Oblivion - crew, film crew
The entire team, the film crew of the film "Oblivion"
Oblivion (2013)
Timing:
2:4 (124 min)
6.673/10
11404
11404
7.229/10
456795
456795
0/10
0
0
Film crew
Director
Producer
Duncan Henderson
Producer
Barry Levine
Producer
Executive Producer
Dave Morrison
Executive Producer
Jesse Berger
Executive Producer
Justin Springer
Executive Producer
Casting
Marcia Ross
Casting
Brittainy Roberts
Casting
Editor
Costume Design
Marlene Stewart
Costume Design
Stunts
Meredith Richardson
Stunts
Loyd Bateman
Stunts
Richard Epper
Stunts
William Morts
Stunts
Production Design
Darren Gilford
Production Design
Stunt Coordinator
Joey Box
Stunt Coordinator
Robert Alonzo
Stunt Coordinator
Second Unit Director
Robert Alonzo
Second Unit Director
Makeup Artist
Sarah Monzani
Makeup Artist
Michael Hancock
Makeup Artist
Key Makeup Artist
Joanna McCarthy
Key Makeup Artist
Sound Re-Recording Mixer
Juan Peralta
Sound Re-Recording Mixer
Original Music Composer
Anthony Gonzalez
Original Music Composer
Joseph Trapanese
Original Music Composer
Unit Production Manager
Justis Greene
Unit Production Manager
RJ Mino
Unit Production Manager
Set Dresser
William S. Maxwell III
Set Dresser
Director of Photography
Claudio Miranda
Director of Photography
Camera Operator
Jeffery J. Tufano
Camera Operator
George Billinger III
Camera Operator
Łukasz Bielan
Camera Operator
Steadicam Operator
George Billinger III
Steadicam Operator
Costumer
Nancy Thompson
Costumer
Cathie Valdovino
Costumer
Diana Demoff
Costumer
Costume Supervisor
Dan Bronson
Costume Supervisor
Thomas Stokes
Costume Supervisor
Makeup Department Head
Desne J. Holland
Makeup Department Head
Louise McCarthy
Makeup Department Head
Key Costumer
Ariel Gold
Key Costumer
Suzanne M.B. Chambliss
Key Costumer
Ira M. Hammons-Glass
Key Costumer
Sound Effects Editor
David C. Hughes
Sound Effects Editor
Scott Guitteau
Sound Effects Editor
Stuart McCowan
Sound Effects Editor
Assistant Art Director
Kevin Loo
Assistant Art Director
Property Master
Doug Harlocker
Property Master
Visual Effects Supervisor
Rick Lupton
Visual Effects Supervisor
Eric Barba
Visual Effects Supervisor
Björn Mayer
Visual Effects Supervisor
Roxanne Zuckerman
Visual Effects Supervisor
Roxanne Zuckerman
Visual Effects Supervisor
Supervising Sound Editor
Al Nelson
Supervising Sound Editor
Script Supervisor
Trisha Burton
Script Supervisor
Rebecca Boyle
Script Supervisor
Hair Department Head
Angel De Angelis
Hair Department Head
Michael White
Hair Department Head
Michael Ward
Hair Department Head
Electrician
Michael Chateauneuf
Electrician
Sidney Brisco
Electrician
Will Callahan
Electrician
Cody Strong
Electrician
Loren Johnson
Electrician
Byron Marigny
Electrician
Jerry Wheat
Electrician
Thairon Harvey
Electrician
Katelyn Perez
Electrician
Cory McClean
Electrician
Set Costumer
Alexandra Eagle
Set Costumer
Dawn Huertas Arevalo
Set Costumer
Tom Cummins
Set Costumer
Aerial Director of Photography
David B. Nowell
Aerial Director of Photography
Hairstylist
Deena Adair
Hairstylist
Special Effects Coordinator
Michael Meinardus
Special Effects Coordinator
Still Photographer
David James
Still Photographer
Lead Animator
Emil Simeonov
Lead Animator
Digital Effects Supervisor
Animation Supervisor
Paul Taylor
Animation Supervisor
Steve Preeg
Animation Supervisor
Sound Mixer
Visual Effects Producer
Fiona Campbell Westgate
Visual Effects Producer
Elizabeth Schafer Knovick
Visual Effects Producer
C. Alexander Sears
Visual Effects Producer
Armorer
Andres Sepulveda
Armorer
Eirikur Beck
Armorer
Ludvik Kristinsson
Armorer
Assistant Costume Designer
Lisa Tomczeszyn
Assistant Costume Designer
Boom Operator
Matthew Armstrong
Boom Operator
Ryan Farris
Boom Operator
Graphic Designer
Ellen Lampl
Graphic Designer
Costume Designer
Jose Fernandez
Costume Designer
Screenplay
Karl Gajdusek
Screenplay
Set Designer
Geoff Hubbard
Set Designer
Kevin Loo
Set Designer
Todd Cherniawsky
Set Designer
Steve Cooper
Set Designer
Randall D. Wilkins
Set Designer
Joseph Hiura
Set Designer
Robert Andrew Johnson
Set Designer
Jeff Markwith
Set Designer
Luis G. Hoyos
Set Designer
First Assistant Editor
Jennifer Spenelli
First Assistant Editor
Additional Editor
Nino Ruef
Additional Editor
Foley Artist
Alyson Dee Moore
Foley Artist
Sound Designer
Ren Klyce
Sound Designer
Construction Coordinator
Robert A. Blackburn
Construction Coordinator
Art Department Coordinator
Mike Piccirillo
Art Department Coordinator
Dialogue Editor
Cheryl Nardi
Dialogue Editor
Brad Semenoff
Dialogue Editor
Marilyn McCoppen
Dialogue Editor
Assistant Editor
Dave Labich
Assistant Editor
Aerial Camera Technician
Peter Graf
Aerial Camera Technician
Best Boy Grip
Arnar Einarsson
Best Boy Grip
Craig Kohtala
Best Boy Grip
Kevin Gilligan
Best Boy Grip
Art Department Assistant
Kristen Maloney
Art Department Assistant
Foley Editor
E. Larry Oatfield
Foley Editor
Thom Brennan
Foley Editor
First Assistant "B" Camera
Sean Hunter Moe
First Assistant "B" Camera
Paul Santoni
First Assistant "B" Camera
Mark Santoni
First Assistant "B" Camera
First Assistant "A" Camera
Jonas Steadman
First Assistant "A" Camera
Peter Geraghty
First Assistant "A" Camera
Rigging Grip
Mel Perdikis
Rigging Grip
Timothy Jipping
Rigging Grip
Chip Hart
Rigging Grip
David Sireika Jr.
Rigging Grip
Moses Mott
Rigging Grip
Michael Nissen
Rigging Grip
Isaac Sandoval
Rigging Grip
Transportation Coordinator
Aaron Skalka
Transportation Coordinator
Key Grip
Jamie Lagerhausen
Key Grip
Michael J. Coo
Key Grip
George Patsos
Key Grip
Location Manager
Lauri Pitkus
Location Manager
Ken Haber
Location Manager
Thor Kjartansson
Location Manager
Dolly Grip
Michael Brennan
Dolly Grip
Brian Rosso
Dolly Grip
Assistant Property Master
Josh Roth
Assistant Property Master
Brad Elliott
Assistant Property Master
Key Hair Stylist
Pamela May
Key Hair Stylist
Leadman
Bruce Luizzi
Leadman
Key Rigging Grip
Billy Patsos
Key Rigging Grip
John S. Robertson
Key Rigging Grip
Assistant Location Manager
William Maursky
Assistant Location Manager
Fahad Falur Jabali
Assistant Location Manager
Josh Samataro
Assistant Location Manager
Set Production Assistant
Stephen Daniel Wayne
Set Production Assistant
Alessandro Chimento
Set Production Assistant
Miranda Sink
Set Production Assistant
Michael Chochol
Set Production Assistant
Anna Stachow
Set Production Assistant
Brendan Flaherty
Set Production Assistant
Leilah Franklin
Set Production Assistant
Ashlee Kilchrist
Set Production Assistant
Taylor Newman
Set Production Assistant
Andri Egilsson
Set Production Assistant
Markus Fry
Set Production Assistant
Reynir Oskarsson
Set Production Assistant
Finnur Jónasson
Set Production Assistant
Location Assistant
Hannah Getts
Location Assistant
Cleland Hoff
Location Assistant
James Adames
Location Assistant
Visual Effects Production Manager
David Feinsilber
Visual Effects Production Manager
Compositor
Julian Lojek
Compositor
Construction Foreman
William H. Phen Jr.
Construction Foreman
Jeremy Johnson
Construction Foreman
3D Artist
Borja A. Ortiz
3D Artist
Phi Tran
3D Artist
Steven Wang
3D Artist
Sabrina Steinert
3D Artist
Markus Graf
3D Artist
Hnedel Maximore
3D Artist
Patrik Witzmann
3D Artist
Tim Simon
3D Artist
Makeup Supervisor
Casting Assistant
Katie Silverman
Casting Assistant
Bree Adams
Casting Assistant
Makeup Designer
Foley Mixer
Mary Jo Lang
Foley Mixer
Production Controller
Michael Lewis
Production Controller
Production Accountant
Rósa Stefánsdóttir
Production Accountant
Casting Associate
Brittany Gischner
Casting Associate
Joanna Vasco
Casting Associate
Travel Coordinator
Stacy Parker
Travel Coordinator
Gaffer
Jay Fortune
Gaffer
Chris Strong
Gaffer
Digital Imaging Technician
C.J. Roy
Digital Imaging Technician
Nathan Borck
Digital Imaging Technician
Steve Harnell
Digital Imaging Technician
Alex Carr
Digital Imaging Technician
Production Sound Mixer
Paul Ledford
Production Sound Mixer
Video Assist Operator
Wayne Tidwell
Video Assist Operator
Richmond G. Cogswell
Video Assist Operator
Second Unit Director of Photography
Garry Waller
Second Unit Director of Photography
Storyboard Artist
Adolfo Martínez Pérez
Storyboard Artist
Phillip Norwood
Storyboard Artist
Richard Bennett
Storyboard Artist
Stephen Platt
Storyboard Artist
Second Assistant "B" Camera
Dan McKee
Second Assistant "B" Camera
VFX Editor
Jeff Beattie
VFX Editor
Post Production Coordinator
Mindy Weissman
Post Production Coordinator
Standby Painter
Chris Zimmerman
Standby Painter
Colorist
Eric Haase
Colorist
On Set Dresser
Digital Intermediate Colorist
Mike Sowa
Digital Intermediate Colorist
Conceptual Illustrator
Nick Pugh
Conceptual Illustrator
Daniel Simon
Conceptual Illustrator
Thom Tenery
Conceptual Illustrator
Andree Wallin
Conceptual Illustrator
Stand In
Jamie Normand
Stand In
Joe Fredo
Stand In
Sam Stage
Stand In
Juliana Terpstra
Stand In
Greensman
Pedro Barquin
Greensman
Sound Assistant
Árni Benediktsson
Sound Assistant
Unit Publicist
Claire Raskind
Unit Publicist
Production Coordinator
Betsy Alton
Production Coordinator
Birna Paulina Einarsdóttir
Production Coordinator
Michael A. Galasso
Production Coordinator
Tiffany Tiesiera
Production Coordinator
Visual Effects Coordinator
Sharina Radia
Visual Effects Coordinator
Lori Talley
Visual Effects Coordinator
Danielle Bemis
Visual Effects Coordinator
Visual Effects Editor
Tobias Pfeiffer
Visual Effects Editor
William Day
Visual Effects Editor
Jeff Beattie
Visual Effects Editor
Kevin LaNeave
Visual Effects Editor
Paul Parsons
Visual Effects Editor
Production Secretary
Drew Barnett-Hamilton
Production Secretary
Visual Effects
Second Assistant "A" Camera
Dan Schroer
Second Assistant "A" Camera
Lee Jordan
Second Assistant "A" Camera
Post Production Accountant
Missy Eustermann
Post Production Accountant
Payroll Accountant
Stan Umamoto
Payroll Accountant
CG Supervisor
Mahmoud Rahnama
CG Supervisor
Gavyn Thompson
CG Supervisor
Lighting Supervisor
Christopher Nichols
Lighting Supervisor
ADR Supervisor
Conceptual Design
Michael Meyers
Conceptual Design
Ed Natividad
Conceptual Design
Raj Rihal
Conceptual Design
Production Office Assistant
Ugla Hauksdóttir
Production Office Assistant
Extras Casting
Hank Langlois
Extras Casting
David M. Waldron
Extras Casting
Original Story
Rigging Gaffer
Marc Marino
Rigging Gaffer
Tony Varuola
Rigging Gaffer
Best Boy Electric
Brian McClean
Best Boy Electric
Ingvar Stefánsson
Best Boy Electric
Assistant Accountant
Iounn Arna Björgvinsdóttir
Assistant Accountant
Stella Bogadóttir
Assistant Accountant
Fjola Einarsdottir
Assistant Accountant
Anita Isey Jonsdottir
Assistant Accountant
Location Coordinator
Dawson Warner
Location Coordinator
Assistant Production Coordinator
Matthew F. Preston
Assistant Production Coordinator
David Halagarda
Assistant Production Coordinator
Michael P. Twombly
Assistant Production Coordinator
Helga K. Bjarnason
Assistant Production Coordinator
Karl Sigurdarson
Assistant Production Coordinator
Birna Bjorgvinsdottir
Assistant Production Coordinator
Inga Björk Sólnes
Assistant Production Coordinator
Linda Vilhjálmsdóttir
Assistant Production Coordinator
Generator Operator
Chris McGuire
Generator Operator
Second Assistant Accountant
Sean Becker
Second Assistant Accountant
Bill Bouvier
Second Assistant Accountant
Sara Ellingen
Second Assistant Accountant
Josh R. Field
Second Assistant Accountant
Construction Buyer
Ken Junod
Construction Buyer
Sound Recordist
Stephen Urata
Sound Recordist
First Assistant "C" Camera
Mark Spath
First Assistant "C" Camera
Second Assistant "C" Camera
Milan Janicin
Second Assistant "C" Camera
Libra Head Technician
Craig Nix
Libra Head Technician
Assistant Sound Editor
Coya Elliott
Assistant Sound Editor
Pre-Visualization Supervisor
Nicholas Markel
Pre-Visualization Supervisor
Modeling
Randy Sharp
Modeling
Khaled Pamir
Modeling
Toshihiro Sakamaki
Modeling
Christine Neumann
Modeling
YeYoung Jung
Modeling
Matte Painter
Roger Kupelian
Matte Painter
Data Management Technician
Chris Giuffrida
Data Management Technician
Construction Manager
Emil Petursson
Construction Manager
Wigmaker
Bob Kretschmer
Wigmaker
First Assistant Accountant
Jennifer Cobb
First Assistant Accountant
Wendy Goldfisher
First Assistant Accountant
Kelley Baker
First Assistant Accountant
Vocals
Costume Illustrator
Christian Cordella
Costume Illustrator
Digital Intermediate Producer
Nancy Fuller
Digital Intermediate Producer
Visual Effects Production Assistant
Sigurdur Mar Davidsson
Visual Effects Production Assistant
Daniel Beattie
Visual Effects Production Assistant
Eirikur Kristinn Juliusson
Visual Effects Production Assistant
Loop Group Coordinator
Key Set Costumer
Lori Harris
Key Set Costumer
Aerial Coordinator
David Paris
Aerial Coordinator
Visual Effects Technical Director
Igor Ramade
Visual Effects Technical Director
Alexandre Scott
Visual Effects Technical Director
Compositing Artist
Eric Kasanowski
Compositing Artist
Additional Casting
Judith Bouley
Additional Casting
Digital Intermediate Editor
Nancy Fuller
Digital Intermediate Editor
Marine Coordinator
Matthew H. O'Connor
Marine Coordinator
Assistant Dialogue Editor
Lisa Chino
Assistant Dialogue Editor
Assistant Sound Designer
Coya Elliott
Assistant Sound Designer
Tattooist
Rick Stratton
Tattooist
What's left behind the scenes
- Olivia Wilde, Noomi Rapace, Kate Mara, Olga Kurylenko, Mary Elizabeth Winstead, and Brit Marling auditioned for the role of Julia. Jessica Chastain was also considered for the role but declined due to scheduling conflicts, and the role ultimately went to Kurylenko.
- Diane Kruger, Hayley Atwell, and Kate Beckinsale were considered for the role of Victoria.
- Filming was done using the newly developed Sony CineAlta F65 camera.
- Initially, this project was an eight-page script written by Joseph Kosinski, which was transformed into a comic book in 2007. Its release was eventually postponed until the film's release.
- Most of the outdoor shots where Jack flies were filmed in Iceland.
- Kosinski explained how they filmed the home of the characters Tom Cruise and Andrea Riseborough – the 'Heavenly Tower': “I didn’t want to make a film with an excess of blue screen. So we found a way to modernize the front-projection method used by Kubrick in '2001: A Space Odyssey' (1968). He projected a high-resolution photograph onto the entire set and filmed everything so that it looked like what was depicted in the photo was outside. And we did the same thing.”
- Specifically for the film, a group of cinematographers went to the top of the Haleakala volcano on the island of Maui and, using three Sony F65 cameras, filmed atmospheric phenomena, sunsets and sunrises. The resulting footage was then combined to create 40 minutes of 26-megapixel video. It was cut into 10 separate clips – depending on the time of day and night, weather conditions, and so on. As a result, 130 four-minute clips were prepared for each scene described in the script. Then these views were simply projected onto the walls of the pavilion housing the 'Heavenly Tower' using 21 projectors.
- During the filming of scenes in "Oblivion", several problems that would have arisen with the use of blue screens were avoided. Firstly, the shooting was done in "natural" lighting, and the projection onto the screen was bright enough to provide the necessary shades throughout the set and on the actors' faces; secondly, no extra "blueness" from the blue screen needed to be removed during color correction (especially in such quantities); and thirdly, the actors saw (almost) the same thing that the audience would later see, which significantly simplified their task.
- A full-scale model of the aircraft used by Tom Cruise's character (Bubbleship) was built. It is a hybrid of a helicopter and a jet fighter. According to Kosinski, he wanted to showcase "clean, advanced technology" in the film, not the typical rusty devices of post-apocalyptic settings that are about to fall apart. WildFactory, a company specializing in industrial concept design (the same WildFactory that made the motorcycle models for the film "Tron: Legacy" (2010)), was the direct manufacturer of the model. The "Bubbleship" model was primarily made of aluminum, is 25 feet (7.6 meters) long, and weighs about two tons. This model had many moving parts: rotating engines, opening doors, etc. A rotating cabin was used during the filming of flight scenes, where the actors had to hang upside down more than once.
- The film was shot in 4k resolution, but was released in theaters in 2k resolution. The visual effects department simply didn't have enough time to render all the necessary scenes in 4k. They would have needed another month and a half, and the premiere date could not be moved.
- Olga Kurylenko suggested making her character French, not Russian.
- The set almost exactly replicated the building of the actual New York Public Library, located at the intersection of 42nd Street and Fifth Avenue. The total area of the structure was 30,726 square feet (2,861 square meters).
- Twenty HD projectors formed a clear sky around the tower, displaying 34 independent video clips. The image was broken down into 19 independent layers. The screens turned out to be 12 meters high and over 150 meters long.
- An old tin can with a sprouting flower was created on special order for Kosinski. The inspiration for this flower was a plant the director accidentally saw during one of his scouting trips to Iceland.
- Among the surviving works of art shown are “The Liberty Bell,” as well as some paintings by Claude Monet and Andrew Wyeth ("Christina's World").
- The football field was created by special effects artists based on the crater of the Hrossaborg volcano in Iceland, which became extinct more than 10,000 years ago.
- According to the director, the films – “The Omega Man” (1971), “2001: A Space Odyssey” (1968), “Blade Runner” (1982) and the novel “Hyperion” by Dan Simmons – served as sources of inspiration for writing the story, the comic book, and creating the film.
- At the beginning of the film, during the Universal logo sequence, you can notice 'Tet' orbiting the Earth, which the film is about.
- Filming began on March 19, 2012, in Louisiana, in the cities of Baton Rouge and New Orleans. After a short break, the production process continued in the summer of the same year.
- The prototype for the luxurious air mini-craft 'The Bubble Ship', piloted by Jack, was simply a utilitarian Bell 47 helicopter with a transparent round dome, which Joseph Kosinski saw at an exhibition at the Museum of Modern Art in Manhattan. It was suggested to combine this 'base' with the main principles of the spaceship's appearance from the film '2001: A Space Odyssey' (1968). Eventually, NASA engineers were brought in. The full-scale model had doors that opened, and the control panel in the cockpit was created with the consultation of Tom Cruise, who is a licensed pilot.
- In this film, Tom Cruise 'updated' his favorite cap of the 'New York Yankees' baseball club – for the first time since the film 'War of the Worlds' (2005), he appeared in it on the big screen again.
- On the set of 'Oblivion', Tom Cruise celebrated his 50th birthday. To mark the occasion, Joseph Kosinski presented the star with one of the futuristic motorcycles directly from the film. And Cruise, to everyone's surprise, also responded with a gift: a large-scale model (made of high-quality die-cast metal) of the 'Bubble Ship' in a glass case.
- The film could have ultimately received the name “Horizons” from Universal Studios, but over time they reverted to “Oblivion.” In the case of “Horizons,” the plot would have changed somewhat – becoming more dynamic, as it involved aerial cities and raids by stalkers from them down to the scorched Earth, for potentially useful items.
- After reading the script for “Oblivion,” Freeman wanted not only to voice it but also to play a role in the film. Therefore, instead of saying so directly, he told the director he had a sore throat. However, the filmmakers were so eager for Morgan to participate in the project that they cast him anyway.
- Jack's motorcycle in the film is a modified Honda CRF450X enduro model.
- The scene of flying through the ice canyon took the effects creators the most time and effort. The scene clearly references “Star Wars,” however, while Lucas did everything “in-camera,” this flight for “Oblivion” was created using 3ds Max and Houdini. A low-polygon model was created in Max, which was then detailed in Houdini and subsequently imported back into 3ds Max for texturing and shading. The flight through the canyon took the special effects creators the longest – a total of about 15 months. Over two hundred people worked on it.
- Filming of the rebel shelter – “Crow’s Nest” – took place on the grounds of the Market Street Power Plant, located near Baton Rouge. It is considered the oldest power plant in all of New Orleans. It was built in 1885 and closed about 40 years ago.
- Olga Kurylenko suggested making her character French rather than Russian.
- Kosinski talked about how they filmed the home of Tom Cruise and Andrea Riseborough’s characters – “Oblivion”: “I didn’t want to make a film with an excess of blue screen. So we found a way to modernize the front-projection method used by Kubrick in “2001: A Space Odyssey” (1968). He projected a high-resolution photograph onto the entire set and filmed everything in such a way that it appeared as if the image on the photo was located outside. And we did the same thing.”
- During the filming of scenes in “Oblivion,” they managed to avoid several problems that would have arisen from using blue screens. Firstly, the filming was done in “natural” lighting; the projection onto the screen was bright enough to provide the necessary shades throughout the set and on the actors’ faces. Secondly, during color correction, it was not necessary to remove the extra “blueness” that a blue screen would have given (especially in such quantities). And thirdly, the actors saw (almost) the same thing that the viewers would later see, which significantly simplified their task.
- A full-scale model of the aircraft used by Tom Cruise’s character (Bubbleship) was built. It is a hybrid of a helicopter and a jet fighter. According to Kosinski, he wanted to show “clean, advanced technology” in the film, not the typical rusty devices of post-apocalyptic settings that are about to fall apart. The direct manufacturer of the model was WildFactory, a company specializing in industrial concept design (WildFactory was the one who made the motorcycle models for the film “Tron: Legacy” (2010)). The “Bubbleship” model was made mainly of aluminum, is 25 feet (7.6 meters) long and weighs about two tons. This model had many moving parts: rotating engines, opening doors, etc. A rotating cockpit was used during the filming of flight scenes, where the actors had to hang upside down more than once or twice.
- Among the surviving works of art shown are “Liberty Bell,” as well as some paintings by Claude Monet and Andrew Wyeth (“Christina’s World”).
- According to the director, the films “The Omega Man” (1971), “2001: A Space Odyssey” (1968), “Blade Runner” (1982), and the novel “Hyperion” by Dan Simmons served as sources of inspiration for writing the story, the comic book, and creating the film.
- At the beginning of the film, during the “Universal” opening sequence, you can notice the “Tet” orbiting the Earth, which the film will be about.
- The prototype for the luxurious air mini-craft “The Bubble Ship,” piloted by Jack, was simply a utilitarian Bell 47 helicopter with a transparent round dome, seen by Joseph Kosinski at an exhibition at the Museum of Modern Art in Manhattan. It was proposed to combine this “base” with the main principles of the ship’s appearance from the film “2001: A Space Odyssey” (1968). And eventually, NASA engineers were brought in to work on it. The full-scale model had doors that opened, and the control panel in the cockpit was created with the consultation of Tom Cruise, who is a licensed pilot.
- In this film, Tom Cruise “updated” his favorite cap of the “New York Yankees” baseball club – for the first time since the film “War of the Worlds” (2005), he appeared in it on the big screen again.
- Tom Cruise celebrated his 50th birthday at the "Oblivion" set. To mark the occasion, Joseph Kosinski presented the star with one of the futuristic motorcycles directly from the film. Cruise, to everyone's surprise, reciprocated with a gift of his own: a large-scale model (made of high-quality die-cast metal) of the "Bubble Ship" in a glass case.
- After reading the script for "Oblivion," Freeman wanted not only to voice a role but also to appear in the film. Therefore, instead of being straightforward, he told the director he had a sore throat. However, the filmmakers were so eager to have Morgan participate in the project that they cast him anyway.
- Filming of the rebel stronghold – "Crow's Nest" – took place at the Market Street Power Plant, located near Baton Rouge. It is considered the oldest power plant in all of New Orleans. It was built in 1885 and closed approximately 40 years ago.
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