in a way. If you stare into the abyss of space long enough, there is always that terrifying possibility you could lose your soul.”
Piloting the Icarus II deep into the Solar System is the other woman in the crew: Cassie, who is portrayed by Australian actress Rose Byrne, who last traveled into space in George Lucas’s Star Wars: Attack of the Clones, and whom Boyle chose for her mix of intelligence, intensity and electric presence. Byrne observes that Cassie “is the most emotional crewmember in the sense that she wears her heart on her sleeve.” She continues: “But she also doesn’t have a breaking point, which gets her through the journey.”
Like the rest of her castmates, Byrne was thrilled at the chance to work with Boyle and Garland. “They are both fantastic artists who are so smart and subversive, interesting and dark,” she comments.
Second in command to the Captain on the Icarus II is Harvey, the ship’s communications officer played by up-and-coming star Troy Garity, the Golden Globe-nominated son of Jane Fonda and Tom Hayden for Showtime’s Soldier’s Girl. Garity, whose roles include the popular BARBERSHOP comedies, was a big discovery for Boyle. “I hadn’t seen any of his films before, but when I met him I knew he would be a wonderful addition to the film. He is so meticulous in the way he prepares himself for the work and very serious about his craft.”
As with the other crew members, Harvey has his own quirks and concerns. “Harvey is the only one on board who misses his family incredibly but hides it from the rest of the crew,” explains Garity. “It’s interesting that each character in the film deals with the unlikelihood of their survival in different ways — some more honorable, some more spiritual, and some more accepting. I think my character imagines himself to be brave, but he proves just to be normal and human in the end.”
To play Searle, the Icarus II’s Medical Officer who becomes obsessed with the Sun, Boyle was looking for somebody who would subvert expectations, ultimately choosing New Zealander Cliff Curtis, who is best known for his role in the acclaimed Whale Rider.
“The role of Searle was originally written for a slightly stiff British character,” he explains. “But Cliff approached the part with such freshness and originality that I knew he was right for it.”
Curtis was drawn to the role’s philosophical nature. “Searle realizes something went wrong with the previous mission, and potentially could go wrong with theirs, so he uses himself as a guinea pig,” explains Curtis. “He theorizes on the possibility that, to some, the Sun may be the face of God. He starts to study the Sun and becomes fixated by it, as if it is communicating something to him. He raises a central question: do we have the right as human beings to change the course of nature, to go against nature?”
Rounding out the crew is Benedict Wong as the brilliant Navigation Officer Trey. Boyle was compelled to cast Wong after seeing his memorable role as the chess-playing mortuary technician in Stephen Frears’ Dirty Pretty Things. “He is a terrific young actor,” says Boyle.
Wong in turn, was instantly attracted to SUNSHINE. “I found the script really exciting and the story very plausible, so it was something I immediately wanted to be involved in,” he says. “Trey’s back story is that he was a child prodigy. As a petulant teenager he created a computer virus that destabilized 1/6 of the world’s computers. This brings him to the attention of the authorities who recognize his genius and decide to put it to good use by grooming him for the space program. His job on Icarus II is to navigate the ship towards the Sun safely, but he makes an error that sets in motion an incredible chain of events.”
In the Shadow of the Sun: Preparing for the Film
Once the filmmakers lined up the cast of Sunshine, the actors were put through their paces, each asked to immerse themselves in their characters’ specific fields of expertise. Thus it was that Cillian Murphy, preparing to play Capa, accompanied physicist Brian Cox to his work place at CERN in Geneva, with Murphy noting: “He’s very nice man who put up with all my idiotic questions!” Meanwhile, Michelle Yeoh, in search of biological knowledge, spent time at the Eden Project in Cornwall, the world’s largest conservatory, where more than 5,000 species of plants from around the world are studied. At the same time, to better understand the ship’s engineer, Mace, Chris Evans met with NASA astronaut Daniel W. Bursch in the U.S. before joining the production in England.
To further inspire the cast, Danny Boyle screened for them a variety films including the fact-based story of NASA’s first space launch, THE RIGHT STUFF; the definitive Apollo missions documentary For All Mankind; the heart-stopping submarine classic, Das Boot; the relentless 1953 thriller Wages of Fear, about men transporting deadly nitroglycerine through the jungle; and the mind-blowing sci-fi films Alien and 2001: A Space Odyssey.
As rehearsals got under way, the process involved far more than the usual linereadings and expanded to include scuba-diving lessons, lectures by specialists in Astronomy and Physics, stunt training, flight simulation and, most nerve-wrackingly, a trip in a light aircraft to experience zero gravity.
Cillian Murphy describes the Zero-G experience as being “quite interesting, sickening, horrifying, and exhilarating all in the same time”. Adds Michelle Yeoh, “That moment of zero gravity is quite phenomenal, it takes your breath away. But when you experience several Gs… it’s not nice. Your head hurts, your chest hurts, and it feels like the whole world is sitting on you. It sounds horrifying but it is still exhilarating, and after a few moments of sheer terror you get used to it.”
Lastly, Boyle insisted his cast all live together for two weeks to build up that intense kind of familiarity only intimate living can create among a group, which is so key to the film’s riveting psychological tension. “In the film, we join the crew when they have been living together on the space ship for 16 months, so one of the key things for us was to get the cast to bond as quickly as possible and to break down any barriers,” Boyle explains.
All eight Icarus II crewmembers crammed into sparse student dormitories in the East End of London. “I thought we were going to go and live in a big house together and cook meals and have a great time,” recalls Cliff Curtis. “But no, we got put in student accommodation where we had a cell-like room with a single bed, our own shower and toilet, and a very basic kind of kitchen.”
Yet the experience was invaluable. “There’s a certain kind of chemistry that you can’t act,” explains Murphy, “It’s just in the room, in the chemistry between people, that familiarity or irritability or whatever it may be.”
This early bonding experiment became emblematic of Boyle’s approach to all of SUNSHINE – upping the realism in the visuals, design and characters to make the story’s extraordinary circumstances that much more provocative, harrowing and intense.
Sums up Chris Evans: “There was so much research done for this film. Everyone involved really got our hands dirty to understand what these characters are going through and what the movie is about. Because of that, it was a wonderful, unforgettable experience.”
Production notes provided by Fox Searchlight Pictures.
Sunshine
Starring: Rose Byrne, Cliff Curtis, Chris Evans, Troy Garity, Cillian Murphy, Hiroyuki Sanada, Benedict Wong, Michelle Yeoh
Directed by: Danny Boyle
Screenplay by: Alex Garland
Release: September 14, 2007
MPAA Rating: R for violent content and language.
Studio: Fox Searchlight Pictures
Box Office Totals
Domestic: $3,675,753 (11.5%)
Foreign: $28,327,514 (88.5%)
Total: $32,003,267 (Worldwide)