George Lucas once said that "the sound and music are 50% of the entertainment in a movie", and a recent trip to see Gravity backed up by a Dolby Atmos sound system left us very much in agreement with him.
What exactly is Atmos? Think of it as a totally different way of doing cinema sound, where rather than looking at individual channels of audio, sound exists in a 3D space that wraps completely around your head.
Comic book movies are often seen as the domain of spandex-clad demigods who battle moustache-twirling villains, but if 300 and Sin City - which both originated on the pages of Frank Miller works - are anything to go by they're not essential to telling a great story.
With sequels to 300 and Sin City incoming, we take a look at 8 great examples of comic book-inspired films with no superheroes in sight.
The 28-year-old Somalian-born actor made his debut alongside Tom Hanks in the Oscar-nominated drama, and according to The New Yorker was reduced to living off per diems from studio Sony Pictures at the Beverly Hills Hotel while promoting the film.
Meanwhile it's estimated that Hanks made a staggering $50 million from his lead part in the Paul Greengrass film.
We find other surprisingly low movie salaries - from low-budgeted films to blockbusters, accepted by up-and-coming newbies to certified stars - below:
March 5 2014, 15:59 GMT | By Emma Dibdin, Features Editor
"It's amazing how many people are closet Godzilla fans," director Gareth Edwards mused during the Q&A session that followed a footage screening of his monster remake last Friday. He's naturally hoping for a coming-out party come the film's release in May, but the in-built fandom brings with it a daunting level of pressure for a director with only one previous feature to his name - 2010's acclaimed micro-budget sci-fi Monsters.
Godzilla, aside from being a remake of a beloved property, will be the final film to come out of the long, fruitful partnership between Warner Bros and Legendary Pictures, which birthed Christopher Nolan's Dark Knight trilogy among other projects. The stakes are high.
"You cannot tell from my accent, but I consider myself part of the British film industry," he said as he collected his BAFTA for Best Director earlier this year. "I have lived in London for 13 years and done almost half of my movies here. I guess I make a very good case for curbing immigration."
Just an hour previously, Gravity triumphed in the Best British Film category igniting a mini-social media storm questioning its national identity.
Cuarón's film may not be a kitchen sink drama about working class grind, but look past the Hollywood stars and Warner Bros backing and this is undoubtedly a film that, like the Harry Potter series before it (the two share a British producer in David Heyman), was well-and-truly made in Britain.
"I want to share this with all the artists that live downstairs," Cuarón said in the BAFTA speech, referring to London-based visual effects company Framestore, the driving force behind the film's incredible outer space spectacle.
Cuarón sought out VFX supervisor Tim Webber to help make his rollercoaster epic a reality, and Digital Spy was fortunate enough to spend time with some of Framestore's "artists downstairs" to lift the lid on one of 2013's biggest blockbusters.
Stuart Penn, a CG sequence supervisor who's currently helping shape Marvel's Guardians of the Galaxy, spent six months on the film's Shepperton Studios set, but explained that Framestore's work began before there was even had a finished script.
Paul Beilby, CG lighting supervisor, said of the process: "We did something that was almost like an animated feature of Gravity before they even started shooting.
"Everything had to follow the plan, because obviously it was so necessary in terms of the lighting we had done, we had actually planned the lighting before they started shooting. We had this big animated feature that was a plan [based] on what we thought was going to happen.
"When we went on set, we know we are going to do this, so we had more time back at the studio to plan for what was coming. So it was a very highly-planned show, and I think that is one of the reasons why it's been a success."
Sylvain Degrotte, CG simulation supervisor, said that Gravity stood out from the previous films he's worked on because Framestore had direct access to Cuarón and his filmmaking team, including director of photography Emmanuel Lubezki.
"There was a lot of opinion in the background with the VFX supervisor, lots of views," he said of Cuarón. "And then once you are ready, you are able to get your feedback directly from him. That was a big, big change."
Penn admitted that the actors, Bullock in particular, had to go through an "adjustment phase" while working on the film.
"She had done a lot of physical training before coming to set, she was very fit," he explained. "We could just hang her upside down or spin her around - the first time we put her into the lightbox with a rig, I think we gave her quite a violent move to start and it was spinning her backwards and forwards, and she came out laughing at the end of it and said, 'Can we do that again?'."
Mark Bakowski, compositing supervisor, added that Bullock eventually became so good in the lightbox she was better than her stuntwoman.
Despite the surge in popularity of CGI-driven blockbusters, the team at Framestore don't believe Gravity lessens the importance of having actors or physical sets.
"We still have people on wires; if you can get things shot in camera then we are happy to do that," Penn said. "It's still easier to get an actor to act than getting twenty people to team together to make a virtual human," Beilby added.
Gravity was a "bring everybody moment" for Framestore, with most of the team working all-out to get the film completed for its Venice Film Festival world premiere. So how did the VFX team feel when they sat down and saw the movie finished for the first time?
"I came out shaking," Penn said. "I'm not sure if that was just the film or the three years working on it all coming back!"
Beilby confessed that he was still gripped with anxiety at the film's unveiling. Gravity's extended opening shot - presented in Cuarón's signature single-take style - was causing issues with the team late on in the process.
"When I watched the first shot, I still remember the fear," he said. "The first shot is 15 minutes, and we did it pretty much all again at the end of the movie because they decided that they wanted to flip [the image] the other way up. Because it all flows together, we had to redo the beginning, but it does look much better and it was the right decision."
Degrotte confessed that being so integral to a movie's production means he finds it more difficult to experience as an audience member would.
"I think for a movie like this that's a rollercoaster of tension, when you work [on] it for so long and you know the movie because you've worked on all sequences, unfortunately you don't enjoy the story as much," he observed.
As for Gravity's status as a 'British Film', the Framestore team believe the UK is right to take credit for film and its success.
"The entire film was shot here and most of the crew were British, the producers were British," Penn said.
"They see the two American stars and they don't see that behind that there was a British crew creating all these images and working on it for two and a half years," added Beilby.
Framestore may be home to the "artists downstairs", but Gravity has given these talented British-based VFX wizards the recognition they rightly deserve.
Gravity is available on DVD, Blu-ray, Blu-ray 3D and download now.
We're delighted that Leonardo DiCaprio got nominated. And Her. And Philomena's Steve Coogan and Jeff Pope. We actually agreed with a vast number of Oscar noms this year. However, there were some films and actors who we felt didn't get the recognition they deserved, so we decided to honour them in a different form.
Below are Digital Spy's Alternative Oscar Awards, celebrating this year's greatest who missed out on a nomination. Read on to find out the nominees and who we crowned the best of the rest.
Thanks to awards season, it feels as though everybody has been talking about the same old films forever. Well, that period of cinema will be done and dusted for another year following tomorrow night's Oscars ceremony, which makes it time to talk about some new titles! This month welcomes a variety of films; from Wes Anderson's newest release to Scarlett Johansson as both a sexy alien and Marvel's Black Widow - no matter what you fancy watching, there is sure to be a March release suited to you!
Digital Spy rounds up the five must-see movies for March below...
Liam Neeson is back on the big screen this week with Non-Stop, the action-packed, whodunnit thriller that will have audiences on the edge of their seat throughout.
Whilst undeniably in his element as troubled air marshal Bill Marks, there is more to Neeson than the action tough guy that he has become so well-loved for following thrillers such as Taken and Unknown.
The Northern Irish actor has a back catalogue heaving with strong films and has played such a diverse variety of characters you can be forgiven for forgetting it's him on screen.
To help jog your memory, we at Digital Spy have picked Liam Neeson's five best movie roles below: