Cloud Atlas (Film)

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Cloud Atlas (film)

Cloud Atlas is a 2012 epic science fiction film written and
Cloud Atlas
directed by the Wachowskis and Tom Tykwer.[8] Based on
the 2004 novel by David Mitchell, it has multiple plots
occurring during six eras in time, with the cast members
performing multiple roles.
The film was produced by Grant Hill and Stefan Arndt, in

addition to the Wachowskis and Tykwer. During its four
years of development, the producers had difficulties
securing financial support. It was eventually produced with
a budget between US$100 million and US$146.7 million
provided by independent sources, making it one of the most
expensive independent films ever produced. Filming for
Cloud Atlas began in September 2011 at Babelsberg Studio
in Potsdam-Babelsberg, Germany.
It premiered on 8 September 2012 at the 37th Toronto

International Film Festival,[9] and was publicly released on
26 October 2012 in conventional and IMAX cinemas.[10]
Critics were polarized, causing it to be included on various Theatrical release poster
"Best Film" and "Worst Film" lists.[11][12][13] It was
nominated for a Golden Globe Award for Best Original Directed by Lana Wachowski
Score for Tykwer (who co-scored the film), Johnny Klimek, Tom Tykwer
and Reinhold Heil.[14] It received several nominations at the Lilly Wachowski[a]
Saturn Awards, including Best Science Fiction Film, and
won for Best Editing and Best Make-up. Written by Lana Wachowski
Tom Tykwer
Lilly Wachowski[a]
Contents Based on Cloud Atlas
Plot by David Mitchell
Main cast Produced by Grant Hill
Production Stefan Arndt

Development Lana Wachowski
Principal photography Tom Tykwer
Music Lilly Wachowski[a]
Reception
Starring Tom Hanks
Release
Halle Berry
Marketing
Jim Broadbent
Home media
Hugo Weaving
Reception
Critical response Jim Sturgess
Box office Doona Bae

Reaction from the crew Ben Whishaw
Directors
https://en.wikipedia.org/wiki/Cloud_Atlas_(film) 1/19
Cast James D'Arcy

David Mitchell Zhou Xun
Controversy Keith David
Accolades
Andrew Havill
See also David Gyasi
Notes Susan Sarandon
References Hugh Grant
External links Cinematography John Toll
Frank Griebe
Plot Edited by Alexander Berner
Music by Tom Tykwer
The story jumps between eras until each storyline
eventually resolves, spanning hundreds of years. Writings Johnny Klimek
from characters in prior storylines are found in future Reinhold Heil
storylines. Characters appear to recur in each era, but Production Cloud Atlas
change relationships to each other. Slaves or abusers often companies
change roles, suggesting reincarnation or other connection Productions
between souls through the ages. X Filme Creative
Pool
In the Chatham Islands, 1849, American lawyer Adam
Anarchos
Ewing witnesses the whipping of Autua, an enslaved
Moriori man. Autua stows away on Ewing's ship and Productions
persuades him to advocate for Autua to join the crew as a Distributed by Warner Bros.
free man. Autua saves Ewing's life before his doctor, Henry Pictures[b]
Goose, can poison him and steal his gold under the guise of
Release dates 8 September 2012
treating him for a parasitic worm. In San Francisco, Ewing
and his wife denounce her father's complicity in slavery and (TIFF)
leave to join the abolition movement. 26 October 2012
(United States)
In 1936, English composer Robert Frobisher finds work as
an amanuensis to aging composer Vyvyan Ayrs, allowing 15 November 2012
Frobisher to compose his own masterpiece, "The Cloud (Germany)
Atlas Sextet". Frobisher reads from Ewing's journal among Running time 172 minutes[2][3]
the books at Ayrs's mansion. Ayrs demands credit for the
sextet and threatens to expose Frobisher's bisexuality if he Countries Germany
refuses. Frobisher shoots and wounds Ayrs and goes into United Kingdom
hiding. He finishes the sextet and shoots himself before his
United States[4]
lover Rufus Sixsmith arrives.
Language English
In San Francisco, 1973, journalist Luisa Rey meets
Sixsmith, now a nuclear physicist. Sixsmith tips off Rey to a Budget $100–146.7
conspiracy to create a catastrophe at a nuclear reactor run million[5][6]
by Lloyd Hooks, who secretly promotes oil-energy interests. Box office $130.5 million[7]
He is killed by Hooks's hitman, Bill Smoke, before he can
give her a report as proof. Rey finds Frobisher's letters to Sixsmith, just as Frobisher had found
Ewing's journal earlier. She tracks down Frobisher's obscure sextet in a record store. Scientist
Isaac Sachs passes her a copy of Sixsmith's report. Smoke kills Sachs by blowing up his plane and
then runs Rey's car off a bridge, destroying the report. With help from the plant's head of security,
Joe Napier, Rey evades another assassination attempt, and Smoke is killed. With a copy of the
report from Sixsmith's niece, she exposes the plot and has Hooks indicted.
In London, 2012, gangster Dermot Hoggins murders a critic after a harsh review of his memoir,
generating huge sales. Hoggins's brothers threaten the publisher, the aging Timothy Cavendish,
for Hoggins's profits. Timothy's brother, Denholme, tells him to hide at Aurora House. On the way,
Timothy reads a manuscript based on Rey's story. Believing Aurora House is a hotel, Timothy
signs in, only to discover he has unwittingly committed himself to a nursing home where all
outside contact is prohibited; Denholme reveals that he sent Timothy there as revenge for an affair
with his wife. Timothy escapes with three other residents, resumes his relationship with an old
flame, and writes a screenplay about his experience.
In 2144, Sonmi-451 is a "fabricant", a humanoid clone indentured as a fast food server and implied
sex worker in a dystopian Neo Seoul. She is exposed to ideas of rebellion by another fabricant,
Yoona-939, who has obtained a clip of the movie about Cavendish's involuntary
institutionalization. After Yoona is killed, Sonmi is rescued by rebel Commander Hae-Joo Chang,
who exposes Sonmi to the banned writings of Aleksandr Solzhenitsyn and the full film version of
Cavendish's experience. Hae-Joo eventually introduces her to the leader of the rebel movement,
and shows her that clones when 'freed' are actually recycled into "soap", food for fabricants. Sonmi
makes a public broadcast of her revelations before the authorities attack, killing Hae-Joo and
recapturing Sonmi. After recounting her story to an archivist, she is executed.
In 2321, the tribespeople of the post-apocalyptic Hawaii worship Sonmi; their sacred text is taken
from her recorded testimony. Zachry Bailey's village is visited by Meronym, a member of an
advanced society called the Prescients. Prescients use nuclear powered ships and remnants of high
technology, but are dying from a plague. Meronym is searching for a forgotten communication
station on Mauna Sol to send an SOS to off-world humans. In exchange for healing Zachry's niece,
Catkin, Meronym is guided by Zachry to the station where Sonmi made her recording. Returning
home, Zachry finds his tribe slaughtered by the cannibalistic Kona tribe. He kills the sleeping Kona
chief and rescues Catkin before he and Meronym fight off the other tribesmen. Zachry and Catkin
join Meronym and the Prescients as their ship leaves Big Island. On a distant planet, Zachry is
married to Meronym and recounts the story to his grandchildren.
Main cast
The main character in each story is indicated in bold.
Big Island,
Cambridge / San
Pacific Neo Seoul, 106 winters
Actor Edinburgh, Francisco, London, 2012
Islands, 1849 2144 after The Fall
1936 1973
(2321)
Adam
Jim Poor Hotel Hae-Joo (Zachry's
Adam Ewing Megan's Dad Highlander
Sturgess Guest Chang Brother-in-
Law)
Ben Robert Record Store
Cabin Boy Georgette — Tribesman
Whishaw Frobisher Clerk
Halle Native Indian Party
Jocasta Ayrs Luisa Rey Ovid Meronym
Berry Woman Guest
Jim Captain Timothy Korean
Vyvyan Ayrs — Prescient 2
Broadbent Molyneux Cavendish Musician
Megan's Sonmi-451,
Doona Mom, Sonmi-351,
Tilda Ewing — — —
Bae Mexican Sonmi
Woman Prostitute
Cavendish
Tom Dr Henry Hotel Dermot
Isaac Sachs Look-alike Zachry
Hanks Goose Manager Hoggins
Actor
Hugh Rev. Giles Denholme
Hotel Heavy Lloyd Hooks Seer Rhee Kona Chief
Grant Horrox Cavendish
Hugo Haskell Tadeusz Boardman
Bill Smoke Nurse Noakes Old Georgie
Weaving Moore Kesselring Mephi
Susan Madame Yosouf
— — Older Ursula Abbess
Sarandon Horrox Suleiman
Keith
Kupaka — Joe Napier — An-kor Apis Prescient
David
James Young Rufus Old Rufus
— Nurse James Archivist —
D'Arcy Sixsmith Sixsmith
Talbot (Hotel
Zhou Xun — — — Yoona-939 Rose
Manager)
David
Autua — Lester Rey — — Duophysite
Gyasi
Robert
Old Salty Dog — — Mr. Meeks — Prescient
Fyfe
Other cast members who appear in more than one segment include Martin Wuttke, Andrew Havill,
Brody Nicholas Lee, Alistair Petrie, and Sylvestra Le Touzel.[15] In addition, author David Mitchell
makes a cameo appearance as a double agent in the futuristic Korea section.[16]
Production
Development
The film is based on the 2004 novel Cloud Atlas by David Mitchell. Filmmaker Tom Tykwer
revealed in January 2009 his intent to adapt the novel and said he was working on a screenplay
with the Wachowskis,[17] who optioned the novel.[18] By June 2010, Tykwer had asked actors
Natalie Portman, Tom Hanks, Halle Berry, James McAvoy, and Ian McKellen to star in Cloud
Atlas.[19] By April 2011, the Wachowskis joined Tykwer in co-directing the film.[20] In the
following May, with Hanks and Berry confirmed in their roles, Hugo Weaving, Ben Whishaw,
Susan Sarandon, and Jim Broadbent also joined the cast.[21][22] Actor Hugh Grant joined the cast
days before the start of filming; he was originally supposed to have only five roles, but asked the
Wachowskis for a sixth one, and subsequently was also cast as Denholme Cavendish in the 2012
storyline.[23][24] According to Berry, the character of Ovid she plays in the 2144 storyline was
originally meant to be a female character played by Tom Hanks, until the directors felt that Ovid
was a logical part of the journey of the soul played by Berry.[25]
It was financed by the German production companies A Company, ARD Degeto Film and X Filme.
In May 2011, Variety reported that it had a production budget of $140 million.[26] The filmmakers
secured approximately $20 million from the German government, including €10 million
($11.8 million) from the German Federal Film Fund (DFFF),[27][28] €100,000 ($118,000)
development funding[29] and €1.5 million ($1.8 million) from Medienboard Berlin-Brandenburg, a
German funder, as part of their plans to film at Studio Babelsberg later in 2011.[26] The project
also received €1 million ($1.2 million) financial support from Filmstiftung NRW,[30] €750,000
($887,000) from Mitteldeutsche Medienförderung, €30 million ($35.5 million) from UE-Fonds
(the biggest proportion of the budget), and €300,000 ($355,000) from FFF Bayern, another
German organization.[29] The Wachowskis contributed approximately $7 million to the project out
of their own finances.[31] The budget was updated to $100 million.[5]
The Wachowskis stated that due to lack of financing, the film was almost abandoned several times.
However, they noted how the crew was enthusiastic and determined: "They flew—even though
their agents called them and said, 'They don't have the money, the money's not closed.' " They
specifically praised Tom Hanks's enthusiasm: "Warner Bros. calls and, through our agent, says
they've looked at the math and decided that they don't like this deal. They're pulling all of the
money away, rescinding the offer. I was shaking. I heard, 'Are you saying the movie is dead?' They
were like, 'Yes, the movie is dead.' ... At the end of the meeting, Tom says, 'Let's do it. I'm in. When
do we start?' ... Tom said this unabashed, enthusiastic 'Yes!' which put our heart back together. We
walked away thinking, this movie is dead but somehow, it's alive and we're going to make it."[32]
"Every single time, Tom Hanks was the first who said, 'I'm getting on the plane.' And then once he
said he was getting on the plane, basically everyone said, 'Well, Tom's on the plane, we're on the
plane.' And so everyone flew [to Berlin to begin the film]. It was like this giant leap of faith. From
all over the globe."[31]
Some German journalists called it "the first attempt at a German blockbuster".[33]
Principal photography
Tykwer and the Wachowskis filmed parallel to each other using separate camera crews.[34]
Although all three shot scenes together when permitted by the schedule, the Wachowskis mostly
directed the 19th-century story and the two set in the future, while Tykwer directed the stories set
in the 1930s, the 1970s, and 2012.[35] Tykwer said that the three directors planned every segment
of the film together in pre-production, and continued to work closely together through post-
production.[36] Warner Bros. Pictures representatives agreed to the film's 172-minute running
time, after previously stating that it should not exceed 150 minutes.[37]
Filming began at Studio Babelsberg in Potsdam-Babelsberg, Germany, on 16 September 2011, the

base camp for the production.[38] Other German locations include the city of Düsseldorf and the
Saxon Switzerland landscape,[39] furthermore sets [40] in and near Edinburgh and Glasgow,
Scotland,[41] and the Mediterranean island of Majorca, Spain.[23] Glasgow doubled for both San
Francisco and London.[38] Scenes filmed in Scotland feature the new Clackmannanshire Bridge[42]
near Alloa. The "Big Island" and "Pacific Islands" stories were shot on Majorca, mostly in the
World Heritage site of the Serra de Tramuntana mountains. Scenes were shot at Cala Tuent and
near Formentor, amongst others.[40] The opening scene, when Adam Ewing meets Dr. Henry
Goose, was filmed at Sa Calobra beach. Port de Sóller provided the setting for the scene when the
19th-century ship is mooring.[43]
The film was meant to be shot in chronological order; however, Berry broke her foot two days
before she was supposed to start filming. Instead of replacing her, the Wachowskis and Tykwer
heavily changed the initial filming schedule; Berry stated that "it involved travelling back and forth
to Majorca and then Germany then we had to go back to Majorca when my foot got a little bit
better and we were able to shoot some of that stuff on the mountainside when I could climb a little
bit better. It was all over the place."[44] According to her, "Tom [Hanks] would play nurse to me.
He really took care of me. He would bring me coffee and soup and just stay with me during breaks
in shooting because it was difficult for me to move around, especially at the beginning ... I basically
had to be helped back to my chair after every take, but you learn to adapt to the situation. But with
Tom at my side, I was really able to go beyond my own expectations of what I was capable of as an
actress."[44]
Music
The soundtrack was composed by director Tom Tykwer and his longtime collaborators, Reinhold
Heil and Johnny Klimek. The trio worked together for years as Pale 3, composing music for several
films directed by Tykwer, most notably Run Lola Run, The Princess and the Warrior, Perfume:
The Story of a Murderer, and The International, and contributing music to the Wachowskis' The
Matrix Revolutions. The music was recorded in Leipzig, Germany with the MDR Radio Symphony
Orchestra and the Leipzig Radio Chorus.[45] The music was orchestrated by Gene Pritsker and the
closing credits contain the 6th movement of Pritsker's Cloud Atlas Symphony.
The film contains approximately two hours of original music. WaterTower Music released the
soundtrack album via digital download on 23 October 2012 and CD on 6 November 2012.
Reception
The Cloud Atlas soundtrack received critical acclaim. Film Music Magazine critic Daniel
Schweiger described the soundtrack as "a singular piece of multi-themed astonishment ... Yet
instead of defining one sound for every era, Klimek, Heil and Tykwer seamlessly merge their
motifs across the ages to give Cloud Atlas its rhythms, blending orchestra, pulsating electronics,
choruses and a soaring salute to John Adams in an astonishing, captivating score that eventually
becomes all things for all personages".[46]
Daniel Schweiger selected the score as one of the best soundtracks of 2012, writing that "Cloud
Atlas is an immense sum total of not only the human experience, but of mankind's capacity for
musical self-realization itself, all as embodied in a theme for the ages."[47]
The film's soundtrack was nominated for the 2012 Golden Globe Award for Best Original Score,
and for several awards by the International Film Music Critics Association, including Score of the
Year.
Release
The film premiered at the 2012 Toronto International Film Festival, where it received a 10-minute
standing ovation.[9][48][49]
It was released on 26 October 2012 in the United States.[50][51] Warner Bros. Pictures distributed
it in the United States, Canada and the United Kingdom, and Focus Features International
handled sales for other territories.[52] According to the Wachowskis, Summit Entertainment, who
previously worked with Tykwer on Perfume: The Story of a Murderer, was originally going to
distribute it internationally, but ultimately rejected it.[53] It was released in cinemas in China on 31
January 2013 with 39 minutes of cuts, including removal of nudity, a sexual scene, and numerous
conversations.[54]
Marketing
A six-minute trailer, accompanied by a short introduction by the three directors describing the
ideas behind the creation of the film, was released on 26 July 2012.[55] A shorter official trailer was
released on 7 September 2012.[56] The six-minute trailer includes three pieces of music. The
opening piano music is the main theme of the soundtrack (Prelude: The Atlas March/The Cloud
Atlas Sextet) by composing trio Tom Tykwer, Johnny Klimek, and Reinhold Heil, followed by an
instrumental version of the song "Sonera" from Thomas J. Bergersen's album Illusions. The song
in the last part is "Outro" from M83's album Hurry Up, We're Dreaming.[57]
Home media
The film was released on home media (Blu-ray, DVD and UV Digital Copy) on May 14, 2013.[58]
Reception
Critical response
The film has had polarized reactions from both critics and audiences, who debated its length and
editing of the interwoven stories, but praised other aspects such as its cinematography, score,
visual style, ensemble cast, and ambition. It received a lengthy standing ovation at the 37th
Toronto International Film Festival, where it premiered on 9 September 2012.[59]
According to review aggregator website Rotten Tomatoes, 66% of 293 critics gave the film a
positive review, with an average rating of 6.7/10. The site's critics' consensus is that "Its sprawling,
ambitious blend of thought-provoking narrative and eye-catching visuals will prove too unwieldy
for some, but the sheer size and scope of Cloud Atlas are all but impossible to ignore."[60] Review
aggregator Metacritic assigned the film a weighted average score of 55 out of 100, based on 45
critics, indicating "mixed or average reviews".[61] According to the website, the film appeared on 14
critics' top 10 lists for 2012.[62] Audiences polled by CinemaScore gave the film an average grade of
"C+" on an A+ to F scale.[63]
Film critic Roger Ebert gave the film four out of four stars and listed the film among his best of the
year: "One of the most ambitious films ever made ... Even as I was watching Cloud Atlas the first
time, I knew I would need to see it again. Now that I've seen it the second time, I know I'd like to
see it a third time ... I think you will want to see this daring and visionary film ... I was never, ever
bored by Cloud Atlas. On my second viewing, I gave up any attempt to work out the logical
connections between the segments, stories and characters".[64] Conversely, Slant Magazine's
Calum Marsh called it a "unique and totally unparalleled disaster" and commented "[its] badness
is fundamental, an essential aspect of the concept and its execution that I suspect is impossible to
remedy or rectify."[65] The Guardian stated "At 172 minutes, Cloud Atlas carries all the marks of a
giant folly, and those unfamiliar with the book will be baffled" and awarded the film two out of five
stars.[3]
Nick Pickerton, who reviewed the film for The Village Voice, said, "There is a great deal of humbug
about art and love in Cloud Atlas, but it is decidedly unlovable, and if you want to learn something
about feeling, you're at the wrong movie."[66] English critic Mark Kermode on his first viewing
called it "an extremely honourable failure, but a failure", but then on a second viewing for the
release of the DVD in the UK stated, "Second time around, I find it to be more engaging – still not
an overall success, but containing several moments of genuine magic, and buoyed up by the
exuberance of high-vaulting ambition."[67][68] Village Voice and Time magazine both named
Cloud Atlas the worst film of 2012.[13]
Variety described it as "an intense three-hour mental workout rewarded with a big emotional
payoff. ... One's attention must be engaged at all times as the mosaic triggers an infinite range of
potentially profound personal responses."[69] James Rocchi of MSN Movies stated, "It is so full of
passion and heart and empathy that it feels completely unlike any other modern film in its range
either measured through scope of budget or sweep of action."[70] The Daily Beast called Cloud
Atlas "one of the year's most important movies".[48] Michael Cieply of The New York Times
commented on the film, "You will have to decide for yourself whether it works. It's that kind of
picture. ... Is this the stuff of Oscars? Who knows? Is it a force to be reckoned with in the coming
months? Absolutely."[71]
Box office
Despite expectations that the film could be a success,[72] the film opened to only $9.6 million from
2,008 theaters, an average of $4,787 per theater, finishing second at the U.S. box office. The debut
was described as "dreadful" by Box Office Mojo.[73] The film ultimately grossed $27.1 million in
the U.S. and $103.4 million internationally for a total of $130.5 million.[74]
Reaction from the crew
Directors
On 25 October 2012, after the premiere at Toronto (and despite the standing ovation it received
there), Lilly Wachowski[a] stated as "soon as [critics] encounter a piece of art they don't fully
understand the first time going through it, they think it's the fault of the movie or the work of art.
They think, 'It's a mess ... This doesn't make any sense.' And they reject it, just out of an almost
knee-jerk response to some ambiguity or some gulf between what they expect they should be able
to understand, and what they understand."[31][75]
In the same interview, Lana Wachowski stated people "will try to will Cloud Atlas to be rejected.
They will call it messy, or complicated, or undecided whether it's trying to say something New
Agey-profound or not. And we're wrestling with the same things that Dickens and Hugo and David
Mitchell and Herman Melville were wrestling with. We're wrestling with those same ideas, and
we're just trying to do it in a more exciting context than conventionally you are allowed to. ... We
don't want to say, 'We are making this to mean this.' What we find is that the most interesting art
is open to a spectrum of interpretation."[31][75]
Cast
Tom Hanks has come to praise Cloud Atlas heavily in the years that followed its release.[76] In
2013, he stated "I've seen it three times now and discovered, I swear to God, different, profound
things with each viewing."[77] In a 2017 interview, he called it "a movie that altered my entire
consciousness," stating, "it's the only movie I've been in that I've seen more than twice."[24][78]
Halle Berry stated in an interview, "It would be impossible to explain what I really feel or think
about the film. It exists on so many different levels. ... I love the totality of all the
characters."[44][25] She talked about playing characters belonging to other ethnicities, and playing
a male: "This is so poignant for an actor and someone like me, to be able to shed my skin ... you
know, to do something that I would have never been able to do. If it were not for this kind of
project, I still wouldn't have done that."[25]
In a 2017 interview, Jim Broadbent called the film "great to do" and "fantastic".[79] In another
interview, he expressed disappointment over the commercial failure of the film, stating, "It was an
independent film and needed a lot of money behind it to get it out there. Warner Bros. had the
distribution rights but it wasn't one of their own, so I think it might have been [marketed] harder if
it was."[80]
Hugh Grant stated in an October 2014 interview, "I thought [Cloud Atlas] was amazing. [The
Wachowskis] are the bravest film-makers in the world, and I think it's an amazing film ... it's
frustrating to me. Every time I've done something outside the genre of light comedy, the film fails
to find an audience at the box office. And, sadly, Cloud Atlas never really found the audience it
deserved."[81] He later stated in 2016 "the whole thing was fascinating. You know, when you work
with proper people who love cinema, [the Wachowskis are] a special breed, they're not the same as
people who just make movies and we happen to use cameras. [They are] people who really love
cinema."[24]
David Mitchell Adaptation is a form of translation, and all

acts of translation have to deal with
Before hearing about the Wachowskis and untranslatable spots. ... [If] you are the one
Tykwer's project, David Mitchell believed it with knowledge of the "into" language, do
was impossible to adapt his book into a film: what works. When asked whether I mind the
"My only thought was 'What a shame this changes made during the adaptation of Cloud
could never be a film. It has a Russian doll Atlas, my response is similar: The filmmakers
structure. God knows how the book gets away speak fluent film language, and they've done
with it but it does, but you can't ask a viewer what works.
of a film to begin a film six times, the sixth
time being an hour and a half in. They'd all
walk out.' "[83] —David Mitchell in The Wall Street
Journal[82]
In October 2013, Mitchell called the film
"magnificent", having been very impressed by
the screenplay. He was very satisfied by the
casting, especially by Hanks, Berry and Broadbent, and stated he could not even remember now
how he was originally portraying the characters in his mind before the movie.[84] He also
supported the changes from the novel, impressed by how the Wachowskis and Tykwer successfully
disassembled the structure of the book for the needs of the movie.[82][84]
Controversy
The advocacy group Media Action Network for Asian Americans (MANAA) and several
commentators online criticized the film's use of yellowface to allow non-Asian actors to portray
Asian characters in the neo-Seoul sequences.[85][86][87][88][89][90] MANAA President Guy Aoki
also called the lack of blackface being used to portray black characters a double standard.[91] The
directors responded that the same multi-racial actors portrayed multiple roles of various
nationalities and races (not just Asian) across a 500-year story arc, showing "the continuity of
souls" critical to the story.[85] The portrayal of Moriori character Autua by a Black British man was
subject to similar scrutiny, and was seen as offensive and confusing for audiences.[92][93][94]
Accolades
The film was pre-nominated for the Academy Award for Best Visual Effects, but was not
nominated in any category.[95]
List of awards and nominations

Organization Award category Nominee(s) Result
Best Editing Alexander Berner
Alliance of Women
Film Journalists Movie You Wanted to Love But Just
Cloud Atlas
Couldn't
Nominated
Art Directors Guild
Best Production Design in a Fantasy Film Hugh Bateup and Uli Hanisch
Awards[96]
Best Film
Austin Film Critics Cloud Atlas
Association Top Ten Films
Awards[11] Tom Tykwer, Johnny Klimek,
Best Score
and Reinhold Heil Won
Bavarian Film
Best Production Stefan Arndt
Awards
Black Reel Awards Best Actress Halle Berry Nominated
Boston Online Film
Critics Association Ten Best Films of the Year Cloud Atlas Won
Awards[12]
Central Ohio Film Tom Tykwer, Johnny Klimek
Best Score
Critics Association and Reinhold Heil
Chicago Film Critics
Best Film Editing Alexander Berner
Association
Best Film - International Competition
Lana Wachowski, Tom Tykwer,
Best Screenplay - International and Lilly Wachowski[a]
Competition
Best Supporting Actor - International Jim Sturgess

CinEuphoria Competition Ben Whishaw
Awards Nominated
Best Supporting Actress - International Doona Bae
Competition Halle Berry
Best Original Music - International Tom Tykwer, Johnny Klimek,
Competition and Reinhold Heil
Costume Designers Kym Barrett and Pierre-Yves
Excellence in Fantasy Film
Guild Awards Gayraud
Czech Lion Awards Best Foreign Language Film Cloud Atlas
Kym Barrett and Pierre-Yves
Best Costume Design
Gayraud
Critics' Choice
Awards[97] Best Makeup Won
Cloud Atlas
Best Visual Effects
German Film Grant Hill, Stefan Arndt, Lana
Awards[98][99] Best Fiction Film Wachowski, Tom Tykwer, and
Nominated
Lilly Wachowski[a]
Best Director
and Lilly Wachowski[a]
Won
Best Cinematography Frank Griebe and John Toll
Tom Tykwer, Johnny Klimek,
Best Film Music Nominated
and Reinhold Heil
Best Costume Design Kym Barrett and Pierre-Yves Won

Gayraud
Heike Merker, Daniel Parker,
Best Makeup
and Jeremy Woodhead
Best Production Design Hugh Bateup and Uli Hanisch
Markus Stemler, Lars Ginzel,
Frank Kruse, Matthias Lempert,
Best Sound
Roland Winke and Ivan
Sharrock
Audience Award for German Film of the
Year
Cloud Atlas Nominated
GLAAD Media
Outstanding Film - Wide Release
Awards
Golden Globe Tom Tykwer, Johnny Klimek
Best Original Score
Awards[14] and Reinhold Heil
Best Film Cloud Atlas

Houston Film Critics Tom Tykwer, Johnny Klimek
Best Original Score Won
Society Awards[100] and Reinhold Heil
Technical Achievement Cloud Atlas
Film Score of the Year
Tom Tykwer, Johnny Klimek,
Best Original Score for a Fantasy/Science and Reinhold Heil
International Film Fiction/Horror Film
Music Critics
Association Awards Tom Tykwer, Johnny Klimek,
and Reinhold Heil for "The Nominated
Film Music Composition of the Year
Cloud Atlas Sextet for
Orchestra"
NAACP Image
Outstanding Actress in a Motion Picture Halle Berry
Awards
Online Film Critics Best Adapted Screenplay
and Lilly Wachowski[a]
Society Awards
Best Editing Alexander Berner Won
Phoenix Film Critics Best Production Design Hugh Bateup and Uli Hanisch
Nominated
Society Awards[101] Best Visual Effects Cloud Atlas
San Diego Film
Critics Society Best Production Design Hugh Bateup and Uli Hanisch Won
Awards
Kym Barrett and Pierre-Yves
Best Costume Design
Satellite Awards[102] Gayraud
Nominated
Dan Glass, Geoffrey Hancock,
Best Visual Effects
and Stephane Ceretti
Best Science Fiction Film Cloud Atlas
Best Editing Alexander Berner Won
Saturn Best Production Design Hugh Bateup and Uli Hanisch

Awards[103][104] Kym Barrett and Pierre-Yves Nominated
Best Costume
Gayraud
Heike Merker, Daniel Parker,
Best Make-up Won
and Jeremy Woodhead
St. Louis Gateway Best Cinematography Frank Griebe and John Toll Nominated
Film Critics Best Visual Effects Cloud Atlas

Association
Tom Tykwer, Johnny Klimek
Best Music Score/Soundtrack
and Reinhold Heil
Washington D. C. Uli Hanisch and Hugh Bateup

Area Film Critics (production designers), Peter
Best Art Direction Won
Walpole and Rebecca Alleway
Association[105]
(set decorators)
Young Artist Best Performance in a Feature Film -
Raevan Lee Hanan Nominated
Award[106] Supporting Young Actress Ten and Under
See also
Whitewashing in film
Notes
a. Credited as Andy Wachowski.
b. Co-distributed with X-Verleih in Germany.[1]
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External links
Official website (https://www.warnerbros.com/cloud-atlas)
Cloud Atlas (https://www.imdb.com/title/tt1371111/) at IMDb
Cloud Atlas (https://www.boxofficemojo.com/movies/?id=cloudatlas.htm) at Box Office Mojo
Cloud Atlas (https://www.rottentomatoes.com/m/cloud_atlas_2012) at Rotten Tomatoes
Cloud Atlas (https://www.metacritic.com/movie/cloud-atlas) at Metacritic
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This page was last edited on 10 November 2022, at 17:36 (UTC).
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Cloud Atlas (Film) - Wikipedia

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Cloud Atlas (Film) - Wikipedia

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The film was produced by Grant Hill and Stefan Arndt, in

It premiered on 8 September 2012 at the 37th Toronto

Main cast Produced by Grant Hill

Production Stefan Arndt

Box office Doona Bae

Cast James D'Arcy

Some German journalists called it "the first attempt at a German blockbuster".[33]

Filming began at Studio Babelsberg in Potsdam-Babelsberg, Germany, on 16 September 2011, the

Reaction from the crew

David Mitchell Adaptation is a form of translation, and all

List of awards and nominations

Best Supporting Actor - International Jim Sturgess

Best Costume Design Kym Barrett and Pierre-Yves Won

Best Film Cloud Atlas

Saturn Best Production Design Hugh Bateup and Uli Hanisch

Film Critics Best Visual Effects Cloud Atlas

Washington D. C. Uli Hanisch and Hugh Bateup

32. Nepales, Ruben V. (8 November 2012). "The Wachowskis interview" (http://entertainment.inqui

47. Schweiger, Daniel. "The Best Scores of 2012" (http://www.filmmusicmag.com/?p=10439). Film

66. "Cloud Atlas Review" (http://www.villagevoice.com/2012-10-24/film/cloud-atlas-film-review/).

84. "5 questions to David Mitchell" (http://www.allocine.fr/article/fichearticle_gen_carticle=1862223

Retrieved from "https://en.wikipedia.org/w/index.php?title=Cloud_Atlas_(film)&oldid=1121131246"

This page was last edited on 10 November 2022, at 17:36 (UTC).

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