Warner Bros Presents














July 11, 1997














CAST . . .
JODIE FOSTER (Dr. Eleanor "Ellie" Arroway)
JAMES WOODS (Michael Kitz)
JOHN HURT (S.R. Hadden)
TOM SKERRITT (David Drumlin)
DAVID MORSE (Ted Arroway)
ANGELA BASSETT (Rachel Constantine)
ROB LOWE (Richard Rank

. . .From the distant star Vega, a radio message comes to Earth and Ellie receives it. As the countries of the world unite in an effort to decode the transmission, the planet faces the message with equal parts hope and fear, for contained within it are blueprints for a machine of intergalactic travel capable of transporting its passenger to deep space. It could mean the dawning of an astounding new era -- or certain Armageddon.

As the world wrestles with the questions raised by the message, and humanity warily approaches the brink of a new millennium, Ellie vies to be selected as the single representative who will leave the Earth to explore the galaxies, seeking the unknown extraterrestrial source -- and becoming the first person to make contact.

- Movie based on novel by: DR. CARL SAGAN
Produced by: STEVE STARKEY
















Science of the Soundstage . . .

The monitors and computer screens were also able to provide a sense of urgency and accuracy to the broadcasting of the message, magnifying its global impact.

Says "Contact" computer and video supervisor IAN KELLY, "In virtually every scene in the film, there are computer screens, video or television monitors of some kind telling us more of the story.









Sound Technology Lends a Hand  - Spectra SOFtest . . .

One of the choices Zemeckis made in enriching the story was the comprehensive use of television monitors and computer screens. Associate producers RICK PORRAS and STEVEN BOYD headed the unit that produced all video material for playback.

This seems only right, considering that so much information about what happens in the world is imparted to us through computer and television screens."  One of the major contributions in creating a sense of high tech computer based realism was the use of SOUND TECHNOLOGY'S Spectra Series FFT Spectral Analysis Systems to capture and display the decoded message.  During sound stage production, Rick consulted with Sonny Funke and Jim Hartley from ST's SPECTRA GROUP concerning the shooting and use of their Spectra Series Analysis SOFtest.

The architectural drawings of the transport were created by Ken Ralston and Sony Pictures ImageworksImageworks crafted over 350 visual-effects shots for the film under Ralston's supervision.

Ralston and his team were charged with seamlessly integrating the film's visual effects into the live-action photography, bringing the audience glimpses of never-before-seen galaxies.       

- The Contact Opens July 11