"We now know that our universe is stranger, far more alive, than we had ever imagined. The crew of Europa One changed the fundamental context in which all of humanity understands itself. I don't know what greater measure of success they could have achieved."

"Michael Nyqvist - Andrei Blok"

"Compared to the breadth of knowledge yet to be known... what does your life actually matter?"

"As the ship passed the moon, it had already gone farther than any human being had ever gone before. Think about that. Across all of human history, that moment was the farthest anyone had ever gone. But they still had millions upon millions of miles to go. Our craft was heading for a moon of Jupiter known as Europa."

"Karolina Wydra - Katya Petrovna"

"Jack McGee — Hank Bruntley"

"Bobby Porter — Nath the Treklin"

"Larry Nicholas — Tenris De-Thar the Trelkin"

"Rusty Hanson — Trelkin"

"Lauren Eckstrom — Michelle Eberhardt"

"Terry Castillo — Trelkin"

"Danny Masterson — Kevin"

"Joey Simmrin — Manfred "Turbo" Bruntley"

"Alex Daniels — Cyborsuit"

"Joseph Mazzello — Spencer Griffith"

"Brian Simpson — the Broodwarrior"

"In Memory of Soraya Amin"

"Unless you're a boy between the ages of about 8 and 13, you're likely to find little of interest in this picture."

"Richard Gilliland — Roland Griffith"

""Star Kid, written and directed by Manny Coto, has a sweet heart and a lot of sly wit, and the symbiosis between boy and cyborg is handled cleverly. For kids of a certain age, it pushes the right buttons."

"Janet Holloway: I used to be scared to death of spiders. [places tarantula in Spencer's hands] Hold still now. Yeah, I almost fainted once when a little garden spider crawled into my bedroom. Yeah, I told my dad about it; you know what he did? He bought me a tarantula just like Leo G there. He knew I'd have to change my tarantula's water, and that meant sticking my hand in the terrarium. If I didn't give him water, the tarantula would die. My dad figured I couldn't let that happen, even to a spider. He was right: I stuck my hand in that terrarium—oh, that first time. Oh, man, I was so scared. But you know what? It got easier. Pretty soon, I wasn't even scared anymore. In fact, I go so into spiders, I started studying them, and I found science, and I became the world's greatest science teacher. … Point is, if you run away from the things you're scared of, it doesn't get any better. The fear doesn't go away; in fact, it just gets worse. Trust me."

"Nadia: [selling Cyborsuit shirts to fellow kids] Look, we gotta make a profit here. You're just gonna have to tell your mom to increase your allowance."

"A little survival tip: stay out of my way!"

"Narrator: [from the trailer] …comes the story of two friends who must join forces to save two worlds…if they don't destroy this one first."

"[about the broodwarrior] He's humongous. I bet he doesn't even [[work outvoted is on a new"

"You know what they say, if the cyborsuit fits, go kick some alien butt!"

"Corinne Bohrer — Janet Holloway"

"I can't babysit the little scab juice tonight!"

"I am a prototype."

"I am sorry, Earth biotic Spencer."

"[to Turbo] There is no escape, Earthling."

"Ignorance of the law is no excuse."

"Hello, Crystal Bluff. There's a new kid in town."

"[after being attacked by a broodwarrior] Why does everyone want to beat me up‽"

"You are USDA choice dead meat."

"It's head-crushing time."

"Check it out: I'm Shaquille O'Neal."

"Don't take my brain! I can get you lots of brains!"

"Ashlee Levitch — Stacey Griffith"

"I think really space exploration, to me, has always represented the most hopeful and optimistic endeavor that mankind has ever really engaged with. I was certainly struck when they flew the space shuttle in, the 747 when it came to the science center here in LA, were up in Griffith Park with hundreds of people waving flags and watching this thing fly down and it was a very moving moment actually, and a little melancholy at the same time, because what we felt was that sense of that great endeavor, that great collective endeavor, the hope and optimism of that is something it feels like we’re in need of again. I feel very strongly that we’re at a point now where we need to start looking out again and exploring our place in the universe more."

"I had the advantage of coming to the project late, being able to look at what these guys had done, and a lot of my contribution was stripping things down, because they put in all these incredible mind-blowing ideas but I felt that it was more than I could absorb as an audience member. So I spent a lot of time in my work on the script kind of choosing what I thought were the most emotive, the most tactile of these ideas, things I could really grab a hold of. Then I found working with Kip to be very liberating because it wasn’t so much restraint of “well, science says you can’t do this”, it was more an exploration of ideas with him of “OK, what’s plausible? We could go here, we could go there.” I found it very exciting to work with him on that."

"The movies you grow up with, the culture you absorb through the decades, become part of your expectations while watching a film. So you can't make any film in a vacuum. We're making a science-fiction film... You can't pretend 2001 doesn't exist when you're making Interstellar. … I grew up in an era that was the golden age of blockbusters, with films like Close Encounters and the way that addressed the idea of this moment when humans would meet aliens from a family perspective and a very relatable human perspective. I liked the idea of trying to give today’s audiences some sense of that form of storyline."

"I don’t like to talk about messages so much with films simply because it’s a little more didactic. The reason I’m a filmmaker is to tell stories and so you hope that they will have resonance for people and for the kind of things you’re talking about, but what I always loved about Jonah’s original draft, and we always retained this, was the idea of blight, the idea of there being an agricultural crisis, which has happened historically if you look at the potato famine and so forth. We combined this with ideas taken very much from Ken Burns documentary on the Dust Bowl and spoke to Ken at great length and availed ourselves of his resources, because what struck me about the dust bowl is it was man-made environmental crisis, but one where the imagery – the effect of it was so outlandish we actually had to tone it down for what we put in the film. But the real point is they’re non-specific, that we’re saying that in our story man-kind is being gently nudged off the planet by the earth itself and the reason is non-specific, because we don’t want to be too didactic or too political about it. That’s not really the point. For me it goes back to something Emma said earlier, which was that my excitement about the project was addressing a possibly extremely negative idea, in terms of the planet having had enough of us and suggesting that we go somewhere else, but that being an opportunity, that being a great exciting adventure to be on was something I found very winning about it."

"The Associated Press Jake Coyle said that at its heart, "Interstellar" is "a father-daughter tale grandly spun across a cosmic tapestry. He continued: "There is turbulence along the way. 'Interstellar' is overly explanatory about its physics, its dialogue can be clunky and you may want to send composer Hans Zimmer's relentless organ into deep space. But if you take these for blips rather than black holes, the majesty of 'Interstellar' is something to behold.""

"For the Washington Posts Ann Hornaday, the film didn't quite come together. She said that "there are moments of genuine awe and majesty in 'Interstellar,' but there are just as many passages that play as if Nolan is less interested in value for the viewers than proving a point, whether about the arcana of quantum physics, his technical prowess or the enduring power of love." McConaughey makes for "a compelling, even believable hero," she continued, but "too often, the father-daughter dynamics that propel 'Interstellar' ... feel shrewdly calculated, the emotionalism ginned up to a hysterically maudlin pitch." Ultimately, the film "tries so hard to be so many things that it winds up shrinking into itself, much like one of the collapsed stars [McConaughey's character] hurtles past on his way to new worlds.""

"It’s very straightforward: selfishness and cowardice. It’s very human, and I love what Matt did with that; he found the reality of it. It’s the kind of sequence where you loathe the guy because he’s doing something that you feel you might wind up doing in a similar situation. It’s very logical, but the rationalization of it is extraordinary — the way he was able to rationalize his own cowardice into a positive thing. Loneliness and desperation will make us do crazy things."

"And the Boston Globes Ty Burr wrote, "there's only so much you can pile on the pie plate before it starts spilling rhubarb on the floor. The parts of 'Interstellar' that don't work ... struggle against the many parts that do. Nolan is one of the few working filmmakers with the skill set to take us far beyond our normal moviegoing orbit, but his vision keeps coming up against the curves of the known pop universe. He's the showman who fancies himself a philosopher.""

"Leah Cairns - Lois Cooper, Tom's wife"