Moonfall

In Moonfall, a mysterious force knocks the Moon from its orbit and hurls it on a collision course with Earth - and with life as we know it. With only weeks before impact and the world on the brink of annihilation, NASA executive and former astronaut Jocinda 'Jo' Fowler (Academy Award ® winner Halle Berry, Best Actress, Monster's Ball, 2001) has an idea that can save our planet. But only a man from her past, Brian Harper (Midway's Patrick Wilson) and lovable conspiracy theorist K.C. Houseman (Game of Thrones' John Bradley) believes her. These unlikely heroes mount an impossible final mission into space, leaving behind, perhaps forever, their loved ones - and discover an incredible secret about Earth's only "natural" satellite.

In the early 1960s, U.S. president John F. Kennedy implored Americans to go to the Moon, not because it was easy, but because it was hard. His hopes and dreams for this impossible task became reality in 1969, with the Apollo 11 lunar mission - a true "giant leap for mankind." But, posits Moonfall, that world-changing event hid a secret that would, in 2022, see the Moon come to us.

Humanity faces the true and absolute dark side of the Moon, as entire cities are evacuated, moving to higher ground offers the only chance of survival, and civil unrest is pervasive and destructive in once unimaginable ways. It's Earth's sixth extinction-level event.

Moonfall director Roland Emmerich is a master of cinema spectacle, encompassing science fiction blockbusters, like Independence Day, 2012 and The Day After Tomorrow, as well as historical epics, including The Patriot and Midway. In addition to scale and scope, the acclaimed filmmaker's work always presents a cornucopia of fun, relatable themes, fully realised characters, and powerful emotions about the power of hope.

For Moonfall, a theory that described the Moon as something vastly different from what we learned in high school science class inspired Emmerich. "There are some who believe that the Moon is not a natural object," he remembers. "I thought that was an intriguing idea for a movie. What happens if this object falls down to Earth? Of course, we would have to figure out how to stop it, but I was equally fascinated by the challenge of creating characters who embark on a mission to the Moon to save our planet, as well as the families who stay behind and struggle to survive the cataclysms that come with the Moon's collision course with Earth."

Emmerich, along with frequent collaborator Harald Kloser and screenwriter Spenser Cohen, crafted a screenplay combining gripping science fiction elements, ever-destructive disaster scenarios, and fascinating and relatable characters.

Kloser, who also serves as a producer and composed the film's score, notes how Moonfall fits into Emmerich's body of work. "We want to make people laugh and cry with our movies," he explains. "It's really cool for an audience to have that first little laugh early on, so they know it's okay to have fun, too. That makes the characters' journeys more exciting. It's a genre that Roland invented with Independence Day.

"For this film," Kloser continues, "we came up with the idea of the Moon changing orbit and it looks like it's going to crash down on us, which is a completely overwhelming situation. But the human spirit won't give up so quickly. There are always people who exceed their potential, and we like to tell stories about ordinary people in absolutely extraordinary situations."

Much of Emmerich's work is also about family relationships, which are very much at the heart of Moonfall. "Family dynamics are rarely easy, and in our movie pretty much every family is broken," says the director. "But this cosmic event brings them together and leads them to understand that family is the most important thing in their lives."

Halle Berry takes on the pivotal role of NASA deputy director Jocinda Fowler. The Oscar® winner describes the character as being "wicked smart. She's a woman who's surviving in a man's world. You won't find a woman in that position at NASA who isn't extremely intelligent, strong, and has a real sense of self about her. Fowler is very willful; she's had to survive in this world and hold her own. I love women and characters like this because she's strong in her work but she's also a mother."

Berry makes note that the role was conceived as a male, "So credit to Roland for realising that this could be a female character and still have the same impact."

A central figure in Fowler's life is astronaut Brian Harper, portrayed by Patrick Wilson, who was once a close friend but from whom she's now estranged. Fowler and Harper's relationship has its own texture and history, which are integral to the story. "Fowler was Brian's 'work wife,' and he was her 'work husband'; they were that close," says Berry. "Then... something... happens, which leads to misunderstanding and confusion. He takes the fall and that is the beginning of the unraveling of their relationship. We visit them again and they have a chance to come to terms with what happened. They realise that neither was right or wrong; it was just a very unfortunate situation that was hard to explain, and they went their separate ways because of it."

"Brian's in a pretty terrible place. He's jobless and unreliable," explains Wilson. "He's a former astronaut who struggles with what he once witnessed during a mission in space. He's more of a rogue scientist than a typical, by-the-book guy, which is how he differs from Fowler. She still has a government job, which he resents, and he carries guilt for what happened on this failed mission years earlier, which got him kicked out of NASA. His marriage and relationship with his son are broken. Harper has a lot of personal problems and demons that he must find a way to overcome."

Wilson embraced the opportunity to reunite with Emmerich, with whom he had collaborated on Midway. Moreover, he says Moonfall "is a great concept. I love sci-fi and don't get a chance to do it a lot, so that was a big bonus."

Wilson also enjoyed playing opposite John Bradley, who portrays KC Houseman, a conspiracy-addled and discredited scientist, who nonetheless plays a key role in the desperate mission to save the Earth. As Wilson explains, "The reality is that Brian is the only one who has seen what's up there and understands the nature of this threat. Fowler initially doesn't see it. Houseman is one of the few people who believes Harper's account of the failed mission. He has his own conspiracy theories, which aren't that far from the truth, as it turns out. So he and Brian find common ground in being outcasts. Their relationship is so fun on the page and it's even more fun to act. John and I had such an exciting time with their dynamic."

Brian's redemption comes when Fowler finally believes him about the grave danger the Moon poses to Earth and teams up with Brian and KC to save the world. "Fowler makes NASA realise their sole option is to send the only team that's ever been up there that can maybe solve this problem, and that includes Harper," explains Wilson. "That gives him a new lease on life and a reason to fight for who he loves, which is his son."

The third member of the triumvirate, Houseman, is "one of the most fun characters I've ever created," claims John Bradley. That's saying a lot, given that Bradley played the role of the lovable Samwell Tarly in the landmark HBO series Game of Thrones.

But that twinkle hides a complexity. "Houseman doesn't have any friends, so he's emotionally isolated," explains Bradley. "He's also intellectually isolated because he collaborates with people who don't have any time for the things that he believes in. He's always trying to communicate his passions, interests, and theories, but nobody's interested. We find him completely alone in the world, searching for a point of contact, a kindred spirit, an ear that wants to listen to what he has to say."

"He establishes a relationship with Brian," continues Bradley. "They become a team because they have this mutual understanding of what it feels like to not be listened to; that's when we see him really blossom. All KC needed was the right person to listen to what he has to say and then he really comes into his own. All of his youthfulness, his skill set and abilities, the things that he's best at in the world, were lying dormant waiting for that one spark that is going to allow him to make a difference. That catalyst is meeting Brian."

"We make a ragtag group," explains Berry about the trio that ventures into space to save both Earth and the Moon. "We're all kind of antiheroes. I don't think any one of us wants to be there, yet we all must be there. Fowler is there because she's an expert in navigation and must be the one to guide the mission and make sure they get where they're going, while Harper is the only one who can fly the shuttle. KC represents the everyday average guy on the flight of his life. He's not an astronaut, and has nothing to do with NASA, but he has this brilliant mind that's produced the idea that the Moon is [an enormous, self-supporting artificial construct, known as] a megastructure. Fowler and Harper realise they need him because, if in fact it is a megastructure, then they're going to want a megastructurist with them when we get there. It's a fun group. KC and John Bradley bring a lot of humor to the movie."

Charlie Plummer plays Harper's son, Sonny, whose relationship with his dad is troubled. As Wilson notes, "No matter why a dad is absent from his kid's life, it doesn't matter to the child. Harper wasn't there when Sonny needed him. Harper is constantly letting him down because he's battling his own demons, and failing. Sonny's not the most strait-laced kid, either; a little of his dad has rubbed off on him and that's why they butt heads. Harper can only hope that Sonny will be a better man than him. Throughout the film you see Sonny make those strides. They both have a mission in this film."

"Sonny has this whole resentment against his father and mother, but he also loves them very much," Plummer says. "It's this love/hate thing teenagers sometimes have." Sonny's central relationship is with Michelle (Kelly Yu), a student who lives with Fowler and her son, Jimmy. Michelle and Sonny meet at Vandenberg Air Force Base, where she watches Fowler blast off into space. "That's when Michelle realises that Sonny is going to drive her and Jimmy to a safer place," Yu points out. "We talk about ourselves on the way and go through really challenging stuff and become emotionally involved."

Harper's ex-wife is Brenda Lopez (Carolina Bartczak), and Sonny is their child. Their marriage didn't work out because, says Bartczak, "Harper was overcome by his failures at NASA. She was forced to leave him to protect young Sonny, as Harper succumbed to depression and alcoholism. She eventually married Tom Lopez, played by Michael Peña. Sonny never really forgave her for leaving Harper. She has this teenage son, who is in anguish, and her new family with Tom, and she's struggling to balance the two families."

For Peña, the role of a loving family head (and successful car dealership/franchise owner), was a major draw. "Early on, I decided I'm going to play Tom as someone who constantly keeps loving - one of those old school personalities that doesn't care if he comes off corny. I thought that was a beautiful and poetic way to go about it, really gutsy and against the status quo.

"He also carries this baggage," Peña continues, "feeling as if he's never good enough and worries about living up to her ex-husband, the dashingly handsome astronaut, Brian Harper."

The cast is rounded out by esteemed actor Donald Sutherland in the role of Holdenfield; Eme Ikwuakor, as General Doug Davidson, Fowler's ex-husband; Frank Schorpion, as General Jenkins; Maxim Roy, as Captain Gabriella Auclair; and Stephen Bogaert as NASA Director Albert Hutchings. Ava Weiss and Hazel Nugent play Sonny's stepsisters and Tom Lopez's daughters. Zayn Maloney plays Fowler's son, Jimmy.

Once again, Emmerich pushes the boundaries of the science fiction/disaster genre - this time by exploring his vision of the Moon's unique megastructure physics. The scripting and filming involved extended discussions between the screenwriters, science advisors, director of photography Robby Baumgartner and visual effects supervisor Peter G. Travers (who has a background in engineering).

The process of writing the script became intertwined with keeping the physics of the falling Moon as believable as possible, which ended up shaping the story itself. "We had the initial talks with scientists about what would happen," says Emmerich. "We talked to someone who worked at the Jet Propulsion Laboratory in Pasadena. What he told us was quite interesting - that if the Moon goes out of orbit it would transition from a spherical to elliptical orbits, which get smaller and smaller until it collides. That was the first thing we were really excited about."

"Then we learned that it doesn't matter how close the Moon is to Earth, the gravitational pull will always be the same," he continues, outlining an inconvenient fact that required a creative solution. "However, the film's Moon isn't a natural moon, so it wants to go back into its old orbit; it's revving up the engine. We played around a bit with how much we accelerated that."

"There were certain assumptions that we had to make, such as the Moon is a megastructure so it's not a solid piece of rock," explains Travers. "It has structure inside that has some density. It's been orbiting our planet at a certain speed and distance. We had to figure out how it could, for billions of years, be spinning around the Earth, until an event suddenly changes that. The only way you could really get the Moon to fall towards the earth is to suddenly inject it with much more mass than it had before, which in turn informed the development of an anomaly. We determined that if an anomaly could inject mass into the Moon, then that's how that anomaly decided to take the Moon and crash it into Earth."

The first step in the extensive VFX process was to set up a physical simulation in Maya - the widely used 3D software for visual effects, with Travers building a mini solar system in the software.

The story unfolds over three weeks, so the filmmakers created a universe where the Moon would fall to Earth within that time frame. "I got my physics Moon set up perfectly in a harmonious orbit, and then I started messing with it," says Travers. "I injected it with mass, then I did the simulation, and then rendered it all out. We had to figure out what could inject the Moon with all that mass, because nothing in the physical universe suddenly adds mass to an object."

"Once we made the assumptions about mass, we could determine its gravitational effect," Travers continues. "Calculating gravity between two planets is extremely complicated; it's called 'the two-body problem' in physics. There's a point near the end of the movie, when the Moon's so close it is exhibiting a strong gravitational force on the people there, and that's why there are all these anti-gravity effects. Roland observed that objects and people would not be pulled straight upwards, because when the Moon is rising, everything would be pulled sideways, and very powerfully so. Roland was like, 'Oh, I can have some fun with that!'"

Despite all the physics calculations and VFX wizardry, ensuring scientific verisimilitude also involved integrating physical sets, props, and special effects. "You always have to build the foreground in some form and build objects," explains Emmerich. "I still believe in practical effects because they're the glue that holds it all together. It helps audiences buy into it."

Cinematographer Baumgartner and Emmerich discussed lighting in the early phases of visual design. "Moonfall is a big action, high energy sci-fi thriller, but it's also character driven," Baumgartner tells us. "Roland and I talked about having the dramatic scenes rooted in reality lit in a naturalistic style. Not what you would expect in a big sci-fi. I prefer not to use unmotivated light like heavy backlight or strong edge light for no reason. Plus we had plenty of opportunities once in space and in the moon for more freewheeling use of light and color. We were also intent on shooting the lower end of the camera in terms of light levels in certain scenes and really pushing the digital media, letting things go dark, which was exciting to me."

"There are two phases to the film, encompassing the terrestrial and non-terrestrial scenes," notes production designer Kirk M. Petruccelli. "The challenge was to have two massively different and specific visions of the storytelling and then fuse them. On Earth, Roland's concept was to keep it very real and heartfelt because each of these characters have something they need to share. Then the event itself had to be captured in such a way that it's not only seen from our view but also from space. It's that big."

The inventive and massive action sequences required coordination between Baumgartner, special effects supervisor Guillaume Murray, Petruccelli and stunt coordinator Patrick Kerton.

"Because of the scope of the action happening in this film, certain scenes had to be shot on 360 blue screen stages because the enormous and cataclysmic disaster unfolding was a ballet of live and CGI action," says Baumgartner. "In one such scene there is a car chase on the snowy streets of Aspen while the moon closes in on the Earth. The big wide shots were always intended to be CGI shots, but we needed to shoot the actors and the car live and integrate them convincingly to VFX shots to come later. So movement, crashing the cars together and all the interactive lighting was best done on a stage. Guillaume the special effects supervisor built hovercraft-like rig for each tire of cars, so they could slide, float, drift and crash into each other with ease and little effort. We utilised two telescoping cranes with stabilised heads that had three axes. With these tools were able to tie in the movement of the cars to the action in a wide CGI shots. We use the 3 axis of camera movement to give the effect of the car either lifting off the ground or crashing down. It was quite effective."

"There was quite a bit of interactive lighting," adds Baumgartner. "That was one of my biggest cinematic challenges going into this film and a very important element in integrating the live action with the CGI elements. We often had a rising Moon that initially starts off warm like a sunrise, because it's so close to Earth's atmosphere, and then needed to transition it to a cool blue moon that rises quickly and gets increasingly intense. We had an elaborate motorised rig made that elevated a very powerful RGB LED light source precisely timed with the action happening in the big CGI wide shots. Besides that, there were several scenes with dozens of meteors crashing through to earth, so we needed to create the light and movement to feel this warm fast-moving light on the actors and the set. My gaffer, Eames Gagnon, my key grip, David Dinel, and I tried various ways of achieving this, but in the end the most effective way was to chase lights rigged the whole length of the stage instead of trying to physically move a light source. Besides that we had explosions, moving headlights, lighting... it was quite a workout"

One of the film's action highlights sees thousands of people scrambling to buy or steal gasoline, food, water, and oxygen tanks. A group of bandits determined to make off with a trunk full of oxygen tanks - just as oxygen is about to be pulled from the Earth - attack them. There are earthquakes and 18-wheelers flying at the characters, big crevices are opening in the earth, water towers are falling, and there's a once-in-a-lifetime snowstorm.

A typical day in the Emmerich-verse.

The Earthbound portion of {b }Moonfall is set in Colorado, which the filmmakers recreated on Stage 3 of Grande Studios in Montreal. "From start to finish, we were looking at six weeks to create about a mile and a half of Colorado landscape," says Petruccelli. "We had a team of set designers using the newest technologies to digitise, replicate and scan real mountain ranges, dissect them, create ribs, exactly reproduce each one of these sections and skin them with the rocks that we created on set.

"Gravity - the pull of the Moon on Earth - is one of our main effects," Petruccelli continues. "If there are plate tectonics on a global scale, you're going to have shifting landmasses and earthquakes, so you're going to have plate work and moving set pieces. All the sets had to withstand high-speed winds, rain and snow."

The big stunt scenes that take place on Earth had lots of moving parts, literally, because of the anti-gravity effect of the approaching Moon.

Bradley was in some big stunt scenes, including one early in the story, when a tidal wave floods the hotel at which he's giving a talk about megastructures. "Patrick Wilson and I swallowed an ungodly amount of disgusting water that day," Bradley says with a laugh.

Recreating Los Angeles in Montreal was an enormous undertaking. Says Petruccelli, "Everything was built: the runway, streets, all of the buildings. What made it authentically Los Angeles were the details. Precise detail went into the street dressing and graphics that we find on all the buildings. The destruction was quite something, because we had to dress the set as it would be and then go in and destroy it ourselves so that things fall where they would naturally fall. It's not about throwing a bunch of destruction all over the place. You start with the real thing, imagine the catastrophic event, then you destroy it, which is fun."

The U.S. space agency, NASA came aboard the project early on, and Emmerich was more than pleased - and a little surprised - by its enthusiasm. "They thought it was an interesting idea that portrays astronauts in a very heroic way," he points out. "They were intrigued by our depiction of space and space travel, and were super cool about letting us use their rockets for the first recon mission. We also use the official NASA logo, which gives the film a certain authenticity, and they were helpful in sharing their high-definition photos of the Moon. NASA has very sophisticated cameras up there."

Working in a real shuttle was invaluable to the actors. "We were pushing buttons that real astronauts have touched and equipment that they actually used to fly," says Berry. "We also had a retired astronaut, Bjarni Tryggvason, with us to give us the rundown, so we weren't just pushing buttons or clicking things randomly. We had a lot of advice and tutelage on when you'd push what and why you do what you do. We tried to keep it as authentic as we could."

As an advisor on the show, Tryggvason helped ensure accuracy. "I consulted on some of the operations of the Space Shuttle that they're using and about the language the characters would use and how they move about in space," he observes.

Since the actors weren't working in zero-gravity, the filmmakers had to find a way to simulate that effect. "We went back to using a lot of the old-style systems," says Kerton. "Guillaume developed a motion travel system where they were able to travel lengthwise, up and down, and rotate using some small gimbals on a system."

"My stunt training for antigravity was five months working on Aquaman," declares Wilson. "I came in with knowledge of what it's like to act like you're floating, which helped, because it can be tough to pull that off."

"Recreating the zero gravity was pretty easy for me," says Berry. "I played an astronaut on a television show for two years, in which I did a zero-g flight, which was amazing. I know what it feels like to float, what weightlessness is, and how the body moves. I really understood fundamentally what that was. Those were fun things for me to revisit."

"Halle and Patrick were used to being in a harness and doing their flights; they were like regular stunt people putting on a harness," explains Kerton. "But John Bradley had never been in any of these situations, so we developed his system more like a parallelogram. We had body casts made for him that he would actually sit in, and we'd use physical movement, where he could float around in the spacecraft."

Berry shares her experiences about the challenges of acting in a void, which the VFX team would later fill with VFX. "In the film's opening attack scene, for example, we're looking at nothing; it's all imagination. These movies are quite different from other movies because we really have to be able to commit to our imagination. Roland can share the premise and give us a basic idea of what will be happening, but we know all too well that the fully rendered scene will be more vivid than we can visualise. But we're forced to use our imagination. It's a really unusual way of working. We have to trust in what's going to happen on the other side because we literally are looking at nothing much but some visuals on a screen that are kind of simulating what we might see with color tone and flashes of light."

Costume designer Mario Davignon likens Emmerich to a painter who's all about colour composition and lighting to help create authenticity, along with spectacle, adventure, and edge-of-your-seat entertainment.

Davignon studied NASA spacesuits and took his cues from reality, "for inspiration and to understand an astronaut's technical needs." He ensured that the suits were, most of all, functional. "After that, you play with your design and color," he notes. "I sat with Roland to figure out the lighting. We chose the colors and dyed them to get exactly the pale blue we wanted. We selected orange as a contrast color."

Getting the details right was paramount. "Audiences want to connect to something, so the emotion becomes more personal for the viewer," Davignon continues. "That's why for the astronauts' costumes I was inspired by something real and then adapted it."

In the end, Emmerich, his actors and department heads, have crafteda sci-fi disaster movie with spectacular visual effects. At the same time, Moonfall is a story about family that reveals the hero inside even seemingly ordinary people.

Moreover, says John Bradley, one of its other leading "characters" is nothing less than the stuff of myth and legend. "One of the great hooks of this movie, which makes it so relatable and universal, is that the Moon is mysterious but also hugely familiar. You sing songs about the Moon when you're three years old; it's always a part of your life and, whether you know the science behind it or not, you're always aware of the Moon."

Wilson says that amid all the spectacle, the story explores compelling themes. "A wonderful thing that films can do, whether they're a tiny independent movie or an epic adventure, is engage in conversation and make you think. A movie can change the way that you look at a certain subject and open your mind, even if it's a big, fun, splashy spectacle. Moonfall does that in a couple unusual ways: it brings up the worry of AI and machines rising against you; there is an increasing fear that is very real. It also discusses climate change without ever mentioning the words 'climate change.' It's not heavy handed, it just plants these little seeds in people's minds, which is important."

Halle Berry notes, "Audiences gravitate towards spectacle like this because they can see themselves in these scenarios. We all have this fascination about the end of the world, what that would look like, and if we'd live through it. The other draw for me was Roland Emmerich -- nobody does these movies better than Roland. It was a great chance to collaborate with a director whose work I've admired and to be part of a story of this magnitude."

For Emmerich, Moonfall is another opportunity to explore a genre at which he is considered a master. And his credo exemplifies what unites all his films: "I always want to give audiences things they haven't seen before."

Apollo 11 Moon Landing: 2 Minutes of Radio Silence - On July 20, 1969, NASA's Apollo 11 with astronauts Neil Armstrong and Buzz Aldrin touched down on the lunar surface. Many conspiracy theorists question whether the Moon landing actually happened/was real in part due to 2 minutes when Apollo 11 went radio-silent.

Background: Shortly after the Lunar Module "Eagle" landed on the Moon, communications were cut short, leading to a 2 minutes gap in radio transmissions. The loss of signal between the astronauts and NASA has been widely speculated, controversially debated and talked about, fueling, as well as leading to numerous conspiracy theories of what might have transpired/occurred during that time.

Artemis Program - Artemis is the name of NASA's program to return astronauts to the lunar surface. During the Artemis program, NASA will land the first woman and first person of colour on the Moon, using innovative technologies to explore more of the lunar surface than ever before. NASA will use their research and findings on and around the Moon to take the next giant leap - sending astronauts to Mars.

Artemis I - Artemis I, formerly Exploration Mission-1, is the first in a series of increasingly complex missions that will enable human exploration to the Moon and Mars. The uncrewed test flight for NASA's Artemis program is expected to launch in 2022. In total, there are 3 Artemis missions scheduled with Artemis II carrying a crew of astronauts around the Moon and Artemis III landing astronauts on the lunar surface.

Dyson Sphere - A Dyson sphere, also known as a Dyson Shell, is a type of megastructure and refers to a structure or mass that completely surrounds a star to make use of its solar energy. KC Houseman (John Bradley) refers to the Dyson Sphere in the film as follows: "Have you ever heard of a Dyson Sphere? Every megastructure has a rigid shell built around a power core. Most likely a captured white dwarf that's being harnessed for energy. Something obviously happened to the one inside our Moon, that's why it's veering off course."

Megastructure - The solid structure or rigid shell of matter built around a star. In Moonfall, the Moon is a megastructure created by our Ancestors.

The Moon Rang Like A Bell - The Hollow Moon hypothesis proposes that Earth's Moon is either wholly hollow or otherwise contains a substantial interior space, however no scientific evidence exists to support the idea. Seismic observations and other data collected since spacecrafts began to orbit or land on the Moon indicate that it has a thin crust, extensive mantle and small, dense core, although overall it is much less dense than planet Earth.

Background: Between 1969 and 1972, Apollo astronauts placed seismometers as part of their missions at their landing sites around the Moon. Those seismometers recorded moonquakes, and the Moon was described as "ringing like a bell" during some of those quakes. The phrase was brought to popular attention, when Apollo 12 deliberately crashed the Ascent Stage of its Lunar Module onto the Moon's surface. NASA reported that the Moon rang like a bell for almost an hour, leading to arguments that it must be hollow like a bell. Lunar seismology experiments since then have shown that the lunar body has shallow moonquakes that act differently from quakes on Earth, due to differences in texture, type and density of the planetary strata, but there is no scientific evidence of any large empty space inside the body. The Apollo 12, 14, 15, and 16 instruments faithfully radioed data back to Earth until they were switched off in 1977.

In Moonfall, Holdenfield (Donald Sutherland) makes the following reference, explaining to Jo Fowler (Halle Berry): "July 20th, 1969-- Apollo 11. One giant leap -- yadayada. The world was watching history being made. Right? Wrong. The world only saw what the powers that be wanted them to see. You learned as 'an historical fact' that Apollo 11 'lost contact' with mission control for two whole minutes. Yes? Not true. They didn't lose contact. Mission Control cut the feed to the world. Our guys were reporting strange lights pulsing out from under the Moon's crust and Control was told to pull the plug, told that the public mustn't know about that. So we signed NDAs and they hid it. In STS 136A. All the Apollo missions after that ran tests that pointed to only one possible conclusion -- The Moon is a hollow object."

SpaceX - An American aerospace manufacturer (building Moon and Mars ships), space transportation services and communications company founded in 2002 by Elon Musk. The company currently has contracts with NASA as well as the U.S. government, and is bringing satellites to orbit while also launching astronauts to the International Space Station (ISS) in their reusable Dragon capsules, which are capable of sending both humans and cargo into space.

Space Shuttle Endeavour - Built to replace Space Shuttle Challenger, Space Shuttle Endeavour is a retired orbiter from NASA's Space Shuttle program and the final operational vehicle manufactured to join the shuttle fleet. Endeavour first launched on May 1992 and successfully completed 25 missions into space. For its final mission, in May 2011, Endeavour delivered spare parts to the International Space Station (ISS). The Endeavour is currently on display at the California Science Center in Los Angeles, CA.

Star - In astrology, a star is an astronomical object consisting of a luminous spheroid of plasma held together by its own gravity. The nearest star to Earth is the Sun.

Academy Award ®-winning actress Halle Berry (Jocinda Fowler) continues to break down barriers acting in a multitude of critically acclaimed, diverse roles and most recently added the title of 'director' to her already impressive filmography. For her brilliant performance in Monster's Ball, she won the Academy Award ® for Best Actress, making her the first Black woman to ever receive that honor.

Berry's performance garnered her numerous other awards including Best Actress awards for SAG, the Berlin Silver Bear, and the National Board of Review. No stranger to accolades, Berry also earned an Emmy®, Golden Globe®, SAG® and NAACP® Image Award for her extraordinary performance in HBO's telefilm, Introducing Dorothy Dandridge, which she also produced. Berry was nominated for a Golden Globe ® for "Best Actress" for her role in Frankie and Alice.

Currently, Berry can be seen in her highly anticipated directorial debut Bruised, in which she also stars. The plot follows a disgraced MMA fighter who must fight a rising MMA star, while journeying to become the mother her child deserves. The film was released on Netflix in November 2021 to great success as it hit #1 in the U.S. on the streaming service during its first week and #2 globally. Fresh off the heels of Bruised, Berry inked a multi-picture partnership with streaming giant Netflix.

Up next, Berry will be seen in Roland Emmerich-helmed sci-fi epic Moonfall, for Lionsgate. Moonfall follows the journey of three unlikely heroes mounting a last-ditch mission into space to save the world from annihilation after a mysterious force knocks the Moon from its orbit. The film is due in theaters February 4, 2022.

Berry most recently completed filming on Netflix's The Mothership, which she will star in and executive produce. The film follows Sara Morse (Berry) following her husband's disappearance. After discovering a strange object underneath their home, Sara and her children embark on a journey to find him. The film is set to release in 2022.

In 2019, Berry starred in Lionsgate's John Wick: Chapter 3 - Parabellum as an underworld assassin named "Sofia" opposite Keanu Reeves and Anjelica Huston. The movie garnered more than $326 million at the worldwide box office. Prior to that, she was seen in 20th Century Fox's Kingsman: The Golden Circle starring alongside Taron Egerton, Channing Tatum, Colin Firth, Julianne Moore, Mark Strong and Jeff Bridges.

In 2017, Berry starred in Deniz Gamze Erguven's English-language directorial debut Kings opposite Daniel Craig. The actress also starred in the Luis-Prieto directed thriller Kidnap for Aviron Pictures. Berry also served as executive producer on the project along with her producing partner Elaine Goldsmith-Thomas for their production banner 606 Films.

Berry also starred in the hit Sony Pictures thriller, The Call. Prior to that, she appeared in the Warner Brother's film Cloud Atlas alongside Tom Hanks, Susan Sarrandon, Hugh Grant, directed by Tom Tykwer and the Wachowski's. The film, which earned Berry a 2013 NAACP Outstanding Actress nomination, follows six stories set in a different time and place that become intricately related to each other.

In 2007, Berry was seen in the feature drama Things We Lost in the Fire opposite Benicio Del Toro, for which she received critical praise for her portrayal of a widow who befriends her husband's drug addicted, childhood friend after his untimely death. That same year, Berry was seen starring opposite Bruce Willis in the box-office thriller, Perfect Stranger. In 2000, Berry appeared in the role of 'Storm' in the first installment of the X-Men movie franchise. She later reprised the role for X2 in 2003 and X-Men: The Last Stand in 2006, and again in 2014 for X-Men: Days of the Future Past.

Critical praise for her work continued on the small screen, when Berry received Emmy ® and Golden Globe ® nominations for her work in the Oprah Winfrey - produced movie Their Eyes Were Watching God, and as executive producer for the HBO telefilm "Lackawanna Blues." In 2005, Berry starred in the psychological thriller Gothika, opposite Robert Downey Jr. In 2002, Berry joined the prestigious list of actresses starring in the James Bond franchise with her role of "Jinx" in Die Another Day opposite Pierce Bronson, which also marked BOND's 40th anniversary and one of the top five grossing BOND movies of all time.

In her early years, Berry studied at The Second City in Chicago before continuing her acting education at The William Esper Studio in New York City. Critics and filmgoers first took notice of Berry in her feature film debut, Spike Lee's Jungle Fever. She went on to star opposite Warren Beatty in the socio-political comedy, Bulworth. Her other film credits include Losing Isaiah opposite Jessica Lange, Executive Decision, the live-action version of The Flinstones, The Last Boy Scout, Strictly Business, Boomerang, opposite Eddie Murphy, and Swordfish with John Travolta and Hugh Jackman.

Berry has garnered praise not only for her roles on-screen, but for her philanthropic work with a range of organisations focusing on women and children and underserved communities. She is an active supporter and chair member of the Jenesse Center in Los Angeles. The Jenesse Center was founded in 1980 and assists victims of domestic violence and aims to change the pattern of abuse in the lives of women and children. She previously partnered with Michael Kors' Watch Hunger Stop campaign and the United Nations World Food Programme to raise awareness for building a world with zero hunger. This partnership saw Watch Hunger Stop commit its global reach and resources to WFP's goal of building "a world with zero hunger." In support of this, Berry visited rural Nicaragua to raise awareness. Berry joined forces with Novo Nordisk and the Entertainment Industry Foundation to launch the Diabetes Aware Campaign and has supported a vast amount of charities and organizations such as, Revlon Run/Walk, Make-A-Wish Foundation, Afghanistan Relief Organization, Stand Up to Cancer, Love Our Children USA and Clothes Off Our Back and Black Lives Matter.

In 2020, Berry founded re.spin which is a platform created to provide broader access to health and wellness content and products through inclusivity and conversation. Rooted in discovery and 16 learning, the heart of re.spin is its global community connected around the core belief of a holistic mind, body, and soul approach to wellness.

Patrick Wilson (Brian Harper) is a critically acclaimed and award-winning actor who has quickly become well known for his body of work. Over the years, Wilson has tackled lead roles in major Broadway musicals, as well as starring in big-budget blockbusters. Wilson has wrapped filming on the much-anticipated film, Aquaman 2. Opposite Jason Momoa who plays the title character, Wilson will play the fish whisperer's supervillain half-brother, Orm, also known as Ocean Master. He will make his directorial debut in the Insidious horror franchise, and will also star in the fifth sequel. The film is set to begin production in the spring of 2022.

Patrick reached his widest audience to date in the role of Ed Warren in The Conjuring franchise. The Conjuring is one of the top five highest grossing supernatural films of all time. The Conjuring 2, which released in 2016 and grossed an impressive $40 million in its opening weekend. In 2015, he starred as Lou Solverson in the TV series Fargo, opposite Kirsten Dunst, Jesse Plemons and Ted Danson. Wilson's performance garnered Critics' Choice, Gold Derby and Golden Globe® nominations for Best Actor in a Limited Series.

Additional film credits include, Aquaman, Midway, The Founder, The Hollow Point, Bone Tomahawk, Zipper, Home Sweet Hell, Matters of the Heart, Jack Strong, Big Stone Gap, Stretch, Space Station 76, Insidious, Insidious: Chapter 2, Prometheus, Young Adult, The Ledge, Morning Glory, The Switch, The A-Team, Barry Munday, Watchmen, Life in Flight, Passengers, Lakeview Terrace, Purple Violets, Brothers Three: An American Gothic, Little Children, Running with Scissors, Hard Candy, The Phantom of the Opera, The Alamo and My Sister's Wedding.

On the small screen, Wilson also received Emmy® and Golden Globe ® nominations for his portrayal of the morally conflicted Joe Pitt in the HBO miniseries Angels in America: Millennium Approaches, the much-honored 2003 adaptation of Tony Kushner's award-winning Angels in America: Perestroika. He also starred in A Gifted Man, and the second season of the award-winning HBO original series Girls. The episode, "One Man's Trash," became one of the most talked about episodes of the show's history, as well as one of the most watched episodes of the season.

Wilson has also been honored with two consecutive Tony Award® nominations for Best Actor in a Musical, the most recent coming for his performance as Curly in the successful 2002 Broadway revival of Oklahoma! for which he also received a Drama Desk Award nomination. He earned his first Tony Award® nomination for his work in the 2001 Broadway hit The Full Monty, for which he also garnered Drama Desk and Outer Critics Circle Award nominations and won a Drama League Award. In 2006, he returned to Broadway to star in the revival of the Neil Simon comedy Barefoot in the Park, opposite Amanda Peet. His most recent Broadway credit is the 2008/2009 revival of Arthur Miller's All My Sons, with John Lithgow, Dianne West and Katie Holmes.

Born in Virginia and raised in St. Petersburg, Florida, Wilson earned a Bachelor of Fine Arts degree from Carnegie Mellon University. Starting his career on the stage, he earned applause in the national tours of Miss Saigon, and Carousel. In 1999, he starred off-Broadway in Bright Lights, Big City, winning a Drama League Award and a Drama Desk Award nomination. That same year, he made his Broadway debut in Gershwin's Fascinating Rhythm, for which he won another Drama League Award.

John Bradley (KC Houseman) is an English actor best known for his fan favourite role as Samwell Tarly in the HBO award-winning series, Game of Thrones. The series set a 2019 record for the most Emmy® nominations, being nominated for 32 awards and winning 12 for its final season. Since its 2011 premiere, Game of Thrones has secured 160 Emmy® nominations and taken home a total of 59 Emmy® Awards.

John can also be seen in the romantic comedy, Marry Me for Universal Pictures alongside Jennifer Lopez and Owen Wilson in theaters February 11, 2021. John is re-teaming with the Game of Thrones showrunners, David Benioff & Dan Weiss for an upcoming Netflix sci-fi epic series, Three-Body Problem starring opposite Eiza Gonzalez and Liam Cunningham.

Recently, he starred alongside Stanley Tucci and former Game of Thrones co-star Natalie Dormer in the film Patient Zero. The action horror film follows a group of survivors who set out to find an antidote for a highly contagious virus that turns the infected into a hungry, but highly intelligent new species.

In 2012, Bradley appeared in two episodes of the popular Showtime series, Shameless as Wesley, Frank Gallagher's boss. His other roles include: Pope Leo X, Giovanni di Lorenzo de' Medici in the Canal+ drama, Borgia and Tyr Seward on season five of the BBC production Merlin. Bradley attended Loreto College in Manchester where he studied Drama and Theatre Studies. After graduating in 2007, he went on to pursue his B.A. in acting from Manchester Metropolitan University and completed his degree in 2010. He booked Game of Thrones three months after graduation.

In his free time, he enjoys playing the drums and cheering on Manchester United.

Michael Peña (Tom Lopez) has set himself apart in Hollywood as an actor whose immense range has allowed him to work with many high-profile directors, alongside scores of well-known actors, and in dozens of the most awarded films of his generation. In February 2021, he was seen in the Warner Bros. live action film Tom and Jerry for director Tom Story. In 202 he was seen in Blumhouse Productions feature adaptation of the popular ABC series Fantasy Island and in the live-action film Dora the Explorer based on the popular animated series with Eva Longoria and Isabela Moner. He was recently in Clint Eastwood's The Mule and the critically acclaimed anthology series Narcos: Mexico on Netflix, where he portrayed real-life DEA Agent Kiki Camarena.

Peña also starred alongside Chris Hemsworth and Michael Shannon in 12 Strong, starred in the Netflix thriller Extinction opposite Lizzy Caplan, appeared in A Wrinkle in Time, with Reese Witherspoon and Chris Pine, had a memorable role in the David O. Russell film American Hustle, and co-starred in Marvel's Ant Man and The Wasp and The Martian, both of which crossed the $500-million-dollar mark in international box office sales. Peña was also recently heard in The LEGO Ninjago Movie and My Little Pony: The Movie, seen in Collateral Beauty, starring Will Smith, War on Everyone, opposite Alexander Skarsgård, as well as the Comedy CHiPS with Dax Shepard.

In 2012, he was seen in the critically acclaimed End of Watch, which premiered at the Toronto Film Festival. For his performance as Officer Zavala, Peña was nominated for an Independent Spirit Award and the film was recognised by the National Board of Review as one of the Top 10 Independent Films of the year. Peña earned notable recognition for his performance in Paul Haggis' provocative Oscar ®-winning film Crash, and has had significant roles in films such as David Ayer's Fury with Brad Pitt and Shia LaBeouf, Everything Must Go alongside Will Ferrell and Rebecca Hall, Gangster Squad opposite Sean Penn, Josh Brolin and Ryan Gosling, The Lucky Ones, co-starring Rachel McAdams and Tim Robbins, Jody Hill's comedy Observe and Report with Seth Rogen, Robert Redford's political drama Lions for Lambs with Tom Cruise and Meryl Streep, Cesar Chavez, in which he starred as the famous civil rights leader and labor organiser for Diego Luna's English language directorial debut, and Werner Herzog and David Lynch's psychological thriller My Son, My Son, What Have Ye Done, starring Michael Shannon, Willem Dafoe and Chloë Sevigny.

Peña's other noteworthy film credits consist of Oliver Stone's World Trade Center, Clint Eastwood's Million Dollar Baby, Gregor Jordan's Buffalo Soldiers, Antoine Fuqua's Shooter, Brett Ratner's Tower Heist, and Alejandro González Iñárritu's Babel.

On television, Peña also starred in the HBO film Walkout, based on the true story of a young Mexican-American high school teacher who helped stage a massive student walkout in the mid-1960s. Peña received an Imagen Award for Best Actor for his performance.

Raised in Chicago, Peña began acting when he beat out hundreds of others in an open call for a role in Peter Bogdanovich's To Sir, With Love 2, starring Sidney Poitier.

Charlie Plummer (Sonny) had his breakout performance in A24's Lean on Pete, written and directed by Andrew Haigh (45 Years, Weekend), and also featuring Steve Buscemi, Chloë Sevigny and Travis Fimmel. Plummer earned the coveted Marcello Mastroianni Award at the 2017 Venice International Film Festival and was nominated in the category of Best Performance by an Actor for the 2018 British Independent Film Awards for his performance.

Most recently, Charlie starred in the sci-fi feature Spontaneous, opposite Katherine Langford; and Thor Freudenthal's Words on Bathroom Walls. He can next be seen in The Thicket, Snow Ponies, and Moonfall opposite Patrick Wilson, Halle Berry and Stanley Tucci. Plummer recently starred in the Hulu limited series Looking for Alaska, based on the beloved book by John Green; Gully opposite Amber Heard; HBO's feature film Share; as well as the IFC thriller The Clovehitch Killer alongside Dylan McDermott. In 2017, he appeared in Ridley Scott's kidnap thriller All the Money in the World, playing John Paul Getty III, alongside Christopher Plummer, Michelle Williams and Mark Wahlberg. His additional credits include 2017 indie drama thriller The Dinner, opposite Richard Gere, Laura Linney, Steve Coogan, Chloë Sevigny and Rebecca Hall, written and directed by Oren Moverman; and King Jack, which won the Audience Award at the 2015 Tribeca Film Festival, and released theatrically in 2016.

Plummer began his professional career in Sopranos' creator David Chase's feature film, Not Fade Away, and the same year was cast in a recurring role in HBO's award-winning Boardwalk Empire.

He was also a series regular on the Netflix cold war drama Granite Flats, starring with Christopher Lloyd and Parker Posey. He currently resides in New York.

Kelly Yu (Michelle) is a Chinese Canadian singer and actor. Yu's first movie was for director Liu Chen's Under the Rain in 2012. Her first leading role was in 2014, pairing up with Nichkhun, in the television series One and a Half Summer. In 2017, Yu starred in the romantic film The Ex-File 3: The Return of Exes. She sang the theme song of the film.

Yu was born in Dalian, China and moved with her parents to Vancouver, Canada in 2004. She later moved to Boston, where she attended the Berklee College of Music.

Carolina Bartczak (Brenda) is a Canadian/Polish actor and producer born in Gehrden, Germany. She studied the Meisner technique at The Neighborhood Playhouse School of the Theatre in New York, NY. Bartczak is known for The Smurfs 2, Brick Mansions, starring alongside Paul Walker, as well as for her role as Magda Lehnsheer, the wife of Erik Lehnsheer/Magneto (portrayed by Michael Fassbender) in 20th Century Studios' X-Men: Apocalypse.

She will be starring in Roland Emmerich's latest epic film, Moonfall, as Brenda Lopez, the ex-wife of Brian Harper (Patrick Wilson). Carolina will also be starring in the upcoming Netflix series Painkillers, which will be released in late 2022.

Eme Ikwuakor (pronounced Ik-Walker) (Doug Davidson) is a triplet, born In Wheatridge, Colorado and is the son of Nigerian parents (his father is a college professor in Nigeria).

Attending the University of Colorado on a track and field scholarship, he was considering a sports marketing major until a college advisor recommended an acting course. Ikwuakor signed up and was quickly cast in the part of Tom Robinson in "To Kill a Mockingbird". It became a life-changing experience. Always fascinated by history and African-American rights issues, Ikwuakor then became heavily involved in the Interactive Theater Project in Colorado, a professional acting troupe that specialised in theater for social change. This experience became a great influence on his career goals. During this period, he was cast in Ink, the critically-acclaimed, locally produced, independent science fiction feature that won Best Colorado Film at the 2009 Denver Film Critics Society awards and was considered "one of the best films of 2009" (JoBlo).

Ikwuakor's television series credits include Outlaw, Love Bites, Victorious, The Comeback, Silicon Valley, Castle, Hawaii Five-O, Extant, We Are Angels, and a lead role in ABC's Marvel's Inhumans. He can currently be seen in the Netflix series, On My Block. In addition to Ink, he has been featured in the films Concussion (with Will Smith), The New Republic, Murder in the Dark, Not Safe for Work, and The Outlaw Johnny Black opposite Michael Jai White. His next movie is The Gray Man with Chris Evans for Netflix.

Donald Sutherland (Holdenfield)is one of the most respected, prolific and versatile of motion picture actors, with an astonishing resume of well over one hundred and fifty films, including such classics as Robert Aldrich's The Dirty Dozen; Robert Altman's M*A*S*H; John Schlesinger's The Day of the Locust; Robert Redford's Ordinary People; Bernardo Bertolucci's 1900; Philip Kaufman's Invasion of the Body Snatchers; Nicolas Roeg's Don't Look Now with Julie Christie; Alan Pakula's Klute with Jane Fonda; Federico Fellini's Fellini's Casanova and Brian Hutton's Kelly's Heroes with Clint Eastwood (who later directed him in Space Cowboys).

For the distinguished body of his work, Sutherland received a 2017 Honorary Award from the Academy of Motion Pictures Arts & Sciences. Sutherland most recently completed filming on writer/director John Lee Hancock's adaptation of the Stephen King short story, Mr. Harrigan's Phone, starring opposite Jaeden Martell, for Blumhouse and Netflix.

In 2020, Sutherland starred opposite Nicole Kidman, again as her father, in The Undoing, HBO's high-profile six-episode limited series written by David E. Kelley and directed by Susanne Bier. For his performance he won the Critics' Choice Award as "Best Supporting Actor". He appeared in Ad Astra co-starring with Brad Pitt for director James Gray in 2019. The film premiered at the 2019 Venice Film Festival, as did the thriller The Burnt Orange Heresy, directed by Giuseppe Capotondi, and released in 2020 by Sony Pictures Classics.

Sutherland starred as J. Paul Getty in director Danny Boyle's FX anthology series Trust and in the Sony Classics film The Leisure Seeker, opposite Helen Mirren. He was 'President Snow' in all four enormously popular film adaptations of The Hunger Games series. He has appeared as Nicole Kidman's father in Anthony Minghella's Cold Mountain; as Charlize Theron's father in F. Gary Gray's The Italian Job and as Mr. Bennett, Keira Knightley's father, in Pride and Prejudice. For the latter he received a Chicago Film Critics nomination. He starred opposite his son Kiefer in Forsaken, a period Canadian Western, which premiered at the 2015 Toronto Film Festival.

Sutherland's film credits include Paul Mazursky's Alex in Wonderland; Dalton Trumbo's Johnny Got His Gun; Bud Yorkin's Start the Revolution Without Me; John Sturges' The Eagle Has Landed; Herbert Ross' Max Dugan Returns; Louis Malle's Crackers; Phillip Borsos' Bethune; Oliver Stone's JFK; Ron Howard's Backdraft; Richard Marquand's Eye of the Needle; Euzhan Palcy's A Dry White Season; Richard Pearce's Threshold (1983 Genie Award as Best Actor); Fred Schepisi's film adaptation of John Guare's Six Degrees of Separation; Robert Towne's Without Limits; John Landis' National Lampoon's Animal House; Andy Tennant's Fool's Gold; Griffin Dunne's Fierce People; in Robert Towne's Ask the Dust; in American Gun with Forrest Whitaker; in An American Haunting with Sissy Spacek; in Land of the Blind with Ralph Fiennes; in Aurora Borealis with Louise Fletcher and Juliette Lewis; in The Eagle, opposite Channing Tatum and Jamie Bell for director Kevin Macdonald; in Simon West's The Mechanic with Jason Statham and Ben Foster; in Seth Gordon's Horrible Bosses as Colin Farrell's father; in Mary McGuckian's Man on the Train with U2's Larry Mullen, Jr.; Milton's Secret, a feature adaptation of Eckhart Tolle's beloved children's book; and Measure of a Man, based on Robert Lipsyte's young adult novel, One Fat Summer. He voiced 'General Stone' in the animated feature of the manga classic, Astro Boy. He was producer, screenwriter and star (voicing the lead character, 'Captain Johnson') of Pirate's Passage, an animated movie based on William Gilkerson's acclaimed novel, which won the Governor General's Award of Canada for Children's Literature in 2006. The film won the 2016 international Kidscreen Award for "Best Special or TV Movie"

In television, Sutherland won both Emmy ® and Golden Globe ® Awards as Best Supporting Actor for his performance in the HBO film Citizen X and he won a Golden Globe ® for his portrayal of Clark Clifford, advisor to President Lyndon B. Johnson, in the HBO historical drama Path to War, directed by the late John Frankenheimer.

Additional television credits include Tandem's international action crime series, Crossing Lines; thelongform adaptation of Ken Follett's best-seller, The Pillars of the Earth; with Peter Krause in the ABC-TV series Dirty Sexy Money. For his performance in the latter as the family patriarch, Tripp Darling, he was nominated for a 2007 Golden Globe ® as Best Supporting Actor. Prior to that, he co-starred with Geena Davis in the ABC drama series Commander-in-Chief, and was nominated for a Golden Globe ® as Best Supporting Actor for his portrayal of House Speaker, Nathan Templeton. At the same time, he was nominated for a Golden Globe ® as Best Actor for his performance opposite Mira Sorvino in Lifetime Television's much-lauded miniseries, Human Trafficking.

On stage, he starred with Justin Kirk and Julianna Margulies in a critically acclaimed, Lincoln Center engagement of Jon Robin Baitz's Ten Unknowns, for which he received an Outer Critics Circle Award nomination for Best Actor. He also starred in the London, Toronto and Los Angeles productions of Enigmatic Variations, an English language translation (by his son Roeg Sutherland) of Eric-Emmanuel Schmitt's French play.

In 2019, Donald Sutherland was awarded the highest Canadian honor, Companion of the Order of Canada, he was appointed an officer of the Order of Canada in 1978 and a Chevalier of the Ordre des Arts et des Lettres in France in 1983. In 2012, he was awarded the highest French honor, the Commandeur of the Ordre des Arts et des Lettres.

Moonfall

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