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illennium is a 1989 science fiction film directed by Michael Anderson and starring Kris Kristofferson, Cheryl Ladd, Robert Joy, Brent Carver, Al Waxman and Daniel J. Travanti. The original score was composed by Eric N. Robertson. It was marketed with the tagline "The people aboard Flight 35 are about to land 1,000 years from where they planned to."
Millennium is based on the 1977 short story "Air Raid" by John Varley. Varley started work on a screenplay in 1979, and released the expanded story in book-length form in 1983 as Millennium.
Cast
Kris Kristofferson as Bill Smith
Jamie Shannon as Young Bill Smith
Cheryl Ladd as Louise Baltimore
Daniel J. Travanti as Dr. Arnold Mayer
Robert Joy as Sherman the Robot
Lloyd Bochner as Walters
Brent Carver as Coventry
David McIlwraith as Tom Stanley
Maury Chaykin as Roger Keane
Al Waxman as Dr. Brindle
Lawrence Dane as Captain Vern Rockwell
Production
Millennium took 10 years to reach the screen. One director initially attached was visual effects designer Douglas Trumbull; Paul Newman and Jane Fonda were proposed to play the leads. MGM was attached to make the film; they also had Trumbull's Brainstorm in production at the time. The death of Brainstorm's leading lady Natalie Wood led to MGM briefly pulling the plug on said film and thus halted production on Millennium due to Trumbull's involvement. The role of director then passed to Richard Rush, Alvin Rakoff, and Phillip Borsos, before Michael Anderson, best known for 1956's Oscar-winning Around the World in 80 Days, stepped in.[3] Millennium's production designer, Gene Rudolf, had to produce a future setting that implied putrefaction and atrophy.
The largest set was the time-travel center for Louise Baltimore's operation. Rudolf created rusted catwalks that traversed a large open space. Buildings crumbled and exposed their infrastructures. The walls were painted dull green, black and coppery. Rudolf wanted the future to look dirty, sick and poisoned.
Several scenes are set in the vault for the decrepit council members overseeing the time travel operation. Rudolf designed their chamber as a semicircle of seven transparent, upright cylinders, each serving as a life-support device. Four of the cylinders held actors. The others were filled with bodily organ props and medical equipment that served as the last still living remnants of these members.
To create the time-travel effects of the Gate itself, cinematographer René Ohashi produced the ghostly shimmering lights by spinning metal wheels covered in Mylar.
Since actual aircraft could not be sent through the set, miniature models and a full-size mock-up of the tail-section of a Boeing 707 were used. Optical effects were used to make the planes look as if they were entering the set.
The penultimate scene took place in a contemporary American home. Rudolf's set was dominated by large horizontal windows. The room was filled with clocks, hourglasses and navigational equipment, in line with Dr. Arnold Mayer's fascination with time travel.
The scenes shot in the airport terminal buildings were actually shot at Toronto Lester B. Pearson International Airport, in the former Terminals 1 & 2. For the outdoor shot where Baltimore (Ladd) steals the car, two-way traffic was run in front of the Terminal 2 arrivals level where it is ordinarily a one-way road.
Reception
As of January 31, 2018, the film holds an 11% rating on review aggregator Rotten Tomatoes.
Alternate endings
The original North American theatrical and VHS release of the film features a close-up of Sherman as the gate explodes, followed by a shot of the sun rising over clouds.
The International theatrical release features a much wider shot of the gate's explosion, followed by a wormhole/time portal effect. The scene then dissolves into an underwater shot of the two main characters swimming from above, followed by a view of the characters in a nude, Eden-esque embrace.
The 1999 North American DVD release contains the International version of the ending. The simpler North American version can also be found on the DVD as a bonus feature on the last page of the Production Notes, as well as is the one featured on Netflix.
Home media
In February 2016, the film was released on Blu-ray by Shout! Factory in a double feature with R.O.T.O.R.