I'm in love with Hanz Zimmer. His music takes me to new realms. I'm trying to find the most inspiring of his soundtracks. Here's a movie with that has the best Hanz Zimmer soundtrack:
https://en.wikipedia.org/wiki/Interstellar_(film)#Wormholes_and_black_holes
Interstellar (film) - Wikipedia
2006-07-18
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<div><div>
<table><tbody><tr><th>Interstellar</th></tr><tr><td><a href="/wiki/File:Interstellar_film_poster.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Christopher_Nolan">Christopher Nolan</a></td></tr><tr><th>Written by</th><td><div>
<ul><li><a href="/wiki/Jonathan_Nolan">Jonathan Nolan</a></li>
<li>Christopher Nolan</li></ul>
</div></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Emma_Thomas">Emma Thomas</a></li>
<li>Christopher Nolan</li>
<li><a href="/wiki/Lynda_Obst">Lynda Obst</a></li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Matthew_McConaughey">Matthew McConaughey</a></li>
<li><a href="/wiki/Anne_Hathaway">Anne Hathaway</a></li>
<li><a href="/wiki/Jessica_Chastain">Jessica Chastain</a></li>
<li><a href="/wiki/Bill_Irwin">Bill Irwin</a></li>
<li><a href="/wiki/Ellen_Burstyn">Ellen Burstyn</a></li>
<li><a href="/wiki/Michael_Caine">Michael Caine</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Hoyte_van_Hoytema">Hoyte van Hoytema</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Lee_Smith_(film_editor)">Lee Smith</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Hans_Zimmer">Hans Zimmer</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Legendary_Pictures">Legendary Pictures</a></li>
<li><a href="/wiki/Syncopy_Inc.">Syncopy</a></li>
<li>Lynda Obst Productions</li></ul>
</div></td></tr><tr><th>Distributed by</th><td><div>
<ul><li><a href="/wiki/Paramount_Pictures">Paramount Pictures</a> (North America)</li>
<li><a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a> (International)</li></ul>
</div></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>October 26, 2014 (<a href="/wiki/TCL_Chinese_Theatre">TCL Chinese Theatre</a>)</li>
<li>November 5, 2014 (United States)</li>
<li>November 7, 2014 (United Kingdom)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>169 minutes<sup><a href="#cite_note-BBFC-Oct2014-1">[1]</a></sup></td></tr><tr><th>Countries</th><td><div>
<ul><li>United Kingdom<sup><a href="#cite_note-LUMIERE-2">[2]</a></sup></li>
<li>United States<sup><a href="#cite_note-LUMIERE-2">[2]</a></sup></li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$165 million<sup><a href="#cite_note-BOM-3">[3]</a></sup></td></tr><tr><th>Box office</th><td>$773.8 million<sup><a href="#cite_note-BOM-3">[3]</a></sup></td></tr></tbody></table>
<p><i><b>Interstellar</b></i> is a 2014 <a href="/wiki/Epic_film">epic</a> <a href="/wiki/Science_fiction_film">science fiction film</a> co-written, directed, and produced by <a href="/wiki/Christopher_Nolan">Christopher Nolan</a>. It stars <a href="/wiki/Matthew_McConaughey">Matthew McConaughey</a>, <a href="/wiki/Anne_Hathaway">Anne Hathaway</a>, <a href="/wiki/Jessica_Chastain">Jessica Chastain</a>, <a href="/wiki/Bill_Irwin">Bill Irwin</a>, <a href="/wiki/Ellen_Burstyn">Ellen Burstyn</a>, <a href="/wiki/Matt_Damon">Matt Damon</a>, and <a href="/wiki/Michael_Caine">Michael Caine</a>. Set in a <a href="/wiki/Dystopia">dystopian</a> future where humanity is struggling to survive, the film follows a group of <a href="/wiki/Astronaut">astronauts</a> who travel through a <a href="/wiki/Wormhole">wormhole</a> near <a href="/wiki/Saturn">Saturn</a> in search of a new home for mankind.
</p><p>Brothers Christopher and <a href="/wiki/Jonathan_Nolan">Jonathan Nolan</a> wrote the screenplay, which had its origins in a script Jonathan developed in 2007. <a href="/wiki/Caltech">Caltech</a> theoretical physicist and 2017 <a href="/wiki/Nobel_Prize_in_Physics">Nobel laureate in Physics</a><sup><a href="#cite_note-NobelPrize-4">[4]</a></sup> <a href="/wiki/Kip_Thorne">Kip Thorne</a> was an executive producer, acted as a scientific consultant, and wrote a tie-in book, <i><a href="/wiki/The_Science_of_Interstellar">The Science of Interstellar</a></i>. Cinematographer <a href="/wiki/Hoyte_van_Hoytema">Hoyte van Hoytema</a> shot it on <a href="/wiki/35_mm_movie_film">35 mm movie film</a> in the <a href="/wiki/Panavision">Panavision</a> <a href="/wiki/Anamorphic_format">anamorphic format</a> and <a href="/wiki/IMAX">IMAX</a> 70 mm. Principal photography began in late 2013 and took place in <a href="/wiki/Alberta">Alberta</a>, <a href="/wiki/Iceland">Iceland</a>, and <a href="/wiki/Los_Angeles">Los Angeles</a>. <i>Interstellar</i> uses extensive practical and <a href="/wiki/Miniature_effect">miniature effects</a> and the company <a href="/wiki/Double_Negative_(VFX)">Double Negative</a> created additional <a href="/wiki/Visual_effect">digital effects</a>.
</p><p><i>Interstellar</i> premiered on October 26, 2014, in Los Angeles. In the United States, it was first released on <a href="/wiki/Film_stock">film stock</a>, expanding to venues using digital projectors. The film had a worldwide gross over $677 million (and $773 million with subsequent re-releases), making it the <a href="/wiki/2014_in_film#Highest-grossing_films">tenth-highest grossing film of 2014</a>. It received acclaim for its performances, direction, screenplay, musical score, visual effects, ambition, themes, and emotional weight. It has also received praise from many astronomers for its scientific accuracy and portrayal of theoretical astrophysics. Since its premiere, <i>Interstellar</i> gained a <a href="/wiki/Cult_following">cult following</a>,<sup><a href="#cite_note-5">[5]</a></sup> and now is regarded by many sci-fi experts as one of the <a href="/wiki/List_of_films_considered_the_best#Science_fiction">best science-fiction films of all time</a>.<sup><a href="#cite_note-6">[6]</a></sup><sup><a href="#cite_note-7">[7]</a></sup> <i>Interstellar</i> was nominated for five awards at the <a href="/wiki/87th_Academy_Awards">87th Academy Awards</a>, winning <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>, and received <a href="/wiki/List_of_accolades_received_by_Interstellar">numerous other accolades</a>.
</p>
<h2>Plot</h2>
<p>In 2067, a global famine caused humanity to abandon scientific pursuits such as space exploration. Ex-<a href="/wiki/NASA">NASA</a> pilot Joseph Cooper is forced to work as a farmer. One day, Cooper experiences a gravitational "anomaly" in his daughter Murph's bedroom. He deduces it to be a pattern of GPS coordinates and arrives at a secret NASA facility headed by Professor Brand. Brand explains to Cooper that it is engaged in a secret mission to discover an <a href="/wiki/Exoplanet">exoplanet</a> capable of supporting life and that he is working on a gravity-equation. He enlists Cooper's help to pilot an exploratory spacecraft with three other scientists – Romilly, Doyle, and Brand’s daughter Amelia. The crew travels through a <a href="/wiki/Wormhole">wormhole</a> on board the <i>Endurance</i> to pass through to another galaxy. Their mission is to investigate three planets, orbiting a <a href="/wiki/Supermassive_black_hole">supermassive black hole</a> called Gargantua, each of which was previously explored by a NASA scientist-explorer. 
</p><p>The first planet is an <a href="/wiki/Ocean_world">aqua planet</a>. The NASA explorer there is found dead, and one of their crew – Doyle – drowns after being caught in a massive tidal wave. The same tide also causes the probe's engines to be filled with water, forcing Cooper and Amelia to wait for them to dry out. They return to the <i>Endurance</i> in an hour, finding that 23 years have passed aboard due to the <a href="/wiki/Gravitational_time_dilation">time dilation</a> caused by the planet's proximity to Gargantua. In those 23 years, Murph has become a scientist, and begun working with Brand at NASA. She learns from a dying Professor Brand that he had given up on solving his gravity-equation, knowing that information is needed from inside a black hole. Instead, he put their mission's hopes on Cooper's team establishing a space colony using pre-fertilized eggs on a new habitable planet. 
</p><p>At the second planet, the crew find its explorer, Mann, to be alive and awaken him from cryostasis. He eventually reveals to Cooper that he lied about the planet's habitability in the hope that NASA sent a mission to rescue him. Romilly dies in an explosion when he attempts to access the system's logs, while Mann tries to kill Cooper and hijack the <i>Endurance</i> spacecraft. Mann is killed when his craft fails to dock properly, and Cooper regains command of the <i>Endurance</i>. Cooper realizes that the <i>Endurance</i> only has enough resources for one person to safely complete their mission. He initiates a <a href="/wiki/Gravity_assist">slingshot move</a> around Gargantua, setting it to use gravity and be propelled to the final planet. At the last minute, he sacrifices himself by detaching from the spaceship and falling into the black hole, so that Amelia might safely complete the mission. 
</p><p>Cooper survives and finds himself inside a five-dimensional <a href="/wiki/Tesseract">tesseract</a>, out of view from beyond the <a href="/wiki/Event_horizon">event horizon</a>. From inside he can see moments in time from inside Murph's childhood bedroom. He finds her returning to look for clues to the gravity-equation, and he contacts her by manipulating items in the room with gravity to communicate through <a href="/wiki/Morse_code">Morse code</a>. Deducing that this construct has been created by future humans with the ability to time-travel, Cooper imparts to her the information she needs. With his mission completed, he is ejected by the future beings, who return him to the Solar System. He is reunited with a now elderly Murph, who he learns has used the gravity-equation to lead humanity's exodus from Earth. She advises him to seek out Amelia, and he sets off. Meanwhile, on the mission's final planet, Amelia is setting up a new colony for future humans to inhabit. She removes her helmet and breathes in the air, showing that the planet is capable of supporting human life. 
</p>
<h2>Cast</h2>
<div><div><p><a href="/wiki/File:Matthew_McConaughey_-_Goldene_Kamera_2014_-_Berlin.jpg"></a></p></div><div><p><a href="/wiki/File:Anne_Hathaway_2014_(cropped).jpg"></a></p></div></div>
<ul><li><a href="/wiki/Matthew_McConaughey">Matthew McConaughey</a> as Joseph Cooper,<sup><a href="#cite_note-8">[a]</a></sup> a widowed <a href="/wiki/NASA">NASA</a> pilot who, after the agency was closed by the government, had become a farmer</li>
<li><a href="/wiki/Anne_Hathaway">Anne Hathaway</a> as Dr. Amelia Brand, a NASA scientist, and astronaut</li>
<li><a href="/wiki/Jessica_Chastain">Jessica Chastain</a> as Murphy "Murph" Cooper, Joseph's daughter, who eventually becomes a NASA scientist</li>
<li><a href="/wiki/Mackenzie_Foy">Mackenzie Foy</a> as young Murph</li>
<li><a href="/wiki/Ellen_Burstyn">Ellen Burstyn</a> as elderly Murph</li>
<li><a href="/wiki/John_Lithgow">John Lithgow</a> as Donald, Cooper's elderly father-in-law</li>
<li><a href="/wiki/Michael_Caine">Michael Caine</a> as Professor John Brand, a high-ranking NASA scientist, ideator of Plan A, former mentor of Cooper, and father of Amelia</li>
<li><a href="/wiki/David_Gyasi">David Gyasi</a> as Romilly, another high-ranking NASA member, and <i>Endurance</i> crew member</li>
<li><a href="/wiki/Wes_Bentley">Wes Bentley</a> as Doyle, a high-ranking NASA member, and <i>Endurance</i> crew member</li>
<li><a href="/wiki/Casey_Affleck">Casey Affleck</a> as Tom Cooper, Joseph's son, who eventually grows up to become a farmer</li>
<li><a href="/wiki/Timoth%C3%A9e_Chalamet">Timothée Chalamet</a> as young Tom</li>
<li><a href="/wiki/Matt_Damon">Matt Damon</a> as Mann, a NASA astronaut sent to an icy planet during the Lazarus program</li>
<li><a href="/wiki/Bill_Irwin">Bill Irwin</a> as TARS (voice and puppetry) and CASE (puppetry)</li>
<li><a href="/wiki/Josh_Stewart">Josh Stewart</a> as CASE (voice)</li>
<li><a href="/wiki/Topher_Grace">Topher Grace</a> as Getty, Murph's colleague and love interest</li>
<li><a href="/wiki/Leah_Cairns">Leah Cairns</a> as Lois, Tom's wife</li>
<li><a href="/wiki/David_Oyelowo">David Oyelowo</a> as School Principal</li>
<li><a href="/wiki/Collette_Wolfe">Collette Wolfe</a> as Ms. Hanley</li>
<li><a href="/wiki/William_Devane">William Devane</a> as Williams, another NASA member</li>
<li><a href="/wiki/Elyes_Gabel">Elyes Gabel</a> as Administrator</li>
<li><a href="/wiki/Jeff_Hephner">Jeff Hephner</a> as Doctor</li>
<li>Russ Fega as Crew Chief</li></ul>
<h2>Production</h2>
<h3>Crew</h3>
<div>
<ul><li><a href="/wiki/Christopher_Nolan">Christopher Nolan</a> – Director, producer, writer</li>
<li><a href="/wiki/Jonathan_Nolan">Jonathan Nolan</a> – Writer</li>
<li><a href="/wiki/Emma_Thomas">Emma Thomas</a> – Producer</li>
<li><a href="/wiki/Lynda_Obst">Lynda Obst</a> – Producer</li>
<li><a href="/wiki/Hoyte_van_Hoytema">Hoyte van Hoytema</a> – Cinematographer</li>
<li><a href="/wiki/Nathan_Crowley">Nathan Crowley</a> – Production designer</li>
<li><a href="/wiki/Mary_Zophres">Mary Zophres</a> – Costume designer</li>
<li><a href="/wiki/Lee_Smith_(film_editor)">Lee Smith</a> – Editor</li>
<li><a href="/wiki/Hans_Zimmer">Hans Zimmer</a> – Music composer</li>
<li><a href="/wiki/Paul_Franklin_(visual_effects_supervisor)">Paul Franklin</a> – Visual effects supervisor</li>
<li><a href="/wiki/Kip_Thorne">Kip Thorne</a> – Consultant, executive producer</li></ul>
</div>
<h3>Development and financing</h3>
<p>The premise for <i>Interstellar</i> was conceived by producer <a href="/wiki/Lynda_Obst">Lynda Obst</a> and theoretical physicist <a href="/wiki/Kip_Thorne">Kip Thorne</a>, who collaborated on the film <i><a href="/wiki/Contact_(1997_American_film)">Contact</a></i> (1997), and had known each other since <a href="/wiki/Carl_Sagan">Carl Sagan</a> set them up on a blind date.<sup><a href="#cite_note-jolin-9">[8]</a></sup><sup><a href="#cite_note-wired-10">[9]</a></sup> The two conceived a scenario, based on Thorne's work, about "the most exotic events in the universe suddenly becoming accessible to humans," and attracted filmmaker <a href="/wiki/Steven_Spielberg">Steven Spielberg</a>'s interest in directing.<sup><a href="#cite_note-Fernandez-Mar2007-11">[10]</a></sup> The film began development in June 2006, when Spielberg and <a href="/wiki/Paramount_Pictures">Paramount Pictures</a> announced plans for a science-fiction film based on an eight-page treatment written by Obst and Thorne. Obst was attached to produce.<sup><a href="#cite_note-Fleming-Jun2006-12">[11]</a></sup><sup><a href="#cite_note-news.sciencemag.org-13">[12]</a></sup> By March 2007, Jonathan Nolan was hired to write a <a href="/wiki/Screenplay">screenplay</a>.<sup><a href="#cite_note-LATimes-Mar2007-14">[13]</a></sup>
</p><p>After Spielberg moved his production studio <a href="/wiki/DreamWorks_Pictures">DreamWorks</a> from Paramount to <a href="/wiki/Walt_Disney_Studios_(division)">Walt Disney Studios</a> in 2009, Paramount needed a new director for <i>Interstellar</i>. Jonathan Nolan recommended his brother Christopher, who joined the project in 2012.<sup><a href="#cite_note-jensen-15">[14]</a></sup> Christopher Nolan met with Thorne, then attached as executive producer, to discuss the use of <a href="/wiki/Spacetime">spacetime</a> in the story.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup> In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct <i>Interstellar</i>.<sup><a href="#cite_note-Variety-Jan2013-17">[16]</a></sup> Nolan said he wanted to encourage the goal of <a href="/wiki/Human_spaceflight">human spaceflight</a>,<sup><a href="#cite_note-fritz-18">[17]</a></sup> and intended to merge his brother's screenplay with his own.<sup><a href="#cite_note-Deadline-Jan2013-19">[18]</a></sup> By the following March, Nolan was confirmed to direct <i>Interstellar</i>, which would be produced under his label <a href="/wiki/Syncopy_Inc.">Syncopy</a> and <a href="/wiki/Lynda_Obst_Productions">Lynda Obst Productions</a>.<sup><a href="#cite_note-HR-Mar2013-20">[19]</a></sup> <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> said Nolan would earn a salary of $20 million against 20% of the total gross.<sup><a href="#cite_note-HollywoodReporter-Oct2014-21">[20]</a></sup> To research for the film, Nolan visited NASA and the <a href="/wiki/Interplanetary_Transport_System">private space program</a> at <a href="/wiki/SpaceX">SpaceX</a>.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup>
</p><p>Warner Bros. sought a stake in Nolan's production of <i>Interstellar</i> from Paramount, despite their traditional rivalry, and agreed to give Paramount its rights to co-finance the next film in the <i><a href="/wiki/Friday_the_13th_(franchise)">Friday the 13th</a></i> horror franchise, with a stake in a future film based on the television series <i><a href="/wiki/South_Park">South Park</a></i>. Warner Bros. also agreed to let Paramount co-finance an indeterminate "A-list" property.<sup><a href="#cite_note-Kit-Masters-Jun2013-22">[21]</a></sup> In August 2013, <a href="/wiki/Legendary_Pictures">Legendary Pictures</a> finalized an agreement with Warner Bros. to finance approximately 25% of the film's production. Although it failed to renew its eight-year production partnership with Warner Bros., Legendary reportedly agreed to forgo financing <i><a href="/wiki/Batman_v_Superman:_Dawn_of_Justice">Batman v Superman: Dawn of Justice</a></i> (2016) in exchange for the stake in <i>Interstellar</i>.<sup><a href="#cite_note-galloway20130814-23">[22]</a></sup>
</p>
<h3>Writing and casting</h3>
<div><p><a href="/wiki/File:Dust-storm-Texas-1935.png"></a></p></div>
<p>Screenwriter Jonathan Nolan worked on the script for four years.<sup><a href="#cite_note-jolin-9">[8]</a></sup> To learn the scientific aspects, he studied <a href="/wiki/Theory_of_relativity">relativity</a> at the <a href="/wiki/California_Institute_of_Technology">California Institute of Technology</a>.<sup><a href="#cite_note-OraTV-Apr2014-24">[23]</a></sup> Jonathan was pessimistic about the <a href="/wiki/Space_Shuttle_program">Space Shuttle program</a> ending and how NASA lacked financing for a <a href="/wiki/Human_mission_to_Mars">human mission to Mars</a>, drawing inspiration from science-fiction films with <a href="/wiki/Apocalyptic_and_post-apocalyptic_fiction">apocalyptic</a> themes, such as <i><a href="/wiki/WALL-E">WALL-E</a></i> (2008) and <i><a href="/wiki/Avatar_(2009_film)">Avatar</a></i> (2009). Jeff Jensen of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> commented: "He set the story in a dystopian future ravaged by blight, but populated with hardy folk who refuse to bow to despair."<sup><a href="#cite_note-jensen-15">[14]</a></sup> His brother Christopher had worked on other science fiction scripts but decided to take the <i>Interstellar</i> script and choose among the vast array of ideas presented by Jonathan and Thorne, picking what he felt, as director, he could get "across to the audience and hopefully not lose them," before he merged it with a script he had worked on for years on his own.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup><sup><a href="#cite_note-marlow-25">[24]</a></sup> Christopher kept in place Jonathan's conception of the first hour, which is set on a <a href="/wiki/Resource_depletion">resource depleted</a> Earth in the near future. The setting was inspired by the <a href="/wiki/Dust_Bowl">Dust Bowl</a> that took place in the United States during the <a href="/wiki/Great_Depression">Great Depression</a> in the 1930s.<sup><a href="#cite_note-jolin-9">[8]</a></sup> He revised the rest of the script, where a team travels into space, instead.<sup><a href="#cite_note-jolin-9">[8]</a></sup> After watching the 2012 documentary <i><a href="/wiki/The_Dust_Bowl_(film)">The Dust Bowl</a></i> for inspiration, Christopher contacted director <a href="/wiki/Ken_Burns">Ken Burns</a> and producer Dayton Duncan, requesting permission to use some of their featured interviews in <i>Interstellar</i>, which was granted.<sup><a href="#cite_note-burns-26">[25]</a></sup>
</p><p>Christopher Nolan wanted an actor who could bring to life his vision of the main character as an <a href="/wiki/Everyman">everyman</a> with whom "the audience could experience the story."<sup><a href="#cite_note-mcclintock20140326-27">[26]</a></sup> He became interested in casting <a href="/wiki/Matthew_McConaughey">Matthew McConaughey</a> after watching him in an early cut of the 2012 film <i><a href="/wiki/Mud_(2012_film)">Mud</a></i>,<sup><a href="#cite_note-mcclintock20140326-27">[26]</a></sup> which he had seen as a friend of one of its producers, Aaron Ryder.<sup><a href="#cite_note-jolin-9">[8]</a></sup> Nolan went to visit McConaughey while he was filming for the TV series <i><a href="/wiki/True_Detective">True Detective</a></i>.<sup><a href="#cite_note-td-28">[27]</a></sup> <a href="/wiki/Anne_Hathaway">Anne Hathaway</a> was invited to Nolan's home, where she read the script for <i>Interstellar</i>.<sup><a href="#cite_note-itzkoff-29">[28]</a></sup> In early 2013, both actors were cast in the starring roles.<sup><a href="#cite_note-Fleming-Apr2013-30">[29]</a></sup> <a href="/wiki/Jessica_Chastain">Jessica Chastain</a> was contacted while she was working on <i><a href="/wiki/Miss_Julie_(2014_film)">Miss Julie</a></i> (2014) in Northern Ireland, and a script was delivered to her.<sup><a href="#cite_note-itzkoff-29">[28]</a></sup> Originally, <a href="/wiki/Irrfan_Khan">Irrfan Khan</a> was offered the role of Dr. Mann but rejected due to scheduling conflicts. <a href="/wiki/Matt_Damon">Matt Damon</a> was cast as Mann in late August 2013 and completed filming his scenes in Iceland.<sup><a href="#cite_note-jagernauth-31">[30]</a></sup>
</p>
<h3>Principal photography</h3>
<p>Nolan shot <i>Interstellar</i> on 35 mm film in the <a href="/wiki/Panavision">Panavision</a> <a href="/wiki/Anamorphic_format">anamorphic format</a> and <a href="/wiki/IMAX">IMAX</a> 70 mm photography.<sup><a href="#cite_note-deadline-32">[31]</a></sup> Cinematographer <a href="/wiki/Hoyte_van_Hoytema">Hoyte van Hoytema</a> was hired for <i>Interstellar</i>, as <a href="/wiki/Wally_Pfister">Wally Pfister</a>, Nolan's cinematographer on all of his previous films, was making his directorial debut working on <i><a href="/wiki/Transcendence_(2014_film)">Transcendence</a></i> (2014).<sup><a href="#cite_note-Jagernauth-Apr2013-33">[32]</a></sup> More IMAX cameras were used for <i>Interstellar</i> than for any of Nolan's previous films. To minimize the use of <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a> (CGI), the director had practical locations built, such as the interior of a space shuttle.<sup><a href="#cite_note-mcclintock20140326-27">[26]</a></sup> Van Hoytema retooled an IMAX camera to be <a href="/wiki/Hand-held_camera">hand-held</a> for shooting interior scenes.<sup><a href="#cite_note-jolin-9">[8]</a></sup> Some of the film's sequences were shot with an IMAX camera installed in the nose cone of a <a href="/wiki/Learjet">Learjet</a>.<sup><a href="#cite_note-Learjet-34">[33]</a></sup>
</p><p>Nolan, who is known for keeping details of his productions secret, strove to ensure secrecy for <i>Interstellar</i>. Writing for <i><a href="/wiki/The_Wall_Street_Journal">The Wall Street Journal</a></i>, Ben Fritz stated, "The famously secretive filmmaker has gone to extreme lengths to guard the script to ... <i>Interstellar</i>, just as he did with the blockbuster <i>Dark Knight</i> trilogy."<sup><a href="#cite_note-WSJ-Oct2013-35">[34]</a></sup> As one security measure, <i>Interstellar</i> was filmed under the name <i>Flora's Letter</i>,<sup><a href="#cite_note-volmers-36">[35]</a></sup> Flora being one of Nolan's four children with producer Emma Thomas.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup>
</p>
<div><p><a href="/wiki/File:Sv%C3%ADnafellsj%C3%B6kull.JPG"></a></p><div><p>The Svínafellsjökull glacier in <a href="/wiki/Iceland">Iceland</a> was used as a filming location for <i>Interstellar</i>, doubling for Mann's planet.</p></div></div>
<p>The film's <a href="/wiki/Principal_photography">principal photography</a> was scheduled to last four months.<sup><a href="#cite_note-jagernauth-31">[30]</a></sup> It began on August 6, 2013, in the province of <a href="/wiki/Alberta">Alberta</a>, Canada.<sup><a href="#cite_note-galloway20130814-23">[22]</a></sup> Towns in Alberta where shooting took place included <a href="/wiki/Nanton,_Alberta">Nanton</a>, <a href="/wiki/Longview,_Alberta">Longview</a>, <a href="/wiki/Lethbridge">Lethbridge</a>, <a href="/wiki/Fort_Macleod">Fort Macleod</a>, and <a href="/wiki/Okotoks">Okotoks</a>. In Okotoks, filming took place at the <a href="/wiki/Seaman_Stadium">Seaman Stadium</a> and the Olde Town Plaza.<sup><a href="#cite_note-volmers-36">[35]</a></sup> For a cornfield scene, production designer <a href="/wiki/Nathan_Crowley">Nathan Crowley</a> planted 500 acres (200 ha) of corn that would be destroyed in an apocalyptic <a href="/wiki/Dust_storm">dust storm</a> scene,<sup><a href="#cite_note-jensen-15">[14]</a></sup> intended to be similar to storms experienced during the Dust Bowl in 1930s America.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup> Additional scenes involving the dust storm and McConaughey's character were also shot in <a href="/wiki/Fort_Macleod">Fort Macleod</a>, where the giant dust clouds were created on location using large fans to blow <a href="/wiki/Cellulose_fiber">cellulose-based</a> synthetic dust through the air.<sup><a href="#cite_note-McTighe-Aug2013-37">[36]</a></sup> Filming in the province lasted until September 9, 2013, and involved hundreds of extras in addition to 130 crew members, most of whom were local.<sup><a href="#cite_note-volmers-36">[35]</a></sup>
</p><p>Shooting also took place in Iceland, where Nolan had previously filmed scenes for <i><a href="/wiki/Batman_Begins">Batman Begins</a></i> (2005).<sup><a href="#cite_note-Verrier-Horn-Apr2014-38">[37]</a></sup> The location was chosen to represent two extraterrestrial planets: one covered in ice, and the other in water.<sup><a href="#cite_note-jolin-9">[8]</a></sup> The crew transported mock spaceships weighing about 10,000 pounds (4,500 kg) to the country.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup> They spent two weeks shooting there,<sup><a href="#cite_note-jagernauth-31">[30]</a></sup> during which a crew of about 350 people, including 130 locals, worked on the film. Locations included the Svínafellsjökull glacier and the town of <a href="/wiki/Kirkjub%C3%A6jarklaustur">Klaustur</a>.<sup><a href="#cite_note-NewsofIceland-Sep2013-39">[38]</a></sup><sup><a href="#cite_note-IcelandReview-Sep2013-40">[39]</a></sup> While filming a water scene in Iceland, Hathaway almost suffered <a href="/wiki/Hypothermia">hypothermia</a> because the <a href="/wiki/Dry_suit">dry suit</a> she was wearing had not been properly secured.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup>
</p><p>After the schedule in Iceland was completed, the crew moved to Los Angeles to shoot for 54 days. Filming locations included the <a href="/wiki/Westin_Bonaventure_Hotel">Westin Bonaventure Hotel and Suites</a>, the <a href="/wiki/Los_Angeles_Convention_Center">Los Angeles Convention Center</a>, a Sony Pictures <a href="/wiki/Soundstage">soundstage</a> in <a href="/wiki/Culver_City,_California">Culver City</a>, and a private residence in <a href="/wiki/Altadena,_California">Altadena, California</a>.<sup><a href="#cite_note-Verrier-Nov2013-41">[40]</a></sup> Principal photography concluded in December 2013.<sup><a href="#cite_note-Zeitchik-Dec2013-42">[41]</a></sup> Production had a budget of $165 million, $10 million less than was allotted by Paramount, Warner Bros., and Legendary Pictures.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup>
</p>
<h3>Production design</h3>
<div><div><p><a href="/wiki/File:Interstellar_film_-_Endurance_spacecraft.jpg"></a></p></div><div><p><a href="/wiki/File:S130e012150.jpg"></a></p></div></div>
<p><i>Interstellar</i> features three spacecraft— a ranger, the <i>Endurance</i>, and a lander. The ranger's function is similar to the <a href="/wiki/Space_Shuttle">Space Shuttle</a>'s, being able to enter and exit planetary atmospheres. The <i>Endurance</i>, the crew's <a href="/wiki/Mother_ship">mother ship</a>, is a circular structure consisting of 12 capsules, laid flat to mimic a clock: Four capsules with planetary settling equipment, four with engines, and four with the permanent functions of cockpit, medical labs, and habitation. Production designer Nathan Crowley said the <i>Endurance</i> was based on the <a href="/wiki/International_Space_Station">International Space Station</a>: "It's a real mish-mash of different kinds of technology. You need analogue stuff, as well as digital stuff, you need backup systems and tangible switches. It's really like a submarine in space. Every inch of space is used, everything has a purpose." Lastly, the lander transports the capsules with settling equipment to planetary surfaces. Crowley compared it to "a heavy Russian helicopter."<sup><a href="#cite_note-jolin-9">[8]</a></sup>
</p><p>The film also features two robots, CASE and TARS, as well as a dismantled third robot, KIPP. Nolan wanted to avoid making the robots <a href="/wiki/Anthropomorphism">anthropomorphic</a> and chose a 1.5 m (4.9 ft) <a href="/wiki/Quadrilateral">quadrilateral</a> design. The director said: "It has a very complicated design philosophy. It's based on mathematics. You've got four main blocks and they can be joined in three ways. So, you have three combinations you follow. But then within that, it subdivides into a further three joints. And all the places we see lines—those can subdivide further. So you can unfold a finger, essentially, but it's all proportional." Actor <a href="/wiki/Bill_Irwin">Bill Irwin</a> voiced and physically controlled both robots, but his image was digitally removed from the film, and actor <a href="/wiki/Josh_Stewart">Josh Stewart</a>'s voice replaced his voicing for CASE.<sup><a href="#cite_note-jolin-9">[8]</a></sup> The human space habitats resemble <a href="/wiki/O%27Neill_cylinder">O'Neill cylinders</a>, a theoretical <a href="/wiki/Space_habitat">space habitat</a> model proposed by physicist <a href="/wiki/Gerard_K._O%27Neill">Gerard K. O'Neill</a> in 1976.<sup><a href="#cite_note-GQ-Oct2014-43">[42]</a></sup>
</p>
<h3>Sound design and music</h3>
<p><a href="/wiki/Gregg_Landaker">Gregg Landaker</a> and <a href="/wiki/Gary_Rizzo">Gary Rizzo</a> were the film's <a href="/wiki/Audio_engineer">audio engineers</a> tasked with <a href="/wiki/Audio_mixing">audio mixing</a>, while sound editor <a href="/wiki/Richard_King_(sound_designer)">Richard King</a> supervised the process.<sup><a href="#cite_note-Desowitz-Sep2014-44">[43]</a></sup> Christopher Nolan sought to mix the sound to take maximum advantage of theater equipment<sup><a href="#cite_note-Hammond-Mar2014-45">[44]</a></sup> and paid close attention to designing the sound mix, like focusing on the sound of buttons being pressed with astronaut suit gloves.<sup><a href="#cite_note-jensen-15">[14]</a></sup> The studio's website stated that the film was "mixed to maximize the power of the low-end frequencies in the main channels, as well as in the <a href="/wiki/Subwoofer">subwoofer</a> channel."<sup><a href="#cite_note-InterstellarMovie-46">[45]</a></sup> Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasizing that this effect was intentional and not a fault in their equipment.<sup><a href="#cite_note-McClintock-Nov2014-47">[46]</a></sup>
</p><p>Composer <a href="/wiki/Hans_Zimmer">Hans Zimmer</a>, who scored <a href="/wiki/The_Dark_Knight_Trilogy">Nolan's <i>The Dark Knight Trilogy</i></a> and <i><a href="/wiki/Inception">Inception</a></i> (2010), returned to score <i>Interstellar</i>. Nolan chose not to provide Zimmer with a script or any plot details for writing the film's music but instead gave the composer a single page that told the story of a father leaving his child for work. It was through this connection that Zimmer created the early stages of the <i>Interstellar</i> soundtrack. Zimmer and Nolan later decided that the 1926 four-manual <a href="/wiki/Harrison_%26_Harrison">Harrison &amp; Harrison</a> organ of the <a href="/wiki/Temple_Church">Temple Church</a>, London, would be the primary instrument for the score.<sup><a href="#cite_note-Lubin-Nov2014-48">[47]</a></sup><sup><a href="#cite_note-Kilkenny-49">[48]</a></sup> Zimmer conducted 45 scoring sessions for <i>Interstellar</i>, three times more than for <i>Inception</i>. The soundtrack was released on November 18, 2014.<sup><a href="#cite_note-jensen-15">[14]</a></sup>
</p>
<h3>Visual effects</h3>
<p>Visual effects company <a href="/wiki/Double_Negative_(VFX)">Double Negative</a>, which worked on <i>Inception</i>, was brought back for <i>Interstellar</i>.<sup><a href="#cite_note-Giardina-Jun2014-50">[49]</a></sup> According to visual effects supervisor <a href="/wiki/Paul_Franklin_(visual_effects_supervisor)">Paul Franklin</a>, the number of effects in the film was not much greater than in Nolan's <i><a href="/wiki/The_Dark_Knight_Rises">The Dark Knight Rises</a></i> (2012) or <i>Inception</i>. However, for <i>Interstellar</i>, they created the effects first, allowing digital projectors to display them behind the actors, rather than having the actors perform in front of <a href="/wiki/Chroma_key">green screens</a>.<sup><a href="#cite_note-jolin-9">[8]</a></sup> Ultimately, the film contained 850 visual-effect shots at a resolution of 5600 × 4000 lines: 150 shots that were created in-camera using digital projectors, and another 700 were created in post-production. Of those, 620 were presented in IMAX, while the rest were anamorphic.<sup><a href="#cite_note-VFXshots-51">[50]</a></sup>
</p><p>The ranger, <i>Endurance</i>, and lander spacecraft were created using <a href="/wiki/Miniature_effect">miniature effects</a> by Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer-generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. <a href="/wiki/3D_printing">3D-printed</a> and hand-sculpted, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th-scale miniature of the <i>Endurance</i> module spanned over 7.6 m (25 ft), while a <a href="/wiki/Pyrotechnic">pyrotechnic</a> model of part of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 14 m (46 ft) and over 15 m (49 ft), respectively, and were large enough for van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis <a href="/wiki/Gimbal">gimbal</a> on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using <a href="/wiki/VistaVision">VistaVision</a> cameras on a smaller motion control rig.<sup><a href="#cite_note-EmanuelLevy-Oct2014-52">[51]</a></sup> New Deal Studio's miniatures were used in 150 special effects shots.<sup><a href="#cite_note-VFXshots-51">[50]</a></sup>
</p>
<h2>Influences</h2>
<p>The director was influenced by what he called "key touchstones" of science fiction cinema, including <i><a href="/wiki/Metropolis_(1927_film)">Metropolis</a></i> (1927), <i><a href="/wiki/2001:_A_Space_Odyssey_(film)">2001: A Space Odyssey</a></i> (1968), <i><a href="/wiki/Blade_Runner">Blade Runner</a></i> (1982),<sup><a href="#cite_note-EW-Apr2013-53">[52]</a></sup> <i><a href="/wiki/Star_Wars_(film)">Star Wars</a></i> (1977), and <i><a href="/wiki/Alien_(film)">Alien</a></i> (1979).<sup><a href="#cite_note-Empire-Oct2014-54">[53]</a></sup> <a href="/wiki/Andrei_Tarkovsky">Andrei Tarkovsky</a>'s <i><a href="/wiki/The_Mirror_(1975_film)">The Mirror</a></i> (1975) influenced "elemental things in the story to do with wind and dust and water", according to Nolan,<sup><a href="#cite_note-Mueller-Oct2014-55">[54]</a></sup> who also compared <i>Interstellar</i> to <i><a href="/wiki/The_Treasure_of_the_Sierra_Madre_(film)">The Treasure of the Sierra Madre</a></i> (1948) as a film about human nature.<sup><a href="#cite_note-Jensen-Oct2014-56">[55]</a></sup> He sought to emulate films like <a href="/wiki/Steven_Spielberg">Steven Spielberg</a>'s <i><a href="/wiki/Jaws_(film)">Jaws</a></i> (1975) and <i><a href="/wiki/Close_Encounters_of_the_Third_Kind">Close Encounters of the Third Kind</a></i> (1977) for being family-friendly but also "as edgy and incisive and challenging as anything else on the blockbuster spectrum". He screened <i><a href="/wiki/The_Right_Stuff_(film)">The Right Stuff</a></i> (1983) for the crew before production,<sup><a href="#cite_note-jolin-9">[8]</a></sup> following in its example by capturing reflections on the <i>Interstellar</i> astronauts' visors. For further inspiration, the director invited former astronaut <a href="/wiki/Marsha_Ivins">Marsha Ivins</a> to the set.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup> Nolan and his crew studied the IMAX NASA documentaries of filmmaker <a href="/wiki/Toni_Myers">Toni Myers</a> for visual reference of spacefaring missions, and strove to imitate their use of IMAX cameras in the enclosed spaces of spacecraft interiors.<sup><a href="#cite_note-Space-Nov2014-57">[56]</a></sup> <a href="/wiki/Clark_Kent">Clark Kent</a>'s upbringing in <i><a href="/wiki/Man_of_Steel_(film)">Man of Steel</a></i> (2013) was the inspiration for the farm setting in the Midwest.<sup><a href="#cite_note-marlow-25">[24]</a></sup> Apart from films, Nolan drew inspiration from the architecture of <a href="/wiki/Ludwig_Mies_van_der_Rohe">Ludwig Mies van der Rohe</a>.<sup><a href="#cite_note-galloway20141022-16">[15]</a></sup>
</p>
<h2>Scientific accuracy</h2>
<div><p><a href="/wiki/File:Kip_S._Thorne_EM1B8790_(24027017497).jpg"></a></p><div><p><a href="/wiki/Kip_Thorne">Kip Thorne</a>, a theoretical physicist and Nobel Laureate, served as scientific consultant and executive producer.</p></div></div>
<p>Regarding the concepts of wormholes and black holes, Kip Thorne stated that he "worked on the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on <a href="/wiki/Einstein">Einstein</a>'s <a href="/wiki/General_relativity">general relativity</a> <a href="/wiki/Einstein_field_equations">equations</a>."<sup><a href="#cite_note-ThorneWormhole-58">[57]</a></sup> Early in the process, Thorne laid down two guidelines: "First, that nothing would violate established physical laws. Second, that all the wild speculations ... would spring from science and not from the fertile mind of a screenwriter." Nolan accepted these terms as long as they did not get in the way of making the film.<sup><a href="#cite_note-news.sciencemag.org-13">[12]</a></sup> At one point, Thorne spent two weeks trying to talk Nolan out of an idea about a character traveling faster than light before Nolan finally gave up.<sup><a href="#cite_note-NPR-Nov2014-59">[58]</a></sup> According to Thorne, the element which has the highest degree of artistic freedom is the clouds of ice on one of the planets they visit, which are structures that would go beyond the material strength that ice could support.<sup><a href="#cite_note-news.sciencemag.org-13">[12]</a></sup>
</p><p>Astrobiologist <a href="/wiki/David_Grinspoon">David Grinspoon</a> criticized the dire "blight" situation on Earth portrayed in the early scenes, pointing out that even with a voracious blight it would have taken millions of years to reduce the atmosphere's oxygen content. He also notes that gravity should have pulled down the ice clouds.<sup><a href="#cite_note-MotherJones-Nov2014-60">[59]</a></sup> <a href="/wiki/Neil_deGrasse_Tyson">Neil deGrasse Tyson</a>, an <a href="/wiki/Astrophysics">astrophysicist</a>, explored the science behind the ending of <i>Interstellar</i>, concluding that it is theoretically possible to interact with the past, and that "we don't really know what's in a black hole, so take it and run with it."<sup><a href="#cite_note-Gray-61">[60]</a></sup> Theoretical physicist <a href="/wiki/Michio_Kaku">Michio Kaku</a> praised the film for its scientific accuracy and has said <i>Interstellar</i> "could set the gold standard for science fiction movies for years to come." Similarly, Timothy Reyes, a former NASA <a href="/wiki/Software_engineer">software engineer</a>, said "Thorne's and Nolan's accounting of black holes and wormholes and the use of gravity is excellent."<sup><a href="#cite_note-Mashable-62">[61]</a></sup>
</p>
<h3>Wormholes and black holes</h3>
<div><p><a href="/wiki/File:Black_hole_Interstellar.png"></a></p><div><p>Miller's planet orbiting Gargantua</p></div></div>
<p>To create the visual effects for the wormhole and a <a href="/wiki/Rotating_black_hole">rotating</a>, <a href="/wiki/Supermassive_black_hole">supermassive black hole</a> (possessing an <a href="/wiki/Ergosphere">ergosphere</a>, as opposed to a non-rotating black hole), Thorne collaborated with Franklin and a team of 30 people at <a href="/wiki/DNEG">Double Negative</a>, providing pages of deeply sourced <a href="/wiki/Theoretical_physics">theoretical equations</a> to the engineers, who then wrote new <a href="/wiki/Computer-generated_imagery">CGI</a> rendering software based on these equations to create accurate simulations of the <a href="/wiki/Gravitational_lensing">gravitational lensing</a> caused by these phenomena. Some individual frames took up to 100 hours to render, totaling 800 <a href="/wiki/Terabyte">terabytes</a> of data.<sup><a href="#cite_note-wired-10">[9]</a></sup> Thorne described the accretion disk of the black hole as "anemic and at low temperature<sup><a href="#cite_note-63">[62]</a></sup>—about the temperature of the surface of the sun," allowing it to emit appreciable light, but not enough <a href="/wiki/Gamma_radiation">gamma radiation</a> and <a href="/wiki/X-ray">X-rays</a> to threaten nearby astronauts and planets.<sup><a href="#cite_note-InsideScience-Nov2015-64">[63]</a></sup> The resulting visual effects provided Thorne with new insight into the gravitational lensing and <a href="/wiki/Accretion_disk">accretion disks</a> surrounding black holes, resulting in the publication of three <a href="/wiki/Scientific_papers">scientific papers</a>.<sup><a href="#cite_note-IOP-Feb2015-65">[64]</a></sup><sup><a href="#cite_note-AJP-Jun2015-66">[65]</a></sup><sup><a href="#cite_note-ACM-Jul2015-67">[66]</a></sup>
</p>
<div><p><a href="/wiki/File:Black_hole_-_Messier_87.jpg"></a></p><div><p>The first image of the event horizon of a black hole, obtained by the <a href="/wiki/Event_Horizon_Telescope">Event Horizon Telescope</a>. The asymmetric brightness of the accretion disk is well visible here.</p></div></div>
<p>Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience, and would require the effects team to unrealistically alter its appearance. The visual representation of the black hole in the film does not account for the <a href="/wiki/Doppler_effect">Doppler effect</a> which, when added by the visual effects team, resulted in an asymmetrically lit black and blue-black hole, the purpose of which Nolan thought the audience would not understand. As a result, it was omitted in the finished product.<sup><a href="#cite_note-NewScientist-Feb2015-68">[67]</a></sup> Nolan found the finished effect to be understandable, as long as he maintained consistent camera perspectives.<sup><a href="#cite_note-WiredBlackHoleInterview-69">[68]</a></sup>
</p><p>As a reference, the asymmetric brightness of the accretion disk is very well visible in the first image<sup><a href="#cite_note-70">[69]</a></sup> of the event horizon of a black hole obtained by the <a href="/wiki/Event_Horizon_Telescope">Event Horizon Telescope</a> team in 2019. <i>Futura-Sciences</i> praised the correct depiction of the <a href="/wiki/Penrose_process">Penrose process</a>.<sup><a href="#cite_note-FX-Jan2016-71">[70]</a></sup>
</p><p>According to <a href="/wiki/Space.com">Space.com</a>, the portrayal of what a wormhole would look like is considered scientifically correct. Rather than a two-dimensional hole in space, it is depicted as a sphere, showing a distorted view of the target galaxy.<sup><a href="#cite_note-Wall-Nov2014-72">[71]</a></sup>
</p>
<h2>Marketing</h2>
<p>The teaser trailer for <i>Interstellar</i> debuted December 13, 2013, and featured clips related to <a href="/wiki/Space_exploration">space exploration</a>, accompanied by a voiceover by Matthew McConaughey's character, Cooper.<sup><a href="#cite_note-McIntyre-Dec2013-73">[72]</a></sup> The theatrical trailer debuted May 5, 2014, at the <a href="/wiki/Lockheed_Martin">Lockheed Martin</a> IMAX Theater in <a href="/wiki/Washington,_D.C.">Washington, D.C.</a> and was made available online later that month. For the week ending on May 19, it was the most-viewed film trailer, with over 19.5 million views on <a href="/wiki/YouTube">YouTube</a>.<sup><a href="#cite_note-TheHollywoodReporter-May2014-74">[73]</a></sup>
</p><p>Christopher Nolan and McConaughey made their first appearances at <a href="/wiki/San_Diego_Comic-Con">San Diego Comic-Con</a> in July 2014 to promote <i>Interstellar</i>. That same month, Paramount Pictures launched an interactive website, on which users uncovered a <a href="/wiki/Star_chart">star chart</a> related to the <a href="/wiki/Apollo_11">Apollo 11</a> Moon landing.<sup><a href="#cite_note-McMillan-Jul2014-75">[74]</a></sup>
</p><p>In October 2014, Paramount partnered with <a href="/wiki/Google">Google</a> to promote <i>Interstellar</i> across multiple platforms.<sup><a href="#cite_note-sneider-76">[75]</a></sup> The film's website was relaunched as a digital hub hosted on a Google domain,<sup><a href="#cite_note-jarvey-77">[76]</a></sup> which collected feedback from film audiences, and linked to a mobile app.<sup><a href="#cite_note-jarvey-77">[76]</a></sup> It featured a game in which players could build <a href="/wiki/Solar_System">Solar System</a> models and use a <a href="/wiki/Flight_simulator">flight simulator</a> for space travel.<sup><a href="#cite_note-Wired-Sep2014-78">[77]</a></sup> The Paramount–Google partnership also included a virtual <a href="/wiki/Time_capsule">time capsule</a> compiled with user-generated content, made available in 2015.<sup><a href="#cite_note-interstellar.withgoogle-79">[78]</a></sup> The initiative Google for Education used the film as a basis for promoting math and science lesson plans in schools.<sup><a href="#cite_note-sneider-76">[75]</a></sup><sup><a href="#cite_note-googleforeducation-80">[79]</a></sup>
</p><p>Paramount provided a <a href="/wiki/Virtual_reality">virtual reality</a> walkthrough of the <i>Endurance</i> spacecraft using <a href="/wiki/Oculus_Rift">Oculus Rift</a> technology. It hosted the walkthrough sequentially in New York City, Houston, Los Angeles, and Washington, D.C., from October 6 through November 19, 2014.<sup><a href="#cite_note-/Film-Oct2014-81">[80]</a></sup><sup><a href="#cite_note-InterstellarMovie.com-82">[81]</a></sup> The publisher <a href="/wiki/Running_Press">Running Press</a> released <i>Interstellar: Beyond Time and Space</i>, a book by <a href="/wiki/Mark_Cotta_Vaz">Mark Cotta Vaz</a> about the making of the film, on November 11.<sup><a href="#cite_note-Space-May2014-83">[82]</a></sup> <a href="/wiki/W._W._Norton_%26_Company">W. W. Norton &amp; Company</a> released <i><a href="/wiki/The_Science_of_Interstellar">The Science of Interstellar</a></i>, a book by Thorne;<sup><a href="#cite_note-Yahoo-Sep2014-84">[83]</a></sup> <a href="/wiki/Titan_Books">Titan Books</a> released the official novelization, written by <a href="/wiki/Greg_Keyes">Greg Keyes</a>;<sup><a href="#cite_note-Keyes-Nov2014-85">[84]</a></sup> and <i><a href="/wiki/Wired_(magazine)">Wired</a></i> magazine released a tie-in <a href="/wiki/Online_comic">online comic</a>, <i>Absolute Zero</i>, written by Christopher Nolan and drawn by <a href="/wiki/Sean_Gordon_Murphy">Sean Gordon Murphy</a>. The comic is a <a href="/wiki/Prequel">prequel</a> to the film, with Mann as the protagonist.<sup><a href="#cite_note-Nolan-Murphy-Nov2014-86">[85]</a></sup>
</p>
<h2>Release</h2>
<h3>Theatrical</h3>
<p>Before <i>Interstellar</i>'s public release, Paramount CEO <a href="/wiki/Brad_Grey">Brad Grey</a> hosted a private screening on October 19, 2014, at an IMAX theater in <a href="/wiki/Lincoln_Square,_Manhattan">Lincoln Square, Manhattan</a>.<sup><a href="#cite_note-PrivateScreening-87">[86]</a></sup><sup><a href="#cite_note-PrivateScreeningNotes-88">[87]</a></sup> Paramount then showed <i>Interstellar</i> to some of the industry's filmmakers and actors in a first-look screening at the <a href="/wiki/California_Science_Center">California Science Center</a> on October 22.<sup><a href="#cite_note-waxman-89">[88]</a></sup> On the following day, the film was screened at the <a href="/wiki/TCL_Chinese_Theatre">TCL Chinese Theatre</a> in <a href="/wiki/Los_Angeles">Los Angeles</a>, California for over 900 members of the <a href="/wiki/Screen_Actors_Guild">Screen Actors Guild</a>.<sup><a href="#cite_note-Whipp-Oct2014-90">[89]</a></sup> The film premiered on October 26 at the TCL Chinese Theatre in Los Angeles,<sup><a href="#cite_note-ford-91">[90]</a></sup> and in Europe on October 29 at the <a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a> in London. The film premiered on November 7 in Canada.<sup><a href="#cite_note-theguardian-92">[91]</a></sup><sup><a href="#cite_note-Jessica_Chastain_Steals_The_Show_At_Interstellar_European_Premiere-93">[92]</a></sup>
</p><p><i>Interstellar</i> was released early on November 4 in various <a href="/wiki/70_mm_film">70 mm</a> IMAX film, 70 mm film and <a href="/wiki/35mm_movie_film">35 mm</a> film theaters, and had a limited release in North America (United States and Canada) on November 5, with a wide release on November 7.<sup><a href="#cite_note-Vlessing-Oct2014-94">[93]</a></sup> The film was released in Belgium, France, and Switzerland on November 5, the United Kingdom on November 7 and in additional territories in the following days.<sup><a href="#cite_note-WB-95">[94]</a></sup> For the limited North American release, <i>Interstellar</i> was projected from 70 mm and 35 mm film in 249 theaters that still supported those formats, including at least forty-one 70 mm IMAX theaters. A 70 mm IMAX projector was installed at the TCL Chinese Theatre in Los Angeles to display the format. The film's wide release expanded to theaters that showed it digitally.<sup><a href="#cite_note-mcclintock20141001-96">[95]</a></sup> Paramount Pictures distributed the film in North America, and Warner Bros. distributed it in the remaining territories.<sup><a href="#cite_note-deadline-32">[31]</a></sup> The film was released in over 770 IMAX screens worldwide, which was the largest global release in IMAX cinemas,<sup><a href="#cite_note-Guardian-Oct2014-97">[96]</a></sup><sup><a href="#cite_note-HR-Oct2014-98">[97]</a></sup> until surpassed by <a href="/wiki/Universal_Pictures">Universal Pictures</a>' <i><a href="/wiki/Furious_7">Furious 7</a></i> (2015) with 810 IMAX theaters.<sup><a href="#cite_note-Sommerlath-99">[98]</a></sup>
</p><p><i>Interstellar</i> was an exception to Paramount Pictures' goal to stop releasing films on <a href="/wiki/Film_stock">film stock</a> and to distribute them only in digital format.<sup><a href="#cite_note-LATimes-Jan2014-100">[99]</a></sup> According to Pamela McClintock of <i>The Hollywood Reporter</i>, the initiative to project <i>Interstellar</i> on film stock would help preserve an endangered format,<sup><a href="#cite_note-mcclintock20141001-96">[95]</a></sup> which was supported by Christopher Nolan, <a href="/wiki/J._J._Abrams">J. J. Abrams</a>, <a href="/wiki/Quentin_Tarantino">Quentin Tarantino</a>, <a href="/wiki/Judd_Apatow">Judd Apatow</a>, <a href="/wiki/Paul_Thomas_Anderson">Paul Thomas Anderson</a>, and other filmmakers.<sup><a href="#cite_note-McNary-Lang-Oct2014-101">[100]</a></sup> McClintock reported that theatre owners saw this as "backward," as nearly all theatres in the US had been converted to digital projection.<sup><a href="#cite_note-McClintock-Oct2014-102">[101]</a></sup>
</p>
<h3>Home media</h3>
<p><i>Interstellar</i> was released on <a href="/wiki/Home_video">home video</a> on March 31, 2015, in both the United Kingdom and United States.<sup><a href="#cite_note-Space.com-Feb2015-103">[102]</a></sup> It topped the home video sales chart for a total of two weeks.<sup><a href="#cite_note-Variety-Apr2015-104">[103]</a></sup><sup><a href="#cite_note-Arnold-Apr2015-105">[104]</a></sup> It was reported that <i>Interstellar</i> was the most pirated film of 2015, with an estimated 46.7 million downloads on <a href="/wiki/BitTorrent">BitTorrent</a>.<sup><a href="#cite_note-ABC-Dec2015-106">[105]</a></sup> It was released in the <a href="/wiki/Ultra_HD_Blu-ray">Ultra HD Blu-ray</a> format on December 19, 2017.<sup><a href="#cite_note-107">[106]</a></sup>
</p>
<h2>Reception</h2>
<h3>Box office</h3>
<p><i>Interstellar</i> grossed $188 million in the US and Canada, and $489.4 million in other countries, for a worldwide total of $677.4 million against a production budget of $165 million.<sup><a href="#cite_note-BOM-3">[3]</a></sup> <i><a href="/wiki/Deadline_Hollywood">Deadline Hollywood</a></i> calculated the net profit of the film to be $47.2 million, accounting for production budgets, marketing, talent participations, and other costs, with box office grosses, and ancillary revenues from home media, placing it twentieth on their list of 2014's "Most Valuable Blockbusters".<sup><a href="#cite_note-Deadline.com-Mar2015-108">[107]</a></sup> It sold an estimated 22 million tickets domestically.<sup><a href="#cite_note-BoxOfficeMojo-B-109">[108]</a></sup>
</p><p>The film set an IMAX opening record worldwide with $20.5 million from 574 IMAX theaters, surpassing the $17.1 million record held by <i><a href="/wiki/The_Hunger_Games:_Catching_Fire">The Hunger Games: Catching Fire</a></i> (2013), and is also the best opening for an IMAX 2D, non-sequel, and November IMAX release.<sup><a href="#cite_note-IMAX-110">[109]</a></sup> It had a worldwide opening of $132.6 million, which was the tenth-largest opening of 2014,<sup><a href="#cite_note-BoxOfficeMojo-111">[110]</a></sup> and it became the <a href="/wiki/2014_in_film#Highest-grossing_films">tenth-highest-grossing film of 2014</a>.<sup><a href="#cite_note-BoxOfficeMojo.com-112">[111]</a></sup> <i>Interstellar</i> is the fourth film to gross over $100 million worldwide from IMAX ticket sales.<sup><a href="#cite_note-THR-Dec2015-113">[112]</a></sup><sup><a href="#cite_note-DaveMcNary-114">[113]</a></sup><sup><a href="#cite_note-Forbes-Jul2014-115">[114]</a></sup> <i>Interstellar</i> was released in the UK, Ireland and Malta on November 6, 2014, and debuted at number one earning £5.37 million ($8.6 million) in its opening weekend, which was lower than the openings of <i>The Dark Knight Rises</i> (£14.36 million), <i>Gravity</i> (£6.24 million), and <i>Inception</i> (£5.91 million).<sup><a href="#cite_note-TheGuardian-Nov2014-116">[115]</a></sup> The film was released in 35 markets on the same day, including major markets like Germany, Russia, Australia, and Brazil earning $8.7 million in total.<sup><a href="#cite_note-Anita_Busch-117">[116]</a></sup> Through Sunday, it earned an opening weekend total of $82.9 million from 11.1 million admissions from over 14,800 screens in 62 markets.<sup><a href="#cite_note-D'Alessandro-Tartaglione-118">[117]</a></sup> It earned $7.3 million from 206 IMAX screens, at an average of 35,400 viewers per theater.<sup><a href="#cite_note-VarietyIMAX-119">[118]</a></sup> It went to number one in South Korea ($14.4 million),<sup><a href="#cite_note-Shoard-Nov2014-120">[119]</a></sup> Russia ($8.9 million), and France ($5.3 million). Other strong openings occurred in Germany ($4.6 million), India ($4.3 million), Italy ($3.7 million), Australia ($3.7 million), Spain ($2.7 million), Mexico ($3.1 million), and Brazil ($1.9 million).<sup><a href="#cite_note-Subers-Nov2014-121">[120]</a></sup> <i>Interstellar</i> was released in China on November 12 and earned $5.4 million on its opening day on Wednesday, which is Nolan's biggest opening in China after surpassing the $4.61 million opening record of <i>The Dark Knight Rises</i>.<sup><a href="#cite_note-TheHollywoodReporter.com-122">[121]</a></sup><sup><a href="#cite_note-Tartaglione-Nov2014-123">[122]</a></sup> It went on to earn $41.7 million in its opening weekend, accounting for 55% of the market share.<sup><a href="#cite_note-Frater-124">[123]</a></sup><sup><a href="#cite_note-Deadline1-125">[124]</a></sup> It is Nolan's biggest opening in China, Warner Bros.' biggest 2D opening,<sup><a href="#cite_note-1China-126">[125]</a></sup> and the studio's third-biggest opening of all time, behind 2014's <i><a href="/wiki/The_Hobbit:_The_Battle_of_the_Five_Armies">The Hobbit: The Battle of the Five Armies</a></i> ($49.5 million)<sup><a href="#cite_note-China-127">[126]</a></sup> and 2013's <i><a href="/wiki/Pacific_Rim_(film)">Pacific Rim</a></i> ($45.2 million).<sup><a href="#cite_note-PacificRim-128">[127]</a></sup><sup><a href="#cite_note-McClintock-129">[128]</a></sup>
</p><p>It topped the box office outside North America for two consecutive weekends before being overtaken by <i><a href="/wiki/The_Hunger_Games:_Mockingjay_%E2%80%93_Part_1">The Hunger Games: Mockingjay – Part 1</a></i> (2014) in its third weekend.<sup><a href="#cite_note-1China-126">[125]</a></sup> Just 31 days after its release, the film became the <a href="/wiki/List_of_highest-grossing_films_in_South_Korea">13th-most-successful film and 3rd-most-successful foreign film in South Korea</a> with 9.1 million admissions trailing only <i>Avatar</i> (13.3 million admissions), and 2013's <i><a href="/wiki/Frozen_(2013_film)">Frozen</a></i> (10.3 million admissions).<sup><a href="#cite_note-Hyo-won-130">[129]</a></sup> The film closed down its theatrical run in China on December 12, with total revenue of $122.6 million.<sup><a href="#cite_note-Brent_Lang-131">[130]</a></sup><sup><a href="#cite_note-Deadline-132">[131]</a></sup> In total earnings, its largest markets outside North America and China were South Korea ($73.4 million), the UK, Ireland and Malta ($31.3 million), and Russia and the <a href="/wiki/Commonwealth_of_Independent_States">Commonwealth of Independent States</a> (CIS) ($19 million).<sup><a href="#cite_note-BOM.com-133">[132]</a></sup> <i>Interstellar</i> and <i><a href="/wiki/Big_Hero_6_(film)">Big Hero 6</a></i> opened the same weekend (November 7–9, 2014) in the US and Canada. Both were forecast to earn between $55 million and $60 million.<sup><a href="#cite_note-Forbes.com-134">[133]</a></sup> In North America, the film is the seventh-highest-grossing film to not hit No. 1, with a top rank of No. 2 on its opening weekend.<sup><a href="#cite_note-BOM1-135">[134]</a></sup> <i>Interstellar</i> had an early limited release in the US and Canada in selected theaters on November 4 at 8:00 pm, coinciding with the <a href="/wiki/2014_United_States_elections">2014 US midterm elections</a>.<sup><a href="#cite_note-WB.-136">[135]</a></sup> It topped the box office the following day, earning $1.35 million from 249 theaters (42 of which were IMAX screens); IMAX accounted for 62% of its total gross.<sup><a href="#cite_note-Nov2014-Deadline-137">[136]</a></sup> Two hundred and forty of those theaters played in 35 mm, 70 mm, and IMAX 70 mm film formats.<sup><a href="#cite_note-Busch-138">[137]</a></sup> It earned $3.6 million from late-night shows for a previews total of $4.9 million.<sup><a href="#cite_note-AnitaBusch-Deadline-139">[138]</a></sup><sup><a href="#cite_note-Forbes-Mendelson-140">[139]</a></sup><sup><a href="#cite_note-VarietyMagazine-141">[140]</a></sup> The film was <a href="/wiki/Wide_release">widely released</a> on November 7 and topped the box office on its opening day, earning $17 million ahead of <i><a href="/wiki/Big_Hero_6_(film)">Big Hero 6</a></i> ($15.8 million).<sup><a href="#cite_note-VarietyMag-142">[141]</a></sup> On its opening weekend, the film earned $47.5 million<sup><a href="#cite_note-144">[b]</a></sup> from 3,561 theaters, debuting in second place after a neck-and-neck competition with <a href="/wiki/Walt_Disney_Pictures">Disney</a>'s <i>Big Hero 6</i> ($56.2 million).<sup><a href="#cite_note-BOX-145">[143]</a></sup> IMAX comprised $13.2 million (28%) of its opening weekend gross,<sup><a href="#cite_note-BOX-145">[143]</a></sup> while other premium large-format screens comprised $5.3 million (10.5%) of the gross.<sup><a href="#cite_note-Mendelson-Nov2014-146">[144]</a></sup><sup><a href="#cite_note-PamelaMcClintock-147">[145]</a></sup> In its second weekend, the film fell to No. 3 behind old rival <i>Big Hero 6</i> and newcomer <i><a href="/wiki/Dumb_and_Dumber_To">Dumb and Dumber To</a></i> (2014), and dropped 39% earning $29.1 million for a two-weekend total of $97.8 million.<sup><a href="#cite_note-ScottMendelson-Nov2014-148">[146]</a></sup><sup><a href="#cite_note-Pamela-149">[147]</a></sup> It earned $7.4 million from IMAX theaters from 368 screens in its second weekend.<sup><a href="#cite_note-LangBrent-Variety-150">[148]</a></sup><sup><a href="#cite_note-Deadline-ScottBowles-151">[149]</a></sup> In its third week, the film earned $15.1 million and remained at No. 3, below newcomer <i>The Hunger Games: Mockingjay – Part 1</i> and <i>Big Hero 6</i>.<sup><a href="#cite_note-BrentMagazine-152">[150]</a></sup>
</p>
<h3>Critical response</h3>
<p>On <a href="/wiki/Review_aggregator">review aggregator</a> <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, 72% of 373 critic reviews are positive, with an average rating of 7.10/10. The website's critics consensus reads, "<i>Interstellar</i> represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp."<sup><a href="#cite_note-RT-153">[151]</a></sup> <a href="/wiki/Metacritic">Metacritic</a>, which uses a weighted average, assigned the film a score of 74 out of 100 based on 46 critics, indicating "generally favorable reviews".<sup><a href="#cite_note-MC-154">[152]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "B+" on an A+ to F scale.<sup><a href="#cite_note-CS-155">[153]</a></sup>
</p><p>Scott Foundas, chief film critic at <i><a href="/wiki/Variety_(magazine)">Variety</a></i>, said that <i>Interstellar</i> is "as visually and conceptually audacious as anything Nolan has yet done" and considered the film "more personal" than Nolan's previous films.<sup><a href="#cite_note-Varietyrev-156">[154]</a></sup> Claudia Puig of <i><a href="/wiki/USA_Today">USA Today</a></i> praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel."<sup><a href="#cite_note-USAToday-157">[155]</a></sup> <a href="/wiki/David_Stratton">David Stratton</a> of <i><a href="/wiki/At_the_Movies_(Australian_TV_program)">At the Movies</a></i> rated the film four-and-a-half stars out of five, commending its ambition, effects, and 70 mm IMAX presentation, though criticizing the sound for "being so loud" as to make some of the dialogue "inaudible". Conversely, co-host <a href="/wiki/Margaret_Pomeranz">Margaret Pomeranz</a> rated the film three out of five, as she felt the human drama got lost among the film's scientific concepts.<sup><a href="#cite_note-ABC.net.au-158">[156]</a></sup> Henry Barnes of <i><a href="/wiki/The_Guardian">The Guardian</a></i> scored the film three out of five stars, calling it "a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour."<sup><a href="#cite_note-Barnes-Oct2014-159">[157]</a></sup> <a href="/wiki/James_Berardinelli">James Berardinelli</a> called <i>Interstellar</i> "an amazing achievement" and "simultaneously a big-budget science fiction endeavor and a very simple tale of love and sacrifice. It is by turns edgy, breathtaking, hopeful, and heartbreaking."<sup><a href="#cite_note-160">[158]</a></sup> He named it the best film of 2014,<sup><a href="#cite_note-161">[159]</a></sup> and the second-best movie of the decade, deeming it a "<i>real</i> science fiction rather than the crowd-pleasing, watered-down version Hollywood typically offers".<sup><a href="#cite_note-162">[160]</a></sup>
</p>
<div>
<blockquote>
<p>"It's been a while since somebody has come out with such a big vision to things ... Even the elements, the fact that dust is everywhere, and they're living in this dust bowl that is just completely enveloping this area of the world. That's almost something you expect from <a href="/wiki/Andrei_Tarkovsky">Tarkovsky</a> or <a href="/wiki/Terrence_Malick">Malick</a>, not a science fiction adventure movie.<sup><a href="#cite_note-TomShone14-163">[161]</a></sup>
</p>
</blockquote>
<p><cite>—<a href="/wiki/Quentin_Tarantino">Quentin Tarantino</a> on <i>Interstellar</i>.</cite>
</p>
</div>
<p>Oliver Gettell of the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> reported that "film critics largely agree that <i>Interstellar</i> is an entertaining, emotional, and thought-provoking sci-fi saga, even if it can also be clunky and sentimental at times."<sup><a href="#cite_note-Gettell-164">[162]</a></sup> James Dyer of <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> awarded the film a full five stars, describing it as "brainy, barmy, and beautiful to behold ... a mind-bending opera of space and time with a soul wrapped up in all the science."<sup><a href="#cite_note-Dyer-165">[163]</a></sup> Dave Calhoun of <i><a href="/wiki/Time_Out_London">Time Out London</a></i> also granted the film a maximum score of five stars, stating that it is "a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike."<sup><a href="#cite_note-Calhoun-166">[164]</a></sup> <a href="/wiki/Richard_Roeper">Richard Roeper</a> of <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i> awarded the film a full four stars and wrote, "This is one of the most beautiful films I have ever seen—in terms of its visuals, and its overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms. Love."<sup><a href="#cite_note-Roeper-167">[165]</a></sup>
</p><p>Describing Nolan as a "merchant of awe," Tim Robey of <i><a href="/wiki/The_Daily_Telegraph">The Telegraph</a></i> thought that <i>Interstellar</i> was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and "deep-digging intelligence" of the film.<sup><a href="#cite_note-Robey-Oct2014-168">[166]</a></sup> <a href="/wiki/Todd_McCarthy">Todd McCarthy</a> of <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> wrote, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that."<sup><a href="#cite_note-McCarthy-169">[167]</a></sup> In his review for the <a href="/wiki/Associated_Press">Associated Press</a>, Jake Coyle praised the film for its "big-screen grandeur," while finding some of the dialogue "clunky." He described it further as "an absurd endeavor" and "one of the most sublime movies of the decade."<sup><a href="#cite_note-Coyle-170">[168]</a></sup> Scott Mendelson of <i><a href="/wiki/Forbes">Forbes</a></i> listed <i>Interstellar</i> as one of the most disappointing films of 2014, stating that the film "has a lack of flow, loss of momentum following the climax, clumsy sound mixing," and "thin characters" despite seeing the film twice in order to "give it a second chance." He wrote that <i>Interstellar</i> "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies."<sup><a href="#cite_note-ForbesReview-171">[169]</a></sup> <a href="/wiki/Matt_Zoller_Seitz">Matt Zoller Seitz</a> of <a href="/wiki/RogerEbert.com">RogerEbert.com</a> gave the film three-and-a-half out of four stars, saying that despite his usual quibbles regarding Nolan's excessive dialogue and its lack of a sense of composition, "[<i>Interstellar</i>] is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away ... At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a <a href="/wiki/John_Ford">John Ford</a> picture ... a movie that would rather try to be eight or nine things than just one."<sup><a href="#cite_note-Seitz-Nov2014-172">[170]</a></sup>
</p><p><i><a href="/wiki/New_York_Times">New York Times</a></i> columnist <a href="/wiki/David_Brooks_(commentator)">David Brooks</a> concludes that <i>Interstellar</i> explores the relationships among "science and faith and science and the humanities" and "illustrates the real symbiosis between these realms."<sup><a href="#cite_note-Brooks-NYT-173">[171]</a></sup> <a href="/wiki/Wai_Chee_Dimock">Wai Chee Dimock</a>, in the <i><a href="/wiki/Los_Angeles_Review_of_Books">Los Angeles Review of Books</a></i>, wrote that Nolan's films are "rotatable at 90, 180, and 360 degrees," and that "although there is considerable magical thinking here, making it almost an anti-sci-fi film, holding out hope that the end of the planet is not the end of everything, it reverses itself, however, when that magic falls short when the poetic license is naked and plain for all to see."<sup><a href="#cite_note-la_review_of_books-174">[172]</a></sup> Author <a href="/wiki/George_R._R._Martin">George R. R. Martin</a> called <i>Interstellar</i> "the most ambitious and challenging <a href="/wiki/Science_fiction">science fiction</a> film since Kubrick's <i>2001</i>."<sup><a href="#cite_note-RRMartin-175">[173]</a></sup> In 2020, <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> magazine ranked it as one of the best films of the 21st century.<sup><a href="#cite_note-Empire2020-176">[174]</a></sup>
</p>
<h3>Accolades</h3>
<p>At the <a href="/wiki/87th_Academy_Awards">87th Academy Awards</a>, <i>Interstellar</i> received nominations for <a href="/wiki/Academy_Award_for_Best_Original_Score">Best Original Score</a>, <a href="/wiki/Academy_Award_for_Best_Production_Design">Best Production Design</a>, <a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a>, and <a href="/wiki/Academy_Award_for_Best_Sound">Best Sound Mixing</a>, and 
won <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>.<sup><a href="#cite_note-Oscar-177">[175]</a></sup>
</p>
<h2>See also</h2>
<div>
<ul><li><a href="/wiki/Black_holes_in_fiction">Black holes in fiction</a></li>
<li><a href="/wiki/Blanet">Blanet</a> – planet orbiting a black hole</li>
<li><a href="/wiki/Causal_loop">Causal loop</a></li>
<li><a href="/wiki/Interstellar_travel">Interstellar travel</a></li>
<li><a href="/wiki/List_of_American_films_of_2014">List of American films of 2014</a></li>
<li><a href="/wiki/List_of_British_films_of_2014">List of British films of 2014</a></li>
<li><a href="/wiki/List_of_films_featuring_drones">List of films featuring drones</a></li>
<li><a href="/wiki/List_of_films_featuring_space_stations">List of films featuring space stations</a></li>
<li><a href="/wiki/List_of_time_travel_works_of_fiction">List of time travel works of fiction</a></li>
<li><a href="/wiki/Starship">Starship</a></li>
<li><a href="/wiki/Wormholes_in_fiction">Wormholes in fiction</a></li></ul>
</div>
<h2>Notes</h2>
<div><ol>
<li><b><a href="#cite_ref-8">^</a></b> Referred to only as "Cooper" or "Coop" in the film
</li>
<li><b><a href="#cite_ref-144">^</a></b> In total the film earned $2.2 million from the two late-night showings which would bring its opening weekend gross to $49.7 million.<sup><a href="#cite_note-Bowles-Busch-143">[142]</a></sup>
</li>
</ol></div>
<h2>References</h2>
<div><ol>
<li><b><a href="#cite_ref-BBFC-Oct2014_1-0">^</a></b> <cite><a href="https://www.bbfc.co.uk/release/interstellar-q29sbgvjdglvbjpwwc0zode4nzi">"Interstellar"</a>. <a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a>. October 20, 2014. <a href="https://web.archive.org/web/20141020205535/http://www.bbfc.co.uk/releases/interstellar-film">Archived</a> from the original on October 20, 2014. Retrieved October 20, 2014.</cite>
</li>
<li>^ <a href="#cite_ref-LUMIERE_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-LUMIERE_2-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=46809">"Film: Interstellar"</a>. <i><a href="/wiki/Lumiere_(database)">Lumiere</a></i>. <a href="https://web.archive.org/web/20180623221030/http://lumiere.obs.coe.int/web/film_info/?id=46809">Archived</a> from the original on June 23, 2018. Retrieved November 8, 2017.</cite>
</li>
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<li><b><a href="#cite_ref-ABC.net.au_158-0">^</a></b> <cite><a href="https://archive.today/20141105082704/http://www.abc.net.au/atthemovies/txt/s4120221.htm">"Interstellar"</a>. <i><a href="/wiki/At_the_Movies_(Australian_TV_series)">At the Movies</a></i>. <a href="/wiki/Australian_Broadcasting_Corporation">ABC</a>. November 4, 2014. Archived from <a href="http://www.abc.net.au/atthemovies/txt/s4120221.htm">the original</a> on November 5, 2014. Retrieved November 5, 2014.</cite>
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<li><b><a href="#cite_ref-162">^</a></b> <cite>Berardinelli, James (March 7, 2020). <a href="https://www.reelviews.net/reelthoughts/reelthought_1577378280">"A look back at the 2010s"</a>. <i>Reelviews.net</i>. <a href="https://web.archive.org/web/20200210052159/http://www.reelviews.net/reelthoughts/reelthought_1577378280">Archived</a> from the original on February 10, 2020. Retrieved March 17, 2020.</cite>
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<li><b><a href="#cite_ref-TomShone14_163-0">^</a></b> <cite>Shone, Tom (November 4, 2014). <a href="https://www.theguardian.com/film/2014/nov/04/-sp-christopher-nolan-interstellar-rebooted-blockbuster">"Christopher Nolan: the man who rebooted the blockbuster"</a>. <i>The Guardian</i>. <a href="https://web.archive.org/web/20150122014558/http://www.theguardian.com/film/2014/nov/04/-sp-christopher-nolan-interstellar-rebooted-blockbuster">Archived</a> from the original on January 22, 2015. Retrieved July 27, 2015.</cite>
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<li><b><a href="#cite_ref-Gettell_164-0">^</a></b> <cite>Gettell, Oliver (November 5, 2014). <a href="https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-interstellar-movie-reviews-critics-20141105-story.html">"'Interstellar' is an ambitious, imperfect sci-fi epic, reviews say"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. <a href="https://web.archive.org/web/20141108052023/http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-interstellar-movie-reviews-critics-20141105-story.html">Archived</a> from the original on November 8, 2014. Retrieved November 6, 2014.</cite>
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<li><b><a href="#cite_ref-Dyer_165-0">^</a></b> <cite>Dyer, James (October 28, 2014). <a href="https://www.empireonline.com/reviews/reviewcomplete.asp?FID=138121">"Interstellar: Star Trek Into Greatness"</a>. <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i>. <a href="https://web.archive.org/web/20150211040308/http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138121">Archived</a> from the original on February 11, 2015. Retrieved October 29, 2014.</cite>
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<li><b><a href="#cite_ref-Calhoun_166-0">^</a></b> <cite>Calhoun, Dave (October 27, 2014). <a href="https://www.timeout.com/london/film/interstellar">"Interstellar"</a>. <i><a href="/wiki/Time_Out_(magazine)">Time Out London</a></i>. <a href="https://web.archive.org/web/20141029163530/http://www.timeout.com/london/film/interstellar">Archived</a> from the original on October 29, 2014. Retrieved October 29, 2014.</cite>
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<li><b><a href="#cite_ref-Roeper_167-0">^</a></b> <cite>Roeper, Richard (November 4, 2014). <a href="https://web.archive.org/web/20141104175241/http://entertainment.suntimes.com/movies/interstellar-epic-beauty-effects-ideas/">"'Interstellar': Epic Beauty In Its Effects and Its Ideas"</a>. <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i>. Archived from <a href="http://entertainment.suntimes.com/movies/interstellar-epic-beauty-effects-ideas/">the original</a> on November 4, 2014. Retrieved November 4, 2014.</cite>
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<li><b><a href="#cite_ref-Robey-Oct2014_168-0">^</a></b> <cite>Robey, Tim (October 27, 2014). <a href="https://www.telegraph.co.uk/culture/film/filmreviews/11174967/Interstellar-first-look-review-close-to-a-masterpiece.html">"Interstellar, first-look review: 'close to a masterpiece'"</a>. <i><a href="/wiki/The_Daily_Telegraph">The Daily Telegraph</a></i>. <a href="https://web.archive.org/web/20141028204817/http://www.telegraph.co.uk/culture/film/filmreviews/11174967/Interstellar-first-look-review-close-to-a-masterpiece.html">Archived</a> from the original on October 28, 2014. Retrieved October 29, 2014.</cite>
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<li><b><a href="#cite_ref-McCarthy_169-0">^</a></b> <cite>McCarthy, Todd (October 27, 2014). <a href="https://www.hollywoodreporter.com/movie/interstellar/review/744059">"'Interstellar': Film Review"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. <a href="https://web.archive.org/web/20141030045020/http://www.hollywoodreporter.com/movie/interstellar/review/744059">Archived</a> from the original on October 30, 2014. Retrieved October 27, 2014.</cite>
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<li><b><a href="#cite_ref-Coyle_170-0">^</a></b> <cite>Coyle, Jake (October 30, 2014). <a href="http://bigstory.ap.org/article/4df741cbc5d64f68a2051c117ee5b8a0/review-interstellar-sublime-cosmic-knockout">"Review: 'Interstellar' a sublime cosmic knockout"</a>. <i>ap.org</i>. <a href="/wiki/Associated_Press">Associated Press</a>. <a href="https://web.archive.org/web/20141031231529/http://bigstory.ap.org/article/4df741cbc5d64f68a2051c117ee5b8a0/review-interstellar-sublime-cosmic-knockout">Archived</a> from the original on October 31, 2014. Retrieved October 31, 2014.</cite>
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<li><b><a href="#cite_ref-ForbesReview_171-0">^</a></b> <cite>Mendelson, Scott (December 26, 2014). <a href="https://www.forbes.com/sites/scottmendelson/2014/12/26/interstellar-the-interview-and-the-most-disappointing-films-of-2014/2/">"'Interstellar,' 'The Interview,' And The Most Disappointing Films Of 2014"</a>. <i><a href="/wiki/Forbes">Forbes</a></i>. <a href="https://web.archive.org/web/20141229131052/http://www.forbes.com/sites/scottmendelson/2014/12/26/interstellar-the-interview-and-the-most-disappointing-films-of-2014/2/">Archived</a> from the original on December 29, 2014. Retrieved December 29, 2014.</cite>
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<li><b><a href="#cite_ref-Seitz-Nov2014_172-0">^</a></b> <cite><a href="/wiki/Matt_Zoller_Seitz">Seitz, Matt Zoller</a> (November 3, 2014). <a href="https://www.rogerebert.com/reviews/interstellar-2014">"Interstellar Movie Review &amp; Film Summary (2014)"</a>. <i>rogerebert.com</i>. Ebert Digital LLC. <a href="https://web.archive.org/web/20170616120413/http://www.rogerebert.com/reviews/interstellar-2014">Archived</a> from the original on June 16, 2017. Retrieved November 23, 2017.</cite>
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<li><b><a href="#cite_ref-Brooks-NYT_173-0">^</a></b> <cite><a href="/wiki/David_Brooks_(commentator)">Brooks, David</a> (November 21, 2014). <a href="https://www.nytimes.com/2014/11/21/opinion/david-brooks-interstellar-love-and-gravity.html">"Love and Gravity"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. <a href="https://web.archive.org/web/20141205105243/http://www.nytimes.com/2014/11/21/opinion/david-brooks-interstellar-love-and-gravity.html">Archived</a> from the original on December 5, 2014. Retrieved December 13, 2014.</cite>
</li>
<li><b><a href="#cite_ref-la_review_of_books_174-0">^</a></b> <cite>Dimock, Wai Chee (December 25, 2014). <a href="http://lareviewofbooks.org/essay/books-space-christopher-nolans-interstellar">"Books in Space: Christopher Nolan's "Interstellar""</a>. <i>The Los Angeles Review of Books</i>. <a href="https://web.archive.org/web/20141229234036/http://lareviewofbooks.org/essay/books-space-christopher-nolans-interstellar">Archived</a> from the original on December 29, 2014. Retrieved March 20, 2015.</cite>
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<li><b><a href="#cite_ref-RRMartin_175-0">^</a></b> <cite>R. R. Martin, George (March 8, 2015). <a href="https://web.archive.org/web/20150422021742/http://grrm.livejournal.com/410394.html">"For Your Consideration: Stuff Not By Me"</a>. <i>Not a Blog</i>. Archived from <a href="http://grrm.livejournal.com/410394.html">the original</a> on April 22, 2015. Retrieved May 23, 2015.</cite>
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<li><b><a href="#cite_ref-Empire2020_176-0">^</a></b> <cite><a href="https://www.empireonline.com/movies/features/best-movies-century-page-9/"><i>The 100 Greatest Movies Of The 21st Century: 20 – 11</i></a>, <a href="https://web.archive.org/web/20200118234847/https://www.empireonline.com/movies/features/best-movies-century-page-9/">archived</a> from the original on January 18, 2020, retrieved January 17, 2020</cite>
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<li><b><a href="#cite_ref-Oscar_177-0">^</a></b> <cite><a href="https://www.hollywoodreporter.com/movies/movie-news/oscars-2015-winners-list-776233/">"Oscars 2015: The Winners List"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. February 22, 2015. <a href="https://web.archive.org/web/20220510092242/https://www.hollywoodreporter.com/movies/movie-news/oscars-2015-winners-list-776233/">Archived</a> from the original on May 10, 2022. Retrieved March 17, 2022.</cite>
</li>
</ol></div>
<h2>Further reading</h2>
<ul><li><cite><a href="/wiki/Kip_Thorne">Thorne, Kip</a> (November 7, 2014). <i><a href="/wiki/The_Science_of_Interstellar">The Science of Interstellar</a></i>. <a href="/wiki/W._W._Norton_%26_Company">W. W. Norton &amp; Company</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-35137-8"><bdi>978-0-393-35137-8</bdi></a>.</cite></li>
<li><cite>Keyes, Greg (November 11, 2014). <a href="https://archive.org/details/interstellaroffi0000keye"><i>Interstellar: The Official Movie Novelization</i></a>. <a href="/wiki/Titan_Books">Titan Books</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1783293698"><bdi>978-1783293698</bdi></a>.</cite></li>
<li><cite><a href="/wiki/Mark_Cotta_Vaz">Vaz, Mark Cotta</a> (November 11, 2014). <a href="https://archive.org/details/interstellar-beyond-time-and-space-organized/"><i>Interstellar: Beyond Time and Space</i></a>. <a href="/wiki/Running_Press">Running Press</a>. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7624-5683-3"><bdi>978-0-7624-5683-3</bdi></a>.</cite></li>
<li><cite>MacKay, John (2014). <a href="https://www.academia.edu/9240536">"On Interstellar"</a> – via <a href="/wiki/Academia.edu">Academia.edu</a>.</cite><code>{{<a href="/wiki/Template:Cite_web">cite web</a>}}</code>: CS1 maint: url-status (<a href="/wiki/Category:CS1_maint:_url-status">link</a>) (preliminary notes)</li></ul>
<h2>External links</h2>
<ul><li><a href="https://www.imdb.com/title/tt0816692/"><i>Interstellar</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.allmovie.com/movie/v576585"><i>Interstellar</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li>
<li><a href="https://www.tcm.com/tcmdb/title/2004892/enwp"><i>Interstellar</i></a> at the <a href="/wiki/Turner_Classic_Movies">TCM Movie Database</a></li>
<li><a href="https://catalog.afi.com/Catalog/moviedetails/70145"><i>Interstellar</i></a> at the <a href="/wiki/AFI_Catalog_of_Feature_Films">American Film Institute Catalog</a></li></ul>
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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
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 + 3.1 Crew
 + 3.2 Development and financing
 + 3.3 Writing and casting
 + 3.4 Principal photography
 + 3.5 Production design
 + 3.6 Sound design and music
 + 3.7 Visual effects
 * 4 Influences
 * 5 Scientific accuracy
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 + 5.1 Wormholes and black holes
 * 6 Marketing
 * 7 Release
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 + 7.1 Theatrical
 + 7.2 Home media
 * 8 Reception
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 + 8.1 Box office
 + 8.2 Critical response
 + 8.3 Accolades
 * 9 See also
 * 10 Notes
 * 11 References
 * 12 Further reading
 * 13 External links
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 Interstellar (film)

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 From Wikipedia, the free encyclopedia

 Interstellar 
 Theatrical release poster
 Directed by Christopher Nolan 
 Written by * Jonathan Nolan 
 * Christopher Nolan 
 * Emma Thomas 
 Produced by * Christopher Nolan 
 * Lynda Obst 
 * Matthew McConaughey 
 * Anne Hathaway 
 Starring * Jessica Chastain 
 * Bill Irwin 
 * Ellen Burstyn 
 * Michael Caine 
 Cinematography Hoyte van Hoytema 
 Edited by Lee Smith 
 Music by Hans Zimmer 
 Production * Legendary Pictures 
 companies * Syncopy 
 * Lynda Obst Productions 
 Distributed by * Paramount Pictures (North America) 
 * Warner Bros. Pictures (International) 
 * October 26, 2014 (TCL Chinese Theatre)
 Release dates * November 5, 2014 (United States) 
 * November 7, 2014 (United Kingdom) 
 Running time 169 minutes[1] 
 Countries * United Kingdom[2] 
 * United States[2] 
 Language English 
 Budget $165 million[3] 
 Box office $773.8 million[3] 
 

 Interstellar is a 2014 epic science fiction film co-written, directed, and produced by Christopher Nolan. It stars Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Matt Damon, and Michael Caine. Set in a dystopian future where humanity is struggling to survive, the film follows a group of astronauts who travel through a wormhole near Saturn in search of a new home for mankind.

 Brothers Christopher and Jonathan Nolan wrote the screenplay, which had its origins in a script Jonathan developed in 2007. Caltech theoretical physicist and 2017 Nobel laureate in Physics[4] Kip Thorne was an executive producer, acted as a scientific consultant, and wrote a tie-in book, The Science of Interstellar. Cinematographer Hoyte van Hoytema shot it on 35 mm movie film in the Panavision anamorphic format and IMAX 70 mm. Principal photography began in late 2013 and took place in Alberta, Iceland, and Los Angeles. Interstellar uses extensive practical and miniature effects and the company Double Negative created additional digital effects.

 Interstellar premiered on October 26, 2014, in Los Angeles. In the United States, it was first released on film stock, expanding to venues using digital projectors. The film had a worldwide gross over $677 million (and $773 million with subsequent re-releases), making it the tenth-highest grossing film of 2014. It received acclaim for its performances, direction, screenplay, musical score, visual effects, ambition, themes, and emotional weight. It has also received praise from many astronomers for its scientific accuracy and portrayal of theoretical astrophysics. Since its premiere, Interstellar gained a cult following,[5] and now is regarded by many sci-fi experts as one of the best science-fiction films of all time.[6][7] Interstellar was nominated for five awards at the 87th Academy Awards, winning Best Visual Effects, and received numerous other accolades.

 Plot

 In 2067, a global famine caused humanity to abandon scientific pursuits such as space exploration. Ex-NASA pilot Joseph Cooper is forced to work as a farmer. One day, Cooper experiences a gravitational "anomaly" in his daughter Murph's bedroom. He deduces it to be a pattern of GPS coordinates and arrives at a secret NASA facility headed by Professor Brand. Brand explains to Cooper that it is engaged in a secret mission to discover an exoplanet capable of supporting life and that he is working on a gravity-equation. He enlists Cooper's help to pilot an exploratory spacecraft with three other scientists – Romilly, Doyle, and Brand’s daughter Amelia. The crew travels through a wormhole on board the Endurance to pass through to another galaxy. Their mission is to investigate three planets, orbiting a supermassive black hole called Gargantua, each of which was previously explored by a NASA scientist-explorer.

 The first planet is an aqua planet. The NASA explorer there is found dead, and one of their crew – Doyle – drowns after being caught in a massive tidal wave. The same tide also causes the probe's engines to be filled with water, forcing Cooper and Amelia to wait for them to dry out. They return to the Endurance in an hour, finding that 23 years have passed aboard due to the time dilation caused by the planet's proximity to Gargantua. In those 23 years, Murph has become a scientist, and begun working with Brand at NASA. She learns from a dying Professor Brand that he had given up on solving his gravity-equation, knowing that information is needed from inside a black hole. Instead, he put their mission's hopes on Cooper's team establishing a space colony using pre-fertilized eggs on a new habitable planet.

 At the second planet, the crew find its explorer, Mann, to be alive and awaken him from cryostasis. He eventually reveals to Cooper that he lied about the planet's habitability in the hope that NASA sent a mission to rescue him. Romilly dies in an explosion when he attempts to access the system's logs, while Mann tries to kill Cooper and hijack the Endurance spacecraft. Mann is killed when his craft fails to dock properly, and Cooper regains command of the Endurance. Cooper realizes that the Endurance only has enough resources for one person to safely complete their mission. He initiates a slingshot move around Gargantua, setting it to use gravity and be propelled to the final planet. At the last minute, he sacrifices himself by detaching from the spaceship and falling into the black hole, so that Amelia might safely complete the mission.

 Cooper survives and finds himself inside a five-dimensional tesseract, out of view from beyond the event horizon. From inside he can see moments in time from inside Murph's childhood bedroom. He finds her returning to look for clues to the gravity-equation, and he contacts her by manipulating items in the room with gravity to communicate through Morse code. Deducing that this construct has been created by future humans with the ability to time-travel, Cooper imparts to her the information she needs. With his mission completed, he is ejected by the future beings, who return him to the Solar System. He is reunited with a now elderly Murph, who he learns has used the gravity-equation to lead humanity's exodus from Earth. She advises him to seek out Amelia, and he sets off. Meanwhile, on the mission's final planet, Amelia is setting up a new colony for future humans to inhabit. She removes her helmet and breathes in the air, showing that the planet is capable of supporting human life.

 Cast

 Matthew McConaughey and Anne Hathaway played the protagonists of Interstellar.
 * Matthew McConaughey as Joseph Cooper,[a] a widowed NASA pilot who, after the agency was closed by the government, had become a farmer
 * Anne Hathaway as Dr. Amelia Brand, a NASA scientist, and astronaut
 * Jessica Chastain as Murphy "Murph" Cooper, Joseph's daughter, who eventually becomes a NASA scientist
 * Mackenzie Foy as young Murph
 * Ellen Burstyn as elderly Murph
 * John Lithgow as Donald, Cooper's elderly father-in-law
 * Michael Caine as Professor John Brand, a high-ranking NASA scientist, ideator of Plan A, former mentor of Cooper, and father of Amelia
 * David Gyasi as Romilly, another high-ranking NASA member, and Endurance crew member
 * Wes Bentley as Doyle, a high-ranking NASA member, and Endurance crew member
 * Casey Affleck as Tom Cooper, Joseph's son, who eventually grows up to become a farmer
 * Timothée Chalamet as young Tom
 * Matt Damon as Mann, a NASA astronaut sent to an icy planet during the Lazarus program
 * Bill Irwin as TARS (voice and puppetry) and CASE (puppetry)
 * Josh Stewart as CASE (voice)
 * Topher Grace as Getty, Murph's colleague and love interest
 * Leah Cairns as Lois, Tom's wife
 * David Oyelowo as School Principal
 * Collette Wolfe as Ms. Hanley
 * William Devane as Williams, another NASA member
 * Elyes Gabel as Administrator
 * Jeff Hephner as Doctor
 * Russ Fega as Crew Chief

 Production

 Crew

 * Christopher Nolan – Director, producer, writer
 * Jonathan Nolan – Writer
 * Emma Thomas – Producer
 * Lynda Obst – Producer
 * Hoyte van Hoytema – Cinematographer
 * Nathan Crowley – Production designer
 * Mary Zophres – Costume designer
 * Lee Smith – Editor
 * Hans Zimmer – Music composer
 * Paul Franklin – Visual effects supervisor
 * Kip Thorne – Consultant, executive producer

 Development and financing

 The premise for Interstellar was conceived by producer Lynda Obst and theoretical physicist Kip Thorne, who collaborated on the film Contact (1997), and had known each other since Carl Sagan set them up on a blind date.[8][9] The two conceived a scenario, based on Thorne's work, about "the most exotic events in the universe suddenly becoming accessible to humans," and attracted filmmaker Steven Spielberg's interest in directing.[10] The film began development in June 2006, when Spielberg and Paramount Pictures announced plans for a science-fiction film based on an eight-page treatment written by Obst and Thorne. Obst was attached to produce.[11][12] By March 2007, Jonathan Nolan was hired to write a screenplay.[13]

 After Spielberg moved his production studio DreamWorks from Paramount to Walt Disney Studios in 2009, Paramount needed a new director for Interstellar. Jonathan Nolan recommended his brother Christopher, who joined the project in 2012.[14] Christopher Nolan met with Thorne, then attached as executive producer, to discuss the use of spacetime in the story.[15] In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar.[16] Nolan said he wanted to encourage the goal of human spaceflight,[17] and intended to merge his brother's screenplay with his own.[18] By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions.[19] The Hollywood Reporter said Nolan would earn a salary of $20 million against 20% of the total gross.[20] To research for the film, Nolan visited NASA and the private space program at SpaceX.[15]

 Warner Bros. sought a stake in Nolan's production of Interstellar from Paramount, despite their traditional rivalry, and agreed to give Paramount its rights to co-finance the next film in the Friday the 13th horror franchise, with a stake in a future film based on the television series South Park. Warner Bros. also agreed to let Paramount co-finance an indeterminate "A-list" property.[21] In August 2013, Legendary Pictures finalized an agreement with Warner Bros. to finance approximately 25% of the film's production. Although it failed to renew its eight-year production partnership with Warner Bros., Legendary reportedly agreed to forgo financing Batman v Superman: Dawn of Justice (2016) in exchange for the stake in Interstellar.[22]

 Writing and casting

 The Dust Bowl phenomenon of the 1930s, as documented by Ken Burns in The Dust Bowl (2012), served as inspiration for the blight.

 Screenwriter Jonathan Nolan worked on the script for four years.[8] To learn the scientific aspects, he studied relativity at the California Institute of Technology.[23] Jonathan was pessimistic about the Space Shuttle program ending and how NASA lacked financing for a human mission to Mars, drawing inspiration from science-fiction films with apocalyptic themes, such as WALL-E (2008) and Avatar (2009). Jeff Jensen of Entertainment Weekly commented: "He set the story in a dystopian future ravaged by blight, but populated with hardy folk who refuse to bow to despair."[14] His brother Christopher had worked on other science fiction scripts but decided to take the Interstellar script and choose among the vast array of ideas presented by Jonathan and Thorne, picking what he felt, as director, he could get "across to the audience and hopefully not lose them," before he merged it with a script he had worked on for years on his own.[15][24] Christopher kept in place Jonathan's conception of the first hour, which is set on a resource depleted Earth in the near future. The setting was inspired by the Dust Bowl that took place in the United States during the Great Depression in the 1930s.[8] He revised the rest of the script, where a team travels into space, instead.[8] After watching the 2012 documentary The Dust Bowl for inspiration, Christopher contacted director Ken Burns and producer Dayton Duncan, requesting permission to use some of their featured interviews in Interstellar, which was granted.[25]

 Christopher Nolan wanted an actor who could bring to life his vision of the main character as an everyman with whom "the audience could experience the story."[26] He became interested in casting Matthew McConaughey after watching him in an early cut of the 2012 film Mud,[26] which he had seen as a friend of one of its producers, Aaron Ryder.[8] Nolan went to visit McConaughey while he was filming for the TV series True Detective.[27] Anne Hathaway was invited to Nolan's home, where she read the script for Interstellar.[28] In early 2013, both actors were cast in the starring roles.[29] Jessica Chastain was contacted while she was working on Miss Julie (2014) in Northern Ireland, and a script was delivered to her.[28] Originally, Irrfan Khan was offered the role of Dr. Mann but rejected due to scheduling conflicts. Matt Damon was cast as Mann in late August 2013 and completed filming his scenes in Iceland.[30]

 Principal photography

 Nolan shot Interstellar on 35 mm film in the Panavision anamorphic format and IMAX 70 mm photography.[31] Cinematographer Hoyte van Hoytema was hired for Interstellar, as Wally Pfister, Nolan's cinematographer on all of his previous films, was making his directorial debut working on Transcendence (2014).[32] More IMAX cameras were used for Interstellar than for any of Nolan's previous films. To minimize the use of computer-generated imagery (CGI), the director had practical locations built, such as the interior of a space shuttle.[26] Van Hoytema retooled an IMAX camera to be hand-held for shooting interior scenes.[8] Some of the film's sequences were shot with an IMAX camera installed in the nose cone of a Learjet.[33]

 Nolan, who is known for keeping details of his productions secret, strove to ensure secrecy for Interstellar. Writing for The Wall Street Journal, Ben Fritz stated, "The famously secretive filmmaker has gone to extreme lengths to guard the script to ... Interstellar, just as he did with the blockbuster Dark Knight trilogy."[34] As one security measure, Interstellar was filmed under the name Flora's Letter,[35] Flora being one of Nolan's four children with producer Emma Thomas.[15]

 The Svínafellsjökull glacier in Iceland was used as a filming location for Interstellar, doubling for Mann's planet.

 The film's principal photography was scheduled to last four months.[30] It began on August 6 , 2013, in the province of Alberta, Canada.[22] Towns in Alberta where shooting took place included Nanton, Longview, Lethbridge, Fort Macleod, and Okotoks. In Okotoks, filming took place at the Seaman Stadium and the Olde Town Plaza.[35] For a cornfield scene, production designer Nathan Crowley planted 500 acres (200 ha) of corn that would be destroyed in an apocalyptic dust storm scene,[14] intended to be similar to storms experienced during the Dust Bowl in 1930s America.[15] Additional scenes involving the dust storm and McConaughey's character were also shot in Fort Macleod, where the giant dust clouds were created on location using large fans to blow cellulose-based synthetic dust through the air.[36] Filming in the province lasted until September 9 , 2013, and involved hundreds of extras in addition to 130 crew members, most of whom were local.[35]

 Shooting also took place in Iceland, where Nolan had previously filmed scenes for Batman Begins (2005).[37] The location was chosen to represent two extraterrestrial planets: one covered in ice, and the other in water.[8] The crew transported mock spaceships weighing about 10,000 pounds (4,500 kg) to the country.[15] They spent two weeks shooting there,[30] during which a crew of about 350 people , including 130 locals , worked on the film. Locations included the Svínafellsjökull glacier and the town of Klaustur.[38][39] While filming a water scene in Iceland, Hathaway almost suffered hypothermia because the dry suit she was wearing had not been properly secured.[15]

 After the schedule in Iceland was completed, the crew moved to Los Angeles to shoot for 54 days . Filming locations included the Westin Bonaventure Hotel and Suites, the Los Angeles Convention Center, a Sony Pictures soundstage in Culver City, and a private residence in Altadena, California.[40] Principal photography concluded in December 2013.[41] Production had a budget of $165 million , $10 million less than was allotted by Paramount, Warner Bros., and Legendary Pictures.[15]

 Production design

 The Endurance spacecraft (left) is based on the International Space Station (right).

 Interstellar features three spacecraft— a ranger, the Endurance, and a lander. The ranger's function is similar to the Space Shuttle's, being able to enter and exit planetary atmospheres. The Endurance, the crew's mother ship, is a circular structure consisting of 12 capsules, laid flat to mimic a clock: Four capsules with planetary settling equipment, four with engines, and four with the permanent functions of cockpit, medical labs, and habitation. Production designer Nathan Crowley said the Endurance was based on the International Space Station: "It's a real mish-mash of different kinds of technology. You need analogue stuff, as well as digital stuff, you need backup systems and tangible switches. It's really like a submarine in space. Every inch of space is used, everything has a purpose." Lastly, the lander transports the capsules with settling equipment to planetary surfaces. Crowley compared it to "a heavy Russian helicopter."[8]

 The film also features two robots, CASE and TARS, as well as a dismantled third robot, KIPP. Nolan wanted to avoid making the robots anthropomorphic and chose a 1.5 m (4.9 ft) quadrilateral design. The director said: "It has a very complicated design philosophy. It's based on mathematics. You've got four main blocks and they can be joined in three ways. So, you have three combinations you follow. But then within that, it subdivides into a further three joints. And all the places we see lines—those can subdivide further. So you can unfold a finger, essentially, but it's all proportional." Actor Bill Irwin voiced and physically controlled both robots, but his image was digitally removed from the film, and actor Josh Stewart's voice replaced his voicing for CASE.[8] The human space habitats resemble O'Neill cylinders, a theoretical space habitat model proposed by physicist Gerard K. O'Neill in 1976.[42]

 Sound design and music

 Main article: Interstellar (soundtrack)

 Gregg Landaker and Gary Rizzo were the film's audio engineers tasked with audio mixing, while sound editor Richard King supervised the process.[43] Christopher Nolan sought to mix the sound to take maximum advantage of theater equipment[44] and paid close attention to designing the sound mix, like focusing on the sound of buttons being pressed with astronaut suit gloves.[14] The studio's website stated that the film was "mixed to maximize the power of the low-end frequencies in the main channels, as well as in the subwoofer channel."[45] Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasizing that this effect was intentional and not a fault in their equipment.[46]

 Composer Hans Zimmer, who scored Nolan's The Dark Knight Trilogy and Inception (2010), returned to score Interstellar. Nolan chose not to provide Zimmer with a script or any plot details for writing the film's music but instead gave the composer a single page that told the story of a father leaving his child for work. It was through this connection that Zimmer created the early stages of the Interstellar soundtrack. Zimmer and Nolan later decided that the 1926 four-manual Harrison & Harrison organ of the Temple Church, London, would be the primary instrument for the score.[47][48] Zimmer conducted 45 scoring sessions for Interstellar, three times more than for Inception. The soundtrack was released on November 18, 2014.[14]

 Visual effects

 Visual effects company Double Negative, which worked on Inception, was brought back for Interstellar.[49] According to visual effects supervisor Paul Franklin, the number of effects in the film was not much greater than in Nolan's The Dark Knight Rises (2012) or Inception. However, for Interstellar, they created the effects first, allowing digital projectors to display them behind the actors, rather than having the actors perform in front of green screens.[8] Ultimately, the film contained 850 visual-effect shots at a resolution of 5600 × 4000 lines: 150 shots that were created in-camera using digital projectors, and another 700 were created in post-production. Of those, 620 were presented in IMAX, while the rest were anamorphic.[50]

 The ranger, Endurance, and lander spacecraft were created using miniature effects by Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer-generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. 3D-printed and hand-sculpted, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th-scale miniature of the Endurance module spanned over 7.6 m (25 ft), while a pyrotechnic model of part of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 14 m (46 ft) and over 15 m (49 ft), respectively, and were large enough for van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using VistaVision cameras on a smaller motion control rig.[51] New Deal Studio's miniatures were used in 150 special effects shots.[50]

 Influences

 The director was influenced by what he called "key touchstones" of science fiction cinema, including Metropolis (1927), 2001: A Space Odyssey (1968), Blade Runner (1982),[52] Star Wars (1977), and Alien (1979).[53] Andrei Tarkovsky's The Mirror (1975) influenced "elemental things in the story to do with wind and dust and water", according to Nolan,[54] who also compared Interstellar to The Treasure of the Sierra Madre (1948) as a film about human nature.[55] He sought to emulate films like Steven Spielberg's Jaws (1975) and Close Encounters of the Third Kind (1977) for being family-friendly but also "as edgy and incisive and challenging as anything else on the blockbuster spectrum". He screened The Right Stuff (1983) for the crew before production,[8] following in its example by capturing reflections on the Interstellar astronauts' visors. For further inspiration, the director invited former astronaut Marsha Ivins to the set.[15] Nolan and his crew studied the IMAX NASA documentaries of filmmaker Toni Myers for visual reference of spacefaring missions, and strove to imitate their use of IMAX cameras in the enclosed spaces of spacecraft interiors.[56] Clark Kent's upbringing in Man of Steel (2013) was the inspiration for the farm setting in the Midwest.[24] Apart from films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe.[15]

 Scientific accuracy

 Kip Thorne, a theoretical physicist and Nobel Laureate, served as scientific consultant and executive producer.

 Regarding the concepts of wormholes and black holes, Kip Thorne stated that he "worked on the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on Einstein's general relativity equations."[57] Early in the process, Thorne laid down two guidelines: "First, that nothing would violate established physical laws. Second, that all the wild speculations ... would spring from science and not from the fertile mind of a screenwriter." Nolan accepted these terms as long as they did not get in the way of making the film.[12] At one point, Thorne spent two weeks trying to talk Nolan out of an idea about a character traveling faster than light before Nolan finally gave up.[58] According to Thorne, the element which has the highest degree of artistic freedom is the clouds of ice on one of the planets they visit, which are structures that would go beyond the material strength that ice could support.[12]

 Astrobiologist David Grinspoon criticized the dire "blight" situation on Earth portrayed in the early scenes, pointing out that even with a voracious blight it would have taken millions of years to reduce the atmosphere's oxygen content. He also notes that gravity should have pulled down the ice clouds.[59] Neil deGrasse Tyson, an astrophysicist, explored the science behind the ending of Interstellar, concluding that it is theoretically possible to interact with the past, and that "we don't really know what's in a black hole, so take it and run with it."[60] Theoretical physicist Michio Kaku praised the film for its scientific accuracy and has said Interstellar "could set the gold standard for science fiction movies for years to come." Similarly, Timothy Reyes, a former NASA software engineer, said "Thorne's and Nolan's accounting of black holes and wormholes and the use of gravity is excellent."[61]

 Wormholes and black holes

 Miller's planet orbiting Gargantua

 To create the visual effects for the wormhole and a rotating, supermassive black hole (possessing an ergosphere, as opposed to a non-rotating black hole), Thorne collaborated with Franklin and a team of 30 people at Double Negative, providing pages of deeply sourced theoretical equations to the engineers, who then wrote new CGI rendering software based on these equations to create accurate simulations of the gravitational lensing caused by these phenomena. Some individual frames took up to 100 hours to render, totaling 800 terabytes of data.[9] Thorne described the accretion disk of the black hole as "anemic and at low temperature[62]—about the temperature of the surface of the sun," allowing it to emit appreciable light, but not enough gamma radiation and X-rays to threaten nearby astronauts and planets.[63] The resulting visual effects provided Thorne with new insight into the gravitational lensing and accretion disks surrounding black holes, resulting in the publication of three scientific papers.[64][65][66]

 The first image of the event horizon of a black hole, obtained by the Event Horizon Telescope. The asymmetric brightness of the accretion disk is well visible here.

 Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience, and would require the effects team to unrealistically alter its appearance. The visual representation of the black hole in the film does not account for the Doppler effect which, when added by the visual effects team, resulted in an asymmetrically lit black and blue-black hole, the purpose of which Nolan thought the audience would not understand. As a result, it was omitted in the finished product.[67] Nolan found the finished effect to be understandable, as long as he maintained consistent camera perspectives.[68]

 As a reference, the asymmetric brightness of the accretion disk is very well visible in the first image[69] of the event horizon of a black hole obtained by the Event Horizon Telescope team in 2019. Futura-Sciences praised the correct depiction of the Penrose process.[70]

 According to Space.com, the portrayal of what a wormhole would look like is considered scientifically correct. Rather than a two-dimensional hole in space, it is depicted as a sphere, showing a distorted view of the target galaxy.[71]

 Marketing

 The teaser trailer for Interstellar debuted December 13 , 2013, and featured clips related to space exploration, accompanied by a voiceover by Matthew McConaughey's character, Cooper.[72] The theatrical trailer debuted May 5 , 2014, at the Lockheed Martin IMAX Theater in Washington, D.C. and was made available online later that month. For the week ending on May 19 , it was the most-viewed film trailer, with over 19.5 million views on YouTube.[73]

 Christopher Nolan and McConaughey made their first appearances at San Diego Comic-Con in July 2014 to promote Interstellar. That same month, Paramount Pictures launched an interactive website, on which users uncovered a star chart related to the Apollo 11 Moon landing.[74]

 In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms.[75] The film's website was relaunched as a digital hub hosted on a Google domain,[76] which collected feedback from film audiences, and linked to a mobile app.[76] It featured a game in which players could build Solar System models and use a flight simulator for space travel.[77] The Paramount–Google partnership also included a virtual time capsule compiled with user-generated content, made available in 2015.[78] The initiative Google for Education used the film as a basis for promoting math and science lesson plans in schools.[75][79]

 Paramount provided a virtual reality walkthrough of the Endurance spacecraft using Oculus Rift technology. It hosted the walkthrough sequentially in New York City, Houston, Los Angeles, and Washington, D.C., from October 6 through November 19 , 2014.[80][81] The publisher Running Press released Interstellar: Beyond Time and Space, a book by Mark Cotta Vaz about the making of the film, on November 11 .[82] W. W. Norton & Company released The Science of Interstellar, a book by Thorne;[83] Titan Books released the official novelization, written by Greg Keyes;[84] and Wired magazine released a tie-in online comic, Absolute Zero, written by Christopher Nolan and drawn by Sean Gordon Murphy. The comic is a prequel to the film, with Mann as the protagonist.[85]

 Release

 Theatrical

 Before Interstellar ' s public release, Paramount CEO Brad Grey hosted a private screening on October 19 , 2014, at an IMAX theater in Lincoln Square, Manhattan.[86][87] Paramount then showed Interstellar to some of the industry's filmmakers and actors in a first-look screening at the California Science Center on October 22 .[88] On the following day, the film was screened at the TCL Chinese Theatre in Los Angeles, California for over 900 members of the Screen Actors Guild.[89] The film premiered on October 26 at the TCL Chinese Theatre in Los Angeles,[90] and in Europe on October 29 at the Odeon Leicester Square in London. The film premiered on November 7 in Canada.[91][92]

 Interstellar was released early on November 4 in various 70 mm IMAX film, 70 mm film and 35 mm film theaters, and had a limited release in North America (United States and Canada) on November 5 , with a wide release on November 7 .[93] The film was released in Belgium, France, and Switzerland on November 5 , the United Kingdom on November 7 and in additional territories in the following days.[94] For the limited North American release, Interstellar was projected from 70 mm and 35 mm film in 249 theaters that still supported those formats, including at least forty-one 70 mm IMAX theaters. A 70 mm IMAX projector was installed at the TCL Chinese Theatre in Los Angeles to display the format. The film's wide release expanded to theaters that showed it digitally.[95] Paramount Pictures distributed the film in North America, and Warner Bros. distributed it in the remaining territories.[31] The film was released in over 770 IMAX screens worldwide, which was the largest global release in IMAX cinemas,[96][97] until surpassed by Universal Pictures' Furious 7 (2015) with 810 IMAX theaters.[98]

 Interstellar was an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format.[99] According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar on film stock would help preserve an endangered format,[95] which was supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers.[100] McClintock reported that theatre owners saw this as "backward," as nearly all theatres in the US had been converted to digital projection.[101]

 Home media

 Interstellar was released on home video on March 31, 2015, in both the United Kingdom and United States.[102] It topped the home video sales chart for a total of two weeks.[103][104] It was reported that Interstellar was the most pirated film of 2015, with an estimated 46.7 million downloads on BitTorrent.[105] It was released in the Ultra HD Blu-ray format on December 19, 2017.[106]

 Reception

 Box office

 Interstellar grossed $188 million in the US and Canada, and $489.4 million in other countries, for a worldwide total of $677.4 million against a production budget of $165 million.[3] Deadline Hollywood calculated the net profit of the film to be $47.2 million, accounting for production budgets, marketing, talent participations, and other costs, with box office grosses, and ancillary revenues from home media, placing it twentieth on their list of 2014's "Most Valuable Blockbusters".[107] It sold an estimated 22 million tickets domestically.[108]

 The film set an IMAX opening record worldwide with $20.5 million from 574 IMAX theaters, surpassing the $17.1 million record held by The Hunger Games: Catching Fire (2013), and is also the best opening for an IMAX 2D, non-sequel, and November IMAX release.[109] It had a worldwide opening of $132.6 million, which was the tenth-largest opening of 2014,[110] and it became the tenth-highest-grossing film of 2014.[111] Interstellar is the fourth film to gross over $100 million worldwide from IMAX ticket sales.[112][113][114] Interstellar was released in the UK, Ireland and Malta on November 6, 2014, and debuted at number one earning £5.37 million ($8.6 million) in its opening weekend, which was lower than the openings of The Dark Knight Rises (£14.36 million), Gravity (£6.24 million), and Inception (£5.91 million).[115] The film was released in 35 markets on the same day, including major markets like Germany, Russia, Australia, and Brazil earning $8.7 million in total.[116] Through Sunday, it earned an opening weekend total of $82.9 million from 11.1 million admissions from over 14,800 screens in 62 markets.[117] It earned $7.3 million from 206 IMAX screens, at an average of 35,400 viewers per theater.[118] It went to number one in South Korea ($14.4 million),[119] Russia ($8.9 million), and France ($5.3 million). Other strong openings occurred in Germany ($4.6 million), India ($4.3 million), Italy ($3.7 million), Australia ($3.7 million), Spain ($2.7 million), Mexico ($3.1 million), and Brazil ($1.9 million).[120] Interstellar was released in China on November 12 and earned $5.4 million on its opening day on Wednesday, which is Nolan's biggest opening in China after surpassing the $4.61 million opening record of The Dark Knight Rises.[121][122] It went on to earn $41.7 million in its opening weekend, accounting for 55% of the market share.[123][124] It is Nolan's biggest opening in China, Warner Bros.' biggest 2D opening,[125] and the studio's third-biggest opening of all time, behind 2014's The Hobbit: The Battle of the Five Armies ($49.5 million)[126] and 2013's Pacific Rim ($45.2 million).[127][128]

 It topped the box office outside North America for two consecutive weekends before being overtaken by The Hunger Games: Mockingjay – Part 1 (2014) in its third weekend.[125] Just 31 days after its release, the film became the 13th-most-successful film and 3rd-most-successful foreign film in South Korea with 9.1 million admissions trailing only Avatar (13.3 million admissions), and 2013's Frozen (10.3 million admissions).[129] The film closed down its theatrical run in China on December 12, with total revenue of $122.6 million.[130][131] In total earnings, its largest markets outside North America and China were South Korea ($73.4 million), the UK, Ireland and Malta ($31.3 million), and Russia and the Commonwealth of Independent States (CIS) ($19 million).[132] Interstellar and Big Hero 6 opened the same weekend ( November 7–9 , 2014) in the US and Canada. Both were forecast to earn between $55 million and $60 million .[133] In North America, the film is the seventh-highest-grossing film to not hit No. 1, with a top rank of No. 2 on its opening weekend.[134] Interstellar had an early limited release in the US and Canada in selected theaters on November 4 at 8:00 pm, coinciding with the 2014 US midterm elections.[135] It topped the box office the following day, earning $1.35 million from 249 theaters (42 of which were IMAX screens); IMAX accounted for 62% of its total gross.[136] Two hundred and forty of those theaters played in 35 mm, 70 mm, and IMAX 70 mm film formats.[137] It earned $3.6 million from late-night shows for a previews total of $4.9 million.[138][139][140] The film was widely released on November 7 and topped the box office on its opening day, earning $17 million ahead of Big Hero 6 ($15.8 million).[141] On its opening weekend, the film earned $47.5 million[b] from 3,561 theaters, debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million).[143] IMAX comprised $13.2 million (28%) of its opening weekend gross,[143] while other premium large-format screens comprised $5.3 million (10.5%) of the gross.[144][145] In its second weekend, the film fell to No. 3 behind old rival Big Hero 6 and newcomer Dumb and Dumber To (2014), and dropped 39% earning $29.1 million for a two-weekend total of $97.8 million.[146][147] It earned $7.4 million from IMAX theaters from 368 screens in its second weekend.[148][149] In its third week, the film earned $15.1 million and remained at No. 3, below newcomer The Hunger Games: Mockingjay – Part 1 and Big Hero 6.[150]

 Critical response

 On review aggregator Rotten Tomatoes, 72% of 373 critic reviews are positive, with an average rating of 7.10/10. The website's critics consensus reads, "Interstellar represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp."[151] Metacritic, which uses a weighted average, assigned the film a score of 74 out of 100 based on 46 critics, indicating "generally favorable reviews".[152] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[153]

 Scott Foundas, chief film critic at Variety, said that Interstellar is "as visually and conceptually audacious as anything Nolan has yet done" and considered the film "more personal" than Nolan's previous films.[154] Claudia Puig of USA Today praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel."[155] David Stratton of At the Movies rated the film four-and-a-half stars out of five, commending its ambition, effects, and 70 mm IMAX presentation, though criticizing the sound for "being so loud" as to make some of the dialogue "inaudible". Conversely, co-host Margaret Pomeranz rated the film three out of five, as she felt the human drama got lost among the film's scientific concepts.[156] Henry Barnes of The Guardian scored the film three out of five stars, calling it "a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour."[157] James Berardinelli called Interstellar "an amazing achievement" and "simultaneously a big-budget science fiction endeavor and a very simple tale of love and sacrifice. It is by turns edgy, breathtaking, hopeful, and heartbreaking."[158] He named it the best film of 2014,[159] and the second-best movie of the decade, deeming it a "real science fiction rather than the crowd-pleasing, watered-down version Hollywood typically offers".[160]

 "It's been a while since somebody has come out with such a big vision to things ... Even the elements, the fact that dust is everywhere, and they're living in this dust bowl that is just completely enveloping this area of the world. That's almost something you expect from Tarkovsky or Malick, not a science fiction adventure movie.[161]

 —Quentin Tarantino on Interstellar.

 Oliver Gettell of the Los Angeles Times reported that "film critics largely agree that Interstellar is an entertaining, emotional, and thought-provoking sci-fi saga, even if it can also be clunky and sentimental at times."[162] James Dyer of Empire awarded the film a full five stars, describing it as "brainy, barmy, and beautiful to behold ... a mind-bending opera of space and time with a soul wrapped up in all the science."[163] Dave Calhoun of Time Out London also granted the film a maximum score of five stars, stating that it is "a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike."[164] Richard Roeper of Chicago Sun-Times awarded the film a full four stars and wrote, "This is one of the most beautiful films I have ever seen—in terms of its visuals, and its overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms. Love."[165]

 Describing Nolan as a "merchant of awe," Tim Robey of The Telegraph thought that Interstellar was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and "deep-digging intelligence" of the film.[166] Todd McCarthy of The Hollywood Reporter wrote, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that."[167] In his review for the Associated Press, Jake Coyle praised the film for its "big-screen grandeur," while finding some of the dialogue "clunky." He described it further as "an absurd endeavor" and "one of the most sublime movies of the decade."[168] Scott Mendelson of Forbes listed Interstellar as one of the most disappointing films of 2014, stating that the film "has a lack of flow, loss of momentum following the climax, clumsy sound mixing," and "thin characters" despite seeing the film twice in order to "give it a second chance." He wrote that Interstellar "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies."[169] Matt Zoller Seitz of RogerEbert.com gave the film three-and-a-half out of four stars, saying that despite his usual quibbles regarding Nolan's excessive dialogue and its lack of a sense of composition, "[Interstellar] is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away ... At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture ... a movie that would rather try to be eight or nine things than just one."[170]

 New York Times columnist David Brooks concludes that Interstellar explores the relationships among "science and faith and science and the humanities" and "illustrates the real symbiosis between these realms."[171] Wai Chee Dimock, in the Los Angeles Review of Books, wrote that Nolan's films are "rotatable at 90, 180, and 360 degrees," and that "although there is considerable magical thinking here, making it almost an anti-sci-fi film, holding out hope that the end of the planet is not the end of everything, it reverses itself, however, when that magic falls short when the poetic license is naked and plain for all to see."[172] Author George R. R. Martin called Interstellar "the most ambitious and challenging science fiction film since Kubrick's 2001."[173] In 2020, Empire magazine ranked it as one of the best films of the 21st century.[174]

 Accolades

 Main article: List of accolades received by Interstellar

 At the 87th Academy Awards, Interstellar received nominations for Best Original Score, Best Production Design, Best Sound Editing, and Best Sound Mixing, and won Best Visual Effects.[175]

 See also

 * Black holes in fiction
 * Blanet – planet orbiting a black hole
 * Causal loop
 * Interstellar travel
 * List of American films of 2014
 * List of British films of 2014
 * List of films featuring drones
 * List of films featuring space stations
 * List of time travel works of fiction
 * Starship
 * Wormholes in fiction

 Notes

 1. ^ Referred to only as "Cooper" or "Coop" in the film
 2. ^ In total the film earned $2.2 million from the two late-night showings which would bring its opening weekend gross to $49.7 million. [142]

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 Further reading

 * Thorne, Kip (November 7, 2014). The Science of Interstellar. W. W. Norton & Company. ISBN 978-0-393-35137-8.
 * Keyes, Greg (November 11, 2014). Interstellar: The Official Movie Novelization. Titan Books. ISBN 978-1783293698.
 * Vaz, Mark Cotta (November 11, 2014). Interstellar: Beyond Time and Space. Running Press. ISBN 978-0-7624-5683-3.
 * MacKay, John (2014). "On Interstellar" – via Academia.edu.{{cite web}} : CS1 maint: url-status ( link ) (preliminary notes)

 External links

 Wikiquote has quotations related to Interstellar (film).
 Wikimedia Commons has media related to Interstellar.
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 * 
Interstellar      Theatrical release poster    Directed by  Christopher Nolan    Written by  
  Jonathan Nolan 
Christopher Nolan 
    Produced by  
  Emma Thomas 
Christopher Nolan
 Lynda Obst  
    Starring  
  Matthew McConaughey 
 Anne Hathaway 
 Jessica Chastain 
 Bill Irwin 
 Ellen Burstyn 
 Michael Caine  
    Cinematography  Hoyte van Hoytema    Edited by  Lee Smith    Music by  Hans Zimmer     Productioncompanies   
  Legendary Pictures 
 Syncopy 
Lynda Obst Productions 
    Distributed by  
  Paramount Pictures (North America)
 Warner Bros. Pictures (International) 
     Release dates   
 October 26, 2014 (TCL Chinese Theatre)
November 5, 2014 (United States)
November 7, 2014 (United Kingdom) 
     Running time  169 minutes [1]     Countries  
 United Kingdom [2]  
United States [2]   
    Language English   Budget $165 million [3]     Box office $773.8 million [3]     
  Interstellar  is a 2014 epic science fiction film co-written, directed, and produced by Christopher Nolan. It stars Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Ellen Burstyn, Matt Damon, and Michael Caine. Set in a dystopian future where humanity is struggling to survive, the film follows a group of astronauts who travel through a wormhole near Saturn in search of a new home for mankind.
 Brothers Christopher and Jonathan Nolan wrote the screenplay, which had its origins in a script Jonathan developed in 2007. Caltech theoretical physicist and 2017 Nobel laureate in Physics  [4]  Kip Thorne was an executive producer, acted as a scientific consultant, and wrote a tie-in book,  The Science of Interstellar . Cinematographer Hoyte van Hoytema shot it on 35 mm movie film in the Panavision anamorphic format and IMAX 70 mm. Principal photography began in late 2013 and took place in Alberta, Iceland, and Los Angeles. Interstellar uses extensive practical and miniature effects and the company Double Negative created additional digital effects.
  Interstellar premiered on October 26, 2014, in Los Angeles. In the United States, it was first released on film stock, expanding to venues using digital projectors. The film had a worldwide gross over $677 million (and $773 million with subsequent re-releases), making it the tenth-highest grossing film of 2014. It received acclaim for its performances, direction, screenplay, musical score, visual effects, ambition, themes, and emotional weight. It has also received praise from many astronomers for its scientific accuracy and portrayal of theoretical astrophysics. Since its premiere, Interstellar gained a cult following, [5]  and now is regarded by many sci-fi experts as one of the best science-fiction films of all time. [6]   [7]  Interstellar was nominated for five awards at the 87th Academy Awards, winning Best Visual Effects, and received numerous other accolades.
Plot
In 2067, a global famine caused humanity to abandon scientific pursuits such as space exploration. Ex-NASA pilot Joseph Cooper is forced to work as a farmer. One day, Cooper experiences a gravitational "anomaly" in his daughter Murph's bedroom. He deduces it to be a pattern of GPS coordinates and arrives at a secret NASA facility headed by Professor Brand. Brand explains to Cooper that it is engaged in a secret mission to discover an exoplanet capable of supporting life and that he is working on a gravity-equation. He enlists Cooper's help to pilot an exploratory spacecraft with three other scientists – Romilly, Doyle, and Brand’s daughter Amelia. The crew travels through a wormhole on board the Endurance to pass through to another galaxy. Their mission is to investigate three planets, orbiting a supermassive black hole called Gargantua, each of which was previously explored by a NASA scientist-explorer. 
 The first planet is an aqua planet. The NASA explorer there is found dead, and one of their crew – Doyle – drowns after being caught in a massive tidal wave. The same tide also causes the probe's engines to be filled with water, forcing Cooper and Amelia to wait for them to dry out. They return to the Endurance in an hour, finding that 23 years have passed aboard due to the time dilation caused by the planet's proximity to Gargantua. In those 23 years, Murph has become a scientist, and begun working with Brand at NASA. She learns from a dying Professor Brand that he had given up on solving his gravity-equation, knowing that information is needed from inside a black hole. Instead, he put their mission's hopes on Cooper's team establishing a space colony using pre-fertilized eggs on a new habitable planet. 
 At the second planet, the crew find its explorer, Mann, to be alive and awaken him from cryostasis. He eventually reveals to Cooper that he lied about the planet's habitability in the hope that NASA sent a mission to rescue him. Romilly dies in an explosion when he attempts to access the system's logs, while Mann tries to kill Cooper and hijack the Endurance spacecraft. Mann is killed when his craft fails to dock properly, and Cooper regains command of the Endurance. Cooper realizes that the Endurance only has enough resources for one person to safely complete their mission. He initiates a slingshot move around Gargantua, setting it to use gravity and be propelled to the final planet. At the last minute, he sacrifices himself by detaching from the spaceship and falling into the black hole, so that Amelia might safely complete the mission. 
 Cooper survives and finds himself inside a five-dimensional tesseract, out of view from beyond the event horizon. From inside he can see moments in time from inside Murph's childhood bedroom. He finds her returning to look for clues to the gravity-equation, and he contacts her by manipulating items in the room with gravity to communicate through Morse code. Deducing that this construct has been created by future humans with the ability to time-travel, Cooper imparts to her the information she needs. With his mission completed, he is ejected by the future beings, who return him to the Solar System. He is reunited with a now elderly Murph, who he learns has used the gravity-equation to lead humanity's exodus from Earth. She advises him to seek out Amelia, and he sets off. Meanwhile, on the mission's final planet, Amelia is setting up a new colony for future humans to inhabit. She removes her helmet and breathes in the air, showing that the planet is capable of supporting human life. 
Cast
             
  Matthew McConaughey as Joseph Cooper, [a]  a widowed NASA pilot who, after the agency was closed by the government, had become a farmer
 Anne Hathaway as Dr. Amelia Brand, a NASA scientist, and astronaut
 Jessica Chastain as Murphy "Murph" Cooper, Joseph's daughter, who eventually becomes a NASA scientist
 Mackenzie Foy as young Murph
 Ellen Burstyn as elderly Murph
 John Lithgow as Donald, Cooper's elderly father-in-law
 Michael Caine as Professor John Brand, a high-ranking NASA scientist, ideator of Plan A, former mentor of Cooper, and father of Amelia
 David Gyasi as Romilly, another high-ranking NASA member, and Endurance crew member
 Wes Bentley as Doyle, a high-ranking NASA member, and Endurance crew member
 Casey Affleck as Tom Cooper, Joseph's son, who eventually grows up to become a farmer
 Timothée Chalamet as young Tom
 Matt Damon as Mann, a NASA astronaut sent to an icy planet during the Lazarus program
 Bill Irwin as TARS (voice and puppetry) and CASE (puppetry)
 Josh Stewart as CASE (voice)
 Topher Grace as Getty, Murph's colleague and love interest
 Leah Cairns as Lois, Tom's wife
 David Oyelowo as School Principal
 Collette Wolfe as Ms. Hanley
 William Devane as Williams, another NASA member
 Elyes Gabel as Administrator
 Jeff Hephner as Doctor
Russ Fega as Crew Chief 
Production
Crew
  Christopher Nolan – Director, producer, writer
 Jonathan Nolan – Writer
 Emma Thomas – Producer
 Lynda Obst – Producer
 Hoyte van Hoytema – Cinematographer
 Nathan Crowley – Production designer
 Mary Zophres – Costume designer
 Lee Smith – Editor
 Hans Zimmer – Music composer
 Paul Franklin – Visual effects supervisor
 Kip Thorne – Consultant, executive producer 
Development and financing
The premise for Interstellar was conceived by producer Lynda Obst and theoretical physicist Kip Thorne, who collaborated on the film  Contact  (1997), and had known each other since Carl Sagan set them up on a blind date. [8]   [9]  The two conceived a scenario, based on Thorne's work, about "the most exotic events in the universe suddenly becoming accessible to humans," and attracted filmmaker Steven Spielberg's interest in directing. [10]  The film began development in June 2006, when Spielberg and Paramount Pictures announced plans for a science-fiction film based on an eight-page treatment written by Obst and Thorne. Obst was attached to produce. [11]   [12]  By March 2007, Jonathan Nolan was hired to write a screenplay. [13] 
 After Spielberg moved his production studio DreamWorks from Paramount to Walt Disney Studios in 2009, Paramount needed a new director for Interstellar. Jonathan Nolan recommended his brother Christopher, who joined the project in 2012. [14]  Christopher Nolan met with Thorne, then attached as executive producer, to discuss the use of spacetime in the story. [15]  In January 2013, Paramount and Warner Bros. announced that Christopher Nolan was in negotiations to direct Interstellar. [16]  Nolan said he wanted to encourage the goal of human spaceflight, [17]  and intended to merge his brother's screenplay with his own. [18]  By the following March, Nolan was confirmed to direct Interstellar, which would be produced under his label Syncopy and Lynda Obst Productions. [19]   The Hollywood Reporter  said Nolan would earn a salary of $20 million against 20% of the total gross. [20]  To research for the film, Nolan visited NASA and the private space program at SpaceX. [15] 
 Warner Bros. sought a stake in Nolan's production of Interstellar from Paramount, despite their traditional rivalry, and agreed to give Paramount its rights to co-finance the next film in the  Friday the 13th  horror franchise, with a stake in a future film based on the television series  South Park . Warner Bros. also agreed to let Paramount co-finance an indeterminate "A-list" property. [21]  In August 2013, Legendary Pictures finalized an agreement with Warner Bros. to finance approximately 25% of the film's production. Although it failed to renew its eight-year production partnership with Warner Bros., Legendary reportedly agreed to forgo financing  Batman v Superman: Dawn of Justice  (2016) in exchange for the stake in Interstellar. [22] 
Writing and casting
     
Screenwriter Jonathan Nolan worked on the script for four years. [8]  To learn the scientific aspects, he studied relativity at the California Institute of Technology. [23]  Jonathan was pessimistic about the Space Shuttle program ending and how NASA lacked financing for a human mission to Mars, drawing inspiration from science-fiction films with apocalyptic themes, such as  WALL-E  (2008) and  Avatar  (2009). Jeff Jensen of  Entertainment Weekly  commented: "He set the story in a dystopian future ravaged by blight, but populated with hardy folk who refuse to bow to despair." [14]  His brother Christopher had worked on other science fiction scripts but decided to take the Interstellar script and choose among the vast array of ideas presented by Jonathan and Thorne, picking what he felt, as director, he could get "across to the audience and hopefully not lose them," before he merged it with a script he had worked on for years on his own. [15]   [24]  Christopher kept in place Jonathan's conception of the first hour, which is set on a resource depleted Earth in the near future. The setting was inspired by the Dust Bowl that took place in the United States during the Great Depression in the 1930s. [8]  He revised the rest of the script, where a team travels into space, instead. [8]  After watching the 2012 documentary  The Dust Bowl  for inspiration, Christopher contacted director Ken Burns and producer Dayton Duncan, requesting permission to use some of their featured interviews in Interstellar, which was granted. [25] 
 Christopher Nolan wanted an actor who could bring to life his vision of the main character as an everyman with whom "the audience could experience the story." [26]  He became interested in casting Matthew McConaughey after watching him in an early cut of the 2012 film  Mud , [26]  which he had seen as a friend of one of its producers, Aaron Ryder. [8]  Nolan went to visit McConaughey while he was filming for the TV series  True Detective . [27]  Anne Hathaway was invited to Nolan's home, where she read the script for Interstellar. [28]  In early 2013, both actors were cast in the starring roles. [29]  Jessica Chastain was contacted while she was working on  Miss Julie  (2014) in Northern Ireland, and a script was delivered to her. [28]  Originally, Irrfan Khan was offered the role of Dr. Mann but rejected due to scheduling conflicts. Matt Damon was cast as Mann in late August 2013 and completed filming his scenes in Iceland. [30] 
Principal photography
Nolan shot Interstellar on 35 mm film in the Panavision anamorphic format and IMAX 70 mm photography. [31]  Cinematographer Hoyte van Hoytema was hired for Interstellar, as Wally Pfister, Nolan's cinematographer on all of his previous films, was making his directorial debut working on  Transcendence  (2014). [32]  More IMAX cameras were used for Interstellar than for any of Nolan's previous films. To minimize the use of computer-generated imagery (CGI), the director had practical locations built, such as the interior of a space shuttle. [26]  Van Hoytema retooled an IMAX camera to be hand-held for shooting interior scenes. [8]  Some of the film's sequences were shot with an IMAX camera installed in the nose cone of a Learjet. [33] 
 Nolan, who is known for keeping details of his productions secret, strove to ensure secrecy for Interstellar. Writing for  The Wall Street Journal , Ben Fritz stated, "The famously secretive filmmaker has gone to extreme lengths to guard the script to ... Interstellar, just as he did with the blockbuster Dark Knight trilogy." [34]  As one security measure, Interstellar was filmed under the name Flora's Letter, [35]  Flora being one of Nolan's four children with producer Emma Thomas. [15] 
      The Svínafellsjökull glacier in Iceland was used as a filming location for Interstellar, doubling for Mann's planet.  
The film's principal photography was scheduled to last four months. [30]  It began on August 6, 2013, in the province of Alberta, Canada. [22]  Towns in Alberta where shooting took place included Nanton, Longview, Lethbridge, Fort Macleod, and Okotoks. In Okotoks, filming took place at the Seaman Stadium and the Olde Town Plaza. [35]  For a cornfield scene, production designer Nathan Crowley planted 500 acres (200 ha) of corn that would be destroyed in an apocalyptic dust storm scene, [14]  intended to be similar to storms experienced during the Dust Bowl in 1930s America. [15]  Additional scenes involving the dust storm and McConaughey's character were also shot in Fort Macleod, where the giant dust clouds were created on location using large fans to blow cellulose-based synthetic dust through the air. [36]  Filming in the province lasted until September 9, 2013, and involved hundreds of extras in addition to 130 crew members, most of whom were local. [35] 
 Shooting also took place in Iceland, where Nolan had previously filmed scenes for  Batman Begins  (2005). [37]  The location was chosen to represent two extraterrestrial planets: one covered in ice, and the other in water. [8]  The crew transported mock spaceships weighing about 10,000 pounds (4,500 kg) to the country. [15]  They spent two weeks shooting there, [30]  during which a crew of about 350 people, including 130 locals, worked on the film. Locations included the Svínafellsjökull glacier and the town of Klaustur. [38]   [39]  While filming a water scene in Iceland, Hathaway almost suffered hypothermia because the dry suit she was wearing had not been properly secured. [15] 
 After the schedule in Iceland was completed, the crew moved to Los Angeles to shoot for 54 days. Filming locations included the Westin Bonaventure Hotel and Suites, the Los Angeles Convention Center, a Sony Pictures soundstage in Culver City, and a private residence in Altadena, California. [40]  Principal photography concluded in December 2013. [41]  Production had a budget of $165 million, $10 million less than was allotted by Paramount, Warner Bros., and Legendary Pictures. [15] 
Production design
             
 Interstellar features three spacecraft— a ranger, the Endurance, and a lander. The ranger's function is similar to the Space Shuttle's, being able to enter and exit planetary atmospheres. The Endurance, the crew's mother ship, is a circular structure consisting of 12 capsules, laid flat to mimic a clock: Four capsules with planetary settling equipment, four with engines, and four with the permanent functions of cockpit, medical labs, and habitation. Production designer Nathan Crowley said the Endurance was based on the International Space Station: "It's a real mish-mash of different kinds of technology. You need analogue stuff, as well as digital stuff, you need backup systems and tangible switches. It's really like a submarine in space. Every inch of space is used, everything has a purpose." Lastly, the lander transports the capsules with settling equipment to planetary surfaces. Crowley compared it to "a heavy Russian helicopter." [8] 
 The film also features two robots, CASE and TARS, as well as a dismantled third robot, KIPP. Nolan wanted to avoid making the robots anthropomorphic and chose a 1.5 m (4.9 ft) quadrilateral design. The director said: "It has a very complicated design philosophy. It's based on mathematics. You've got four main blocks and they can be joined in three ways. So, you have three combinations you follow. But then within that, it subdivides into a further three joints. And all the places we see lines—those can subdivide further. So you can unfold a finger, essentially, but it's all proportional." Actor Bill Irwin voiced and physically controlled both robots, but his image was digitally removed from the film, and actor Josh Stewart's voice replaced his voicing for CASE. [8]  The human space habitats resemble O'Neill cylinders, a theoretical space habitat model proposed by physicist Gerard K. O'Neill in 1976. [42] 
Sound design and music
 Gregg Landaker and Gary Rizzo were the film's audio engineers tasked with audio mixing, while sound editor Richard King supervised the process. [43]  Christopher Nolan sought to mix the sound to take maximum advantage of theater equipment [44]  and paid close attention to designing the sound mix, like focusing on the sound of buttons being pressed with astronaut suit gloves. [14]  The studio's website stated that the film was "mixed to maximize the power of the low-end frequencies in the main channels, as well as in the subwoofer channel." [45]  Nolan deliberately intended some dialogue to seem drowned out by ambient noise or music, causing some theaters to post notices emphasizing that this effect was intentional and not a fault in their equipment. [46] 
 Composer Hans Zimmer, who scored Nolan's The Dark Knight Trilogy  and  Inception  (2010), returned to score Interstellar. Nolan chose not to provide Zimmer with a script or any plot details for writing the film's music but instead gave the composer a single page that told the story of a father leaving his child for work. It was through this connection that Zimmer created the early stages of the Interstellar soundtrack. Zimmer and Nolan later decided that the 1926 four-manual Harrison &amp; Harrison organ of the Temple Church, London, would be the primary instrument for the score. [47]   [48]  Zimmer conducted 45 scoring sessions for Interstellar, three times more than for Inception. The soundtrack was released on November 18, 2014. [14] 
Visual effects
Visual effects company Double Negative, which worked on Inception, was brought back for Interstellar. [49]  According to visual effects supervisor Paul Franklin, the number of effects in the film was not much greater than in Nolan's  The Dark Knight Rises  (2012) or Inception. However, for Interstellar, they created the effects first, allowing digital projectors to display them behind the actors, rather than having the actors perform in front of green screens. [8]  Ultimately, the film contained 850 visual-effect shots at a resolution of 5600 × 4000 lines: 150 shots that were created in-camera using digital projectors, and another 700 were created in post-production. Of those, 620 were presented in IMAX, while the rest were anamorphic. [50] 
 The ranger, Endurance, and lander spacecraft were created using miniature effects by Nathan Crowley in collaboration with effects company New Deal Studios, as opposed to using computer-generated imagery, as Nolan felt they offered the best way to give the ships a tangible presence in space. 3D-printed and hand-sculpted, the scale models earned the nickname "maxatures" by the crew due to their immense size; the 1/15th-scale miniature of the Endurance module spanned over 7.6 m (25 ft), while a pyrotechnic model of part of the craft was built at 1/5th scale. The Ranger and Lander miniatures spanned 14 m (46 ft) and over 15 m (49 ft), respectively, and were large enough for van Hoytema to mount IMAX cameras directly onto the spacecraft, thus mimicking the look of NASA IMAX documentaries. The models were then attached to a six-axis gimbal on a motion control system that allowed an operator to manipulate their movements, which were filmed against background plates of space using VistaVision cameras on a smaller motion control rig. [51]  New Deal Studio's miniatures were used in 150 special effects shots. [50] 
Influences
The director was influenced by what he called "key touchstones" of science fiction cinema, including  Metropolis  (1927),  2001: A Space Odyssey  (1968),  Blade Runner  (1982), [52]   Star Wars  (1977), and  Alien  (1979). [53]  Andrei Tarkovsky's  The Mirror  (1975) influenced "elemental things in the story to do with wind and dust and water", according to Nolan, [54]  who also compared Interstellar to  The Treasure of the Sierra Madre  (1948) as a film about human nature. [55]  He sought to emulate films like Steven Spielberg's  Jaws  (1975) and  Close Encounters of the Third Kind  (1977) for being family-friendly but also "as edgy and incisive and challenging as anything else on the blockbuster spectrum". He screened  The Right Stuff  (1983) for the crew before production, [8]  following in its example by capturing reflections on the Interstellar astronauts' visors. For further inspiration, the director invited former astronaut Marsha Ivins to the set. [15]  Nolan and his crew studied the IMAX NASA documentaries of filmmaker Toni Myers for visual reference of spacefaring missions, and strove to imitate their use of IMAX cameras in the enclosed spaces of spacecraft interiors. [56]  Clark Kent's upbringing in  Man of Steel  (2013) was the inspiration for the farm setting in the Midwest. [24]  Apart from films, Nolan drew inspiration from the architecture of Ludwig Mies van der Rohe. [15] 
Scientific accuracy
       Kip Thorne, a theoretical physicist and Nobel Laureate, served as scientific consultant and executive producer.  
Regarding the concepts of wormholes and black holes, Kip Thorne stated that he "worked on the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on Einstein's general relativity equations." [57]  Early in the process, Thorne laid down two guidelines: "First, that nothing would violate established physical laws. Second, that all the wild speculations ... would spring from science and not from the fertile mind of a screenwriter." Nolan accepted these terms as long as they did not get in the way of making the film. [12]  At one point, Thorne spent two weeks trying to talk Nolan out of an idea about a character traveling faster than light before Nolan finally gave up. [58]  According to Thorne, the element which has the highest degree of artistic freedom is the clouds of ice on one of the planets they visit, which are structures that would go beyond the material strength that ice could support. [12] 
 Astrobiologist David Grinspoon criticized the dire "blight" situation on Earth portrayed in the early scenes, pointing out that even with a voracious blight it would have taken millions of years to reduce the atmosphere's oxygen content. He also notes that gravity should have pulled down the ice clouds. [59]  Neil deGrasse Tyson, an astrophysicist, explored the science behind the ending of Interstellar, concluding that it is theoretically possible to interact with the past, and that "we don't really know what's in a black hole, so take it and run with it." [60]  Theoretical physicist Michio Kaku praised the film for its scientific accuracy and has said Interstellar "could set the gold standard for science fiction movies for years to come." Similarly, Timothy Reyes, a former NASA software engineer, said "Thorne's and Nolan's accounting of black holes and wormholes and the use of gravity is excellent." [61] 
Wormholes and black holes
      Miller's planet orbiting Gargantua  
To create the visual effects for the wormhole and a rotating, supermassive black hole (possessing an ergosphere, as opposed to a non-rotating black hole), Thorne collaborated with Franklin and a team of 30 people at Double Negative, providing pages of deeply sourced theoretical equations to the engineers, who then wrote new CGI rendering software based on these equations to create accurate simulations of the gravitational lensing caused by these phenomena. Some individual frames took up to 100 hours to render, totaling 800 terabytes of data. [9]  Thorne described the accretion disk of the black hole as "anemic and at low temperature [62] —about the temperature of the surface of the sun," allowing it to emit appreciable light, but not enough gamma radiation and X-rays to threaten nearby astronauts and planets. [63]  The resulting visual effects provided Thorne with new insight into the gravitational lensing and accretion disks surrounding black holes, resulting in the publication of three scientific papers. [64]   [65]   [66] 
      The first image of the event horizon of a black hole, obtained by the Event Horizon Telescope. The asymmetric brightness of the accretion disk is well visible here.  
Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience, and would require the effects team to unrealistically alter its appearance. The visual representation of the black hole in the film does not account for the Doppler effect which, when added by the visual effects team, resulted in an asymmetrically lit black and blue-black hole, the purpose of which Nolan thought the audience would not understand. As a result, it was omitted in the finished product. [67]  Nolan found the finished effect to be understandable, as long as he maintained consistent camera perspectives. [68] 
 As a reference, the asymmetric brightness of the accretion disk is very well visible in the first image [69]  of the event horizon of a black hole obtained by the Event Horizon Telescope team in 2019. Futura-Sciences praised the correct depiction of the Penrose process. [70] 
 According to Space.com, the portrayal of what a wormhole would look like is considered scientifically correct. Rather than a two-dimensional hole in space, it is depicted as a sphere, showing a distorted view of the target galaxy. [71] 
Marketing
The teaser trailer for Interstellar debuted December 13, 2013, and featured clips related to space exploration, accompanied by a voiceover by Matthew McConaughey's character, Cooper. [72]  The theatrical trailer debuted May 5, 2014, at the Lockheed Martin IMAX Theater in Washington, D.C. and was made available online later that month. For the week ending on May 19, it was the most-viewed film trailer, with over 19.5 million views on YouTube. [73] 
 Christopher Nolan and McConaughey made their first appearances at San Diego Comic-Con in July 2014 to promote Interstellar. That same month, Paramount Pictures launched an interactive website, on which users uncovered a star chart related to the Apollo 11 Moon landing. [74] 
 In October 2014, Paramount partnered with Google to promote Interstellar across multiple platforms. [75]  The film's website was relaunched as a digital hub hosted on a Google domain, [76]  which collected feedback from film audiences, and linked to a mobile app. [76]  It featured a game in which players could build Solar System models and use a flight simulator for space travel. [77]  The Paramount–Google partnership also included a virtual time capsule compiled with user-generated content, made available in 2015. [78]  The initiative Google for Education used the film as a basis for promoting math and science lesson plans in schools. [75]   [79] 
 Paramount provided a virtual reality walkthrough of the Endurance spacecraft using Oculus Rift technology. It hosted the walkthrough sequentially in New York City, Houston, Los Angeles, and Washington, D.C., from October 6 through November 19, 2014. [80]   [81]  The publisher Running Press released Interstellar: Beyond Time and Space, a book by Mark Cotta Vaz about the making of the film, on November 11. [82]  W. W. Norton &amp; Company released  The Science of Interstellar , a book by Thorne; [83]  Titan Books released the official novelization, written by Greg Keyes; [84]  and  Wired  magazine released a tie-in online comic, Absolute Zero, written by Christopher Nolan and drawn by Sean Gordon Murphy. The comic is a prequel to the film, with Mann as the protagonist. [85] 
Release
Theatrical
Before Interstellar's public release, Paramount CEO Brad Grey hosted a private screening on October 19, 2014, at an IMAX theater in Lincoln Square, Manhattan. [86]   [87]  Paramount then showed Interstellar to some of the industry's filmmakers and actors in a first-look screening at the California Science Center on October 22. [88]  On the following day, the film was screened at the TCL Chinese Theatre in Los Angeles, California for over 900 members of the Screen Actors Guild. [89]  The film premiered on October 26 at the TCL Chinese Theatre in Los Angeles, [90]  and in Europe on October 29 at the Odeon Leicester Square in London. The film premiered on November 7 in Canada. [91]   [92] 
  Interstellar was released early on November 4 in various 70 mm IMAX film, 70 mm film and 35 mm film theaters, and had a limited release in North America (United States and Canada) on November 5, with a wide release on November 7. [93]  The film was released in Belgium, France, and Switzerland on November 5, the United Kingdom on November 7 and in additional territories in the following days. [94]  For the limited North American release, Interstellar was projected from 70 mm and 35 mm film in 249 theaters that still supported those formats, including at least forty-one 70 mm IMAX theaters. A 70 mm IMAX projector was installed at the TCL Chinese Theatre in Los Angeles to display the format. The film's wide release expanded to theaters that showed it digitally. [95]  Paramount Pictures distributed the film in North America, and Warner Bros. distributed it in the remaining territories. [31]  The film was released in over 770 IMAX screens worldwide, which was the largest global release in IMAX cinemas, [96]   [97]  until surpassed by Universal Pictures'  Furious 7  (2015) with 810 IMAX theaters. [98] 
  Interstellar was an exception to Paramount Pictures' goal to stop releasing films on film stock and to distribute them only in digital format. [99]  According to Pamela McClintock of The Hollywood Reporter, the initiative to project Interstellar on film stock would help preserve an endangered format, [95]  which was supported by Christopher Nolan, J. J. Abrams, Quentin Tarantino, Judd Apatow, Paul Thomas Anderson, and other filmmakers. [100]  McClintock reported that theatre owners saw this as "backward," as nearly all theatres in the US had been converted to digital projection. [101] 
Home media
 Interstellar was released on home video on March 31, 2015, in both the United Kingdom and United States. [102]  It topped the home video sales chart for a total of two weeks. [103]   [104]  It was reported that Interstellar was the most pirated film of 2015, with an estimated 46.7 million downloads on BitTorrent. [105]  It was released in the Ultra HD Blu-ray format on December 19, 2017. [106] 
Reception
Box office
 Interstellar grossed $188 million in the US and Canada, and $489.4 million in other countries, for a worldwide total of $677.4 million against a production budget of $165 million. [3]   Deadline Hollywood  calculated the net profit of the film to be $47.2 million, accounting for production budgets, marketing, talent participations, and other costs, with box office grosses, and ancillary revenues from home media, placing it twentieth on their list of 2014's "Most Valuable Blockbusters". [107]  It sold an estimated 22 million tickets domestically. [108] 
 The film set an IMAX opening record worldwide with $20.5 million from 574 IMAX theaters, surpassing the $17.1 million record held by  The Hunger Games: Catching Fire  (2013), and is also the best opening for an IMAX 2D, non-sequel, and November IMAX release. [109]  It had a worldwide opening of $132.6 million, which was the tenth-largest opening of 2014, [110]  and it became the tenth-highest-grossing film of 2014. [111]  Interstellar is the fourth film to gross over $100 million worldwide from IMAX ticket sales. [112]   [113]   [114]  Interstellar was released in the UK, Ireland and Malta on November 6, 2014, and debuted at number one earning £5.37 million ($8.6 million) in its opening weekend, which was lower than the openings of The Dark Knight Rises (£14.36 million), Gravity (£6.24 million), and Inception (£5.91 million). [115]  The film was released in 35 markets on the same day, including major markets like Germany, Russia, Australia, and Brazil earning $8.7 million in total. [116]  Through Sunday, it earned an opening weekend total of $82.9 million from 11.1 million admissions from over 14,800 screens in 62 markets. [117]  It earned $7.3 million from 206 IMAX screens, at an average of 35,400 viewers per theater. [118]  It went to number one in South Korea ($14.4 million), [119]  Russia ($8.9 million), and France ($5.3 million). Other strong openings occurred in Germany ($4.6 million), India ($4.3 million), Italy ($3.7 million), Australia ($3.7 million), Spain ($2.7 million), Mexico ($3.1 million), and Brazil ($1.9 million). [120]  Interstellar was released in China on November 12 and earned $5.4 million on its opening day on Wednesday, which is Nolan's biggest opening in China after surpassing the $4.61 million opening record of The Dark Knight Rises. [121]   [122]  It went on to earn $41.7 million in its opening weekend, accounting for 55% of the market share. [123]   [124]  It is Nolan's biggest opening in China, Warner Bros.' biggest 2D opening, [125]  and the studio's third-biggest opening of all time, behind 2014's  The Hobbit: The Battle of the Five Armies  ($49.5 million) [126]  and 2013's  Pacific Rim  ($45.2 million). [127]   [128] 
 It topped the box office outside North America for two consecutive weekends before being overtaken by  The Hunger Games: Mockingjay – Part 1  (2014) in its third weekend. [125]  Just 31 days after its release, the film became the 13th-most-successful film and 3rd-most-successful foreign film in South Korea with 9.1 million admissions trailing only Avatar (13.3 million admissions), and 2013's  Frozen  (10.3 million admissions). [129]  The film closed down its theatrical run in China on December 12, with total revenue of $122.6 million. [130]   [131]  In total earnings, its largest markets outside North America and China were South Korea ($73.4 million), the UK, Ireland and Malta ($31.3 million), and Russia and the Commonwealth of Independent States (CIS) ($19 million). [132]  Interstellar and  Big Hero 6  opened the same weekend (November 7–9, 2014) in the US and Canada. Both were forecast to earn between $55 million and $60 million. [133]  In North America, the film is the seventh-highest-grossing film to not hit No. 1, with a top rank of No. 2 on its opening weekend. [134]  Interstellar had an early limited release in the US and Canada in selected theaters on November 4 at 8:00 pm, coinciding with the 2014 US midterm elections. [135]  It topped the box office the following day, earning $1.35 million from 249 theaters (42 of which were IMAX screens); IMAX accounted for 62% of its total gross. [136]  Two hundred and forty of those theaters played in 35 mm, 70 mm, and IMAX 70 mm film formats. [137]  It earned $3.6 million from late-night shows for a previews total of $4.9 million. [138]   [139]   [140]  The film was widely released on November 7 and topped the box office on its opening day, earning $17 million ahead of  Big Hero 6  ($15.8 million). [141]  On its opening weekend, the film earned $47.5 million [b]  from 3,561 theaters, debuting in second place after a neck-and-neck competition with Disney's Big Hero 6 ($56.2 million). [143]  IMAX comprised $13.2 million (28%) of its opening weekend gross, [143]  while other premium large-format screens comprised $5.3 million (10.5%) of the gross. [144]   [145]  In its second weekend, the film fell to No. 3 behind old rival Big Hero 6 and newcomer  Dumb and Dumber To  (2014), and dropped 39% earning $29.1 million for a two-weekend total of $97.8 million. [146]   [147]  It earned $7.4 million from IMAX theaters from 368 screens in its second weekend. [148]   [149]  In its third week, the film earned $15.1 million and remained at No. 3, below newcomer The Hunger Games: Mockingjay – Part 1 and Big Hero 6. [150] 
Critical response
On review aggregator Rotten Tomatoes, 72% of 373 critic reviews are positive, with an average rating of 7.10/10. The website's critics consensus reads, "Interstellar represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp." [151]  Metacritic, which uses a weighted average, assigned the film a score of 74 out of 100 based on 46 critics, indicating "generally favorable reviews". [152]  Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. [153] 
 Scott Foundas, chief film critic at  Variety , said that Interstellar is "as visually and conceptually audacious as anything Nolan has yet done" and considered the film "more personal" than Nolan's previous films. [154]  Claudia Puig of  USA Today  praised the visual spectacle and powerful themes, while criticizing the "dull" dialogue and "tedious patches inside the space vessel." [155]  David Stratton of  At the Movies  rated the film four-and-a-half stars out of five, commending its ambition, effects, and 70 mm IMAX presentation, though criticizing the sound for "being so loud" as to make some of the dialogue "inaudible". Conversely, co-host Margaret Pomeranz rated the film three out of five, as she felt the human drama got lost among the film's scientific concepts. [156]  Henry Barnes of  The Guardian  scored the film three out of five stars, calling it "a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour." [157]  James Berardinelli called Interstellar "an amazing achievement" and "simultaneously a big-budget science fiction endeavor and a very simple tale of love and sacrifice. It is by turns edgy, breathtaking, hopeful, and heartbreaking." [158]  He named it the best film of 2014, [159]  and the second-best movie of the decade, deeming it a "real science fiction rather than the crowd-pleasing, watered-down version Hollywood typically offers". [160] 
"It's been a while since somebody has come out with such a big vision to things ... Even the elements, the fact that dust is everywhere, and they're living in this dust bowl that is just completely enveloping this area of the world. That's almost something you expect from Tarkovsky or Malick, not a science fiction adventure movie. [161] 
 —Quentin Tarantino on Interstellar.
Oliver Gettell of the  Los Angeles Times  reported that "film critics largely agree that Interstellar is an entertaining, emotional, and thought-provoking sci-fi saga, even if it can also be clunky and sentimental at times." [162]  James Dyer of  Empire  awarded the film a full five stars, describing it as "brainy, barmy, and beautiful to behold ... a mind-bending opera of space and time with a soul wrapped up in all the science." [163]  Dave Calhoun of  Time Out London  also granted the film a maximum score of five stars, stating that it is "a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike." [164]  Richard Roeper of  Chicago Sun-Times  awarded the film a full four stars and wrote, "This is one of the most beautiful films I have ever seen—in terms of its visuals, and its overriding message about the powerful forces of the one thing we all know but can't measure in scientific terms. Love." [165] 
 Describing Nolan as a "merchant of awe," Tim Robey of  The Telegraph  thought that Interstellar was "agonisingly" close to a masterpiece, highlighting the conceptual boldness and "deep-digging intelligence" of the film. [166]  Todd McCarthy of  The Hollywood Reporter  wrote, "This grandly conceived and executed epic tries to give equal weight to intimate human emotions and speculation about the cosmos, with mixed results, but is never less than engrossing, and sometimes more than that." [167]  In his review for the Associated Press, Jake Coyle praised the film for its "big-screen grandeur," while finding some of the dialogue "clunky." He described it further as "an absurd endeavor" and "one of the most sublime movies of the decade." [168]  Scott Mendelson of  Forbes  listed Interstellar as one of the most disappointing films of 2014, stating that the film "has a lack of flow, loss of momentum following the climax, clumsy sound mixing," and "thin characters" despite seeing the film twice in order to "give it a second chance." He wrote that Interstellar "ends up as a stripped-down and somewhat muted variation on any number of 'go into space to save the world' movies." [169]  Matt Zoller Seitz of RogerEbert.com gave the film three-and-a-half out of four stars, saying that despite his usual quibbles regarding Nolan's excessive dialogue and its lack of a sense of composition, "[Interstellar] is still an impressive, at times astonishing movie that overwhelmed me to the point where my usual objections to Nolan's work melted away ... At times, the movie's one-stop-shopping storytelling evokes the tough-tender spirit of a John Ford picture ... a movie that would rather try to be eight or nine things than just one." [170] 
   New York Times  columnist David Brooks concludes that Interstellar explores the relationships among "science and faith and science and the humanities" and "illustrates the real symbiosis between these realms." [171]  Wai Chee Dimock, in the  Los Angeles Review of Books , wrote that Nolan's films are "rotatable at 90, 180, and 360 degrees," and that "although there is considerable magical thinking here, making it almost an anti-sci-fi film, holding out hope that the end of the planet is not the end of everything, it reverses itself, however, when that magic falls short when the poetic license is naked and plain for all to see." [172]  Author George R. R. Martin called Interstellar "the most ambitious and challenging science fiction film since Kubrick's 2001." [173]  In 2020,  Empire  magazine ranked it as one of the best films of the 21st century. [174] 
Accolades
At the 87th Academy Awards, Interstellar received nominations for Best Original Score, Best Production Design, Best Sound Editing, and Best Sound Mixing, and 
won Best Visual Effects. [175] 
See also
  Black holes in fiction 
 Blanet – planet orbiting a black hole
 Causal loop 
 Interstellar travel 
 List of American films of 2014 
 List of British films of 2014 
 List of films featuring drones 
 List of films featuring space stations 
 List of time travel works of fiction 
 Starship 
 Wormholes in fiction  
Notes
 
  ^  Referred to only as "Cooper" or "Coop" in the film
  ^  In total the film earned $2.2 million from the two late-night showings which would bring its opening weekend gross to $49.7 million. [142] 
 
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^    a       b    Subers, Ray (November 9, 2014). "Weekend Report: Disney's 'Big Hero 6' Eclipses Nolan's 'Interstellar'".  Box Office Mojo . Archived from the original on June 9, 2016. Retrieved November 11, 2014.
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Further reading
   Thorne, Kip (November 7, 2014).  The Science of Interstellar . W. W. Norton &amp; Company. ISBN  978-0-393-35137-8 . 
 Keyes, Greg (November 11, 2014).  Interstellar: The Official Movie Novelization . Titan Books. ISBN  978-1783293698 . 
  Vaz, Mark Cotta (November 11, 2014).  Interstellar: Beyond Time and Space . Running Press. ISBN  978-0-7624-5683-3 . 
 MacKay, John (2014). "On Interstellar" – via Academia.edu. {{cite web}}: CS1 maint: url-status (link) (preliminary notes) 
External links
   Interstellar  at IMDb 
  Interstellar  at AllMovie 
  Interstellar  at the TCM Movie Database 
  Interstellar  at the American Film Institute Catalog
Interstellar (film) - Wikipedia
https://en.wikipedia.org/wiki/Interstellar_(film)
https://en.wikipedia.org/wiki/The_Dark_Knight
The Dark Knight
2006-03-04
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<div><div>
<table><tbody><tr><th>The Dark Knight</th></tr><tr><td><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="https://en.wikipedia.org/wiki/Christopher_Nolan">Christopher Nolan</a></td></tr><tr><th>Screenplay by</th><td><div>
<ul><li><a href="https://en.wikipedia.org/wiki/Jonathan_Nolan">Jonathan Nolan</a></li>
<li>Christopher Nolan</li></ul>
</div></td></tr><tr><th>Story by</th><td><div>
<ul><li>Christopher Nolan</li>
<li><a href="https://en.wikipedia.org/wiki/David_S._Goyer">David S. Goyer</a></li></ul>
</div></td></tr><tr><th>Based on</th><td>Characters appearing in comic books published<br/>by <a href="https://en.wikipedia.org/wiki/DC_Comics">DC Comics</a></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="https://en.wikipedia.org/wiki/Emma_Thomas">Emma Thomas</a></li>
<li><a href="https://en.wikipedia.org/wiki/Charles_Roven">Charles Roven</a></li>
<li>Christopher Nolan</li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="https://en.wikipedia.org/wiki/Christian_Bale">Christian Bale</a></li>
<li><a href="https://en.wikipedia.org/wiki/Michael_Caine">Michael Caine</a></li>
<li><a href="https://en.wikipedia.org/wiki/Heath_Ledger">Heath Ledger</a></li>
<li><a href="https://en.wikipedia.org/wiki/Gary_Oldman">Gary Oldman</a></li>
<li><a href="https://en.wikipedia.org/wiki/Aaron_Eckhart">Aaron Eckhart</a></li>
<li><a href="https://en.wikipedia.org/wiki/Maggie_Gyllenhaal">Maggie Gyllenhaal</a></li>
<li><a href="https://en.wikipedia.org/wiki/Morgan_Freeman">Morgan Freeman</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="https://en.wikipedia.org/wiki/Wally_Pfister">Wally Pfister</a></td></tr><tr><th>Edited by</th><td><a href="https://en.wikipedia.org/wiki/Lee_Smith_(film_editor)">Lee Smith</a></td></tr><tr><th>Music by</th><td><div>
<ul><li><a href="https://en.wikipedia.org/wiki/Hans_Zimmer">Hans Zimmer</a></li>
<li><a href="https://en.wikipedia.org/wiki/James_Newton_Howard">James Newton Howard</a></li></ul>
</div></td></tr><tr><th><p>Production<br/>companies</p></th><td><div>
<ul><li><a href="https://en.wikipedia.org/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a></li>
<li><a href="https://en.wikipedia.org/wiki/Legendary_Pictures">Legendary Pictures</a></li>
<li><a href="https://en.wikipedia.org/wiki/Syncopy_Inc.">Syncopy</a><sup><a href="#cite_note-3">[a]</a></sup></li></ul>
</div></td></tr><tr><th>Distributed by</th><td>Warner Bros. Pictures</td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>July 14, 2008 (New York City)</li>
<li>July 18, 2008 (United States)</li>
<li>July 25, 2008 (United Kingdom)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>152 minutes</td></tr><tr><th>Countries</th><td><div>
<ul><li>United States</li>
<li>United Kingdom<sup><a href="#cite_note-5">[b]</a></sup></li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$185million</td></tr><tr><th>Box office</th><td>$1.006billion<sup><a href="#cite_note-6">[c]</a></sup></td></tr></tbody></table>
<p><i><b>The Dark Knight</b></i> is a 2008 <a href="https://en.wikipedia.org/wiki/Superhero_film">superhero film</a> directed by <a href="https://en.wikipedia.org/wiki/Christopher_Nolan">Christopher Nolan</a> from a screenplay co-written with his brother <a href="https://en.wikipedia.org/wiki/Jonathan_Nolan">Jonathan</a>. Based on the <a href="https://en.wikipedia.org/wiki/DC_Comics">DC Comics</a> superhero <a href="https://en.wikipedia.org/wiki/Batman">Batman</a>, it is the sequel to <i><a href="https://en.wikipedia.org/wiki/Batman_Begins">Batman Begins</a></i> (2005) and the second installment in <a href="https://en.wikipedia.org/wiki/The_Dark_Knight_trilogy"><i>The Dark Knight</i> trilogy</a>. The plot follows the vigilante <a href="https://en.wikipedia.org/wiki/Bruce_Wayne_(Dark_Knight_trilogy)">Batman</a>, police lieutenant <a href="https://en.wikipedia.org/wiki/James_Gordon_(comics)">James Gordon</a>, and district attorney <a href="https://en.wikipedia.org/wiki/Harvey_Dent">Harvey Dent</a>, who form an alliance to dismantle <a href="https://en.wikipedia.org/wiki/Organized_crime">organized crime</a> in <a href="https://en.wikipedia.org/wiki/Gotham_City">Gotham City</a>. Their efforts are derailed by the <a href="https://en.wikipedia.org/wiki/Joker_(The_Dark_Knight)">Joker</a>, an anarchistic mastermind who seeks to test how far Batman will go to save the city from chaos. The <a href="https://en.wikipedia.org/wiki/Ensemble_cast">ensemble cast</a> includes <a href="https://en.wikipedia.org/wiki/Christian_Bale">Christian Bale</a>, <a href="https://en.wikipedia.org/wiki/Michael_Caine">Michael Caine</a>, <a href="https://en.wikipedia.org/wiki/Heath_Ledger">Heath Ledger</a>, <a href="https://en.wikipedia.org/wiki/Gary_Oldman">Gary Oldman</a>, <a href="https://en.wikipedia.org/wiki/Aaron_Eckhart">Aaron Eckhart</a>, <a href="https://en.wikipedia.org/wiki/Maggie_Gyllenhaal">Maggie Gyllenhaal</a>, and <a href="https://en.wikipedia.org/wiki/Morgan_Freeman">Morgan Freeman</a>.
</p><p><a href="https://en.wikipedia.org/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a> prioritized a sequel following the successful reinvention of the <a href="https://en.wikipedia.org/wiki/Batman_in_film"><i>Batman</i> film series</a> with <i>Batman Begins</i>. Christopher and <i>Batman Begins</i> co-writer <a href="https://en.wikipedia.org/wiki/David_S._Goyer">David S. Goyer</a> developed the story elements, making Dent the central protagonist caught up in the battle between Batman and the Joker. In writing the screenplay, the Nolans were influenced by 1980s <i>Batman</i> comics and crime drama films, and sought to continue <i>Batman Begins</i> heightened sense of realism. From April to November 2007, filming took place with a $185million budget in Chicago and Hong Kong, and on sets in England. <i>The Dark Knight</i> was the first major motion picture to be filmed with high-resolution <a href="https://en.wikipedia.org/wiki/IMAX">IMAX</a> cameras. Christopher avoided using <a href="https://en.wikipedia.org/wiki/Computer-generated_imagery">computer-generated imagery</a> unless necessary, insisting on practical <a href="https://en.wikipedia.org/wiki/Stunts">stunts</a> such as flipping an <a href="https://en.wikipedia.org/wiki/Semi-trailer_truck">18-wheel truck</a> and blowing up a factory.
</p><p><i>The Dark Knight</i> was marketed with an innovative interactive <a href="https://en.wikipedia.org/wiki/Viral_marketing">viral campaign</a> that initially focused on countering criticism of Ledger's casting by those who believed he was a poor choice to portray the Joker. Ledger died from an accidental prescription drug overdose in January 2008, leading to widespread interest from the press and public regarding his performance. When it was released in July, <i>The Dark Knight</i> received acclaim for its mature tone and themes, visual style, and performances—particularly that of Ledger, who received many posthumous awards including <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Supporting_Actor">Academy</a>, <a href="https://en.wikipedia.org/wiki/BAFTA_Award_for_Best_Actor_in_a_Supporting_Role">BAFTA</a>, and <a href="https://en.wikipedia.org/wiki/Golden_Globe_Award_for_Best_Supporting_Actor_%E2%80%93_Motion_Picture">Golden Globe</a> awards for Best Supporting Actor, making <i>The Dark Knight</i> the first comic-book film to receive major industry awards. It broke several box-office records and became the <a href="https://en.wikipedia.org/wiki/2008_in_film">highest-grossing 2008 film</a>, the <a href="https://en.wikipedia.org/wiki/List_of_highest-grossing_films">fourth-highest-grossing film to that time</a>, and the highest-grossing superhero film.
</p><p>Since its release, <i>The Dark Knight</i> has been assessed as one of the greatest superhero films ever, one of the best movies of the 2000s, and one of the <a href="https://en.wikipedia.org/wiki/Best_films_ever_made">best films ever made</a>. It is considered the "blueprint" for many modern superhero films, particularly for its rejection of a typical comic-book movie style in favor of a crime film that features comic-book characters. Many filmmakers sought to repeat its success by emulating its gritty, realistic tone to varying degrees of success. <i>The Dark Knight</i> has been analyzed for its themes of terrorism and the limitations of morality and ethics. The United States <a href="https://en.wikipedia.org/wiki/Library_of_Congress">Library of Congress</a> selected it for preservation in the <a href="https://en.wikipedia.org/wiki/National_Film_Registry">National Film Registry</a> in 2020. A sequel, <i><a href="https://en.wikipedia.org/wiki/The_Dark_Knight_Rises">The Dark Knight Rises</a></i>, concluded <i>The Dark Knight</i> trilogy in 2012.
</p>
<h2></h2>
<p>A gang of masked criminals rob a <a href="https://en.wikipedia.org/wiki/American_Mafia">mafia</a>-owned bank in <a href="https://en.wikipedia.org/wiki/Gotham_City">Gotham City</a>, betraying and killing each other until the sole survivor, the <a href="https://en.wikipedia.org/wiki/Joker_(The_Dark_Knight)">Joker</a>, reveals himself as the mastermind and escapes with the money. The vigilante <a href="https://en.wikipedia.org/wiki/Bruce_Wayne_(Dark_Knight_trilogy)">Batman</a>, district attorney <a href="https://en.wikipedia.org/wiki/Harvey_Dent">Harvey Dent</a>, and police lieutenant <a href="https://en.wikipedia.org/wiki/Jim_Gordon_(character)">Jim Gordon</a> ally to eliminate Gotham's organized crime. Batman's true identity, the billionaire Bruce Wayne, publicly supports Dent as Gotham's legitimate protector, as Wayne believes Dent's success will allow Batman to retire, allowing him to romantically pursue his childhood friend <a href="https://en.wikipedia.org/wiki/Rachel_Dawes">Rachel Dawes</a>, despite her relationship with Dent.
</p><p>Gotham's mafia bosses gather to discuss protecting their organizations from the Joker, the police, and Batman. The Joker interrupts the meeting and offers to kill Batman for half of the fortune their accountant, Lau, concealed before fleeing to Hong Kong to avoid extradition. With the help of <a href="https://en.wikipedia.org/wiki/Wayne_Enterprises">Wayne Enterprises</a> CEO <a href="https://en.wikipedia.org/wiki/Lucius_Fox">Lucius Fox</a>, Batman finds Lau in Hong Kong and returns him to the custody of Gotham police. His testimony enables Dent to apprehend the crime families. The bosses accept the Joker's offer, and he kills high-profile targets involved in the trial, including the judge and police commissioner. Although Gordon saves the mayor, the Joker threatens that his attacks will continue until Batman reveals his identity. He targets Dent at a fundraising dinner and throws Rachel out of a window, but Batman rescues her.
</p><p>Wayne struggles to understand the Joker's motives, but his butler <a href="https://en.wikipedia.org/wiki/Alfred_Pennyworth">Alfred Pennyworth</a> says "some men just want to watch the world burn." Dent claims he is Batman to lure out the Joker, who attacks the police convoy transporting him. Batman and Gordon apprehend the Joker, and Gordon is promoted to commissioner. At the police station, Batman interrogates the Joker, who says he finds Batman entertaining and has no intention of killing him. Having deduced Batman's feelings for Rachel, the Joker reveals she and Dent are being held separately in buildings rigged to explode. Batman races to rescue Rachel while Gordon and the other officers go after Dent, but they discover the Joker gave their positions in reverse. The explosives detonate, killing Rachel and severely burning Dent's face on one side. The Joker escapes custody, extracts the fortune's location from Lau, and burns it, killing Lau in the process.
</p><p>Wayne Enterprises accountant Coleman Reese deduces and tries to expose Batman's identity, but the Joker threatens to blow up a hospital unless Reese is killed. While the police evacuate hospitals and Gordon struggles to keep Reese alive, the Joker meets with a disillusioned Dent, persuading him to take the law into his own hands and avenge Rachel. Dent defers his decision-making to his now half-scarred, two-headed coin, killing the corrupt officers and the mafia involved in Rachel's death. As panic grips the city, the Joker reveals two evacuation ferries, one carrying civilians and the other prisoners, are rigged to explode at midnight unless one group sacrifices the other. To the Joker's disbelief, the passengers refuse to kill one another. Batman subdues the Joker but refuses to kill him. Before the police arrest the Joker, he says although Batman proved incorruptible, his plan to corrupt Dent has succeeded.
</p><p>Dent takes Gordon's family hostage, blaming his negligence for Rachel's death. He flips his coin to decide their fates, but Batman tackles him to save Gordon's son, and Dent falls to his death. Believing Dent is the hero the city needs and the truth of his corruption will harm Gotham, Batman takes the blame for his death and actions and persuades Gordon to conceal the truth. Pennyworth burns an undelivered letter from Rachel to Wayne that says she chose Dent, and Fox destroys the invasive surveillance network that helped Batman find the Joker. The city mourns Dent as a hero, and the police launch a manhunt for Batman.
</p>
<h2></h2>
<ul><li><a href="https://en.wikipedia.org/wiki/Christian_Bale">Christian Bale</a> as <a href="https://en.wikipedia.org/wiki/Bruce_Wayne_(Dark_Knight_trilogy)">Bruce Wayne / Batman</a>: A wealthy socialite who as a child was traumatized by his parents' murder. Wayne secretly operates as the heroic vigilante Batman.<sup><a href="#cite_note-EmpireCast-7">[4]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Michael_Caine">Michael Caine</a> as <a href="https://en.wikipedia.org/wiki/Alfred_Pennyworth">Alfred Pennyworth</a>: Wayne's father-figure, trusted butler, and confidant.<sup><a href="#cite_note-NMECast-8">[5]</a></sup><sup><a href="#cite_note-VarietyCast-9">[6]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Heath_Ledger">Heath Ledger</a> as the <a href="https://en.wikipedia.org/wiki/Joker_(The_Dark_Knight)">Joker</a>: A criminal mastermind and anarchist who is determined to sow chaos and corruption throughout Gotham.<sup><a href="#cite_note-EmpireCast-7">[4]</a></sup><sup><a href="#cite_note-DogCast-10">[7]</a></sup><sup><a href="#cite_note-EWCast-11">[8]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Gary_Oldman">Gary Oldman</a> as <a href="https://en.wikipedia.org/wiki/James_Gordon_(character)">James Gordon</a>: One of the few honest officers in the <a href="https://en.wikipedia.org/wiki/Gotham_City_Police_Department">Gotham City Police Department</a> (GCPD) who assists Batman's war on crime.<sup><a href="#cite_note-DogCast-10">[7]</a></sup><sup><a href="#cite_note-SlashCast-12">[9]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Aaron_Eckhart">Aaron Eckhart</a> as <a href="https://en.wikipedia.org/wiki/Two-Face">Harvey Dent / Two-Face</a>: Gotham's noble district attorney-turned-violent vigilante.<sup><a href="#cite_note-DogCast-10">[7]</a></sup><sup><a href="#cite_note-Boucher-13">[10]</a></sup><sup><a href="#cite_note-Purdin-14">[11]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Maggie_Gyllenhaal">Maggie Gyllenhaal</a> as <a href="https://en.wikipedia.org/wiki/Rachel_Dawes">Rachel Dawes</a>: Gotham's assistant district attorney and Wayne's childhood friend, who is divided between her feelings for him and for Dent.<sup><a href="#cite_note-ScreenRantDawes-15">[12]</a></sup></li>
<li><a href="https://en.wikipedia.org/wiki/Morgan_Freeman">Morgan Freeman</a> as <a href="https://en.wikipedia.org/wiki/Lucius_Fox">Lucius Fox</a>: Wayne Enterprises' CEO who supplies technology and equipment for Batman's campaign.<sup><a href="#cite_note-SlantCast-16">[13]</a></sup><sup><a href="#cite_note-EWFreeman-17">[14]</a></sup><sup><a href="#cite_note-TheVoiceCast-18">[15]</a></sup></li></ul>
<p>Additionally, <a href="https://en.wikipedia.org/wiki/Eric_Roberts">Eric Roberts</a>, <a href="https://en.wikipedia.org/wiki/Michael_Jai_White">Michael Jai White</a>, and <a href="https://en.wikipedia.org/wiki/Ritchie_Coster">Ritchie Coster</a> appear as <a href="https://en.wikipedia.org/wiki/Crime_boss">crime bosses</a> <a href="https://en.wikipedia.org/wiki/Sal_Maroni">Sal Maroni</a>, Gambol, and the Chechen, respectively; while <a href="https://en.wikipedia.org/wiki/Chin_Han_(actor,_born_1969)">Chin Han</a> portrays Lau, a Chinese criminal banker.<sup><a href="#cite_note-24">[d]</a></sup> The GCPD cast includes <a href="https://en.wikipedia.org/wiki/Colin_McFarlane">Colin McFarlane</a> as commissioner <a href="https://en.wikipedia.org/wiki/Gillian_B._Loeb">Gillian B. Loeb</a>, <a href="https://en.wikipedia.org/wiki/Keith_Szarabajka">Keith Szarabajka</a> and <a href="https://en.wikipedia.org/wiki/Ron_Dean">Ron Dean</a> as detectives Stephens and Wuertz, <a href="https://en.wikipedia.org/wiki/Monique_Gabriela_Curnen">Monique Gabriela Curnen</a> as rookie detective Anna Ramirez<sup><a href="#cite_note-BFICast-2">[2]</a></sup><sup><a href="#cite_note-CBRCurnen-25">[21]</a></sup><sup><a href="#cite_note-DigitalSpyCurnen-26">[22]</a></sup> and <a href="https://en.wikipedia.org/wiki/Philip_Bulcock">Philip Bulcock</a> as Murphy.<sup><a href="#cite_note-BFICast-2">[2]</a></sup>
</p><p>The cast also features <a href="https://en.wikipedia.org/wiki/Joshua_Harto">Joshua Harto</a> as Wayne Enterprises employee Coleman Reese,<sup><a href="#cite_note-ScreenRantReese-27">[23]</a></sup> <a href="https://en.wikipedia.org/wiki/Anthony_Michael_Hall">Anthony Michael Hall</a> as news reporter Mike Engel,<sup><a href="#cite_note-ScreenRantHall-28">[24]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012168-29">[25]</a></sup> <a href="https://en.wikipedia.org/wiki/N%C3%A9stor_Carbonell">Néstor Carbonell</a> as mayor Anthony Garcia, <a href="https://en.wikipedia.org/wiki/William_Fichtner">William Fichtner</a> as a bank manager, Nydia Rodriguez Terracina as Judge Surrillo,<sup><a href="#cite_note-BFICast-2">[2]</a></sup> <a href="https://en.wikipedia.org/wiki/Tommy_Lister_Jr.">Tom "Tiny" Lister Jr.</a> as a prisoner, <a href="https://en.wikipedia.org/wiki/Beatrice_Rosen">Beatrice Rosen</a> as Wayne's Russian ballerina date, and <a href="https://en.wikipedia.org/wiki/David_Dastmalchian">David Dastmalchian</a> as the Joker's <a href="https://en.wikipedia.org/wiki/Paranoid_schizophrenic">paranoid schizophrenic</a> henchman Thomas Schiff.<sup><a href="#cite_note-BFICast-2">[2]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012168-29">[25]</a></sup><sup><a href="#cite_note-THRDastmalchian-30">[26]</a></sup> <a href="https://en.wikipedia.org/wiki/Melinda_McGraw">Melinda McGraw</a>, <a href="https://en.wikipedia.org/wiki/Nathan_Gamble">Nathan Gamble</a>, and Hannah Gunn portray Gordon's wife Barbara, his son <a href="https://en.wikipedia.org/wiki/James_Gordon_Jr.">James Jr.</a>, and his daughter, respectively.<sup><a href="#cite_note-BFICast-2">[2]</a></sup><sup><a href="#cite_note-IGNGordonFamily-31">[27]</a></sup> <i>The Dark Knight</i> features several cameo appearances from <a href="https://en.wikipedia.org/wiki/Cillian_Murphy">Cillian Murphy</a>, who reprises his role as <a href="https://en.wikipedia.org/wiki/Scarecrow_(DC_Comics)">Jonathan Crane / Scarecrow</a> from <i><a href="https://en.wikipedia.org/wiki/Batman_Begins">Batman Begins</a></i>;<sup><a href="#cite_note-ColliderScarecrow-32">[28]</a></sup><sup><a href="#cite_note-ScreenRantScareCrow-33">[29]</a></sup> musical performer <a href="https://en.wikipedia.org/wiki/Matt_Skiba">Matt Skiba</a>;<sup><a href="#cite_note-Skiba-34">[30]</a></sup> as well as <a href="https://en.wikipedia.org/wiki/United_States_Senate">United States Senator</a> and Batman fan <a href="https://en.wikipedia.org/wiki/Patrick_Leahy">Patrick Leahy</a>, who has appeared in or voiced characters in other <i>Batman</i> media.<sup><a href="#cite_note-CNNLeahy-35">[31]</a></sup>
</p>
<h2></h2>
<h3></h3>
<p>Following the critical and financial success of <i>Batman Begins</i> (2005), the film studio <a href="https://en.wikipedia.org/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a> prioritized a sequel.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201246-36">[32]</a></sup> Although <i>Batman Begins</i> ends with a scene in which Batman is presented with a <a href="https://en.wikipedia.org/wiki/Joker_(playing_card)">joker playing card</a>, teasing the introduction of his archenemy, the Joker, <a href="https://en.wikipedia.org/wiki/Christopher_Nolan">Christopher Nolan</a> did not intend to make a sequel and was unsure <i>Batman Begins</i> would be successful enough to warrant one.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201245-37">[33]</a></sup><sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup> Christopher, alongside his wife and longtime producer <a href="https://en.wikipedia.org/wiki/Emma_Thomas">Emma Thomas</a>, had never worked on a sequel film<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup> but he and co-writer <a href="https://en.wikipedia.org/wiki/David_Goyer">David Goyer</a> discussed ideas for a sequel during filming. Goyer developed an outline for two sequels, but Christopher remained unsure how to continue the <i>Batman Begins</i> narrative while keeping it consistent and relevant, though he was interested in utilizing the Joker in <i>Begins</i> grounded, realistic style.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201246-36">[32]</a></sup><sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup> Discussions between Warner Bros. Pictures and Christopher began shortly after <i>Batman Begins</i>s theatrical release, and development began following the production of Christopher's <i><a href="https://en.wikipedia.org/wiki/The_Prestige_(film)">The Prestige</a></i> (2006).<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201246-36">[32]</a></sup>
</p>
<h3></h3>
<div><div><p></p></div><div><p></p></div></div>
<p>Goyer and Christopher collaborated for three months to develop <i>The Dark Knight</i> core plot points.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup> They wanted to explore the theme of escalation and the idea that Batman's extraordinary efforts to combat common crimes would lead to an opposing escalation by criminals, attracting the Joker, who uses terrorism as a weapon. The joker playing card scene in <i>Batman Begins</i> was intended to convey the fallacy of Batman's belief his war on crime would be temporary.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201246–48-40">[36]</a></sup> Goyer and Christopher did not intentionally include real-world parallels to terrorism, the <a href="https://en.wikipedia.org/wiki/War_on_terror">war on terror</a>, and laws enacted to combat terrorists by the United States government because they believed making overtly political statements would detract from the story. They wanted it to resonate with and reflect contemporary audiences.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup> Christopher described <i>The Dark Knight</i> as representative of his own "fear of anarchy" and Joker represents "somebody who wants to just tear down the world around him."<sup><a href="#cite_note-ABCSeltzer-41">[37]</a></sup>
</p><p>Although he was a fan of <i><a href="https://en.wikipedia.org/wiki/Batman_(1989_film)">Batman</a></i> (1989), starring <a href="https://en.wikipedia.org/wiki/Jack_Nicholson">Jack Nicholson</a> as the Joker, Goyer did not consider Nicholson's portrayal scary and wanted <i>The Dark Knight</i>s Joker to be an unknowable, already-formed character, similar to the shark in <i><a href="https://en.wikipedia.org/wiki/Jaws_(film)">Jaws</a></i> (1975), without a "cliché" origin story.<sup><a href="#cite_note-45">[e]</a></sup> Christopher and Goyer did not give their Joker an origin story or a narrative arc, believing it made the character scarier; Christopher described their film as the "rise of the Joker". They felt the threat of cinematic villains such as <a href="https://en.wikipedia.org/wiki/Hannibal_Lecter">Hannibal Lecter</a> and <a href="https://en.wikipedia.org/wiki/Darth_Vader">Darth Vader</a> had been undermined by subsequent films depicting their origins.<sup><a href="#cite_note-46">[f]</a></sup>
</p><p>With Christopher's help, his brother <a href="https://en.wikipedia.org/wiki/Jonathan_Nolan">Jonathan</a> spent six months developing the story into a draft screenplay. After submitting the draft to Warner Bros., Jonathan spent a further two months refining it until Christopher had finished directing <i>The Prestige</i>. The pair collaborated on the final script over the next six months during pre-production for <i>The Dark Knight</i>.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201249-47">[41]</a></sup> Jonathan found the "poignant" ending the script's most interesting aspect; it had always depicted Batman fleeing from police but was changed from him leaping across rooftops to escaping on the <a href="https://en.wikipedia.org/wiki/Batpod">Batpod</a>, his motorcycle-like vehicle. The dialogue Jonathan considered most important, "you either die a hero or you live long enough to see yourself become the villain", came late in development.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201249-47">[41]</a></sup> Influenced by films such as <i><a href="https://en.wikipedia.org/wiki/The_Godfather">The Godfather</a></i> (1972) and <i><a href="https://en.wikipedia.org/wiki/Heat_(1995_film)">Heat</a></i> (1995), and maintaining <i>Batman Begins</i> tone, their finished script bore more resemblance to a crime drama than a traditional <a href="https://en.wikipedia.org/wiki/Superhero_film">superhero film</a>.<sup><a href="#cite_note-50">[g]</a></sup>
</p><p>Comic-book influences included writer <a href="https://en.wikipedia.org/wiki/Frank_Miller">Frank Miller</a>'s 1980s works, which portray characters in a serious tone, and the limited series <i><a href="https://en.wikipedia.org/wiki/Batman:_The_Long_Halloween">Batman: The Long Halloween</a></i> (1996–1997), which explores the relationship between Batman, Dent, and Gordon.<sup><a href="#cite_note-IGNJokerDecember2007-42">[38]</a></sup><sup><a href="#cite_note-MTVOldman-49">[43]</a></sup> Dent was written as <i>The Dark Knight</i> central character, serving as the center of the battle between Batman, who believes Dent is the hero the city needs, and the Joker, who wants to prove even the most righteous people can be corrupted. Christopher said the title refers to Dent as much as Batman.<sup><a href="#cite_note-53">[h]</a></sup> He considered Dent as having a duality similar to Batman's, providing interesting dramatic potential.<sup><a href="#cite_note-Boucher-13">[10]</a></sup>
</p><p>Focusing on Dent meant Bruce Wayne / Batman was written as a generally static character who did not undergo drastic character development.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup><sup><a href="#cite_note-LATimesBlogDent-51">[44]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201247–48-52">[45]</a></sup> Christopher found writing the Joker the easiest aspect of the script. The Nolans identified the traits common to his media incarnations and were influenced by the character's comic-book appearances as well as the villain <a href="https://en.wikipedia.org/wiki/Dr._Mabuse">Dr. Mabuse</a> from the films of <a href="https://en.wikipedia.org/wiki/Fritz_Lang">Fritz Lang</a>.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-EmpireSixEssays-43">[39]</a></sup> Writer <a href="https://en.wikipedia.org/wiki/Alan_Moore">Alan Moore</a>'s <a href="https://en.wikipedia.org/wiki/Graphic_novel">graphic novel</a>, <i><a href="https://en.wikipedia.org/wiki/Batman:_The_Killing_Joke">Batman: The Killing Joke</a></i> (1988), did not influence the main narrative but Christopher believed his interpretation of the Joker as someone partially driven to prove anyone can become like him when pushed far enough helped the Nolans give purpose to an "inherently purposeless" character.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup><sup><a href="#cite_note-EmpireSixEssays-43">[39]</a></sup> The Joker was written as a purely evil psychopath and anarchist who lacks reason, logic, and fear, and could test the moral and ethical limits of Batman, Dent, and Gordon.<sup><a href="#cite_note-55">[i]</a></sup> Christopher and Jonathan later realized they had inadvertently written their version similarly to Joker's first appearance in <i>Batman</i> #1 (1940).<sup><a href="#cite_note-56">[j]</a></sup> The final scene, in which the Joker states he and Batman are destined to battle forever, was not intended to tease a sequel but to convey the diametrically opposed pair were in an endless conflict because they will not kill each other.<sup><a href="#cite_note-LATimesNolanInterview-57">[47]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:Maggie_Gyllenhaal_at_the_82nd_Academy_Awards_(cropped_2).jpg"></a><figcaption><a href="https://en.wikipedia.org/wiki/Maggie_Gyllenhaal">Maggie Gyllenhaal</a> (pictured in 2010) replaced <a href="https://en.wikipedia.org/wiki/Katie_Holmes">Katie Holmes</a> in the role of assistant district attorney Rachel Dawes.</figcaption></figure>
<p>Describing how his character had evolved from <i>Batman Begins</i>, Christian Bale said Wayne had changed from a young, naive, and angry man seeking purpose to a hero who is burdened by the realization his war against crime is seemingly endless.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201287–90-58">[48]</a></sup><sup><a href="#cite_note-NYTimesDarknessDeath-59">[49]</a></sup><sup><a href="#cite_note-NewsDayBale-60">[50]</a></sup> Because the new Batsuit allowed him to be more agile, Bale did not increase his muscle mass as much as he had for <i>Batman Begins</i>. Christopher had deliberately obscured combat in the previous film because it was intended to portray Batman from the criminals' point of view. The improved Batsuit design let him show more of Bale's Keysi-fighting method training.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012231-61">[51]</a></sup>
</p><p>Christopher was aware that Nicholson's popular portrayal of the Joker would invite comparisons to his version, and wanted an actor who could cope with the associated scrutiny.<sup><a href="#cite_note-64">[k]</a></sup> Ledger's casting in August 2006 was criticized by some industry professionals and members of the public who considered him inappropriate for the role; executive producer <a href="https://en.wikipedia.org/wiki/Charles_Roven">Charles Roven</a> said Ledger was the only person seriously considered, and that <i>Batman Begins</i> positive reception would help alleviate any concerns.<sup><a href="#cite_note-66">[l]</a></sup> Christopher was confident in the casting because discussions between himself and Ledger had demonstrated they shared similar ideas regarding the Joker's portrayal.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201297-62">[52]</a></sup> Ledger said he had some trepidation in succeeding Nicholson in the role but that the challenge excited him.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-EmpireJokerSpeaks-67">[55]</a></sup> He described his interpretation as a "psychopathic, mass-murdering, schizophrenic clown with zero empathy", and avoided humanizing him. He was influenced by <a href="https://en.wikipedia.org/wiki/Alex_(A_Clockwork_Orange)">Alex</a> from the crime film <i><a href="https://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)">A Clockwork Orange</a></i> (1971), and British musicians <a href="https://en.wikipedia.org/wiki/Johnny_Rotten">Johnny Rotten</a> and <a href="https://en.wikipedia.org/wiki/Sid_Vicious">Sid Vicious</a>.<sup><a href="#cite_note-72">[m]</a></sup>
</p><p>Ledger spent about a month secluding himself in a hotel room while reading relevant comic books. He developed the character's voice by mixing a high-pitch and low-pitch, which was inspired by ventriloquist performances. His fighting style was designed to appear improvised and erratic.<sup><a href="#cite_note-75">[n]</a></sup> Ledger spent a further four months creating a "Joker diary" containing images and elements he believed would resonate with his character, such as finding the disease <a href="https://en.wikipedia.org/wiki/HIV/AIDS">AIDS</a> humorous.<sup><a href="#cite_note-NYTimesNovLedger-71">[59]</a></sup> Describing his performance, Ledger said: "It's the most fun I've had with a character and probably will ever have... It was an exhausting process. At the end of the day, I couldn't move. I couldn't talk. I was absolutely wrecked."<sup><a href="#cite_note-MTVNoEmpathy-69">[57]</a></sup> In a November 2007 interview, Ledger said when committing himself to any role, he had difficulty sleeping because he could not relax his mind, and often slept only two hours a night during filming.<sup><a href="#cite_note-NYTimesNovLedger-71">[59]</a></sup>
</p><p>Christopher wanted to cast an actor with an all-American "heroic presence" for Harvey Dent, something he likened to <a href="https://en.wikipedia.org/wiki/Robert_Redford">Robert Redford</a> but with an undercurrent of anger or darkness.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201297-62">[52]</a></sup> <a href="https://en.wikipedia.org/wiki/Josh_Lucas">Josh Lucas</a>, <a href="https://en.wikipedia.org/wiki/Ryan_Phillippe">Ryan Phillippe</a>, and <a href="https://en.wikipedia.org/wiki/Mark_Ruffalo">Mark Ruffalo</a> were considered, as well as <a href="https://en.wikipedia.org/wiki/Matt_Damon">Matt Damon</a>, who could not commit due to scheduling conflicts.<sup><a href="#cite_note-80">[o]</a></sup> According to Christopher, Eckhart had the all-American charm and "aura ... of a good man pushed too far".<sup><a href="#cite_note-Boucher-13">[10]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201297-62">[52]</a></sup> Eckhart found portraying conflicted characters to be interesting; he said the difference between Dent and Batman is the distance they are willing to go for their causes, and that after Dent's corruption he remains a crime fighter but he takes this to an extreme because he dislikes the restrictions of the law.<sup><a href="#cite_note-Boucher-13">[10]</a></sup><sup><a href="#cite_note-ObserverCAEffects-81">[66]</a></sup> Eckhart's performance was influenced by the <a href="https://en.wikipedia.org/wiki/Kennedy_family">Kennedy family</a>, particularly <a href="https://en.wikipedia.org/wiki/Robert_F._Kennedy">Robert F. Kennedy</a>, who fought organized crime with a similarly idealistic view of the law.<sup><a href="#cite_note-USATodayEckhart-82">[67]</a></sup> During discussions on the portrayal of Dent's transformation into Two-Face, Eckhart and Christopher agreed to ignore <a href="https://en.wikipedia.org/wiki/Tommy_Lee_Jones">Tommy Lee Jones</a>'s "colorful" portrayal in <i><a href="https://en.wikipedia.org/wiki/Batman_Forever">Batman Forever</a></i> (1995), in which the character has pink hair and wears a split designer suit, in favor of a more realistic, slightly burnt, neutral-toned suit.<sup><a href="#cite_note-USATodayEckhart-82">[67]</a></sup>
</p><p>Describing his role as GCPD sergeant James Gordon, Oldman said Gordon is the "moral center" of <i>The Dark Knight</i>, an honest and incorruptible character struggling with the limits of his morality.<sup><a href="#cite_note-TodayOldman-83">[68]</a></sup><sup><a href="#cite_note-ColliderOldman-84">[69]</a></sup> Maggie Gyllenhaal replaced <a href="https://en.wikipedia.org/wiki/Katie_Holmes">Katie Holmes</a> as Rachel Dawes, as Holmes chose to star in the crime comedy <i><a href="https://en.wikipedia.org/wiki/Mad_Money_(film)">Mad Money</a></i> (2008) instead.<sup><a href="#cite_note-VH1Holmes-85">[70]</a></sup><sup><a href="#cite_note-VarietyHolmes-86">[71]</a></sup> Gyllenhaal approached Rachel as a new character and did not reference Holmes's previous performance. Christopher described Rachel as the emotional connection between Wayne and Dent, ultimately serving as a further personal loss to fuel Wayne's character. Gyllenhaal collaborated with Christopher on the character's depiction because she wanted Rachel to be important and meaningful in her relatively minor role.<sup><a href="#cite_note-89">[p]</a></sup> Musician <a href="https://en.wikipedia.org/wiki/Dwight_Yoakam">Dwight Yoakam</a> turned down a role as the bank manager or a corrupt police officer because he was recording his album <i><a href="https://en.wikipedia.org/wiki/Dwight_Sings_Buck">Dwight Sings Buck</a></i> (2007).<sup><a href="#cite_note-SFXaminerYoakam-90">[74]</a></sup>
</p>
<h3></h3>
<p>In October 2006, location scouting for Gotham City took place in the UK in <a href="https://en.wikipedia.org/wiki/Liverpool">Liverpool</a>, <a href="https://en.wikipedia.org/wiki/Glasgow">Glasgow</a>, London, and parts of <a href="https://en.wikipedia.org/wiki/Yorkshire">Yorkshire</a>, and in several cities in the U.S.<sup><a href="#cite_note-FIlmingScouting-91">[75]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201274-92">[76]</a></sup> Christopher chose Chicago because he liked the area and believed it offered interesting architectural features without being as recognizable as locations in better-known cities such as New York City.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012159-93">[77]</a></sup> Chicagoan authorities had been supportive during filming of <i>Batman Begins</i>, allowing the production to shut stretches of roads, freeways, and bridges.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012160-94">[78]</a></sup> Christopher wanted to exchange the more natural, scenic settings of <i>Batman Begins</i> such as the <a href="https://en.wikipedia.org/wiki/Himalayas">Himalayas</a> and caverns for a modern, structured environment the Joker could disassemble. Production designer <a href="https://en.wikipedia.org/wiki/Nathan_Crowley">Nathan Crowley</a> said the clean, neat lines of Chicagoan architecture enhanced the urban-crime drama they wanted to make, and that Batman had helped improve the city. The destruction of Wayne Manor in <i>Batman Begins</i> provided an opportunity to move Wayne to a modern, sparse penthouse, reflecting his loneliness.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201272,_74-95">[79]</a></sup> Sets were still used for some interiors such as the Bat Bunker, the replacement for the <a href="https://en.wikipedia.org/wiki/Batcave">Batcave</a>, on the outskirts of the city. The production team considered placing it in the penthouse basement but believed it was too unrealistic a solution.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201274,_75-96">[80]</a></sup>
</p><p>Much of <i>The Dark Knight</i> was filmed using <a href="https://en.wikipedia.org/wiki/Panavision_cameras">Panavision's</a> Panaflex Millennium XL and Platinum cameras but Christopher wanted to film about 40 minutes with <a href="https://en.wikipedia.org/wiki/IMAX">IMAX</a> cameras, a high-resolution technology using <a href="https://en.wikipedia.org/wiki/70_mm_film">70 mm film</a> rather than the more-commonly used format <a href="https://en.wikipedia.org/wiki/35_mm_movie_film">35 mm</a>; the finished film includes 15–20% IMAX footage, running for about 28 minutes.<sup><a href="#cite_note-101">[q]</a></sup> This made it the first major motion picture to use IMAX technology, which was generally employed for documentaries.<sup><a href="#cite_note-105">[r]</a></sup> Warner Bros. was reluctant to endorse the use of the technology because the cameras were large and unwieldy, and purchasing and processing the film stock cost up to four times as much as typical 35 mm film. Christopher said cameras that could be used on <a href="https://en.wikipedia.org/wiki/Mount_Everest">Mount Everest</a> could be used for <i>The Dark Knight</i>, and had cinematographer <a href="https://en.wikipedia.org/wiki/Wally_Pfister">Wally Pfister</a> and his crew begin training to use the equipment in January 2007 to test its feasibility.<sup><a href="#cite_note-SlashImax-103">[86]</a></sup><sup><a href="#cite_note-USATodayImax-104">[87]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012162–163,_164-106">[88]</a></sup> Christopher particularly wanted to film the bank heist prologue in IMAX to immediately convey the difference in scope between <i>The Dark Knight</i> and <i>Batman Begins</i>.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012164,_167-107">[89]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:Navy_Pier_Summer.jpg"></a><figcaption>A photograph of the Chicago skyline behind <a href="https://en.wikipedia.org/wiki/Navy_Pier">Navy Pier</a>. <i>The Dark Knight</i> was mainly filmed on location in the city.</figcaption></figure>
<p><a href="https://en.wikipedia.org/wiki/Principal_photography">Principal photography</a> began on April 18, 2007, in Chicago on a $185million budget.<sup><a href="#cite_note-112">[s]</a></sup><sup><a href="#cite_note-113">[t]</a></sup> For <i>The Dark Knight</i>, Pfister chose to combine the "rust-style" visuals of <i>Batman Begins</i> with the "dusk"-like color scheme of <i>The Prestige</i> (cobalt blues, greens, blacks, and whites), in part to address over-dark scenes in <i>Batman Begins</i>.<sup><a href="#cite_note-AmericanCinematographer-97">[81]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012160,_162-114">[94]</a></sup> To avoid attention, filming in Chicago took place under the working title <i>Rory's First Kiss</i> but the production's true nature was quickly uncovered by media publications.<sup><a href="#cite_note-GuardianRorysKiss-115">[95]</a></sup> The Joker's homemade videos were filmed and mainly directed by Ledger. Caine said he forgot his lines during a scene involving one video because of Ledger's "stunning" performance.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup>
</p><p>The first scene filmed was the bank heist, which was shot in the <a href="https://en.wikipedia.org/wiki/Old_Chicago_Main_Post_Office">Old Chicago Main Post Office</a> over five days.<sup><a href="#cite_note-AmericanCinematographer-97">[81]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012159–160,_165,_167,_169-116">[96]</a></sup> It was scheduled early to test the IMAX procedure, allowing it to be refilmed with traditional cameras if needed, and it was intended to be publicly released as part of the marketing campaign.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012160,_164,_167-117">[97]</a></sup> Pfister described it as a week of patience and learning because of the four-day wait for the IMAX footage to be processed.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012164,_167-107">[89]</a></sup> Filming moved to England throughout May, returning to Chicago in June.<sup><a href="#cite_note-AmericanCinematographer-97">[81]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012160,_167,_169-118">[98]</a></sup>
</p><p>Filming took place in the lobby of <a href="https://en.wikipedia.org/wiki/Illinois_Center">One Illinois Center</a>, which served as Wayne's penthouse apartment; bookcases were built to hide the elevators. A floor of Two Illinois Center was decorated for Wayne's fundraiser. The crew was described as excited as this scene depicted the first meeting between Batman and the Joker. The windows in both settings were covered in <a href="https://en.wikipedia.org/wiki/Chroma_key">green screen</a> material, allowing Gotham City visuals to be added later.<sup><a href="#cite_note-AmericanCinematographer-97">[81]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012169-119">[99]</a></sup> In July, three weeks were spent filming the truck chase scene, mainly on <a href="https://en.wikipedia.org/wiki/Wacker_Drive">Wacker Drive</a>, a multi-level street that had to be closed overnight.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012172,_174-120">[100]</a></sup><sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup> During filming, Christopher added a set-piece of a SWAT van crashing through a concrete barricade.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012174,_175-122">[102]</a></sup> The sequence continued on <a href="https://en.wikipedia.org/wiki/LaSalle_Street">LaSalle Street</a>, which was also used for the GCPD funeral procession, for a practical truck-flip stunt and helicopter sequence.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012175,_226-123">[103]</a></sup> Additional segments were filmed on Monroe Street and <a href="https://en.wikipedia.org/wiki/Randolph_Street">Randolph Street</a>, and at <a href="https://en.wikipedia.org/wiki/Randolph_Street_Station">Randolph Street Station</a>.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-PasteLocations-124">[104]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012226-125">[105]</a></sup>
</p><p><a href="https://en.wikipedia.org/wiki/Navy_Pier">Navy Pier</a>, along the shore of <a href="https://en.wikipedia.org/wiki/Lake_Michigan">Lake Michigan</a>, served as Gotham Harbor in a climactic ferry scene. Scouts spent over a month searching for suitable vessels but were unsuccessful, so construction coordinator Joe Ondrejko and his team built ferry facades atop barges.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012171–172-126">[106]</a></sup> The entire sequence was filmed in one day and involved 800 <a href="https://en.wikipedia.org/wiki/Extra_(acting)">extras</a>, who were moved through makeup and clothing departments in shifts.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012172-127">[107]</a></sup> Exterior footage of the Gotham Prewitt Building, the site of Batman's and the Joker's final confrontation, was filmed at the in-construction <a href="https://en.wikipedia.org/wiki/Trump_International_Hotel_and_Tower_(Chicago)">Trump International Hotel and Tower</a>. The owners refused permission to film a stunt in which Batman suspends a SWAT team from the building, so this was filmed from the fortieth floor of a separate building site.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012182,_187,_240–241-128">[108]</a></sup> A former <a href="https://en.wikipedia.org/wiki/Brach%27s">Brach's</a> candy factory on <a href="https://en.wikipedia.org/wiki/Cicero_Avenue">Cicero Avenue</a> scheduled for demolition was used to film the Gotham General Hospital explosion in August 2007.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012179,_182-129">[109]</a></sup> Filming in Chicago concluded on September 1, ending with scenes of Wayne driving and crashing his car, before the production returned to England.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012182-130">[110]</a></sup>
</p><p><i>The Dark Knight</i> includes Chicago locations such as Lake Michigan, which doubled as the <a href="https://en.wikipedia.org/wiki/Caribbean_Sea">Caribbean Sea</a> where Wayne boards a seaplane;<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012172-127">[107]</a></sup> <a href="https://en.wikipedia.org/wiki/Richard_J._Daley_Center">Richard J. Daley Center</a> (Wayne Enterprises exteriors and a courtroom);<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-PolygonDaleyCenter-131">[111]</a></sup> <a href="https://en.wikipedia.org/wiki/The_Berghoff_(restaurant)">The Berghoff</a> restaurant (GCPD arresting mobsters);<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup> Twin Anchors restaurant; the Sound Bar; <a href="https://en.wikipedia.org/wiki/McCormick_Place">McCormick Place</a> (Wayne Enterprises interiors); and <a href="https://en.wikipedia.org/wiki/Chicago_Theatre">Chicago Theatre</a>.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup> <a href="https://en.wikipedia.org/wiki/330_North_Wabash">330 North Wabash</a> served as offices used by Dent, mayor Garcia, and commissioner Loeb; and its thirteenth floor appears as Wayne Enterprises' boardroom; Pfister enhanced its large, panoramic windows and natural light with an 80-foot (24 m) glass table and reflective bulbs.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012169-119">[99]</a></sup> A Randolph Street parking garage is where Batman captures Scarecrow and Batman impersonators. Christopher wanted several <a href="https://en.wikipedia.org/wiki/Rottweiler">Rottweiler</a> dogs in the scene but locating a dog-handler willing to simultaneously manage several dogs was difficult.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012171-132">[112]</a></sup> A scene of Batman surveying the city from a rooftop edge was filmed atop <a href="https://en.wikipedia.org/wiki/Willis_Tower">Willis Tower</a>, Chicago's tallest building. Stuntman Buster Reeves was due to double as Batman, but Bale persuaded the filmmakers to let him perform the scene himself.<sup><a href="#cite_note-ChicagoTribuneLocations-121">[101]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012178-133">[113]</a></sup><sup><a href="#cite_note-GQEffects-134">[114]</a></sup> The thirteen weeks of filming in Chicago was estimated to have generated $45million for the city's economy and thousands of local jobs.<sup><a href="#cite_note-chicagoeconomy-135">[115]</a></sup><sup><a href="#cite_note-ColliderCrowley-136">[116]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:RAF-Cardington01-full.jpg"></a><figcaption>Several sets were built at <a href="https://en.wikipedia.org/wiki/Cardington_Airfield">Cardington Airfield</a> including the vast Bat Bunker</figcaption></figure>
<p>Many interior locations for <i>The Dark Knight</i> were filmed on sets at <a href="https://en.wikipedia.org/wiki/Pinewood_Studios">Pinewood Studios</a>, <a href="https://en.wikipedia.org/wiki/Buckinghamshire">Buckinghamshire</a>, and <a href="https://en.wikipedia.org/wiki/Cardington_Airfield">Cardington Airfield</a>, <a href="https://en.wikipedia.org/wiki/Bedfordshire">Bedfordshire</a>; these locations include the Bat Bunker, which took six weeks to build in a Cardington hangar. The Bat Bunker was based on 1960s Chicago building designs, and was integrated into existing concrete floor, and used the 200-foot (61 m) long, 8 ft (2.4 m) tall ceiling to create a broad perspective. The 160-foot (49 m) tall hangar was unsuitable for suspending the bunker roof, and an encompassing gantry was built to hold it and the lighting.<sup><a href="#cite_note-AmericanCinematographer-97">[81]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201274–75,_160,_167–169-137">[117]</a></sup> After moving from Chicago in May, scenes filmed in the UK also include <a href="https://en.wikipedia.org/wiki/Criterion_Restaurant">Criterion Restaurant</a>, where Rachel, Dent, and Wayne share dinner, and a Gotham News scene that was filmed at the <a href="https://en.wikipedia.org/wiki/University_of_Westminster">University of Westminster</a>. The GCPD headquarters was rebuilt in the <a href="https://en.wikipedia.org/wiki/Farmiloe_Building">Farmiloe Building</a>. During the interrogation scene, Ledger asked Bale to actually hit him, and although he declined, Ledger cracked and dented the walls by throwing himself around.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201274–75,_160,_167–169-137">[117]</a></sup><sup><a href="#cite_note-ColliderInterrogation-138">[118]</a></sup>
</p><p>After returning to England in the middle of September, scenes were filmed for the ferry, hospital, and Gotham Prewitt building interiors.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012182,_187-139">[119]</a></sup> By mid-October, interior and exterior scenes of Rachel being held hostage surrounded by barrels of gasoline were filmed at <a href="https://en.wikipedia.org/wiki/Battersea_Power_Station">Battersea Power Station</a>. To avoid damaging the power station, a <a href="https://en.wikipedia.org/wiki/Listed_building">listed building</a>, a false wall was built in front of it and lined with explosives.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012168–169,_226-140">[120]</a></sup> Nearby residents contacted emergency services believing the explosion was a terrorist attack.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012187-141">[121]</a></sup> Filming in England concluded at the end of October with a variety of green-screen shots for the truck-chase sequence, and shots of Rachel being thrown from a window were filmed on a set at Cardington.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012169,_187-142">[122]</a></sup>
</p><p>The final nine days of production took place in Hong Kong and included aerial footage from atop the <a href="https://en.wikipedia.org/wiki/International_Finance_Centre_(Hong_Kong)">International Finance Centre</a>, as well as filming at <a href="https://en.wikipedia.org/wiki/Central%E2%80%93Mid-Levels_escalator">Central to Mid-Levels escalator</a>, <a href="https://en.wikipedia.org/wiki/The_Center">The Center</a>, <a href="https://en.wikipedia.org/wiki/Central,_Hong_Kong">Central</a>, <a href="https://en.wikipedia.org/wiki/The_Peninsula_Hong_Kong">The Peninsula Hong Kong</a>, and <a href="https://en.wikipedia.org/wiki/Queen%27s_Road,_Hong_Kong">Queen's Road</a>; and a stunt involving Batman catching an in-flight <a href="https://en.wikipedia.org/wiki/Lockheed_C-130_Hercules">C-130</a> aircraft.<sup><a href="#cite_note-147">[u]</a></sup> Despite extensive rehearsals of Reeves jumping from the <a href="https://en.wikipedia.org/wiki/McClurg_Building_(Chicago,_Illinois)">McClurg Building</a> in Chicago, a planned stunt to depict Batman leaping from one Hong Kong skyscraper to another was canceled because local authorities refused permission for helicopter use; Pfister described the officials as a "nightmare".<sup><a href="#cite_note-WiredDigital-74">[61]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012188-148">[127]</a></sup> Christopher disputed a report that said a scene of Batman leaping into <a href="https://en.wikipedia.org/wiki/Victoria_Harbour">Victoria Harbour</a> was canceled because of pollution concerns, saying it was a script decision.<sup><a href="#cite_note-HongKongIHT-143">[123]</a></sup><sup><a href="#cite_note-HongKongNineMSN-144">[124]</a></sup> The 127-day shoot concluded on November 15, on time and under budget.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012189-149">[128]</a></sup>
</p>
<h3></h3>
<p>Editing was underway in January 2008 when Ledger, aged 28, died from an accidental overdose of a prescription drug. A rumor his commitment to his performance as the Joker had affected his mental state circulated, but this was later refuted.<sup><a href="#cite_note-152">[v]</a></sup> Christopher said editing the film became "tremendously emotional, right when he passed, having to go back in and look at him every day [during editing]... but the truth is, I feel very lucky to have something productive to do, to have a performance that he was very, very proud of, and that he had entrusted to me to finish".<sup><a href="#cite_note-MTVCelebrate-70">[58]</a></sup> Because Christopher preferred to capture sound while filming rather than <a href="https://en.wikipedia.org/wiki/Automated_dialogue_replacement">re-recording dialogue in post-production</a>, Ledger's work had been completed before his death, and Christopher did not modify the Joker's narrative in response.<sup><a href="#cite_note-WiredDigital-74">[61]</a></sup><sup><a href="#cite_note-CBRLeeInterview-153">[131]</a></sup> Christopher added a dedication to Ledger and stuntman Conway Wickliffe, who died during rehearsals for a Tumbler (<a href="https://en.wikipedia.org/wiki/Batmobile#The_Dark_Knight_Trilogy">Batmobile</a>) stunt.<sup><a href="#cite_note-BBCMemorial-154">[132]</a></sup><sup><a href="#cite_note-ReutersStuntmanDeath-155">[133]</a></sup><sup><a href="#cite_note-GuardianStuntmanDeath-156">[134]</a></sup>
</p><p>Alongside lead editor <a href="https://en.wikipedia.org/wiki/Lee_Smith_(film_editor)">Lee Smith</a>, Christopher took an "aggressive editorial approach" to editing <i>The Dark Knight</i> to achieve its 152-minute running time.<sup><a href="#cite_note-160">[w]</a></sup> Christopher said no scenes were deleted because he believed every scene was essential, and that unnecessary material had been cut before filming.<sup><a href="#cite_note-MovieWeb-157">[135]</a></sup> The Nolans had difficulties refining the script to reduce the running time. After removing so much material they believed the story had become incomprehensible, they added more scenes.<sup><a href="#cite_note-VarietyReviewBlog-39">[35]</a></sup>
</p>
<h3></h3>
<p>Unlike the design process of <i>Batman Begins</i>, which was restrained by a need to represent Batman iconography, audience acceptance of its realistic setting gave <i>The Dark Knight</i> more design freedom.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201268–70-161">[138]</a></sup> <a href="https://en.wikipedia.org/wiki/Chris_Corbould">Chris Corbould</a>, the film's <a href="https://en.wikipedia.org/wiki/Special_effects_supervisor">special effects supervisor</a>,<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012223-162">[139]</a></sup> oversaw the 700 effect shots <a href="https://en.wikipedia.org/wiki/Double_Negative_(VFX)">Double Negative</a> and <a href="https://en.wikipedia.org/wiki/Framestore">Framestore</a> produced; there were relatively few effects compared to equivalent films because Christopher only used <a href="https://en.wikipedia.org/wiki/Computer-generated_imaging">computer-generated imaging</a> where practical effects would not suffice.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012277,_280,_281-163">[140]</a></sup> Production designer <a href="https://en.wikipedia.org/wiki/Nathan_Crowley">Nathan Crowley</a> designed the Batpod (<a href="https://en.wikipedia.org/wiki/Batcycle">Batcycle</a>) because Christopher did not want to extensively re-use the Tumbler. Corbould's team built the Batpod, which is based on a prototype Crowley and Christopher built by <a href="https://en.wikipedia.org/wiki/Kitbashing">combining different commercial model components</a>.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201270-164">[141]</a></sup><sup><a href="#cite_note-LATimesEffects-165">[142]</a></sup> The unwieldy, wide-tired vehicle could only be ridden by stuntman Jean Pierre Goy after months of training.<sup><a href="#cite_note-GQEffects-134">[114]</a></sup><sup><a href="#cite_note-LATimesEffects-165">[142]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201270,_72,_177-166">[143]</a></sup> The Gotham General Hospital explosion was not in the script but added during filming because Corbould believed it could be done.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012226–227,_248–249-167">[144]</a></sup>
</p><p>Hemming, Crowley, Christopher, and Jamie Rama re-designed the Batsuit to make it more comfortable and flexible, developing a costume made from a stretchy material covered in over 100 urethane armor pieces.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012112–113,_115-168">[145]</a></sup><sup><a href="#cite_note-EWBatsuit-169">[146]</a></sup> Sculptor Julian Murray developed Dent's burnt-facial design, which is based on Christopher's request for a skeletal appearance. Murray went through designs that were "too real and more horrifying" before settling on a more "fanciful" and detailed but less-repulsive version.<sup><a href="#cite_note-ObserverCAEffects-81">[66]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012121,_185-170">[147]</a></sup> Hemming designed Joker's overall appearance, which he based on fashion-and-music celebrities to create a modern and trendy look. Influence also came from the 1953 painting <i><a href="https://en.wikipedia.org/wiki/Study_after_Vel%C3%A1zquez%27s_Portrait_of_Pope_Innocent_X">Study after Velázquez's Portrait of Pope Innocent X</a></i> by <a href="https://en.wikipedia.org/wiki/Francis_Bacon_(artist)">Francis Bacon</a>—suggested by Christopher—and the character's comic-book appearances.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012116,_117-171">[148]</a></sup><sup><a href="#cite_note-IGNDressingJoker-172">[149]</a></sup> The outfit consists of a purple coat, a green vest, an antique shirt, and a thin, 1960s-style tie that Ledger suggested.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012117-173">[150]</a></sup> Prosthetics supervisor <a href="https://en.wikipedia.org/wiki/Conor_O%27Sullivan_(make-up_artist)">Conor O'Sullivan</a> created Joker's scars, which he partly based on a scarred delivery man he met, and used his own technique to create and apply the supple, skin-like prosthesis.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012117,_119-174">[151]</a></sup> <a href="https://en.wikipedia.org/wiki/John_Caglione_Jr.">John Caglione Jr</a> designed Joker's "organic" makeup to look as though it had been worn for days; this idea was partly based on more of Bacon's works. Caglione Jr used a theatrical makeup technique for the application; he instructed Ledger to scrunch up his face so different cracks and textures were created once the makeup was applied and Ledger relaxed. Ledger always applied the lipstick himself, believing it was essential to his characterization.<sup><a href="#cite_note-EmpireHowtheJokerwasmade-38">[34]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012119–120-175">[152]</a></sup><sup><a href="#cite_note-TodayComJoker-176">[153]</a></sup>
</p>
<h3></h3>
<div>
<div><figure><figcaption></figcaption></figure></div>
<div>
<p>Zimmer based Joker's theme around two notes that would become increasingly "agitated as the track progressed. He added a "punk" influence alongside inspirations from electronic and rock music."</p></div></div>
<p>Composers <a href="https://en.wikipedia.org/wiki/James_Newton_Howard">James Newton Howard</a> and <a href="https://en.wikipedia.org/wiki/Hans_Zimmer">Hans Zimmer</a>, who had also worked on <i>Batman Begins</i>, scored <i>The Dark Knight</i> because Christopher believed it was important to bridge the musical-narrative gap between the films. The score was recorded at <a href="https://en.wikipedia.org/wiki/Air_Studios">Air Studios</a>, London. Howard and Zimmer composed the score without seeing the film because Christopher wanted them to be influenced by the characters and story rather than fitting specific on-screen elements.<sup><a href="#cite_note-VarietyMusic-177">[154]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012255-178">[155]</a></sup> Howard and Zimmer separated their duties by character; Howard focused on Dent and Zimmer focused on Batman and the Joker. Zimmer did not consider Batman to be strictly noble and wrote the theme to not seem "super".<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012256-179">[156]</a></sup><sup><a href="#cite_note-LATimesMusic-180">[157]</a></sup> Howard wrote about ten minutes of music for Dent, wanting to portray him as an American who represents hope, but undergoes an emotional extreme and moral corruption. He used brass instruments for both moral ends but warped the sound as Dent is corrupted.<sup><a href="#cite_note-VarietyMusic-177">[154]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012256-179">[156]</a></sup>
</p><p>Zimmer wanted to use a single note for the Joker's theme; he said, "imagine one note that starts off slightly agitated and then goes to serious aggravation and finally rips your head off at the end". He could not make it work, however, and used two notes with alternating tempos and a "<a href="https://en.wikipedia.org/wiki/Punk_rock">punk</a>" influence.<sup><a href="#cite_note-VarietyMusic-177">[154]</a></sup><sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012256-179">[156]</a></sup><sup><a href="#cite_note-LATimesMusic-180">[157]</a></sup> The theme was influenced by <a href="https://en.wikipedia.org/wiki/Electronic_music">electronic music</a> innovators <a href="https://en.wikipedia.org/wiki/Kraftwerk">Kraftwerk</a> and Zimmer's work with rock band <a href="https://en.wikipedia.org/wiki/The_Damned_(band)">The Damned</a>. He wanted to convey elements of the Joker's corrosion, recklessness, and "otherworldliness" by combining electronic and orchestral music, and modifying almost every note after recording to emulate sounds including thunder and razors.<sup><a href="#cite_note-VarietyMusic-177">[154]</a></sup><sup><a href="#cite_note-LATimesMusic-180">[157]</a></sup><sup><a href="#cite_note-LATimesMusic2-181">[158]</a></sup> He attempted to develop original sounds with synthesizers, trying to create an "offputting" result by instructing musicians to start with a single note and gradually shift to the second over a three-minute period; the musicians found this difficult because it was the opposite of their training.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy2012256-179">[156]</a></sup> It took several months to achieve Zimmer's desired result.<sup><a href="#cite_note-LATimesMusic-180">[157]</a></sup> Following Ledger's death, Zimmer considered discarding the theme for a more traditional one but he and Howard believed they should honor Ledger's performance.<sup><a href="#cite_note-183">[x]</a></sup>
</p>
<h2></h2>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:The_Dark_Knight_(2008_film)_ARG_Example.jpeg"></a><figcaption>A presentation covering aspects of the marketing, including Joker-defaced $1 bills, fans in Joker makeup, and web pages designed to recruit people to the Joker's army.</figcaption></figure>
<p><i>The Dark Knight</i>s marketing campaign was developed by <a href="https://en.wikipedia.org/wiki/Alternate_reality_game">alternate reality game</a> (ARG) development company <a href="https://en.wikipedia.org/wiki/42_Entertainment">42 Entertainment</a>. Christopher wanted the team to focus on countering the negative reaction to Ledger's casting and controlling the revelation of the Joker's appearance.<sup><a href="#cite_note-IGNMarketing-184">[160]</a></sup> Influenced by the script and the comic books <i>The Killing Joke</i>, <i>The Long Halloween</i>, and <i><a href="https://en.wikipedia.org/wiki/Arkham_Asylum:_A_Serious_House_on_Serious_Earth">Arkham Asylum: A Serious House on Serious Earth</a></i> (1989), 42 Entertainment paced the ARG over annual events, although Warner Bros. rejected their ideas to use Jokerized Santas at Christmas, coffins filled with chattering teeth on Mother's Day (mocking Wayne's late mother), and Batman actors on rooftops due to safety concerns.<sup><a href="#cite_note-IGNMarketing-184">[160]</a></sup><sup><a href="#cite_note-ThrillistMarketing-185">[161]</a></sup>
</p><p>The ARG began in May 2007 with campaign posters for Dent and Joker playing cards bearing the phrase "I believe in Harvey Dent" were hidden inside comic books at stores around the U.S. This led people to a website where they could submit their e-mail addresses to reveal a pixel of a concealed Joker image; about 97,000 e-mail addresses and 20 hours were required to reveal the image in full, which was well received. At the <a href="https://en.wikipedia.org/wiki/San_Diego_Comic-Con">San Diego Comic-Con</a>, 42 Entertainment modified 11,000 one-dollar bills with the Joker's image and the phrase "Why So Serious?" that led finders to a location. 42 Entertainment's initial plan to throw the bills from a balcony was canceled due to safety concerns, so the bills were covertly distributed to attendees. Although the event was expected to attract a few thousand people, 650,000 arrived and participated in activities that included calling a number taken from a plane flying overhead and wearing Joker makeup to commit disruptive acts with actors.<sup><a href="#cite_note-IGNMarketing-184">[160]</a></sup><sup><a href="#cite_note-ThrillistMarketing-185">[161]</a></sup><sup><a href="#cite_note-MarketingVarietyComiccon-186">[162]</a></sup> Globally, fans photographed letters on signs to form a <a href="https://en.wikipedia.org/wiki/Ransom_note">ransom note</a>. A U.S.-centric effort involved people recovering cellphones made by <a href="https://en.wikipedia.org/wiki/Nokia">Nokia</a>—a brand partner to the film—from a cake, which led to an early screening of the film's bank-heist prologue before its public release in December. Ledger's appearance in the prologue was well-received and positively changed the discourse around his casting.<sup><a href="#cite_note-191">[y]</a></sup>
</p><p>Following Ledger's death, the campaign continued unchanged with a focus on Dent's election, which was influenced by the ongoing <a href="https://en.wikipedia.org/wiki/2008_United_States_presidential_election">2008 United States presidential election</a>. Warner Bros. was concerned public knowledge of Dent's character was poor; the campaign included signs, stickers, and "Dentmobiles" visiting U.S. cities to raise his profile. The campaign concluded in July with displays of the <a href="https://en.wikipedia.org/wiki/Bat-Signal">Bat-Signal</a> in Chicago and New York City that were eventually defaced by the Joker. Industry professionals considered the campaign innovative and successful.<sup><a href="#cite_note-197">[z]</a></sup>
</p><p>Warner Bros. dedicated six months to <a href="https://en.wikipedia.org/wiki/Copy_protection#Anti-piracy">anti-piracy methods</a>; the film industry lost an estimated $6.1billion to piracy in 2005. Delivery methods of film reels were randomized and copies had a <a href="https://en.wikipedia.org/wiki/Chain_of_custody">chain of custody</a> to track who had access. Some theater staff were given night-vision goggles to identify people recording <i>The Dark Knight</i>, and one person was caught in <a href="https://en.wikipedia.org/wiki/Kansas_City">Kansas City</a>. Warner Bros. considered its strategy a success, delaying the appearance of the first "poorly-lit" <a href="https://en.wikipedia.org/wiki/Camcorder">camcorder</a> version until 38–48 hours after its earliest global release in Australia.<sup><a href="#cite_note-LATimesAntiPiracy-198">[172]</a></sup><sup><a href="#cite_note-CNETAntiPiracy-199">[173]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:The_Dark_Knight_European_Premier_-_Leicester_square.jpg"></a><figcaption>Cast and crew in London at the European premiere of <i>The Dark Knight</i></figcaption></figure>
<p>Compared to 2007's $9.7billion box-office take, in 2008, lower revenues were expected due to the large number of comedies competing against each other and the release of films with dark tones, such as <i>The Dark Knight</i>, during a period of rising living costs and election fatigue in the U.S. Fewer sequels, which generally performed well, were scheduled and only four—<i>The Dark Knight</i>, <i><a href="https://en.wikipedia.org/wiki/The_Chronicles_of_Narnia:_Prince_Caspian">The Chronicles of Narnia: Prince Caspian</a></i>, <i><a href="https://en.wikipedia.org/wiki/The_Mummy:_Tomb_of_the_Dragon_Emperor">The Mummy: Tomb of the Dragon Emperor</a></i>, and <i><a href="https://en.wikipedia.org/wiki/Indiana_Jones_and_the_Kingdom_of_the_Crystal_Skull">Indiana Jones and the Kingdom of the Crystal Skull</a></i>—were predicted to be <a href="https://en.wikipedia.org/wiki/Blockbuster_(entertainment)">blockbusters</a>. <i>Kingdom of the Crystal Skull</i> was the only film expected to easily earn over $300million.<sup><a href="#cite_note-LATimesSummerPreview-200">[174]</a></sup>
</p><p><i>The Dark Knight</i> was expected to sell well based on high audience anticipation, positive pre-release reviews, and a record $3.5million in IMAX pre-sales. Predictions placed its opening-weekend take above that of <i><a href="https://en.wikipedia.org/wiki/Iron_Man_(2008_film)">Iron Man</a></i>s $102.1million but below that of <i><a href="https://en.wikipedia.org/wiki/Spider-Man_3">Spider-Man 3</a></i>s (2007) record $151.1million. Analysts said its success would be influenced by the lengthy running time that limited the number of screenings per day, and <a href="https://en.wikipedia.org/wiki/Counterprogramming_(film_distribution)">counter-programming</a> from the romantic comedy <i><a href="https://en.wikipedia.org/wiki/Mamma_Mia!_(film)">Mamma Mia!</a></i>—which surveyed well with women—and the family comedy <i><a href="https://en.wikipedia.org/wiki/Space_Chimps">Space Chimps</a></i>. There was also a perceived limit on financial success for <i>Batman</i> films; the 1989 installment remained the franchise's highest-grossing release.<sup><a href="#cite_note-BOMOpeningWeekendAnalysis-201">[175]</a></sup><sup><a href="#cite_note-THRPreBoxOffice-202">[176]</a></sup> <i>The Dark Knight</i>s premiere took place on July 14, in IMAX in New York City. A block in <a href="https://en.wikipedia.org/wiki/Broadway_(Manhattan)">Broadway</a> was closed for the event, which included a live performance of the film score by Howard and Zimmer. <i><a href="https://en.wikipedia.org/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> said Ledger received several ovations, and that during the after-party, Warner Bros. executives struggled to maintain a balance between celebrating the successful response and commemorating Ledger.<sup><a href="#cite_note-THRPreRelease-203">[177]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:The_Dark_Knight_Tumbler_at_European_Premiere_(cropped).jpg"></a><figcaption>The Tumbler at the film's European premiere in <a href="https://en.wikipedia.org/wiki/Leicester_Square">Leicester Square</a>, London</figcaption></figure>
<p>On July 18, 2008, <i>The Dark Knight</i> was widely released in the U.S. and Canada in a record 4,366 theaters on an estimated 9,200 screens. It earned $158.4million during the weekend, a per-theater average of $36,282, breaking <i>Spider-Man 3</i>s record and making it the number-one film ahead of <i>Mamma Mia!</i> ($27.8million) and <i><a href="https://en.wikipedia.org/wiki/Hancock_(film)">Hancock</a></i> ($14million) in its third weekend.<sup><a href="#cite_note-207">[aa]</a></sup> It set further records for the highest-grossing single-day ($67.2million on the Friday), Sunday ($43.6million), midnight opening ($18.5million, from 3,000 midnight screenings), and IMAX opening ($6.3million from about 94 locations), as well as the second-highest-grossing Saturday ($47.7million) behind <i>Spider-Man 3</i>, and contributed to the highest-grossing weekend on record ($253.6million).<sup><a href="#cite_note-211">[ab]</a></sup> The film benefited from repeat viewings by younger audiences and had broad appeal, with 52% of the audience being male and an equal number of those under 25 years old, and those of 25 or older.<sup><a href="#cite_note-BOMOpeningWeekendAnalysis-201">[175]</a></sup><sup><a href="#cite_note-THRPreBoxOffice-202">[176]</a></sup><sup><a href="#cite_note-LATimesWatchmen-212">[184]</a></sup>
</p><p><i>The Dark Knight</i> broke more records, including for the highest-grossing opening week ($238.6million), and for three-, four-, five-, six-, seven-, eight-, nine-, and ten-day cumulative grosses, including the highest-grossing non-holiday Monday ($24.5million) and non-opening Tuesday ($20.9million, as well as the second-highest-grossing non-opening Wednesday ($18.4million), behind <i><a href="https://en.wikipedia.org/wiki/Transformers_(film)">Transformers</a></i> ($29.1million).<sup><a href="#cite_note-217">[ac]</a></sup> It retained the number-one position in its second weekend with a total gross of $75.2million, ahead of the debuting <i><a href="https://en.wikipedia.org/wiki/Step_Brothers_(film)">Step Brothers</a></i> ($31million), giving it the highest-grossing second weekend.<sup><a href="#cite_note-BOMWeekendTWO-218">[189]</a></sup><sup><a href="#cite_note-BOMHighestSecondWeekend-219">[190]</a></sup> It retained the number-one position in its third ($42.7million) and fourth ($26.1million) weekends, before falling to second place in its fifth, with a gross of $16.4million, behind the debuting <i><a href="https://en.wikipedia.org/wiki/Tropic_Thunder">Tropic Thunder</a></i> ($25.8million).<sup><a href="#cite_note-BOMWeekendTHREE-220">[191]</a></sup><sup><a href="#cite_note-BOMWeekendFOUR-221">[192]</a></sup><sup><a href="#cite_note-BOMWeekendFIVE-222">[193]</a></sup> <i>The Dark Knight</i> remained in the top-ten highest-grossing films for ten weeks, and became the film to surpass $400million soonest (18 days) and $500million (45 days).<sup><a href="#cite_note-BOMWeekendsOverview-205">[179]</a></sup><sup><a href="#cite_note-BOMFastestto400-223">[194]</a></sup><sup><a href="#cite_note-DeadLine500million-224">[195]</a></sup> The film was playing in fewer than 100 theaters when it received a 300-theater relaunch in late January 2009 to raise its profile during nominations for the <a href="https://en.wikipedia.org/wiki/81st_Academy_Awards">81st Academy Awards</a>. This raised its total box office to $533.3million before it left theaters on March 5 after 33 weeks, making it the highest-grossing comic-book, superhero, and <i>Batman</i> film; the highest-grossing film of 2008; and the second-highest-grossing film ever (unadjusted for inflation), behind the 1997 romantic drama <i><a href="https://en.wikipedia.org/wiki/Titanic_(1997_film)">Titanic</a></i> ($600.8million).<sup><a href="#cite_note-231">[ad]</a></sup>
</p><p><i>The Dark Knight</i> was released in Australia and Taiwan on Wednesday, July 16, 2008, and opened in twenty markets by the weekend. It earned about $40million combined, making it second to <i>Hancock</i> ($44.8million), which was playing in nearly four times as many countries.<sup><a href="#cite_note-236">[ae]</a></sup> <i>The Dark Knight</i> was available in sixty-two countries by the end of August, although Warner Bros. decided not to release it in China, blaming "a number of pre-release conditions... as well as cultural sensitivities to some elements of the film".<sup><a href="#cite_note-VarietyChina-237">[206]</a></sup> <i>The Dark Knight</i> earned about $469.7million outside the U.S. and Canada, its highest grosses coming from the United Kingdom ($89.1million), Australia ($39.9million), Germany ($29.7million), France ($27.5million), Mexico ($25million), South Korea ($24.7million), and Brazil ($20.2million). This made it the second-highest-grossing film of the year behind <i>Indiana Jones and the Kingdom of the Crystal Skull</i>.<sup><a href="#cite_note-BOMInternationalBreakdown-232">[202]</a></sup><sup><a href="#cite_note-BOMWorldwide2008-238">[207]</a></sup>
</p><p>The film had grossed $997 million worldwide by January 2009.<sup><a href="#cite_note-BOMNewsBillion-230">[201]</a></sup><sup><a href="#cite_note-WarnerRecordYear-239">[208]</a></sup> Its reissue in the run-up to the Oscars enabled the film to exceed $1billion in February,<sup><a href="#cite_note-EonlineBillion-240">[209]</a></sup> and it ultimately earned $1.003billion. It was the first superhero film to gross over $1billion, the highest-grossing film of 2008 worldwide, the fourth film to earn more than $1billion, and the fourth-highest-grossing film of its time behind <i><a href="https://en.wikipedia.org/wiki/Pirates_of_the_Caribbean:_Dead_Man%27s_Chest">Pirates of the Caribbean: Dead Man's Chest</a></i> ($1.066billion), <i><a href="https://en.wikipedia.org/wiki/The_Lord_of_the_Rings:_The_Return_of_the_King">The Lord of the Rings: The Return of the King</a></i> ($1.119billion), and <i>Titanic</i> ($1.842billion).<sup><a href="#cite_note-244">[af]</a></sup><sup><a href="#cite_note-245">[ag]</a></sup> As of September 2022, rereleases have further raised its box-office take to $1.006 billion.<sup><a href="#cite_note-BoxOfficeMojoAllReleasesTotal-109">[91]</a></sup>
</p>
<h2></h2>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:Heath_Ledger_(Berlin_Film_Festival_2006)_revised.jpg"></a><figcaption>Heath Ledger (pictured in 2007). His performance was praised by critics although they often found his scenes difficult to watch in the wake of his death.</figcaption></figure>
<p><i>The Dark Knight</i> received critical acclaim.<sup><a href="#cite_note-251">[ah]</a></sup> On <a href="https://en.wikipedia.org/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, the film holds a 94% approval rating from the aggregated reviews of 345 critics, with an average score of 8.6/10. The consensus reads; "Dark, complex and unforgettable, <i>The Dark Knight</i> succeeds not just as an entertaining comic book film, but as a richly thrilling crime saga."<sup><a href="#cite_note-RottenTomatoes-252">[218]</a></sup> On <a href="https://en.wikipedia.org/wiki/Metacritic">Metacritic</a> the film has a weighted average score of 84 out of 100 based on 39 critics, indicating "universal acclaim".<sup><a href="#cite_note-MetaCritic-250">[217]</a></sup> Audiences polled by <a href="https://en.wikipedia.org/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A" on an A+ to F scale.<sup><a href="#cite_note-CinemaScore-253">[219]</a></sup>
</p><p>Several publications called <i>The Dark Knight</i> the best comic-book hero adaptation ever made. <a href="https://en.wikipedia.org/wiki/Roger_Ebert">Roger Ebert</a> said it, alongside <i>Iron Man</i>, had redefined the potential of superhero films by combining comic-book tropes with real world events.<sup><a href="#cite_note-261">[ai]</a></sup> Some appreciated its complex moral tale about the effects of vigilantism and terrorism on contemporary society. <a href="https://en.wikipedia.org/wiki/Emanuel_Levy">Emanuel Levy</a> and <a href="https://en.wikipedia.org/wiki/Manohla_Dargis">Manohla Dargis</a> praised the depiction of the characters as possessing both positive and negative aspects, such as Batman's efforts to end crime provoking unintended consequences and a greater response from criminals; Dargis believed <i>The Dark Knight</i>s exploration of chaos, fear, and death, following the <a href="https://en.wikipedia.org/wiki/September_11_attacks">September 11 attacks</a> in 2001, represented "that American movies have entered a new era of ambivalence when it comes to their heroes or maybe just superness."<sup><a href="#cite_note-267">[aj]</a></sup> Others criticized the dark, grim, intense, and self-serious tone as lacking any elements of fun or fantasy.<sup><a href="#cite_note-268">[ak]</a></sup> <a href="https://en.wikipedia.org/wiki/David_Denby">David Denby</a> said <i>The Dark Knight</i> was a product of a "time of terror", but focused on embracing and unleashing it while cynically setting up a sequel.<sup><a href="#cite_note-Wapogreatness-241">[210]</a></sup> <a href="https://en.wikipedia.org/wiki/Stephanie_Zacharek">Stephanie Zacharek</a> and <a href="https://en.wikipedia.org/wiki/David_Edelstein">David Edelstein</a> criticized a perceived lack of visual storytelling in favor of exposition, and aspects of the plot being difficult to follow amid the fast pace and loud score.<sup><a href="#cite_note-ReviewTHR-269">[232]</a></sup><sup><a href="#cite_note-ReviewSalon-270">[233]</a></sup> Christopher's action direction was criticized, especially during fight scenes where it could be difficult to see things clearly,<sup><a href="#cite_note-ReviewNYMag-262">[227]</a></sup><sup><a href="#cite_note-ReviewNewYorker-263">[228]</a></sup> although the prologue bank heist was praised as among the film's best.<sup><a href="#cite_note-273">[al]</a></sup>
</p><p>Ledger's performance received near-unanimous praise with the caveat that his death made the role both highly anticipated and difficult to watch.<sup><a href="#cite_note-278">[am]</a></sup> Dargis, among others, described Ledger as realizing the Joker so convincingly, intensely, and viscerally it made the audience forget about the actor behind the makeup. <i><a href="https://en.wikipedia.org/wiki/The_Village_Voice">The Village Voice</a></i> wrote the performance would have made Ledger a legend even if he had lived.<sup><a href="#cite_note-279">[an]</a></sup> Other reviews said Ledger outshone Nicholson's performance with macabre humor and malevolence.<sup><a href="#cite_note-RevoewEmanuelLevy-256">[222]</a></sup><sup><a href="#cite_note-ReviewVariety-272">[235]</a></sup><sup><a href="#cite_note-ReviewTheIndependent-277">[239]</a></sup> Reviews generally agreed the Joker was the best-written character, and that Ledger commanded scenes from the entire cast to create one of the most mesmerizing cinematic villains.<sup><a href="#cite_note-281">[ao]</a></sup> Zacharek, however, lamented that the performance was not in service of a better film.<sup><a href="#cite_note-ReviewSalon-270">[233]</a></sup>
</p><p>Bale's reception was mixed; his performance was considered to be alternately "captivating" or serviceable, but ultimately uninteresting and undermined by portraying an immovable and generally unchanged character who delivers Batman's dialogue in a hoarse, unvarying tone.<sup><a href="#cite_note-283">[ap]</a></sup> Eckhart's performance was generally well received; reviewers praised his portrayal of Dent as charismatic, and the character's subsequent transformation into a sad, bitter "monster", although <i>Variety</i> considered his subplot the film's weakest.<sup><a href="#cite_note-284">[aq]</a></sup> <a href="https://en.wikipedia.org/wiki/Stephen_Hunter">Stephen Hunter</a> said the Dent character was underwritten and that Eckhart was incapable of portraying the role as intended.<sup><a href="#cite_note-ReviewWashPost-271">[234]</a></sup> Several reviewers regarded Gyllenhaal as an improvement over Holmes, although others said they found difficulty caring about the character and that Gyllenhaal, while more talented than her predecessor, was miscast.<sup><a href="#cite_note-285">[ar]</a></sup> <a href="https://en.wikipedia.org/wiki/Peter_Travers">Peter Travers</a> praised Oldman's skill in making a virtuous character interesting and he, among others, described Caine's and Freeman's performances as "effortless".<sup><a href="#cite_note-ReviewRogerEbert-254">[220]</a></sup><sup><a href="#cite_note-ReviewRollingStone-257">[223]</a></sup><sup><a href="#cite_note-ReviewSalon-270">[233]</a></sup> Ebert surmised the entire cast provided "powerful" performances that engage the audience, such that "we're surprised how deeply the drama affects us".<sup><a href="#cite_note-Wapogreatness-241">[210]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:Heath_Ledger.jpg"></a><figcaption><a href="https://en.wikipedia.org/wiki/Heath_Ledger">Heath Ledger</a> (2006) received the <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Supporting_Actor">Academy Award for Best Supporting Actor</a>, making him only the second actor to win a posthumous <a href="https://en.wikipedia.org/wiki/Academy_Award">Academy Award</a>.</figcaption></figure>
<p><i>The Dark Knight</i> appeared on several lists recognizing the best films of 2008, including those compiled by Ebert, <i>The Hollywood Reporter</i>, and the <a href="https://en.wikipedia.org/wiki/American_Film_Institute">American Film Institute</a>.<sup><a href="#cite_note-293">[as]</a></sup> At the <a href="https://en.wikipedia.org/wiki/13th_Satellite_Awards">13th Satellite Awards</a>, <i>The Dark Knight</i> received one award for Sound Editing or Mixing (<a href="https://en.wikipedia.org/wiki/Richard_King_(sound_designer)">Richard King</a>, <a href="https://en.wikipedia.org/wiki/Lora_Hirschberg">Lora Hirschberg</a>, <a href="https://en.wikipedia.org/wiki/Gary_Rizzo">Gary Rizzo</a>).<sup><a href="#cite_note-AwardSatellite-294">[249]</a></sup> A further four wins came at the <a href="https://en.wikipedia.org/wiki/35th_People%27s_Choice_Awards">35th People's Choice Awards</a>: Favorite Movie, Favorite Cast, Favorite Action Movie, and Favorite On-Screen Match-Up (Bale and Ledger),<sup><a href="#cite_note-AwardsPeoples-295">[250]</a></sup> as well as Best Action Movie and Best Supporting Actor (Ledger) at the <a href="https://en.wikipedia.org/wiki/14th_Critics%27_Choice_Awards">14th Critics' Choice Awards</a>.<sup><a href="#cite_note-AwardsCritics-296">[251]</a></sup> Howard and Zimmer were recognized for Best Motion Picture Score at the <a href="https://en.wikipedia.org/wiki/51st_Annual_Grammy_Awards">51st Annual Grammy Awards</a>.<sup><a href="#cite_note-AwardGrammy-297">[252]</a></sup> Ledger won the film's only awards at the <a href="https://en.wikipedia.org/wiki/15th_Screen_Actors_Guild_Awards">15th Screen Actors Guild Awards</a>, <a href="https://en.wikipedia.org/wiki/62nd_British_Academy_Film_Awards">62nd British Academy Film Awards</a>, and <a href="https://en.wikipedia.org/wiki/66th_Golden_Globe_Awards">66th Golden Globe Awards</a>, for Best Supporting Actor.<sup><a href="#cite_note-AwardScreenActors-298">[253]</a></sup><sup><a href="#cite_note-AwardBafta-299">[254]</a></sup><sup><a href="#cite_note-AwardGoldenGlobes-300">[255]</a></sup> At the <a href="https://en.wikipedia.org/wiki/14th_Empire_Awards">14th Empire Awards</a>, <i>The Dark Knight</i> received awards for <a href="https://en.wikipedia.org/wiki/Empire_Award_for_Best_Film">Best Film</a>, <a href="https://en.wikipedia.org/wiki/Empire_Award_for_Best_Director">Best Director</a> (Christopher Nolan), and <a href="https://en.wikipedia.org/wiki/Empire_Award_for_Best_Actor">Best Actor</a> (Bale).<sup><a href="#cite_note-AwardsEmpire-301">[256]</a></sup> Ledger received the award for <a href="https://en.wikipedia.org/wiki/MTV_Movie_Award_for_Best_Villain">Best Villain</a> at the <a href="https://en.wikipedia.org/wiki/2009_MTV_Movie_Awards">2009 MTV Movie Awards</a>,<sup><a href="#cite_note-AwardsMTV-302">[257]</a></sup> and at the <a href="https://en.wikipedia.org/wiki/35th_Saturn_Awards">35th Saturn Awards</a>, <i>The Dark Knight</i> won awards for <a href="https://en.wikipedia.org/wiki/Saturn_Award_for_Best_Action_or_Adventure_Film">Best Action or Adventure Film</a>, <a href="https://en.wikipedia.org/wiki/Saturn_Award_for_Best_Supporting_Actor">Best Supporting Actor</a> (Ledger), <a href="https://en.wikipedia.org/wiki/Saturn_Award_for_Best_Writing">Best Writing</a> (Christopher and Jonathan Nolan), <a href="https://en.wikipedia.org/wiki/Saturn_Award_for_Best_Music">Best Music</a> (Howard and Zimmer), and <a href="https://en.wikipedia.org/wiki/Saturn_Award_for_Best_Special_Effects">Best Special Effects</a> (Corbould, <a href="https://en.wikipedia.org/wiki/Nick_Davis_(visual_effects_supervisor)">Nick Davis</a>, <a href="https://en.wikipedia.org/wiki/Paul_Franklin_(visual_effects_supervisor)">Paul J. Franklin</a>, <a href="https://en.wikipedia.org/wiki/Tim_Webber">Timothy Webber</a>).<sup><a href="#cite_note-AwardsSaturn-303">[258]</a></sup>
</p><p>Before <i>The Dark Knight</i>s release, film industry discourse focused on Ledger potentially earning an Academy Award nomination at the 81st Academy Awards in 2009, making him only the seventh person to be nominated posthumously, and if the decision would be influenced by his death or performance.<sup><a href="#cite_note-312">[at]</a></sup> Genre films such as those based on comic books were also generally ignored by Academy voters.<sup><a href="#cite_note-ReutersAntiComicBook-313">[267]</a></sup><sup><a href="#cite_note-ReutersAntiComicBooks2-314">[268]</a></sup><sup><a href="#cite_note-ScreenRantAntiComicBook-315">[269]</a></sup> Even so, Ledger was considered a favorite to earn the award based on praise from critic groups and his posthumous Golden Globe award.<sup><a href="#cite_note-THROscars-306">[261]</a></sup><sup><a href="#cite_note-VanityFairOscars-307">[262]</a></sup><sup><a href="#cite_note-TheGuardianOscars-308">[263]</a></sup> Ledger won the <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Supporting_Actor">Academy Award for Best Supporting Actor</a>, making him only the second performer to win an award posthumously (after <a href="https://en.wikipedia.org/wiki/Peter_Finch">Peter Finch</a> in 1977), and <i>The Dark Knight</i> the first comic book adaptation to win an academy acting award.<sup><a href="#cite_note-THROscars-306">[261]</a></sup><sup><a href="#cite_note-IGNOscar-316">[270]</a></sup><sup><a href="#cite_note-EWPosthumous-317">[271]</a></sup> <i>The Dark Knight</i> also won an award for <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a> (King), and received six nominations for <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Art_Direction">Best Art Direction</a> (Crowley and <a href="https://en.wikipedia.org/wiki/Peter_Lando">Peter Lando</a>), <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Cinematography">Best Cinematography</a> (Pfister), <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Film_Editing">Best Film Editing</a> (Smith), <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Makeup">Best Makeup</a> (Caglione Jr. and O'Sullivan), <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Sound_Mixing">Best Sound Mixing</a> (Hirschberg, Rizzo, and <a href="https://en.wikipedia.org/wiki/Ed_Novick">Ed Novick</a>), and <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a> (Davis, Corbould, Webber, and Franklin).<sup><a href="#cite_note-AwardsOscars2009-318">[272]</a></sup>
</p><p>Despite the success of <i>The Dark Knight</i>, the lack of a <a href="https://en.wikipedia.org/wiki/Academy_Award_for_Best_Picture">Best Picture</a> nomination was criticized and described as a "snub" by some publications. The response was seen as the culmination of several years of criticism toward the academy ignoring high-performing, broadly popular films.<sup><a href="#cite_note-GuardianSnub-319">[273]</a></sup><sup><a href="#cite_note-WiredSnub-320">[274]</a></sup><sup><a href="#cite_note-InfluenceTheAtlantic-321">[275]</a></sup> The backlash was such that, for the <a href="https://en.wikipedia.org/wiki/82nd_Academy_Awards">82nd Academy Awards</a> awards in 2010, the academy increased the limit for Best Picture nominees from five to ten, a change known as "The Dark Knight Rule". It allowed for more broadly popular but "respected" films to be nominated, including <i><a href="https://en.wikipedia.org/wiki/District_9">District 9</a></i>, <i><a href="https://en.wikipedia.org/wiki/The_Blind_Side_(film)">The Blind Side</a></i>, <i><a href="https://en.wikipedia.org/wiki/Avatar_(2009_film)">Avatar</a></i>, and <i><a href="https://en.wikipedia.org/wiki/Up_(2009_film)">Up</a></i>, the first animated film to be nominated in two decades.<sup><a href="#cite_note-330">[au]</a></sup> This change is seen as responsible for the first Best Picture nomination of a comic book adaptation, <i><a href="https://en.wikipedia.org/wiki/Black_Panther_(film)">Black Panther</a></i> (2018).<sup><a href="#cite_note-InfluenceABCNews-322">[276]</a></sup><sup><a href="#cite_note-BlackPantherAcademy-331">[284]</a></sup> Even so, <i>The Hollywood Reporter</i> argued the academy mistook the appeals to recognize important, "generation-defining" genre films with just nominating more films.<sup><a href="#cite_note-InfluenceTHR-332">[285]</a></sup>
</p>
<h2></h2>
<h3></h3>
<p><i>The Dark Knight</i> was released on <a href="https://en.wikipedia.org/wiki/DVD-Video">DVD</a> and <a href="https://en.wikipedia.org/wiki/Blu-ray">Blu-ray</a> in December 2008. The release has a <a href="https://en.wikipedia.org/wiki/Slipcover">slipcover</a> box-art that revealed a "Jokerized" version underneath, and contains featurettes on Batman's equipment, the psychology used in the film, six episodes of the fictional news program <i>Gotham Tonight</i>, and a gallery of concept art, posters, and Joker cards. The Blu-ray disc version additionally offers interactive elements describing the production of some scenes.<sup><a href="#cite_note-336">[av]</a></sup> A separate, limited-edition Blu-ray disc set came with a Batpod figurine.<sup><a href="#cite_note-IGNBluRayBatpod-337">[289]</a></sup> <i>The Dark Knight</i> sold 3million copies across both formats on its launch day in the U.S., Canada, and the UK; Blu-ray discs comprised about 25–30% of the sales—around 600,000 units. The film was released at the beginning of the Blu-ray disc format; it was considered a success, breaking <i>Iron Man</i>s record of 250,000 units sold and indicating the format was growing in popularity.<sup><a href="#cite_note-342">[aw]</a></sup> In 2011, it also became the first major-studio film to be released for rent via digital distribution on <a href="https://en.wikipedia.org/wiki/Facebook">Facebook</a>.<sup><a href="#cite_note-FacebookRelease-343">[294]</a></sup> A <a href="https://en.wikipedia.org/wiki/4K_resolution">4K resolution</a> remaster, which was overseen by Christopher, was released in December 2017 as a set containing a 4K <a href="https://en.wikipedia.org/wiki/Ultra_HD_Blu-ray">Ultra HD Blu-ray</a>, Blu-ray disc, and digital download, as well as special features from earlier releases.<sup><a href="#cite_note-IGN4K-344">[295]</a></sup><sup><a href="#cite_note-WhatHiFi4k-345">[296]</a></sup><sup><a href="#cite_note-HiFiDigest4k-346">[297]</a></sup>
</p>
<h3></h3>
<figure><a href="https://en.wikipedia.org/wiki/File:The_Dark_Knight_Coaster_entrance_-_Six_Flags_Great_America.JPG"></a><figcaption>The entrance to <i><a href="https://en.wikipedia.org/wiki/The_Dark_Knight_Coaster">The Dark Knight Coaster</a></i> at <a href="https://en.wikipedia.org/wiki/Six_Flags_Great_Adventure">Six Flags Great Adventure</a> in <a href="https://en.wikipedia.org/wiki/Jackson_Township,_New_Jersey">Jackson Township, New Jersey</a></figcaption></figure>
<p>Merchandise for <i>The Dark Knight</i> includes statuettes, action figures, radio-controlled Tumbler and Batpod models, costumes, sets of Batarangs, a limited-edition Grappling Launcher replica, board games, puzzles, clothing, and a special-edition <a href="https://en.wikipedia.org/wiki/Uno_(card_game)">UNO</a> card game.<sup><a href="#cite_note-351">[ax]</a></sup> A novelization written by <a href="https://en.wikipedia.org/wiki/Dennis_O%27Neil">Dennis O'Neil</a> was released in 2008.<sup><a href="#cite_note-Novel1-352">[302]</a></sup>
</p><p>A <a href="https://en.wikipedia.org/wiki/Direct-to-video">direct-to-DVD</a> animated film, <i><a href="https://en.wikipedia.org/wiki/Batman:_Gotham_Knight">Batman: Gotham Knight</a></i>, was released in July 2008. Executive produced by <a href="https://en.wikipedia.org/wiki/Bruce_Timm">Bruce Timm</a> and Nolan's wife Emma Thomas, with Goyer as one of the writers, it includes veteran Batman voice actor <a href="https://en.wikipedia.org/wiki/Kevin_Conroy">Kevin Conroy</a> reprising his role. Originally there was interest in bringing Bale and other actors from the live-action films to voice their respective characters, but it was not possible due to scheduling conflicts. <i>Gotham Knight</i> presents six vignettes, each of which are animated in a different artistic style, set between the events of <i>Batman Begins</i> and <i>The Dark Knight</i>.<sup><a href="#cite_note-IGNGothamKnight-353">[303]</a></sup><sup><a href="#cite_note-CBRGothamKnight-354">[304]</a></sup>
</p><p>A video game adaptation, <i><a href="https://en.wikipedia.org/wiki/Batman:_The_Dark_Knight_(video_game)">Batman: The Dark Knight</a></i>, was canceled due to development problems.<sup><a href="#cite_note-GRadarAlmost-355">[305]</a></sup><sup><a href="#cite_note-VG247VideoGame-356">[306]</a></sup> <i><a href="https://en.wikipedia.org/wiki/The_Dark_Knight_Coaster">The Dark Knight Coaster</a></i>, an indoor roller coaster, opened in May 2008 at <a href="https://en.wikipedia.org/wiki/Six_Flags_Great_Adventure">Six Flags Great Adventure</a> in <a href="https://en.wikipedia.org/wiki/Jackson_Township,_New_Jersey">Jackson Township, New Jersey</a>. Costing $7.5million, the 1,213-foot (370 m) long attraction places riders in an imitation of Wayne Central Station in Gotham City as they move through areas that are vandalized or controlled by the Joker.<sup><a href="#cite_note-CoasterDailyHerald-357">[307]</a></sup><sup><a href="#cite_note-CoasterPopMechanic-358">[308]</a></sup>
</p>
<h2></h2>
<h3></h3>
<p>A central theme of <i>The Dark Knight</i> is escalation, particularly the rise of the Joker in response to Batman's vigilantism.<sup><a href="#cite_note-ThemeMTV-359">[309]</a></sup><sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> Batman's vigilante operation arms him with high-tech military equipment against common criminals, and the Joker is the inevitable response and escalation of lawlessness to counter Batman. Critic Siddhant Adlakha considered the Joker an analog for countries such as Iraq, Somalia, and Lebanon, which were targeted by U.S. military campaigns and responded with escalation using terrorism.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> Batman also inspires copycat vigilantes, further escalating lawlessness. <a href="https://en.wikipedia.org/wiki/Film_studies">Film studies</a> professor Todd McGowan said Batman asserts authority over these copycats, telling them to stop because they do not have the same defensive equipment as himself, reaffirming his self-given authority to act as a vigilante.<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup>
</p><p>The film has been analyzed as an analog for the war on terror, the militaristic campaign the U.S. launched following the September 11 attacks.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> The scene in which Batman stands in the ruins of a destroyed building, having failed to prevent the Joker's plot, is reminiscent of the <a href="https://en.wikipedia.org/wiki/World_Trade_Center_site">World Trade Center site</a> after September 11.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> According to historian <a href="https://en.wikipedia.org/wiki/Stephen_Prince">Stephen Prince</a>, <i>The Dark Knight</i> is about the consequences of civil and government authorities abandoning rules in the fight against terrorism.<sup><a href="#cite_note-FOOTNOTEFradley201317-362">[312]</a></sup> Several publications criticized <i>The Dark Knight</i> for a perceived endorsement of "necessary evils" such as torture and <a href="https://en.wikipedia.org/wiki/Rendition_(law)">rendition</a>.<sup><a href="#cite_note-FOOTNOTEFradley201317–18-363">[313]</a></sup> Author <a href="https://en.wikipedia.org/wiki/Andrew_Klavan">Andrew Klavan</a> said Batman is a stand-in for then-U.S. president <a href="https://en.wikipedia.org/wiki/George_W._Bush">George W. Bush</a> and justified the breaching of "boundaries of civil rights to deal with an emergency, certain that [Batman] will re-establish those boundaries when the emergency is past".<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup><sup><a href="#cite_note-ThemesKlavan-364">[314]</a></sup> Klavan's interpretation was criticized by some publications that considered <i>The Dark Knight</i> anti-war, proposing society must not abandon the rule of law to combat lawlessness or risk creating the conditions for escalation.<sup><a href="#cite_note-ThemesNYTimes-365">[315]</a></sup><sup><a href="#cite_note-ThemeNewRepublic-366">[316]</a></sup> This is exemplified in the covert alliance formed between Batman, Dent, and Gordon, leading to Rachel's death and Dent's corruption.<sup><a href="#cite_note-FOOTNOTEFradley201317–18-363">[313]</a></sup> Writer Benjamin Kerstein said both viewpoints are valid, and that "<i>The Dark Knight</i> is a perfect mirror of the society which is watching it: a society so divided on the issues of terror and how to fight it that, for the first time in decades, an American mainstream no longer exists".<sup><a href="#cite_note-ThemesKerstein-367">[317]</a></sup>
</p><p>Batman and Dent resort to torture or <a href="https://en.wikipedia.org/wiki/Enhanced_interrogation">enhanced interrogation</a> to stop the Joker but he remains immune to their efforts because he has a strong belief in his goals. When Dent ineffectually attempts to torture Joker's henchman, Batman does not condemn the act, only being concerned about public perception if people discover the truth. This conveys the protagonists' gradual abandonment of their principles when faced with an extreme foe.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> The Joker meets Dent in a hospital to explain how expected atrocities, such as the deaths of several soldiers, and societal failings are tolerated but when norms are unexpectedly disrupted, people panic and descend into chaos.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> Although the Joker wears disguising makeup, he is not hiding behind a mask and is the same person with or without makeup. He lacks any identity or origin, representing the uncertainty, unknowability, and fear of terrorism, although he does not follow any political ideology.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-NYtimesArtofDarkness-369">[319]</a></sup> Dent represents the fulfillment of American idealism, a noble person who can work within the confines of the law and allow Batman to retire, but the fear and chaos embodied by the Joker taints that idealism and corrupts Dent absolutely.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup>
</p><p>In <i>The Dark Knight</i>s final act, Batman employs an invasive surveillance network by co-opting the phones of Gotham's citizens to locate the Joker, violating their privacy. Adlakha described this act as a "militaristic fantasy", in which a significant violation of civil liberties is required through the means of advanced technology to capture a dangerous terrorist, reminiscent of the <a href="https://en.wikipedia.org/wiki/Patriot_Act">2001 Patriot Act</a>. Lucius Fox threatens to stop helping Batman in response, believing he has crossed an ethical boundary, and although Batman agrees these violations are unacceptable and destroys the technology, the film demonstrates he could not have stopped the Joker in time without it.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup>
</p>
<h3></h3>
<p><i>The Dark Knight</i> focuses on the moral and ethical battles faced by the central characters, and the compromises they make to defeat the Joker under extraordinary circumstances.<sup><a href="#cite_note-371">[ay]</a></sup> Roger Ebert said the Joker forces impossible ethical decisions on each character to test the limits of their morality.<sup><a href="#cite_note-ReviewRogerEbert-254">[220]</a></sup><sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup> Batman represents order to the Joker's chaos and is brought to his own limit but avoids completely compromising himself. Dent represents goodness and hope; he is the city's "white knight" who is "pure" of intent and can operate within the law.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup><sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> Dent is motivated to do good because he identifies himself as good, not through trauma like Batman, and has faith in the legal system.<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup> Adlakha wrote Dent is framed as a religious icon, his campaign slogan being "I believe in Harvey Dent", and his eventual death leaves his arms spread wide like <a href="https://en.wikipedia.org/wiki/Crucifixion_of_Jesus">Jesus on the Cross</a>.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> Eckhart described Dent as someone who loves the law but feels constrained by it and his inability to do what he believes is right because the rules he must follow do not allow it.<sup><a href="#cite_note-ObserverCAEffects-81">[66]</a></sup> Dent's desire to work outside the law is seen in his support of Batman's vigilantism to accomplish what he cannot.<sup><a href="#cite_note-FOOTNOTEDuncan_JesserPourroy201248-48">[42]</a></sup>
</p><p>Dent's corruption suggests he is a proxy for those looking for hope because he is as fallible and susceptible to darkness as anyone else.<sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> This can be seen in his use of a two-headed coin to make decisions involving others, eliminating the risk of chance by controlling the outcome in his favor, indicating losing is not an acceptable outcome for him. Once Dent experiences a significant traumatic event in the loss of Rachel and his own disfigurement, he quickly abandons his noble former self to seek his own form of justice. His coin is scarred on one side, introducing the risk of chance, and he submits himself to it completely. According to English professor Daniel Boscaljon, Dent is not broken; he believes in a different form of justice in a seemingly unjust world, flipping a coin because it is "Unbiased. Unprejudiced. Fair."<sup><a href="#cite_note-FOOTNOTEBoscaljon201360-372">[321]</a></sup>
</p><p>The Joker represents an ideological deviancy; he does not seek personal gain and causes chaos for its own sake, setting a towering pile of cash ablaze to prove "everything burns". Unlike Batman, the Joker is the same with or without makeup, having no identity to conceal and nothing to lose.<sup><a href="#cite_note-374">[az]</a></sup> Boscaljon wrote the residents and criminals believe in a form of order and rules that must be obeyed; the Joker deliberately upends this belief because he has no rules or limitations.<sup><a href="#cite_note-FOOTNOTEBoscaljon201351–52-375">[323]</a></sup> The character can be considered an example of <a href="https://en.wikipedia.org/wiki/Friedrich_Nietzsche">Friedrich Nietzsche</a>'s "<a href="https://en.wikipedia.org/wiki/%C3%9Cbermensch">Superman</a>", who exists outside definitions such as good and evil, and follows his own indomitable will. The film, however, leaves open the option to dismiss his insights because his chaos ultimately leads to death and injustice.<sup><a href="#cite_note-FOOTNOTEBoscaljon201353-376">[324]</a></sup> Christopher described the Joker as an unadulterated evil, and professor Charles Bellinger considered him a satanic figure who repels people from goodness and tempts them with things they supposedly lack, such as forcing Batman to choose between saving Dent—who is best for the city—and Rachel, who is best for Wayne.<sup><a href="#cite_note-FOOTNOTEBoscaljon201352,_55–56-377">[325]</a></sup> The Joker aims to corrupt Dent to prove anyone, even symbols, can be broken. In their desperation, Dent and Batman are forced to question their own limitations. As the Joker states to Batman:
</p>
<blockquote><p>Their morals, their code ... it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. You'll see—I'll show you ... when the chips are down, these civilized people ... they'll eat each other. See, I'm not a monster ... I'm just ahead of the curve.</p><p>— <cite>The Joker, in <i>The Dark Knight</i><sup><a href="#cite_note-FOOTNOTEBoscaljon201357-378">[326]</a></sup></cite></p></blockquote>
<p>The ferry scene can be seen as the Joker's true defeat, demonstrating he is wrong about the residents turning on each other in an extreme scenario.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> According to writer David Chen, this demonstrates, individually, people cannot responsibly handle power but by sharing the responsibility, there is hope for a compassionate outcome.<sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> Although Batman holds to his morals and does not kill the Joker, he is forced to break his code by pushing Dent to his death to save an innocent person. Batman chooses to become a symbol of criminality by taking the blame for Dent's crimes and preserving him as a symbol of good, maintaining the hope of Gotham's residents.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup><sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup><sup><a href="#cite_note-ThemeSlashFilm-368">[318]</a></sup> Critic David Crow wrote Batman's true test is not defeating the Joker but saving Dent, a task at which he fails.<sup><a href="#cite_note-DOGDentThemes-379">[327]</a></sup> Batman makes his own Christ-like sacrifice, taking on Dent's sins to preserve the city.<sup><a href="#cite_note-FOOTNOTEBoscaljon201353-376">[324]</a></sup>
</p><p>Although <i>The Dark Knight</i> presents this as a heroic act, this "<a href="https://en.wikipedia.org/wiki/Noble_lie">noble lie</a>" is used to conceal and manipulate the truth for what a minority determines is the greater good.<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup><sup><a href="#cite_note-FOOTNOTEFradley201324-380">[328]</a></sup> McGowan considered the act heroic because Batman's sacrifice will leave him hunted and despised without recognition, indicating he has learned from the Joker the established norms must sometimes be broken.<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup> According to professor Martin Fradley, among others, Batman's "noble lie" and Gordon's support of it is a cynical endorsement of deception and totalitarianism.<sup><a href="#cite_note-ThemesJumpCut-361">[311]</a></sup><sup><a href="#cite_note-FOOTNOTEFradley201324-380">[328]</a></sup> Wayne's butler Alfred also commits a noble lie, concealing Rachel's choice of Dent over Wayne to spare him the pain of her rejection.<sup><a href="#cite_note-ThemesIGN-360">[310]</a></sup>
</p>
<h2></h2>
<h3></h3>
<p><i>The Dark Knight</i> is considered an influential and often-imitated work that redefined the superhero/comic-book film genre, and filmmaking in general.<sup><a href="#cite_note-383">[ba]</a></sup> In 2020, the United States <a href="https://en.wikipedia.org/wiki/Library_of_Congress">Library of Congress</a> selected <i>The Dark Knight</i> to be preserved in the <a href="https://en.wikipedia.org/wiki/National_Film_Registry">National Film Registry</a> for being "culturally, historically, or aesthetically significant".<sup><a href="#cite_note-LOCTHR-384">[331]</a></sup>
</p><p>Before <i>The Dark Knight</i>, superhero films closely emulated their comic-book source material, and though the genre had seen significant successes such as <i><a href="https://en.wikipedia.org/wiki/Superman_(1978_film)">Superman</a></i> (1978), <i><a href="https://en.wikipedia.org/wiki/Batman_(1989_film)">Batman</a></i> (1989), <i><a href="https://en.wikipedia.org/wiki/X-Men_(film)">X-Men</a></i> (2000), and <i><a href="https://en.wikipedia.org/wiki/Spider-Man_(2002_film)">Spider-Man</a></i> (2002), they were often considered disposable entertainment that did not garner much industry respect.<sup><a href="#cite_note-386">[bb]</a></sup> A 2018 retrospective by <i>The Hollywood Reporter</i> said <i>The Dark Knight</i> taught filmmakers "comic book characters are malleable. They are able to be grounded or fantastic, able to be prestigious or pure blockbuster entertainment, to be dark and gritty or light, to be character-driven or action-packed, or any variation in-between."<sup><a href="#cite_note-InfluenceTHR-332">[285]</a></sup>
</p><p><i>The Dark Knight</i> is considered a blueprint for the modern superhero film that productions either attempt to closely emulate or deliberately counter.<sup><a href="#cite_note-387">[bc]</a></sup> Its financial, critical, and cultural successes legitimized the genre with film studios at a time when recent films, such as <i><a href="https://en.wikipedia.org/wiki/Daredevil_(film)">Daredevil</a></i>, <i><a href="https://en.wikipedia.org/wiki/Hulk_(film)">Hulk</a></i> (both 2003), <i><a href="https://en.wikipedia.org/wiki/Fantastic_Four_(2005_film)">Fantastic Four</a></i> (2005), and <i><a href="https://en.wikipedia.org/wiki/Superman_Returns">Superman Returns</a></i> (2006) had failed to meet expectations.<sup><a href="#cite_note-InfluenceTheAtlantic-321">[275]</a></sup><sup><a href="#cite_note-NYTimesComicbookfilms-388">[333]</a></sup> The genre became a focus of annual studio strategies rather than a relatively niche project, and a surge of comic-book adaptations followed, in part because of their broad franchising potential. In 2008, Ebert wrote; "[<i>The Dark Knight</i>], and to a lesser degree <i>Iron Man</i>, redefine the possibilities of the 'comic-book movie".<sup><a href="#cite_note-Wapogreatness-241">[210]</a></sup> <i><a href="https://en.wikipedia.org/wiki/The_Atlantic">The Atlantic</a></i> wrote <i>Iron Man</i>s legacy in launching the <a href="https://en.wikipedia.org/wiki/Marvel_Cinematic_Universe">Marvel Cinematic Universe</a> (MCU) could not have happened without the financial and critical success of <i>The Dark Knight</i>, which made comic book adaptations a central focus of film studios.<sup><a href="#cite_note-LATimesWatchmen-212">[184]</a></sup><sup><a href="#cite_note-InfluenceTheAtlantic-321">[275]</a></sup><sup><a href="#cite_note-InfluenceTHR-332">[285]</a></sup>
</p><p>Retrospective analysis has focused on the way studios, eager to replicate its performance, released tonally dark, gritty, and realistic films, or reboots of existing franchises, many of which failed critically or commercially.<sup><a href="#cite_note-InfluenceVarietyOscars-323">[277]</a></sup><sup><a href="#cite_note-InfluenceTHR-332">[285]</a></sup><sup><a href="#cite_note-InfluenceScreenRantWrongLessons-381">[329]</a></sup> Some publications said studios took the wrong lessons from <i>The Dark Knight</i>, treating source material too seriously and mistaking a dark, gritty tone for narrative depth and intelligent writing.<sup><a href="#cite_note-390">[bd]</a></sup> The MCU is seen as a successful continuation of what made <i>The Dark Knight</i> a success, combining genres and tones relevant to each respective film while treating the source material seriously, unlike the <a href="https://en.wikipedia.org/wiki/DC_Extended_Universe">DC Extended Universe</a>, which more closely emulated the tone of <i>The Dark Knight</i> but failed to replicate its success.<sup><a href="#cite_note-InfluenceScreenRantWrongLessons-381">[329]</a></sup><sup><a href="#cite_note-DOGMarvelInfluence-391">[335]</a></sup>
</p><p>Directors including <a href="https://en.wikipedia.org/wiki/Sam_Mendes">Sam Mendes</a> (<i><a href="https://en.wikipedia.org/wiki/Skyfall">Skyfall</a></i>, 2012), <a href="https://en.wikipedia.org/wiki/Ryan_Coogler">Ryan Coogler</a> (<i>Black Panther</i>), and <a href="https://en.wikipedia.org/wiki/David_Ayer">David Ayer</a> (<i><a href="https://en.wikipedia.org/wiki/Suicide_Squad_(2016_film)">Suicide Squad</a></i>, 2016), have cited it as an influence on their work, <a href="https://en.wikipedia.org/wiki/Steven_Spielberg">Steven Spielberg</a> listed it among his favorite films, and <a href="https://en.wikipedia.org/wiki/Timoth%C3%A9e_Chalamet">Timothée Chalamet</a> said it inspired him to become an actor.<sup><a href="#cite_note-396">[be]</a></sup> The film has been referenced in a variety of media including television shows such as <i><a href="https://en.wikipedia.org/wiki/Robot_Chicken">Robot Chicken</a></i>, <i><a href="https://en.wikipedia.org/wiki/South_Park">South Park</a></i>, and <i><a href="https://en.wikipedia.org/wiki/The_Simpsons">The Simpsons</a></i>.<sup><a href="#cite_note-ReferencedinSimpsons-397">[340]</a></sup><sup><a href="#cite_note-ReferencedinSouthPark-398">[341]</a></sup><sup><a href="#cite_note-ReferencedinRobot-399">[342]</a></sup> U.S. President <a href="https://en.wikipedia.org/wiki/Barack_Obama">Barack Obama</a> used Joker to explain the growth of <a href="https://en.wikipedia.org/wiki/Islamic_State">Islamic State</a> (IS) military group, saying "... the gang leaders of Gotham are meeting... they were thugs, but there was a kind of order... the Joker comes in and lights the whole city on fire. [IS] is the Joker."<sup><a href="#cite_note-AtlanticObama-400">[343]</a></sup> Joker's appearance became a popular Halloween costume and also influenced the 2009 <a href="https://en.wikipedia.org/wiki/Barack_Obama_%22Joker%22_poster">Barack Obama "Joker" poster</a>.<sup><a href="#cite_note-402">[bf]</a></sup>
</p>
<h3></h3>
<p>Since its release, <i>The Dark Knight</i> has been assessed as one of the greatest superhero films ever made,<sup><a href="#cite_note-415">[bg]</a></sup> among the <a href="https://en.wikipedia.org/wiki/Greatest_films_ever_made">greatest films ever made</a>,<sup><a href="#cite_note-422">[bh]</a></sup> and one of the best sequel films.<sup><a href="#cite_note-429">[bi]</a></sup> It is also considered among the best films of the 2000s,<sup><a href="#cite_note-435">[bj]</a></sup> and in a 2010 poll of thirty-seven critics by Metacritic regarding the decade's top films, <i>The Dark Knight</i> received the eighth most mentions, appearing on 7 lists.<sup><a href="#cite_note-Metadecade-436">[374]</a></sup> In the 2010s, a poll of 177 film critics by the <a href="https://en.wikipedia.org/wiki/BBC">BBC</a> in 2016 listed it as the 33rd-<a href="https://en.wikipedia.org/wiki/BBC%27s_100_Greatest_Films_of_the_21st_Century">best film of the 21st century</a>,<sup><a href="#cite_note-Bestof21stBBCNo33-437">[375]</a></sup> and <i><a href="https://en.wikipedia.org/wiki/The_Guardian">The Guardian</a></i> placed it 98th on its own list.<sup><a href="#cite_note-Bestof21stCentGuardian-438">[376]</a></sup> In 2020, <i>Empire</i> magazine named it third-best, behind <i><a href="https://en.wikipedia.org/wiki/The_Lord_of_the_Rings:_The_Fellowship_of_the_Ring">The Lord of the Rings: The Fellowship of the Ring</a></i> (2001) and <i><a href="https://en.wikipedia.org/wiki/Mad_Max:_Fury_Road">Mad Max: Fury Road</a></i> (2015).<sup><a href="#cite_note-Bestof21stEmpireNo3-439">[377]</a></sup> As of 2023, it remains the highest critically rated Batman film according to Rotten Tomatoes, and is often ranked as the best film featuring the character.<sup><a href="#cite_note-451">[bk]</a></sup>
</p><p><i>The Dark Knight</i> remains popular with entertainment industry professionals, including directors, actors, critics, and stunt actors, being ranked 57th on <i>The Hollywood Reporter</i>s poll of the best films ever made,<sup><a href="#cite_note-THRJun14-417">[358]</a></sup> 18th on <i><a href="https://en.wikipedia.org/wiki/Time_Out_(magazine)">Time Out</a></i>s list of the best action films,<sup><a href="#cite_note-TimeOutIndustyPoll-452">[389]</a></sup> and 96th on the BBC's list of the 100 Greatest American Films.<sup><a href="#cite_note-BBC100GreatestAmerican-418">[359]</a></sup> <i>The Dark Knight</i> is included in the film-reference book <i><a href="https://en.wikipedia.org/wiki/1001_Movies_You_Must_See_Before_You_Die">1001 Movies You Must See Before You Die</a></i>,<sup><a href="#cite_note-FOOTNOTESchneider2013-453">[390]</a></sup> and film critics <a href="https://en.wikipedia.org/wiki/James_Berardinelli">James Berardinelli</a> and <a href="https://en.wikipedia.org/wiki/Barry_Norman">Barry Norman</a> included it in their individual listings of the 100 greatest films of all time.<sup><a href="#cite_note-JamesBerardinelliBest100-419">[360]</a></sup><sup><a href="#cite_note-BarryNormanBest100-420">[361]</a></sup> In 2012, <i><a href="https://en.wikipedia.org/wiki/Total_Film">Total Film</a></i> named it the sixth-most-accomplished film of the preceding fifteen years, and a 2020 article by <i>Empire</i> named <i>The Dark Knight</i> as one of the films that defined the previous three decades.<sup><a href="#cite_note-TotalMagazineAccomplished-454">[391]</a></sup><sup><a href="#cite_note-Empire30FilmsthatDefine-455">[392]</a></sup> In 2020, <i>Time Out</i> named it the seventy-second-best action movie ever made.<sup><a href="#cite_note-TotalFilmBestAction2020No72-456">[393]</a></sup>
</p><p>Ledger's Joker is considered one of the greatest cinematic villains; several publications placed his portrayal second only to Darth Vader.<sup><a href="#cite_note-462">[bl]</a></sup> In 2017, <i>The Hollywood Reporter</i> named Ledger's Joker the second-best cinematic superhero performance ever, behind <a href="https://en.wikipedia.org/wiki/Hugh_Jackman">Hugh Jackman</a> as <a href="https://en.wikipedia.org/wiki/Logan_(film_character)">Wolverine</a>,<sup><a href="#cite_note-THRGreatestJoker2017-463">[399]</a></sup> and <i><a href="https://en.wikipedia.org/wiki/Collider_(website)">Collider</a></i> listed him as the greatest villain of the 21st century.<sup><a href="#cite_note-ColliderJoker21st-464">[400]</a></sup> In 2022, <i>Variety</i> listed him as the best superhero film performance of the preceding 50 years (Eckhart appears at number 22).<sup><a href="#cite_note-VarietyBestof50-465">[401]</a></sup> <i>Entertainment Weekly</i> wrote there had not been another villain as interesting or "perversely entertaining" as Joker, and Ledger's performance was considered so defining that future interpretations would be compared against it. <a href="https://en.wikipedia.org/wiki/Michael_B._Jordan">Michael B. Jordan</a> cited the character as an inspiration for his character <a href="https://en.wikipedia.org/wiki/Erik_Killmonger">Erik Killmonger</a> in <i>Black Panther</i>.<sup><a href="#cite_note-466">[bm]</a></sup> The "pencil trick" scene, in which Joker makes a pencil disappear by slamming a mobster's head on it, is considered an iconic scene and among the film's most famous.<sup><a href="#cite_note-471">[bn]</a></sup> Similarly, the character's line "why so serious?" is among the film's most famous and oft-quoted pieces of dialog,<sup><a href="#cite_note-475">[bo]</a></sup> alongside "everyone loses their minds," and Dent's line "you either die a hero or you live long enough to see yourself become the villain", as well as Pennyworth's line "some men just want to watch the world burn"; the lines also became popular <a href="https://en.wikipedia.org/wiki/Internet_meme">internet memes</a>.<sup><a href="#cite_note-479">[bp]</a></sup>
</p><p><i>The Dark Knight</i> remains popular with audiences in publicly voted rankings. Over 17,000 people voted the film into the top ten of <i><a href="https://en.wikipedia.org/wiki/American_Cinematographer">American Cinematographer</a></i>s "Best-Shot Film of 1998–2008" list,<sup><a href="#cite_note-ReaderVotedASC-480">[412]</a></sup> and listeners of <a href="https://en.wikipedia.org/wiki/BBC_Radio_1">BBC Radio 1</a> and <a href="https://en.wikipedia.org/wiki/BBC_Radio_1Xtra">BBC Radio 1Xtra</a> named it their eighth-favorite film.<sup><a href="#cite_note-ReaderVotedBBCRadio-481">[413]</a></sup> Readers of <i>Empire</i> have alternatively voted it the fifteenth (2008),<sup><a href="#cite_note-Empire500Greatest2008-482">[414]</a></sup> third (2014),<sup><a href="#cite_note-Empire301Greatest2014-483">[415]</a></sup> and the fourth-greatest film ever made (2020).<sup><a href="#cite_note-Empire100Greatest2020-484">[416]</a></sup> <i>The Dark Knight</i> was also voted the greatest superhero movie by readers of <i><a href="https://en.wikipedia.org/wiki/Rolling_Stone">Rolling Stone</a></i> (2014),<sup><a href="#cite_note-ReaderVotedGreatestRollingStone-485">[417]</a></sup> and as one of New Zealand's favorite films (2015).<sup><a href="#cite_note-ReaderVotedNewZealand-486">[418]</a></sup>
</p>
<h2></h2>
<p><i>The Dark Knight</i> was followed by <i><a href="https://en.wikipedia.org/wiki/The_Dark_Knight_Rises">The Dark Knight Rises</a></i> (2012), the conclusion of <i><a href="https://en.wikipedia.org/wiki/The_Dark_Knight_Trilogy">The Dark Knight Trilogy</a></i>. In the film, Batman is forced out of his self-imposed retirement following the events of <i>The Dark Knight</i>; he allies with <a href="https://en.wikipedia.org/wiki/Catwoman">Selina Kyle / Catwoman</a> to take on <a href="https://en.wikipedia.org/wiki/Bane_(DC_Comics)">Bane</a>, a physically imposing revolutionary allied with the <a href="https://en.wikipedia.org/wiki/League_of_Assassins">League of Shadows</a> that is featured in <i>Batman Begins</i>.<sup><a href="#cite_note-RisesDOGPlot-487">[419]</a></sup><sup><a href="#cite_note-RisesGuardian-488">[420]</a></sup><sup><a href="#cite_note-RisesPolygon-489">[421]</a></sup> <i>The Dark Knight Rises</i> was a financial success, surpassing the box-office take of <i>The Dark Knight</i>,<sup><a href="#cite_note-RisesColliderBO-490">[422]</a></sup> and was generally well received by critics but proved more divisive with audiences.<sup><a href="#cite_note-495">[bq]</a></sup>
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<h3></h3>
<ul><li><cite>Boscaljon, Daniel (2013). <a href="https://www.proquest.com/docview/1470421526">"The Flip Side Of Justice: The Two-faced Spirit Of The Dark Knight"</a>. <i>Iowa Journal of Cultural Studies</i> (14). <a href="https://en.wikipedia.org/wiki/Iowa_City,_Iowa">Iowa City, Iowa</a>: <a href="https://en.wikipedia.org/wiki/University_of_Iowa">University of Iowa</a>: 44–64. <a href="https://en.wikipedia.org/wiki/Doi_(identifier)">doi</a>:. <a href="https://en.wikipedia.org/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/8255503669">8255503669</a>. <a href="https://en.wikipedia.org/wiki/ProQuest_(identifier)">ProQuest</a> <a href="https://search.proquest.com/docview/1470421526">1470421526</a>.</cite></li>
<li><cite>Duncan Jesser, Jody; Pourroy, Janine (2012). <i>The Art and Making of the Dark Knight Trilogy</i>. New York City, New York: <a href="https://en.wikipedia.org/wiki/Abrams_Books">Abrams Books</a>. <a href="https://en.wikipedia.org/wiki/ISBN_(identifier)">ISBN</a> <a href="https://en.wikipedia.org/wiki/Special:BookSources/978-1-4197-0369-0"><bdi>978-1-4197-0369-0</bdi></a>. <a href="https://en.wikipedia.org/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/755699530">755699530</a>.</cite></li>
<li><cite>Fradley, Martin (2013). <a href="https://www.jstor.org/stable/10.1525/fq.2013.66.3.15">"What Do You Believe In? Film Scholarship and the Cultural Politics of the Dark Knight Franchise"</a>. <i><a href="https://en.wikipedia.org/wiki/Film_Quarterly">Film Quarterly</a></i>. <b>66</b> (3). <a href="https://en.wikipedia.org/wiki/Berkeley,_California">Berkeley, California</a>: <a href="https://en.wikipedia.org/wiki/University_of_California_Press">University of California Press</a>: 15–27. <a href="https://en.wikipedia.org/wiki/Doi_(identifier)">doi</a>:. <a href="https://en.wikipedia.org/wiki/JSTOR_(identifier)">JSTOR</a> <a href="https://www.jstor.org/stable/10.1525/fq.2013.66.3.15">10.1525/fq.2013.66.3.15</a>. <a href="https://en.wikipedia.org/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/6914368216">6914368216</a>.</cite></li>
<li><cite>Schneider, Steven Jay (2013). "1990s". <i><a href="https://en.wikipedia.org/wiki/1001_Movies_You_Must_See_Before_You_Die">1001 Movies You Must See Before You Die</a></i>. Boston, Massachusetts: <a href="https://en.wikipedia.org/wiki/Murdoch_Books">Murdoch Books</a> Pty Limited. <a href="https://en.wikipedia.org/wiki/ISBN_(identifier)">ISBN</a> <a href="https://en.wikipedia.org/wiki/Special:BookSources/978-0-7641-6613-6"><bdi>978-0-7641-6613-6</bdi></a>. <a href="https://en.wikipedia.org/wiki/OCLC_(identifier)">OCLC</a> <a href="https://www.worldcat.org/oclc/213305397">213305397</a>.</cite></li></ul>
<h2></h2>
<ul><li> (Warner Bros.)</li>
<li> (DC Comics)</li>
<li><a href="https://www.imdb.com/title/tt0468569/"><i>The Dark Knight</i></a> at <a href="https://en.wikipedia.org/wiki/IMDb_(identifier)">IMDb</a> </li>
<li><a href="https://www.isfdb.org/cgi-bin/title.cgi?1275896"><i>The Dark Knight</i></a> title listing at the <a href="https://en.wikipedia.org/wiki/Internet_Speculative_Fiction_Database">Internet Speculative Fiction Database</a></li>
<li><a href="https://www.tcm.com/tcmdb/title/661470/enwp"><i>The Dark Knight</i></a> at the <a href="https://en.wikipedia.org/wiki/Turner_Classic_Movies">TCM Movie Database</a></li>
<li><a href="https://www.allmovie.com/movie/v357349"><i>The Dark Knight</i></a> at <a href="https://en.wikipedia.org/wiki/AllMovie">AllMovie</a></li></ul>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 Toggle Production subsection
 + 3.1 Development
 + 3.2 Writing
 + 3.3 Casting
 + 3.4 Pre-production
 + 3.5 Filming in Chicago
 + 3.6 Filming in England and Hong Kong
 + 3.7 Post-production
 + 3.8 Special effects and design
 + 3.9 Music
 * 4 Release
 Toggle Release subsection
 + 4.1 Marketing and anti-piracy
 + 4.2 Context
 + 4.3 Box office
 * 5 Reception
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 + 5.1 Critical response
 + 5.2 Accolades
 * 6 Other releases
 Toggle Other releases subsection
 + 6.1 Home media
 + 6.2 Merchandise and spin-offs
 * 7 Themes and analysis
 Toggle Themes and analysis subsection
 + 7.1 Terrorism and escalation
 + 7.2 Morality and ethics
 * 8 Legacy
 Toggle Legacy subsection
 + 8.1 Cultural influence
 + 8.2 Retrospective assessments
 * 9 Sequel
 * 10 Notes
 * 11 References
 Toggle References subsection
 + 11.1 Citations
 + 11.2 Works cited
 * 12 External links
 Toggle the table of contents

 The Dark Knight

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 From Wikipedia, the free encyclopedia
 This article is about the 2008 film. For other uses, see The Dark Knight (disambiguation).

 The Dark Knight 
 Theatrical release poster
 Directed by Christopher Nolan 
 Screenplay by * Jonathan Nolan 
 * Christopher Nolan 
 Story by * Christopher Nolan 
 * David S. Goyer 
 Based on Characters appearing in comic books published
 by DC Comics 
 * Emma Thomas 
 Produced by * Charles Roven 
 * Christopher Nolan 
 * Christian Bale 
 * Michael Caine 
 * Heath Ledger 
 Starring * Gary Oldman 
 * Aaron Eckhart 
 * Maggie Gyllenhaal 
 * Morgan Freeman 
 Cinematography Wally Pfister 
 Edited by Lee Smith 
 Music by * Hans Zimmer 
 * James Newton Howard 
 Production * Warner Bros. Pictures 
 companies * Legendary Pictures 
 * Syncopy[a] 
 Distributed by Warner Bros. Pictures 
 * July 14, 2008 (New York City) 
 Release dates * July 18, 2008 (United States) 
 * July 25, 2008 (United Kingdom) 
 Running time 152 minutes 
 Countries * United States 
 * United Kingdom[b] 
 Language English 
 Budget $185 million 
 Box office $1.006 billion[c] 
 

 The Dark Knight is a 2008 superhero film directed by Christopher Nolan from a screenplay co-written with his brother Jonathan. Based on the DC Comics superhero Batman, it is the sequel to Batman Begins (2005) and the second installment in The Dark Knight trilogy. The plot follows the vigilante Batman, police lieutenant James Gordon, and district attorney Harvey Dent, who form an alliance to dismantle organized crime in Gotham City. Their efforts are derailed by the Joker, an anarchistic mastermind who seeks to test how far Batman will go to save the city from chaos. The ensemble cast includes Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal, and Morgan Freeman.

 Warner Bros. Pictures prioritized a sequel following the successful reinvention of the Batman film series with Batman Begins. Christopher and Batman Begins co-writer David S. Goyer developed the story elements, making Dent the central protagonist caught up in the battle between Batman and the Joker. In writing the screenplay, the Nolans were influenced by 1980s Batman comics and crime drama films, and sought to continue Batman Begins ' heightened sense of realism. From April to November 2007, filming took place with a $185 million budget in Chicago and Hong Kong, and on sets in England. The Dark Knight was the first major motion picture to be filmed with high-resolution IMAX cameras. Christopher avoided using computer-generated imagery unless necessary, insisting on practical stunts such as flipping an 18-wheel truck and blowing up a factory.

 The Dark Knight was marketed with an innovative interactive viral campaign that initially focused on countering criticism of Ledger's casting by those who believed he was a poor choice to portray the Joker. Ledger died from an accidental prescription drug overdose in January 2008, leading to widespread interest from the press and public regarding his performance. When it was released in July, The Dark Knight received acclaim for its mature tone and themes, visual style, and performances—particularly that of Ledger, who received many posthumous awards including Academy, BAFTA, and Golden Globe awards for Best Supporting Actor, making The Dark Knight the first comic-book film to receive major industry awards. It broke several box-office records and became the highest-grossing 2008 film, the fourth-highest-grossing film to that time, and the highest-grossing superhero film.

 Since its release, The Dark Knight has been assessed as one of the greatest superhero films ever, one of the best movies of the 2000s, and one of the best films ever made. It is considered the "blueprint" for many modern superhero films, particularly for its rejection of a typical comic-book movie style in favor of a crime film that features comic-book characters. Many filmmakers sought to repeat its success by emulating its gritty, realistic tone to varying degrees of success. The Dark Knight has been analyzed for its themes of terrorism and the limitations of morality and ethics. The United States Library of Congress selected it for preservation in the National Film Registry in 2020. A sequel, The Dark Knight Rises, concluded The Dark Knight trilogy in 2012.

 Plot

 A gang of masked criminals rob a mafia-owned bank in Gotham City, betraying and killing each other until the sole survivor, the Joker, reveals himself as the mastermind and escapes with the money. The vigilante Batman, district attorney Harvey Dent, and police lieutenant Jim Gordon ally to eliminate Gotham's organized crime. Batman's true identity, the billionaire Bruce Wayne, publicly supports Dent as Gotham's legitimate protector, as Wayne believes Dent's success will allow Batman to retire, allowing him to romantically pursue his childhood friend Rachel Dawes, despite her relationship with Dent.

 Gotham's mafia bosses gather to discuss protecting their organizations from the Joker, the police, and Batman. The Joker interrupts the meeting and offers to kill Batman for half of the fortune their accountant, Lau, concealed before fleeing to Hong Kong to avoid extradition. With the help of Wayne Enterprises CEO Lucius Fox, Batman finds Lau in Hong Kong and returns him to the custody of Gotham police. His testimony enables Dent to apprehend the crime families. The bosses accept the Joker's offer, and he kills high-profile targets involved in the trial, including the judge and police commissioner. Although Gordon saves the mayor, the Joker threatens that his attacks will continue until Batman reveals his identity. He targets Dent at a fundraising dinner and throws Rachel out of a window, but Batman rescues her.

 Wayne struggles to understand the Joker's motives, but his butler Alfred Pennyworth says "some men just want to watch the world burn." Dent claims he is Batman to lure out the Joker, who attacks the police convoy transporting him. Batman and Gordon apprehend the Joker, and Gordon is promoted to commissioner. At the police station, Batman interrogates the Joker, who says he finds Batman entertaining and has no intention of killing him. Having deduced Batman's feelings for Rachel, the Joker reveals she and Dent are being held separately in buildings rigged to explode. Batman races to rescue Rachel while Gordon and the other officers go after Dent, but they discover the Joker gave their positions in reverse. The explosives detonate, killing Rachel and severely burning Dent's face on one side. The Joker escapes custody, extracts the fortune's location from Lau, and burns it, killing Lau in the process.

 Wayne Enterprises accountant Coleman Reese deduces and tries to expose Batman's identity, but the Joker threatens to blow up a hospital unless Reese is killed. While the police evacuate hospitals and Gordon struggles to keep Reese alive, the Joker meets with a disillusioned Dent, persuading him to take the law into his own hands and avenge Rachel. Dent defers his decision-making to his now half-scarred, two-headed coin, killing the corrupt officers and the mafia involved in Rachel's death. As panic grips the city, the Joker reveals two evacuation ferries, one carrying civilians and the other prisoners, are rigged to explode at midnight unless one group sacrifices the other. To the Joker's disbelief, the passengers refuse to kill one another. Batman subdues the Joker but refuses to kill him. Before the police arrest the Joker, he says although Batman proved incorruptible, his plan to corrupt Dent has succeeded.

 Dent takes Gordon's family hostage, blaming his negligence for Rachel's death. He flips his coin to decide their fates, but Batman tackles him to save Gordon's son, and Dent falls to his death. Believing Dent is the hero the city needs and the truth of his corruption will harm Gotham, Batman takes the blame for his death and actions and persuades Gordon to conceal the truth. Pennyworth burns an undelivered letter from Rachel to Wayne that says she chose Dent, and Fox destroys the invasive surveillance network that helped Batman find the Joker. The city mourns Dent as a hero, and the police launch a manhunt for Batman.

 Cast

 (L to R) Christian Bale (pictured in 2019), Gary Oldman (2014), and Aaron Eckhart (2016)
 * Christian Bale as Bruce Wayne / Batman: A wealthy socialite who as a child was traumatized by his parents' murder. Wayne secretly operates as the heroic vigilante Batman.[4]
 * Michael Caine as Alfred Pennyworth: Wayne's father-figure, trusted butler, and confidant.[5][6]
 * Heath Ledger as the Joker: A criminal mastermind and anarchist who is determined to sow chaos and corruption throughout Gotham.[4][7][8]
 * Gary Oldman as James Gordon: One of the few honest officers in the Gotham City Police Department (GCPD) who assists Batman's war on crime.[7][9]
 * Aaron Eckhart as Harvey Dent / Two-Face: Gotham's noble district attorney-turned-violent vigilante.[7][10][11]
 * Maggie Gyllenhaal as Rachel Dawes: Gotham's assistant district attorney and Wayne's childhood friend, who is divided between her feelings for him and for Dent.[12]
 * Morgan Freeman as Lucius Fox: Wayne Enterprises' CEO who supplies technology and equipment for Batman's campaign.[13][14][15]

 Additionally, Eric Roberts, Michael Jai White, and Ritchie Coster appear as crime bosses Sal Maroni, Gambol, and the Chechen, respectively; while Chin Han portrays Lau, a Chinese criminal banker.[d] The GCPD cast includes Colin McFarlane as commissioner Gillian B. Loeb, Keith Szarabajka and Ron Dean as detectives Stephens and Wuertz, Monique Gabriela Curnen as rookie detective Anna Ramirez[2][21][22] and Philip Bulcock as Murphy.[2]

 The cast also features Joshua Harto as Wayne Enterprises employee Coleman Reese,[23] Anthony Michael Hall as news reporter Mike Engel,[24][25] Néstor Carbonell as mayor Anthony Garcia, William Fichtner as a bank manager, Nydia Rodriguez Terracina as Judge Surrillo,[2] Tom "Tiny" Lister Jr. as a prisoner, Beatrice Rosen as Wayne's Russian ballerina date, and David Dastmalchian as the Joker's paranoid schizophrenic henchman Thomas Schiff.[2][25][26] Melinda McGraw, Nathan Gamble, and Hannah Gunn portray Gordon's wife Barbara, his son James Jr., and his daughter, respectively.[2][27] The Dark Knight features several cameo appearances from Cillian Murphy, who reprises his role as Jonathan Crane / Scarecrow from Batman Begins;[28][29] musical performer Matt Skiba;[30] as well as United States Senator and Batman fan Patrick Leahy, who has appeared in or voiced characters in other Batman media.[31]

 Production

 Development

 Following the critical and financial success of Batman Begins (2005), the film studio Warner Bros. Pictures prioritized a sequel.[32] Although Batman Begins ends with a scene in which Batman is presented with a joker playing card, teasing the introduction of his archenemy, the Joker, Christopher Nolan did not intend to make a sequel and was unsure Batman Begins would be successful enough to warrant one.[33][34] Christopher, alongside his wife and longtime producer Emma Thomas, had never worked on a sequel film[35] but he and co-writer David Goyer discussed ideas for a sequel during filming. Goyer developed an outline for two sequels, but Christopher remained unsure how to continue the Batman Begins narrative while keeping it consistent and relevant, though he was interested in utilizing the Joker in Begins 's grounded, realistic style.[32][34][35] Discussions between Warner Bros. Pictures and Christopher began shortly after Batman Begins ' s theatrical release, and development began following the production of Christopher's The Prestige (2006).[32]

 Writing

 (L to R) Director and writer Christopher Nolan (pictured in 2018), and co-writer Jonathan Nolan (2019)

 Goyer and Christopher collaborated for three months to develop The Dark Knight 's core plot points.[35] They wanted to explore the theme of escalation and the idea that Batman's extraordinary efforts to combat common crimes would lead to an opposing escalation by criminals, attracting the Joker, who uses terrorism as a weapon. The joker playing card scene in Batman Begins was intended to convey the fallacy of Batman's belief his war on crime would be temporary.[34][36] Goyer and Christopher did not intentionally include real-world parallels to terrorism, the war on terror, and laws enacted to combat terrorists by the United States government because they believed making overtly political statements would detract from the story. They wanted it to resonate with and reflect contemporary audiences.[35] Christopher described The Dark Knight as representative of his own "fear of anarchy" and Joker represents "somebody who wants to just tear down the world around him."[37]

 Although he was a fan of Batman (1989), starring Jack Nicholson as the Joker, Goyer did not consider Nicholson's portrayal scary and wanted The Dark Knight ' s Joker to be an unknowable, already-formed character, similar to the shark in Jaws (1975), without a "cliché" origin story.[e] Christopher and Goyer did not give their Joker an origin story or a narrative arc, believing it made the character scarier; Christopher described their film as the "rise of the Joker". They felt the threat of cinematic villains such as Hannibal Lecter and Darth Vader had been undermined by subsequent films depicting their origins.[f]

 With Christopher's help, his brother Jonathan spent six months developing the story into a draft screenplay. After submitting the draft to Warner Bros., Jonathan spent a further two months refining it until Christopher had finished directing The Prestige. The pair collaborated on the final script over the next six months during pre-production for The Dark Knight.[35][41] Jonathan found the "poignant" ending the script's most interesting aspect; it had always depicted Batman fleeing from police but was changed from him leaping across rooftops to escaping on the Batpod, his motorcycle-like vehicle. The dialogue Jonathan considered most important, "you either die a hero or you live long enough to see yourself become the villain", came late in development.[41] Influenced by films such as The Godfather (1972) and Heat (1995), and maintaining Batman Begins 's tone, their finished script bore more resemblance to a crime drama than a traditional superhero film.[g]

 Comic-book influences included writer Frank Miller's 1980s works, which portray characters in a serious tone, and the limited series Batman: The Long Halloween (1996–1997), which explores the relationship between Batman, Dent, and Gordon.[38][43] Dent was written as The Dark Knight 's central character, serving as the center of the battle between Batman, who believes Dent is the hero the city needs, and the Joker, who wants to prove even the most righteous people can be corrupted. Christopher said the title refers to Dent as much as Batman.[h] He considered Dent as having a duality similar to Batman's, providing interesting dramatic potential.[10]

 Focusing on Dent meant Bruce Wayne / Batman was written as a generally static character who did not undergo drastic character development.[35][44][45] Christopher found writing the Joker the easiest aspect of the script. The Nolans identified the traits common to his media incarnations and were influenced by the character's comic-book appearances as well as the villain Dr. Mabuse from the films of Fritz Lang.[34][39] Writer Alan Moore's graphic novel, Batman: The Killing Joke (1988), did not influence the main narrative but Christopher believed his interpretation of the Joker as someone partially driven to prove anyone can become like him when pushed far enough helped the Nolans give purpose to an "inherently purposeless" character.[34][35][39] The Joker was written as a purely evil psychopath and anarchist who lacks reason, logic, and fear, and could test the moral and ethical limits of Batman, Dent, and Gordon.[i] Christopher and Jonathan later realized they had inadvertently written their version similarly to Joker's first appearance in Batman #1 (1940).[j] The final scene, in which the Joker states he and Batman are destined to battle forever, was not intended to tease a sequel but to convey the diametrically opposed pair were in an endless conflict because they will not kill each other.[47]

 Casting

 See also: Joker (The Dark Knight)

 Maggie Gyllenhaal (pictured in 2010) replaced Katie Holmes in the role of assistant district attorney Rachel Dawes.

 Describing how his character had evolved from Batman Begins, Christian Bale said Wayne had changed from a young, naive, and angry man seeking purpose to a hero who is burdened by the realization his war against crime is seemingly endless.[48][49][50] Because the new Batsuit allowed him to be more agile, Bale did not increase his muscle mass as much as he had for Batman Begins. Christopher had deliberately obscured combat in the previous film because it was intended to portray Batman from the criminals' point of view. The improved Batsuit design let him show more of Bale's Keysi-fighting method training.[51]

 Christopher was aware that Nicholson's popular portrayal of the Joker would invite comparisons to his version, and wanted an actor who could cope with the associated scrutiny.[k] Ledger's casting in August 2006 was criticized by some industry professionals and members of the public who considered him inappropriate for the role; executive producer Charles Roven said Ledger was the only person seriously considered, and that Batman Begins 's positive reception would help alleviate any concerns.[l] Christopher was confident in the casting because discussions between himself and Ledger had demonstrated they shared similar ideas regarding the Joker's portrayal.[34][52] Ledger said he had some trepidation in succeeding Nicholson in the role but that the challenge excited him.[34][55] He described his interpretation as a "psychopathic, mass-murdering, schizophrenic clown with zero empathy", and avoided humanizing him. He was influenced by Alex from the crime film A Clockwork Orange (1971), and British musicians Johnny Rotten and Sid Vicious.[m]

 Ledger spent about a month secluding himself in a hotel room while reading relevant comic books. He developed the character's voice by mixing a high-pitch and low-pitch, which was inspired by ventriloquist performances. His fighting style was designed to appear improvised and erratic.[n] Ledger spent a further four months creating a "Joker diary" containing images and elements he believed would resonate with his character, such as finding the disease AIDS humorous.[59] Describing his performance, Ledger said: "It's the most fun I've had with a character and probably will ever have ... It was an exhausting process. At the end of the day, I couldn't move. I couldn't talk. I was absolutely wrecked."[57] In a November 2007 interview, Ledger said when committing himself to any role, he had difficulty sleeping because he could not relax his mind, and often slept only two hours a night during filming.[59]

 Christopher wanted to cast an actor with an all-American "heroic presence" for Harvey Dent, something he likened to Robert Redford but with an undercurrent of anger or darkness.[52] Josh Lucas, Ryan Phillippe, and Mark Ruffalo were considered, as well as Matt Damon, who could not commit due to scheduling conflicts.[o] According to Christopher, Eckhart had the all-American charm and "aura ... of a good man pushed too far".[10][52] Eckhart found portraying conflicted characters to be interesting; he said the difference between Dent and Batman is the distance they are willing to go for their causes, and that after Dent's corruption he remains a crime fighter but he takes this to an extreme because he dislikes the restrictions of the law.[10][66] Eckhart's performance was influenced by the Kennedy family, particularly Robert F. Kennedy, who fought organized crime with a similarly idealistic view of the law.[67] During discussions on the portrayal of Dent's transformation into Two-Face, Eckhart and Christopher agreed to ignore Tommy Lee Jones's "colorful" portrayal in Batman Forever (1995), in which the character has pink hair and wears a split designer suit, in favor of a more realistic, slightly burnt, neutral-toned suit.[67]

 Describing his role as GCPD sergeant James Gordon, Oldman said Gordon is the "moral center" of The Dark Knight, an honest and incorruptible character struggling with the limits of his morality.[68][69] Maggie Gyllenhaal replaced Katie Holmes as Rachel Dawes, as Holmes chose to star in the crime comedy Mad Money (2008) instead.[70][71] Gyllenhaal approached Rachel as a new character and did not reference Holmes's previous performance. Christopher described Rachel as the emotional connection between Wayne and Dent, ultimately serving as a further personal loss to fuel Wayne's character. Gyllenhaal collaborated with Christopher on the character's depiction because she wanted Rachel to be important and meaningful in her relatively minor role.[p] Musician Dwight Yoakam turned down a role as the bank manager or a corrupt police officer because he was recording his album Dwight Sings Buck (2007).[74]

 Pre-production

 In October 2006, location scouting for Gotham City took place in the UK in Liverpool, Glasgow, London, and parts of Yorkshire, and in several cities in the U.S.[75][76] Christopher chose Chicago because he liked the area and believed it offered interesting architectural features without being as recognizable as locations in better-known cities such as New York City.[35][77] Chicagoan authorities had been supportive during filming of Batman Begins, allowing the production to shut stretches of roads, freeways, and bridges.[78] Christopher wanted to exchange the more natural, scenic settings of Batman Begins such as the Himalayas and caverns for a modern, structured environment the Joker could disassemble. Production designer Nathan Crowley said the clean, neat lines of Chicagoan architecture enhanced the urban-crime drama they wanted to make, and that Batman had helped improve the city. The destruction of Wayne Manor in Batman Begins provided an opportunity to move Wayne to a modern, sparse penthouse, reflecting his loneliness.[79] Sets were still used for some interiors such as the Bat Bunker, the replacement for the Batcave, on the outskirts of the city. The production team considered placing it in the penthouse basement but believed it was too unrealistic a solution.[80]

 Much of The Dark Knight was filmed using Panavision's Panaflex Millennium XL and Platinum cameras but Christopher wanted to film about 40 minutes with IMAX cameras, a high-resolution technology using 70 mm film rather than the more-commonly used format 35 mm; the finished film includes 15–20% IMAX footage, running for about 28 minutes.[q] This made it the first major motion picture to use IMAX technology, which was generally employed for documentaries.[r] Warner Bros. was reluctant to endorse the use of the technology because the cameras were large and unwieldy, and purchasing and processing the film stock cost up to four times as much as typical 35 mm film. Christopher said cameras that could be used on Mount Everest could be used for The Dark Knight, and had cinematographer Wally Pfister and his crew begin training to use the equipment in January 2007 to test its feasibility.[86][87][88] Christopher particularly wanted to film the bank heist prologue in IMAX to immediately convey the difference in scope between The Dark Knight and Batman Begins.[89]

 Filming in Chicago

 See also: Stunts of The Dark Knight

 A photograph of the Chicago skyline behind Navy Pier. The Dark Knight was mainly filmed on location in the city.

 Principal photography began on April 18, 2007, in Chicago on a $185 million budget.[s][t] For The Dark Knight, Pfister chose to combine the "rust-style" visuals of Batman Begins with the "dusk"-like color scheme of The Prestige (cobalt blues, greens, blacks, and whites), in part to address over-dark scenes in Batman Begins.[81][94] To avoid attention, filming in Chicago took place under the working title Rory's First Kiss but the production's true nature was quickly uncovered by media publications.[95] The Joker's homemade videos were filmed and mainly directed by Ledger. Caine said he forgot his lines during a scene involving one video because of Ledger's "stunning" performance.[34]

 The first scene filmed was the bank heist, which was shot in the Old Chicago Main Post Office over five days.[81][96] It was scheduled early to test the IMAX procedure, allowing it to be refilmed with traditional cameras if needed, and it was intended to be publicly released as part of the marketing campaign.[97] Pfister described it as a week of patience and learning because of the four-day wait for the IMAX footage to be processed.[89] Filming moved to England throughout May, returning to Chicago in June.[81][98]

 Filming took place in the lobby of One Illinois Center, which served as Wayne's penthouse apartment; bookcases were built to hide the elevators. A floor of Two Illinois Center was decorated for Wayne's fundraiser. The crew was described as excited as this scene depicted the first meeting between Batman and the Joker. The windows in both settings were covered in green screen material, allowing Gotham City visuals to be added later.[81][99] In July, three weeks were spent filming the truck chase scene, mainly on Wacker Drive, a multi-level street that had to be closed overnight.[100][101] During filming, Christopher added a set-piece of a SWAT van crashing through a concrete barricade.[102] The sequence continued on LaSalle Street, which was also used for the GCPD funeral procession, for a practical truck-flip stunt and helicopter sequence.[103] Additional segments were filmed on Monroe Street and Randolph Street, and at Randolph Street Station.[101][104][105]

 Navy Pier, along the shore of Lake Michigan, served as Gotham Harbor in a climactic ferry scene. Scouts spent over a month searching for suitable vessels but were unsuccessful, so construction coordinator Joe Ondrejko and his team built ferry facades atop barges.[101][106] The entire sequence was filmed in one day and involved 800 extras, who were moved through makeup and clothing departments in shifts.[107] Exterior footage of the Gotham Prewitt Building, the site of Batman's and the Joker's final confrontation, was filmed at the in-construction Trump International Hotel and Tower. The owners refused permission to film a stunt in which Batman suspends a SWAT team from the building, so this was filmed from the fortieth floor of a separate building site.[108] A former Brach's candy factory on Cicero Avenue scheduled for demolition was used to film the Gotham General Hospital explosion in August 2007.[101][109] Filming in Chicago concluded on September 1, ending with scenes of Wayne driving and crashing his car, before the production returned to England.[101][110]

 The Dark Knight includes Chicago locations such as Lake Michigan, which doubled as the Caribbean Sea where Wayne boards a seaplane;[107] Richard J. Daley Center (Wayne Enterprises exteriors and a courtroom);[101][111] The Berghoff restaurant (GCPD arresting mobsters);[101] Twin Anchors restaurant; the Sound Bar; McCormick Place (Wayne Enterprises interiors); and Chicago Theatre.[101] 330 North Wabash served as offices used by Dent, mayor Garcia, and commissioner Loeb; and its thirteenth floor appears as Wayne Enterprises' boardroom; Pfister enhanced its large, panoramic windows and natural light with an 80-foot (24 m) glass table and reflective bulbs.[99] A Randolph Street parking garage is where Batman captures Scarecrow and Batman impersonators. Christopher wanted several Rottweiler dogs in the scene but locating a dog-handler willing to simultaneously manage several dogs was difficult.[101][112] A scene of Batman surveying the city from a rooftop edge was filmed atop Willis Tower, Chicago's tallest building. Stuntman Buster Reeves was due to double as Batman, but Bale persuaded the filmmakers to let him perform the scene himself.[101][113][114] The thirteen weeks of filming in Chicago was estimated to have generated $45 million for the city's economy and thousands of local jobs.[115][116]

 Filming in England and Hong Kong

 Several sets were built at Cardington Airfield including the vast Bat Bunker

 Many interior locations for The Dark Knight were filmed on sets at Pinewood Studios, Buckinghamshire, and Cardington Airfield, Bedfordshire; these locations include the Bat Bunker, which took six weeks to build in a Cardington hangar. The Bat Bunker was based on 1960s Chicago building designs, and was integrated into existing concrete floor, and used the 200-foot (61 m) long, 8 ft (2.4 m) tall ceiling to create a broad perspective. The 160-foot (49 m) tall hangar was unsuitable for suspending the bunker roof, and an encompassing gantry was built to hold it and the lighting.[81][117] After moving from Chicago in May, scenes filmed in the UK also include Criterion Restaurant, where Rachel, Dent, and Wayne share dinner, and a Gotham News scene that was filmed at the University of Westminster. The GCPD headquarters was rebuilt in the Farmiloe Building. During the interrogation scene, Ledger asked Bale to actually hit him, and although he declined, Ledger cracked and dented the walls by throwing himself around.[117][118]

 After returning to England in the middle of September, scenes were filmed for the ferry, hospital, and Gotham Prewitt building interiors.[119] By mid-October, interior and exterior scenes of Rachel being held hostage surrounded by barrels of gasoline were filmed at Battersea Power Station. To avoid damaging the power station, a listed building, a false wall was built in front of it and lined with explosives.[120] Nearby residents contacted emergency services believing the explosion was a terrorist attack.[121] Filming in England concluded at the end of October with a variety of green-screen shots for the truck-chase sequence, and shots of Rachel being thrown from a window were filmed on a set at Cardington.[122]

 The final nine days of production took place in Hong Kong and included aerial footage from atop the International Finance Centre, as well as filming at Central to Mid-Levels escalator, The Center, Central, The Peninsula Hong Kong, and Queen's Road; and a stunt involving Batman catching an in-flight C-130 aircraft.[u] Despite extensive rehearsals of Reeves jumping from the McClurg Building in Chicago, a planned stunt to depict Batman leaping from one Hong Kong skyscraper to another was canceled because local authorities refused permission for helicopter use; Pfister described the officials as a "nightmare".[61][127] Christopher disputed a report that said a scene of Batman leaping into Victoria Harbour was canceled because of pollution concerns, saying it was a script decision.[123][124] The 127-day shoot concluded on November 15, on time and under budget.[128]

 Post-production

 Editing was underway in January 2008 when Ledger, aged 28, died from an accidental overdose of a prescription drug. A rumor his commitment to his performance as the Joker had affected his mental state circulated, but this was later refuted.[v] Christopher said editing the film became "tremendously emotional, right when he passed, having to go back in and look at him every day [during editing] ... but the truth is, I feel very lucky to have something productive to do, to have a performance that he was very, very proud of, and that he had entrusted to me to finish".[58] Because Christopher preferred to capture sound while filming rather than re-recording dialogue in post-production, Ledger's work had been completed before his death, and Christopher did not modify the Joker's narrative in response.[61][131] Christopher added a dedication to Ledger and stuntman Conway Wickliffe, who died during rehearsals for a Tumbler (Batmobile) stunt.[132][133][134]

 Alongside lead editor Lee Smith, Christopher took an "aggressive editorial approach" to editing The Dark Knight to achieve its 152-minute running time.[w] Christopher said no scenes were deleted because he believed every scene was essential, and that unnecessary material had been cut before filming.[135] The Nolans had difficulties refining the script to reduce the running time. After removing so much material they believed the story had become incomprehensible, they added more scenes.[35]

 Special effects and design

 Main article: Special effects of The Dark Knight

 Unlike the design process of Batman Begins, which was restrained by a need to represent Batman iconography, audience acceptance of its realistic setting gave The Dark Knight more design freedom.[138] Chris Corbould, the film's special effects supervisor,[139] oversaw the 700 effect shots Double Negative and Framestore produced; there were relatively few effects compared to equivalent films because Christopher only used computer-generated imaging where practical effects would not suffice.[140] Production designer Nathan Crowley designed the Batpod (Batcycle) because Christopher did not want to extensively re-use the Tumbler. Corbould's team built the Batpod, which is based on a prototype Crowley and Christopher built by combining different commercial model components.[141][142] The unwieldy, wide-tired vehicle could only be ridden by stuntman Jean Pierre Goy after months of training.[114][142][143] The Gotham General Hospital explosion was not in the script but added during filming because Corbould believed it could be done.[144]

 Hemming, Crowley, Christopher, and Jamie Rama re-designed the Batsuit to make it more comfortable and flexible, developing a costume made from a stretchy material covered in over 100 urethane armor pieces.[145][146] Sculptor Julian Murray developed Dent's burnt-facial design, which is based on Christopher's request for a skeletal appearance. Murray went through designs that were "too real and more horrifying" before settling on a more "fanciful" and detailed but less-repulsive version.[66][147] Hemming designed Joker's overall appearance, which he based on fashion-and-music celebrities to create a modern and trendy look. Influence also came from the 1953 painting Study after Velázquez's Portrait of Pope Innocent X by Francis Bacon—suggested by Christopher—and the character's comic-book appearances.[34][148][149] The outfit consists of a purple coat, a green vest, an antique shirt, and a thin, 1960s-style tie that Ledger suggested.[150] Prosthetics supervisor Conor O'Sullivan created Joker's scars, which he partly based on a scarred delivery man he met, and used his own technique to create and apply the supple, skin-like prosthesis.[34][151] John Caglione Jr designed Joker's "organic" makeup to look as though it had been worn for days; this idea was partly based on more of Bacon's works. Caglione Jr used a theatrical makeup technique for the application; he instructed Ledger to scrunch up his face so different cracks and textures were created once the makeup was applied and Ledger relaxed. Ledger always applied the lipstick himself, believing it was essential to his characterization.[34][152][153]

 Music

 Main article: The Dark Knight (soundtrack)

 James Newton Howard and Hans Zimmer – Why so serious?
 Zimmer based Joker's theme around two notes that would become increasingly "agitated as the track progressed. He added a "punk" influence alongside inspirations from electronic and rock music."
 Problems playing this file? See media help.

 Composers James Newton Howard and Hans Zimmer, who had also worked on Batman Begins, scored The Dark Knight because Christopher believed it was important to bridge the musical-narrative gap between the films. The score was recorded at Air Studios, London. Howard and Zimmer composed the score without seeing the film because Christopher wanted them to be influenced by the characters and story rather than fitting specific on-screen elements.[154][155] Howard and Zimmer separated their duties by character; Howard focused on Dent and Zimmer focused on Batman and the Joker. Zimmer did not consider Batman to be strictly noble and wrote the theme to not seem "super".[156][157] Howard wrote about ten minutes of music for Dent, wanting to portray him as an American who represents hope, but undergoes an emotional extreme and moral corruption. He used brass instruments for both moral ends but warped the sound as Dent is corrupted.[154][156]

 Zimmer wanted to use a single note for the Joker's theme; he said, "imagine one note that starts off slightly agitated and then goes to serious aggravation and finally rips your head off at the end". He could not make it work, however, and used two notes with alternating tempos and a "punk" influence.[154][156][157] The theme was influenced by electronic music innovators Kraftwerk and Zimmer's work with rock band The Damned. He wanted to convey elements of the Joker's corrosion, recklessness, and "otherworldliness" by combining electronic and orchestral music, and modifying almost every note after recording to emulate sounds including thunder and razors.[154][157][158] He attempted to develop original sounds with synthesizers, trying to create an "offputting" result by instructing musicians to start with a single note and gradually shift to the second over a three-minute period; the musicians found this difficult because it was the opposite of their training.[156] It took several months to achieve Zimmer's desired result.[157] Following Ledger's death, Zimmer considered discarding the theme for a more traditional one but he and Howard believed they should honor Ledger's performance.[x]

 Release

 Marketing and anti-piracy

 A presentation covering aspects of the marketing, including Joker-defaced $1 bills, fans in Joker makeup, and web pages designed to recruit people to the Joker's army.

 The Dark Knight ' s marketing campaign was developed by alternate reality game (ARG) development company 42 Entertainment. Christopher wanted the team to focus on countering the negative reaction to Ledger's casting and controlling the revelation of the Joker's appearance.[160] Influenced by the script and the comic books The Killing Joke, The Long Halloween, and Arkham Asylum: A Serious House on Serious Earth (1989), 42 Entertainment paced the ARG over annual events, although Warner Bros. rejected their ideas to use Jokerized Santas at Christmas, coffins filled with chattering teeth on Mother's Day (mocking Wayne's late mother), and Batman actors on rooftops due to safety concerns.[160][161]

 The ARG began in May 2007 with campaign posters for Dent and Joker playing cards bearing the phrase "I believe in Harvey Dent" were hidden inside comic books at stores around the U.S. This led people to a website where they could submit their e-mail addresses to reveal a pixel of a concealed Joker image; about 97,000 e-mail addresses and 20 hours were required to reveal the image in full, which was well received. At the San Diego Comic-Con, 42 Entertainment modified 11,000 one-dollar bills with the Joker's image and the phrase "Why So Serious?" that led finders to a location. 42 Entertainment's initial plan to throw the bills from a balcony was canceled due to safety concerns, so the bills were covertly distributed to attendees. Although the event was expected to attract a few thousand people, 650,000 arrived and participated in activities that included calling a number taken from a plane flying overhead and wearing Joker makeup to commit disruptive acts with actors.[160][161][162] Globally, fans photographed letters on signs to form a ransom note. A U.S.-centric effort involved people recovering cellphones made by Nokia—a brand partner to the film—from a cake, which led to an early screening of the film's bank-heist prologue before its public release in December. Ledger's appearance in the prologue was well-received and positively changed the discourse around his casting.[y]

 Following Ledger's death, the campaign continued unchanged with a focus on Dent's election, which was influenced by the ongoing 2008 United States presidential election. Warner Bros. was concerned public knowledge of Dent's character was poor; the campaign included signs, stickers, and "Dentmobiles" visiting U.S. cities to raise his profile. The campaign concluded in July with displays of the Bat-Signal in Chicago and New York City that were eventually defaced by the Joker. Industry professionals considered the campaign innovative and successful.[z]

 Warner Bros. dedicated six months to anti-piracy methods; the film industry lost an estimated $6.1 billion to piracy in 2005. Delivery methods of film reels were randomized and copies had a chain of custody to track who had access. Some theater staff were given night-vision goggles to identify people recording The Dark Knight, and one person was caught in Kansas City. Warner Bros. considered its strategy a success, delaying the appearance of the first "poorly-lit" camcorder version until 38–48 hours after its earliest global release in Australia.[172][173]

 Context

 See also: 2008 in film

 Cast and crew in London at the European premiere of The Dark Knight

 Compared to 2007's $9.7 billion box-office take, in 2008, lower revenues were expected due to the large number of comedies competing against each other and the release of films with dark tones, such as The Dark Knight, during a period of rising living costs and election fatigue in the U.S. Fewer sequels, which generally performed well, were scheduled and only four—The Dark Knight, The Chronicles of Narnia: Prince Caspian, The Mummy: Tomb of the Dragon Emperor, and Indiana Jones and the Kingdom of the Crystal Skull—were predicted to be blockbusters. Kingdom of the Crystal Skull was the only film expected to easily earn over $300 million.[174]

 The Dark Knight was expected to sell well based on high audience anticipation, positive pre-release reviews, and a record $3.5 million in IMAX pre-sales. Predictions placed its opening-weekend take above that of Iron Man ' s $102.1 million but below that of Spider-Man 3 ' s (2007) record $151.1 million. Analysts said its success would be influenced by the lengthy running time that limited the number of screenings per day, and counter-programming from the romantic comedy Mamma Mia!—which surveyed well with women—and the family comedy Space Chimps. There was also a perceived limit on financial success for Batman films; the 1989 installment remained the franchise's highest-grossing release.[175][176] The Dark Knight ' s premiere took place on July 14, in IMAX in New York City. A block in Broadway was closed for the event, which included a live performance of the film score by Howard and Zimmer. The Hollywood Reporter said Ledger received several ovations, and that during the after-party, Warner Bros. executives struggled to maintain a balance between celebrating the successful response and commemorating Ledger.[177]

 Box office

 The Tumbler at the film's European premiere in Leicester Square, London

 On July 18, 2008, The Dark Knight was widely released in the U.S. and Canada in a record 4,366 theaters on an estimated 9,200 screens. It earned $158.4 million during the weekend, a per-theater average of $36,282, breaking Spider-Man 3 ' s record and making it the number-one film ahead of Mamma Mia! ($27.8 million) and Hancock ($14 million) in its third weekend.[aa] It set further records for the highest-grossing single-day ($67.2 million on the Friday), Sunday ($43.6 million), midnight opening ($18.5 million, from 3,000 midnight screenings), and IMAX opening ($6.3 million from about 94 locations), as well as the second-highest-grossing Saturday ($47.7 million) behind Spider-Man 3, and contributed to the highest-grossing weekend on record ($253.6 million).[ab] The film benefited from repeat viewings by younger audiences and had broad appeal, with 52% of the audience being male and an equal number of those under 25 years old, and those of 25 or older.[175][176][184]

 The Dark Knight broke more records, including for the highest-grossing opening week ($238.6 million), and for three-, four-, five-, six-, seven-, eight-, nine-, and ten-day cumulative grosses, including the highest-grossing non-holiday Monday ($24.5 million) and non-opening Tuesday ($20.9 million, as well as the second-highest-grossing non-opening Wednesday ($18.4 million), behind Transformers ($29.1 million).[ac] It retained the number-one position in its second weekend with a total gross of $75.2 million, ahead of the debuting Step Brothers ($31 million), giving it the highest-grossing second weekend.[189][190] It retained the number-one position in its third ($42.7 million) and fourth ($26.1 million) weekends, before falling to second place in its fifth, with a gross of $16.4 million, behind the debuting Tropic Thunder ($25.8 million).[191][192][193] The Dark Knight remained in the top-ten highest-grossing films for ten weeks, and became the film to surpass $400 million soonest (18 days) and $500 million (45 days).[179][194][195] The film was playing in fewer than 100 theaters when it received a 300-theater relaunch in late January 2009 to raise its profile during nominations for the 81st Academy Awards. This raised its total box office to $533.3 million before it left theaters on March 5 after 33 weeks, making it the highest-grossing comic-book, superhero, and Batman film; the highest-grossing film of 2008; and the second-highest-grossing film ever (unadjusted for inflation), behind the 1997 romantic drama Titanic ($600.8 million).[ad]

 The Dark Knight was released in Australia and Taiwan on Wednesday, July 16, 2008, and opened in twenty markets by the weekend. It earned about $40 million combined, making it second to Hancock ($44.8 million), which was playing in nearly four times as many countries.[ae] The Dark Knight was available in sixty-two countries by the end of August, although Warner Bros. decided not to release it in China, blaming "a number of pre-release conditions ... as well as cultural sensitivities to some elements of the film".[206] The Dark Knight earned about $469.7 million outside the U.S. and Canada, its highest grosses coming from the United Kingdom ($89.1 million), Australia ($39.9 million), Germany ($29.7 million), France ($27.5 million), Mexico ($25 million), South Korea ($24.7 million), and Brazil ($20.2 million). This made it the second-highest-grossing film of the year behind Indiana Jones and the Kingdom of the Crystal Skull.[202][207]

 The film had grossed $997 million worldwide by January 2009.[201][208] Its reissue in the run-up to the Oscars enabled the film to exceed $1 billion in February,[209] and it ultimately earned $1.003 billion. It was the first superhero film to gross over $1 billion, the highest-grossing film of 2008 worldwide, the fourth film to earn more than $1 billion, and the fourth-highest-grossing film of its time behind Pirates of the Caribbean: Dead Man's Chest ($1.066 billion), The Lord of the Rings: The Return of the King ($1.119 billion), and Titanic ($1.842 billion).[af][ag] As of September 2022, rereleases have further raised its box-office take to $1.006 billion.[91]

 Reception

 Critical response

 Heath Ledger (pictured in 2007). His performance was praised by critics although they often found his scenes difficult to watch in the wake of his death.

 The Dark Knight received critical acclaim.[ah] On Rotten Tomatoes, the film holds a 94% approval rating from the aggregated reviews of 345 critics, with an average score of 8.6/10. The consensus reads; "Dark, complex and unforgettable, The Dark Knight succeeds not just as an entertaining comic book film, but as a richly thrilling crime saga."[218] On Metacritic the film has a weighted average score of 84 out of 100 based on 39 critics, indicating "universal acclaim".[217] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[219]

 Several publications called The Dark Knight the best comic-book hero adaptation ever made. Roger Ebert said it, alongside Iron Man, had redefined the potential of superhero films by combining comic-book tropes with real world events.[ai] Some appreciated its complex moral tale about the effects of vigilantism and terrorism on contemporary society. Emanuel Levy and Manohla Dargis praised the depiction of the characters as possessing both positive and negative aspects, such as Batman's efforts to end crime provoking unintended consequences and a greater response from criminals; Dargis believed The Dark Knight ' s exploration of chaos, fear, and death, following the September 11 attacks in 2001, represented "that American movies have entered a new era of ambivalence when it comes to their heroes or maybe just superness."[aj] Others criticized the dark, grim, intense, and self-serious tone as lacking any elements of fun or fantasy.[ak] David Denby said The Dark Knight was a product of a "time of terror", but focused on embracing and unleashing it while cynically setting up a sequel.[210] Stephanie Zacharek and David Edelstein criticized a perceived lack of visual storytelling in favor of exposition, and aspects of the plot being difficult to follow amid the fast pace and loud score.[232][233] Christopher's action direction was criticized, especially during fight scenes where it could be difficult to see things clearly,[227][228] although the prologue bank heist was praised as among the film's best.[al]

 Ledger's performance received near-unanimous praise with the caveat that his death made the role both highly anticipated and difficult to watch.[am] Dargis, among others, described Ledger as realizing the Joker so convincingly, intensely, and viscerally it made the audience forget about the actor behind the makeup. The Village Voice wrote the performance would have made Ledger a legend even if he had lived.[an] Other reviews said Ledger outshone Nicholson's performance with macabre humor and malevolence.[222][235][239] Reviews generally agreed the Joker was the best-written character, and that Ledger commanded scenes from the entire cast to create one of the most mesmerizing cinematic villains.[ao] Zacharek, however, lamented that the performance was not in service of a better film.[233]

 Bale's reception was mixed; his performance was considered to be alternately "captivating" or serviceable, but ultimately uninteresting and undermined by portraying an immovable and generally unchanged character who delivers Batman's dialogue in a hoarse, unvarying tone.[ap] Eckhart's performance was generally well received; reviewers praised his portrayal of Dent as charismatic, and the character's subsequent transformation into a sad, bitter "monster", although Variety considered his subplot the film's weakest.[aq] Stephen Hunter said the Dent character was underwritten and that Eckhart was incapable of portraying the role as intended.[234] Several reviewers regarded Gyllenhaal as an improvement over Holmes, although others said they found difficulty caring about the character and that Gyllenhaal, while more talented than her predecessor, was miscast.[ar] Peter Travers praised Oldman's skill in making a virtuous character interesting and he, among others, described Caine's and Freeman's performances as "effortless".[220][223][233] Ebert surmised the entire cast provided "powerful" performances that engage the audience, such that "we're surprised how deeply the drama affects us".[210]

 Accolades

 Main article: List of accolades received by The Dark Knight

 Heath Ledger (2006) received the Academy Award for Best Supporting Actor, making him only the second actor to win a posthumous Academy Award.

 The Dark Knight appeared on several lists recognizing the best films of 2008, including those compiled by Ebert, The Hollywood Reporter, and the American Film Institute.[as] At the 13th Satellite Awards, The Dark Knight received one award for Sound Editing or Mixing (Richard King, Lora Hirschberg, Gary Rizzo).[249] A further four wins came at the 35th People's Choice Awards: Favorite Movie, Favorite Cast, Favorite Action Movie, and Favorite On-Screen Match-Up (Bale and Ledger),[250] as well as Best Action Movie and Best Supporting Actor (Ledger) at the 14th Critics' Choice Awards.[251] Howard and Zimmer were recognized for Best Motion Picture Score at the 51st Annual Grammy Awards.[252] Ledger won the film's only awards at the 15th Screen Actors Guild Awards, 62nd British Academy Film Awards, and 66th Golden Globe Awards, for Best Supporting Actor.[253][254][255] At the 14th Empire Awards, The Dark Knight received awards for Best Film, Best Director (Christopher Nolan), and Best Actor (Bale).[256] Ledger received the award for Best Villain at the 2009 MTV Movie Awards,[257] and at the 35th Saturn Awards, The Dark Knight won awards for Best Action or Adventure Film, Best Supporting Actor (Ledger), Best Writing (Christopher and Jonathan Nolan), Best Music (Howard and Zimmer), and Best Special Effects (Corbould, Nick Davis, Paul J. Franklin, Timothy Webber).[258]

 Before The Dark Knight ' s release, film industry discourse focused on Ledger potentially earning an Academy Award nomination at the 81st Academy Awards in 2009, making him only the seventh person to be nominated posthumously, and if the decision would be influenced by his death or performance.[at] Genre films such as those based on comic books were also generally ignored by Academy voters.[267][268][269] Even so, Ledger was considered a favorite to earn the award based on praise from critic groups and his posthumous Golden Globe award.[261][262][263] Ledger won the Academy Award for Best Supporting Actor, making him only the second performer to win an award posthumously (after Peter Finch in 1977), and The Dark Knight the first comic book adaptation to win an academy acting award.[261][270][271] The Dark Knight also won an award for Best Sound Editing (King), and received six nominations for Best Art Direction (Crowley and Peter Lando), Best Cinematography (Pfister), Best Film Editing (Smith), Best Makeup (Caglione Jr. and O'Sullivan), Best Sound Mixing (Hirschberg, Rizzo, and Ed Novick), and Best Visual Effects (Davis, Corbould, Webber, and Franklin).[272]

 Despite the success of The Dark Knight, the lack of a Best Picture nomination was criticized and described as a "snub" by some publications. The response was seen as the culmination of several years of criticism toward the academy ignoring high-performing, broadly popular films.[273][274][275] The backlash was such that, for the 82nd Academy Awards awards in 2010, the academy increased the limit for Best Picture nominees from five to ten, a change known as "The Dark Knight Rule". It allowed for more broadly popular but "respected" films to be nominated, including District 9, The Blind Side, Avatar, and Up, the first animated film to be nominated in two decades.[au] This change is seen as responsible for the first Best Picture nomination of a comic book adaptation, Black Panther (2018).[276][284] Even so, The Hollywood Reporter argued the academy mistook the appeals to recognize important, "generation-defining" genre films with just nominating more films.[285]

 Other releases

 Home media

 The Dark Knight was released on DVD and Blu-ray in December 2008. The release has a slipcover box-art that revealed a "Jokerized" version underneath, and contains featurettes on Batman's equipment, the psychology used in the film, six episodes of the fictional news program Gotham Tonight, and a gallery of concept art, posters, and Joker cards. The Blu-ray disc version additionally offers interactive elements describing the production of some scenes.[av] A separate, limited-edition Blu-ray disc set came with a Batpod figurine.[289] The Dark Knight sold 3 million copies across both formats on its launch day in the U.S., Canada, and the UK; Blu-ray discs comprised about 25–30% of the sales—around 600,000 units. The film was released at the beginning of the Blu-ray disc format; it was considered a success, breaking Iron Man ' s record of 250,000 units sold and indicating the format was growing in popularity.[aw] In 2011, it also became the first major-studio film to be released for rent via digital distribution on Facebook.[294] A 4K resolution remaster, which was overseen by Christopher, was released in December 2017 as a set containing a 4K Ultra HD Blu-ray, Blu-ray disc, and digital download, as well as special features from earlier releases.[295][296][297]

 Merchandise and spin-offs

 The entrance to The Dark Knight Coaster at Six Flags Great Adventure in Jackson Township, New Jersey

 Merchandise for The Dark Knight includes statuettes, action figures, radio-controlled Tumbler and Batpod models, costumes, sets of Batarangs, a limited-edition Grappling Launcher replica, board games, puzzles, clothing, and a special-edition UNO card game.[ax] A novelization written by Dennis O'Neil was released in 2008.[302]

 A direct-to-DVD animated film, Batman: Gotham Knight, was released in July 2008. Executive produced by Bruce Timm and Nolan's wife Emma Thomas, with Goyer as one of the writers, it includes veteran Batman voice actor Kevin Conroy reprising his role. Originally there was interest in bringing Bale and other actors from the live-action films to voice their respective characters, but it was not possible due to scheduling conflicts. Gotham Knight presents six vignettes, each of which are animated in a different artistic style, set between the events of Batman Begins and The Dark Knight.[303][304]

 A video game adaptation, Batman: The Dark Knight, was canceled due to development problems.[305][306] The Dark Knight Coaster, an indoor roller coaster, opened in May 2008 at Six Flags Great Adventure in Jackson Township, New Jersey. Costing $7.5 million, the 1,213-foot (370 m) long attraction places riders in an imitation of Wayne Central Station in Gotham City as they move through areas that are vandalized or controlled by the Joker.[307][308]

 Themes and analysis

 Terrorism and escalation

 A central theme of The Dark Knight is escalation, particularly the rise of the Joker in response to Batman's vigilantism.[309][310] Batman's vigilante operation arms him with high-tech military equipment against common criminals, and the Joker is the inevitable response and escalation of lawlessness to counter Batman. Critic Siddhant Adlakha considered the Joker an analog for countries such as Iraq, Somalia, and Lebanon, which were targeted by U.S. military campaigns and responded with escalation using terrorism.[310] Batman also inspires copycat vigilantes, further escalating lawlessness. Film studies professor Todd McGowan said Batman asserts authority over these copycats, telling them to stop because they do not have the same defensive equipment as himself, reaffirming his self-given authority to act as a vigilante.[311]

 The film has been analyzed as an analog for the war on terror, the militaristic campaign the U.S. launched following the September 11 attacks.[310] The scene in which Batman stands in the ruins of a destroyed building, having failed to prevent the Joker's plot, is reminiscent of the World Trade Center site after September 11.[310] According to historian Stephen Prince, The Dark Knight is about the consequences of civil and government authorities abandoning rules in the fight against terrorism.[312] Several publications criticized The Dark Knight for a perceived endorsement of "necessary evils" such as torture and rendition.[313] Author Andrew Klavan said Batman is a stand-in for then-U.S. president George W. Bush and justified the breaching of "boundaries of civil rights to deal with an emergency, certain that [Batman] will re-establish those boundaries when the emergency is past".[311][314] Klavan's interpretation was criticized by some publications that considered The Dark Knight anti-war, proposing society must not abandon the rule of law to combat lawlessness or risk creating the conditions for escalation.[315][316] This is exemplified in the covert alliance formed between Batman, Dent, and Gordon, leading to Rachel's death and Dent's corruption.[313] Writer Benjamin Kerstein said both viewpoints are valid, and that "The Dark Knight is a perfect mirror of the society which is watching it: a society so divided on the issues of terror and how to fight it that, for the first time in decades, an American mainstream no longer exists".[317]

 Batman and Dent resort to torture or enhanced interrogation to stop the Joker but he remains immune to their efforts because he has a strong belief in his goals. When Dent ineffectually attempts to torture Joker's henchman, Batman does not condemn the act, only being concerned about public perception if people discover the truth. This conveys the protagonists' gradual abandonment of their principles when faced with an extreme foe.[310] The Joker meets Dent in a hospital to explain how expected atrocities, such as the deaths of several soldiers, and societal failings are tolerated but when norms are unexpectedly disrupted, people panic and descend into chaos.[310][318] Although the Joker wears disguising makeup, he is not hiding behind a mask and is the same person with or without makeup. He lacks any identity or origin, representing the uncertainty, unknowability, and fear of terrorism, although he does not follow any political ideology.[310][319] Dent represents the fulfillment of American idealism, a noble person who can work within the confines of the law and allow Batman to retire, but the fear and chaos embodied by the Joker taints that idealism and corrupts Dent absolutely.[310]

 In The Dark Knight ' s final act, Batman employs an invasive surveillance network by co-opting the phones of Gotham's citizens to locate the Joker, violating their privacy. Adlakha described this act as a "militaristic fantasy", in which a significant violation of civil liberties is required through the means of advanced technology to capture a dangerous terrorist, reminiscent of the 2001 Patriot Act. Lucius Fox threatens to stop helping Batman in response, believing he has crossed an ethical boundary, and although Batman agrees these violations are unacceptable and destroys the technology, the film demonstrates he could not have stopped the Joker in time without it.[310][311]

 Morality and ethics

 The Dark Knight focuses on the moral and ethical battles faced by the central characters, and the compromises they make to defeat the Joker under extraordinary circumstances.[ay] Roger Ebert said the Joker forces impossible ethical decisions on each character to test the limits of their morality.[220][310] Batman represents order to the Joker's chaos and is brought to his own limit but avoids completely compromising himself. Dent represents goodness and hope; he is the city's "white knight" who is "pure" of intent and can operate within the law.[310][311][318] Dent is motivated to do good because he identifies himself as good, not through trauma like Batman, and has faith in the legal system.[311] Adlakha wrote Dent is framed as a religious icon, his campaign slogan being "I believe in Harvey Dent", and his eventual death leaves his arms spread wide like Jesus on the Cross.[310][318] Eckhart described Dent as someone who loves the law but feels constrained by it and his inability to do what he believes is right because the rules he must follow do not allow it.[66] Dent's desire to work outside the law is seen in his support of Batman's vigilantism to accomplish what he cannot.[42]

 Dent's corruption suggests he is a proxy for those looking for hope because he is as fallible and susceptible to darkness as anyone else.[318] This can be seen in his use of a two-headed coin to make decisions involving others, eliminating the risk of chance by controlling the outcome in his favor, indicating losing is not an acceptable outcome for him. Once Dent experiences a significant traumatic event in the loss of Rachel and his own disfigurement, he quickly abandons his noble former self to seek his own form of justice. His coin is scarred on one side, introducing the risk of chance, and he submits himself to it completely. According to English professor Daniel Boscaljon, Dent is not broken; he believes in a different form of justice in a seemingly unjust world, flipping a coin because it is "Unbiased. Unprejudiced. Fair."[321]

 The Joker represents an ideological deviancy; he does not seek personal gain and causes chaos for its own sake, setting a towering pile of cash ablaze to prove "everything burns". Unlike Batman, the Joker is the same with or without makeup, having no identity to conceal and nothing to lose.[az] Boscaljon wrote the residents and criminals believe in a form of order and rules that must be obeyed; the Joker deliberately upends this belief because he has no rules or limitations.[323] The character can be considered an example of Friedrich Nietzsche's "Superman", who exists outside definitions such as good and evil, and follows his own indomitable will. The film, however, leaves open the option to dismiss his insights because his chaos ultimately leads to death and injustice.[324] Christopher described the Joker as an unadulterated evil, and professor Charles Bellinger considered him a satanic figure who repels people from goodness and tempts them with things they supposedly lack, such as forcing Batman to choose between saving Dent—who is best for the city—and Rachel, who is best for Wayne.[325] The Joker aims to corrupt Dent to prove anyone, even symbols, can be broken. In their desperation, Dent and Batman are forced to question their own limitations. As the Joker states to Batman:

 Their morals, their code ... it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. You'll see—I'll show you ... when the chips are down, these civilized people ... they'll eat each other. See, I'm not a monster ... I'm just ahead of the curve.

 — The Joker, in The Dark Knight[326]

 The ferry scene can be seen as the Joker's true defeat, demonstrating he is wrong about the residents turning on each other in an extreme scenario.[310][318] According to writer David Chen, this demonstrates, individually, people cannot responsibly handle power but by sharing the responsibility, there is hope for a compassionate outcome.[318] Although Batman holds to his morals and does not kill the Joker, he is forced to break his code by pushing Dent to his death to save an innocent person. Batman chooses to become a symbol of criminality by taking the blame for Dent's crimes and preserving him as a symbol of good, maintaining the hope of Gotham's residents.[310][311][318] Critic David Crow wrote Batman's true test is not defeating the Joker but saving Dent, a task at which he fails.[327] Batman makes his own Christ-like sacrifice, taking on Dent's sins to preserve the city.[324]

 Although The Dark Knight presents this as a heroic act, this "noble lie" is used to conceal and manipulate the truth for what a minority determines is the greater good.[311][328] McGowan considered the act heroic because Batman's sacrifice will leave him hunted and despised without recognition, indicating he has learned from the Joker the established norms must sometimes be broken.[311] According to professor Martin Fradley, among others, Batman's "noble lie" and Gordon's support of it is a cynical endorsement of deception and totalitarianism.[311][328] Wayne's butler Alfred also commits a noble lie, concealing Rachel's choice of Dent over Wayne to spare him the pain of her rejection.[310]

 Legacy

 Cultural influence

 The Dark Knight is considered an influential and often-imitated work that redefined the superhero/comic-book film genre, and filmmaking in general.[ba] In 2020, the United States Library of Congress selected The Dark Knight to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant".[331]

 Before The Dark Knight, superhero films closely emulated their comic-book source materi
The Dark Knight    Theatrical release poster    Directed by  Christopher Nolan    Screenplay by  
  Jonathan Nolan 
Christopher Nolan 
    Story by  
 Christopher Nolan
 David S. Goyer  
    Based on Characters appearing in comic books publishedby DC Comics    Produced by  
  Emma Thomas 
 Charles Roven 
Christopher Nolan 
    Starring  
  Christian Bale 
 Michael Caine 
 Heath Ledger 
 Gary Oldman 
 Aaron Eckhart 
 Maggie Gyllenhaal 
 Morgan Freeman  
    Cinematography  Wally Pfister    Edited by  Lee Smith    Music by  
  Hans Zimmer 
 James Newton Howard  
     Productioncompanies   
  Warner Bros. Pictures 
 Legendary Pictures 
 Syncopy  [a]   
    Distributed by Warner Bros. Pictures    Release dates   
 July 14, 2008 (New York City)
July 18, 2008 (United States)
July 25, 2008 (United Kingdom) 
     Running time  152 minutes   Countries  
 United States
United Kingdom [b]   
    Language English   Budget $185million   Box office $1.006billion [c]     
  The Dark Knight  is a 2008 superhero film directed by Christopher Nolan from a screenplay co-written with his brother Jonathan. Based on the DC Comics superhero Batman, it is the sequel to  Batman Begins  (2005) and the second installment in  The Dark Knight trilogy. The plot follows the vigilante Batman, police lieutenant James Gordon, and district attorney Harvey Dent, who form an alliance to dismantle organized crime in Gotham City. Their efforts are derailed by the Joker, an anarchistic mastermind who seeks to test how far Batman will go to save the city from chaos. The ensemble cast includes Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal, and Morgan Freeman.
  Warner Bros. Pictures prioritized a sequel following the successful reinvention of the  Batman film series with Batman Begins. Christopher and Batman Begins co-writer David S. Goyer developed the story elements, making Dent the central protagonist caught up in the battle between Batman and the Joker. In writing the screenplay, the Nolans were influenced by 1980s Batman comics and crime drama films, and sought to continue Batman Begins heightened sense of realism. From April to November 2007, filming took place with a $185million budget in Chicago and Hong Kong, and on sets in England. The Dark Knight was the first major motion picture to be filmed with high-resolution IMAX cameras. Christopher avoided using computer-generated imagery unless necessary, insisting on practical stunts such as flipping an 18-wheel truck and blowing up a factory.
  The Dark Knight was marketed with an innovative interactive viral campaign that initially focused on countering criticism of Ledger's casting by those who believed he was a poor choice to portray the Joker. Ledger died from an accidental prescription drug overdose in January 2008, leading to widespread interest from the press and public regarding his performance. When it was released in July, The Dark Knight received acclaim for its mature tone and themes, visual style, and performances—particularly that of Ledger, who received many posthumous awards including Academy, BAFTA, and Golden Globe awards for Best Supporting Actor, making The Dark Knight the first comic-book film to receive major industry awards. It broke several box-office records and became the highest-grossing 2008 film, the fourth-highest-grossing film to that time, and the highest-grossing superhero film.
 Since its release, The Dark Knight has been assessed as one of the greatest superhero films ever, one of the best movies of the 2000s, and one of the best films ever made. It is considered the "blueprint" for many modern superhero films, particularly for its rejection of a typical comic-book movie style in favor of a crime film that features comic-book characters. Many filmmakers sought to repeat its success by emulating its gritty, realistic tone to varying degrees of success. The Dark Knight has been analyzed for its themes of terrorism and the limitations of morality and ethics. The United States Library of Congress selected it for preservation in the National Film Registry in 2020. A sequel,  The Dark Knight Rises , concluded The Dark Knight trilogy in 2012.
 
A gang of masked criminals rob a mafia-owned bank in Gotham City, betraying and killing each other until the sole survivor, the Joker, reveals himself as the mastermind and escapes with the money. The vigilante Batman, district attorney Harvey Dent, and police lieutenant Jim Gordon ally to eliminate Gotham's organized crime. Batman's true identity, the billionaire Bruce Wayne, publicly supports Dent as Gotham's legitimate protector, as Wayne believes Dent's success will allow Batman to retire, allowing him to romantically pursue his childhood friend Rachel Dawes, despite her relationship with Dent.
 Gotham's mafia bosses gather to discuss protecting their organizations from the Joker, the police, and Batman. The Joker interrupts the meeting and offers to kill Batman for half of the fortune their accountant, Lau, concealed before fleeing to Hong Kong to avoid extradition. With the help of Wayne Enterprises CEO Lucius Fox, Batman finds Lau in Hong Kong and returns him to the custody of Gotham police. His testimony enables Dent to apprehend the crime families. The bosses accept the Joker's offer, and he kills high-profile targets involved in the trial, including the judge and police commissioner. Although Gordon saves the mayor, the Joker threatens that his attacks will continue until Batman reveals his identity. He targets Dent at a fundraising dinner and throws Rachel out of a window, but Batman rescues her.
 Wayne struggles to understand the Joker's motives, but his butler Alfred Pennyworth says "some men just want to watch the world burn." Dent claims he is Batman to lure out the Joker, who attacks the police convoy transporting him. Batman and Gordon apprehend the Joker, and Gordon is promoted to commissioner. At the police station, Batman interrogates the Joker, who says he finds Batman entertaining and has no intention of killing him. Having deduced Batman's feelings for Rachel, the Joker reveals she and Dent are being held separately in buildings rigged to explode. Batman races to rescue Rachel while Gordon and the other officers go after Dent, but they discover the Joker gave their positions in reverse. The explosives detonate, killing Rachel and severely burning Dent's face on one side. The Joker escapes custody, extracts the fortune's location from Lau, and burns it, killing Lau in the process.
 Wayne Enterprises accountant Coleman Reese deduces and tries to expose Batman's identity, but the Joker threatens to blow up a hospital unless Reese is killed. While the police evacuate hospitals and Gordon struggles to keep Reese alive, the Joker meets with a disillusioned Dent, persuading him to take the law into his own hands and avenge Rachel. Dent defers his decision-making to his now half-scarred, two-headed coin, killing the corrupt officers and the mafia involved in Rachel's death. As panic grips the city, the Joker reveals two evacuation ferries, one carrying civilians and the other prisoners, are rigged to explode at midnight unless one group sacrifices the other. To the Joker's disbelief, the passengers refuse to kill one another. Batman subdues the Joker but refuses to kill him. Before the police arrest the Joker, he says although Batman proved incorruptible, his plan to corrupt Dent has succeeded.
 Dent takes Gordon's family hostage, blaming his negligence for Rachel's death. He flips his coin to decide their fates, but Batman tackles him to save Gordon's son, and Dent falls to his death. Believing Dent is the hero the city needs and the truth of his corruption will harm Gotham, Batman takes the blame for his death and actions and persuades Gordon to conceal the truth. Pennyworth burns an undelivered letter from Rachel to Wayne that says she chose Dent, and Fox destroys the invasive surveillance network that helped Batman find the Joker. The city mourns Dent as a hero, and the police launch a manhunt for Batman.
 
  Christian Bale as Bruce Wayne / Batman: A wealthy socialite who as a child was traumatized by his parents' murder. Wayne secretly operates as the heroic vigilante Batman. [4]  
 Michael Caine as Alfred Pennyworth: Wayne's father-figure, trusted butler, and confidant. [5]   [6]  
 Heath Ledger as the Joker: A criminal mastermind and anarchist who is determined to sow chaos and corruption throughout Gotham. [4]   [7]   [8]  
 Gary Oldman as James Gordon: One of the few honest officers in the Gotham City Police Department (GCPD) who assists Batman's war on crime. [7]   [9]  
 Aaron Eckhart as Harvey Dent / Two-Face: Gotham's noble district attorney-turned-violent vigilante. [7]   [10]   [11]  
 Maggie Gyllenhaal as Rachel Dawes: Gotham's assistant district attorney and Wayne's childhood friend, who is divided between her feelings for him and for Dent. [12]  
 Morgan Freeman as Lucius Fox: Wayne Enterprises' CEO who supplies technology and equipment for Batman's campaign. [13]   [14]   [15]   
Additionally, Eric Roberts, Michael Jai White, and Ritchie Coster appear as crime bosses Sal Maroni, Gambol, and the Chechen, respectively; while Chin Han portrays Lau, a Chinese criminal banker. [d]  The GCPD cast includes Colin McFarlane as commissioner Gillian B. Loeb, Keith Szarabajka and Ron Dean as detectives Stephens and Wuertz, Monique Gabriela Curnen as rookie detective Anna Ramirez [2]   [21]   [22]  and Philip Bulcock as Murphy. [2] 
 The cast also features Joshua Harto as Wayne Enterprises employee Coleman Reese, [23]  Anthony Michael Hall as news reporter Mike Engel, [24]   [25]  Néstor Carbonell as mayor Anthony Garcia, William Fichtner as a bank manager, Nydia Rodriguez Terracina as Judge Surrillo, [2]  Tom "Tiny" Lister Jr. as a prisoner, Beatrice Rosen as Wayne's Russian ballerina date, and David Dastmalchian as the Joker's paranoid schizophrenic henchman Thomas Schiff. [2]   [25]   [26]  Melinda McGraw, Nathan Gamble, and Hannah Gunn portray Gordon's wife Barbara, his son James Jr., and his daughter, respectively. [2]   [27]  The Dark Knight features several cameo appearances from Cillian Murphy, who reprises his role as Jonathan Crane / Scarecrow from  Batman Begins ; [28]   [29]  musical performer Matt Skiba; [30]  as well as United States Senator and Batman fan Patrick Leahy, who has appeared in or voiced characters in other Batman media. [31] 
 
 
Following the critical and financial success of Batman Begins (2005), the film studio Warner Bros. Pictures prioritized a sequel. [32]  Although Batman Begins ends with a scene in which Batman is presented with a joker playing card, teasing the introduction of his archenemy, the Joker, Christopher Nolan did not intend to make a sequel and was unsure Batman Begins would be successful enough to warrant one. [33]   [34]  Christopher, alongside his wife and longtime producer Emma Thomas, had never worked on a sequel film [35]  but he and co-writer David Goyer discussed ideas for a sequel during filming. Goyer developed an outline for two sequels, but Christopher remained unsure how to continue the Batman Begins narrative while keeping it consistent and relevant, though he was interested in utilizing the Joker in Begins grounded, realistic style. [32]   [34]   [35]  Discussions between Warner Bros. Pictures and Christopher began shortly after Batman Beginss theatrical release, and development began following the production of Christopher's  The Prestige  (2006). [32] 
 
         
Goyer and Christopher collaborated for three months to develop The Dark Knight core plot points. [35]  They wanted to explore the theme of escalation and the idea that Batman's extraordinary efforts to combat common crimes would lead to an opposing escalation by criminals, attracting the Joker, who uses terrorism as a weapon. The joker playing card scene in Batman Begins was intended to convey the fallacy of Batman's belief his war on crime would be temporary. [34]   [36]  Goyer and Christopher did not intentionally include real-world parallels to terrorism, the war on terror, and laws enacted to combat terrorists by the United States government because they believed making overtly political statements would detract from the story. They wanted it to resonate with and reflect contemporary audiences. [35]  Christopher described The Dark Knight as representative of his own "fear of anarchy" and Joker represents "somebody who wants to just tear down the world around him." [37] 
 Although he was a fan of  Batman  (1989), starring Jack Nicholson as the Joker, Goyer did not consider Nicholson's portrayal scary and wanted The Dark Knights Joker to be an unknowable, already-formed character, similar to the shark in  Jaws  (1975), without a "cliché" origin story. [e]  Christopher and Goyer did not give their Joker an origin story or a narrative arc, believing it made the character scarier; Christopher described their film as the "rise of the Joker". They felt the threat of cinematic villains such as Hannibal Lecter and Darth Vader had been undermined by subsequent films depicting their origins. [f] 
 With Christopher's help, his brother Jonathan spent six months developing the story into a draft screenplay. After submitting the draft to Warner Bros., Jonathan spent a further two months refining it until Christopher had finished directing The Prestige. The pair collaborated on the final script over the next six months during pre-production for The Dark Knight. [35]   [41]  Jonathan found the "poignant" ending the script's most interesting aspect; it had always depicted Batman fleeing from police but was changed from him leaping across rooftops to escaping on the Batpod, his motorcycle-like vehicle. The dialogue Jonathan considered most important, "you either die a hero or you live long enough to see yourself become the villain", came late in development. [41]  Influenced by films such as  The Godfather  (1972) and  Heat  (1995), and maintaining Batman Begins tone, their finished script bore more resemblance to a crime drama than a traditional superhero film. [g] 
 Comic-book influences included writer Frank Miller's 1980s works, which portray characters in a serious tone, and the limited series  Batman: The Long Halloween  (1996–1997), which explores the relationship between Batman, Dent, and Gordon. [38]   [43]  Dent was written as The Dark Knight central character, serving as the center of the battle between Batman, who believes Dent is the hero the city needs, and the Joker, who wants to prove even the most righteous people can be corrupted. Christopher said the title refers to Dent as much as Batman. [h]  He considered Dent as having a duality similar to Batman's, providing interesting dramatic potential. [10] 
 Focusing on Dent meant Bruce Wayne / Batman was written as a generally static character who did not undergo drastic character development. [35]   [44]   [45]  Christopher found writing the Joker the easiest aspect of the script. The Nolans identified the traits common to his media incarnations and were influenced by the character's comic-book appearances as well as the villain Dr. Mabuse from the films of Fritz Lang. [34]   [39]  Writer Alan Moore's graphic novel,  Batman: The Killing Joke  (1988), did not influence the main narrative but Christopher believed his interpretation of the Joker as someone partially driven to prove anyone can become like him when pushed far enough helped the Nolans give purpose to an "inherently purposeless" character. [34]   [35]   [39]  The Joker was written as a purely evil psychopath and anarchist who lacks reason, logic, and fear, and could test the moral and ethical limits of Batman, Dent, and Gordon. [i]  Christopher and Jonathan later realized they had inadvertently written their version similarly to Joker's first appearance in Batman #1 (1940). [j]  The final scene, in which the Joker states he and Batman are destined to battle forever, was not intended to tease a sequel but to convey the diametrically opposed pair were in an endless conflict because they will not kill each other. [47] 
 
    Maggie Gyllenhaal (pictured in 2010) replaced Katie Holmes in the role of assistant district attorney Rachel Dawes. 
Describing how his character had evolved from Batman Begins, Christian Bale said Wayne had changed from a young, naive, and angry man seeking purpose to a hero who is burdened by the realization his war against crime is seemingly endless. [48]   [49]   [50]  Because the new Batsuit allowed him to be more agile, Bale did not increase his muscle mass as much as he had for Batman Begins. Christopher had deliberately obscured combat in the previous film because it was intended to portray Batman from the criminals' point of view. The improved Batsuit design let him show more of Bale's Keysi-fighting method training. [51] 
 Christopher was aware that Nicholson's popular portrayal of the Joker would invite comparisons to his version, and wanted an actor who could cope with the associated scrutiny. [k]  Ledger's casting in August 2006 was criticized by some industry professionals and members of the public who considered him inappropriate for the role; executive producer Charles Roven said Ledger was the only person seriously considered, and that Batman Begins positive reception would help alleviate any concerns. [l]  Christopher was confident in the casting because discussions between himself and Ledger had demonstrated they shared similar ideas regarding the Joker's portrayal. [34]   [52]  Ledger said he had some trepidation in succeeding Nicholson in the role but that the challenge excited him. [34]   [55]  He described his interpretation as a "psychopathic, mass-murdering, schizophrenic clown with zero empathy", and avoided humanizing him. He was influenced by Alex from the crime film  A Clockwork Orange  (1971), and British musicians Johnny Rotten and Sid Vicious. [m] 
 Ledger spent about a month secluding himself in a hotel room while reading relevant comic books. He developed the character's voice by mixing a high-pitch and low-pitch, which was inspired by ventriloquist performances. His fighting style was designed to appear improvised and erratic. [n]  Ledger spent a further four months creating a "Joker diary" containing images and elements he believed would resonate with his character, such as finding the disease AIDS humorous. [59]  Describing his performance, Ledger said: "It's the most fun I've had with a character and probably will ever have... It was an exhausting process. At the end of the day, I couldn't move. I couldn't talk. I was absolutely wrecked." [57]  In a November 2007 interview, Ledger said when committing himself to any role, he had difficulty sleeping because he could not relax his mind, and often slept only two hours a night during filming. [59] 
 Christopher wanted to cast an actor with an all-American "heroic presence" for Harvey Dent, something he likened to Robert Redford but with an undercurrent of anger or darkness. [52]  Josh Lucas, Ryan Phillippe, and Mark Ruffalo were considered, as well as Matt Damon, who could not commit due to scheduling conflicts. [o]  According to Christopher, Eckhart had the all-American charm and "aura ... of a good man pushed too far". [10]   [52]  Eckhart found portraying conflicted characters to be interesting; he said the difference between Dent and Batman is the distance they are willing to go for their causes, and that after Dent's corruption he remains a crime fighter but he takes this to an extreme because he dislikes the restrictions of the law. [10]   [66]  Eckhart's performance was influenced by the Kennedy family, particularly Robert F. Kennedy, who fought organized crime with a similarly idealistic view of the law. [67]  During discussions on the portrayal of Dent's transformation into Two-Face, Eckhart and Christopher agreed to ignore Tommy Lee Jones's "colorful" portrayal in  Batman Forever  (1995), in which the character has pink hair and wears a split designer suit, in favor of a more realistic, slightly burnt, neutral-toned suit. [67] 
 Describing his role as GCPD sergeant James Gordon, Oldman said Gordon is the "moral center" of The Dark Knight, an honest and incorruptible character struggling with the limits of his morality. [68]   [69]  Maggie Gyllenhaal replaced Katie Holmes as Rachel Dawes, as Holmes chose to star in the crime comedy  Mad Money  (2008) instead. [70]   [71]  Gyllenhaal approached Rachel as a new character and did not reference Holmes's previous performance. Christopher described Rachel as the emotional connection between Wayne and Dent, ultimately serving as a further personal loss to fuel Wayne's character. Gyllenhaal collaborated with Christopher on the character's depiction because she wanted Rachel to be important and meaningful in her relatively minor role. [p]  Musician Dwight Yoakam turned down a role as the bank manager or a corrupt police officer because he was recording his album  Dwight Sings Buck  (2007). [74] 
 
In October 2006, location scouting for Gotham City took place in the UK in Liverpool, Glasgow, London, and parts of Yorkshire, and in several cities in the U.S. [75]   [76]  Christopher chose Chicago because he liked the area and believed it offered interesting architectural features without being as recognizable as locations in better-known cities such as New York City. [35]   [77]  Chicagoan authorities had been supportive during filming of Batman Begins, allowing the production to shut stretches of roads, freeways, and bridges. [78]  Christopher wanted to exchange the more natural, scenic settings of Batman Begins such as the Himalayas and caverns for a modern, structured environment the Joker could disassemble. Production designer Nathan Crowley said the clean, neat lines of Chicagoan architecture enhanced the urban-crime drama they wanted to make, and that Batman had helped improve the city. The destruction of Wayne Manor in Batman Begins provided an opportunity to move Wayne to a modern, sparse penthouse, reflecting his loneliness. [79]  Sets were still used for some interiors such as the Bat Bunker, the replacement for the Batcave, on the outskirts of the city. The production team considered placing it in the penthouse basement but believed it was too unrealistic a solution. [80] 
 Much of The Dark Knight was filmed using Panavision's Panaflex Millennium XL and Platinum cameras but Christopher wanted to film about 40 minutes with IMAX cameras, a high-resolution technology using 70 mm film rather than the more-commonly used format 35 mm; the finished film includes 15–20% IMAX footage, running for about 28 minutes. [q]  This made it the first major motion picture to use IMAX technology, which was generally employed for documentaries. [r]  Warner Bros. was reluctant to endorse the use of the technology because the cameras were large and unwieldy, and purchasing and processing the film stock cost up to four times as much as typical 35 mm film. Christopher said cameras that could be used on Mount Everest could be used for The Dark Knight, and had cinematographer Wally Pfister and his crew begin training to use the equipment in January 2007 to test its feasibility. [86]   [87]   [88]  Christopher particularly wanted to film the bank heist prologue in IMAX to immediately convey the difference in scope between The Dark Knight and Batman Begins. [89] 
 
   A photograph of the Chicago skyline behind Navy Pier. The Dark Knight was mainly filmed on location in the city. 
 Principal photography began on April 18, 2007, in Chicago on a $185million budget. [s]   [t]  For The Dark Knight, Pfister chose to combine the "rust-style" visuals of Batman Begins with the "dusk"-like color scheme of The Prestige (cobalt blues, greens, blacks, and whites), in part to address over-dark scenes in Batman Begins. [81]   [94]  To avoid attention, filming in Chicago took place under the working title Rory's First Kiss but the production's true nature was quickly uncovered by media publications. [95]  The Joker's homemade videos were filmed and mainly directed by Ledger. Caine said he forgot his lines during a scene involving one video because of Ledger's "stunning" performance. [34] 
 The first scene filmed was the bank heist, which was shot in the Old Chicago Main Post Office over five days. [81]   [96]  It was scheduled early to test the IMAX procedure, allowing it to be refilmed with traditional cameras if needed, and it was intended to be publicly released as part of the marketing campaign. [97]  Pfister described it as a week of patience and learning because of the four-day wait for the IMAX footage to be processed. [89]  Filming moved to England throughout May, returning to Chicago in June. [81]   [98] 
 Filming took place in the lobby of One Illinois Center, which served as Wayne's penthouse apartment; bookcases were built to hide the elevators. A floor of Two Illinois Center was decorated for Wayne's fundraiser. The crew was described as excited as this scene depicted the first meeting between Batman and the Joker. The windows in both settings were covered in green screen material, allowing Gotham City visuals to be added later. [81]   [99]  In July, three weeks were spent filming the truck chase scene, mainly on Wacker Drive, a multi-level street that had to be closed overnight. [100]   [101]  During filming, Christopher added a set-piece of a SWAT van crashing through a concrete barricade. [102]  The sequence continued on LaSalle Street, which was also used for the GCPD funeral procession, for a practical truck-flip stunt and helicopter sequence. [103]  Additional segments were filmed on Monroe Street and Randolph Street, and at Randolph Street Station. [101]   [104]   [105] 
  Navy Pier, along the shore of Lake Michigan, served as Gotham Harbor in a climactic ferry scene. Scouts spent over a month searching for suitable vessels but were unsuccessful, so construction coordinator Joe Ondrejko and his team built ferry facades atop barges. [101]   [106]  The entire sequence was filmed in one day and involved 800 extras, who were moved through makeup and clothing departments in shifts. [107]  Exterior footage of the Gotham Prewitt Building, the site of Batman's and the Joker's final confrontation, was filmed at the in-construction Trump International Hotel and Tower. The owners refused permission to film a stunt in which Batman suspends a SWAT team from the building, so this was filmed from the fortieth floor of a separate building site. [108]  A former Brach's candy factory on Cicero Avenue scheduled for demolition was used to film the Gotham General Hospital explosion in August 2007. [101]   [109]  Filming in Chicago concluded on September 1, ending with scenes of Wayne driving and crashing his car, before the production returned to England. [101]   [110] 
  The Dark Knight includes Chicago locations such as Lake Michigan, which doubled as the Caribbean Sea where Wayne boards a seaplane; [107]  Richard J. Daley Center (Wayne Enterprises exteriors and a courtroom); [101]   [111]  The Berghoff restaurant (GCPD arresting mobsters); [101]  Twin Anchors restaurant; the Sound Bar; McCormick Place (Wayne Enterprises interiors); and Chicago Theatre. [101]  330 North Wabash served as offices used by Dent, mayor Garcia, and commissioner Loeb; and its thirteenth floor appears as Wayne Enterprises' boardroom; Pfister enhanced its large, panoramic windows and natural light with an 80-foot (24 m) glass table and reflective bulbs. [99]  A Randolph Street parking garage is where Batman captures Scarecrow and Batman impersonators. Christopher wanted several Rottweiler dogs in the scene but locating a dog-handler willing to simultaneously manage several dogs was difficult. [101]   [112]  A scene of Batman surveying the city from a rooftop edge was filmed atop Willis Tower, Chicago's tallest building. Stuntman Buster Reeves was due to double as Batman, but Bale persuaded the filmmakers to let him perform the scene himself. [101]   [113]   [114]  The thirteen weeks of filming in Chicago was estimated to have generated $45million for the city's economy and thousands of local jobs. [115]   [116] 
 
   Several sets were built at Cardington Airfield including the vast Bat Bunker 
Many interior locations for The Dark Knight were filmed on sets at Pinewood Studios, Buckinghamshire, and Cardington Airfield, Bedfordshire; these locations include the Bat Bunker, which took six weeks to build in a Cardington hangar. The Bat Bunker was based on 1960s Chicago building designs, and was integrated into existing concrete floor, and used the 200-foot (61 m) long, 8 ft (2.4 m) tall ceiling to create a broad perspective. The 160-foot (49 m) tall hangar was unsuitable for suspending the bunker roof, and an encompassing gantry was built to hold it and the lighting. [81]   [117]  After moving from Chicago in May, scenes filmed in the UK also include Criterion Restaurant, where Rachel, Dent, and Wayne share dinner, and a Gotham News scene that was filmed at the University of Westminster. The GCPD headquarters was rebuilt in the Farmiloe Building. During the interrogation scene, Ledger asked Bale to actually hit him, and although he declined, Ledger cracked and dented the walls by throwing himself around. [117]   [118] 
 After returning to England in the middle of September, scenes were filmed for the ferry, hospital, and Gotham Prewitt building interiors. [119]  By mid-October, interior and exterior scenes of Rachel being held hostage surrounded by barrels of gasoline were filmed at Battersea Power Station. To avoid damaging the power station, a listed building, a false wall was built in front of it and lined with explosives. [120]  Nearby residents contacted emergency services believing the explosion was a terrorist attack. [121]  Filming in England concluded at the end of October with a variety of green-screen shots for the truck-chase sequence, and shots of Rachel being thrown from a window were filmed on a set at Cardington. [122] 
 The final nine days of production took place in Hong Kong and included aerial footage from atop the International Finance Centre, as well as filming at Central to Mid-Levels escalator, The Center, Central, The Peninsula Hong Kong, and Queen's Road; and a stunt involving Batman catching an in-flight C-130 aircraft. [u]  Despite extensive rehearsals of Reeves jumping from the McClurg Building in Chicago, a planned stunt to depict Batman leaping from one Hong Kong skyscraper to another was canceled because local authorities refused permission for helicopter use; Pfister described the officials as a "nightmare". [61]   [127]  Christopher disputed a report that said a scene of Batman leaping into Victoria Harbour was canceled because of pollution concerns, saying it was a script decision. [123]   [124]  The 127-day shoot concluded on November 15, on time and under budget. [128] 
 
Editing was underway in January 2008 when Ledger, aged 28, died from an accidental overdose of a prescription drug. A rumor his commitment to his performance as the Joker had affected his mental state circulated, but this was later refuted. [v]  Christopher said editing the film became "tremendously emotional, right when he passed, having to go back in and look at him every day [during editing]... but the truth is, I feel very lucky to have something productive to do, to have a performance that he was very, very proud of, and that he had entrusted to me to finish". [58]  Because Christopher preferred to capture sound while filming rather than re-recording dialogue in post-production, Ledger's work had been completed before his death, and Christopher did not modify the Joker's narrative in response. [61]   [131]  Christopher added a dedication to Ledger and stuntman Conway Wickliffe, who died during rehearsals for a Tumbler (Batmobile) stunt. [132]   [133]   [134] 
 Alongside lead editor Lee Smith, Christopher took an "aggressive editorial approach" to editing The Dark Knight to achieve its 152-minute running time. [w]  Christopher said no scenes were deleted because he believed every scene was essential, and that unnecessary material had been cut before filming. [135]  The Nolans had difficulties refining the script to reduce the running time. After removing so much material they believed the story had become incomprehensible, they added more scenes. [35] 
 
Unlike the design process of Batman Begins, which was restrained by a need to represent Batman iconography, audience acceptance of its realistic setting gave The Dark Knight more design freedom. [138]  Chris Corbould, the film's special effects supervisor, [139]  oversaw the 700 effect shots Double Negative and Framestore produced; there were relatively few effects compared to equivalent films because Christopher only used computer-generated imaging where practical effects would not suffice. [140]  Production designer Nathan Crowley designed the Batpod (Batcycle) because Christopher did not want to extensively re-use the Tumbler. Corbould's team built the Batpod, which is based on a prototype Crowley and Christopher built by combining different commercial model components. [141]   [142]  The unwieldy, wide-tired vehicle could only be ridden by stuntman Jean Pierre Goy after months of training. [114]   [142]   [143]  The Gotham General Hospital explosion was not in the script but added during filming because Corbould believed it could be done. [144] 
 Hemming, Crowley, Christopher, and Jamie Rama re-designed the Batsuit to make it more comfortable and flexible, developing a costume made from a stretchy material covered in over 100 urethane armor pieces. [145]   [146]  Sculptor Julian Murray developed Dent's burnt-facial design, which is based on Christopher's request for a skeletal appearance. Murray went through designs that were "too real and more horrifying" before settling on a more "fanciful" and detailed but less-repulsive version. [66]   [147]  Hemming designed Joker's overall appearance, which he based on fashion-and-music celebrities to create a modern and trendy look. Influence also came from the 1953 painting  Study after Velázquez's Portrait of Pope Innocent X  by Francis Bacon—suggested by Christopher—and the character's comic-book appearances. [34]   [148]   [149]  The outfit consists of a purple coat, a green vest, an antique shirt, and a thin, 1960s-style tie that Ledger suggested. [150]  Prosthetics supervisor Conor O'Sullivan created Joker's scars, which he partly based on a scarred delivery man he met, and used his own technique to create and apply the supple, skin-like prosthesis. [34]   [151]  John Caglione Jr designed Joker's "organic" makeup to look as though it had been worn for days; this idea was partly based on more of Bacon's works. Caglione Jr used a theatrical makeup technique for the application; he instructed Ledger to scrunch up his face so different cracks and textures were created once the makeup was applied and Ledger relaxed. Ledger always applied the lipstick himself, believing it was essential to his characterization. [34]   [152]   [153] 
 
     
Zimmer based Joker's theme around two notes that would become increasingly "agitated as the track progressed. He added a "punk" influence alongside inspirations from electronic and rock music."  
Composers James Newton Howard and Hans Zimmer, who had also worked on Batman Begins, scored The Dark Knight because Christopher believed it was important to bridge the musical-narrative gap between the films. The score was recorded at Air Studios, London. Howard and Zimmer composed the score without seeing the film because Christopher wanted them to be influenced by the characters and story rather than fitting specific on-screen elements. [154]   [155]  Howard and Zimmer separated their duties by character; Howard focused on Dent and Zimmer focused on Batman and the Joker. Zimmer did not consider Batman to be strictly noble and wrote the theme to not seem "super". [156]   [157]  Howard wrote about ten minutes of music for Dent, wanting to portray him as an American who represents hope, but undergoes an emotional extreme and moral corruption. He used brass instruments for both moral ends but warped the sound as Dent is corrupted. [154]   [156] 
 Zimmer wanted to use a single note for the Joker's theme; he said, "imagine one note that starts off slightly agitated and then goes to serious aggravation and finally rips your head off at the end". He could not make it work, however, and used two notes with alternating tempos and a "punk" influence. [154]   [156]   [157]  The theme was influenced by electronic music innovators Kraftwerk and Zimmer's work with rock band The Damned. He wanted to convey elements of the Joker's corrosion, recklessness, and "otherworldliness" by combining electronic and orchestral music, and modifying almost every note after recording to emulate sounds including thunder and razors. [154]   [157]   [158]  He attempted to develop original sounds with synthesizers, trying to create an "offputting" result by instructing musicians to start with a single note and gradually shift to the second over a three-minute period; the musicians found this difficult because it was the opposite of their training. [156]  It took several months to achieve Zimmer's desired result. [157]  Following Ledger's death, Zimmer considered discarding the theme for a more traditional one but he and Howard believed they should honor Ledger's performance. [x] 
 
 
   A presentation covering aspects of the marketing, including Joker-defaced $1 bills, fans in Joker makeup, and web pages designed to recruit people to the Joker's army. 
 The Dark Knights marketing campaign was developed by alternate reality game (ARG) development company 42 Entertainment. Christopher wanted the team to focus on countering the negative reaction to Ledger's casting and controlling the revelation of the Joker's appearance. [160]  Influenced by the script and the comic books The Killing Joke, The Long Halloween, and  Arkham Asylum: A Serious House on Serious Earth  (1989), 42 Entertainment paced the ARG over annual events, although Warner Bros. rejected their ideas to use Jokerized Santas at Christmas, coffins filled with chattering teeth on Mother's Day (mocking Wayne's late mother), and Batman actors on rooftops due to safety concerns. [160]   [161] 
 The ARG began in May 2007 with campaign posters for Dent and Joker playing cards bearing the phrase "I believe in Harvey Dent" were hidden inside comic books at stores around the U.S. This led people to a website where they could submit their e-mail addresses to reveal a pixel of a concealed Joker image; about 97,000 e-mail addresses and 20 hours were required to reveal the image in full, which was well received. At the San Diego Comic-Con, 42 Entertainment modified 11,000 one-dollar bills with the Joker's image and the phrase "Why So Serious?" that led finders to a location. 42 Entertainment's initial plan to throw the bills from a balcony was canceled due to safety concerns, so the bills were covertly distributed to attendees. Although the event was expected to attract a few thousand people, 650,000 arrived and participated in activities that included calling a number taken from a plane flying overhead and wearing Joker makeup to commit disruptive acts with actors. [160]   [161]   [162]  Globally, fans photographed letters on signs to form a ransom note. A U.S.-centric effort involved people recovering cellphones made by Nokia—a brand partner to the film—from a cake, which led to an early screening of the film's bank-heist prologue before its public release in December. Ledger's appearance in the prologue was well-received and positively changed the discourse around his casting. [y] 
 Following Ledger's death, the campaign continued unchanged with a focus on Dent's election, which was influenced by the ongoing 2008 United States presidential election. Warner Bros. was concerned public knowledge of Dent's character was poor; the campaign included signs, stickers, and "Dentmobiles" visiting U.S. cities to raise his profile. The campaign concluded in July with displays of the Bat-Signal in Chicago and New York City that were eventually defaced by the Joker. Industry professionals considered the campaign innovative and successful. [z] 
 Warner Bros. dedicated six months to anti-piracy methods; the film industry lost an estimated $6.1billion to piracy in 2005. Delivery methods of film reels were randomized and copies had a chain of custody to track who had access. Some theater staff were given night-vision goggles to identify people recording The Dark Knight, and one person was caught in Kansas City. Warner Bros. considered its strategy a success, delaying the appearance of the first "poorly-lit" camcorder version until 38–48 hours after its earliest global release in Australia. [172]   [173] 
 
   Cast and crew in London at the European premiere of The Dark Knight  
Compared to 2007's $9.7billion box-office take, in 2008, lower revenues were expected due to the large number of comedies competing against each other and the release of films with dark tones, such as The Dark Knight, during a period of rising living costs and election fatigue in the U.S. Fewer sequels, which generally performed well, were scheduled and only four—The Dark Knight,  The Chronicles of Narnia: Prince Caspian ,  The Mummy: Tomb of the Dragon Emperor , and  Indiana Jones and the Kingdom of the Crystal Skull —were predicted to be blockbusters. Kingdom of the Crystal Skull was the only film expected to easily earn over $300million. [174] 
  The Dark Knight was expected to sell well based on high audience anticipation, positive pre-release reviews, and a record $3.5million in IMAX pre-sales. Predictions placed its opening-weekend take above that of  Iron Man s $102.1million but below that of  Spider-Man 3 s (2007) record $151.1million. Analysts said its success would be influenced by the lengthy running time that limited the number of screenings per day, and counter-programming from the romantic comedy  Mamma Mia! —which surveyed well with women—and the family comedy  Space Chimps . There was also a perceived limit on financial success for Batman films; the 1989 installment remained the franchise's highest-grossing release. [175]   [176]  The Dark Knights premiere took place on July 14, in IMAX in New York City. A block in Broadway was closed for the event, which included a live performance of the film score by Howard and Zimmer.  The Hollywood Reporter  said Ledger received several ovations, and that during the after-party, Warner Bros. executives struggled to maintain a balance between celebrating the successful response and commemorating Ledger. [177] 
 
   The Tumbler at the film's European premiere in Leicester Square, London 
On July 18, 2008, The Dark Knight was widely released in the U.S. and Canada in a record 4,366 theaters on an estimated 9,200 screens. It earned $158.4million during the weekend, a per-theater average of $36,282, breaking Spider-Man 3s record and making it the number-one film ahead of Mamma Mia! ($27.8million) and  Hancock  ($14million) in its third weekend. [aa]  It set further records for the highest-grossing single-day ($67.2million on the Friday), Sunday ($43.6million), midnight opening ($18.5million, from 3,000 midnight screenings), and IMAX opening ($6.3million from about 94 locations), as well as the second-highest-grossing Saturday ($47.7million) behind Spider-Man 3, and contributed to the highest-grossing weekend on record ($253.6million). [ab]  The film benefited from repeat viewings by younger audiences and had broad appeal, with 52% of the audience being male and an equal number of those under 25 years old, and those of 25 or older. [175]   [176]   [184] 
  The Dark Knight broke more records, including for the highest-grossing opening week ($238.6million), and for three-, four-, five-, six-, seven-, eight-, nine-, and ten-day cumulative grosses, including the highest-grossing non-holiday Monday ($24.5million) and non-opening Tuesday ($20.9million, as well as the second-highest-grossing non-opening Wednesday ($18.4million), behind  Transformers  ($29.1million). [ac]  It retained the number-one position in its second weekend with a total gross of $75.2million, ahead of the debuting  Step Brothers  ($31million), giving it the highest-grossing second weekend. [189]   [190]  It retained the number-one position in its third ($42.7million) and fourth ($26.1million) weekends, before falling to second place in its fifth, with a gross of $16.4million, behind the debuting  Tropic Thunder  ($25.8million). [191]   [192]   [193]  The Dark Knight remained in the top-ten highest-grossing films for ten weeks, and became the film to surpass $400million soonest (18 days) and $500million (45 days). [179]   [194]   [195]  The film was playing in fewer than 100 theaters when it received a 300-theater relaunch in late January 2009 to raise its profile during nominations for the 81st Academy Awards. This raised its total box office to $533.3million before it left theaters on March 5 after 33 weeks, making it the highest-grossing comic-book, superhero, and Batman film; the highest-grossing film of 2008; and the second-highest-grossing film ever (unadjusted for inflation), behind the 1997 romantic drama  Titanic  ($600.8million). [ad] 
  The Dark Knight was released in Australia and Taiwan on Wednesday, July 16, 2008, and opened in twenty markets by the weekend. It earned about $40million combined, making it second to Hancock ($44.8million), which was playing in nearly four times as many countries. [ae]  The Dark Knight was available in sixty-two countries by the end of August, although Warner Bros. decided not to release it in China, blaming "a number of pre-release conditions... as well as cultural sensitivities to some elements of the film". [206]  The Dark Knight earned about $469.7million outside the U.S. and Canada, its highest grosses coming from the United Kingdom ($89.1million), Australia ($39.9million), Germany ($29.7million), France ($27.5million), Mexico ($25million), South Korea ($24.7million), and Brazil ($20.2million). This made it the second-highest-grossing film of the year behind Indiana Jones and the Kingdom of the Crystal Skull. [202]   [207] 
 The film had grossed $997 million worldwide by January 2009. [201]   [208]  Its reissue in the run-up to the Oscars enabled the film to exceed $1billion in February, [209]  and it ultimately earned $1.003billion. It was the first superhero film to gross over $1billion, the highest-grossing film of 2008 worldwide, the fourth film to earn more than $1billion, and the fourth-highest-grossing film of its time behind  Pirates of the Caribbean: Dead Man's Chest  ($1.066billion),  The Lord of the Rings: The Return of the King  ($1.119billion), and Titanic ($1.842billion). [af]   [ag]  As of September 2022, rereleases have further raised its box-office take to $1.006 billion. [91] 
 
 
   Heath Ledger (pictured in 2007). His performance was praised by critics although they often found his scenes difficult to watch in the wake of his death. 
 The Dark Knight received critical acclaim. [ah]  On Rotten Tomatoes, the film holds a 94% approval rating from the aggregated reviews of 345 critics, with an average score of 8.6/10. The consensus reads; "Dark, complex and unforgettable, The Dark Knight succeeds not just as an entertaining comic book film, but as a richly thrilling crime saga." [218]  On Metacritic the film has a weighted average score of 84 out of 100 based on 39 critics, indicating "universal acclaim". [217]  Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. [219] 
 Several publications called The Dark Knight the best comic-book hero adaptation ever made. Roger Ebert said it, alongside Iron Man, had redefined the potential of superhero films by combining comic-book tropes with real world events. [ai]  Some appreciated its complex moral tale about the effects of vigilantism and terrorism on contemporary society. Emanuel Levy and Manohla Dargis praised the depiction of the characters as possessing both positive and negative aspects, such as Batman's efforts to end crime provoking unintended consequences and a greater response from criminals; Dargis believed The Dark Knights exploration of chaos, fear, and death, following the September 11 attacks in 2001, represented "that American movies have entered a new era of ambivalence when it comes to their heroes or maybe just superness." [aj]  Others criticized the dark, grim, intense, and self-serious tone as lacking any elements of fun or fantasy. [ak]  David Denby said The Dark Knight was a product of a "time of terror", but focused on embracing and unleashing it while cynically setting up a sequel. [210]  Stephanie Zacharek and David Edelstein criticized a perceived lack of visual storytelling in favor of exposition, and aspects of the plot being difficult to follow amid the fast pace and loud score. [232]   [233]  Christopher's action direction was criticized, especially during fight scenes where it could be difficult to see things clearly, [227]   [228]  although the prologue bank heist was praised as among the film's best. [al] 
 Ledger's performance received near-unanimous praise with the caveat that his death made the role both highly anticipated and difficult to watch. [am]  Dargis, among others, described Ledger as realizing the Joker so convincingly, intensely, and viscerally it made the audience forget about the actor behind the makeup.  The Village Voice  wrote the performance would have made Ledger a legend even if he had lived. [an]  Other reviews said Ledger outshone Nicholson's performance with macabre humor and malevolence. [222]   [235]   [239]  Reviews generally agreed the Joker was the best-written character, and that Ledger commanded scenes from the entire cast to create one of the most mesmerizing cinematic villains. [ao]  Zacharek, however, lamented that the performance was not in service of a better film. [233] 
 Bale's reception was mixed; his performance was considered to be alternately "captivating" or serviceable, but ultimately uninteresting and undermined by portraying an immovable and generally unchanged character who delivers Batman's dialogue in a hoarse, unvarying tone. [ap]  Eckhart's performance was generally well received; reviewers praised his portrayal of Dent as charismatic, and the character's subsequent transformation into a sad, bitter "monster", although Variety considered his subplot the film's weakest. [aq]  Stephen Hunter said the Dent character was underwritten and that Eckhart was incapable of portraying the role as intended. [234]  Several reviewers regarded Gyllenhaal as an improvement over Holmes, although others said they found difficulty caring about the character and that Gyllenhaal, while more talented than her predecessor, was miscast. [ar]  Peter Travers praised Oldman's skill in making a virtuous character interesting and he, among others, described Caine's and Freeman's performances as "effortless". [220]   [223]   [233]  Ebert surmised the entire cast provided "powerful" performances that engage the audience, such that "we're surprised how deeply the drama affects us". [210] 
 
    Heath Ledger (2006) received the Academy Award for Best Supporting Actor, making him only the second actor to win a posthumous Academy Award. 
 The Dark Knight appeared on several lists recognizing the best films of 2008, including those compiled by Ebert, The Hollywood Reporter, and the American Film Institute. [as]  At the 13th Satellite Awards, The Dark Knight received one award for Sound Editing or Mixing (Richard King, Lora Hirschberg, Gary Rizzo). [249]  A further four wins came at the 35th People's Choice Awards: Favorite Movie, Favorite Cast, Favorite Action Movie, and Favorite On-Screen Match-Up (Bale and Ledger), [250]  as well as Best Action Movie and Best Supporting Actor (Ledger) at the 14th Critics' Choice Awards. [251]  Howard and Zimmer were recognized for Best Motion Picture Score at the 51st Annual Grammy Awards. [252]  Ledger won the film's only awards at the 15th Screen Actors Guild Awards, 62nd British Academy Film Awards, and 66th Golden Globe Awards, for Best Supporting Actor. [253]   [254]   [255]  At the 14th Empire Awards, The Dark Knight received awards for Best Film, Best Director (Christopher Nolan), and Best Actor (Bale). [256]  Ledger received the award for Best Villain at the 2009 MTV Movie Awards, [257]  and at the 35th Saturn Awards, The Dark Knight won awards for Best Action or Adventure Film, Best Supporting Actor (Ledger), Best Writing (Christopher and Jonathan Nolan), Best Music (Howard and Zimmer), and Best Special Effects (Corbould, Nick Davis, Paul J. Franklin, Timothy Webber). [258] 
 Before The Dark Knights release, film industry discourse focused on Ledger potentially earning an Academy Award nomination at the 81st Academy Awards in 2009, making him only the seventh person to be nominated posthumously, and if the decision would be influenced by his death or performance. [at]  Genre films such as those based on comic books were also generally ignored by Academy voters. [267]   [268]   [269]  Even so, Ledger was considered a favorite to earn the award based on praise from critic groups and his posthumous Golden Globe award. [261]   [262]   [263]  Ledger won the Academy Award for Best Supporting Actor, making him only the second performer to win an award posthumously (after Peter Finch in 1977), and The Dark Knight the first comic book adaptation to win an academy acting award. [261]   [270]   [271]  The Dark Knight also won an award for Best Sound Editing (King), and received six nominations for Best Art Direction (Crowley and Peter Lando), Best Cinematography (Pfister), Best Film Editing (Smith), Best Makeup (Caglione Jr. and O'Sullivan), Best Sound Mixing (Hirschberg, Rizzo, and Ed Novick), and Best Visual Effects (Davis, Corbould, Webber, and Franklin). [272] 
 Despite the success of The Dark Knight, the lack of a Best Picture nomination was criticized and described as a "snub" by some publications. The response was seen as the culmination of several years of criticism toward the academy ignoring high-performing, broadly popular films. [273]   [274]   [275]  The backlash was such that, for the 82nd Academy Awards awards in 2010, the academy increased the limit for Best Picture nominees from five to ten, a change known as "The Dark Knight Rule". It allowed for more broadly popular but "respected" films to be nominated, including  District 9 ,  The Blind Side ,  Avatar , and  Up , the first animated film to be nominated in two decades. [au]  This change is seen as responsible for the first Best Picture nomination of a comic book adaptation,  Black Panther  (2018). [276]   [284]  Even so, The Hollywood Reporter argued the academy mistook the appeals to recognize important, "generation-defining" genre films with just nominating more films. [285] 
 
 
 The Dark Knight was released on DVD and Blu-ray in December 2008. The release has a slipcover box-art that revealed a "Jokerized" version underneath, and contains featurettes on Batman's equipment, the psychology used in the film, six episodes of the fictional news program Gotham Tonight, and a gallery of concept art, posters, and Joker cards. The Blu-ray disc version additionally offers interactive elements describing the production of some scenes. [av]  A separate, limited-edition Blu-ray disc set came with a Batpod figurine. [289]  The Dark Knight sold 3million copies across both formats on its launch day in the U.S., Canada, and the UK; Blu-ray discs comprised about 25–30% of the sales—around 600,000 units. The film was released at the beginning of the Blu-ray disc format; it was considered a success, breaking Iron Mans record of 250,000 units sold and indicating the format was growing in popularity. [aw]  In 2011, it also became the first major-studio film to be released for rent via digital distribution on Facebook. [294]  A 4K resolution remaster, which was overseen by Christopher, was released in December 2017 as a set containing a 4K Ultra HD Blu-ray, Blu-ray disc, and digital download, as well as special features from earlier releases. [295]   [296]   [297] 
 
   The entrance to  The Dark Knight Coaster  at Six Flags Great Adventure in Jackson Township, New Jersey  
Merchandise for The Dark Knight includes statuettes, action figures, radio-controlled Tumbler and Batpod models, costumes, sets of Batarangs, a limited-edition Grappling Launcher replica, board games, puzzles, clothing, and a special-edition UNO card game. [ax]  A novelization written by Dennis O'Neil was released in 2008. [302] 
 A direct-to-DVD animated film,  Batman: Gotham Knight , was released in July 2008. Executive produced by Bruce Timm and Nolan's wife Emma Thomas, with Goyer as one of the writers, it includes veteran Batman voice actor Kevin Conroy reprising his role. Originally there was interest in bringing Bale and other actors from the live-action films to voice their respective characters, but it was not possible due to scheduling conflicts. Gotham Knight presents six vignettes, each of which are animated in a different artistic style, set between the events of Batman Begins and The Dark Knight. [303]   [304] 
 A video game adaptation,  Batman: The Dark Knight , was canceled due to development problems. [305]   [306]   The Dark Knight Coaster , an indoor roller coaster, opened in May 2008 at Six Flags Great Adventure in Jackson Township, New Jersey. Costing $7.5million, the 1,213-foot (370 m) long attraction places riders in an imitation of Wayne Central Station in Gotham City as they move through areas that are vandalized or controlled by the Joker. [307]   [308] 
 
 
A central theme of The Dark Knight is escalation, particularly the rise of the Joker in response to Batman's vigilantism. [309]   [310]  Batman's vigilante operation arms him with high-tech military equipment against common criminals, and the Joker is the inevitable response and escalation of lawlessness to counter Batman. Critic Siddhant Adlakha considered the Joker an analog for countries such as Iraq, Somalia, and Lebanon, which were targeted by U.S. military campaigns and responded with escalation using terrorism. [310]  Batman also inspires copycat vigilantes, further escalating lawlessness. Film studies professor Todd McGowan said Batman asserts authority over these copycats, telling them to stop because they do not have the same defensive equipment as himself, reaffirming his self-given authority to act as a vigilante. [311] 
 The film has been analyzed as an analog for the war on terror, the militaristic campaign the U.S. launched following the September 11 attacks. [310]  The scene in which Batman stands in the ruins of a destroyed building, having failed to prevent the Joker's plot, is reminiscent of the World Trade Center site after September 11. [310]  According to historian Stephen Prince, The Dark Knight is about the consequences of civil and government authorities abandoning rules in the fight against terrorism. [312]  Several publications criticized The Dark Knight for a perceived endorsement of "necessary evils" such as torture and rendition. [313]  Author Andrew Klavan said Batman is a stand-in for then-U.S. president George W. Bush and justified the breaching of "boundaries of civil rights to deal with an emergency, certain that [Batman] will re-establish those boundaries when the emergency is past". [311]   [314]  Klavan's interpretation was criticized by some publications that considered The Dark Knight anti-war, proposing society must not abandon the rule of law to combat lawlessness or risk creating the conditions for escalation. [315]   [316]  This is exemplified in the covert alliance formed between Batman, Dent, and Gordon, leading to Rachel's death and Dent's corruption. [313]  Writer Benjamin Kerstein said both viewpoints are valid, and that "The Dark Knight is a perfect mirror of the society which is watching it: a society so divided on the issues of terror and how to fight it that, for the first time in decades, an American mainstream no longer exists". [317] 
 Batman and Dent resort to torture or enhanced interrogation to stop the Joker but he remains immune to their efforts because he has a strong belief in his goals. When Dent ineffectually attempts to torture Joker's henchman, Batman does not condemn the act, only being concerned about public perception if people discover the truth. This conveys the protagonists' gradual abandonment of their principles when faced with an extreme foe. [310]  The Joker meets Dent in a hospital to explain how expected atrocities, such as the deaths of several soldiers, and societal failings are tolerated but when norms are unexpectedly disrupted, people panic and descend into chaos. [310]   [318]  Although the Joker wears disguising makeup, he is not hiding behind a mask and is the same person with or without makeup. He lacks any identity or origin, representing the uncertainty, unknowability, and fear of terrorism, although he does not follow any political ideology. [310]   [319]  Dent represents the fulfillment of American idealism, a noble person who can work within the confines of the law and allow Batman to retire, but the fear and chaos embodied by the Joker taints that idealism and corrupts Dent absolutely. [310] 
 In The Dark Knights final act, Batman employs an invasive surveillance network by co-opting the phones of Gotham's citizens to locate the Joker, violating their privacy. Adlakha described this act as a "militaristic fantasy", in which a significant violation of civil liberties is required through the means of advanced technology to capture a dangerous terrorist, reminiscent of the 2001 Patriot Act. Lucius Fox threatens to stop helping Batman in response, believing he has crossed an ethical boundary, and although Batman agrees these violations are unacceptable and destroys the technology, the film demonstrates he could not have stopped the Joker in time without it. [310]   [311] 
 
 The Dark Knight focuses on the moral and ethical battles faced by the central characters, and the compromises they make to defeat the Joker under extraordinary circumstances. [ay]  Roger Ebert said the Joker forces impossible ethical decisions on each character to test the limits of their morality. [220]   [310]  Batman represents order to the Joker's chaos and is brought to his own limit but avoids completely compromising himself. Dent represents goodness and hope; he is the city's "white knight" who is "pure" of intent and can operate within the law. [310]   [311]   [318]  Dent is motivated to do good because he identifies himself as good, not through trauma like Batman, and has faith in the legal system. [311]  Adlakha wrote Dent is framed as a religious icon, his campaign slogan being "I believe in Harvey Dent", and his eventual death leaves his arms spread wide like Jesus on the Cross. [310]   [318]  Eckhart described Dent as someone who loves the law but feels constrained by it and his inability to do what he believes is right because the rules he must follow do not allow it. [66]  Dent's desire to work outside the law is seen in his support of Batman's vigilantism to accomplish what he cannot. [42] 
 Dent's corruption suggests he is a proxy for those looking for hope because he is as fallible and susceptible to darkness as anyone else. [318]  This can be seen in his use of a two-headed coin to make decisions involving others, eliminating the risk of chance by controlling the outcome in his favor, indicating losing is not an acceptable outcome for him. Once Dent experiences a significant traumatic event in the loss of Rachel and his own disfigurement, he quickly abandons his noble former self to seek his own form of justice. His coin is scarred on one side, introducing the risk of chance, and he submits himself to it completely. According to English professor Daniel Boscaljon, Dent is not broken; he believes in a different form of justice in a seemingly unjust world, flipping a coin because it is "Unbiased. Unprejudiced. Fair." [321] 
 The Joker represents an ideological deviancy; he does not seek personal gain and causes chaos for its own sake, setting a towering pile of cash ablaze to prove "everything burns". Unlike Batman, the Joker is the same with or without makeup, having no identity to conceal and nothing to lose. [az]  Boscaljon wrote the residents and criminals believe in a form of order and rules that must be obeyed; the Joker deliberately upends this belief because he has no rules or limitations. [323]  The character can be considered an example of Friedrich Nietzsche's "Superman", who exists outside definitions such as good and evil, and follows his own indomitable will. The film, however, leaves open the option to dismiss his insights because his chaos ultimately leads to death and injustice. [324]  Christopher described the Joker as an unadulterated evil, and professor Charles Bellinger considered him a satanic figure who repels people from goodness and tempts them with things they supposedly lack, such as forcing Batman to choose between saving Dent—who is best for the city—and Rachel, who is best for Wayne. [325]  The Joker aims to corrupt Dent to prove anyone, even symbols, can be broken. In their desperation, Dent and Batman are forced to question their own limitations. As the Joker states to Batman:
 Their morals, their code ... it's a bad joke. Dropped at the first sign of trouble. They're only as good as the world allows them to be. You'll see—I'll show you ... when the chips are down, these civilized people ... they'll eat each other. See, I'm not a monster ... I'm just ahead of the curve. — The Joker, in The Dark Knight  [326]    
The ferry scene can be seen as the Joker's true defeat, demonstrating he is wrong about the residents turning on each other in an extreme scenario. [310]   [318]  According to writer David Chen, this demonstrates, individually, people cannot responsibly handle power but by sharing the responsibility, there is hope for a compassionate outcome. [318]  Although Batman holds to his morals and does not kill the Joker, he is forced to break his code by pushing Dent to his death to save an innocent person. Batman chooses to become a symbol of criminality by taking the blame for Dent's crimes and preserving him as a symbol of good, maintaining the hope of Gotham's residents. [310]   [311]   [318]  Critic David Crow wrote Batman's true test is not defeating the Joker but saving Dent, a task at which he fails. [327]  Batman makes his own Christ-like sacrifice, taking on Dent's sins to preserve the city. [324] 
 Although The Dark Knight presents this as a heroic act, this "noble lie" is used to conceal and manipulate the truth for what a minority determines is the greater good. [311]   [328]  McGowan considered the act heroic because Batman's sacrifice will leave him hunted and despised without recognition, indicating he has learned from the Joker the established norms must sometimes be broken. [311]  According to professor Martin Fradley, among others, Batman's "noble lie" and Gordon's support of it is a cynical endorsement of deception and totalitarianism. [311]   [328]  Wayne's butler Alfred also commits a noble lie, concealing Rachel's choice of Dent over Wayne to spare him the pain of her rejection. [310] 
 
 
 The Dark Knight is considered an influential and often-imitated work that redefined the superhero/comic-book film genre, and filmmaking in general. [ba]  In 2020, the United States Library of Congress selected The Dark Knight to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant". [331] 
 Before The Dark Knight, superhero films closely emulated their comic-book source material, and though the genre had seen significant successes such as  Superman  (1978),  Batman  (1989),  X-Men  (2000), and  Spider-Man  (2002), they were often considered disposable entertainment that did not garner much industry respect. [bb]  A 2018 retrospective by The Hollywood Reporter said The Dark Knight taught filmmakers "comic book characters are malleable. They are able to be grounded or fantastic, able to be prestigious or pure blockbuster entertainment, to be dark and gritty or light, to be character-driven or action-packed, or any variation in-between." [285] 
  The Dark Knight is considered a blueprint for the modern superhero film that productions either attempt to closely emulate or deliberately counter. [bc]  Its financial, critical, and cultural successes legitimized the genre with film studios at a time when recent films, such as  Daredevil ,  Hulk  (both 2003),  Fantastic Four  (2005), and  Superman Returns  (2006) had failed to meet expectations. [275]   [333]  The genre became a focus of annual studio strategies rather than a relatively niche project, and a surge of comic-book adaptations followed, in part because of their broad franchising potential. In 2008, Ebert wrote; "[The Dark Knight], and to a lesser degree Iron Man, redefine the possibilities of the 'comic-book movie". [210]   The Atlantic  wrote Iron Mans legacy in launching the Marvel Cinematic Universe (MCU) could not have happened without the financial and critical success of The Dark Knight, which made comic book adaptations a central focus of film studios. [184]   [275]   [285] 
 Retrospective analysis has focused on the way studios, eager to replicate its performance, released tonally dark, gritty, and realistic films, or reboots of existing franchises, many of which failed critically or commercially. [277]   [285]   [329]  Some publications said studios took the wrong lessons from The Dark Knight, treating source material too seriously and mistaking a dark, gritty tone for narrative depth and intelligent writing. [bd]  The MCU is seen as a successful continuation of what made The Dark Knight a success, combining genres and tones relevant to each respective film while treating the source material seriously, unlike the DC Extended Universe, which more closely emulated the tone of The Dark Knight but failed to replicate its success. [329]   [335] 
 Directors including Sam Mendes ( Skyfall , 2012), Ryan Coogler (Black Panther), and David Ayer ( Suicide Squad , 2016), have cited it as an influence on their work, Steven Spielberg listed it among his favorite films, and Timothée Chalamet said it inspired him to become an actor. [be]  The film has been referenced in a variety of media including television shows such as  Robot Chicken ,  South Park , and  The Simpsons . [340]   [341]   [342]  U.S. President Barack Obama used Joker to explain the growth of Islamic State (IS) military group, saying "... the gang leaders of Gotham are meeting... they were thugs, but there was a kind of order... the Joker comes in and lights the whole city on fire. [IS] is the Joker." [343]  Joker's appearance became a popular Halloween costume and also influenced the 2009 Barack Obama "Joker" poster. [bf] 
 
Since its release, The Dark Knight has been assessed as one of the greatest superhero films ever made, [bg]  among the greatest films ever made, [bh]  and one of the best sequel films. [bi]  It is also considered among the best films of the 2000s, [bj]  and in a 2010 poll of thirty-seven critics by Metacritic regarding the decade's top films, The Dark Knight received the eighth most mentions, appearing on 7 lists. [374]  In the 2010s, a poll of 177 film critics by the BBC in 2016 listed it as the 33rd-best film of the 21st century, [375]  and  The Guardian  placed it 98th on its own list. [376]  In 2020, Empire magazine named it third-best, behind  The Lord of the Rings: The Fellowship of the Ring  (2001) and  Mad Max: Fury Road  (2015). [377]  As of 2023, it remains the highest critically rated Batman film according to Rotten Tomatoes, and is often ranked as the best film featuring the character. [bk] 
  The Dark Knight remains popular with entertainment industry professionals, including directors, actors, critics, and stunt actors, being ranked 57th on The Hollywood Reporters poll of the best films ever made, [358]  18th on  Time Out s list of the best action films, [389]  and 96th on the BBC's list of the 100 Greatest American Films. [359]  The Dark Knight is included in the film-reference book  1001 Movies You Must See Before You Die , [390]  and film critics James Berardinelli and Barry Norman included it in their individual listings of the 100 greatest films of all time. [360]   [361]  In 2012,  Total Film  named it the sixth-most-accomplished film of the preceding fifteen years, and a 2020 article by Empire named The Dark Knight as one of the films that defined the previous three decades. [391]   [392]  In 2020, Time Out named it the seventy-second-best action movie ever made. [393] 
 Ledger's Joker is considered one of the greatest cinematic villains; several publications placed his portrayal second only to Darth Vader. [bl]  In 2017, The Hollywood Reporter named Ledger's Joker the second-best cinematic superhero performance ever, behind Hugh Jackman as Wolverine, [399]  and  Collider  listed him as the greatest villain of the 21st century. [400]  In 2022, Variety listed him as the best superhero film performance of the preceding 50 years (Eckhart appears at number 22). [401]  Entertainment Weekly wrote there had not been another villain as interesting or "perversely entertaining" as Joker, and Ledger's performance was considered so defining that future interpretations would be compared against it. Michael B. Jordan cited the character as an inspiration for his character Erik Killmonger in Black Panther. [bm]  The "pencil trick" scene, in which Joker makes a pencil disappear by slamming a mobster's head on it, is considered an iconic scene and among the film's most famous. [bn]  Similarly, the character's line "why so serious?" is among the film's most famous and oft-quoted pieces of dialog, [bo]  alongside "everyone loses their minds," and Dent's line "you either die a hero or you live long enough to see yourself become the villain", as well as Pennyworth's line "some men just want to watch the world burn"; the lines also became popular internet memes. [bp] 
  The Dark Knight remains popular with audiences in publicly voted rankings. Over 17,000 people voted the film into the top ten of  American Cinematographer s "Best-Shot Film of 1998–2008" list, [412]  and listeners of BBC Radio 1 and BBC Radio 1Xtra named it their eighth-favorite film. [413]  Readers of Empire have alternatively voted it the fifteenth (2008), [414]  third (2014), [415]  and the fourth-greatest film ever made (2020). [416]  The Dark Knight was also voted the greatest superhero movie by readers of  Rolling Stone  (2014), [417]  and as one of New Zealand's favorite films (2015). [418] 
 
 The Dark Knight was followed by  The Dark Knight Rises  (2012), the conclusion of  The Dark Knight Trilogy . In the film, Batman is forced out of his self-imposed retirement following the events of The Dark Knight; he allies with Selina Kyle / Catwoman to take on Bane, a physically imposing revolutionary allied with the League of Shadows that is featured in Batman Begins. [419]   [420]   [421]  The Dark Knight Rises was a financial success, surpassing the box-office take of The Dark Knight, [422]  and was generally well received by critics but proved more divisive with audiences. [bq] 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  Boscaljon, Daniel (2013). "The Flip Side Of Justice: The Two-faced Spirit Of The Dark Knight". Iowa Journal of Cultural Studies (14). Iowa City, Iowa: University of Iowa: 44–64. doi:. OCLC 8255503669. ProQuest 1470421526. 
 Duncan Jesser, Jody; Pourroy, Janine (2012). The Art and Making of the Dark Knight Trilogy. New York City, New York: Abrams Books. ISBN  978-1-4197-0369-0 . OCLC 755699530. 
 Fradley, Martin (2013). "What Do You Believe In? Film Scholarship and the Cultural Politics of the Dark Knight Franchise".  Film Quarterly . 66 (3). Berkeley, California: University of California Press: 15–27. doi:. JSTOR 10.1525/fq.2013.66.3.15. OCLC 6914368216. 
 Schneider, Steven Jay (2013). "1990s".  1001 Movies You Must See Before You Die . Boston, Massachusetts: Murdoch Books Pty Limited. ISBN  978-0-7641-6613-6 . OCLC 213305397.  
 
  (Warner Bros.)
 (DC Comics)
  The Dark Knight  at IMDb 
  The Dark Knight  title listing at the Internet Speculative Fiction Database 
  The Dark Knight  at the TCM Movie Database 
  The Dark Knight  at AllMovie
The Dark Knight
https://en.wikipedia.org/wiki/The_Dark_Knight
https://en.wikipedia.org/wiki/Inception
Inception - Wikipedia
2009-06-18
Authority control
<div><div>
<table><tbody><tr><th>Inception</th></tr><tr><td><a href="/wiki/File:Inception_(2010)_theatrical_poster.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Christopher_Nolan">Christopher Nolan</a></td></tr><tr><th>Written by</th><td>Christopher Nolan</td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Emma_Thomas">Emma Thomas</a></li>
<li>Christopher Nolan</li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Leonardo_DiCaprio">Leonardo DiCaprio</a></li>
<li><a href="/wiki/Ken_Watanabe">Ken Watanabe</a></li>
<li><a href="/wiki/Joseph_Gordon-Levitt">Joseph Gordon-Levitt</a></li>
<li><a href="/wiki/Marion_Cotillard">Marion Cotillard</a></li>
<li><a href="/wiki/Elliot_Page">Elliot Page</a><sup><a href="#cite_note-Elliot-1">[a]</a></sup></li>
<li><a href="/wiki/Tom_Hardy">Tom Hardy</a></li>
<li><a href="/wiki/Cillian_Murphy">Cillian Murphy</a></li>
<li><a href="/wiki/Tom_Berenger">Tom Berenger</a></li>
<li><a href="/wiki/Michael_Caine">Michael Caine</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Wally_Pfister">Wally Pfister</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Lee_Smith_(film_editor)">Lee Smith</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Hans_Zimmer">Hans Zimmer</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a></li>
<li><a href="/wiki/Legendary_Pictures">Legendary Pictures</a></li>
<li><a href="/wiki/Syncopy_Inc.">Syncopy</a></li></ul>
</div></td></tr><tr><th>Distributed by</th><td>Warner Bros. Pictures</td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>July 8, 2010 (<a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a>)</li>
<li>July 16, 2010 (United States and United Kingdom)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>148 minutes<sup><a href="#cite_note-2">[1]</a></sup></td></tr><tr><th>Countries</th><td><div>
<ul><li>United States<sup><a href="#cite_note-Lumiere-3">[2]</a></sup></li>
<li>United Kingdom<sup><a href="#cite_note-Lumiere-3">[2]</a></sup></li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$160 million<sup><a href="#cite_note-Mojo-4">[3]</a></sup></td></tr><tr><th>Box office</th><td>$836.8 million<sup><a href="#cite_note-Mojo-4">[3]</a></sup></td></tr></tbody></table>
<p><i><b>Inception</b></i> is a 2010 <a href="/wiki/Science_fiction_action_film">science fiction action film</a><sup><a href="#cite_note-5">[4]</a></sup><sup><a href="#cite_note-6">[5]</a></sup><sup><a href="#cite_note-7">[6]</a></sup> written and directed by <a href="/wiki/Christopher_Nolan">Christopher Nolan</a>, who also produced the film with <a href="/wiki/Emma_Thomas">Emma Thomas</a>, his wife. The film stars <a href="/wiki/Leonardo_DiCaprio">Leonardo DiCaprio</a> as a professional thief who steals information by infiltrating the <a href="/wiki/Subconscious">subconscious</a> of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person's idea into a target's subconscious.<sup><a href="#cite_note-synop-8">[7]</a></sup> The <a href="/wiki/Ensemble_cast">ensemble cast</a> includes <a href="/wiki/Ken_Watanabe">Ken Watanabe</a>, <a href="/wiki/Joseph_Gordon-Levitt">Joseph Gordon-Levitt</a>, <a href="/wiki/Marion_Cotillard">Marion Cotillard</a>, <a href="/wiki/Elliot_Page">Elliot Page</a>,<sup><a href="#cite_note-Elliot-1">[a]</a></sup> <a href="/wiki/Tom_Hardy">Tom Hardy</a>, <a href="/wiki/Dileep_Rao">Dileep Rao</a>, <a href="/wiki/Cillian_Murphy">Cillian Murphy</a>, <a href="/wiki/Tom_Berenger">Tom Berenger</a>, and <a href="/wiki/Michael_Caine">Michael Caine</a>.
</p><p>After the 2002 completion of <i><a href="/wiki/Insomnia_(2002_film)">Insomnia</a></i>, Nolan presented to <a href="/wiki/Warner_Bros.">Warner Bros.</a> a written 80-page <a href="/wiki/Film_treatment">treatment</a> for a <a href="/wiki/Horror_film">horror film</a> envisioning "dream stealers," based on <a href="/wiki/Lucid_dreaming">lucid dreaming</a>.<sup><a href="#cite_note-Hiscock-9">[8]</a></sup> Deciding he needed more experience before tackling a production of this magnitude and complexity, Nolan shelved the project and instead worked on 2005's <i><a href="/wiki/Batman_Begins">Batman Begins</a></i>, 2006's <i><a href="/wiki/The_Prestige_(film)">The Prestige</a></i>, and <i><a href="/wiki/The_Dark_Knight">The Dark Knight</a></i> in 2008.<sup><a href="#cite_note-Itzkoff-10">[9]</a></sup> The treatment was revised over 6 months and was purchased by Warner in February 2009.<sup><a href="#cite_note-first-11">[10]</a></sup> <i>Inception</i> was filmed in six countries, beginning in Tokyo on June 19 and ending in Canada on November 22.<sup><a href="#cite_note-filming-12">[11]</a></sup> Its official budget was $160 million, split between <a href="/wiki/Warner_Bros.">Warner Bros.</a> and <a href="/wiki/Legendary_Pictures">Legendary</a>.<sup><a href="#cite_note-budget-13">[12]</a></sup> Nolan's reputation and success with <i>The Dark Knight</i> helped secure the film's US$100 million in advertising expenditure.
</p><p><i>Inception</i>'s premiere was held in <a href="/wiki/London">London</a> on July 8, 2010; it was released in both conventional and <a href="/wiki/IMAX">IMAX</a> theaters beginning on July 16, 2010.<sup><a href="#cite_note-bomrelease-14">[13]</a></sup><sup><a href="#cite_note-15">[14]</a></sup> <i>Inception</i> grossed over $828 million worldwide, becoming the <a href="/wiki/2010_in_film#Highest-grossing_films">fourth-highest-grossing film of 2010</a>. Considered one of the best films of the 2010s,<sup><a href="#cite_note-Metacritic_2010s-16">[15]</a></sup> <i>Inception</i> won four <a href="/wiki/Academy_Awards">Academy Awards</a> (<a href="/wiki/Academy_Award_for_Best_Cinematography">Best Cinematography</a>, <a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a>, <a href="/wiki/Academy_Award_for_Best_Sound">Best Sound Mixing</a>, and <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>) and was nominated for four more: <a href="/wiki/Academy_Award_for_Best_Picture">Best Picture</a>, <a href="/wiki/Academy_Award_for_Best_Original_Screenplay">Best Original Screenplay</a>, <a href="/wiki/Academy_Award_for_Best_Production_Design">Best Art Direction</a>, and <a href="/wiki/Academy_Award_for_Best_Original_Score">Best Original Score</a>.
</p>
<h2>Plot</h2>
<p>Cobb and Arthur are "extractors"; they perform <a href="/wiki/Industrial_espionage">corporate espionage</a> using experimental dream-sharing technology to infiltrate their targets' <a href="/wiki/Unconscious_mind">subconscious</a> and extract information. Their latest target, Saito, is impressed with Cobb's ability to <a href="/wiki/False_awakening">layer multiple dreams within each other</a> and offers to hire Cobb for the supposedly impossible job of implanting an idea into a person's subconscious; performing "inception" on Robert, the son of Saito's competitor Maurice Fischer, with the idea to dissolve his father's company. Saito promises to clear Cobb's criminal status, allowing him to return home to his children.
</p><p>Cobb accepts the offer and assembles his team: a forger named Eames, a chemist named Yusuf, and a college student named Ariadne. Ariadne is tasked with designing the dream's architecture, something Cobb himself cannot do for fear of being sabotaged by a projection of his late wife Mal. Maurice dies, and the team sedates Robert into a three-layer shared dream on an airplane to America. Time on each layer runs slower than the layer above, with one member staying behind on each to perform a <a href="/wiki/Non,_je_ne_regrette_rien#In_popular_culture">music-synchronized</a> "<a href="/wiki/Hypnic_jerk">kick</a>" to awaken dreamers on all three levels simultaneously.
</p><p>The team abducts Robert in a city on the first level but is attacked by his subconscious projections. After Saito is wounded, Cobb reveals that while dying in the dream would normally awaken dreamers, Yusuf's sedatives will instead send them into "<a href="/wiki/Limbo#Cultural_references">Limbo</a>": a world of infinite subconscious. Eames impersonates Robert's godfather, Peter Browning, to introduce the idea of an alternate will to dissolve the company. Cobb tells Ariadne that he and Mal entered Limbo while experimenting with dream-sharing, experiencing fifty years in one night due to the time dilation with reality. Mal refused to return to reality, and Cobb instead performed inception on her to convince her. After waking up, Mal still believed she was dreaming. Attempting to "wake up", she committed suicide and framed Cobb to force him to do the same. Cobb fled the U.S., leaving his children behind.
</p><p>Yusuf drives the team around the first level as they are sedated into the second level, a hotel dreamed by Arthur. Cobb persuades Robert that he has been kidnapped by Browning to stop the dissolution and that Cobb is a defensive projection, leading Robert yet another level deeper as part of a ruse to enter Robert's subconscious. In the third level, the team infiltrates an alpine fortress with a projection of Maurice inside, where the inception itself can be performed. However, Yusuf performs his kick too soon by driving off a bridge, forcing Arthur and Eames to improvise a new set of kicks synchronized with them hitting the water, by rigging an elevator and the fortress respectively with explosives. Mal then appears and kills Robert before he can be subjected to the inception and he and Saito are lost into Limbo, forcing Cobb and Ariadne to rescue them in time for Robert's inception and Eames's kick.
</p><p>Cobb makes peace with Mal's death. Ariadne kills Mal's projection and wakes Robert up with a kick. Revived into the third level, he discovers the planted idea: his dying father telling him to create something for himself. While Cobb searches for Saito in Limbo, the others ride the kicks back to reality. Cobb finds an aged Saito and reminds him of their agreement. The dreamers all awaken on the plane, and Saito makes a phone call. Arriving at <a href="/wiki/Los_Angeles_International_Airport">L.A.</a>, Cobb passes the immigration checkpoint and his father-in-law accompanies him to his home. Cobb uses Mal's "totem" – a <a href="/wiki/Top">top</a> that spins indefinitely in a dream – to test if he is indeed in the real world, but chooses not to observe the result and instead joins his children.
</p>
<h2>Cast</h2>
<div><p><a href="/wiki/File:InceptionCastPremiereJuly10.jpg"></a></p><div><p>The cast at a premiere for the film in July 2010. From left to right: Cillian Murphy, Marion Cotillard, Joseph Gordon-Levitt, Elliot Page, Ken Watanabe, Michael Caine, and Leonardo DiCaprio</p></div></div>
<ul><li><a href="/wiki/Leonardo_DiCaprio">Leonardo DiCaprio</a> as Dom Cobb, a professional thief who specializes in <a href="/wiki/Con_artist">conning</a> secrets from his victims by infiltrating their dreams. DiCaprio was the first actor to be cast in the film.<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> Both <a href="/wiki/Brad_Pitt">Brad Pitt</a> and <a href="/wiki/Will_Smith">Will Smith</a> were offered the role, according to <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>.<sup><a href="#cite_note-18">[17]</a></sup> Cobb's role is compared to "the haunted widower in a Gothic romance".<sup><a href="#cite_note-19">[18]</a></sup></li>
<li><a href="/wiki/Joseph_Gordon-Levitt">Joseph Gordon-Levitt</a> as Arthur, Cobb's partner who manages and researches the missions. Gordon-Levitt compared Arthur to the producer of Cobb's art, "the one saying, 'Okay, you have your vision; now I'm going to figure out how to make all the nuts and bolts work so you can do your thing'".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 7 </sup> The actor did all but one of his stunt scenes and said the preparation "was a challenge and it would have to be for it to look real".<sup><a href="#cite_note-21">[20]</a></sup> <a href="/wiki/James_Franco">James Franco</a> was in talks with Christopher Nolan to play Arthur, but was ultimately unavailable due to scheduling conflicts.<sup><a href="#cite_note-22">[21]</a></sup></li>
<li><a href="/wiki/Elliot_Page">Elliot Page</a><sup><a href="#cite_note-Elliot-1">[a]</a></sup> as Ariadne, a <a href="/wiki/Graduate_student">graduate student</a> of architecture who is recruited to construct the various dreamscapes, which are described as mazes. The name <a href="/wiki/Ariadne">Ariadne</a> alludes to a princess of <a href="/wiki/Greek_mythology">Greek myth</a>, daughter of King <a href="/wiki/Minos">Minos</a>, who aided the hero <a href="/wiki/Theseus">Theseus</a> by giving him a sword and a ball of string to help him navigate the labyrinth which was the prison of the <a href="/wiki/Minotaur">Minotaur</a>. Nolan said that Page was chosen for being a "perfect combination of freshness and savvy and maturity beyond [his] years".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 8 </sup> Page said their character acts as a proxy to the audience, as "she's just learning about these ideas and, in essence, assists the audience in learning about dream sharing".<sup><a href="#cite_note-23">[22]</a></sup></li>
<li><a href="/wiki/Tom_Hardy">Tom Hardy</a> as Eames, a sharp-tongued associate of Cobb. He is referred to as a <a href="/wiki/Fence_(criminal)">fence</a> but his specialty is forgery, more accurately identity theft. Eames uses his ability to <a href="/wiki/Impersonator">impersonate others</a> inside the dream world in order to manipulate Fischer. Hardy described his character as "an old, <a href="/wiki/Graham_Greene">Graham Greene</a>-type diplomat; sort of faded, shabby, grandeur—the old Shakespeare lovey mixed with somebody from <a href="/wiki/United_Kingdom_Special_Forces">Her Majesty's Special Forces</a>", who wears "campy, old money" costumes.<sup><a href="#cite_note-24">[23]</a></sup></li>
<li><a href="/wiki/Ken_Watanabe">Ken Watanabe</a> as Mr. Saito, a Japanese businessman who employs Cobb for the team's mission. Nolan wrote the role with Watanabe in mind, as he wanted to work with him again after <i><a href="/wiki/Batman_Begins">Batman Begins</a></i>.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 10 </sup> <i>Inception</i> is Watanabe's first work in a contemporary setting where his primary language is English. Watanabe tried to emphasize a different characteristic of Saito in every dream level: "First chapter in my castle, I pick up some hidden feelings of the cycle. It's magical, powerful and then the first dream. And back to the second chapter, in the old hotel, I pick up [being] sharp and more calm and smart and it's a little bit [of a] different process to make up the character of any movie".<sup><a href="#cite_note-25">[24]</a></sup></li>
<li><a href="/wiki/Dileep_Rao">Dileep Rao</a> as Yusuf. Rao describes Yusuf as "an avant-garde pharmacologist, who is a resource for people, like Cobb, who want to do this work unsupervised, unregistered and unapproved of by anyone". Co-producer Jordan Goldberg said the role of the chemist was "particularly tough because you don't want him to seem like some kind of drug dealer", and that Rao was cast for being "funny, interesting and obviously smart".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 11 </sup></li>
<li><a href="/wiki/Cillian_Murphy">Cillian Murphy</a> as Robert Michael Fischer, the heir to a business empire and the team's target.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 10 </sup> Murphy said Fischer was portrayed as "a petulant child who's in need of a lot of attention from his father, he has everything he could ever want materially, but he's deeply lacking emotionally". The actor also researched the sons of <a href="/wiki/Rupert_Murdoch">Rupert Murdoch</a>, "to add to that the idea of living in the shadow of someone so immensely powerful".<sup><a href="#cite_note-26">[25]</a></sup></li>
<li><a href="/wiki/Tom_Berenger">Tom Berenger</a> as Peter Browning, Robert Fischer's <a href="/wiki/Godparent">godfather</a> and fellow executive at the Fischers' company.<sup><a href="#cite_note-CinemaRewind-27">[26]</a></sup> Berenger said Browning acts as a "surrogate father" to Fischer, who calls the character "Uncle Peter", and emphasized that "Browning has been with [Robert] his whole life and has probably spent more quality time with him than his own father".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 11 </sup></li>
<li><a href="/wiki/Marion_Cotillard">Marion Cotillard</a> as Mal Cobb, Dom's deceased wife. She is a manifestation of Dom's guilt about the real cause of Mal's suicide. He is unable to control these projections of her, challenging his abilities as an extractor.<sup><a href="#cite_note-threecircle-28">[27]</a></sup> Nolan described Mal as "the essence of the <a href="/wiki/Femme_fatale">femme fatale</a>," and DiCaprio praised Cotillard's performance, saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 9–10 </sup></li>
<li><a href="/wiki/Pete_Postlethwaite">Pete Postlethwaite</a> as Maurice Fischer, Robert Fischer's father and the dying founder of a business empire.</li>
<li><a href="/wiki/Michael_Caine">Michael Caine</a> as Professor Stephen Miles, Cobb's mentor and father-in-law,<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 11 </sup> and Ariadne's college professor who recommends her to the team.<sup><a href="#cite_note-InContention-29">[28]</a></sup></li>
<li><a href="/wiki/Lukas_Haas">Lukas Haas</a> as Nash, an architect in Cobb's employment who betrays the team and is later replaced by Ariadne.<sup><a href="#cite_note-30">[29]</a></sup></li>
<li><a href="/wiki/Talulah_Riley">Talulah Riley</a> as a woman, credited as "Blonde", whom Eames disguises himself as in a dream. Riley liked the role, despite it being minimal: "I get to wear a nice dress, pick up men in bars, and shove them in elevators. It was good to do something adultish. Usually I play 15-year-old English schoolgirls."<sup><a href="#cite_note-31">[30]</a></sup></li></ul>
<h2>Production</h2>
<h3>Development</h3>
<div><p><a href="/wiki/File:Emma_Thomas_%26_Christopher_Nolan_at_WonderCon_2010_1.JPG"></a></p><div><p>Emma Thomas and Christopher Nolan answer questions about <i>Inception</i>. The husband-and-wife team produced the film through their company <a href="/wiki/Syncopy_Inc.">Syncopy</a>. Nolan also wrote and directed it.</p></div></div>
<p>Initially, Nolan wrote an 80-page <a href="/wiki/Film_treatment">treatment</a> about dream-stealers.<sup><a href="#cite_note-Hiscock-9">[8]</a></sup> Originally, Nolan had envisioned <i>Inception</i> as a <a href="/wiki/Horror_film">horror film</a>,<sup><a href="#cite_note-Hiscock-9">[8]</a></sup> but eventually wrote it as a <a href="/wiki/Heist_film">heist film</a> even though he found that "traditionally [they] are very deliberately superficial in emotional terms."<sup><a href="#cite_note-Boucher-32">[31]</a></sup> Upon revisiting his script, he decided that basing it in that genre did not work because the story "relies so heavily on the idea of the interior state, the idea of dream and <a href="/wiki/Memory">memory</a>. I realized I needed to raise the emotional stakes."<sup><a href="#cite_note-Boucher-32">[31]</a></sup>
</p><p>Nolan worked on the script for nine to ten years.<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> When he first started thinking about making the film, Nolan was influenced by "that era of movies where you had <i><a href="/wiki/The_Matrix">The Matrix</a></i> (1999), you had <i><a href="/wiki/Dark_City_(1998_film)">Dark City</a></i> (1998), you had <i><a href="/wiki/The_Thirteenth_Floor">The Thirteenth Floor</a></i> (1999) and, to a certain extent, you had <i><a href="/wiki/Memento_(film)">Memento</a></i> (2000), too. They were based in the principles that the world around you might not be real."<sup><a href="#cite_note-Boucher-32">[31]</a></sup><sup><a href="#cite_note-33">[32]</a></sup>
</p><p>Nolan first pitched the film to Warner Bros. in 2001, but decided that he needed more experience making large-scale films, and embarked on <i><a href="/wiki/Batman_Begins">Batman Begins</a></i> and <i><a href="/wiki/The_Dark_Knight">The Dark Knight</a></i>.<sup><a href="#cite_note-Itzkoff-10">[9]</a></sup> He soon realized that a film like <i>Inception</i> needed a large budget because "as soon as you're talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go anywhere by the end of the film. And it has to work on a massive scale."<sup><a href="#cite_note-Itzkoff-10">[9]</a></sup> After making <i>The Dark Knight</i>, Nolan decided to make <i>Inception</i> and spent six months completing the script.<sup><a href="#cite_note-Itzkoff-10">[9]</a></sup> Nolan said that the key to completing the script was wondering what would happen if several people shared the same dream. "Once you remove the privacy, you've created an infinite number of alternative universes in which people can meaningfully interact, with validity, with weight, with dramatic consequences."<sup><a href="#cite_note-Itzkoff2-34">[33]</a></sup>
</p><p>Nolan had been trying to work with Leonardo DiCaprio for years and met him several times, but was unable to recruit him for any of his films until <i>Inception</i>.<sup><a href="#cite_note-threecircle-28">[27]</a></sup> DiCaprio finally agreed because he was "intrigued by this concept—this dream-heist notion and how this character's going to unlock his dreamworld and ultimately affect his real life."<sup><a href="#cite_note-Jolin-35">[34]</a></sup><sup>: 93–94 </sup> He read the script and found it to be "very well written, comprehensive but you really had to have Chris in person, to try to articulate some of the things that have been swirling around his head for the last eight years."<sup><a href="#cite_note-Itzkoff-10">[9]</a></sup> DiCaprio and Nolan spent months talking about the screenplay. Nolan took a long time re-writing the script in order "to make sure that the emotional journey of his [DiCaprio's] character was the driving force of the movie."<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> On February 11, 2009, it was announced that <a href="/wiki/Warner_Bros.">Warner Bros.</a> purchased <i>Inception</i>, a <a href="/wiki/Spec_script">spec script</a> written by Nolan.<sup><a href="#cite_note-first-11">[10]</a></sup>
</p>
<h3>Locations and sets </h3>
<p><a href="/wiki/Principal_photography">Principal photography</a> began in <a href="/wiki/Tokyo">Tokyo</a> on June 19, 2009, with the scene in which Saito first hires Cobb during a helicopter flight over the city.<sup><a href="#cite_note-Hiscock-9">[8]</a></sup><sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 13 </sup>
</p><p>The production moved to the United Kingdom and shot in a converted <a href="/wiki/Airship_hangar">airship hangar</a> in <a href="/wiki/Cardington,_Bedfordshire">Cardington</a>, Bedfordshire, north of London.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 14 </sup> There, the hotel bar set which tilted 30 degrees was built.<sup><a href="#cite_note-Heuring-36">[35]</a></sup><sup>: 29 </sup> A hotel corridor was also constructed by <a href="/wiki/Guy_Hendrix_Dyas">Guy Hendrix Dyas</a>, the production designer, <a href="/wiki/Chris_Corbould">Chris Corbould</a>, the special effects supervisor, and <a href="/wiki/Wally_Pfister">Wally Pfister</a>, the director of photography; it rotated a full 360 degrees to create the effect of alternate directions of <a href="/wiki/Gravity">gravity</a> for scenes set during the second level of dreaming, where dream-sector physics become chaotic. The idea was inspired by a technique used in <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a>'s <i><a href="/wiki/2001:_A_Space_Odyssey_(film)">2001: A Space Odyssey</a></i> (1968). Nolan said, "I was interested in taking those ideas, techniques, and philosophies and applying them to an action scenario".<sup><a href="#cite_note-Heuring-36">[35]</a></sup><sup>: 32 </sup> The filmmakers originally planned to make the hallway only 40 feet (12 m) long, but as the action sequence became more elaborate, the hallway's length was increased to 100 ft (30 m). The corridor was suspended along eight large concentric rings that were spaced equidistantly outside its walls and powered by two massive electric motors.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 14 </sup>
</p><p>Joseph Gordon-Levitt, who plays Arthur, spent several weeks learning to fight in a corridor that spun like "a giant <a href="/wiki/Hamster_wheel">hamster wheel</a>".<sup><a href="#cite_note-Boucher-32">[31]</a></sup> Nolan said of the device, "It was like some incredible torture device; we thrashed Joseph for weeks, but in the end we looked at the footage, and it looks unlike anything any of us has seen before. The rhythm of it is unique, and when you watch it, even if you know how it was done, it confuses your perceptions. It's unsettling in a wonderful way".<sup><a href="#cite_note-Boucher-32">[31]</a></sup> Gordon-Levitt remembered, "it was six-day weeks of just, like, coming home at night battered ... The light fixtures on the ceiling are coming around on the floor, and you have to choose the right time to cross through them, and if you don't, you're going to fall."<sup><a href="#cite_note-37">[36]</a></sup> On July 15, 2009, filming took place at <a href="/wiki/University_College_London">University College London</a> for the sequences occurring inside a Paris college of architecture in the story,<sup><a href="#cite_note-Hiscock-9">[8]</a></sup> including the library, Flaxman Gallery and Gustav Tuck Theatre.<sup><a href="#cite_note-38">[37]</a></sup>
</p><p>Filming moved to France, where they shot Cobb entering the college of architecture (the place used for the entrance was the <a href="/wiki/Mus%C3%A9e_Galliera">Musée Galliera</a>) and the pivotal scenes between Ariadne and Cobb, in a <a href="/wiki/Bistro">bistro</a> (a fictional one set up at the corner of Rue César Franck and Rue Bouchut), and lastly on the <a href="/wiki/Pont_de_Bir-Hakeim">Bir-Hakeim bridge</a>.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 17 </sup> For the explosion that takes place during the bistro scene, local authorities would not allow the use of real explosives. High-pressure <a href="/wiki/Nitrogen">nitrogen</a> was used to create the effect of a series of explosions. Pfister used six high-speed cameras to capture the sequence from different angles and make sure that they got the shot. The visual effects department enhanced the sequence, adding more destruction and flying debris. For the "Paris folding" sequence and when Ariadne "creates" the bridges, <a href="/wiki/Green_screen">green screen</a> and <a href="/wiki/Computer-generated_imagery">CGI</a> were used on location.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 17 </sup>
</p><p><a href="/wiki/Tangier">Tangier</a>, Morocco, doubled as <a href="/wiki/Mombasa">Mombasa</a>, where Cobb hires Eames and Yusuf. A foot chase was shot in the streets and alleyways of the historic <a href="/wiki/Medina_quarter">medina quarter</a>.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 18 </sup> To capture this sequence, Pfister employed a mix of <a href="/wiki/Hand-held_camera">hand-held camera</a> and <a href="/wiki/Steadicam">steadicam</a> work.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 19 </sup> Tangier was also used as the setting for filming an important riot scene during the initial foray into Saito's mind.
</p><p>Filming moved to the <a href="/wiki/Los_Angeles">Los Angeles</a> area, where some sets were built on a Warner Bros. <a href="/wiki/Sound_stage">sound stage</a>, including the interior rooms of Saito's Japanese castle (the exterior was done on a small set built in <a href="/wiki/Malibu_Beach">Malibu Beach</a>). The dining room was inspired by the historic <a href="/wiki/Nij%C5%8D_Castle">Nijō Castle</a>, built around 1603. These sets were inspired by a mix of <a href="/wiki/Japanese_architecture">Japanese architecture</a> and Western influences.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 19 </sup>
</p><p>The production staged a multi-vehicle <a href="/wiki/Car_chase">car chase</a> on the streets of <a href="/wiki/Downtown_Los_Angeles">downtown Los Angeles</a>, which involved a freight train crashing down the middle of a street.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 20 </sup> To do this, the filmmakers configured a train engine on the chassis of a tractor trailer. The replica was made from <a href="/wiki/Fiberglass">fiberglass</a> molds taken from authentic train parts and matched in terms of color and design.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 21 </sup> Also, the car chase was supposed to be set in the midst of a downpour, but the L.A. weather stayed typically sunny. The filmmakers set up elaborate effects (e.g., rooftop <a href="/wiki/Water_cannon">water cannons</a>) to give the audience the impression that the weather was overcast and soggy. L.A. was also the site of the climactic scene where a <a href="/wiki/Ford_Econoline">Ford Econoline</a> van runs off the <a href="/wiki/Schuyler_Heim_Bridge">Schuyler Heim Bridge</a> in slow motion.<sup><a href="#cite_note-Ditzian-39">[38]</a></sup> This sequence was filmed on and off for months, with the van being shot out of a cannon, according to actor Dileep Rao. Capturing the actors suspended within the van in slow motion took a whole day to film.
</p><p>Once the van landed in the water, the challenge for the actors was to avoid panic. "And when they ask you to act, it's a bit of an ask," explained Cillian Murphy.<sup><a href="#cite_note-Ditzian-39">[38]</a></sup> The actors had to be underwater for four to five minutes while drawing air from <a href="/wiki/Diving_cylinder">scuba tanks</a>; underwater <a href="/wiki/Buddy_breathing">buddy breathing</a> is shown in this sequence.<sup><a href="#cite_note-Ditzian-39">[38]</a></sup>
</p><p>Cobb's house was in Pasadena. The hotel lobby was filmed at the CAA building in Century City. 'Limbo' was made on location in Los Angeles and <a href="/wiki/Morocco">Morocco</a>, with the beach scene filmed at <a href="/wiki/Palos_Verdes">Palos Verdes</a> beach with CGI buildings. N Hope St. in Los Angeles was the primary filming location for 'Limbo,' with green screen and CGI being used to create the dream landscape.
</p><p>The final phase of principal photography took place in <a href="/wiki/Alberta">Alberta</a> in late November 2009. The location manager discovered a temporarily closed ski resort, <a href="/wiki/Fortress_Mountain_Resort">Fortress Mountain</a>.<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 22 </sup> An elaborate set was assembled near the top station of the Canadian <a href="/wiki/Chairlift">chairlift</a>, taking three months to build.<sup><a href="#cite_note-Jolin-35">[34]</a></sup><sup>: 93 </sup> The production had to wait for a huge snowstorm, which eventually arrived.<sup><a href="#cite_note-Hiscock-9">[8]</a></sup> The ski-chase sequence was inspired by Nolan's favorite <a href="/wiki/James_Bond">James Bond</a> film, <i><a href="/wiki/On_Her_Majesty%27s_Secret_Service_(film)">On Her Majesty's Secret Service</a></i> (1969): "What I liked about it that we've tried to emulate in this film is there's a tremendous balance in that movie of action and scale and romanticism and tragedy and emotion."<sup><a href="#cite_note-Jolin-35">[34]</a></sup><sup>: 91 </sup>
</p>
<h3>Cinematography</h3>
<p>The film was shot primarily in the <a href="/wiki/Anamorphic_format">anamorphic format</a> on <a href="/wiki/35_mm_movie_film">35 mm film</a>, with key sequences filmed on <a href="/wiki/65_mm">65 mm</a>, and aerial sequences in <a href="/wiki/VistaVision">VistaVision</a>. Nolan did not shoot any footage with <a href="/wiki/IMAX">IMAX</a> cameras as he had with <i><a href="/wiki/The_Dark_Knight_(film)">The Dark Knight</a></i>. "We didn't feel that we were going to be able to shoot in IMAX because of the size of the cameras because this film given that it deals with a potentially surreal area, the nature of dreams and so forth, I wanted it to be as realistic as possible. Not be bound by the scale of those IMAX cameras, even though I love the format dearly".<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> In addition Nolan and Pfister tested using <a href="/wiki/Showscan">Showscan</a> and <a href="/wiki/List_of_motion_picture_film_formats">Super Dimension 70</a> as potential large-format, <a href="/wiki/High_frame_rate">high-frame-rate</a> camera systems to use for the film, but ultimately decided against either format.<sup><a href="#cite_note-Heuring-36">[35]</a></sup><sup>: 29 </sup> Sequences in slow motion were filmed on a Photo-Sonics 35 mm camera at speeds of up to 1,000 frames per second. Wally Pfister tested shooting some of these sequences using a high speed <a href="/wiki/Digital_cinematography">digital camera</a>, but found the format to be too unreliable due to technical glitches. "Out of six times that we shot on the digital format, we only had one usable piece and it didn't end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35 mm running through it, every single shot was in the movie."<sup><a href="#cite_note-Kodak-40">[39]</a></sup> Nolan also chose not to shoot any of the film in <a href="/wiki/3D_film">3D</a> as he prefers shooting on film<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> using <a href="/wiki/Prime_lens">prime lenses</a>, which is not possible with 3D cameras.<sup><a href="#cite_note-Playlist-41">[40]</a></sup> Nolan has also criticized the dim image that 3D projection produces, and disputes that traditional film does not allow realistic <a href="/wiki/Depth_perception">depth perception</a>, saying "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional... You know 95% of our <a href="/wiki/Depth_perception">depth cues</a> come from <a href="/wiki/Ambient_occlusion">occlusion</a>, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading."<sup><a href="#cite_note-latimes-hcff-42">[41]</a></sup> Nolan did test <a href="/wiki/2D_to_3D_conversion">converting</a> <i>Inception</i> into 3D in post-production but decided that, while it was possible, he lacked the time to complete the conversion to a standard he was happy with.<sup><a href="#cite_note-Hiscock-9">[8]</a></sup><sup><a href="#cite_note-latimes-hcff-42">[41]</a></sup> In February 2011 <a href="/wiki/Jonathan_Liebesman">Jonathan Liebesman</a> suggested that Warner Bros. were attempting a 3D conversion for <a href="/wiki/Blu-ray">Blu-ray</a> release.<sup><a href="#cite_note-43">[42]</a></sup>
</p><p>Wally Pfister gave each location and dream level a distinctive look to aid the audience's recognition of the narrative's location during the heavily crosscut portion of the film: the mountain fortress appears sterile and cool, the hotel hallways have warm hues, and the scenes in the van are more neutral.<sup><a href="#cite_note-Heuring-36">[35]</a></sup><sup>: 35–36 </sup>
</p><p>Nolan has said that the film "deals with levels of reality, and perceptions of reality which is something I'm very interested in. It's an action film set in a contemporary world, but with a slight science-fiction bent to it," while also describing it as "very much an ensemble film structured somewhat as a heist movie. It's an action adventure that spans the globe".<sup><a href="#cite_note-44">[43]</a></sup>
</p>
<h3>Visual effects</h3>
<p>For dream sequences in <i>Inception</i>, Nolan used little <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a>, preferring <a href="/wiki/Practical_effect">practical effects</a> whenever possible. Nolan said, "It's always very important to me to do as much as possible in-camera, and then, if necessary, computer graphics are very useful to build on or enhance what you have achieved physically."<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 12 </sup> To this end, visual effects supervisor <a href="/wiki/Paul_Franklin_(visual_effects_supervisor)">Paul Franklin</a> built a <a href="/wiki/Miniature_effect">miniature</a> of the mountain fortress set and then blew it up for the film. For the fight scene that takes place in zero gravity, he used CG-based effects to "subtly bend elements like physics, space and time."<sup><a href="#cite_note-trussell-45">[44]</a></sup>
</p><p>The most challenging effect was the "Limbo" city level at the end of the film, because it continually developed during production. Franklin had artists build concepts while Nolan expressed his ideal vision: "Something glacial, with clear modernist architecture, but with chunks of it breaking off into the sea like icebergs".<sup><a href="#cite_note-trussell-45">[44]</a></sup> Franklin and his team ended up with "something that looked like an iceberg version of <a href="/wiki/Gotham_City">Gotham City</a> with water running through it."<sup><a href="#cite_note-trussell-45">[44]</a></sup> They created a basic model of a glacier and then designers created a program that added elements like roads, intersections and ravines until they had a complex, yet organic-looking, cityscape. For the Paris-folding sequence, Franklin had artists producing concept sketches and then they created rough computer animations to give them an idea of what the sequence looked like while in motion. Later during principal photography, Nolan was able to direct DiCaprio and Page based on this rough computer animation that Franklin had created. <i>Inception</i> had nearly 500 visual effects shots (in comparison, <i><a href="/wiki/Batman_Begins">Batman Begins</a></i> had approximately 620), which is relatively few in comparison to contemporary effects-heavy films, which can have as many as 2,000 visual effects shots.<sup><a href="#cite_note-trussell-45">[44]</a></sup>
</p>
<h3>Music</h3>
<p>The score for <i>Inception</i> was written by <a href="/wiki/Hans_Zimmer">Hans Zimmer</a>,<sup><a href="#cite_note-CinemaRewind-27">[26]</a></sup> who described his work as "a very electronic,<sup><a href="#cite_note-46">[45]</a></sup> dense score",<sup><a href="#cite_note-Cassidy-47">[46]</a></sup> filled with "nostalgia and sadness" to match Cobb's feelings throughout the film.<sup><a href="#cite_note-Martens-48">[47]</a></sup> The music was written simultaneously to filming,<sup><a href="#cite_note-Cassidy-47">[46]</a></sup> and features a guitar sound reminiscent of <a href="/wiki/Ennio_Morricone">Ennio Morricone</a>, played by <a href="/wiki/Johnny_Marr">Johnny Marr</a>, former guitarist of <a href="/wiki/The_Smiths">the Smiths</a>.
<a href="/wiki/%C3%89dith_Piaf">Édith Piaf</a>'s "<a href="/wiki/Non,_je_ne_regrette_rien">Non, je ne regrette rien</a>" ("No, I Regret Nothing") appears throughout the film, used to accurately time the dreams, and Zimmer reworked pieces of the song into cues of the score.<sup><a href="#cite_note-Martens-48">[47]</a></sup>
A <a href="/wiki/Inception:_Music_from_the_Motion_Picture">soundtrack album</a> was released on July 11, 2010, by <a href="/wiki/Reprise_Records">Reprise Records</a>.<sup><a href="#cite_note-49">[48]</a></sup> The majority of the score was also included in high resolution <a href="/wiki/5.1_surround_sound">5.1 surround sound</a> on the second disc of the two-disc Blu-ray release.<sup><a href="#cite_note-50">[49]</a></sup> Hans Zimmer's music was nominated for an Academy Award in the <a href="/wiki/Academy_Award_for_Best_Original_Score">Best Original Score</a> category in 2011, losing to <a href="/wiki/Trent_Reznor">Trent Reznor</a> and <a href="/wiki/Atticus_Ross">Atticus Ross</a> of <i><a href="/wiki/The_Social_Network">The Social Network</a></i>.<sup><a href="#cite_note-oscars-51">[50]</a></sup>
</p>
<h2>Themes</h2>
<h3>Reality and dreams</h3>
<div><p><a href="/wiki/File:Impossible_staircase.svg"></a></p></div>
<p>In <i>Inception</i>, Nolan wanted to explore "the idea of people sharing a dream space... That gives you the ability to access somebody's <a href="/wiki/Unconscious_mind">unconscious mind</a>. What would that be used and abused for?"<sup><a href="#cite_note-Weintraub-17">[16]</a></sup> The majority of the film's plot takes place in these interconnected dream worlds. This structure creates a framework where actions in the real or dream worlds ripple across others. The dream is always in a state of production, and shifts across the levels as the characters navigate it.<sup><a href="#cite_note-Paul-52">[51]</a></sup> By contrast, the world of <i><a href="/wiki/The_Matrix">The Matrix</a></i> (1999) is an authoritarian, computer-controlled one, alluding to theories of social control developed by thinkers <a href="/wiki/Michel_Foucault">Michel Foucault</a> and <a href="/wiki/Jean_Baudrillard">Jean Baudrillard</a>. However, according to one interpretation Nolan's world has more in common with the works of <a href="/wiki/Gilles_Deleuze">Gilles Deleuze</a> and <a href="/wiki/F%C3%A9lix_Guattari">Félix Guattari</a>.<sup><a href="#cite_note-Paul-52">[51]</a></sup>
</p><p><a href="/wiki/David_Denby">David Denby</a> in <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i> compared Nolan's cinematic treatment of dreams to <a href="/wiki/Luis_Bu%C3%B1uel">Luis Buñuel</a>'s in <i><a href="/wiki/Belle_de_Jour_(film)">Belle de Jour</a></i> (1967) and <i><a href="/wiki/The_Discreet_Charm_of_the_Bourgeoisie">The Discreet Charm of the Bourgeoisie</a></i> (1972).<sup><a href="#cite_note-Denby-53">[52]</a></sup> He criticized Nolan's "literal-minded" action level sequencing compared to Buñuel, who "silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what's going on." The latter captures "the peculiar malign intensity of actual dreams."<sup><a href="#cite_note-Denby-53">[52]</a></sup>
</p><p><a href="/wiki/Deirdre_Barrett">Deirdre Barrett</a>, a dream researcher at <a href="/wiki/Harvard_University">Harvard University</a>, said that Nolan did not get every detail accurate regarding dreams, but their illogical, rambling, disjointed plots would not make for a great thriller anyway. However, "he did get many aspects right," she said, citing the scene in which a sleeping Cobb is shoved into a full bath, and in the dream world water gushes into the windows of the building, waking him up. "That's very much how real stimuli get incorporated, and you very often wake up right after that intrusion."<sup><a href="#cite_note-Breznican-54">[53]</a></sup>
</p><p>Nolan himself said, "I tried to work that idea of manipulation and management of a <a href="/wiki/Lucid_dream">conscious dream</a> being a skill that these people have. Really the script is based on those common, very basic experiences and concepts, and where can those take you? And the only outlandish idea that the film presents, really, is the existence of a technology that allows you to enter and share the same dream as someone else."<sup><a href="#cite_note-Boucher-32">[31]</a></sup>
</p>
<h3>Dreams and cinema</h3>
<p>Others have argued that the film is itself a <a href="/wiki/Oneiric_(film_theory)">metaphor for filmmaking</a>, and that the filmgoing experience itself, images flashing before one's eyes in a darkened room, is akin to a dream. Writing in <i>Wired</i>, Jonah Lehrer supported this interpretation and presented neurological evidence that brain activity is strikingly similar during film-watching and sleeping. In both, the <a href="/wiki/Visual_cortex">visual cortex</a> is highly active and the <a href="/wiki/Prefrontal_cortex">prefrontal cortex</a>, which deals with logic, deliberate analysis, and self-awareness, is quiet.<sup><a href="#cite_note-Lehrer-55">[54]</a></sup> Paul argued that the experience of going to a picturehouse is itself an exercise in shared dreaming, particularly when viewing <i>Inception</i>: the film's sharp cutting between scenes forces the viewer to create larger narrative arcs to stitch the pieces together. This demand of production parallel to consumption of the images, on the part of the audience is analogous to dreaming itself. As in the film's story, in a cinema one enters into the space of another's dream, in this case Nolan's, as with any work of art, one's reading of it is ultimately influenced by one's own subjective desires and subconscious.<sup><a href="#cite_note-Paul-52">[51]</a></sup> At Bir-Hakeim bridge in Paris, Ariadne creates an illusion of infinity by adding <a href="/wiki/Infinity_mirror">facing mirrors</a> underneath its struts, Stephanie Dreyfus in <i>la Croix</i> asked "Is this not a strong, beautiful metaphor for the cinema and its power of illusion?"<sup><a href="#cite_note-56">[55]</a></sup>
</p>
<h2>Cinematic technique</h2>
<h3>Genre</h3>
<p>Nolan combined elements from several different film genres into the film, notably science fiction, <a href="/wiki/Heist_film">heist film</a>, and <a href="/wiki/Film_noir">film noir</a>.
<a href="/wiki/Marion_Cotillard">Marion Cotillard</a> plays "Mal" Cobb, Dom Cobb's projection of his guilt over his deceased wife's suicide. As the film's main antagonist, she is a frequent, malevolent presence in his dreams. Dom is unable to control these projections of her, challenging his abilities as an extractor.<sup><a href="#cite_note-threecircle-28">[27]</a></sup> Nolan described Mal as "the essence of the femme fatale",<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 9 </sup> the key <i>noir</i> reference in the film. As a "classic femme fatale" her relationship with Cobb is in his mind, a manifestation of Cobb's own neurosis and fear of how little he knows about the woman he loves.<sup><a href="#cite_note-wired-jan11-57">[56]</a></sup> DiCaprio praised Cotillard's performance saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".<sup><a href="#cite_note-ProdNotes6-18-20">[19]</a></sup><sup>: 10 </sup>
</p><p>Nolan began with the structure of a heist movie, since <a href="/wiki/Exposition_(literary_technique)">exposition</a> is an essential element of that genre, though adapted it to have a greater emotional narrative suited to the world of dreams and subconscious.<sup><a href="#cite_note-wired-jan11-57">[56]</a></sup> As Denby described this device: "the outer shell of the story is an elaborate caper".<sup><a href="#cite_note-Denby-53">[52]</a></sup> <a href="/wiki/Kristin_Thompson">Kristin Thompson</a> argued that exposition was a major formal device in the film. While a traditional heist movie has a heavy dose of exposition at the beginning as the team assembles and the leader explains the plan, in <i>Inception</i> this becomes nearly continuous as the group progresses through the various levels of dreaming.<sup><a href="#cite_note-Bordwell2-58">[57]</a></sup> Three quarters of the film, until the van begins to fall from the bridge, are devoted to explaining its plot. In this way, exposition takes precedence over characterization. The characters' relationships are created by their respective skills and roles. Ariadne, like <a href="/wiki/Ariadne">her ancient namesake</a>, creates the maze and guides the others through it, but also helps Cobb navigate his own subconscious, and as the sole student of dream sharing, helps the audience understand the concept of the plot.<sup><a href="#cite_note-Bordwell1-59">[58]</a></sup>
</p><p>Nolan drew inspiration from the works of <a href="/wiki/Jorge_Luis_Borges">Jorge Luis Borges</a>,<sup><a href="#cite_note-Hiscock-9">[8]</a></sup><sup><a href="#cite_note-60">[59]</a></sup> including "<a href="/wiki/The_Secret_Miracle">The Secret Miracle</a>" and "<a href="/wiki/The_Circular_Ruins">The Circular Ruins</a>",<sup><a href="#cite_note-Revisit_Inception-61">[60]</a></sup> and from the films <i><a href="/wiki/Blade_Runner">Blade Runner</a></i> (1982) and <i><a href="/wiki/The_Matrix">The Matrix</a></i> (1999).<sup><a href="#cite_note-Revisit_Inception-61">[60]</a></sup><sup><a href="#cite_note-62">[61]</a></sup> While Nolan has not confirmed this, it has also been suggested by many observers that the movie draws heavy inspiration from the 2006 animated film <i><a href="/wiki/Paprika_(2006_film)">Paprika</a></i>.<sup><a href="#cite_note-Drazen-63">[62]</a></sup><sup><a href="#cite_note-Wardlow-64">[63]</a></sup><sup><a href="#cite_note-IGN-65">[64]</a></sup>
</p>
<h3>Ending</h3>
<p>The film cuts to the <a href="/wiki/Closing_credits">closing credits</a> from a shot of the top apparently starting to show an ever so faint wobble, inviting speculation about whether the final sequence was reality or another dream. Nolan confirmed that the ambiguity was deliberate,<sup><a href="#cite_note-wired-jan11-57">[56]</a></sup> saying, "I've been asked the question more times than I've ever been asked any other question about any other film I've made... What's funny to me is that people really do expect me to answer it."<sup><a href="#cite_note-insidemovies-66">[65]</a></sup> The film's script concludes with "Behind him, on the table, the spinning top is STILL SPINNING. And we—FADE OUT".<sup><a href="#cite_note-67">[66]</a></sup> Nolan said, "I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me—it always felt like the appropriate 'kick' to me... The real point of the scene—and this is what I tell people—is that Cobb isn't looking at the top. He's looking at his kids. He's left it behind. That's the emotional significance of the thing."<sup><a href="#cite_note-insidemovies-66">[65]</a></sup> Also, <a href="/wiki/Michael_Caine">Michael Caine</a> explained his interpretation of the ending, saying, "If I'm there it's real, because I'm never in the dream. I'm the guy who invented the dream."<sup><a href="#cite_note-68">[67]</a></sup>
</p><p><a href="/wiki/Mark_Fisher">Mark Fisher</a> argued that "a century of cultural theory" cautions against accepting the <a href="/wiki/Authorial_intent">author's interpretation</a> as anything more than a supplementary text, and this all the more so given the theme of the instability of any one master position in Nolan's films. Therein the manipulator is often the one who ends up manipulated, and Cobb's "not caring" about whether or not his world is real may be the price of his happiness and release.<sup><a href="#cite_note-69">[68]</a></sup>
</p>
<h2>Release</h2>
<h3>Marketing</h3>
<p>Warner Bros. spent US$100 million marketing the film. Although <i>Inception</i> was not part of an existing franchise, Sue Kroll, president of Warner's worldwide marketing, said the company believed it could gain awareness due to the strength of "Christopher Nolan as a brand". Kroll declared that "We don't have the brand equity that usually drives a big summer opening, but we have a great cast and a fresh idea from a filmmaker with a track record of making incredible movies. If you can't make those elements work, it's a sad day."<sup><a href="#cite_note-Fritz2-70">[69]</a></sup> The studio also tried to maintain a campaign of secrecy—as reported by the Senior VP of Interactive Marketing, Michael Tritter, "You have this movie which is going to have a pretty big built in fanbase... but you also have a movie that you are trying to keep very secret. Chris [Nolan] really likes people to see his movies in a theater and not see it all beforehand so everything that you do to market that—at least early on—is with an eye to feeding the interest to fans."<sup><a href="#cite_note-71">[70]</a></sup>
</p><p>A <a href="/wiki/Viral_marketing">viral marketing</a> campaign was employed for the film. After the revelation of the first teaser trailer, in August 2009, the film's official website featured only an animation of Cobb's spinning top. In December, the top toppled over and the website opened the online game <i>Mind Crime</i>, which upon completion revealed <i>Inception</i>'s poster.<sup><a href="#cite_note-72">[71]</a></sup> The rest of the campaign unrolled after <a href="/wiki/WonderCon">WonderCon</a> in April 2010, where Warner gave away promotional T-shirts featuring the PASIV briefcase used to create the dream space, and had a <a href="/wiki/QR_code">QR code</a> linking to an online manual of the device.<sup><a href="#cite_note-73">[72]</a></sup> <i>Mind Crime</i> also received a stage 2 with more resources, including a hidden trailer for the movie.<sup><a href="#cite_note-trailer-74">[73]</a></sup> More pieces of viral marketing began to surface before <i>Inception</i>'s release, such as a manual filled with bizarre images and text sent to <i><a href="/wiki/Wired_(magazine)">Wired</a></i> magazine,<sup><a href="#cite_note-75">[74]</a></sup> and the online publication of posters, ads, phone applications, and strange websites all related to the film.<sup><a href="#cite_note-76">[75]</a></sup><sup><a href="#cite_note-77">[76]</a></sup> Warner also released an online prequel comic, <i>Inception: The Cobol Job</i>.<sup><a href="#cite_note-78">[77]</a></sup>
</p><p>The official trailer released on May 10, 2010, through <i>Mind Game</i> was extremely well received.<sup><a href="#cite_note-trailer-74">[73]</a></sup> It featured an original piece of music, "Mind Heist", by recording artist <a href="/wiki/Zack_Hemsey">Zack Hemsey</a>,<sup><a href="#cite_note-79">[78]</a></sup> rather than music from the score.<sup><a href="#cite_note-80">[79]</a></sup> The trailer quickly went viral with numerous <a href="/wiki/Mashup_(video)">mashups</a> copying its style, both by amateurs on sites like YouTube<sup><a href="#cite_note-81">[80]</a></sup> and by professionals on sites such as <a href="/wiki/CollegeHumor">CollegeHumor</a>.<sup><a href="#cite_note-82">[81]</a></sup><sup><a href="#cite_note-83">[82]</a></sup> On June 7, 2010, a behind-the-scenes featurette on the film was released in HD on Yahoo! Movies.<sup><a href="#cite_note-84">[83]</a></sup>
</p><p><i>Inception</i> and its film trailers are widely credited for launching the trend throughout the 2010s in which blockbuster movie trailers repeatedly hit audiences with so-called "braam" sounds: "bassy, brassy, thunderous notes—like a foghorn on steroids—meant to impart a sense of apocalyptic momentousness".<sup><a href="#cite_note-Abramovitch-85">[84]</a></sup> However, different composers worked on the teaser trailer, first trailer, second trailer, and film score, meaning that identifying the composer(s) responsible for that trend is a complicated task.<sup><a href="#cite_note-Abramovitch-85">[84]</a></sup>
</p>
<h3>Home media</h3>
<p><i>Inception</i> was released on <a href="/wiki/DVD-Video">DVD</a> and <a href="/wiki/Blu-ray">Blu-ray</a> on December 3, 2010, in France,<sup><a href="#cite_note-86">[85]</a></sup> and the week after in the UK and USA (December 7, 2010).<sup><a href="#cite_note-87">[86]</a></sup><sup><a href="#cite_note-88">[87]</a></sup> Warner Bros. also made available in the United States a limited Blu-ray edition packaged in a metal replica of the PASIV briefcase, which included extras such as a metal replica of the spinning top totem. With a production run of less than 2,000, it sold out in one weekend.<sup><a href="#cite_note-Limited-89">[88]</a></sup> <i>Inception</i> was released on <a href="/wiki/4K_Blu-ray">4K Blu-ray</a> and <a href="/wiki/Digital_copy">digital copy</a> along with other Christopher Nolan films on December 19, 2017.<sup><a href="#cite_note-90">[89]</a></sup> As of 2018, the <a href="/wiki/Home_video">home video</a> releases have sold over 9 million units and grossed over $160 million.<sup><a href="#cite_note-91">[90]</a></sup>
</p>
<h3>Putative video game</h3>
<p>In a November 2010 interview, Nolan expressed his intention to develop a video game set in the <i>Inception</i> world, working with a team of collaborators. He described it as "a longer-term proposition", referring to the medium of video games as "something I've wanted to explore".<sup><a href="#cite_note-92">[91]</a></sup>
</p>
<h3>10th anniversary re-release</h3>
<p><i>Inception</i> was re-released in theaters for its tenth anniversary, starting on August 12, 2020, in international markets and on August 21 in the U.S.<sup><a href="#cite_note-TenetDelaySep3-93">[92]</a></sup> The re-release was originally announced by Warner Bros. in June 2020 and scheduled for July 17, 2020, taking the original release date for Nolan's upcoming film <i><a href="/wiki/Tenet_(film)">Tenet</a></i> after its delay to July 31 due to the impact of the <a href="/wiki/COVID-19_pandemic">COVID-19 pandemic</a> on movie theaters.<sup><a href="#cite_note-94">[93]</a></sup> After <i>Tenet</i> was delayed again to August 12, the re-release was shifted to July 31,<sup><a href="#cite_note-Rubin-Jun2020-95">[94]</a></sup> before setting on the August release date following a third delay.<sup><a href="#cite_note-TenetDelaySep3-93">[92]</a></sup>
</p>
<h2>Reception</h2>
<h3>Box office</h3>
<table>
<tbody><tr>
<th>Film
</th>
<th>Release date
</th>
<th>Box office revenue
</th>
<th>Box office ranking
</th>
<th>Budget
</th>
<th>Reference
</th></tr>
<tr>
<th>United States
</th>
<th>North America
</th>
<th>International
</th>
<th>Worldwide
</th>
<th>All-time United States
</th>
<th>All-time worldwide
</th></tr>
<tr>
<td><i>Inception </i>
</td>
<td>July 2010
</td>
<td>US$292,576,195
</td>
<td>US$532,956,569
</td>
<td>US$825,532,764
</td>
<td>No. 80
</td>
<td>No. 67
</td>
<td>US$160,000,000
</td>
<td><sup><a href="#cite_note-96">[95]</a></sup>
</td></tr></tbody></table>
<p><i>Inception</i> was released in both conventional and <a href="/wiki/IMAX">IMAX</a> theaters on July 16, 2010.<sup><a href="#cite_note-release-97">[96]</a></sup><sup><a href="#cite_note-98">[97]</a></sup> The film had its world premiere at <a href="/wiki/Leicester_Square">Leicester Square</a> in London on July 8, 2010.<sup><a href="#cite_note-99">[98]</a></sup> In the United States and Canada, <i>Inception</i> was released theatrically in 3,792 conventional theaters and 195 IMAX theaters.<sup><a href="#cite_note-release-97">[96]</a></sup> The film grossed US$21.8 million during its opening day on July 16, 2010, with midnight screenings in 1,500 locations.<sup><a href="#cite_note-100">[99]</a></sup> Overall the film made US$62.7 million and debuted at No.1 on its opening weekend.<sup><a href="#cite_note-mojo-weekend-101">[100]</a></sup> <i>Inception</i>'s opening weekend gross made it the second-highest-grossing debut for a <a href="/wiki/Science_fiction_film">science fiction film</a> that was not a sequel, remake or adaptation, behind <a href="/wiki/Avatar_(2009_film)"><i>Avatar</i></a>'s US$77 million opening-weekend gross in 2009.<sup><a href="#cite_note-mojo-weekend-101">[100]</a></sup> The film held the top spot of the box office rankings in its second and third weekends, with drops of just 32% (US$42.7 million) and 36% (US$27.5 million), respectively,<sup><a href="#cite_note-102">[101]</a></sup><sup><a href="#cite_note-103">[102]</a></sup> before dropping to second place in its fourth week, behind <i><a href="/wiki/The_Other_Guys">The Other Guys</a></i>.<sup><a href="#cite_note-104">[103]</a></sup>
</p><p><i>Inception</i> grossed US$292 million in the United States and Canada, US$56 million in the United Kingdom, Ireland and <a href="/wiki/Malta">Malta</a> and US$475 million in other countries for a total of US$823 million worldwide.<sup><a href="#cite_note-Mojo-4">[3]</a></sup> Its five highest-grossing markets after the US and Canada (US$292 million) were China (US$68 million), the United Kingdom, Ireland and <a href="/wiki/Malta">Malta</a> (US$56 million), France and the <a href="/wiki/Maghreb">Maghreb</a> region (US$43 million), Japan (US$40 million) and <a href="/wiki/South_Korea">South Korea</a> (US$38 million).<sup><a href="#cite_note-105">[104]</a></sup> It was the <a href="/wiki/List_of_American_films_of_2010#Box_office">sixth-highest-grossing film of 2010 in North America</a>,<sup><a href="#cite_note-106">[105]</a></sup> and the <a href="/wiki/2010_in_film#Highest-grossing_films">fourth-highest-grossing film of 2010</a>, behind <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i>, <i><a href="/wiki/Alice_in_Wonderland_(2010_film)">Alice in Wonderland</a></i> and <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1">Harry Potter and the Deathly Hallows – Part 1</a></i>.<sup><a href="#cite_note-107">[106]</a></sup> <i>Inception</i> is the third most lucrative production in Christopher Nolan's career—behind <i><a href="/wiki/The_Dark_Knight_(film)">The Dark Knight</a></i> and <i><a href="/wiki/The_Dark_Knight_Rises">The Dark Knight Rises</a></i><sup><a href="#cite_note-108">[107]</a></sup>—and the second most for <a href="/wiki/Leonardo_DiCaprio">Leonardo DiCaprio</a>—behind <i><a href="/wiki/Titanic_(1997_film)">Titanic</a></i>.<sup><a href="#cite_note-109">[108]</a></sup>
</p>
<h3>Critical response</h3>
<p>
On <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, the film holds an approval rating of 87% based on 361 reviews, with an average rating of 8.10/10. The website's critical consensus reads: "Smart, innovative, and thrilling, <i>Inception</i> is that rare summer blockbuster that succeeds viscerally as well as intellectually."<sup><a href="#cite_note-tomatoes-110">[109]</a></sup> <a href="/wiki/Metacritic">Metacritic</a>, another review aggregator, assigned the film a weighted average score of 74 out of 100, based on 42 critics, indicating "generally favorable reviews".<sup><a href="#cite_note-metacritic-111">[110]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "B+" on an A+ to F scale.<sup><a href="#cite_note-112">[111]</a></sup>
</p><p><a href="/wiki/Peter_Travers">Peter Travers</a> of <i><a href="/wiki/Rolling_Stone">Rolling Stone</a></i> called <i>Inception</i> a "wildly ingenious chess game," and concluded "the result is a knockout."<sup><a href="#cite_note-113">[112]</a></sup> Justin Chang of <i><a href="/wiki/Variety_(magazine)">Variety</a></i> praised the film as "a conceptual <a href="https://en.wiktionary.org/wiki/tour_de_force">tour de force</a>" and wrote, "applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the <a href="/wiki/Labyrinth">labyrinth</a> of the <a href="/wiki/Unconscious_mind">unconscious mind</a>, the writer-director has devised a heist thriller for <a href="/wiki/Surrealist">surrealists</a>, a <a href="/wiki/Jung">Jungian</a>'s <i><a href="/wiki/Rififi">Rififi</a></i>, that challenges viewers to sift through multiple layers of (un)reality."<sup><a href="#cite_note-variety-review-114">[113]</a></sup> Jim Vejvoda of <a href="/wiki/IGN">IGN</a> rated the film as perfect, deeming it "a singular accomplishment from a filmmaker who has only gotten better with each film."<sup><a href="#cite_note-115">[114]</a></sup> <a href="/wiki/Relevant_(magazine)"><i>Relevant</i></a>'s David Roark called it Nolan's "greatest accomplishment," saying, "Visually, intellectually and emotionally, <i>Inception</i> is a masterpiece."<sup><a href="#cite_note-116">[115]</a></sup>
</p><p>In its August 2010 issue, <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> magazine gave the film a full five stars and wrote, "it feels like <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a> adapting the work of the great sci-fi author <a href="/wiki/William_Gibson">William Gibson</a> [...] Nolan delivers another true original: welcome to an undiscovered country."<sup><a href="#cite_note-117">[116]</a></sup> <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i>'s Lisa Schwarzbaum gave the film a B+ grade and wrote, "It's a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by <a href="/wiki/M._C._Escher">M. C. Escher</a> or a state-of-the-biz video game; the backwards splicing of Nolan's own <i>Memento</i> looks rudimentary by comparison."<sup><a href="#cite_note-118">[117]</a></sup> The <i><a href="/wiki/New_York_Post">New York Post</a></i>'s <a href="/wiki/Lou_Lumenick">Lou Lumenick</a> gave the film a four-star rating and wrote, "DiCaprio, who has never been better as the tortured hero, draws you in with a love story that will appeal even to non-sci-fi fans."<sup><a href="#cite_note-119">[118]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> of the <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i> awarded the film a full four stars and said that <i>Inception</i> "is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act."<sup><a href="#cite_note-120">[119]</a></sup> <a href="/wiki/Richard_Roeper">Richard Roeper</a>, also of the <i>Sun-Times</i>, gave <i>Inception</i> an "A+" score and called it "one of the best movies of the [21st] century."<sup><a href="#cite_note-121">[120]</a></sup> <a href="/wiki/BBC_Radio_5_Live">BBC Radio 5 Live</a>'s <a href="/wiki/Mark_Kermode">Mark Kermode</a> named <i>Inception</i> as the best film of 2010, stating that "<i>Inception</i> is proof that people are not stupid, that cinema is not trash, and that it is possible for blockbusters and art to be the same thing."<sup><a href="#cite_note-Kermode-122">[121]</a></sup>
</p><p><a href="/wiki/Michael_Phillips_(critic)">Michael Phillips</a> of the <i><a href="/wiki/Chicago_Tribune">Chicago Tribune</a></i> gave the film 3 out of 4 stars and wrote, "I found myself wishing <i>Inception</i> were weirder, further out [...] the film is Nolan's labyrinth all the way, and it's gratifying to experience a summer movie with large visual ambitions and with nothing more or less on its mind than (as <a href="/wiki/Shakespeare">Shakespeare</a> said) a dream that hath no bottom."<sup><a href="#cite_note-123">[122]</a></sup> <a href="/wiki/Time_(magazine)"><i>TIME</i></a> magazine's <a href="/wiki/Richard_Corliss">Richard Corliss</a> wrote that the film's "noble intent is to implant one man's vision in the mind of a vast audience [...] The idea of moviegoing as communal dreaming is a century old. With <i>Inception</i>, viewers have a chance to see that notion get a state-of-the-art update."<sup><a href="#cite_note-124">[123]</a></sup> <a href="/wiki/Kenneth_Turan">Kenneth Turan</a> of the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> felt that Nolan was able to blend "the best of traditional and modern filmmaking. If you're searching for smart and nervy popular entertainment, this is what it looks like."<sup><a href="#cite_note-125">[124]</a></sup>
<i><a href="/wiki/USA_Today">USA Today</a></i>'s Claudia Puig gave the film three-and-a-half out of four stars and felt that Nolan "regards his viewers as possibly smarter than they are—or at least as capable of rising to his inventive level. That's a tall order. But it's refreshing to find a director who makes us stretch, even occasionally struggle, to keep up."<sup><a href="#cite_note-126">[125]</a></sup>
</p><p>Not all reviewers gave the film positive reviews. <i><a href="/wiki/New_York_(magazine)">New York</a></i> magazine's <a href="/wiki/David_Edelstein">David Edelstein</a> claimed in his review that he had "no idea what so many people are raving about. It's as if someone went into their heads while they were sleeping and planted the idea that <i>Inception</i> is a visionary masterpiece and—hold on ... Whoa! I think I get it. The movie is a metaphor for the power of delusional hype—a metaphor for itself."<sup><a href="#cite_note-127">[126]</a></sup> <i><a href="/wiki/The_New_York_Observer">The New York Observer</a></i>'s <a href="/wiki/Rex_Reed">Rex Reed</a> explained that the film's development was "pretty much what we've come to expect from summer movies in general and Christopher Nolan movies in particular ... [it] doesn't seem like much of an accomplishment to me."<sup><a href="#cite_note-128">[127]</a></sup> <a href="/wiki/A._O._Scott">A. O. Scott</a> of <i><a href="/wiki/The_New_York_Times">The New York Times</a></i> commented "there is a lot to see in <i>Inception</i>, there is nothing that counts as genuine vision. Mr. Nolan's idea of the mind is too literal, too logical, and too rule-bound to allow the full measure of madness."<sup><a href="#cite_note-129">[128]</a></sup> <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i>'s <a href="/wiki/David_Denby">David Denby</a> considered the film to "not nearly [be] as much fun as Nolan imagined it to be", concluding that "<i>Inception</i> is a stunning-looking film that gets lost in fabulous intricacies, a movie devoted to its own workings and to little else."<sup><a href="#cite_note-Denby-53">[52]</a></sup>
</p><p>While some critics have tended to view the film as perfectly straightforward, and even criticize its overarching themes as "the stuff of torpid platitudes," online discussion has been much more positive.<sup><a href="#cite_note-130">[129]</a></sup> Heated debate has centered on the ambiguity of the ending, with many critics like Devin Faraci making the case that the film is self-referential and tongue-in-cheek, both a film about film-making and a dream about dreams.<sup><a href="#cite_note-131">[130]</a></sup> Other critics read <i>Inception</i> as Christian allegory and focus on the film's use of religious and water symbolism.<sup><a href="#cite_note-132">[131]</a></sup> Yet other critics, such as <a href="/wiki/Kristin_Thompson">Kristin Thompson</a>, see less value in the ambiguous ending of the film and more in its structure and novel method of storytelling, highlighting <i>Inception</i> as a new form of narrative that revels in "continuous exposition".<sup><a href="#cite_note-Bordwell2-58">[57]</a></sup>
</p><p>Several critics and scholars have noted the film has many striking similarities to the 2006 <a href="/wiki/Anime">anime</a> film <i><a href="/wiki/Paprika_(2006_film)">Paprika</a></i> by <a href="/wiki/Satoshi_Kon">Satoshi Kon</a> (and <a href="/wiki/Yasutaka_Tsutsui">Yasutaka Tsutsui</a>'s 1993 <a href="/wiki/Paprika_(novel)">novel of the same name</a>), including plot similarities, similar scenes, and similar characters, arguing that <i>Inception</i> was influenced by <i>Paprika</i>.<sup><a href="#cite_note-Drazen-63">[62]</a></sup><sup><a href="#cite_note-Wardlow-64">[63]</a></sup><sup><a href="#cite_note-IGN-65">[64]</a></sup><sup><a href="#cite_note-133">[132]</a></sup><sup><a href="#cite_note-134">[133]</a></sup> Several sources have also noted plot similarities between the film and the 2002 <a href="/wiki/Scrooge_McDuck">Uncle Scrooge</a> comic <i><a href="/wiki/The_Dream_of_a_Lifetime">The Dream of a Lifetime</a></i> by <a href="/wiki/Don_Rosa">Don Rosa</a>.<sup><a href="#cite_note-135">[134]</a></sup><sup><a href="#cite_note-136">[135]</a></sup><sup><a href="#cite_note-137">[136]</a></sup> The influence of Tarkovsky's <i><a href="/wiki/Solaris_(1972_film)">Solaris</a></i> on <i>Inception</i> was noted as well.<sup><a href="#cite_note-138">[137]</a></sup><sup><a href="#cite_note-139">[138]</a></sup>
</p>
<h3>Year-end and all-time lists</h3>
<p><i>Inception</i> appeared on over 273 critics' lists of the top ten films of 2010, being picked as number-one on at least 55 of those lists.<sup><a href="#cite_note-criticstop10-140">[139]</a></sup> It was the second-most-mentioned film in both the top ten lists and number-one rankings, only behind <i><a href="/wiki/The_Social_Network">The Social Network</a></i> along with <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i>, <i><a href="/wiki/True_Grit_(2010_film)">True Grit</a></i>, <i><a href="/wiki/The_King%27s_Speech">The King's Speech</a></i>, and <i><a href="/wiki/Black_Swan_(film)">Black Swan</a></i> as the most critically acclaimed films of 2010.<sup><a href="#cite_note-criticstop10-140">[139]</a></sup> Author <a href="/wiki/Stephen_King">Stephen King</a> placed <i>Inception</i> at #3 in his list of top 10 best movies of the year.<sup><a href="#cite_note-141">[140]</a></sup>
</p><p>Critics and publications who ranked the film first for that year included <a href="/wiki/Richard_Roeper">Richard Roeper</a> of the <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i>, <a href="/wiki/Kenneth_Turan">Kenneth Turan</a> of the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> (tied with <i><a href="/wiki/The_Social_Network">The Social Network</a></i> and <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i>), Tasha Robinson of <i><a href="/wiki/The_A.V._Club">The A.V. Club</a></i>, <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> magazine, and Kirk Honeycutt of <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>.<sup><a href="#cite_note-metacritictopten-142">[141]</a></sup>
</p><p>In March 2011, the film was voted by <a href="/wiki/BBC_Radio_1">BBC Radio 1</a> and <a href="/wiki/BBC_Radio_1Xtra">BBC Radio 1Xtra</a> listeners as their ninth-favorite film of all time.<sup><a href="#cite_note-143">[142]</a></sup> Producer <a href="/wiki/Roger_Corman">Roger Corman</a> cited <i>Inception</i> as an example of "great imagination and originality".<sup><a href="#cite_note-144">[143]</a></sup> It was voted as the third-best science fiction film of all time in the 2011 list <i><a href="/wiki/Best_in_Film:_The_Greatest_Movies_of_Our_Time">Best in Film: The Greatest Movies of Our Time</a></i>, based on a poll conducted by <a href="/wiki/American_Broadcasting_Company">ABC</a> and <i><a href="/wiki/People_(magazine)">People</a></i>.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> In 2012, <i>Inception</i> was ranked the 35th-best-edited film of all time by the <a href="/wiki/Motion_Picture_Editors_Guild">Motion Picture Editors Guild</a>.<sup><a href="#cite_note-editorsguild-145">[144]</a></sup> In the same year, <i><a href="/wiki/Total_Film">Total Film</a></i> named it the most-rewatchable movie of all time.<sup><a href="#cite_note-Rewatchable-146">[145]</a></sup> In 2014, <i>Empire</i> ranked <i>Inception</i> the tenth-greatest film ever made on their list of "The 301 Greatest Movies Of All Time" as voted by the magazine's readers,<sup><a href="#cite_note-147">[146]</a></sup> while <i>Rolling Stone</i> magazine named it the second-best science fiction film since the turn of the century.<sup><a href="#cite_note-148">[147]</a></sup> <i>Inception</i> was ranked 84th on <i>Hollywood's 100 Favorite Films</i>, a list compiled by <i>The Hollywood Reporter</i> in 2014, surveying "Studio chiefs, Oscar winners and TV royalty".<sup><a href="#cite_note-149">[148]</a></sup> In 2016, <i>Inception</i> was voted the <a href="/wiki/BBC%27s_100_Greatest_Films_of_the_21st_Century">51st-best film of the 21st Century</a> by <a href="/wiki/BBC">BBC</a>, as picked by 177 film critics from around the world.<sup><a href="#cite_note-150">[149]</a></sup> The film was included in the <a href="/wiki/Visual_Effects_Society">Visual Effects Society</a>'s list of "The Most Influential Visual Effects Films of All Time".<sup><a href="#cite_note-151">[150]</a></sup> In 2019, <i>Total Film</i> named <i>Inception</i> the best film of the 2010s.<sup><a href="#cite_note-152">[151]</a></sup> Many critics and media outlets included <i>Inception</i> in their rankings of the best films of the 2010s.<sup><a href="#cite_note-153">[152]</a></sup><sup><a href="#cite_note-154">[153]</a></sup><sup><a href="#cite_note-155">[154]</a></sup><sup><a href="#cite_note-156">[155]</a></sup><sup><a href="#cite_note-157">[156]</a></sup><sup><a href="#cite_note-158">[157]</a></sup> The film was included in <i><a href="/wiki/Forbes">Forbes</a></i> magazine's list of <i>Top 150 Greatest Films of 21st Century</i>.<sup><a href="#cite_note-159">[158]</a></sup>
</p><p>In April 2014, <i><a href="/wiki/The_Daily_Telegraph">The Daily Telegraph</a></i> placed the title on its top ten list of the most overrated films. <i>Telegraph</i>'s Tim Robey stated, "It's a criminal failing of the movie that it purports to be about people's dreams being invaded, but demonstrates no instinct at all for what a dream has ever felt like, and no flair for making us feel like we're in one, at any point."<sup><a href="#cite_note-160">[159]</a></sup> The film won an informal poll by the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> as the most overrated movie of 2010.<sup><a href="#cite_note-161">[160]</a></sup>
</p>
<h3>Accolades</h3>
<p>The film won many awards in technical categories, such as <a href="/wiki/Academy_Awards">Academy Awards</a> for <a href="/wiki/Academy_Award_for_Best_Cinematography">Best Cinematography</a>, <a href="/wiki/Academy_Award_for_Best_Sound_Editing">Best Sound Editing</a>, <a href="/wiki/Academy_Award_for_Best_Sound">Best Sound Mixing</a>, and <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>,<sup><a href="#cite_note-oscars-51">[50]</a></sup> and the <a href="/wiki/British_Academy_Film_Awards">British Academy Film Awards</a> for <a href="/wiki/BAFTA_Award_for_Best_Production_Design">Best Production Design</a>, <a href="/wiki/BAFTA_Award_for_Best_Special_Visual_Effects">Best Special Visual Effects</a> and <a href="/wiki/BAFTA_Award_for_Best_Sound">Best Sound</a>.<sup><a href="#cite_note-BAFTA-162">[161]</a></sup> In most of its artistic nominations, such as Film, Director, and Screenplay at the Oscars, BAFTAs and <a href="/wiki/Golden_Globes">Golden Globes</a>, the film was defeated by <i><a href="/wiki/The_Social_Network">The Social Network</a></i> or <i><a href="/wiki/The_King%27s_Speech">The King's Speech</a></i>.<sup><a href="#cite_note-oscars-51">[50]</a></sup><sup><a href="#cite_note-BAFTA-162">[161]</a></sup><sup><a href="#cite_note-163">[162]</a></sup> However, the film did win the two highest honors for a science fiction or fantasy film: the 2011 <a href="/wiki/Bradbury_Award">Bradbury Award</a> for best dramatic production<sup><a href="#cite_note-Nebulas-164">[163]</a></sup> and the 2011 <a href="/wiki/Hugo_Award_for_Best_Dramatic_Presentation#Long_Form">Hugo Award for Best Dramatic Presentation (Long Form)</a>.<sup><a href="#cite_note-Hugos-165">[164]</a></sup>
</p>
<h2>In popular culture</h2>
<p>Numerous pop and hip hop songs reference the film, including <a href="/wiki/Common_(rapper)">Common</a>'s "Blue Sky," <a href="/wiki/N.E.R.D.">N.E.R.D.</a>'s "<a href="/wiki/Hypnotize_U">Hypnotize U</a>," <a href="/wiki/XV_(rapper)">XV</a>'s "The Kick," <a href="/wiki/Black_Eyed_Peas">Black Eyed Peas</a>' "<a href="/wiki/Just_Can%27t_Get_Enough_(Black_Eyed_Peas_song)">Just Can't Get Enough</a>," <a href="/wiki/Lil_Wayne">Lil Wayne</a>'s "<a href="/wiki/6_Foot_7_Foot">6 Foot 7 Foot</a>," <a href="/wiki/Jennifer_Lopez">Jennifer Lopez</a>'s "<a href="/wiki/On_the_Floor">On the Floor</a>," and <a href="/wiki/B.o.B">B.o.B</a>'s "<a href="/wiki/Strange_Clouds_(song)">Strange Clouds</a>," while <a href="/wiki/T.I.">T.I.</a> had <i>Inception</i>-based artwork on two of his mixtapes. An instrumental track by <a href="/wiki/Joe_Budden">Joe Budden</a> is titled "Inception."<sup><a href="#cite_note-166">[165]</a></sup> The animated series <i><a href="/wiki/South_Park">South Park</a></i> parodies the film in the show's tenth episode of its <a href="/wiki/South_Park_(season_14)">fourteenth season</a>, titled "<a href="/wiki/Insheeption">Insheeption</a>."<sup><a href="#cite_note-167">[166]</a></sup> The film was also an influence for <a href="/wiki/Ariana_Grande">Ariana Grande</a>'s video for "<a href="/wiki/No_Tears_Left_to_Cry">No Tears Left to Cry</a>."<sup><a href="#cite_note-168">[167]</a></sup> "<a href="/wiki/Lawnmower_Dog">Lawnmower Dog</a>", the second episode of the animated comedy show <i><a href="/wiki/Rick_and_Morty">Rick and Morty</a></i>, parodied the film.<sup><a href="#cite_note-169">[168]</a></sup> In an episode of <i><a href="/wiki/The_Simpsons">The Simpsons</a></i>, named "<a href="/wiki/How_I_Wet_Your_Mother">How I Wet Your Mother</a>", the plot spoofs <i>Inception</i> with various scenes parodying moments from the film.<sup><a href="#cite_note-170">[169]</a></sup> The showrunners of the television series <i><a href="/wiki/The_Flash_(2014_TV_series)">The Flash</a></i> said its season 4 finale was inspired by <i>Inception</i>.<sup><a href="#cite_note-171">[170]</a></sup> In February 2020, American singer-songwriter <a href="/wiki/Taylor_Swift">Taylor Swift</a> released a lyric video for her single "<a href="/wiki/The_Man_(Taylor_Swift_song)">The Man</a>", which featured visuals bearing resemblance to the film. The song also mentions DiCaprio in its lyrics.<sup><a href="#cite_note-172">[171]</a></sup>
</p><p>The film's title has been colloquialized as the suffix <i><a href="https://en.wiktionary.org/wiki/-ception">-ception</a></i>, which can be jokingly appended to a noun to indicate a layering, nesting, or recursion of the thing in question.<sup><a href="#cite_note-173">[172]</a></sup>
</p>
<h2>See also</h2>
<ul><li><a href="/wiki/Suggestion">Suggestion</a></li>
<li><a href="/wiki/Simulacrum">Simulacrum</a></li>
<li><a href="/wiki/Simulated_reality">Simulated reality</a></li>
<li><a href="/wiki/Solipsism">Solipsism</a></li>
<li><a href="/wiki/Dreamscape_(1984_film)"><i>Dreamscape</i></a> (1984 film)</li>
<li><i><a href="/wiki/Existenz">Existenz</a></i> (1999 film)</li>
<li><i><a href="/wiki/The_Three_Stigmata_of_Palmer_Eldritch">The Three Stigmata of Palmer Eldritch</a></i> (1965 novel)</li></ul>
<h2>Notes</h2>
<div><ol>
<li>^ <a href="#cite_ref-Elliot_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Elliot_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Elliot_1-2"><sup><i><b>c</b></i></sup></a> Credited as Ellen Page; Page came out as transgender and changed his name in 2020.<sup><a href="#cite_note-elliotpage-174">[173]</a></sup>
</li>
</ol></div>
<h2>References</h2>
<div><ol>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.bbfc.co.uk/releases/inception-2010-2">"Inception"</a>. <a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a>. June 29, 2010. <a href="https://web.archive.org/web/20140228120007/http://www.bbfc.co.uk/releases/inception-2010-2">Archived</a> from the original on February 28, 2014. Retrieved August 8, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-Lumiere_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lumiere_3-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://lumiere.obs.coe.int/web/film_info/?id=34895">"Film: Inception"</a>. <a href="/wiki/Lumiere_(database)">Lumiere</a>. <a href="https://web.archive.org/web/20180623220350/http://lumiere.obs.coe.int/web/film_info/?id=34895">Archived</a> from the original on June 23, 2018. Retrieved November 7, 2017.</cite>
</li>
<li>^ <a href="#cite_ref-Mojo_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Mojo_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Mojo_4-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt1375666/">"<i>Inception</i>"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. Retrieved July 7, 2022.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite>Blair, Iain (July 15, 2010). <a href="https://www.reuters.com/article/us-nolan/a-minute-with-director-nolan-talks-about-inception-idUSTRE66E1Q520100715">"A Minute With: Director Nolan talks about "Inception""</a>. <i><a href="/wiki/Reuters">Reuters</a></i>. <a href="https://web.archive.org/web/20201121162455/https://www.reuters.com/article/us-nolan/a-minute-with-director-nolan-talks-about-inception-idUSTRE66E1Q520100715">Archived</a> from the original on November 21, 2020. Retrieved July 15, 2010. <q>It's a pretty complex, large-scale action film about dreams that hopefully combines some of the things I've been interested in exploring in my smaller films — memory, perception — with some of the grand scale techniques that I've used in bigger films, like "The Dark Knight.</q></cite>
</li>
<li><b><a href="#cite_ref-6">^</a></b> <cite><a href="https://www.warnerbros.com/movies/inception/">"WarnerBros.com – Inception"</a>. <i><a href="/wiki/Warner_Bros">Warner Bros</a></i>. <a href="https://web.archive.org/web/20200311214246/https://www.warnerbros.com/movies/inception">Archived</a> from the original on March 11, 2020. Retrieved March 19, 2020.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite><a href="https://collider.com/inception/">"INCEPTION"</a>. <i><a href="/wiki/Collider_(website)">Collider</a></i>. <a href="https://web.archive.org/web/20200319065630/https://collider.com/inception/">Archived</a> from the original on March 19, 2020. Retrieved March 19, 2020.</cite>
</li>
<li><b><a href="#cite_ref-synop_8-0">^</a></b> <cite>Eisenberg, Mike (May 5, 2010). <a href="https://screenrant.com/inception-plot-synopsis-deatails-mikee-58124/">"Updated 'Inception' Synopsis Reveals More"</a>. <i>Screen Rant</i>. <a href="https://web.archive.org/web/20100711073553/http://screenrant.com/inception-plot-synopsis-deatails-mikee-58124/">Archived</a> from the original on July 11, 2010. Retrieved July 18, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-Hiscock_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Hiscock_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Hiscock_9-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Hiscock_9-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Hiscock_9-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Hiscock_9-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Hiscock_9-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Hiscock_9-7"><sup><i><b>h</b></i></sup></a> <cite>Hiscock, John (July 1, 2010). <a href="https://www.telegraph.co.uk/culture/film/filmmakersonfilm/7866677/Inception-Christopher-Nolan-interview.html">"<i>Inception</i>: Christopher Nolan interview"</a>. <i>Daily Telegraph</i>. UK. <a href="https://web.archive.org/web/20100704152719/http://www.telegraph.co.uk/culture/film/filmmakersonfilm/7866677/Inception-Christopher-Nolan-interview.html">Archived</a> from the original on July 4, 2010. Retrieved July 7, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-Itzkoff_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Itzkoff_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Itzkoff_10-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Itzkoff_10-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Itzkoff_10-4"><sup><i><b>e</b></i></sup></a> <cite>Itzkoff, Dave (June 30, 2010). <a href="https://artsbeat.blogs.nytimes.com/2010/06/30/a-man-and-his-dream-christopher-nolan-and-inception/">"A Man and His Dream: Christopher Nolan and 'Inception'"</a>. <i><a href="/wiki/The_New_York_Times">The New York Times</a></i>. <a href="https://web.archive.org/web/20120324170554/http://artsbeat.blogs.nytimes.com/2010/06/30/a-man-and-his-dream-christopher-nolan-and-inception/">Archived</a> from the original on March 24, 2012. Retrieved October 22, 2020. <q>This is a film I first pitched to the studio probably nine years ago, and I wasn't really ready to finish it. I needed more experience in making a big movie.</q></cite>
</li>
<li>^ <a href="#cite_ref-first_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-first_11-1"><sup><i><b>b</b></i></sup></a> <cite>Fleming, Michael (February 11, 2009). <a href="https://www.variety.com/article/VR1117999988">"Nolan tackles <i>Inception</i> for WB"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. <a href="https://web.archive.org/web/20111114042446/http://www.variety.com/article/VR1117999988">Archived</a> from the original on November 14, 2011. Retrieved February 25, 2009.</cite>
</li>
<li><b><a href="#cite_ref-filming_12-0">^</a></b> <cite><a href="http://www.nolanfans.com/tag/filming-locations/">"Filming Locations – NolanFans"</a>. December 6, 2009. <a href="https://web.archive.org/web/20120320105659/http://www.nolanfans.com/tag/filming-locations/">Archived</a> from the original on March 20, 2012. Retrieved March 23, 2012.</cite>
</li>
<li><b><a href="#cite_ref-budget_13-0">^</a></b> <cite>Fritz, Ben (July 15, 2010). <a href="https://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/07/inception-sorcerers-box-office.html">"Movie projector: 'Inception' headed for No. 1, 'Sorcerer's Apprentice' to open in third"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. <a href="https://web.archive.org/web/20111204154315/http://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/07/inception-sorcerers-box-office.html">Archived</a> from the original on December 4, 2011. Retrieved October 22, 2020. <q>It's also one of the most expensive, at $160 million, a cost that was split by Warner and Legendary Pictures.</q></cite>
</li>
<li><b><a href="#cite_ref-bomrelease_14-0">^</a></b> <cite>Subers, Ray (July 16, 2010). <a href="https://www.boxofficemojo.com/news/?id=2860&amp;p=.htm">"Weekend Briefing: 'Inception' Breaks In, 'Apprentice' Lacks Magic"</a>. <i>Box Office Mojo</i>. <a href="https://web.archive.org/web/20100720030152/http://www.boxofficemojo.com/news/?id=2860&amp;p=.htm">Archived</a> from the original on July 20, 2010. Retrieved July 18, 2010.</cite>
</li>
<li><b><a href="#cite_ref-15">^</a></b> <cite>Peters, Jenny (July 14, 2010). <a href="http://www.fashionwiredaily.com/first_word/entertainment/article.weml?id=3264">"Partying for a Cause at the "Inception" Premiere"</a>. <i>Fashion Wire Daily</i>. <a href="https://web.archive.org/web/20110927045422/http://www.fashionwiredaily.com/first_word/entertainment/article.weml?id=3264">Archived</a> from the original on September 27, 2011. Retrieved October 1, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Metacritic_2010s_16-0">^</a></b> <cite>Dietz, Jason (November 18, 2019). <a href="https://www.metacritic.com/feature/best-movies-of-the-decade-2010s">"The Best Movies of the Decade (2010–19), According to Film Critics"</a>. <i><a href="/wiki/Metacritic">Metacritic</a></i>. <a href="https://web.archive.org/web/20200101162640/https://www.metacritic.com/feature/best-movies-of-the-decade-2010s">Archived</a> from the original on January 1, 2020. Retrieved January 26, 2020.</cite>
</li>
<li>^ <a href="#cite_ref-Weintraub_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Weintraub_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Weintraub_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Weintraub_17-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Weintraub_17-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Weintraub_17-5"><sup><i><b>f</b></i></sup></a> <cite>Weintraub, Steve (March 25, 2010). <a href="https://web.archive.org/web/20100327204348/http://www.collider.com/2010/03/25/director-christopher-nolan-and-producer-emma-thomas-interview-inception-they-talk-3d-what-kind-of-cameras-they-used-pre-viz-wb-and-a-lot-more/">"Christopher Nolan and Emma Thomas Interview"</a>. <i>Collider.com</i>. Archived from <a href="https://www.collider.com/2010/03/25/director-christopher-nolan-and-producer-emma-thomas-interview-inception-they-talk-3d-what-kind-of-cameras-they-used-pre-viz-wb-and-a-lot-more/">the original</a> on March 27, 2010. Retrieved April 6, 2010.</cite>
</li>
<li><b><a href="#cite_ref-18">^</a></b> <cite>Masters, Kim (November 10, 2010). <a href="https://www.hollywoodreporter.com/news/list-directors-43873">"The A-List Directors"</a>. <i>The Hollywood Reporter</i>. <a href="https://web.archive.org/web/20200717145859/https://www.hollywoodreporter.com/news/list-directors-43873">Archived</a> from the original on July 17, 2020. Retrieved April 17, 2020.</cite>
</li>
<li><b><a href="#cite_ref-19">^</a></b> <cite>Burnetts, Charles (2015). Jones, Matthew; Omrod, Joan (eds.). <i>'Downwards is the only way forwards': 'Dream Space,' Parallel Time and Selfhood in Inception</i>. <i>Time Travel in Popular Media: Essays on Film, Television, Literature and Video Games</i>. <a href="/wiki/Jefferson,_North_Carolina">Jefferson, North Carolina</a>: <a href="/wiki/McFarland_%26_Company">McFarland</a>. pp. 234–246.</cite>
</li>
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<li><b><a href="#cite_ref-168">^</a></b> <cite>Willman, Chris (April 19, 2018). <a href="https://variety.com/2018/music/news/ariana-grande-no-tears-left-to-cry-review-1202770171/">"Song Review: Ariana Grande's 'No Tears Left to Cry'"</a>. <i>Variety</i>. <a href="https://web.archive.org/web/20180714170349/https://variety.com/2018/music/news/ariana-grande-no-tears-left-to-cry-review-1202770171/">Archived</a> from the original on July 14, 2018. Retrieved July 6, 2018.</cite>
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<li><b><a href="#cite_ref-169">^</a></b> <cite>Goldberg, Lesley (December 6, 2013). <a href="https://www.hollywoodreporter.com/live-feed/adult-swims-rick-morty-takes-661896">"Adult Swim's 'Rick and Morty' Takes On 'Inception'"</a>. <i>The Hollywood Reporter</i>. <a href="https://web.archive.org/web/20200513145350/https://www.hollywoodreporter.com/live-feed/adult-swims-rick-morty-takes-661896">Archived</a> from the original on May 13, 2020. Retrieved January 19, 2020.</cite>
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<li><b><a href="#cite_ref-170">^</a></b> <cite>Willmore, Alison (March 27, 2020). <a href="https://www.indiewire.com/2012/03/when-the-simpsons-went-inception-48463/">"When 'The Simpsons' Went 'Inception'"</a>. <i><a href="/wiki/Indiewire">Indiewire</a></i>. <a href="https://web.archive.org/web/20200327074123/https://www.indiewire.com/2012/03/when-the-simpsons-went-inception-48463/">Archived</a> from the original on March 27, 2020.</cite>
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</li>
</ol></div>
<h2>Further reading</h2>
<div>
<ul><li><cite>Johnson, David Kyle; Irwin, William (2011). <a href="https://archive.org/details/inceptionphiloso00john"><i>Inception and Philosophy: Because It's Never Just a Dream</i></a>. John Wiley &amp; Sons. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-118-07263-9"><bdi>978-1-118-07263-9</bdi></a>.</cite></li>
<li><cite>Nolan, Christopher; Nolan, Jonathan (2010). <i>Inception: The Shooting Script</i>. Insight Editions. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-60887-015-8"><bdi>978-1-60887-015-8</bdi></a>.</cite></li>
<li><cite>Crawford, Kevin Ray (2012), <i>The Rhetorics of the Time-Image: Deleuzian Metadiscourse on the Role of Nooshock Temporality (viz. "Inception") in Christopher Nolan's Cinema of the Brain</i>, ProQuest LLC</cite></li></ul>
</div>
<h2>External links</h2>
<div>
<p></p>
<p>Wikiquote has quotations related to <i><b><a href="https://en.wikiquote.org/wiki/Inception_(film)">Inception</a></b></i>.</p></div>
<div>
<p></p>
<p>Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Inception_(film)">Inception</a>.</p></div>
<ul><li><a href="http://www.inceptionmovie.com/">Official website</a></li>
<li><a href="https://www.imdb.com/title/tt1375666/"><i>Inception</i></a> at <a href="/wiki/IMDb">IMDb</a></li></ul>
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 Contents

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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Development
 + 3.2 Locations and sets
 + 3.3 Cinematography
 + 3.4 Visual effects
 + 3.5 Music
 * 4 Themes
 + 4.1 Reality and dreams
 + 4.2 Dreams and cinema
 * 5 Cinematic technique
 + 5.1 Genre
 + 5.2 Ending
 * 6 Release
 + 6.1 Marketing
 + 6.2 Home media
 + 6.3 Putative video game
 + 6.4 10th anniversary re-release
 * 7 Reception
 + 7.1 Box office
 + 7.2 Critical response
 + 7.3 Year-end and all-time lists
 + 7.4 Accolades
 * 8 In popular culture
 * 9 See also
 * 10 Notes
 * 11 References
 * 12 Further reading
 * 13 External links
 Toggle the table of contents

 Inception

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 From Wikipedia, the free encyclopedia
 For other uses, see Inception (disambiguation).

 Inception 
 Theatrical release poster
 Directed by Christopher Nolan 
 Written by Christopher Nolan 
 Produced by * Emma Thomas 
 * Christopher Nolan 
 * Leonardo DiCaprio 
 * Ken Watanabe 
 * Joseph Gordon-Levitt 
 * Marion Cotillard 
 Starring * Elliot Page[a] 
 * Tom Hardy 
 * Cillian Murphy 
 * Tom Berenger 
 * Michael Caine 
 Cinematography Wally Pfister 
 Edited by Lee Smith 
 Music by Hans Zimmer 
 Production * Warner Bros. Pictures 
 companies * Legendary Pictures 
 * Syncopy 
 Distributed by Warner Bros. Pictures 
 Release dates * July 8, 2010 (Odeon Leicester Square) 
 * July 16, 2010 (United States and United Kingdom)
 Running time 148 minutes[1] 
 Countries * United States[2] 
 * United Kingdom[2] 
 Language English 
 Budget $160 million[3] 
 Box office $836.8 million[3] 
 

 Inception is a 2010 science fiction action film[4][5][6] written and directed by Christopher Nolan, who also produced the film with Emma Thomas, his wife. The film stars Leonardo DiCaprio as a professional thief who steals information by infiltrating the subconscious of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person's idea into a target's subconscious.[7] The ensemble cast includes Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page,[a] Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, and Michael Caine.

 After the 2002 completion of Insomnia, Nolan presented to Warner Bros. a written 80-page treatment for a horror film envisioning "dream stealers," based on lucid dreaming.[8] Deciding he needed more experience before tackling a production of this magnitude and complexity, Nolan shelved the project and instead worked on 2005's Batman Begins, 2006's The Prestige, and The Dark Knight in 2008.[9] The treatment was revised over 6 months and was purchased by Warner in February 2009.[10] Inception was filmed in six countries, beginning in Tokyo on June 19 and ending in Canada on November 22.[11] Its official budget was $160 million, split between Warner Bros. and Legendary.[12] Nolan's reputation and success with The Dark Knight helped secure the film's US$100 million in advertising expenditure.

 Inception ' s premiere was held in London on July 8, 2010; it was released in both conventional and IMAX theaters beginning on July 16, 2010.[13][14] Inception grossed over $828 million worldwide, becoming the fourth-highest-grossing film of 2010. Considered one of the best films of the 2010s,[15] Inception won four Academy Awards (Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects) and was nominated for four more: Best Picture, Best Original Screenplay, Best Art Direction, and Best Original Score.

 Plot

 Cobb and Arthur are "extractors"; they perform corporate espionage using experimental dream-sharing technology to infiltrate their targets' subconscious and extract information. Their latest target, Saito, is impressed with Cobb's ability to layer multiple dreams within each other and offers to hire Cobb for the supposedly impossible job of implanting an idea into a person's subconscious; performing "inception" on Robert, the son of Saito's competitor Maurice Fischer, with the idea to dissolve his father's company. Saito promises to clear Cobb's criminal status, allowing him to return home to his children.

 Cobb accepts the offer and assembles his team: a forger named Eames, a chemist named Yusuf, and a college student named Ariadne. Ariadne is tasked with designing the dream's architecture, something Cobb himself cannot do for fear of being sabotaged by a projection of his late wife Mal. Maurice dies, and the team sedates Robert into a three-layer shared dream on an airplane to America. Time on each layer runs slower than the layer above, with one member staying behind on each to perform a music-synchronized "kick" to awaken dreamers on all three levels simultaneously.

 The team abducts Robert in a city on the first level but is attacked by his subconscious projections. After Saito is wounded, Cobb reveals that while dying in the dream would normally awaken dreamers, Yusuf's sedatives will instead send them into "Limbo": a world of infinite subconscious. Eames impersonates Robert's godfather, Peter Browning, to introduce the idea of an alternate will to dissolve the company. Cobb tells Ariadne that he and Mal entered Limbo while experimenting with dream-sharing, experiencing fifty years in one night due to the time dilation with reality. Mal refused to return to reality, and Cobb instead performed inception on her to convince her. After waking up, Mal still believed she was dreaming. Attempting to "wake up", she committed suicide and framed Cobb to force him to do the same. Cobb fled the U.S., leaving his children behind.

 Yusuf drives the team around the first level as they are sedated into the second level, a hotel dreamed by Arthur. Cobb persuades Robert that he has been kidnapped by Browning to stop the dissolution and that Cobb is a defensive projection, leading Robert yet another level deeper as part of a ruse to enter Robert's subconscious. In the third level, the team infiltrates an alpine fortress with a projection of Maurice inside, where the inception itself can be performed. However, Yusuf performs his kick too soon by driving off a bridge, forcing Arthur and Eames to improvise a new set of kicks synchronized with them hitting the water, by rigging an elevator and the fortress respectively with explosives. Mal then appears and kills Robert before he can be subjected to the inception and he and Saito are lost into Limbo, forcing Cobb and Ariadne to rescue them in time for Robert's inception and Eames's kick.

 Cobb makes peace with Mal's death. Ariadne kills Mal's projection and wakes Robert up with a kick. Revived into the third level, he discovers the planted idea: his dying father telling him to create something for himself. While Cobb searches for Saito in Limbo, the others ride the kicks back to reality. Cobb finds an aged Saito and reminds him of their agreement. The dreamers all awaken on the plane, and Saito makes a phone call. Arriving at L.A., Cobb passes the immigration checkpoint and his father-in-law accompanies him to his home. Cobb uses Mal's "totem" – a top that spins indefinitely in a dream – to test if he is indeed in the real world, but chooses not to observe the result and instead joins his children.

 Cast

 The cast at a premiere for the film in July 2010. From left to right: Cillian Murphy, Marion Cotillard, Joseph Gordon-Levitt, Elliot Page, Ken Watanabe, Michael Caine, and Leonardo DiCaprio
 * Leonardo DiCaprio as Dom Cobb, a professional thief who specializes in conning secrets from his victims by infiltrating their dreams. DiCaprio was the first actor to be cast in the film.[16] Both Brad Pitt and Will Smith were offered the role, according to The Hollywood Reporter.[17] Cobb's role is compared to "the haunted widower in a Gothic romance".[18]
 * Joseph Gordon-Levitt as Arthur, Cobb's partner who manages and researches the missions. Gordon-Levitt compared Arthur to the producer of Cobb's art, "the one saying, 'Okay, you have your vision; now I'm going to figure out how to make all the nuts and bolts work so you can do your thing'".[19] : 7 The actor did all but one of his stunt scenes and said the preparation "was a challenge and it would have to be for it to look real".[20] James Franco was in talks with Christopher Nolan to play Arthur, but was ultimately unavailable due to scheduling conflicts.[21]
 * Elliot Page[a] as Ariadne, a graduate student of architecture who is recruited to construct the various dreamscapes, which are described as mazes. The name Ariadne alludes to a princess of Greek myth, daughter of King Minos, who aided the hero Theseus by giving him a sword and a ball of string to help him navigate the labyrinth which was the prison of the Minotaur. Nolan said that Page was chosen for being a "perfect combination of freshness and savvy and maturity beyond [his] years".[19] : 8 Page said their character acts as a proxy to the audience, as "she's just learning about these ideas and, in essence, assists the audience in learning about dream sharing".[22]
 * Tom Hardy as Eames, a sharp-tongued associate of Cobb. He is referred to as a fence but his specialty is forgery, more accurately identity theft. Eames uses his ability to impersonate others inside the dream world in order to manipulate Fischer. Hardy described his character as "an old, Graham Greene-type diplomat; sort of faded, shabby, grandeur—the old Shakespeare lovey mixed with somebody from Her Majesty's Special Forces", who wears "campy, old money" costumes.[23]
 * Ken Watanabe as Mr. Saito, a Japanese businessman who employs Cobb for the team's mission. Nolan wrote the role with Watanabe in mind, as he wanted to work with him again after Batman Begins.[19] : 10 Inception is Watanabe's first work in a contemporary setting where his primary language is English. Watanabe tried to emphasize a different characteristic of Saito in every dream level: "First chapter in my castle, I pick up some hidden feelings of the cycle. It's magical, powerful and then the first dream. And back to the second chapter, in the old hotel, I pick up [being] sharp and more calm and smart and it's a little bit [of a] different process to make up the character of any movie".[24]
 * Dileep Rao as Yusuf. Rao describes Yusuf as "an avant-garde pharmacologist, who is a resource for people, like Cobb, who want to do this work unsupervised, unregistered and unapproved of by anyone". Co-producer Jordan Goldberg said the role of the chemist was "particularly tough because you don't want him to seem like some kind of drug dealer", and that Rao was cast for being "funny, interesting and obviously smart".[19] : 11
 * Cillian Murphy as Robert Michael Fischer, the heir to a business empire and the team's target.[19] : 10 Murphy said Fischer was portrayed as "a petulant child who's in need of a lot of attention from his father, he has everything he could ever want materially, but he's deeply lacking emotionally". The actor also researched the sons of Rupert Murdoch, "to add to that the idea of living in the shadow of someone so immensely powerful".[25]
 * Tom Berenger as Peter Browning, Robert Fischer's godfather and fellow executive at the Fischers' company.[26] Berenger said Browning acts as a "surrogate father" to Fischer, who calls the character "Uncle Peter", and emphasized that "Browning has been with [Robert] his whole life and has probably spent more quality time with him than his own father".[19] : 11
 * Marion Cotillard as Mal Cobb, Dom's deceased wife. She is a manifestation of Dom's guilt about the real cause of Mal's suicide. He is unable to control these projections of her, challenging his abilities as an extractor.[27] Nolan described Mal as "the essence of the femme fatale," and DiCaprio praised Cotillard's performance, saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".[19] : 9–10
 * Pete Postlethwaite as Maurice Fischer, Robert Fischer's father and the dying founder of a business empire.
 * Michael Caine as Professor Stephen Miles, Cobb's mentor and father-in-law,[19] : 11 and Ariadne's college professor who recommends her to the team.[28]
 * Lukas Haas as Nash, an architect in Cobb's employment who betrays the team and is later replaced by Ariadne.[29]
 * Talulah Riley as a woman, credited as "Blonde", whom Eames disguises himself as in a dream. Riley liked the role, despite it being minimal: "I get to wear a nice dress, pick up men in bars, and shove them in elevators. It was good to do something adultish. Usually I play 15-year-old English schoolgirls."[30]

 Production

 Development

 Emma Thomas and Christopher Nolan answer questions about Inception. The husband-and-wife team produced the film through their company Syncopy. Nolan also wrote and directed it.

 Initially, Nolan wrote an 80-page treatment about dream-stealers.[8] Originally, Nolan had envisioned Inception as a horror film,[8] but eventually wrote it as a heist film even though he found that "traditionally [they] are very deliberately superficial in emotional terms."[31] Upon revisiting his script, he decided that basing it in that genre did not work because the story "relies so heavily on the idea of the interior state, the idea of dream and memory. I realized I needed to raise the emotional stakes."[31]

 Nolan worked on the script for nine to ten years.[16] When he first started thinking about making the film, Nolan was influenced by "that era of movies where you had The Matrix (1999), you had Dark City (1998), you had The Thirteenth Floor (1999) and, to a certain extent, you had Memento (2000), too. They were based in the principles that the world around you might not be real."[31][32]

 Nolan first pitched the film to Warner Bros. in 2001, but decided that he needed more experience making large-scale films, and embarked on Batman Begins and The Dark Knight.[9] He soon realized that a film like Inception needed a large budget because "as soon as you're talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go anywhere by the end of the film. And it has to work on a massive scale."[9] After making The Dark Knight, Nolan decided to make Inception and spent six months completing the script.[9] Nolan said that the key to completing the script was wondering what would happen if several people shared the same dream. "Once you remove the privacy, you've created an infinite number of alternative universes in which people can meaningfully interact, with validity, with weight, with dramatic consequences."[33]

 Nolan had been trying to work with Leonardo DiCaprio for years and met him several times, but was unable to recruit him for any of his films until Inception.[27] DiCaprio finally agreed because he was "intrigued by this concept—this dream-heist notion and how this character's going to unlock his dreamworld and ultimately affect his real life."[34] : 93–94 He read the script and found it to be "very well written, comprehensive but you really had to have Chris in person, to try to articulate some of the things that have been swirling around his head for the last eight years."[9] DiCaprio and Nolan spent months talking about the screenplay. Nolan took a long time re-writing the script in order "to make sure that the emotional journey of his [DiCaprio's] character was the driving force of the movie."[16] On February 11, 2009, it was announced that Warner Bros. purchased Inception, a spec script written by Nolan.[10]

 Locations and sets

 Principal photography began in Tokyo on June 19, 2009, with the scene in which Saito first hires Cobb during a helicopter flight over the city.[8][19] : 13

 The production moved to the United Kingdom and shot in a converted airship hangar in Cardington, Bedfordshire, north of London.[19] : 14 There, the hotel bar set which tilted 30 degrees was built.[35] : 29 A hotel corridor was also constructed by Guy Hendrix Dyas, the production designer, Chris Corbould, the special effects supervisor, and Wally Pfister, the director of photography; it rotated a full 360 degrees to create the effect of alternate directions of gravity for scenes set during the second level of dreaming, where dream-sector physics become chaotic. The idea was inspired by a technique used in Stanley Kubrick's 2001: A Space Odyssey (1968). Nolan said, "I was interested in taking those ideas, techniques, and philosophies and applying them to an action scenario".[35] : 32 The filmmakers originally planned to make the hallway only 40 feet (12 m) long, but as the action sequence became more elaborate, the hallway's length was increased to 100 ft (30 m). The corridor was suspended along eight large concentric rings that were spaced equidistantly outside its walls and powered by two massive electric motors.[19] : 14

 Joseph Gordon-Levitt, who plays Arthur, spent several weeks learning to fight in a corridor that spun like "a giant hamster wheel".[31] Nolan said of the device, "It was like some incredible torture device; we thrashed Joseph for weeks, but in the end we looked at the footage, and it looks unlike anything any of us has seen before. The rhythm of it is unique, and when you watch it, even if you know how it was done, it confuses your perceptions. It's unsettling in a wonderful way".[31] Gordon-Levitt remembered, "it was six-day weeks of just, like, coming home at night battered ... The light fixtures on the ceiling are coming around on the floor, and you have to choose the right time to cross through them, and if you don't, you're going to fall."[36] On July 15, 2009, filming took place at University College London for the sequences occurring inside a Paris college of architecture in the story,[8] including the library, Flaxman Gallery and Gustav Tuck Theatre.[37]

 Filming moved to France, where they shot Cobb entering the college of architecture (the place used for the entrance was the Musée Galliera) and the pivotal scenes between Ariadne and Cobb, in a bistro (a fictional one set up at the corner of Rue César Franck and Rue Bouchut), and lastly on the Bir-Hakeim bridge.[19] : 17 For the explosion that takes place during the bistro scene, local authorities would not allow the use of real explosives. High-pressure nitrogen was used to create the effect of a series of explosions. Pfister used six high-speed cameras to capture the sequence from different angles and make sure that they got the shot. The visual effects department enhanced the sequence, adding more destruction and flying debris. For the "Paris folding" sequence and when Ariadne "creates" the bridges, green screen and CGI were used on location.[19] : 17

 Tangier, Morocco, doubled as Mombasa, where Cobb hires Eames and Yusuf. A foot chase was shot in the streets and alleyways of the historic medina quarter.[19] : 18 To capture this sequence, Pfister employed a mix of hand-held camera and steadicam work.[19] : 19 Tangier was also used as the setting for filming an important riot scene during the initial foray into Saito's mind.

 Filming moved to the Los Angeles area, where some sets were built on a Warner Bros. sound stage, including the interior rooms of Saito's Japanese castle (the exterior was done on a small set built in Malibu Beach). The dining room was inspired by the historic Nijō Castle, built around 1603. These sets were inspired by a mix of Japanese architecture and Western influences.[19] : 19

 The production staged a multi-vehicle car chase on the streets of downtown Los Angeles, which involved a freight train crashing down the middle of a street.[19] : 20 To do this, the filmmakers configured a train engine on the chassis of a tractor trailer. The replica was made from fiberglass molds taken from authentic train parts and matched in terms of color and design.[19] : 21 Also, the car chase was supposed to be set in the midst of a downpour, but the L.A. weather stayed typically sunny. The filmmakers set up elaborate effects (e.g., rooftop water cannons) to give the audience the impression that the weather was overcast and soggy. L.A. was also the site of the climactic scene where a Ford Econoline van runs off the Schuyler Heim Bridge in slow motion.[38] This sequence was filmed on and off for months, with the van being shot out of a cannon, according to actor Dileep Rao. Capturing the actors suspended within the van in slow motion took a whole day to film.

 Once the van landed in the water, the challenge for the actors was to avoid panic. "And when they ask you to act, it's a bit of an ask," explained Cillian Murphy.[38] The actors had to be underwater for four to five minutes while drawing air from scuba tanks; underwater buddy breathing is shown in this sequence.[38]

 Cobb's house was in Pasadena. The hotel lobby was filmed at the CAA building in Century City. 'Limbo' was made on location in Los Angeles and Morocco, with the beach scene filmed at Palos Verdes beach with CGI buildings. N Hope St. in Los Angeles was the primary filming location for 'Limbo,' with green screen and CGI being used to create the dream landscape.

 The final phase of principal photography took place in Alberta in late November 2009. The location manager discovered a temporarily closed ski resort, Fortress Mountain.[19] : 22 An elaborate set was assembled near the top station of the Canadian chairlift, taking three months to build.[34] : 93 The production had to wait for a huge snowstorm, which eventually arrived.[8] The ski-chase sequence was inspired by Nolan's favorite James Bond film, On Her Majesty's Secret Service (1969): "What I liked about it that we've tried to emulate in this film is there's a tremendous balance in that movie of action and scale and romanticism and tragedy and emotion."[34] : 91

 Cinematography

 The film was shot primarily in the anamorphic format on 35 mm film, with key sequences filmed on 65 mm, and aerial sequences in VistaVision. Nolan did not shoot any footage with IMAX cameras as he had with The Dark Knight. "We didn't feel that we were going to be able to shoot in IMAX because of the size of the cameras because this film given that it deals with a potentially surreal area, the nature of dreams and so forth, I wanted it to be as realistic as possible. Not be bound by the scale of those IMAX cameras, even though I love the format dearly".[16] In addition Nolan and Pfister tested using Showscan and Super Dimension 70 as potential large-format, high-frame-rate camera systems to use for the film, but ultimately decided against either format.[35] : 29 Sequences in slow motion were filmed on a Photo-Sonics 35 mm camera at speeds of up to 1,000 frames per second. Wally Pfister tested shooting some of these sequences using a high speed digital camera, but found the format to be too unreliable due to technical glitches. "Out of six times that we shot on the digital format, we only had one usable piece and it didn't end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35 mm running through it, every single shot was in the movie."[39] Nolan also chose not to shoot any of the film in 3D as he prefers shooting on film[16] using prime lenses, which is not possible with 3D cameras.[40] Nolan has also criticized the dim image that 3D projection produces, and disputes that traditional film does not allow realistic depth perception, saying "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading."[41] Nolan did test converting Inception into 3D in post-production but decided that, while it was possible, he lacked the time to complete the conversion to a standard he was happy with.[8][41] In February 2011 Jonathan Liebesman suggested that Warner Bros. were attempting a 3D conversion for Blu-ray release.[42]

 Wally Pfister gave each location and dream level a distinctive look to aid the audience's recognition of the narrative's location during the heavily crosscut portion of the film: the mountain fortress appears sterile and cool, the hotel hallways have warm hues, and the scenes in the van are more neutral.[35] : 35–36

 Nolan has said that the film "deals with levels of reality, and perceptions of reality which is something I'm very interested in. It's an action film set in a contemporary world, but with a slight science-fiction bent to it," while also describing it as "very much an ensemble film structured somewhat as a heist movie. It's an action adventure that spans the globe".[43]

 Visual effects

 For dream sequences in Inception, Nolan used little computer-generated imagery, preferring practical effects whenever possible. Nolan said, "It's always very important to me to do as much as possible in-camera, and then, if necessary, computer graphics are very useful to build on or enhance what you have achieved physically."[19] : 12 To this end, visual effects supervisor Paul Franklin built a miniature of the mountain fortress set and then blew it up for the film. For the fight scene that takes place in zero gravity, he used CG-based effects to "subtly bend elements like physics, space and time."[44]

 The most challenging effect was the "Limbo" city level at the end of the film, because it continually developed during production. Franklin had artists build concepts while Nolan expressed his ideal vision: "Something glacial, with clear modernist architecture, but with chunks of it breaking off into the sea like icebergs".[44] Franklin and his team ended up with "something that looked like an iceberg version of Gotham City with water running through it."[44] They created a basic model of a glacier and then designers created a program that added elements like roads, intersections and ravines until they had a complex, yet organic-looking, cityscape. For the Paris-folding sequence, Franklin had artists producing concept sketches and then they created rough computer animations to give them an idea of what the sequence looked like while in motion. Later during principal photography, Nolan was able to direct DiCaprio and Page based on this rough computer animation that Franklin had created. Inception had nearly 500 visual effects shots (in comparison, Batman Begins had approximately 620), which is relatively few in comparison to contemporary effects-heavy films, which can have as many as 2,000 visual effects shots.[44]

 Music

 Main article: Inception: Music from the Motion Picture

 The score for Inception was written by Hans Zimmer,[26] who described his work as "a very electronic,[45] dense score",[46] filled with "nostalgia and sadness" to match Cobb's feelings throughout the film.[47] The music was written simultaneously to filming,[46] and features a guitar sound reminiscent of Ennio Morricone, played by Johnny Marr, former guitarist of the Smiths. Édith Piaf's "Non, je ne regrette rien" ("No, I Regret Nothing") appears throughout the film, used to accurately time the dreams, and Zimmer reworked pieces of the song into cues of the score.[47] A soundtrack album was released on July 11, 2010, by Reprise Records.[48] The majority of the score was also included in high resolution 5.1 surround sound on the second disc of the two-disc Blu-ray release.[49] Hans Zimmer's music was nominated for an Academy Award in the Best Original Score category in 2011, losing to Trent Reznor and Atticus Ross of The Social Network.[50]

 Themes

 Reality and dreams

 Penrose stairs are incorporated into the film as an example of the impossible objects that can be created in lucid dream worlds.

 In Inception, Nolan wanted to explore "the idea of people sharing a dream space... That gives you the ability to access somebody's unconscious mind. What would that be used and abused for?"[16] The majority of the film's plot takes place in these interconnected dream worlds. This structure creates a framework where actions in the real or dream worlds ripple across others. The dream is always in a state of production, and shifts across the levels as the characters navigate it.[51] By contrast, the world of The Matrix (1999) is an authoritarian, computer-controlled one, alluding to theories of social control developed by thinkers Michel Foucault and Jean Baudrillard. However, according to one interpretation Nolan's world has more in common with the works of Gilles Deleuze and Félix Guattari.[51]

 David Denby in The New Yorker compared Nolan's cinematic treatment of dreams to Luis Buñuel's in Belle de Jour (1967) and The Discreet Charm of the Bourgeoisie (1972).[52] He criticized Nolan's "literal-minded" action level sequencing compared to Buñuel, who "silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what's going on." The latter captures "the peculiar malign intensity of actual dreams."[52]

 Deirdre Barrett, a dream researcher at Harvard University, said that Nolan did not get every detail accurate regarding dreams, but their illogical, rambling, disjointed plots would not make for a great thriller anyway. However, "he did get many aspects right," she said, citing the scene in which a sleeping Cobb is shoved into a full bath, and in the dream world water gushes into the windows of the building, waking him up. "That's very much how real stimuli get incorporated, and you very often wake up right after that intrusion."[53]

 Nolan himself said, "I tried to work that idea of manipulation and management of a conscious dream being a skill that these people have. Really the script is based on those common, very basic experiences and concepts, and where can those take you? And the only outlandish idea that the film presents, really, is the existence of a technology that allows you to enter and share the same dream as someone else."[31]

 Dreams and cinema

 Others have argued that the film is itself a metaphor for filmmaking, and that the filmgoing experience itself, images flashing before one's eyes in a darkened room, is akin to a dream. Writing in Wired, Jonah Lehrer supported this interpretation and presented neurological evidence that brain activity is strikingly similar during film-watching and sleeping. In both, the visual cortex is highly active and the prefrontal cortex, which deals with logic, deliberate analysis, and self-awareness, is quiet.[54] Paul argued that the experience of going to a picturehouse is itself an exercise in shared dreaming, particularly when viewing Inception: the film's sharp cutting between scenes forces the viewer to create larger narrative arcs to stitch the pieces together. This demand of production parallel to consumption of the images, on the part of the audience is analogous to dreaming itself. As in the film's story, in a cinema one enters into the space of another's dream, in this case Nolan's, as with any work of art, one's reading of it is ultimately influenced by one's own subjective desires and subconscious.[51] At Bir-Hakeim bridge in Paris, Ariadne creates an illusion of infinity by adding facing mirrors underneath its struts, Stephanie Dreyfus in la Croix asked "Is this not a strong, beautiful metaphor for the cinema and its power of illusion?"[55]

 Cinematic technique

 See also: Cinematic style of Christopher Nolan

 Genre

 Nolan combined elements from several different film genres into the film, notably science fiction, heist film, and film noir. Marion Cotillard plays "Mal" Cobb, Dom Cobb's projection of his guilt over his deceased wife's suicide. As the film's main antagonist, she is a frequent, malevolent presence in his dreams. Dom is unable to control these projections of her, challenging his abilities as an extractor.[27] Nolan described Mal as "the essence of the femme fatale",[19] : 9 the key noir reference in the film. As a "classic femme fatale" her relationship with Cobb is in his mind, a manifestation of Cobb's own neurosis and fear of how little he knows about the woman he loves.[56] DiCaprio praised Cotillard's performance saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".[19] : 10

 Nolan began with the structure of a heist movie, since exposition is an essential element of that genre, though adapted it to have a greater emotional narrative suited to the world of dreams and subconscious.[56] As Denby described this device: "the outer shell of the story is an elaborate caper".[52] Kristin Thompson argued that exposition was a major formal device in the film. While a traditional heist movie has a heavy dose of exposition at the beginning as the team assembles and the leader explains the plan, in Inception this becomes nearly continuous as the group progresses through the various levels of dreaming.[57] Three quarters of the film, until the van begins to fall from the bridge, are devoted to explaining its plot. In this way, exposition takes precedence over characterization. The characters' relationships are created by their respective skills and roles. Ariadne, like her ancient namesake, creates the maze and guides the others through it, but also helps Cobb navigate his own subconscious, and as the sole student of dream sharing, helps the audience understand the concept of the plot.[58]

 Nolan drew inspiration from the works of Jorge Luis Borges,[8][59] including "The Secret Miracle" and "The Circular Ruins",[60] and from the films Blade Runner (1982) and The Matrix (1999).[60][61] While Nolan has not confirmed this, it has also been suggested by many observers that the movie draws heavy inspiration from the 2006 animated film Paprika.[62][63][64]

 Ending

 The film cuts to the closing credits from a shot of the top apparently starting to show an ever so faint wobble, inviting speculation about whether the final sequence was reality or another dream. Nolan confirmed that the ambiguity was deliberate,[56] saying, "I've been asked the question more times than I've ever been asked any other question about any other film I've made... What's funny to me is that people really do expect me to answer it."[65] The film's script concludes with "Behind him, on the table, the spinning top is STILL SPINNING. And we—FADE OUT".[66] Nolan said, "I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me—it always felt like the appropriate 'kick' to me... The real point of the scene—and this is what I tell people—is that Cobb isn't looking at the top. He's looking at his kids. He's left it behind. That's the emotional significance of the thing."[65] Also, Michael Caine explained his interpretation of the ending, saying, "If I'm there it's real, because I'm never in the dream. I'm the guy who invented the dream."[67]

 Mark Fisher argued that "a century of cultural theory" cautions against accepting the author's interpretation as anything more than a supplementary text, and this all the more so given the theme of the instability of any one master position in Nolan's films. Therein the manipulator is often the one who ends up manipulated, and Cobb's "not caring" about whether or not his world is real may be the price of his happiness and release.[68]

 Release

 Marketing

 Warner Bros. spent US$100 million marketing the film. Although Inception was not part of an existing franchise, Sue Kroll, president of Warner's worldwide marketing, said the company believed it could gain awareness due to the strength of "Christopher Nolan as a brand". Kroll declared that "We don't have the brand equity that usually drives a big summer opening, but we have a great cast and a fresh idea from a filmmaker with a track record of making incredible movies. If you can't make those elements work, it's a sad day."[69] The studio also tried to maintain a campaign of secrecy—as reported by the Senior VP of Interactive Marketing, Michael Tritter, "You have this movie which is going to have a pretty big built in fanbase... but you also have a movie that you are trying to keep very secret. Chris [Nolan] really likes people to see his movies in a theater and not see it all beforehand so everything that you do to market that—at least early on—is with an eye to feeding the interest to fans."[70]

 A viral marketing campaign was employed for the film. After the revelation of the first teaser trailer, in August 2009, the film's official website featured only an animation of Cobb's spinning top. In December, the top toppled over and the website opened the online game Mind Crime, which upon completion revealed Inception ' s poster.[71] The rest of the campaign unrolled after WonderCon in April 2010, where Warner gave away promotional T-shirts featuring the PASIV briefcase used to create the dream space, and had a QR code linking to an online manual of the device.[72] Mind Crime also received a stage 2 with more resources, including a hidden trailer for the movie.[73] More pieces of viral marketing began to surface before Inception ' s release, such as a manual filled with bizarre images and text sent to Wired magazine,[74] and the online publication of posters, ads, phone applications, and strange websites all related to the film.[75][76] Warner also released an online prequel comic, Inception: The Cobol Job.[77]

 The official trailer released on May 10, 2010, through Mind Game was extremely well received.[73] It featured an original piece of music, "Mind Heist", by recording artist Zack Hemsey,[78] rather than music from the score.[79] The trailer quickly went viral with numerous mashups copying its style, both by amateurs on sites like YouTube[80] and by professionals on sites such as CollegeHumor.[81][82] On June 7, 2010, a behind-the-scenes featurette on the film was released in HD on Yahoo! Movies.[83]

 Inception and its film trailers are widely credited for launching the trend throughout the 2010s in which blockbuster movie trailers repeatedly hit audiences with so-called "braam" sounds: "bassy, brassy, thunderous notes—like a foghorn on steroids—meant to impart a sense of apocalyptic momentousness".[84] However, different composers worked on the teaser trailer, first trailer, second trailer, and film score, meaning that identifying the composer(s) responsible for that trend is a complicated task.[84]

 Home media

 Inception was released on DVD and Blu-ray on December 3, 2010, in France,[85] and the week after in the UK and USA (December 7, 2010).[86][87] Warner Bros. also made available in the United States a limited Blu-ray edition packaged in a metal replica of the PASIV briefcase, which included extras such as a metal replica of the spinning top totem. With a production run of less than 2,000, it sold out in one weekend.[88] Inception was released on 4K Blu-ray and digital copy along with other Christopher Nolan films on December 19, 2017.[89] As of 2018, the home video releases have sold over 9 million units and grossed over $160 million .[90]

 Putative video game

 In a November 2010 interview, Nolan expressed his intention to develop a video game set in the Inception world, working with a team of collaborators. He described it as "a longer-term proposition", referring to the medium of video games as "something I've wanted to explore".[91]

 10th anniversary re-release

 Inception was re-released in theaters for its tenth anniversary, starting on August 12, 2020, in international markets and on August 21 in the U.S.[92] The re-release was originally announced by Warner Bros. in June 2020 and scheduled for July 17, 2020, taking the original release date for Nolan's upcoming film Tenet after its delay to July 31 due to the impact of the COVID-19 pandemic on movie theaters.[93] After Tenet was delayed again to August 12, the re-release was shifted to July 31,[94] before setting on the August release date following a third delay.[92]

 Reception

 Box office

 Film Release date Box office revenue Box office ranking Budget Reference 
 United States North America International Worldwide All-time United States All-time worldwide
 Inception July 2010 US$292,576,195 US$532,956,569 US$825,532,764 No. 80 No. 67 US$160,000,000 [95]
 

 Inception was released in both conventional and IMAX theaters on July 16, 2010.[96][97] The film had its world premiere at Leicester Square in London on July 8, 2010.[98] In the United States and Canada, Inception was released theatrically in 3,792 conventional theaters and 195 IMAX theaters.[96] The film grossed US$21.8 million during its opening day on July 16, 2010, with midnight screenings in 1,500 locations.[99] Overall the film made US$62.7 million and debuted at No.1 on its opening weekend.[100] Inception ' s opening weekend gross made it the second-highest-grossing debut for a science fiction film that was not a sequel, remake or adaptation, behind Avatar's US$77 million opening-weekend gross in 2009.[100] The film held the top spot of the box office rankings in its second and third weekends, with drops of just 32% (US$42.7 million) and 36% (US$27.5 million), respectively,[101][102] before dropping to second place in its fourth week, behind The Other Guys.[103]

 Inception grossed US$292 million in the United States and Canada, US$56 million in the United Kingdom, Ireland and Malta and US$475 million in other countries for a total of US$823 million worldwide.[3] Its five highest-grossing markets after the US and Canada (US$292 million) were China (US$68 million), the United Kingdom, Ireland and Malta (US$56 million), France and the Maghreb region (US$43 million), Japan (US$40 million) and South Korea (US$38 million).[104] It was the sixth-highest-grossing film of 2010 in North America,[105] and the fourth-highest-grossing film of 2010, behind Toy Story 3, Alice in Wonderland and Harry Potter and the Deathly Hallows – Part 1.[106] Inception is the third most lucrative production in Christopher Nolan's career—behind The Dark Knight and The Dark Knight Rises[107]—and the second most for Leonardo DiCaprio—behind Titanic.[108]

 Critical response

 On Rotten Tomatoes, the film holds an approval rating of 87% based on 361 reviews, with an average rating of 8.10/10. The website's critical consensus reads: "Smart, innovative, and thrilling, Inception is that rare summer blockbuster that succeeds viscerally as well as intellectually."[109] Metacritic, another review aggregator, assigned the film a weighted average score of 74 out of 100, based on 42 critics, indicating "generally favorable reviews".[110] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[111]

 Peter Travers of Rolling Stone called Inception a "wildly ingenious chess game," and concluded "the result is a knockout."[112] Justin Chang of Variety praised the film as "a conceptual tour de force" and wrote, "applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the unconscious mind, the writer-director has devised a heist thriller for surrealists, a Jungian's Rififi, that challenges viewers to sift through multiple layers of (un)reality."[113] Jim Vejvoda of IGN rated the film as perfect, deeming it "a singular accomplishment from a filmmaker who has only gotten better with each film."[114] Relevant's David Roark called it Nolan's "greatest accomplishment," saying, "Visually, intellectually and emotionally, Inception is a masterpiece."[115]

 In its August 2010 issue, Empire magazine gave the film a full five stars and wrote, "it feels like Stanley Kubrick adapting the work of the great sci-fi author William Gibson [...] Nolan delivers another true original: welcome to an undiscovered country."[116] Entertainment Weekly ' s Lisa Schwarzbaum gave the film a B+ grade and wrote, "It's a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by M. C. Escher or a state-of-the-biz video game; the backwards splicing of Nolan's own Memento looks rudimentary by comparison."[117] The New York Post ' s Lou Lumenick gave the film a four-star rating and wrote, "DiCaprio, who has never been better as the tortured hero, draws you in with a love story that will appeal even to non-sci-fi fans."[118] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars and said that Inception "is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act."[119] Richard Roeper, also of the Sun-Times, gave Inception an "A+" score and called it "one of the best movies of the [21st] century."[120] BBC Radio 5 Live's Mark Kermode named Inception as the best film of 2010, stating that "Inception is proof that people are not stupid, that cinema is not trash, and that it is possible for blockbusters and art to be the same thing."[121]

 Michael Phillips of the Chicago Tribune gave the film 3 out of 4 stars and wrote, "I found myself wishing Inception were weirder, further out [...] the film is Nolan's labyrinth all the way, and it's gratifying to experience a summer movie with large visual ambitions and with nothing more or less on its mind than (as Shakespeare said) a dream that hath no bottom."[122] TIME magazine's Richard Corliss wrote that the film's "noble intent is to implant one man's vision in the mind of a vast audience [...] The idea of moviegoing as communal dreaming is a century old. With Inception, viewers have a chance to see that notion get a state-of-the-art update."[123] Kenneth Turan of the Los Angeles Times felt that Nolan was able to blend "the best of traditional and modern filmmaking. If you're searching for smart and nervy popular entertainment, this is what it looks like."[124] USA Today 's Claudia Puig gave the film three-and-a-half out of four stars and felt that Nolan "regards his viewers as possibly smarter than they are—or at least as capable of rising to his inventive level. That's a tall order. But it's refreshing to find a director who makes us stretch, even occasionally struggle, to keep up."[125]

 Not all reviewers gave the film positive reviews. New York magazine's David Edelstein claimed in his review that he had "no idea what so many people are raving about. It's as if someone went into their heads while they were sleeping and planted the idea that Inception is a visionary masterpiece and—hold on ... Whoa! I think I get it. The movie is a metaphor for the power of delusional hype—a metaphor for itself."[126] The New York Observer ' s Rex Reed explained that the film's development was "pretty much what we've come to expect from summer movies in general and Christopher Nolan movies in particular ... [it] doesn't seem like much of an accomplishment to me."[127] A. O. Scott of The New York Times commented "there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan's idea of the mind is too literal, too logical, and too rule-bound to allow the full measure of madness."[128] The New Yorker ' s David Denby considered the film to "not nearly [be] as much fun as Nolan imagined it to be", concluding that "Inception is a stunning-looking film that gets lost in fabulous intricacies, a movie devoted to its own workings and to little else."[52]

 While some critics have tended to view the film as perfectly straightforward, and even criticize its overarching themes as "the stuff of torpid platitudes," online discussion has been much more positive.[129] Heated debate has centered on the ambiguity of the ending, with many critics like Devin Faraci making the case that the film is self-referential and tongue-in-cheek, both a film about film-making and a dream about dreams.[130] Other critics read Inception as Christian allegory and focus on the film's use of religious and water symbolism.[131] Yet other critics, such as Kristin Thompson, see less value in the ambiguous ending of the film and more in its structure and novel method of storytelling, highlighting Inception as a new form of narrative that revels in "continuous exposition".[57]

 Several critics and scholars have noted the film has many striking similarities to the 2006 anime film Paprika by Satoshi Kon (and Yasutaka Tsutsui's 1993 novel of the same name), including plot similarities, similar scenes, and similar characters, arguing that Inception was influenced by Paprika.[62][63][64][132][133] Several sources have also noted plot similarities between the film and the 2002 Uncle Scrooge comic The Dream of a Lifetime by Don Rosa.[134][135][136] The influence of Tarkovsky's Solaris on Inception was noted as well.[137][138]

 Year-end and all-time lists

 Inception appeared on over 273 critics' lists of the top ten films of 2010, being picked as number-one on at least 55 of those lists.[139] It was the second-most-mentioned film in both the top ten lists and number-one rankings, only behind The Social Network along with Toy Story 3, True Grit, The King's Speech, and Black Swan as the most critically acclaimed films of 2010.[139] Author Stephen King placed Inception at #3 in his list of top 10 best movies of the year.[140]

 Critics and publications who ranked the film first for that year included Richard Roeper of the Chicago Sun-Times, Kenneth Turan of the Los Angeles Times (tied with The Social Network and Toy Story 3), Tasha Robinson of The A.V. Club, Empire magazine, and Kirk Honeycutt of The Hollywood Reporter.[141]

 In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their ninth-favorite film of all time.[142] Producer Roger Corman cited Inception as an example of "great imagination and originality".[143] It was voted as the third-best science fiction film of all time in the 2011 list Best in Film: The Greatest Movies of Our Time, based on a poll conducted by ABC and People.[ citation needed ] In 2012, Inception was ranked the 35th-best-edited film of all time by the Motion Picture Editors Guild.[144] In the same year, Total Film named it the most-rewatchable movie of all time.[145] In 2014, Empire ranked Inception the tenth-greatest film ever made on their list of "The 301 Greatest Movies Of All Time" as voted by the magazine's readers,[146] while Rolling Stone magazine named it the second-best science fiction film since the turn of the century.[147] Inception was ranked 84th on Hollywood's 100 Favorite Films, a list compiled by The Hollywood Reporter in 2014, surveying "Studio chiefs, Oscar winners and TV royalty".[148] In 2016, Inception was voted the 51st-best film of the 21st Century by BBC, as picked by 177 film critics from around the world.[149] The film was included in the Visual Effects Society's list of "The Most Influential Visual Effects Films of All Time".[150] In 2019, Total Film named Inception the best film of the 2010s.[151] Many critics and media outlets included Inception in their rankings of the best films of the 2010s.[152][153][154][155][156][157] The film was included in Forbes magazine's list of Top 150 Greatest Films of 21st Century.[158]

 In April 2014, The Daily Telegraph placed the title on its top ten list of the most overrated films. Telegraph ' s Tim Robey stated, "It's a criminal failing of the movie that it purports to be about people's dreams being invaded, but demonstrates no instinct at all for what a dream has ever felt like, and no flair for making us feel like we're in one, at any point."[159] The film won an informal poll by the Los Angeles Times as the most overrated movie of 2010.[160]

 Accolades

 Main article: List of accolades received by Inception

 The film won many awards in technical categories, such as Academy Awards for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects,[50] and the British Academy Film Awards for Best Production Design, Best Special Visual Effects and Best Sound.[161] In most of its artistic nominations, such as Film, Director, and Screenplay at the Oscars, BAFTAs and Golden Globes, the film was defeated by The Social Network or The King's Speech.[50][161][162] However, the film did win the two highest honors for a science fiction or fantasy film: the 2011 Bradbury Award for best dramatic production[163] and the 2011 Hugo Award for Best Dramatic Presentation (Long Form).[164]

 In popular culture

 Numerous pop and hip hop songs reference the film, including Common's "Blue Sky," N.E.R.D.'s "Hypnotize U," XV's "The Kick," Black Eyed Peas' "Just Can't Get Enough," Lil Wayne's "6 Foot 7 Foot," Jennifer Lopez's "On the Floor," and B.o.B's "Strange Clouds," while T.I. had Inception-based artwork on two of his mixtapes. An instrumental track by Joe Budden is titled "Inception."[165] The animated series South Park parodies the film in the show's tenth episode of its fourteenth season, titled "Insheeption."[166] The film was also an influence for Ariana Grande's video for "No Tears Left to Cry."[167] "Lawnmower Dog", the second episode of the animated comedy show Rick and Morty, parodied the film.[168] In an episode of The Simpsons, named "How I Wet Your Mother", the plot spoofs Inception with various scenes parodying moments from the film.[169] The showrunners of the television series The Flash said its season 4 finale was inspired by Inception.[170] In February 2020, American singer-songwriter Taylor Swift released a lyric video for her single "The Man", which featured visuals bearing resemblance to the film. The song also mentions DiCaprio in its lyrics.[171]

 The film's title has been colloquialized as the suffix -ception, which can be jokingly appended to a noun to indicate a layering, nesting, or recursion of the thing in question.[172]

 See also

 * Film portal
 * Suggestion
 * Simulacrum
 * Simulated reality
 * Solipsism
 * Dreamscape (1984 film)
 * Existenz (1999 film)
 * The Three Stigmata of Palmer Eldritch (1965 novel)

 Notes

 1. ^ a b c Credited as Ellen Page; Page came out as transgender and changed his name in 2020. [173]

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 Further reading

 * Johnson, David Kyle; Irwin, William (2011). Inception and Philosophy: Because It's Never Just a Dream. John Wiley & Sons. ISBN 978-1-118-07263-9.
 * Nolan, Christopher; Nolan, Jonathan (2010). Inception: The Shooting Script. Insight Editions. ISBN 978-1-60887-015-8.
 * Crawford, Kevin Ray (2012), The Rhetorics of the Time-Image: Deleuzian Metadiscourse on the Role of Nooshock Temporality (viz. "Inception") in Christopher Nolan's Cinema of the Brain, ProQuest LLC

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Inception      Theatrical release poster    Directed by  Christopher Nolan    Written by Christopher Nolan   Produced by  
  Emma Thomas 
Christopher Nolan 
    Starring  
  Leonardo DiCaprio 
 Ken Watanabe 
 Joseph Gordon-Levitt 
 Marion Cotillard 
 Elliot Page  [a]  
 Tom Hardy 
 Cillian Murphy 
 Tom Berenger 
 Michael Caine  
    Cinematography  Wally Pfister    Edited by  Lee Smith    Music by  Hans Zimmer     Productioncompanies   
  Warner Bros. Pictures 
 Legendary Pictures 
 Syncopy  
    Distributed by Warner Bros. Pictures    Release dates   
 July 8, 2010 (Odeon Leicester Square)
July 16, 2010 (United States and United Kingdom) 
     Running time  148 minutes [1]     Countries  
 United States [2]  
United Kingdom [2]   
    Language English   Budget $160 million [3]     Box office $836.8 million [3]     
  Inception  is a 2010 science fiction action film  [4]   [5]   [6]  written and directed by Christopher Nolan, who also produced the film with Emma Thomas, his wife. The film stars Leonardo DiCaprio as a professional thief who steals information by infiltrating the subconscious of his targets. He is offered a chance to have his criminal history erased as payment for the implantation of another person's idea into a target's subconscious. [7]  The ensemble cast includes Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, [a]  Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, and Michael Caine.
 After the 2002 completion of  Insomnia , Nolan presented to Warner Bros. a written 80-page treatment for a horror film envisioning "dream stealers," based on lucid dreaming. [8]  Deciding he needed more experience before tackling a production of this magnitude and complexity, Nolan shelved the project and instead worked on 2005's  Batman Begins , 2006's  The Prestige , and  The Dark Knight  in 2008. [9]  The treatment was revised over 6 months and was purchased by Warner in February 2009. [10]  Inception was filmed in six countries, beginning in Tokyo on June 19 and ending in Canada on November 22. [11]  Its official budget was $160 million, split between Warner Bros. and Legendary. [12]  Nolan's reputation and success with The Dark Knight helped secure the film's US$100 million in advertising expenditure.
  Inception's premiere was held in London on July 8, 2010; it was released in both conventional and IMAX theaters beginning on July 16, 2010. [13]   [14]  Inception grossed over $828 million worldwide, becoming the fourth-highest-grossing film of 2010. Considered one of the best films of the 2010s, [15]  Inception won four Academy Awards (Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects) and was nominated for four more: Best Picture, Best Original Screenplay, Best Art Direction, and Best Original Score.
Plot
Cobb and Arthur are "extractors"; they perform corporate espionage using experimental dream-sharing technology to infiltrate their targets' subconscious and extract information. Their latest target, Saito, is impressed with Cobb's ability to layer multiple dreams within each other and offers to hire Cobb for the supposedly impossible job of implanting an idea into a person's subconscious; performing "inception" on Robert, the son of Saito's competitor Maurice Fischer, with the idea to dissolve his father's company. Saito promises to clear Cobb's criminal status, allowing him to return home to his children.
 Cobb accepts the offer and assembles his team: a forger named Eames, a chemist named Yusuf, and a college student named Ariadne. Ariadne is tasked with designing the dream's architecture, something Cobb himself cannot do for fear of being sabotaged by a projection of his late wife Mal. Maurice dies, and the team sedates Robert into a three-layer shared dream on an airplane to America. Time on each layer runs slower than the layer above, with one member staying behind on each to perform a music-synchronized "kick" to awaken dreamers on all three levels simultaneously.
 The team abducts Robert in a city on the first level but is attacked by his subconscious projections. After Saito is wounded, Cobb reveals that while dying in the dream would normally awaken dreamers, Yusuf's sedatives will instead send them into "Limbo": a world of infinite subconscious. Eames impersonates Robert's godfather, Peter Browning, to introduce the idea of an alternate will to dissolve the company. Cobb tells Ariadne that he and Mal entered Limbo while experimenting with dream-sharing, experiencing fifty years in one night due to the time dilation with reality. Mal refused to return to reality, and Cobb instead performed inception on her to convince her. After waking up, Mal still believed she was dreaming. Attempting to "wake up", she committed suicide and framed Cobb to force him to do the same. Cobb fled the U.S., leaving his children behind.
 Yusuf drives the team around the first level as they are sedated into the second level, a hotel dreamed by Arthur. Cobb persuades Robert that he has been kidnapped by Browning to stop the dissolution and that Cobb is a defensive projection, leading Robert yet another level deeper as part of a ruse to enter Robert's subconscious. In the third level, the team infiltrates an alpine fortress with a projection of Maurice inside, where the inception itself can be performed. However, Yusuf performs his kick too soon by driving off a bridge, forcing Arthur and Eames to improvise a new set of kicks synchronized with them hitting the water, by rigging an elevator and the fortress respectively with explosives. Mal then appears and kills Robert before he can be subjected to the inception and he and Saito are lost into Limbo, forcing Cobb and Ariadne to rescue them in time for Robert's inception and Eames's kick.
 Cobb makes peace with Mal's death. Ariadne kills Mal's projection and wakes Robert up with a kick. Revived into the third level, he discovers the planted idea: his dying father telling him to create something for himself. While Cobb searches for Saito in Limbo, the others ride the kicks back to reality. Cobb finds an aged Saito and reminds him of their agreement. The dreamers all awaken on the plane, and Saito makes a phone call. Arriving at L.A., Cobb passes the immigration checkpoint and his father-in-law accompanies him to his home. Cobb uses Mal's "totem" – a top that spins indefinitely in a dream – to test if he is indeed in the real world, but chooses not to observe the result and instead joins his children.
Cast
      The cast at a premiere for the film in July 2010. From left to right: Cillian Murphy, Marion Cotillard, Joseph Gordon-Levitt, Elliot Page, Ken Watanabe, Michael Caine, and Leonardo DiCaprio  
  Leonardo DiCaprio as Dom Cobb, a professional thief who specializes in conning secrets from his victims by infiltrating their dreams. DiCaprio was the first actor to be cast in the film. [16]  Both Brad Pitt and Will Smith were offered the role, according to  The Hollywood Reporter . [17]  Cobb's role is compared to "the haunted widower in a Gothic romance". [18]  
 Joseph Gordon-Levitt as Arthur, Cobb's partner who manages and researches the missions. Gordon-Levitt compared Arthur to the producer of Cobb's art, "the one saying, 'Okay, you have your vision; now I'm going to figure out how to make all the nuts and bolts work so you can do your thing'". [19]  : 7  The actor did all but one of his stunt scenes and said the preparation "was a challenge and it would have to be for it to look real". [20]  James Franco was in talks with Christopher Nolan to play Arthur, but was ultimately unavailable due to scheduling conflicts. [21]  
 Elliot Page  [a]  as Ariadne, a graduate student of architecture who is recruited to construct the various dreamscapes, which are described as mazes. The name Ariadne alludes to a princess of Greek myth, daughter of King Minos, who aided the hero Theseus by giving him a sword and a ball of string to help him navigate the labyrinth which was the prison of the Minotaur. Nolan said that Page was chosen for being a "perfect combination of freshness and savvy and maturity beyond [his] years". [19]  : 8  Page said their character acts as a proxy to the audience, as "she's just learning about these ideas and, in essence, assists the audience in learning about dream sharing". [22]  
 Tom Hardy as Eames, a sharp-tongued associate of Cobb. He is referred to as a fence but his specialty is forgery, more accurately identity theft. Eames uses his ability to impersonate others inside the dream world in order to manipulate Fischer. Hardy described his character as "an old, Graham Greene-type diplomat; sort of faded, shabby, grandeur—the old Shakespeare lovey mixed with somebody from Her Majesty's Special Forces", who wears "campy, old money" costumes. [23]  
 Ken Watanabe as Mr. Saito, a Japanese businessman who employs Cobb for the team's mission. Nolan wrote the role with Watanabe in mind, as he wanted to work with him again after  Batman Begins . [19]  : 10  Inception is Watanabe's first work in a contemporary setting where his primary language is English. Watanabe tried to emphasize a different characteristic of Saito in every dream level: "First chapter in my castle, I pick up some hidden feelings of the cycle. It's magical, powerful and then the first dream. And back to the second chapter, in the old hotel, I pick up [being] sharp and more calm and smart and it's a little bit [of a] different process to make up the character of any movie". [24]  
 Dileep Rao as Yusuf. Rao describes Yusuf as "an avant-garde pharmacologist, who is a resource for people, like Cobb, who want to do this work unsupervised, unregistered and unapproved of by anyone". Co-producer Jordan Goldberg said the role of the chemist was "particularly tough because you don't want him to seem like some kind of drug dealer", and that Rao was cast for being "funny, interesting and obviously smart". [19]  : 11  
 Cillian Murphy as Robert Michael Fischer, the heir to a business empire and the team's target. [19]  : 10  Murphy said Fischer was portrayed as "a petulant child who's in need of a lot of attention from his father, he has everything he could ever want materially, but he's deeply lacking emotionally". The actor also researched the sons of Rupert Murdoch, "to add to that the idea of living in the shadow of someone so immensely powerful". [25]  
 Tom Berenger as Peter Browning, Robert Fischer's godfather and fellow executive at the Fischers' company. [26]  Berenger said Browning acts as a "surrogate father" to Fischer, who calls the character "Uncle Peter", and emphasized that "Browning has been with [Robert] his whole life and has probably spent more quality time with him than his own father". [19]  : 11  
 Marion Cotillard as Mal Cobb, Dom's deceased wife. She is a manifestation of Dom's guilt about the real cause of Mal's suicide. He is unable to control these projections of her, challenging his abilities as an extractor. [27]  Nolan described Mal as "the essence of the femme fatale," and DiCaprio praised Cotillard's performance, saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character". [19]  : 9–10  
 Pete Postlethwaite as Maurice Fischer, Robert Fischer's father and the dying founder of a business empire.
 Michael Caine as Professor Stephen Miles, Cobb's mentor and father-in-law, [19]  : 11  and Ariadne's college professor who recommends her to the team. [28]  
 Lukas Haas as Nash, an architect in Cobb's employment who betrays the team and is later replaced by Ariadne. [29]  
 Talulah Riley as a woman, credited as "Blonde", whom Eames disguises himself as in a dream. Riley liked the role, despite it being minimal: "I get to wear a nice dress, pick up men in bars, and shove them in elevators. It was good to do something adultish. Usually I play 15-year-old English schoolgirls." [30]   
Production
Development
      Emma Thomas and Christopher Nolan answer questions about Inception. The husband-and-wife team produced the film through their company Syncopy. Nolan also wrote and directed it.  
Initially, Nolan wrote an 80-page treatment about dream-stealers. [8]  Originally, Nolan had envisioned Inception as a horror film, [8]  but eventually wrote it as a heist film even though he found that "traditionally [they] are very deliberately superficial in emotional terms." [31]  Upon revisiting his script, he decided that basing it in that genre did not work because the story "relies so heavily on the idea of the interior state, the idea of dream and memory. I realized I needed to raise the emotional stakes." [31] 
 Nolan worked on the script for nine to ten years. [16]  When he first started thinking about making the film, Nolan was influenced by "that era of movies where you had  The Matrix  (1999), you had  Dark City  (1998), you had  The Thirteenth Floor  (1999) and, to a certain extent, you had  Memento  (2000), too. They were based in the principles that the world around you might not be real." [31]   [32] 
 Nolan first pitched the film to Warner Bros. in 2001, but decided that he needed more experience making large-scale films, and embarked on  Batman Begins  and  The Dark Knight . [9]  He soon realized that a film like Inception needed a large budget because "as soon as you're talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go anywhere by the end of the film. And it has to work on a massive scale." [9]  After making The Dark Knight, Nolan decided to make Inception and spent six months completing the script. [9]  Nolan said that the key to completing the script was wondering what would happen if several people shared the same dream. "Once you remove the privacy, you've created an infinite number of alternative universes in which people can meaningfully interact, with validity, with weight, with dramatic consequences." [33] 
 Nolan had been trying to work with Leonardo DiCaprio for years and met him several times, but was unable to recruit him for any of his films until Inception. [27]  DiCaprio finally agreed because he was "intrigued by this concept—this dream-heist notion and how this character's going to unlock his dreamworld and ultimately affect his real life." [34]  : 93–94  He read the script and found it to be "very well written, comprehensive but you really had to have Chris in person, to try to articulate some of the things that have been swirling around his head for the last eight years." [9]  DiCaprio and Nolan spent months talking about the screenplay. Nolan took a long time re-writing the script in order "to make sure that the emotional journey of his [DiCaprio's] character was the driving force of the movie." [16]  On February 11, 2009, it was announced that Warner Bros. purchased Inception, a spec script written by Nolan. [10] 
Locations and sets 
 Principal photography began in Tokyo on June 19, 2009, with the scene in which Saito first hires Cobb during a helicopter flight over the city. [8]   [19]  : 13 
 The production moved to the United Kingdom and shot in a converted airship hangar in Cardington, Bedfordshire, north of London. [19]  : 14  There, the hotel bar set which tilted 30 degrees was built. [35]  : 29  A hotel corridor was also constructed by Guy Hendrix Dyas, the production designer, Chris Corbould, the special effects supervisor, and Wally Pfister, the director of photography; it rotated a full 360 degrees to create the effect of alternate directions of gravity for scenes set during the second level of dreaming, where dream-sector physics become chaotic. The idea was inspired by a technique used in Stanley Kubrick's  2001: A Space Odyssey  (1968). Nolan said, "I was interested in taking those ideas, techniques, and philosophies and applying them to an action scenario". [35]  : 32  The filmmakers originally planned to make the hallway only 40 feet (12 m) long, but as the action sequence became more elaborate, the hallway's length was increased to 100 ft (30 m). The corridor was suspended along eight large concentric rings that were spaced equidistantly outside its walls and powered by two massive electric motors. [19]  : 14 
 Joseph Gordon-Levitt, who plays Arthur, spent several weeks learning to fight in a corridor that spun like "a giant hamster wheel". [31]  Nolan said of the device, "It was like some incredible torture device; we thrashed Joseph for weeks, but in the end we looked at the footage, and it looks unlike anything any of us has seen before. The rhythm of it is unique, and when you watch it, even if you know how it was done, it confuses your perceptions. It's unsettling in a wonderful way". [31]  Gordon-Levitt remembered, "it was six-day weeks of just, like, coming home at night battered ... The light fixtures on the ceiling are coming around on the floor, and you have to choose the right time to cross through them, and if you don't, you're going to fall." [36]  On July 15, 2009, filming took place at University College London for the sequences occurring inside a Paris college of architecture in the story, [8]  including the library, Flaxman Gallery and Gustav Tuck Theatre. [37] 
 Filming moved to France, where they shot Cobb entering the college of architecture (the place used for the entrance was the Musée Galliera) and the pivotal scenes between Ariadne and Cobb, in a bistro (a fictional one set up at the corner of Rue César Franck and Rue Bouchut), and lastly on the Bir-Hakeim bridge. [19]  : 17  For the explosion that takes place during the bistro scene, local authorities would not allow the use of real explosives. High-pressure nitrogen was used to create the effect of a series of explosions. Pfister used six high-speed cameras to capture the sequence from different angles and make sure that they got the shot. The visual effects department enhanced the sequence, adding more destruction and flying debris. For the "Paris folding" sequence and when Ariadne "creates" the bridges, green screen and CGI were used on location. [19]  : 17 
  Tangier, Morocco, doubled as Mombasa, where Cobb hires Eames and Yusuf. A foot chase was shot in the streets and alleyways of the historic medina quarter. [19]  : 18  To capture this sequence, Pfister employed a mix of hand-held camera and steadicam work. [19]  : 19  Tangier was also used as the setting for filming an important riot scene during the initial foray into Saito's mind.
 Filming moved to the Los Angeles area, where some sets were built on a Warner Bros. sound stage, including the interior rooms of Saito's Japanese castle (the exterior was done on a small set built in Malibu Beach). The dining room was inspired by the historic Nijō Castle, built around 1603. These sets were inspired by a mix of Japanese architecture and Western influences. [19]  : 19 
 The production staged a multi-vehicle car chase on the streets of downtown Los Angeles, which involved a freight train crashing down the middle of a street. [19]  : 20  To do this, the filmmakers configured a train engine on the chassis of a tractor trailer. The replica was made from fiberglass molds taken from authentic train parts and matched in terms of color and design. [19]  : 21  Also, the car chase was supposed to be set in the midst of a downpour, but the L.A. weather stayed typically sunny. The filmmakers set up elaborate effects (e.g., rooftop water cannons) to give the audience the impression that the weather was overcast and soggy. L.A. was also the site of the climactic scene where a Ford Econoline van runs off the Schuyler Heim Bridge in slow motion. [38]  This sequence was filmed on and off for months, with the van being shot out of a cannon, according to actor Dileep Rao. Capturing the actors suspended within the van in slow motion took a whole day to film.
 Once the van landed in the water, the challenge for the actors was to avoid panic. "And when they ask you to act, it's a bit of an ask," explained Cillian Murphy. [38]  The actors had to be underwater for four to five minutes while drawing air from scuba tanks; underwater buddy breathing is shown in this sequence. [38] 
 Cobb's house was in Pasadena. The hotel lobby was filmed at the CAA building in Century City. 'Limbo' was made on location in Los Angeles and Morocco, with the beach scene filmed at Palos Verdes beach with CGI buildings. N Hope St. in Los Angeles was the primary filming location for 'Limbo,' with green screen and CGI being used to create the dream landscape.
 The final phase of principal photography took place in Alberta in late November 2009. The location manager discovered a temporarily closed ski resort, Fortress Mountain. [19]  : 22  An elaborate set was assembled near the top station of the Canadian chairlift, taking three months to build. [34]  : 93  The production had to wait for a huge snowstorm, which eventually arrived. [8]  The ski-chase sequence was inspired by Nolan's favorite James Bond film,  On Her Majesty's Secret Service  (1969): "What I liked about it that we've tried to emulate in this film is there's a tremendous balance in that movie of action and scale and romanticism and tragedy and emotion." [34]  : 91 
Cinematography
The film was shot primarily in the anamorphic format on 35 mm film, with key sequences filmed on 65 mm, and aerial sequences in VistaVision. Nolan did not shoot any footage with IMAX cameras as he had with  The Dark Knight . "We didn't feel that we were going to be able to shoot in IMAX because of the size of the cameras because this film given that it deals with a potentially surreal area, the nature of dreams and so forth, I wanted it to be as realistic as possible. Not be bound by the scale of those IMAX cameras, even though I love the format dearly". [16]  In addition Nolan and Pfister tested using Showscan and Super Dimension 70 as potential large-format, high-frame-rate camera systems to use for the film, but ultimately decided against either format. [35]  : 29  Sequences in slow motion were filmed on a Photo-Sonics 35 mm camera at speeds of up to 1,000 frames per second. Wally Pfister tested shooting some of these sequences using a high speed digital camera, but found the format to be too unreliable due to technical glitches. "Out of six times that we shot on the digital format, we only had one usable piece and it didn't end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35 mm running through it, every single shot was in the movie." [39]  Nolan also chose not to shoot any of the film in 3D as he prefers shooting on film [16]  using prime lenses, which is not possible with 3D cameras. [40]  Nolan has also criticized the dim image that 3D projection produces, and disputes that traditional film does not allow realistic depth perception, saying "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading." [41]  Nolan did test converting Inception into 3D in post-production but decided that, while it was possible, he lacked the time to complete the conversion to a standard he was happy with. [8]   [41]  In February 2011 Jonathan Liebesman suggested that Warner Bros. were attempting a 3D conversion for Blu-ray release. [42] 
 Wally Pfister gave each location and dream level a distinctive look to aid the audience's recognition of the narrative's location during the heavily crosscut portion of the film: the mountain fortress appears sterile and cool, the hotel hallways have warm hues, and the scenes in the van are more neutral. [35]  : 35–36 
 Nolan has said that the film "deals with levels of reality, and perceptions of reality which is something I'm very interested in. It's an action film set in a contemporary world, but with a slight science-fiction bent to it," while also describing it as "very much an ensemble film structured somewhat as a heist movie. It's an action adventure that spans the globe". [43] 
Visual effects
For dream sequences in Inception, Nolan used little computer-generated imagery, preferring practical effects whenever possible. Nolan said, "It's always very important to me to do as much as possible in-camera, and then, if necessary, computer graphics are very useful to build on or enhance what you have achieved physically." [19]  : 12  To this end, visual effects supervisor Paul Franklin built a miniature of the mountain fortress set and then blew it up for the film. For the fight scene that takes place in zero gravity, he used CG-based effects to "subtly bend elements like physics, space and time." [44] 
 The most challenging effect was the "Limbo" city level at the end of the film, because it continually developed during production. Franklin had artists build concepts while Nolan expressed his ideal vision: "Something glacial, with clear modernist architecture, but with chunks of it breaking off into the sea like icebergs". [44]  Franklin and his team ended up with "something that looked like an iceberg version of Gotham City with water running through it." [44]  They created a basic model of a glacier and then designers created a program that added elements like roads, intersections and ravines until they had a complex, yet organic-looking, cityscape. For the Paris-folding sequence, Franklin had artists producing concept sketches and then they created rough computer animations to give them an idea of what the sequence looked like while in motion. Later during principal photography, Nolan was able to direct DiCaprio and Page based on this rough computer animation that Franklin had created. Inception had nearly 500 visual effects shots (in comparison,  Batman Begins  had approximately 620), which is relatively few in comparison to contemporary effects-heavy films, which can have as many as 2,000 visual effects shots. [44] 
Music
The score for Inception was written by Hans Zimmer, [26]  who described his work as "a very electronic, [45]  dense score", [46]  filled with "nostalgia and sadness" to match Cobb's feelings throughout the film. [47]  The music was written simultaneously to filming, [46]  and features a guitar sound reminiscent of Ennio Morricone, played by Johnny Marr, former guitarist of the Smiths.
Édith Piaf's "Non, je ne regrette rien" ("No, I Regret Nothing") appears throughout the film, used to accurately time the dreams, and Zimmer reworked pieces of the song into cues of the score. [47] 
A soundtrack album was released on July 11, 2010, by Reprise Records. [48]  The majority of the score was also included in high resolution 5.1 surround sound on the second disc of the two-disc Blu-ray release. [49]  Hans Zimmer's music was nominated for an Academy Award in the Best Original Score category in 2011, losing to Trent Reznor and Atticus Ross of  The Social Network . [50] 
Themes
Reality and dreams
     
In Inception, Nolan wanted to explore "the idea of people sharing a dream space... That gives you the ability to access somebody's unconscious mind. What would that be used and abused for?" [16]  The majority of the film's plot takes place in these interconnected dream worlds. This structure creates a framework where actions in the real or dream worlds ripple across others. The dream is always in a state of production, and shifts across the levels as the characters navigate it. [51]  By contrast, the world of  The Matrix  (1999) is an authoritarian, computer-controlled one, alluding to theories of social control developed by thinkers Michel Foucault and Jean Baudrillard. However, according to one interpretation Nolan's world has more in common with the works of Gilles Deleuze and Félix Guattari. [51] 
  David Denby in  The New Yorker  compared Nolan's cinematic treatment of dreams to Luis Buñuel's in  Belle de Jour  (1967) and  The Discreet Charm of the Bourgeoisie  (1972). [52]  He criticized Nolan's "literal-minded" action level sequencing compared to Buñuel, who "silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what's going on." The latter captures "the peculiar malign intensity of actual dreams." [52] 
  Deirdre Barrett, a dream researcher at Harvard University, said that Nolan did not get every detail accurate regarding dreams, but their illogical, rambling, disjointed plots would not make for a great thriller anyway. However, "he did get many aspects right," she said, citing the scene in which a sleeping Cobb is shoved into a full bath, and in the dream world water gushes into the windows of the building, waking him up. "That's very much how real stimuli get incorporated, and you very often wake up right after that intrusion." [53] 
 Nolan himself said, "I tried to work that idea of manipulation and management of a conscious dream being a skill that these people have. Really the script is based on those common, very basic experiences and concepts, and where can those take you? And the only outlandish idea that the film presents, really, is the existence of a technology that allows you to enter and share the same dream as someone else." [31] 
Dreams and cinema
Others have argued that the film is itself a metaphor for filmmaking, and that the filmgoing experience itself, images flashing before one's eyes in a darkened room, is akin to a dream. Writing in Wired, Jonah Lehrer supported this interpretation and presented neurological evidence that brain activity is strikingly similar during film-watching and sleeping. In both, the visual cortex is highly active and the prefrontal cortex, which deals with logic, deliberate analysis, and self-awareness, is quiet. [54]  Paul argued that the experience of going to a picturehouse is itself an exercise in shared dreaming, particularly when viewing Inception: the film's sharp cutting between scenes forces the viewer to create larger narrative arcs to stitch the pieces together. This demand of production parallel to consumption of the images, on the part of the audience is analogous to dreaming itself. As in the film's story, in a cinema one enters into the space of another's dream, in this case Nolan's, as with any work of art, one's reading of it is ultimately influenced by one's own subjective desires and subconscious. [51]  At Bir-Hakeim bridge in Paris, Ariadne creates an illusion of infinity by adding facing mirrors underneath its struts, Stephanie Dreyfus in la Croix asked "Is this not a strong, beautiful metaphor for the cinema and its power of illusion?" [55] 
Cinematic technique
Genre
Nolan combined elements from several different film genres into the film, notably science fiction, heist film, and film noir.
Marion Cotillard plays "Mal" Cobb, Dom Cobb's projection of his guilt over his deceased wife's suicide. As the film's main antagonist, she is a frequent, malevolent presence in his dreams. Dom is unable to control these projections of her, challenging his abilities as an extractor. [27]  Nolan described Mal as "the essence of the femme fatale", [19]  : 9  the key noir reference in the film. As a "classic femme fatale" her relationship with Cobb is in his mind, a manifestation of Cobb's own neurosis and fear of how little he knows about the woman he loves. [56]  DiCaprio praised Cotillard's performance saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character". [19]  : 10 
 Nolan began with the structure of a heist movie, since exposition is an essential element of that genre, though adapted it to have a greater emotional narrative suited to the world of dreams and subconscious. [56]  As Denby described this device: "the outer shell of the story is an elaborate caper". [52]  Kristin Thompson argued that exposition was a major formal device in the film. While a traditional heist movie has a heavy dose of exposition at the beginning as the team assembles and the leader explains the plan, in Inception this becomes nearly continuous as the group progresses through the various levels of dreaming. [57]  Three quarters of the film, until the van begins to fall from the bridge, are devoted to explaining its plot. In this way, exposition takes precedence over characterization. The characters' relationships are created by their respective skills and roles. Ariadne, like her ancient namesake, creates the maze and guides the others through it, but also helps Cobb navigate his own subconscious, and as the sole student of dream sharing, helps the audience understand the concept of the plot. [58] 
 Nolan drew inspiration from the works of Jorge Luis Borges, [8]   [59]  including "The Secret Miracle" and "The Circular Ruins", [60]  and from the films  Blade Runner  (1982) and  The Matrix  (1999). [60]   [61]  While Nolan has not confirmed this, it has also been suggested by many observers that the movie draws heavy inspiration from the 2006 animated film  Paprika . [62]   [63]   [64] 
Ending
The film cuts to the closing credits from a shot of the top apparently starting to show an ever so faint wobble, inviting speculation about whether the final sequence was reality or another dream. Nolan confirmed that the ambiguity was deliberate, [56]  saying, "I've been asked the question more times than I've ever been asked any other question about any other film I've made... What's funny to me is that people really do expect me to answer it." [65]  The film's script concludes with "Behind him, on the table, the spinning top is STILL SPINNING. And we—FADE OUT". [66]  Nolan said, "I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me—it always felt like the appropriate 'kick' to me... The real point of the scene—and this is what I tell people—is that Cobb isn't looking at the top. He's looking at his kids. He's left it behind. That's the emotional significance of the thing." [65]  Also, Michael Caine explained his interpretation of the ending, saying, "If I'm there it's real, because I'm never in the dream. I'm the guy who invented the dream." [67] 
  Mark Fisher argued that "a century of cultural theory" cautions against accepting the author's interpretation as anything more than a supplementary text, and this all the more so given the theme of the instability of any one master position in Nolan's films. Therein the manipulator is often the one who ends up manipulated, and Cobb's "not caring" about whether or not his world is real may be the price of his happiness and release. [68] 
Release
Marketing
Warner Bros. spent US$100 million marketing the film. Although Inception was not part of an existing franchise, Sue Kroll, president of Warner's worldwide marketing, said the company believed it could gain awareness due to the strength of "Christopher Nolan as a brand". Kroll declared that "We don't have the brand equity that usually drives a big summer opening, but we have a great cast and a fresh idea from a filmmaker with a track record of making incredible movies. If you can't make those elements work, it's a sad day." [69]  The studio also tried to maintain a campaign of secrecy—as reported by the Senior VP of Interactive Marketing, Michael Tritter, "You have this movie which is going to have a pretty big built in fanbase... but you also have a movie that you are trying to keep very secret. Chris [Nolan] really likes people to see his movies in a theater and not see it all beforehand so everything that you do to market that—at least early on—is with an eye to feeding the interest to fans." [70] 
 A viral marketing campaign was employed for the film. After the revelation of the first teaser trailer, in August 2009, the film's official website featured only an animation of Cobb's spinning top. In December, the top toppled over and the website opened the online game Mind Crime, which upon completion revealed Inception's poster. [71]  The rest of the campaign unrolled after WonderCon in April 2010, where Warner gave away promotional T-shirts featuring the PASIV briefcase used to create the dream space, and had a QR code linking to an online manual of the device. [72]  Mind Crime also received a stage 2 with more resources, including a hidden trailer for the movie. [73]  More pieces of viral marketing began to surface before Inception's release, such as a manual filled with bizarre images and text sent to  Wired  magazine, [74]  and the online publication of posters, ads, phone applications, and strange websites all related to the film. [75]   [76]  Warner also released an online prequel comic, Inception: The Cobol Job. [77] 
 The official trailer released on May 10, 2010, through Mind Game was extremely well received. [73]  It featured an original piece of music, "Mind Heist", by recording artist Zack Hemsey, [78]  rather than music from the score. [79]  The trailer quickly went viral with numerous mashups copying its style, both by amateurs on sites like YouTube [80]  and by professionals on sites such as CollegeHumor. [81]   [82]  On June 7, 2010, a behind-the-scenes featurette on the film was released in HD on Yahoo! Movies. [83] 
  Inception and its film trailers are widely credited for launching the trend throughout the 2010s in which blockbuster movie trailers repeatedly hit audiences with so-called "braam" sounds: "bassy, brassy, thunderous notes—like a foghorn on steroids—meant to impart a sense of apocalyptic momentousness". [84]  However, different composers worked on the teaser trailer, first trailer, second trailer, and film score, meaning that identifying the composer(s) responsible for that trend is a complicated task. [84] 
Home media
 Inception was released on DVD and Blu-ray on December 3, 2010, in France, [85]  and the week after in the UK and USA (December 7, 2010). [86]   [87]  Warner Bros. also made available in the United States a limited Blu-ray edition packaged in a metal replica of the PASIV briefcase, which included extras such as a metal replica of the spinning top totem. With a production run of less than 2,000, it sold out in one weekend. [88]  Inception was released on 4K Blu-ray and digital copy along with other Christopher Nolan films on December 19, 2017. [89]  As of 2018, the home video releases have sold over 9 million units and grossed over $160 million. [90] 
Putative video game
In a November 2010 interview, Nolan expressed his intention to develop a video game set in the Inception world, working with a team of collaborators. He described it as "a longer-term proposition", referring to the medium of video games as "something I've wanted to explore". [91] 
10th anniversary re-release
 Inception was re-released in theaters for its tenth anniversary, starting on August 12, 2020, in international markets and on August 21 in the U.S. [92]  The re-release was originally announced by Warner Bros. in June 2020 and scheduled for July 17, 2020, taking the original release date for Nolan's upcoming film  Tenet  after its delay to July 31 due to the impact of the COVID-19 pandemic on movie theaters. [93]  After Tenet was delayed again to August 12, the re-release was shifted to July 31, [94]  before setting on the August release date following a third delay. [92] 
Reception
Box office
 
Film
Release date
Box office revenue
Box office ranking
Budget
Reference
 
United States
North America
International
Worldwide
All-time United States
All-time worldwide
 
 Inception 
July 2010
US$292,576,195
US$532,956,569
US$825,532,764
No. 80
No. 67
US$160,000,000
  [95] 
   
 Inception was released in both conventional and IMAX theaters on July 16, 2010. [96]   [97]  The film had its world premiere at Leicester Square in London on July 8, 2010. [98]  In the United States and Canada, Inception was released theatrically in 3,792 conventional theaters and 195 IMAX theaters. [96]  The film grossed US$21.8 million during its opening day on July 16, 2010, with midnight screenings in 1,500 locations. [99]  Overall the film made US$62.7 million and debuted at No.1 on its opening weekend. [100]  Inception's opening weekend gross made it the second-highest-grossing debut for a science fiction film that was not a sequel, remake or adaptation, behind  Avatar 's US$77 million opening-weekend gross in 2009. [100]  The film held the top spot of the box office rankings in its second and third weekends, with drops of just 32% (US$42.7 million) and 36% (US$27.5 million), respectively, [101]   [102]  before dropping to second place in its fourth week, behind  The Other Guys . [103] 
  Inception grossed US$292 million in the United States and Canada, US$56 million in the United Kingdom, Ireland and Malta and US$475 million in other countries for a total of US$823 million worldwide. [3]  Its five highest-grossing markets after the US and Canada (US$292 million) were China (US$68 million), the United Kingdom, Ireland and Malta (US$56 million), France and the Maghreb region (US$43 million), Japan (US$40 million) and South Korea (US$38 million). [104]  It was the sixth-highest-grossing film of 2010 in North America, [105]  and the fourth-highest-grossing film of 2010, behind  Toy Story 3 ,  Alice in Wonderland  and  Harry Potter and the Deathly Hallows – Part 1 . [106]  Inception is the third most lucrative production in Christopher Nolan's career—behind  The Dark Knight  and  The Dark Knight Rises   [107] —and the second most for Leonardo DiCaprio—behind  Titanic . [108] 
Critical response
On Rotten Tomatoes, the film holds an approval rating of 87% based on 361 reviews, with an average rating of 8.10/10. The website's critical consensus reads: "Smart, innovative, and thrilling, Inception is that rare summer blockbuster that succeeds viscerally as well as intellectually." [109]  Metacritic, another review aggregator, assigned the film a weighted average score of 74 out of 100, based on 42 critics, indicating "generally favorable reviews". [110]  Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. [111] 
  Peter Travers of  Rolling Stone  called Inception a "wildly ingenious chess game," and concluded "the result is a knockout." [112]  Justin Chang of  Variety  praised the film as "a conceptual tour de force" and wrote, "applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the unconscious mind, the writer-director has devised a heist thriller for surrealists, a Jungian's  Rififi , that challenges viewers to sift through multiple layers of (un)reality." [113]  Jim Vejvoda of IGN rated the film as perfect, deeming it "a singular accomplishment from a filmmaker who has only gotten better with each film." [114]   Relevant 's David Roark called it Nolan's "greatest accomplishment," saying, "Visually, intellectually and emotionally, Inception is a masterpiece." [115] 
 In its August 2010 issue,  Empire  magazine gave the film a full five stars and wrote, "it feels like Stanley Kubrick adapting the work of the great sci-fi author William Gibson [...] Nolan delivers another true original: welcome to an undiscovered country." [116]   Entertainment Weekly 's Lisa Schwarzbaum gave the film a B+ grade and wrote, "It's a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by M. C. Escher or a state-of-the-biz video game; the backwards splicing of Nolan's own Memento looks rudimentary by comparison." [117]  The  New York Post 's Lou Lumenick gave the film a four-star rating and wrote, "DiCaprio, who has never been better as the tortured hero, draws you in with a love story that will appeal even to non-sci-fi fans." [118]  Roger Ebert of the  Chicago Sun-Times  awarded the film a full four stars and said that Inception "is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act." [119]  Richard Roeper, also of the Sun-Times, gave Inception an "A+" score and called it "one of the best movies of the [21st] century." [120]  BBC Radio 5 Live's Mark Kermode named Inception as the best film of 2010, stating that "Inception is proof that people are not stupid, that cinema is not trash, and that it is possible for blockbusters and art to be the same thing." [121] 
  Michael Phillips of the  Chicago Tribune  gave the film 3 out of 4 stars and wrote, "I found myself wishing Inception were weirder, further out [...] the film is Nolan's labyrinth all the way, and it's gratifying to experience a summer movie with large visual ambitions and with nothing more or less on its mind than (as Shakespeare said) a dream that hath no bottom." [122]   TIME  magazine's Richard Corliss wrote that the film's "noble intent is to implant one man's vision in the mind of a vast audience [...] The idea of moviegoing as communal dreaming is a century old. With Inception, viewers have a chance to see that notion get a state-of-the-art update." [123]  Kenneth Turan of the  Los Angeles Times  felt that Nolan was able to blend "the best of traditional and modern filmmaking. If you're searching for smart and nervy popular entertainment, this is what it looks like." [124] 
 USA Today 's Claudia Puig gave the film three-and-a-half out of four stars and felt that Nolan "regards his viewers as possibly smarter than they are—or at least as capable of rising to his inventive level. That's a tall order. But it's refreshing to find a director who makes us stretch, even occasionally struggle, to keep up." [125] 
 Not all reviewers gave the film positive reviews.  New York  magazine's David Edelstein claimed in his review that he had "no idea what so many people are raving about. It's as if someone went into their heads while they were sleeping and planted the idea that Inception is a visionary masterpiece and—hold on ... Whoa! I think I get it. The movie is a metaphor for the power of delusional hype—a metaphor for itself." [126]   The New York Observer 's Rex Reed explained that the film's development was "pretty much what we've come to expect from summer movies in general and Christopher Nolan movies in particular ... [it] doesn't seem like much of an accomplishment to me." [127]  A. O. Scott of  The New York Times  commented "there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan's idea of the mind is too literal, too logical, and too rule-bound to allow the full measure of madness." [128]   The New Yorker 's David Denby considered the film to "not nearly [be] as much fun as Nolan imagined it to be", concluding that "Inception is a stunning-looking film that gets lost in fabulous intricacies, a movie devoted to its own workings and to little else." [52] 
 While some critics have tended to view the film as perfectly straightforward, and even criticize its overarching themes as "the stuff of torpid platitudes," online discussion has been much more positive. [129]  Heated debate has centered on the ambiguity of the ending, with many critics like Devin Faraci making the case that the film is self-referential and tongue-in-cheek, both a film about film-making and a dream about dreams. [130]  Other critics read Inception as Christian allegory and focus on the film's use of religious and water symbolism. [131]  Yet other critics, such as Kristin Thompson, see less value in the ambiguous ending of the film and more in its structure and novel method of storytelling, highlighting Inception as a new form of narrative that revels in "continuous exposition". [57] 
 Several critics and scholars have noted the film has many striking similarities to the 2006 anime film  Paprika  by Satoshi Kon (and Yasutaka Tsutsui's 1993 novel of the same name), including plot similarities, similar scenes, and similar characters, arguing that Inception was influenced by Paprika. [62]   [63]   [64]   [132]   [133]  Several sources have also noted plot similarities between the film and the 2002 Uncle Scrooge comic  The Dream of a Lifetime  by Don Rosa. [134]   [135]   [136]  The influence of Tarkovsky's  Solaris  on Inception was noted as well. [137]   [138] 
Year-end and all-time lists
 Inception appeared on over 273 critics' lists of the top ten films of 2010, being picked as number-one on at least 55 of those lists. [139]  It was the second-most-mentioned film in both the top ten lists and number-one rankings, only behind  The Social Network  along with  Toy Story 3 ,  True Grit ,  The King's Speech , and  Black Swan  as the most critically acclaimed films of 2010. [139]  Author Stephen King placed Inception at #3 in his list of top 10 best movies of the year. [140] 
 Critics and publications who ranked the film first for that year included Richard Roeper of the  Chicago Sun-Times , Kenneth Turan of the  Los Angeles Times  (tied with  The Social Network  and  Toy Story 3 ), Tasha Robinson of  The A.V. Club ,  Empire  magazine, and Kirk Honeycutt of  The Hollywood Reporter . [141] 
 In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their ninth-favorite film of all time. [142]  Producer Roger Corman cited Inception as an example of "great imagination and originality". [143]  It was voted as the third-best science fiction film of all time in the 2011 list  Best in Film: The Greatest Movies of Our Time , based on a poll conducted by ABC and  People .[ citation needed ] In 2012, Inception was ranked the 35th-best-edited film of all time by the Motion Picture Editors Guild. [144]  In the same year,  Total Film  named it the most-rewatchable movie of all time. [145]  In 2014, Empire ranked Inception the tenth-greatest film ever made on their list of "The 301 Greatest Movies Of All Time" as voted by the magazine's readers, [146]  while Rolling Stone magazine named it the second-best science fiction film since the turn of the century. [147]  Inception was ranked 84th on Hollywood's 100 Favorite Films, a list compiled by The Hollywood Reporter in 2014, surveying "Studio chiefs, Oscar winners and TV royalty". [148]  In 2016, Inception was voted the 51st-best film of the 21st Century by BBC, as picked by 177 film critics from around the world. [149]  The film was included in the Visual Effects Society's list of "The Most Influential Visual Effects Films of All Time". [150]  In 2019, Total Film named Inception the best film of the 2010s. [151]  Many critics and media outlets included Inception in their rankings of the best films of the 2010s. [152]   [153]   [154]   [155]   [156]   [157]  The film was included in  Forbes  magazine's list of Top 150 Greatest Films of 21st Century. [158] 
 In April 2014,  The Daily Telegraph  placed the title on its top ten list of the most overrated films. Telegraph's Tim Robey stated, "It's a criminal failing of the movie that it purports to be about people's dreams being invaded, but demonstrates no instinct at all for what a dream has ever felt like, and no flair for making us feel like we're in one, at any point." [159]  The film won an informal poll by the  Los Angeles Times  as the most overrated movie of 2010. [160] 
Accolades
The film won many awards in technical categories, such as Academy Awards for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects, [50]  and the British Academy Film Awards for Best Production Design, Best Special Visual Effects and Best Sound. [161]  In most of its artistic nominations, such as Film, Director, and Screenplay at the Oscars, BAFTAs and Golden Globes, the film was defeated by  The Social Network  or  The King's Speech . [50]   [161]   [162]  However, the film did win the two highest honors for a science fiction or fantasy film: the 2011 Bradbury Award for best dramatic production [163]  and the 2011 Hugo Award for Best Dramatic Presentation (Long Form). [164] 
In popular culture
Numerous pop and hip hop songs reference the film, including Common's "Blue Sky," N.E.R.D.'s "Hypnotize U," XV's "The Kick," Black Eyed Peas' "Just Can't Get Enough," Lil Wayne's "6 Foot 7 Foot," Jennifer Lopez's "On the Floor," and B.o.B's "Strange Clouds," while T.I. had Inception-based artwork on two of his mixtapes. An instrumental track by Joe Budden is titled "Inception." [165]  The animated series  South Park  parodies the film in the show's tenth episode of its fourteenth season, titled "Insheeption." [166]  The film was also an influence for Ariana Grande's video for "No Tears Left to Cry." [167]  "Lawnmower Dog", the second episode of the animated comedy show  Rick and Morty , parodied the film. [168]  In an episode of  The Simpsons , named "How I Wet Your Mother", the plot spoofs Inception with various scenes parodying moments from the film. [169]  The showrunners of the television series  The Flash  said its season 4 finale was inspired by Inception. [170]  In February 2020, American singer-songwriter Taylor Swift released a lyric video for her single "The Man", which featured visuals bearing resemblance to the film. The song also mentions DiCaprio in its lyrics. [171] 
 The film's title has been colloquialized as the suffix  -ception , which can be jokingly appended to a noun to indicate a layering, nesting, or recursion of the thing in question. [172] 
See also
  Suggestion 
 Simulacrum 
 Simulated reality 
 Solipsism 
  Dreamscape  (1984 film)
  Existenz  (1999 film)
  The Three Stigmata of Palmer Eldritch  (1965 novel) 
Notes
 
^    a       b       c    Credited as Ellen Page; Page came out as transgender and changed his name in 2020. [173] 
 
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Further reading
  Johnson, David Kyle; Irwin, William (2011).  Inception and Philosophy: Because It's Never Just a Dream . John Wiley &amp; Sons. ISBN  978-1-118-07263-9 . 
 Nolan, Christopher; Nolan, Jonathan (2010). Inception: The Shooting Script. Insight Editions. ISBN  978-1-60887-015-8 . 
 Crawford, Kevin Ray (2012), The Rhetorics of the Time-Image: Deleuzian Metadiscourse on the Role of Nooshock Temporality (viz. "Inception") in Christopher Nolan's Cinema of the Brain, ProQuest LLC  
External links
 
Wikiquote has quotations related to   Inception  . 
 
Wikimedia Commons has media related to Inception. 
  Official website 
  Inception  at IMDb
Inception - Wikipedia
https://en.wikipedia.org/wiki/Inception
https://en.wikipedia.org/wiki/Hans_Zimmer
Hans Zimmer - Wikipedia
2002-12-18
Authority control
<div><div>
<table><tbody><tr><th><p>Hans Zimmer</p></th></tr><tr><td><a href="/wiki/File:Hans-Zimmer-profile.jpg"></a><p>Zimmer in 2018</p></td></tr><tr><th>Born</th><td><p>Hans Florian Zimmer</p><br />12 September 1957 (age 65)<br /><div><p><a href="/wiki/Frankfurt">Frankfurt</a>, <a href="/wiki/West_Germany">West Germany</a></p></div></td></tr><tr><th>Education</th><td><div><ul><li><a href="/wiki/Ecole_d%27Humanit%C3%A9">Ecole d'Humanité</a></li><li><a href="/wiki/Hurtwood_House">Hurtwood House</a></li></ul></div></td></tr><tr><th>Occupations</th><td><div><ul><li>Composer</li><li>music producer</li></ul></div></td></tr><tr><th>Years active</th><td>1977–present</td></tr><tr><th>Notable work</th><td><a href="/wiki/Hans_Zimmer_discography">Full list</a></td></tr><tr><th>Spouses</th><td><div><ul><li><div><p>Vicki Carolin</p>
 <p>​</p> <p>​</p><p>(<abbr>m.</abbr> 1982; <abbr>div.</abbr> 1992)<wbr></wbr>​</p></div></li><li><div><p>Suzanne Zimmer</p> <p>​</p><p>(<abbr>div.</abbr> )<wbr></wbr>​</p></div></li></ul></div></td></tr><tr><th>Children</th><td>4</td></tr><tr><th>Awards</th><td><a href="/wiki/List_of_awards_and_nominations_received_by_Hans_Zimmer">Full list</a></td></tr><tr><td><b>Musical career</b></td></tr><tr><th>Genres</th><td><a href="/wiki/Film_score">Film scores</a></td></tr><tr><th>Labels</th><td><a href="/wiki/Remote_Control_Productions_(American_company)">Remote Control Productions</a>, <a href="/wiki/Bleeding_Fingers_Music">Bleeding Fingers Music</a></td></tr><tr><td>
</td></tr><tr><th>Website</th><td><a href="http://hanszimmer.com/">hanszimmer<wbr></wbr>.com</a></td></tr></tbody></table>
<p><b>Hans Florian Zimmer</b> (<small>German pronunciation: </small><a href="/wiki/Help:IPA/Standard_German">[ˈhans ˈfloːʁi̯aːn ˈtsɪmɐ]</a> (<a href="/wiki/File:De-Hans_Florian_Zimmer.flac"></a><a href="//upload.wikimedia.org/wikipedia/commons/6/6d/De-Hans_Florian_Zimmer.flac">listen</a>); born 12 September 1957) is a German <a href="/wiki/Film_score">film score</a> composer and music producer. He has won two <a href="/wiki/Academy_Awards">Oscars</a> and four <a href="/wiki/Grammy_Awards">Grammys</a>, and has been nominated for two <a href="/wiki/Primetime_Emmy_Awards">Emmys</a> and a <a href="/wiki/Tony_Awards">Tony</a>. Zimmer was also named on the list of Top 100 Living Geniuses, published by <i><a href="/wiki/The_Daily_Telegraph">The Daily Telegraph</a></i>.<sup><a href="#cite_note-1">[1]</a></sup>
</p><p>His works are notable for integrating <a href="/wiki/Electronic_music">electronic music</a> sounds with traditional orchestral arrangements. Since the 1980s, Zimmer has composed music for over 150 films. He has won two <a href="/wiki/Academy_Award_for_Best_Original_Score">Academy Awards for Best Original Score</a> for <i><a href="/wiki/The_Lion_King">The Lion King</a></i> (1994), and <i><a href="/wiki/Dune_(2021_film)">Dune</a></i> (2021). His works include <i><a href="/wiki/Gladiator_(2000_film)">Gladiator</a></i>, <i><a href="/wiki/The_Last_Samurai">The Last Samurai</a></i>, the <i><a href="/wiki/Pirates_of_the_Caribbean_(film_series)">Pirates of the Caribbean</a></i> series, <a href="/wiki/The_Dark_Knight_Trilogy"><i>The Dark Knight</i> trilogy</a>, <i><a href="/wiki/Inception">Inception</a></i>, <i><a href="/wiki/Interstellar_(film)">Interstellar</a></i> and <i><a href="/wiki/Dunkirk_(2017_film)">Dunkirk</a></i>.
</p><p>Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at <a href="/wiki/DreamWorks_Pictures">DreamWorks Pictures</a> and <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a> studios and works with other composers through the company that he founded, <a href="/wiki/Remote_Control_Productions_(American_company)">Remote Control Productions</a>,<sup><a href="#cite_note-dreamworks-2">[2]</a></sup> formerly known as Media Ventures. His studio in <a href="/wiki/Santa_Monica,_California">Santa Monica, California</a> has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.<sup><a href="#cite_note-studio-3">[3]</a></sup>
</p>
<h2>Early life[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>Zimmer was born on 12 September 1957 in <a href="/wiki/Frankfurt">Frankfurt</a>, <a href="/wiki/West_Germany">West Germany</a>. As a young child, he lived in <a href="/wiki/K%C3%B6nigstein_im_Taunus">Königstein-Falkenstein</a>, where he played the piano at home but had piano lessons only briefly, as he disliked the discipline of formal lessons.<sup><a href="#cite_note-mtv.de-4">[4]</a></sup> In one of his <a href="/wiki/R/IAmA">Reddit AMAs</a>, he said: "My formal training was two weeks of piano lessons. I was thrown out of eight schools. But I joined a band. I am self-taught. But I've always heard music in my head. And I'm a child of the 20th century; computers came in very handy."<sup><a href="#cite_note-reddit-5">[5]</a></sup> Zimmer attended the <a href="/wiki/Ecole_d%27Humanit%C3%A9">Ecole D'Humanité</a>, an international boarding school in <a href="/wiki/Canton_of_Bern">Canton Bern</a>, Switzerland.<sup><a href="#cite_note-6">[6]</a></sup> He moved to London as a teenager, where he attended <a href="/wiki/Hurtwood_House">Hurtwood House</a> school.<sup><a href="#cite_note-Hurtwood-7">[7]</a></sup> During his childhood, he was strongly influenced by the film scores of <a href="/wiki/Ennio_Morricone">Ennio Morricone</a> and has cited <i><a href="/wiki/Once_Upon_a_Time_in_the_West#Music">Once Upon a Time in the West</a></i> as the score that inspired him to become a film composer.<sup><a href="#cite_note-8">[8]</a></sup>
</p><p>In a speech at the <a href="/wiki/1999_Berlin_Film_Festival">1999 Berlin Film Festival</a>, Zimmer stated that he is Jewish, and talked about his mother surviving <a href="/wiki/World_War_II">World War II</a> thanks to her escape from Germany to England in 1939. In an interview in May 2014, Zimmer revealed that it was difficult growing up in <a href="/wiki/History_of_Germany_(1945%E2%80%931990)">post-War</a> Germany being Jewish and said, "I think my parents were always wary of me telling the neighbors" that they were Jewish.<sup><a href="#cite_note-jewishjournal.com-9">[9]</a></sup> In an interview with <a href="/wiki/Mashable">Mashable</a> in February 2013, he said of his parents: "My mother was very musical, basically a musician and my father was an engineer and an inventor. So I grew up modifying the piano, shall we say, which made my mother gasp in horror, and my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology."<sup><a href="#cite_note-mashable-10">[10]</a></sup> In an interview with the German television station <a href="/wiki/ZDF">ZDF</a> in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."<sup><a href="#cite_note-zdf-11">[11]</a></sup>
</p>
<h2>Career[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=2">edit</a>]</h2>
<h3>1977–1988[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=3">edit</a>]</h3>
<p>Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa.<sup><a href="#cite_note-12">[12]</a></sup> He worked with <a href="/wiki/The_Buggles">the Buggles</a>, a <a href="/wiki/New_wave_music">new wave</a> band formed in London in 1977 with <a href="/wiki/Trevor_Horn">Trevor Horn</a>, <a href="/wiki/Geoff_Downes">Geoff Downes</a>, and <a href="/wiki/Bruce_Woolley">Bruce Woolley</a>. Zimmer can be seen briefly in the Buggles' music video for the 1979 song "<a href="/wiki/Video_Killed_the_Radio_Star">Video Killed the Radio Star</a>".<sup><a href="#cite_note-13">[13]</a></sup> After working with the Buggles, he started to work for the Italian group <a href="/wiki/Krisma">Krisma</a>, a <a href="/wiki/New_wave_music">new wave</a> band formed in 1976 with <a href="/wiki/Maurizio_Arcieri">Maurizio Arcieri</a> and Christina Moser. He was a featured synthesist for Krisma's third album, <i>Cathode Mamma</i>. He has also worked with the band <a href="/wiki/Helden_(band)">Helden</a> (with <a href="/wiki/Warren_Cann">Warren Cann</a> from <a href="/wiki/Ultravox">Ultravox</a>).<sup><a href="#cite_note-Hans_Zimmer_biography-14">[14]</a></sup> Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group <a href="/wiki/Mecano">Mecano</a> for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the <i><a href="/wiki/Mecano:_En_Concierto">Mecano: En Concierto</a></i> album released in 1985 only in Spain. In 1985, he contributed to the <a href="/wiki/Shriekback">Shriekback</a> album <i><a href="/wiki/Oil_%26_Gold">Oil &amp; Gold</a></i>.<sup><a href="#cite_note-15">[15]</a></sup> In 1980, Zimmer co-produced a single, "<a href="/wiki/The_History_of_the_World_(Part_1)">History of the World, Part 1</a>," with, and for, UK punk band <a href="/wiki/The_Damned_(band)">The Damned</a>, which was also included on their 1980 LP release, <i><a href="/wiki/The_Black_Album_(The_Damned_album)">The Black Album</a></i>, and carried the description of his efforts as "Over-Produced by Hans Zimmer."
</p><p>While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.<sup><a href="#cite_note-Hans_Zimmer_biography-14">[14]</a></sup> In the 1980s, Zimmer partnered with <a href="/wiki/Stanley_Myers">Stanley Myers</a>, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.<sup><a href="#cite_note-Biography:_Hans_Zimmer-16">[16]</a></sup> Some of the films on which Zimmer and Myers worked are <i><a href="/wiki/Moonlighting_(film)">Moonlighting</a></i> (1982), <i><a href="/wiki/Success_Is_the_Best_Revenge">Success Is the Best Revenge</a></i> (1984), <i><a href="/wiki/Insignificance_(film)">Insignificance</a></i> (1985), and <i><a href="/wiki/My_Beautiful_Laundrette">My Beautiful Laundrette</a></i> (1985). Zimmer's first solo score was <i><a href="/wiki/Terminal_Exposure">Terminal Exposure</a></i> for director <a href="/wiki/Nico_Mastorakis">Nico Mastorakis</a> in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film <i><a href="/wiki/The_Last_Emperor">The Last Emperor</a></i>, which won the <a href="/wiki/Academy_Award_for_Best_Music_(Scoring)">Academy Award for Best Original Score</a>.<sup><a href="#cite_note-Hans_Zimmer_biography-14">[14]</a></sup>
</p><p>One of Zimmer's most durable works from his time in the United Kingdom was the theme song for the television game show <i><a href="/wiki/Going_for_Gold">Going for Gold</a></i>, which he composed with Sandy McClelland in 1987. In an interview with the <a href="/wiki/BBC">BBC</a>, Zimmer said: "<i>Going for Gold</i> was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."<sup><a href="#cite_note-Gold-17">[17]</a></sup>
</p>
<h3>1988–2000[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=4">edit</a>]</h3>
<p>A turning point in Zimmer's career occurred with the 1988 film <i><a href="/wiki/Rain_Man">Rain Man</a></i>.<sup><a href="#cite_note-Biography:_Hans_Zimmer-16">[16]</a></sup> <a href="/wiki/Hollywood,_Los_Angeles,_California">Hollywood</a> director <a href="/wiki/Barry_Levinson">Barry Levinson</a> was looking for someone to score <i>Rain Man</i>, and his wife heard the soundtrack CD of the <a href="/wiki/Internal_resistance_to_apartheid">anti-apartheid</a> drama <i><a href="/wiki/A_World_Apart_(film)">A World Apart</a></i>, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work and hired him to score <i>Rain Man</i>.<sup><a href="#cite_note-rain-18">[18]</a></sup> In the score, Zimmer uses synthesizers (mostly a <a href="/wiki/Fairlight_CMI">Fairlight CMI</a>) mixed with <a href="/wiki/Steelpan">steel drums</a>. Zimmer explained that "It was a <a href="/wiki/Road_movie">road movie</a>, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?"<sup><a href="#cite_note-ew.com-19">[19]</a></sup> Zimmer's score for <i>Rain Man</i> was nominated for an <a href="/wiki/Academy_Award">Academy Award</a> in 1989, and the film won four Academy Awards including <a href="/wiki/Academy_Award_for_Best_Picture">Best Picture</a>.<sup><a href="#cite_note-oscars-20">[20]</a></sup>
</p><p>A year after <i>Rain Man</i>, Zimmer was asked to compose the score for <a href="/wiki/Bruce_Beresford">Bruce Beresford</a>'s <i><a href="/wiki/Driving_Miss_Daisy">Driving Miss Daisy</a></i> which, like <i>Rain Man</i>, won an <a href="/wiki/Academy_Award">Academy Award</a> for Best Picture. <i>Driving Miss Daisy'</i>s instrumentation consisted entirely of synthesizers and <a href="/wiki/Sampler_(musical_instrument)">samplers</a>, played by Zimmer. According to an interview with <i><a href="/wiki/Sound_on_Sound">Sound on Sound</a></i> magazine in 2002, the piano sounds heard within the score come from the <a href="/wiki/Roland_Corporation">Roland</a> MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."<sup><a href="#cite_note-sos-21">[21]</a></sup>
</p>
<div>
<blockquote>
<p>"I listen to [Zimmer's] music and I don't even have to shut my eyes. I can see the pictures. And that's why, in many respects, I know I can talk pictures with Hans. He responds to pictures."
</p>
</blockquote>
<p><cite>—<a href="/wiki/Ridley_Scott">Ridley Scott</a>, director and producer and frequent collaborator with Zimmer.<sup><a href="#cite_note-22">[22]</a></sup></cite>
</p>
</div>
<p>The soundtrack to <a href="/wiki/Ridley_Scott">Ridley Scott</a>'s 1991 film <i><a href="/wiki/Thelma_%26_Louise">Thelma &amp; Louise</a></i> by Zimmer featured the trademark <a href="/wiki/Slide_guitar">slide guitar</a> performance by <a href="/wiki/Pete_Haycock">Pete Haycock</a> on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes <i><a href="/wiki/K2_(film)">K2</a></i> and <i><a href="/wiki/Drop_Zone_(film)">Drop Zone</a></i>.<sup><a href="#cite_note-haycock-23">[23]</a></sup>
Zimmer wrote the theme for <a href="/wiki/Tony_Scott">Tony Scott</a>'s 1993 film <i><a href="/wiki/True_Romance">True Romance</a></i>, which he based on <a href="/wiki/Carl_Orff">Carl Orff</a>'s <i><a href="/wiki/Gassenhauer">Gassenhauer</a></i>. <i>Gassenhauer</i> had previously been used in the 1973 film <i><a href="/wiki/Badlands_(film)">Badlands</a></i>, which had a similar story of a young man and a girl on the run following a violent crime.<sup><a href="#cite_note-24">[24]</a></sup> The catchy theme, played on nine <a href="/wiki/Marimba">marimbas</a>, contrasts starkly with the violence of the film.<sup><a href="#cite_note-25">[25]</a></sup>
</p><p>For the 1992 film <i><a href="/wiki/The_Power_of_One_(film)">The Power of One</a></i>, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, <a href="/wiki/Walt_Disney_Animation_Studios">Walt Disney Feature Animation</a> approached Zimmer to compose the score for the 1994 film <i><a href="/wiki/The_Lion_King">The Lion King</a></i>. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on <i>The Power of One</i>. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by <a href="/wiki/Lebo_M">Lebo M</a>.<sup><a href="#cite_note-lion-26">[26]</a></sup> Zimmer won numerous awards for his work on <i>The Lion King</i>, including an <a href="/wiki/Academy_Award">Academy Award</a> for <a href="/wiki/Academy_Award_for_Best_Original_Score">Best Original Score</a>, a <a href="/wiki/Golden_Globe_Award">Golden Globe</a>, and two <a href="/wiki/Grammy">Grammys</a>. In 1997, the score was adapted into a <a href="/wiki/The_Lion_King_(musical)">Broadway musical version</a> which won the <a href="/wiki/Tony_Award">Tony Award</a> for Best Musical in 1998.<sup><a href="#cite_note-musical-27">[27]</a></sup><sup><a href="#cite_note-tony-28">[28]</a></sup>
As of April 2012, the musical version of <i>The Lion King</i> is the highest grossing Broadway show of all time, having grossed $853.8 million.<sup><a href="#cite_note-lion_king_gross-29">[29]</a></sup>
</p><p>Zimmer's score for <a href="/wiki/Tony_Scott">Tony Scott</a>'s 1995 film <i><a href="/wiki/Crimson_Tide_(film)">Crimson Tide</a></i> won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For <i><a href="/wiki/The_Thin_Red_Line_(1998_film)">The Thin Red Line</a></i> (1998), Zimmer said that the director <a href="/wiki/Terrence_Malick">Terrence Malick</a> wanted the music before he started filming, so he recorded six and a half hours of music.<sup><a href="#cite_note-ew.com-19">[19]</a></sup> Zimmer's next project was <i><a href="/wiki/The_Prince_of_Egypt">The Prince of Egypt</a></i> (1998), which was produced by <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a>. He introduced <a href="/wiki/Ofra_Haza">Ofra Haza</a>, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.<sup><a href="#cite_note-ew.com-19">[19]</a></sup>
</p><p>Zimmer's <a href="/wiki/The_Thin_Red_Line_(soundtrack)">score</a> for the 1998 film <i><a href="/wiki/The_Thin_Red_Line_(1998_film)">The Thin Red Line</a></i> is regarded as one of his most important works. The nine-minute cue at the climax of the film, "The Journey to the Line", uses a recurring theme based on four chords, combined with a "ticking clock" <a href="/wiki/Motif_(music)">motif</a> that has been featured in a range of subsequent scores composed by Zimmer.<sup><a href="#cite_note-30">[30]</a></sup> The piece has been used in numerous trailers and video games, and has earned the nickname "the forbidden cue" due to the tendency of film makers to use it as a <a href="/wiki/Temp_track">temp track</a> for dramatic scenes.<sup><a href="#cite_note-31">[31]</a></sup>
</p>
<h3>2000–2012[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=5">edit</a>]</h3>
<div><p><a href="/wiki/File:Hans_Zimmer_crop.jpg"></a></p></div>
<p>In the 2000s, Zimmer composed scores for Hollywood blockbuster films including three Ridley Scott films, <i><a href="/wiki/Gladiator_(2000_film)">Gladiator</a></i> (2000), <i><a href="/wiki/Black_Hawk_Down_(film)">Black Hawk Down</a></i> and <i><a href="/wiki/Hannibal_(2001_film)">Hannibal</a></i> (2001), followed by <i><a href="/wiki/The_Last_Samurai">The Last Samurai</a></i> (2003), <i><a href="/wiki/Madagascar_(2005_film)">Madagascar</a></i> (2005), <i><a href="/wiki/The_Da_Vinci_Code_(film)">The Da Vinci Code</a></i> (2006), <i><a href="/wiki/The_Simpsons_Movie">The Simpsons Movie</a></i> (2007), <i><a href="/wiki/Kung_Fu_Panda_(film)">Kung Fu Panda</a></i> (2008), which he co-composed with <a href="/wiki/John_Powell_(film_composer)">John Powell</a>, <i><a href="/wiki/Angels_%26_Demons_(film)">Angels &amp; Demons</a></i> (2009), and <i><a href="/wiki/Sherlock_Holmes_(2009_film)">Sherlock Holmes</a></i> (2009). Other work in the 2000s included the Spanish language film <i>Casi Divas</i>,<sup><a href="#cite_note-casi-32">[32]</a></sup> and <i><a href="/wiki/The_Burning_Plain">The Burning Plain</a></i> (2009). He composed the theme for the television boxing series <i><a href="/wiki/The_Contender_(TV_series)">The Contender</a></i> and worked with <a href="/wiki/Lorne_Balfe">Lorne Balfe</a> on the music for <i><a href="/wiki/Call_of_Duty:_Modern_Warfare_2">Call of Duty: Modern Warfare 2</a></i>, which was his first video game project.<sup><a href="#cite_note-callduty-33">[33]</a></sup> Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game <i><a href="/wiki/Crysis_2">Crysis 2</a></i>.<sup><a href="#cite_note-crysis2-34">[34]</a></sup>
</p><p>In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in <a href="/wiki/Ghent">Ghent</a>.<sup><a href="#cite_note-concert-35">[35]</a></sup> While writing the score for <i>The Last Samurai</i>, Zimmer felt that his knowledge of <a href="/wiki/Music_of_Japan">Japanese music</a> was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.<sup><a href="#cite_note-ew.com-19">[19]</a></sup>
</p><p>During the scoring of <i>The Last Samurai</i> in early 2003, Zimmer was approached by the producer <a href="/wiki/Jerry_Bruckheimer">Jerry Bruckheimer</a>, with whom he had worked previously on <i><a href="/wiki/Crimson_Tide_(film)">Crimson Tide</a></i>, <i><a href="/wiki/Days_of_Thunder">Days of Thunder</a></i>, <i><a href="/wiki/The_Rock_(film)">The Rock</a>,</i> and <i><a href="/wiki/Pearl_Harbor_(film)">Pearl Harbor</a></i>. Bruckheimer had finished shooting <i><a href="/wiki/Pirates_of_the_Caribbean:_The_Curse_of_the_Black_Pearl">Pirates of the Caribbean: The Curse of the Black Pearl</a></i> but was unhappy with the music composed for the film by <a href="/wiki/Alan_Silvestri">Alan Silvestri</a> and wanted a replacement score.<sup><a href="#cite_note-bruckheimer-36">[36]</a></sup> Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on <i>The Last Samurai</i>, the task of composing and supervising music for <i>Pirates of the Caribbean: The Curse of the Black Pearl</i> was given to <a href="/wiki/Klaus_Badelt">Klaus Badelt</a>, one of Zimmer's colleagues at <a href="/wiki/Media_Ventures">Media Ventures</a>. Zimmer provided some themes that were used in the film, although he is not credited on screen.<sup><a href="#cite_note-interview-37">[37]</a></sup><sup><a href="#cite_note-wsj_interview-38">[38]</a></sup> Zimmer was hired as the composer for the three subsequent films in the series, <i><a href="/wiki/Pirates_of_the_Caribbean:_Dead_Man%27s_Chest">Pirates of the Caribbean: Dead Man's Chest</a></i> (2006), <i><a href="/wiki/Pirates_of_the_Caribbean:_At_World%27s_End">Pirates of the Caribbean: At World's End</a></i> (2007), and <i><a href="/wiki/Pirates_of_the_Caribbean:_On_Stranger_Tides">Pirates of the Caribbean: On Stranger Tides</a></i> (2011), collaborating with <a href="/wiki/Rodrigo_y_Gabriela">Rodrigo y Gabriela</a> for the last.<sup><a href="#cite_note-tides-39">[39]</a></sup>
</p><p>Zimmer is also noted for his work on the scores of <a href="/wiki/Christopher_Nolan">Christopher Nolan</a>'s <i><a href="/wiki/Batman_Begins">Batman Begins</a></i> (2005) and <i><a href="/wiki/The_Dark_Knight">The Dark Knight</a></i> (2008), which he co-composed with <a href="/wiki/James_Newton_Howard">James Newton Howard</a>.<sup><a href="#cite_note-Gold-17">[17]</a></sup> For the <a href="/wiki/The_Dark_Knight_(soundtrack)">soundtrack</a> of <i>The Dark Knight</i>, Zimmer decided to represent the character of <a href="/wiki/Joker_(comics)">The Joker</a> by a single note played on the cello by his long-time colleague <a href="/wiki/Martin_Tillman">Martin Tillman</a>. Zimmer commented "I wanted to write something people would truly hate."<sup><a href="#cite_note-joker-40">[40]</a></sup> The scores for these films were disqualified from receiving <a href="/wiki/Academy_Award">Academy Award</a> nominations for Best Original Score due to too many composers being listed on the cue sheet.<sup><a href="#cite_note-academy-41">[41]</a></sup> Zimmer succeeded in reversing the decision not to nominate <i>The Dark Knight</i> in December 2008, arguing that the process of creating a modern film score was collaborative and that it was important to credit a range of people who had played a part in its production.<sup><a href="#cite_note-academy_decision-42">[42]</a></sup> Zimmer explained his approach to scoring with other musicians in an interview with <i><a href="/wiki/SoundtrackNet">Soundtrack.net</a></i> in 2006:
</p>
<blockquote><p>Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles – not having "you are the composer, you are the arranger, you are the orchestrator" – it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like <i>Gladiator</i>: I gave <a href="/wiki/Lisa_Gerrard">Lisa Gerrard</a> the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits.<sup><a href="#cite_note-gerrard-43">[43]</a></sup></p></blockquote>
<p>For the 2009 film <i><a href="/wiki/Sherlock_Holmes_(2009_film)">Sherlock Holmes</a></i>, <i><a href="/wiki/Variety_(magazine)"> Daily Variety</a></i> reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".<sup><a href="#cite_note-D'Alessandrob-44">[44]</a></sup> For the 2011 sequel, <i><a href="/wiki/Sherlock_Holmes:_A_Game_of_Shadows">Sherlock Holmes: A Game of Shadows</a></i>, Zimmer and director <a href="/wiki/Guy_Ritchie">Guy Ritchie</a> incorporated authentic <a href="/wiki/Romani_people">Romani</a> music, which they researched by visiting Slovakia, Italy, and France. The music in the film is played by Romani virtuoso musicians.<sup><a href="#cite_note-collider-45">[45]</a></sup><sup><a href="#cite_note-billboard-46">[46]</a></sup>
</p><p>For the 2010 film <i><a href="/wiki/Inception">Inception</a></i>, Zimmer used electronic manipulation of the song "<a href="/wiki/Non,_je_ne_regrette_rien">Non, je ne regrette rien</a>". The horn sound in the score, described by Zimmer as "like huge foghorns over a city" became a popular feature in <a href="/wiki/Trailer_(promotion)">film trailers</a>. "It's funny how that sort of thing becomes part of the <a href="/wiki/Zeitgeist">zeitgeist</a>," he said. "But I suppose that's exactly what trailers are looking for: something iconic, lasts less than a second, and shakes the seats in the theater."<sup><a href="#cite_note-horn-47">[47]</a></sup><sup><a href="#cite_note-horn_2-48">[48]</a></sup>
</p><p>In 2012, Zimmer composed and produced the music for the <a href="/wiki/84th_Academy_Awards">84th Academy Awards</a> with <a href="/wiki/Pharrell_Williams">Pharrell Williams</a> of <a href="/wiki/The_Neptunes">The Neptunes</a>.<sup><a href="#cite_note-84th_academy_awards-49">[49]</a></sup> He also composed a new version of the theme music for <i><a href="/wiki/ABC_World_News">ABC World News</a></i>.<sup><a href="#cite_note-abc-50">[50]</a></sup> Zimmer also composed the score for <i><a href="/wiki/The_Dark_Knight_Rises">The Dark Knight Rises</a></i>, the final installment of Christopher Nolan's <a href="/wiki/Batman_in_film"><i>The Dark Knight</i> Trilogy</a>. The film was released in July 2012.<sup><a href="#cite_note-dark_knight_rises-51">[51]</a></sup> Zimmer described himself as "devastated" in the aftermath of the <a href="/wiki/2012_Aurora,_Colorado_shooting">2012 Aurora, Colorado shooting</a>, which occurred at a screening of <i>The Dark Knight Rises</i>, commenting, "I just feel so incredibly sad for these people." He recorded a track entitled "Aurora", a choral arrangement of a theme from the <a href="/wiki/The_Dark_Knight_Rises_(soundtrack)"><i>Dark Knight Rises</i> soundtrack</a>, to raise money for the victims of the shooting.<sup><a href="#cite_note-aurora-52">[52]</a></sup>
</p>
<h3>2012–present[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>Zimmer co-composed the music for the television series <i><a href="/wiki/The_Bible_(TV_series)">The Bible</a></i>, which was broadcast in March 2013, with <a href="/wiki/Lorne_Balfe">Lorne Balfe</a> and <a href="/wiki/Lisa_Gerrard">Lisa Gerrard</a>, and the score for <i><a href="/wiki/12_Years_a_Slave_(film)">12 Years a Slave</a></i>, which won the <a href="/wiki/86th_Academy_Awards">Academy Award</a> for Best Picture in March 2014. Zimmer composed the <i>Tomorrowland Hymn</i> for the <a href="/wiki/Tomorrowland_(festival)">Tomorrowland</a> festival to celebrate its tenth anniversary in July 2014.<sup><a href="#cite_note-tomorrowland-53">[53]</a></sup>
</p><p>Zimmer composed the music for the 2014 film <i><a href="/wiki/The_Amazing_Spider-Man_2">The Amazing Spider-Man 2</a></i> alongside "The Magnificent Six", which consisted of <a href="/wiki/Pharrell_Williams">Pharrell Williams</a>, <a href="/wiki/Johnny_Marr">Johnny Marr</a>, <a href="/wiki/Michael_Einziger">Michael Einziger</a>, <a href="/wiki/Tom_Holkenborg">Junkie XL</a>, Andrew Kawczynski, and Steve Mazzaro.<sup><a href="#cite_note-amazing_spider_man-54">[54]</a></sup><sup><a href="#cite_note-six-55">[55]</a></sup>
Zimmer also composed the music for Christopher Nolan's 2014 film <i><a href="/wiki/Interstellar_(film)">Interstellar</a></i>, which earned him another Academy Award nomination for Best Original Score.<sup><a href="#cite_note-56">[56]</a></sup> He partnered with Junkie XL to compose the music for the 2016 film <i><a href="/wiki/Batman_v_Superman:_Dawn_of_Justice">Batman v Superman: Dawn of Justice</a></i>. In an interview with BBC News in March 2016, Zimmer said that he was retiring from composing the music for <a href="/wiki/Superhero_films">superhero films</a>, saying of <i>Batman v Superman</i>: "This one was very hard for me to do, to try to find new language".<sup><a href="#cite_note-57">[57]</a></sup>
</p><p>Zimmer composed the main theme for the 2016 BBC nature documentary <i><a href="/wiki/Planet_Earth_II">Planet Earth II</a></i>, presented by <a href="/wiki/David_Attenborough">David Attenborough</a>. He later composed the score for the 2017 BBC nature documentary <i><a href="/wiki/Blue_Planet_II">Blue Planet II</a></i> alongside Jacob Shea and David Fleming, also presented by David Attenborough.<sup><a href="#cite_note-planet_earth_2-58">[58]</a></sup><sup><a href="#cite_note-blue_planet_2-59">[59]</a></sup> In an interview with <a href="/wiki/Kirsty_Wark">Kirsty Wark</a> on BBC Radio, Zimmer said in October 2022: "I think the only work that I've done that's worth anything is working for Sir David Attenborough on those programmes, because it's the only thing that actually means something to this world and ultimately might have an impact on how we approach this world."<sup><a href="#cite_note-60">[60]</a></sup>
</p><p>Zimmer composed the main theme for the 2016 <a href="/wiki/Netflix">Netflix</a> production <i><a href="/wiki/The_Crown_(TV_series)">The Crown</a></i>.<sup><a href="#cite_note-The_Crown-61">[61]</a></sup> Also in 2016 Zimmer released an online course teaching the basics of film scoring.<sup><a href="#cite_note-62">[62]</a></sup> He next composed the score for Christopher Nolan's 2017 film <i><a href="/wiki/Dunkirk_(2017_film)">Dunkirk</a></i>, basing part of the score on a recording of a ticking watch that he had been given by Nolan.<sup><a href="#cite_note-63">[63]</a></sup> Zimmer also worked on the score for <a href="/wiki/Denis_Villeneuve">Denis Villeneuve</a>'s <i><a href="/wiki/Blade_Runner_2049">Blade Runner 2049</a></i>. Hans Zimmer and co-composer <a href="/wiki/Benjamin_Wallfisch">Benjamin Wallfisch</a> took over scoring duties after <a href="/wiki/J%C3%B3hann_J%C3%B3hannsson">Jóhann Jóhannsson</a> left the project.<sup><a href="#cite_note-64">[64]</a></sup>
</p><p>In 2018, Zimmer composed the score for the new <a href="/wiki/FIFA_Anthem">FIFA Anthem</a>, called "Living Football" in reference to the new motto of FIFA,<sup><a href="#cite_note-65">[65]</a></sup> "Living Football" was also used as television intro theme for the <a href="/wiki/2018_FIFA_World_Cup">2018 FIFA World Cup</a> in Russia.<sup><a href="#cite_note-FIFA-66">[66]</a></sup> Also in 2018, Zimmer remixed the <a href="/wiki/UEFA_Champions_League_Anthem">UEFA Champions League Anthem</a> with rapper <a href="/wiki/Vince_Staples">Vince Staples</a> for EA Sports' <a href="/wiki/FIFA_(video_game_series)"><i>FIFA</i></a> video game <i><a href="/wiki/FIFA_19">FIFA 19</a></i>, with it also featuring in the game's reveal trailer.<sup><a href="#cite_note-67">[67]</a></sup> Zimmer composed the score for <i><a href="/wiki/Dark_Phoenix_(film)">Dark Phoenix</a></i>, directed by <a href="/wiki/Simon_Kinberg">Simon Kinberg</a>, contrary to his 2016 statements of not scoring another superhero film following his experience working on <i>Batman v Superman: Dawn of Justice</i>.<sup><a href="#cite_note-68">[68]</a></sup> Also for 2019, he scored the <a href="/wiki/The_Lion_King_(2019_film)">photorealistic computer-animated remake</a> of Disney's <i><a href="/wiki/The_Lion_King">The Lion King</a></i>, directed by <a href="/wiki/Jon_Favreau">Jon Favreau</a>.<sup><a href="#cite_note-69">[69]</a></sup>
</p><p>On 22 August 2018, Zimmer was also announced as the composer for <i><a href="/wiki/Wonder_Woman_1984">Wonder Woman 1984</a></i>.<sup><a href="#cite_note-70">[70]</a></sup> On 18 March 2019, it was announced that Zimmer would be scoring <a href="/wiki/Denis_Villeneuve">Denis Villeneuve</a>'s <i><a href="/wiki/Dune_(2021_film)">Dune</a></i>.<sup><a href="#cite_note-71">[71]</a></sup> In June 2019, Zimmer was hired to create sounds for <a href="/wiki/BMW_M">BMW</a>'s concept vehicle, the <a href="/wiki/BMW_M1#Vision_M_Next_concept">Vision M Next</a>.<sup><a href="#cite_note-72">[72]</a></sup>
</p><p>In 2020, Zimmer composed the score for <i><a href="/wiki/Hillbilly_Elegy_(film)">Hillbilly Elegy</a></i>.<sup><a href="#cite_note-73">[73]</a></sup> 
</p><p>On 6 January 2020, it was announced that he would be taking over as composer for the <i><a href="/wiki/James_Bond">James Bond</a></i> film <i><a href="/wiki/No_Time_to_Die">No Time to Die</a></i> after previous composer <a href="/wiki/Dan_Romer">Dan Romer</a> left the project.<sup><a href="#cite_note-74">[74]</a></sup> Speaking on scoring for <i>No Time To Die</i>, Zimmer told <i><a href="/wiki/The_Hindu">The Hindu</a></i>, "Having done the three <i>Batman</i> movies — which are three movies to you but are 12 years of my life to me — I really understand where <a href="/wiki/Daniel_Craig">Daniel [Craig]</a> was with this; he dedicated 16 years of his life to Bond... I wanted to not only do a good score but dig a little deeper and honour the man, the work and all the people who've been working on this for so long."<sup><a href="#cite_note-75">[75]</a></sup> 
</p><p>On 26 February 2020, <a href="/wiki/Major_League_Soccer">Major League Soccer</a> released an anthem for its <a href="/wiki/2020_Major_League_Soccer_season">25th season</a>, which was composed by Zimmer.<sup><a href="#cite_note-76">[76]</a></sup>
</p><p>Zimmer also composed the score for the film <i><a href="/wiki/Dune_(2021_film)">Dune</a></i>, which earned him his second <a href="/wiki/Academy_Award_for_Best_Original_Score">Academy Award for Best Original Score</a>.<sup><a href="#cite_note-77">[77]</a></sup> He is also set to compose the score for the <a href="/wiki/Dune:_Part_Two">sequel</a>. In 2022 he collaborated with <a href="/wiki/Camila_Cabello">Camila Cabello</a> on the song "Take Me Back Home" for the documentary series <i><a href="/wiki/Frozen_Planet_II">Frozen Planet II</a></i>.<sup><a href="#cite_note-78">[78]</a></sup>
</p><p>Zimmer has also produced and composed sounds for <a href="/wiki/BMW">BMW</a>'s electric car line. These sounds are both for those on the interior and on the exterior, and could help warn pedestrians that an electric car is approaching.<sup><a href="#cite_note-Nast_2020-79">[79]</a></sup><sup><a href="#cite_note-BMW.com_2022-80">[80]</a></sup>
</p>
<h2>Personal life[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=7">edit</a>]</h2>
<p>Zimmer's first wife was model Vicki Carolin, with whom he has a daughter.<sup><a href="#cite_note-81">[81]</a></sup> The couple divorced in 1992.<sup><a href="#cite_note-People-82">[82]</a></sup> On 3 April 2020, Zimmer filed for divorce from his second wife, Suzanne Zimmer, with whom he has three children.<sup><a href="#cite_note-People-82">[82]</a></sup>
</p>
<h2>Awards and honors[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=8">edit</a>]</h2>
<div><p><a href="/wiki/File:Boulevard-der-stars-IMG_0906x.JPG"></a></p><div><p>Zimmer's Star on the "Boulevard der Stars" in <a href="/wiki/Berlin">Berlin</a></p></div></div>
<p>Zimmer has received a range of honors and awards, including the <a href="/wiki/Hollywood_in_Vienna#Max_Steiner_Film_Music_Achievement_Award">Max Steiner Film Music Achievement Award</a> at <a href="/wiki/Hollywood_in_Vienna">Hollywood in Vienna</a> in 2018,<sup><a href="#cite_note-83">[83]</a></sup> the Career Achievement Award "for excellence in film music composition" from the <a href="/wiki/National_Board_of_Review">National Board of Review</a> in 2003,<sup><a href="#cite_note-84">[84]</a></sup> the Frederick Loewe Award for Film Composing at the <a href="/wiki/Palm_Springs_International_Film_Festival">Palm Springs International Film Festival</a> in 2003,<sup><a href="#cite_note-WSA-85">[85]</a></sup> the <a href="/wiki/American_Society_of_Composers,_Authors_and_Publishers">ASCAP</a> Henry Mancini Award in 2003,<sup><a href="#cite_note-WSA-85">[85]</a></sup> and the Richard Kirk Career Achievement Award from the <a href="/wiki/BMI_Film_%26_TV_Awards">BMI Film Music Awards</a> in 1996.
</p><p>In December 2010, Zimmer received a star on the <a href="/wiki/Hollywood_Walk_of_Fame">Hollywood Walk of Fame</a>. He dedicated the award to his publicist and long-term friend <a href="/wiki/Ronni_Chasen">Ronni Chasen</a>, who had been shot and killed in <a href="/wiki/Beverly_Hills,_California">Beverly Hills</a> the previous month.<sup><a href="#cite_note-86">[86]</a></sup>
</p><p>In 2016, Zimmer was one of the inaugural winners of the <a href="/wiki/Stephen_Hawking_Medal_for_Science_Communication">Stephen Hawking Medal for Science Communication</a>.<sup><a href="#cite_note-Stephen_Hawking-87">[87]</a></sup>
</p><p>In November 2017, a <a href="/wiki/Asteroid_belt">main-belt asteroid</a>—<a href="/wiki/List_of_minor_planets:_495001%E2%80%93496000#253">(495253) 2013 OC<sub>8</sub></a>—discovered by Polish astronomers <a href="/wiki/List_of_minor_planet_discoverers#M._Kusiak">Michał Kusiak</a> and <a href="/wiki/List_of_minor_planet_discoverers#M._Zolnowski">Michał Żołnowski</a>, was named "Hanszimmer".<sup><a href="#cite_note-88">[88]</a></sup>
</p><p>As of 2022, Zimmer has received twelve <a href="/wiki/Academy_Awards">Academy Award</a> nominations for his work, with two wins; the first being at the <a href="/wiki/67th_Academy_Awards">67th Academy Awards</a> for the 1994 film <i><a href="/wiki/The_Lion_King">The Lion King</a></i> and the second being for the 2021 film <i><a href="/wiki/Dune_(2021_film)">Dune</a></i> at the <a href="/wiki/94th_Academy_Awards">94th Academy Awards</a>.<sup><a href="#cite_note-Academy_Awards-89">[89]</a></sup>
</p><p>On 2 October 2018, Zimmer received the <a href="/wiki/Order_of_Merit_of_the_Federal_Republic_of_Germany">Order of Merit of the Federal Republic of Germany</a>.<sup><a href="#cite_note-90">[90]</a></sup>
</p><p>In 2019, Zimmer was inducted as a <a href="/wiki/Disney_Legends">Disney Legend</a>.<sup><a href="#cite_note-91">[91]</a></sup>
</p>
<h2>Discography[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=9">edit</a>]</h2>
<h2>References[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=10">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> <cite><a href="https://www.telegraph.co.uk/news/uknews/1567544/Top-100-living-geniuses.html">"Top 100 living geniuses"</a>. <i><a href="/wiki/The_Daily_Telegraph">The Daily Telegraph</a></i>. London. 30 October 2007. <a href="https://web.archive.org/web/20200803031241/https://www.telegraph.co.uk/news/uknews/1567544/Top-100-living-geniuses.html">Archived</a> from the original on 3 August 2020. Retrieved 2 January 2011.</cite>
</li>
<li><b><a href="#cite_ref-dreamworks_2-0">^</a></b> <cite><a href="http://www.filmtracks.com/composers/zimmer.shtml">"Hans Zimmer"</a>. Filmtracks.com. <a href="https://web.archive.org/web/20090905102952/http://www.filmtracks.com/composers/zimmer.shtml">Archived</a> from the original on 5 September 2009. Retrieved 13 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-studio_3-0">^</a></b> <cite><a href="http://www.soundtrack.net/features/article/?id=206">"Breaking the Rules – interview with Hans Zimmer"</a>. <a href="/wiki/SoundtrackNet">Soundtrack.net</a>. 10 July 2006. <a href="https://web.archive.org/web/20090201151850/http://soundtrack.net/features/article/?id=206">Archived</a> from the original on 1 February 2009. Retrieved 12 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-mtv.de_4-0">^</a></b> <cite><a href="https://archive.today/20130211144922/http://www.mtv.de/music/20224928/bio-Hans%20Zimmer.html">"MTV biography – Hans Zimmer (in German)"</a>. <i>MTV Germany</i>. Archived from <a href="http://www.mtv.de/music/20224928/bio-Hans%20Zimmer.html">the original</a> on 11 February 2013. Retrieved 27 September 2011.</cite>
</li>
<li><b><a href="#cite_ref-reddit_5-0">^</a></b> <cite>Zimmer, Hans (11 June 2013). <a href="https://www.reddit.com/r/IAmA/comments/1g4wkt/i_am_hans_zimmer_ask_me_anything/cagscgt/">"I am Hans Zimmer – Ask Me Anything!"</a>. <i><a href="/wiki/Reddit">Reddit</a></i>. <a href="https://web.archive.org/web/20201104220130/https://www.reddit.com/r/IAmA/comments/1g4wkt/i_am_hans_zimmer_ask_me_anything/cagscgt/">Archived</a> from the original on 4 November 2020. Retrieved 28 June 2017.</cite>
</li>
<li><b><a href="#cite_ref-6">^</a></b> <cite><a href="https://www.ecole.ch/en/news/detail/140/ecole-alumnus-hans-zimmer-is-on-tour/">"International Boarding School | Ecole Alumnus Hans Zimmer is on Tour | Ecole d'Humanité"</a>. <i>www.ecole.ch</i>. <a href="https://web.archive.org/web/20200801123344/https://www.ecole.ch/en/news/detail/140/ecole-alumnus-hans-zimmer-is-on-tour/">Archived</a> from the original on 1 August 2020. Retrieved 22 May 2020.</cite>
</li>
<li><b><a href="#cite_ref-Hurtwood_7-0">^</a></b> <cite><a href="https://web.archive.org/web/20100221214533/http://www.hurtwoodhouseperformingarts.co.uk/#/hans-zimmer/4533716266">"Hurtwood House Performing Arts – Hans Zimmer"</a>. Archived from <a href="http://www.hurtwoodhouseperformingarts.co.uk/#/hans-zimmer/4533716266">the original</a> on 21 February 2010. Retrieved 27 September 2010.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> <cite><a href="https://www.gramophone.co.uk/feature/ennio-morricone-my-inspiration-by-hans-zimmer">"Ennio Morricone – my inspiration, by Hans Zimmer"</a>. <a href="/wiki/Gramophone_(magazine)">Gramophone</a>. 20 February 2017. <a href="https://web.archive.org/web/20181108225003/https://www.gramophone.co.uk/feature/ennio-morricone-my-inspiration-by-hans-zimmer">Archived</a> from the original on 8 November 2018. Retrieved 8 November 2018.</cite>
</li>
<li><b><a href="#cite_ref-jewishjournal.com_9-0">^</a></b> <cite>Jared Sichel (28 May 2014). <a href="https://jewishjournal.com/culture/arts/129526/">"Hans Zimmer: Proud to say 'My people'"</a>. <i><a href="/wiki/The_Jewish_Journal_of_Greater_Los_Angeles">Jewish Journal</a></i>. <a href="/wiki/JewishJournal.com">JewishJournal.com</a>. <a href="https://web.archive.org/web/20140717053221/http://www.jewishjournal.com/culture/article/hans_zimmer_proud_to_say_my_people">Archived</a> from the original on 17 July 2014.</cite>
</li>
<li><b><a href="#cite_ref-mashable_10-0">^</a></b> <cite><a href="http://mashable.com/2013/02/05/hans-zimmer-vjam/">"Hans Zimmer: The Computer Is My Instrument"</a>. <i><a href="/wiki/Mashable">Mashable</a></i>. 5 February 2013. <a href="https://web.archive.org/web/20130304055735/http://mashable.com/2013/02/05/hans-zimmer-vjam/">Archived</a> from the original on 4 March 2013. Retrieved 6 March 2013.</cite>
</li>
<li><b><a href="#cite_ref-zdf_11-0">^</a></b> <cite><a href="https://www.youtube.com/watch?v=4voQPo6FUeo">"ZDF Infokanal interview, June 2006 (in German with English subtitles)"</a>. <i>YouTube</i>. <a href="https://web.archive.org/web/20190107061936/https://www.youtube.com/watch?v=4voQPo6FUeo">Archived</a> from the original on 7 January 2019. Retrieved 13 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-12">^</a></b> <a href="https://archive.today/20130110063533/http://www.myspace.com/krakatoa1975/photos/3604500">Krakatoa at Myspace Music</a> . Zimmer is second from right. Retrieved 18 September 2012.
</li>
<li><b><a href="#cite_ref-13">^</a></b> <cite><a href="https://web.archive.org/web/20110722192200/http://www.debidoss.co.uk/profile.swf">"DebiDoss"</a>. Archived from <a href="http://www.debidoss.co.uk/profile.swf">the original</a> on 22 July 2011. Retrieved 11 September 2009.</cite>
</li>
<li>^ <a href="#cite_ref-Hans_Zimmer_biography_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Hans_Zimmer_biography_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Hans_Zimmer_biography_14-2"><sup><i><b>c</b></i></sup></a> <cite><a href="http://www.starpulse.com/Music/Zimmer,_Hans/Biography/">"Hans Zimmer biography"</a>. Starpulse.com. <a href="https://web.archive.org/web/20090318142803/http://www.starpulse.com/Music/Zimmer,_Hans/Biography/">Archived</a> from the original on 18 March 2009. Retrieved 10 June 2009.</cite>
</li>
<li><b><a href="#cite_ref-15">^</a></b> Sound: Dialogue, Music, and Effects. Edited by Kathryn Kalinak, Rutgers University Press, 1 May 2015, Ch.5, p.120. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8135-6428-9">978-0-8135-6428-9</a>
</li>
<li>^ <a href="#cite_ref-Biography:_Hans_Zimmer_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Biography:_Hans_Zimmer_16-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://www.hans-zimmer.com/index.php?rub=bio">"Biography"</a>. Hans Zimmer. <a href="https://web.archive.org/web/20170913061845/http://www.hans-zimmer.com/index.php?rub=bio">Archived</a> from the original on 13 September 2017. Retrieved 10 June 2009.</cite>
</li>
<li>^ <a href="#cite_ref-Gold_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gold_17-1"><sup><i><b>b</b></i></sup></a> <cite><a href="http://news.bbc.co.uk/1/hi/entertainment/7526033.stm">"Talking Shop: Hans Zimmer"</a>. BBC. 28 July 2008. <a href="https://web.archive.org/web/20120309100920/http://news.bbc.co.uk/1/hi/entertainment/7526033.stm">Archived</a> from the original on 9 March 2012. Retrieved 11 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-rain_18-0">^</a></b> <cite>Stewart, D.R. (4 August 2008). <a href="https://www.variety.com/article/VR1117990043.html?categoryid=3179&amp;cs=1">"Zimmer and Howard discuss remote collaboration"</a>. <i>Variety</i>. <a href="https://web.archive.org/web/20090205021906/http://www.variety.com/article/VR1117990043.html?categoryId=3179&amp;cs=1">Archived</a> from the original on 5 February 2009. Retrieved 11 September 2009.</cite>
</li>
<li>^ <a href="#cite_ref-ew.com_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ew.com_19-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-ew.com_19-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-ew.com_19-3"><sup><i><b>d</b></i></sup></a> <cite>Young, John (5 August 2008). <a href="https://www.ew.com/ew/gallery/0,,20216261,00.html">"2008 Interview with Entertainment Weekly"</a>. Ew.com. <a href="https://web.archive.org/web/20090309180419/http://www.ew.com/ew/gallery/0,,20216261,00.html">Archived</a> from the original on 9 March 2009. Retrieved 10 June 2009.</cite>
</li>
<li><b><a href="#cite_ref-oscars_20-0">^</a></b> <cite><a href="http://www.oscars.org/awards/academyawards/oscarlegacy/bestpictures/">"Best Picture Winners"</a>. <a href="/wiki/Academy_of_Motion_Picture_Arts_and_Sciences">Academy of Motion Picture Arts and Sciences</a>. <a href="https://web.archive.org/web/20100113071937/http://www.oscars.org/awards/academyawards/oscarlegacy/bestpictures/">Archived</a> from the original on 13 January 2010. Retrieved 11 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-sos_21-0">^</a></b> <cite>Wherry, Mark (October 2002). <a href="https://www.soundonsound.com/people/media-adventures">"Media Adventures"</a>. <i><a href="/wiki/Sound_on_Sound">Sound on Sound</a></i>. <a href="https://web.archive.org/web/20190420165730/https://www.soundonsound.com/people/media-adventures">Archived</a> from the original on 20 April 2019. Retrieved 11 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-22">^</a></b> <cite>Heaf, Jonathan (16 June 2017). <a href="https://www.gq-magazine.co.uk/article/hans-zimmer-interview-dunkirk">"Hans Zimmer: orchestral manoeuvres in the dark"</a>. <i><a href="/wiki/GQ">GQ</a></i>. <a href="https://web.archive.org/web/20190410175603/https://www.gq-magazine.co.uk/article/hans-zimmer-interview-dunkirk">Archived</a> from the original on 10 April 2019. Retrieved 13 March 2019.</cite>
</li>
<li><b><a href="#cite_ref-haycock_23-0">^</a></b> <cite><a href="https://www.ew.com/ew/gallery/0,,20216261_2,00.html">"Hans Zimmer Reflects on 15 of His Memorable Film Scores"</a>. <i>Entertainment Weekly</i>. Retrieved 11 September 2009.</cite>
</li>
<li><b><a href="#cite_ref-24">^</a></b> <cite>Sherman, Dale (2015). <a href="https://books.google.com/books?id=Hqy8CQAAQBAJ&amp;pg=PT80"><i>Quentin Tarantino FAQ: Everything Left to Know About the Original Reservoir Dog</i></a>. Hal Leonard Corporation. p. 80. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4950-2596-9"><bdi>978-1-4950-2596-9</bdi></a>. <a href="https://web.archive.org/web/20201104220130/https://books.google.com/books?id=Hqy8CQAAQBAJ&amp;pg=PT80&amp;hl=en">Archived</a> from the original on 4 November 2020. Retrieved 21 November 2017.</cite>
</li>
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<li><b><a href="#cite_ref-71">^</a></b> <cite><a href="http://filmmusicreporter.com/2019/03/18/hans-zimmer-to-score-denis-villeneuves-dune/">"Hans Zimmer to Score Denis Villeneuve's <i>Dune</i> | Film Music Reporter"</a>. 18 March 2019. <a href="https://web.archive.org/web/20190630010509/http://filmmusicreporter.com/2019/03/18/hans-zimmer-to-score-denis-villeneuves-dune/">Archived</a> from the original on 30 June 2019. Retrieved 1 July 2019.</cite>
</li>
<li><b><a href="#cite_ref-72">^</a></b> <cite>Liptak, Andrew (29 June 2019). <a href="https://www.theverge.com/2019/6/29/19914287/bmw-hans-zimmer-design-bmw-vision-m-next-sound-profile-blade-runner-cyberpunk-3d-print">"Hans Zimmer designed the sound for BMW's futuristic concept car"</a>. <i><a href="/wiki/The_Verge">The Verge</a></i>. <a href="https://web.archive.org/web/20190727023908/https://www.theverge.com/2019/6/29/19914287/bmw-hans-zimmer-design-bmw-vision-m-next-sound-profile-blade-runner-cyberpunk-3d-print">Archived</a> from the original on 27 July 2019. Retrieved 26 July 2019.</cite>
</li>
<li><b><a href="#cite_ref-73">^</a></b> <cite><a href="https://filmmusicreporter.com/2020/03/10/hans-zimmer-to-reteam-with-ron-howard-on-hillbilly-elegy/">"Hans Zimmer to Reteam with Ron Howard on Hillbilly Elegy"</a>. <i>FilmMusicReporter</i>. 10 March 2020. <a href="https://web.archive.org/web/20200611221251/https://filmmusicreporter.com/2020/03/10/hans-zimmer-to-reteam-with-ron-howard-on-hillbilly-elegy/">Archived</a> from the original on 11 June 2020. Retrieved 11 March 2020.</cite>
</li>
<li><b><a href="#cite_ref-74">^</a></b> <cite>Burlingame, Jon (6 January 2020). <a href="https://variety.com/2020/film/news/hans-zimmer-james-bond-composer-no-time-to-die-1203458908/">"'No Time to Die': Hans Zimmer Takes Over as Composer on Bond Movie (EXCLUSIVE)"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. <a href="https://web.archive.org/web/20200113231624/https://variety.com/2020/film/news/hans-zimmer-james-bond-composer-no-time-to-die-1203458908/">Archived</a> from the original on 13 January 2020. Retrieved 7 January 2020.</cite>
</li>
<li><b><a href="#cite_ref-75">^</a></b> <cite>Bhavani, Divya-Kala (21 October 2021). <a href="https://www.thehindu.com/entertainment/movies/interview-composer-hans-zimmer-2021-on-unusual-musical-worlds-in-dune-james-bond-no-time-to-die/article37084715.ece">"Composer Hans Zimmer on the musical worlds of 'Dune' and 'No Time To Die'"</a>. <i>The Hindu</i>.</cite>
</li>
<li><b><a href="#cite_ref-76">^</a></b> <cite><a href="https://www.mlssoccer.com/post/2020/02/26/watch-mls-releases-new-anthem-25th-season-composed-hans-zimmer">"Watch: MLS releases new anthem for 25th season, composed by Hans Zimmer"</a>. <a href="https://web.archive.org/web/20200226213504/https://www.mlssoccer.com/post/2020/02/26/watch-mls-releases-new-anthem-25th-season-composed-hans-zimmer">Archived</a> from the original on 26 February 2020.</cite>
</li>
<li><b><a href="#cite_ref-77">^</a></b> <cite>Desowitz, Bill (20 October 2021). <a href="https://www.indiewire.com/2021/10/dune-hans-zimmer-score-1234673017/">"'Dune': How Composer Hans Zimmer Invented a Retro-Future Musical Sound for the Arrakis Desert Planet"</a>. <i>IndieWire</i>. Retrieved 14 February 2022.</cite>
</li>
<li><b><a href="#cite_ref-78">^</a></b> <cite><a href="https://www.bbc.com/mediacentre/bbcstudios/2022/camila-cabello-and-hans-zimmer-collaborate-on-new-song-for-frozen-planet-II/">"Camila Cabello and Hans Zimmer collaborate on new song for Frozen Planet II"</a>. <i>bbc.com</i>. 22 August 2022. Retrieved 28 September 2022.</cite>
</li>
<li><b><a href="#cite_ref-Nast_2020_79-0">^</a></b> <cite>Berk, Brett (28 March 2020). <a href="https://www.wired.com/story/bmw-i4-electric-score-hans-zimmer/">"BMW's i4 Electric Concept Comes With a Hans Zimmer Score"</a>. <i>WIRED</i>. Condé Nast. Retrieved 5 December 2022.</cite>
</li>
<li><b><a href="#cite_ref-BMW.com_2022_80-0">^</a></b> <cite>Löblein, Markus (5 January 2022). <a href="https://www.bmw.com/en/magazine/innovation/hans-zimmer-individual-drive-sounds-as-identity-for-electric-vehicles.html">"This is how BMW composes the sound of e-mobility"</a>. <i>BMW.com</i>. Retrieved 5 December 2022.</cite>
</li>
<li><b><a href="#cite_ref-81">^</a></b> <a href="https://www.vogue.co.uk/news/2006/08/29/a-new-model-generation">Vogue: "A NEW MODEL GENERATION"</a> <a href="https://web.archive.org/web/20160304085118/http://www.vogue.co.uk/news/2006/08/29/a-new-model-generation">Archived</a> 4 March 2016 at the <a href="/wiki/Wayback_Machine">Wayback Machine</a> 29 August 2006
</li>
<li>^ <a href="#cite_ref-People_82-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-People_82-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://people.com/music/composer-hans-zimmer-files-divorce/">"<i>Lion King</i> Composer Hans Zimmer Files for Divorce: Reports"</a>. <i><a href="/wiki/People_(magazine)">People</a></i>. <a href="https://web.archive.org/web/20200408033823/https://people.com/music/composer-hans-zimmer-files-divorce/">Archived</a> from the original on 8 April 2020. Retrieved 7 April 2020. <q>Hans was previously married to model Vicki Carolin before the two divorced in 1992.</q></cite>
</li>
<li><b><a href="#cite_ref-83">^</a></b> <cite>Newman, Melinda (21 April 2018). <a href="https://www.billboard.com/music/music-news/hans-zimmer-max-steiner-film-music-achievement-award-hollywood-in-vienna-gala-8363320/">"Hans Zimmer Named Recipient of Max Steiner Film Music Achievement Award at Hollywood in Vienna"</a>. <i><a href="/wiki/Billboard_(magazine)">Billboard</a></i>. Retrieved 25 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-84">^</a></b> <cite>Rooney, David (19 November 2003). <a href="https://variety.com/2003/music/news/nbr-cues-kudo-for-composer-zimmer-1117895965/">"NBR cues kudo for composer Zimmer"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. Retrieved 25 April 2022.</cite>
</li>
<li>^ <a href="#cite_ref-WSA_85-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-WSA_85-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-WSA_85-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://www.worldsoundtrackawards.com/persons/hans-zimmer">"Hans Zimmer"</a>. <a href="/wiki/World_Soundtrack_Awards">World Soundtrack Awards</a>. Retrieved 25 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-86">^</a></b> <cite>Hayes, Rob (8 December 2010). <a href="https://web.archive.org/web/20101211053654/https://abclocal.go.com/kabc/story?section=news%2Fentertainment&amp;id=7832872">"Hans Zimmer gets star, dedicates it to Chasen"</a>. <a href="/wiki/KABC-TV">ABC7</a>. Archived from <a href="https://abclocal.go.com/kabc/story?section=news/entertainment&amp;id=7832872">the original</a> on 11 December 2010. Retrieved 1 January 2011.</cite>
</li>
<li>^ <a href="#cite_ref-Stephen_Hawking_87-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Stephen_Hawking_87-1"><sup><i><b>b</b></i></sup></a> <cite>Davis, Nicola (16 June 2016). <a href="https://www.theguardian.com/science/2016/jun/16/winners-of-inaugural-stephen-hawking-medal-announced-hans-zimmer-jim-al-khalili-particle-fever">"Winners of inaugural Stephen Hawking medal announced"</a>. <i><a href="/wiki/The_Guardian">The Guardian</a></i>. <a href="https://web.archive.org/web/20171208231459/https://www.theguardian.com/science/2016/jun/16/winners-of-inaugural-stephen-hawking-medal-announced-hans-zimmer-jim-al-khalili-particle-fever">Archived</a> from the original on 8 December 2017. Retrieved 7 December 2017.</cite>
</li>
<li><b><a href="#cite_ref-88">^</a></b> <cite>Chamberlin, Alan. <a href="https://ssd.jpl.nasa.gov/sbdb.cgi?sstr=495253">"JPL Small-Body Database Browser"</a>. <i>ssd.jpl.nasa.gov</i>. <a href="https://web.archive.org/web/20200801201605/https://ssd.jpl.nasa.gov/sbdb.cgi?sstr=495253">Archived</a> from the original on 1 August 2020. Retrieved 1 February 2018.</cite>
</li>
<li>^ <a href="#cite_ref-Academy_Awards_89-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Academy_Awards_89-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Academy_Awards_89-2"><sup><i><b>c</b></i></sup></a> <cite>Petski, Denise (27 March 2022). <a href="https://deadline.com/2022/03/hans-zimmer-dune-2022-oscars-original-score-1234987829/">"Hans Zimmer Wins His Second Career Original Score Oscar For 'Dune'"</a>. <i><a href="/wiki/Deadline_Hollywood">Deadline Hollywood</a></i>. Retrieved 25 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-90">^</a></b> <cite><a href="https://www.dw.com/en/culture-connects-29-artists-receive-german-order-of-merit/a-45723825">"'Culture Connects': 29 artists receive German order of merit"</a>. <a href="/wiki/Deutsche_Welle">Deutsche Welle</a>. 2 October 2018. <a href="https://web.archive.org/web/20200801202307/https://www.dw.com/en/culture-connects-29-artists-receive-german-order-of-merit/a-45723825">Archived</a> from the original on 1 August 2020. Retrieved 26 April 2020.</cite>
</li>
<li><b><a href="#cite_ref-91">^</a></b> <cite>Bui, Hoai-Tran (16 May 2019). <a href="https://www.slashfilm.com/2019-disney-legends/">"New Disney Legends Include Robert Downey Jr., Ming-Na Wen, Hans Zimmer"</a>. <i><a href="/wiki//Film">/Film</a></i>. <a href="https://web.archive.org/web/20200801140633/https://www.slashfilm.com/2019-disney-legends/">Archived</a> from the original on 1 August 2020. Retrieved 26 April 2020.</cite>
</li>
<li><b><a href="#cite_ref-92">^</a></b> <cite><a href="https://www.bafta.org/film/awards/2022-nominations-winners">"2022 EE British Academy Film Awards: The Winners"</a>. <a href="/wiki/British_Academy_of_Film_and_Television_Arts">BAFTA</a>. 11 January 2022. Retrieved 27 April 2022.</cite>
</li>
<li>^ <a href="#cite_ref-Golden_Globes_93-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Golden_Globes_93-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Golden_Globes_93-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://www.goldenglobes.com/person/hans-zimmer">"Hans Zimmer | Golden Globes"</a>. <a href="/wiki/Golden_Globe_Awards">Golden Globe Awards</a>. Retrieved 27 April 2022.</cite>
</li>
<li>^ <a href="#cite_ref-D'Alessandro_94-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-D'Alessandro_94-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-D'Alessandro_94-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-D'Alessandro_94-3"><sup><i><b>d</b></i></sup></a> <cite>D'Alessandro, Anthony (24 May 2021). <a href="https://deadline.com/2021/05/caa-signs-oscar-winning-composer-hans-zimmer-1234762853/">"CAA Signs Oscar-Winning Composer Hans Zimmer"</a>. <i><a href="/wiki/Deadline_Hollywood">Deadline Hollywood</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-95">^</a></b> <cite>Kilday, Gregg (19 December 2010). <a href="https://www.hollywoodreporter.com/movies/movie-news/social-network-named-dramatic-film-61579/">"'Social Network' Named Best Dramatic Film at Satellite Awards"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-96">^</a></b> <cite>Van Blaricom, Mirjana (2 April 2022). <a href="https://www.pressacademy.com/news/5437/">"2021 WINNERS: The International Press Academy Announces Winners for the 26th Annual Satellite™ Awards"</a>. <a href="/wiki/International_Press_Academy">International Press Academy</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-97">^</a></b> <cite>Variety Staff (24 June 2009). <a href="https://variety.com/2009/film/awards/dark-knight-wins-big-at-saturns-1118005342/">"'Dark Knight' wins big at Saturns"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-98">^</a></b> <cite>Chitwood, Adam (24 June 2011). <a href="https://collider.com/saturn-awards-2011-winners/">"INCEPTION Wins Big at the 2011 Saturn Awards"</a>. <a href="/wiki/Collider_(website)">Collider</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-99">^</a></b> <cite>Cohen, David S. (26 June 2015). <a href="https://variety.com/2015/scene/vpage/saturn-awards-walking-dead-the-flash-guardians-of-the-galaxy-interstellar-1201529054/">"'Guardians of the Galaxy,' 'The Walking Dead,' 'Interstellar' Shine at Saturn Awards"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li>^ <a href="#cite_ref-BBC_News_100-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BBC_News_100-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.bbc.com/news/entertainment-arts-24379667">"Hans Zimmer triumphs at Classic Brits"</a>. <a href="/wiki/BBC_News">BBC News</a>. 3 October 2013. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-101">^</a></b> <cite>Armstrong, Mark (19 December 2000). <a href="https://www.eonline.com/news/40898/broadcast-critics-eat-crowe">"Broadcast Critics Eat Crowe"</a>. <i><a href="/wiki/E!#E!_Online">E! Online</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-102">^</a></b> <cite><a href="http://criticschoice.com/2022/03/19065/">"The Power of the Dog and Ted Lasso lead winners at the 27th Annual Critics Choice Awards"</a>. <a href="/wiki/Critics_Choice_Association">Critics Choice Association</a>. 12 March 2022. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-103">^</a></b> <cite>Whale, Chase (15 December 2014). <a href="https://dfwcritics.com/dfw-film-critics-name-birdman-as-top-film-of-2014/">"DFWFCA names "Birdman" as top film of 2014"</a>. <a href="/wiki/Dallas%E2%80%93Fort_Worth_Film_Critics_Association">Dallas–Fort Worth Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-104">^</a></b> <cite>Jorgenson, Todd (20 December 2021). <a href="https://dfwcritics.com/dfw-film-critics-name-power-of-the-dog-best-film-of-2021/">"DFW Film Critics Name "Power of the Dog" Best Film of 2021"</a>. <a href="/wiki/Dallas%E2%80%93Fort_Worth_Film_Critics_Association">Dallas–Fort Worth Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-105">^</a></b> <cite><a href="http://www.floridafilmcritics.com/2017/12/23/2017-ffcc-winners/">"2017 FFCC Award Winners"</a>. <a href="/wiki/Florida_Film_Critics_Circle">Florida Film Critics Circle</a>. 23 December 2017. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-106">^</a></b> <cite>Hazlett, Allison (22 December 2021). <a href="http://www.floridafilmcritics.com/2021/12/22/florida-film-critics-circle-announces-2021-winners/">"2021 FFCC Award Winners"</a>. <a href="/wiki/Florida_Film_Critics_Circle">Florida Film Critics Circle</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-107">^</a></b> <cite>Leydon, Joe (18 December 2010). <a href="https://variety.com/2010/film/awards/social-network-lauded-by-houston-crix-1118029267/">"'Social Network' lauded by Houston crix"</a>. <i><a href="/wiki/Variety_(magazine)">Variety</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-108">^</a></b> <cite>Darling, Cary (3 January 2022). <a href="https://preview.houstonchronicle.com/movies-tv/power-of-the-dog-takes-a-bite-out-of-16745441">"'The Power of the Dog' takes a bite out of Houston Film Critics Society's nominations"</a>. <i><a href="/wiki/Houston_Chronicle">Houston Chronicle</a></i>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-109">^</a></b> <cite>Gordon, Tim (6 December 2010). <a href="http://www.wafca.com/awards/2010.htm">"The 2010 WAFCA Award Winners"</a>. <a href="/wiki/Washington_D.C._Area_Film_Critics_Association">Washington D.C. Area Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-110">^</a></b> <cite>Gordon, Tim (9 December 2012). <a href="http://www.wafca.com/awards/2013.htm">"The 2013 WAFCA Awards"</a>. <a href="/wiki/Washington_D.C._Area_Film_Critics_Association">Washington D.C. Area Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-111">^</a></b> <cite>Gordon, Tim (8 December 2017). <a href="http://www.wafca.com/awards/2017.htm">"The 2017 WAFCA Awards"</a>. <a href="/wiki/Washington_D.C._Area_Film_Critics_Association">Washington D.C. Area Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
<li><b><a href="#cite_ref-112">^</a></b> <cite>Gordon, Tim (6 December 2021). <a href="http://www.wafca.com/awards/index.htm">"The 2021 WAFCA Awards"</a>. <a href="/wiki/Washington_D.C._Area_Film_Critics_Association">Washington D.C. Area Film Critics Association</a>. Retrieved 27 April 2022.</cite>
</li>
</ol></div>
<h2>External links[<a href="/w/index.php?title=Hans_Zimmer&amp;action=edit&amp;section=11">edit</a>]</h2>
<ul><li><a href="http://www.hanszimmer.com/">Official website</a></li>
<li><a href="https://www.imdb.com/name/nm0001877/">Hans Zimmer</a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://web.archive.org/web/20080716025014/http://www.filmscoremonthly.com/features/zimmer.asp">Interview with Hans Zimmer in <i>Film Score Monthly</i></a></li>
<li><a href="http://www.cmusic.tv/watchvideo/476">Interview with Hans Zimmer about Sherlock Holmes from <i>C Music TV</i></a> <a href="https://web.archive.org/web/20120220055319/http://www.cmusic.tv/watchvideo/476">Archived</a> 20 February 2012 at the <a href="/wiki/Wayback_Machine">Wayback Machine</a></li>
<li><a href="http://www.focus.de/kultur/videos/renners-hollywood/renners-hollywood-der-hans-zimmer-sound_vid_19009.html">Focus.De</a></li>
<li><a href="http://www.filmmusicsite.com/composers.cgi?go=interview&amp;coid=5&amp;firstname=Hans&amp;lastname=Zimmer&amp;lang=en">Interviews with Hans Zimmer</a></li></ul>
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 * (Top)
 * 1 Early life
 * 2 Career
 + 2.1 1977–1988
 + 2.2 1988–2000
 + 2.3 2000–2012
 + 2.4 2012–present
 * 3 Personal life
 * 4 Awards and honors
 * 5 Discography
 * 6 References
 * 7 External links
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 Hans Zimmer

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 From Wikipedia, the free encyclopedia

 Hans Zimmer 
 Zimmer in 2018
 Hans Florian Zimmer 
 Born 12 September 1957 (age 65) 
 Frankfurt, West Germany 
 Education * Ecole d'Humanité 
 * Hurtwood House 
 Occupations * Composer 
 * music producer 
 Years active 1977–present 
 Notable work Full list 
 * Vicki Carolin 
 Spouses ​ 
 ​(m. 1982; div. 1992)​ 
 * Suzanne Zimmer ​(div. 2020 )​ 
 Children 4 
 Awards Full list 
 Musical career 
 Genres Film scores 
 Labels Remote Control Productions, Bleeding Fingers Music
 
 Website hanszimmer.com 
 

 Hans Florian Zimmer (German pronunciation: [ˈhans ˈfloːʁi̯aːn ˈtsɪmɐ] ( listen ) ; born 12 September 1957) is a German film score composer and music producer. He has won two Oscars and four Grammys, and has been nominated for two Emmys and a Tony. Zimmer was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.[1]

 His works are notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980s, Zimmer has composed music for over 150 films. He has won two Academy Awards for Best Original Score for The Lion King (1994), and Dune (2021). His works include Gladiator, The Last Samurai, the Pirates of the Caribbean series, The Dark Knight trilogy, Inception, Interstellar and Dunkirk.

 Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks Pictures and DreamWorks Animation studios and works with other composers through the company that he founded, Remote Control Productions,[2] formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.[3]

 Early life [ edit ]

 Zimmer was born on 12 September 1957 in Frankfurt, West Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only briefly, as he disliked the discipline of formal lessons.[4] In one of his Reddit AMAs, he said: "My formal training was two weeks of piano lessons. I was thrown out of eight schools. But I joined a band. I am self-taught. But I've always heard music in my head. And I'm a child of the 20th century; computers came in very handy."[5] Zimmer attended the Ecole D'Humanité, an international boarding school in Canton Bern, Switzerland.[6] He moved to London as a teenager, where he attended Hurtwood House school.[7] During his childhood, he was strongly influenced by the film scores of Ennio Morricone and has cited Once Upon a Time in the West as the score that inspired him to become a film composer.[8]

 In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, and talked about his mother surviving World War II thanks to her escape from Germany to England in 1939. In an interview in May 2014, Zimmer revealed that it was difficult growing up in post-War Germany being Jewish and said, "I think my parents were always wary of me telling the neighbors" that they were Jewish.[9] In an interview with Mashable in February 2013, he said of his parents: "My mother was very musical, basically a musician and my father was an engineer and an inventor. So I grew up modifying the piano, shall we say, which made my mother gasp in horror, and my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology."[10] In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."[11]

 Career [ edit ]

 1977–1988 [ edit ]

 Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa.[12] He worked with the Buggles, a new wave band formed in London in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in the Buggles' music video for the 1979 song "Video Killed the Radio Star".[13] After working with the Buggles, he started to work for the Italian group Krisma, a new wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma's third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox).[14] Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the Mecano: En Concierto album released in 1985 only in Spain. In 1985, he contributed to the Shriekback album Oil & Gold.[15] In 1980, Zimmer co-produced a single, "History of the World, Part 1," with, and for, UK punk band The Damned, which was also included on their 1980 LP release, The Black Album, and carried the description of his efforts as "Over-Produced by Hans Zimmer."

 While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.[14] In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.[16] Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success Is the Best Revenge (1984), Insignificance (1985), and My Beautiful Laundrette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.[14]

 One of Zimmer's most durable works from his time in the United Kingdom was the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going for Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."[17]

 1988–2000 [ edit ]

 A turning point in Zimmer's career occurred with the 1988 film Rain Man.[16] Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work and hired him to score Rain Man.[18] In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?"[19] Zimmer's score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.[20]

 A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy's instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound on Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."[21]

 "I listen to [Zimmer's] music and I don't even have to shut my eyes. I can see the pictures. And that's why, in many respects, I know I can talk pictures with Hans. He responds to pictures."

 —Ridley Scott, director and producer and frequent collaborator with Zimmer.[22]

 The soundtrack to Ridley Scott's 1991 film Thelma & Louise by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.[23] Zimmer wrote the theme for Tony Scott's 1993 film True Romance, which he based on Carl Orff's Gassenhauer. Gassenhauer had previously been used in the 1973 film Badlands, which had a similar story of a young man and a girl on the run following a violent crime.[24] The catchy theme, played on nine marimbas, contrasts starkly with the violence of the film.[25]

 For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Walt Disney Feature Animation approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M.[26] Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.[27][28] As of April 2012, the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.[29]

 Zimmer's score for Tony Scott's 1995 film Crimson Tide won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music.[19] Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.[19]

 Zimmer's score for the 1998 film The Thin Red Line is regarded as one of his most important works. The nine-minute cue at the climax of the film, "The Journey to the Line", uses a recurring theme based on four chords, combined with a "ticking clock" motif that has been featured in a range of subsequent scores composed by Zimmer.[30] The piece has been used in numerous trailers and video games, and has earned the nickname "the forbidden cue" due to the tendency of film makers to use it as a temp track for dramatic scenes.[31]

 2000–2012 [ edit ]

 Zimmer at The Dark Knight premiere in 2008

 In the 2000s, Zimmer composed scores for Hollywood blockbuster films including three Ridley Scott films, Gladiator (2000), Black Hawk Down and Hannibal (2001), followed by The Last Samurai (2003), Madagascar (2005), The Da Vinci Code (2006), The Simpsons Movie (2007), Kung Fu Panda (2008), which he co-composed with John Powell, Angels & Demons (2009), and Sherlock Holmes (2009). Other work in the 2000s included the Spanish language film Casi Divas,[32] and The Burning Plain (2009). He composed the theme for the television boxing series The Contender and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project.[33] Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game Crysis 2.[34]

 In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent.[35] While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.[19]

 During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, Days of Thunder, The Rock, and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score.[36] Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen.[37][38] Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela for the last.[39]

 Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), which he co-composed with James Newton Howard.[17] For the soundtrack of The Dark Knight, Zimmer decided to represent the character of The Joker by a single note played on the cello by his long-time colleague Martin Tillman. Zimmer commented "I wanted to write something people would truly hate."[40] The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet.[41] Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative and that it was important to credit a range of people who had played a part in its production.[42] Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

 Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles – not having "you are the composer, you are the arranger, you are the orchestrator" – it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits.[43]

 For the 2009 film Sherlock Holmes, Daily Variety reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".[44] For the 2011 sequel, Sherlock Holmes: A Game of Shadows, Zimmer and director Guy Ritchie incorporated authentic Romani music, which they researched by visiting Slovakia, Italy, and France. The music in the film is played by Romani virtuoso musicians.[45][46]

 For the 2010 film Inception, Zimmer used electronic manipulation of the song "Non, je ne regrette rien". The horn sound in the score, described by Zimmer as "like huge foghorns over a city" became a popular feature in film trailers. "It's funny how that sort of thing becomes part of the zeitgeist," he said. "But I suppose that's exactly what trailers are looking for: something iconic, lasts less than a second, and shakes the seats in the theater."[47][48]

 In 2012, Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes.[49] He also composed a new version of the theme music for ABC World News.[50] Zimmer also composed the score for The Dark Knight Rises, the final installment of Christopher Nolan's The Dark Knight Trilogy. The film was released in July 2012.[51] Zimmer described himself as "devastated" in the aftermath of the 2012 Aurora, Colorado shooting, which occurred at a screening of The Dark Knight Rises, commenting, "I just feel so incredibly sad for these people." He recorded a track entitled "Aurora", a choral arrangement of a theme from the Dark Knight Rises soundtrack, to raise money for the victims of the shooting.[52]

 2012–present [ edit ]

 Zimmer co-composed the music for the television series The Bible, which was broadcast in March 2013, with Lorne Balfe and Lisa Gerrard, and the score for 12 Years a Slave, which won the Academy Award for Best Picture in March 2014. Zimmer composed the Tomorrowland Hymn for the Tomorrowland festival to celebrate its tenth anniversary in July 2014.[53]

 Zimmer composed the music for the 2014 film The Amazing Spider-Man 2 alongside "The Magnificent Six", which consisted of Pharrell Williams, Johnny Marr, Michael Einziger, Junkie XL, Andrew Kawczynski, and Steve Mazzaro.[54][55] Zimmer also composed the music for Christopher Nolan's 2014 film Interstellar, which earned him another Academy Award nomination for Best Original Score.[56] He partnered with Junkie XL to compose the music for the 2016 film Batman v Superman: Dawn of Justice. In an interview with BBC News in March 2016, Zimmer said that he was retiring from composing the music for superhero films, saying of Batman v Superman: "This one was very hard for me to do, to try to find new language".[57]

 Zimmer composed the main theme for the 2016 BBC nature documentary Planet Earth II, presented by David Attenborough. He later composed the score for the 2017 BBC nature documentary Blue Planet II alongside Jacob Shea and David Fleming, also presented by David Attenborough.[58][59] In an interview with Kirsty Wark on BBC Radio, Zimmer said in October 2022: "I think the only work that I've done that's worth anything is working for Sir David Attenborough on those programmes, because it's the only thing that actually means something to this world and ultimately might have an impact on how we approach this world."[60]

 Zimmer composed the main theme for the 2016 Netflix production The Crown.[61] Also in 2016 Zimmer released an online course teaching the basics of film scoring.[62] He next composed the score for Christopher Nolan's 2017 film Dunkirk, basing part of the score on a recording of a ticking watch that he had been given by Nolan.[63] Zimmer also worked on the score for Denis Villeneuve's Blade Runner 2049. Hans Zimmer and co-composer Benjamin Wallfisch took over scoring duties after Jóhann Jóhannsson left the project.[64]

 In 2018, Zimmer composed the score for the new FIFA Anthem, called "Living Football" in reference to the new motto of FIFA,[65] "Living Football" was also used as television intro theme for the 2018 FIFA World Cup in Russia.[66] Also in 2018, Zimmer remixed the UEFA Champions League Anthem with rapper Vince Staples for EA Sports' FIFA video game FIFA 19, with it also featuring in the game's reveal trailer.[67] Zimmer composed the score for Dark Phoenix, directed by Simon Kinberg, contrary to his 2016 statements of not scoring another superhero film following his experience working on Batman v Superman: Dawn of Justice.[68] Also for 2019, he scored the photorealistic computer-animated remake of Disney's The Lion King, directed by Jon Favreau.[69]

 On 22 August 2018, Zimmer was also announced as the composer for Wonder Woman 1984.[70] On 18 March 2019, it was announced that Zimmer would be scoring Denis Villeneuve's Dune.[71] In June 2019, Zimmer was hired to create sounds for BMW's concept vehicle, the Vision M Next.[72]

 In 2020, Zimmer composed the score for Hillbilly Elegy.[73]

 On 6 January 2020, it was announced that he would be taking over as composer for the James Bond film No Time to Die after previous composer Dan Romer left the project.[74] Speaking on scoring for No Time To Die, Zimmer told The Hindu, "Having done the three Batman movies — which are three movies to you but are 12 years of my life to me — I really understand where Daniel [Craig] was with this; he dedicated 16 years of his life to Bond... I wanted to not only do a good score but dig a little deeper and honour the man, the work and all the people who've been working on this for so long."[75]

 On 26 February 2020, Major League Soccer released an anthem for its 25th season, which was composed by Zimmer.[76]

 Zimmer also composed the score for the film Dune, which earned him his second Academy Award for Best Original Score.[77] He is also set to compose the score for the sequel. In 2022 he collaborated with Camila Cabello on the song "Take Me Back Home" for the documentary series Frozen Planet II.[78]

 Zimmer has also produced and composed sounds for BMW's electric car line. These sounds are both for those on the interior and on the exterior, and could help warn pedestrians that an electric car is approaching.[79][80]

 Personal life [ edit ]

 Zimmer's first wife was model Vicki Carolin, with whom he has a daughter.[81] The couple divorced in 1992.[82] On 3 April 2020, Zimmer filed for divorce from his second wife, Suzanne Zimmer, with whom he has three children.[82]

 Awards and honors [ edit ]

 Main article: List of awards and nominations received by Hans Zimmer
 Zimmer's Star on the "Boulevard der Stars" in Berlin

 Zimmer has received a range of honors and awards, including the Max Steiner Film Music Achievement Award at Hollywood in Vienna in 2018,[83] the Career Achievement Award "for excellence in film music composition" from the National Board of Review in 2003,[84] the Frederick Loewe Award for Film Composing at the Palm Springs International Film Festival in 2003,[85] the ASCAP Henry Mancini Award in 2003,[85] and the Richard Kirk Career Achievement Award from the BMI Film Music Awards in 1996.

 In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long-term friend Ronni Chasen, who had been shot and killed in Beverly Hills the previous month.[86]

 In 2016, Zimmer was one of the inaugural winners of the Stephen Hawking Medal for Science Communication.[87]

 In November 2017, a main-belt asteroid—(495253) 2013 OC8—discovered by Polish astronomers Michał Kusiak and Michał Żołnowski, was named "Hanszimmer".[88]

 As of 2022, Zimmer has received twelve Academy Award nominations for his work, with two wins; the first being at the 67th Academy Awards for the 1994 film The Lion King and the second being for the 2021 film Dune at the 94th Academy Awards.[89]

 On 2 October 2018, Zimmer received the Order of Merit of the Federal Republic of Germany.[90]

 In 2019, Zimmer was inducted as a Disney Legend.[91]

 Academy Awards   Classic Brit Awards 
 * 1995: The Lion King (Best Original Score)[89]  * 2001: Gladiator (Album of the Year; shared with Lisa Gerrard) 
 * 2022: Dune (Best Original Score)[89]  * 2009: The Dark Knight (Album of the Year; shared with James Newton Howard) 
 British Academy Film Awards  * 2013: Outstanding Contribution to Music (in association with Raymond Weil)[100]
 * 2022: Dune (Best Original Music)[92]  * 2013: The Dark Knight Rises and Man of Steel (Composer of the Year)[100] 
 Golden Globe Awards   Critics' Choice Movie Awards 
 * 1995: The Lion King (Best Original Score)[93]  * 2001: Gladiator, Mission: Impossible 2, and The Road to El Dorado[101] 
 * 2001: Gladiator (Best Original Score; shared with Lisa Gerrard)[93]  * 2022: Dune[102] 
 * 2022: Dune (Best Original Score)[93]  Dallas–Fort Worth Film Critics Association 
 Grammy Awards   * 2014: Interstellar[103] 
 * 1995: The Lion King (Best Instrumental Arrangement with Accompanying Vocals; shared with Lebo M.)[94] * 2021: Dune[104] 
 * 1995: The Lion King (Best Musical Album for Children; shared with Mark Mancina, Jay Rifkin, and Chris Thomas)[94] Florida Film Critics Circle 
 * 1996: Crimson Tide (Best Instrumental Composition Written for a Motion Picture or for Television)[94] * 2017: Blade Runner 2049 (shared with Benjamin Wallfisch)[105] 
 * 2009: The Dark Knight (Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media; shared with James Newton Howard)[94] * 2021: Dune[106] 
 Satellite Awards   Houston Film Critics Society 
 * 1999: The Thin Red Line  * 2010: Inception[107] 
 * 2001: Gladiator   * 2022: Dune (tied with Jonny Greenwood for The Power of the Dog)[108] 
 * 2004: The Last Samurai  Stephen Hawking Medal for Science Communication 
 * 2010: Inception[95]  * 2016: Interstellar[87] 
 * 2022: Dune[96]   Washington D.C. Area Film Critics Association 
 Saturn Awards   * 2010: Inception[109] 
 * 2009: The Dark Knight (shared with James Newton Howard)[97]  * 2013: 12 Years a Slave[110] 
 * 2011: Inception[98]  * 2017: Blade Runner 2049 (shared with Benjamin Wallfisch)[111] 
 * 2015: Interstellar[99]  * 2021: Dune[112] 
   World Soundtrack Awards 
   * 2011: Inception (Best Original Soundtrack of the Year)[85] 
    
 

 Discography [ edit ]

 Main article: Hans Zimmer discography

 References [ edit ]

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 49. ^ Brown, August (24 February 2012). "The Oscars: Hans Zimmer and Pharrell Williams know the score for the telecast – they wrote it". Los Angeles Times. Archived from the original on 27 February 2012 . Retrieved 6 March 2012 .
 50. ^ Mirkinson, Jack (2 October 2012). "'ABC World News' Debuting New Logo, Theme, Graphics (PHOTOS)". Huffington Post. Archived from the original on 6 October 2012 . Retrieved 8 October 2012 .
 51. ^ "Hans Zimmer Says 'The Dark Knight Rises' Score Will 'Invent And Reinvent'". MTV. 18 January 2011. Archived from the original on 3 May 2011 . Retrieved 3 May 2011 .
 52. ^ "'Dark Knight Rises' Composer Dedicates New Song To Aurora Victims". MTV. 27 July 2012. Archived from the original on 29 July 2012 . Retrieved 27 July 2012 .
 53. ^ "Hans Zimmer Composes Theme Music to EDM Festival Tomorrowland". The Hollywood Reporter. 16 April 2014. Archived from the original on 4 November 2020 . Retrieved 17 April 2014 .
 54. ^ "Pharrell, composer Hans Zimmer collaborate on 'Amazing Spider-Man 2' opera". The Grio. 3 April 2014. Archived from the original on 17 July 2014 . Retrieved 15 July 2014 .
 55. ^ "How Pharrell Helped Marc Webb Give Jamie Foxx a Killer Spider-Man 2 Theme Song". Vanity Fair. 2 May 2014. Archived from the original on 12 October 2015 . Retrieved 11 October 2015 .
 56. ^ Gallo, Phil. "Oscars 2015: Predicting the Best Original Score Category". Billboard. Archived from the original on 4 April 2016 . Retrieved 31 March 2016 .
 57. ^ "Hans Zimmer retiring from scoring superhero films after Batman v Superman". BBC News. Archived from the original on 1 April 2016 . Retrieved 1 April 2016 .
 58. ^ "'Planet Earth II' Soundtrack Details". Archived from the original on 13 August 2018 . Retrieved 13 November 2016 .
 59. ^ "'Blue Planet II' Soundtrack" . Retrieved 8 April 2020 .
 60. ^ "The World At One". BBC . Retrieved 8 October 2022 .
 61. ^ "The Crown Soundtrack Details". Archived from the original on 20 December 2016 . Retrieved 15 December 2016 .
 62. ^ "Hans Zimmer Launches Online Course in Film Scoring". Variety. 18 November 2016. Archived from the original on 6 March 2018 . Retrieved 22 February 2018 .
 63. ^ Guerrasio, Jason (11 July 2017). "Christopher Nolan explains the biggest challenges in making his latest movie 'Dunkirk' into an 'intimate epic'". Business Insider. Archived from the original on 12 July 2017.
 64. ^ Dry, Jude (31 July 2017). "Hans Zimmer Taking Over as Composer for 'Blade Runner 2049' — Report | IndieWire". www.indiewire.com . Retrieved 17 October 2017 .
 65. ^ "FIFA's new claim: "Living Football" – FIFA.com". www.fifa.com. Archived from the original on 22 August 2019.
 66. ^ "2018 FIFA World Cup Russia – Official TV Opening". 1 June 2018. Archived from the original on 5 June 2018 . Retrieved 2 June 2018 .
 67. ^ "Behind the Music: Champions League Anthem Remix with Hans Zimmer". Electronic Arts. 12 June 2018. Archived from the original on 30 October 2018 . Retrieved 20 July 2018 .
 68. ^ Towers, Andrea (30 March 2016). "Hans Zimmer retiring from scoring superhero films after Batman v Superman". Entertainment Weekly. Archived from the original on 26 January 2018 . Retrieved 25 January 2018 .
 69. ^ Hood, Cooper (1 November 2017). "Hans Zimmer Set to Score Disney's Live-Action The Lion King". Screen Rant. Archived from the original on 7 January 2018 . Retrieved 3 February 2018 .
 70. ^ "Hans Zimmer to Score Patty Jenkins' Wonder Woman 1984". Film Music Reporter. Archived from the original on 2 October 2018 . Retrieved 2 January 2019 .
 71. ^ "Hans Zimmer to Score Denis Villeneuve's Dune | Film Music Reporter". 18 March 2019. Archived from the original on 30 June 2019 . Retrieved 1 July 2019 .
 72. ^ Liptak, Andrew (29 June 2019). "Hans Zimmer designed the sound for BMW's futuristic concept car". The Verge. Archived from the original on 27 July 2019 . Retrieved 26 July 2019 .
 73. ^ "Hans Zimmer to Reteam with Ron Howard on Hillbilly Elegy". FilmMusicReporter. 10 March 2020. Archived from the original on 11 June 2020 . Retrieved 11 March 2020 .
 74. ^ Burlingame, Jon (6 January 2020). "'No Time to Die': Hans Zimmer Takes Over as Composer on Bond Movie (EXCLUSIVE)". Variety. Archived from the original on 13 January 2020 . Retrieved 7 January 2020 .
 75. ^ Bhavani, Divya-Kala (21 October 2021). "Composer Hans Zimmer on the musical worlds of 'Dune' and 'No Time To Die'". The Hindu.
 76. ^ "Watch: MLS releases new anthem for 25th season, composed by Hans Zimmer". Archived from the original on 26 February 2020.
 77. ^ Desowitz, Bill (20 October 2021). "'Dune': How Composer Hans Zimmer Invented a Retro-Future Musical Sound for the Arrakis Desert Planet". IndieWire . Retrieved 14 February 2022 .
 78. ^ "Camila Cabello and Hans Zimmer collaborate on new song for Frozen Planet II". bbc.com. 22 August 2022 . Retrieved 28 September 2022 .
 79. ^ Berk, Brett (28 March 2020). "BMW's i4 Electric Concept Comes With a Hans Zimmer Score". WIRED. Condé Nast . Retrieved 5 December 2022 .
 80. ^ Löblein, Markus (5 January 2022). "This is how BMW composes the sound of e-mobility". BMW.com . Retrieved 5 December 2022 .
 81. ^ Vogue: "A NEW MODEL GENERATION" Archived 4 March 2016 at the Wayback Machine 29 August 2006
 82. ^ a b "Lion King Composer Hans Zimmer Files for Divorce: Reports". People. Archived from the original on 8 April 2020 . Retrieved 7 April 2020 . "Hans was previously married to model Vicki Carolin before the two divorced in 1992."
 83. ^ Newman, Melinda (21 April 2018). "Hans Zimmer Named Recipient of Max Steiner Film Music Achievement Award at Hollywood in Vienna". Billboard . Retrieved 25 April 2022 .
 84. ^ Rooney, David (19 November 2003). "NBR cues kudo for composer Zimmer". Variety . Retrieved 25 April 2022 .
 85. ^ a b c "Hans Zimmer". World Soundtrack Awards . Retrieved 25 April 2022 .
 86. ^ Hayes, Rob (8 December 2010). "Hans Zimmer gets star, dedicates it to Chasen". ABC7. Archived from the original on 11 December 2010 . Retrieved 1 January 2011 .
 87. ^ a b Davis, Nicola (16 June 2016). "Winners of inaugural Stephen Hawking medal announced". The Guardian. Archived from the original on 8 December 2017 . Retrieved 7 December 2017 .
 88. ^ Chamberlin, Alan. "JPL Small-Body Database Browser". ssd.jpl.nasa.gov. Archived from the original on 1 August 2020 . Retrieved 1 February 2018 .
 89. ^ a b c Petski, Denise (27 March 2022). "Hans Zimmer Wins His Second Career Original Score Oscar For 'Dune'". Deadline Hollywood . Retrieved 25 April 2022 .
 90. ^ "'Culture Connects': 29 artists receive German order of merit". Deutsche Welle. 2 October 2018. Archived from the original on 1 August 2020 . Retrieved 26 April 2020 .
 91. ^ Bui, Hoai-Tran (16 May 2019). "New Disney Legends Include Robert Downey Jr., Ming-Na Wen, Hans Zimmer". /Film. Archived from the original on 1 August 2020 . Retrieved 26 April 2020 .
 92. ^ "2022 EE British Academy Film Awards: The Winners". BAFTA. 11 January 2022 . Retrieved 27 April 2022 .
 93. ^ a b c "Hans Zimmer | Golden Globes". Golden Globe Awards . Retrieved 27 April 2022 .
 94. ^ a b c d D'Alessandro, Anthony (24 May 2021). "CAA Signs Oscar-Winning Composer Hans Zimmer". Deadline Hollywood . Retrieved 27 April 2022 .
 95. ^ Kilday, Gregg (19 December 2010). "'Social Network' Named Best Dramatic Film at Satellite Awards". The Hollywood Reporter . Retrieved 27 April 2022 .
 96. ^ Van Blaricom, Mirjana (2 April 2022). "2021 WINNERS: The International Press Academy Announces Winners for the 26th Annual Satellite™ Awards". International Press Academy . Retrieved 27 April 2022 .
 97. ^ Variety Staff (24 June 2009). "'Dark Knight' wins big at Saturns". Variety . Retrieved 27 April 2022 .
 98. ^ Chitwood, Adam (24 June 2011). "INCEPTION Wins Big at the 2011 Saturn Awards". Collider . Retrieved 27 April 2022 .
 99. ^ Cohen, David S. (26 June 2015). "'Guardians of the Galaxy,' 'The Walking Dead,' 'Interstellar' Shine at Saturn Awards". Variety . Retrieved 27 April 2022 .
 100. ^ a b "Hans Zimmer triumphs at Classic Brits". BBC News. 3 October 2013 . Retrieved 27 April 2022 .
 101. ^ Armstrong, Mark (19 December 2000). "Broadcast Critics Eat Crowe". E! Online . Retrieved 27 April 2022 .
 102. ^ "The Power of the Dog and Ted Lasso lead winners at the 27th Annual Critics Choice Awards". Critics Choice Association. 12 March 2022 . Retrieved 27 April 2022 .
 103. ^ Whale, Chase (15 December 2014). "DFWFCA names "Birdman" as top film of 2014". Dallas–Fort Worth Film Critics Association . Retrieved 27 April 2022 .
 104. ^ Jorgenson, Todd (20 December 2021). "DFW Film Critics Name "Power of the Dog" Best Film of 2021". Dallas–Fort Worth Film Critics Association . Retrieved 27 April 2022 .
 105. ^ "2017 FFCC Award Winners". Florida Film Critics Circle. 23 December 2017 . Retrieved 27 April 2022 .
 106. ^ Hazlett, Allison (22 December 2021). "2021 FFCC Award Winners". Florida Film Critics Circle . Retrieved 27 April 2022 .
 107. ^ Leydon, Joe (18 December 2010). "'Social Network' lauded by Houston crix". Variety . Retrieved 27 April 2022 .
 108. ^ Darling, Cary (3 January 2022). "'The Power of the Dog' takes a bite out of Houston Film Critics Society's nominations". Houston Chronicle . Retrieved 27 April 2022 .
 109. ^ Gordon, Tim (6 December 2010). "The 2010 WAFCA Award Winners". Washington D.C. Area Film Critics Association . Retrieved 27 April 2022 .
 110. ^ Gordon, Tim (9 December 2012). "The 2013 WAFCA Awards". Washington D.C. Area Film Critics Association . Retrieved 27 April 2022 .
 111. ^ Gordon, Tim (8 December 2017). "The 2017 WAFCA Awards". Washington D.C. Area Film Critics Association . Retrieved 27 April 2022 .
 112. ^ Gordon, Tim (6 December 2021). "The 2021 WAFCA Awards". Washington D.C. Area Film Critics Association . Retrieved 27 April 2022 .

 External links [ edit ]

 Wikiquote has quotations related to Hans Zimmer.
 Wikimedia Commons has media related to Hans Zimmer.
 * Official website
 * Hans Zimmer at IMDb
 * Interview with Hans Zimmer in Film Score Monthly
 * Interview with Hans Zimmer about Sherlock Holmes from C Music TV Archived 20 February 2012 at the Wayback Machine
 * Focus.De
 * Interviews with Hans Zimmer
 * v 
 * t 
 * e 
 Hans Zimmer 
 * Discography
 * Accolades 
 * Days of Thunder (1990) 
 * The Power of One (1992) 
 * The Lion King (1994) 
 * Beyond Rangoon (1995) 
 * The Prince of Egypt (1998) 
 * The Thin Red Line (1998) 
 * Mission: Impossible 2 (2000) 
 * Gladiator (2000) 
 * Black Hawk Down (2001) 
 * Spirit: Stallion of the Cimarron (2002) 
 * Pirates of the Caribbean: The Curse of the Black Pearl (2003) 
 * Batman Begins (2005) 
 * Pirates of the Caribbean: Dead Man's Chest (2006) 
 * The Da Vinci Code (2006) 
 * Pirates of the Caribbean: At World's End (2007) 
 * The Simpsons Movie (2007) 
 * Pirates of the Caribbean: Soundtrack Treasures Collection (2007)
 * Kung Fu Panda (2008) 
 * The Dark Knight (2008) 
 * Madagascar: Escape 2 Africa (2008) 
 * Sherlock Holmes (2009) 
 Soundtracks * Inception (2010) 
 * Megamind (2010) 
 * Pirates of the Caribbean: On Stranger Tides (2011) 
 * Sherlock Holmes: A Game of Shadows (2011) 
 * Madagascar 3: Europe's Most Wanted (2012) 
 * The Dark Knight Rises (2012) 
 * Rush (2013) 
 * Man of Steel (2013) 
 * The Lone Ranger (2013) 
 * 12 Years a Slave (2013) 
 * The Amazing Spider-Man 2 (2014) 
 * Interstellar (2014) 
 * Kung Fu Panda 3 (2016) 
 * Batman v Superman: Dawn of Justice (2016) 
 * Hidden Figures (2017) 
 * Dunkirk (2017) 
 * Blade Runner 2049 (2017) 
 * Dark Phoenix (2019) 
 * The Lion King (2019) 
 * Wonder Woman 1984 (2020) 
 * No Time to Die (2021) 
 * Dune (2021) 
 * Top Gun: Maverick (2022) 
 * Remote Control Productions 
 Related * Bleeding Fingers Music 
 * Batman music 
 * Category 
 
 Awards for Hans Zimmer     
 * v      
 * t      
 * e      
 Academy Award for Best Original Score     
  * Louis Silvers (1934)     
  * Max Steiner (1935)     
 1930s * Leo F. Forbstein (1936)     
  * Charles Previn (1937)     
  * Erich Wolfgang Korngold / Alfred Newman (1938)    
  * Herbert Stothart / Richard Hageman, W. Franke Harling, John Leipold and Leo Shuken (1939)    
  * Leigh Harline, Paul J. Smith and Ned Washington / Alfred Newman (1940)    
  * Bernard Herrmann / Frank Churchill and Oliver Wallace (1941)    
  * Max Steiner / Ray Heindorf and Heinz Roemheld (1942)    
  * Alfred Newman / Ray Heindorf (1943)    
 1940s * Max Steiner / Morris Stoloff and Carmen Dragon (1944)    
  * Miklos Rozsa / Georgie Stoll (1945)    
  * Hugo Friedhofer / Morris Stoloff (1946)    
  * Miklos Rozsa / Alfred Newman (1947)    
  * Brian Easdale / Johnny Green and Roger Edens (1948)    
  * Aaron Copland / Roger Edens and Lennie Hayton (1949)    
  * Franz Waxman / Adolph Deutsch and Roger Edens (1950)    
  * Franz Waxman / Johnny Green and Saul Chaplin (1951)    
  * Dimitri Tiomkin / Alfred Newman (1952)    
  * Bronislau Kaper / Alfred Newman (1953)    
 1950s * Dimitri Tiomkin / Adolph Deutsch and Saul Chaplin (1954)    
  * Alfred Newman / Robert Russell Bennett, Jay Blackton and Adolph Deutsch (1955)    
  * Victor Young / Alfred Newman and Ken Darby (1956)    
  * Malcolm Arnold (1957)     
  * Dimitri Tiomkin / Andre Previn (1958)    
  * Miklos Rozsa / Andre Previn and Ken Darby (1959)    
  * Ernest Gold / Morris Stoloff and Harry Sukman (1960)    
  * Henry Mancini / Saul Chaplin, Johnny Green, Sid Ramin and Irwin Kostal (1961)    
  * Maurice Jarre / Ray Heindorf (1962)    
  * John Addison / Andre Previn (1963)    
 1960s * Richard M. Sherman and Robert B. Sherman / Andre Previn (1964)    
  * Maurice Jarre / Irwin Kostal (1965)    
  * John Barry / Ken Thorne (1966)    
  * Elmer Bernstein / Alfred Newman and Ken Darby (1967)    
  * John Barry / Johnny Green (1968)    
  * Burt Bacharach / Lennie Hayton and Lionel Newman (1969)    
  * Francis Lai / The Beatles (John Lennon, Paul McCartney, George Harrison and Ringo Starr) (1970)   
  * Michel Legrand / John Williams (1971)    
  * Charlie Chaplin, Raymond Rasch and Larry Russell / Ralph Burns (1972)    
  * Marvin Hamlisch / Marvin Hamlisch (1973)    
 1970s * Nino Rota and Carmine Coppola / Nelson Riddle (1974)    
  * John Williams / Leonard Rosenman (1975)    
  * Jerry Goldsmith / Leonard Rosenman (1976)    
  * John Williams / Jonathan Tunick (1977)    
  * Giorgio Moroder / Joe Renzetti (1978)    
  * Georges Delerue / Ralph Burns (1979)    
  * Michael Gore (1980)     
  * Vangelis (1981)     
  * John Williams / Henry Mancini and Leslie Bricusse (1982)    
  * Bill Conti / Michel Legrand, Alan and Marilyn Bergman (1983)    
 1980s * Maurice Jarre / Prince (1984)     
  * John Barry (1985)     
  * Herbie Hancock (1986)     
  * Ryuichi Sakamoto, David Byrne and Cong Su (1987)    
  * Dave Grusin (1988)     
  * Alan Menken (1989)     
  * John Barry (1990)     
  * Alan Menken (1991)     
  * Alan Menken (1992)     
  * John Williams (1993)     
 1990s * Hans Zimmer (1994)     
  * Luis Bacalov / Alan Menken and Stephen Schwartz (1995)    
  * Gabriel Yared / Rachel Portman (1996)    
  * James Horner / Anne Dudley (1997)    
  * Nicola Piovani / Stephen Warbeck (1998)    
  * John Corigliano (1999)     
  * Tan Dun (2000)     
  * Howard Shore (2001)     
  * Elliot Goldenthal (2002)     
  * Howard Shore (2003)     
 2000s * Jan A. P. Kaczmarek (2004)     
  * Gustavo Santaolalla (2005)     
  * Gustavo Santaolalla (2006)     
  * Dario Marianelli (2007)     
  * A. R. Rahman (2008)     
  * Michael Giacchino (2009)     
  * Trent Reznor and Atticus Ross (2010)    
  * Ludovic Bource (2011)     
  * Mychael Danna (2012)     
  * Steven Price (2013)     
 2010s * Alexandre Desplat (2014)     
  * Ennio Morricone (2015)     
  * Justin Hurwitz (2016)     
  * Alexandre Desplat (2017)     
  * Ludwig Göransson (2018)     
  * Hildur Guðnadóttir (2019)     
 2020s * Trent Reznor, Atticus Ross and Jon Batiste (2020)    
  * Hans Zimmer (2021)     
      
 * v      
 * t      
 * e      
 Annie Award for Outstanding Achievement for Music in a Feature Production    
 * Alan Menken and Stephen Schwartz (1995)     
 * Randy Newman (1996)     
 * Randy Newman (1997)     
 * Matthew Wilder, David Zippel and Jerry Goldsmith (1998)     
 * Michael Kamen (1999)     
 * Randy Newman (2000)     
 * John Powell and Harry Gregson-Williams (2001)     
 * Joe Hisaishi (2002)     
 * Thomas Newman (2003)     
 * Michael Giacchino (2004)     
 * Julian Nott (2005)     
 * Randy Newman (2006)     
 * Michael Giacchino (2007)     
 * Hans Zimmer and John Powell (2008)     
 * Bruno Coulais (2009)     
 * John Powell (2010)     
 * John Williams (2011)     
 * Henry Jackman, Skrillex, Adam Young, Matthew Thiessen, Jamie Houston and Yasushi Akimoto (2012)    
 * Kristen Anderson-Lopez, Robert Lopez and Christophe Beck (2013)     
 * John Powell and Jónsi (2014)     
 * Michael Giacchino (2015)     
 * Hans Zimmer, Richard Harvey, and Camille (2016)     
 * Kristen Anderson-Lopez, Robert Lopez, Germaine Franco, Adrian Molina and Michael Giacchino (2017)    
 * Michael Giacchino (2018)     
 * Dan Levy (2019)     
 * Trent Reznor, Atticus Ross and Jon Batiste (2020)     
 * Germaine Franco and Lin-Manuel Miranda (2021)     
      
 * v      
 * t      
 * e      
 Annie Award for Outstanding Achievement for Music in an Animated Television/Broadcast Production    
 * Alf Clausen (1997)     
 * Alf Clausen and Ken Keeler (1998)     
 * Randy Rogel (1999)     
 * Alf Clausen (2000)     
 * Thomas Chase, Steve Rucker and James L. Venable (2001)     
 * James L. Venable (2002)     
 * Alf Clausen, Ian Maxtone-Graham and Ken Keeler (2003)     
 * Robert J. Kral (2004)     
 * James L. Venable and Jennifer Kes Remington (2005)     
 * James L. Venable and Jennifer Kes Remington (2006)     
 * Alf Clausen and Michael Price (2007)     
 * Henry Jackman, Hans Zimmer and John Powell (2008)     
 * Guy Moon (2009)     
 * Jeremy Wakefield, Sage Guyton, Nick Carr and Tuck Tucker (2010)     
 * Grace Potter and Michael Giacchino (2011)     
 * John Paesano (2012)     
 * Christopher Willis (2013)     
 * Christopher Willis (2014)     
 * Christopher Willis (2015)     
 * Scot Stafford, Alexis Harte and JJ Wiesler (2016)     
 * Christopher Willis (2017)     
 * Christopher Willis (2018)     
 * Rob Cairns (2019)     
 * Kevin Kiner (2020)     
 * Tim Davies and Gustavo Santaolalla (2021)     
      
 * v     
 * t     
 * e     
 BAFTA Award for Best Original Music     
  * John Barry (1968)     
  * Mikis Theodorakis (1969)     
  * Burt Bacharach (1970)     
  * Michel Legrand (1971)     
  * Nino Rota (1972)     
  * Alan Price (1973)     
  * Richard Rodney Bennett (1974)    
  * John Williams (1975)     
  * Bernard Herrmann (1976)     
  * John Addison (1977)     
  * John Williams (1978)     
  * Ennio Morricone (1979)     
  * John Williams (1980)     
  * Carl Davis (1981)     
  * John Williams (1982)     
  * Ryuichi Sakamoto (1983)     
 1968–2000 * Ennio Morricone (1984)     
  * Maurice Jarre (1985)     
  * Ennio Morricone (1986)     
  * Ennio Morricone (1987)     
  * John Williams (1988)     
  * Maurice Jarre (1989)     
  * Andrea Morricone and Ennio Morricone (1990)    
  * Jean-Claude Petit (1991)     
  * David Hirschfelder (1992)     
  * John Williams (1993)     
  * Don Was (1994)     
  * Luis Enríquez Bacalov (1995)    
  * Gabriel Yared (1996)     
  * Nellee Hooper, Craig Armstrong, and Marius de Vries (1997)    
  * David Hirschfelder (1998)     
  * Thomas Newman (1999)     
  * Tan Dun (2000)     
  * Craig Armstrong and Marius de Vries (2001)    
  * Philip Glass (2002)     
  * T Bone Burnett and Gabriel Yared (2003)    
  * Gustavo Santaolalla (2004)    
  * John Williams (2005)     
  * Gustavo Santaolalla (2006)    
  * Christopher Gunning (2007)    
  * A. R. Rahman (2008)     
  * Michael Giacchino (2009)     
  * Alexandre Desplat (2010)     
 2001–present * Ludovic Bource (2011)     
  * Thomas Newman (2012)     
  * Steven Price (2013)     
  * Alexandre Desplat (2014)     
  * Ennio Morricone (2015)     
  * Justin Hurwitz (2016)     
  * Alexandre Desplat (2017)     
  * Bradley Cooper, Lady Gaga, and Lukas Nelson (2018)    
  * Hildur Guðnadóttir (2019)     
  * Jon Batiste, Trent Reznor, and Atticus Ross (2020)    
  * Hans Zimmer (2021)     
      
 * v     
 * t     
 * e     
 Black Reel Award for Outstanding Original Score     
 * Ray Charles and Stephen Altman (2005)     
 * Harvey Mason Jr. and Damon Thomas (2007)     
 * A. R. Rahman (2008)     
 * The Roots (2011)     
 * Thomas Newman (2012)     
 * Dan Romer and Benh Zeitlin (2013)     
 * Hans Zimmer (2014)     
 * Jason Moran (2015)     
 * Joseph Trapanese (2016)     
 * Nicholas Britell (2017)     
 * Michael Abels (2018)     
 * Nicholas Britell (2019)     
 * Michael Abels (2020)     
 * Trent Reznor, Atticus Ross and Jon Batiste (2021)     
 * Jeymes Samuel (2022)     
      
 * v     
 * t     
 * e     
 Chicago Film Critics Association Award for Best Original Score     
 * Michael Nyman (1993)     
 * Randy Newman (1994)     
 * Hans Zimmer (1995)     
 * Carter Burwell (1996)     
 * James Horner (1997)     
 * Burkhard Dallwitz (1998)     
 * Trey Parker and Marc Shaiman (1999)     
 * Tan Dun (2000)     
 * Howard Shore (2001)     
 * Elmer Bernstein (2002)     
 * Howard Shore (2003)     
 * Howard Shore (2004)     
 * Gustavo Santaolalla (2005)     
 * Clint Mansell (2006)     
 * Glen Hansard and Markéta Irglová (2007)     
 * Thomas Newman (2008)     
 * Michael Giacchino (2009)     
 * Clint Mansell (2010)     
 * Cliff Martinez (2011)     
 * Jonny Greenwood (2012)     
 * Arcade Fire (2013)     
 * Micachu (2014)     
 * Ennio Morricone (2015)     
 * Micachu (2016)     
 * Jonny Greenwood (2017)     
 * Nicholas Britell (2018)     
 * Alexandre Desplat (2019)     
 * Trent Reznor & Atticus Ross and Jon Batiste (2020)     
 * Jonny Greenwood (2021)     
 * Justin Hurwitz (2022)     
      
 * v     
 * t     
 * e     
 Critics' Choice Movie Award for Best Score     
 * John Williams (1998)     
 * Gabriel Yared (1999)     
 * Lisa Gerrard and Hans Zimmer (2000)     
 * Howard Shore (2001)     
 * John Williams (2002)     
 * Howard Shore (2003)     
 * Howard Shore (2004)     
 * John Williams (2005)     
 * Philip Glass (2006)     
 * Jonny Greenwood (2007)     
 * A. R. Rahman (2008)     
 * Michael Giacchino (2009)     
 * Trent Reznor and Atticus Ross (2010)     
 * Ludovic Bource (2011)     
 * John Williams (2012)     
 * Steven Price (2013)     
 * Antonio Sánchez (2014)     
 * Ennio Morricone (2015)     
 * Justin Hurwitz (2016)     
 * Alexandre Desplat (2017)     
 * Justin Hurwitz (2018)     
 * Hildur Guðnadóttir (2019)     
 * Trent Reznor, Atticus Ross and Jon Batiste (2020)     
 * Hans Zimmer (2021)     
 * Hildur Guðnadóttir (2022)     
      
 * v     
 * t     
 * e     
 Dallas–Fort Worth Film Critics Association Award for Best Musical Score    
 * John Williams (2012)     
 * Steven Price (2013)     
 * Hans Zimmer (2014)     
 * Bryce Dessner , Ryuichi Sakamoto and Alva Noto (2015)     
 * Justin Hurwitz (2016)     
 * Alexandre Desplat (2017)     
 * Alexandre Desplat (2018)     
 * Thomas Newman (2019)     
 * Trent Reznor and Atticus Ross (2020)     
 * Hans Zimmer (2021)     
      
 * v     
 * t     
 * e     
 Disney Legends Awards (2010s)     
  * Jodi Benson     
  * Barton “Bo” Boyd*     
  * Jim Henson*     
  * Linda Larkin     
  * Paige O'Hara     
 2011 * Regis Philbin     
  * Anika Noni Rose     
  * Lea Salonga     
  * Raymond Watson     
  * Guy Williams*     
  * Bonita Granville Wrather*    
  * Jack Wrather*     
  * Tony Baxter     
  * Collin Campbell     
  * Dick Clark*     
 2013 * Billy Crystal     
  * John Goodman     
  * Steve Jobs*     
  * Glen Keane     
  * Ed Wynn*     
  * George Bodenheimer     
  * Julie Reihm Casaletto     
  * Andreas Deja     
  * Johnny Depp     
 2015 * Eyvind Earle*     
  * Danny Elfman     
  * Susan Lucci     
  * George Lucas     
  * Carson Van Osten     
  * Clyde Geronimi*     
  * Whoopi Goldberg     
  * Manuel Gonzales*     
  * Carrie Fisher*     
  * Mark Hamill     
 2017 * Jack Kirby*     
  * Wayne Jackson     
  * Stan Lee     
  * Garry Marshall*     
  * Julie Taymor     
  * Oprah Winfrey     
  * Christina Aguilera     
  * Wing T. Chao     
  * Robert Downey Jr.     
  * Jon Favreau     
  * James Earl Jones     
 2019 * Bette Midler     
  * Kenny Ortega     
  * Barnette Ricci     
  * Robin Roberts     
  * Diane Sawyer     
  * Ming-Na Wen     
  * Hans Zimmer     
 * Awarded posthumously     
 * Complete list     
 * 1980s     
 * 1990s     
 * 2000s     
 * 2010s     
 * 2020s     
      
 * v     
 * t     
 * e     
 Golden Globe Award for Best Original Score     
  * Life with Father – Max Steiner (1947)    
 1940s * The Red Shoes – Brian Easdale (1948)    
  * The Inspector General – Johnny Green (1949)    
  * Sunset Boulevard – Franz Waxman (1950)    
 1950s * September Affair – Victor Young (1951)    
  * High Noon – Dimitri Tiomkin (1952)    
  * On the Beach – Ernest Gold (1959)    
  * The Alamo – Dimitri Tiomkin (1960)    
  * The Guns of Navarone – Dimitri Tiomkin (1961)    
  * To Kill a Mockingbird – Elmer Bernstein (1962)    
  * (1963)     
 1960s * The Fall of the Roman Empire – Dimitri Tiomkin (1964)    
  * Doctor Zhivago – Maurice Jarre (1965)    
  * Hawaii – Elmer Bernstein (1966)    
  * Camelot – Frederick Loewe (1967)    
  * The Shoes of the Fisherman – Alex North (1968)    
  * Butch Cassidy and the Sundance Kid – Burt Bacharach (1969)    
  * Love Story – Francis Lai (1970)    
  * Shaft – Isaac Hayes (1971)    
  * The Godfather – Nino Rota (1972)    
  * Jonathan Livingston Seagull – Neil Diamond (1973)    
 1970s * The Little Prince – Alan Jay Lerner and Frederick Loewe (1974)    
  * Jaws – John Williams (1975)    
  * A Star is Born – Kenneth Ascher and Paul Williams (1976)    
  * Star Wars – John Williams (1977)    
  * Midnight Express – Giorgio Moroder (1978)    
  * Apocalypse Now – Carmine Coppola and Francis Ford Coppola (1979)    
  * The Stunt Man – Dominic Frontiere (1980)    
  * No Award (1981)    
  * E.T. the Extra-Terrestrial – John Williams (1982)    
  * Flashdance – Giorgio Moroder (1983)    
 1980s * A Passage to India – Maurice Jarre (1984)    
  * Out of Africa – John Barry (1985)    
  * The Mission – Ennio Morricone (1986)    
  * The Last Emperor – David Byrne , Ryuichi Sakamoto and Cong Su (1987)    
  * Gorillas in the Mist – Maurice Jarre (1988)    
  * The Little Mermaid – Alan Menken (1989)    
  * The Sheltering Sky – Richard Horowitz and Ryuichi Sakamoto (1990)    
  * Beauty and the Beast – Alan Menken (1991)    
  * Aladdin – Alan Menken (1992)    
  * Heaven & Earth – Kitarō (1993)    
 1990s * The Lion King – Hans Zimmer (1994)    
  * A Walk in the Clouds – Maurice Jarre (1995)    
  * The English Patient – Gabriel Yared (1996)    
  * Titanic – James Horner (1997)    
  * The Truman Show – Burkhard Dallwitz and Philip Glass (1998)    
  * The Legend of 1900 – Ennio Morricone (1999)    
  * Gladiator – Lisa Gerrard , Hans Zimmer (2000)    
  * Moulin Rouge! – Craig Armstrong (2001)    
  * Frida – Elliot Goldenthal (2002)    
  * The Lord of the Rings: The Return of the King – Howard Shore (2003)    
 2000s * The Aviator – Howard Shore (2004)    
  * Memoirs of a Geisha – John Williams (2005)    
  * The Painted Veil – Alexandre Desplat (2006)    
  * Atonement – Dario Marianelli (2007)    
  * Slumdog Millionaire – A. R. Rahman (2008)    
  * Up – Michael Giacchino (2009)    
  * The Social Network – Trent Reznor and Atticus Ross (2010)    
  * The Artist – Ludovic Bource (2011)    
  * Life of Pi – Mychael Danna (2012)    
  * All Is Lost – Alex Ebert (2013)    
 2010s * The Theory of Everything – Jóhann Jóhannsson (2014)    
  * The Hateful Eight – Ennio Morricone (2015)    
  * La La Land – Justin Hurwitz (2016)    
  * The Shape of Water – Alexandre Desplat (2017)    
  * First Man – Justin Hurwitz (2018)    
  * Joker – Hildur Guðnadóttir (2019)    
  * Soul – Trent Reznor , Atticus Ross and Jon Batiste (2020)    
 2020s * Dune – Hans Zimmer (2021)    
  * Babylon – Justin Hurwitz (2022)    
      
 * v     
 * t     
 * e     
 Grammy Award for Best Musical Album for Children     
  * Aladdin: Original Motion Picture Soundtrack – Alan Menken , Tim Rice (producers) and Various Artists (1994)   
  * The Lion King: Original Motion Picture Soundtrack – Mark Mancina , Jay Rifkin , Chris Thomas , Hans Zimmer (producers) and Various Artists (1995)  
  * Sleepy Time Lullabys – Barbara Bailey Hutchison (1996)   
  * Dedicated to the One I Love – Linda Ronstadt (1997)   
 1994–2002 * All Aboard! – John Denver (1998)    
  * Elmopalooza! – Various Artists (1999)    
  * The Adventures of Elmo in Grouchland – Various Artists (2000)   
  * Woody's Roundup: A Rootin' Tootin' Collection of Woody's Favorite Songs – Riders in the Sky (2001)   
  * Elmo & the Orchestra – Various Artists (2002)    
  * Monsters, Inc. Scream Factory Favorites – Riders in the Sky (2003)   
  * Bon Appétit! – Cathy Fink & Marcy Marxer (2004)   
  * cELLAbration! A Tribute to Ella Jenkins – Cathy Fink & Marcy Marxer (2005)   
  * Songs from the Neighborhood: The Music of Mister Rogers – Various Artists (2006)   
 2003–2011 * Catch That Train! – Dan Zanes and Friends (2007)   
  * The Muppets: A Green and Red Christmas – The Muppets (2008)   
  * Here Come the 123s – They Might Be Giants (2009)   
  * Family Time – Ziggy Marley (2010)    
  * Tomorrow's Children – Pete Seeger (2011)    
 In 2012, the category was merged back into Best Children's Album.    
      
 * v     
 * t     
 * e     
 Grammy Award for Best Score Soundtrack for Visual Media    
  * Anatomy of a Murder – Duke Ellington (1959)    
  * No Award (1960)    
  * Exodus – Ernest Gold (1961)    
  * Breakfast at Tiffany's – Henry Mancini (1962)    
  * No Award (1963)    
  * Tom Jones – John Addison (1964)    
  * Mary Poppins: Original Cast Soundtrack – Richard M. Sherman & Robert B. Sherman (1965)   
  * The Sandpiper – Johnny Mandel (1966)    
  * Doctor Zhivago – Maurice Jarre (1967)    
  * Music from Mission: Impossible – Lalo Schifrin (1968)    
 1959−1980 * The Graduate – Dave Grusin & Paul Simon (1969)    
  * Butch Cassidy and the Sundance Kid – Burt Bacharach (1970)   
  * Let It Be – The Beatles (John Lennon, Paul McCartney, George Harrison & Ringo Starr) (1971)   
  * Shaft – Isaac Hayes (1972)    
  * The Godfather – Nino Rota (1973)    
  * Jonathan Livingston Seagull – Neil Diamond (1974)    
  * The Way We Were: Original Soundtrack Recording – Alan and Marilyn Bergman & Marvin Hamlisch (1975)   
  * Jaws – John Williams (1976)    
  * Car Wash – Norman Whitfield (1977)    
  * Star Wars – John Williams (1978)    
  * Close Encounters of the Third Kind – John Williams (1979)   
  * Superman – John Williams (1980)    
  * The Empire Strikes Back – John Williams (1981)    
  * Raiders of the Lost Ark – John Williams (1982)    
  * E.T. the Extra-Terrestrial – John Williams (1983)    
  * Flashdance – Michael Boddicker, Irene Cara, Kim Carnes, Doug Cotler, Keith Forsey, Richard Gilbert, Jerry Hey, Duane Hitchings, Craig Krampf, Ronald Magness, Dennis Matkosky, Giorgio Moroder, Phil Ramone, Michael Sembello & Shandi Sinnamon (1984)
  * Purple Rain – Prince and the Revolution (1985)    
  * Beverly Hills Cop – Marc Benno, Harold Faltermeyer, Keith Forsey, Micki Free, John Gilutin Hawk, Howard Hewett, Bunny Hull, Howie Rice, Sharon Robinson, Danny Sembello, Sue Sheridan, Richard Theisen & Allee Willis (1986) 
  * Out of Africa – John Barry (1987)    
  * The Untouchables – Ennio Morricone (1988)    
  * The Last Emperor – David Byrne, Cong Su & Ryuichi Sakamoto (1989)   
 1981−2000 * The Fabulous Baker Boys (Motion Picture Soundtrack) – Dave Grusin (1990)   
  * Glory – James Horner (1991)    
  * Dances with Wolves – John Barry (1992)    
  * Beauty and the Beast – Alan Menken (1993)    
  * Aladdin – Alan Menken (1994)    
  * Schindler's List – John Williams (1995)    
  * Crimson Tide – Hans Zimmer (1996)    
  * Independence Day – David Arnold (1997)    
  * The English Patient – Gabriel Yared (1998)    
  * Saving Private Ryan – John Williams (1999)    
  * A Bug's Life – Randy Newman (2000)    
  * American Beauty: Original Motion Picture Score – Thomas Newman (2001)   
  * Crouching Tiger, Hidden Dragon – Tan Dun (2002)    
  * The Lord of the Rings: The Fellowship of the Ring – Howard Shore & John Kurlander (engineer/mixer) (2003)   
  * The Lord of the Rings: The Two Towers – Howard Shore, John Kurlander (engineer/mixer) & Peter Cobbin (engineer/mixer) (2004)  
  * The Lord of the Rings: The Return of the King – Howard Shore, John Kurlander (engineer/mixer) & Peter Cobbin (engineer/mixer) (2005)  
  * Ray – Craig Armstrong (2006)    
  * Memoirs of a Geisha – John Williams (2007)    
  * Ratatouille – Michael Giacchino (2008)    
  * The Dark Knight: Original Motion Picture Soundtrack – Hans Zimmer & James Newton Howard (2009)   
 2001−2020 * Up – Michael Giacchino (2010)    
  * Toy Story 3 – Randy Newman (2011)    
  * The King's Speech – Alexandre Desplat (2012)    
  * The Girl with the Dragon Tattoo – Trent Reznor & Atticus Ross (2013)   
  * Skyfall: Original Motion Picture Soundtrack – Thomas Newman (2014)   
  * The Grand Budapest Hotel – Alexandre Desplat (2015)    
  * Birdman – Antonio Sánchez (2016)    
  * Star Wars: The Force Awakens – John Williams (2017)    
  * La La Land – Justin Hurwitz (2018)    
  * Black Panther – Ludwig Göransson (2019)    
  * Chernobyl – Hildur Guðnadóttir (2020)    
  * Joker – Hildur Guðnadóttir (2021)    
 2021−present * The Queen's Gambit – Carlos Rafael Rivera / Soul – Jon Batiste, Trent Reznor & Atticus Ross (2022)   
  * Encanto – Germaine Franco (2023)    
      
 * v     
 * t     
 * e     
 Hollywood Music in Media Award for Best Original Score in a Sci-Fi/Fantasy Film    
 * Howard Shore (2014)     
 * Junkie XL (2015)     
 * John Debney (2016)     
 * Alexandre Desplat (2017)     
 * Ludwig Göransson (2018)     
 * Alan Silvestri (2019)     
 * Ludwig Göransson (2020)     
 * Hans Zimmer (2021)     
 * Danny Elfman (2022)     
      
 * v     
 * t     
 * e     
 Houston Film Critics Society Award for Best Original Score    
 * Dario Marianelli (2007)     
 * Terence Blanchard (2008)     
 * Michael Giacchino (2009)     
 * Hans Zimmer (2010)     
 * Ludovic Bource (2011)     
 * Reinhold Heil, Johnny Klimek and Tom Tykwer (2012)    
 * Steven Price (2013)     
 * Alexandre Desplat (2014)     
 * Ennio Morricone (2015)     
 * Justin Hurwitz (2016)     
 * Alexandre Desplat (2017)     
 * Nicholas Britell (2018)     
 * Thomas Newman (2019)     
 * Jon Batiste, Trent Reznor and Atticus Ross (2020)    
 * Jonny Greenwood / Hans Zimmer (2021)     
      
 * v     
 * t     
 * e     
 International Film Music Critics Association Award for Best Original Score for an Action/Adventure Film    
 * Jerry Goldsmith / James Horner (1998)     
 * Michael Giacchino (2004)     
 * James Newton Howard (2005)     
 * Hans Zimmer (2006)     
 * John Powell (2007)     
 * John Williams (2008)     
 * James Peterson (2009)     
 * Alexandre Desplat (2010)     
 * Cliff Martinez (2011)     
 * Thomas Newman (2012)     
 * Víctor Reyes (2013)     
 * Christopher Young (2014)     
 * Joe Kraemer (2015)     
 * Christopher Young (2016)     
 * Benjamin Wallfisch (2017)     
 * James Newton Howard (2018)     
 * Thomas Newman (2019)     
 * John Powell (2020)     
 * James Newton Howard (2021)     
      
 * v     
 * t     
 * e     
 International Film Music Critics Association Award for Best Original Score for a Comedy Film    
 * Randy Newman (1998)     
 * John Williams (2004)     
 * Julian Nott (2005)     
 * Hans Zimmer (2006)     
 * Alan Menken (2007)     
 * Carter Burwell (2008)     
 * Marvin Hamlisch (2009)     
 * Pinar Toprak (2010)     
 * Christopher Young (2011)     
 * Walter Murphy (2012)     
 * Theodore Shapiro (2013)     
 * Alexandre Desplat (2014)     
 * Douglas Pipes (2015)     
 * Justin Hurwitz (2016)     
 * Christopher Willis (2017)     
 * Marc Shaiman (2018)     
 * Michael Giacchino (2019)     
 * Christopher Willis (2020)     
 * Nicholas Britell (2021)     
      
 * v     
 * t     
 * e     
 International Film Music Critics Association Award for Film Score of the Year    
 * Jerry Goldsmith (1998)     
 * Jerry Goldsmith (1999)     
 * Michael Giacchino (2004)     
 * John Williams (2005)     
 * James Newton Howard (2006)     
 * Dario Marianelli (2007)     
 * Alexandre Desplat (2008)     
 * Michael Giacchino (2009)     
 * John Powell (2010)     
 * John Williams (2011)     
 * Mychael Danna (2012)     
 * Abel Korzeniowski (2013)     
 * Hans Zimmer (2014)     
 * John Williams (2015)     
 * Jóhann Jóhannsson (2016)     
 * Jonny Greenwood (2017)     
 * John Powell (2018)     
 * John Williams (2019)     
 * Christopher Willis (2020)     
 * Maurizio Malagnini (2021)     
      
  * v     
  * t     
  * e     
 Max Steiner Film Music Achievement Award     
  * John Barry (2009)     
  * Howard Shore (2010)     
  * Alan Silvestri (2011)     
  * Lalo Schifrin (2012)     
  * James Horner (2013)     
  * Randy Newman (2014)     
  * James Newton Howard (2015)     
  * Alexandre Desplat (2016)     
  * Danny Elfman (2017)     
  * Hans Zimmer (2018)     
  * Gabriel Yared (2019)     
  * Alan Menken (2022)     
      
  * v     
  * t     
  * e     
  Online Film Critics Society Award for Best Original Score    
  * Randy Newman (1998)     
  * Marc Shaiman (1999)     
  * Clint Mansell (2000)     
  * Angelo Badalamenti (2001)     
  * Elmer Bernstein (2002)     
  * Howard Shore (2003)     
  * Michael Giacchino (2004)     
  * Gustavo Santaolalla (2005)     
  * Clint Mansell (2006)     
  * Jonny Greenwood (2007)     
  * James Newton Howard and Hans Zimmer (2008)    
  * Michael Giacchino (2009)     
  * Nicholas Britell (2018)     
  * Michael Abels (2019)     
  * Trent Reznor and Atticus Ross (2020)    
  * Jonny Greenwood (2021)     
  * Carter Burwell (2022)     
      
  * v     
  * t     
  * e     
  Satellite Award for Best Original Score    
  * Gabriel Yared (1996)    
  1990s * James Horner (1997)    
  * Hans Zimmer (1998)    
  * Danny Elfman (1999)    
  * Hans Zimmer (2000)    
  * Craig Armstrong (2001)    
  * Elliot Goldenthal (2002)    
  * Hans Zimmer (2003)    
  2000s * John Swihart (2004)    
  * Harry Gregson-Williams (2005)    
  * Gustavo Santaolalla (2006)    
  * Alberto Iglesias (2007)    
  * A. R. Rahman (2008)    
  * Rolfe Kent (2009)    
  * Hans Zimmer (2010)    
  * Marco Beltrami (2011)    
  * Alexandre Desplat (2012)    
  * Steven Price (2013)    
  2010s * Antonio Sánchez (2014)    
  * Carter Burwell (2015)    
  * Justin Hurwitz (2016)    
  * Rupert Gregson-Williams (2017)    
  * Justin Hurwitz (2018)    
  * Hildur Guðnadóttir (2019)    
  2020s * Alexandre Desplat (2020)    
  * Hans Zimmer (2021)    
      
  * v     
  * t     
  * e     
  Saturn Award for Best Music     
    * Bernard Herrmann (1973)   
    * Miklós Rózsa (1974/75)   
  1970s   * David Raksin (1976)   
    * John Williams / John Williams (1977)  
    * John Williams (1978)   
    * Miklós Rózsa (1979)   
    * John Barry (1980)   
    * John Williams (1981)   
    * John Williams (1982)   
    * James Horner (1983)   
  1980s   * Jerry Goldsmith (1984)   
    * Bruce Broughton (1985)   
    * Alan Menken (1986)   
    * Alan Silvestri (1987)   
    * Christopher Young (1988)   
    * Alan Silvestri (1989/90)   
    * Loek Dikker (1991)   
    * Angelo Badalamenti (1992)   
    * Danny Elfman (1993)   
    * Howard Shore ( 1994 )   
  1990s   * John Ottman (1995)   
    * Danny Elfman (1996)   
    * Danny Elfman (1997)   
    * John Carpenter (1998)   
    * Danny Elfman (1999)   
    * James Horner (2000)   
    * John Williams (2001)   
    * Danny Elfman (2002)   
    * Howard Shore (2003)   
  2000s   * Alan Silvestri (2004)   
    * John Williams (2005)   
    * John Ottman (2006)   
    * Alan Menken (2007)   
    * James Newton Howard and Hans Zimmer (2008)  
    * James Horner (2009)   
    * Hans Zimmer (2010)   
    * Michael Giacchino (2011)   
    * Danny Elfman (2012)   
    * Frank Ilfman (2013)   
  2010s   * Hans Zimmer (2014)   
    * John Williams (2015)   
    * Justin Hurwitz (2016)   
    * Michael Giacchino (2017)   
    * Marc Shaiman (2018/2019)   
    * John Williams (2019/2020)   
  2020s   * Danny Elfman (2021/2022)   
  Note: The years are listed as per convention, usually the year of film release; the ceremonies are usually held the next year.   
      
  * v     
  * t     
  * e     
  Washington D.C. Area Film Critics Association Award for Best Original Score    
  * Hans Zimmer (2010)     
  * Ludovic Bource (2011)     
  * Jonny Greenwood (2012)     
  * Hans Zimmer (2013)     
  * Mica Levi (2014)     
  * Jóhann Jóhannsson (2015)     
  * Justin Hurwitz (2016)     
  * Hans Zimmer and Benjamin Wallfisch (2017)    
  * Nicholas Britell (2018)     
  * Michael Abels (2019)     
  * Trent Reznor, Atticus Ross and Jon Batiste (2020)    
  * Hans Zimmer (2021)     
  * Michael Giacchino (2022)     
      
 
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Hans Zimmer       Zimmer in 2018    Born  Hans Florian Zimmer 12 September 1957 (age 65)   Frankfurt, West Germany      Education     Ecole d'Humanité   Hurtwood House       Occupations    Composer music producer      Years active 1977–present   Notable work  Full list    Spouses      Vicki Carolin
 ​ ​ (m. 1982; div. 1992) ​     Suzanne Zimmer ​ (div. ) ​        Children 4   Awards  Full list     Musical career    Genres  Film scores    Labels  Remote Control Productions, Bleeding Fingers Music    
   Website  hanszimmer .com    
 Hans Florian Zimmer (German pronunciation:  [ˈhans ˈfloːʁi̯aːn ˈtsɪmɐ] (  listen); born 12 September 1957) is a German film score composer and music producer. He has won two Oscars and four Grammys, and has been nominated for two Emmys and a Tony. Zimmer was also named on the list of Top 100 Living Geniuses, published by  The Daily Telegraph . [1] 
 His works are notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980s, Zimmer has composed music for over 150 films. He has won two Academy Awards for Best Original Score for  The Lion King  (1994), and  Dune  (2021). His works include  Gladiator ,  The Last Samurai , the  Pirates of the Caribbean  series,  The Dark Knight trilogy,  Inception ,  Interstellar  and  Dunkirk .
 Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks Pictures and DreamWorks Animation studios and works with other composers through the company that he founded, Remote Control Productions, [2]  formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly. [3] 
Early life[edit]
Zimmer was born on 12 September 1957 in Frankfurt, West Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only briefly, as he disliked the discipline of formal lessons. [4]  In one of his Reddit AMAs, he said: "My formal training was two weeks of piano lessons. I was thrown out of eight schools. But I joined a band. I am self-taught. But I've always heard music in my head. And I'm a child of the 20th century; computers came in very handy." [5]  Zimmer attended the Ecole D'Humanité, an international boarding school in Canton Bern, Switzerland. [6]  He moved to London as a teenager, where he attended Hurtwood House school. [7]  During his childhood, he was strongly influenced by the film scores of Ennio Morricone and has cited  Once Upon a Time in the West  as the score that inspired him to become a film composer. [8] 
 In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, and talked about his mother surviving World War II thanks to her escape from Germany to England in 1939. In an interview in May 2014, Zimmer revealed that it was difficult growing up in post-War Germany being Jewish and said, "I think my parents were always wary of me telling the neighbors" that they were Jewish. [9]  In an interview with Mashable in February 2013, he said of his parents: "My mother was very musical, basically a musician and my father was an engineer and an inventor. So I grew up modifying the piano, shall we say, which made my mother gasp in horror, and my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology." [10]  In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend." [11] 
Career[edit]
1977–1988[edit]
Zimmer began his career playing keyboards and synthesizers in the 1970s, with the band Krakatoa. [12]  He worked with the Buggles, a new wave band formed in London in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in the Buggles' music video for the 1979 song "Video Killed the Radio Star". [13]  After working with the Buggles, he started to work for the Italian group Krisma, a new wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma's third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox). [14]  Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the  Mecano: En Concierto  album released in 1985 only in Spain. In 1985, he contributed to the Shriekback album  Oil &amp; Gold . [15]  In 1980, Zimmer co-produced a single, "History of the World, Part 1," with, and for, UK punk band The Damned, which was also included on their 1980 LP release,  The Black Album , and carried the description of his efforts as "Over-Produced by Hans Zimmer."
 While living in London, Zimmer wrote advertising jingles for Air-Edel Associates. [14]  In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments. [16]  Some of the films on which Zimmer and Myers worked are  Moonlighting  (1982),  Success Is the Best Revenge  (1984),  Insignificance  (1985), and  My Beautiful Laundrette  (1985). Zimmer's first solo score was  Terminal Exposure  for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film  The Last Emperor , which won the Academy Award for Best Original Score. [14] 
 One of Zimmer's most durable works from his time in the United Kingdom was the theme song for the television game show  Going for Gold , which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going for Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time." [17] 
1988–2000[edit]
A turning point in Zimmer's career occurred with the 1988 film  Rain Man . [16]  Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-apartheid drama  A World Apart , for which Zimmer had composed the music. Levinson was impressed by Zimmer's work and hired him to score Rain Man. [18]  In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?" [19]  Zimmer's score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture. [20] 
 A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's  Driving Miss Daisy  which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy's instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with  Sound on Sound  magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano." [21] 
"I listen to [Zimmer's] music and I don't even have to shut my eyes. I can see the pictures. And that's why, in many respects, I know I can talk pictures with Hans. He responds to pictures."
 —Ridley Scott, director and producer and frequent collaborator with Zimmer. [22]  
The soundtrack to Ridley Scott's 1991 film  Thelma &amp; Louise  by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes  K2  and  Drop Zone . [23] 
Zimmer wrote the theme for Tony Scott's 1993 film  True Romance , which he based on Carl Orff's  Gassenhauer . Gassenhauer had previously been used in the 1973 film  Badlands , which had a similar story of a young man and a girl on the run following a violent crime. [24]  The catchy theme, played on nine marimbas, contrasts starkly with the violence of the film. [25] 
 For the 1992 film  The Power of One , Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Walt Disney Feature Animation approached Zimmer to compose the score for the 1994 film  The Lion King . This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M. [26]  Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998. [27]   [28] 
As of April 2012, the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million. [29] 
 Zimmer's score for Tony Scott's 1995 film  Crimson Tide  won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For  The Thin Red Line  (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music. [19]  Zimmer's next project was  The Prince of Egypt  (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her. [19] 
 Zimmer's score for the 1998 film  The Thin Red Line  is regarded as one of his most important works. The nine-minute cue at the climax of the film, "The Journey to the Line", uses a recurring theme based on four chords, combined with a "ticking clock" motif that has been featured in a range of subsequent scores composed by Zimmer. [30]  The piece has been used in numerous trailers and video games, and has earned the nickname "the forbidden cue" due to the tendency of film makers to use it as a temp track for dramatic scenes. [31] 
2000–2012[edit]
     
In the 2000s, Zimmer composed scores for Hollywood blockbuster films including three Ridley Scott films,  Gladiator  (2000),  Black Hawk Down  and  Hannibal  (2001), followed by  The Last Samurai  (2003),  Madagascar  (2005),  The Da Vinci Code  (2006),  The Simpsons Movie  (2007),  Kung Fu Panda  (2008), which he co-composed with John Powell,  Angels &amp; Demons  (2009), and  Sherlock Holmes  (2009). Other work in the 2000s included the Spanish language film Casi Divas, [32]  and  The Burning Plain  (2009). He composed the theme for the television boxing series  The Contender  and worked with Lorne Balfe on the music for  Call of Duty: Modern Warfare 2 , which was his first video game project. [33]  Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game  Crysis 2 . [34] 
 In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent. [35]  While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music. [19] 
 During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on  Crimson Tide ,  Days of Thunder ,  The Rock, and  Pearl Harbor . Bruckheimer had finished shooting  Pirates of the Caribbean: The Curse of the Black Pearl  but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score. [36]  Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen. [37]   [38]  Zimmer was hired as the composer for the three subsequent films in the series,  Pirates of the Caribbean: Dead Man's Chest  (2006),  Pirates of the Caribbean: At World's End  (2007), and  Pirates of the Caribbean: On Stranger Tides  (2011), collaborating with Rodrigo y Gabriela for the last. [39] 
 Zimmer is also noted for his work on the scores of Christopher Nolan's  Batman Begins  (2005) and  The Dark Knight  (2008), which he co-composed with James Newton Howard. [17]  For the soundtrack of The Dark Knight, Zimmer decided to represent the character of The Joker by a single note played on the cello by his long-time colleague Martin Tillman. Zimmer commented "I wanted to write something people would truly hate." [40]  The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet. [41]  Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative and that it was important to credit a range of people who had played a part in its production. [42]  Zimmer explained his approach to scoring with other musicians in an interview with  Soundtrack.net  in 2006:
 Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles – not having "you are the composer, you are the arranger, you are the orchestrator" – it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits. [43]   
For the 2009 film  Sherlock Holmes ,   Daily Variety  reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness". [44]  For the 2011 sequel,  Sherlock Holmes: A Game of Shadows , Zimmer and director Guy Ritchie incorporated authentic Romani music, which they researched by visiting Slovakia, Italy, and France. The music in the film is played by Romani virtuoso musicians. [45]   [46] 
 For the 2010 film  Inception , Zimmer used electronic manipulation of the song "Non, je ne regrette rien". The horn sound in the score, described by Zimmer as "like huge foghorns over a city" became a popular feature in film trailers. "It's funny how that sort of thing becomes part of the zeitgeist," he said. "But I suppose that's exactly what trailers are looking for: something iconic, lasts less than a second, and shakes the seats in the theater." [47]   [48] 
 In 2012, Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes. [49]  He also composed a new version of the theme music for  ABC World News . [50]  Zimmer also composed the score for  The Dark Knight Rises , the final installment of Christopher Nolan's  The Dark Knight Trilogy. The film was released in July 2012. [51]  Zimmer described himself as "devastated" in the aftermath of the 2012 Aurora, Colorado shooting, which occurred at a screening of The Dark Knight Rises, commenting, "I just feel so incredibly sad for these people." He recorded a track entitled "Aurora", a choral arrangement of a theme from the  Dark Knight Rises soundtrack, to raise money for the victims of the shooting. [52] 
2012–present[edit]
Zimmer co-composed the music for the television series  The Bible , which was broadcast in March 2013, with Lorne Balfe and Lisa Gerrard, and the score for  12 Years a Slave , which won the Academy Award for Best Picture in March 2014. Zimmer composed the Tomorrowland Hymn for the Tomorrowland festival to celebrate its tenth anniversary in July 2014. [53] 
 Zimmer composed the music for the 2014 film  The Amazing Spider-Man 2  alongside "The Magnificent Six", which consisted of Pharrell Williams, Johnny Marr, Michael Einziger, Junkie XL, Andrew Kawczynski, and Steve Mazzaro. [54]   [55] 
Zimmer also composed the music for Christopher Nolan's 2014 film  Interstellar , which earned him another Academy Award nomination for Best Original Score. [56]  He partnered with Junkie XL to compose the music for the 2016 film  Batman v Superman: Dawn of Justice . In an interview with BBC News in March 2016, Zimmer said that he was retiring from composing the music for superhero films, saying of Batman v Superman: "This one was very hard for me to do, to try to find new language". [57] 
 Zimmer composed the main theme for the 2016 BBC nature documentary  Planet Earth II , presented by David Attenborough. He later composed the score for the 2017 BBC nature documentary  Blue Planet II  alongside Jacob Shea and David Fleming, also presented by David Attenborough. [58]   [59]  In an interview with Kirsty Wark on BBC Radio, Zimmer said in October 2022: "I think the only work that I've done that's worth anything is working for Sir David Attenborough on those programmes, because it's the only thing that actually means something to this world and ultimately might have an impact on how we approach this world." [60] 
 Zimmer composed the main theme for the 2016 Netflix production  The Crown . [61]  Also in 2016 Zimmer released an online course teaching the basics of film scoring. [62]  He next composed the score for Christopher Nolan's 2017 film  Dunkirk , basing part of the score on a recording of a ticking watch that he had been given by Nolan. [63]  Zimmer also worked on the score for Denis Villeneuve's  Blade Runner 2049 . Hans Zimmer and co-composer Benjamin Wallfisch took over scoring duties after Jóhann Jóhannsson left the project. [64] 
 In 2018, Zimmer composed the score for the new FIFA Anthem, called "Living Football" in reference to the new motto of FIFA, [65]  "Living Football" was also used as television intro theme for the 2018 FIFA World Cup in Russia. [66]  Also in 2018, Zimmer remixed the UEFA Champions League Anthem with rapper Vince Staples for EA Sports'  FIFA  video game  FIFA 19 , with it also featuring in the game's reveal trailer. [67]  Zimmer composed the score for  Dark Phoenix , directed by Simon Kinberg, contrary to his 2016 statements of not scoring another superhero film following his experience working on Batman v Superman: Dawn of Justice. [68]  Also for 2019, he scored the photorealistic computer-animated remake of Disney's  The Lion King , directed by Jon Favreau. [69] 
 On 22 August 2018, Zimmer was also announced as the composer for  Wonder Woman 1984 . [70]  On 18 March 2019, it was announced that Zimmer would be scoring Denis Villeneuve's  Dune . [71]  In June 2019, Zimmer was hired to create sounds for BMW's concept vehicle, the Vision M Next. [72] 
 In 2020, Zimmer composed the score for  Hillbilly Elegy . [73]  
 On 6 January 2020, it was announced that he would be taking over as composer for the  James Bond  film  No Time to Die  after previous composer Dan Romer left the project. [74]  Speaking on scoring for No Time To Die, Zimmer told  The Hindu , "Having done the three Batman movies — which are three movies to you but are 12 years of my life to me — I really understand where Daniel [Craig] was with this; he dedicated 16 years of his life to Bond... I wanted to not only do a good score but dig a little deeper and honour the man, the work and all the people who've been working on this for so long." [75]  
 On 26 February 2020, Major League Soccer released an anthem for its 25th season, which was composed by Zimmer. [76] 
 Zimmer also composed the score for the film  Dune , which earned him his second Academy Award for Best Original Score. [77]  He is also set to compose the score for the sequel. In 2022 he collaborated with Camila Cabello on the song "Take Me Back Home" for the documentary series  Frozen Planet II . [78] 
 Zimmer has also produced and composed sounds for BMW's electric car line. These sounds are both for those on the interior and on the exterior, and could help warn pedestrians that an electric car is approaching. [79]   [80] 
Personal life[edit]
Zimmer's first wife was model Vicki Carolin, with whom he has a daughter. [81]  The couple divorced in 1992. [82]  On 3 April 2020, Zimmer filed for divorce from his second wife, Suzanne Zimmer, with whom he has three children. [82] 
Awards and honors[edit]
      Zimmer's Star on the "Boulevard der Stars" in Berlin   
Zimmer has received a range of honors and awards, including the Max Steiner Film Music Achievement Award at Hollywood in Vienna in 2018, [83]  the Career Achievement Award "for excellence in film music composition" from the National Board of Review in 2003, [84]  the Frederick Loewe Award for Film Composing at the Palm Springs International Film Festival in 2003, [85]  the ASCAP Henry Mancini Award in 2003, [85]  and the Richard Kirk Career Achievement Award from the BMI Film Music Awards in 1996.
 In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long-term friend Ronni Chasen, who had been shot and killed in Beverly Hills the previous month. [86] 
 In 2016, Zimmer was one of the inaugural winners of the Stephen Hawking Medal for Science Communication. [87] 
 In November 2017, a main-belt asteroid—(495253) 2013 OC8 —discovered by Polish astronomers Michał Kusiak and Michał Żołnowski, was named "Hanszimmer". [88] 
 As of 2022, Zimmer has received twelve Academy Award nominations for his work, with two wins; the first being at the 67th Academy Awards for the 1994 film  The Lion King  and the second being for the 2021 film  Dune  at the 94th Academy Awards. [89] 
 On 2 October 2018, Zimmer received the Order of Merit of the Federal Republic of Germany. [90] 
 In 2019, Zimmer was inducted as a Disney Legend. [91] 
Discography[edit]
References[edit]
 
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  ^   "'Culture Connects': 29 artists receive German order of merit". Deutsche Welle. 2 October 2018. Archived from the original on 1 August 2020. Retrieved 26 April 2020.
  ^  Bui, Hoai-Tran (16 May 2019). "New Disney Legends Include Robert Downey Jr., Ming-Na Wen, Hans Zimmer".  /Film . Archived from the original on 1 August 2020. Retrieved 26 April 2020.
  ^   "2022 EE British Academy Film Awards: The Winners". BAFTA. 11 January 2022. Retrieved 27 April 2022.
^    a       b       c     "Hans Zimmer | Golden Globes". Golden Globe Awards. Retrieved 27 April 2022.
^    a       b       c       d    D'Alessandro, Anthony (24 May 2021). "CAA Signs Oscar-Winning Composer Hans Zimmer".  Deadline Hollywood . Retrieved 27 April 2022.
  ^  Kilday, Gregg (19 December 2010). "'Social Network' Named Best Dramatic Film at Satellite Awards".  The Hollywood Reporter . Retrieved 27 April 2022.
  ^  Van Blaricom, Mirjana (2 April 2022). "2021 WINNERS: The International Press Academy Announces Winners for the 26th Annual Satellite™ Awards". International Press Academy. Retrieved 27 April 2022.
  ^  Variety Staff (24 June 2009). "'Dark Knight' wins big at Saturns".  Variety . Retrieved 27 April 2022.
  ^  Chitwood, Adam (24 June 2011). "INCEPTION Wins Big at the 2011 Saturn Awards". Collider. Retrieved 27 April 2022.
  ^  Cohen, David S. (26 June 2015). "'Guardians of the Galaxy,' 'The Walking Dead,' 'Interstellar' Shine at Saturn Awards".  Variety . Retrieved 27 April 2022.
^    a       b     "Hans Zimmer triumphs at Classic Brits". BBC News. 3 October 2013. Retrieved 27 April 2022.
  ^  Armstrong, Mark (19 December 2000). "Broadcast Critics Eat Crowe".  E! Online . Retrieved 27 April 2022.
  ^   "The Power of the Dog and Ted Lasso lead winners at the 27th Annual Critics Choice Awards". Critics Choice Association. 12 March 2022. Retrieved 27 April 2022.
  ^  Whale, Chase (15 December 2014). "DFWFCA names "Birdman" as top film of 2014". Dallas–Fort Worth Film Critics Association. Retrieved 27 April 2022.
  ^  Jorgenson, Todd (20 December 2021). "DFW Film Critics Name "Power of the Dog" Best Film of 2021". Dallas–Fort Worth Film Critics Association. Retrieved 27 April 2022.
  ^   "2017 FFCC Award Winners". Florida Film Critics Circle. 23 December 2017. Retrieved 27 April 2022.
  ^  Hazlett, Allison (22 December 2021). "2021 FFCC Award Winners". Florida Film Critics Circle. Retrieved 27 April 2022.
  ^  Leydon, Joe (18 December 2010). "'Social Network' lauded by Houston crix".  Variety . Retrieved 27 April 2022.
  ^  Darling, Cary (3 January 2022). "'The Power of the Dog' takes a bite out of Houston Film Critics Society's nominations".  Houston Chronicle . Retrieved 27 April 2022.
  ^  Gordon, Tim (6 December 2010). "The 2010 WAFCA Award Winners". Washington D.C. Area Film Critics Association. Retrieved 27 April 2022.
  ^  Gordon, Tim (9 December 2012). "The 2013 WAFCA Awards". Washington D.C. Area Film Critics Association. Retrieved 27 April 2022.
  ^  Gordon, Tim (8 December 2017). "The 2017 WAFCA Awards". Washington D.C. Area Film Critics Association. Retrieved 27 April 2022.
  ^  Gordon, Tim (6 December 2021). "The 2021 WAFCA Awards". Washington D.C. Area Film Critics Association. Retrieved 27 April 2022.
 
External links[edit]
  Official website 
 Hans Zimmer at IMDb 
 Interview with Hans Zimmer in Film Score Monthly  
 Interview with Hans Zimmer about Sherlock Holmes from C Music TV  Archived 20 February 2012 at the Wayback Machine 
 Focus.De 
 Interviews with Hans Zimmer
Hans Zimmer - Wikipedia
https://en.wikipedia.org/wiki/Hans_Zimmer
https://en.wikipedia.org/wiki/Film_score
Film score - Wikipedia
2003-01-31
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<div><div>
<div><p><a href="/wiki/File:Javier_Bayon_7.jpg"></a></p><div><p>A film score being recorded by the composer (conducting at the podium, with his back to the camera) and a small ensemble. The film is playing on the screen to act as a reference.</p></div></div>
<p>A <b>film score</b> is original music written specifically to accompany a <a href="/wiki/Film">film</a>. The score comprises a number of orchestral, instrumental, or choral pieces called <a href="/wiki/Cue_(theatrical)">cues</a>, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.<sup><a href="#cite_note-1">[1]</a></sup> Scores are written by one or more <a href="/wiki/Composer">composers</a> under the guidance of or in collaboration with the film's <a href="/wiki/Film_director">director</a> or <a href="/wiki/Film_producer">producer</a> and are then most often performed by an ensemble of musicians – usually including an <a href="/wiki/Orchestra">orchestra</a> (most likely a <a href="/wiki/Orchestra#symphony_orchestra">symphony orchestra</a>) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a <a href="/wiki/Sound_engineer">sound engineer</a>. The term is less frequently applied to music written for other media such as <a href="/wiki/Play_(theatre)">live theatre</a>, <a href="/wiki/Television">television</a> and <a href="/wiki/Radio">radio</a> programs, and <a href="/wiki/Video_game">video games</a>, and said music is typically referred to as either the <a href="/wiki/Soundtrack">soundtrack</a> or <a href="/wiki/Incidental_music">incidental music</a>.
</p><p>Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in <a href="/wiki/Western_classical_music">Western classical music</a>, many scores are also influenced by <a href="/wiki/Jazz">jazz</a>, <a href="/wiki/Rock_music">rock</a>, <a href="/wiki/Pop_music">pop</a>, <a href="/wiki/Blues_music">blues</a>, <a href="/wiki/New-age_music">new-age</a> and <a href="/wiki/Ambient_music">ambient music</a>, and a wide range of ethnic and <a href="/wiki/World_music">world music</a> styles. Since the 1950s, a growing number of scores have also included <a href="/wiki/Electronica">electronic elements</a> as part of the score, and many scores written today feature a hybrid of <a href="/wiki/Orchestra">orchestral</a> and electronic instruments.<sup><a href="#cite_note-2">[2]</a></sup>
</p><p>Since the invention of <a href="/wiki/Digital_data">digital technology</a> and <a href="/wiki/Sampling_(music)">audio sampling</a>, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using <a href="/wiki/Scorewriter">music composition software</a>, synthesizers, samplers, and <a href="/wiki/MIDI_controllers">MIDI controllers</a>.
</p><p><a href="/wiki/Songs">Songs</a> such as pop songs and rock songs are usually not considered part of the film's score,<sup><a href="#cite_note-3">[3]</a></sup> although songs do also form part of the film's soundtrack.<sup><a href="#cite_note-4">[4]</a></sup> Although some songs, especially in <a href="/wiki/Musical_film">musicals</a>, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, <a href="/wiki/Pop_music">pop</a> songs that are dropped into a specific scene in a film for emphasis or as <a href="/wiki/Diegetic_music">diegetic music</a> (e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as <a href="/wiki/James_Horner">James Horner</a>'s "<a href="/wiki/My_Heart_Will_Go_On">My Heart Will Go On</a>" from <i><a href="/wiki/Titanic_(1997_film)">Titanic</a></i>, written for <a href="/wiki/Celine_Dion">Celine Dion</a>.
</p>
<h2>Terminology[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>A film score may also be called a <b>background score</b>, <b>background music</b>, <b>film soundtrack</b>, <b>film music</b>, <b>screen composition</b>, <b>screen music</b>, or <b><a href="/wiki/Incidental_music">incidental music</a></b>.<sup><a href="#cite_note-5">[5]</a></sup>
</p>
<h2>Process of creation[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=2">edit</a>]</h2>
<h3>Spotting[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=3">edit</a>]</h3>
<p>The composer usually enters the creative process towards the end of filming at around the same time as the film is being <a href="/wiki/Film_editing">edited</a>, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original <a href="/wiki/Diegetic">diegetic</a> music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting".<sup><a href="#cite_note-6">[6]</a></sup>
</p><p>Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director <a href="/wiki/Godfrey_Reggio">Godfrey Reggio</a> edited his films <i><a href="/wiki/Koyaanisqatsi">Koyaanisqatsi</a></i> and <i><a href="/wiki/Powaqqatsi">Powaqqatsi</a></i> based on composer <a href="/wiki/Philip_Glass">Philip Glass</a>'s music.<sup><a href="#cite_note-7">[7]</a></sup> Similarly, the relationship between director <a href="/wiki/Sergio_Leone">Sergio Leone</a> and composer <a href="/wiki/Ennio_Morricone">Ennio Morricone</a> was such that the finale of <i><a href="/wiki/The_Good,_the_Bad_and_the_Ugly">The Good, the Bad and the Ugly</a></i> and the films <i><a href="/wiki/Once_Upon_a_Time_in_the_West">Once Upon a Time in the West</a></i> and <i><a href="/wiki/Once_Upon_a_Time_in_America">Once Upon a Time in America</a></i> were edited to Morricone's score as the composer had prepared it months before the film's production ended.<sup><a href="#cite_note-8">[8]</a></sup>
</p><p>In another example, the finale of <a href="/wiki/Steven_Spielberg">Steven Spielberg</a>'s <i><a href="/wiki/E.T._the_Extra-Terrestrial">E.T. the Extra-Terrestrial</a></i> was edited to match the music of his long-time collaborator <a href="/wiki/John_Williams">John Williams</a>: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music.
</p><p>In some circumstances, a composer will be asked to write music based on their impressions of the <a href="/wiki/Script_(recorded_media)">script</a> or <a href="/wiki/Storyboards">storyboards</a> without seeing the film itself and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer <a href="/wiki/Hans_Zimmer">Hans Zimmer</a> was asked to write music in this way in 2010 for director <a href="/wiki/Christopher_Nolan">Christopher Nolan</a>'s film <i><a href="/wiki/Inception">Inception</a></i>;<sup><a href="#cite_note-9">[9]</a></sup> composer <a href="/wiki/Gustavo_Santaolalla">Gustavo Santaolalla</a> did the same thing when he wrote his Oscar-winning score for <i><a href="/wiki/Brokeback_Mountain">Brokeback Mountain</a></i>.<sup><a href="#cite_note-10">[10]</a></sup>
</p>
<h3>Syncing[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=4">edit</a>]</h3>
<p>When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using <a href="/wiki/SMPTE_timecode">SMPTE timecode</a> for syncing purposes.<sup><a href="#cite_note-11">[11]</a></sup>
</p><p>When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either (<b>a</b>) a stopwatch or studio size stop clock, or (<b>b</b>) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score.
</p>
<h4>Written click track[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=5">edit</a>]</h4>
<p>A written click track is a method of writing bars of music in consistent time values (i.e. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if they planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced click playing in his ear to which he conducts. This can yield stiff and lifeless performances in slower more expressive cues. One can convert a standard BPM value to a written click where X represents the number of beats per bar, and W represents time in seconds, by using the following equation:
</p><div><p></p></div>
<p>Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:
</p><div><p></p></div>
<p><i>2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.</i>
</p><p>Once the composer has identified the location in the film they wish to sync with musically, they must determine the musical beat this event occurs on. To find this, they use the following equation, where bpm is beats per minute, <i>sp</i> is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).
</p><div><p></p></div>
<h3>Writing[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=6">edit</a>]</h3>
<p>Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a <a href="/wiki/Staff_(music)">staff</a> and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated <a href="/wiki/Scorewriter">music composition software</a> such as <a href="/wiki/Digital_Performer">Digital Performer</a>, <a href="/wiki/Logic_Pro">Logic Pro</a>, <a href="/wiki/Finale_(software)">Finale</a>, <a href="/wiki/Cubase">Cubase</a>, or <a href="/wiki/Pro_Tools">Pro Tools</a>.<sup><a href="#cite_note-12">[12]</a></sup> Working with software allows composers to create MIDI-based demos of cues, called <a href="/wiki/MIDI_mockup">MIDI mockups</a>, for review by the filmmaker prior to the final orchestral recording.
</p><p>The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.
</p><p>The actual musical content of a film score is wholly dependent on the type of film being scored and the emotions the director wishes the music to convey. A film score can encompass literally thousands of different combinations of instruments, ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos, along with a multitude of ethnic and world music influences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project and can be influenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. As part of their preparations for writing the score the composer will often research different musical techniques and genres as appropriate for that specific project; as such, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles.
</p>
<h3>Orchestration[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>Once the music has been written, it must then be <a href="/wiki/Orchestration#Film_orchestration">arranged or orchestrated</a> in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the <a href="/w/index.php?title=Single-line_(music)&amp;action=edit&amp;redlink=1">single-line music</a> written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.
</p>
<p>Some composers like <a href="/wiki/Ennio_Morricone">Ennio Morricone</a> orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed.
</p><p>Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other.
</p><p>Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more <a href="/wiki/Copyist#Music_copyists">music copyists</a> and is ready for performance.
</p>
<h3>Recording[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>When the music has been composed and <a href="/wiki/Orchestration">orchestrated</a>, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the <a href="/wiki/Soundtrack_album">soundtrack album</a>). However, some films have recently begun crediting the contracted musicians on the albums under the name <a href="/wiki/Hollywood_Studio_Symphony">Hollywood Studio Symphony</a> after an agreement with the <a href="/wiki/American_Federation_of_Musicians">American Federation of Musicians</a>. Other performing ensembles that are often employed include the <a href="/wiki/London_Symphony_Orchestra">London Symphony Orchestra</a> (performing film music since 1935)<sup><a href="#cite_note-13">[13]</a></sup> the <a href="/wiki/City_of_Prague_Philharmonic_Orchestra">City of Prague Philharmonic Orchestra</a> (an orchestra dedicated mostly to recording), the <a href="/wiki/BBC_Philharmonic">BBC Philharmonic</a>, and the <a href="/wiki/Northwest_Sinfonia">Northwest Sinfonia</a>.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
</p><p>The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with <a href="/wiki/Meter_(music)">meter</a> and tempo, assisting to synchronize the music with the film.<sup><a href="#cite_note-14">[14]</a></sup>
</p><p>More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.
</p>
<h2>Elements of a film score[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=9">edit</a>]</h2>
<p>Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.
</p>
<h3>Temp tracks[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=10">edit</a>]</h3>
<p>In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track.<sup><a href="#cite_note-15">[15]</a></sup> On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is <a href="/wiki/Stanley_Kubrick">Stanley Kubrick</a>'s <i><a href="/wiki/2001:_A_Space_Odyssey_(film)">2001: A Space Odyssey</a></i>, where Kubrick opted for existing recordings of classical works, including pieces by composer <a href="/wiki/Gy%C3%B6rgy_Ligeti">György Ligeti</a> rather than the score by <a href="/wiki/Alex_North">Alex North</a>,<sup><a href="#cite_note-16">[16]</a></sup> although Kubrick had also hired <a href="/wiki/Frank_Cordell">Frank Cordell</a> to do a score. Other examples include <i><a href="/wiki/Torn_Curtain">Torn Curtain</a></i> (Bernard Herrmann),<sup><a href="#cite_note-17">[17]</a></sup> <i><a href="/wiki/Troy_(film)">Troy</a></i> (Gabriel Yared),<sup><a href="#cite_note-18">[18]</a></sup> <i><a href="/wiki/Pirates_of_the_Caribbean:_The_Curse_of_the_Black_Pearl">Pirates of the Caribbean: The Curse of the Black Pearl</a></i> (Alan Silvestri),<sup><a href="#cite_note-19">[19]</a></sup> Peter Jackson's <i><a href="/wiki/King_Kong_(2005_film)">King Kong</a></i> (Howard Shore),<sup><a href="#cite_note-20">[20]</a></sup> and <i><a href="/wiki/The_Bourne_Identity_(2002_film)">The Bourne Identity</a></i> (Carter Burwell).<sup><a href="#cite_note-21">[21]</a></sup>
</p>
<h3>Structure[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=11">edit</a>]</h3>
<p>Films often have different themes for important characters, events, ideas or objects, an idea often associated with <a href="/wiki/Richard_Wagner">Wagner</a>'s use of <a href="/wiki/Leitmotif">leitmotif</a>.<sup><a href="#cite_note-22">[22]</a></sup> These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.
</p><p>This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is <a href="/wiki/John_Williams">John Williams</a>' score for the <i>Star Wars</i> saga, and the numerous themes in <a href="/wiki/Star_Wars_music"><i>Star Wars</i> music</a> associated with individual characters such as <a href="/wiki/Darth_Vader">Darth Vader</a>, <a href="/wiki/Luke_Skywalker">Luke Skywalker</a>, and <a href="/wiki/Princess_Leia">Princess Leia</a>.<sup><a href="#cite_note-23">[23]</a></sup> Similarly, the <a href="/wiki/Music_of_The_Lord_of_the_Rings_film_series">music of the <i>Lord of the Rings</i> film series</a> featured recurring themes for many main characters and places. Another notable example is <a href="/wiki/Jerry_Goldsmith">Jerry Goldsmith</a>'s <a href="/wiki/Klingon">Klingon</a> theme from <i><a href="/wiki/Star_Trek:_The_Motion_Picture">Star Trek: The Motion Picture</a></i> (1979), which later composers in the <a href="/wiki/Star_Trek_(film_series)"><i>Star Trek</i> film series</a> quoted in their Klingon motifs, and which was included on numerous occasions as a theme for <a href="/wiki/Worf">Worf</a>, the franchise's most prominent Klingon character.<sup><a href="#cite_note-24">[24]</a></sup> <a href="/wiki/Michael_Giacchino">Michael Giacchino</a> employed character themes in the soundtrack for the 2009 animated film <i><a href="/wiki/Up_(2009_film)">Up</a></i>, for which he received the Academy Award for Best Score. His orchestral soundtrack for the <a href="/wiki/Television_series">television series</a> <i><a href="/wiki/Lost_(TV_series)">Lost</a></i> also depended heavily on character and situation-specific themes.
</p>
<h3>Source music[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=12">edit</a>]</h3>
<p>"<a href="/wiki/Source_music">Source music</a>" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic <a href="/wiki/Film_theory">film theory</a> such music is called "<a href="/wiki/Diegesis">diegetic</a>" music, as it emanates from the "<a href="/wiki/Diegesis">diegesis</a>" or "story world"). An example of "source music" is the use of the <a href="/wiki/Frankie_Valli">Frankie Valli</a> song "Can't Take My Eyes Off You" in <a href="/wiki/Michael_Cimino">Michael Cimino</a>'s <i><a href="/wiki/The_Deer_Hunter">The Deer Hunter</a></i>. <a href="/wiki/Alfred_Hitchcock">Alfred Hitchcock</a>'s 1963 thriller <i><a href="/wiki/The_Birds_(film)">The Birds</a></i> is an example of a Hollywood film with no <a href="/wiki/Diegesis#In_film">non-diegetic</a> music whatsoever. <a href="/wiki/Dogme_95">Dogme 95</a> is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.
</p>
<h2>Artistic merit[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=13">edit</a>]</h2>
<h3>Music criticism[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=14">edit</a>]</h3>
<p>The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by <a href="/wiki/Erich_Wolfgang_Korngold">Erich Wolfgang Korngold</a>, <a href="/wiki/Aaron_Copland">Aaron Copland</a>, <a href="/wiki/Bernard_Herrmann">Bernard Herrmann</a>, and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of <a href="/wiki/European_classical_music">classical music</a>. These are mostly works from already noted composers who have done scores; for instance, <a href="/wiki/Sergei_Prokofiev">Sergei Prokofiev</a>'s score to <i><a href="/wiki/Alexander_Nevsky_(film)">Alexander Nevsky</a></i>, or <a href="/wiki/Ralph_Vaughan_Williams">Vaughan Williams</a>' score to <i><a href="/wiki/Scott_of_the_Antarctic_(1948_film)">Scott of the Antarctic</a></i>. Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as <a href="/wiki/John_Williams">John Williams</a> are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer <a href="/wiki/Marcus_Paus">Marcus Paus</a> has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian [sic] utopia that children of the future would be whistling 12-tone rows."<sup><a href="#cite_note-Green-25">[25]</a></sup> Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform <a href="/wiki/Film_music_concert">concerts of such music</a>, as do <a href="/wiki/Pops_orchestra">pops orchestras</a>.
</p>
<h3>Preservation efforts[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=15">edit</a>]</h3>
<p>In 1983, a non-profit organization, the <a href="/wiki/The_Film_Music_Society">Society for the Preservation of Film Music</a>, was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by <a href="/wiki/Movie_studio">movie studios</a>.<sup><a href="#cite_note-26">[26]</a></sup> The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.
</p>
<h2>History[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=16">edit</a>]</h2>
<p>The origins of film music are disputed. According to <a href="/w/index.php?title=Kurt_London&amp;action=edit&amp;redlink=1">Kurt London</a>, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable."<sup><a href="#cite_note-27">[27]</a></sup> On the contrary, film historian James Wierzbicki asserts that early film showings (such as the <a href="/wiki/Auguste_and_Louis_Lumi%C3%A8re">Lumier brothers</a>’ first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into <a href="/wiki/Vaudeville">vaudeville</a> theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as such live musical accompaniment to films grew out naturally.<sup><a href="#cite_note-28">[28]</a></sup>
</p><p>Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given <a href="/wiki/Sheet_music">cue sheets</a> as a guide. A pianist was present to perform at the <a href="/wiki/Auguste_and_Louis_Lumi%C3%A8re">Lumiere brothers'</a> first film screening in 1895.<sup><a href="#cite_note-29">[29]</a></sup> In 1914, <a href="/wiki/The_Oz_Film_Manufacturing_Company">The Oz Film Manufacturing Company</a> sent full-length scores by <a href="/wiki/Louis_F._Gottschalk">Louis F. Gottschalk</a> for their films.<sup><a href="#cite_note-30">[30]</a></sup> Other examples of this include <a href="/wiki/Victor_Herbert">Victor Herbert</a>'s score in 1915 to <i><a href="/wiki/The_Fall_of_a_Nation">The Fall of a Nation</a></i> (a sequel to <i><a href="/wiki/The_Birth_of_a_Nation">The Birth of a Nation</a></i>) and <a href="/wiki/Camille_Saint-Sa%C3%ABns">Camille Saint-Saëns</a>' music for <i><a href="/wiki/The_Assassination_of_the_Duke_of_Guise">The Assassination of the Duke of Guise</a></i> in 1908. It was preceded by <a href="/wiki/Nathaniel_D._Mann">Nathaniel D. Mann</a>'s score for <i><a href="/wiki/The_Fairylogue_and_Radio-Plays">The Fairylogue and Radio-Plays</a></i> by four months, but that was a mixture of interrelated stage and film performance in the tradition of old <a href="/wiki/Magic_lantern">magic lantern</a> shows.<sup><a href="#cite_note-31">[31]</a></sup> Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of <a href="/wiki/Photoplay_music">photoplay music</a>, which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc.
</p><p><a href="/wiki/German_cinema">German cinema</a>, which was highly influential in the era of silent movies, provided some original scores such as <a href="/wiki/Fritz_Lang">Fritz Lang</a>'s movies <i><a href="/wiki/Die_Nibelungen">Die Nibelungen</a></i> (1924) and <i><a href="/wiki/Metropolis_(1927_film)">Metropolis</a></i> (1927) which were accompanied by original full scale orchestral and leitmotific scores written by <a href="/wiki/Gottfried_Huppertz">Gottfried Huppertz</a>, who also wrote piano-versions of his music, for playing in smaller cinemas.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> Friedrich W. Murnau's movies <i><a href="/wiki/Nosferatu">Nosferatu</a></i> (1922 – music by <a href="/wiki/Hans_Erdmann">Hans Erdmann</a>) and <i><a href="/wiki/Faust_%E2%80%93_Eine_deutsche_Volkssage">Faust – Eine deutsche Volkssage</a></i> (1926 – music by <a href="/wiki/Werner_Richard_Heymann">Werner Richard Heymann</a>) also had original scores written for them. Other films like Murnau's <i><a href="/wiki/The_Last_Laugh_(1924_film)">Der letzte Mann</a></i> contained a mixing of original compositions (in this case by <a href="/wiki/Giuseppe_Becce">Giuseppe Becce</a>) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to <a href="/wiki/German_Romanticism">German Romantic</a> forms of music. <a href="/wiki/Richard_Wagner">Richard Wagner</a>’s ideas on <a href="/wiki/Gesamtkunstwerk">Gesamtkunstwerk</a> and <a href="/wiki/Leitmotif">leitmotif</a> in his operas were later picked up on by prominent film composer <a href="/wiki/Max_Steiner">Max Steiner</a>. Steiner and his contemporary <a href="/wiki/Erich_Wolfgang_Korngold">Erich Korngold</a> both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.<sup><a href="#cite_note-32">[32]</a></sup>
</p><p>In France, before the advent of talkies, <a href="/wiki/Erik_Satie">Erik Satie</a> composed what many consider the first "frame by frame" synchronous film score for director <a href="/wiki/Ren%C3%A9_Clair">René Clair</a>'s avant-garde short <i><a href="/wiki/Entr%27acte_(film)">Entr'acte</a></i> (1924).<sup><a href="#cite_note-33">[33]</a></sup><sup><a href="#cite_note-34">[34]</a></sup> Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, <a href="/wiki/Aleatoric_music">aleatoric</a> score of brief, evocative motifs which could be repeated and varied in tempo as required.<sup><a href="#cite_note-35">[35]</a></sup> American composers <a href="/wiki/Virgil_Thomson">Virgil Thomson</a> and <a href="/wiki/Aaron_Copland">Aaron Copland</a> cited Satie's music for <i>Entr'acte</i> as a major influence on their own forays into film scoring.<sup><a href="#cite_note-36">[36]</a></sup>
</p><p>When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from <a href="/wiki/Peter_Lorre">Peter Lorre</a> whistling a short piece from Edvard Grieg's <i><a href="/wiki/Peer_Gynt_(Grieg)">Peer Gynt</a></i>, Lang's movie <i><a href="/wiki/M_(1931_film)">M – Eine Stadt sucht einen Mörder</a></i> was lacking musical accompaniment completely and <i><a href="/wiki/The_Testament_of_Dr._Mabuse">Das Testament des Dr. Mabuse</a></i> only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in <a href="/wiki/M_(1931_film)"><i>M</i></a>.
</p><p>Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. <a href="/wiki/Phonograph">Phonographs</a>, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof.<sup><a href="#cite_note-37">[37]</a></sup> A landmark event in music synchronization with the action in film was achieved in the score composed by <a href="/wiki/Max_Steiner">Max Steiner</a> for <a href="/wiki/David_O._Selznick">David O. Selznick</a>'s 1933 <i>King Kong.</i> A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.
</p><p>Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music,"<sup><a href="#cite_note-Cooke_2008-38">[38]</a></sup> the 1950s saw the rise of the <a href="/wiki/Modernist">modernist</a> film score. Director <a href="/wiki/Elia_Kazan">Elia Kazan</a> was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for <i><a href="/wiki/A_Streetcar_Named_Desire_(1951_film)">A Streetcar Named Desire</a></i> (1951) combined dissonance with elements of blues and jazz. Kazan also approached <a href="/wiki/Leonard_Bernstein">Leonard Bernstein</a> to score <i><a href="/wiki/On_the_Waterfront">On the Waterfront</a></i> (1954) and the result was reminiscent of earlier works by <a href="/wiki/Aaron_Copland">Aaron Copland</a> and <a href="/wiki/Igor_Stravinsky">Igor Stravinsky</a> with its "jazz-based harmonies and exciting additive rhythms."<sup><a href="#cite_note-Cooke_2008-38">[38]</a></sup> A year later, <a href="/wiki/Leonard_Rosenman">Leonard Rosenman</a>, inspired by <a href="/wiki/Arnold_Schoenberg">Arnold Schoenberg</a>, experimented with atonality in his scores for <i><a href="/wiki/East_of_Eden_(film)">East of Eden</a></i> (1955) and <i><a href="/wiki/Rebel_Without_a_Cause">Rebel Without a Cause</a></i> (1955). In his ten-year collaboration with <a href="/wiki/Alfred_Hitchcock">Alfred Hitchcock</a>, <a href="/wiki/Bernard_Herrmann">Bernard Herrmann</a> experimented with ideas in <i><a href="/wiki/Vertigo_(film)">Vertigo</a></i> (1958) and <i><a href="/wiki/Psycho_(1960_film)">Psycho</a></i> (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star <a href="/wiki/Duke_Ellington">Duke Ellington</a>'s score for <a href="/wiki/Otto_Preminger">Otto Preminger</a>'s <i><a href="/wiki/Anatomy_of_a_Murder">Anatomy of a Murder</a></i> (1959).
</p>
<h2>Composers[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=17">edit</a>]</h2>
<h3>Academy Award nominees and winners[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=18">edit</a>]</h3>
<h3>Box office champions[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=19">edit</a>]</h3>
<p>The following list includes all composers who have scored one of the 100 highest grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).
</p>
<ul><li><a href="/wiki/William_Alwyn">William Alwyn</a> – <i><a href="/wiki/Swiss_Family_Robinson_(1960_film)">Swiss Family Robinson</a></i> (1960)</li>
<li>Joseph DeBeasi – <i><a href="/wiki/American_Sniper_(film)">American Sniper</a></i> (2014)</li>
<li><a href="/wiki/David_Buttolph">David Buttolph</a> – <i><a href="/wiki/House_of_Wax_(1953_film)">House of Wax</a></i> (1953)</li>
<li><a href="/wiki/Brad_Fiedel">Brad Fiedel</a> – <i><a href="/wiki/Terminator_2:_Judgment_Day">Terminator 2: Judgment Day</a></i> (1991)</li>
<li>Alexander Janko – <i><a href="/wiki/My_Big_Fat_Greek_Wedding">My Big Fat Greek Wedding</a></i> (2002)</li>
<li><a href="/wiki/Bill_Justis">Bill Justis</a> – <i><a href="/wiki/Smokey_and_the_Bandit">Smokey and the Bandit</a></i> (1977)</li>
<li><a href="/wiki/Harald_Kloser">Harald Kloser</a> – <i><a href="/wiki/The_Day_After_Tomorrow">The Day After Tomorrow</a></i> (2004), <a href="/wiki/2012_(film)">2012</a> (2009)</li>
<li><a href="/wiki/Heitor_Pereira">Heitor Pereira</a> – <i><a href="/wiki/Despicable_Me_(film)">Despicable Me</a></i> (2010), <i><a href="/wiki/The_Smurfs_(film)">The Smurfs</a></i> (2011), <i><a href="/wiki/Despicable_Me_2">Despicable Me 2</a></i> (2013)</li>
<li><a href="/wiki/Trevor_Rabin">Trevor Rabin</a> – <i><a href="/wiki/Armageddon_(1998_film)">Armageddon</a></i> (1998), <i><a href="/wiki/National_Treasure:_Book_of_Secrets">National Treasure: Book of Secrets</a></i> (2007)</li>
<li><a href="/wiki/Thomas_Wanker">Thomas Wanker</a> – <i><a href="/wiki/2012_(film)">2012</a></i> (2009)</li>
<li><a href="/wiki/Pharrell_Williams">Pharrell Williams</a> – <i><a href="/wiki/Despicable_Me_(film)">Despicable Me</a></i> (2010), <i><a href="/wiki/Despicable_Me_2">Despicable Me 2</a></i> (2013)</li>
<li>Chris Wilson – <i><a href="/wiki/My_Big_Fat_Greek_Wedding">My Big Fat Greek Wedding</a></i> (2002)</li></ul>
<p><sup><a href="#cite_note-39">[39]</a></sup>
</p>
<h2>Relation with directors[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=20">edit</a>]</h2>
<p>Sometimes, a <a href="/wiki/Composer">composer</a> may unite with a <a href="/wiki/Film_director">director</a> by composing the score for many films of a same director. <a href="/wiki/John_Williams">John Williams</a>' professional relationship with <a href="/wiki/Steven_Spielberg">Steven Spielberg</a> and <a href="/wiki/George_Lucas">George Lucas</a> is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises (<i><a href="/wiki/Star_Wars">Star Wars</a></i> and <i><a href="/wiki/Indiana_Jones">Indiana Jones</a></i>); Williams won all five of his Oscars in his collaborations with the two. Additionally, <a href="/wiki/Danny_Elfman">Danny Elfman</a> did the score for all the movies directed by <a href="/wiki/Tim_Burton">Tim Burton</a>, with the exception of <i><a href="/wiki/Ed_Wood_(film)">Ed Wood</a></i> (score by <a href="/wiki/Howard_Shore">Howard Shore</a>) and <i><a href="/wiki/Sweeney_Todd:_The_Demon_Barber_of_Fleet_Street">Sweeney Todd: The Demon Barber of Fleet Street</a></i> (score by <a href="/wiki/Stephen_Sondheim">Stephen Sondheim</a>). Another documented instance is the relationship of <a href="/wiki/Trent_Reznor">Trent Reznor</a> and <a href="/wiki/Atticus_Ross">Atticus Ross</a> with <a href="/wiki/David_Fincher">David Fincher</a>.<sup><a href="#cite_note-40">[40]</a></sup>
</p>
<h2>Production music[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=21">edit</a>]</h2>
<p>Many companies provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a <a href="/wiki/Work_for_hire">work for hire</a> basis.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate.
</p><p>Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by <a href="/wiki/De_Wolfe_Music">De Wolfe Music</a> in 1927 with the advent of sound in film, the company originally scored music for use in silent film.<sup><a href="#cite_note-41">[41]</a></sup> Another music library was set up by Ralph Hawkes of Boosey &amp; Hawkes Music Publishers in the 1930s.<sup><a href="#cite_note-42">[42]</a></sup> APM, the largest US library, has over 250,000 tracks.<sup><a href="#cite_note-43">[43]</a></sup>
</p>
<h2>See also[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=22">edit</a>]</h2>
<ul><li><a href="/wiki/AFI%27s_100_Years_of_Film_Scores">AFI's 100 Years of Film Scores</a></li>
<li><a href="/wiki/List_of_film_score_composers">List of film score composers</a></li>
<li><a href="/wiki/List_of_film_director_and_composer_collaborations">List of film director and composer collaborations</a></li>
<li><i><a href="/wiki/Score_(2016_film)">Score</a></i>, a 2016 documentary film about film scores</li>
<li><i><a href="/wiki/Film_Score_Monthly">Film Score Monthly</a></i></li></ul>
<h2>References[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=23">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> Savage, Mark. "<a href="http://news.bbc.co.uk/1/hi/entertainment/7525242.stm">Where Are the New Movie Themes</a>?" <i>BBC,</i> July 28, 2008.
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.independent.co.uk/news/obituaries/bebe-barron-cocomposer-of-the-first-electronic-film-score-for-forbidden-planet-822755.html">"Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet'"</a>. <i>The Independent</i>. London. May 8, 2008. Retrieved May 2, 2010.</cite>
</li>
<li><b><a href="#cite_ref-3">^</a></b> <cite><a href="https://kidskonnect.com/social-studies/film-scores/">"Film Scores Facts, Worksheets, Definition &amp; History For Kids"</a>. <i>KidsKonnect</i>. June 3, 2020. Retrieved March 29, 2021.</cite>
</li>
<li><b><a href="#cite_ref-4">^</a></b> <cite>Rockwell, John (May 21, 1978). <a href="http://select.nytimes.com/gst/abstract.html?res=F30617F8355A11728DDDA80A94DD405B888BF1D3">"When the Soundtrack Makes the Film"</a>. <i>The New York Times</i>. Retrieved August 10, 2010.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite>Hickman, Roger (2017). <i>Reel music: exploring 100 years of film music</i> (Second ed.). New York. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-93766-4"><bdi>978-0-393-93766-4</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="//www.worldcat.org/oclc/976036236">976036236</a>.</cite>
</li>
<li><b><a href="#cite_ref-6">^</a></b> <cite>Karlin, Fred; Wright, Rayburn (January 1, 2004). <a href="https://books.google.com/books?id=plJ5gEhhnrcC"><i>On the Track: A Guide to Contemporary Film Scoring</i></a>. Routledge. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780415941365"><bdi>9780415941365</bdi></a> – via Google Books.</cite>
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite><a href="https://web.archive.org/web/20081226103424/http://www.naqoy.com/naqoy/creators.asp">"About the Naqoyqatsi team"</a>. Archived from <a href="http://www.naqoy.com/naqoy/creators.asp">the original</a> on December 26, 2008.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> <cite><a href="http://www.soundtrack.net/albums/database/?id=3475">"The Good, The Bad and The Ugly – Expanded Edition Soundtrack (1967)"</a>.</cite>
</li>
<li><b><a href="#cite_ref-9">^</a></b> <cite><a href="https://www.popmatters.com/pm/feature/128323-we-built-our-own-world-hans-zimmer-and-the-music-of-inception/">"We Built Our Own World: Hans Zimmer and the Music of 'Inception'"</a>.</cite>
</li>
<li><b><a href="#cite_ref-10">^</a></b> <cite><a href="https://web.archive.org/web/20050412161512/http://www.thenitmustbetrue.com/gsantaolalla/gsantaolalla1.html">"Gustavo Santaolalla"</a>. <i>thenitmustbetrue.com</i>. Archived from <a href="http://www.thenitmustbetrue.com/gsantaolalla/gsantaolalla1.html">the original</a> on April 12, 2005.</cite>
</li>
<li><b><a href="#cite_ref-11">^</a></b> <cite><a href="http://artsites.ucsc.edu/EMS/music/equipment/video/smpte/smpte.html">"SMPTE"</a>.</cite>
</li>
<li><b><a href="#cite_ref-12">^</a></b> Kompanek, Sonny. <i>From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process</i>. Schirmer Trade Books, 2004. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8256-7308-5">978-0-8256-7308-5</a>
</li>
<li><b><a href="#cite_ref-13">^</a></b> <a href="http://lso.co.uk/page/3151/LSO-and-Film-Music">London Symphony Orchestra and Film Music</a> <a href="https://web.archive.org/web/20110930173905/http://lso.co.uk/page/3151/LSO-and-Film-Music">Archived</a> September 30, 2011, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a> LSO. Retrieved June 30, 2011
</li>
<li><b><a href="#cite_ref-14">^</a></b> <cite><a href="http://homerecording.about.com/od/recordingglossary/g/def_click_track.htm">"5 RTAS Plug-Ins You Can Download for Free"</a>.</cite>
</li>
<li><b><a href="#cite_ref-15">^</a></b> George Burt, The art of film music, Northeastern University Press
</li>
<li><b><a href="#cite_ref-16">^</a></b> <cite>Paterson, Jim. <a href="http://www.mfiles.co.uk/reviews/alex-norths-2001-a-space-odyssey.htm">"2001 A Space Odyssey – Original soundtrack by Alex North, commissioned but unused by Stanley Kubrick, conducted by Jerry Goldsmith"</a>.</cite>
</li>
<li><b><a href="#cite_ref-17">^</a></b> <cite><a href="http://www.soundtrack.net/albums/database/?id=841">"Torn Curtain Soundtrack (1966)"</a>.</cite>
</li>
<li><b><a href="#cite_ref-18">^</a></b> <cite><a href="http://www.soundtrack.net/features/article/?id=120">"Gabriel Yared's Troy – Article"</a>.</cite>
</li>
<li><b><a href="#cite_ref-19">^</a></b> <cite><a href="http://www.filmtracks.com/titles/pirates_caribbean.html">"Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)"</a>.</cite>
</li>
<li><b><a href="#cite_ref-20">^</a></b> <cite><a href="https://web.archive.org/web/20071212094823/http://musiconfilm.net/community/read.php?2,161">"Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score"</a>. Archived from <a href="http://musiconfilm.net/community/read.php?2,161">the original</a> on 12 December 2007. Retrieved 30 July 2008.</cite>
</li>
<li><b><a href="#cite_ref-21">^</a></b> <cite><a href="https://web.archive.org/web/20080919142100/http://www.moviemusicuk.us/bournecd.htm">"The Bourne Identity"</a>. Archived from <a href="http://www.moviemusicuk.us/bournecd.htm">the original</a> on 19 September 2008. Retrieved 22 July 2008.</cite>
</li>
<li><b><a href="#cite_ref-22">^</a></b> <cite><a href="http://www.merriam-webster.com/dictionary/leitmotif">"Leitmotif"</a>. <i>Merriam-Webster Dictionary</i> (online ed.).</cite>
</li>
<li><b><a href="#cite_ref-23">^</a></b> <cite>Evensen, Kristian (2008). <a href="https://web.archive.org/web/20100726141647/http://www.trell.org/wagner/starwars.html">"The Star Wars series and Wagner's Ring: Structural, thematic and musical connections"</a>. <i>Richard Wagner Web Site</i>. Archived from <a href="http://www.trell.org/wagner/starwars.html">the original</a> on 26 July 2010.</cite>
</li>
<li><b><a href="#cite_ref-24">^</a></b> <cite>FilmChat (May 7, 2013). <a href="http://www.patheos.com/blogs/filmchat/2013/05/music-for-klingons-part-one-jerry-goldsmith.html">"Music for Klingons, part one: Jerry Goldsmith"</a>. <i>FilmChat</i>. Retrieved December 13, 2017.</cite>
</li>
<li><b><a href="#cite_ref-Green_25-0">^</a></b> <cite>Green, Edward (2020). <a href="http://journaliconi.com/index.php/iconi/article/view/89/93">"Interview with Composer Marcus Paus"</a>. <i>Iconi</i>. Vol. 2, no. 3. pp. 56–67.</cite>
</li>
<li><b><a href="#cite_ref-26">^</a></b> <cite><a href="http://www.filmmusicsociety.org/about/about.html">"About the Film Music Society"</a>. <i>Film Music Society</i>.</cite>
</li>
<li><b><a href="#cite_ref-27">^</a></b> London. <i>Film Music</i>, p.28. Faber and Faber. Cited in Albright, Daniel, ed. (2004). <i>Modernism and Music</i>, p.96n40. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-226-01267-0">0-226-01267-0</a>.
</li>
<li><b><a href="#cite_ref-28">^</a></b> <cite>Wierzbicki, James Eugene (2009). <a href="https://www.worldcat.org/oclc/309903138"><i>Film music : a history</i></a>. New York: Routledge. pp. 26–27. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-203-88447-8"><bdi>978-0-203-88447-8</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="//www.worldcat.org/oclc/309903138">309903138</a>.</cite>
</li>
<li><b><a href="#cite_ref-29">^</a></b> Film music: a history By James Eugene Wierzbicki, p.20
</li>
<li><b><a href="#cite_ref-30">^</a></b> <cite>Dienstfrey, Eric (2014). <a href="https://www.academia.edu/6193892">"Synch Holes and Patchwork in Early Feature-Film Scores"</a>. <i>Music and the Moving Image</i>. <b>7</b> (1): 40–53. <a href="/wiki/Doi_(identifier)">doi</a>:<a href="https://doi.org/10.5406%2Fmusimoviimag.7.1.0040">10.5406/musimoviimag.7.1.0040</a> – via academia.edu.</cite>
</li>
<li><b><a href="#cite_ref-31">^</a></b> <i>Fairylogue</i> was released September 24, 1908; <i>Assassinat</i> was released November 17, 1908. Dienstfrey, p 53.
</li>
<li><b><a href="#cite_ref-32">^</a></b> <cite>Larsen, Peter (2007). <a href="https://www.worldcat.org/oclc/132314768"><i>Film music</i></a>. John Irons. London: Reaktion. p. 95. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-86189-341-3"><bdi>978-1-86189-341-3</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="//www.worldcat.org/oclc/132314768">132314768</a>.</cite>
</li>
<li><b><a href="#cite_ref-33">^</a></b> Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 199.
</li>
<li><b><a href="#cite_ref-34">^</a></b> <cite><a href="http://www.roh.org.uk/people/erik-satie">"Erik Satie"</a>. <i><a href="/wiki/Royal_Opera_House">Royal Opera House</a></i>.</cite>
</li>
<li><b><a href="#cite_ref-35">^</a></b> Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 244.
</li>
<li><b><a href="#cite_ref-36">^</a></b> Justin Wintle (ed.), "New Makers of Modern Culture", Routledge, 2016, p. 1342.
</li>
<li><b><a href="#cite_ref-37">^</a></b> <cite>Buhler, James (2010). <a href="https://www.worldcat.org/oclc/276515073"><i>Hearing the movies : music and sound in film history</i></a>. David Neumeyer, Rob Deemer. New York: Oxford University Press. pp. 290–293. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-532779-3"><bdi>978-0-19-532779-3</bdi></a>. <a href="/wiki/OCLC_(identifier)">OCLC</a> <a href="//www.worldcat.org/oclc/276515073">276515073</a>.</cite>
</li>
<li>^ <a href="#cite_ref-Cooke_2008_38-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cooke_2008_38-1"><sup><i><b>b</b></i></sup></a> <cite>Cooke, Mervyn (2008). <i>A History of Film Music</i>. New York: Cambridge University Press.</cite><sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
</li>
<li><b><a href="#cite_ref-39">^</a></b> Source: Box Office Mojo – All-Time Domestic Box Office Grosses <a href="https://boxofficemojo.com/alltime/domestic.htm">[1]</a>, All-Time Domestic Box Office Grosses Adjusted for Inflation <a href="https://boxofficemojo.com/alltime/adjusted.htm">[2]</a>, All-Time Worldwide Box Office Grosses <a href="https://boxofficemojo.com/alltime/world/">[3]</a>
</li>
<li><b><a href="#cite_ref-40">^</a></b> <cite><a href="http://uproxx.com/movies/2014/10/are-david-fincher-and-trent-reznor-the-next-leone-and-morricone/2/">"Are David Fincher And Trent Reznor The Next Leone and Morricone?"</a>. October 4, 2014.</cite>
</li>
<li><b><a href="#cite_ref-41">^</a></b> <cite>De Wolfe, Warren (1988). <i>de wolfe millennium catalogue</i>. London: De Wolfe Music.</cite>
</li>
<li><b><a href="#cite_ref-42">^</a></b> <cite>Wallace, Helen (2007). <i>Boosey &amp; Hawkes The Publishing Story</i>. London: B&amp;H London. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-85162-514-0"><bdi>978-0-85162-514-0</bdi></a>.</cite><sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
</li>
<li><b><a href="#cite_ref-43">^</a></b> <cite><a href="http://www.prweb.com/releases/2007/07/prweb539516.htm">"PRWeb July 2007"</a>. Retrieved July 20, 2007.</cite>
</li>
</ol></div>
<h2>Further reading[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=24">edit</a>]</h2>
<ul><li>Andersen, Martin Stig. "<a href="https://web.archive.org/web/20110407204452/http://cec.concordia.ca/econtact/12_4/andersen_audiovisual.html">Electroacoustic Sound and Audiovisual Structure in Film</a>". <i>eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique</i> (August 2010). Montréal: <a href="/wiki/Canadian_Electroacoustic_Community">CEC</a>.</li>
<li>Dorschel, Andreas (ed.). <i>Tonspuren. Musik im Film: Fallstudien 1994–2001</i>. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/3-7024-2885-2">3-7024-2885-2</a>. Scrutinizes film score practice at the turn from the 20th to 21st century. In German.</li>
<li>Elal, Sammy and Kristian Dupont (eds.). "<a href="https://web.archive.org/web/20100901114326/http://www.minimumnoise.com/Articles/The-Essentials-Of-Scoring-Film.aspx">The Essentials of Scoring Film</a>". <i>Minimum Noise</i>. Copenhagen, Denmark.</li>
<li>Harris, Steve. <i>Film, Television, and Stage Music on Phonograph Records: A Discography</i>. Jefferson, N.C.: McFarland &amp; Co., 1988. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-89950-251-2">0-89950-251-2</a>.</li>
<li>MacDonald, Laurence E. (1998) <a href="https://books.google.com/books?id=clPmzY4YNNYC"><i>The Invisible Art of Film Music: A Comprehensive History</i></a>. Scarecrow Press. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781461673040">9781461673040</a>.</li>
<li>Holly Rogers and Jeremy Barham, <i>The Music and Sound of Experimental Film</i>. Oxford: Oxford University Press, 2017.</li>
<li>Slowik, Michael. <i>After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934.</i> New York: Columbia University Press, 2014.</li>
<li>Spande, Robert. <a href="http://robertspande.com/#!a-theory-of-film-music">"The Three Regimes – A Theory of Film Music"</a> Minneapolis, 1996.</li>
<li>Stoppe, Sebastian, ed. <i>Film in concert: film scores and their relation to classical concert music</i>. Glückstadt: Verlag Werner Hülsbusch, 2014. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-86488060-5">978-3-86488060-5</a>.</li>
<li>Stubblevine, Donald J. <i>Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from </i>Squaw Man<i> (1914) to </i>Batman<i> (1989)</i>. Jefferson, N.C.: McFarland &amp; Co., 1991. <a href="/wiki/ISBN_(identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-89950-569-4">0-89950-569-4</a>.</li>
<li>Various contributors [wiki]. "<a href="http://cec2.ca/cec/econtact/8_4/films.html">Films with Significant Electroacoustic Content</a><sup>[<i><a href="/wiki/Wikipedia:Link_rot">permanent dead link</a></i>]</sup>". <i>eContact! 8.4 — Ressources éducatives / Educational Resources</i> (September 2006). Montréal: <a href="/wiki/Canadian_Electroacoustic_Community">CEC</a>.</li></ul>
<h2>External links[<a href="/w/index.php?title=Film_score&amp;action=edit&amp;section=25">edit</a>]</h2>
<dl><dt>Film music organizations</dt></dl>
<ul><li><a href="http://www.filmmusicsociety.org/">Film Music Society</a></li>
<li><a href="http://filmmusiccritics.org/">International Film Music Critics Association</a></li></ul>
<dl><dt>Journals (online and print)</dt></dl>
<ul><li><i><a href="http://www.filmmusicmag.com/">Film Music Magazine</a></i></li>
<li><i><a href="http://www.americanmusicpreservation.com/fmr.htm">Film Music Review</a></i></li>
<li><i><a href="http://www.ifms-jfm.org/">The Journal of Film Music</a></i></li>
<li>(in French) <i><a href="http://www.underscores.fr/">UnderScores : le magazine de la musique de film</a></i></li></ul>
<dl><dt>Education</dt></dl>
<ul><li><i><a href="http://www.musicube-academy.com/">International School for Film Score Composition and Production</a></i></li></ul>
<dl><dt>Language</dt></dl>
<ul><li><cite><a href="http://www.wnyc.org/story/terms-of-art-carter-burwell/">"Terms of Art: Film Composer Lingo with Carter Burwell"</a>. <i><a href="/wiki/Studio_360">Studio 360</a></i>. <a href="/wiki/Public_Radio_International">Public Radio International</a> and <a href="/wiki/WNYC">WNYC</a>. August 31, 2017 [March 23, 2017]. Retrieved September 3, 2017.</cite></li></ul>
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 Contents

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 * (Top)
 * 1 Terminology
 * 2 Process of creation
 + 2.1 Spotting
 + 2.2 Syncing
 o 2.2.1 Written click track
 + 2.3 Writing
 + 2.4 Orchestration
 + 2.5 Recording
 * 3 Elements of a film score
 + 3.1 Temp tracks
 + 3.2 Structure
 + 3.3 Source music
 * 4 Artistic merit
 + 4.1 Music criticism
 + 4.2 Preservation efforts
 * 5 History
 * 6 Composers
 + 6.1 Academy Award nominees and winners
 + 6.2 Box office champions
 * 7 Relation with directors
 * 8 Production music
 * 9 See also
 * 10 References
 * 11 Further reading
 * 12 External links
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 Film score

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 From Wikipedia, the free encyclopedia
 "Film Music" redirects here. For the album, see Film Music (album).
 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed.
 Find sources: "Film score" – news · newspapers · books · scholar · JSTOR ( July 2013 ) (Learn how and when to remove this template message) 
 

 A film score being recorded by the composer (conducting at the podium, with his back to the camera) and a small ensemble. The film is playing on the screen to act as a reference.

 A film score is original music written specifically to accompany a film. The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.[1] Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for other media such as live theatre, television and radio programs, and video games, and said music is typically referred to as either the soundtrack or incidental music.

 Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.[2]

 Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers.

 Songs such as pop songs and rock songs are usually not considered part of the film's score,[3] although songs do also form part of the film's soundtrack.[4] Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs that are dropped into a specific scene in a film for emphasis or as diegetic music (e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.

 Terminology [ edit ]

 A film score may also be called a background score, background music, film soundtrack, film music, screen composition, screen music, or incidental music.[5]

 Process of creation [ edit ]

 Spotting [ edit ]

 The composer usually enters the creative process towards the end of filming at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting".[6]

 Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass's music.[7] Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone's score as the composer had prepared it months before the film's production ended.[8]

 In another example, the finale of Steven Spielberg's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music.

 In some circumstances, a composer will be asked to write music based on their impressions of the script or storyboards without seeing the film itself and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's film Inception;[9] composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for Brokeback Mountain.[10]

 Syncing [ edit ]

 When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using SMPTE timecode for syncing purposes.[11]

 When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either (a) a stopwatch or studio size stop clock, or (b) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score.

 Written click track [ edit ]

 A written click track is a method of writing bars of music in consistent time values (i.e. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if they planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced click playing in his ear to which he conducts. This can yield stiff and lifeless performances in slower more expressive cues. One can convert a standard BPM value to a written click where X represents the number of beats per bar, and W represents time in seconds, by using the following equation:

 Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:

 2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.

 Once the composer has identified the location in the film they wish to sync with musically, they must determine the musical beat this event occurs on. To find this, they use the following equation, where bpm is beats per minute, sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).

 Writing [ edit ]

 Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Pro Tools.[12] Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording.

 The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.

 The actual musical content of a film score is wholly dependent on the type of film being scored and the emotions the director wishes the music to convey. A film score can encompass literally thousands of different combinations of instruments, ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos, along with a multitude of ethnic and world music influences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project and can be influenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. As part of their preparations for writing the score the composer will often research different musical techniques and genres as appropriate for that specific project; as such, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles.

 Orchestration [ edit ]

 Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.

 This section may be unbalanced towards certain viewpoints. Please improve the article or discuss the issue on the talk page . ( September 2021 )
 

 Some composers like Ennio Morricone orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed.

 Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other.

 Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance.

 Recording [ edit ]

 When the music has been composed and orchestrated, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other performing ensembles that are often employed include the London Symphony Orchestra (performing film music since 1935)[13] the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording), the BBC Philharmonic, and the Northwest Sinfonia.[ citation needed ]

 The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with meter and tempo, assisting to synchronize the music with the film.[14]

 More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.

 Elements of a film score [ edit ]

 Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.

 Temp tracks [ edit ]

 In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track.[15] On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than the score by Alex North,[16] although Kubrick had also hired Frank Cordell to do a score. Other examples include Torn Curtain (Bernard Herrmann),[17] Troy (Gabriel Yared),[18] Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri),[19] Peter Jackson's King Kong (Howard Shore),[20] and The Bourne Identity (Carter Burwell).[21]

 Structure [ edit ]

 Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner's use of leitmotif.[22] These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.

 This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is John Williams' score for the Star Wars saga, and the numerous themes in Star Wars music associated with individual characters such as Darth Vader, Luke Skywalker, and Princess Leia.[23] Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places. Another notable example is Jerry Goldsmith's Klingon theme from Star Trek: The Motion Picture (1979), which later composers in the Star Trek film series quoted in their Klingon motifs, and which was included on numerous occasions as a theme for Worf, the franchise's most prominent Klingon character.[24] Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up, for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes.

 Source music [ edit ]

 "Source music" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's The Deer Hunter. Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.

 Artistic merit [ edit ]

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 Music criticism [ edit ]

 The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of classical music. These are mostly works from already noted composers who have done scores; for instance, Sergei Prokofiev's score to Alexander Nevsky, or Vaughan Williams' score to Scott of the Antarctic. Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as John Williams are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer Marcus Paus has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian [sic] utopia that children of the future would be whistling 12-tone rows."[25] Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music, as do pops orchestras.

 Preservation efforts [ edit ]

 In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by movie studios.[26] The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.

 History [ edit ]

 The origins of film music are disputed. According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable."[27] On the contrary, film historian James Wierzbicki asserts that early film showings (such as the Lumier brothers’ first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into vaudeville theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as such live musical accompaniment to films grew out naturally.[28]

 Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. A pianist was present to perform at the Lumiere brothers' first film screening in 1895.[29] In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films.[30] Other examples of this include Victor Herbert's score in 1915 to The Fall of a Nation (a sequel to The Birth of a Nation) and Camille Saint-Saëns' music for The Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows.[31] Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of photoplay music, which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc.

 German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas.[ citation needed ] Friedrich W. Murnau's movies Nosferatu (1922 – music by Hans Erdmann) and Faust – Eine deutsche Volkssage (1926 – music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to German Romantic forms of music. Richard Wagner’s ideas on Gesamtkunstwerk and leitmotif in his operas were later picked up on by prominent film composer Max Steiner. Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.[32]

 In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short Entr'acte (1924).[33][34] Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required.[35] American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.[36]

 When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie M – Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and Das Testament des Dr. Mabuse only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M.

 Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. Phonographs, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof.[37] A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong. A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.

 Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music,"[38] the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms."[38] A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for Otto Preminger's Anatomy of a Murder (1959).

 Composers [ edit ]

 Academy Award nominees and winners [ edit ]

 See: List of Academy Award nominees and winners for Best Original Score.

 Box office champions [ edit ]

 The following list includes all composers who have scored one of the 100 highest grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).

 * William Alwyn – Swiss Family Robinson (1960)
 * Joseph DeBeasi – American Sniper (2014)
 * David Buttolph – House of Wax (1953)
 * Brad Fiedel – Terminator 2: Judgment Day (1991)
 * Alexander Janko – My Big Fat Greek Wedding (2002)
 * Bill Justis – Smokey and the Bandit (1977)
 * Harald Kloser – The Day After Tomorrow (2004), 2012 (2009)
 * Heitor Pereira – Despicable Me (2010), The Smurfs (2011), Despicable Me 2 (2013)
 * Trevor Rabin – Armageddon (1998), National Treasure: Book of Secrets (2007)
 * Thomas Wanker – 2012 (2009)
 * Pharrell Williams – Despicable Me (2010), Despicable Me 2 (2013)
 * Chris Wilson – My Big Fat Greek Wedding (2002)

 [39]

 Relation with directors [ edit ]

 Main article: List of film director and composer collaborations

 Sometimes, a composer may unite with a director by composing the score for many films of a same director. John Williams' professional relationship with Steven Spielberg and George Lucas is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises (Star Wars and Indiana Jones); Williams won all five of his Oscars in his collaborations with the two. Additionally, Danny Elfman did the score for all the movies directed by Tim Burton, with the exception of Ed Wood (score by Howard Shore) and Sweeney Todd: The Demon Barber of Fleet Street (score by Stephen Sondheim). Another documented instance is the relationship of Trent Reznor and Atticus Ross with David Fincher.[40]

 Production music [ edit ]

 Main article: Production music

 Many companies provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis.[ citation needed ] Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate.

 Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film, the company originally scored music for use in silent film.[41] Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s.[42] APM, the largest US library, has over 250,000 tracks.[43]

 See also [ edit ]

 * film portal
 * AFI's 100 Years of Film Scores
 * List of film score composers
 * List of film director and composer collaborations
 * Score, a 2016 documentary film about film scores
 * Film Score Monthly

 References [ edit ]

 1. ^ Savage, Mark. " Where Are the New Movie Themes ?" BBC, July 28, 2008.
 2. ^ "Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet'". The Independent. London. May 8, 2008 . Retrieved May 2, 2010 .
 3. ^ "Film Scores Facts, Worksheets, Definition & History For Kids". KidsKonnect. June 3, 2020 . Retrieved March 29, 2021 .
 4. ^ Rockwell, John (May 21, 1978). "When the Soundtrack Makes the Film". The New York Times . Retrieved August 10, 2010 .
 5. ^ Hickman, Roger (2017). Reel music: exploring 100 years of film music (Second ed.). New York. ISBN 978-0-393-93766-4. OCLC 976036236.
 6. ^ Karlin, Fred; Wright, Rayburn (January 1, 2004). On the Track: A Guide to Contemporary Film Scoring. Routledge. ISBN 9780415941365 – via Google Books.
 7. ^ "About the Naqoyqatsi team". Archived from the original on December 26, 2008.
 8. ^ "The Good, The Bad and The Ugly – Expanded Edition Soundtrack (1967)".
 9. ^ "We Built Our Own World: Hans Zimmer and the Music of 'Inception'".
 10. ^ "Gustavo Santaolalla". thenitmustbetrue.com. Archived from the original on April 12, 2005.
 11. ^ "SMPTE".
 12. ^ Kompanek, Sonny. From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process . Schirmer Trade Books, 2004. ISBN 978-0-8256-7308-5
 13. ^ London Symphony Orchestra and Film Music Archived September 30, 2011, at the Wayback Machine LSO. Retrieved June 30, 2011
 14. ^ "5 RTAS Plug-Ins You Can Download for Free".
 15. ^ George Burt, The art of film music, Northeastern University Press
 16. ^ Paterson, Jim. "2001 A Space Odyssey – Original soundtrack by Alex North, commissioned but unused by Stanley Kubrick, conducted by Jerry Goldsmith".
 17. ^ "Torn Curtain Soundtrack (1966)".
 18. ^ "Gabriel Yared's Troy – Article".
 19. ^ "Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)".
 20. ^ "Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score". Archived from the original on 12 December 2007 . Retrieved 30 July 2008 .
 21. ^ "The Bourne Identity". Archived from the original on 19 September 2008 . Retrieved 22 July 2008 .
 22. ^ "Leitmotif". Merriam-Webster Dictionary (online ed.).
 23. ^ Evensen, Kristian (2008). "The Star Wars series and Wagner's Ring: Structural, thematic and musical connections". Richard Wagner Web Site. Archived from the original on 26 July 2010.
 24. ^ FilmChat (May 7, 2013). "Music for Klingons, part one: Jerry Goldsmith". FilmChat . Retrieved December 13, 2017 .
 25. ^ Green, Edward (2020). "Interview with Composer Marcus Paus". Iconi. Vol. 2, no. 3. pp. 56–67.
 26. ^ "About the Film Music Society". Film Music Society.
 27. ^ London. Film Music , p.28. Faber and Faber. Cited in Albright, Daniel, ed. (2004). Modernism and Music , p.96n40. ISBN 0-226-01267-0 .
 28. ^ Wierzbicki, James Eugene (2009). Film music : a history. New York: Routledge. pp. 26–27. ISBN 978-0-203-88447-8. OCLC 309903138.
 29. ^ Film music: a history By James Eugene Wierzbicki, p.20
 30. ^ Dienstfrey, Eric (2014). "Synch Holes and Patchwork in Early Feature-Film Scores". Music and the Moving Image. 7 (1): 40–53. doi:10.5406/musimoviimag.7.1.0040 – via academia.edu.
 31. ^ Fairylogue was released September 24, 1908; Assassinat was released November 17, 1908. Dienstfrey, p 53.
 32. ^ Larsen, Peter (2007). Film music. John Irons. London: Reaktion. p. 95. ISBN 978-1-86189-341-3. OCLC 132314768.
 33. ^ Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 199.
 34. ^ "Erik Satie". Royal Opera House.
 35. ^ Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 244.
 36. ^ Justin Wintle (ed.), "New Makers of Modern Culture", Routledge, 2016, p. 1342.
 37. ^ Buhler, James (2010). Hearing the movies : music and sound in film history. David Neumeyer, Rob Deemer. New York: Oxford University Press. pp. 290–293. ISBN 978-0-19-532779-3. OCLC 276515073.
 38. ^ a b Cooke, Mervyn (2008). A History of Film Music. New York: Cambridge University Press.[ citation needed ]
 39. ^ Source: Box Office Mojo – All-Time Domestic Box Office Grosses [1] , All-Time Domestic Box Office Grosses Adjusted for Inflation [2] , All-Time Worldwide Box Office Grosses [3]
 40. ^ "Are David Fincher And Trent Reznor The Next Leone and Morricone?". October 4, 2014.
 41. ^ De Wolfe, Warren (1988). de wolfe millennium catalogue. London: De Wolfe Music.
 42. ^ Wallace, Helen (2007). Boosey & Hawkes The Publishing Story. London: B&H London. ISBN 978-0-85162-514-0.[ citation needed ]
 43. ^ "PRWeb July 2007" . Retrieved July 20, 2007 .

 Further reading [ edit ]

 * Andersen, Martin Stig. "Electroacoustic Sound and Audiovisual Structure in Film". eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010). Montréal: CEC.
 * Dorschel, Andreas (ed.). Tonspuren. Musik im Film: Fallstudien 1994–2001. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). ISBN 3-7024-2885-2. Scrutinizes film score practice at the turn from the 20th to 21st century. In German.
 * Elal, Sammy and Kristian Dupont (eds.). "The Essentials of Scoring Film". Minimum Noise. Copenhagen, Denmark.
 * Harris, Steve. Film, Television, and Stage Music on Phonograph Records: A Discography. Jefferson, N.C.: McFarland & Co., 1988. ISBN 0-89950-251-2.
 * MacDonald, Laurence E. (1998) The Invisible Art of Film Music: A Comprehensive History. Scarecrow Press. ISBN 9781461673040.
 * Holly Rogers and Jeremy Barham, The Music and Sound of Experimental Film. Oxford: Oxford University Press, 2017.
 * Slowik, Michael. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934. New York: Columbia University Press, 2014.
 * Spande, Robert. "The Three Regimes – A Theory of Film Music" Minneapolis, 1996.
 * Stoppe, Sebastian, ed. Film in concert: film scores and their relation to classical concert music. Glückstadt: Verlag Werner Hülsbusch, 2014. ISBN 978-3-86488060-5.
 * Stubblevine, Donald J. Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from Squaw Man (1914) to Batman (1989). Jefferson, N.C.: McFarland & Co., 1991. ISBN 0-89950-569-4.
 * Various contributors [wiki]. "Films with Significant Electroacoustic Content [ permanent dead link ] ". eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006). Montréal: CEC.

 External links [ edit ]

 Film music organizations
 * Film Music Society
 * International Film Music Critics Association
 Journals (online and print)
 * Film Music Magazine
 * Film Music Review
 * The Journal of Film Music
 * (in French) UnderScores : le magazine de la musique de film
 Education
 * International School for Film Score Composition and Production
 Language
 * "Terms of Art: Film Composer Lingo with Carter Burwell". Studio 360. Public Radio International and WNYC. August 31, 2017 [March 23, 2017] . Retrieved September 3, 2017 .
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 * 
A film score being recorded by the composer (conducting at the podium, with his back to the camera) and a small ensemble. The film is playing on the screen to act as a reference.  
A film score is original music written specifically to accompany a film. The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. [1]  Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for other media such as live theatre, television and radio programs, and video games, and said music is typically referred to as either the soundtrack or incidental music.
 Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments. [2] 
 Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers.
  Songs such as pop songs and rock songs are usually not considered part of the film's score, [3]  although songs do also form part of the film's soundtrack. [4]  Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs that are dropped into a specific scene in a film for emphasis or as diegetic music (e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from  Titanic , written for Celine Dion.
Terminology[edit]
A film score may also be called a background score, background music, film soundtrack, film music, screen composition, screen music, or  incidental music . [5] 
Process of creation[edit]
Spotting[edit]
The composer usually enters the creative process towards the end of filming at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting". [6] 
 Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director Godfrey Reggio edited his films  Koyaanisqatsi  and  Powaqqatsi  based on composer Philip Glass's music. [7]  Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of  The Good, the Bad and the Ugly  and the films  Once Upon a Time in the West  and  Once Upon a Time in America  were edited to Morricone's score as the composer had prepared it months before the film's production ended. [8] 
 In another example, the finale of Steven Spielberg's  E.T. the Extra-Terrestrial  was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music.
 In some circumstances, a composer will be asked to write music based on their impressions of the script or storyboards without seeing the film itself and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's film  Inception ; [9]  composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for  Brokeback Mountain . [10] 
Syncing[edit]
When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using SMPTE timecode for syncing purposes. [11] 
 When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either (a) a stopwatch or studio size stop clock, or (b) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score.
Written click track[edit]
A written click track is a method of writing bars of music in consistent time values (i.e. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if they planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced click playing in his ear to which he conducts. This can yield stiff and lifeless performances in slower more expressive cues. One can convert a standard BPM value to a written click where X represents the number of beats per bar, and W represents time in seconds, by using the following equation:
    
Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:
    
 2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.
 Once the composer has identified the location in the film they wish to sync with musically, they must determine the musical beat this event occurs on. To find this, they use the following equation, where bpm is beats per minute, sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).
    
Writing[edit]
Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Pro Tools. [12]  Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording.
 The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.
 The actual musical content of a film score is wholly dependent on the type of film being scored and the emotions the director wishes the music to convey. A film score can encompass literally thousands of different combinations of instruments, ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos, along with a multitude of ethnic and world music influences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project and can be influenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. As part of their preparations for writing the score the composer will often research different musical techniques and genres as appropriate for that specific project; as such, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles.
Orchestration[edit]
Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.
Some composers like Ennio Morricone orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed.
 Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other.
 Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance.
Recording[edit]
When the music has been composed and orchestrated, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other performing ensembles that are often employed include the London Symphony Orchestra (performing film music since 1935) [13]  the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording), the BBC Philharmonic, and the Northwest Sinfonia.[ citation needed ]
 The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with meter and tempo, assisting to synchronize the music with the film. [14] 
 More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.
Elements of a film score[edit]
Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.
Temp tracks[edit]
In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. [15]  On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick's  2001: A Space Odyssey , where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than the score by Alex North, [16]  although Kubrick had also hired Frank Cordell to do a score. Other examples include  Torn Curtain  (Bernard Herrmann), [17]   Troy  (Gabriel Yared), [18]   Pirates of the Caribbean: The Curse of the Black Pearl  (Alan Silvestri), [19]  Peter Jackson's  King Kong  (Howard Shore), [20]  and  The Bourne Identity  (Carter Burwell). [21] 
Structure[edit]
Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner's use of leitmotif. [22]  These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.
 This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is John Williams' score for the Star Wars saga, and the numerous themes in  Star Wars music associated with individual characters such as Darth Vader, Luke Skywalker, and Princess Leia. [23]  Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places. Another notable example is Jerry Goldsmith's Klingon theme from  Star Trek: The Motion Picture  (1979), which later composers in the  Star Trek film series quoted in their Klingon motifs, and which was included on numerous occasions as a theme for Worf, the franchise's most prominent Klingon character. [24]  Michael Giacchino employed character themes in the soundtrack for the 2009 animated film  Up , for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series  Lost  also depended heavily on character and situation-specific themes.
Source music[edit]
"Source music" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's  The Deer Hunter . Alfred Hitchcock's 1963 thriller  The Birds  is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.
Artistic merit[edit]
Music criticism[edit]
The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of classical music. These are mostly works from already noted composers who have done scores; for instance, Sergei Prokofiev's score to  Alexander Nevsky , or Vaughan Williams' score to  Scott of the Antarctic . Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as John Williams are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer Marcus Paus has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian [sic] utopia that children of the future would be whistling 12-tone rows." [25]  Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music, as do pops orchestras.
Preservation efforts[edit]
In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by movie studios. [26]  The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.
History[edit]
The origins of film music are disputed. According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable." [27]  On the contrary, film historian James Wierzbicki asserts that early film showings (such as the Lumier brothers’ first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into vaudeville theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as such live musical accompaniment to films grew out naturally. [28] 
 Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. A pianist was present to perform at the Lumiere brothers' first film screening in 1895. [29]  In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films. [30]  Other examples of this include Victor Herbert's score in 1915 to  The Fall of a Nation  (a sequel to  The Birth of a Nation ) and Camille Saint-Saëns' music for  The Assassination of the Duke of Guise  in 1908. It was preceded by Nathaniel D. Mann's score for  The Fairylogue and Radio-Plays  by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. [31]  Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of photoplay music, which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc.
  German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies  Die Nibelungen  (1924) and  Metropolis  (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas.[ citation needed ] Friedrich W. Murnau's movies  Nosferatu  (1922 – music by Hans Erdmann) and  Faust – Eine deutsche Volkssage  (1926 – music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's  Der letzte Mann  contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to German Romantic forms of music. Richard Wagner’s ideas on Gesamtkunstwerk and leitmotif in his operas were later picked up on by prominent film composer Max Steiner. Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period. [32] 
 In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short  Entr'acte  (1924). [33]   [34]  Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required. [35]  American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring. [36] 
 When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's  Peer Gynt , Lang's movie  M – Eine Stadt sucht einen Mörder  was lacking musical accompaniment completely and  Das Testament des Dr. Mabuse  only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in  M .
 Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. Phonographs, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof. [37]  A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong. A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.
 Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," [38]  the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for  A Streetcar Named Desire  (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score  On the Waterfront  (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms." [38]  A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality in his scores for  East of Eden  (1955) and  Rebel Without a Cause  (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in  Vertigo  (1958) and  Psycho  (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for Otto Preminger's  Anatomy of a Murder  (1959).
Composers[edit]
Academy Award nominees and winners[edit]
Box office champions[edit]
The following list includes all composers who have scored one of the 100 highest grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).
  William Alwyn –  Swiss Family Robinson  (1960)
Joseph DeBeasi –  American Sniper  (2014)
 David Buttolph –  House of Wax  (1953)
 Brad Fiedel –  Terminator 2: Judgment Day  (1991)
Alexander Janko –  My Big Fat Greek Wedding  (2002)
 Bill Justis –  Smokey and the Bandit  (1977)
 Harald Kloser –  The Day After Tomorrow  (2004), 2012 (2009)
 Heitor Pereira –  Despicable Me  (2010),  The Smurfs  (2011),  Despicable Me 2  (2013)
 Trevor Rabin –  Armageddon  (1998),  National Treasure: Book of Secrets  (2007)
 Thomas Wanker –  2012  (2009)
 Pharrell Williams –  Despicable Me  (2010),  Despicable Me 2  (2013)
Chris Wilson –  My Big Fat Greek Wedding  (2002) 
  [39] 
Relation with directors[edit]
Sometimes, a composer may unite with a director by composing the score for many films of a same director. John Williams' professional relationship with Steven Spielberg and George Lucas is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises ( Star Wars  and  Indiana Jones ); Williams won all five of his Oscars in his collaborations with the two. Additionally, Danny Elfman did the score for all the movies directed by Tim Burton, with the exception of  Ed Wood  (score by Howard Shore) and  Sweeney Todd: The Demon Barber of Fleet Street  (score by Stephen Sondheim). Another documented instance is the relationship of Trent Reznor and Atticus Ross with David Fincher. [40] 
Production music[edit]
Many companies provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis.[ citation needed ] Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate.
 Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film, the company originally scored music for use in silent film. [41]  Another music library was set up by Ralph Hawkes of Boosey &amp; Hawkes Music Publishers in the 1930s. [42]  APM, the largest US library, has over 250,000 tracks. [43] 
See also[edit]
  AFI's 100 Years of Film Scores 
 List of film score composers 
 List of film director and composer collaborations 
  Score , a 2016 documentary film about film scores
  Film Score Monthly   
References[edit]
 
  ^  Savage, Mark. "Where Are the New Movie Themes?" BBC, July 28, 2008.
  ^   "Bebe Barron: Co-composer of the first electronic film score, for 'Forbidden Planet'". The Independent. London. May 8, 2008. Retrieved May 2, 2010.
  ^   "Film Scores Facts, Worksheets, Definition &amp; History For Kids". KidsKonnect. June 3, 2020. Retrieved March 29, 2021.
  ^  Rockwell, John (May 21, 1978). "When the Soundtrack Makes the Film". The New York Times. Retrieved August 10, 2010.
  ^  Hickman, Roger (2017). Reel music: exploring 100 years of film music (Second ed.). New York. ISBN  978-0-393-93766-4 . OCLC 976036236.
  ^  Karlin, Fred; Wright, Rayburn (January 1, 2004).  On the Track: A Guide to Contemporary Film Scoring . Routledge. ISBN  9780415941365  – via Google Books.
  ^   "About the Naqoyqatsi team". Archived from the original on December 26, 2008.
  ^   "The Good, The Bad and The Ugly – Expanded Edition Soundtrack (1967)".
  ^   "We Built Our Own World: Hans Zimmer and the Music of 'Inception'".
  ^   "Gustavo Santaolalla". thenitmustbetrue.com. Archived from the original on April 12, 2005.
  ^   "SMPTE".
  ^  Kompanek, Sonny. From Score To Screen: Sequencers, Scores And Second Thoughts: The New Film Scoring Process. Schirmer Trade Books, 2004. ISBN 978-0-8256-7308-5
  ^  London Symphony Orchestra and Film Music Archived September 30, 2011, at the Wayback Machine LSO. Retrieved June 30, 2011
  ^   "5 RTAS Plug-Ins You Can Download for Free".
  ^  George Burt, The art of film music, Northeastern University Press
  ^  Paterson, Jim. "2001 A Space Odyssey – Original soundtrack by Alex North, commissioned but unused by Stanley Kubrick, conducted by Jerry Goldsmith".
  ^   "Torn Curtain Soundtrack (1966)".
  ^   "Gabriel Yared's Troy – Article".
  ^   "Filmtracks: Pirates of the Caribbean: The Curse of the Black Pearl (Hans Zimmer/Klaus Badelt)".
  ^   "Music on Film:: News:: Article in Variety about James Newton Howard's King Kong score". Archived from the original on 12 December 2007. Retrieved 30 July 2008.
  ^   "The Bourne Identity". Archived from the original on 19 September 2008. Retrieved 22 July 2008.
  ^   "Leitmotif". Merriam-Webster Dictionary (online ed.).
  ^  Evensen, Kristian (2008). "The Star Wars series and Wagner's Ring: Structural, thematic and musical connections". Richard Wagner Web Site. Archived from the original on 26 July 2010.
  ^  FilmChat (May 7, 2013). "Music for Klingons, part one: Jerry Goldsmith". FilmChat. Retrieved December 13, 2017.
  ^  Green, Edward (2020). "Interview with Composer Marcus Paus". Iconi. Vol. 2, no. 3. pp. 56–67.
  ^   "About the Film Music Society". Film Music Society.
  ^  London. Film Music, p.28. Faber and Faber. Cited in Albright, Daniel, ed. (2004). Modernism and Music, p.96n40. ISBN 0-226-01267-0.
  ^  Wierzbicki, James Eugene (2009).  Film music : a history . New York: Routledge. pp. 26–27. ISBN  978-0-203-88447-8 . OCLC 309903138.
  ^  Film music: a history By James Eugene Wierzbicki, p.20
  ^  Dienstfrey, Eric (2014). "Synch Holes and Patchwork in Early Feature-Film Scores". Music and the Moving Image. 7 (1): 40–53. doi:10.5406/musimoviimag.7.1.0040 – via academia.edu.
  ^  Fairylogue was released September 24, 1908; Assassinat was released November 17, 1908. Dienstfrey, p 53.
  ^  Larsen, Peter (2007).  Film music . John Irons. London: Reaktion. p. 95. ISBN  978-1-86189-341-3 . OCLC 132314768.
  ^  Ornella Volta (ed.), "Satie Seen Through His Letters", Marion Boyars Publishers, London, 1989, p. 199.
  ^   "Erik Satie".  Royal Opera House .
  ^  Robert Orledge, "Satie the Composer", Cambridge University Press, 1990, p. 244.
  ^  Justin Wintle (ed.), "New Makers of Modern Culture", Routledge, 2016, p. 1342.
  ^  Buhler, James (2010).  Hearing the movies : music and sound in film history . David Neumeyer, Rob Deemer. New York: Oxford University Press. pp. 290–293. ISBN  978-0-19-532779-3 . OCLC 276515073.
^    a       b    Cooke, Mervyn (2008). A History of Film Music. New York: Cambridge University Press. [ citation needed ]
  ^  Source: Box Office Mojo – All-Time Domestic Box Office Grosses [1], All-Time Domestic Box Office Grosses Adjusted for Inflation [2], All-Time Worldwide Box Office Grosses [3]
  ^   "Are David Fincher And Trent Reznor The Next Leone and Morricone?". October 4, 2014.
  ^  De Wolfe, Warren (1988). de wolfe millennium catalogue. London: De Wolfe Music.
  ^  Wallace, Helen (2007). Boosey &amp; Hawkes The Publishing Story. London: B&amp;H London. ISBN  978-0-85162-514-0 . [ citation needed ]
  ^   "PRWeb July 2007". Retrieved July 20, 2007.
 
Further reading[edit]
 Andersen, Martin Stig. "Electroacoustic Sound and Audiovisual Structure in Film". eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010). Montréal: CEC.
Dorschel, Andreas (ed.). Tonspuren. Musik im Film: Fallstudien 1994–2001. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). ISBN 3-7024-2885-2. Scrutinizes film score practice at the turn from the 20th to 21st century. In German.
Elal, Sammy and Kristian Dupont (eds.). "The Essentials of Scoring Film". Minimum Noise. Copenhagen, Denmark.
Harris, Steve. Film, Television, and Stage Music on Phonograph Records: A Discography. Jefferson, N.C.: McFarland &amp; Co., 1988. ISBN 0-89950-251-2.
MacDonald, Laurence E. (1998)  The Invisible Art of Film Music: A Comprehensive History . Scarecrow Press. ISBN 9781461673040.
Holly Rogers and Jeremy Barham, The Music and Sound of Experimental Film. Oxford: Oxford University Press, 2017.
Slowik, Michael. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934. New York: Columbia University Press, 2014.
Spande, Robert. "The Three Regimes – A Theory of Film Music" Minneapolis, 1996.
Stoppe, Sebastian, ed. Film in concert: film scores and their relation to classical concert music. Glückstadt: Verlag Werner Hülsbusch, 2014. ISBN 978-3-86488060-5.
Stubblevine, Donald J. Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from Squaw Man (1914) to Batman (1989). Jefferson, N.C.: McFarland &amp; Co., 1991. ISBN 0-89950-569-4.
Various contributors [wiki]. "Films with Significant Electroacoustic Content [ permanent dead link ]". eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006). Montréal: CEC. 
External links[edit]
 Film music organizations 
  Film Music Society 
 International Film Music Critics Association  
 Journals (online and print) 
   Film Music Magazine  
  Film Music Review  
  The Journal of Film Music  
(in French)  UnderScores : le magazine de la musique de film   
 Education 
   International School for Film Score Composition and Production   
 Language 
   "Terms of Art: Film Composer Lingo with Carter Burwell".  Studio 360 . Public Radio International and WNYC. August 31, 2017 [March 23, 2017]. Retrieved September 3, 2017.
Film score - Wikipedia
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Alice in Wonderland (2010 film) - Wikipedia
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<table><tbody><tr><th>Alice in Wonderland</th></tr><tr><td><a href="/wiki/File:Alice_in_Wonderland_(2010_film).png"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Tim_Burton">Tim Burton</a></td></tr><tr><th>Screenplay by</th><td><a href="/wiki/Linda_Woolverton">Linda Woolverton</a></td></tr><tr><th>Based on</th><td><i><a href="/wiki/Alice%27s_Adventures_in_Wonderland">Alice's Adventures in Wonderland</a></i> and <i><a href="/wiki/Through_the_Looking-Glass">Through the Looking-Glass</a></i><br />by <a href="/wiki/Lewis_Carroll">Lewis Carroll</a></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Richard_D._Zanuck">Richard D. Zanuck</a></li>
<li><a href="/wiki/Joe_Roth">Joe Roth</a></li>
<li><a href="/wiki/Suzanne_Todd">Suzanne Todd</a></li>
<li><a href="/wiki/Jennifer_Todd">Jennifer Todd</a></li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Johnny_Depp">Johnny Depp</a></li>
<li><a href="/wiki/Anne_Hathaway">Anne Hathaway</a></li>
<li><a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a></li>
<li><a href="/wiki/Crispin_Glover">Crispin Glover</a></li>
<li><a href="/wiki/Matt_Lucas_(comedian)">Matt Lucas</a></li>
<li><a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a></li>
<li><a href="/wiki/Alan_Rickman">Alan Rickman</a></li>
<li><a href="/wiki/Stephen_Fry">Stephen Fry</a></li>
<li><a href="/wiki/Michael_Sheen">Michael Sheen</a></li>
<li><a href="/wiki/Timothy_Spall">Timothy Spall</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Dariusz_Wolski">Dariusz Wolski</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Chris_Lebenzon">Chris Lebenzon</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Danny_Elfman">Danny Elfman</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Walt_Disney_Pictures">Walt Disney Pictures</a></li>
<li><a href="/wiki/Roth/Kirschenbaum_Films">Roth Films</a></li>
<li><a href="/wiki/The_Zanuck_Company">The Zanuck Company</a></li>
<li>Team Todd</li></ul>
</div></td></tr><tr><th>Distributed by</th><td><a href="/wiki/Walt_Disney_Studios_Motion_Pictures">Walt Disney Studios Motion Pictures</a></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>February 25, 2010 (<a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a>)</li>
<li>March 5, 2010 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>108 minutes</td></tr><tr><th>Country</th><td><a href="/wiki/United_States">United States</a><sup><a href="#cite_note-1">[1]</a></sup></td></tr><tr><th>Language</th><td><a href="/wiki/English_language">English</a></td></tr><tr><th>Budget</th><td>$150<sup><a href="#cite_note-2">[2]</a></sup><sup><a href="#cite_note-Grover_(2010)-3">[3]</a></sup>–$200<sup><a href="#cite_note-budget-4">[4]</a></sup> million</td></tr><tr><th>Box office</th><td>$1.025 billion<sup><a href="#cite_note-BOM-5">[5]</a></sup></td></tr></tbody></table>
<p><i><b>Alice in Wonderland</b></i> is a 2010 American <a href="/wiki/Historical_drama">period</a> <a href="/wiki/Adventure_film">adventure</a> <a href="/wiki/Fantasy_film">fantasy film</a> directed by <a href="/wiki/Tim_Burton">Tim Burton</a> from a screenplay written by <a href="/wiki/Linda_Woolverton">Linda Woolverton</a> and produced by <a href="/wiki/Walt_Disney_Pictures">Walt Disney Pictures</a>. The film stars <a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a> in <a href="/wiki/Alice_(Disney)">the title role</a>, with <a href="/wiki/Johnny_Depp">Johnny Depp</a>, <a href="/wiki/Anne_Hathaway">Anne Hathaway</a>, <a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a>, <a href="/wiki/Crispin_Glover">Crispin Glover</a>, and <a href="/wiki/Matt_Lucas_(comedian)">Matt Lucas</a>, while featuring the voices of <a href="/wiki/Alan_Rickman">Alan Rickman</a>, <a href="/wiki/Stephen_Fry">Stephen Fry</a>, <a href="/wiki/Michael_Sheen">Michael Sheen</a>, and <a href="/wiki/Timothy_Spall">Timothy Spall</a>. A <a href="/wiki/Live-action">live-action adaptation</a> and <a href="/wiki/Re-imagining">re-imagining</a> of <a href="/wiki/Lewis_Carroll">Lewis Carroll</a>'s works, the film follows <a href="/wiki/Alice_(Disney)">Alice Kingsleigh</a>, a nineteen-year-old who accidentally falls down a rabbit hole, returns to Underland and alongside the <a href="/wiki/Tarrant_Hightopp">Mad Hatter</a>, helps restore the <a href="/wiki/White_Queen_(Through_the_Looking-Glass)">White Queen</a> to her throne by fighting against the <a href="/wiki/Red_Queen_(Through_the_Looking-Glass)">Red Queen</a> and her <a href="/wiki/Jabberwocky">Jabberwocky</a>, a <a href="/wiki/Dragon">dragon</a> that terrorizes Underland's inhabitants.
</p><p><i>Alice in Wonderland</i> came under development in December 2007, when Burton was asked to direct two 3D films for Disney, including <a href="/wiki/Frankenweenie_(2012_film)">the remake</a> of <i><a href="/wiki/Frankenweenie_(1984_film)">Frankenweenie</a></i>. Production began in September 2008 and concluded within three months, and was shot in the United Kingdom and the United States. It was followed by an extensive pre-production and visual effects process, where filming included <a href="/wiki/Live_action">live-action</a> and <a href="/wiki/Motion_capture">motion capture</a> sequences. The film premiered in London at the <a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a> on February 25, 2010, and was released in the United Kingdom and the United States through the <a href="/wiki/Disney_Digital_3-D">Disney Digital 3D</a>, <a href="/wiki/RealD_3D">RealD 3D</a>, and <a href="/wiki/IMAX_3D">IMAX 3D</a> formats as well as in conventional theaters on March 5, 2010.
</p><p><i>Alice in Wonderland</i> received mixed reviews upon release; although praised for its visual style, costumes, musical score, performances and special effects, the film was criticized for its lack of narrative coherence. The film generated over $1.025 billion in ticket sales and became the <a href="/wiki/List_of_highest-grossing_films">fifth highest-grossing film</a> during its theatrical run, and it is also the <a href="/wiki/2010_in_film">second-highest-grossing film of 2010</a>.<sup><a href="#cite_note-Time-6">[6]</a></sup> It received three nominations at the <a href="/wiki/68th_Golden_Globe_Awards">68th Golden Globe Awards</a>, including <a href="/wiki/Golden_Globe_Award_for_Best_Motion_Picture_%E2%80%93_Musical_or_Comedy">Best Motion Picture – Musical or Comedy</a>. At the <a href="/wiki/83rd_Academy_Awards">83rd Academy Awards</a>, it won <a href="/wiki/Academy_Award_for_Best_Production_Design">Best Art Direction</a> and <a href="/wiki/Academy_Award_for_Best_Costume_Design">Best Costume Design</a>, and was also nominated for <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>.
</p><p>While not the first such film in its genre, <i>Alice in Wonderland</i> is credited with starting <a href="/wiki/List_of_Disney_live-action_remakes_of_animated_films">a trend of live-action fairy tale and fantasy films</a> being green-lit, particularly from <a href="/wiki/Walt_Disney_Studios_(division)">Walt Disney Studios</a>.<sup><a href="#cite_note-7">[7]</a></sup> A sequel, titled <i><a href="/wiki/Alice_Through_the_Looking_Glass_(2016_film)">Alice Through the Looking Glass</a></i>, was released on May 27, 2016.
</p>
<h2>Plot[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>In 1871, 19-year-old <a href="/wiki/Alice_(Disney)">Alice Kingsleigh</a> is troubled by strange recurring dreams, mourning the death of her father, and fighting the stifling expectations of the society in which she lives. She receives an unwanted marriage proposal from Hamish Ascot at his father's garden party, where she spots a familiar white rabbit wearing a waistcoat and carrying a <a href="/wiki/Pocket_watch">pocket watch</a>. She follows it down a rabbit hole and <a href="/wiki/Resizing_(fiction)">shrinks</a> after drinking from a bottle labeled 'Drink Me' (called Pishsalver), allowing her to enter the forest of a fantastical place called Underland. There she is greeted by the <a href="/wiki/White_Rabbit">White Rabbit</a>, a <a href="/wiki/The_Dormouse">Dormouse</a>, a <a href="/wiki/Dodo_(Alice%27s_Adventures_in_Wonderland)">Dodo</a>, <a href="/wiki/List_of_minor_characters_in_the_Alice_series#Live_Flowers">Talking Flowers</a>, and identical twins <a href="/wiki/Tweedledum_and_Tweedledee">Tweedledum and Tweedledee</a>, who all apparently know her.
</p><p>Alice asserts that she is dreaming, but learns from <a href="/wiki/Caterpillar_(Alice%27s_Adventures_in_Wonderland)">Absolem the Caterpillar</a> that she is destined to slay the <a href="/wiki/Jabberwocky">Jabberwocky</a> and end the tyranny of the <a href="/wiki/Red_Queen_(Through_the_Looking-Glass)">Red Queen</a>. The group is ambushed by the ravenous <a href="/wiki/Bandersnatch">Bandersnatch</a> and the <a href="/wiki/List_of_minor_characters_in_the_Alice_series#The_Playing_Cards">Red Queen's knights</a>, led by the <a href="/wiki/Knave_of_Hearts_(Alice%27s_Adventures_in_Wonderland)">Knave of Hearts</a>. All are captured except Alice, who escapes, and the Dormouse, who takes one of the Bandersnatch's eyes. The Knave informs the Red Queen of Alice's return and he is ordered to find her immediately.
</p><p>The <a href="/wiki/Cheshire_Cat">Cheshire Cat</a> guides Alice to the <a href="/wiki/Tarrant_Hightopp">Mad Hatter</a>, the <a href="/wiki/March_Hare">March Hare</a>, and the Dormouse's tea party. The Hatter explains that the Red Queen took over Underland, usurping her sister the <a href="/wiki/White_Queen_(Through_the_Looking-Glass)">White Queen</a>, and that he joined the resistance after she destroyed his village and killed his family. The red knights seize the party and the Hatter saves Alice from capture by allowing himself to be seized. Alice is found by the Knave's <a href="/wiki/Puppy_(Alice%27s_Adventures_in_Wonderland)">Bloodhound</a> who is allied with the resistance, who takes Alice to the Red Queen's castle, where she grows taller after eating a cake labeled 'Eat Me' (called Upelkuchen), infiltrating the castle as a courtier named "Um".
</p><p>Alice learns that the <a href="/wiki/Vorpal_sword">vorpal sword</a>, the only weapon capable of killing the Jabberwocky, is locked inside the Bandersnatch's den. She rebuffs advances from the Knave, leading the jealous Red Queen to demand her beheading. Alice obtains the sword and returns the Bandersnatch's eye, who gratefully helps her escape the castle and delivers her to the White Queen, who gives Alice a potion that returns her normal size. The Cheshire Cat uses his <a href="/wiki/Shapeshifting">shapeshifting</a> powers to save the Mad Hatter, who incites rebellion amongst the Queen's subjects before escaping. Absolem finally gets Alice to realize Underland is real, evoking memories of her visit when she was a little girl and called it "Wonderland", and advises her to fight the Jabberwocky just before completing his transformation into a <a href="/wiki/Pupa">pupa</a>.
</p><p>The Queens gather their armies on a chessboard-like battlefield and send Alice and the Jabberwocky to decide the battle in single combat. As the two armies battle, Alice beheads the Jabberwocky with the vorpal sword. The red knights turn against their ruler and the White Queen banishes her sister and the Knave into exile together. The White Queen gives Alice a vial of the Jabberwocky's purple blood, which can fulfill one wish, and she decides to return to her world after saying farewell to her friends. 
</p><p>Alice then awakes and gets out of the rabbit hole, dirty and scratched from her fall. When she returns to the gazebo at the garden party, she refuses Hamish's proposal and impresses Lord Ascot with her idea of establishing trade routes to <a href="/wiki/Hong_Kong">Hong Kong</a>, inspiring him to take her as his apprentice. Alice prepares to set off on a trading ship, where a blue butterfly lands on her shoulder, which she recognizes as Absolem.
</p>
<h2>Cast[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Johnny_Depp">Johnny Depp</a> as <a href="/wiki/Tarrant_Hightopp">Tarrant Hightopp</a>, <a href="/wiki/Hatter_(Alice%27s_Adventures_in_Wonderland)">the Mad Hatter</a>: The hammy yet bitter mayor of Wonderland and the <a href="/wiki/Leader">leader</a>/owner of the resistance against Iracebeth.<sup><a href="#cite_note-script-8">[8]</a></sup> Wasikowska said that the characters "both feel like outsiders and feel alone in their separate worlds, and have a special bond and friendship with Alice."<sup><a href="#cite_note-'Alice_in_Wonderland''_star_Mia_Wasikowska_on_Johnny_Depp:_'He's_so_brave_and_smart-9">[9]</a></sup><sup><a href="#cite_note-confirm-10">[10]</a></sup> Burton explained that Depp "tried to find a grounding to the character … as opposed to just being mad."<sup><a href="#cite_note-sdcc09-11">[11]</a></sup> Burton also said that "[i]n a lot of versions it's a very one-note kind of character and you know [Depp's] goal was to try and bring out a human side to the strangeness of the character."<sup><a href="#cite_note-sdcc09-11">[11]</a></sup> The orange hair is an allusion to the <a href="/wiki/Erethism">mercury poisoning suffered by hatters</a> who used mercury to cure felt; Depp believes that the character "was poisoned … and it was coming out through his hair, through his fingernails and eyes".<sup><a href="#cite_note-Johnny_Depp_explains_how_he_picked_his_poison_with_the_Mad_Hatter-12">[12]</a></sup> Depp and Burton decided that the Hatter's clothes, skin, hair, personality and accent would change throughout the film to reflect his emotions.<sup><a href="#cite_note-Johnny_Depp_is_Mad-13">[13]</a></sup> In an interview with Depp, the character was paralleled to "a <a href="/wiki/Mood_ring">mood ring</a>, [as] his emotions are <i>very</i> close to the surface".<sup><a href="#cite_note-Johnny_Depp_Sets_Sail_on_Fourth_''Pirates''_Movie-14">[14]</a></sup> The Hatter is <a href="/wiki/Dissociative_identity_disorder">"made up of different people and their extreme sides"</a>, with a gentle voice much like the character's creator <a href="/wiki/Lewis_Carroll">Lewis Carroll</a> reflecting the lighter personality and with a Scottish <a href="/wiki/Glasgow_patter">Glaswegian</a> accent (which Depp modeled after <a href="/wiki/Gregor_Fisher">Gregor Fisher</a>'s <i><a href="/wiki/Rab_C._Nesbitt">Rab C. Nesbitt</a></i> character) reflecting a darker, more dangerous personality.<sup><a href="#cite_note-Rab_C_Nesbitt_inspired_Mad_Hatter_accent_says_Johnny_Depp-15">[15]</a></sup> Illusionary dancer <a href="/wiki/David_Bernal">David "Elsewhere" Bernal</a> doubled for Depp during the "Futterwacken" sequence near the end of the film.<sup><a href="#cite_note-Johnny_Depp's_body_double_and_other_'Alice_in_Wonderland'_secrets-16">[16]</a></sup></li></ul>
<div><p><a href="/wiki/File:Red_Queen_-_Alice_in_Wonderland_(2010_film).png"></a></p><div><p>Helena Bonham Carter as the Red Queen. Bonham Carter's head was digitally increased to three times its original size in the film.</p></div></div>
<ul><li><a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a> as <a href="/wiki/Alice_(Alice%27s_Adventures_in_Wonderland)">Alice Kingsleigh</a>. Wasikowska was announced to have been cast on July 23, 2008.<sup><a href="#cite_note-17">[17]</a></sup> Initially, Burton wanted to offer the role to <a href="/wiki/Frances_Bean_Cobain">Frances Bean Cobain</a>, but she refused since she wanted to focus on her university studies.<sup><a href="#cite_note-18">[18]</a></sup> <a href="/wiki/Lindsay_Lohan">Lindsay Lohan</a>,<sup><a href="#cite_note-19">[19]</a></sup> <a href="/wiki/Amanda_Seyfried">Amanda Seyfried</a><sup><a href="#cite_note-20">[20]</a></sup> and <a href="/wiki/Dakota_Blue_Richards">Dakota Blue Richards</a><sup><a href="#cite_note-21">[21]</a></sup> expressed a desire to play the role, while <a href="/wiki/Jennifer_Lawrence">Jennifer Lawrence</a>,<sup><a href="#cite_note-22">[22]</a></sup> <a href="/wiki/Cara_Delevingne">Cara Delevingne</a><sup><a href="#cite_note-23">[23]</a></sup> and <a href="/wiki/Jessica_Brown_Findlay">Jessica Brown Findlay</a> went through an audition, with Brown Findlay being down to the last three.<sup><a href="#cite_note-24">[24]</a></sup> When creating the character, screenwriter Linda Woolverton researched how young women were expected to behave in the Victorian era and then made her the opposite.<sup><a href="#cite_note-nytfeb2610-25">[25]</a></sup> Wasikowska read Carroll's books as a child and re-read them to prepare for her role. She also watched <a href="/wiki/Jan_%C5%A0vankmajer">Jan Švankmajer</a>'s <i><a href="/wiki/Alice_(1988_film)">Alice</a></i>. She said, "When we were kids, my mum would pop it in the VCR player. We would be disturbed, and wouldn't really understand it, but we couldn't look away because it was too intriguing. So I had kept that feeling about Alice, a kind of haunting feeling."<sup><a href="#cite_note-SundayTimes-26">[26]</a></sup> Although facing pressures to conform to society's expectations, Alice grows into a stronger-willed and empowered heroine who chooses her own path; <i><a href="/wiki/The_Independent">Independent</a></i> columnist Liz Hoggard praised Alice as a role model for girls, describing the character as "stubborn, brave, [and] non-girlie".<sup><a href="#cite_note-nytfeb2610-25">[25]</a></sup><sup><a href="#cite_note-27">[27]</a></sup> Hathaway was originally offered the role but turned it down as she was more interested playing the role of the White Queen.<sup><a href="#cite_note-28">[28]</a></sup>
<ul><li>Mairi Ella Challen as six-year-old Alice.<sup><a href="#cite_note-29">[29]</a></sup></li></ul></li>
<li><a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a> as <a href="/wiki/Red_Queen_(Through_the_Looking-Glass)">Iracebeth of Crims, the Red Queen</a>: Mirana's grumpy, stubborn, and murderous sister and the queen of Wonderland. She is an amalgamation of two Carroll characters: the Red Queen and the <a href="/wiki/Queen_of_Hearts_(Alice%27s_Adventures_in_Wonderland)">Queen of Hearts</a>.<sup><a href="#cite_note-script-8">[8]</a></sup> Her first name is a play on the word <a href="https://en.wiktionary.org/wiki/irascible">irascible</a> because she is easily irritated, obstreperous, impatient, and quick to anger.<sup><a href="#cite_note-usatoday.com-30">[30]</a></sup> Bonham Carter's head was digitally increased to three times its original size on screen.<sup><a href="#cite_note-glove-31">[31]</a></sup><sup><a href="#cite_note-animation-32">[32]</a></sup> The character hates animals, and chooses to use them as servants and furniture.<sup><a href="#cite_note-Alice_in_Wonderland:_The_curious_one_that_will_get_the_kids_screaming{{nbsp}}...-33">[33]</a></sup> It is implied that the Red Queen beheaded her late husband, the King. The actress took inspiration from her young daughter Nell, a toddler, stating, "The Red Queen is just like a toddler, because she's got a big head and she's a <a href="/wiki/Tyrant">tyrant</a>." Her appearance is based on England's Queen <a href="/wiki/Elizabeth_I_of_England">Elizabeth I</a>.</li>
<li><a href="/wiki/Anne_Hathaway">Anne Hathaway</a> as <a href="/wiki/White_Queen_(Through_the_Looking-Glass)">Mirana of Marmoreal, the White Queen</a>: Iracebeth's calm and caring sister.<sup><a href="#cite_note-script-8">[8]</a></sup> She was one of few characters that did not require digital manipulation.<sup><a href="#cite_note-Tim_Burton_Takes_on_''Alice_in_Wonderland''-34">[34]</a></sup> Hathaway summed up her character with a caption on a magnet of <a href="/wiki/It%27s_Happy_Bunny">Happy Bunny</a> holding a knife; "Cute but psycho. Things even out."<sup><a href="#cite_note-35">[35]</a></sup> According to Hathaway, "She comes from the same gene pool as the Red Queen. She really likes the dark side, but she's so scared of going too far into it that she's made everything appear very light and happy. But she's living in that place out of fear that she won't be able to control herself."<sup><a href="#cite_note-darkside-36">[36]</a></sup> Hathaway described her interpretation of the White Queen as "a <a href="/wiki/Punk_rock">punk-rock</a> <a href="/wiki/Veganism">vegan</a> <a href="/wiki/Pacifism">pacifist</a>", with inspiration drawn from <a href="/wiki/Debbie_Harry">Debbie Harry</a>, <a href="/wiki/Greta_Garbo">Greta Garbo</a>, and the artwork of <a href="/wiki/Dan_Flavin">Dan Flavin</a>.<sup><a href="#cite_note-darkside-36">[36]</a></sup> Burton said that the White Queen's appearance was inspired by <a href="/wiki/Nigella_Lawson">Nigella Lawson</a>.<sup><a href="#cite_note-Tim_Burton's_White_Queen_Based_on_Nigella_Lawson-37">[37]</a></sup></li>
<li><a href="/wiki/Crispin_Glover">Crispin Glover</a> as <a href="/wiki/Knave_of_Hearts_(Alice%27s_Adventures_in_Wonderland)">Ilosovic Stayne, the Knave of Hearts</a>: Iracebeth's paramour and lieutenant.<sup><a href="#cite_note-script-8">[8]</a></sup> The Knave of Hearts is arrogant and tricky. While he follows the Red Queen's every order, he is the only one capable of calming her dramatic mood swings. Glover said, "The Red Queen has a fair amount of short-tempered reactions to things that people do, and so [the Knave] has to be quite diplomatic." The Red Queen believes that the Knave of Hearts is her lover, but this proves to be false.</li>
<li><a href="/wiki/Matt_Lucas_(comedian)">Matt Lucas</a> as <a href="/wiki/Tweedledum_and_Tweedledee">Tweedledee and Tweedledum</a>: Two identical men and Tarrant's <a href="/wiki/Lieutenant">lieutenants</a> at the resistance against the Red Queen who are the Red Queen's "fat boys" during their capture. Burton commented on the mixture of animation and Lucas, saying that "It's a weird mixture of things which gives his characters the disturbing quality that they so richly deserve."<sup><a href="#cite_note-38">[38]</a></sup> The characters are portrayed through a combination of CGI and live-action, with Lucas's face digitally composited to a full animated body. While performing the character, Lucas had to wear a teardrop-shaped motion capture suit and walk on stilts. In order to play both characters, Lucas was doubled by <a href="/wiki/Ethan_Cohn">Ethan Cohn</a>.</li>
<li><a href="/wiki/Frances_de_la_Tour">Frances de la Tour</a> as Imogene: Alice's aunt.<sup><a href="#cite_note-Louisville_Mojo-39">[39]</a></sup> She is experiencing severe delusions and is constantly awaiting her fictional fiancé whom she believes to be a prince.</li>
<li><a href="/wiki/Leo_Bill">Leo Bill</a> as Hamish Ascot: Alice's rival and ex-fiancé.<sup><a href="#cite_note-Louisville_Mojo-39">[39]</a></sup></li></ul>
<p><a href="/wiki/Marton_Csokas">Marton Csokas</a> makes a <a href="/wiki/Cameo_appearance">cameo appearance</a> as Alice's deceased father in the film's opening scene and Alice's mother is played by <a href="/wiki/Lindsay_Duncan">Lindsay Duncan</a>. Lord and Lady Ascot are played by <a href="/wiki/Tim_Pigott-Smith">Tim Pigott-Smith</a> and <a href="/wiki/Geraldine_James">Geraldine James</a>, respectively. <a href="/wiki/Eleanor_Tomlinson">Eleanor Tomlinson</a> and Eleanor Gecks play the Chattaway sisters. <a href="/wiki/Jemma_Powell">Jemma Powell</a> appears briefly as Alice's sister, Margaret, while Margaret's unfaithful husband Lowell is played by <a href="/wiki/John_Hopkins_(actor)">John Hopkins</a>.
</p>
<h3>Voice cast[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=3">edit</a>]</h3>
<ul><li><a href="/wiki/Michael_Sheen">Michael Sheen</a> as <a href="/wiki/White_Rabbit">Nivens McTwisp, the White Rabbit</a>: Mirana's grand vizier and Tarrant's chief <a href="/wiki/Officer">officer</a> of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup><sup><a href="#cite_note-Actor_Sheen_in_Wonderland-40">[40]</a></sup> Sheen said the character "is such an iconic character that [he] didn't feel like [he] should break the mold too much."<sup><a href="#cite_note-Michael_Sheen_on_White_Rabbit-41">[41]</a></sup> Burton said the quality he wanted most in his clock-watching bunny was a twitchiness, also commenting that "[in] any incarnation of the [White Rabbit] through the years, there's that sort of nervousness of a rabbit."<sup><a href="#cite_note-Michael_Sheen_on_White_Rabbit-41">[41]</a></sup></li>
<li><a href="/wiki/Alan_Rickman">Alan Rickman</a> as <a href="/wiki/Caterpillar_(Alice%27s_Adventures_in_Wonderland)">Absolem, the Caterpillar</a>: The head of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup> Rickman was originally going to have his face composited onto the animated Caterpillar. He was filmed recording his voice in the studio, but the idea was eventually scrapped. The animators did, however, try to give Absolem's face characteristics similar to Rickman's.<sup><a href="#cite_note-animation-32">[32]</a></sup></li>
<li><a href="/wiki/Stephen_Fry">Stephen Fry</a> as <a href="/wiki/Cheshire_Cat">Cheshire</a>: Tarrant's bodyguard and the <a href="/wiki/General_officer">general</a> of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup><sup><a href="#cite_note-Five_Minutes_With:_Stephen_Fry-42">[42]</a></sup> Burton stated that the character had a creepy quality in addition to tapping into his own hatred of cats.<sup><a href="#cite_note-The_Cheshire_Cat_taps_into...my_hatred_of_cats-43">[43]</a></sup> The role was intended to be played by Sheen but he changed his role to the White Rabbit due to scheduling conflicts.</li>
<li><a href="/wiki/Barbara_Windsor">Barbara Windsor</a> as <a href="/wiki/Dormouse_(Alice%27s_Adventures_in_Wonderland)">Mallymkun, the Dormouse</a>: Tarrant's assistant and the <a href="/wiki/Sergeant">sergeant</a> of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup> Burton said that he sought after Windsor for the role because he was a fan of her character in the TV series <i><a href="/wiki/EastEnders">EastEnders</a></i>. Her voice sealed the deal for her role as the character.<sup><a href="#cite_note-44">[44]</a></sup></li>
<li><a href="/wiki/Timothy_Spall">Timothy Spall</a> as <a href="/wiki/Puppy_(Alice%27s_Adventures_in_Wonderland)">Bayard Hamar</a>: Stayne's former pet dog and messenger of the resistance. Although Bayard does not appear in the book, a similar character named The Puppy is likely the inspiration for the character.</li>
<li><a href="/wiki/Paul_Whitehouse">Paul Whitehouse</a> as <a href="/wiki/March_Hare">Thackery Earwicket, the March Hare</a>: Tarrant's partner and the <a href="/wiki/Admiral">admiral</a> of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup> Burton stated that because Whitehouse is a great comedic actor, a lot of his lines came from <a href="/wiki/Improvisation">improvisation</a>.<sup><a href="#cite_note-Alice_in_Wonderland:_A_Visual_Companion-45">[45]</a></sup></li>
<li><a href="/wiki/Michael_Gough">Michael Gough</a> as <a href="/wiki/Dodo_(Alice%27s_Adventures_in_Wonderland)">Uilleam, the Dodo</a>: The <a href="/wiki/Navigator">navigator</a> of the resistance.<sup><a href="#cite_note-script-8">[8]</a></sup> Burton said that Gough was the first person he thought of for the role of Uilleam because he has "a full life quality to his voice".<sup><a href="#cite_note-Alice_in_Wonderland:_A_Visual_Companion1-46">[46]</a></sup> The character only speaks three lines, that Gough recorded in a day. This would be Gough's final acting role; he died a year after its release, aged 94. Gough had previously portrayed the March Hare in the <a href="/wiki/Alice_in_Wonderland_(1966_TV_play)">1966 TV play</a> of the book.</li>
<li><a href="/wiki/Christopher_Lee">Christopher Lee</a> as <a href="/wiki/Jabberwocky">The Jabberwocky</a> (sic): Iracebeth's pet dragon and assassin. While it only had two lines, Burton said that he felt Lee to be a good match for the iconic character because he is "an iconic guy".<sup><a href="#cite_note-Alice_in_Wonderland:_A_Visual_Companion2-47">[47]</a></sup> For the character, Lee had originally tried to make his voice "burble" (as described in the poem "Jabberwocky"). However, Burton persuaded him to use his actual voice, as he found it more intimidating and aggressive.</li>
<li><a href="/wiki/Imelda_Staunton">Imelda Staunton</a> as <a href="/wiki/List_of_minor_characters_in_the_Alice_series#Live_Flowers">The Talking Flowers</a>: Though there are many flowers that appear around Underland, only one of them speaks and one of them is clearly a <a href="/wiki/Caricature">caricature</a> of Staunton.<sup><a href="#cite_note-presskit-48">[48]</a></sup> Staunton only speaks three lines that are heard very briefly at the beginning of the film.</li>
<li><a href="/wiki/Jim_Carter_(actor)">Jim Carter</a> as <a href="/wiki/List_of_minor_characters_in_the_Alice_series#The_Executioner">The Executioner</a>: The Executioner only speaks one line and appears extremely briefly, though Carter also voiced several other servants to the Red Queen.</li></ul>
<p><a href="/wiki/Frank_Welker">Frank Welker</a> provided additional voices and vocal effects; including roars of the <a href="/wiki/Jabberwocky">Jabberwocky</a> and <a href="/wiki/Bandersnatch">Bandersnatch</a>, squawks for the <a href="/wiki/Jubjub_bird">Jubjub bird</a>, and Bayard's barking.<sup><a href="#cite_note-presskit-48">[48]</a></sup> Rickman, Windsor, Fry, Gough, Lee, Staunton and Carter each took only a day to record their dialogue.<sup><a href="#cite_note-presskit-48">[48]</a></sup>
</p>
<h2>Production[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=4">edit</a>]</h2>
<p><a href="/wiki/Tim_Burton">Tim Burton</a> signed with <a href="/wiki/Walt_Disney_Pictures">Walt Disney Pictures</a> to direct two films in <a href="/wiki/Disney_Digital_3-D">Disney Digital 3D</a>, which included <i>Alice in Wonderland</i><sup><a href="#cite_note-Graser-49">[49]</a></sup> and <a href="/wiki/Frankenweenie_(2012_film)">his remake of <i>Frankenweenie</i></a>. Burton developed the story because he never felt an emotional tie to <a href="/wiki/Alice%27s_Adventures_in_Wonderland">the original book</a>.<sup><a href="#cite_note-Ryder-50">[50]</a></sup><sup>[<i><a href="/wiki/Wikipedia:Verifiability">failed verification</a> – <a href="/wiki/Talk:Alice_in_Wonderland_(2010_film)#Burton_and_the_original_book">see discussion</a></i>]</sup>
</p>
<table>
<tbody><tr>
<td>"We wanted somebody who had... it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her."
</td></tr>
<tr>
<td>—Burton on casting <a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a> as Alice<sup><a href="#cite_note-Tim_Burton_Interview-51">[51]</a></sup>
</td></tr></tbody></table>
<p>He explained "the goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of <i>Alice</i>." On prior versions, Burton said "It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection." His goal with the new film is to give the story "some framework of emotional grounding" and "to try and make <i>Alice</i> feel more like a story as opposed to a series of events."<sup><a href="#cite_note-sdcc09-11">[11]</a></sup> Burton focused on the poem "<a href="/wiki/Jabberwocky">Jabberwocky</a>" as part of his structure,<sup><a href="#cite_note-52">[52]</a></sup> and refers to the described creature by the name of the poem rather than by the name "Jabberwock" used in the poem. Burton also stated that he does not see his version as either a sequel to any existing <i>Alice</i> film nor as a "re-imagining".<sup><a href="#cite_note-Ryder-50">[50]</a></sup> However, the idea of the climax of the story being Alice's battle with the Queen's champion, the Jabberwocky, was first added in the video game <i><a href="/wiki/American_McGee%27s_Alice">American McGee's Alice</a></i>, and the landscape, tower, weapons and appearance of Alice in those scenes of the film are very reminiscent of the same scenes in the game.
</p>
<div><p><a href="/wiki/File:Antony_House_03.jpg"></a></p></div>
<p>This film was originally set to be released on March 19, 2010 but was moved up to March 5, 2010.<sup><a href="#cite_note-Disney_unveils_2009_schedule-53">[53]</a></sup> <a href="/wiki/Principal_photography">Principal photography</a> was scheduled for May 2008, but did not begin until September and concluded in three months.<sup><a href="#cite_note-Graser-49">[49]</a></sup><sup><a href="#cite_note-firstlook-54">[54]</a></sup> Scenes set in the <a href="/wiki/Victorian_era">Victorian era</a> were shot at <a href="/wiki/Torpoint">Torpoint</a> and <a href="/wiki/Plymouth">Plymouth</a> from September 1 to October 14. Two hundred and fifty local <a href="/wiki/Extra_(actor)">extras</a> were chosen in early August. Locations included <a href="/wiki/Antony_House">Antony House</a> in Torpoint, <a href="/wiki/Charlestown,_Cornwall">Charlestown, Cornwall</a> and <a href="/wiki/Barbican,_Plymouth">the Barbican</a>,<sup><a href="#cite_note-Burton_brings_Hollywood_to_Cornwall-55">[55]</a></sup><sup><a href="#cite_note-Plymouth_in_Wonderland-56">[56]</a></sup> however, no footage from the Barbican was used. <a href="/wiki/Motion_capture">Motion capture</a> filming began in early October at <a href="/wiki/Sony_Pictures_Studios">Sony Pictures Studios</a> in Culver City, California, though the footage was later discarded.<sup><a href="#cite_note-Comic_Lucas_reveals_movie_plans-57">[57]</a></sup><sup><a href="#cite_note-On_The_Set_of_Alice_In_Wonderland-58">[58]</a></sup><sup><a href="#cite_note-59">[59]</a></sup> Filming also took place at <a href="/wiki/Culver_Studios">Culver Studios</a>.<sup><a href="#cite_note-Alan_Rickman_Interview-60">[60]</a></sup> Burton said that he used a combination of live action and animation, without motion capture.<sup><a href="#cite_note-explores-61">[61]</a></sup> He also noted that this was the first time he had filmed on a <a href="/wiki/Chroma_key">green screen</a>.<sup><a href="#cite_note-explores-61">[61]</a></sup> Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days.<sup><a href="#cite_note-telegraph100215-62">[62]</a></sup> Many of the cast and crew felt nauseated as a result of the long hours surrounded by green, and Burton had lavender lenses fitted into his glasses to counteract the effect.<sup><a href="#cite_note-telegraph100215-62">[62]</a></sup> Due to the constant need for digital effects to distort the actors' physical appearances, such as the size of the Red Queen's head or Alice's height, visual effects supervisor <a href="/wiki/Ken_Ralston">Ken Ralston</a> cited the film as being exhausting, saying it was "The biggest show I've ever done, [and] the most creatively involved I've ever been."<sup><a href="#cite_note-Down_the_Rabbit_Hole-63">[63]</a></sup>
</p><p><a href="/wiki/Sony_Pictures_Imageworks">Sony Pictures Imageworks</a> designed the visual effects sequences.<sup><a href="#cite_note-Johnny_Depp_in_deep_with_Disney-64">[64]</a></sup> Burton felt 3D was appropriate to the story's environment.<sup><a href="#cite_note-confirm-10">[10]</a></sup> Burton and Zanuck chose to film with conventional cameras, and <a href="/wiki/2D_to_3D_conversion">convert</a> the footage into 3D during post-production; Zanuck explained 3D cameras were too expensive and "clumsy" to use, and they felt that there was no difference between converted footage and those shot in the format.<sup><a href="#cite_note-Richard_Zanuck_and_James_Cameron_spar_over_Alice_in_Wonderland-65">[65]</a></sup> <a href="/wiki/James_Cameron">James Cameron</a>, who released his 3D film <i><a href="/wiki/Avatar_(2009_film)">Avatar</a></i> in December 2009, criticized the choice, stating, "It doesn't make any sense to shoot in 2D and convert to 3D".<sup><a href="#cite_note-James_Cameron_Criticizes_Tim_Burton_and_3D_DVD_Releases-66">[66]</a></sup>
</p>
<h2>Music[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=5">edit</a>]</h2>
<p><a href="/wiki/Danny_Elfman">Danny Elfman</a> composed the musical score for <i>Alice in Wonderland</i>, after regularly scoring for Burton's films.<sup><a href="#cite_note-:0-67">[67]</a></sup> Elfman did not want to use period music and instead blended orchestral, classical and pop music, to highlight the internal score, and had used symphony orchestration for the visual style of Burton, incorporating the same methods by <a href="/wiki/Erich_Wolfgang_Korngold">Erich Wolfgang Korngold</a>, <a href="/wiki/Max_Steiner">Max Steiner</a>, <a href="/wiki/Franz_Waxman">Franz Waxman</a> and <a href="/wiki/Bernard_Herrmann">Bernard Hermann</a>.<sup><a href="#cite_note-:2-68">[68]</a></sup> The score album was released by <a href="/wiki/Walt_Disney_Records">Walt Disney Records</a> on March 2, 2010,<sup><a href="#cite_note-earthtimes-69">[69]</a></sup> and debuted at number 89 on the <i>Billboard</i> Top 200 albums chart.<sup><a href="#cite_note-Week_Ending_March_7,_2010:_Cruz_Controls_Hot_100-70">[70]</a></sup>
</p><p>A concept album titled <i>Almost Alice</i> is a collection of various artists' music inspired by the film.<sup><a href="#cite_note-earthtimes-69">[69]</a></sup><sup><a href="#cite_note-Avril_Lavigne_Song_To_Appear_On_Tim_Burton's_''Alice_In_Wonderland''_Soundtrack-71">[71]</a></sup><sup><a href="#cite_note-Tokio_Hotel_And_Kerli_Will_Collaborate_On_Tim_Burton's_''Alice_In_Wonderland''_Soundtrack-72">[72]</a></sup> It was released by Walt Disney under the <a href="/wiki/Buena_Vista_Records">Buena Vista Records</a> imprint, the same day as the score album's release.<sup><a href="#cite_note-earthtimes-69">[69]</a></sup> The <a href="/wiki/Lead_single">lead single</a>, "<a href="/wiki/Alice_(Avril_Lavigne_song)">Alice</a>" by <a href="/wiki/Avril_Lavigne">Avril Lavigne</a>, premiered on January 27, 2010, on <a href="/wiki/Ryan_Seacrest">Ryan Seacrest</a>'s radio program. Other singles include "Follow Me Down" by <a href="/wiki/3OH!3">3OH!3</a>, "Her Name Is Alice" by <a href="/wiki/Shinedown">Shinedown</a>, and "Tea Party" by <a href="/wiki/Kerli">Kerli</a>.<sup><a href="#cite_note-Interview_with_Avril_Lavigne-73">[73]</a></sup>
</p>
<h2>Marketing[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=6">edit</a>]</h2>
<h3>Promotions[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=7">edit</a>]</h3>
<div><p><a href="/wiki/File:DCA_Mad_T_Party_Dormouse_jump.jpg"></a></p><div><p>Mad T Party at California Adventure, showing the Dormouse on guitar, Cheshire Cat on drums, and Alice as lead singer.</p></div></div>
<p>On June 22, 2009, the first pictures of the film were released, showing Depp as the Mad Hatter, Hathaway as the White Queen, Bonham Carter as the Red Queen and Lucas as Tweedledee and Tweedledum.<sup><a href="#cite_note-firstlook-54">[54]</a></sup> A new image of Alice was also released.<sup><a href="#cite_note-''Alice_in_Wonderland''_Stills-74">[74]</a></sup> In July, new photos emerged of Alice holding a white rabbit, the Mad Hatter with a hare, the Red Queen holding a pig, and the White Queen with a mouse.<sup><a href="#cite_note-Exclusive:_New_Alice_In_Wonderland_Pic-75">[75]</a></sup>
</p><p>On July 22, 2009, a <a href="/wiki/Teaser_trailer">teaser trailer</a> from the Mad Hatter's point of view was released on <a href="/wiki/IGN">IGN</a> but was shortly taken down because Disney claimed that the trailer was not supposed to be out yet. The teaser was also planned to premiere along with a trailer of <a href="/wiki/Robert_Zemeckis">Robert Zemeckis</a>' <a href="/wiki/Film_adaptation">film adaptation</a> of <i><a href="/wiki/A_Christmas_Carol_(2009_film)">A Christmas Carol</a></i> on July 24, 2009, for <i><a href="/wiki/G-Force_(film)">G-Force</a></i>. The following day, the teaser trailer premiered at <a href="/wiki/San_Diego_Comic-Con_International">Comic-Con</a> but the trailer shown was different from the one that leaked. The ComicCon version didn't have the Mad Hatter's dialogue. Instead, it featured "<a href="/wiki/Time_to_Pretend">Time to Pretend</a>" by <a href="/wiki/MGMT">MGMT</a>, and the clips shown were in a different order than in the leaked version. The leaked version was originally to be shown to one of the three Facebook groups used to promote the film that had the most members. The groups used to promote the film are "The Loyal Subjects of the Red Queen", "The Loyal Subjects of the White Queen" and "The Disloyal Subjects of the Mad Hatter".<sup><a href="#cite_note-76">[76]</a></sup>
</p><p>Also at ComicCon, <a href="/wiki/Theatrical_property">props</a> from the film were displayed in an "Alice in Wonderland" exhibit. Costumes featured in the exhibit included the Red Queen's dress, chair, wig, glasses, and scepter; the White Queen's dress, wig and a small model of her castle; the Mad Hatter's suit, hat, wig, chair and table; Alice's dress and battle armor (to slay the Jabberwocky). Other props included the "DRINK ME" bottles, the keys, an "EAT ME" pastry and stand-in models of the White Rabbit and March Hare.<sup><a href="#cite_note-Alice_in_Wonderland_Props_Totally_Rock_at_Comic_Con-77">[77]</a></sup>
</p><p>A nighttime party area at the <a href="/wiki/Disney_California_Adventure">Disney California Adventure</a> theme park was created, called "<a href="/wiki/Mad_T_Party">Mad T Party</a>".
</p>
<h3>Video games[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>On July 23, 2009, <a href="/wiki/Disney_Interactive_Studios">Disney Interactive Studios</a> announced that an <i>Alice in Wonderland</i> video game, developed by French game studio <a href="/wiki/%C3%89tranges_Libellules">Étranges Libellules</a>, would be released in the same week as the film for the <a href="/wiki/Wii">Wii</a>, <a href="/wiki/Nintendo_DS">Nintendo DS</a>, and <a href="/wiki/Microsoft_Windows">Microsoft Windows</a>. The soundtrack was composed by video games music composer <a href="/wiki/Richard_Jacques">Richard Jacques</a>.<sup><a href="#cite_note-Illusion,_magic_and_impossible_ideas_come_to_life_in_upcoming_Alice_in_Wonderland_video_games_from_Disney_Interactive_Studios-78">[78]</a></sup> The Wii, DS, and PC versions were released on March 2, 2010.
</p><p>Disney Interactive released in 2013 the game <i>Alice in Wonderland: A New Champion</i> for iOS.<sup><a href="#cite_note-adweekdisneyinter-79">[79]</a></sup>
</p>
<h2>Release[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=9">edit</a>]</h2>
<h3>Theatrical[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=10">edit</a>]</h3>
<p><i>Alice in Wonderland</i> was theatrically released in United Kingdom and United States, in both <a href="/wiki/Disney_Digital_3-D">Disney Digital 3D</a> and <a href="/wiki/IMAX">IMAX 3D</a>,<sup><a href="#cite_note-firstlook-54">[54]</a></sup> as well as regular theatres on March 5, 2010.<sup><a href="#cite_note-80">[80]</a></sup> Prior to the release, the film was premiered at the <a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a> in London on February 25, 2010, for the fundraiser <a href="/wiki/Children_%26_the_Arts">The Prince's Foundation for Children and The Arts</a> where the <a href="/wiki/Charles,_Prince_of_Wales">Prince of Wales</a> and the <a href="/wiki/Camilla,_Duchess_of_Cornwall">Duchess of Cornwall</a> attended.<sup><a href="#cite_note-odeon_boycott-81">[81]</a></sup>
</p><p>On February 12, 2010, major UK theater chains, <a href="/wiki/Odeon_Cinemas">Odeon</a>, <a href="/wiki/Vue_Cinemas">Vue</a>, and <a href="/wiki/Cineworld">Cineworld</a>, had planned to boycott the film because of a reduction of the interval between cinema and DVD <a href="/wiki/Film_release">release</a> from the usual seventeen-week period to twelve. Disney's pretext for cutting short <i>Alice</i>'s theatrical run, is possibly to avoid the release of the DVD clashing with the <a href="/wiki/2010_FIFA_World_Cup">2010 FIFA World Cup</a>.<sup><a href="#cite_note-:1-82">[82]</a></sup> However, exhibitors protested that <i>Alice</i> would be less threatened by the World Cup than other titles.<sup><a href="#cite_note-:1-82">[82]</a></sup> A week after the announcement, Cineworld, who has a 24% share of UK box office, chose to play the film on more than 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. As the success of <i>Avatar</i> has shown, there is currently a huge appetite for the 3D experience".<sup><a href="#cite_note-Cineworld_backs_off_from_Alice_in_Wonderland_boycott-83">[83]</a></sup> Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland, and Italy.<sup><a href="#cite_note-odeon_boycott-81">[81]</a></sup> On February 25, 2010, Odeon had reached an agreement and decided to show the film on March 5.<sup><a href="#cite_note-Odeon_makes_U-turn_on_''Alice''_boycott-84">[84]</a></sup> It also did not affect their plans to show the film in Spain, Germany, <a href="/wiki/Portugal">Portugal</a>, and <a href="/wiki/Austria">Austria</a>.<sup><a href="#cite_note-odeon_boycott-81">[81]</a></sup><sup><a href="#cite_note-A_very_important_date:_''Alice_in_Wonderland''_will_premiere_in_London_on_Feb._25-85">[85]</a></sup><sup><a href="#cite_note-Johnny_Depp_greets_fans_at_Alice_In_Wonderland_premiere-86">[86]</a></sup>
</p>
<h3>Home media[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=11">edit</a>]</h3>
<p><a href="/wiki/Walt_Disney_Studios_Home_Entertainment">Walt Disney Studios Home Entertainment</a> released a three-disc <a href="/wiki/Blu-ray">Blu-ray</a> combo pack (which includes the Blu-ray, DVD and a <a href="/wiki/Digital_copy">digital copy</a>), single-disc Blu-ray and single-disc DVD on June 1, 2010, in North America and July 1, 2010, in Australia.<sup><a href="#cite_note-Alice_in_Wonderland_(2010)_on_DVD_at_dstore-87">[87]</a></sup> The DVD release includes three short features about the making of the film, focusing on Burton's vision for Wonderland and the characters of Alice and the Mad Hatter. The Blu-ray version has nine additional featurettes centered on additional characters, special effects and other aspects of the film's production.<sup><a href="#cite_note-88">[88]</a></sup> In some confusion, a small number of copies were put on shelves a week before schedule in smaller stores, but were quickly removed, although a handful of copies were confirmed purchased ahead of schedule.
</p><p>In its first week of release (June 1–6, 2010), it sold 2,095,878 DVD units (equivalent to $35,441,297) and topped the DVD sales chart for two continuous weeks. By May 22, 2011, it had sold 4,313,680 units ($76,413,043). It failed to crack the 2010 top ten DVDs list in terms of units sold, but reached 10th place on that chart in terms of sales revenue.<sup><a href="#cite_note-89">[89]</a></sup><sup><a href="#cite_note-90">[90]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=12">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=13">edit</a>]</h3>
<p><i>Alice in Wonderland</i> has grossed $334,191,110 in North America and $691,276,000 in other territories for a worldwide total of $1,025,467,110 against a budget of $200 million.<sup><a href="#cite_note-BOM-5">[5]</a></sup><sup><a href="#cite_note-Alice_in_Wonderland_Daily_Box_Office_Results-91">[91]</a></sup><sup><a href="#cite_note-''Alice_in_Wonderland''_opens_strongly_at_box_office-92">[92]</a></sup> Worldwide, it is the <a href="/wiki/2010_in_film#Highest-grossing_films">second-highest-grossing film of 2010</a>.<sup><a href="#cite_note-2010_Worldwide_Grosses-93">[93]</a></sup> It is the third-highest-grossing film starring <a href="/wiki/Johnny_Depp">Johnny Depp</a>,<sup><a href="#cite_note-Johnny_Depp-94">[94]</a></sup> the highest-grossing film directed by <a href="/wiki/Tim_Burton">Tim Burton</a>,<sup><a href="#cite_note-TimB-95">[95]</a></sup> and the second-highest-grossing film of Anne Hathaway. Additionally, it is the second-highest-grossing children's book adaptation (worldwide, as well as in North America and outside North America separately).<sup><a href="#cite_note-96">[96]</a></sup>
</p><p>On its first weekend, the film made $220.1 million worldwide, marking the second-largest opening ever for a movie not released during the summer or the holiday period (behind <i><a href="/wiki/The_Hunger_Games_(film)">The Hunger Games</a></i>), the fourth-largest for a <a href="/wiki/Walt_Disney_Studios_Motion_Pictures">Disney</a>-distributed film and the fourth-largest among 2010 films.<sup><a href="#cite_note-97">[97]</a></sup> It dominated for three consecutive weekends at the worldwide box office.<sup><a href="#cite_note-98">[98]</a></sup><sup><a href="#cite_note-99">[99]</a></sup><sup><a href="#cite_note-Top_Grossing_Movies_in_Their_3rd_Weekend_at_the_Box_Office-100">[100]</a></sup><sup><a href="#cite_note-Top_Grossing_Movies_in_Their_2nd_Weekend_at_the_Box_Office-101">[101]</a></sup> On May 26, 2010, its 85th day of release, it became the sixth film ever to surpass the $1 billion mark and the second film that had been released by <a href="/wiki/Walt_Disney_Motion_Pictures_Group">Walt Disney Studios</a> that did so.<sup><a href="#cite_note-102">[102]</a></sup><sup><a href="#cite_note-103">[103]</a></sup>
</p><p>In North America, <i>Alice in Wonderland</i> is the <a href="/wiki/List_of_highest-grossing_films_in_Canada_and_the_United_States#Not_adjusted_for_inflation">forty-fourth-highest-grossing film</a> but out of the top 100 when <a href="/wiki/List_of_highest-grossing_films_in_Canada_and_the_United_States#Adjusted_for_ticket-price_inflation">adjusted for inflation</a>. It is also the second-highest-grossing film of 2010, behind <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i>,<sup><a href="#cite_note-2010_Yearly_Box_Office_Results-104">[104]</a></sup> the second-highest-grossing film starring Johnny Depp<sup><a href="#cite_note-Johnny_Depp-94">[94]</a></sup> and the highest-grossing film directed by Tim Burton.<sup><a href="#cite_note-TimB-95">[95]</a></sup> The film opened on March 5, 2010, on approximately 7,400 screens at 3,728 theaters with $40,804,962 during its first day, $3.9 million of which came from midnight showings,<sup><a href="#cite_note-105">[105]</a></sup> ranking number one and setting a new March opening-day record.<sup><a href="#cite_note-106">[106]</a></sup> <i>Alice</i> earned $116.1 million on its opening weekend, breaking the record for the largest opening weekend in March (previously held by <i><a href="/wiki/300_(film)">300</a></i>),<sup><a href="#cite_note-Top_March_Opening_Weekends_at_the_Box_Office-107">[107]</a></sup> the record for the largest opening weekend during springtime (previously held by <i><a href="/wiki/Fast_%26_Furious_(2009_film)">Fast &amp; Furious</a></i>), the largest opening weekend for a non-sequel (previously held by <i><a href="/wiki/Spider-Man_(2002_film)">Spider-Man</a></i>)<sup><a href="#cite_note-Biggest_Opening_Weekends_at_the_Box_Office-108">[108]</a></sup> and the highest one for the non-holiday, non-summer period. However, all of these records were broken by <i>The Hunger Games</i> ($152.5 million) in March 2012.<sup><a href="#cite_note-109">[109]</a></sup><sup><a href="#cite_note-Box_Office_Mojo-110">[110]</a></sup> <i>Alice</i> made the seventeenth-highest-grossing opening weekend ever<sup><a href="#cite_note-111">[111]</a></sup> and the fifth-largest among 3D films.<sup><a href="#cite_note-112">[112]</a></sup> Opening-weekend grosses originating from 3D showings were $81.3 million (70% of total weekend gross). This broke the record for the largest opening-weekend 3D grosses<sup><a href="#cite_note-113">[113]</a></sup><sup><a href="#cite_note-boxofficemojo1-114">[114]</a></sup> but it was later topped by <i><a href="/wiki/The_Avengers_(2012_film)">The Avengers</a></i> ($108 million).<sup><a href="#cite_note-BOM-Avengers-115">[115]</a></sup> It had the largest weekend per-theater average of 2010 ($31,143 per theater) and the largest for a PG-rated film.<sup><a href="#cite_note-116">[116]</a></sup> It broke the <a href="/wiki/IMAX">IMAX</a> opening-weekend record<sup><a href="#cite_note-$210.3M-117">[117]</a></sup> by earning $12.2 million on 188 IMAX screens, with an average of $64,197 per site. The record was first overtaken by <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_2">Deathly Hallows – Part 2</a></i> ($15.2 million).<sup><a href="#cite_note-boxofficemojo1-114">[114]</a></sup> Additionally, it had the biggest opening weekend for a film starring Tim Burton, smashing the previous record held by <i><a href="/wiki/Planet_of_the_Apes_(2001_film)">Planet of the Apes</a></i>.<sup><a href="#cite_note-$210.3M-117">[117]</a></sup> <i>Alice</i> remained in first place for three consecutive weekends at the North American box office.<sup><a href="#cite_note-118">[118]</a></sup><sup><a href="#cite_note-119">[119]</a></sup> <i>Alice</i> closed in theaters on July 8, 2010, with $334.2 million.
</p><p>Outside North America, <i>Alice</i> is the thirteenth-highest-grossing film,<sup><a href="#cite_note-120">[120]</a></sup> the highest-grossing 2010 film,<sup><a href="#cite_note-121">[121]</a></sup> the fourth-highest-grossing Disney film, the second-highest-grossing film starring Johnny Depp<sup><a href="#cite_note-Johnny_Depp-94">[94]</a></sup> and the highest-grossing film directed by Tim Burton.<sup><a href="#cite_note-TimB-95">[95]</a></sup> It began with an estimated $94 million, on top of the weekend box office, and remained at the summit for four consecutive weekends and five in total.<sup><a href="#cite_note-122">[122]</a></sup><sup><a href="#cite_note-123">[123]</a></sup> Japan was the film's highest-grossing country after North America, with $133.7 million, followed by the UK, Ireland and Malta ($64.4 million), and France and the Maghreb region ($45.9 million).<sup><a href="#cite_note-124">[124]</a></sup>
</p>
<h3>Critical response[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=14">edit</a>]</h3>
<p>On the <a href="/wiki/Review_aggregator">review aggregator</a> <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, 51% of 278 critics have given the film a positive review, with an average rating of 5.8/10. The website's consensus is: "Tim Burton's <i>Alice</i> sacrifices the book's minimal narrative coherence—and much of its heart—but it's an undeniable visual treat".<sup><a href="#cite_note-Alice_in_Wonderland_(2010)3-125">[125]</a></sup> According to <a href="/wiki/Metacritic">Metacritic</a>, which calculated a <a href="/wiki/Weighted_average">weighted average</a> score of 53 out of 100 based on 38 reviews, the film received "mixed or average reviews".<sup><a href="#cite_note-126">[126]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average rating of "A−" on an A+ to F scale.<sup><a href="#cite_note-127">[127]</a></sup>
</p><p>Todd McCarthy of <i><a href="/wiki/Variety_(magazine)">Variety</a></i> praised it for its "moments of delight, humor and bedazzlement", but went on to say, "But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years".<sup><a href="#cite_note-Alice_in_Wonderland_Review-128">[128]</a></sup> Michael Rechtshaffen of <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> said "Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks", while as well praising its <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a> (CGI), saying "Ultimately, it's the visual landscape that makes Alice's newest adventure so wondrous, as technology has finally been able to catch up with Burton's endlessly fertile imagination."<sup><a href="#cite_note-129">[129]</a></sup> <a href="/wiki/Owen_Gleiberman">Owen Gleiberman</a> of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> said, "But Burton's Disneyfied 3-D <i>Alice in Wonderland</i>, written by the girl-power specialist Linda Woolverton, is a strange brew indeed: murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that's like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film's rather humdrum 3-D, the place doesn't dazzle—it droops."<sup><a href="#cite_note-130">[130]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> of the <i><a href="/wiki/Chicago_Sun-Times">Chicago Sun-Times</a></i> awarded the film three out of four stars and wrote in his review that, "<i>Alice</i> plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails."<sup><a href="#cite_note-Alice_in_Wonderland_Review4-131">[131]</a></sup>
</p><p>Several reviews criticized the decision to turn Alice into a "<a href="/wiki/British_colonialism">colonialist</a> entrepreneur" at the end of the film setting sail for <a href="/wiki/Qing_dynasty">China</a>.<sup><a href="#cite_note-Alice_in_Wonderland_review-132">[132]</a></sup><sup><a href="#cite_note-''Alice_in_Wonderland_in_Digital_3-D''_clowns_paying_audience-133">[133]</a></sup><sup><a href="#cite_note-Alice_in_Wonderland_review5-134">[134]</a></sup> Given <a href="/wiki/United_Kingdom_of_Great_Britain_and_Ireland">Britain</a>'s role in the <a href="/wiki/First_Opium_War">First</a> and <a href="/wiki/Second_Opium_War">Second Opium Wars</a> during the <a href="/wiki/Victorian_era">Victorian era</a> and the foreign domination of China through "<a href="/wiki/Unequal_treaty">unequal treaties</a>", China expert Kevin Slaten writes, "Not only is it troubling imagery, for a female role model in a Disney movie, but it's also a celebration of the exploitation that China suffered for a century."<sup><a href="#cite_note-Who_else_might_be_mad_at_Alice?_China-135">[135]</a></sup>
</p><p>Game developer <a href="/wiki/American_McGee">American McGee</a>, best known for creating <i><a href="/wiki/American_McGee%27s_Alice">Alice</a></i> and <i><a href="/wiki/Alice:_Madness_Returns">Alice: Madness Returns</a></i>, was asked in a 2011 interview about Tim Burton's interpretation of the title character since both versions share a similar dark and twisted tone of Wonderland. McGee praised the film's visuals and audio but criticized the lack of screen time Alice had compared to the other characters. He felt Alice did not have any purpose in the story and that she was merely used as a "tool".<sup><a href="#cite_note-136">[136]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=15">edit</a>]</h3>
<table>
<tbody><tr>
<th>Award
</th>
<th>Category
</th>
<th>Recipient
</th>
<th>Result
</th></tr>
<tr>
<td><a href="/wiki/83rd_Academy_Awards">83rd Academy Awards</a><sup><a href="#cite_note-137">[137]</a></sup>
</td>
<td><a href="/wiki/Academy_Award_for_Best_Production_Design">Best Art Direction</a>
</td>
<td><a href="/wiki/Robert_Stromberg">Robert Stromberg</a> <br /> <a href="/wiki/Karen_O%27Hara">Karen O'Hara</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /> <a href="/wiki/David_Schaub">David Schaub</a> <br /> <a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /> <a href="/wiki/Sean_Phillips_(visual_effects_artist)">Sean Phillips</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Academy_Award_for_Best_Costume_Design">Best Costume Design</a>
</td>
<td><a href="/wiki/Colleen_Atwood">Colleen Atwood</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/64th_British_Academy_Film_Awards">64th British Academy Film Awards</a><sup><a href="#cite_note-138">[138]</a></sup>
</td>
<td><a href="/wiki/BAFTA_Award_for_Best_Costume_Design">Best Costume Design</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Film_Music">Best Film Music</a>
</td>
<td><a href="/wiki/Danny_Elfman">Danny Elfman</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Production_Design">Best Production Design</a>
</td>
<td><a href="/wiki/Robert_Stromberg">Robert Stromberg</a> <br /> <a href="/wiki/Karen_O%27Hara">Karen O'Hara</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Special_Visual_Effects">Best Special Visual Effects</a>
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /><a href="/wiki/David_Schaub">David Schaub</a> <br /><a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /><a href="/wiki/Sean_Phillips_(visual_effects_artist)">Sean Phillips</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/BAFTA_Award_for_Best_Makeup_and_Hair">Best Makeup and Hair</a>
</td>
<td><a href="/wiki/Valli_O%27Reilly">Valli O'Reilly</a>
<p>Paul Gooch
</p>
</td>
<td>Won
</td></tr>
<tr>
<td>9th <a href="/wiki/Golden_Eagle_Award_(Russia)">Golden Eagle Award</a><sup><a href="#cite_note-2010_nominations2-139">[139]</a></sup>
</td>
<td><a href="/wiki/Golden_Eagle_Award_for_Best_Foreign_Language_Film">Best Foreign Language Film</a>
</td>
<td><i>Alice in Wonderland</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/68th_Golden_Globe_Awards">68th Golden Globe Awards</a><sup><a href="#cite_note-140">[140]</a></sup>
</td>
<td><a href="/wiki/Golden_Globe_Award_for_Best_Motion_Picture_%E2%80%93_Musical_or_Comedy">Best Motion Picture – Musical or Comedy</a>
</td>
<td><i>Alice in Wonderland</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Golden_Globe_Award_for_Best_Actor_%E2%80%93_Motion_Picture_Musical_or_Comedy">Best Actor – Motion Picture Musical or Comedy</a>
</td>
<td><a href="/wiki/Johnny_Depp">Johnny Depp</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Golden_Globe_Award_for_Best_Original_Score">Best Original Score</a>
</td>
<td><a href="/wiki/Danny_Elfman">Danny Elfman</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/53rd_Annual_Grammy_Awards">53rd Annual Grammy Awards</a>
</td>
<td><a href="/wiki/Grammy_Award_for_Best_Score_Soundtrack_Album_for_a_Motion_Picture,_Television_or_Other_Visual_Media">Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Visual_Effects_Society_Awards">9th Annual Visual Effects Society Awards (VES Awards)</a><sup><a href="#cite_note-141">[141]</a></sup>
</td>
<td>Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /> <a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /> <a href="/wiki/David_Schaub">David Schaub</a> <br /> Tom Peitzman
</td>
<td>Nominated
</td></tr>
<tr>
<td>Outstanding Compositing in a Feature Motion Picture (Stolen Tarts)
</td>
<td>Lisa Deaner <br /> Orde Stevanoski <br /> Aaron Kupferman <br />Ruben Flores
</td>
<td>Nominated
</td></tr>
<tr>
<td>15th Annual Satellite Awards<sup><a href="#cite_note-142">[142]</a></sup>
</td>
<td>Best Visual Effects
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /> <a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /> <a href="/wiki/David_Schaub">David Schaub</a> <br /> <a href="/wiki/Sean_Phillips">Sean Phillips</a>
</td>
<td>Won
</td></tr>
<tr>
<td>Best Costume Design
</td>
<td><a href="/wiki/Colleen_Atwood">Colleen Atwood</a>
</td>
<td>Won
</td></tr>
<tr>
<td>Best Art Direction &amp; Production Design
</td>
<td><a href="/wiki/Robert_Stromberg">Robert Stromberg</a> <br /> Stefan Dechant
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Motion Picture, Animated or Mixed Media
</td>
<td><i>Alice in Wonderland</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Original Song
</td>
<td><a href="/wiki/Avril_Lavigne">Avril Lavigne</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/37th_Saturn_Awards">37th Saturn Awards</a>
</td>
<td><a href="/wiki/Saturn_Award_for_Best_Fantasy_Film">Best Fantasy Film</a>
</td>
<td><i>Alice in Wonderland</i>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Costume">Best Costume</a>
</td>
<td><a href="/wiki/Colleen_Atwood">Colleen Atwood</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Make-up">Best Make-Up</a>
</td>
<td>Lindsay MacGowan and <a href="/wiki/Shane_Mahan">Shane Mahan</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Production_Design">Best Production Design</a>
</td>
<td><a href="/wiki/Robert_Stromberg">Robert Stromberg</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Special_Effects">Best Special Effects</a>
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /><a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /><a href="/wiki/David_Schaub">David Schaub</a> <br />Tom Peitzman
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Broadcast_Film_Critics_Association_Awards">Broadcast Film Critics Association Awards</a>
</td>
<td>Best Costume Design
</td>
<td><a href="/wiki/Colleen_Atwood">Colleen Atwood</a>
</td>
<td>Won
</td></tr>
<tr>
<td>Best Makeup
</td>
<td>Jaremy Aiello
</td>
<td>Won
</td></tr>
<tr>
<td>Best Visual Effects
</td>
<td><a href="/wiki/Ken_Ralston">Ken Ralston</a> <br /> <a href="/wiki/Carey_Villegas">Carey Villegas</a> <br /> <a href="/wiki/David_Schaub">David Schaub</a> <br /> Tom Peitzman
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Art Direction
</td>
<td><a href="/wiki/Robert_Stromberg">Robert Stromberg</a> <br /> <a href="/wiki/Karen_O%27Hara">Karen O'Hara</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/2011_Kids%27_Choice_Awards">2011 Kids' Choice Awards</a><sup><a href="#cite_note-143">[143]</a></sup>
</td>
<td><a href="/wiki/Kids%27_Choice_Awards">Favorite Movie</a>
</td>
<td>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Kids%27_Choice_Awards">Favorite Movie Actor</a>
</td>
<td><a href="/wiki/Johnny_Depp">Johnny Depp</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/2010_MTV_Movie_Awards">MTV Movie Awards</a>
</td>
<td><a href="/wiki/MTV_Movie_Award_for_Global_Superstar">Global Superstar</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/MTV_Movie_Award_for_Best_Movie">Best Movie</a>
</td>
<td>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/MTV_Movie_Award_for_Best_Villain">Best Villain</a>
</td>
<td><a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/National_Movie_Awards">National Movie Awards</a>
</td>
<td><a href="/wiki/National_Movie_Awards">Best Performance</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Johnny_Depp">Johnny Depp</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/National_Movie_Awards">Best Fantasy</a>
</td>
<td>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/People%27s_Choice_Awards">People's Choice Awards</a><sup><a href="#cite_note-144">[144]</a></sup>
</td>
<td><a href="/wiki/People%27s_Choice_Awards">Favorite Movie</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/People%27s_Choice_Awards">Favorite Drama Movie</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Awards">Teen Choice Awards</a>
</td>
<td><a href="/wiki/Teen_Choice_Award_for_Choice_Movie_-_Sci-Fi/Fantasy">Choice Movie: Fantasy</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Award_for_Choice_Movie_Actor_-_Sci-Fi/Fantasy">Choice Movie Actor: Fantasy</a>
</td>
<td><a href="/wiki/Johnny_Depp">Johnny Depp</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Awards">Choice Movie: Female Scene Stealer</a>
</td>
<td><a href="/wiki/Anne_Hathaway">Anne Hathaway</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Award">Choice Movie Actress: Fantasy</a>
</td>
<td><a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Awards">Choice Movie: Female Breakout Star</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Awards">Choice Movie: Fight</a>
</td>
<td><a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a> vs. The Jabberwock
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/2010_Scream_Awards">2010 Scream Awards</a>
</td>
<td><a href="/wiki/Scream_Awards">Ultimate Scream</a>
</td>
<td>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">Best Fantasy Movie</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">Best Director</a>
</td>
<td><a href="/wiki/Tim_Burton">Tim Burton</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">Best Fantasy Actress</a>
</td>
<td><a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Awards">Best Breakout Performance – Female</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">Best Fantasy Actor</a>
</td>
<td><a href="/wiki/Johnny_Depp">Johnny Depp</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">Best Supporting Actress</a>
</td>
<td><a href="/wiki/Anne_Hathaway">Anne Hathaway</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Scream_Awards">3-D Top Three</a>
</td>
<td>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/AwardsDaily">AD First Half of the Year Awards</a><sup><a href="#cite_note-145">[145]</a></sup>
</td>
<td>Best Art Direction
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Visual Effects
</td>
<td>Won
</td></tr>
<tr>
<td>Best Make-Up
</td>
<td>Nominated
</td></tr>
<tr>
<td>MTV Fan Music Awards
</td>
<td>Best Movie Song
</td>
<td><a href="/wiki/Avril_Lavigne">Avril Lavigne</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/ChartAttack">ChartAttack</a>'s 16th Annual Year-End Readers' Poll
</td>
<td>Best Song
</td>
<td>Won
</td></tr>
<tr>
<td>3D Creative Arts Awards<sup><a href="#cite_note-imdb.com-146">[146]</a></sup>
</td>
<td>Best 2D to 3D Conversion
</td>
<td>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/American_Cinema_Editors">American Cinema Editors</a><sup><a href="#cite_note-imdb.com-146">[146]</a></sup>
</td>
<td>Best Edited Feature Film - Comedy or Musical
</td>
<td><a href="/wiki/Chris_Lebenzon">Chris Lebenzon</a>
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Annie_Awards">Annie Awards</a><sup><a href="#cite_note-imdb.com-146">[146]</a></sup>
</td>
<td>Best Character Animation in a Live Action Production
</td>
<td>Ryan Page
</td>
<td>Won
</td></tr>
<tr>
<td><a href="/wiki/Art_Directors_Guild">Art Directors Guild</a><sup><a href="#cite_note-imdb.com-146">[146]</a></sup>
</td>
<td>Best Fantasy Film
</td>
<td>Robert Stromberg &amp; Team
</td>
<td>Nominated
</td></tr></tbody></table>
<h2>Legacy[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=16">edit</a>]</h2>
<p>Following its release, the film drove about $1.6 billion in retail sales for Disney, including <a href="/wiki/Home_video">home video</a> and <a href="/wiki/Merchandise">merchandise</a> sales.<sup><a href="#cite_note-147">[147]</a></sup>
</p><p>After the release and success of the movie, <a href="/wiki/Walt_Disney_Pictures">Walt Disney Pictures</a> has announced the development of several live-action adaptations of their <a href="/wiki/List_of_Walt_Disney_Animation_Studios_films">Animated Classics series</a>.<sup><a href="#cite_note-148">[148]</a></sup><sup><a href="#cite_note-149">[149]</a></sup><sup><a href="#cite_note-150">[150]</a></sup><sup><a href="#cite_note-151">[151]</a></sup><sup><a href="#cite_note-152">[152]</a></sup><sup><a href="#cite_note-153">[153]</a></sup><sup><a href="#cite_note-154">[154]</a></sup> With the exception of <i><a href="/wiki/Dumbo_(2019_film)">Dumbo</a></i>, <i><a href="/wiki/Lady_and_the_Tramp_(2019_film)">Lady and the Tramp</a></i>, <i><a href="/wiki/Mulan_(2020_film)">Mulan</a>,</i><sup><a href="#cite_note-155">[155]</a></sup><sup><a href="#cite_note-156">[156]</a></sup><sup><a href="#cite_note-157">[157]</a></sup> <sup><a href="#cite_note-158">[158]</a></sup> and <i><a href="/wiki/Pinocchio_(2022_live-action_film)">Pinocchio</a>;</i> <i><a href="/wiki/The_Lion_King_(2019_film)">The Lion King</a></i>, <i><a href="/wiki/Maleficent_(film)">Maleficent</a></i>, <i><a href="/wiki/Aladdin_(2019_film)">Aladdin</a></i>, <i><a href="/wiki/Cinderella_(2015_Disney_film)">Cinderella</a></i>, <i><a href="/wiki/The_Jungle_Book_(2016_film)">The Jungle Book</a></i>, <i><a href="/wiki/Beauty_and_the_Beast_(2017_film)">Beauty and the Beast</a></i>, and <i><a href="/wiki/Christopher_Robin_(film)">Christopher Robin</a></i> have all followed to similar box-office results with the latter four also earning critical praise. Disney has also announced the development of live-action adaptations of <i><a href="/wiki/Fantasia_(1940_film)">Fantasia</a></i>,<sup><a href="#cite_note-159">[159]</a></sup> <i><a href="/wiki/The_Sword_in_the_Stone_(1963_film)">The Sword in the Stone</a></i>,<sup><a href="#cite_note-160">[160]</a></sup> <i><a href="/wiki/The_Black_Cauldron_(film)">The Black Cauldron</a></i>,<sup><a href="#cite_note-161">[161]</a></sup> <i><a href="/wiki/Peter_Pan_(1953_film)">Peter Pan</a></i>,<sup><a href="#cite_note-162">[162]</a></sup> <i><a href="/wiki/The_Little_Mermaid_(1989_film)">The Little Mermaid</a></i>,<sup><a href="#cite_note-163">[163]</a></sup> <i><a href="/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film)">Snow White and the Seven Dwarfs</a></i>,<sup><a href="#cite_note-164">[164]</a></sup> <i><a href="/wiki/Lilo_%26_Stitch">Lilo &amp; Stitch</a></i>,<sup><a href="#cite_note-165">[165]</a></sup> <i><a href="/wiki/The_Hunchback_of_Notre_Dame_(1996_film)">The Hunchback of Notre Dame</a></i>,<sup><a href="#cite_note-166">[166]</a></sup> <i><a href="/wiki/Bambi">Bambi</a></i>,<sup><a href="#cite_note-167">[167]</a></sup> <i><a href="/wiki/Robin_Hood_(1973_film)">Robin Hood</a></i>,<sup><a href="#cite_note-168">[168]</a></sup> <i><a href="/wiki/Hercules_(1997_film)">Hercules</a></i>,<sup><a href="#cite_note-169">[169]</a></sup> and <i><a href="/wiki/The_Aristocats">The Aristocats</a></i>.<sup><a href="#cite_note-170">[170]</a></sup> The company also released <i><a href="/wiki/Cruella_(film)">Cruella</a></i>, a live-action spin-off of <i><a href="/wiki/One_Hundred_and_One_Dalmatians">One Hundred and One Dalmatians</a></i>, and has plans for live-action spin-offs of <i>Snow White and the Seven Dwarfs</i> and <i>Peter Pan</i> along with a live-action prequel to <i>Aladdin</i>.<sup><a href="#cite_note-171">[171]</a></sup><sup><a href="#cite_note-172">[172]</a></sup><sup><a href="#cite_note-173">[173]</a></sup><sup><a href="#cite_note-174">[174]</a></sup>
</p><p><a href="/wiki/Disney_Theatrical_Productions">Walt Disney Theatrical</a> was in early talks with Burton and screenwriter <a href="/wiki/Linda_Woolverton">Linda Woolverton</a>, who had previously written stage adaptions of <i><a href="/wiki/The_Lion_King_(musical)">The Lion King</a></i>, <i><a href="/wiki/Beauty_and_the_Beast_(musical)">Beauty and the Beast</a></i>, <i><a href="/wiki/Aida_(musical)">Aida</a></i>, and <i><a href="/wiki/Lestat:_The_Musical">Lestat</a></i>, to develop the property as a <a href="/wiki/Broadway_musical">Broadway musical</a> set to premiere in London.<sup><a href="#cite_note-175">[175]</a></sup> <a href="/wiki/Rob_Ashford">Rob Ashford</a> was attached to direct and choreograph.<sup><a href="#cite_note-176">[176]</a></sup><sup><a href="#cite_note-177">[177]</a></sup><sup><a href="#cite_note-178">[178]</a></sup> As of 2013, no further developments had been made.<sup><a href="#cite_note-179">[179]</a></sup>
</p>
<h2>Sequel[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=17">edit</a>]</h2>
<p>On December 7, 2012, <i><a href="/wiki/Variety_(magazine)">Variety</a></i> announced the development of a sequel to <i>Alice in Wonderland</i>. Linda Woolverton returned to write a screenplay.<sup><a href="#cite_note-180">[180]</a></sup> On May 31, 2013, <a href="/wiki/James_Bobin">James Bobin</a> began talks to direct the sequel under the working title <i>Alice in Wonderland: Into the Looking Glass</i>.<sup><a href="#cite_note-181">[181]</a></sup> <a href="/wiki/Johnny_Depp">Johnny Depp</a> returned as <a href="/wiki/Hatter_(Alice%27s_Adventures_in_Wonderland)">The Hatter</a>, <a href="/wiki/Mia_Wasikowska">Mia Wasikowska</a> reprised the role of Alice, and <a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a> returned as the Red Queen.<sup><a href="#cite_note-182">[182]</a></sup><sup><a href="#cite_note-alice2&amp;Jungle-183">[183]</a></sup><sup><a href="#cite_note-184">[184]</a></sup> Several other cast members from the 2010 film also reprised their roles in the sequel.<sup><a href="#cite_note-185">[185]</a></sup> On November 22, 2013, it was announced that the sequel will be released on May 27, 2016, and that Bobin would direct the film. <a href="/wiki/Rhys_Ifans">Rhys Ifans</a> and <a href="/wiki/Sacha_Baron_Cohen">Sacha Baron Cohen</a> are featured in the film.<sup><a href="#cite_note-alice2&amp;Jungle-183">[183]</a></sup><sup><a href="#cite_note-186">[186]</a></sup><sup><a href="#cite_note-187">[187]</a></sup> On January 21, 2014, the film was again retitled to <i>Alice in Wonderland: Through the Looking Glass</i>.<sup><a href="#cite_note-188">[188]</a></sup><sup><a href="#cite_note-189">[189]</a></sup> The title was later reworked once again to <i><a href="/wiki/Alice_Through_the_Looking_Glass_(2016_film)">Alice Through the Looking Glass</a></i>.
</p>
<h2>See also[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=18">edit</a>]</h2>
<ul><li><a href="/wiki/Films_and_television_programmes_based_on_Alice_in_Wonderland">Films and television programmes based on <i>Alice in Wonderland</i></a></li>
<li><a href="/wiki/List_of_films_featuring_miniature_people">List of films featuring miniature people</a></li></ul>
<h2>References[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=19">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> <cite><a href="http://www.bfi.org.uk/films-tv-people/4ce2b8cecd850">"Alice in Wonderland (2010)"</a>. <i><a href="/wiki/British_Film_Institute">British Film Institute</a></i>. <a href="https://web.archive.org/web/20160505235155/http://www.bfi.org.uk/films-tv-people/4ce2b8cecd850">Archived</a> from the original on May 5, 2016. Retrieved June 6, 2016.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite>Verrier, Richard; Fritz, Ben; Eller, Claudia (February 17, 2010). <a href="http://latimesblogs.latimes.com/herocomplex/2010/02/alice-in-wonderland-faces-theater-owner-revolt-.html">"Trouble at the tea party: <i>Alice in Wonderland</i> faces theater owner revolt in U.K."</a> <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. <a href="https://web.archive.org/web/20100219075742/http://latimesblogs.latimes.com/herocomplex/2010/02/alice-in-wonderland-faces-theater-owner-revolt-.html">Archived</a> from the original on February 19, 2010. Retrieved August 19, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Grover_(2010)_3-0">^</a></b> <cite>Grover, Ronald (March 5, 2010). <a href="http://www.businessweek.com/bwdaily/dnflash/content/mar2010/db2010035_265637.htm">"Joe Roth, Back in Wonderland"</a>. <i><a href="/wiki/Bloomberg_Businessweek">Bloomberg Businessweek</a></i>. <a href="https://web.archive.org/web/20100307075920/http://www.businessweek.com/bwdaily/dnflash/content/mar2010/db2010035_265637.htm">Archived</a> from the original on March 7, 2010. Retrieved September 4, 2010.</cite>
</li>
<li><b><a href="#cite_ref-budget_4-0">^</a></b> <cite>Fritz, Ben (March 7, 2010). <a href="http://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/03/alice-in-wonderland-opens-to-record-setting-210-million.html">"First look: 'Alice in Wonderland' opens to record-setting $210 million"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. <a href="https://web.archive.org/web/20100309124249/http://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/03/alice-in-wonderland-opens-to-record-setting-210-million.html">Archived</a> from the original on March 9, 2010. Retrieved September 3, 2010.</cite>
</li>
<li>^ <a href="#cite_ref-BOM_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BOM_5-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://boxofficemojo.com/movies/?id=aliceinwonderland10.htm">"Alice in Wonderland (2010) – Box Office Mojo"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/Internet_Movie_Database">IMDb</a>. <a href="https://web.archive.org/web/20090218045346/http://boxofficemojo.com/movies/?id=aliceinwonderland10.htm">Archived</a> from the original on February 18, 2009. Retrieved July 8, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Time_6-0">^</a></b> Corliss, Richard (May 13, 2012). <a href="http://entertainment.time.com/2012/05/13/the-avengers-storms-the-billion-dollar-club-in-just-19-days/">"<i>The Avengers</i> Storms the Billion Dollar Club — In Just 19 DaysP"</a> <a href="https://web.archive.org/web/20130116201813/http://entertainment.time.com/2012/05/13/the-avengers-storms-the-billion-dollar-club-in-just-19-days/">Archived</a> January 16, 2013, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. <i><a href="/wiki/Time_(magazine)">Time</a></i>.
</li>
<li><b><a href="#cite_ref-7">^</a></b> <cite>Mike Fleming Jr (March 21, 2017). <a href="https://deadline.com/2017/03/beauty-and-the-beast-sean-bailey-disney-emma-watson-1202047710/">"Sean Bailey On How Disney's Live-Action Division Found Its 'Beauty And The Beast' Mojo"</a>. <i>Deadline</i>. <a href="https://archive.today/20170910100558/http://deadline.com/2017/03/beauty-and-the-beast-sean-bailey-disney-emma-watson-1202047710/">Archived</a> from the original on September 10, 2017. Retrieved January 1, 2019.</cite>
</li>
<li>^ <a href="#cite_ref-script_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-script_8-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-script_8-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-script_8-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-script_8-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-script_8-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-script_8-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-script_8-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-script_8-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-script_8-9"><sup><i><b>j</b></i></sup></a> <cite><a href="https://www.joblo.com/scripts/Alice%20in%20Wonderland.pdf">"Alice in Wonderland – Glossary of Terms/Script (early draft)"</a> (PDF). <i>Walt Disney Pictures</i>. JoBlo.com. <a href="https://web.archive.org/web/20100331091125/http://www.joblo.com/scripts/Alice%20in%20Wonderland.pdf">Archived</a> (PDF) from the original on March 31, 2010. Retrieved March 30, 2010.</cite>
</li>
<li><b><a href="#cite_ref-'Alice_in_Wonderland''_star_Mia_Wasikowska_on_Johnny_Depp:_'He's_so_brave_and_smart_9-0">^</a></b> <cite>Abramowitz, Rachel (December 22, 2009). <a href="http://latimesblogs.latimes.com/herocomplex/2009/12/alice-in-wonderland-star-mia-wasikowska-on-johnny-depp-hes-so-brave-and-smart.html">"<i>Alice in Wonderland</i> star Mia Wasikowska on Johnny Depp: 'He's so brave and smart'"</a>. <i>Los Angeles Times</i>. <a href="https://web.archive.org/web/20091224191047/http://latimesblogs.latimes.com/herocomplex/2009/12/alice-in-wonderland-star-mia-wasikowska-on-johnny-depp-hes-so-brave-and-smart.html">Archived</a> from the original on December 24, 2009. Retrieved December 22, 2009.</cite>
</li>
<li>^ <a href="#cite_ref-confirm_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-confirm_10-1"><sup><i><b>b</b></i></sup></a> <cite>Boucher, Geoff (October 15, 2008). <a href="http://latimesblogs.latimes.com/herocomplex/2008/10/tim-burton-talk.html">"Tim Burton talks about Johnny Depp, <i>Alice in Wonderland</i> and <i>The Dark Knight</i>"</a>. <i>Los Angeles Times</i>. <a href="https://web.archive.org/web/20081017115749/http://latimesblogs.latimes.com/herocomplex/2008/10/tim-burton-talk.html">Archived</a> from the original on October 17, 2008. Retrieved October 15, 2008.</cite>
</li>
<li>^ <a href="#cite_ref-sdcc09_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-sdcc09_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-sdcc09_11-2"><sup><i><b>c</b></i></sup></a> <cite>Rice, Kellen (July 22, 2009). <a href="http://blastmagazine.com/the-magazine/entertainment/2009/07/tim-burton-talks-wonderland/">"Comic-Con 2009: Tim Burton talks Wonderland"</a>. <i>Blast Magazine</i>. B Media Ventures. <a href="https://web.archive.org/web/20090725135305/http://blastmagazine.com/the-magazine/entertainment/2009/07/tim-burton-talks-wonderland/">Archived</a> from the original on July 25, 2009. Retrieved July 27, 2009.</cite>
</li>
<li><b><a href="#cite_ref-Johnny_Depp_explains_how_he_picked_his_poison_with_the_Mad_Hatter_12-0">^</a></b> <cite>Abramowitz, Rachel (December 24, 2009). <a href="http://latimesblogs.latimes.com/herocomplex/2009/12/johnny-depp-explains-how-he-picked-his-poison-with-the-mad-hatter-.html">"Johnny Depp explains how he picked his poison with the Mad Hatter"</a>. <i>Los Angeles Times</i>. <a href="https://web.archive.org/web/20091227064356/http://latimesblogs.latimes.com/herocomplex/2009/12/johnny-depp-explains-how-he-picked-his-poison-with-the-mad-hatter-.html">Archived</a> from the original on December 27, 2009. Retrieved December 24, 2009.</cite>
</li>
<li><b><a href="#cite_ref-Johnny_Depp_is_Mad_13-0">^</a></b> <cite><a href="https://web.archive.org/web/20100306100548/http://ph.news.yahoo.com/mb/20100302/tel-johnny-depp-is-mad-2bf66ac.html">"Johnny Depp is Mad"</a>. <i><a href="/wiki/Manila_Bulletin">Manila Bulletin</a></i>. Yahoo!. March 2, 2010. Archived from <a href="http://ph.news.yahoo.com/mb/20100302/tel-johnny-depp-is-mad-2bf66ac.html">the original</a> on March 6, 2010. Retrieved March 7, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Johnny_Depp_Sets_Sail_on_Fourth_''Pirates''_Movie_14-0">^</a></b> <cite>McDaniel, Matt (January 20, 2010). <a href="https://web.archive.org/web/20100124105644/http://movies.yahoo.com/feature/movie-talk-pirates-4.html">"Johnny Depp Sets Sail on Fourth <i>Pirates</i> Movie"</a>. <i>Yahoo! Movies</i>. Yahoo!. Archived from <a href="https://movies.yahoo.com/feature/movie-talk-pirates-4.html">the original</a> on January 24, 2010. Retrieved January 20, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Rab_C_Nesbitt_inspired_Mad_Hatter_accent_says_Johnny_Depp_15-0">^</a></b> <cite>MacDonald, Stuart (March 14, 2010). <a href="http://www.timesonline.co.uk/tol/news/uk/scotland/article7061171.ece">"Rab C Nesbitt inspired Mad Hatter accent says Johnny Depp"</a>. <i><a href="/wiki/The_Times">The Times</a></i>. London. <a href="https://web.archive.org/web/20110629125339/http://www.timesonline.co.uk/tol/news/uk/scotland/article7061171.ece">Archived</a> from the original on June 29, 2011. Retrieved March 14, 2010.</cite>
</li>
<li><b><a href="#cite_ref-Johnny_Depp's_body_double_and_other_'Alice_in_Wonderland'_secrets_16-0">^</a></b> <cite>Hoffmann, Sharon (June 1, 2010). "Johnny Depp's body double and other 'Alice in Wonderland' secrets". <a href="/wiki/The_Kansas_City_Star">The Kansas City Star</a>. p. D3.</cite>
</li>
<li><b><a href="#cite_ref-17">^</a></b> <cite><a href="https://www.theguardian.com/film/2008/jul/24/timburton.aliceinwonderland">"Tim Burton casts his Alice in Wonderland"</a>. <i><a href="/wiki/The_Guardian">The Guardian</a></i>. July 23, 2008. Retrieved January 2, 2023.</cite>
</li>
<li><b><a href="#cite_ref-18">^</a></b> <cite><a href="https://www.express.co.uk/celebrity-news/125464/Cobain-turned-down-Burton-s-Alice-role">"Cobain turned down Burton's Alice role"</a>. <i><a href="/wiki/Daily_Express">Daily Express</a></i>. September 6, 2009. Retrieved January 2, 2023.</cite>
</li>
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<li><b><a href="#cite_ref-96">^</a></b> <cite><a href="https://boxofficemojo.com/genres/chart/?id=childrensbook.htm">"Family – Children's Book Adaptation"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. <a href="https://web.archive.org/web/20110902012921/http://boxofficemojo.com/genres/chart/?id=childrensbook.htm">Archived</a> from the original on September 2, 2011. Retrieved December 14, 2010.</cite>
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<li><b><a href="#cite_ref-97">^</a></b> <cite><a href="https://boxofficemojo.com/alltime/world/worldwideopenings.htm">"WORLDWIDE OPENINGS"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. <a href="https://web.archive.org/web/20130801031300/http://www.boxofficemojo.com/alltime/world/worldwideopenings.htm">Archived</a> from the original on August 1, 2013. Retrieved May 31, 2011.</cite>
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<li><b><a href="#cite_ref-98">^</a></b> <cite><a href="https://boxofficemojo.com/weekend/?yr=2010&amp;p=.htm">"Weekend Index"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. <a href="https://web.archive.org/web/20190629091442/https://www.boxofficemojo.com/weekend/?yr=2010&amp;p=.htm">Archived</a> from the original on June 29, 2019. Retrieved January 19, 2011.</cite>
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<li><b><a href="#cite_ref-99">^</a></b> <cite><a href="https://boxofficemojo.com/intl/weekend/?yr=2010&amp;currency=us&amp;p=.htm">"Overseas Total Box Office Index"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. <a href="https://web.archive.org/web/20110623091547/http://www.boxofficemojo.com/intl/weekend/?yr=2010&amp;currency=us&amp;p=.htm">Archived</a> from the original on June 23, 2011. Retrieved January 19, 2011.</cite>
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<li><b><a href="#cite_ref-Top_Grossing_Movies_in_Their_2nd_Weekend_at_the_Box_Office_101-0">^</a></b> <cite><a href="https://boxofficemojo.com/alltime/weekends/moreweekends.htm?page=2&amp;p=.htm">"Top Grossing Movies in Their 2nd Weekend at the Box Office"</a>. <i>Box Office Mojo</i>. IMDb. <a href="https://web.archive.org/web/20031101171009/http://www.boxofficemojo.com/alltime/weekends/moreweekends.htm?page=2&amp;p=.htm">Archived</a> from the original on November 1, 2003. Retrieved March 14, 2010.</cite>
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<li><b><a href="#cite_ref-102">^</a></b> <cite>Gray, Brandon (January 6, 2010). <a href="https://boxofficemojo.com/news/?id=2800&amp;p=.htm">"Around-the-World Roundup: 'Persia' Perks Up Overseas"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="https://web.archive.org/web/20190203143957/https://www.boxofficemojo.com/news/?id=2800&amp;p=.htm">Archived</a> from the original on February 3, 2019. Retrieved April 24, 2011.</cite>
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<li><b><a href="#cite_ref-103">^</a></b> <cite>Subers, Ray (May 27, 2010). <a href="https://web.archive.org/web/20100530043130/http://www.boxofficemojo.com/news/?id=2793&amp;p=.htm">"'Alice' Is a Billionaire"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. Archived from <a href="https://boxofficemojo.com/news/?id=2793&amp;p=.htm">the original</a> on May 30, 2010. Retrieved April 24, 2011.</cite>
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<li><b><a href="#cite_ref-2010_Yearly_Box_Office_Results_104-0">^</a></b> <cite><a href="https://boxofficemojo.com/yearly/chart/?yr=2010&amp;p=.htm">"2010 Yearly Box Office Results"</a>. <i>Box Office Mojo</i>. IMDb. <a href="https://web.archive.org/web/20100113000534/http://www.boxofficemojo.com/yearly/chart/?yr=2010&amp;p=.htm">Archived</a> from the original on January 13, 2010. Retrieved June 1, 2010.</cite>
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<li><b><a href="#cite_ref-105">^</a></b> <cite><a href="https://www.boxofficemojo.com/news/?id=3645&amp;p=.htm">"Forecast: 'Oz' To Cast a Spell Over Lifeless Box Office"</a>. <i>Box Office Mojo</i>. <a href="https://web.archive.org/web/20130701010055/http://www.boxofficemojo.com/news/?id=3645&amp;p=.htm">Archived</a> from the original on July 1, 2013. Retrieved June 22, 2013. <q>That's about half of Alice in Wonderland ($3.9 million)</q></cite>
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<li><b><a href="#cite_ref-Top_March_Opening_Weekends_at_the_Box_Office_107-0">^</a></b> <cite><a href="https://boxofficemojo.com/alltime/weekends/month/?mo=03&amp;p=.htm">"Top March Opening Weekends at the Box Office"</a>. <i>Box Office Mojo</i>. IMDb. <a href="https://web.archive.org/web/20040213222427/http://boxofficemojo.com/alltime/weekends/month/?mo=03&amp;p=.htm">Archived</a> from the original on February 13, 2004. Retrieved March 14, 2010.</cite>
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<li><b><a href="#cite_ref-109">^</a></b> <a href="https://collider.com/weekend-box-office-the-hunger-games-hits-155-million-for-third-highest-opening-of-all-time/154820/">Weekend Box Office – THE HUNGER GAMES Hits $155 Million for Third Highest Opening of All Time!</a> <a href="https://web.archive.org/web/20120327155855/http://collider.com/weekend-box-office-the-hunger-games-hits-155-million-for-third-highest-opening-of-all-time/154820">Archived</a> March 27, 2012, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Collider.com. Retrieved on March 17, 2013.
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<li><b><a href="#cite_ref-111">^</a></b> <a href="https://boxofficemojo.com/alltime/weekends/">All-Time Box Office Opening Weekends</a> <a href="https://web.archive.org/web/20080723181344/http://boxofficemojo.com/alltime/weekends/">Archived</a> July 23, 2008, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Boxofficemojo.com. Retrieved on March 17, 2013.
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<li><b><a href="#cite_ref-112">^</a></b> <a href="https://boxofficemojo.com/genres/chart/?view=openings&amp;id=3d.htm&amp;p=.htm">All-Time 3D Opening Weekends</a> <a href="https://web.archive.org/web/20181106233441/https://www.boxofficemojo.com/genres/chart/?view=openings&amp;id=3d.htm&amp;p=.htm">Archived</a> November 6, 2018, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Boxofficemojo.com. Retrieved on March 17, 2013.
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<li>^ <a href="#cite_ref-boxofficemojo1_114-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-boxofficemojo1_114-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://boxofficemojo.com/news/?id=3211&amp;p=.htm">"Weekend Report: 'Harry' Makes History"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. July 18, 2011. <a href="https://web.archive.org/web/20120518074104/http://www.boxofficemojo.com/news/?id=3211&amp;p=.htm">Archived</a> from the original on May 18, 2012. Retrieved December 31, 2011.</cite>
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<li><b><a href="#cite_ref-BOM-Avengers_115-0">^</a></b> <cite><a href="https://www.boxofficemojo.com/news/?id=3438&amp;p=.htm">"Weekend Report: 'Avengers' Smashes Records"</a>. Box Office Mojo. May 7, 2012. <a href="https://web.archive.org/web/20120517222138/http://www.boxofficemojo.com/news/?id=3438&amp;p=.htm">Archived</a> from the original on May 17, 2012. Retrieved May 16, 2012.</cite>
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<li><b><a href="#cite_ref-116">^</a></b> <cite><a href="https://boxofficemojo.com/alltime/weekends/mpaa.htm?page=PG&amp;sort=avg&amp;order=DESC&amp;p=.htm">"Biggest Opening PG Rated Movies at the Box Office"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="https://web.archive.org/web/20140401012646/http://boxofficemojo.com/alltime/weekends/mpaa.htm?page=PG&amp;sort=avg&amp;order=DESC&amp;p=.htm">Archived</a> from the original on April 1, 2014. Retrieved April 16, 2014.</cite>
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<li>^ <a href="#cite_ref-$210.3M_117-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-$210.3M_117-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.comingsoon.net/news/movienews.php?id=63990">"Alice in Wonderland Opens to Massive $210.3M Worldwide"</a>. ComingSoon.net (CraveOnline). March 7, 2010. <a href="https://web.archive.org/web/20100310012043/http://www.comingsoon.net/news/movienews.php?id=63990">Archived</a> from the original on March 10, 2010. Retrieved March 7, 2010.</cite>
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<li><b><a href="#cite_ref-118">^</a></b> <cite>Subers, Ray. <a href="https://boxofficemojo.com/news/?id=2686&amp;p=.htm">"Weekend Report: 'Alice' Stays Green, 'Green Zone' Opens in Red"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="https://web.archive.org/web/20110605051901/http://boxofficemojo.com/news/?id=2686&amp;p=.htm">Archived</a> from the original on June 5, 2011. Retrieved March 12, 2011.</cite>
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<li><b><a href="#cite_ref-119">^</a></b> <cite><a href="https://www.boxofficemojo.com/weekend/chart/?yr=2010&amp;wknd=12&amp;p=.htm">"Weekend Box Office Results for March 19–21, 2010"</a>. <i>Box Office Mojo</i>. IMDb. <a href="https://web.archive.org/web/20100324035835/http://www.boxofficemojo.com/weekend/chart/?yr=2010&amp;wknd=12&amp;p=.htm">Archived</a> from the original on March 24, 2010. Retrieved March 25, 2010.</cite>
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<li><b><a href="#cite_ref-120">^</a></b> <a href="https://boxofficemojo.com/alltime/world/?pagenum=1&amp;sort=osgross&amp;order=DESC&amp;p=.htm">All Time Worldwide Box Office Grosses</a> <a href="https://web.archive.org/web/20160104213159/http://www.boxofficemojo.com/alltime/world/?pagenum=1&amp;sort=osgross&amp;order=DESC&amp;p=.htm">Archived</a> January 4, 2016, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Boxofficemojo.com. Retrieved on March 31, 2014.
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<li><b><a href="#cite_ref-121">^</a></b> <a href="https://boxofficemojo.com/intl/weekend/yearly/?yr=2010&amp;p=.htm">Overseas Total Yearly Box Office 2010</a> <a href="https://web.archive.org/web/20140103003005/http://www.boxofficemojo.com/intl/weekend/yearly/?yr=2010&amp;p=.htm">Archived</a> January 3, 2014, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Boxofficemojo.com. Retrieved on March 17, 2013.
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<li><b><a href="#cite_ref-123">^</a></b> <cite>Blair, Gavin (May 24, 2010). <a href="https://www.hollywoodreporter.com/news/alice-gets-10-bil-yen-23919">"'Alice' gets to 10 bil yen faster than 'Avatar'"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. <a href="https://web.archive.org/web/20121026115509/http://www.hollywoodreporter.com/news/alice-gets-10-bil-yen-23919">Archived</a> from the original on October 26, 2012. Retrieved 2011-04-22.</cite>
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<li><b><a href="#cite_ref-124">^</a></b> <a href="https://boxofficemojo.com/movies/?page=intl&amp;id=aliceinwonderland10.htm">ALICE IN WONDERLAND (2010)</a> <a href="https://web.archive.org/web/20181107020317/https://www.boxofficemojo.com/movies/?page=intl&amp;id=aliceinwonderland10.htm">Archived</a> November 7, 2018, at the <a href="/wiki/Wayback_Machine">Wayback Machine</a>. Boxofficemojo.com (March 5, 2010). Retrieved on March 17, 2013.
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<li><b><a href="#cite_ref-Alice_in_Wonderland_(2010)3_125-0">^</a></b> <cite><a href="https://www.rottentomatoes.com/m/1221547-alice_in_wonderland">"Alice in Wonderland (2010)"</a>. <i><a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></i>. <a href="/wiki/Flixster">Flixster</a>. <a href="https://web.archive.org/web/20200716024911/https://www.rottentomatoes.com/m/1221547-alice_in_wonderland">Archived</a> from the original on July 16, 2020. Retrieved July 16, 2010.</cite>
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<li><b><a href="#cite_ref-182">^</a></b> <cite>Bahr, Lindsay (July 12, 2013). <a href="https://www.deadline.com/2013/07/johnny-depp-finalizing-alice-in-wonderland-2/">"Johnny Depp Finalizing 'Alice In Wonderland 2'"</a>. <i>Deadline Hollywood</i>. <a href="https://web.archive.org/web/20140619053340/http://www.deadline.com/2013/07/johnny-depp-finalizing-alice-in-wonderland-2/">Archived</a> from the original on June 19, 2014. Retrieved July 18, 2013.</cite>
</li>
<li>^ <a href="#cite_ref-alice2&amp;Jungle_183-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-alice2&amp;Jungle_183-1"><sup><i><b>b</b></i></sup></a> <cite>Finke, Nikki (November 22, 2013). <a href="http://insidemovies.ew.com/2013/11/22/alice-in-wonderland-2-and-the-jungle-book-snag-release-dates/">"'Alice in Wonderland 2' and 'The Jungle Book' snag release dates"</a>. <i>Entertainment Weekly</i>. <a href="https://web.archive.org/web/20131123134232/http://insidemovies.ew.com/2013/11/22/alice-in-wonderland-2-and-the-jungle-book-snag-release-dates/">Archived</a> from the original on November 23, 2013. Retrieved November 23, 2013.</cite>
</li>
<li><b><a href="#cite_ref-184">^</a></b> <cite><a href="https://www.comingsoon.net/news/movienews.php?id=115929">"Helena Bonham Carter's Red Queen Heads Through the Looking Glass"</a>. March 13, 2014. <a href="https://web.archive.org/web/20141006123431/http://www.comingsoon.net/news/movienews.php?id=115929">Archived</a> from the original on October 6, 2014. Retrieved October 4, 2014.</cite>
</li>
<li><b><a href="#cite_ref-185">^</a></b> <cite><a href="https://collider.com/alice-in-wonderland-2-cast/#more-351751">"Alice in Wonderland 2 Cast Announced as Production Begins Today"</a>. Collider.com. August 4, 2014. <a href="https://web.archive.org/web/20160420161422/http://collider.com/alice-in-wonderland-2-cast/#more-351751">Archived</a> from the original on April 20, 2016. Retrieved April 18, 2016.</cite>
</li>
<li><b><a href="#cite_ref-186">^</a></b> <cite>Kroll, Justin (March 12, 2014). <a href="https://variety.com/2014/film/news/helena-bonham-carter-through-the-looking-glass-1201130477/">"Helena Bonham Carter to Return as Red Queen in 'Through the Looking Glass'"</a>. <i>Variety</i>. <a href="https://web.archive.org/web/20180307073814/http://variety.com/2014/film/news/helena-bonham-carter-through-the-looking-glass-1201130477/">Archived</a> from the original on March 7, 2018. Retrieved March 13, 2014.</cite>
</li>
<li><b><a href="#cite_ref-187">^</a></b> <cite>Paur, Joey (May 31, 2014). <a href="http://geektyrant.com/news/rhys-ifans-will-play-mad-hatters-dad-in-alice-in-wonderland-sequel">"Rhys Ifans Will Play Mad Hatter's Dad in <i>Alice in Wonderland</i> Sequel"</a>. Geek Tyrant. Retrieved July 17, 2014.</cite>
</li>
<li><b><a href="#cite_ref-188">^</a></b> <cite><a href="http://www.fandompost.com/2014/01/22/alice-in-wonderland-sequel-titled/">"'Alice In Wonderland' Sequel Titled"</a>. The Fandom Post. January 22, 2014. Retrieved January 22, 2020.</cite>
</li>
<li><b><a href="#cite_ref-189">^</a></b> <cite><a href="https://www.cinemablend.com/new/Alice-Wonderland-2-Now-Titled-Through-Looking-Glass-Sacha-Baron-Cohen-Talks-41237.html">"Alice In Wonderland 2 Now Titled Through The Looking Glass, Sacha Baron Cohen In Talks"</a>. January 21, 2014. <a href="https://web.archive.org/web/20141006075117/http://www.cinemablend.com/new/Alice-Wonderland-2-Now-Titled-Through-Looking-Glass-Sacha-Baron-Cohen-Talks-41237.html">Archived</a> from the original on October 6, 2014. Retrieved October 4, 2014.</cite>
</li>
</ol></div>
<h2>External links[<a href="/w/index.php?title=Alice_in_Wonderland_(2010_film)&amp;action=edit&amp;section=20">edit</a>]</h2>
<ul><li><a href="http://movies.disney.com/alice-in-wonderland-2010">Official website</a></li>
<li><a href="https://www.imdb.com/title/tt1014759/"><i>Alice in Wonderland</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.isfdb.org/cgi-bin/title.cgi?1614529"><i>Alice in Wonderland</i></a> title listing at the <a href="/wiki/Internet_Speculative_Fiction_Database">Internet Speculative Fiction Database</a></li>
<li><a href="https://www.allmovie.com/movie/v424944"><i>Alice in Wonderland</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li>
<li><a href="https://www.boxofficemojo.com/movies/?id=aliceinwonderland10.htm"><i>Alice in Wonderland</i></a> at <a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></li>
<li><a href="https://www.rottentomatoes.com/m/1221547-alice_in_wonderland"><i>Alice in Wonderland</i></a> at <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a></li>
<li><i><a href="https://www.metacritic.com/movie/alice-in-wonderland">Alice in Wonderland</a></i> at <a href="/wiki/Metacritic">Metacritic</a> <a href="https://www.wikidata.org/wiki/Q174385#P1712"></a></li></ul>
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 * (Top)
 * 1 Plot
 * 2 Cast
 + 2.1 Voice cast
 * 3 Production
 * 4 Music
 * 5 Marketing
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 + 5.2 Video games
 * 6 Release
 + 6.1 Theatrical
 + 6.2 Home media
 * 7 Reception
 + 7.1 Box office
 + 7.2 Critical response
 + 7.3 Accolades
 * 8 Legacy
 * 9 Sequel
 * 10 See also
 * 11 References
 * 12 External links
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 Alice in Wonderland (2010 film)

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 From Wikipedia, the free encyclopedia

 Alice in Wonderland 
 Theatrical release poster
 Directed by Tim Burton 
 Screenplay by Linda Woolverton 
 Based on Alice's Adventures in Wonderland and Through the Looking-Glass
 by Lewis Carroll 
 * Richard D. Zanuck 
 Produced by * Joe Roth 
 * Suzanne Todd 
 * Jennifer Todd 
 * Johnny Depp 
 * Anne Hathaway 
 * Helena Bonham Carter 
 * Crispin Glover 
 Starring * Matt Lucas 
 * Mia Wasikowska 
 * Alan Rickman 
 * Stephen Fry 
 * Michael Sheen 
 * Timothy Spall 
 Cinematography Dariusz Wolski 
 Edited by Chris Lebenzon 
 Music by Danny Elfman 
 * Walt Disney Pictures 
 Production * Roth Films 
 companies * The Zanuck Company 
 * Team Todd 
 Distributed by Walt Disney Studios Motion Pictures 
 Release dates * February 25, 2010 (Odeon Leicester Square) 
 * March 5, 2010 (United States) 
 Running time 108 minutes 
 Country United States[1] 
 Language English 
 Budget $150[2][3]–$200[4] million 
 Box office $1.025 billion[5] 
 

 Alice in Wonderland is a 2010 American period adventure fantasy film directed by Tim Burton from a screenplay written by Linda Woolverton and produced by Walt Disney Pictures. The film stars Mia Wasikowska in the title role, with Johnny Depp, Anne Hathaway, Helena Bonham Carter, Crispin Glover, and Matt Lucas, while featuring the voices of Alan Rickman, Stephen Fry, Michael Sheen, and Timothy Spall. A live-action adaptation and re-imagining of Lewis Carroll's works, the film follows Alice Kingsleigh, a nineteen-year-old who accidentally falls down a rabbit hole, returns to Underland and alongside the Mad Hatter, helps restore the White Queen to her throne by fighting against the Red Queen and her Jabberwocky, a dragon that terrorizes Underland's inhabitants.

 Alice in Wonderland came under development in December 2007, when Burton was asked to direct two 3D films for Disney, including the remake of Frankenweenie. Production began in September 2008 and concluded within three months, and was shot in the United Kingdom and the United States. It was followed by an extensive pre-production and visual effects process, where filming included live-action and motion capture sequences. The film premiered in London at the Odeon Leicester Square on February 25, 2010, and was released in the United Kingdom and the United States through the Disney Digital 3D, RealD 3D, and IMAX 3D formats as well as in conventional theaters on March 5, 2010.

 Alice in Wonderland received mixed reviews upon release; although praised for its visual style, costumes, musical score, performances and special effects, the film was criticized for its lack of narrative coherence. The film generated over $1.025 billion in ticket sales and became the fifth highest-grossing film during its theatrical run, and it is also the second-highest-grossing film of 2010.[6] It received three nominations at the 68th Golden Globe Awards, including Best Motion Picture – Musical or Comedy. At the 83rd Academy Awards, it won Best Art Direction and Best Costume Design, and was also nominated for Best Visual Effects.

 While not the first such film in its genre, Alice in Wonderland is credited with starting a trend of live-action fairy tale and fantasy films being green-lit, particularly from Walt Disney Studios.[7] A sequel, titled Alice Through the Looking Glass, was released on May 27, 2016.

 Plot [ edit ]

 In 1871, 19-year-old Alice Kingsleigh is troubled by strange recurring dreams, mourning the death of her father, and fighting the stifling expectations of the society in which she lives. She receives an unwanted marriage proposal from Hamish Ascot at his father's garden party, where she spots a familiar white rabbit wearing a waistcoat and carrying a pocket watch. She follows it down a rabbit hole and shrinks after drinking from a bottle labeled 'Drink Me' (called Pishsalver), allowing her to enter the forest of a fantastical place called Underland. There she is greeted by the White Rabbit, a Dormouse, a Dodo, Talking Flowers, and identical twins Tweedledum and Tweedledee, who all apparently know her.

 Alice asserts that she is dreaming, but learns from Absolem the Caterpillar that she is destined to slay the Jabberwocky and end the tyranny of the Red Queen. The group is ambushed by the ravenous Bandersnatch and the Red Queen's knights, led by the Knave of Hearts. All are captured except Alice, who escapes, and the Dormouse, who takes one of the Bandersnatch's eyes. The Knave informs the Red Queen of Alice's return and he is ordered to find her immediately.

 The Cheshire Cat guides Alice to the Mad Hatter, the March Hare, and the Dormouse's tea party. The Hatter explains that the Red Queen took over Underland, usurping her sister the White Queen, and that he joined the resistance after she destroyed his village and killed his family. The red knights seize the party and the Hatter saves Alice from capture by allowing himself to be seized. Alice is found by the Knave's Bloodhound who is allied with the resistance, who takes Alice to the Red Queen's castle, where she grows taller after eating a cake labeled 'Eat Me' (called Upelkuchen), infiltrating the castle as a courtier named "Um".

 Alice learns that the vorpal sword, the only weapon capable of killing the Jabberwocky, is locked inside the Bandersnatch's den. She rebuffs advances from the Knave, leading the jealous Red Queen to demand her beheading. Alice obtains the sword and returns the Bandersnatch's eye, who gratefully helps her escape the castle and delivers her to the White Queen, who gives Alice a potion that returns her normal size. The Cheshire Cat uses his shapeshifting powers to save the Mad Hatter, who incites rebellion amongst the Queen's subjects before escaping. Absolem finally gets Alice to realize Underland is real, evoking memories of her visit when she was a little girl and called it "Wonderland", and advises her to fight the Jabberwocky just before completing his transformation into a pupa.

 The Queens gather their armies on a chessboard-like battlefield and send Alice and the Jabberwocky to decide the battle in single combat. As the two armies battle, Alice beheads the Jabberwocky with the vorpal sword. The red knights turn against their ruler and the White Queen banishes her sister and the Knave into exile together. The White Queen gives Alice a vial of the Jabberwocky's purple blood, which can fulfill one wish, and she decides to return to her world after saying farewell to her friends.

 Alice then awakes and gets out of the rabbit hole, dirty and scratched from her fall. When she returns to the gazebo at the garden party, she refuses Hamish's proposal and impresses Lord Ascot with her idea of establishing trade routes to Hong Kong, inspiring him to take her as his apprentice. Alice prepares to set off on a trading ship, where a blue butterfly lands on her shoulder, which she recognizes as Absolem.

 Cast [ edit ]

 * Johnny Depp as Tarrant Hightopp, the Mad Hatter: The hammy yet bitter mayor of Wonderland and the leader/owner of the resistance against Iracebeth.[8] Wasikowska said that the characters "both feel like outsiders and feel alone in their separate worlds, and have a special bond and friendship with Alice."[9][10] Burton explained that Depp "tried to find a grounding to the character … as opposed to just being mad."[11] Burton also said that "[i]n a lot of versions it's a very one-note kind of character and you know [Depp's] goal was to try and bring out a human side to the strangeness of the character."[11] The orange hair is an allusion to the mercury poisoning suffered by hatters who used mercury to cure felt; Depp believes that the character "was poisoned … and it was coming out through his hair, through his fingernails and eyes".[12] Depp and Burton decided that the Hatter's clothes, skin, hair, personality and accent would change throughout the film to reflect his emotions.[13] In an interview with Depp, the character was paralleled to "a mood ring, [as] his emotions are very close to the surface".[14] The Hatter is "made up of different people and their extreme sides", with a gentle voice much like the character's creator Lewis Carroll reflecting the lighter personality and with a Scottish Glaswegian accent (which Depp modeled after Gregor Fisher's Rab C. Nesbitt character) reflecting a darker, more dangerous personality.[15] Illusionary dancer David "Elsewhere" Bernal doubled for Depp during the "Futterwacken" sequence near the end of the film.[16]
 Helena Bonham Carter as the Red Queen. Bonham Carter's head was digitally increased to three times its original size in the film.
 * Mia Wasikowska as Alice Kingsleigh. Wasikowska was announced to have been cast on July 23, 2008.[17] Initially, Burton wanted to offer the role to Frances Bean Cobain, but she refused since she wanted to focus on her university studies.[18] Lindsay Lohan,[19] Amanda Seyfried[20] and Dakota Blue Richards[21] expressed a desire to play the role, while Jennifer Lawrence,[22] Cara Delevingne[23] and Jessica Brown Findlay went through an audition, with Brown Findlay being down to the last three.[24] When creating the character, screenwriter Linda Woolverton researched how young women were expected to behave in the Victorian era and then made her the opposite.[25] Wasikowska read Carroll's books as a child and re-read them to prepare for her role. She also watched Jan Švankmajer's Alice. She said, "When we were kids, my mum would pop it in the VCR player. We would be disturbed, and wouldn't really understand it, but we couldn't look away because it was too intriguing. So I had kept that feeling about Alice, a kind of haunting feeling."[26] Although facing pressures to conform to society's expectations, Alice grows into a stronger-willed and empowered heroine who chooses her own path; Independent columnist Liz Hoggard praised Alice as a role model for girls, describing the character as "stubborn, brave, [and] non-girlie".[25][27] Hathaway was originally offered the role but turned it down as she was more interested playing the role of the White Queen.[28]
 + Mairi Ella Challen as six-year-old Alice.[29]
 * Helena Bonham Carter as Iracebeth of Crims, the Red Queen: Mirana's grumpy, stubborn, and murderous sister and the queen of Wonderland. She is an amalgamation of two Carroll characters: the Red Queen and the Queen of Hearts.[8] Her first name is a play on the word irascible because she is easily irritated, obstreperous, impatient, and quick to anger.[30] Bonham Carter's head was digitally increased to three times its original size on screen.[31][32] The character hates animals, and chooses to use them as servants and furniture.[33] It is implied that the Red Queen beheaded her late husband, the King. The actress took inspiration from her young daughter Nell, a toddler, stating, "The Red Queen is just like a toddler, because she's got a big head and she's a tyrant." Her appearance is based on England's Queen Elizabeth I.
 * Anne Hathaway as Mirana of Marmoreal, the White Queen: Iracebeth's calm and caring sister.[8] She was one of few characters that did not require digital manipulation.[34] Hathaway summed up her character with a caption on a magnet of Happy Bunny holding a knife; "Cute but psycho. Things even out."[35] According to Hathaway, "She comes from the same gene pool as the Red Queen. She really likes the dark side, but she's so scared of going too far into it that she's made everything appear very light and happy. But she's living in that place out of fear that she won't be able to control herself."[36] Hathaway described her interpretation of the White Queen as "a punk-rock vegan pacifist", with inspiration drawn from Debbie Harry, Greta Garbo, and the artwork of Dan Flavin.[36] Burton said that the White Queen's appearance was inspired by Nigella Lawson.[37]
 * Crispin Glover as Ilosovic Stayne, the Knave of Hearts: Iracebeth's paramour and lieutenant.[8] The Knave of Hearts is arrogant and tricky. While he follows the Red Queen's every order, he is the only one capable of calming her dramatic mood swings. Glover said, "The Red Queen has a fair amount of short-tempered reactions to things that people do, and so [the Knave] has to be quite diplomatic." The Red Queen believes that the Knave of Hearts is her lover, but this proves to be false.
 * Matt Lucas as Tweedledee and Tweedledum: Two identical men and Tarrant's lieutenants at the resistance against the Red Queen who are the Red Queen's "fat boys" during their capture. Burton commented on the mixture of animation and Lucas, saying that "It's a weird mixture of things which gives his characters the disturbing quality that they so richly deserve."[38] The characters are portrayed through a combination of CGI and live-action, with Lucas's face digitally composited to a full animated body. While performing the character, Lucas had to wear a teardrop-shaped motion capture suit and walk on stilts. In order to play both characters, Lucas was doubled by Ethan Cohn.
 * Frances de la Tour as Imogene: Alice's aunt.[39] She is experiencing severe delusions and is constantly awaiting her fictional fiancé whom she believes to be a prince.
 * Leo Bill as Hamish Ascot: Alice's rival and ex-fiancé.[39]

 Marton Csokas makes a cameo appearance as Alice's deceased father in the film's opening scene and Alice's mother is played by Lindsay Duncan. Lord and Lady Ascot are played by Tim Pigott-Smith and Geraldine James, respectively. Eleanor Tomlinson and Eleanor Gecks play the Chattaway sisters. Jemma Powell appears briefly as Alice's sister, Margaret, while Margaret's unfaithful husband Lowell is played by John Hopkins.

 Voice cast [ edit ]

 * Michael Sheen as Nivens McTwisp, the White Rabbit: Mirana's grand vizier and Tarrant's chief officer of the resistance.[8][40] Sheen said the character "is such an iconic character that [he] didn't feel like [he] should break the mold too much."[41] Burton said the quality he wanted most in his clock-watching bunny was a twitchiness, also commenting that "[in] any incarnation of the [White Rabbit] through the years, there's that sort of nervousness of a rabbit."[41]
 * Alan Rickman as Absolem, the Caterpillar: The head of the resistance.[8] Rickman was originally going to have his face composited onto the animated Caterpillar. He was filmed recording his voice in the studio, but the idea was eventually scrapped. The animators did, however, try to give Absolem's face characteristics similar to Rickman's.[32]
 * Stephen Fry as Cheshire: Tarrant's bodyguard and the general of the resistance.[8][42] Burton stated that the character had a creepy quality in addition to tapping into his own hatred of cats.[43] The role was intended to be played by Sheen but he changed his role to the White Rabbit due to scheduling conflicts.
 * Barbara Windsor as Mallymkun, the Dormouse: Tarrant's assistant and the sergeant of the resistance.[8] Burton said that he sought after Windsor for the role because he was a fan of her character in the TV series EastEnders. Her voice sealed the deal for her role as the character.[44]
 * Timothy Spall as Bayard Hamar: Stayne's former pet dog and messenger of the resistance. Although Bayard does not appear in the book, a similar character named The Puppy is likely the inspiration for the character.
 * Paul Whitehouse as Thackery Earwicket, the March Hare: Tarrant's partner and the admiral of the resistance.[8] Burton stated that because Whitehouse is a great comedic actor, a lot of his lines came from improvisation.[45]
 * Michael Gough as Uilleam, the Dodo: The navigator of the resistance.[8] Burton said that Gough was the first person he thought of for the role of Uilleam because he has "a full life quality to his voice".[46] The character only speaks three lines, that Gough recorded in a day. This would be Gough's final acting role; he died a year after its release, aged 94. Gough had previously portrayed the March Hare in the 1966 TV play of the book.
 * Christopher Lee as The Jabberwocky (sic): Iracebeth's pet dragon and assassin. While it only had two lines, Burton said that he felt Lee to be a good match for the iconic character because he is "an iconic guy".[47] For the character, Lee had originally tried to make his voice "burble" (as described in the poem "Jabberwocky"). However, Burton persuaded him to use his actual voice, as he found it more intimidating and aggressive.
 * Imelda Staunton as The Talking Flowers: Though there are many flowers that appear around Underland, only one of them speaks and one of them is clearly a caricature of Staunton.[48] Staunton only speaks three lines that are heard very briefly at the beginning of the film.
 * Jim Carter as The Executioner: The Executioner only speaks one line and appears extremely briefly, though Carter also voiced several other servants to the Red Queen.

 Frank Welker provided additional voices and vocal effects; including roars of the Jabberwocky and Bandersnatch, squawks for the Jubjub bird, and Bayard's barking.[48] Rickman, Windsor, Fry, Gough, Lee, Staunton and Carter each took only a day to record their dialogue.[48]

 Production [ edit ]

 Tim Burton signed with Walt Disney Pictures to direct two films in Disney Digital 3D, which included Alice in Wonderland[49] and his remake of Frankenweenie. Burton developed the story because he never felt an emotional tie to the original book.[50][ failed verification – see discussion]

 "We wanted somebody who had... it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her."
 —Burton on casting Mia Wasikowska as Alice[51]     
 

 He explained "the goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of Alice." On prior versions, Burton said "It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection." His goal with the new film is to give the story "some framework of emotional grounding" and "to try and make Alice feel more like a story as opposed to a series of events."[11] Burton focused on the poem "Jabberwocky" as part of his structure,[52] and refers to the described creature by the name of the poem rather than by the name "Jabberwock" used in the poem. Burton also stated that he does not see his version as either a sequel to any existing Alice film nor as a "re-imagining".[50] However, the idea of the climax of the story being Alice's battle with the Queen's champion, the Jabberwocky, was first added in the video game American McGee's Alice, and the landscape, tower, weapons and appearance of Alice in those scenes of the film are very reminiscent of the same scenes in the game.

 Antony House in south Cornwall, England, which served as Lord Ascot's estate in the film

 This film was originally set to be released on March 19, 2010 but was moved up to March 5, 2010.[53] Principal photography was scheduled for May 2008, but did not begin until September and concluded in three months.[49][54] Scenes set in the Victorian era were shot at Torpoint and Plymouth from September 1 to October 14. Two hundred and fifty local extras were chosen in early August. Locations included Antony House in Torpoint, Charlestown, Cornwall and the Barbican,[55][56] however, no footage from the Barbican was used. Motion capture filming began in early October at Sony Pictures Studios in Culver City, California, though the footage was later discarded.[57][58][59] Filming also took place at Culver Studios.[60] Burton said that he used a combination of live action and animation, without motion capture.[61] He also noted that this was the first time he had filmed on a green screen.[61] Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days.[62] Many of the cast and crew felt nauseated as a result of the long hours surrounded by green, and Burton had lavender lenses fitted into his glasses to counteract the effect.[62] Due to the constant need for digital effects to distort the actors' physical appearances, such as the size of the Red Queen's head or Alice's height, visual effects supervisor Ken Ralston cited the film as being exhausting, saying it was "The biggest show I've ever done, [and] the most creatively involved I've ever been."[63]

 Sony Pictures Imageworks designed the visual effects sequences.[64] Burton felt 3D was appropriate to the story's environment.[10] Burton and Zanuck chose to film with conventional cameras, and convert the footage into 3D during post-production; Zanuck explained 3D cameras were too expensive and "clumsy" to use, and they felt that there was no difference between converted footage and those shot in the format.[65] James Cameron, who released his 3D film Avatar in December 2009, criticized the choice, stating, "It doesn't make any sense to shoot in 2D and convert to 3D".[66]

 Music [ edit ]

 Main articles: Alice in Wonderland (film score) and Almost Alice

 Danny Elfman composed the musical score for Alice in Wonderland, after regularly scoring for Burton's films.[67] Elfman did not want to use period music and instead blended orchestral, classical and pop music, to highlight the internal score, and had used symphony orchestration for the visual style of Burton, incorporating the same methods by Erich Wolfgang Korngold, Max Steiner, Franz Waxman and Bernard Hermann.[68] The score album was released by Walt Disney Records on March 2, 2010,[69] and debuted at number 89 on the Billboard Top 200 albums chart.[70]

 A concept album titled Almost Alice is a collection of various artists' music inspired by the film.[69][71][72] It was released by Walt Disney under the Buena Vista Records imprint, the same day as the score album's release.[69] The lead single, "Alice" by Avril Lavigne, premiered on January 27, 2010, on Ryan Seacrest's radio program. Other singles include "Follow Me Down" by 3OH!3, "Her Name Is Alice" by Shinedown, and "Tea Party" by Kerli.[73]

 Marketing [ edit ]

 Promotions [ edit ]

 Mad T Party at California Adventure, showing the Dormouse on guitar, Cheshire Cat on drums, and Alice as lead singer.

 On June 22, 2009, the first pictures of the film were released, showing Depp as the Mad Hatter, Hathaway as the White Queen, Bonham Carter as the Red Queen and Lucas as Tweedledee and Tweedledum.[54] A new image of Alice was also released.[74] In July, new photos emerged of Alice holding a white rabbit, the Mad Hatter with a hare, the Red Queen holding a pig, and the White Queen with a mouse.[75]

 On July 22, 2009, a teaser trailer from the Mad Hatter's point of view was released on IGN but was shortly taken down because Disney claimed that the trailer was not supposed to be out yet. The teaser was also planned to premiere along with a trailer of Robert Zemeckis' film adaptation of A Christmas Carol on July 24, 2009, for G-Force. The following day, the teaser trailer premiered at Comic-Con but the trailer shown was different from the one that leaked. The ComicCon version didn't have the Mad Hatter's dialogue. Instead, it featured "Time to Pretend" by MGMT, and the clips shown were in a different order than in the leaked version. The leaked version was originally to be shown to one of the three Facebook groups used to promote the film that had the most members. The groups used to promote the film are "The Loyal Subjects of the Red Queen", "The Loyal Subjects of the White Queen" and "The Disloyal Subjects of the Mad Hatter".[76]

 Also at ComicCon, props from the film were displayed in an "Alice in Wonderland" exhibit. Costumes featured in the exhibit included the Red Queen's dress, chair, wig, glasses, and scepter; the White Queen's dress, wig and a small model of her castle; the Mad Hatter's suit, hat, wig, chair and table; Alice's dress and battle armor (to slay the Jabberwocky). Other props included the "DRINK ME" bottles, the keys, an "EAT ME" pastry and stand-in models of the White Rabbit and March Hare.[77]

 A nighttime party area at the Disney California Adventure theme park was created, called "Mad T Party".

 Video games [ edit ]

 Main article: Alice in Wonderland (2010 video game)

 On July 23, 2009, Disney Interactive Studios announced that an Alice in Wonderland video game, developed by French game studio Étranges Libellules, would be released in the same week as the film for the Wii, Nintendo DS, and Microsoft Windows. The soundtrack was composed by video games music composer Richard Jacques.[78] The Wii, DS, and PC versions were released on March 2, 2010.

 Disney Interactive released in 2013 the game Alice in Wonderland: A New Champion for iOS.[79]

 Release [ edit ]

 Theatrical [ edit ]

 Alice in Wonderland was theatrically released in United Kingdom and United States, in both Disney Digital 3D and IMAX 3D,[54] as well as regular theatres on March 5, 2010.[80] Prior to the release, the film was premiered at the Odeon Leicester Square in London on February 25, 2010, for the fundraiser The Prince's Foundation for Children and The Arts where the Prince of Wales and the Duchess of Cornwall attended.[81]

 On February 12, 2010, major UK theater chains, Odeon, Vue, and Cineworld, had planned to boycott the film because of a reduction of the interval between cinema and DVD release from the usual seventeen-week period to twelve. Disney's pretext for cutting short Alice ' s theatrical run, is possibly to avoid the release of the DVD clashing with the 2010 FIFA World Cup.[82] However, exhibitors protested that Alice would be less threatened by the World Cup than other titles.[82] A week after the announcement, Cineworld, who has a 24% share of UK box office, chose to play the film on more than 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. As the success of Avatar has shown, there is currently a huge appetite for the 3D experience".[83] Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland, and Italy.[81] On February 25, 2010, Odeon had reached an agreement and decided to show the film on March 5.[84] It also did not affect their plans to show the film in Spain, Germany, Portugal, and Austria.[81][85][86]

 Home media [ edit ]

 Walt Disney Studios Home Entertainment released a three-disc Blu-ray combo pack (which includes the Blu-ray, DVD and a digital copy), single-disc Blu-ray and single-disc DVD on June 1, 2010, in North America and July 1, 2010, in Australia.[87] The DVD release includes three short features about the making of the film, focusing on Burton's vision for Wonderland and the characters of Alice and the Mad Hatter. The Blu-ray version has nine additional featurettes centered on additional characters, special effects and other aspects of the film's production.[88] In some confusion, a small number of copies were put on shelves a week before schedule in smaller stores, but were quickly removed, although a handful of copies were confirmed purchased ahead of schedule.

 In its first week of release (June 1–6, 2010), it sold 2,095,878 DVD units (equivalent to $35,441,297) and topped the DVD sales chart for two continuous weeks. By May 22, 2011, it had sold 4,313,680 units ($76,413,043). It failed to crack the 2010 top ten DVDs list in terms of units sold, but reached 10th place on that chart in terms of sales revenue.[89][90]

 Reception [ edit ]

 Box office [ edit ]

 Alice in Wonderland has grossed $334,191,110 in North America and $691,276,000 in other territories for a worldwide total of $1,025,467,110 against a budget of $200 million.[5][91][92] Worldwide, it is the second-highest-grossing film of 2010.[93] It is the third-highest-grossing film starring Johnny Depp,[94] the highest-grossing film directed by Tim Burton,[95] and the second-highest-grossing film of Anne Hathaway. Additionally, it is the second-highest-grossing children's book adaptation (worldwide, as well as in North America and outside North America separately).[96]

 On its first weekend, the film made $220.1 million worldwide, marking the second-largest opening ever for a movie not released during the summer or the holiday period (behind The Hunger Games), the fourth-largest for a Disney-distributed film and the fourth-largest among 2010 films.[97] It dominated for three consecutive weekends at the worldwide box office.[98][99][100][101] On May 26, 2010, its 85th day of release, it became the sixth film ever to surpass the $1 billion mark and the second film that had been released by Walt Disney Studios that did so.[102][103]

 In North America, Alice in Wonderland is the forty-fourth-highest-grossing film but out of the top 100 when adjusted for inflation. It is also the second-highest-grossing film of 2010, behind Toy Story 3,[104] the second-highest-grossing film starring Johnny Depp[94] and the highest-grossing film directed by Tim Burton.[95] The film opened on March 5, 2010, on approximately 7,400 screens at 3,728 theaters with $40,804,962 during its first day, $3.9 million of which came from midnight showings,[105] ranking number one and setting a new March opening-day record.[106] Alice earned $116.1 million on its opening weekend, breaking the record for the largest opening weekend in March (previously held by 300),[107] the record for the largest opening weekend during springtime (previously held by Fast & Furious), the largest opening weekend for a non-sequel (previously held by Spider-Man)[108] and the highest one for the non-holiday, non-summer period. However, all of these records were broken by The Hunger Games ($152.5 million) in March 2012.[109][110] Alice made the seventeenth-highest-grossing opening weekend ever[111] and the fifth-largest among 3D films.[112] Opening-weekend grosses originating from 3D showings were $81.3 million (70% of total weekend gross). This broke the record for the largest opening-weekend 3D grosses[113][114] but it was later topped by The Avengers ($108 million).[115] It had the largest weekend per-theater average of 2010 ($31,143 per theater) and the largest for a PG-rated film.[116] It broke the IMAX opening-weekend record[117] by earning $12.2 million on 188 IMAX screens, with an average of $64,197 per site. The record was first overtaken by Deathly Hallows – Part 2 ($15.2 million).[114] Additionally, it had the biggest opening weekend for a film starring Tim Burton, smashing the previous record held by Planet of the Apes.[117] Alice remained in first place for three consecutive weekends at the North American box office.[118][119] Alice closed in theaters on July 8, 2010, with $334.2 million.

 Outside North America, Alice is the thirteenth-highest-grossing film,[120] the highest-grossing 2010 film,[121] the fourth-highest-grossing Disney film, the second-highest-grossing film starring Johnny Depp[94] and the highest-grossing film directed by Tim Burton.[95] It began with an estimated $94 million, on top of the weekend box office, and remained at the summit for four consecutive weekends and five in total.[122][123] Japan was the film's highest-grossing country after North America, with $133.7 million, followed by the UK, Ireland and Malta ($64.4 million), and France and the Maghreb region ($45.9 million).[124]

 Critical response [ edit ]

 On the review aggregator Rotten Tomatoes, 51% of 278 critics have given the film a positive review, with an average rating of 5.8/10. The website's consensus is: "Tim Burton's Alice sacrifices the book's minimal narrative coherence—and much of its heart—but it's an undeniable visual treat".[125] According to Metacritic, which calculated a weighted average score of 53 out of 100 based on 38 reviews, the film received "mixed or average reviews".[126] Audiences polled by CinemaScore gave the film an average rating of "A−" on an A+ to F scale.[127]

 Todd McCarthy of Variety praised it for its "moments of delight, humor and bedazzlement", but went on to say, "But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years".[128] Michael Rechtshaffen of The Hollywood Reporter said "Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks", while as well praising its computer-generated imagery (CGI), saying "Ultimately, it's the visual landscape that makes Alice's newest adventure so wondrous, as technology has finally been able to catch up with Burton's endlessly fertile imagination."[129] Owen Gleiberman of Entertainment Weekly said, "But Burton's Disneyfied 3-D Alice in Wonderland, written by the girl-power specialist Linda Woolverton, is a strange brew indeed: murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that's like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film's rather humdrum 3-D, the place doesn't dazzle—it droops."[130] Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars and wrote in his review that, "Alice plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails."[131]

 Several reviews criticized the decision to turn Alice into a "colonialist entrepreneur" at the end of the film setting sail for China.[132][133][134] Given Britain's role in the First and Second Opium Wars during the Victorian era and the foreign domination of China through "unequal treaties", China expert Kevin Slaten writes, "Not only is it troubling imagery, for a female role model in a Disney movie, but it's also a celebration of the exploitation that China suffered for a century."[135]

 Game developer American McGee, best known for creating Alice and Alice: Madness Returns, was asked in a 2011 interview about Tim Burton's interpretation of the title character since both versions share a similar dark and twisted tone of Wonderland. McGee praised the film's visuals and audio but criticized the lack of screen time Alice had compared to the other characters. He felt Alice did not have any purpose in the story and that she was merely used as a "tool".[136]

 Accolades [ edit ]

 Award Category  Recipient Result 
 83rd Academy Awards[137] Best Art Direction Robert Stromberg Won 
   Karen O'Hara 
  Ken Ralston  
 Best Visual Effects David Schaub  Nominated 
  Carey Villegas  
  Sean Phillips  
 Best Costume Design Colleen Atwood  Won 
 64th British Academy Film Awards[138] Best Costume Design Won 
 Best Film Music Danny Elfman  Nominated 
 Best Production Design Robert Stromberg  Nominated 
  Karen O'Hara  
  Ken Ralston  
 Best Special Visual Effects David Schaub  Nominated 
  Carey Villegas  
  Sean Phillips  
  Valli O'Reilly  
 Best Makeup and Hair   Won 
  Paul Gooch  
   
 9th Golden Eagle Award[139] Best Foreign Language Film Alice in Wonderland Nominated
 68th Golden Globe Awards[140] Best Motion Picture – Musical or Comedy Alice in Wonderland Nominated
 Best Actor – Motion Picture Musical or Comedy Johnny Depp  Nominated 
 Best Original Score Danny Elfman  Nominated 
 53rd Annual Grammy Awards Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media Nominated 
   Ken Ralston 
 9th Annual Visual Effects Society Awards (VES Awards)[141] Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture Carey Villegas Nominated
   David Schaub 
   Tom Peitzman 
  Lisa Deaner  
 Outstanding Compositing in a Feature Motion Picture (Stolen Tarts) Orde Stevanoski  Nominated 
  Aaron Kupferman  
  Ruben Flores  
   Ken Ralston 
 15th Annual Satellite Awards[142] Best Visual Effects Carey Villegas Won 
   David Schaub 
   Sean Phillips 
 Best Costume Design Colleen Atwood  Won 
 Best Art Direction & Production Design Robert Stromberg  Nominated 
  Stefan Dechant  
 Best Motion Picture, Animated or Mixed Media Alice in Wonderland Nominated 
 Best Original Song Avril Lavigne  Nominated 
 37th Saturn Awards Best Fantasy Film  Alice in Wonderland Won 
 Best Costume Colleen Atwood  Won 
 Best Make-Up Lindsay MacGowan and Shane Mahan Nominated 
 Best Production Design Robert Stromberg  Nominated 
  Ken Ralston  
 Best Special Effects Carey Villegas  Nominated 
  David Schaub  
  Tom Peitzman  
 Broadcast Film Critics Association Awards Best Costume Design Colleen Atwood Won 
 Best Makeup Jaremy Aiello  Won 
  Ken Ralston  
 Best Visual Effects Carey Villegas  Nominated 
  David Schaub  
  Tom Peitzman  
 Best Art Direction Robert Stromberg  Nominated 
  Karen O'Hara  
 2011 Kids' Choice Awards[143] Favorite Movie  Nominated
 Favorite Movie Actor Johnny Depp  Won 
 MTV Movie Awards Global Superstar  Nominated 
 Best Movie   Nominated 
 Best Villain Helena Bonham Carter Nominated 
 National Movie Awards Best Performance  Nominated 
 Johnny Depp Nominated  
 Best Fantasy   Nominated 
 People's Choice Awards[144] Favorite Movie  Nominated 
 Favorite Drama Movie Nominated  
 Teen Choice Awards Choice Movie: Fantasy Nominated 
 Choice Movie Actor: Fantasy Johnny Depp  Nominated 
 Choice Movie: Female Scene Stealer Anne Hathaway  Nominated 
 Choice Movie Actress: Fantasy Mia Wasikowska  Nominated 
 Choice Movie: Female Breakout Star Nominated  
 Choice Movie: Fight Mia Wasikowska vs. The Jabberwock Won 
 2010 Scream Awards Ultimate Scream  Nominated
 Best Fantasy Movie Nominated  
 Best Director Tim Burton  Nominated 
 Best Fantasy Actress Mia Wasikowska  Nominated 
 Best Breakout Performance – Female Nominated  
 Best Fantasy Actor Johnny Depp  Nominated 
 Best Supporting Actress Anne Hathaway  Won 
 3-D Top Three   Nominated 
 AD First Half of the Year Awards[145] Best Art Direction Nominated 
 Best Visual Effects Won  
 Best Make-Up Nominated  
 MTV Fan Music Awards Best Movie Song  Avril Lavigne Won 
 ChartAttack's 16th Annual Year-End Readers' Poll Best Song  Won 
 3D Creative Arts Awards[146] Best 2D to 3D Conversion  Won 
 American Cinema Editors[146] Best Edited Feature Film - Comedy or Musical Chris Lebenzon Won 
 Annie Awards[146] Best Character Animation in a Live Action Production Ryan Page Won 
 Art Directors Guild[146] Best Fantasy Film  Robert Stromberg & Team Nominated
 

 Legacy [ edit ]

 Following its release, the film drove about $1.6 billion in retail sales for Disney, including home video and merchandise sales.[147]

 After the release and success of the movie, Walt Disney Pictures has announced the development of several live-action adaptations of their Animated Classics series.[148][149][150][151][152][153][154] With the exception of Dumbo, Lady and the Tramp, Mulan,[155][156][157] [158] and Pinocchio; The Lion King, Maleficent, Aladdin, Cinderella, The Jungle Book, Beauty and the Beast, and Christopher Robin have all followed to similar box-office results with the latter four also earning critical praise. Disney has also announced the development of live-action adaptations of Fantasia,[159] The Sword in the Stone,[160] The Black Cauldron,[161] Peter Pan,[162] The Little Mermaid,[163] Snow White and the Seven Dwarfs,[164] Lilo & Stitch,[165] The Hunchback of Notre Dame,[166] Bambi,[167] Robin Hood,[168] Hercules,[169] and The Aristocats.[170] The company also released Cruella, a live-action spin-off of One Hundred and One Dalmatians, and has plans for live-action spin-offs of Snow White and the Seven Dwarfs and Peter Pan along with a live-action prequel to Aladdin.[171][172][173][174]

 Walt Disney Theatrical was in early talks with Burton and screenwriter Linda Woolverton, who had previously written stage adaptions of The Lion King, Beauty and the Beast, Aida, and Lestat, to develop the property as a Broadway musical set to premiere in London.[175] Rob Ashford was attached to direct and choreograph.[176][177][178] As of 2013, no further developments had been made.[179]

 Sequel [ edit ]

 Main article: Alice Through the Looking Glass (2016 film)

 On December 7, 2012, Variety announced the development of a sequel to Alice in Wonderland. Linda Woolverton returned to write a screenplay.[180] On May 31, 2013, James Bobin began talks to direct the sequel under the working title Alice in Wonderland: Into the Looking Glass.[181] Johnny Depp returned as The Hatter, Mia Wasikowska reprised the role of Alice, and Helena Bonham Carter returned as the Red Queen.[182][183][184] Several other cast members from the 2010 film also reprised their roles in the sequel.[185] On November 22, 2013, it was announced that the sequel will be released on May 27, 2016, and that Bobin would direct the film. Rhys Ifans and Sacha Baron Cohen are featured in the film.[183][186][187] On January 21, 2014, the film was again retitled to Alice in Wonderland: Through the Looking Glass.[188][189] The title was later reworked once again to Alice Through the Looking Glass.

 See also [ edit ]

 * Film portal
 * United States portal
 * Disney portal
 * Cornwall portal
 * London portal
 * Films and television programmes based on Alice in Wonderland
 * List of films featuring miniature people

 References [ edit ]

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 External links [ edit ]

 Wikimedia Commons has media related to Alice in Wonderland (2010 film).
 Wikiquote has quotations related to Alice in Wonderland (2010 film).
 * Official website
 * Alice in Wonderland at IMDb
 * Alice in Wonderland title listing at the Internet Speculative Fiction Database
 * Alice in Wonderland at AllMovie
 * Alice in Wonderland at Box Office Mojo
 * Alice in Wonderland at Rotten Tomatoes
 * Alice in Wonderland at Metacritic
 * v 
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 Tim Burton 
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  * Beetlejuice (1988) 
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  * Batman Returns (1992) 
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  * Planet of the Apes (2001) 
 Feature films * Big Fish (2003) 
  * Charlie and the Chocolate Factory (2005) 
  * Corpse Bride (2005, also created characters) 
  * Sweeney Todd: The Demon Barber of Fleet Street (2007)
  * Alice in Wonderland (2010) 
 Director * Dark Shadows (2012) 
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 Music videos * " Bones " 
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 Screenplays by Linda Woolverton
 * Beauty and the Beast (1991) 
 * Homeward Bound: The Incredible Journey (1993)
 * The Lion King (1994) 
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 * Maleficent (2014) 
 * Alice Through the Looking Glass (2016) 
 * Maleficent: Mistress of Evil (2019) 
 * Spellbound (2023) 
 * Beauty and the Beast (1994) 
 Libretto for musicals * Aida (2000) 
 * Lestat (2005) 
 Author of books * Star Wind (1986) 
 * Running Before the Wind (1987) 
 
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 * Alice 
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 Poems * "'Tis the Voice of the Lobster" 
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 + Vorpal sword  
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 Adaptations  
 * Alice in Wonderland (1886 musical) 
 * Alice in Wonderland (1979 opera) 
 * But Never Jam Today (1979 musical) 
 * Through the Looking Glass (2008 opera) 
 Stage * Alice's Adventures in Wonderland (2011 ballet) 
 * Wonderland (2011 musical) 
 * Peter and Alice (2013 play) 
 * Wonder.land (2015 musical) 
 * Alice's Adventures Under Ground (2016 opera) 
 * Alice by Heart (2019 musical) 
 * 1903  
 * 1910  
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 * 1931  
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 * Alice of Wonderland in Paris (1966) 
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 Film * 1976 (Spanish)  
 * Alice or the Last Escapade (1977) 
 * 1981  
 * 1982  
 * The Care Bears Adventure in Wonderland (1987) 
 * 1988 (Czechoslovak)  
 * 1988 (Australian)  
 * Malice in Wonderland (2009) 
 * 2010  
 * Alice in Murderland (2010) 
 * Alice Through the Looking Glass (2016) 
 * Come Away (2020)  
 * Alice in Wonderland (1962) 
 * Alice in Wonderland or What's a Nice Kid like You Doing in a Place like This? (1966)
 * Alice in Wonderland (1966) 
 * Alice Through the Looking Glass (1966) 
 * 1983 (TV film)  
 * Fushigi no Kuni no Alice (1983) 
 Television * 1985 (TV film)  
 * Alice Through the Looking Glass (1987) 
 * Adventures in Wonderland (1991) 
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 + "Follow Me Down" 
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 * Alice in Orchestralia (1925) 
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 1970s * The Holes (1976) 
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Alice in Wonderland      Theatrical release poster    Directed by  Tim Burton    Screenplay by  Linda Woolverton    Based on   Alice's Adventures in Wonderland  and  Through the Looking-Glass  by Lewis Carroll    Produced by  
  Richard D. Zanuck 
 Joe Roth 
 Suzanne Todd 
 Jennifer Todd  
    Starring  
  Johnny Depp 
 Anne Hathaway 
 Helena Bonham Carter 
 Crispin Glover 
 Matt Lucas 
 Mia Wasikowska 
 Alan Rickman 
 Stephen Fry 
 Michael Sheen 
 Timothy Spall  
    Cinematography  Dariusz Wolski    Edited by  Chris Lebenzon    Music by  Danny Elfman     Productioncompanies   
  Walt Disney Pictures 
 Roth Films 
 The Zanuck Company 
Team Todd 
    Distributed by  Walt Disney Studios Motion Pictures     Release dates   
 February 25, 2010 (Odeon Leicester Square)
March 5, 2010 (United States) 
     Running time  108 minutes   Country  United States  [1]     Language  English    Budget $150 [2]   [3] –$200 [4]  million   Box office $1.025 billion [5]     
  Alice in Wonderland  is a 2010 American period adventure fantasy film directed by Tim Burton from a screenplay written by Linda Woolverton and produced by Walt Disney Pictures. The film stars Mia Wasikowska in the title role, with Johnny Depp, Anne Hathaway, Helena Bonham Carter, Crispin Glover, and Matt Lucas, while featuring the voices of Alan Rickman, Stephen Fry, Michael Sheen, and Timothy Spall. A live-action adaptation and re-imagining of Lewis Carroll's works, the film follows Alice Kingsleigh, a nineteen-year-old who accidentally falls down a rabbit hole, returns to Underland and alongside the Mad Hatter, helps restore the White Queen to her throne by fighting against the Red Queen and her Jabberwocky, a dragon that terrorizes Underland's inhabitants.
  Alice in Wonderland came under development in December 2007, when Burton was asked to direct two 3D films for Disney, including the remake of  Frankenweenie . Production began in September 2008 and concluded within three months, and was shot in the United Kingdom and the United States. It was followed by an extensive pre-production and visual effects process, where filming included live-action and motion capture sequences. The film premiered in London at the Odeon Leicester Square on February 25, 2010, and was released in the United Kingdom and the United States through the Disney Digital 3D, RealD 3D, and IMAX 3D formats as well as in conventional theaters on March 5, 2010.
  Alice in Wonderland received mixed reviews upon release; although praised for its visual style, costumes, musical score, performances and special effects, the film was criticized for its lack of narrative coherence. The film generated over $1.025 billion in ticket sales and became the fifth highest-grossing film during its theatrical run, and it is also the second-highest-grossing film of 2010. [6]  It received three nominations at the 68th Golden Globe Awards, including Best Motion Picture – Musical or Comedy. At the 83rd Academy Awards, it won Best Art Direction and Best Costume Design, and was also nominated for Best Visual Effects.
 While not the first such film in its genre, Alice in Wonderland is credited with starting a trend of live-action fairy tale and fantasy films being green-lit, particularly from Walt Disney Studios. [7]  A sequel, titled  Alice Through the Looking Glass , was released on May 27, 2016.
Plot[edit]
In 1871, 19-year-old Alice Kingsleigh is troubled by strange recurring dreams, mourning the death of her father, and fighting the stifling expectations of the society in which she lives. She receives an unwanted marriage proposal from Hamish Ascot at his father's garden party, where she spots a familiar white rabbit wearing a waistcoat and carrying a pocket watch. She follows it down a rabbit hole and shrinks after drinking from a bottle labeled 'Drink Me' (called Pishsalver), allowing her to enter the forest of a fantastical place called Underland. There she is greeted by the White Rabbit, a Dormouse, a Dodo, Talking Flowers, and identical twins Tweedledum and Tweedledee, who all apparently know her.
 Alice asserts that she is dreaming, but learns from Absolem the Caterpillar that she is destined to slay the Jabberwocky and end the tyranny of the Red Queen. The group is ambushed by the ravenous Bandersnatch and the Red Queen's knights, led by the Knave of Hearts. All are captured except Alice, who escapes, and the Dormouse, who takes one of the Bandersnatch's eyes. The Knave informs the Red Queen of Alice's return and he is ordered to find her immediately.
 The Cheshire Cat guides Alice to the Mad Hatter, the March Hare, and the Dormouse's tea party. The Hatter explains that the Red Queen took over Underland, usurping her sister the White Queen, and that he joined the resistance after she destroyed his village and killed his family. The red knights seize the party and the Hatter saves Alice from capture by allowing himself to be seized. Alice is found by the Knave's Bloodhound who is allied with the resistance, who takes Alice to the Red Queen's castle, where she grows taller after eating a cake labeled 'Eat Me' (called Upelkuchen), infiltrating the castle as a courtier named "Um".
 Alice learns that the vorpal sword, the only weapon capable of killing the Jabberwocky, is locked inside the Bandersnatch's den. She rebuffs advances from the Knave, leading the jealous Red Queen to demand her beheading. Alice obtains the sword and returns the Bandersnatch's eye, who gratefully helps her escape the castle and delivers her to the White Queen, who gives Alice a potion that returns her normal size. The Cheshire Cat uses his shapeshifting powers to save the Mad Hatter, who incites rebellion amongst the Queen's subjects before escaping. Absolem finally gets Alice to realize Underland is real, evoking memories of her visit when she was a little girl and called it "Wonderland", and advises her to fight the Jabberwocky just before completing his transformation into a pupa.
 The Queens gather their armies on a chessboard-like battlefield and send Alice and the Jabberwocky to decide the battle in single combat. As the two armies battle, Alice beheads the Jabberwocky with the vorpal sword. The red knights turn against their ruler and the White Queen banishes her sister and the Knave into exile together. The White Queen gives Alice a vial of the Jabberwocky's purple blood, which can fulfill one wish, and she decides to return to her world after saying farewell to her friends. 
 Alice then awakes and gets out of the rabbit hole, dirty and scratched from her fall. When she returns to the gazebo at the garden party, she refuses Hamish's proposal and impresses Lord Ascot with her idea of establishing trade routes to Hong Kong, inspiring him to take her as his apprentice. Alice prepares to set off on a trading ship, where a blue butterfly lands on her shoulder, which she recognizes as Absolem.
Cast[edit]
  Johnny Depp as Tarrant Hightopp, the Mad Hatter: The hammy yet bitter mayor of Wonderland and the leader/owner of the resistance against Iracebeth. [8]  Wasikowska said that the characters "both feel like outsiders and feel alone in their separate worlds, and have a special bond and friendship with Alice." [9]   [10]  Burton explained that Depp "tried to find a grounding to the character … as opposed to just being mad." [11]  Burton also said that "[i]n a lot of versions it's a very one-note kind of character and you know [Depp's] goal was to try and bring out a human side to the strangeness of the character." [11]  The orange hair is an allusion to the mercury poisoning suffered by hatters who used mercury to cure felt; Depp believes that the character "was poisoned … and it was coming out through his hair, through his fingernails and eyes". [12]  Depp and Burton decided that the Hatter's clothes, skin, hair, personality and accent would change throughout the film to reflect his emotions. [13]  In an interview with Depp, the character was paralleled to "a mood ring, [as] his emotions are very close to the surface". [14]  The Hatter is "made up of different people and their extreme sides", with a gentle voice much like the character's creator Lewis Carroll reflecting the lighter personality and with a Scottish Glaswegian accent (which Depp modeled after Gregor Fisher's  Rab C. Nesbitt  character) reflecting a darker, more dangerous personality. [15]  Illusionary dancer David "Elsewhere" Bernal doubled for Depp during the "Futterwacken" sequence near the end of the film. [16]   
      Helena Bonham Carter as the Red Queen. Bonham Carter's head was digitally increased to three times its original size in the film.  
  Mia Wasikowska as Alice Kingsleigh. Wasikowska was announced to have been cast on July 23, 2008. [17]  Initially, Burton wanted to offer the role to Frances Bean Cobain, but she refused since she wanted to focus on her university studies. [18]  Lindsay Lohan, [19]  Amanda Seyfried  [20]  and Dakota Blue Richards  [21]  expressed a desire to play the role, while Jennifer Lawrence, [22]  Cara Delevingne  [23]  and Jessica Brown Findlay went through an audition, with Brown Findlay being down to the last three. [24]  When creating the character, screenwriter Linda Woolverton researched how young women were expected to behave in the Victorian era and then made her the opposite. [25]  Wasikowska read Carroll's books as a child and re-read them to prepare for her role. She also watched Jan Švankmajer's  Alice . She said, "When we were kids, my mum would pop it in the VCR player. We would be disturbed, and wouldn't really understand it, but we couldn't look away because it was too intriguing. So I had kept that feeling about Alice, a kind of haunting feeling." [26]  Although facing pressures to conform to society's expectations, Alice grows into a stronger-willed and empowered heroine who chooses her own path;  Independent  columnist Liz Hoggard praised Alice as a role model for girls, describing the character as "stubborn, brave, [and] non-girlie". [25]   [27]  Hathaway was originally offered the role but turned it down as she was more interested playing the role of the White Queen. [28] 
 Mairi Ella Challen as six-year-old Alice. [29]    
 Helena Bonham Carter as Iracebeth of Crims, the Red Queen: Mirana's grumpy, stubborn, and murderous sister and the queen of Wonderland. She is an amalgamation of two Carroll characters: the Red Queen and the Queen of Hearts. [8]  Her first name is a play on the word irascible because she is easily irritated, obstreperous, impatient, and quick to anger. [30]  Bonham Carter's head was digitally increased to three times its original size on screen. [31]   [32]  The character hates animals, and chooses to use them as servants and furniture. [33]  It is implied that the Red Queen beheaded her late husband, the King. The actress took inspiration from her young daughter Nell, a toddler, stating, "The Red Queen is just like a toddler, because she's got a big head and she's a tyrant." Her appearance is based on England's Queen Elizabeth I.
 Anne Hathaway as Mirana of Marmoreal, the White Queen: Iracebeth's calm and caring sister. [8]  She was one of few characters that did not require digital manipulation. [34]  Hathaway summed up her character with a caption on a magnet of Happy Bunny holding a knife; "Cute but psycho. Things even out." [35]  According to Hathaway, "She comes from the same gene pool as the Red Queen. She really likes the dark side, but she's so scared of going too far into it that she's made everything appear very light and happy. But she's living in that place out of fear that she won't be able to control herself." [36]  Hathaway described her interpretation of the White Queen as "a punk-rock vegan pacifist", with inspiration drawn from Debbie Harry, Greta Garbo, and the artwork of Dan Flavin. [36]  Burton said that the White Queen's appearance was inspired by Nigella Lawson. [37]  
 Crispin Glover as Ilosovic Stayne, the Knave of Hearts: Iracebeth's paramour and lieutenant. [8]  The Knave of Hearts is arrogant and tricky. While he follows the Red Queen's every order, he is the only one capable of calming her dramatic mood swings. Glover said, "The Red Queen has a fair amount of short-tempered reactions to things that people do, and so [the Knave] has to be quite diplomatic." The Red Queen believes that the Knave of Hearts is her lover, but this proves to be false.
 Matt Lucas as Tweedledee and Tweedledum: Two identical men and Tarrant's lieutenants at the resistance against the Red Queen who are the Red Queen's "fat boys" during their capture. Burton commented on the mixture of animation and Lucas, saying that "It's a weird mixture of things which gives his characters the disturbing quality that they so richly deserve." [38]  The characters are portrayed through a combination of CGI and live-action, with Lucas's face digitally composited to a full animated body. While performing the character, Lucas had to wear a teardrop-shaped motion capture suit and walk on stilts. In order to play both characters, Lucas was doubled by Ethan Cohn.
 Frances de la Tour as Imogene: Alice's aunt. [39]  She is experiencing severe delusions and is constantly awaiting her fictional fiancé whom she believes to be a prince.
 Leo Bill as Hamish Ascot: Alice's rival and ex-fiancé. [39]   
 Marton Csokas makes a cameo appearance as Alice's deceased father in the film's opening scene and Alice's mother is played by Lindsay Duncan. Lord and Lady Ascot are played by Tim Pigott-Smith and Geraldine James, respectively. Eleanor Tomlinson and Eleanor Gecks play the Chattaway sisters. Jemma Powell appears briefly as Alice's sister, Margaret, while Margaret's unfaithful husband Lowell is played by John Hopkins.
Voice cast[edit]
  Michael Sheen as Nivens McTwisp, the White Rabbit: Mirana's grand vizier and Tarrant's chief officer of the resistance. [8]   [40]  Sheen said the character "is such an iconic character that [he] didn't feel like [he] should break the mold too much." [41]  Burton said the quality he wanted most in his clock-watching bunny was a twitchiness, also commenting that "[in] any incarnation of the [White Rabbit] through the years, there's that sort of nervousness of a rabbit." [41]  
 Alan Rickman as Absolem, the Caterpillar: The head of the resistance. [8]  Rickman was originally going to have his face composited onto the animated Caterpillar. He was filmed recording his voice in the studio, but the idea was eventually scrapped. The animators did, however, try to give Absolem's face characteristics similar to Rickman's. [32]  
 Stephen Fry as Cheshire: Tarrant's bodyguard and the general of the resistance. [8]   [42]  Burton stated that the character had a creepy quality in addition to tapping into his own hatred of cats. [43]  The role was intended to be played by Sheen but he changed his role to the White Rabbit due to scheduling conflicts.
 Barbara Windsor as Mallymkun, the Dormouse: Tarrant's assistant and the sergeant of the resistance. [8]  Burton said that he sought after Windsor for the role because he was a fan of her character in the TV series  EastEnders . Her voice sealed the deal for her role as the character. [44]  
 Timothy Spall as Bayard Hamar: Stayne's former pet dog and messenger of the resistance. Although Bayard does not appear in the book, a similar character named The Puppy is likely the inspiration for the character.
 Paul Whitehouse as Thackery Earwicket, the March Hare: Tarrant's partner and the admiral of the resistance. [8]  Burton stated that because Whitehouse is a great comedic actor, a lot of his lines came from improvisation. [45]  
 Michael Gough as Uilleam, the Dodo: The navigator of the resistance. [8]  Burton said that Gough was the first person he thought of for the role of Uilleam because he has "a full life quality to his voice". [46]  The character only speaks three lines, that Gough recorded in a day. This would be Gough's final acting role; he died a year after its release, aged 94. Gough had previously portrayed the March Hare in the 1966 TV play of the book.
 Christopher Lee as The Jabberwocky (sic): Iracebeth's pet dragon and assassin. While it only had two lines, Burton said that he felt Lee to be a good match for the iconic character because he is "an iconic guy". [47]  For the character, Lee had originally tried to make his voice "burble" (as described in the poem "Jabberwocky"). However, Burton persuaded him to use his actual voice, as he found it more intimidating and aggressive.
 Imelda Staunton as The Talking Flowers: Though there are many flowers that appear around Underland, only one of them speaks and one of them is clearly a caricature of Staunton. [48]  Staunton only speaks three lines that are heard very briefly at the beginning of the film.
 Jim Carter as The Executioner: The Executioner only speaks one line and appears extremely briefly, though Carter also voiced several other servants to the Red Queen. 
 Frank Welker provided additional voices and vocal effects; including roars of the Jabberwocky and Bandersnatch, squawks for the Jubjub bird, and Bayard's barking. [48]  Rickman, Windsor, Fry, Gough, Lee, Staunton and Carter each took only a day to record their dialogue. [48] 
Production[edit]
 Tim Burton signed with Walt Disney Pictures to direct two films in Disney Digital 3D, which included Alice in Wonderland  [49]  and his remake of Frankenweenie . Burton developed the story because he never felt an emotional tie to the original book. [50]  [ failed verification – see discussion ]
 
"We wanted somebody who had... it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her."
 
—Burton on casting Mia Wasikowska as Alice [51] 
   
He explained "the goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of Alice." On prior versions, Burton said "It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection." His goal with the new film is to give the story "some framework of emotional grounding" and "to try and make Alice feel more like a story as opposed to a series of events." [11]  Burton focused on the poem "Jabberwocky" as part of his structure, [52]  and refers to the described creature by the name of the poem rather than by the name "Jabberwock" used in the poem. Burton also stated that he does not see his version as either a sequel to any existing Alice film nor as a "re-imagining". [50]  However, the idea of the climax of the story being Alice's battle with the Queen's champion, the Jabberwocky, was first added in the video game  American McGee's Alice , and the landscape, tower, weapons and appearance of Alice in those scenes of the film are very reminiscent of the same scenes in the game.
     
This film was originally set to be released on March 19, 2010 but was moved up to March 5, 2010. [53]  Principal photography was scheduled for May 2008, but did not begin until September and concluded in three months. [49]   [54]  Scenes set in the Victorian era were shot at Torpoint and Plymouth from September 1 to October 14. Two hundred and fifty local extras were chosen in early August. Locations included Antony House in Torpoint, Charlestown, Cornwall and the Barbican, [55]   [56]  however, no footage from the Barbican was used. Motion capture filming began in early October at Sony Pictures Studios in Culver City, California, though the footage was later discarded. [57]   [58]   [59]  Filming also took place at Culver Studios. [60]  Burton said that he used a combination of live action and animation, without motion capture. [61]  He also noted that this was the first time he had filmed on a green screen. [61]  Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days. [62]  Many of the cast and crew felt nauseated as a result of the long hours surrounded by green, and Burton had lavender lenses fitted into his glasses to counteract the effect. [62]  Due to the constant need for digital effects to distort the actors' physical appearances, such as the size of the Red Queen's head or Alice's height, visual effects supervisor Ken Ralston cited the film as being exhausting, saying it was "The biggest show I've ever done, [and] the most creatively involved I've ever been." [63] 
  Sony Pictures Imageworks designed the visual effects sequences. [64]  Burton felt 3D was appropriate to the story's environment. [10]  Burton and Zanuck chose to film with conventional cameras, and convert the footage into 3D during post-production; Zanuck explained 3D cameras were too expensive and "clumsy" to use, and they felt that there was no difference between converted footage and those shot in the format. [65]  James Cameron, who released his 3D film  Avatar  in December 2009, criticized the choice, stating, "It doesn't make any sense to shoot in 2D and convert to 3D". [66] 
Music[edit]
 Danny Elfman composed the musical score for Alice in Wonderland, after regularly scoring for Burton's films. [67]  Elfman did not want to use period music and instead blended orchestral, classical and pop music, to highlight the internal score, and had used symphony orchestration for the visual style of Burton, incorporating the same methods by Erich Wolfgang Korngold, Max Steiner, Franz Waxman and Bernard Hermann. [68]  The score album was released by Walt Disney Records on March 2, 2010, [69]  and debuted at number 89 on the Billboard Top 200 albums chart. [70] 
 A concept album titled Almost Alice is a collection of various artists' music inspired by the film. [69]   [71]   [72]  It was released by Walt Disney under the Buena Vista Records imprint, the same day as the score album's release. [69]  The lead single, "Alice" by Avril Lavigne, premiered on January 27, 2010, on Ryan Seacrest's radio program. Other singles include "Follow Me Down" by 3OH!3, "Her Name Is Alice" by Shinedown, and "Tea Party" by Kerli. [73] 
Marketing[edit]
Promotions[edit]
      Mad T Party at California Adventure, showing the Dormouse on guitar, Cheshire Cat on drums, and Alice as lead singer.  
On June 22, 2009, the first pictures of the film were released, showing Depp as the Mad Hatter, Hathaway as the White Queen, Bonham Carter as the Red Queen and Lucas as Tweedledee and Tweedledum. [54]  A new image of Alice was also released. [74]  In July, new photos emerged of Alice holding a white rabbit, the Mad Hatter with a hare, the Red Queen holding a pig, and the White Queen with a mouse. [75] 
 On July 22, 2009, a teaser trailer from the Mad Hatter's point of view was released on IGN but was shortly taken down because Disney claimed that the trailer was not supposed to be out yet. The teaser was also planned to premiere along with a trailer of Robert Zemeckis' film adaptation of  A Christmas Carol  on July 24, 2009, for  G-Force . The following day, the teaser trailer premiered at Comic-Con but the trailer shown was different from the one that leaked. The ComicCon version didn't have the Mad Hatter's dialogue. Instead, it featured "Time to Pretend" by MGMT, and the clips shown were in a different order than in the leaked version. The leaked version was originally to be shown to one of the three Facebook groups used to promote the film that had the most members. The groups used to promote the film are "The Loyal Subjects of the Red Queen", "The Loyal Subjects of the White Queen" and "The Disloyal Subjects of the Mad Hatter". [76] 
 Also at ComicCon, props from the film were displayed in an "Alice in Wonderland" exhibit. Costumes featured in the exhibit included the Red Queen's dress, chair, wig, glasses, and scepter; the White Queen's dress, wig and a small model of her castle; the Mad Hatter's suit, hat, wig, chair and table; Alice's dress and battle armor (to slay the Jabberwocky). Other props included the "DRINK ME" bottles, the keys, an "EAT ME" pastry and stand-in models of the White Rabbit and March Hare. [77] 
 A nighttime party area at the Disney California Adventure theme park was created, called "Mad T Party".
Video games[edit]
On July 23, 2009, Disney Interactive Studios announced that an Alice in Wonderland video game, developed by French game studio Étranges Libellules, would be released in the same week as the film for the Wii, Nintendo DS, and Microsoft Windows. The soundtrack was composed by video games music composer Richard Jacques. [78]  The Wii, DS, and PC versions were released on March 2, 2010.
 Disney Interactive released in 2013 the game Alice in Wonderland: A New Champion for iOS. [79] 
Release[edit]
Theatrical[edit]
 Alice in Wonderland was theatrically released in United Kingdom and United States, in both Disney Digital 3D and IMAX 3D, [54]  as well as regular theatres on March 5, 2010. [80]  Prior to the release, the film was premiered at the Odeon Leicester Square in London on February 25, 2010, for the fundraiser The Prince's Foundation for Children and The Arts where the Prince of Wales and the Duchess of Cornwall attended. [81] 
 On February 12, 2010, major UK theater chains, Odeon, Vue, and Cineworld, had planned to boycott the film because of a reduction of the interval between cinema and DVD release from the usual seventeen-week period to twelve. Disney's pretext for cutting short Alice's theatrical run, is possibly to avoid the release of the DVD clashing with the 2010 FIFA World Cup. [82]  However, exhibitors protested that Alice would be less threatened by the World Cup than other titles. [82]  A week after the announcement, Cineworld, who has a 24% share of UK box office, chose to play the film on more than 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. As the success of Avatar has shown, there is currently a huge appetite for the 3D experience". [83]  Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland, and Italy. [81]  On February 25, 2010, Odeon had reached an agreement and decided to show the film on March 5. [84]  It also did not affect their plans to show the film in Spain, Germany, Portugal, and Austria. [81]   [85]   [86] 
Home media[edit]
 Walt Disney Studios Home Entertainment released a three-disc Blu-ray combo pack (which includes the Blu-ray, DVD and a digital copy), single-disc Blu-ray and single-disc DVD on June 1, 2010, in North America and July 1, 2010, in Australia. [87]  The DVD release includes three short features about the making of the film, focusing on Burton's vision for Wonderland and the characters of Alice and the Mad Hatter. The Blu-ray version has nine additional featurettes centered on additional characters, special effects and other aspects of the film's production. [88]  In some confusion, a small number of copies were put on shelves a week before schedule in smaller stores, but were quickly removed, although a handful of copies were confirmed purchased ahead of schedule.
 In its first week of release (June 1–6, 2010), it sold 2,095,878 DVD units (equivalent to $35,441,297) and topped the DVD sales chart for two continuous weeks. By May 22, 2011, it had sold 4,313,680 units ($76,413,043). It failed to crack the 2010 top ten DVDs list in terms of units sold, but reached 10th place on that chart in terms of sales revenue. [89]   [90] 
Reception[edit]
Box office[edit]
 Alice in Wonderland has grossed $334,191,110 in North America and $691,276,000 in other territories for a worldwide total of $1,025,467,110 against a budget of $200 million. [5]   [91]   [92]  Worldwide, it is the second-highest-grossing film of 2010. [93]  It is the third-highest-grossing film starring Johnny Depp, [94]  the highest-grossing film directed by Tim Burton, [95]  and the second-highest-grossing film of Anne Hathaway. Additionally, it is the second-highest-grossing children's book adaptation (worldwide, as well as in North America and outside North America separately). [96] 
 On its first weekend, the film made $220.1 million worldwide, marking the second-largest opening ever for a movie not released during the summer or the holiday period (behind  The Hunger Games ), the fourth-largest for a Disney-distributed film and the fourth-largest among 2010 films. [97]  It dominated for three consecutive weekends at the worldwide box office. [98]   [99]   [100]   [101]  On May 26, 2010, its 85th day of release, it became the sixth film ever to surpass the $1 billion mark and the second film that had been released by Walt Disney Studios that did so. [102]   [103] 
 In North America, Alice in Wonderland is the forty-fourth-highest-grossing film but out of the top 100 when adjusted for inflation. It is also the second-highest-grossing film of 2010, behind  Toy Story 3 , [104]  the second-highest-grossing film starring Johnny Depp [94]  and the highest-grossing film directed by Tim Burton. [95]  The film opened on March 5, 2010, on approximately 7,400 screens at 3,728 theaters with $40,804,962 during its first day, $3.9 million of which came from midnight showings, [105]  ranking number one and setting a new March opening-day record. [106]  Alice earned $116.1 million on its opening weekend, breaking the record for the largest opening weekend in March (previously held by  300 ), [107]  the record for the largest opening weekend during springtime (previously held by  Fast &amp; Furious ), the largest opening weekend for a non-sequel (previously held by  Spider-Man ) [108]  and the highest one for the non-holiday, non-summer period. However, all of these records were broken by The Hunger Games ($152.5 million) in March 2012. [109]   [110]  Alice made the seventeenth-highest-grossing opening weekend ever [111]  and the fifth-largest among 3D films. [112]  Opening-weekend grosses originating from 3D showings were $81.3 million (70% of total weekend gross). This broke the record for the largest opening-weekend 3D grosses [113]   [114]  but it was later topped by  The Avengers  ($108 million). [115]  It had the largest weekend per-theater average of 2010 ($31,143 per theater) and the largest for a PG-rated film. [116]  It broke the IMAX opening-weekend record [117]  by earning $12.2 million on 188 IMAX screens, with an average of $64,197 per site. The record was first overtaken by  Deathly Hallows – Part 2  ($15.2 million). [114]  Additionally, it had the biggest opening weekend for a film starring Tim Burton, smashing the previous record held by  Planet of the Apes . [117]  Alice remained in first place for three consecutive weekends at the North American box office. [118]   [119]  Alice closed in theaters on July 8, 2010, with $334.2 million.
 Outside North America, Alice is the thirteenth-highest-grossing film, [120]  the highest-grossing 2010 film, [121]  the fourth-highest-grossing Disney film, the second-highest-grossing film starring Johnny Depp [94]  and the highest-grossing film directed by Tim Burton. [95]  It began with an estimated $94 million, on top of the weekend box office, and remained at the summit for four consecutive weekends and five in total. [122]   [123]  Japan was the film's highest-grossing country after North America, with $133.7 million, followed by the UK, Ireland and Malta ($64.4 million), and France and the Maghreb region ($45.9 million). [124] 
Critical response[edit]
On the review aggregator Rotten Tomatoes, 51% of 278 critics have given the film a positive review, with an average rating of 5.8/10. The website's consensus is: "Tim Burton's Alice sacrifices the book's minimal narrative coherence—and much of its heart—but it's an undeniable visual treat". [125]  According to Metacritic, which calculated a weighted average score of 53 out of 100 based on 38 reviews, the film received "mixed or average reviews". [126]  Audiences polled by CinemaScore gave the film an average rating of "A−" on an A+ to F scale. [127] 
 Todd McCarthy of  Variety  praised it for its "moments of delight, humor and bedazzlement", but went on to say, "But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years". [128]  Michael Rechtshaffen of  The Hollywood Reporter  said "Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks", while as well praising its computer-generated imagery (CGI), saying "Ultimately, it's the visual landscape that makes Alice's newest adventure so wondrous, as technology has finally been able to catch up with Burton's endlessly fertile imagination." [129]  Owen Gleiberman of  Entertainment Weekly  said, "But Burton's Disneyfied 3-D Alice in Wonderland, written by the girl-power specialist Linda Woolverton, is a strange brew indeed: murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that's like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film's rather humdrum 3-D, the place doesn't dazzle—it droops." [130]  Roger Ebert of the  Chicago Sun-Times  awarded the film three out of four stars and wrote in his review that, "Alice plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails." [131] 
 Several reviews criticized the decision to turn Alice into a "colonialist entrepreneur" at the end of the film setting sail for China. [132]   [133]   [134]  Given Britain's role in the First and Second Opium Wars during the Victorian era and the foreign domination of China through "unequal treaties", China expert Kevin Slaten writes, "Not only is it troubling imagery, for a female role model in a Disney movie, but it's also a celebration of the exploitation that China suffered for a century." [135] 
 Game developer American McGee, best known for creating  Alice  and  Alice: Madness Returns , was asked in a 2011 interview about Tim Burton's interpretation of the title character since both versions share a similar dark and twisted tone of Wonderland. McGee praised the film's visuals and audio but criticized the lack of screen time Alice had compared to the other characters. He felt Alice did not have any purpose in the story and that she was merely used as a "tool". [136] 
Accolades[edit]
 
Award
Category
Recipient
Result
 
 83rd Academy Awards  [137] 
 Best Art Direction
 Robert Stromberg  Karen O'Hara
Won
 
 Best Visual Effects
 Ken Ralston  David Schaub  Carey Villegas  Sean Phillips
Nominated
 
 Best Costume Design
 Colleen Atwood
Won
 
 64th British Academy Film Awards  [138] 
 Best Costume Design
Won
 
 Best Film Music
 Danny Elfman
Nominated
 
 Best Production Design
 Robert Stromberg  Karen O'Hara
Nominated
 
 Best Special Visual Effects
 Ken Ralston  David Schaub  Carey Villegas  Sean Phillips
Nominated
 
 Best Makeup and Hair
 Valli O'Reilly
Paul Gooch
Won
 
9th Golden Eagle Award  [139] 
 Best Foreign Language Film
 Alice in Wonderland
Nominated
 
 68th Golden Globe Awards  [140] 
 Best Motion Picture – Musical or Comedy
 Alice in Wonderland
Nominated
 
 Best Actor – Motion Picture Musical or Comedy
 Johnny Depp
Nominated
 
 Best Original Score
 Danny Elfman
Nominated
 
 53rd Annual Grammy Awards
 Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media
Nominated
 
 9th Annual Visual Effects Society Awards (VES Awards)  [141] 
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
 Ken Ralston  Carey Villegas  David Schaub  Tom Peitzman
Nominated
 
Outstanding Compositing in a Feature Motion Picture (Stolen Tarts)
Lisa Deaner  Orde Stevanoski  Aaron Kupferman Ruben Flores
Nominated
 
15th Annual Satellite Awards [142] 
Best Visual Effects
 Ken Ralston  Carey Villegas  David Schaub  Sean Phillips
Won
 
Best Costume Design
 Colleen Atwood
Won
 
Best Art Direction &amp; Production Design
 Robert Stromberg  Stefan Dechant
Nominated
 
Best Motion Picture, Animated or Mixed Media
 Alice in Wonderland
Nominated
 
Best Original Song
 Avril Lavigne
Nominated
 
 37th Saturn Awards
 Best Fantasy Film
 Alice in Wonderland
Won
 
 Best Costume
 Colleen Atwood
Won
 
 Best Make-Up
Lindsay MacGowan and Shane Mahan
Nominated
 
 Best Production Design
 Robert Stromberg
Nominated
 
 Best Special Effects
 Ken Ralston  Carey Villegas  David Schaub Tom Peitzman
Nominated
 
 Broadcast Film Critics Association Awards
Best Costume Design
 Colleen Atwood
Won
 
Best Makeup
Jaremy Aiello
Won
 
Best Visual Effects
 Ken Ralston  Carey Villegas  David Schaub  Tom Peitzman
Nominated
 
Best Art Direction
 Robert Stromberg  Karen O'Hara
Nominated
 
 2011 Kids' Choice Awards  [143] 
 Favorite Movie
Nominated
 
 Favorite Movie Actor
 Johnny Depp
Won
 
 MTV Movie Awards
 Global Superstar
Nominated
 
 Best Movie
Nominated
 
 Best Villain
 Helena Bonham Carter
Nominated
 
 National Movie Awards
 Best Performance
Nominated
 
 Johnny Depp
Nominated
 
 Best Fantasy
Nominated
 
 People's Choice Awards  [144] 
 Favorite Movie
Nominated
 
 Favorite Drama Movie
Nominated
 
 Teen Choice Awards
 Choice Movie: Fantasy
Nominated
 
 Choice Movie Actor: Fantasy
 Johnny Depp
Nominated
 
 Choice Movie: Female Scene Stealer
 Anne Hathaway
Nominated
 
 Choice Movie Actress: Fantasy
 Mia Wasikowska
Nominated
 
 Choice Movie: Female Breakout Star
Nominated
 
 Choice Movie: Fight
 Mia Wasikowska vs. The Jabberwock
Won
 
 2010 Scream Awards
 Ultimate Scream
Nominated
 
 Best Fantasy Movie
Nominated
 
 Best Director
 Tim Burton
Nominated
 
 Best Fantasy Actress
 Mia Wasikowska
Nominated
 
 Best Breakout Performance – Female
Nominated
 
 Best Fantasy Actor
 Johnny Depp
Nominated
 
 Best Supporting Actress
 Anne Hathaway
Won
 
 3-D Top Three
Nominated
 
 AD First Half of the Year Awards  [145] 
Best Art Direction
Nominated
 
Best Visual Effects
Won
 
Best Make-Up
Nominated
 
MTV Fan Music Awards
Best Movie Song
 Avril Lavigne
Won
 
 ChartAttack's 16th Annual Year-End Readers' Poll
Best Song
Won
 
3D Creative Arts Awards [146] 
Best 2D to 3D Conversion
Won
 
 American Cinema Editors  [146] 
Best Edited Feature Film - Comedy or Musical
 Chris Lebenzon
Won
 
 Annie Awards  [146] 
Best Character Animation in a Live Action Production
Ryan Page
Won
 
 Art Directors Guild  [146] 
Best Fantasy Film
Robert Stromberg &amp; Team
Nominated
   
Legacy[edit]
Following its release, the film drove about $1.6 billion in retail sales for Disney, including home video and merchandise sales. [147] 
 After the release and success of the movie, Walt Disney Pictures has announced the development of several live-action adaptations of their Animated Classics series. [148]   [149]   [150]   [151]   [152]   [153]   [154]  With the exception of  Dumbo ,  Lady and the Tramp ,  Mulan,  [155]   [156]   [157]   [158]  and  Pinocchio;  The Lion King ,  Maleficent ,  Aladdin ,  Cinderella ,  The Jungle Book ,  Beauty and the Beast , and  Christopher Robin  have all followed to similar box-office results with the latter four also earning critical praise. Disney has also announced the development of live-action adaptations of  Fantasia , [159]   The Sword in the Stone , [160]   The Black Cauldron , [161]   Peter Pan , [162]   The Little Mermaid , [163]   Snow White and the Seven Dwarfs , [164]   Lilo &amp; Stitch , [165]   The Hunchback of Notre Dame , [166]   Bambi , [167]   Robin Hood , [168]   Hercules , [169]  and  The Aristocats . [170]  The company also released  Cruella , a live-action spin-off of  One Hundred and One Dalmatians , and has plans for live-action spin-offs of Snow White and the Seven Dwarfs and Peter Pan along with a live-action prequel to Aladdin. [171]   [172]   [173]   [174] 
  Walt Disney Theatrical was in early talks with Burton and screenwriter Linda Woolverton, who had previously written stage adaptions of  The Lion King ,  Beauty and the Beast ,  Aida , and  Lestat , to develop the property as a Broadway musical set to premiere in London. [175]  Rob Ashford was attached to direct and choreograph. [176]   [177]   [178]  As of 2013, no further developments had been made. [179] 
Sequel[edit]
On December 7, 2012,  Variety  announced the development of a sequel to Alice in Wonderland. Linda Woolverton returned to write a screenplay. [180]  On May 31, 2013, James Bobin began talks to direct the sequel under the working title Alice in Wonderland: Into the Looking Glass. [181]  Johnny Depp returned as The Hatter, Mia Wasikowska reprised the role of Alice, and Helena Bonham Carter returned as the Red Queen. [182]   [183]   [184]  Several other cast members from the 2010 film also reprised their roles in the sequel. [185]  On November 22, 2013, it was announced that the sequel will be released on May 27, 2016, and that Bobin would direct the film. Rhys Ifans and Sacha Baron Cohen are featured in the film. [183]   [186]   [187]  On January 21, 2014, the film was again retitled to Alice in Wonderland: Through the Looking Glass. [188]   [189]  The title was later reworked once again to  Alice Through the Looking Glass .
See also[edit]
  Films and television programmes based on Alice in Wonderland  
 List of films featuring miniature people  
References[edit]
 
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External links[edit]
  Official website 
  Alice in Wonderland  at IMDb 
  Alice in Wonderland  title listing at the Internet Speculative Fiction Database 
  Alice in Wonderland  at AllMovie 
  Alice in Wonderland  at Box Office Mojo 
  Alice in Wonderland  at Rotten Tomatoes 
  Alice in Wonderland  at Metacritic
Alice in Wonderland (2010 film) - Wikipedia
https://en.wikipedia.org/wiki/Alice_in_Wonderland_(2010_film)
https://en.wikipedia.org/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1
Harry Potter and the Deathly Hallows – Part 1 - Wikipedia
2007-03-03
Authority control General VIAF
<div><div>
<table><tbody><tr><th>Harry Potter and the Deathly Hallows – Part 1</th></tr><tr><td><a href="/wiki/File:Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/David_Yates">David Yates</a></td></tr><tr><th>Screenplay by</th><td><a href="/wiki/Steve_Kloves">Steve Kloves</a></td></tr><tr><th>Based on</th><td><i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows">Harry Potter and the Deathly Hallows</a></i><br />by <a href="/wiki/J._K._Rowling">J. K. Rowling</a></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/David_Heyman">David Heyman</a></li>
<li><a href="/wiki/David_Barron_(film_producer)">David Barron</a></li>
<li>J. K. Rowling</li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Daniel_Radcliffe">Daniel Radcliffe</a></li>
<li><a href="/wiki/Rupert_Grint">Rupert Grint</a></li>
<li><a href="/wiki/Emma_Watson">Emma Watson</a></li>
<li><a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a></li>
<li><a href="/wiki/Robbie_Coltrane">Robbie Coltrane</a></li>
<li><a href="/wiki/Warwick_Davis">Warwick Davis</a></li>
<li><a href="/wiki/Ralph_Fiennes">Ralph Fiennes</a></li>
<li><a href="/wiki/Michael_Gambon">Michael Gambon</a></li>
<li><a href="/wiki/Brendan_Gleeson">Brendan Gleeson</a></li>
<li><a href="/wiki/Richard_Griffiths">Richard Griffiths</a></li>
<li><a href="/wiki/John_Hurt">John Hurt</a></li>
<li><a href="/wiki/Jason_Isaacs">Jason Isaacs</a></li>
<li><a href="/wiki/Alan_Rickman">Alan Rickman</a></li>
<li><a href="/wiki/Fiona_Shaw">Fiona Shaw</a></li>
<li><a href="/wiki/Timothy_Spall">Timothy Spall</a></li>
<li><a href="/wiki/Imelda_Staunton">Imelda Staunton</a></li>
<li><a href="/wiki/David_Thewlis">David Thewlis</a></li>
<li><a href="/wiki/Julie_Walters">Julie Walters</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Eduardo_Serra">Eduardo Serra</a></td></tr><tr><th>Edited by</th><td><a href="/wiki/Mark_Day_(film_editor)">Mark Day</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Alexandre_Desplat">Alexandre Desplat</a></td></tr><tr><th><p>Production<br />companies</p></th><td><div>
<ul><li><a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a><sup><a href="#cite_note-afi-1">[1]</a></sup></li>
<li><a href="/wiki/Heyday_Films">Heyday Films</a></li></ul>
</div></td></tr><tr><th>Distributed by</th><td>Warner Bros. Pictures</td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>11 November 2010 (<a href="/wiki/Odeon_Leicester_Square">Odeon Leicester Square</a>)</li>
<li>19 November 2010 (United Kingdom and United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>146 minutes<sup><a href="#cite_note-2">[2]</a></sup></td></tr><tr><th>Countries</th><td><div>
<ul><li>United Kingdom</li>
<li>United States</li></ul>
</div></td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$250 million<br />(shared with <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_2">Part 2</a></i>)<sup><a href="#cite_note-3">[3]</a></sup><sup><a href="#cite_note-4">[4]</a></sup></td></tr><tr><th>Box office</th><td>$977.1 million<sup><a href="#cite_note-BOM_(HP7)-5">[5]</a></sup></td></tr></tbody></table>
<p><i><b>Harry Potter and the Deathly Hallows – Part 1</b></i> is a 2010 <a href="/wiki/Fantasy_film">fantasy film</a> directed by <a href="/wiki/David_Yates">David Yates</a> from a screenplay by <a href="/wiki/Steve_Kloves">Steve Kloves</a>.<sup><a href="#cite_note-BOM_(HP7)-5">[5]</a></sup> The film is the <a href="/wiki/Production_of_Harry_Potter_and_the_Deathly_Hallows">first of two cinematic parts</a> based on the 2007 novel <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows">Harry Potter and the Deathly Hallows</a></i> by <a href="/wiki/J._K._Rowling">J. K. Rowling</a>. It is the <a href="/wiki/Sequel">sequel</a> to <i><a href="/wiki/Harry_Potter_and_the_Half-Blood_Prince_(film)">Harry Potter and the Half-Blood Prince</a></i> (2009) and the seventh instalment in the <a href="/wiki/Harry_Potter_(film_series)"><i>Harry Potter</i> film series</a>.<sup><a href="#cite_note-6">[6]</a></sup>
</p><p>The film stars <a href="/wiki/Daniel_Radcliffe">Daniel Radcliffe</a> as <a href="/wiki/Harry_Potter_(character)">Harry Potter</a>, with <a href="/wiki/Rupert_Grint">Rupert Grint</a> and <a href="/wiki/Emma_Watson">Emma Watson</a>, respectively, reprising roles as Harry's best friends <a href="/wiki/Ron_Weasley">Ron Weasley</a> and <a href="/wiki/Hermione_Granger">Hermione Granger</a>. The story follows Harry Potter, who has been asked by <a href="/wiki/Dumbledore">Dumbledore</a> to find and destroy <a href="/wiki/Lord_Voldemort">Lord Voldemort</a>'s secret to immortality – the <a href="/wiki/Horcrux">Horcruxes</a>. Filming began on 19 February 2009 and was completed on 12 June 2010.<sup><a href="#cite_note-7">[7]</a></sup>
</p><p>It was released in 2D cinemas and <a href="/wiki/IMAX">IMAX</a> formats in the United Kingdom and in the United States on 19 November 2010, by <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>.<sup><a href="#cite_note-comingsoon1-8">[8]</a></sup><sup><a href="#cite_note-9">[9]</a></sup><sup><a href="#cite_note-10">[10]</a></sup><sup><a href="#cite_note-11">[11]</a></sup> The film received positive reviews with critics praising its performances, cinematography, visual effects and musical score.<sup><a href="#cite_note-12">[12]</a></sup><sup><a href="#cite_note-13">[13]</a></sup><sup><a href="#cite_note-14">[14]</a></sup><sup><a href="#cite_note-15">[15]</a></sup><sup><a href="#cite_note-16">[16]</a></sup>
</p><p>In the film's worldwide opening weekend, <i>Part 1</i> grossed $330 million, the third-highest in the series, and the highest opening of 2010, as well as the eighth-highest of all time.<sup><a href="#cite_note-17">[17]</a></sup> With a worldwide gross of $977 million, <i>Part 1</i> became the <a href="/wiki/2010_in_film#Highest-grossing_films">third-highest-grossing film of 2010</a>,<sup><a href="#cite_note-18">[18]</a></sup> and the third-highest-grossing <i>Harry Potter</i> film in terms of worldwide totals.<sup><a href="#cite_note-19">[19]</a></sup> The film was nominated for many awards, including the <a href="/wiki/Academy_Award">Academy Award</a> for <a href="/wiki/Academy_Award_for_Best_Production_Design">Best Art Direction</a> and <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>.
</p><p>The film was followed by the concluding entry, <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_2">Harry Potter and the Deathly Hallows – Part 2</a></i> in 2011.
</p>
<h2>Plot[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>At <a href="/wiki/Malfoy_Manor">Malfoy Manor</a>, <a href="/wiki/Severus_Snape">Severus Snape</a> meets with <a href="/wiki/Lord_Voldemort">Lord Voldemort</a> and his <a href="/wiki/Death_Eaters">Death Eaters</a>. He reports that the <a href="/wiki/Order_of_the_Phoenix_(organisation)">Order of the Phoenix</a> will move <a href="/wiki/Harry_Potter_(character)">Harry Potter</a>, no longer under his mother's protective spell, to a safe location. Voldemort confiscates <a href="/wiki/Lucius_Malfoy">Lucius Malfoy</a>'s wand; his own is powerless against Harry because it and Harry's wand are "brothers" by sharing the same phoenix feather core. During the move, Harry survives Voldemort's attack but Mad-Eye Moody and Hedwig are killed.
</p><p>During preparations for <a href="/wiki/Bill_Weasley">Bill Weasley</a> and <a href="/wiki/Fleur_Delacour">Fleur Delacour</a>'s wedding, the new <a href="/wiki/Minister_for_Magic">Minister for Magic</a> arrives. He informs Harry, <a href="/wiki/Ron_Weasley">Ron</a>, and <a href="/wiki/Hermione_Granger">Hermione</a> that <a href="/wiki/Albus_Dumbledore">Albus Dumbledore</a> left each a bequest: Ron a <a href="/wiki/Deluminator">Deluminator</a>, Hermione a copy of <i><a href="/wiki/The_Tales_of_Beedle_the_Bard">The Tales of Beedle the Bard</a></i>, and Harry the <a href="/wiki/Golden_Snitch">Golden Snitch</a> he caught in his first <a href="/wiki/Quidditch">Quidditch</a> match. Dumbledore had also bequeathed the <a href="/wiki/Sword_of_Gryffindor">Sword of Gryffindor</a> to Harry, but it has gone missing.
</p><p>News arrives during the wedding that the Ministry has fallen and the Minister is dead. Death Eaters attack and Harry, Ron, and Hermione escape to <a href="/wiki/Number_12,_Grimmauld_Place">Number 12, Grimmauld Place</a>. While there, Ron realizes that Sirius' brother, Regulus Black, is the R.A.B. who stole <a href="/wiki/Salazar_Slytherin%27s_locket">Salazar Slytherin's locket</a> from Voldemort. Local thief <a href="/wiki/Mundungus_Fletcher">Mundungus Fletcher</a> later sold it to <a href="/wiki/Dolores_Umbridge">Dolores Umbridge</a>. Harry, Ron and Hermione infiltrate the Ministry and recover the locket but they are chased by Death Eaters in a chaotic exit. Hermione <a href="/wiki/Apparate">disapparates</a> them to a forest. Meanwhile, Ron is injured. The trio decide to start their journey to discover and destroy all of <a href="/wiki/Lord_Voldemort">Lord Voldemort</a>'s <a href="/wiki/Horcrux">Horcruxes</a>, starting from the locket.
</p><p>Attempts to destroy the locket fail. Hermione deduces that Gryffindor's sword can destroy Horcruxes because it is impregnated with <a href="/wiki/Basilisk_(Harry_Potter)">basilisk</a> venom. Ron, affected by the dark locket, is frustrated with their slow progress and irrationally jealous of Harry and Hermione. He argues with Harry, then disapparates, leaving Harry and Hermione to continue their journey. When Harry touches the Snitch to his lips, it reveals a cryptic message: "I open at the close." Hermione notices a strange symbol drawn in <i>Beedle the Bard</i> that is identical to one <a href="/wiki/Luna_Lovegood">Luna Lovegood</a>'s father <a href="/wiki/Xenophilius_Lovegood">Xenophilius</a> wears.
</p><p>Harry and Hermione search for the sword in <a href="/wiki/Godric%27s_Hollow">Godric's Hollow</a> and encounter the same strange symbol in a cemetery. Elderly historian <a href="/wiki/Bathilda_Bagshot">Bathilda Bagshot</a> invites them in her cottage, where they find a photo of the young man in Harry's dream who stole a wand from wandmaker <a href="/wiki/Gregorovitch">Gregorovitch</a>. Bathilda morphs into Voldemort's snake <a href="/wiki/Nagini_(Harry_Potter)">Nagini</a> and attacks Harry. Hermione disapparates them to safety, but her rebounding spell accidentally destroys Harry's wand. Hermione identifies the man in the photo as dark wizard <a href="/wiki/Gellert_Grindelwald">Gellert Grindelwald</a>. That night, a doe <a href="/wiki/Patronus_Charm">patronus</a> leads Harry to a frozen pond where Gryffindor's sword lies on the bottom. Harry dives into the frigid water, but the locket around his neck tightens, strangling him. Ron appears, retrieves the sword, and saves Harry. They destroy the locket Horcrux with the sword. Ron explains that the Deluminator led him to their location.
</p><p>Harry, Ron and Hermione visits Xenophilius Lovegood and learn the symbol represents the <a href="/wiki/Deathly_Hallows_(objects)">Deathly Hallows</a>. Many years before, three brothers each received a prize that evades Death: the <a href="/wiki/Resurrection_Stone_(Harry_Potter)">Resurrection Stone</a>, the <a href="/wiki/Cloak_of_Invisibility_(Harry_Potter)">Cloak of Invisibility</a>, and the <a href="/wiki/Elder_Wand">Elder Wand</a>, the most powerful wand known. Possessing all three makes one the Master of Death. Xenophilius secretly summons the Death Eaters, hoping to exchange Harry for a kidnapped Luna. The three escape, but Snatchers capture them. During a vision, Harry sees an elderly Grindelwald telling Voldemort that the Elder Wand is buried with Dumbledore.
</p><p>At <a href="/wiki/Malfoy_Manor">Malfoy Manor</a>, <a href="/wiki/Bellatrix_Lestrange">Bellatrix Lestrange</a> sees a Snatcher has Gryffindor's sword that she believed was in her <a href="/wiki/Gringotts">Gringotts</a> vault. Harry and Ron are locked into the cellar where they encounter Luna, <a href="/wiki/Ollivander">Ollivander</a>, and <a href="/wiki/Griphook">Griphook</a>. Upstairs, Bellatrix tortures Hermione. Harry begs for help using a mirror shard in which he believes he glimpsed Dumbledore; <a href="/wiki/Dobby_(Harry_Potter)">Dobby</a> appears in response and helps save everyone while Harry grabs their captured wands from <a href="/wiki/Draco_Malfoy">Draco Malfoy</a>. As they disapparate, Bellatrix throws a knife, killing Dobby. Harry buries him near Bill and Fleur's <a href="/wiki/Places_in_Harry_Potter#Shell_Cottage">seaside cottage</a>, an Order safe house. Meanwhile, Voldemort retrieves the Elder Wand from Dumbledore's tomb.
</p>
<h2>Cast[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=2">edit</a>]</h2>
<ul><li><a href="/wiki/Daniel_Radcliffe">Daniel Radcliffe</a> as <a href="/wiki/Harry_Potter_(character)">Harry Potter</a>: A 17-year-old <a href="/wiki/Magician_(fantasy)">wizard</a>.</li>
<li><a href="/wiki/Rupert_Grint">Rupert Grint</a> as <a href="/wiki/Ron_Weasley">Ron Weasley</a>: A young wizard and one of Harry's best friends and ally.</li>
<li><a href="/wiki/Emma_Watson">Emma Watson</a> as <a href="/wiki/Hermione_Granger">Hermione Granger</a>: A young witch and one of Harry's closest friends and ally.</li>
<li><a href="/wiki/Bonnie_Wright">Bonnie Wright</a> as <a href="/wiki/Ginny_Weasley">Ginny Weasley</a>: Ron's younger sister and Harry's love interest.</li>
<li><a href="/wiki/Helena_Bonham_Carter">Helena Bonham Carter</a> as <a href="/wiki/Bellatrix_Lestrange">Bellatrix Lestrange</a>: A <a href="/wiki/Death_Eater">Death Eater</a>, <a href="/wiki/Sirius_Black">Sirius Black</a>'s insane cousin and murderer, and the aunt of <a href="/wiki/Draco_Malfoy">Draco</a>.</li>
<li><a href="/wiki/Robbie_Coltrane">Robbie Coltrane</a> as <a href="/wiki/Rubeus_Hagrid">Rubeus Hagrid</a>: Harry's half-giant friend, and <a href="/wiki/Gamekeeper">gamekeeper</a> at <a href="/wiki/Hogwarts">Hogwarts</a>.</li>
<li><a href="/wiki/Warwick_Davis">Warwick Davis</a> as <a href="/wiki/Griphook">Griphook</a>: A <a href="/wiki/Goblins_(Harry_Potter)">goblin</a> and former employee at <a href="/wiki/Gringotts">Gringotts</a> Bank. Davis replaced <a href="/wiki/Verne_Troyer">Verne Troyer</a>, who portrayed the character physically in the first film, though Davis had dubbed Griphook's lines.</li>
<li><a href="/wiki/Tom_Felton">Tom Felton</a> as <a href="/wiki/Draco_Malfoy">Draco Malfoy</a>: a Death Eater and son of Lucius and <a href="/wiki/Narcissa_Malfoy">Narcissa Malfoy</a>.</li>
<li><a href="/wiki/Ralph_Fiennes">Ralph Fiennes</a> as <a href="/wiki/Lord_Voldemort">Lord Voldemort</a>: An evil power-hungry wizard, and the leader of the Death Eaters.</li>
<li><a href="/wiki/Michael_Gambon">Michael Gambon</a> as Professor <a href="/wiki/Albus_Dumbledore">Albus Dumbledore</a>: Former headmaster of <a href="/wiki/Hogwarts">Hogwarts</a> killed by <a href="/wiki/Severus_Snape">Severus Snape</a> in the <a href="/wiki/Harry_Potter_and_the_Half-Blood_Prince_(film)">previous film</a>.</li>
<li><a href="/wiki/Brendan_Gleeson">Brendan Gleeson</a> as <a href="/wiki/Alastor_%22Mad-Eye%22_Moody">Alastor 'Mad-Eye' Moody</a>: A member of the <a href="/wiki/Order_of_the_Phoenix_(organisation)">Order of the Phoenix</a>.</li>
<li><a href="/wiki/John_Hurt">John Hurt</a> as <a href="/wiki/Ollivander">Garrick Ollivander</a>: A wandmaker abducted by the Death Eaters.</li>
<li><a href="/wiki/Rhys_Ifans">Rhys Ifans</a> as <a href="/wiki/Xenophilius_Lovegood">Xenophilius Lovegood</a>: The eccentric father of the trio's friend <a href="/wiki/Luna_Lovegood">Luna</a>.</li>
<li><a href="/wiki/Jason_Isaacs">Jason Isaacs</a> as <a href="/wiki/Lucius_Malfoy">Lucius Malfoy</a>: Draco Malfoy's father and a disgraced Death Eater.</li>
<li><a href="/wiki/Helen_McCrory">Helen McCrory</a> as <a href="/wiki/Narcissa_Malfoy">Narcissa Malfoy</a>: Draco's mother and Bellatrix's sister.</li>
<li><a href="/wiki/Bill_Nighy">Bill Nighy</a> as <a href="/wiki/Rufus_Scrimgeour">Rufus Scrimgeour</a>: The new <a href="/wiki/Minister_for_Magic">Minister for Magic</a>.</li>
<li><a href="/wiki/Alan_Rickman">Alan Rickman</a> as Professor <a href="/wiki/Severus_Snape">Severus Snape</a>: A double agent to the Death Eaters and the new headmaster of <a href="/wiki/Hogwarts">Hogwarts</a>.</li>
<li><a href="/wiki/Jim_Broadbent">Jim Broadbent</a> as Professor <a href="/wiki/Horace_Slughorn">Horace Slughorn</a>: The new Potions teacher at Hogwarts, who has secret knowledge regarding Lord Voldemort.</li>
<li><a href="/wiki/Timothy_Spall">Timothy Spall</a> as <a href="/wiki/Death_Eater#Peter_Pettigrew">Peter Pettigrew</a>/<a href="/wiki/Wormtail">Wormtail</a>: The Death Eater who betrayed Harry's parents to Voldemort.</li>
<li><a href="/wiki/Imelda_Staunton">Imelda Staunton</a> as <a href="/wiki/Dolores_Umbridge">Dolores Umbridge</a>: Senior Undersecretary to the Minister for Magic and Head of the Muggle-born Registration Commission.</li>
<li><a href="/wiki/David_Thewlis">David Thewlis</a> as <a href="/wiki/Remus_Lupin">Remus Lupin</a>: A member of the <a href="/wiki/Order_of_the_Phoenix_(organisation)">Order of the Phoenix</a> and a former teacher at <a href="/wiki/Hogwarts">Hogwarts</a>.</li>
<li><a href="/wiki/Natalia_Tena">Natalia Tena</a> as <a href="/wiki/Nymphadora_Tonks">Nymphadora Tonks</a>: Remus Lupin's wife and a member of the <a href="/wiki/Order_of_the_Phoenix_(organisation)">Order of the Phoenix</a>.</li>
<li><a href="/wiki/George_Harris_(actor)">George Harris</a> as <a href="/wiki/Kingsley_Shacklebolt">Kingsley Shacklebolt</a>: Another member of the <a href="/wiki/Order_of_the_Phoenix_(organisation)">Order of the Phoenix</a>.</li>
<li><a href="/wiki/Julie_Walters">Julie Walters</a> as <a href="/wiki/Molly_Weasley">Molly Weasley</a>: The Weasley matriarch and a mother figure to Harry.</li>
<li><a href="/wiki/Mark_Williams_(actor)">Mark Williams</a> as <a href="/wiki/Arthur_Weasley">Arthur Weasley</a>: Ron Weasley's father, an <a href="/wiki/Auror">Auror</a> at the <a href="/wiki/Ministry_of_Magic">Ministry of Magic</a>.</li>
<li><a href="/wiki/Domhnall_Gleeson">Domhnall Gleeson</a> as <a href="/wiki/Bill_Weasley">Bill Weasley</a>: Arthur and Molly's eldest son who helps Harry to escape from <a href="/wiki/Little_Whinging">Little Whinging</a> and who is to marry Fleur.</li>
<li><a href="/wiki/Cl%C3%A9mence_Po%C3%A9sy">Clémence Poésy</a> as <a href="/wiki/Fleur_Delacour">Fleur Delacour</a>: A French Witch of the <a href="/wiki/Beauxbatons">Beauxbatons</a> School who also helps Harry to escape from <a href="/wiki/Little_Whinging">Little Whinging</a>.</li>
<li><a href="/wiki/Guy_Henry_(actor)">Guy Henry</a> as <a href="/wiki/Pius_Thicknesse">Pius Thicknesse</a>: The puppet <a href="/wiki/Ministry_of_Magic">Minister of Magic</a> installed by <a href="/wiki/Voldemort">Voldemort</a>.</li>
<li><a href="/wiki/Peter_Mullan">Peter Mullan</a> as <a href="/wiki/Corban_Yaxley">Corban Yaxley</a>: A Death Eater at the Ministry of Magic.</li>
<li><a href="/wiki/Carolyn_Pickles">Carolyn Pickles</a> as <a href="/wiki/Charity_Burbage">Charity Burbage</a>: The Muggle Studies teacher at Hogwarts, tortured and killed by Voldemort.</li>
<li><a href="/wiki/David_Ryall">David Ryall</a> as <a href="/wiki/Elphias_Doge">Elphias Doge</a>: An old schoolfriend of Albus Dumbledore who defends him in an obituary.</li>
<li><a href="/wiki/Richard_Griffiths">Richard Griffiths</a> as <a href="/wiki/Vernon_Dursley">Vernon Dursley</a>: Harry's Muggle uncle.</li>
<li><a href="/wiki/Fiona_Shaw">Fiona Shaw</a> as <a href="/wiki/Petunia_Dursley">Petunia Dursley</a>: Harry's Muggle aunt.</li>
<li><a href="/wiki/Hazel_Douglas">Hazel Douglas</a> as <a href="/wiki/Nagini_(Harry_Potter)">Nagini</a>: Voldemort's familiar <a href="/wiki/Snake">snake</a>, who puppeteers the corpse of <a href="/wiki/Bathilda_Bagshot">Bathilda Bagshot</a>.</li></ul>
<h2>Production[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=3">edit</a>]</h2>
<div><p><a href="/wiki/File:HPatDH_-_Panache_-_b%26w_Harry_and_camera.jpg"></a></p></div>
<p><i>Part 1</i> was filmed back-to-back with <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_2">Harry Potter and the Deathly Hallows – Part 2</a></i> from 19 February 2009 to 12 June 2010.<sup><a href="#cite_note-20">[20]</a></sup><sup><a href="#cite_note-21">[21]</a></sup> Director <a href="/wiki/David_Yates">David Yates</a>, who shot the film alongside <a href="/wiki/Cinematographer">director of photography</a> <a href="/wiki/Eduardo_Serra">Eduardo Serra</a>, described Part 1 as "quite real"; a "<a href="/wiki/Road_movie">road movie</a>" that's "almost like a <a href="/wiki/Cin%C3%A9ma_v%C3%A9rit%C3%A9">vérité</a> documentary".<sup><a href="#cite_note-22">[22]</a></sup><sup><a href="#cite_note-23">[23]</a></sup>
</p><p>Originally set for a single theatrical release, the idea to split the book into two parts was suggested by executive producer <a href="/wiki/Lionel_Wigram_(film_producer)">Lionel Wigram</a> due to what <a href="/wiki/David_Heyman">David Heyman</a> called "creative imperative". Heyman initially responded negatively to the idea, but Wigram asked, "No, David. How are we going to do it?". After rereading the book and discussing it with screenwriter <a href="/wiki/Steve_Kloves">Steve Kloves</a>, he agreed with the division.<sup><a href="#cite_note-24">[24]</a></sup>
</p><p>The production filmed at the <a href="/wiki/Dartford_Crossing">Dartford Crossing</a> for the dramatic chase where Harry and Hagrid are being ambushed by Death Eaters.<sup><a href="#cite_note-25">[25]</a></sup>
</p>
<h3>Sets[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=4">edit</a>]</h3>
<p><a href="/wiki/Stuart_Craig">Stuart Craig</a>, set designer for all of the previous <i>Harry Potter</i> films, returned for the final two parts. He said, "We made a very different kind of film, which was shot a great deal on location. We travelled quite far, we built sets, and they spend a lot of time in a forest," he explained. "We built forest sets and integrated them into the real forests, so there were challenges there, as you might imagine."<sup><a href="#cite_note-26">[26]</a></sup> Craig was ultimately nominated for an <a href="/wiki/Academy_Award">Academy Award</a> for his work on <i>Part 1</i>.<sup><a href="#cite_note-27">[27]</a></sup>
</p><p>On the wedding tent for Bill and Fleur's wedding in <i>Part 1</i>, Craig commented on his aim to "rather than make it an extension of the house, which is rather eccentric, homemade, we decided to make it rather elegant . . . It's lined with silk and beautiful, floating candelabra. So it's a nice contrast with the house." For the Ministry of Magic set, he noted, "This is an underground world; this is a ministry, so we went to the real ministries, the <a href="/wiki/Muggle">Muggle</a> ministries – <a href="/wiki/Whitehall">Whitehall</a>, in London – and decided that our magical ministry was kind of a parallel universe to these real ministries."<sup><a href="#cite_note-ordoña1-28">[28]</a></sup>
</p><p>Craig also commented on his design of Malfoy Manor, saying that it is "a very strong architectural set. The exterior is based on an Elizabethan house here in this country called <a href="/wiki/Hardwick_Hall">Hardwick Hall</a> and it has massive windows, and these windows are kind of blinded out. The shutters are drawn so they are like blind windows and they have a real kind of presence, an ominous presence, so that gave us the basis for a good exterior. There's an extraordinary magical roof that's added and surrounded by forest which isn't there in reality, but again is one of the devices to make it more threatening and mysterious."<sup><a href="#cite_note-ordoña1-28">[28]</a></sup>
</p>
<h3>Costumes[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>The costumes for <i>Part 1</i> were designed by <a href="/wiki/Jany_Temime">Jany Temime</a>, who has been the costume designer on <i>Harry Potter</i> productions since <i><a href="/wiki/Harry_Potter_and_the_Prisoner_of_Azkaban_(film)">Harry Potter and the Prisoner of Azkaban</a></i> (2004).<sup><a href="#cite_note-hero_complex-29">[29]</a></sup> Temime was involved in a controversy regarding her work on Fleur Delacour's wedding dress. She was accused of copying the design from a similar dress from <a href="/wiki/Alexander_McQueen_(brand)">Alexander McQueen</a>'s Fall 2008 collection.<sup><a href="#cite_note-30">[30]</a></sup> Temime spoke about the dress, saying that she "wanted it to be a witch wedding dress but not a Halloween dress. The dress is white but it needed to have something fantastic to it. So there is the phoenix [motif], the bird, which is a symbol of love in a way because there is rebirth, love never dies, it is born again."<sup><a href="#cite_note-hero_complex-29">[29]</a></sup>
</p>
<h3>Visual effects[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=6">edit</a>]</h3>
<div><p><a href="/wiki/File:The_Making_of_Harry_Potter_29-05-2012.jpg"></a></p><div><p>The motorcycle with a sidecar used by Hagrid and Harry in the film</p></div></div>
<p>After working on every film since <i>Prisoner of Azkaban</i>, <a href="/wiki/Double_Negative_(VFX)">Double Negative</a> was asked to provide <a href="/wiki/Visual_effects">visual effects</a> for the final instalments of the story, in <i>Harry Potter and the Deathly Hallows – Parts 1</i> and <i>2</i>. Working closely with the film's VFX Supervisor, Tim Burke, the team was led by VFX Supervisor, David Vickery and VFX Producer Charlotte Loughlane. The main team also included 3D Supervisor, Rick Leary and 2D Supervisor, Sean Stranks.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup>
</p><p>Double Negative's work for <i>Part 1</i> included the corroding Warner Brothers logo and extensive environment extensions of the Burrows and its surrounds. Additional environment work was completed on Xenophilius Lovegood's home, extending it in 3D and culminating in the Death Eaters' attack. Double Negative also advanced the Death Eaters' smoke effects, with the introduction of the 'flayed man' stage in between their smokey, fluid, flying state and their live-action presence upon landing. Other work included the Patronus charm that interrupts the wedding party to inform the guests that Voldemort has taken over the Ministry of Magic.<sup><a href="#cite_note-31">[31]</a></sup>
</p><p>The visual-effects company <a href="/wiki/Framestore">Framestore</a> produced most of the creature CGI, as in previous films, as well as the animated <i><a href="/wiki/The_Tale_of_the_Three_Brothers">Tale of the Three Brothers</a></i> sequence, which was directed and designed by <a href="/wiki/Ben_Hibon">Ben Hibon</a>.<sup><a href="#cite_note-32">[32]</a></sup>
</p>
<h3>Music[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>Composer <a href="/wiki/Nicholas_Hooper">Nicholas Hooper</a>, who scored <i>Order of the Phoenix</i> and <i>Half-Blood Prince</i>, did not return for <i>Deathly Hallows</i>. Instead, <a href="/wiki/Alexandre_Desplat">Alexandre Desplat</a> was hired to compose the score for <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1_(soundtrack)">Harry Potter and the Deathly Hallows – Part 1</a></i>.<sup><a href="#cite_note-33">[33]</a></sup> The film also featured the song "O Children" by <a href="/wiki/Nick_Cave_and_the_Bad_Seeds">Nick Cave and the Bad Seeds</a>.<sup><a href="#cite_note-34">[34]</a></sup>
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<h2>Marketing[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=8">edit</a>]</h2>
<p>The first official picture from the first film was released on 1 December 2009, showing Harry, Ron and Hermione in a London street. A clip was officially released on 8 December 2009 with the release of <i><a href="/wiki/Harry_Potter_and_the_Half-Blood_Prince_(film)#Home_media">Harry Potter and the Half-Blood Prince</a></i> on Blu-ray and DVD.<sup><a href="#cite_note-35">[35]</a></sup> At the 2010 <a href="/wiki/ShoWest">ShoWest</a> convention, <a href="/wiki/Alan_F._Horn">Alan F. Horn</a> premiered unfinished footage from both films.<sup><a href="#cite_note-36">[36]</a></sup> The <a href="/wiki/2010_MTV_Movie_Awards">2010 MTV Movie Awards</a> premiered more footage from <i>Deathly Hallows</i>.<sup><a href="#cite_note-37">[37]</a></sup> Following this was the release of the official teaser poster, which shows the release date of both <i>Part 1</i> and <i>Part 2</i> and a destroyed Hogwarts castle.<sup><a href="#cite_note-38">[38]</a></sup> ABC Family broadcast interviews and additional scenes from both parts during their <i>Harry Potter</i> weekend, which began on 8 July 2010.<sup><a href="#cite_note-39">[39]</a></sup> A two-minute trailer for the film was released worldwide on 22 September 2010.<sup><a href="#cite_note-40">[40]</a></sup>
</p><p>On 29 September 2010, three character posters for <i>Part 1</i> of Harry, Ron, and Hermione were released by <a href="/wiki/Yahoo!_Movies">Yahoo! Movies</a>.<sup><a href="#cite_note-41">[41]</a></sup> The following day, a <i>Part 1</i> cinema poster was released featuring the trio on the run in a forest. The theatrical poster has the tagline "Nowhere is safe", and another version with no credits has the tagline "The end begins".<sup><a href="#cite_note-42">[42]</a></sup> Various other character posters for Part 1 were released on 6 October 2010, featuring Harry, Ron, Hermione, Lord Voldemort, Bellatrix Lestrange, Severus Snape and Fenrir Greyback.<sup><a href="#cite_note-43">[43]</a></sup> On 12 October, four new character posters were released.<sup><a href="#cite_note-44">[44]</a></sup> The posters are set to the theme of "Trust no one" and "The hunt begins".
</p><p>On 15 October 2010, tickets began selling on <a href="/wiki/Fandango_(ticket_service)">Fandango</a> for the US release of <i>Part 1</i>, and on 19 October, a 50-second clip featuring never-before-seen footage was aired at the <a href="/wiki/2010_Scream_Awards">2010 Scream Awards</a>. On 16 October, the second TV spot was released on <a href="/wiki/Cartoon_Network">Cartoon Network</a> during a premiere of <i><a href="/wiki/Scooby-Doo!_Curse_of_the_Lake_Monster">Scooby-Doo! Curse of the Lake Monster</a></i>.<sup><a href="#cite_note-45">[45]</a></sup> On 25 October 2010, Yahoo! Movies released an exclusive featurette of the film.<sup><a href="#cite_note-46">[46]</a></sup> On 30 October 2010, <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> released two new featurettes titled "Horcruxes" and "The Story", featuring a large amount of never-before-seen footage. On the same day, the Warner Bros. <i>Harry Potter</i> website was updated to reveal twelve miniature clips from the film.<sup><a href="#cite_note-47">[47]</a></sup>
</p><p>On 3 November 2010, the <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i> released an extended clip of Harry leaving the Burrow to find the Horcruxes, titled "No One Else Is Going to Die for Me".<sup><a href="#cite_note-48">[48]</a></sup><sup>[<i><a href="/wiki/Wikipedia:NOTRS">better source needed</a></i>]</sup> On 4 November, a new clip was released from the <i>Harry Potter</i> Facebook page, titled "The Seven Potters".<sup><a href="#cite_note-49">[49]</a></sup> Two more clips were released over the next two days, including a scene depicting a café attack<sup><a href="#cite_note-50">[50]</a></sup> and another taking place in <a href="/wiki/Malfoy_Manor">Malfoy Manor</a>.<sup><a href="#cite_note-51">[51]</a></sup>
</p>
<h2>Release[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=9">edit</a>]</h2>
<h3>Theatrical[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=10">edit</a>]</h3>
<p>On 26 August 2010, director <a href="/wiki/David_Yates">David Yates</a>, producers David Heyman and <a href="/wiki/David_Barron_(film_producer)">David Barron</a>, and with Warner Bros. president <a href="/wiki/Alan_F._Horn">Alan F. Horn</a> attended a <a href="/wiki/Test_screening">test screening</a> for <i>Deathly Hallows – Part 1</i> in Chicago.<sup><a href="#cite_note-52">[52]</a></sup><sup><a href="#cite_note-53">[53]</a></sup> The unfinished film gained rave reviews from test screeners, some of whom labelled it "amazing and dark" and "the most perfect <i>Harry Potter</i> film". Others expressed that the film faithfully adapted the novel, which led to an inheritance of the "book's own problems".<sup><a href="#cite_note-54">[54]</a></sup>
</p><p>Warner Bros. Pictures was originally going to release Part 1 of <i>Deathly Hallows</i> in 2D and <a href="/wiki/3-D_film">3D</a> formats. On 8 October 2010, it was announced that plans for a 3D version of <i>Part 1</i> had been scrapped. "Warner Bros. Pictures has made the decision to release <i>Harry Potter and the Deathly Hallows – Part 1</i> in 2D, in both conventional and IMAX cinemas [because] we will not have a completed 3D version of the film within our release date window. Despite everyone's best efforts, we were unable to convert the film in its entirety and meet the highest standards of quality." Part 1 of <i>Deathly Hallows</i> was released on Blu-ray 3D as a Best Buy Exclusive. Part 2 was still released in 2D, 3D, and <a href="/wiki/IMAX">IMAX</a> formats.<sup><a href="#cite_note-Fandango-55">[55]</a></sup>
</p><p>The world premiere for <i>Deathly Hallows – Part 1</i> was held in <a href="/wiki/Leicester_Square">Leicester Square</a> in London on 11 November 2010, with fans from across the world turning up – some of whom had <a href="/wiki/Camping">camped</a> for days in the square. This was followed by the Belgian premiere on 12 November and the US premiere in New York City on 15 November.<sup><a href="#cite_note-56">[56]</a></sup>
</p><p>Just 48 hours prior to the official North American launch of <i>Part 1</i>, the first 36 minutes of the film were leaked on the internet.<sup><a href="#cite_note-57">[57]</a></sup> Even before the leak, the film was already the fifth-biggest generator of advance ticket sales in history, after selling out 1,000 cinemas across the United States.<sup><a href="#cite_note-58">[58]</a></sup> Despite widely circulating rumours that the leaked footage was a marketing ploy to generate hype for the movie release date, no <a href="/wiki/Screener_(promotional)">screener</a> discs had been created by <a href="/wiki/Warner_Bros.">Warner Bros.</a>, and executives called it "a serious breach of copyright violation and theft of Warner Bros. property".<sup><a href="#cite_note-59">[59]</a></sup>
</p><p>In Australia, the film had its premiere on 13 November at Warner Bros. Movie World, located on the Gold Coast, Queensland. Three hundred people attended the viewing, which was the second official showing in the world, behind the UK premiere. The film premiered in Kuwait on 16 November. In Israel, Estonia, and New Zealand, the film was released on 18 November.
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<h3>Home media[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=11">edit</a>]</h3>
<p><i>Harry Potter and the Deathly Hallows – Part 1</i> was released on a single and double disc DVD and 3-disc <a href="/wiki/Blu-ray">Blu-ray</a> combo pack on 11 April 2011 in the UK and on 15 April 2011 in the US.<sup><a href="#cite_note-AmazonDVD-60">[60]</a></sup>
On 28 January 2011, it was announced by <a href="/wiki/Emma_Watson">Emma Watson</a> on the Harry Potter UK Facebook page that the page's fans will get to vote for their preferred cover for the <i>Part 1</i> Blu-ray. The cover with the most votes will be the cover for the disc. Voting started that same day.<sup><a href="#cite_note-61">[61]</a></sup> The DVD and Blu-ray include eight <a href="/wiki/Deleted_scene">deleted scenes</a>, with the Blu-ray Combo Pack containing an opening scene from <i>Part 2</i> featuring Harry and Ollivander discussing the Deathly Hallows.<sup><a href="#cite_note-bbfc-62">[62]</a></sup><sup><a href="#cite_note-63">[63]</a></sup> <i>Deathly Hallows – Part 1</i> performed well in DVD sales, selling 7,237,437 DVD units and adding $86,932,256 to the gross revenue of the film,<sup><a href="#cite_note-64">[64]</a></sup> bringing the total to $1,043,331,967.
</p>
<h2>Reception[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=12">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=13">edit</a>]</h3>
<p><i>Harry Potter and the Deathly Hallows – Part 1</i> grossed $24 million in North America during its midnight showing, beating the record for the highest midnight gross of the series, previously held by <i><a href="/wiki/Harry_Potter_and_the_Half-Blood_Prince_(film)">Half Blood Prince</a></i>, at $22.2 million.<sup><a href="#cite_note-65">[65]</a></sup> The film also had the third-highest midnight gross of all time, behind <i><a href="/wiki/The_Twilight_Saga:_Eclipse">The Twilight Saga: Eclipse</a></i> and <i><a href="/wiki/The_Twilight_Saga:_New_Moon">The Twilight Saga: New Moon</a></i>, which grossed $30 million and $26.3 million, respectively.<sup><a href="#cite_note-66">[66]</a></sup> The film broke the record for the highest midnight gross in IMAX, with $1.4 million in box office sales, surpassing <i>Eclipse</i>, which grossed $1 million.<sup><a href="#cite_note-67">[67]</a></sup> All of these records were later topped in 2011 by the film's sequel, <i>Harry Potter and the Deathly Hallows – Part 2</i>.<sup><a href="#cite_note-68">[68]</a></sup>
</p><p>In North America, the film grossed $61.7 million on its opening day, marking the sixth <a href="/wiki/Opening_weekends#Biggest_opening_day_in_U.S._and_Canada">highest single day gross ever</a> at the time.<sup><a href="#cite_note-mojo-single-day-69">[69]</a></sup> It became the highest opening day for a <i>Harry Potter</i> film in the series, a record previously held by <i>Half-Blood Prince</i> with $58.2 million,<sup><a href="#cite_note-70">[70]</a></sup> until it was broken by <i>Harry Potter and the Deathly Hallows – Part 2</i> with $92.1 million.<sup><a href="#cite_note-71">[71]</a></sup> The film grossed a total of $125 million in its opening weekend, marking the largest opening for the franchise, previously held by <i><a href="/wiki/Harry_Potter_and_the_Goblet_of_Fire_(film)">Goblet of Fire</a></i><sup><a href="#cite_note-mojo-single-day-69">[69]</a></sup> and later topped by its sequel <i>Harry Potter and the Deathly Hallows – Part 2</i>. It also was the second biggest November opening ever at the time, behind <i>The Twilight Saga: New Moon</i>'s $142.8 million,<sup><a href="#cite_note-72">[72]</a></sup> the ninth biggest weekend opening for a film of all time at the North American box office,<sup><a href="#cite_note-73">[73]</a></sup> and the second biggest <a href="/wiki/List_of_2010_box_office_number-one_films_in_the_United_States">opening weekend for a 2010 film in the United States and Canada</a> behind <i><a href="/wiki/Iron_Man_2">Iron Man 2</a></i>'s $128.1 million.<sup><a href="#cite_note-2010_Opening_grosses-74">[74]</a></sup> The film stayed at the top of the box office for two weeks, grossing $75 million over the five-day <a href="/wiki/Thanksgiving">Thanksgiving</a> weekend, bringing its total to $219.1 million.<sup><a href="#cite_note-26–28_November_2010_Weekend-75">[75]</a></sup>
</p><p>In the United Kingdom, Ireland, and <a href="/wiki/Malta">Malta</a>, the film broke records for the highest Friday gross (£5.9 million), Saturday gross (£6.6 million), and Sunday gross (£5.7 million). Additionally, the film set the largest single day gross (£6.6 million) and the largest opening three-day gross (£18,319,721), a record previously held by <i><a href="/wiki/Quantum_of_Solace">Quantum of Solace</a></i>, which grossed £15.4 million.<sup><a href="#cite_note-76">[76]</a></sup> As of 13 February 2011, <i>Part 1</i> has grossed £52,404,464 ($86,020,929),<sup><a href="#cite_note-UK_3–5_December_2010-77">[77]</a></sup> becoming the second highest-grossing 2010 release in the country, behind <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i> (£73,405,113).<sup><a href="#cite_note-78">[78]</a></sup>
</p><p>Outside North America, the film grossed an estimated $205 million in its opening weekend, becoming the sixth highest of all time, the highest for a 2010 release, and the second highest for a <a href="/wiki/Harry_Potter_(film_series)"><i>Harry Potter</i> movie</a>, behind only <i>Half-Blood Prince</i>.<sup><a href="#cite_note-Overseas_Openings-79">[79]</a></sup> Globally, the film grossed $330 million in its opening weekend, ranking seventh on <a href="/wiki/Opening_weekends#Biggest_worldwide_openings_since_2002">the all-time chart</a>.<sup><a href="#cite_note-80">[80]</a></sup>
</p><p>It was the highest grossing 2010 film in <a href="/wiki/Indonesia">Indonesia</a> ($6,149,448), <a href="/wiki/Singapore">Singapore</a> ($4,546,240), <a href="/wiki/Thailand">Thailand</a> ($4,933,136), <a href="/wiki/Belgium">Belgium</a> and <a href="/wiki/Luxembourg">Luxembourg</a> ($8,944,329), France and the <a href="/wiki/Maghreb">Maghreb</a> region ($51,104,397), Germany ($61,430,098), the <a href="/wiki/Netherlands">Netherlands</a> ($13,790,585), <a href="/wiki/Norway">Norway</a> ($7,144,020), <a href="/wiki/Sweden">Sweden</a> ($11,209,387), and Australia ($41,350,865).<sup><a href="#cite_note-81">[81]</a></sup> In total overseas earnings, it surpassed <i><a href="/wiki/Harry_Potter_and_the_Philosopher%27s_Stone_(film)">Philosopher's Stone</a></i> ($657.2 million) to become the highest grossing <i><a href="/wiki/Harry_Potter_(film_series)">Harry Potter</a></i> film overseas.<sup><a href="#cite_note-82">[82]</a></sup>
</p><p><i>Part 1</i> ended its run with $296.4 million in the United States and Canada, making it the <a href="/wiki/List_of_American_films_of_2010#Box_office">fifth-highest-grossing film of 2010</a> in these regions,<sup><a href="#cite_note-83">[83]</a></sup> and $680.7 million from other countries around the world, for a worldwide total of $977.1 million,<sup><a href="#cite_note-BOM_(HP7)-5">[5]</a></sup> making it the third <a href="/wiki/2010_in_film#Highest-grossing_films">highest-grossing film of 2010</a> worldwide behind <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i> and <i><a href="/wiki/Alice_in_Wonderland_(2010_film)">Alice in Wonderland</a></i>,<sup><a href="#cite_note-2010_Worldwide_Grosses-84">[84]</a></sup> as well as the third highest grossing <a href="/wiki/Harry_Potter_(film_series)"><i>Harry Potter</i></a> film in the series behind <i>The Deathly Hallows – Part 2</i> and <i>The Philosopher's Stone</i>.<sup><a href="#cite_note-85">[85]</a></sup>
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<h3>Critical response[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=14">edit</a>]</h3>
<p><a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a> gives the film an approval rating of 77% based on 288 reviews, with an average rating of 7.1/10. The site's critics consensus reads, "It can't help but feel like the prelude it is, but <i>Deathly Hallows: Part I</i> is a beautifully filmed, emotionally satisfying penultimate installment for the Harry Potter series."<sup><a href="#cite_note-86">[86]</a></sup> On <a href="/wiki/Metacritic">Metacritic</a>, the film has a weighted average score of 65 out of 100, based on 42 critics, indicating "generally favourable reviews".<sup><a href="#cite_note-87">[87]</a></sup> Audiences surveyed by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A" on an A+ to F scale.<sup><a href="#cite_note-CinemaScore-88">[88]</a></sup>
</p><p>The UK's <i><a href="/wiki/Daily_Telegraph">Daily Telegraph</a></i> also gave the film a positive review, remarking, "For the most part the action romps along, spurred by some impressive special effects," adding, "It's just slightly disappointing that, with the momentum having been established so effectively, we now have to wait until next year to enjoy the rest of the ride."<sup><a href="#cite_note-89">[89]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> awarded the first part three out of four stars, praising the cast and calling it "a handsome and sometimes harrowing film . . . completely unintelligible for anyone coming to the series for the first time".<sup><a href="#cite_note-Ebert-Potter7-90">[90]</a></sup> Scott Bowles of <i><a href="/wiki/USA_Today">USA Today</a></i> called it, "Menacing and meditative, <i>Hallows</i> is arguably the best instalment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost",<sup><a href="#cite_note-91">[91]</a></sup> while <a href="/wiki/Lisa_Schwarzbaum">Lisa Schwarzbaum</a> of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> likewise praised the film as "the most cinematically rewarding chapter yet."<sup><a href="#cite_note-92">[92]</a></sup> In a review for the <i>Orlando Sentinel</i>, Roger Moore proclaimed Part I as "Alternately funny and touching, it's the best film in the series, an <i><a href="/wiki/The_Empire_Strikes_Back">Empire Strikes Back</a></i> for these wizards and their wizarding world. And those effects? They're so special you don't notice them."<sup><a href="#cite_note-93">[93]</a></sup> Ramin Setoodeh of <i>Newsweek</i> gave a negative review, writing, "They've taken one of the most enchanting series in contemporary fiction and sucked out all the magic . . . while Rowling's stories are endlessly inventive, <i>Potter</i> onscreen just gives you a headache."<sup><a href="#cite_note-94">[94]</a></sup> Lou Lumenick of <i><a href="/wiki/The_New_York_Post">The New York Post</a></i> found the film to be "Beautifully shot but a soulless cash machine... [that] delivers no dramatic payoff, no resolution and not much fun."<sup><a href="#cite_note-95">[95]</a></sup>
</p><p>Keith Uhlich of <i><a href="/wiki/Time_Out_(magazine)">Time Out New York</a></i> named <i>Harry Potter and the Deathly Hallows – Part 1</i> the seventh-best film of 2010, calling it an "elatingly downbeat blockbuster".<sup><a href="#cite_note-96">[96]</a></sup>
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<h3>Accolades[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=15">edit</a>]</h3>
<p><i>Harry Potter and the Deathly Hallows – Part 1</i> was nominated for Best Art Direction and Best Visual Effects at the <a href="/wiki/83rd_Academy_Awards">83rd Academy Awards</a>.<sup><a href="#cite_note-academyawards-97">[97]</a></sup> It is the second film in the <i><a href="/wiki/Harry_Potter_(film_series)">Harry Potter</a></i> film series to be nominated for a Visual Effects Oscar (the previous one being <i><a href="/wiki/Harry_Potter_and_the_Prisoner_of_Azkaban_(film)">Harry Potter and the Prisoner of Azkaban</a></i>). The film was long-listed for eight different categories, including Best Cinematography, Production Design, and Original Score, at the <a href="/wiki/64th_British_Academy_Film_Awards">64th BAFTA awards</a>, and ultimately was nominated for Best Special Visual Effects and Make-up.<sup><a href="#cite_note-98">[98]</a></sup>
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<h2>See also[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=16">edit</a>]</h2>
<ul><li><a href="/wiki/List_of_films_split_into_multiple_parts">List of films split into multiple parts</a></li></ul>
<h2>References[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=17">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-afi_1-0">^</a></b> <cite><a href="https://catalog.afi.com/Catalog/moviedetails/66501?sid=097ea460-25c7-4baa-9ac6-beb46e8ec76b&amp;sr=1.917341&amp;cp=1&amp;pos=7">"HARRY POTTER AND THE DEATHLY HALLOWS: PART I (2010)"</a>. <i><a href="/wiki/AFI_Catalog_of_Feature_Films">AFI Catalog of Feature Films</a></i>. <a href="https://web.archive.org/web/20180724183638/https://catalog.afi.com/Catalog/moviedetails/66501?sid=097ea460-25c7-4baa-9ac6-beb46e8ec76b&amp;sr=1.917341&amp;cp=1&amp;pos=7">Archived</a> from the original on 24 July 2018. Retrieved 24 July 2018.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.bbfc.co.uk/release/harry-potter-and-the-deathly-hallows-part-1-q29sbgvjdglvbjpwwc00mji2nde">"Harry Potter and the Deathly Hallows – Part 1 (12)"</a>. <i><a href="/wiki/British_Board_of_Film_Classification">British Board of Film Classification</a></i>. <a href="https://web.archive.org/web/20220110223728/https://www.bbfc.co.uk/release/harry-potter-and-the-deathly-hallows-part-1-q29sbgvjdglvbjpwwc00mji2nde">Archived</a> from the original on 10 January 2022. Retrieved 10 January 2022.</cite>
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<h2>External links[<a href="/w/index.php?title=Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1&amp;action=edit&amp;section=18">edit</a>]</h2>
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<ul><li><a href="http://harrypotter.warnerbros.com/harrypotterandthedeathlyhallows">Official website</a></li>
<li><a href="https://www.imdb.com/title/tt0926084/"><i>Harry Potter and the Deathly Hallows – Part 1</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.allmovie.com/movie/v393092"><i>Harry Potter and the Deathly Hallows – Part 1</i></a> at <a href="/wiki/AllMovie">AllMovie</a></li>
<li><a href="https://www.boxofficemojo.com/movies/?id=harrypotter7.htm"><i>Harry Potter and the Deathly Hallows – Part 1</i></a> at <a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></li></ul>
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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Sets
 + 3.2 Costumes
 + 3.3 Visual effects
 + 3.4 Music
 * 4 Marketing
 * 5 Release
 + 5.1 Theatrical
 + 5.2 Home media
 * 6 Reception
 + 6.1 Box office
 + 6.2 Critical response
 + 6.3 Accolades
 * 7 See also
 * 8 References
 * 9 External links
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 Harry Potter and the Deathly Hallows – Part 1

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 From Wikipedia, the free encyclopedia
 This article is about the 2010 fantasy film. For the 2010 video game, see Harry Potter and the Deathly Hallows – Part 1 (video game).

 Harry Potter and the Deathly Hallows – Part 1
 Theatrical release poster 
 Directed by David Yates 
 Screenplay by Steve Kloves 
 Based on Harry Potter and the Deathly Hallows 
 by J. K. Rowling 
  * David Heyman 
 Produced by * David Barron 
  * J. K. Rowling 
  * Daniel Radcliffe 
  * Rupert Grint 
  * Emma Watson 
  * Helena Bonham Carter 
  * Robbie Coltrane 
  * Warwick Davis 
  * Ralph Fiennes 
  * Michael Gambon 
 Starring * Brendan Gleeson 
  * Richard Griffiths 
  * John Hurt 
  * Jason Isaacs 
  * Alan Rickman 
  * Fiona Shaw 
  * Timothy Spall 
  * Imelda Staunton 
  * David Thewlis 
  * Julie Walters 
 Cinematography Eduardo Serra 
 Edited by Mark Day 
 Music by Alexandre Desplat 
 Production * Warner Bros. Pictures[1] 
 companies * Heyday Films 
 Distributed by Warner Bros. Pictures 
 Release dates * 11 November 2010 (Odeon Leicester Square) 
  * 19 November 2010 (United Kingdom and United States)
 Running time 146 minutes[2] 
 Countries * United Kingdom 
  * United States 
 Language English 
 Budget $250 million 
 (shared with Part 2)[3][4] 
 Box office $977.1 million[5] 
 

 Harry Potter and the Deathly Hallows – Part 1 is a 2010 fantasy film directed by David Yates from a screenplay by Steve Kloves.[5] The film is the first of two cinematic parts based on the 2007 novel Harry Potter and the Deathly Hallows by J. K. Rowling. It is the sequel to Harry Potter and the Half-Blood Prince (2009) and the seventh instalment in the Harry Potter film series.[6]

 The film stars Daniel Radcliffe as Harry Potter, with Rupert Grint and Emma Watson, respectively, reprising roles as Harry's best friends Ron Weasley and Hermione Granger. The story follows Harry Potter, who has been asked by Dumbledore to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. Filming began on 19 February 2009 and was completed on 12 June 2010.[7]

 It was released in 2D cinemas and IMAX formats in the United Kingdom and in the United States on 19 November 2010, by Warner Bros. Pictures.[8][9][10][11] The film received positive reviews with critics praising its performances, cinematography, visual effects and musical score.[12][13][14][15][16]

 In the film's worldwide opening weekend, Part 1 grossed $330 million, the third-highest in the series, and the highest opening of 2010, as well as the eighth-highest of all time.[17] With a worldwide gross of $977 million, Part 1 became the third-highest-grossing film of 2010,[18] and the third-highest-grossing Harry Potter film in terms of worldwide totals.[19] The film was nominated for many awards, including the Academy Award for Best Art Direction and Best Visual Effects.

 The film was followed by the concluding entry, Harry Potter and the Deathly Hallows – Part 2 in 2011.

 Plot [ edit ]

 At Malfoy Manor, Severus Snape meets with Lord Voldemort and his Death Eaters. He reports that the Order of the Phoenix will move Harry Potter, no longer under his mother's protective spell, to a safe location. Voldemort confiscates Lucius Malfoy's wand; his own is powerless against Harry because it and Harry's wand are "brothers" by sharing the same phoenix feather core. During the move, Harry survives Voldemort's attack but Mad-Eye Moody and Hedwig are killed.

 During preparations for Bill Weasley and Fleur Delacour's wedding, the new Minister for Magic arrives. He informs Harry, Ron, and Hermione that Albus Dumbledore left each a bequest: Ron a Deluminator, Hermione a copy of The Tales of Beedle the Bard, and Harry the Golden Snitch he caught in his first Quidditch match. Dumbledore had also bequeathed the Sword of Gryffindor to Harry, but it has gone missing.

 News arrives during the wedding that the Ministry has fallen and the Minister is dead. Death Eaters attack and Harry, Ron, and Hermione escape to Number 12, Grimmauld Place. While there, Ron realizes that Sirius' brother, Regulus Black, is the R.A.B. who stole Salazar Slytherin's locket from Voldemort. Local thief Mundungus Fletcher later sold it to Dolores Umbridge. Harry, Ron and Hermione infiltrate the Ministry and recover the locket but they are chased by Death Eaters in a chaotic exit. Hermione disapparates them to a forest. Meanwhile, Ron is injured. The trio decide to start their journey to discover and destroy all of Lord Voldemort's Horcruxes, starting from the locket.

 Attempts to destroy the locket fail. Hermione deduces that Gryffindor's sword can destroy Horcruxes because it is impregnated with basilisk venom. Ron, affected by the dark locket, is frustrated with their slow progress and irrationally jealous of Harry and Hermione. He argues with Harry, then disapparates, leaving Harry and Hermione to continue their journey. When Harry touches the Snitch to his lips, it reveals a cryptic message: "I open at the close." Hermione notices a strange symbol drawn in Beedle the Bard that is identical to one Luna Lovegood's father Xenophilius wears.

 Harry and Hermione search for the sword in Godric's Hollow and encounter the same strange symbol in a cemetery. Elderly historian Bathilda Bagshot invites them in her cottage, where they find a photo of the young man in Harry's dream who stole a wand from wandmaker Gregorovitch. Bathilda morphs into Voldemort's snake Nagini and attacks Harry. Hermione disapparates them to safety, but her rebounding spell accidentally destroys Harry's wand. Hermione identifies the man in the photo as dark wizard Gellert Grindelwald. That night, a doe patronus leads Harry to a frozen pond where Gryffindor's sword lies on the bottom. Harry dives into the frigid water, but the locket around his neck tightens, strangling him. Ron appears, retrieves the sword, and saves Harry. They destroy the locket Horcrux with the sword. Ron explains that the Deluminator led him to their location.

 Harry, Ron and Hermione visits Xenophilius Lovegood and learn the symbol represents the Deathly Hallows. Many years before, three brothers each received a prize that evades Death: the Resurrection Stone, the Cloak of Invisibility, and the Elder Wand, the most powerful wand known. Possessing all three makes one the Master of Death. Xenophilius secretly summons the Death Eaters, hoping to exchange Harry for a kidnapped Luna. The three escape, but Snatchers capture them. During a vision, Harry sees an elderly Grindelwald telling Voldemort that the Elder Wand is buried with Dumbledore.

 At Malfoy Manor, Bellatrix Lestrange sees a Snatcher has Gryffindor's sword that she believed was in her Gringotts vault. Harry and Ron are locked into the cellar where they encounter Luna, Ollivander, and Griphook. Upstairs, Bellatrix tortures Hermione. Harry begs for help using a mirror shard in which he believes he glimpsed Dumbledore; Dobby appears in response and helps save everyone while Harry grabs their captured wands from Draco Malfoy. As they disapparate, Bellatrix throws a knife, killing Dobby. Harry buries him near Bill and Fleur's seaside cottage, an Order safe house. Meanwhile, Voldemort retrieves the Elder Wand from Dumbledore's tomb.

 Cast [ edit ]

 Further information: List of Harry Potter cast members
 * Daniel Radcliffe as Harry Potter: A 17-year-old wizard.
 * Rupert Grint as Ron Weasley: A young wizard and one of Harry's best friends and ally.
 * Emma Watson as Hermione Granger: A young witch and one of Harry's closest friends and ally.
 * Bonnie Wright as Ginny Weasley: Ron's younger sister and Harry's love interest.
 * Helena Bonham Carter as Bellatrix Lestrange: A Death Eater, Sirius Black's insane cousin and murderer, and the aunt of Draco.
 * Robbie Coltrane as Rubeus Hagrid: Harry's half-giant friend, and gamekeeper at Hogwarts.
 * Warwick Davis as Griphook: A goblin and former employee at Gringotts Bank. Davis replaced Verne Troyer, who portrayed the character physically in the first film, though Davis had dubbed Griphook's lines.
 * Tom Felton as Draco Malfoy: a Death Eater and son of Lucius and Narcissa Malfoy.
 * Ralph Fiennes as Lord Voldemort: An evil power-hungry wizard, and the leader of the Death Eaters.
 * Michael Gambon as Professor Albus Dumbledore: Former headmaster of Hogwarts killed by Severus Snape in the previous film.
 * Brendan Gleeson as Alastor 'Mad-Eye' Moody: A member of the Order of the Phoenix.
 * John Hurt as Garrick Ollivander: A wandmaker abducted by the Death Eaters.
 * Rhys Ifans as Xenophilius Lovegood: The eccentric father of the trio's friend Luna.
 * Jason Isaacs as Lucius Malfoy: Draco Malfoy's father and a disgraced Death Eater.
 * Helen McCrory as Narcissa Malfoy: Draco's mother and Bellatrix's sister.
 * Bill Nighy as Rufus Scrimgeour: The new Minister for Magic.
 * Alan Rickman as Professor Severus Snape: A double agent to the Death Eaters and the new headmaster of Hogwarts.
 * Jim Broadbent as Professor Horace Slughorn: The new Potions teacher at Hogwarts, who has secret knowledge regarding Lord Voldemort.
 * Timothy Spall as Peter Pettigrew/Wormtail: The Death Eater who betrayed Harry's parents to Voldemort.
 * Imelda Staunton as Dolores Umbridge: Senior Undersecretary to the Minister for Magic and Head of the Muggle-born Registration Commission.
 * David Thewlis as Remus Lupin: A member of the Order of the Phoenix and a former teacher at Hogwarts.
 * Natalia Tena as Nymphadora Tonks: Remus Lupin's wife and a member of the Order of the Phoenix.
 * George Harris as Kingsley Shacklebolt: Another member of the Order of the Phoenix.
 * Julie Walters as Molly Weasley: The Weasley matriarch and a mother figure to Harry.
 * Mark Williams as Arthur Weasley: Ron Weasley's father, an Auror at the Ministry of Magic.
 * Domhnall Gleeson as Bill Weasley: Arthur and Molly's eldest son who helps Harry to escape from Little Whinging and who is to marry Fleur.
 * Clémence Poésy as Fleur Delacour: A French Witch of the Beauxbatons School who also helps Harry to escape from Little Whinging.
 * Guy Henry as Pius Thicknesse: The puppet Minister of Magic installed by Voldemort.
 * Peter Mullan as Corban Yaxley: A Death Eater at the Ministry of Magic.
 * Carolyn Pickles as Charity Burbage: The Muggle Studies teacher at Hogwarts, tortured and killed by Voldemort.
 * David Ryall as Elphias Doge: An old schoolfriend of Albus Dumbledore who defends him in an obituary.
 * Richard Griffiths as Vernon Dursley: Harry's Muggle uncle.
 * Fiona Shaw as Petunia Dursley: Harry's Muggle aunt.
 * Hazel Douglas as Nagini: Voldemort's familiar snake, who puppeteers the corpse of Bathilda Bagshot.

 Production [ edit ]

 Main article: Production of Harry Potter and the Deathly Hallows
 Daniel Radcliffe filming Dobby's death scene in Pembrokeshire, Wales

 Part 1 was filmed back-to-back with Harry Potter and the Deathly Hallows – Part 2 from 19 February 2009 to 12 June 2010.[20][21] Director David Yates, who shot the film alongside director of photography Eduardo Serra, described Part 1 as "quite real"; a "road movie" that's "almost like a vérité documentary".[22][23]

 Originally set for a single theatrical release, the idea to split the book into two parts was suggested by executive producer Lionel Wigram due to what David Heyman called "creative imperative". Heyman initially responded negatively to the idea, but Wigram asked, "No, David. How are we going to do it?". After rereading the book and discussing it with screenwriter Steve Kloves, he agreed with the division.[24]

 The production filmed at the Dartford Crossing for the dramatic chase where Harry and Hagrid are being ambushed by Death Eaters.[25]

 Sets [ edit ]

 Stuart Craig, set designer for all of the previous Harry Potter films, returned for the final two parts. He said, "We made a very different kind of film, which was shot a great deal on location. We travelled quite far, we built sets, and they spend a lot of time in a forest," he explained. "We built forest sets and integrated them into the real forests, so there were challenges there, as you might imagine."[26] Craig was ultimately nominated for an Academy Award for his work on Part 1.[27]

 On the wedding tent for Bill and Fleur's wedding in Part 1, Craig commented on his aim to "rather than make it an extension of the house, which is rather eccentric, homemade, we decided to make it rather elegant . . . It's lined with silk and beautiful, floating candelabra. So it's a nice contrast with the house." For the Ministry of Magic set, he noted, "This is an underground world; this is a ministry, so we went to the real ministries, the Muggle ministries – Whitehall, in London – and decided that our magical ministry was kind of a parallel universe to these real ministries."[28]

 Craig also commented on his design of Malfoy Manor, saying that it is "a very strong architectural set. The exterior is based on an Elizabethan house here in this country called Hardwick Hall and it has massive windows, and these windows are kind of blinded out. The shutters are drawn so they are like blind windows and they have a real kind of presence, an ominous presence, so that gave us the basis for a good exterior. There's an extraordinary magical roof that's added and surrounded by forest which isn't there in reality, but again is one of the devices to make it more threatening and mysterious."[28]

 Costumes [ edit ]

 The costumes for Part 1 were designed by Jany Temime, who has been the costume designer on Harry Potter productions since Harry Potter and the Prisoner of Azkaban (2004).[29] Temime was involved in a controversy regarding her work on Fleur Delacour's wedding dress. She was accused of copying the design from a similar dress from Alexander McQueen's Fall 2008 collection.[30] Temime spoke about the dress, saying that she "wanted it to be a witch wedding dress but not a Halloween dress. The dress is white but it needed to have something fantastic to it. So there is the phoenix [motif], the bird, which is a symbol of love in a way because there is rebirth, love never dies, it is born again."[29]

 Visual effects [ edit ]

 The motorcycle with a sidecar used by Hagrid and Harry in the film

 After working on every film since Prisoner of Azkaban, Double Negative was asked to provide visual effects for the final instalments of the story, in Harry Potter and the Deathly Hallows – Parts 1 and 2. Working closely with the film's VFX Supervisor, Tim Burke, the team was led by VFX Supervisor, David Vickery and VFX Producer Charlotte Loughlane. The main team also included 3D Supervisor, Rick Leary and 2D Supervisor, Sean Stranks.[ citation needed ]

 Double Negative's work for Part 1 included the corroding Warner Brothers logo and extensive environment extensions of the Burrows and its surrounds. Additional environment work was completed on Xenophilius Lovegood's home, extending it in 3D and culminating in the Death Eaters' attack. Double Negative also advanced the Death Eaters' smoke effects, with the introduction of the 'flayed man' stage in between their smokey, fluid, flying state and their live-action presence upon landing. Other work included the Patronus charm that interrupts the wedding party to inform the guests that Voldemort has taken over the Ministry of Magic.[31]

 The visual-effects company Framestore produced most of the creature CGI, as in previous films, as well as the animated Tale of the Three Brothers sequence, which was directed and designed by Ben Hibon.[32]

 Music [ edit ]

 Main article: Harry Potter and the Deathly Hallows – Part 1 (soundtrack)
 See also: Music of the Harry Potter films

 Composer Nicholas Hooper, who scored Order of the Phoenix and Half-Blood Prince, did not return for Deathly Hallows. Instead, Alexandre Desplat was hired to compose the score for Harry Potter and the Deathly Hallows – Part 1.[33] The film also featured the song "O Children" by Nick Cave and the Bad Seeds.[34]

 Marketing [ edit ]

 The first official picture from the first film was released on 1 December 2009, showing Harry, Ron and Hermione in a London street. A clip was officially released on 8 December 2009 with the release of Harry Potter and the Half-Blood Prince on Blu-ray and DVD.[35] At the 2010 ShoWest convention, Alan F. Horn premiered unfinished footage from both films.[36] The 2010 MTV Movie Awards premiered more footage from Deathly Hallows.[37] Following this was the release of the official teaser poster, which shows the release date of both Part 1 and Part 2 and a destroyed Hogwarts castle.[38] ABC Family broadcast interviews and additional scenes from both parts during their Harry Potter weekend, which began on 8 July 2010.[39] A two-minute trailer for the film was released worldwide on 22 September 2010.[40]

 On 29 September 2010, three character posters for Part 1 of Harry, Ron, and Hermione were released by Yahoo! Movies.[41] The following day, a Part 1 cinema poster was released featuring the trio on the run in a forest. The theatrical poster has the tagline "Nowhere is safe", and another version with no credits has the tagline "The end begins".[42] Various other character posters for Part 1 were released on 6 October 2010, featuring Harry, Ron, Hermione, Lord Voldemort, Bellatrix Lestrange, Severus Snape and Fenrir Greyback.[43] On 12 October, four new character posters were released.[44] The posters are set to the theme of "Trust no one" and "The hunt begins".

 On 15 October 2010, tickets began selling on Fandango for the US release of Part 1, and on 19 October, a 50-second clip featuring never-before-seen footage was aired at the 2010 Scream Awards. On 16 October, the second TV spot was released on Cartoon Network during a premiere of Scooby-Doo! Curse of the Lake Monster.[45] On 25 October 2010, Yahoo! Movies released an exclusive featurette of the film.[46] On 30 October 2010, Entertainment Weekly released two new featurettes titled "Horcruxes" and "The Story", featuring a large amount of never-before-seen footage. On the same day, the Warner Bros. Harry Potter website was updated to reveal twelve miniature clips from the film.[47]

 On 3 November 2010, the Los Angeles Times released an extended clip of Harry leaving the Burrow to find the Horcruxes, titled "No One Else Is Going to Die for Me".[48][ better source needed ] On 4 November, a new clip was released from the Harry Potter Facebook page, titled "The Seven Potters".[49] Two more clips were released over the next two days, including a scene depicting a café attack[50] and another taking place in Malfoy Manor.[51]

 Release [ edit ]

 Theatrical [ edit ]

 On 26 August 2010, director David Yates, producers David Heyman and David Barron, and with Warner Bros. president Alan F. Horn attended a test screening for Deathly Hallows – Part 1 in Chicago.[52][53] The unfinished film gained rave reviews from test screeners, some of whom labelled it "amazing and dark" and "the most perfect Harry Potter film". Others expressed that the film faithfully adapted the novel, which led to an inheritance of the "book's own problems".[54]

 Warner Bros. Pictures was originally going to release Part 1 of Deathly Hallows in 2D and 3D formats. On 8 October 2010, it was announced that plans for a 3D version of Part 1 had been scrapped. "Warner Bros. Pictures has made the decision to release Harry Potter and the Deathly Hallows – Part 1 in 2D, in both conventional and IMAX cinemas [because] we will not have a completed 3D version of the film within our release date window. Despite everyone's best efforts, we were unable to convert the film in its entirety and meet the highest standards of quality." Part 1 of Deathly Hallows was released on Blu-ray 3D as a Best Buy Exclusive. Part 2 was still released in 2D, 3D, and IMAX formats.[55]

 The world premiere for Deathly Hallows – Part 1 was held in Leicester Square in London on 11 November 2010, with fans from across the world turning up – some of whom had camped for days in the square. This was followed by the Belgian premiere on 12 November and the US premiere in New York City on 15 November.[56]

 Just 48 hours prior to the official North American launch of Part 1, the first 36 minutes of the film were leaked on the internet.[57] Even before the leak, the film was already the fifth-biggest generator of advance ticket sales in history, after selling out 1,000 cinemas across the United States.[58] Despite widely circulating rumours that the leaked footage was a marketing ploy to generate hype for the movie release date, no screener discs had been created by Warner Bros., and executives called it "a serious breach of copyright violation and theft of Warner Bros. property".[59]

 In Australia, the film had its premiere on 13 November at Warner Bros. Movie World, located on the Gold Coast, Queensland. Three hundred people attended the viewing, which was the second official showing in the world, behind the UK premiere. The film premiered in Kuwait on 16 November. In Israel, Estonia, and New Zealand, the film was released on 18 November.

 Home media [ edit ]

 Harry Potter and the Deathly Hallows – Part 1 was released on a single and double disc DVD and 3-disc Blu-ray combo pack on 11 April 2011 in the UK and on 15 April 2011 in the US.[60] On 28 January 2011, it was announced by Emma Watson on the Harry Potter UK Facebook page that the page's fans will get to vote for their preferred cover for the Part 1 Blu-ray. The cover with the most votes will be the cover for the disc. Voting started that same day.[61] The DVD and Blu-ray include eight deleted scenes, with the Blu-ray Combo Pack containing an opening scene from Part 2 featuring Harry and Ollivander discussing the Deathly Hallows.[62][63] Deathly Hallows – Part 1 performed well in DVD sales, selling 7,237,437 DVD units and adding $86,932,256 to the gross revenue of the film,[64] bringing the total to $1,043,331,967.

 Reception [ edit ]

 Box office [ edit ]

 Harry Potter and the Deathly Hallows – Part 1 grossed $24 million in North America during its midnight showing, beating the record for the highest midnight gross of the series, previously held by Half Blood Prince, at $22.2 million.[65] The film also had the third-highest midnight gross of all time, behind The Twilight Saga: Eclipse and The Twilight Saga: New Moon, which grossed $30 million and $26.3 million, respectively.[66] The film broke the record for the highest midnight gross in IMAX, with $1.4 million in box office sales, surpassing Eclipse, which grossed $1 million.[67] All of these records were later topped in 2011 by the film's sequel, Harry Potter and the Deathly Hallows – Part 2.[68]

 In North America, the film grossed $61.7 million on its opening day, marking the sixth highest single day gross ever at the time.[69] It became the highest opening day for a Harry Potter film in the series, a record previously held by Half-Blood Prince with $58.2 million,[70] until it was broken by Harry Potter and the Deathly Hallows – Part 2 with $92.1 million.[71] The film grossed a total of $125 million in its opening weekend, marking the largest opening for the franchise, previously held by Goblet of Fire[69] and later topped by its sequel Harry Potter and the Deathly Hallows – Part 2. It also was the second biggest November opening ever at the time, behind The Twilight Saga: New Moon 's $142.8 million,[72] the ninth biggest weekend opening for a film of all time at the North American box office,[73] and the second biggest opening weekend for a 2010 film in the United States and Canada behind Iron Man 2 ' s $128.1 million.[74] The film stayed at the top of the box office for two weeks, grossing $75 million over the five-day Thanksgiving weekend, bringing its total to $219.1 million.[75]

 In the United Kingdom, Ireland, and Malta, the film broke records for the highest Friday gross (£5.9 million), Saturday gross (£6.6 million), and Sunday gross (£5.7 million). Additionally, the film set the largest single day gross (£6.6 million) and the largest opening three-day gross (£18,319,721), a record previously held by Quantum of Solace, which grossed £15.4 million.[76] As of 13 February 2011, Part 1 has grossed £52,404,464 ($86,020,929),[77] becoming the second highest-grossing 2010 release in the country, behind Toy Story 3 (£73,405,113).[78]

 Outside North America, the film grossed an estimated $205 million in its opening weekend, becoming the sixth highest of all time, the highest for a 2010 release, and the second highest for a Harry Potter movie, behind only Half-Blood Prince.[79] Globally, the film grossed $330 million in its opening weekend, ranking seventh on the all-time chart.[80]

 It was the highest grossing 2010 film in Indonesia ($6,149,448), Singapore ($4,546,240), Thailand ($4,933,136), Belgium and Luxembourg ($8,944,329), France and the Maghreb region ($51,104,397), Germany ($61,430,098), the Netherlands ($13,790,585), Norway ($7,144,020), Sweden ($11,209,387), and Australia ($41,350,865).[81] In total overseas earnings, it surpassed Philosopher's Stone ($657.2 million) to become the highest grossing Harry Potter film overseas.[82]

 Part 1 ended its run with $296.4 million in the United States and Canada, making it the fifth-highest-grossing film of 2010 in these regions,[83] and $680.7 million from other countries around the world, for a worldwide total of $977.1 million,[5] making it the third highest-grossing film of 2010 worldwide behind Toy Story 3 and Alice in Wonderland,[84] as well as the third highest grossing Harry Potter film in the series behind The Deathly Hallows – Part 2 and The Philosopher's Stone.[85]

 Critical response [ edit ]

 Rotten Tomatoes gives the film an approval rating of 77% based on 288 reviews, with an average rating of 7.1/10. The site's critics consensus reads, "It can't help but feel like the prelude it is, but Deathly Hallows: Part I is a beautifully filmed, emotionally satisfying penultimate installment for the Harry Potter series."[86] On Metacritic, the film has a weighted average score of 65 out of 100, based on 42 critics, indicating "generally favourable reviews".[87] Audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88]

 The UK's Daily Telegraph also gave the film a positive review, remarking, "For the most part the action romps along, spurred by some impressive special effects," adding, "It's just slightly disappointing that, with the momentum having been established so effectively, we now have to wait until next year to enjoy the rest of the ride."[89] Roger Ebert awarded the first part three out of four stars, praising the cast and calling it "a handsome and sometimes harrowing film . . . completely unintelligible for anyone coming to the series for the first time".[90] Scott Bowles of USA Today called it, "Menacing and meditative, Hallows is arguably the best instalment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost",[91] while Lisa Schwarzbaum of Entertainment Weekly likewise praised the film as "the most cinematically rewarding chapter yet."[92] In a review for the Orlando Sentinel, Roger Moore proclaimed Part I as "Alternately funny and touching, it's the best film in the series, an Empire Strikes Back for these wizards and their wizarding world. And those effects? They're so special you don't notice them."[93] Ramin Setoodeh of Newsweek gave a negative review, writing, "They've taken one of the most enchanting series in contemporary fiction and sucked out all the magic . . . while Rowling's stories are endlessly inventive, Potter onscreen just gives you a headache."[94] Lou Lumenick of The New York Post found the film to be "Beautifully shot but a soulless cash machine... [that] delivers no dramatic payoff, no resolution and not much fun."[95]

 Keith Uhlich of Time Out New York named Harry Potter and the Deathly Hallows – Part 1 the seventh-best film of 2010, calling it an "elatingly downbeat blockbuster".[96]

 Accolades [ edit ]

 Harry Potter and the Deathly Hallows – Part 1 was nominated for Best Art Direction and Best Visual Effects at the 83rd Academy Awards.[97] It is the second film in the Harry Potter film series to be nominated for a Visual Effects Oscar (the previous one being Harry Potter and the Prisoner of Azkaban). The film was long-listed for eight different categories, including Best Cinematography, Production Design, and Original Score, at the 64th BAFTA awards, and ultimately was nominated for Best Special Visual Effects and Make-up.[98]

 Award  Category  Result Recipient Source
 83rd Academy Awards Best Art Direction Nominated Stuart Craig [97] 
    Stephenie McMillan 
   Tim Burke 
 Best Visual Effects Nominated  John Richardson 
   Christian Manz 
   Nicolas Aithadi 
 64th BAFTA Awards Special Visual Effects Nominated [99] 
 Best Makeup and Hair Nominated  Amanda Knight 
   Lisa Tomblin 
 BAFTA Britannia Awards Artistic Excellence in Directing Won David Yates (for Harry Potter films 5–8) [100] 
 37th Saturn Awards Best Fantasy Film Nominated  [101] 
 Best Director Nominated  David Yates 
   Tim Burke 
 Best Special Effects Nominated  John Richardson 
   Nicolas Ait'Hadi 
   Christian Manz 
   Mark Coulier 
 Best Make-Up Nominated  Nick Dudman 
   Amanda Knight 
 Best Costume Nominated  Jany Temime 
 2011 Hugo Awards Best Dramatic Presentation (Long Form) Nominated David Yates, Steve Kloves [102] 
 2011 MTV Movie Awards Best Movie  Nominated  [103] 
 Best Male Performance Nominated  Daniel Radcliffe 
 Best Female Performance Nominated  Emma Watson 
 Best Villain Won  Tom Felton 
 Best Kiss Nominated  Daniel Radcliffe and Emma Watson 
 Best Fight Nominated  Daniel Radcliffe, Emma Watson and Rupert Grint
 Satellite Awards 2010 Best Cinematography Nominated Eduardo Serra [104] 
 Best Original Score Nominated  Alexandre Desplat 
 Washington D.C. Area Film Critics Association Awards Best Art Direction Nominated Stuart Craig [105] 
 Art Directors Guild Awards 2010 Best Art Direction in a Fantasy Film Nominated [106] 
    Gerard McCann 
    Peter Clarke 
 Golden Reel Awards 2011 Best Sound Editing: Music in a Feature Film Nominated Stuart Morton [107] 
    Allan Jenkins 
    Kirsty Whalley 
    Rob Houston 
   James Harley Mather  
 Best Sound Editing: Dialogue and ADR in a Feature Film Nominated  Bjorn Ole Schroeder [108] 
   Dan Laurie  
   Jon Olive  
 Houston Film Critics Society Awards 2010 Best Cinematography Nominated Eduardo Serra [109] 
 San Diego Film Critics Society Awards 2010 Best Cinematography Nominated [110] 
 Best Production Design Nominated  Stuart Craig 
 Phoenix Film Critics Society Awards 2010 Best Cinematography Nominated Eduardo Serra [111] 
 Best Visual Effects Nominated  
    Tim Burke 
 Visual Effects Society Awards 2011 Outstanding Visual Effects in a Visual-Effects Driven Feature Motion Picture Nominated Emma Norton [112] 
    John Richardson 
   Mathieu Vig 
 Outstanding Animated Character in a Live Action Feature Motion Picture Won  Ben Lambert 
 (Dobby)   Laurie Brugger 
   Marine Poirson 
 Outstanding Animated Character in a Live Action Feature Motion Picture Nominated  
 (Kreacher)   
 Broadcast Film Critics Association Awards 2010 Best Visual Effects Nominated  [113] 
 Best Makeup Nominated  
 St. Louis Gateway Film Critics Association Awards 2010 Best Visual Effects Nominated [114] 
 Special Merit (Obliviate Scene) Nominated  
 Las Vegas Film Critics Society Awards Best Visual Effects Nominated [115] 
 International Film Music Critics Association Best Original Score for a Fantasy/Science Fiction/Horror Film Nominated Alexandre Desplat [116] 
 2011 Kids' Choice Awards Favorite Movie Nominated  [117] 
 Favorite Movie Actress Nominated  Emma Watson 
 Empire Awards 2011 Best Actress  Nominated [118] 
 Best Sci-Fi / Fantasy Won  [119] 
 2011 National Movie Awards Best Fantasy Film Won  [120] 
 Performance of the Year Nominated  Daniel Radcliffe 
 Nominated Emma Watson  
 Nominated Rupert Grint 
 2011 Teen Choice Awards Choice Movie: Sci-Fi/Fantasy Won  [121] 
 Choice Movie: Actor Sci-Fi/Fantasy Nominated  Daniel Radcliffe 
 Choice Movie: Actress Sci-Fi/Fantasy Won  Emma Watson 
 Choice Movie: Villain Won  Tom Felton 
 Choice Movie: Liplock Won  Daniel Radcliffe and Emma Watson 
 2011 British Academy Children's Awards (BAFTA) Favorite Film  Nominated  [122] 
 BAFTA Kids' Vote (Film Category) Nominated  
 

 See also [ edit ]

 * List of films split into multiple parts

 References [ edit ]

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 2. ^ "Harry Potter and the Deathly Hallows – Part 1 (12)". British Board of Film Classification. Archived from the original on 10 January 2022 . Retrieved 10 January 2022 .
 3. ^ Frankel, Daniel (17 November 2010). "Get Ready for the Biggest 'Potter' Opening Yet". TheWrap. Archived from the original on 20 November 2010 . Retrieved 21 November 2010 . "Warner officials say shooting parts 1 and 2 of "Deathly Hallows" (the second part comes out in July) kept cost below the more than $250 million that was spent on 2009's "Half-Blood Prince.""
 4. ^ Lang, Brent (14 July 2011). "'Harry Potter' Looks to Shatter Box Office Record With $150M+ Debut". TheWrap. Archived from the original on 30 November 2012 . Retrieved 30 November 2012 . "Parts 1 and 2 of "Deathly Hallows" were filmed at a cost of roughly $250 million, essentially giving Warner Bros. a license to print money off the profits it will bank over the upcoming weekend."
 5. ^ a b c "Harry Potter and the Deathly Hallows Part 1". Box Office Mojo. IMDb . Retrieved 1 June 2022 .{{cite web}} : CS1 maint: url-status ( link )
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 10. ^ "WB Sets Lots of New Release Dates!". Comingsoon.net. 25 February 2009. Archived from the original on 12 December 2010 . Retrieved 25 February 2009 .
 11. ^ Tyler, Josh (8 October 2010). "Part 1 Not in 3D". Cinema Blend. Archived from the original on 8 July 2011 . Retrieved 12 November 2010 .
 12. ^ "'Harry Potter and the Deathly Hallows: Part 1' Review". ScreenRant. 19 November 2010. Archived from the original on 24 July 2020 . Retrieved 24 July 2020 .
 13. ^ "Harry Potter and The Deathly Hallows Part 1 – the first reviews". Metro. 12 November 2010. Archived from the original on 24 July 2020 . Retrieved 24 July 2020 .
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Harry Potter and the Deathly Hallows – Part 1      Theatrical release poster    Directed by  David Yates    Screenplay by  Steve Kloves    Based on   Harry Potter and the Deathly Hallows  by J. K. Rowling    Produced by  
  David Heyman 
 David Barron 
J. K. Rowling 
    Starring  
  Daniel Radcliffe 
 Rupert Grint 
 Emma Watson 
 Helena Bonham Carter 
 Robbie Coltrane 
 Warwick Davis 
 Ralph Fiennes 
 Michael Gambon 
 Brendan Gleeson 
 Richard Griffiths 
 John Hurt 
 Jason Isaacs 
 Alan Rickman 
 Fiona Shaw 
 Timothy Spall 
 Imelda Staunton 
 David Thewlis 
 Julie Walters  
    Cinematography  Eduardo Serra    Edited by  Mark Day    Music by  Alexandre Desplat     Productioncompanies   
  Warner Bros. Pictures  [1]  
 Heyday Films  
    Distributed by Warner Bros. Pictures    Release dates   
 11 November 2010 (Odeon Leicester Square)
19 November 2010 (United Kingdom and United States) 
     Running time  146 minutes [2]     Countries  
 United Kingdom
United States 
    Language English   Budget $250 million(shared with  Part 2 ) [3]   [4]     Box office $977.1 million [5]     
  Harry Potter and the Deathly Hallows – Part 1  is a 2010 fantasy film directed by David Yates from a screenplay by Steve Kloves. [5]  The film is the first of two cinematic parts based on the 2007 novel  Harry Potter and the Deathly Hallows  by J. K. Rowling. It is the sequel to  Harry Potter and the Half-Blood Prince  (2009) and the seventh instalment in the  Harry Potter film series. [6] 
 The film stars Daniel Radcliffe as Harry Potter, with Rupert Grint and Emma Watson, respectively, reprising roles as Harry's best friends Ron Weasley and Hermione Granger. The story follows Harry Potter, who has been asked by Dumbledore to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. Filming began on 19 February 2009 and was completed on 12 June 2010. [7] 
 It was released in 2D cinemas and IMAX formats in the United Kingdom and in the United States on 19 November 2010, by Warner Bros. Pictures. [8]   [9]   [10]   [11]  The film received positive reviews with critics praising its performances, cinematography, visual effects and musical score. [12]   [13]   [14]   [15]   [16] 
 In the film's worldwide opening weekend, Part 1 grossed $330 million, the third-highest in the series, and the highest opening of 2010, as well as the eighth-highest of all time. [17]  With a worldwide gross of $977 million, Part 1 became the third-highest-grossing film of 2010, [18]  and the third-highest-grossing Harry Potter film in terms of worldwide totals. [19]  The film was nominated for many awards, including the Academy Award for Best Art Direction and Best Visual Effects.
 The film was followed by the concluding entry,  Harry Potter and the Deathly Hallows – Part 2  in 2011.
Plot[edit]
At Malfoy Manor, Severus Snape meets with Lord Voldemort and his Death Eaters. He reports that the Order of the Phoenix will move Harry Potter, no longer under his mother's protective spell, to a safe location. Voldemort confiscates Lucius Malfoy's wand; his own is powerless against Harry because it and Harry's wand are "brothers" by sharing the same phoenix feather core. During the move, Harry survives Voldemort's attack but Mad-Eye Moody and Hedwig are killed.
 During preparations for Bill Weasley and Fleur Delacour's wedding, the new Minister for Magic arrives. He informs Harry, Ron, and Hermione that Albus Dumbledore left each a bequest: Ron a Deluminator, Hermione a copy of  The Tales of Beedle the Bard , and Harry the Golden Snitch he caught in his first Quidditch match. Dumbledore had also bequeathed the Sword of Gryffindor to Harry, but it has gone missing.
 News arrives during the wedding that the Ministry has fallen and the Minister is dead. Death Eaters attack and Harry, Ron, and Hermione escape to Number 12, Grimmauld Place. While there, Ron realizes that Sirius' brother, Regulus Black, is the R.A.B. who stole Salazar Slytherin's locket from Voldemort. Local thief Mundungus Fletcher later sold it to Dolores Umbridge. Harry, Ron and Hermione infiltrate the Ministry and recover the locket but they are chased by Death Eaters in a chaotic exit. Hermione disapparates them to a forest. Meanwhile, Ron is injured. The trio decide to start their journey to discover and destroy all of Lord Voldemort's Horcruxes, starting from the locket.
 Attempts to destroy the locket fail. Hermione deduces that Gryffindor's sword can destroy Horcruxes because it is impregnated with basilisk venom. Ron, affected by the dark locket, is frustrated with their slow progress and irrationally jealous of Harry and Hermione. He argues with Harry, then disapparates, leaving Harry and Hermione to continue their journey. When Harry touches the Snitch to his lips, it reveals a cryptic message: "I open at the close." Hermione notices a strange symbol drawn in Beedle the Bard that is identical to one Luna Lovegood's father Xenophilius wears.
 Harry and Hermione search for the sword in Godric's Hollow and encounter the same strange symbol in a cemetery. Elderly historian Bathilda Bagshot invites them in her cottage, where they find a photo of the young man in Harry's dream who stole a wand from wandmaker Gregorovitch. Bathilda morphs into Voldemort's snake Nagini and attacks Harry. Hermione disapparates them to safety, but her rebounding spell accidentally destroys Harry's wand. Hermione identifies the man in the photo as dark wizard Gellert Grindelwald. That night, a doe patronus leads Harry to a frozen pond where Gryffindor's sword lies on the bottom. Harry dives into the frigid water, but the locket around his neck tightens, strangling him. Ron appears, retrieves the sword, and saves Harry. They destroy the locket Horcrux with the sword. Ron explains that the Deluminator led him to their location.
 Harry, Ron and Hermione visits Xenophilius Lovegood and learn the symbol represents the Deathly Hallows. Many years before, three brothers each received a prize that evades Death: the Resurrection Stone, the Cloak of Invisibility, and the Elder Wand, the most powerful wand known. Possessing all three makes one the Master of Death. Xenophilius secretly summons the Death Eaters, hoping to exchange Harry for a kidnapped Luna. The three escape, but Snatchers capture them. During a vision, Harry sees an elderly Grindelwald telling Voldemort that the Elder Wand is buried with Dumbledore.
 At Malfoy Manor, Bellatrix Lestrange sees a Snatcher has Gryffindor's sword that she believed was in her Gringotts vault. Harry and Ron are locked into the cellar where they encounter Luna, Ollivander, and Griphook. Upstairs, Bellatrix tortures Hermione. Harry begs for help using a mirror shard in which he believes he glimpsed Dumbledore; Dobby appears in response and helps save everyone while Harry grabs their captured wands from Draco Malfoy. As they disapparate, Bellatrix throws a knife, killing Dobby. Harry buries him near Bill and Fleur's seaside cottage, an Order safe house. Meanwhile, Voldemort retrieves the Elder Wand from Dumbledore's tomb.
Cast[edit]
  Daniel Radcliffe as Harry Potter: A 17-year-old wizard.
 Rupert Grint as Ron Weasley: A young wizard and one of Harry's best friends and ally.
 Emma Watson as Hermione Granger: A young witch and one of Harry's closest friends and ally.
 Bonnie Wright as Ginny Weasley: Ron's younger sister and Harry's love interest.
 Helena Bonham Carter as Bellatrix Lestrange: A Death Eater, Sirius Black's insane cousin and murderer, and the aunt of Draco.
 Robbie Coltrane as Rubeus Hagrid: Harry's half-giant friend, and gamekeeper at Hogwarts.
 Warwick Davis as Griphook: A goblin and former employee at Gringotts Bank. Davis replaced Verne Troyer, who portrayed the character physically in the first film, though Davis had dubbed Griphook's lines.
 Tom Felton as Draco Malfoy: a Death Eater and son of Lucius and Narcissa Malfoy.
 Ralph Fiennes as Lord Voldemort: An evil power-hungry wizard, and the leader of the Death Eaters.
 Michael Gambon as Professor Albus Dumbledore: Former headmaster of Hogwarts killed by Severus Snape in the previous film.
 Brendan Gleeson as Alastor 'Mad-Eye' Moody: A member of the Order of the Phoenix.
 John Hurt as Garrick Ollivander: A wandmaker abducted by the Death Eaters.
 Rhys Ifans as Xenophilius Lovegood: The eccentric father of the trio's friend Luna.
 Jason Isaacs as Lucius Malfoy: Draco Malfoy's father and a disgraced Death Eater.
 Helen McCrory as Narcissa Malfoy: Draco's mother and Bellatrix's sister.
 Bill Nighy as Rufus Scrimgeour: The new Minister for Magic.
 Alan Rickman as Professor Severus Snape: A double agent to the Death Eaters and the new headmaster of Hogwarts.
 Jim Broadbent as Professor Horace Slughorn: The new Potions teacher at Hogwarts, who has secret knowledge regarding Lord Voldemort.
 Timothy Spall as Peter Pettigrew/Wormtail: The Death Eater who betrayed Harry's parents to Voldemort.
 Imelda Staunton as Dolores Umbridge: Senior Undersecretary to the Minister for Magic and Head of the Muggle-born Registration Commission.
 David Thewlis as Remus Lupin: A member of the Order of the Phoenix and a former teacher at Hogwarts.
 Natalia Tena as Nymphadora Tonks: Remus Lupin's wife and a member of the Order of the Phoenix.
 George Harris as Kingsley Shacklebolt: Another member of the Order of the Phoenix.
 Julie Walters as Molly Weasley: The Weasley matriarch and a mother figure to Harry.
 Mark Williams as Arthur Weasley: Ron Weasley's father, an Auror at the Ministry of Magic.
 Domhnall Gleeson as Bill Weasley: Arthur and Molly's eldest son who helps Harry to escape from Little Whinging and who is to marry Fleur.
 Clémence Poésy as Fleur Delacour: A French Witch of the Beauxbatons School who also helps Harry to escape from Little Whinging.
 Guy Henry as Pius Thicknesse: The puppet Minister of Magic installed by Voldemort.
 Peter Mullan as Corban Yaxley: A Death Eater at the Ministry of Magic.
 Carolyn Pickles as Charity Burbage: The Muggle Studies teacher at Hogwarts, tortured and killed by Voldemort.
 David Ryall as Elphias Doge: An old schoolfriend of Albus Dumbledore who defends him in an obituary.
 Richard Griffiths as Vernon Dursley: Harry's Muggle uncle.
 Fiona Shaw as Petunia Dursley: Harry's Muggle aunt.
 Hazel Douglas as Nagini: Voldemort's familiar snake, who puppeteers the corpse of Bathilda Bagshot. 
Production[edit]
     
 Part 1 was filmed back-to-back with  Harry Potter and the Deathly Hallows – Part 2  from 19 February 2009 to 12 June 2010. [20]   [21]  Director David Yates, who shot the film alongside director of photography Eduardo Serra, described Part 1 as "quite real"; a "road movie" that's "almost like a vérité documentary". [22]   [23] 
 Originally set for a single theatrical release, the idea to split the book into two parts was suggested by executive producer Lionel Wigram due to what David Heyman called "creative imperative". Heyman initially responded negatively to the idea, but Wigram asked, "No, David. How are we going to do it?". After rereading the book and discussing it with screenwriter Steve Kloves, he agreed with the division. [24] 
 The production filmed at the Dartford Crossing for the dramatic chase where Harry and Hagrid are being ambushed by Death Eaters. [25] 
Sets[edit]
 Stuart Craig, set designer for all of the previous Harry Potter films, returned for the final two parts. He said, "We made a very different kind of film, which was shot a great deal on location. We travelled quite far, we built sets, and they spend a lot of time in a forest," he explained. "We built forest sets and integrated them into the real forests, so there were challenges there, as you might imagine." [26]  Craig was ultimately nominated for an Academy Award for his work on Part 1. [27] 
 On the wedding tent for Bill and Fleur's wedding in Part 1, Craig commented on his aim to "rather than make it an extension of the house, which is rather eccentric, homemade, we decided to make it rather elegant . . . It's lined with silk and beautiful, floating candelabra. So it's a nice contrast with the house." For the Ministry of Magic set, he noted, "This is an underground world; this is a ministry, so we went to the real ministries, the Muggle ministries – Whitehall, in London – and decided that our magical ministry was kind of a parallel universe to these real ministries." [28] 
 Craig also commented on his design of Malfoy Manor, saying that it is "a very strong architectural set. The exterior is based on an Elizabethan house here in this country called Hardwick Hall and it has massive windows, and these windows are kind of blinded out. The shutters are drawn so they are like blind windows and they have a real kind of presence, an ominous presence, so that gave us the basis for a good exterior. There's an extraordinary magical roof that's added and surrounded by forest which isn't there in reality, but again is one of the devices to make it more threatening and mysterious." [28] 
Costumes[edit]
The costumes for Part 1 were designed by Jany Temime, who has been the costume designer on Harry Potter productions since  Harry Potter and the Prisoner of Azkaban  (2004). [29]  Temime was involved in a controversy regarding her work on Fleur Delacour's wedding dress. She was accused of copying the design from a similar dress from Alexander McQueen's Fall 2008 collection. [30]  Temime spoke about the dress, saying that she "wanted it to be a witch wedding dress but not a Halloween dress. The dress is white but it needed to have something fantastic to it. So there is the phoenix [motif], the bird, which is a symbol of love in a way because there is rebirth, love never dies, it is born again." [29] 
Visual effects[edit]
      The motorcycle with a sidecar used by Hagrid and Harry in the film  
After working on every film since Prisoner of Azkaban, Double Negative was asked to provide visual effects for the final instalments of the story, in Harry Potter and the Deathly Hallows – Parts 1 and 2. Working closely with the film's VFX Supervisor, Tim Burke, the team was led by VFX Supervisor, David Vickery and VFX Producer Charlotte Loughlane. The main team also included 3D Supervisor, Rick Leary and 2D Supervisor, Sean Stranks.[ citation needed ]
 Double Negative's work for Part 1 included the corroding Warner Brothers logo and extensive environment extensions of the Burrows and its surrounds. Additional environment work was completed on Xenophilius Lovegood's home, extending it in 3D and culminating in the Death Eaters' attack. Double Negative also advanced the Death Eaters' smoke effects, with the introduction of the 'flayed man' stage in between their smokey, fluid, flying state and their live-action presence upon landing. Other work included the Patronus charm that interrupts the wedding party to inform the guests that Voldemort has taken over the Ministry of Magic. [31] 
 The visual-effects company Framestore produced most of the creature CGI, as in previous films, as well as the animated  Tale of the Three Brothers  sequence, which was directed and designed by Ben Hibon. [32] 
Music[edit]
Composer Nicholas Hooper, who scored Order of the Phoenix and Half-Blood Prince, did not return for Deathly Hallows. Instead, Alexandre Desplat was hired to compose the score for  Harry Potter and the Deathly Hallows – Part 1 . [33]  The film also featured the song "O Children" by Nick Cave and the Bad Seeds. [34] 
Marketing[edit]
The first official picture from the first film was released on 1 December 2009, showing Harry, Ron and Hermione in a London street. A clip was officially released on 8 December 2009 with the release of  Harry Potter and the Half-Blood Prince  on Blu-ray and DVD. [35]  At the 2010 ShoWest convention, Alan F. Horn premiered unfinished footage from both films. [36]  The 2010 MTV Movie Awards premiered more footage from Deathly Hallows. [37]  Following this was the release of the official teaser poster, which shows the release date of both Part 1 and Part 2 and a destroyed Hogwarts castle. [38]  ABC Family broadcast interviews and additional scenes from both parts during their Harry Potter weekend, which began on 8 July 2010. [39]  A two-minute trailer for the film was released worldwide on 22 September 2010. [40] 
 On 29 September 2010, three character posters for Part 1 of Harry, Ron, and Hermione were released by Yahoo! Movies. [41]  The following day, a Part 1 cinema poster was released featuring the trio on the run in a forest. The theatrical poster has the tagline "Nowhere is safe", and another version with no credits has the tagline "The end begins". [42]  Various other character posters for Part 1 were released on 6 October 2010, featuring Harry, Ron, Hermione, Lord Voldemort, Bellatrix Lestrange, Severus Snape and Fenrir Greyback. [43]  On 12 October, four new character posters were released. [44]  The posters are set to the theme of "Trust no one" and "The hunt begins".
 On 15 October 2010, tickets began selling on Fandango for the US release of Part 1, and on 19 October, a 50-second clip featuring never-before-seen footage was aired at the 2010 Scream Awards. On 16 October, the second TV spot was released on Cartoon Network during a premiere of  Scooby-Doo! Curse of the Lake Monster . [45]  On 25 October 2010, Yahoo! Movies released an exclusive featurette of the film. [46]  On 30 October 2010,  Entertainment Weekly  released two new featurettes titled "Horcruxes" and "The Story", featuring a large amount of never-before-seen footage. On the same day, the Warner Bros. Harry Potter website was updated to reveal twelve miniature clips from the film. [47] 
 On 3 November 2010, the  Los Angeles Times  released an extended clip of Harry leaving the Burrow to find the Horcruxes, titled "No One Else Is Going to Die for Me". [48]  [ better source needed ] On 4 November, a new clip was released from the Harry Potter Facebook page, titled "The Seven Potters". [49]  Two more clips were released over the next two days, including a scene depicting a café attack [50]  and another taking place in Malfoy Manor. [51] 
Release[edit]
Theatrical[edit]
On 26 August 2010, director David Yates, producers David Heyman and David Barron, and with Warner Bros. president Alan F. Horn attended a test screening for Deathly Hallows – Part 1 in Chicago. [52]   [53]  The unfinished film gained rave reviews from test screeners, some of whom labelled it "amazing and dark" and "the most perfect Harry Potter film". Others expressed that the film faithfully adapted the novel, which led to an inheritance of the "book's own problems". [54] 
 Warner Bros. Pictures was originally going to release Part 1 of Deathly Hallows in 2D and 3D formats. On 8 October 2010, it was announced that plans for a 3D version of Part 1 had been scrapped. "Warner Bros. Pictures has made the decision to release Harry Potter and the Deathly Hallows – Part 1 in 2D, in both conventional and IMAX cinemas [because] we will not have a completed 3D version of the film within our release date window. Despite everyone's best efforts, we were unable to convert the film in its entirety and meet the highest standards of quality." Part 1 of Deathly Hallows was released on Blu-ray 3D as a Best Buy Exclusive. Part 2 was still released in 2D, 3D, and IMAX formats. [55] 
 The world premiere for Deathly Hallows – Part 1 was held in Leicester Square in London on 11 November 2010, with fans from across the world turning up – some of whom had camped for days in the square. This was followed by the Belgian premiere on 12 November and the US premiere in New York City on 15 November. [56] 
 Just 48 hours prior to the official North American launch of Part 1, the first 36 minutes of the film were leaked on the internet. [57]  Even before the leak, the film was already the fifth-biggest generator of advance ticket sales in history, after selling out 1,000 cinemas across the United States. [58]  Despite widely circulating rumours that the leaked footage was a marketing ploy to generate hype for the movie release date, no screener discs had been created by Warner Bros., and executives called it "a serious breach of copyright violation and theft of Warner Bros. property". [59] 
 In Australia, the film had its premiere on 13 November at Warner Bros. Movie World, located on the Gold Coast, Queensland. Three hundred people attended the viewing, which was the second official showing in the world, behind the UK premiere. The film premiered in Kuwait on 16 November. In Israel, Estonia, and New Zealand, the film was released on 18 November.
Home media[edit]
 Harry Potter and the Deathly Hallows – Part 1 was released on a single and double disc DVD and 3-disc Blu-ray combo pack on 11 April 2011 in the UK and on 15 April 2011 in the US. [60] 
On 28 January 2011, it was announced by Emma Watson on the Harry Potter UK Facebook page that the page's fans will get to vote for their preferred cover for the Part 1 Blu-ray. The cover with the most votes will be the cover for the disc. Voting started that same day. [61]  The DVD and Blu-ray include eight deleted scenes, with the Blu-ray Combo Pack containing an opening scene from Part 2 featuring Harry and Ollivander discussing the Deathly Hallows. [62]   [63]  Deathly Hallows – Part 1 performed well in DVD sales, selling 7,237,437 DVD units and adding $86,932,256 to the gross revenue of the film, [64]  bringing the total to $1,043,331,967.
Reception[edit]
Box office[edit]
 Harry Potter and the Deathly Hallows – Part 1 grossed $24 million in North America during its midnight showing, beating the record for the highest midnight gross of the series, previously held by  Half Blood Prince , at $22.2 million. [65]  The film also had the third-highest midnight gross of all time, behind  The Twilight Saga: Eclipse  and  The Twilight Saga: New Moon , which grossed $30 million and $26.3 million, respectively. [66]  The film broke the record for the highest midnight gross in IMAX, with $1.4 million in box office sales, surpassing Eclipse, which grossed $1 million. [67]  All of these records were later topped in 2011 by the film's sequel, Harry Potter and the Deathly Hallows – Part 2. [68] 
 In North America, the film grossed $61.7 million on its opening day, marking the sixth highest single day gross ever at the time. [69]  It became the highest opening day for a Harry Potter film in the series, a record previously held by Half-Blood Prince with $58.2 million, [70]  until it was broken by Harry Potter and the Deathly Hallows – Part 2 with $92.1 million. [71]  The film grossed a total of $125 million in its opening weekend, marking the largest opening for the franchise, previously held by  Goblet of Fire   [69]  and later topped by its sequel Harry Potter and the Deathly Hallows – Part 2. It also was the second biggest November opening ever at the time, behind The Twilight Saga: New Moon's $142.8 million, [72]  the ninth biggest weekend opening for a film of all time at the North American box office, [73]  and the second biggest opening weekend for a 2010 film in the United States and Canada behind  Iron Man 2 's $128.1 million. [74]  The film stayed at the top of the box office for two weeks, grossing $75 million over the five-day Thanksgiving weekend, bringing its total to $219.1 million. [75] 
 In the United Kingdom, Ireland, and Malta, the film broke records for the highest Friday gross (£5.9 million), Saturday gross (£6.6 million), and Sunday gross (£5.7 million). Additionally, the film set the largest single day gross (£6.6 million) and the largest opening three-day gross (£18,319,721), a record previously held by  Quantum of Solace , which grossed £15.4 million. [76]  As of 13 February 2011, Part 1 has grossed £52,404,464 ($86,020,929), [77]  becoming the second highest-grossing 2010 release in the country, behind  Toy Story 3  (£73,405,113). [78] 
 Outside North America, the film grossed an estimated $205 million in its opening weekend, becoming the sixth highest of all time, the highest for a 2010 release, and the second highest for a  Harry Potter movie, behind only Half-Blood Prince. [79]  Globally, the film grossed $330 million in its opening weekend, ranking seventh on the all-time chart. [80] 
 It was the highest grossing 2010 film in Indonesia ($6,149,448), Singapore ($4,546,240), Thailand ($4,933,136), Belgium and Luxembourg ($8,944,329), France and the Maghreb region ($51,104,397), Germany ($61,430,098), the Netherlands ($13,790,585), Norway ($7,144,020), Sweden ($11,209,387), and Australia ($41,350,865). [81]  In total overseas earnings, it surpassed  Philosopher's Stone  ($657.2 million) to become the highest grossing  Harry Potter  film overseas. [82] 
  Part 1 ended its run with $296.4 million in the United States and Canada, making it the fifth-highest-grossing film of 2010 in these regions, [83]  and $680.7 million from other countries around the world, for a worldwide total of $977.1 million, [5]  making it the third highest-grossing film of 2010 worldwide behind  Toy Story 3  and  Alice in Wonderland , [84]  as well as the third highest grossing  Harry Potter  film in the series behind The Deathly Hallows – Part 2 and The Philosopher's Stone. [85] 
Critical response[edit]
 Rotten Tomatoes gives the film an approval rating of 77% based on 288 reviews, with an average rating of 7.1/10. The site's critics consensus reads, "It can't help but feel like the prelude it is, but Deathly Hallows: Part I is a beautifully filmed, emotionally satisfying penultimate installment for the Harry Potter series." [86]  On Metacritic, the film has a weighted average score of 65 out of 100, based on 42 critics, indicating "generally favourable reviews". [87]  Audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale. [88] 
 The UK's  Daily Telegraph  also gave the film a positive review, remarking, "For the most part the action romps along, spurred by some impressive special effects," adding, "It's just slightly disappointing that, with the momentum having been established so effectively, we now have to wait until next year to enjoy the rest of the ride." [89]  Roger Ebert awarded the first part three out of four stars, praising the cast and calling it "a handsome and sometimes harrowing film . . . completely unintelligible for anyone coming to the series for the first time". [90]  Scott Bowles of  USA Today  called it, "Menacing and meditative, Hallows is arguably the best instalment of the planned eight-film franchise, though audiences who haven't kept up with previous chapters will be hopelessly lost", [91]  while Lisa Schwarzbaum of  Entertainment Weekly  likewise praised the film as "the most cinematically rewarding chapter yet." [92]  In a review for the Orlando Sentinel, Roger Moore proclaimed Part I as "Alternately funny and touching, it's the best film in the series, an  Empire Strikes Back  for these wizards and their wizarding world. And those effects? They're so special you don't notice them." [93]  Ramin Setoodeh of Newsweek gave a negative review, writing, "They've taken one of the most enchanting series in contemporary fiction and sucked out all the magic . . . while Rowling's stories are endlessly inventive, Potter onscreen just gives you a headache." [94]  Lou Lumenick of  The New York Post  found the film to be "Beautifully shot but a soulless cash machine... [that] delivers no dramatic payoff, no resolution and not much fun." [95] 
 Keith Uhlich of  Time Out New York  named Harry Potter and the Deathly Hallows – Part 1 the seventh-best film of 2010, calling it an "elatingly downbeat blockbuster". [96] 
Accolades[edit]
 Harry Potter and the Deathly Hallows – Part 1 was nominated for Best Art Direction and Best Visual Effects at the 83rd Academy Awards. [97]  It is the second film in the  Harry Potter  film series to be nominated for a Visual Effects Oscar (the previous one being  Harry Potter and the Prisoner of Azkaban ). The film was long-listed for eight different categories, including Best Cinematography, Production Design, and Original Score, at the 64th BAFTA awards, and ultimately was nominated for Best Special Visual Effects and Make-up. [98] 
See also[edit]
  List of films split into multiple parts  
References[edit]
 
  ^   "HARRY POTTER AND THE DEATHLY HALLOWS: PART I (2010)".  AFI Catalog of Feature Films . Archived from the original on 24 July 2018. Retrieved 24 July 2018.
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  ^  Frankel, Daniel (17 November 2010). "Get Ready for the Biggest 'Potter' Opening Yet". TheWrap. Archived from the original on 20 November 2010. Retrieved 21 November 2010. Warner officials say shooting parts 1 and 2 of "Deathly Hallows" (the second part comes out in July) kept cost below the more than $250 million that was spent on 2009's "Half-Blood Prince." 
  ^  Lang, Brent (14 July 2011). "'Harry Potter' Looks to Shatter Box Office Record With $150M+ Debut". TheWrap. Archived from the original on 30 November 2012. Retrieved 30 November 2012. Parts 1 and 2 of "Deathly Hallows" were filmed at a cost of roughly $250 million, essentially giving Warner Bros. a license to print money off the profits it will bank over the upcoming weekend. 
^    a       b       c     "Harry Potter and the Deathly Hallows Part 1".  Box Office Mojo . IMDb. Retrieved 1 June 2022. {{cite web}}: CS1 maint: url-status (link)
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External links[edit]
 
 
  Official website 
  Harry Potter and the Deathly Hallows – Part 1  at IMDb 
  Harry Potter and the Deathly Hallows – Part 1  at AllMovie 
  Harry Potter and the Deathly Hallows – Part 1  at Box Office Mojo
Harry Potter and the Deathly Hallows – Part 1 - Wikipedia
https://en.wikipedia.org/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1
https://en.wikipedia.org/wiki/Shrek_Forever_After
Shrek Forever After - Wikipedia
2005-05-04
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<div><div>
	<p>From Wikipedia, the free encyclopedia</p>
	</div><div>
<table><tbody><tr><th>Shrek Forever After</th></tr><tr><td><a href="/wiki/File:Shrek_Forever_After_(2010_animated_feature_film).jpg"></a><p>Theatrical release poster with alternate title</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Mike_Mitchell_(director)">Mike Mitchell</a></td></tr><tr><th>Written by</th><td><div>
<ul><li><a href="/wiki/Josh_Klausner">Josh Klausner</a></li>
<li><a href="/wiki/Darren_Lemke">Darren Lemke</a></li></ul>
</div></td></tr><tr><th>Based on</th><td><i><a href="/wiki/Shrek!">Shrek!</a></i><br />by <a href="/wiki/William_Steig">William Steig</a></td></tr><tr><th>Produced by</th><td><div>
<ul><li><a href="/wiki/Gina_Shay">Gina Shay</a></li>
<li><a href="/wiki/Teresa_Cheng">Teresa Cheng</a></li></ul>
</div></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Mike_Myers">Mike Myers</a></li>
<li><a href="/wiki/Eddie_Murphy">Eddie Murphy</a></li>
<li><a href="/wiki/Cameron_Diaz">Cameron Diaz</a></li>
<li><a href="/wiki/Antonio_Banderas">Antonio Banderas</a></li>
<li><a href="/wiki/Julie_Andrews">Julie Andrews</a></li>
<li><a href="/wiki/Walt_Dohrn">Walt Dohrn</a></li></ul>
</div></td></tr><tr><th>Edited by</th><td><a href="/wiki/Nick_Fletcher_(film_editor)">Nick Fletcher</a></td></tr><tr><th>Music by</th><td><a href="/wiki/Harry_Gregson-Williams">Harry Gregson-Williams</a></td></tr><tr><th><p>Production<br />company</p></th><td><div><p><a href="/wiki/DreamWorks_Animation_SKG">DreamWorks Animation SKG</a><sup><a href="#cite_note-afi-1">[1]</a></sup></p></div></td></tr><tr><th>Distributed by</th><td><a href="/wiki/Paramount_Pictures">Paramount Pictures</a><sup><a href="#cite_note-afi-1">[1]</a></sup></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>April 21, 2010 (<a href="/wiki/Tribeca_Film_Festival">Tribeca Film Festival</a>)</li>
<li>May 21, 2010 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>93 minutes<sup><a href="#cite_note-afi-1">[1]</a></sup></td></tr><tr><th>Country</th><td>United States</td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$135–165 million<sup><a href="#cite_note-2">[2]</a></sup><sup><a href="#cite_note-3">[3]</a></sup><sup><a href="#cite_note-Shrek_Forever_After_2010-4">[4]</a></sup></td></tr><tr><th>Box office</th><td>$756.2 million<sup><a href="#cite_note-5">[5]</a></sup></td></tr></tbody></table>
<p><i><b>Shrek Forever After</b></i><sup><a href="#cite_note-7">[a]</a></sup> is a 2010 American <a href="/wiki/Computer_animation">computer-animated</a> <a href="/wiki/Comedy_film">comedy film</a> loosely based on the 1990 children's picture book <i><a href="/wiki/Shrek!">Shrek!</a></i> by <a href="/wiki/William_Steig">William Steig</a>. Directed by <a href="/wiki/Mike_Mitchell_(director)">Mike Mitchell</a> and written by <a href="/wiki/Josh_Klausner">Josh Klausner</a> and <a href="/wiki/Darren_Lemke">Darren Lemke</a>, it is the sequel to <i><a href="/wiki/Shrek_the_Third">Shrek the Third</a></i> (2007) and the fourth installment in the <a href="/wiki/Shrek_(franchise)"><i>Shrek</i> film series</a>. The film stars <a href="/wiki/Mike_Myers">Mike Myers</a>, <a href="/wiki/Eddie_Murphy">Eddie Murphy</a>, <a href="/wiki/Cameron_Diaz">Cameron Diaz</a>, <a href="/wiki/Antonio_Banderas">Antonio Banderas</a>, <a href="/wiki/Julie_Andrews">Julie Andrews</a>, and <a href="/wiki/John_Cleese">John Cleese</a> reprising their voice roles from the previous films, with <a href="/wiki/Walt_Dohrn">Walt Dohrn</a>, <a href="/wiki/Jane_Lynch">Jane Lynch</a>, <a href="/wiki/Jon_Hamm">Jon Hamm</a>, <a href="/wiki/Craig_Robinson_(actor)">Craig Robinson</a>, <a href="/wiki/Lake_Bell">Lake Bell</a>, <a href="/wiki/Mary_Kay_Place">Mary Kay Place</a>, <a href="/wiki/Kathy_Griffin">Kathy Griffin</a>, and <a href="/wiki/Kristen_Schaal">Kristen Schaal</a> joining the cast. The plot follows <a href="/wiki/Shrek_(character)">Shrek</a> who struggles with the responsibilities and stress of being a domesticated family man, yearning for the days he was once feared and lived in solitude. He is tricked by <a href="/wiki/Rumpelstiltskin">Rumpelstiltskin</a> into signing a contract that leads to disastrous consequences.
</p><p><i>Shrek Forever After</i> premiered at the <a href="/wiki/Tribeca_Film_Festival">Tribeca Film Festival</a> on April 21, 2010, and was theatrically released in the <a href="/wiki/United_States">United States</a> by <a href="/wiki/Paramount_Pictures">Paramount Pictures</a> on May 21, 2010. The film debuted as the top-grossing film at the box office, a position it held for three consecutive weeks in the United States and Canada. It received mixed reviews from critics, but grossed a worldwide total of $756 million and becoming the <a href="/wiki/2010_in_film#Highest-grossing_films">fifth-highest-grossing film of 2010</a>. In addition, <i>Shrek Forever After</i> became <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a>'s second-highest-grossing film at the foreign box office.<sup><a href="#cite_note-8">[7]</a></sup> Although originally intended to be the final main entry in the series, a fifth <i>Shrek</i> film reportedly entered development in the years following the release of <i>Forever After</i>, but it has experienced multiple delays.<sup><a href="#cite_note-Sequel-HollywoodReporter-9">[8]</a></sup><sup><a href="#cite_note-Shrek5-10">[9]</a></sup> A <a href="/wiki/Spin-off_(media)">spin-off</a> <a href="/wiki/Prequel">prequel</a> film, <i><a href="/wiki/Puss_in_Boots_(2011_film)">Puss in Boots</a></i>, was released on October 28, 2011, with Banderas reprising his role, after which a television series continuation, <i><a href="/wiki/The_Adventures_of_Puss_in_Boots">The Adventures of Puss in Boots</a></i>, aired on <a href="/wiki/Netflix">Netflix</a> from January 2015 to January 2018, and a sequel film, set after the <i>Shrek</i> films and titled <i><a href="/wiki/Puss_in_Boots:_The_Last_Wish">Puss in Boots: The Last Wish</a></i>, was released on December 21, 2022.
</p>
<h2>Plot[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>In a flashback, King Harold and Queen Lillian are about to sign the kingdom of Far Far Away over to <a href="/wiki/Rumpelstiltskin">Rumpelstiltskin</a> ("Rumpel") in exchange for lifting the curse of their daughter, <a href="/wiki/Princess_Fiona">Princess Fiona</a> – cursed to transform into an ogre nightly and locked in a tower until rescued by her "true love". Before signing, news arrives that she had been saved,<sup><a href="#cite_note-11">[b]</a></sup> and they cancel the deal. In the present, Rumpel has become an outcast and wishes that Fiona's rescuer, <a href="/wiki/Shrek_(character)">Shrek</a>, was never born.
</p><p>Meanwhile, Shrek has grown increasingly tired of being a family man and celebrity, longing for the days when he was feared and had privacy. While celebrating his children's first birthday in Far Far Away, an escalating series of mishaps injuring Shrek's ego causes him to walk out in anger and lash out at Fiona. Having witnessed the outburst, Rumpel follows Shrek into the forest and stages a scene of being in distress, prompting Shrek to help. Invited inside Rumpel's carriage, Shrek laments that he is no longer a "real ogre". Rumpel offers him a deal to receive a day as a "real ogre" in exchange for a day from his childhood. Shrek signs a contract fulfilling this wish, and is whisked away into an <a href="/wiki/Parallel_universes_in_fiction">alternate reality</a>.
</p><p>Now feared by the villagers, Shrek causes some lighthearted mischief, until he discovers that Fiona is a fugitive and his swamp is deserted and desolate. Captured by <a href="/wiki/Witchcraft">witches</a>, Shrek is taken to Rumpel, who is now the king of Far Far Away. Rumpel reveals to Shrek that he took the day he was born, meaning Shrek never existed in this altered timeline. Consequently, Harold and Lillian were forced to sign the kingdom over to Rumpel, causing them to disappear. When the day ends, Shrek will cease to exist.
</p><p>Shrek escapes Rumpel's castle with <a href="/wiki/Donkey_(Shrek)">Donkey</a>, who is initially terrified of Shrek but befriends him after seeing him cry over his erased history. Donkey helps Shrek find a hidden exit clause; the contract can be nullified by "true love's kiss". The pair soon encounter a still-cursed Fiona leading an army of ogres in a resistance against Rumpel, and a lazy and overweight <a href="/wiki/Puss_in_Boots_(Shrek)">Puss in Boots</a> being kept as Fiona's pet. Shrek unsuccessfully tries to woo Fiona, who has since lost hope of finding true love after not being rescued, and is too busy preparing an ambush on Rumpel. Puss encourages Shrek to continue pursuing Fiona.
</p><p>During the ambush, most of the ogres are captured by the <a href="/wiki/Pied_Piper_of_Hamelin">Pied Piper</a>, who was hired by Rumpel, but Shrek and Fiona escape with Puss and Donkey. Shrek insists that Fiona kiss him, assuring her that it will fix everything; she reluctantly obliges, but to Shrek's surprise, nothing happens. Later on, Rumpel publicly offers a wish to anyone who brings him Shrek, and after hearing this, Shrek turns himself in. Rumpel is forced to grant Shrek's wish, and he uses it to free the other ogres. As Shrek is locked up, Rumpel reveals that Fiona had been captured and not released, since she is not "all ogre". Donkey, Puss, and the freed ogres storm the castle; they capture Rumpel and defeat his witch army, while Shrek and Fiona take down <a href="/wiki/Dragon_(Shrek)">Dragon</a>.
</p><p>As the sun rises, Shrek begins to fade from existence, but Fiona, having fallen in love with him, kisses him just before he disappears. Seeing that she is still an ogre in the sunlight, Fiona realizes that her curse was broken and that she has assumed "love's true form". The alternate reality disintegrates, making everyone disappear, and Shrek finds himself transported back to the original timeline at the moment before he lost his temper at the party. Instead of lashing out, Shrek embraces his family and friends with a newfound appreciation for them.
</p>
<h2>Voice cast[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=2">edit</a>]</h2>
<div><div><p><a href="/wiki/File:Mike_Myers_David_Shankbone_2010_NYC.jpg"></a></p></div><div><p><a href="/wiki/File:Cameron_Diaz_by_David_Shankbone.jpg"></a></p></div></div>
<ul><li><a href="/wiki/Mike_Myers">Mike Myers</a> as <a href="/wiki/Shrek_(character)">Shrek</a></li>
<li><a href="/wiki/Eddie_Murphy">Eddie Murphy</a> as <a href="/wiki/Donkey_(Shrek)">Donkey</a></li>
<li><a href="/wiki/Cameron_Diaz">Cameron Diaz</a> as <a href="/wiki/Princess_Fiona">Princess Fiona</a></li>
<li><a href="/wiki/Antonio_Banderas">Antonio Banderas</a> as <a href="/wiki/Puss_in_Boots_(Shrek)">Puss in Boots</a></li>
<li><a href="/wiki/Walt_Dohrn">Walt Dohrn</a> as <a href="/wiki/List_of_Shrek_characters#Rumpelstiltskin">Rumpelstiltskin</a></li>
<li><a href="/wiki/Jon_Hamm">Jon Hamm</a> as Brogan the Ogre</li>
<li><a href="/wiki/Jane_Lynch">Jane Lynch</a> as Gretched the Ogre</li>
<li><a href="/wiki/Craig_Robinson_(actor)">Craig Robinson</a> as Cookie the Ogre</li>
<li><a href="/wiki/Lake_Bell">Lake Bell</a> as Patrol Witch, Wagon Witch No. 2</li>
<li><a href="/wiki/Kathy_Griffin">Kathy Griffin</a> as Dancing Witch, Wagon Witch No. 1</li>
<li><a href="/wiki/Mary_Kay_Place">Mary Kay Place</a> as Witch Guard No. 1</li>
<li><a href="/wiki/Kristen_Schaal">Kristen Schaal</a> as Pumpkin Witch, Palace Witch</li>
<li><a href="/wiki/Julie_Andrews">Julie Andrews</a> as <a href="/wiki/List_of_Shrek_characters#Queen_Lillian">Queen Lillian</a></li>
<li><a href="/wiki/John_Cleese">John Cleese</a> as <a href="/wiki/List_of_Shrek_characters#King_Harold">King Harold</a></li>
<li><a href="/wiki/Conrad_Vernon">Conrad Vernon</a> as <a href="/wiki/Gingerbread_Man_(Shrek)">Gingerbread Man</a></li>
<li><a href="/wiki/Aron_Warner">Aron Warner</a> as <a href="/wiki/List_of_Shrek_characters#Big_Bad_Wolf">Wolf</a></li>
<li><a href="/wiki/Christopher_Knights">Christopher Knights</a> as <a href="/wiki/List_of_Shrek_characters#Three_Blind_Mice">Blind Mice</a></li>
<li><a href="/wiki/Cody_Cameron">Cody Cameron</a> as <a href="/wiki/List_of_Shrek_characters#Pinocchio">Pinocchio</a>, <a href="/wiki/List_of_Shrek_characters#Three_Little_Pigs">Three Pigs</a></li>
<li>Dante James Hauser as <a href="/wiki/List_of_Shrek_characters#Farkle,_Fergus,_and_Felicia">Fergus</a></li>
<li><a href="/wiki/Chris_Miller_(animator)">Chris Miller</a> as Magic Mirror, Geppetto</li>
<li><a href="/wiki/Meredith_Vieira">Meredith Vieira</a> as Broomsy Witch</li>
<li><a href="/wiki/Jeremy_Steig">Jeremy Steig</a> as <a href="/wiki/Pied_Piper_of_Hamelin">Pied Piper</a></li>
<li><a href="/wiki/Larry_King">Larry King</a> as <a href="/wiki/List_of_Shrek_characters#Doris_the_Ugly_Stepsister">Doris the Ugly Stepsister</a></li>
<li><a href="/wiki/Regis_Philbin">Regis Philbin</a> as <a href="/wiki/List_of_Shrek_characters#Mabel_the_Ugly_Stepsister">Mabel the Ugly Stepsister</a></li>
<li><a href="/wiki/Mike_Mitchell_(director)">Mike Mitchell</a> as Witch Guard No. 2, Butter Pants</li>
<li><a href="/wiki/Ryan_Seacrest">Ryan Seacrest</a> as Father of Butter Pants</li></ul>
<h2>Production[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=3">edit</a>]</h2>
<p>Following the success of <i><a href="/wiki/Shrek_2">Shrek 2</a></i>, a third and fourth <i>Shrek</i> film, along with plans for a fifth and final film, were announced in May 2004 by <a href="/wiki/Jeffrey_Katzenberg">Jeffrey Katzenberg</a>.<sup><a href="#cite_note-12">[10]</a></sup> In October 2006, <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a> revealed that the fourth film would be released in 2010.<sup><a href="#cite_note-13">[11]</a></sup>
</p><p>In October 2007, Katzenberg announced a title for the fourth film, <i>Shrek Goes Fourth</i>,<sup><a href="#cite_note-14">[12]</a></sup> explaining that "Shrek goes out into the world, forth!"<sup><a href="#cite_note-15">[13]</a></sup> In May 2009, however, DreamWorks Animation retitled the film to <i>Shrek Forever After</i>,<sup><a href="#cite_note-16">[14]</a></sup> indicating that it would be the last in the <i>Shrek</i> series.<sup>[<i><a href="/wiki/Wikipedia:Citation_needed">citation needed</a></i>]</sup> In November 2009, <a href="/wiki/Bill_Damaschke">Bill Damaschke</a>, head of creative production at DreamWorks Animation, confirmed with "All that was loved about Shrek in the <a href="/wiki/Shrek">first film</a> is brought to the final film."<sup><a href="#cite_note-17">[15]</a></sup>
</p><p><a href="/wiki/Tim_Sullivan_(British_filmmaker)">Tim Sullivan</a> was hired to write the script in March 2005,<sup><a href="#cite_note-18">[16]</a></sup> but was later replaced by <a href="/wiki/Darren_Lemke">Darren Lemke</a> and <a href="/wiki/Josh_Klausner">Josh Klausner</a>. Klausner, about the script's evolution, said, "When I first came onto the project, it wasn't supposed to be the final chapter—there were originally going to be 5 <i>Shrek</i> movies. Then, about a year into the development, Jeffrey Katzenberg decided that the story that we'd come up with was the right way for Shrek's journey to end, which was incredibly flattering."<sup><a href="#cite_note-19">[17]</a></sup> In May 2007, shortly before the release of the third film, it was announced <a href="/wiki/Mike_Mitchell_(director)">Mike Mitchell</a> would be on board to direct the new installment.<sup><a href="#cite_note-20">[18]</a></sup> Much of the film was written and recorded in <a href="/wiki/New_York_City">New York City</a>.<sup><a href="#cite_note-21">[19]</a></sup>
</p>
<h2>Music[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=4">edit</a>]</h2>
<p>Like the other <i>Shrek</i> films, the film's original score was composed by <a href="/wiki/United_Kingdom">British</a> composer <a href="/wiki/Harry_Gregson-Williams">Harry Gregson-Williams</a>.
</p>
<h2>Release[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=5">edit</a>]</h2>
<h3>Theatrical[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=6">edit</a>]</h3>
<p><i>Shrek Forever After</i> premiered at the <a href="/wiki/Tribeca_Film_Festival">Tribeca Film Festival</a> on April 21, 2010.<sup><a href="#cite_note-22">[20]</a></sup> It was publicly released on May 20, 2010, in Russia, while the American release followed the next day. The film was also released in <a href="/wiki/IMAX#IMAX_3D">IMAX 3D</a> format.<sup><a href="#cite_note-23">[21]</a></sup> In July 2014, the film's distribution rights were purchased by DreamWorks Animation from <a href="/wiki/Paramount_Pictures">Paramount Pictures</a><sup><a href="#cite_note-24">[22]</a></sup> and transferred to <a href="/wiki/20th_Century_Fox">20th Century Fox</a> before reverting to <a href="/wiki/Universal_Pictures">Universal Pictures</a> in 2018.
</p>
<h3>Home media[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=7">edit</a>]</h3>
<p><i>Shrek Forever After</i> (marketed as <i>Shrek Forever After: The Final Chapter</i>) was released on <a href="/wiki/DVD">DVD</a> and <a href="/wiki/Blu-ray">Blu-ray</a> on December 7, 2010.<sup><a href="#cite_note-BD-25">[23]</a></sup> The film has made $76.5 million in DVD and Blu-ray sales.<sup><a href="#cite_note-26">[24]</a></sup> The film is also included in <i>Shrek: The Whole Story</i>, a box set released on the same day that included all four <a href="/wiki/Shrek_(franchise)#Film_series"><i>Shrek</i> movies</a> and additional bonus content.<sup><a href="#cite_note-BD-25">[23]</a></sup>
</p>
<h3>Merchandise[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>In 2010, <a href="/wiki/McDonald%27s">McDonald's</a> released a series of drinking glasses which featured painted characters from <i>Shrek Forever After</i>. The painted designs contained the toxic metal <a href="/wiki/Cadmium">cadmium</a>, which provided concerns about the long-term exposure of cadmium from the <i>Shrek</i> glasses. As a result, McDonald's offered a recall of the 12 million drinking glasses and paid customers to return them.<sup><a href="#cite_note-27">[25]</a></sup><sup><a href="#cite_note-28">[26]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=9">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=10">edit</a>]</h3>
<p><i>Shrek Forever After</i> earned $238.7 million in North America, and $513.9 million in other countries, for a worldwide total of $752.6 million,<sup><a href="#cite_note-Shrek_Forever_After_2010-4">[4]</a></sup> making it the <a href="/wiki/2010_in_film#Highest-grossing_films">fifth highest-grossing film of 2010</a>.<sup><a href="#cite_note-29">[27]</a></sup>
</p><p><i>Shrek Forever After</i> had the widest release for an animated film (4,359 theaters, later expanded to 4,386) in North America. On its opening day (May 21, 2010), it ranked No.1, grossing $20.8 million, which was lower than the opening days of the last two <i>Shrek</i> films. The film then opened in three days with $70.8 million, lower than box office analysts' predictions of an opening of $105 million<sup><a href="#cite_note-30">[28]</a></sup> and also lower than the two previous films of the franchise. Anne Globe, head of worldwide marketing for DreamWorks Animation, said they were "happy with the film's opening" since it debuted at No. 1 and also had the fourth-best opening for an animated film, at the time, in the United States and Canada.<sup><a href="#cite_note-31">[29]</a></sup> <i>Shrek Forever After</i> was the number one film for three consecutive weekends.<sup><a href="#cite_note-32">[30]</a></sup><sup><a href="#cite_note-33">[31]</a></sup><sup><a href="#cite_note-34">[32]</a></sup>
</p><p>In North America, executives at DreamWorks Animation were impressed because the film earned $238.7 million in North America, although it was the fourth film in the series, seemingly being outgrown by its fans.<sup><a href="#cite_note-35">[33]</a></sup> It ended its box office run ranked domestically as the <a href="/wiki/List_of_American_films_of_2010#Box_office">ninth highest-grossing film of 2010</a>.<sup><a href="#cite_note-36">[34]</a></sup>
</p><p>Outside North America, it topped the weekend box office once on July 16–18, 2010 with $46.3 million.<sup><a href="#cite_note-37">[35]</a></sup><sup><a href="#cite_note-38">[36]</a></sup> In Russia and CIS, its second-highest-grossing country, it had a $19.7 million opening weekend which was a record among animated films. It earned $51.4 million in total.<sup><a href="#cite_note-39">[37]</a></sup> Third in total earnings came the United Kingdom, Ireland and Malta, where it opened with £8.96 million ($13.6 million) and finished its box office run with £31.1 million ($51.1 million).<sup><a href="#cite_note-40">[38]</a></sup>
</p>
<h3>Critical response[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=11">edit</a>]</h3>
<p>On review aggregation website <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a>, <i>Shrek Forever After</i> had an approval rating of 57% based on 201 reviews and an average rating of 5.90/10. The site's critical consensus read, "While not without its moments, <i>Shrek Forever After</i> too often feels like a rote rehashing of the franchise's earlier entries."<sup><a href="#cite_note-RT-41">[39]</a></sup> On <a href="/wiki/Metacritic">Metacritic</a>, the film had a weighted average score of 58 out of 100, based on 35 critics, indicating "mixed or average reviews".<sup><a href="#cite_note-42">[40]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A" on an A+ to F scale, the same score earned by <i>Shrek</i> and <i>Shrek 2</i> and a step up from the "B+" earned by <i>Shrek the Third</i>.<sup><a href="#cite_note-43">[41]</a></sup>
</p><p><a href="/wiki/Stephen_Holden">Stephen Holden</a> of <i><a href="/wiki/The_New_York_Times">The New York Times</a></i> stated "What fortifies “Shrek Forever After” are its brilliantly realized principal characters, who nearly a decade after the first “Shrek” film remain as vital and engaging fusions of image, personality and voice as any characters in the history of animation."<sup><a href="#cite_note-44">[42]</a></sup> Pete Hammond of <i><a href="/wiki/BoxOffice_(magazine)">BoxOffice</a></i> gave the film four and a half out of five stars and wrote, "Hilarious and heartfelt from start to finish, this is the best <i>Shrek</i> of them all, and that's no fairy tale. Borrowing liberally from <a href="/wiki/Frank_Capra">Frank Capra</a>'s <i><a href="/wiki/It%27s_a_Wonderful_Life">It's a Wonderful Life</a></i>, this edition blends big laughs and emotion to explore what Far Far Away might have been like if Shrek never existed."<sup><a href="#cite_note-45">[43]</a></sup> <a href="/wiki/James_Berardinelli">James Berardinelli</a> of <i>Reelviews</i> awarded the film three out of four stars and wrote, "Even though <i>Shrek Forever After</i> is obligatory and unnecessary, it's better than <i><a href="/wiki/Shrek_the_Third">Shrek the Third</a></i> and it's likely that most who attend as a way of saying goodbye to the Jolly Green Ogre will not find themselves wishing they had sought out a more profitable way of spending 90-odd minutes."<sup><a href="#cite_note-46">[44]</a></sup>
</p><p>James White of <i><a href="/wiki/Empire_(film_magazine)">Empire</a></i> gave the film four out of four stars, saying, "DreamWorks could be entering a period of fresh creativity. With <i><a href="/wiki/How_to_Train_Your_Dragon_(film)">How to Train Your Dragon</a></i> and a balanced, darker-hued and very funny <i>Shrek</i> finale, they've found the magic again".<sup><a href="#cite_note-47">[45]</a></sup> <a href="/wiki/Lisa_Schwarzbaum">Lisa Schwarzbaum</a> of <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> gave the film a "B−" grade, saying "Everyone involved fulfills his or her job requirements adequately. But the magic is gone and <i>Shrek Forever After</i> is no longer an ogre phenomenon to reckon with."<sup><a href="#cite_note-48">[46]</a></sup> <a href="/wiki/Peter_Travers">Peter Travers</a> of <i><a href="/wiki/Rolling_Stone">Rolling Stone</a></i> wrote "It's a fun ride. What's missing is the excitement of a new interpretation."<sup><a href="#cite_note-49">[47]</a></sup> Mary Pols of <i><a href="/wiki/Time_(magazine)">Time</a></i> stated in her review "Can an ogre <a href="/wiki/Jumping_the_shark">jump a shark</a>? I think so."<sup><a href="#cite_note-50">[48]</a></sup> 
</p><p>Giving the film one star out of four, <a href="/wiki/Kyle_Smith_(critic)">Kyle Smith</a> of the <i><a href="/wiki/New_York_Post">New York Post</a></i> wrote, "After the frantic spurt of fairy-tale allusions and jokes in the first three <i>Shrek</i>s, this one inches along with a few mostly pointless action scenes and the occasional mild pun."<sup><a href="#cite_note-51">[49]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=12">edit</a>]</h3>
<h2>Video game[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=13">edit</a>]</h2>
<p><i>Shrek Forever After</i> is an <a href="/wiki/Action-adventure_game">action-adventure video game</a> based on the movie of the same name. It was released by <a href="/wiki/Activision">Activision</a> on May 18, 2010.
</p>
<h2>Future[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=14">edit</a>]</h2>
<h3>Possible sequel[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=15">edit</a>]</h3>
<p>In 2014, a <a href="/wiki/Fox_Business_Network">Fox Business Network</a> interview with Dreamworks CEO <a href="/wiki/Jeffrey_Katzenberg">Jeffrey Katzenberg</a> implied that more <i>Shrek</i> films would eventually be made saying, "But I think you can be confident that we'll have another chapter in the Shrek series. We're not finished and, more importantly, neither is he."<sup><a href="#cite_note-72">[70]</a></sup> Following <a href="/wiki/NBCUniversal">NBCUniversal</a> acquisition of DreamWorks Animation in 2016, President and CEO <a href="/wiki/Steve_Burke_(businessman)">Steve Burke</a> discussed plans to revive the franchise.<sup><a href="#cite_note-73">[71]</a></sup> In July 2016, <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> cited sources saying that a fifth film was planned for a 2019 release.<sup><a href="#cite_note-Sequel-HollywoodReporter-9">[8]</a></sup> By late 2016, reports surfaced that the script had been completed.<sup><a href="#cite_note-Shrek5-10">[9]</a></sup><sup><a href="#cite_note-74">[72]</a></sup>
</p>
<h3>Spin-offs[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=16">edit</a>]</h3>
<p><i><a href="/wiki/Puss_in_Boots_(2011_film)">Puss in Boots</a></i> is a computer-animated adventure comedy film that was released on October 28, 2011.<sup><a href="#cite_note-ReleaseDate-75">[73]</a></sup> A prequel to the <i>Shrek</i> films, the film is based on and follows the <a href="/wiki/Origin_story">origin story</a> of the <a href="/wiki/Puss_in_Boots_(Shrek)">character of the same name</a>, and his adventures with <a href="/wiki/List_of_Shrek_characters#Kitty_Softpaws">Kitty Softpaws</a> and mastermind <a href="/wiki/List_of_Shrek_characters#Humpty_Dumpty">Humpty Dumpty</a>.<sup><a href="#cite_note-76">[74]</a></sup>
</p><p>A sequel, titled <i><a href="/wiki/Puss_in_Boots:_The_Last_Wish">Puss in Boots: The Last Wish</a></i> was released on December 21, 2022. Taking place after the events of <i>Shrek Forever After</i>, it follows the title character down to his last life and seeking to restore his <a href="/wiki/Cat#Superstitions_and_rituals">previous eight lives</a> with the mystical Last Wish, lost while escaping new enemies who plan to hunt him down, with the help of his friends, including Softpaw.
</p>
<h2>Notes[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=17">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-7">^</a></b> Also known as <i><b>Shrek 4</b></i>, previously promoted as <i><b>Shrek Goes Fourth</b></i> and <i><b>Shrek: The Final Chapter</b></i>, and released on home media as <i><b>Shrek Forever After: The Final Chapter</b></i>.<sup><a href="#cite_note-6">[6]</a></sup>
</li>
<li><b><a href="#cite_ref-11">^</a></b> As depicted in the 2001 film <i><a href="/wiki/Shrek">Shrek</a></i>
</li>
</ol></div>
<h2>References[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=18">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-afi_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-afi_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-afi_1-2"><sup><i><b>c</b></i></sup></a> <cite><a href="https://catalog.afi.com/Film/66591-SHREK-FOREVERAFTER">"Shrek Forever After"</a>. <a href="/wiki/AFI_Catalog_of_Feature_Films">AFI Catalog of Feature Films</a>. <a href="https://web.archive.org/web/20230111162120/https://catalog.afi.com/Film/66591-SHREK-FOREVERAFTER">Archived</a> from the original on January 11, 2023. Retrieved January 11, 2023.</cite>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite>Goodman, Dean (May 23, 2010). <a href="https://www.reuters.com/article/idUSN2353030520100523">"UPDATE 1-'Shrek' sequel underperforms at box office"</a>. <i><a href="/wiki/Reuters">Reuters</a></i>. <a href="/wiki/Thomson_Reuters">Thomson Reuters</a>. <a href="https://web.archive.org/web/20100526013838/http://www.reuters.com/article/idUSN2353030520100523">Archived</a> from the original on May 26, 2010. Retrieved August 16, 2010. <q>"Shrek Forever After," with the voice cast including Michael Myers, Antonio Banderas, Eddie Murphy, Cameron Diaz, cost about $135 million to make. Worldwide marketing costs will be about $165 million, Globe said.</q></cite>
</li>
<li><b><a href="#cite_ref-3">^</a></b> <cite>DiOrio, Carl (May 23, 2010). <a href="https://www.hollywoodreporter.com/news/shrek-underwhelms-tops-boxoffice-23907">"'Shrek' underwhelms but tops boxoffice"</a>. <i>The Hollywood Reporter</i>. <a href="https://web.archive.org/web/20150701095825/http://www.hollywoodreporter.com/news/shrek-underwhelms-tops-boxoffice-23907">Archived</a> from the original on July 1, 2015. Retrieved December 23, 2014. <q>Produced for an estimated $135 million,...</q></cite>
</li>
<li>^ <a href="#cite_ref-Shrek_Forever_After_2010_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Shrek_Forever_After_2010_4-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt0892791/">"<i>Shrek Forever After</i>"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. Retrieved February 16, 2021.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite><a href="https://www.the-numbers.com/movie/Shrek-Forever-After-(2010)">"Shrek Forever After (2010) - Financial Information"</a>. <i>The Numbers</i>. Retrieved January 29, 2023.</cite>
</li>
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<h2>External links[<a href="/w/index.php?title=Shrek_Forever_After&amp;action=edit&amp;section=19">edit</a>]</h2>
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 * (Top)
 * 1 Plot
 * 2 Voice cast
 * 3 Production
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 * 5 Release
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 + 5.1 Theatrical
 + 5.2 Home media
 + 5.3 Merchandise
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 + 6.2 Critical response
 + 6.3 Accolades
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 + 8.1 Possible sequel
 + 8.2 Spin-offs
 * 9 Notes
 * 10 References
 * 11 External links
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 Shrek Forever After

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 From Wikipedia, the free encyclopedia
 This article is about the film. For the video game, see Shrek Forever After (video game).

 Shrek Forever After 
 Theatrical release poster with alternate title
 Directed by Mike Mitchell 
 Written by * Josh Klausner 
  * Darren Lemke 
 Based on Shrek! 
 by William Steig 
 Produced by * Gina Shay 
  * Teresa Cheng 
  * Mike Myers 
  * Eddie Murphy 
 Starring * Cameron Diaz 
  * Antonio Banderas 
  * Julie Andrews 
  * Walt Dohrn 
 Edited by Nick Fletcher 
 Music by Harry Gregson-Williams 
 Production DreamWorks Animation SKG[1] 
 company  
 Distributed by Paramount Pictures[1] 
 Release dates * April 21, 2010 (Tribeca Film Festival)
  * May 21, 2010 (United States) 
 Running time 93 minutes[1] 
 Country United States 
 Language English 
 Budget $135–165 million[2][3][4] 
 Box office $756.2 million[5] 
 

 Shrek Forever After[a] is a 2010 American computer-animated comedy film loosely based on the 1990 children's picture book Shrek! by William Steig. Directed by Mike Mitchell and written by Josh Klausner and Darren Lemke, it is the sequel to Shrek the Third (2007) and the fourth installment in the Shrek film series. The film stars Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Julie Andrews, and John Cleese reprising their voice roles from the previous films, with Walt Dohrn, Jane Lynch, Jon Hamm, Craig Robinson, Lake Bell, Mary Kay Place, Kathy Griffin, and Kristen Schaal joining the cast. The plot follows Shrek who struggles with the responsibilities and stress of being a domesticated family man, yearning for the days he was once feared and lived in solitude. He is tricked by Rumpelstiltskin into signing a contract that leads to disastrous consequences.

 Shrek Forever After premiered at the Tribeca Film Festival on April 21, 2010, and was theatrically released in the United States by Paramount Pictures on May 21, 2010. The film debuted as the top-grossing film at the box office, a position it held for three consecutive weeks in the United States and Canada. It received mixed reviews from critics, but grossed a worldwide total of $756 million and becoming the fifth-highest-grossing film of 2010. In addition, Shrek Forever After became DreamWorks Animation's second-highest-grossing film at the foreign box office.[7] Although originally intended to be the final main entry in the series, a fifth Shrek film reportedly entered development in the years following the release of Forever After, but it has experienced multiple delays.[8][9] A spin-off prequel film, Puss in Boots, was released on October 28, 2011, with Banderas reprising his role, after which a television series continuation, The Adventures of Puss in Boots, aired on Netflix from January 2015 to January 2018, and a sequel film, set after the Shrek films and titled Puss in Boots: The Last Wish, was released on December 21, 2022.

 Plot [ edit ]

 In a flashback, King Harold and Queen Lillian are about to sign the kingdom of Far Far Away over to Rumpelstiltskin ("Rumpel") in exchange for lifting the curse of their daughter, Princess Fiona – cursed to transform into an ogre nightly and locked in a tower until rescued by her "true love". Before signing, news arrives that she had been saved,[b] and they cancel the deal. In the present, Rumpel has become an outcast and wishes that Fiona's rescuer, Shrek, was never born.

 Meanwhile, Shrek has grown increasingly tired of being a family man and celebrity, longing for the days when he was feared and had privacy. While celebrating his children's first birthday in Far Far Away, an escalating series of mishaps injuring Shrek's ego causes him to walk out in anger and lash out at Fiona. Having witnessed the outburst, Rumpel follows Shrek into the forest and stages a scene of being in distress, prompting Shrek to help. Invited inside Rumpel's carriage, Shrek laments that he is no longer a "real ogre". Rumpel offers him a deal to receive a day as a "real ogre" in exchange for a day from his childhood. Shrek signs a contract fulfilling this wish, and is whisked away into an alternate reality.

 Now feared by the villagers, Shrek causes some lighthearted mischief, until he discovers that Fiona is a fugitive and his swamp is deserted and desolate. Captured by witches, Shrek is taken to Rumpel, who is now the king of Far Far Away. Rumpel reveals to Shrek that he took the day he was born, meaning Shrek never existed in this altered timeline. Consequently, Harold and Lillian were forced to sign the kingdom over to Rumpel, causing them to disappear. When the day ends, Shrek will cease to exist.

 Shrek escapes Rumpel's castle with Donkey, who is initially terrified of Shrek but befriends him after seeing him cry over his erased history. Donkey helps Shrek find a hidden exit clause; the contract can be nullified by "true love's kiss". The pair soon encounter a still-cursed Fiona leading an army of ogres in a resistance against Rumpel, and a lazy and overweight Puss in Boots being kept as Fiona's pet. Shrek unsuccessfully tries to woo Fiona, who has since lost hope of finding true love after not being rescued, and is too busy preparing an ambush on Rumpel. Puss encourages Shrek to continue pursuing Fiona.

 During the ambush, most of the ogres are captured by the Pied Piper, who was hired by Rumpel, but Shrek and Fiona escape with Puss and Donkey. Shrek insists that Fiona kiss him, assuring her that it will fix everything; she reluctantly obliges, but to Shrek's surprise, nothing happens. Later on, Rumpel publicly offers a wish to anyone who brings him Shrek, and after hearing this, Shrek turns himself in. Rumpel is forced to grant Shrek's wish, and he uses it to free the other ogres. As Shrek is locked up, Rumpel reveals that Fiona had been captured and not released, since she is not "all ogre". Donkey, Puss, and the freed ogres storm the castle; they capture Rumpel and defeat his witch army, while Shrek and Fiona take down Dragon.

 As the sun rises, Shrek begins to fade from existence, but Fiona, having fallen in love with him, kisses him just before he disappears. Seeing that she is still an ogre in the sunlight, Fiona realizes that her curse was broken and that she has assumed "love's true form". The alternate reality disintegrates, making everyone disappear, and Shrek finds himself transported back to the original timeline at the moment before he lost his temper at the party. Instead of lashing out, Shrek embraces his family and friends with a newfound appreciation for them.

 Voice cast [ edit ]

 Mike Myers, Cameron Diaz, Eddie Murphy, Antonio Banderas, and Walt Dohrn at the premiere of the film at the 2010 Tribeca Film Festival.
 Main article: List of Shrek characters
 * Mike Myers as Shrek
 * Eddie Murphy as Donkey
 * Cameron Diaz as Princess Fiona
 * Antonio Banderas as Puss in Boots
 * Walt Dohrn as Rumpelstiltskin
 * Jon Hamm as Brogan the Ogre
 * Jane Lynch as Gretched the Ogre
 * Craig Robinson as Cookie the Ogre
 * Lake Bell as Patrol Witch, Wagon Witch No. 2
 * Kathy Griffin as Dancing Witch, Wagon Witch No. 1
 * Mary Kay Place as Witch Guard No. 1
 * Kristen Schaal as Pumpkin Witch, Palace Witch
 * Julie Andrews as Queen Lillian
 * John Cleese as King Harold
 * Conrad Vernon as Gingerbread Man
 * Aron Warner as Wolf
 * Christopher Knights as Blind Mice
 * Cody Cameron as Pinocchio, Three Pigs
 * Dante James Hauser as Fergus
 * Chris Miller as Magic Mirror, Geppetto
 * Meredith Vieira as Broomsy Witch
 * Jeremy Steig as Pied Piper
 * Larry King as Doris the Ugly Stepsister
 * Regis Philbin as Mabel the Ugly Stepsister
 * Mike Mitchell as Witch Guard No. 2, Butter Pants
 * Ryan Seacrest as Father of Butter Pants

 Production [ edit ]

 Following the success of Shrek 2, a third and fourth Shrek film, along with plans for a fifth and final film, were announced in May 2004 by Jeffrey Katzenberg.[10] In October 2006, DreamWorks Animation revealed that the fourth film would be released in 2010.[11]

 In October 2007, Katzenberg announced a title for the fourth film, Shrek Goes Fourth,[12] explaining that "Shrek goes out into the world, forth!"[13] In May 2009, however, DreamWorks Animation retitled the film to Shrek Forever After,[14] indicating that it would be the last in the Shrek series.[ citation needed ] In November 2009, Bill Damaschke, head of creative production at DreamWorks Animation, confirmed with "All that was loved about Shrek in the first film is brought to the final film."[15]

 Tim Sullivan was hired to write the script in March 2005,[16] but was later replaced by Darren Lemke and Josh Klausner. Klausner, about the script's evolution, said, "When I first came onto the project, it wasn't supposed to be the final chapter—there were originally going to be 5 Shrek movies. Then, about a year into the development, Jeffrey Katzenberg decided that the story that we'd come up with was the right way for Shrek's journey to end, which was incredibly flattering."[17] In May 2007, shortly before the release of the third film, it was announced Mike Mitchell would be on board to direct the new installment.[18] Much of the film was written and recorded in New York City.[19]

 Music [ edit ]

 Main article: List of songs featured in Shrek § Shrek Forever After (2010)

 Like the other Shrek films, the film's original score was composed by British composer Harry Gregson-Williams.

 Release [ edit ]

 Theatrical [ edit ]

 Shrek Forever After premiered at the Tribeca Film Festival on April 21, 2010.[20] It was publicly released on May 20, 2010, in Russia, while the American release followed the next day. The film was also released in IMAX 3D format.[21] In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures[22] and transferred to 20th Century Fox before reverting to Universal Pictures in 2018.

 Home media [ edit ]

 Shrek Forever After (marketed as Shrek Forever After: The Final Chapter) was released on DVD and Blu-ray on December 7, 2010.[23] The film has made $76.5 million in DVD and Blu-ray sales.[24] The film is also included in Shrek: The Whole Story, a box set released on the same day that included all four Shrek movies and additional bonus content.[23]

 Merchandise [ edit ]

 In 2010, McDonald's released a series of drinking glasses which featured painted characters from Shrek Forever After. The painted designs contained the toxic metal cadmium, which provided concerns about the long-term exposure of cadmium from the Shrek glasses. As a result, McDonald's offered a recall of the 12 million drinking glasses and paid customers to return them.[25][26]

 Reception [ edit ]

 Box office [ edit ]

 Shrek Forever After earned $238.7 million in North America, and $513.9 million in other countries, for a worldwide total of $752.6 million,[4] making it the fifth highest-grossing film of 2010.[27]

 Shrek Forever After had the widest release for an animated film (4,359 theaters, later expanded to 4,386) in North America. On its opening day (May 21, 2010), it ranked No.1, grossing $20.8 million, which was lower than the opening days of the last two Shrek films. The film then opened in three days with $70.8 million, lower than box office analysts' predictions of an opening of $105 million[28] and also lower than the two previous films of the franchise. Anne Globe, head of worldwide marketing for DreamWorks Animation, said they were "happy with the film's opening" since it debuted at No. 1 and also had the fourth-best opening for an animated film, at the time, in the United States and Canada.[29] Shrek Forever After was the number one film for three consecutive weekends.[30][31][32]

 In North America, executives at DreamWorks Animation were impressed because the film earned $238.7 million in North America, although it was the fourth film in the series, seemingly being outgrown by its fans.[33] It ended its box office run ranked domestically as the ninth highest-grossing film of 2010.[34]

 Outside North America, it topped the weekend box office once on July 16–18, 2010 with $46.3 million.[35][36] In Russia and CIS, its second-highest-grossing country, it had a $19.7 million opening weekend which was a record among animated films. It earned $51.4 million in total.[37] Third in total earnings came the United Kingdom, Ireland and Malta, where it opened with £8.96 million ($13.6 million) and finished its box office run with £31.1 million ($51.1 million).[38]

 Critical response [ edit ]

 On review aggregation website Rotten Tomatoes, Shrek Forever After had an approval rating of 57% based on 201 reviews and an average rating of 5.90/10. The site's critical consensus read, "While not without its moments, Shrek Forever After too often feels like a rote rehashing of the franchise's earlier entries."[39] On Metacritic, the film had a weighted average score of 58 out of 100, based on 35 critics, indicating "mixed or average reviews".[40] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, the same score earned by Shrek and Shrek 2 and a step up from the "B+" earned by Shrek the Third.[41]

 Stephen Holden of The New York Times stated "What fortifies “Shrek Forever After” are its brilliantly realized principal characters, who nearly a decade after the first “Shrek” film remain as vital and engaging fusions of image, personality and voice as any characters in the history of animation."[42] Pete Hammond of BoxOffice gave the film four and a half out of five stars and wrote, "Hilarious and heartfelt from start to finish, this is the best Shrek of them all, and that's no fairy tale. Borrowing liberally from Frank Capra's It's a Wonderful Life, this edition blends big laughs and emotion to explore what Far Far Away might have been like if Shrek never existed."[43] James Berardinelli of Reelviews awarded the film three out of four stars and wrote, "Even though Shrek Forever After is obligatory and unnecessary, it's better than Shrek the Third and it's likely that most who attend as a way of saying goodbye to the Jolly Green Ogre will not find themselves wishing they had sought out a more profitable way of spending 90-odd minutes."[44]

 James White of Empire gave the film four out of four stars, saying, "DreamWorks could be entering a period of fresh creativity. With How to Train Your Dragon and a balanced, darker-hued and very funny Shrek finale, they've found the magic again".[45] Lisa Schwarzbaum of Entertainment Weekly gave the film a "B−" grade, saying "Everyone involved fulfills his or her job requirements adequately. But the magic is gone and Shrek Forever After is no longer an ogre phenomenon to reckon with."[46] Peter Travers of Rolling Stone wrote "It's a fun ride. What's missing is the excitement of a new interpretation."[47] Mary Pols of Time stated in her review "Can an ogre jump a shark? I think so."[48]

 Giving the film one star out of four, Kyle Smith of the New York Post wrote, "After the frantic spurt of fairy-tale allusions and jokes in the first three Shreks, this one inches along with a few mostly pointless action scenes and the occasional mild pun."[49]

 Accolades [ edit ]

 Accolades received by Shrek Forever After
 Award  Date of ceremony Category Recipient(s) Result Ref.
 Annie Awards  February 5, 2011 Outstanding Achievement for Animated Effects in an Animated Production Andrew Young Kim Nominated [50]
     [51]
 Outstanding Achievement for Music in a Feature Production Harry Gregson-Williams Nominated 
 Outstanding Achievement for Production Design in an Animated Feature Production Peter Zaslav Nominated 
 Outstanding Achievement for Storyboarding in a Feature Production Paul Fisher Nominated 
 Outstanding Achievement for Voice Acting in an Animated Feature Production Cameron Diaz Nominated 
 British Academy Children's Awards November 28, 2010 BAFTA Kid's Vote (Feature Film) Shrek Forever After Nominated [52]
 The Comedy Awards March 26, 2011 Best Animated Comedy Movie Shrek Forever After Nominated [53]
     [54]
 Golden Trailer Awards June 10, 2010 Best Animation/Family "Best Ever" (Aspect Ratio) Won [55]
 Movieguide Awards February 18, 2011 Best Movies for Families Shrek Forever After Nominated [56]
     [57]
 National Movie Awards May 26, 2010 Most Anticipated Movie Of The Summer Shrek Forever After Nominated [58]
     [59]
 Nickelodeon Kids' Choice Awards (Australia) October 8, 2010 Favorite Movie Shrek Forever After Nominated [60]
 Nickelodeon Kids' Choice Awards (United States) April 2, 2011 Favorite Animated Movie Shrek Forever After Nominated [61]
     [62]
 Favorite Voice From An Animated Movie Eddie Murphy Won  
 Cameron Diaz  Nominated 
 People's Choice Awards January 5, 2011 Favorite Family Movie Shrek Forever After Nominated [63]
     [64]
 Saturn Awards  June 23, 2011 Best Animated Film Shrek Forever After Nominated [65]
 Teen Choice Awards August 8, 2010 Choice Movie: Animated Film Shrek Forever After Nominated [66]
     [67]
 Visual Effects Society Awards February 1, 2011 Outstanding Visual Effects in an Animated Feature Jason Reisig, Doug Cooper, Gina Shay, and Teresa Cheng Nominated [68]
     [69]
 Outstanding Effects Animation in an Animated Feature Motion Picture Jeff Budsberg, Andrew Kim, Yancy Lindquist, and Can Yuksel Nominated 
 

 Video game [ edit ]

 Main article: Shrek Forever After (video game)

 Shrek Forever After is an action-adventure video game based on the movie of the same name. It was released by Activision on May 18, 2010.

 Future [ edit ]

 Possible sequel [ edit ]

 Further information: Shrek (franchise) § Future films

 In 2014, a Fox Business Network interview with Dreamworks CEO Jeffrey Katzenberg implied that more Shrek films would eventually be made saying, "But I think you can be confident that we'll have another chapter in the Shrek series. We're not finished and, more importantly, neither is he."[70] Following NBCUniversal acquisition of DreamWorks Animation in 2016, President and CEO Steve Burke discussed plans to revive the franchise.[71] In July 2016, The Hollywood Reporter cited sources saying that a fifth film was planned for a 2019 release.[8] By late 2016, reports surfaced that the script had been completed.[9][72]

 Spin-offs [ edit ]

 Main articles: Puss in Boots (2011 film) and Puss in Boots: The Last Wish

 Puss in Boots is a computer-animated adventure comedy film that was released on October 28, 2011.[73] A prequel to the Shrek films, the film is based on and follows the origin story of the character of the same name, and his adventures with Kitty Softpaws and mastermind Humpty Dumpty.[74]

 A sequel, titled Puss in Boots: The Last Wish was released on December 21, 2022. Taking place after the events of Shrek Forever After, it follows the title character down to his last life and seeking to restore his previous eight lives with the mystical Last Wish, lost while escaping new enemies who plan to hunt him down, with the help of his friends, including Softpaw.

 Notes [ edit ]

 1. ^ Also known as Shrek 4 , previously promoted as Shrek Goes Fourth and Shrek: The Final Chapter , and released on home media as Shrek Forever After: The Final Chapter . [6]
 2. ^ As depicted in the 2001 film Shrek

 References [ edit ]

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From Wikipedia, the free encyclopedia
	 
   Shrek Forever After      Theatrical release poster with alternate title    Directed by  Mike Mitchell    Written by  
  Josh Klausner 
 Darren Lemke  
    Based on   Shrek!  by William Steig    Produced by  
  Gina Shay 
 Teresa Cheng  
    Starring  
  Mike Myers 
 Eddie Murphy 
 Cameron Diaz 
 Antonio Banderas 
 Julie Andrews 
 Walt Dohrn  
    Edited by  Nick Fletcher    Music by  Harry Gregson-Williams     Productioncompany     DreamWorks Animation SKG  [1]       Distributed by  Paramount Pictures  [1]      Release dates   
 April 21, 2010 (Tribeca Film Festival)
May 21, 2010 (United States) 
     Running time  93 minutes [1]     Country United States   Language English   Budget $135–165 million [2]   [3]   [4]     Box office $756.2 million [5]     
  Shrek Forever After   [a]  is a 2010 American computer-animated comedy film loosely based on the 1990 children's picture book  Shrek!  by William Steig. Directed by Mike Mitchell and written by Josh Klausner and Darren Lemke, it is the sequel to  Shrek the Third  (2007) and the fourth installment in the  Shrek film series. The film stars Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Julie Andrews, and John Cleese reprising their voice roles from the previous films, with Walt Dohrn, Jane Lynch, Jon Hamm, Craig Robinson, Lake Bell, Mary Kay Place, Kathy Griffin, and Kristen Schaal joining the cast. The plot follows Shrek who struggles with the responsibilities and stress of being a domesticated family man, yearning for the days he was once feared and lived in solitude. He is tricked by Rumpelstiltskin into signing a contract that leads to disastrous consequences.
  Shrek Forever After premiered at the Tribeca Film Festival on April 21, 2010, and was theatrically released in the United States by Paramount Pictures on May 21, 2010. The film debuted as the top-grossing film at the box office, a position it held for three consecutive weeks in the United States and Canada. It received mixed reviews from critics, but grossed a worldwide total of $756 million and becoming the fifth-highest-grossing film of 2010. In addition, Shrek Forever After became DreamWorks Animation's second-highest-grossing film at the foreign box office. [7]  Although originally intended to be the final main entry in the series, a fifth Shrek film reportedly entered development in the years following the release of Forever After, but it has experienced multiple delays. [8]   [9]  A spin-off prequel film,  Puss in Boots , was released on October 28, 2011, with Banderas reprising his role, after which a television series continuation,  The Adventures of Puss in Boots , aired on Netflix from January 2015 to January 2018, and a sequel film, set after the Shrek films and titled  Puss in Boots: The Last Wish , was released on December 21, 2022.
Plot[edit]
In a flashback, King Harold and Queen Lillian are about to sign the kingdom of Far Far Away over to Rumpelstiltskin ("Rumpel") in exchange for lifting the curse of their daughter, Princess Fiona – cursed to transform into an ogre nightly and locked in a tower until rescued by her "true love". Before signing, news arrives that she had been saved, [b]  and they cancel the deal. In the present, Rumpel has become an outcast and wishes that Fiona's rescuer, Shrek, was never born.
 Meanwhile, Shrek has grown increasingly tired of being a family man and celebrity, longing for the days when he was feared and had privacy. While celebrating his children's first birthday in Far Far Away, an escalating series of mishaps injuring Shrek's ego causes him to walk out in anger and lash out at Fiona. Having witnessed the outburst, Rumpel follows Shrek into the forest and stages a scene of being in distress, prompting Shrek to help. Invited inside Rumpel's carriage, Shrek laments that he is no longer a "real ogre". Rumpel offers him a deal to receive a day as a "real ogre" in exchange for a day from his childhood. Shrek signs a contract fulfilling this wish, and is whisked away into an alternate reality.
 Now feared by the villagers, Shrek causes some lighthearted mischief, until he discovers that Fiona is a fugitive and his swamp is deserted and desolate. Captured by witches, Shrek is taken to Rumpel, who is now the king of Far Far Away. Rumpel reveals to Shrek that he took the day he was born, meaning Shrek never existed in this altered timeline. Consequently, Harold and Lillian were forced to sign the kingdom over to Rumpel, causing them to disappear. When the day ends, Shrek will cease to exist.
 Shrek escapes Rumpel's castle with Donkey, who is initially terrified of Shrek but befriends him after seeing him cry over his erased history. Donkey helps Shrek find a hidden exit clause; the contract can be nullified by "true love's kiss". The pair soon encounter a still-cursed Fiona leading an army of ogres in a resistance against Rumpel, and a lazy and overweight Puss in Boots being kept as Fiona's pet. Shrek unsuccessfully tries to woo Fiona, who has since lost hope of finding true love after not being rescued, and is too busy preparing an ambush on Rumpel. Puss encourages Shrek to continue pursuing Fiona.
 During the ambush, most of the ogres are captured by the Pied Piper, who was hired by Rumpel, but Shrek and Fiona escape with Puss and Donkey. Shrek insists that Fiona kiss him, assuring her that it will fix everything; she reluctantly obliges, but to Shrek's surprise, nothing happens. Later on, Rumpel publicly offers a wish to anyone who brings him Shrek, and after hearing this, Shrek turns himself in. Rumpel is forced to grant Shrek's wish, and he uses it to free the other ogres. As Shrek is locked up, Rumpel reveals that Fiona had been captured and not released, since she is not "all ogre". Donkey, Puss, and the freed ogres storm the castle; they capture Rumpel and defeat his witch army, while Shrek and Fiona take down Dragon.
 As the sun rises, Shrek begins to fade from existence, but Fiona, having fallen in love with him, kisses him just before he disappears. Seeing that she is still an ogre in the sunlight, Fiona realizes that her curse was broken and that she has assumed "love's true form". The alternate reality disintegrates, making everyone disappear, and Shrek finds himself transported back to the original timeline at the moment before he lost his temper at the party. Instead of lashing out, Shrek embraces his family and friends with a newfound appreciation for them.
Voice cast[edit]
             
  Mike Myers as Shrek 
 Eddie Murphy as Donkey 
 Cameron Diaz as Princess Fiona 
 Antonio Banderas as Puss in Boots 
 Walt Dohrn as Rumpelstiltskin 
 Jon Hamm as Brogan the Ogre
 Jane Lynch as Gretched the Ogre
 Craig Robinson as Cookie the Ogre
 Lake Bell as Patrol Witch, Wagon Witch No. 2
 Kathy Griffin as Dancing Witch, Wagon Witch No. 1
 Mary Kay Place as Witch Guard No. 1
 Kristen Schaal as Pumpkin Witch, Palace Witch
 Julie Andrews as Queen Lillian 
 John Cleese as King Harold 
 Conrad Vernon as Gingerbread Man 
 Aron Warner as Wolf 
 Christopher Knights as Blind Mice 
 Cody Cameron as Pinocchio, Three Pigs 
Dante James Hauser as Fergus 
 Chris Miller as Magic Mirror, Geppetto
 Meredith Vieira as Broomsy Witch
 Jeremy Steig as Pied Piper 
 Larry King as Doris the Ugly Stepsister 
 Regis Philbin as Mabel the Ugly Stepsister 
 Mike Mitchell as Witch Guard No. 2, Butter Pants
 Ryan Seacrest as Father of Butter Pants 
Production[edit]
Following the success of  Shrek 2 , a third and fourth Shrek film, along with plans for a fifth and final film, were announced in May 2004 by Jeffrey Katzenberg. [10]  In October 2006, DreamWorks Animation revealed that the fourth film would be released in 2010. [11] 
 In October 2007, Katzenberg announced a title for the fourth film, Shrek Goes Fourth, [12]  explaining that "Shrek goes out into the world, forth!" [13]  In May 2009, however, DreamWorks Animation retitled the film to Shrek Forever After, [14]  indicating that it would be the last in the Shrek series.[ citation needed ] In November 2009, Bill Damaschke, head of creative production at DreamWorks Animation, confirmed with "All that was loved about Shrek in the first film is brought to the final film." [15] 
  Tim Sullivan was hired to write the script in March 2005, [16]  but was later replaced by Darren Lemke and Josh Klausner. Klausner, about the script's evolution, said, "When I first came onto the project, it wasn't supposed to be the final chapter—there were originally going to be 5 Shrek movies. Then, about a year into the development, Jeffrey Katzenberg decided that the story that we'd come up with was the right way for Shrek's journey to end, which was incredibly flattering." [17]  In May 2007, shortly before the release of the third film, it was announced Mike Mitchell would be on board to direct the new installment. [18]  Much of the film was written and recorded in New York City. [19] 
Music[edit]
Like the other Shrek films, the film's original score was composed by British composer Harry Gregson-Williams.
Release[edit]
Theatrical[edit]
 Shrek Forever After premiered at the Tribeca Film Festival on April 21, 2010. [20]  It was publicly released on May 20, 2010, in Russia, while the American release followed the next day. The film was also released in IMAX 3D format. [21]  In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures  [22]  and transferred to 20th Century Fox before reverting to Universal Pictures in 2018.
Home media[edit]
 Shrek Forever After (marketed as Shrek Forever After: The Final Chapter) was released on DVD and Blu-ray on December 7, 2010. [23]  The film has made $76.5 million in DVD and Blu-ray sales. [24]  The film is also included in Shrek: The Whole Story, a box set released on the same day that included all four  Shrek movies and additional bonus content. [23] 
Merchandise[edit]
In 2010, McDonald's released a series of drinking glasses which featured painted characters from Shrek Forever After. The painted designs contained the toxic metal cadmium, which provided concerns about the long-term exposure of cadmium from the Shrek glasses. As a result, McDonald's offered a recall of the 12 million drinking glasses and paid customers to return them. [25]   [26] 
Reception[edit]
Box office[edit]
 Shrek Forever After earned $238.7 million in North America, and $513.9 million in other countries, for a worldwide total of $752.6 million, [4]  making it the fifth highest-grossing film of 2010. [27] 
  Shrek Forever After had the widest release for an animated film (4,359 theaters, later expanded to 4,386) in North America. On its opening day (May 21, 2010), it ranked No.1, grossing $20.8 million, which was lower than the opening days of the last two Shrek films. The film then opened in three days with $70.8 million, lower than box office analysts' predictions of an opening of $105 million [28]  and also lower than the two previous films of the franchise. Anne Globe, head of worldwide marketing for DreamWorks Animation, said they were "happy with the film's opening" since it debuted at No. 1 and also had the fourth-best opening for an animated film, at the time, in the United States and Canada. [29]  Shrek Forever After was the number one film for three consecutive weekends. [30]   [31]   [32] 
 In North America, executives at DreamWorks Animation were impressed because the film earned $238.7 million in North America, although it was the fourth film in the series, seemingly being outgrown by its fans. [33]  It ended its box office run ranked domestically as the ninth highest-grossing film of 2010. [34] 
 Outside North America, it topped the weekend box office once on July 16–18, 2010 with $46.3 million. [35]   [36]  In Russia and CIS, its second-highest-grossing country, it had a $19.7 million opening weekend which was a record among animated films. It earned $51.4 million in total. [37]  Third in total earnings came the United Kingdom, Ireland and Malta, where it opened with £8.96 million ($13.6 million) and finished its box office run with £31.1 million ($51.1 million). [38] 
Critical response[edit]
On review aggregation website Rotten Tomatoes, Shrek Forever After had an approval rating of 57% based on 201 reviews and an average rating of 5.90/10. The site's critical consensus read, "While not without its moments, Shrek Forever After too often feels like a rote rehashing of the franchise's earlier entries." [39]  On Metacritic, the film had a weighted average score of 58 out of 100, based on 35 critics, indicating "mixed or average reviews". [40]  Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, the same score earned by Shrek and Shrek 2 and a step up from the "B+" earned by Shrek the Third. [41] 
  Stephen Holden of  The New York Times  stated "What fortifies “Shrek Forever After” are its brilliantly realized principal characters, who nearly a decade after the first “Shrek” film remain as vital and engaging fusions of image, personality and voice as any characters in the history of animation." [42]  Pete Hammond of  BoxOffice  gave the film four and a half out of five stars and wrote, "Hilarious and heartfelt from start to finish, this is the best Shrek of them all, and that's no fairy tale. Borrowing liberally from Frank Capra's  It's a Wonderful Life , this edition blends big laughs and emotion to explore what Far Far Away might have been like if Shrek never existed." [43]  James Berardinelli of Reelviews awarded the film three out of four stars and wrote, "Even though Shrek Forever After is obligatory and unnecessary, it's better than  Shrek the Third  and it's likely that most who attend as a way of saying goodbye to the Jolly Green Ogre will not find themselves wishing they had sought out a more profitable way of spending 90-odd minutes." [44] 
 James White of  Empire  gave the film four out of four stars, saying, "DreamWorks could be entering a period of fresh creativity. With  How to Train Your Dragon  and a balanced, darker-hued and very funny Shrek finale, they've found the magic again". [45]  Lisa Schwarzbaum of  Entertainment Weekly  gave the film a "B−" grade, saying "Everyone involved fulfills his or her job requirements adequately. But the magic is gone and Shrek Forever After is no longer an ogre phenomenon to reckon with." [46]  Peter Travers of  Rolling Stone  wrote "It's a fun ride. What's missing is the excitement of a new interpretation." [47]  Mary Pols of  Time  stated in her review "Can an ogre jump a shark? I think so." [48]  
 Giving the film one star out of four, Kyle Smith of the  New York Post  wrote, "After the frantic spurt of fairy-tale allusions and jokes in the first three Shreks, this one inches along with a few mostly pointless action scenes and the occasional mild pun." [49] 
Accolades[edit]
Video game[edit]
 Shrek Forever After is an action-adventure video game based on the movie of the same name. It was released by Activision on May 18, 2010.
Future[edit]
Possible sequel[edit]
In 2014, a Fox Business Network interview with Dreamworks CEO Jeffrey Katzenberg implied that more Shrek films would eventually be made saying, "But I think you can be confident that we'll have another chapter in the Shrek series. We're not finished and, more importantly, neither is he." [70]  Following NBCUniversal acquisition of DreamWorks Animation in 2016, President and CEO Steve Burke discussed plans to revive the franchise. [71]  In July 2016,  The Hollywood Reporter  cited sources saying that a fifth film was planned for a 2019 release. [8]  By late 2016, reports surfaced that the script had been completed. [9]   [72] 
Spin-offs[edit]
  Puss in Boots  is a computer-animated adventure comedy film that was released on October 28, 2011. [73]  A prequel to the Shrek films, the film is based on and follows the origin story of the character of the same name, and his adventures with Kitty Softpaws and mastermind Humpty Dumpty. [74] 
 A sequel, titled  Puss in Boots: The Last Wish  was released on December 21, 2022. Taking place after the events of Shrek Forever After, it follows the title character down to his last life and seeking to restore his previous eight lives with the mystical Last Wish, lost while escaping new enemies who plan to hunt him down, with the help of his friends, including Softpaw.
Notes[edit]
 
  ^  Also known as  Shrek 4 , previously promoted as  Shrek Goes Fourth  and  Shrek: The Final Chapter , and released on home media as  Shrek Forever After: The Final Chapter . [6] 
  ^  As depicted in the 2001 film  Shrek 
 
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External links[edit]
Shrek Forever After - Wikipedia
https://en.wikipedia.org/wiki/Shrek_Forever_After
https://en.wikipedia.org/wiki/Iron_Man_2
Iron Man 2 - Wikipedia
2009-03-26
Authority control General VIAF
<div><div>
<table><tbody><tr><th>Iron Man 2</th></tr><tr><td><a href="/wiki/File:Iron_Man_2_poster.jpg"></a><p>Theatrical release poster</p></td></tr><tr><th>Directed by</th><td><a href="/wiki/Jon_Favreau">Jon Favreau</a></td></tr><tr><th>Screenplay by</th><td><a href="/wiki/Justin_Theroux">Justin Theroux</a></td></tr><tr><th>Based on</th><td><div><p><a href="/wiki/Iron_Man">Iron Man</a><br />by </p><div><ul><li><a href="/wiki/Stan_Lee">Stan Lee</a></li><li><a href="/wiki/Larry_Lieber">Larry Lieber</a></li><li><a href="/wiki/Don_Heck">Don Heck</a></li><li><a href="/wiki/Jack_Kirby">Jack Kirby</a></li></ul></div></div></td></tr><tr><th>Produced by</th><td><a href="/wiki/Kevin_Feige">Kevin Feige</a></td></tr><tr><th>Starring</th><td><div>
<ul><li><a href="/wiki/Robert_Downey_Jr.">Robert Downey Jr.</a></li>
<li><a href="/wiki/Gwyneth_Paltrow">Gwyneth Paltrow</a></li>
<li><a href="/wiki/Don_Cheadle">Don Cheadle</a></li>
<li><a href="/wiki/Scarlett_Johansson">Scarlett Johansson</a></li>
<li><a href="/wiki/Sam_Rockwell">Sam Rockwell</a></li>
<li><a href="/wiki/Mickey_Rourke">Mickey Rourke</a></li>
<li><a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a></li></ul>
</div></td></tr><tr><th>Cinematography</th><td><a href="/wiki/Matthew_Libatique">Matthew Libatique</a></td></tr><tr><th>Edited by</th><td><div>
<ul><li><a href="/wiki/Dan_Lebental">Dan Lebental</a></li>
<li><a href="/wiki/Richard_Pearson_(film_editor)">Richard Pearson</a></li></ul>
</div></td></tr><tr><th>Music by</th><td><a href="/wiki/John_Debney">John Debney</a></td></tr><tr><th><p>Production<br />company</p></th><td><div><p><a href="/wiki/Marvel_Studios">Marvel Studios</a></p></div></td></tr><tr><th>Distributed by</th><td><a href="/wiki/Paramount_Pictures">Paramount Pictures</a><sup><a href="#cite_note-Distributor-1">[a]</a></sup></td></tr><tr><th><p>Release dates</p></th><td><div>
<ul><li>April 26, 2010 (<a href="/wiki/El_Capitan_Theatre">El Capitan Theatre</a>)</li>
<li>May 7, 2010 (United States)</li></ul>
</div></td></tr><tr><th><p>Running time</p></th><td>125 minutes<sup><a href="#cite_note-IFCO-2">[1]</a></sup></td></tr><tr><th>Country</th><td>United States</td></tr><tr><th>Language</th><td>English</td></tr><tr><th>Budget</th><td>$170–200 million<sup><a href="#cite_note-budget-3">[2]</a></sup><sup><a href="#cite_note-mojo-4">[3]</a></sup></td></tr><tr><th>Box office</th><td>$623.9 million<sup><a href="#cite_note-mojo-4">[3]</a></sup></td></tr></tbody></table>
<p><i><b>Iron Man 2</b></i> is a 2010 American <a href="/wiki/Superhero_film">superhero film</a> based on the <a href="/wiki/Marvel_Comics">Marvel Comics</a> character <a href="/wiki/Iron_Man">Iron Man</a>. Produced by <a href="/wiki/Marvel_Studios">Marvel Studios</a> and distributed by <a href="/wiki/Paramount_Pictures">Paramount Pictures</a>,<sup><a href="#cite_note-Distributor-1">[a]</a></sup> it is the sequel to <i><a href="/wiki/Iron_Man_(2008_film)">Iron Man</a></i> (2008) and <a href="/wiki/List_of_Marvel_Cinematic_Universe_films">the third film</a> in the <a href="/wiki/Marvel_Cinematic_Universe">Marvel Cinematic Universe</a> (MCU). Directed by <a href="/wiki/Jon_Favreau">Jon Favreau</a> and written by <a href="/wiki/Justin_Theroux">Justin Theroux</a>, the film stars <a href="/wiki/Robert_Downey_Jr.">Robert Downey Jr.</a> as <a href="/wiki/Tony_Stark_(Marvel_Cinematic_Universe)">Tony Stark / Iron Man</a> alongside <a href="/wiki/Gwyneth_Paltrow">Gwyneth Paltrow</a>, <a href="/wiki/Don_Cheadle">Don Cheadle</a>, <a href="/wiki/Scarlett_Johansson">Scarlett Johansson</a>, <a href="/wiki/Sam_Rockwell">Sam Rockwell</a>, <a href="/wiki/Mickey_Rourke">Mickey Rourke</a>, and <a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a>. Six months after <i>Iron Man</i>, Tony Stark resists calls from the United States government to hand over the Iron Man technology, which is causing his declining health. Meanwhile, Russian scientist <a href="/wiki/Ivan_Vanko_(Marvel_Cinematic_Universe)">Ivan Vanko</a> (Rourke) uses his own version of the technology to pursue a vendetta against the Stark family.
</p><p>Following the critical and commercial success of <i>Iron Man</i> in May 2008, Marvel Studios announced and immediately set to work on producing a sequel. In July, Theroux was hired to write the script and Favreau was signed to return as director. Downey, Paltrow, and Jackson were set to reprise their roles from <i>Iron Man</i>, while Cheadle was brought in to replace <a href="/wiki/Terrence_Howard">Terrence Howard</a> in the role of <a href="/wiki/James_Rhodes_(Marvel_Cinematic_Universe)">James Rhodes</a>. In the early months of 2009, Rourke (Vanko), Rockwell, and Johansson filled out the supporting cast. Filming took place from April to July 2009, mostly in <a href="/wiki/California">California</a> as in the first film, except for a key sequence in <a href="/wiki/Monaco">Monaco</a>. Unlike its predecessor, which mixed digital and practical effects, the sequel primarily relied on <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a> to create the Iron Man suits.
</p><p><i>Iron Man 2</i> premiered at the <a href="/wiki/El_Capitan_Theatre">El Capitan Theatre</a> on April 26, 2010, and was released in the United States on May 7, as part of <a href="/wiki/Marvel_Cinematic_Universe:_Phase_One">Phase One</a> of the MCU. The film received praise for its action sequences and performances, although critics deemed it to be inferior to the first film. The sequel grossed over $623.9 million at the worldwide box office, making it the <a href="/wiki/2010_in_film#Highest-grossing_films">seventh-highest-grossing film of 2010</a>. It received an <a href="/wiki/Academy_Award">Academy Award</a> nomination for <a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>. A sequel, <i><a href="/wiki/Iron_Man_3">Iron Man 3</a></i>, was released on May 3, 2013.
</p>
<h2>Plot[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=1">edit</a>]</h2>
<p>In Russia, the media covers <a href="/wiki/Tony_Stark_(Marvel_Cinematic_Universe)">Tony Stark</a>'s disclosure of his identity as Iron Man. <a href="/wiki/Ivan_Vanko_(Marvel_Cinematic_Universe)">Ivan Vanko</a>, whose father <a href="/wiki/Anton_Vanko_(Marvel_Cinematic_Universe)">Anton Vanko</a>—a former <a href="/wiki/Stark_Industries_(Marvel_Cinematic_Universe)">Stark Industries</a> employee—has just died, sees this and begins building a miniature arc reactor similar to Stark's. Six months later,<sup><a href="#cite_note-8">[b]</a></sup> Stark has become a media superstar and resists pressure to turn over his armored suits to the government. To continue the legacy of his father <a href="/wiki/Howard_Stark_(Marvel_Cinematic_Universe)">Howard</a>, he re-institutes the Stark Expo in New York City's <a href="/wiki/Flushing_Meadows%E2%80%93Corona_Park">Flushing Meadows–Corona Park</a>.
</p><p>Stark learns that the <a href="/wiki/Palladium">palladium</a> core in the arc reactor that keeps him alive and powers the armor is slowly poisoning him, and he cannot find a substitute. Growing increasingly reckless and despondent about his impending death, and choosing not to tell anyone about his condition, Stark appoints his assistant <a href="/wiki/Pepper_Potts_(Marvel_Cinematic_Universe)">Pepper Potts</a> as CEO of Stark Industries and hires Stark employee <a href="/wiki/Natasha_Romanoff_(Marvel_Cinematic_Universe)">Natalie Rushman</a> to replace her as his assistant. Stark competes in the <a href="/wiki/Historic_Grand_Prix_of_Monaco">Monaco Historic Grand Prix</a>, where he is attacked in the middle of the race by Vanko, who wields electrified whips. Stark dons his armor and defeats Vanko, but the suit is severely damaged. Vanko explains that he intended to prove to the world that Iron Man is not invincible.
</p><p>Impressed by Vanko's performance, Stark's rival, <a href="/wiki/Justin_Hammer_(Marvel_Cinematic_Universe)">Justin Hammer</a>, fakes Vanko's death while breaking him out of prison and asks him to build a line of armored suits to upstage Stark, though Vanko decides that unmanned drones are a better idea. During what he believes is his final birthday party, Stark gets drunk while wearing the Iron Man suit. Disgusted, Stark's best friend, <a href="/wiki/U.S._Air_Force">U.S. Air Force</a> Lieutenant Colonel <a href="/wiki/James_Rhodes_(Marvel_Cinematic_Universe)">James Rhodes</a>, dons Stark's prototype armor and tries to restrain him. The fight ends in a stalemate, and Rhodes confiscates the armor for the U.S. Air Force.
</p><p><a href="/wiki/Nick_Fury_(Marvel_Cinematic_Universe)">Nick Fury</a>, director of <a href="/wiki/S.H.I.E.L.D._(Marvel_Cinematic_Universe)">S.H.I.E.L.D.</a>, approaches Stark, revealing that "Rushman" is agent <a href="/wiki/Natasha_Romanoff_(Marvel_Cinematic_Universe)">Natasha Romanoff</a> and that Howard Stark was the S.H.I.E.L.D. founder whom Fury knew personally. Fury explains that Vanko's father and Stark invented the arc reactor together, but when Anton tried to sell it, Stark had him deported. The Soviets sent Anton to the Gulag. Fury gives Stark some of his father's old material. Tony discovers a hidden message in the <a href="/wiki/Diorama">diorama</a> of the 1974 Stark Expo; it proves to be a diagram of the atomic structure of a new element. With the aid of his A.I., <a href="/wiki/J.A.R.V.I.S.">J.A.R.V.I.S.</a>, Stark synthesizes it. When he learns that Vanko is still alive, he places the new element in his arc reactor and ends his palladium dependency.
</p><p>At the current Expo, Hammer unveils Vanko's armored drones, led by Rhodes in a heavily weaponized version of the prototype armor. Stark arrives to warn Rhodes, but Vanko takes remote control of all the drones and Rhodes' armor and attacks Stark. Hammer soon gets arrested for breaking Vanko out of prison, while Romanoff and Stark's bodyguard <a href="/wiki/Happy_Hogan_(Marvel_Cinematic_Universe)">Happy Hogan</a> go after Vanko at Hammer's factory. Vanko escapes, but Romanoff returns control of Rhodes' armor to him. Together, Stark and Rhodes defeat Vanko and his drones. Vanko commits <a href="/wiki/Suicide">suicide</a> by blowing up his suit, along with the defeated drones.
</p><p>At a debriefing, Fury informs Stark that because of his difficult personality, S.H.I.E.L.D. intends to use him only as a consultant. Stark and Rhodes receive medals for their heroism. In a <a href="/wiki/Post-credits_scene">post-credits scene</a>, S.H.I.E.L.D. agent <a href="/wiki/Phil_Coulson">Phil Coulson</a> reports the discovery of <a href="/wiki/Mjolnir_(Marvel_Cinematic_Universe)">a large hammer</a> at the bottom of a crater in a desert in New Mexico.<sup><a href="#cite_note-9">[c]</a></sup>
</p>
<h2>Cast[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=2">edit</a>]</h2>
<div><div><p><a href="/wiki/File:Robert_Downey_Jr_SDCC_2009_3.jpg"></a></p></div><div><p><a href="/wiki/File:Scarlett_Johansson_SDCC_2009_1.jpg"></a></p></div><div><p><a href="/wiki/File:Sam_Rockwell_SDCC_2009_1.jpg"></a></p></div><div><p>Downey, Johansson and Rockwell promoting the film at the 2009 San Diego Comic-Con International</p></div></div>
<ul><li><a href="/wiki/Robert_Downey_Jr.">Robert Downey Jr.</a> as <a href="/wiki/Tony_Stark_(Marvel_Cinematic_Universe)">Tony Stark / Iron Man</a>: <br />A billionaire who escaped captivity in <a href="/wiki/Afghanistan">Afghanistan</a> with a suit of armor he created, he now struggles to keep his technology out of the government's hands. Downey and Favreau, who had been handed a script and worked from it on the first movie, conceived part of the film's story themselves.<sup><a href="#cite_note-RDJAugust2008-10">[7]</a></sup> On Stark being a hero, Downey said, "It's kind of heroic, but really kind of on his own behalf. So I think there's probably a bit of an imposter complex and no sooner has he said, 'I am Iron Man–' that he's now really wondering what that means. If you have all this cushion like he does and the public is on your side and you have immense wealth and power, I think he's way too insulated to be okay."<sup><a href="#cite_note-DowneyComicCon-11">[8]</a></sup> Downey put on 20 pounds of muscle to reprise the role.<sup><a href="#cite_note-DowneyMuscle-12">[9]</a></sup> Six-year-old Davin Ransom portrays Tony Stark as a child.<sup><a href="#cite_note-RansomYoungStark-13">[10]</a></sup></li>
<li><a href="/wiki/Gwyneth_Paltrow">Gwyneth Paltrow</a> as <a href="/wiki/Pepper_Potts_(Marvel_Cinematic_Universe)">Pepper Potts</a>: <br />Stark's closest friend, budding love interest, and business partner; Pepper is promoted to CEO of Stark Industries.<sup><a href="#cite_note-ew-cover-14">[11]</a></sup> On her character's promotion, Paltrow opined, "When we start <i>Iron Man 2</i> Pepper and Tony are very much in the same vibe... as the movie progresses, Pepper is given more responsibility and she's promoted and it's nice to see her sort of grow up in that way. I think it really suits her, the job fits her really well."<sup><a href="#cite_note-PaltrowInquirer-15">[12]</a></sup> Paltrow expressed excitement about working with Johansson.<sup><a href="#cite_note-PaltrowJohansson-16">[13]</a></sup></li>
<li><a href="/wiki/Don_Cheadle">Don Cheadle</a> as <a href="/wiki/James_Rhodes_(Marvel_Cinematic_Universe)">James "Rhodey" Rhodes / War Machine</a>: <br />An officer in the <a href="/wiki/United_States_Air_Force">U.S. Air Force</a> and Tony Stark's close personal friend who later operates the <a href="/wiki/War_Machine">War Machine</a> armor. Cheadle replaces <a href="/wiki/Terrence_Howard">Terrence Howard</a> from the first film.<sup><a href="#cite_note-CheadleReplaces-17">[14]</a></sup> Cheadle had only a few hours to accept the role and did not even know what storyline Rhodes would undergo.<sup><a href="#cite_note-CheadleAccepting-18">[15]</a></sup> He commented that he is a comic book fan, but had not previously participated in comics-themed films due to the scarcity of black superheroes.<sup><a href="#cite_note-MTV_Seijas-19">[16]</a></sup> Cheadle said he thought Iron Man was a robot before the first film came out.<sup><a href="#cite_note-ew-cover-14">[11]</a></sup> On how he approached his character, Cheadle stated, "I go, what's the common denominator here? And the common denominator was really his friendship with Tony, and that's what we really tried to track in this one. How is their friendship impacted once Tony comes out and owns 'I am Iron Man'?".<sup><a href="#cite_note-CheadleComicCon-20">[17]</a></sup> Cheadle said his suit was 23 kilograms (50 lb) of metal, and that he could not touch his face while wearing it.<sup><a href="#cite_note-CheadleSuitWeight-21">[18]</a></sup> Cheadle signed a six-picture deal.<sup><a href="#cite_note-CheadleAVClub-22">[19]</a></sup></li>
<li><a href="/wiki/Scarlett_Johansson">Scarlett Johansson</a> as <a href="/wiki/Natasha_Romanoff_(Marvel_Cinematic_Universe)">Natasha Romanoff / Black Widow</a>: <br />An undercover spy for S.H.I.E.L.D. posing as Stark's new assistant. Johansson dyed her hair red before she landed the part, hoping that it would help convince Favreau that she was right for the role.<sup><a href="#cite_note-JohanssonRedHair-23">[20]</a></sup> On why she chose the role, Johansson said, "the Black Widow character resonated with me... [She] is a superhero, but she's also human. She's small, but she's strong... She is dark and has faced death so many times that she has a deep perspective on the value of life... It's hard not to admire her."<sup><a href="#cite_note-JohanssonFeb2015-24">[21]</a></sup> She stated that she had "a bit of a freak-out moment" when she first saw the cat-suit and worked closely with the stunt team to learn how to fight in it in order to "sell it".<sup><a href="#cite_note-JohanssonComicCon-25">[22]</a></sup> During promotion for <i><a href="/wiki/Black_Widow_(2021_film)">Black Widow</a></i> (2021), Johansson said the character was hyper-sexualized in <i>Iron Man 2</i>, specifically referring to dialogue that described her as "a piece of something, like a possession", but at the time she felt this was "like a compliment". Though she was grateful to have been a part of the film, she was more grateful that the character's portrayal had evolved to convey a more positive message by the time of <i>Black Widow</i>.<sup><a href="#cite_note-JohanssonColliderBW-26">[23]</a></sup></li>
<li><a href="/wiki/Sam_Rockwell">Sam Rockwell</a> as <a href="/wiki/Justin_Hammer_(Marvel_Cinematic_Universe)">Justin Hammer</a>: <br />A rival weapons manufacturer. Sam Rockwell was considered for the role of Tony Stark in the first film, and he accepted the role of Hammer without reading the script.<sup><a href="#cite_note-RockwellAccepts-27">[24]</a></sup> He had never heard of the character before he was contacted about the part, and was unaware Hammer is an old Englishman in the comics.<sup><a href="#cite_note-RockwellRole-28">[25]</a></sup> Rockwell said, "I worked with Jon Favreau on this film called <i><a href="/wiki/Made_(2001_film)">Made</a></i>. And Justin Theroux, who wrote the script, is an old friend of mine, they sort of cooked up this idea and pitched it to <a href="/wiki/Kevin_Feige">Kevin Feige</a>. What they did, they were maybe going to do one villain like they did with <a href="/wiki/Jeff_Bridges">Jeff Bridges</a>, but then they decided to split the villains. And really Mickey [Rourke] is the main [villain], but I come to his aid."<sup><a href="#cite_note-RockwellSplitVillains-29">[26]</a></sup> Rockwell described his character as "plucky comic relief, but he's got a little bit of an edge".<sup><a href="#cite_note-RockwellComicRelief-30">[27]</a></sup></li>
<li><a href="/wiki/Mickey_Rourke">Mickey Rourke</a> as <a href="/wiki/Ivan_Vanko_(Marvel_Cinematic_Universe)">Ivan Vanko / Whiplash</a>: <br />A Russian <a href="/wiki/Physicist">physicist</a> and ex-convict who builds a pair of arc reactor-based electric whips to exact vengeance on the Stark family.<sup><a href="#cite_note-USATodayWhiplash-31">[28]</a></sup> The character is an amalgamation of <a href="/wiki/Whiplash_(comics)">Whiplash</a> and <a href="/wiki/Crimson_Dynamo">Crimson Dynamo</a>.<sup><a href="#cite_note-CrimsonDynamo-32">[29]</a></sup> Rourke visited <a href="/wiki/Butyrka_prison">Butyrka prison</a> to research the role,<sup><a href="#cite_note-RourkePrisonResearch-33">[30]</a></sup> and he suggested that half of the character's dialogue be in Russian.<sup><a href="#cite_note-RourkeRussian-34">[31]</a></sup> He also suggested the addition of tattoos, gold teeth and a fondness for a pet <a href="/wiki/Cockatoo">cockatoo</a>, paying for the teeth and bird with his own money.<sup><a href="#cite_note-RourkeBird-35">[32]</a></sup> Rourke explained that he did not want to play a "one-dimensional bad guy", and wanted to challenge the audience to see something redeemable in him.<sup><a href="#cite_note-ew-cover-14">[11]</a></sup> Not knowing anything about computers, Rourke described pretending to be tech-savvy as the hardest part of the role.<sup><a href="#cite_note-RourkeComputers-36">[33]</a></sup></li>
<li><a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a> as <a href="/wiki/Nick_Fury_(Marvel_Cinematic_Universe)">Nick Fury</a>: <br />Director of S.H.I.E.L.D.; Jackson signed a nine-film contract to play the character.<sup><a href="#cite_note-SLJSignsOn-37">[34]</a></sup> On the subject of his character not seeing any action in the film, Jackson said, "We still haven't moved Nick Fury into the bad-ass zone. He's still just kind of a talker."<sup><a href="#cite_note-SLJSplashPage-38">[35]</a></sup></li></ul>
<p>The director, <a href="/wiki/Jon_Favreau">Jon Favreau</a>, reprises his role as <a href="/wiki/Happy_Hogan_(Marvel_Cinematic_Universe)">Happy Hogan</a>,<sup><a href="#cite_note-FavreauHappyTwitter-39">[36]</a></sup> Tony Stark's bodyguard and chauffeur, while <a href="/wiki/Clark_Gregg">Clark Gregg</a> and <a href="/wiki/Leslie_Bibb">Leslie Bibb</a> reprise their roles as S.H.I.E.L.D. agent <a href="/wiki/Phil_Coulson">Phil Coulson</a><sup><a href="#cite_note-GreggMara-40">[37]</a></sup> and reporter <a href="/wiki/Christine_Everhart_(Marvel_Cinematic_Universe)">Christine Everhart</a>,<sup><a href="#cite_note-BibbEverhart-41">[38]</a></sup> respectively. <a href="/wiki/John_Slattery">John Slattery</a> appears as Tony's father <a href="/wiki/Howard_Stark_(Marvel_Cinematic_Universe)">Howard Stark</a><sup><a href="#cite_note-SlatteryHoward-42">[39]</a></sup> and <a href="/wiki/Garry_Shandling">Garry Shandling</a> appears as United States Senator <a href="/wiki/Stern_(Marvel_Cinematic_Universe)">Stern</a>, who wants Stark to give <a href="/wiki/Iron_Man%27s_armor_(Marvel_Cinematic_Universe)">Iron Man's armor</a> to the government.<sup><a href="#cite_note-Shandling-43">[40]</a></sup> Favreau stated that Shandling's character was named after radio personality <a href="/wiki/Howard_Stern">Howard Stern</a>.<sup><a href="#cite_note-BabaBooey-44">[41]</a></sup> <a href="/wiki/Paul_Bettany">Paul Bettany</a> again voices Stark's computer, <a href="/wiki/J.A.R.V.I.S.">J.A.R.V.I.S.</a><sup><a href="#cite_note-BettanyJARVIS-45">[42]</a></sup> <a href="/wiki/Olivia_Munn">Olivia Munn</a> originally appeared as an unnamed character who was subsequently cut from the film. Favreau then gave her the role of Chess Roberts, a reporter covering the Stark expo.<sup><a href="#cite_note-MunnImprov-46">[43]</a></sup><sup><a href="#cite_note-MunnChange-47">[44]</a></sup> <a href="/wiki/Yevgeni_Lazarev">Yevgeni Lazarev</a> appears as Ivan Vanko's father, <a href="/wiki/Anton_Vanko_(Marvel_Cinematic_Universe)">Anton Vanko</a>,<sup><a href="#cite_note-Lazarev-48">[45]</a></sup> <a href="/wiki/Kate_Mara">Kate Mara</a> portrays a <a href="/wiki/Service_of_process">process server</a> who summons Tony to the government hearing,<sup><a href="#cite_note-Mara-49">[46]</a></sup> and <a href="/wiki/Stan_Lee">Stan Lee</a> appears as himself (but is mistaken for <a href="/wiki/Larry_King">Larry King</a>).<sup><a href="#cite_note-LeeKing-50">[47]</a></sup>
</p><p>Additionally, news anchor <a href="/wiki/Christiane_Amanpour">Christiane Amanpour</a>,<sup><a href="#cite_note-Amanpour-51">[48]</a></sup> political commentator <a href="/wiki/Bill_O%27Reilly_(political_commentator)">Bill O'Reilly</a>,<sup><a href="#cite_note-VarietyReview-52">[49]</a></sup> <a href="/wiki/Tesla_Motors">Tesla Motors</a> CEO <a href="/wiki/Elon_Musk">Elon Musk</a>, and <a href="/wiki/Oracle_Corporation">Oracle Corporation</a> CEO <a href="/wiki/Larry_Ellison">Larry Ellison</a> appear as themselves.<sup><a href="#cite_note-MuskEllisonCameos-53">[50]</a></sup> <a href="/wiki/Adam_Goldstein">Adam Goldstein</a> also appears as himself, and the film is dedicated to his memory. Favreau's son Max appears as a child wearing an Iron Man mask whom Stark saves from a drone. In 2017, <i><a href="/wiki/Spider-Man:_Homecoming">Spider-Man: Homecoming</a></i> director <a href="/wiki/Jon_Watts">Jon Watts</a> said that he had suggested to Feige that they <a href="/wiki/Retroactive_continuity">retroactively establish</a> this child to be the introduction of a young <a href="/wiki/Peter_Parker_(Marvel_Cinematic_Universe)">Peter Parker / Spider-Man</a> to the MCU, an idea that Feige agreed was plausible,<sup><a href="#cite_note-PeterParker2-55">[52]</a></sup> and which Spider-Man actor <a href="/wiki/Tom_Holland_(actor)">Tom Holland</a> also supported.<sup><a href="#cite_note-PeterParker-56">[53]</a></sup>
</p>
<h2>Production[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=3">edit</a>]</h2>
<h3>Development[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=4">edit</a>]</h3>
<div><p><a href="/wiki/File:Jon_Favreau_at_Edwards_Air_Force_Base.JPG"></a></p><div><p>Jon Favreau meeting with members of the U.S. Air Force while filming at Edwards Air Force Base</p></div></div>
<p>Jon Favreau said it was originally his intent to create a film trilogy for Iron Man,<sup><a href="#cite_note-Eric_Vespe-57">[54]</a></sup> with Obadiah Stane (<a href="/wiki/Jeff_Bridges">Jeff Bridges</a>) becoming <a href="/wiki/Iron_Monger">Iron Monger</a> during the sequels. After a meeting between Favreau and various comic book writers, including <a href="/wiki/Mark_Millar">Mark Millar</a>, Stane became the main villain in <i>Iron Man</i>. Millar argued that the <a href="/wiki/Mandarin_(comics)">Mandarin</a>, whom Favreau originally intended to fill that role, was too fantastical.<sup><a href="#cite_note-MarkMillar-58">[55]</a></sup> Favreau concurred, deciding, "I look at Mandarin more like how in <i><a href="/wiki/Star_Wars">Star Wars</a></i> you had the <a href="/wiki/Palpatine">Emperor</a>, but <a href="/wiki/Darth_Vader">Darth Vader</a> is the guy you want to see fight. Then you work your way to the time when lightning bolts are shooting out of the fingers and all that stuff could happen. But you can't have what happened in <i><a href="/wiki/Return_of_the_Jedi">Return of the Jedi</a></i> happen in <i><a href="/wiki/Star_Wars_(film)">A New Hope</a></i>. You just can't do it."<sup><a href="#cite_note-FavreauStarWars-59">[56]</a></sup> Favreau also discussed in interviews how the films' version of Mandarin "allows us to incorporate the whole pantheon of villains". He mentioned that S.H.I.E.L.D. would continue to have a major role.<sup><a href="#cite_note-chat-60">[57]</a></sup>
</p><p>During development, Favreau said the film would explore Stark's alcoholism, but it would not be "the '<a href="/wiki/Demon_in_a_Bottle">Demon in a Bottle</a>' version".<sup><a href="#cite_note-chat-60">[57]</a></sup> While promoting the first film, Downey stated that Stark would probably develop a drinking problem as he is unable to cope with his age, the effects of revealing he is Iron Man, and Pepper getting a boyfriend.<sup><a href="#cite_note-black-61">[58]</a></sup> Downey later clarified that the film was not a strict adaptation of the "Demon in a Bottle" storyline from the comic book series, but was instead about the "interim space" between the origin and the "Demon" story arc.<sup><a href="#cite_note-et-62">[59]</a></sup> <a href="/wiki/Shane_Black">Shane Black</a> gave some advice on the script, and suggested to Favreau and Downey that they model Stark on <a href="/wiki/J._Robert_Oppenheimer">J. Robert Oppenheimer</a>, who became depressed with being "the destroyer of worlds" after working on the <a href="/wiki/Manhattan_Project">Manhattan Project</a>.<sup><a href="#cite_note-black-61">[58]</a></sup> An early version for the film's story involved <a href="/wiki/Justin_Hammer">Justin Hammer</a> creating different villains in addition to <a href="/wiki/Whiplash_(Marvel_Comics)">Whiplash</a>, like <a href="/wiki/Ghost_(Marvel_Comics)">Ghost</a>, but the idea was discarded. Ghost debuted in the MCU years later in <i><a href="/wiki/Ant-Man_and_the_Wasp">Ant-Man and the Wasp</a></i>.<sup><a href="#cite_note-TSoMS:TMotMCU-63">[60]</a></sup>
</p>
<h3>Pre-production[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=5">edit</a>]</h3>
<p>Immediately following <i>Iron Man</i>'s release, Marvel Studios announced that they were developing a sequel, with an intended release date of April 30, 2010.<sup><a href="#cite_note-MarvelAnnouncesIM2-64">[61]</a></sup> In July 2008, after several months of negotiating, Favreau officially signed on to direct.<sup><a href="#cite_note-FavreauSignsIM2-65">[62]</a></sup> That same month, <a href="/wiki/Justin_Theroux">Justin Theroux</a> signed to write the script, which would be based on a story written by Favreau and Downey.<sup><a href="#cite_note-TherouxWriting-66">[63]</a></sup> Theroux co-wrote <i><a href="/wiki/Tropic_Thunder">Tropic Thunder</a></i>, which Downey had starred in, and Downey recommended him to Marvel.<sup><a href="#cite_note-TherouxNov2008-67">[64]</a></sup> <a href="/wiki/Genndy_Tartakovsky">Genndy Tartakovsky</a> <a href="/wiki/Storyboard">storyboarded</a> the film,<sup><a href="#cite_note-Tartakovsky-68">[65]</a></sup> and <a href="/wiki/Adi_Granov">Adi Granov</a> returned to supervise the designs for <a href="/wiki/Iron_Man%27s_armor_(Marvel_Cinematic_Universe)">Iron Man's armor</a>.<sup><a href="#cite_note-chat-60">[57]</a></sup>
</p><p>In October 2008, Marvel Studios came to an agreement to film <i>Iron Man 2</i>, as well as their next three films, at Raleigh Studios in <a href="/wiki/Manhattan_Beach,_California">Manhattan Beach, California</a>.<sup><a href="#cite_note-FilmingRaleigh-69">[66]</a></sup> A few days later, Don Cheadle was hired to replace Terrence Howard.<sup><a href="#cite_note-CheadleReplaces-17">[14]</a></sup> On being replaced, Howard stated, "There was no explanation, apparently the contracts that we write and sign aren't worth the paper that they're printed on sometimes. Promises aren't kept, and good-faith negotiations aren't always held up."<sup><a href="#cite_note-HowardInterview-70">[67]</a></sup> <i><a href="/wiki/Entertainment_Weekly">Entertainment Weekly</a></i> stated Favreau did not enjoy working with Howard, often re-shooting and cutting his scenes; Howard's publicist said he had a good experience playing the part, while Marvel chose not to comment. As Favreau and Theroux chose to reduce the role, Marvel came to Howard to discuss lowering his salary—Howard was the first actor hired in <i>Iron Man</i> and was paid the largest salary. The publication stated they were unsure whether Howard's representatives left the project first or if Marvel chose to stop negotiating.<sup><a href="#cite_note-EWHoward-71">[68]</a></sup> Theroux denied the part of the report which claimed the size of the role had fluctuated.<sup><a href="#cite_note-TherouxNov2008-67">[64]</a></sup> In November 2013, Howard stated that, going into the film, the studio offered him far less than was in his three-picture contract, claiming they told him the second will be successful, "with or without you," and, without mentioning him by name, said Downey "took the money that was supposed to go to me and pushed me out."<sup><a href="#cite_note-HowardInterview2-72">[69]</a></sup>
</p><p>In January 2009, Rourke and Rockwell entered negotiations to play a pair of villains.<sup><a href="#cite_note-RourkeRockwell-73">[70]</a></sup> A few days later, Rockwell confirmed he would take the role, and that his character would be Justin Hammer.<sup><a href="#cite_note-RockwellAccepts-27">[24]</a></sup> Paul Bettany confirmed that he would be returning to voice J.A.R.V.I.S.<sup><a href="#cite_note-BettanyJARVIS-45">[42]</a></sup> Marvel entered into early talks with <a href="/wiki/Emily_Blunt">Emily Blunt</a> to play the Black Widow,<sup><a href="#cite_note-BluntWidow-74">[71]</a></sup> though she was unable to take the role due to a previous commitment to star in <i><a href="/wiki/Gulliver%27s_Travels_(2010_film)">Gulliver's Travels</a></i>.<sup><a href="#cite_note-BluntOut-75">[72]</a></sup> Samuel L. Jackson confirmed that he had been in discussions to reprise the role of Nick Fury from the first film's post-credits scene, but that contract disputes were making a deal difficult. Jackson stated, "There was a huge kind of negotiation that broke down. I don't know. Maybe I won't be Nick Fury."<sup><a href="#cite_note-SLJJanuaryDispute-76">[73]</a></sup>
</p><p>In February, Jackson and Marvel came to terms, and he was signed to play the character in up to nine films.<sup><a href="#cite_note-SLJSignsOn-37">[34]</a></sup> Downey and Rourke discussed his part during a roundtable discussion with <a href="/wiki/David_Ansen">David Ansen</a> at the <a href="/wiki/66th_Golden_Globe_Awards">2009 Golden Globes</a>, and Rourke met with Favreau and Theroux to discuss the role. Rourke almost dropped out because of Marvel's initial salary offer of $250,000, but the studio raised the offer, and in March, Rourke signed on.<sup><a href="#cite_note-RourkeCast-77">[74]</a></sup> Later that same day, Scarlett Johansson signed on to play the Black Widow. Her deal included options for multiple films, including potentially <i><a href="/wiki/The_Avengers_(2012_film)">The Avengers</a></i>.<sup><a href="#cite_note-JohanssonMarch2009-78">[75]</a></sup> Prior to her casting, Johansson had also researched other Marvel characters she could play, including the <a href="/wiki/Blonde_Phantom">Blonde Phantom</a> and the <a href="/wiki/Wasp_(character)">Wasp</a>.<sup><a href="#cite_note-TSoMS:TMotMCU-63">[60]</a></sup> In April, Garry Shandling,<sup><a href="#cite_note-Shandling-43">[40]</a></sup> Clark Gregg,<sup><a href="#cite_note-GreggMara-40">[37]</a></sup> and <a href="/wiki/Kate_Mara">Kate Mara</a><sup><a href="#cite_note-GreggMara-40">[37]</a></sup> joined the cast.
</p>
<h3>Filming[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=6">edit</a>]</h3>
<div>
<blockquote>
<p>"This is one of the richest men in the world, so we can't buy our practicals from Home Depot. Everything had to be intelligent technology, and it had to look classic enough to have some shelf life – we didn't want it to look embarrassingly dated 10 years from now."
</p>
</blockquote>
<p><cite><a href="/wiki/Matthew_Libatique">Matthew Libatique</a>, the film's cinematographer<sup><a href="#cite_note-LibatiqueASC-79">[76]</a></sup></cite>
</p>
</div>
<p><a href="/wiki/Principal_photography">Principal photography</a> began April 6, 2009,<sup><a href="#cite_note-July18Wrap-80">[77]</a></sup> at the Pasadena Masonic Temple,<sup><a href="#cite_note-SHHPasadenaMT-81">[78]</a></sup> with the <a href="/wiki/Working_title">working title</a> <i>Rasputin</i>.<sup><a href="#cite_note-Rasputin-82">[79]</a></sup> The bulk of the production took place at Raleigh Studios,<sup><a href="#cite_note-LibatiqueASC-79">[76]</a></sup> though other locations were also used. Scenes were filmed at <a href="/wiki/Edwards_Air_Force_Base">Edwards Air Force Base</a> from May 11 through May 13. The location had also been used for <i>Iron Man</i>, and Favreau stated that he felt the "real military assets make the movie more authentic and the topography and the beauty of the desert and flightline open the movie up".<sup><a href="#cite_note-FilmingEdwardsBase-83">[80]</a></sup> The Historic Grand Prix of Monaco action sequence was shot in the parking lot of <a href="/wiki/Downey_Studios">Downey Studios</a>, with sets constructed in May<sup><a href="#cite_note-OLVDowneyMay-84">[81]</a></sup> and filming lasting through June.<sup><a href="#cite_note-OLVDowneyJune-85">[82]</a></sup> Permission to film in Monaco prior to the <a href="/wiki/2009_Monaco_Grand_Prix">2009 Monaco Grand Prix</a> had initially been awarded, but was later retracted by <a href="/wiki/Bernie_Ecclestone">Bernie Ecclestone</a>. The filmmakers shipped one <a href="/wiki/Rolls-Royce_Phantom_(2003)">Rolls-Royce Phantom</a> there and filmed a track sequence in which race cars were later digitally added. <a href="/wiki/Tanner_Foust">Tanner Foust</a> took on the role of driving Stark's racing car.<sup><a href="#cite_note-MonacoDowney-86">[83]</a></sup> Also in June, it was reported that John Slattery had joined the film's cast as Howard Stark.<sup><a href="#cite_note-SlatteryHoward-42">[39]</a></sup> Olivia Munn was also cast, in an unspecified role.<sup><a href="#cite_note-MunnJoins-87">[84]</a></sup>
</p><p>A massive green screen was constructed at the <a href="/wiki/Sepulveda_Dam">Sepulveda Dam</a> to film a portion of the Stark Expo exterior, with the rest either shot at an area high school or added digitally. To construct the green screen, hundreds of shipping containers were stacked, covered in plywood and plaster, and then painted green.<sup><a href="#cite_note-LibatiqueASC-79">[76]</a></sup> For the conclusion of that climactic scene, which the crew dubbed the "Japanese Garden" scene, a set was built inside Sony Studios in Los Angeles.<sup><a href="#cite_note-LibatiqueASC-79">[76]</a></sup> Filming lasted 71 days, and the film's production officially wrapped on July 18, 2009.<sup><a href="#cite_note-July18Wrap-80">[77]</a></sup> A post-credits scene depicting the discovery of a large hammer was filmed on the set of <i><a href="/wiki/Thor_(film)">Thor</a></i>, and some of it was reused in the film. Jon Favreau revealed that the scene was filmed with <a href="/wiki/Anamorphic_format">anamorphic lenses</a> to match <i>Thor</i>, and was directed by <a href="/wiki/Kenneth_Branagh">Kenneth Branagh</a>, the director of <i>Thor</i>.<sup><a href="#cite_note-SlashFilmNov2013-88">[85]</a></sup>
</p>
<h3>Post-production[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=7">edit</a>]</h3>
<p>In January 2010, <a href="/wiki/IMAX_Corporation">IMAX Corporation</a>, Marvel, and Paramount announced that the film would receive a limited release on digital <a href="/wiki/IMAX">IMAX</a> screens.<sup><a href="#cite_note-IMAXJan2010-89">[86]</a></sup> It was not shot with IMAX cameras, so it was converted into the format using the <a href="/wiki/IMAX_DMR">IMAX DMR</a> technology.<sup><a href="#cite_note-Tartakovsky-68">[65]</a></sup><sup><a href="#cite_note-IMAXJan2010-89">[86]</a></sup> The film underwent reshoots in February.<sup><a href="#cite_note-CheadleFeb2010-90">[87]</a></sup> Olivia Munn's original role was cut, but she was given a new role during the reshoots.<sup><a href="#cite_note-MunnChange-47">[44]</a></sup>
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<div><p><a href="/wiki/File:Iron_Man_and_War_Machine_suits_VFX_in_Iron_Man_2.jpg"></a></p><div><p>Robert Downey Jr. and Don Cheadle in their suits, before and after ILM's CGI enhancements</p></div></div>
<p><a href="/wiki/Janek_Sirrs">Janek Sirrs</a> was the film's <a href="/wiki/Visual_effects_supervisor">visual effects supervisor</a>,<sup><a href="#cite_note-JanekSirrs-91">[88]</a></sup> and <a href="/wiki/Industrial_Light_%26_Magic">Industrial Light &amp; Magic</a> did the majority of the effects, as it did on the first film.<sup><a href="#cite_note-ILMBenSnow-92">[89]</a></sup> ILM's visual effects supervisor on the film, <a href="/wiki/Ben_Snow">Ben Snow</a>, said their work on the film was "harder" than their work on the first, stating that Favreau asked more of them this time around. Snow described the process of digitally creating the suits:
</p>
<blockquote><p>On the first <i>Iron Man</i>, we tried to use the Legacy [Studios, <a href="/wiki/Stan_Winston">Stan Winston</a>'s effects company] and Stan Winston suits as much as we could. For the second one, Jon [Favreau] was confident we could create the <a href="/wiki/Computer-generated_imagery">CG</a> suits, and the action dictated using them. So, Legacy created what we called the "football suits" from the torso up with a chest plate and helmet. We'd usually put in some arm pieces, but not the whole arm. In the house fight sequence, where Robert Downey Jr. staggers around tipsy, we used some of the practical suit and extended it digitally. Same thing in the <a href="/wiki/Randy%27s_Donuts">Randy's Donuts</a> scene. But in the rest of the film, we used the CG suit entirely. And <a href="/wiki/Double_Negative_(VFX)">Double Negative</a> did an all-digital suit for the Monaco chase.<sup><a href="#cite_note-ILMBenSnow-92">[89]</a></sup></p></blockquote>
<p>ILM created 527 shots for the film, using programs such as <a href="/wiki/Autodesk_Maya">Maya</a>.<sup><a href="#cite_note-Autodesk-93">[90]</a></sup> Perception worked on over 125 shots for the film.<sup><a href="#cite_note-PerceptionNYC-94">[91]</a></sup> They crafted gadgets, such as Tony Stark's transparent <a href="/wiki/LG_Corp">LG</a> <a href="/wiki/Smartphone">smartphone</a>,<sup><a href="#cite_note-IM2Gadgets-95">[92]</a></sup> and created the backdrops for the Stark Expo as well as the computer screen interfaces on the touch-screen coffee table and the holographic lab environment.<sup><a href="#cite_note-PerceptionNYC-94">[91]</a></sup> In total, 11 visual effect studios worked on the film.<sup><a href="#cite_note-JanekSirrs-91">[88]</a></sup>
</p>
<h2>Music[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=8">edit</a>]</h2>
<p>A soundtrack album featuring <a href="/wiki/AC/DC">AC/DC</a> was released by <a href="/wiki/Columbia_Records">Columbia Records</a> on April 19, 2010,<sup><a href="#cite_note-ACDC-96">[93]</a></sup> in at least three different versions: basic, special and deluxe. The basic edition includes the CD; the special edition contains a 15-track CD, a 32-page booklet and a DVD featuring interviews, behind-the-scenes footage, and music videos; and the deluxe includes a reproduction of one of Iron Man's first comic book appearances. Only 2 songs on the soundtrack actually appear in the movie. Although not included on the soundtrack album the film includes songs by <a href="/wiki/The_Average_White_Band">The Average White Band</a>, <a href="/wiki/The_Clash">The Clash</a>, <a href="/wiki/Queen_(band)">Queen</a>, <a href="/wiki/Daft_Punk">Daft Punk</a>, <a href="/wiki/2Pac">2Pac</a> and <a href="/wiki/Beastie_Boys">Beastie Boys</a>.<sup><a href="#cite_note-IMDBSoundtracks-97">[94]</a></sup>
</p><p>The film score was released commercially as <i>Iron Man 2: Original Motion Picture Score</i> on July 20, 2010, featuring 25 tracks. <a href="/wiki/John_Debney">John Debney</a> composed the score with <a href="/wiki/Tom_Morello">Tom Morello</a>, with composer <a href="/wiki/Richard_M._Sherman">Richard M. Sherman</a> of the <a href="/wiki/Sherman_Brothers">Sherman Brothers</a> contributing the Stark Expo theme song, "Make Way for Tomorrow Today".<sup><a href="#cite_note-MorelloScoring-98">[95]</a></sup>
</p>
<h2>Marketing[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=9">edit</a>]</h2>
<div><p><a href="/wiki/File:Iron_man_2_cast_comic_con.jpg"></a></p></div>
<p>At the 2009 <a href="/wiki/San_Diego_Comic-Con_International">San Diego Comic Con</a>, a five-minute trailer for the movie was shown. Actors portraying Stark Industries recruiters handed out business cards with an invitation to apply.<sup><a href="#cite_note-SDCC09StarkInd-99">[96]</a></sup> A website for Stark Industries went online, with an attached graphic of a "napkin memo" from Stark to Potts announcing that Stark Industries no longer made weapons. Another section featured an online application.<sup><a href="#cite_note-ViralMarketingApplication-100">[97]</a></sup> It was confirmed that the first theatrical trailer would premiere in front of <i><a href="/wiki/Sherlock_Holmes_(2009_film)">Sherlock Holmes</a></i> (another Robert Downey Jr. film). This trailer was released online on December 16, 2009. A new trailer was shown by Robert Downey Jr. on <i><a href="/wiki/Jimmy_Kimmel_Live!">Jimmy Kimmel Live!</a></i> on March 7 after the Academy Awards.<sup><a href="#cite_note-JimmyKimmelIM2Trailer-101">[98]</a></sup> Promotional partners included <a href="/wiki/NortonLifeLock">Symantec</a>, <a href="/wiki/Dr_Pepper">Dr Pepper</a>, <a href="/wiki/Burger_King">Burger King</a>, <a href="/wiki/7_Eleven">7 Eleven</a>, <a href="/wiki/Audi">Audi</a>, LG Electronics<sup><a href="#cite_note-PromoPartners-102">[99]</a></sup> and Hershey.<sup><a href="#cite_note-HersheyPromo-103">[100]</a></sup>
</p><p>Author <a href="/wiki/Alexander_C._Irvine">Alexander C. Irvine</a> adapted the script into a novel, also titled <i>Iron Man 2</i>, that was released in April 2010.<sup><a href="#cite_note-novel-104">[101]</a></sup> Prior to the film release, Marvel Comics released a four-issue miniseries comic book titled <i>Iron Man vs Whiplash</i>, which introduced the film's version of Whiplash into the <a href="/wiki/Marvel_Universe">Marvel Universe</a>.<sup><a href="#cite_note-WhiplashComics-105">[102]</a></sup> A three-issue prequel miniseries titled <i>Iron Man 2: Public Identity</i> was released in April.<sup><a href="#cite_note-PublicIdentity1-106">[103]</a></sup><sup><a href="#cite_note-PublicIdentity2-107">[104]</a></sup><sup><a href="#cite_note-PublicIdentity3-108">[105]</a></sup>
</p><p>An <a href="/wiki/Iron_Man_2_(video_game)"><i>Iron Man 2</i> video game</a> was released by <a href="/wiki/Sega">Sega</a> on May 4, 2010, in North America,<sup><a href="#cite_note-VideoGameReleaseDate-109">[106]</a></sup> written by <i><a href="/wiki/The_Invincible_Iron_Man_(comics)">The Invincible Iron Man</a></i> scribe <a href="/wiki/Matt_Fraction">Matt Fraction</a>.<sup><a href="#cite_note-VideoGameFraction-110">[107]</a></sup> The <a href="/wiki/Wii">Wii</a> version was developed by <a href="/wiki/High_Voltage_Software">High Voltage Software</a> and all console versions were published by Sega,<sup><a href="#cite_note-VideoGameWiiVoltage-111">[108]</a></sup> while <a href="/wiki/Gameloft">Gameloft</a> published the mobile game.<sup><a href="#cite_note-MobileGame-112">[109]</a></sup> The game's Comic-Con trailer showed that the <a href="/wiki/Crimson_Dynamo">Crimson Dynamo</a> was set to appear as a villain. Cheadle and Jackson voice their respective characters in the games.<sup><a href="#cite_note-VideoGameActors-113">[110]</a></sup> The trailer revealed that <a href="/wiki/Advanced_Idea_Mechanics">A.I.M</a>, <a href="/wiki/Roxxon_Energy_Corporation">Roxxon Energy Corporation</a>, and <a href="/wiki/Ultimo_(Marvel_Comics)">Ultimo</a> (depicted as a man named Kearson DeWitt in a large armor suit) are enemies in the game as well as revealing that the wearer of the Crimson Dynamo armor is General Valentin Shatalov.<sup><a href="#cite_note-VideoGameTrailer-114">[111]</a></sup> The game received "generally unfavorable" reviews, with a <a href="/wiki/Metacritic">Metacritic</a> score of 41% for both the PS3 and Xbox 360 versions.<sup><a href="#cite_note-mc-ps3-115">[112]</a></sup><sup><a href="#cite_note-mc-360-116">[113]</a></sup>
</p>
<h2>Release[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=10">edit</a>]</h2>
<h3>Theatrical[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=11">edit</a>]</h3>
<p><i>Iron Man 2</i> premiered at the <a href="/wiki/El_Capitan_Theatre">El Capitan Theatre</a> in <a href="/wiki/Los_Angeles,_California">Los Angeles, California</a>, on April 26, 2010,<sup><a href="#cite_note-Premiere-117">[114]</a></sup> and was released in 6,764 theaters (48 <a href="/wiki/IMAX">IMAX</a>) across 54 countries between April 28 and May 7,<sup><a href="#cite_note-mojo-4">[3]</a></sup><sup><a href="#cite_note-WorldwideReleaseDates-118">[115]</a></sup><sup><a href="#cite_note-IMAXOpeningBoxOffice-119">[116]</a></sup> before going into general release in the United States on May 7, 2010.<sup><a href="#cite_note-WorldwideReleaseDates-118">[115]</a></sup> In the United States, it opened at 4,380 theaters, 181 of which were IMAX.<sup><a href="#cite_note-BOMIM2BuildsOn-120">[117]</a></sup> The international release date of the film was moved forward to increase interest ahead of the <a href="/wiki/2010_FIFA_World_Cup">2010 FIFA World Cup</a> <a href="/wiki/Association_football">association football</a> tournament.<sup><a href="#cite_note-PirateBayLeak-121">[118]</a></sup> <i>Iron Man 2</i> is part of <a href="/wiki/Marvel_Cinematic_Universe:_Phase_One">Phase One</a> of the MCU.<sup><a href="#cite_note-PhaseOne-122">[119]</a></sup>
</p>
<h3>Home media[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=12">edit</a>]</h3>
<p>On September 28, 2010, the film was released by <a href="/wiki/Paramount_Home_Entertainment">Paramount Home Entertainment</a> on DVD and <a href="/wiki/Blu-ray">Blu-ray</a>.<sup><a href="#cite_note-BluRayReleaseDate-123">[120]</a></sup> The film was also collected in a 10-disc <a href="/wiki/Box_set">box set</a> titled "<a href="/wiki/Marvel_Cinematic_Universe:_Phase_One#Home_media">Marvel Cinematic Universe: Phase One – Avengers Assembled</a>", which includes all of the Phase One films in the Marvel Cinematic Universe.<sup><a href="#cite_note-PhaseOneSetAnnounced-124">[121]</a></sup> It was released by <a href="/wiki/Walt_Disney_Studios_Home_Entertainment">Walt Disney Studios Home Entertainment</a> on April 2, 2013.<sup><a href="#cite_note-PhaseOneSetDelayed-125">[122]</a></sup><sup><a href="#cite_note-Box_set_release-126">[123]</a></sup>
</p>
<h2>Reception[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=13">edit</a>]</h2>
<h3>Box office[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=14">edit</a>]</h3>
<p><i>Iron Man 2</i> earned $312.4 million in the United States and Canada, as well as $311.5 million in other territories, for a worldwide total of $623.9 million.<sup><a href="#cite_note-mojo-4">[3]</a></sup> Since the film was included in a predetermined legacy distribution deal that was signed before <a href="/wiki/The_Walt_Disney_Company">The Walt Disney Company</a> purchased Marvel, Paramount Pictures distributed the film and collected 8% of the box office, while the remaining portion went to Disney.<sup><a href="#cite_note-budget-3">[2]</a></sup><sup><a href="#cite_note-ParamountPercentage-127">[124]</a></sup>
</p><p><i>Iron Man 2</i> earned $51 million on its opening day in the United States and Canada (including $7.5 million from Thursday previews),<sup><a href="#cite_note-OpeningDayBO-128">[125]</a></sup> for a total weekend gross of $128 million, which was the fifth-highest opening weekend ever, at the time, behind <i><a href="/wiki/The_Dark_Knight_(film)">The Dark Knight</a></i>, <i><a href="/wiki/Spider-Man_3">Spider-Man 3</a></i>, <i><a href="/wiki/The_Twilight_Saga:_New_Moon">The Twilight Saga: New Moon</a></i>, and <i><a href="/wiki/Pirates_of_the_Caribbean:_Dead_Man%27s_Chest">Pirates of the Caribbean: Dead Man's Chest</a></i>. It also had the highest opening for a 2010 movie and Paramount's highest opening weekend.<sup><a href="#cite_note-BOMIM2BuildsOn-120">[117]</a></sup> The film yielded an average of $29,252 per theater.<sup><a href="#cite_note-OpeningDayBO-128">[125]</a></sup> IMAX contributed $9.8 million, which was the highest opening weekend for a 2D IMAX film, surpassing <a href="/wiki/Star_Trek_(film)"><i>Star Trek</i></a>'s previous record of $8.5 million.<sup><a href="#cite_note-BOMIM2BuildsOn-120">[117]</a></sup> <i>Iron Man 2</i> is the <a href="/wiki/List_of_American_films_of_2010#Box_office">thrid-highest-grossing film of 2010 in the United States and Canada</a>, behind <i><a href="/wiki/Toy_Story_3">Toy Story 3</a></i> and <i><a href="/wiki/Alice_in_Wonderland_(2010_film)">Alice in Wonderland</a></i>.<sup><a href="#cite_note-Highest2010Grosses-129">[126]</a></sup>
</p><p><i>Iron Man 2</i> launched in six European markets with number-one openings on Wednesday, April 28, 2010, for a total of $2.2 million.<sup><a href="#cite_note-EuropeanOpeningBoxOffice-130">[127]</a></sup> It earned $100.2 million its first five days from 53 foreign markets, for a strong average of $14,814 per site.<sup><a href="#cite_note-mojo-4">[3]</a></sup> IMAX Corporation reported grosses of $2.25 million, surpassing the previous record-holder for an IMAX 2D release, 2009's <i><a href="/wiki/Transformers:_Revenge_of_the_Fallen">Transformers: Revenge of the Fallen</a></i> ($2.1 million).<sup><a href="#cite_note-IMAXOpeningBoxOffice-119">[116]</a></sup> It was the seventh-highest-grossing film of 2010 internationally, behind <i>Toy Story 3</i>, <i>Alice in Wonderland</i>, <i><a href="/wiki/Harry_Potter_and_the_Deathly_Hallows_%E2%80%93_Part_1">Harry Potter and the Deathly Hallows – Part 1</a></i>, <i><a href="/wiki/Inception">Inception</a></i>, <i><a href="/wiki/Shrek_Forever_After">Shrek Forever After</a></i>, and <i><a href="/wiki/The_Twilight_Saga:_Eclipse">The Twilight Saga: Eclipse</a></i>.<sup><a href="#cite_note-International2010Grosses-131">[128]</a></sup>
</p>
<h3>Critical response[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=15">edit</a>]</h3>
<p>
The <a href="/wiki/Review_aggregator">review aggregator</a> <a href="/wiki/Rotten_Tomatoes">Rotten Tomatoes</a> reported an approval rating of 71%, with an average score of 6.5/10, based on 303 reviews. The website's critical consensus reads, "It isn't quite the breath of fresh air that <i>Iron Man</i> was, but this sequel comes close with solid performances and an action-packed plot."<sup><a href="#cite_note-132">[129]</a></sup> <a href="/wiki/Metacritic">Metacritic</a> gave the film a weighted average rating of 57 out of 100, based on 40 critics, indicating "mixed or average reviews".<sup><a href="#cite_note-meta-133">[130]</a></sup> Audiences polled by <a href="/wiki/CinemaScore">CinemaScore</a> gave the film an average grade of "A" on a scale of A+ to F, the same score as its predecessor.<sup><a href="#cite_note-OpeningDayBO-128">[125]</a></sup>
</p><p>Brian Lowry of <i><a href="/wiki/Variety_(magazine)">Variety</a></i> stated, "<i>Iron Man 2</i> isn't as much fun as its predecessor, but by the time the smoke clears, it'll do".<sup><a href="#cite_note-VarietyReview-52">[49]</a></sup> Anthony Lane of <i><a href="/wiki/The_New_Yorker">The New Yorker</a></i> said, "To find a comic-book hero who doesn't agonize over his supergifts, and would defend his constitutional right to get a kick out of them, is frankly a relief".<sup><a href="#cite_note-NewYorkerReview-134">[131]</a></sup> David Edelstein of <i><a href="/wiki/New_York_Magazine">New York Magazine</a></i> wrote, "It doesn't come close to the emotional heft of those two rare 2s that outclassed their ones: <i><a href="/wiki/Superman_II">Superman II</a></i> and <i><a href="/wiki/Spider-Man_2">Spider-Man 2</a></i>. But <i>Iron Man 2</i> hums along quite nicely".<sup><a href="#cite_note-NewYorkMagReview-135">[132]</a></sup> <a href="/wiki/Roger_Ebert">Roger Ebert</a> gave it 3 stars out of 4, stating, "<i>Iron Man 2</i> is a polished, high-octane sequel, not as good as the original but building once again on a quirky performance by Robert Downey Jr".<sup><a href="#cite_note-EbertReview-136">[133]</a></sup> <a href="/wiki/Frank_Lovece">Frank Lovece</a> of <i><a href="/wiki/Film_Journal_International">Film Journal International</a></i>, a one-time Marvel Comics writer, said, "In a refreshing and unexpected turn, the sequel to <i>Iron Man</i> doesn't find a changed man. Inside the metal, imperfect humanity grows even more so, as thought-provoking questions of identity meet techno-fantasy made flesh."<sup><a href="#cite_note-FrankLoveceReview-137">[134]</a></sup>
</p><p>Conversely, Kirk Honeycutt of <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i> stated, "Everything fun and terrific about <i>Iron Man</i>, a mere two years ago, has vanished with its sequel. In its place, <i>Iron Man 2</i> has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines."<sup><a href="#cite_note-THRReview-138">[135]</a></sup>
</p>
<h3>Accolades[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=16">edit</a>]</h3>
<table>
<tbody><tr>
<th>Year</th>
<th>Award</th>
<th>Category</th>
<th>Recipient(s)</th>
<th>Result</th>
<th><abbr>Ref.</abbr>
</th></tr>
<tr>
<td>2010
</td>
<td><a href="/wiki/Hollywood_Film_Festival">Hollywood Film Award</a>
</td>
<td>Visual Effects of the Year
</td>
<td><i>Iron Man 2</i>
</td>
<td>Won
</td>
<td><sup><a href="#cite_note-HFAwin-139">[136]</a></sup>
</td></tr>
<tr>
<td><a href="/wiki/Satellite_Awards_2010">Satellite Awards</a>
</td>
<td>Best Sound (Mixing &amp; Editing)
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-Satellitenoms-140">[137]</a></sup>
</td></tr>
<tr>
<td>Best Visual Effects
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/2010_Teen_Choice_Awards">Teen Choice Awards</a>
</td>
<td><a href="/w/index.php?title=Teen_Choice_Award_for_Choice_Movie_%E2%80%93_Sci-Fi&amp;action=edit&amp;redlink=1">Choice Movie: Sci-Fi</a>
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-TCAnoms-141">[138]</a></sup>
</td></tr>
<tr>
<td><a href="/w/index.php?title=Teen_Choice_Award_for_Choice_Movie_Actor_%E2%80%93_Sci-Fi&amp;action=edit&amp;redlink=1">Choice Movie Actor: Sci-Fi</a>
</td>
<td><a href="/wiki/Robert_Downey_Jr.">Robert Downey Jr.</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/w/index.php?title=Teen_Choice_Award_for_Choice_Movie_Actress_%E2%80%93_Sci-Fi&amp;action=edit&amp;redlink=1">Choice Movie Actress: Sci-Fi</a>
</td>
<td><a href="/wiki/Gwyneth_Paltrow">Gwyneth Paltrow</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Scarlett_Johansson">Scarlett Johansson</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Teen_Choice_Award_for_Choice_Movie_Villain">Choice Movie: Villain</a>
</td>
<td><a href="/wiki/Mickey_Rourke">Mickey Rourke</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td>Choice Movie: Dance
</td>
<td>Robert Downey Jr.
</td>
<td>Nominated
</td></tr>
<tr>
<td>Choice Movie: Fight
</td>
<td><a href="/wiki/Don_Cheadle">Don Cheadle</a> and Robert Downey Jr. (Iron Man &amp; War Machine vs The Hammer Drones)
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/2010_Scream_Awards">Scream Awards</a>
</td>
<td>The Ultimate Scream
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-ScreamAwards-142">[139]</a></sup>
</td></tr>
<tr>
<td>Best Science Fiction Movie
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Science Fiction Actor
</td>
<td>Robert Downey Jr.
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Science Fiction Actress
</td>
<td>Gwyneth Paltrow
</td>
<td>Nominated
</td></tr>
<tr>
<td>Scarlett Johansson
</td>
<td>Won
</td></tr>
<tr>
<td>Best Supporting Actor
</td>
<td>Don Cheadle
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Villain
</td>
<td>Mickey Rourke
</td>
<td>Won
</td></tr>
<tr>
<td>Best Superhero
</td>
<td>Robert Downey Jr.
</td>
<td>Won
</td></tr>
<tr>
<td>Best Cameo
</td>
<td><a href="/wiki/Stan_Lee">Stan Lee</a>
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Ensemble
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td>Fight Scene of the Year
</td>
<td>"Final Battle: Iron Man and War Machine vs Whiplash and the Drones"
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best F/X
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td>Best Comic Book Movie
</td>
<td>Nominated
</td></tr>
<tr>
<td>2011
</td>
<td><a href="/wiki/37th_People%27s_Choice_Awards">People's Choice Awards</a>
</td>
<td>Favorite Action Movie
</td>
<td><i>Iron Man 2</i>
</td>
<td>Won
</td>
<td><sup><a href="#cite_note-PCAnoms-143">[140]</a></sup>
</td></tr>
<tr>
<td>Favorite Movie
</td>
<td>Nominated
</td></tr>
<tr>
<td>Favorite Movie Actor
</td>
<td>Robert Downey Jr.
</td>
<td>Nominated
</td></tr>
<tr>
<td>Favorite Action Star
</td>
<td>Nominated
</td></tr>
<tr>
<td>Favorite On-Screen Team
</td>
<td>Robert Downey Jr. and Don Cheadle
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/83rd_Academy_Awards">Academy Awards</a>
</td>
<td><a href="/wiki/Academy_Award_for_Best_Visual_Effects">Best Visual Effects</a>
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-Oscarnom-144">[141]</a></sup>
</td></tr>
<tr>
<td><a href="/wiki/37th_Saturn_Awards">Saturn Awards</a>
</td>
<td><a href="/wiki/Saturn_Award_for_Best_Science_Fiction_Film">Best Science Fiction Film</a>
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-Saturnnoms-145">[142]</a></sup>
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Actor">Best Actor</a>
</td>
<td>Robert Downey Jr.
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Supporting_Actress">Best Supporting Actress</a>
</td>
<td>Scarlett Johansson
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/Saturn_Award_for_Best_Special_Effects">Best Special Effects</a>
</td>
<td><i>Iron Man 2</i>
</td>
<td>Nominated
</td></tr>
<tr>
<td><a href="/wiki/9th_Visual_Effects_Society_Awards">Visual Effects Society Awards</a>
</td>
<td>Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
</td>
<td><a href="/wiki/Ben_Snow">Ben Snow</a>, <a href="/wiki/Ged_Wright">Ged Wright</a>, <a href="/wiki/Janek_Sirrs">Janek Sirrs</a>, Susan Pickett
</td>
<td>Nominated
</td>
<td><sup><a href="#cite_note-146">[143]</a></sup>
</td></tr>
<tr>
<td>Outstanding Models in a Feature Motion Picture
</td>
<td>Bruce Holcomb, Ron Woodall, John Goodson, John Walker for "Hammer Military Drones"
</td>
<td>Nominated
</td></tr>
<tr>
<td>Outstanding Created Environment in a Feature Motion Picture
</td>
<td>Giles Hancock, Richard Bluff, Todd Vaziri, Aaron McBride for the "Stark Expo"
</td>
<td>Nominated
</td></tr></tbody></table>
<h2>Sequel[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=17">edit</a>]</h2>
<p>After the release of <i>Iron Man 2</i>, <a href="/wiki/Walt_Disney_Studios_(division)">Walt Disney Studios</a> agreed to pay Paramount at least $115 million for the worldwide distribution rights to <i>Iron Man 3</i> and <i>The Avengers</i>.<sup><a href="#cite_note-DisneyIM3-147">[144]</a></sup> Disney, Marvel, and Paramount announced a May 3, 2013, release date for <i>Iron Man 3</i>.<sup><a href="#cite_note-IM3ReleaseDate-148">[145]</a></sup> Shane Black directed <i>Iron Man 3</i>,<sup><a href="#cite_note-ShaneBlackIM3-149">[146]</a></sup> from a screenplay by <a href="/wiki/Drew_Pearce">Drew Pearce</a>.<sup><a href="#cite_note-DrewPearceIM3-150">[147]</a></sup> Downey, Paltrow, Cheadle, and Favreau reprised their roles, while <a href="/wiki/Ben_Kingsley">Ben Kingsley</a><sup><a href="#cite_note-KingsleyIM3-151">[148]</a></sup> played <a href="/wiki/Trevor_Slattery">Trevor Slattery</a>,<sup><a href="#cite_note-MandarinIM3-152">[149]</a></sup> <a href="/wiki/Guy_Pearce">Guy Pearce</a> played <a href="/wiki/Aldrich_Killian">Aldrich Killian</a>,<sup><a href="#cite_note-GuyPearceIM3-153">[150]</a></sup> and <a href="/wiki/Rebecca_Hall">Rebecca Hall</a><sup><a href="#cite_note-HallIM3-154">[151]</a></sup> played <a href="/wiki/Maya_Hansen">Maya Hansen</a>.<sup><a href="#cite_note-HansenIM3-155">[152]</a></sup>
</p>
<h2>See also[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=18">edit</a>]</h2>
<ul><li><a href="/wiki/List_of_films_featuring_powered_exoskeletons">List of films featuring powered exoskeletons</a></li>
<li>"<a href="/wiki/What_If..._the_World_Lost_Its_Mightiest_Heroes%3F">What If... the World Lost Its Mightiest Heroes?</a>", an episode of the MCU television series <i><a href="/wiki/What_If...%3F_(TV_series)">What If...?</a></i> that reimagines some events of this film</li></ul>
<h2>Notes[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=19">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-Distributor_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Distributor_1-1"><sup><i><b>b</b></i></sup></a> In July 2013, the film's distribution rights were transferred from <a href="/wiki/Paramount_Pictures">Paramount Pictures</a> to <a href="/wiki/Walt_Disney_Studios_Motion_Pictures">Walt Disney Studios Motion Pictures</a>.<sup><a href="#cite_note-5">[4]</a></sup><sup><a href="#cite_note-6">[5]</a></sup>
</li>
<li><b><a href="#cite_ref-8">^</a></b> The events of the film also take place simultaneously with the events of <i><a href="/wiki/The_Incredible_Hulk_(film)">The Incredible Hulk</a></i> (2008) and <i><a href="/wiki/Thor_(film)">Thor</a></i> (2011).<sup><a href="#cite_note-Phase1Timeline-7">[6]</a></sup>
</li>
<li><b><a href="#cite_ref-9">^</a></b> As depicted in <i><a href="/wiki/Thor_(film)">Thor</a></i> (2011)
</li>
</ol></div>
<h2>References[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=20">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-IFCO_2-0">^</a></b> <cite><a href="http://www.ifco.ie/en/ifco/pages/8B56421300552262">"Iron Man 2 (12A)"</a>. <i><a href="/wiki/Irish_Film_Classification_Office">Irish Film Classification Office</a></i>. <a href="https://web.archive.org/web/20210720133914/http://www.ifco.ie/en/ifco/pages/8B56421300552262">Archived</a> from the original on July 20, 2021. Retrieved December 12, 2021.</cite>
</li>
<li>^ <a href="#cite_ref-budget_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-budget_3-1"><sup><i><b>b</b></i></sup></a> <cite>Fritz, Ben (May 6, 2010). <a href="https://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/05/iron-man-has-the-dark-knight-in-its-sights.html">"Movie Projector: 'Iron Man 2' has 'The Dark Knight' in its sights"</a>. <i><a href="/wiki/Los_Angeles_Times">Los Angeles Times</a></i>. <a href="https://web.archive.org/web/20211103045333/https://latimesblogs.latimes.com/entertainmentnewsbuzz/2010/05/iron-man-has-the-dark-knight-in-its-sights.html">Archived</a> from the original on November 3, 2021. Retrieved May 29, 2022. <q>The movie cost about $170 million to produce, and worldwide print and advertising costs are roughly $150 million, per insiders.</q></cite>
</li>
<li>^ <a href="#cite_ref-mojo_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-mojo_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-mojo_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-mojo_4-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-mojo_4-4"><sup><i><b>e</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/title/tt1228705/">"<i>Iron Man 2</i>"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. <a href="/wiki/IMDb">IMDb</a>. <a href="https://web.archive.org/web/20220416205722/https://www.boxofficemojo.com/release/rl1515881985/">Archived</a> from the original on April 16, 2022. Retrieved May 29, 2022.</cite>
</li>
<li><b><a href="#cite_ref-5">^</a></b> <cite><a href="/wiki/Nikki_Finke">Finke, Nikki</a> (July 2, 2013). <a href="https://deadline.com/2013/07/disney-completes-all-marvel-home-distribution-rights-from-paramount-534270/">"Disney Completes Purchase of Marvel Home Entertainment Distribution Rights"</a>. <i>Deadline Hollywood</i>. <a href="https://web.archive.org/web/20131105143357/http://www.deadline.com/2013/07/disney-completes-all-marvel-home-distribution-rights-from-paramount/">Archived</a> from the original on November 5, 2013. Retrieved May 28, 2022.</cite>
</li>
<li><b><a href="#cite_ref-6">^</a></b> <cite>Palmeri, Christopher (July 2, 2013). <a href="https://www.bloomberg.com/news/2013-07-02/disney-buys-rights-to-four-marvel-movies-from-viacom-s-paramount.html">"Disney Buys Rights to Four Marvel Movies From Viacom's Paramount"</a>. <i>Bloomberg</i>. <a href="https://web.archive.org/web/20140421015055/http://www.bloomberg.com/news/2013-07-02/disney-buys-rights-to-four-marvel-movies-from-viacom-s-paramount.html">Archived</a> from the original on April 21, 2014. Retrieved July 2, 2013.</cite>
</li>
<li><b><a href="#cite_ref-Phase1Timeline_7-0">^</a></b> <cite>Eisenberg, Eric (April 27, 2017). <a href="https://www.cinemablend.com/news/1652489/why-marvel-movies-dont-overlap-like-they-used-to-according-to-kevin-feige">"Why Marvel Movies Don't Overlap Like They Used To, According To Kevin Feige"</a>. CinemaBlend. <a href="https://web.archive.org/web/20220512073738/https://www.cinemablend.com/news/1652489/why-marvel-movies-dont-overlap-like-they-used-to-according-to-kevin-feige">Archived</a> from the original on May 12, 2022. Retrieved May 29, 2022.</cite>
</li>
<li><b><a href="#cite_ref-RDJAugust2008_10-0">^</a></b> <cite>Fure, Robert (August 4, 2008). <a href="https://web.archive.org/web/20080901170403/http://www.filmschoolrejects.com/features/robert-downey-jr-on-iron-man-2-the-dark-knight-colin-farrell.php">"Robert Downey Jr. Talks Iron Man 2, The Dark Knight and Colin Farrell"</a>. <i><a href="/wiki/Film_School_Rejects">Film School Rejects</a></i>. Archived from <a href="https://www.filmschoolrejects.com/features/robert-downey-jr-on-iron-man-2-the-dark-knight-colin-farrell.php">the original</a> on September 1, 2008. Retrieved August 3, 2012.</cite>
</li>
<li><b><a href="#cite_ref-DowneyComicCon_11-0">^</a></b> <cite>Weintraub, Steve (July 28, 2009). <a href="https://collider.com/robert-downey-jr-comic-con-interview-iron-man-2/">"Robert Downey Jr. Comic-Con Interview IRON MAN 2"</a>. <i>Collider</i>. <a href="https://web.archive.org/web/20220107081513/https://collider.com/robert-downey-jr-comic-con-interview-iron-man-2/">Archived</a> from the original on January 7, 2022. Retrieved May 28, 2022.</cite>
</li>
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</ol></div>
<h2>External links[<a href="/w/index.php?title=Iron_Man_2&amp;action=edit&amp;section=21">edit</a>]</h2>
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<p>Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Iron_Man_2">Iron Man 2</a>.</p></div>
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<li><a href="https://www.imdb.com/title/tt1228705/"><i>Iron Man 2</i></a> at <a href="/wiki/IMDb">IMDb</a></li>
<li><a href="https://www.isfdb.org/cgi-bin/title.cgi?1098818"><i>Iron Man 2</i></a> title listing at the <a href="/wiki/Internet_Speculative_Fiction_Database">Internet Speculative Fiction Database</a></li>
<li><a href="https://web.archive.org/web/20100525090210/http://www.starkexpo2010.com/">Stark Expo</a> viral marketing website (archived)</li></ul>
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 * (Top)
 * 1 Plot
 * 2 Cast
 * 3 Production
 + 3.1 Development
 + 3.2 Pre-production
 + 3.3 Filming
 + 3.4 Post-production
 * 4 Music
 * 5 Marketing
 * 6 Release
 + 6.1 Theatrical
 + 6.2 Home media
 * 7 Reception
 + 7.1 Box office
 + 7.2 Critical response
 + 7.3 Accolades
 * 8 Sequel
 * 9 See also
 * 10 Notes
 * 11 References
 * 12 External links
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 Iron Man 2

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 From Wikipedia, the free encyclopedia

 Iron Man 2 
 Theatrical release poster
 Directed by Jon Favreau 
 Screenplay by Justin Theroux 
 Iron Man 
 by Stan Lee 
 Based on * Larry Lieber 
 * Don Heck 
 * Jack Kirby 
 Produced by Kevin Feige 
 * Robert Downey Jr. 
 * Gwyneth Paltrow 
 * Don Cheadle 
 Starring * Scarlett Johansson 
 * Sam Rockwell 
 * Mickey Rourke 
 * Samuel L. Jackson 
 Cinematography Matthew Libatique 
 Edited by * Dan Lebental 
 * Richard Pearson 
 Music by John Debney 
 Production Marvel Studios 
 company 
 Distributed by Paramount Pictures[a] 
 Release dates * April 26, 2010 (El Capitan Theatre)
 * May 7, 2010 (United States) 
 Running time 125 minutes[1] 
 Country United States 
 Language English 
 Budget $170–200 million[2][3] 
 Box office $623.9 million[3] 
 

 Iron Man 2 is a 2010 American superhero film based on the Marvel Comics character Iron Man. Produced by Marvel Studios and distributed by Paramount Pictures,[a] it is the sequel to Iron Man (2008) and the third film in the Marvel Cinematic Universe (MCU). Directed by Jon Favreau and written by Justin Theroux, the film stars Robert Downey Jr. as Tony Stark / Iron Man alongside Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Sam Rockwell, Mickey Rourke, and Samuel L. Jackson. Six months after Iron Man, Tony Stark resists calls from the United States government to hand over the Iron Man technology, which is causing his declining health. Meanwhile, Russian scientist Ivan Vanko (Rourke) uses his own version of the technology to pursue a vendetta against the Stark family.

 Following the critical and commercial success of Iron Man in May 2008, Marvel Studios announced and immediately set to work on producing a sequel. In July, Theroux was hired to write the script and Favreau was signed to return as director. Downey, Paltrow, and Jackson were set to reprise their roles from Iron Man, while Cheadle was brought in to replace Terrence Howard in the role of James Rhodes. In the early months of 2009, Rourke (Vanko), Rockwell, and Johansson filled out the supporting cast. Filming took place from April to July 2009, mostly in California as in the first film, except for a key sequence in Monaco. Unlike its predecessor, which mixed digital and practical effects, the sequel primarily relied on computer-generated imagery to create the Iron Man suits.

 Iron Man 2 premiered at the El Capitan Theatre on April 26, 2010, and was released in the United States on May 7, as part of Phase One of the MCU. The film received praise for its action sequences and performances, although critics deemed it to be inferior to the first film. The sequel grossed over $623.9 million at the worldwide box office, making it the seventh-highest-grossing film of 2010. It received an Academy Award nomination for Best Visual Effects. A sequel, Iron Man 3, was released on May 3, 2013.

 Plot [ edit ]

 In Russia, the media covers Tony Stark's disclosure of his identity as Iron Man. Ivan Vanko, whose father Anton Vanko—a former Stark Industries employee—has just died, sees this and begins building a miniature arc reactor similar to Stark's. Six months later,[b] Stark has become a media superstar and resists pressure to turn over his armored suits to the government. To continue the legacy of his father Howard, he re-institutes the Stark Expo in New York City's Flushing Meadows–Corona Park.

 Stark learns that the palladium core in the arc reactor that keeps him alive and powers the armor is slowly poisoning him, and he cannot find a substitute. Growing increasingly reckless and despondent about his impending death, and choosing not to tell anyone about his condition, Stark appoints his assistant Pepper Potts as CEO of Stark Industries and hires Stark employee Natalie Rushman to replace her as his assistant. Stark competes in the Monaco Historic Grand Prix, where he is attacked in the middle of the race by Vanko, who wields electrified whips. Stark dons his armor and defeats Vanko, but the suit is severely damaged. Vanko explains that he intended to prove to the world that Iron Man is not invincible.

 Impressed by Vanko's performance, Stark's rival, Justin Hammer, fakes Vanko's death while breaking him out of prison and asks him to build a line of armored suits to upstage Stark, though Vanko decides that unmanned drones are a better idea. During what he believes is his final birthday party, Stark gets drunk while wearing the Iron Man suit. Disgusted, Stark's best friend, U.S. Air Force Lieutenant Colonel James Rhodes, dons Stark's prototype armor and tries to restrain him. The fight ends in a stalemate, and Rhodes confiscates the armor for the U.S. Air Force.

 Nick Fury, director of S.H.I.E.L.D., approaches Stark, revealing that "Rushman" is agent Natasha Romanoff and that Howard Stark was the S.H.I.E.L.D. founder whom Fury knew personally. Fury explains that Vanko's father and Stark invented the arc reactor together, but when Anton tried to sell it, Stark had him deported. The Soviets sent Anton to the Gulag. Fury gives Stark some of his father's old material. Tony discovers a hidden message in the diorama of the 1974 Stark Expo; it proves to be a diagram of the atomic structure of a new element. With the aid of his A.I., J.A.R.V.I.S., Stark synthesizes it. When he learns that Vanko is still alive, he places the new element in his arc reactor and ends his palladium dependency.

 At the current Expo, Hammer unveils Vanko's armored drones, led by Rhodes in a heavily weaponized version of the prototype armor. Stark arrives to warn Rhodes, but Vanko takes remote control of all the drones and Rhodes' armor and attacks Stark. Hammer soon gets arrested for breaking Vanko out of prison, while Romanoff and Stark's bodyguard Happy Hogan go after Vanko at Hammer's factory. Vanko escapes, but Romanoff returns control of Rhodes' armor to him. Together, Stark and Rhodes defeat Vanko and his drones. Vanko commits suicide by blowing up his suit, along with the defeated drones.

 At a debriefing, Fury informs Stark that because of his difficult personality, S.H.I.E.L.D. intends to use him only as a consultant. Stark and Rhodes receive medals for their heroism. In a post-credits scene, S.H.I.E.L.D. agent Phil Coulson reports the discovery of a large hammer at the bottom of a crater in a desert in New Mexico.[c]

 Cast [ edit ]

 Downey, Johansson and Rockwell promoting the film at the 2009 San Diego Comic-Con International
 * Robert Downey Jr. as Tony Stark / Iron Man:
 A billionaire who escaped captivity in Afghanistan with a suit of armor he created, he now struggles to keep his technology out of the government's hands. Downey and Favreau, who had been handed a script and worked from it on the first movie, conceived part of the film's story themselves.[7] On Stark being a hero, Downey said, "It's kind of heroic, but really kind of on his own behalf. So I think there's probably a bit of an imposter complex and no sooner has he said, 'I am Iron Man–' that he's now really wondering what that means. If you have all this cushion like he does and the public is on your side and you have immense wealth and power, I think he's way too insulated to be okay."[8] Downey put on 20 pounds of muscle to reprise the role.[9] Six-year-old Davin Ransom portrays Tony Stark as a child.[10]
 * Gwyneth Paltrow as Pepper Potts:
 Stark's closest friend, budding love interest, and business partner; Pepper is promoted to CEO of Stark Industries.[11] On her character's promotion, Paltrow opined, "When we start Iron Man 2 Pepper and Tony are very much in the same vibe... as the movie progresses, Pepper is given more responsibility and she's promoted and it's nice to see her sort of grow up in that way. I think it really suits her, the job fits her really well."[12] Paltrow expressed excitement about working with Johansson.[13]
 * Don Cheadle as James "Rhodey" Rhodes / War Machine:
 An officer in the U.S. Air Force and Tony Stark's close personal friend who later operates the War Machine armor. Cheadle replaces Terrence Howard from the first film.[14] Cheadle had only a few hours to accept the role and did not even know what storyline Rhodes would undergo.[15] He commented that he is a comic book fan, but had not previously participated in comics-themed films due to the scarcity of black superheroes.[16] Cheadle said he thought Iron Man was a robot before the first film came out.[11] On how he approached his character, Cheadle stated, "I go, what's the common denominator here? And the common denominator was really his friendship with Tony, and that's what we really tried to track in this one. How is their friendship impacted once Tony comes out and owns 'I am Iron Man'?".[17] Cheadle said his suit was 23 kilograms (50 lb) of metal, and that he could not touch his face while wearing it.[18] Cheadle signed a six-picture deal.[19]
 * Scarlett Johansson as Natasha Romanoff / Black Widow:
 An undercover spy for S.H.I.E.L.D. posing as Stark's new assistant. Johansson dyed her hair red before she landed the part, hoping that it would help convince Favreau that she was right for the role.[20] On why she chose the role, Johansson said, "the Black Widow character resonated with me... [She] is a superhero, but she's also human. She's small, but she's strong... She is dark and has faced death so many times that she has a deep perspective on the value of life... It's hard not to admire her."[21] She stated that she had "a bit of a freak-out moment" when she first saw the cat-suit and worked closely with the stunt team to learn how to fight in it in order to "sell it".[22] During promotion for Black Widow (2021), Johansson said the character was hyper-sexualized in Iron Man 2, specifically referring to dialogue that described her as "a piece of something, like a possession", but at the time she felt this was "like a compliment". Though she was grateful to have been a part of the film, she was more grateful that the character's portrayal had evolved to convey a more positive message by the time of Black Widow.[23]
 * Sam Rockwell as Justin Hammer:
 A rival weapons manufacturer. Sam Rockwell was considered for the role of Tony Stark in the first film, and he accepted the role of Hammer without reading the script.[24] He had never heard of the character before he was contacted about the part, and was unaware Hammer is an old Englishman in the comics.[25] Rockwell said, "I worked with Jon Favreau on this film called Made. And Justin Theroux, who wrote the script, is an old friend of mine, they sort of cooked up this idea and pitched it to Kevin Feige. What they did, they were maybe going to do one villain like they did with Jeff Bridges, but then they decided to split the villains. And really Mickey [Rourke] is the main [villain], but I come to his aid."[26] Rockwell described his character as "plucky comic relief, but he's got a little bit of an edge".[27]
 * Mickey Rourke as Ivan Vanko / Whiplash:
 A Russian physicist and ex-convict who builds a pair of arc reactor-based electric whips to exact vengeance on the Stark family.[28] The character is an amalgamation of Whiplash and Crimson Dynamo.[29] Rourke visited Butyrka prison to research the role,[30] and he suggested that half of the character's dialogue be in Russian.[31] He also suggested the addition of tattoos, gold teeth and a fondness for a pet cockatoo, paying for the teeth and bird with his own money.[32] Rourke explained that he did not want to play a "one-dimensional bad guy", and wanted to challenge the audience to see something redeemable in him.[11] Not knowing anything about computers, Rourke described pretending to be tech-savvy as the hardest part of the role.[33]
 * Samuel L. Jackson as Nick Fury:
 Director of S.H.I.E.L.D.; Jackson signed a nine-film contract to play the character.[34] On the subject of his character not seeing any action in the film, Jackson said, "We still haven't moved Nick Fury into the bad-ass zone. He's still just kind of a talker."[35]

 The director, Jon Favreau, reprises his role as Happy Hogan,[36] Tony Stark's bodyguard and chauffeur, while Clark Gregg and Leslie Bibb reprise their roles as S.H.I.E.L.D. agent Phil Coulson[37] and reporter Christine Everhart,[38] respectively. John Slattery appears as Tony's father Howard Stark[39] and Garry Shandling appears as United States Senator Stern, who wants Stark to give Iron Man's armor to the government.[40] Favreau stated that Shandling's character was named after radio personality Howard Stern.[41] Paul Bettany again voices Stark's computer, J.A.R.V.I.S.[42] Olivia Munn originally appeared as an unnamed character who was subsequently cut from the film. Favreau then gave her the role of Chess Roberts, a reporter covering the Stark expo.[43][44] Yevgeni Lazarev appears as Ivan Vanko's father, Anton Vanko,[45] Kate Mara portrays a process server who summons Tony to the government hearing,[46] and Stan Lee appears as himself (but is mistaken for Larry King).[47]

 Additionally, news anchor Christiane Amanpour,[48] political commentator Bill O'Reilly,[49] Tesla Motors CEO Elon Musk, and Oracle Corporation CEO Larry Ellison appear as themselves.[50] Adam Goldstein also appears as himself, and the film is dedicated to his memory.[51] Favreau's son Max appears as a child wearing an Iron Man mask whom Stark saves from a drone. In 2017, Spider-Man: Homecoming director Jon Watts said that he had suggested to Feige that they retroactively establish this child to be the introduction of a young Peter Parker / Spider-Man to the MCU, an idea that Feige agreed was plausible,[52] and which Spider-Man actor Tom Holland also supported.[53]

 Production [ edit ]

 Development [ edit ]

 Jon Favreau meeting with members of the U.S. Air Force while filming at Edwards Air Force Base

 Jon Favreau said it was originally his intent to create a film trilogy for Iron Man,[54] with Obadiah Stane (Jeff Bridges) becoming Iron Monger during the sequels. After a meeting between Favreau and various comic book writers, including Mark Millar, Stane became the main villain in Iron Man. Millar argued that the Mandarin, whom Favreau originally intended to fill that role, was too fantastical.[55] Favreau concurred, deciding, "I look at Mandarin more like how in Star Wars you had the Emperor, but Darth Vader is the guy you want to see fight. Then you work your way to the time when lightning bolts are shooting out of the fingers and all that stuff could happen. But you can't have what happened in Return of the Jedi happen in A New Hope. You just can't do it."[56] Favreau also discussed in interviews how the films' version of Mandarin "allows us to incorporate the whole pantheon of villains". He mentioned that S.H.I.E.L.D. would continue to have a major role.[57]

 During development, Favreau said the film would explore Stark's alcoholism, but it would not be "the 'Demon in a Bottle' version".[57] While promoting the first film, Downey stated that Stark would probably develop a drinking problem as he is unable to cope with his age, the effects of revealing he is Iron Man, and Pepper getting a boyfriend.[58] Downey later clarified that the film was not a strict adaptation of the "Demon in a Bottle" storyline from the comic book series, but was instead about the "interim space" between the origin and the "Demon" story arc.[59] Shane Black gave some advice on the script, and suggested to Favreau and Downey that they model Stark on J. Robert Oppenheimer, who became depressed with being "the destroyer of worlds" after working on the Manhattan Project.[58] An early version for the film's story involved Justin Hammer creating different villains in addition to Whiplash, like Ghost, but the idea was discarded. Ghost debuted in the MCU years later in Ant-Man and the Wasp.[60]

 Pre-production [ edit ]

 Immediately following Iron Man ' s release, Marvel Studios announced that they were developing a sequel, with an intended release date of April 30, 2010.[61] In July 2008, after several months of negotiating, Favreau officially signed on to direct.[62] That same month, Justin Theroux signed to write the script, which would be based on a story written by Favreau and Downey.[63] Theroux co-wrote Tropic Thunder, which Downey had starred in, and Downey recommended him to Marvel.[64] Genndy Tartakovsky storyboarded the film,[65] and Adi Granov returned to supervise the designs for Iron Man's armor.[57]

 In October 2008, Marvel Studios came to an agreement to film Iron Man 2, as well as their next three films, at Raleigh Studios in Manhattan Beach, California.[66] A few days later, Don Cheadle was hired to replace Terrence Howard.[14] On being replaced, Howard stated, "There was no explanation, apparently the contracts that we write and sign aren't worth the paper that they're printed on sometimes. Promises aren't kept, and good-faith negotiations aren't always held up."[67] Entertainment Weekly stated Favreau did not enjoy working with Howard, often re-shooting and cutting his scenes; Howard's publicist said he had a good experience playing the part, while Marvel chose not to comment. As Favreau and Theroux chose to reduce the role, Marvel came to Howard to discuss lowering his salary—Howard was the first actor hired in Iron Man and was paid the largest salary. The publication stated they were unsure whether Howard's representatives left the project first or if Marvel chose to stop negotiating.[68] Theroux denied the part of the report which claimed the size of the role had fluctuated.[64] In November 2013, Howard stated that, going into the film, the studio offered him far less than was in his three-picture contract, claiming they told him the second will be successful, "with or without you," and, without mentioning him by name, said Downey "took the money that was supposed to go to me and pushed me out."[69]

 In January 2009, Rourke and Rockwell entered negotiations to play a pair of villains.[70] A few days later, Rockwell confirmed he would take the role, and that his character would be Justin Hammer.[24] Paul Bettany confirmed that he would be returning to voice J.A.R.V.I.S.[42] Marvel entered into early talks with Emily Blunt to play the Black Widow,[71] though she was unable to take the role due to a previous commitment to star in Gulliver's Travels.[72] Samuel L. Jackson confirmed that he had been in discussions to reprise the role of Nick Fury from the first film's post-credits scene, but that contract disputes were making a deal difficult. Jackson stated, "There was a huge kind of negotiation that broke down. I don't know. Maybe I won't be Nick Fury."[73]

 In February, Jackson and Marvel came to terms, and he was signed to play the character in up to nine films.[34] Downey and Rourke discussed his part during a roundtable discussion with David Ansen at the 2009 Golden Globes, and Rourke met with Favreau and Theroux to discuss the role. Rourke almost dropped out because of Marvel's initial salary offer of $250,000, but the studio raised the offer, and in March, Rourke signed on.[74] Later that same day, Scarlett Johansson signed on to play the Black Widow. Her deal included options for multiple films, including potentially The Avengers.[75] Prior to her casting, Johansson had also researched other Marvel characters she could play, including the Blonde Phantom and the Wasp.[60] In April, Garry Shandling,[40] Clark Gregg,[37] and Kate Mara[37] joined the cast.

 Filming [ edit ]

 "This is one of the richest men in the world, so we can't buy our practicals from Home Depot. Everything had to be intelligent technology, and it had to look classic enough to have some shelf life – we didn't want it to look embarrassingly dated 10 years from now."

 Matthew Libatique, the film's cinematographer[76]

 Principal photography began April 6, 2009,[77] at the Pasadena Masonic Temple,[78] with the working title Rasputin.[79] The bulk of the production took place at Raleigh Studios,[76] though other locations were also used. Scenes were filmed at Edwards Air Force Base from May 11 through May 13. The location had also been used for Iron Man, and Favreau stated that he felt the "real military assets make the movie more authentic and the topography and the beauty of the desert and flightline open the movie up".[80] The Historic Grand Prix of Monaco action sequence was shot in the parking lot of Downey Studios, with sets constructed in May[81] and filming lasting through June.[82] Permission to film in Monaco prior to the 2009 Monaco Grand Prix had initially been awarded, but was later retracted by Bernie Ecclestone. The filmmakers shipped one Rolls-Royce Phantom there and filmed a track sequence in which race cars were later digitally added. Tanner Foust took on the role of driving Stark's racing car.[83] Also in June, it was reported that John Slattery had joined the film's cast as Howard Stark.[39] Olivia Munn was also cast, in an unspecified role.[84]

 A massive green screen was constructed at the Sepulveda Dam to film a portion of the Stark Expo exterior, with the rest either shot at an area high school or added digitally. To construct the green screen, hundreds of shipping containers were stacked, covered in plywood and plaster, and then painted green.[76] For the conclusion of that climactic scene, which the crew dubbed the "Japanese Garden" scene, a set was built inside Sony Studios in Los Angeles.[76] Filming lasted 71 days, and the film's production officially wrapped on July 18, 2009.[77] A post-credits scene depicting the discovery of a large hammer was filmed on the set of Thor, and some of it was reused in the film.[51] Jon Favreau revealed that the scene was filmed with anamorphic lenses to match Thor,[51] and was directed by Kenneth Branagh, the director of Thor.[85]

 Post-production [ edit ]

 In January 2010, IMAX Corporation, Marvel, and Paramount announced that the film would receive a limited release on digital IMAX screens.[86] It was not shot with IMAX cameras, so it was converted into the format using the IMAX DMR technology.[65][86] The film underwent reshoots in February.[87] Olivia Munn's original role was cut, but she was given a new role during the reshoots.[44]

 Robert Downey Jr. and Don Cheadle in their suits, before and after ILM's CGI enhancements

 Janek Sirrs was the film's visual effects supervisor,[88] and Industrial Light & Magic did the majority of the effects, as it did on the first film.[89] ILM's visual effects supervisor on the film, Ben Snow, said their work on the film was "harder" than their work on the first, stating that Favreau asked more of them this time around. Snow described the process of digitally creating the suits:

 On the first Iron Man, we tried to use the Legacy [Studios, Stan Winston's effects company] and Stan Winston suits as much as we could. For the second one, Jon [Favreau] was confident we could create the CG suits, and the action dictated using them. So, Legacy created what we called the "football suits" from the torso up with a chest plate and helmet. We'd usually put in some arm pieces, but not the whole arm. In the house fight sequence, where Robert Downey Jr. staggers around tipsy, we used some of the practical suit and extended it digitally. Same thing in the Randy's Donuts scene. But in the rest of the film, we used the CG suit entirely. And Double Negative did an all-digital suit for the Monaco chase.[89]

 ILM created 527 shots for the film, using programs such as Maya.[90] Perception worked on over 125 shots for the film.[91] They crafted gadgets, such as Tony Stark's transparent LG smartphone,[92] and created the backdrops for the Stark Expo as well as the computer screen interfaces on the touch-screen coffee table and the holographic lab environment.[91] In total, 11 visual effect studios worked on the film.[88]

 Music [ edit ]

 Further information: Iron Man 2 (soundtrack) and Music of the Marvel Cinematic Universe

 A soundtrack album featuring AC/DC was released by Columbia Records on April 19, 2010,[93] in at least three different versions: basic, special and deluxe. The basic edition includes the CD; the special edition contains a 15-track CD, a 32-page booklet and a DVD featuring interviews, behind-the-scenes footage, and music videos; and the deluxe includes a reproduction of one of Iron Man's first comic book appearances. Only 2 songs on the soundtrack actually appear in the movie. Although not included on the soundtrack album the film includes songs by The Average White Band, The Clash, Queen, Daft Punk, 2Pac and Beastie Boys.[94]

 The film score was released commercially as Iron Man 2: Original Motion Picture Score on July 20, 2010, featuring 25 tracks. John Debney composed the score with Tom Morello, with composer Richard M. Sherman of the Sherman Brothers contributing the Stark Expo theme song, "Make Way for Tomorrow Today".[95]

 Marketing [ edit ]

 The cast of Iron Man 2 at the 2009 San Diego Comic-Con

 At the 2009 San Diego Comic Con, a five-minute trailer for the movie was shown. Actors portraying Stark Industries recruiters handed out business cards with an invitation to apply.[96] A website for Stark Industries went online, with an attached graphic of a "napkin memo" from Stark to Potts announcing that Stark Industries no longer made weapons. Another section featured an online application.[97] It was confirmed that the first theatrical trailer would premiere in front of Sherlock Holmes (another Robert Downey Jr. film). This trailer was released online on December 16, 2009. A new trailer was shown by Robert Downey Jr. on Jimmy Kimmel Live! on March 7 after the Academy Awards.[98] Promotional partners included Symantec, Dr Pepper, Burger King, 7 Eleven, Audi, LG Electronics[99] and Hershey.[100]

 Author Alexander C. Irvine adapted the script into a novel, also titled Iron Man 2, that was released in April 2010.[101] Prior to the film release, Marvel Comics released a four-issue miniseries comic book titled Iron Man vs Whiplash, which introduced the film's version of Whiplash into the Marvel Universe.[102] A three-issue prequel miniseries titled Iron Man 2: Public Identity was released in April.[103][104][105]

 An Iron Man 2 video game was released by Sega on May 4, 2010, in North America,[106] written by The Invincible Iron Man scribe Matt Fraction.[107] The Wii version was developed by High Voltage Software and all console versions were published by Sega,[108] while Gameloft published the mobile game.[109] The game's Comic-Con trailer showed that the Crimson Dynamo was set to appear as a villain. Cheadle and Jackson voice their respective characters in the games.[110] The trailer revealed that A.I.M, Roxxon Energy Corporation, and Ultimo (depicted as a man named Kearson DeWitt in a large armor suit) are enemies in the game as well as revealing that the wearer of the Crimson Dynamo armor is General Valentin Shatalov.[111] The game received "generally unfavorable" reviews, with a Metacritic score of 41% for both the PS3 and Xbox 360 versions.[112][113]

 Release [ edit ]

 Theatrical [ edit ]

 Iron Man 2 premiered at the El Capitan Theatre in Los Angeles, California, on April 26, 2010,[114] and was released in 6,764 theaters (48 IMAX) across 54 countries between April 28 and May 7,[3][115][116] before going into general release in the United States on May 7, 2010.[115] In the United States, it opened at 4,380 theaters, 181 of which were IMAX.[117] The international release date of the film was moved forward to increase interest ahead of the 2010 FIFA World Cup association football tournament.[118] Iron Man 2 is part of Phase One of the MCU.[119]

 Home media [ edit ]

 On September 28, 2010, the film was released by Paramount Home Entertainment on DVD and Blu-ray.[120] The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled", which includes all of the Phase One films in the Marvel Cinematic Universe.[121] It was released by Walt Disney Studios Home Entertainment on April 2, 2013.[122][123]

 Reception [ edit ]

 Box office [ edit ]

 Iron Man 2 earned $312.4 million in the United States and Canada, as well as $311.5 million in other territories, for a worldwide total of $623.9 million.[3] Since the film was included in a predetermined legacy distribution deal that was signed before The Walt Disney Company purchased Marvel, Paramount Pictures distributed the film and collected 8% of the box office, while the remaining portion went to Disney.[2][124]

 Iron Man 2 earned $51 million on its opening day in the United States and Canada (including $7.5 million from Thursday previews),[125] for a total weekend gross of $128 million, which was the fifth-highest opening weekend ever, at the time, behind The Dark Knight, Spider-Man 3, The Twilight Saga: New Moon, and Pirates of the Caribbean: Dead Man's Chest. It also had the highest opening for a 2010 movie and Paramount's highest opening weekend.[117] The film yielded an average of $29,252 per theater.[125] IMAX contributed $9.8 million, which was the highest opening weekend for a 2D IMAX film, surpassing Star Trek's previous record of $8.5 million.[117] Iron Man 2 is the thrid-highest-grossing film of 2010 in the United States and Canada, behind Toy Story 3 and Alice in Wonderland.[126]

 Iron Man 2 launched in six European markets with number-one openings on Wednesday, April 28, 2010, for a total of $2.2 million.[127] It earned $100.2 million its first five days from 53 foreign markets, for a strong average of $14,814 per site.[3] IMAX Corporation reported grosses of $2.25 million, surpassing the previous record-holder for an IMAX 2D release, 2009's Transformers: Revenge of the Fallen ($2.1 million).[116] It was the seventh-highest-grossing film of 2010 internationally, behind Toy Story 3, Alice in Wonderland, Harry Potter and the Deathly Hallows – Part 1, Inception, Shrek Forever After, and The Twilight Saga: Eclipse.[128]

 Critical response [ edit ]

 The review aggregator Rotten Tomatoes reported an approval rating of 71%, with an average score of 6.5/10, based on 303 reviews. The website's critical consensus reads, "It isn't quite the breath of fresh air that Iron Man was, but this sequel comes close with solid performances and an action-packed plot."[129] Metacritic gave the film a weighted average rating of 57 out of 100, based on 40 critics, indicating "mixed or average reviews".[130] Audiences polled by CinemaScore gave the film an average grade of "A" on a scale of A+ to F, the same score as its predecessor.[125]

 Brian Lowry of Variety stated, "Iron Man 2 isn't as much fun as its predecessor, but by the time the smoke clears, it'll do".[49] Anthony Lane of The New Yorker said, "To find a comic-book hero who doesn't agonize over his supergifts, and would defend his constitutional right to get a kick out of them, is frankly a relief".[131] David Edelstein of New York Magazine wrote, "It doesn't come close to the emotional heft of those two rare 2s that outclassed their ones: Superman II and Spider-Man 2. But Iron Man 2 hums along quite nicely".[132] Roger Ebert gave it 3 stars out of 4, stating, "Iron Man 2 is a polished, high-octane sequel, not as good as the original but building once again on a quirky performance by Robert Downey Jr".[133] Frank Lovece of Film Journal International, a one-time Marvel Comics writer, said, "In a refreshing and unexpected turn, the sequel to Iron Man doesn't find a changed man. Inside the metal, imperfect humanity grows even more so, as thought-provoking questions of identity meet techno-fantasy made flesh."[134]

 Conversely, Kirk Honeycutt of The Hollywood Reporter stated, "Everything fun and terrific about Iron Man, a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines."[135]

 Accolades [ edit ]

 Year Award  Category Recipient(s) Result Ref. 
 2010 Hollywood Film Award Visual Effects of the Year Iron Man 2 Won [136]
 Satellite Awards Best Sound (Mixing & Editing) Iron Man 2 Nominated [137] 
 Best Visual Effects Nominated  
 Teen Choice Awards Choice Movie: Sci-Fi Iron Man 2 Nominated [138] 
 Choice Movie Actor: Sci-Fi Robert Downey Jr.  Nominated 
 Choice Movie Actress: Sci-Fi Gwyneth Paltrow  Nominated 
 Scarlett Johansson Nominated  
 Choice Movie: Villain Mickey Rourke  Nominated 
 Choice Movie: Dance Robert Downey Jr.  Nominated 
 Choice Movie: Fight Don Cheadle and Robert Downey Jr. (Iron Man & War Machine vs The Hammer Drones) Nominated 
 Scream Awards The Ultimate Scream  Iron Man 2 Nominated [139] 
 Best Science Fiction Movie Nominated  
 Best Science Fiction Actor Robert Downey Jr.  Nominated 
 Best Science Fiction Actress Gwyneth Paltrow  Nominated 
 Scarlett Johansson Won  
 Best Supporting Actor Don Cheadle  Nominated 
 Best Villain Mickey Rourke  Won 
 Best Superhero Robert Downey Jr.  Won 
 Best Cameo Stan Lee  Nominated 
 Best Ensemble Iron Man 2  Nominated 
 Fight Scene of the Year "Final Battle: Iron Man and War Machine vs Whiplash and the Drones" Nominated 
 Best F/X Iron Man 2  Nominated 
 Best Comic Book Movie Nominated  
 2011 People's Choice Awards Favorite Action Movie Iron Man 2 Won [140]
 Favorite Movie Nominated  
 Favorite Movie Actor Robert Downey Jr.  Nominated 
 Favorite Action Star Nominated  
 Favorite On-Screen Team Robert Downey Jr. and Don Cheadle Nominated 
 Academy Awards Best Visual Effects  Iron Man 2 Nominated [141] 
 Saturn Awards Best Science Fiction Film Iron Man 2 Nominated [142] 
 Best Actor Robert Downey Jr.  Nominated 
 Best Supporting Actress Scarlett Johansson  Nominated 
 Best Special Effects Iron Man 2  Nominated 
 Visual Effects Society Awards Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture Ben Snow, Ged Wright, Janek Sirrs, Susan Pickett Nominated [143] 
 Outstanding Models in a Feature Motion Picture Bruce Holcomb, Ron Woodall, John Goodson, John Walker for "Hammer Military Drones" Nominated 
 Outstanding Created Environment in a Feature Motion Picture Giles Hancock, Richard Bluff, Todd Vaziri, Aaron McBride for the "Stark Expo" Nominated 
 

 Sequel [ edit ]

 Main article: Iron Man 3
 Further information: List of Marvel Cinematic Universe films

 After the release of Iron Man 2, Walt Disney Studios agreed to pay Paramount at least $115 million for the worldwide distribution rights to Iron Man 3 and The Avengers.[144] Disney, Marvel, and Paramount announced a May 3, 2013, release date for Iron Man 3.[145] Shane Black directed Iron Man 3,[146] from a screenplay by Drew Pearce.[147] Downey, Paltrow, Cheadle, and Favreau reprised their roles, while Ben Kingsley[148] played Trevor Slattery,[149] Guy Pearce played Aldrich Killian,[150] and Rebecca Hall[151] played Maya Hansen.[152]

 See also [ edit ]

 * List of films featuring powered exoskeletons
 * "What If... the World Lost Its Mightiest Heroes?", an episode of the MCU television series What If...? that reimagines some events of this film

 Notes [ edit ]

 1. ^ a b In July 2013, the film's distribution rights were transferred from Paramount Pictures to Walt Disney Studios Motion Pictures . [4][5]
 2. ^ The events of the film also take place simultaneously with the events of The Incredible Hulk (2008) and Thor (2011). [6]
 3. ^ As depicted in Thor (2011)

 References [ edit ]

 1. ^ "Iron Man 2 (12A)". Irish Film Classification Office. Archived from the original on July 20, 2021 . Retrieved December 12, 2021 .
 2. ^ a b Fritz, Ben (May 6, 2010). "Movie Projector: 'Iron Man 2' has 'The Dark Knight' in its sights". Los Angeles Times. Archived from the original on November 3, 2021 . Retrieved May 29, 2022 . "The movie cost about $170 million to produce, and worldwide print and advertising costs are roughly $150 million, per insiders."
 3. ^ a b c d e "Iron Man 2". Box Office Mojo. IMDb. Archived from the original on April 16, 2022 . Retrieved May 29, 2022 .
 4. ^ Finke, Nikki (July 2, 2013). "Disney Completes Purchase of Marvel Home Entertainment Distribution Rights". Deadline Hollywood. Archived from the original on November 5, 2013 . Retrieved May 28, 2022 .
 5. ^ Palmeri, Christopher (July 2, 2013). "Disney Buys Rights to Four Marvel Movies From Viacom's Paramount". Bloomberg. Archived from the original on April 21, 2014 . Retrieved July 2, 2013 .
 6. ^ Eisenberg, Eric (April 27, 2017). "Why Marvel Movies Don't Overlap Like They Used To, According To Kevin Feige". CinemaBlend. Archived from the original on May 12, 2022 . Retrieved May 29, 2022 .
 7. ^ Fure, Robert (August 4, 2008). "Robert Downey Jr. Talks Iron Man 2, The Dark Knight and Colin Farrell". Film School Rejects. Archived from the original on September 1, 2008 . Retrieved August 3, 2012 .
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Iron Man 2      Theatrical release poster    Directed by  Jon Favreau    Screenplay by  Justin Theroux    Based on    Iron Man by     Stan Lee   Larry Lieber   Don Heck   Jack Kirby        Produced by  Kevin Feige    Starring  
  Robert Downey Jr. 
 Gwyneth Paltrow 
 Don Cheadle 
 Scarlett Johansson 
 Sam Rockwell 
 Mickey Rourke 
 Samuel L. Jackson  
    Cinematography  Matthew Libatique    Edited by  
  Dan Lebental 
 Richard Pearson  
    Music by  John Debney     Productioncompany     Marvel Studios      Distributed by  Paramount Pictures  [a]      Release dates   
 April 26, 2010 (El Capitan Theatre)
May 7, 2010 (United States) 
     Running time  125 minutes [1]     Country United States   Language English   Budget $170–200 million [2]   [3]     Box office $623.9 million [3]     
  Iron Man 2  is a 2010 American superhero film based on the Marvel Comics character Iron Man. Produced by Marvel Studios and distributed by Paramount Pictures, [a]  it is the sequel to  Iron Man  (2008) and the third film in the Marvel Cinematic Universe (MCU). Directed by Jon Favreau and written by Justin Theroux, the film stars Robert Downey Jr. as Tony Stark / Iron Man alongside Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Sam Rockwell, Mickey Rourke, and Samuel L. Jackson. Six months after Iron Man, Tony Stark resists calls from the United States government to hand over the Iron Man technology, which is causing his declining health. Meanwhile, Russian scientist Ivan Vanko (Rourke) uses his own version of the technology to pursue a vendetta against the Stark family.
 Following the critical and commercial success of Iron Man in May 2008, Marvel Studios announced and immediately set to work on producing a sequel. In July, Theroux was hired to write the script and Favreau was signed to return as director. Downey, Paltrow, and Jackson were set to reprise their roles from Iron Man, while Cheadle was brought in to replace Terrence Howard in the role of James Rhodes. In the early months of 2009, Rourke (Vanko), Rockwell, and Johansson filled out the supporting cast. Filming took place from April to July 2009, mostly in California as in the first film, except for a key sequence in Monaco. Unlike its predecessor, which mixed digital and practical effects, the sequel primarily relied on computer-generated imagery to create the Iron Man suits.
  Iron Man 2 premiered at the El Capitan Theatre on April 26, 2010, and was released in the United States on May 7, as part of Phase One of the MCU. The film received praise for its action sequences and performances, although critics deemed it to be inferior to the first film. The sequel grossed over $623.9 million at the worldwide box office, making it the seventh-highest-grossing film of 2010. It received an Academy Award nomination for Best Visual Effects. A sequel,  Iron Man 3 , was released on May 3, 2013.
Plot[edit]
In Russia, the media covers Tony Stark's disclosure of his identity as Iron Man. Ivan Vanko, whose father Anton Vanko—a former Stark Industries employee—has just died, sees this and begins building a miniature arc reactor similar to Stark's. Six months later, [b]  Stark has become a media superstar and resists pressure to turn over his armored suits to the government. To continue the legacy of his father Howard, he re-institutes the Stark Expo in New York City's Flushing Meadows–Corona Park.
 Stark learns that the palladium core in the arc reactor that keeps him alive and powers the armor is slowly poisoning him, and he cannot find a substitute. Growing increasingly reckless and despondent about his impending death, and choosing not to tell anyone about his condition, Stark appoints his assistant Pepper Potts as CEO of Stark Industries and hires Stark employee Natalie Rushman to replace her as his assistant. Stark competes in the Monaco Historic Grand Prix, where he is attacked in the middle of the race by Vanko, who wields electrified whips. Stark dons his armor and defeats Vanko, but the suit is severely damaged. Vanko explains that he intended to prove to the world that Iron Man is not invincible.
 Impressed by Vanko's performance, Stark's rival, Justin Hammer, fakes Vanko's death while breaking him out of prison and asks him to build a line of armored suits to upstage Stark, though Vanko decides that unmanned drones are a better idea. During what he believes is his final birthday party, Stark gets drunk while wearing the Iron Man suit. Disgusted, Stark's best friend, U.S. Air Force Lieutenant Colonel James Rhodes, dons Stark's prototype armor and tries to restrain him. The fight ends in a stalemate, and Rhodes confiscates the armor for the U.S. Air Force.
  Nick Fury, director of S.H.I.E.L.D., approaches Stark, revealing that "Rushman" is agent Natasha Romanoff and that Howard Stark was the S.H.I.E.L.D. founder whom Fury knew personally. Fury explains that Vanko's father and Stark invented the arc reactor together, but when Anton tried to sell it, Stark had him deported. The Soviets sent Anton to the Gulag. Fury gives Stark some of his father's old material. Tony discovers a hidden message in the diorama of the 1974 Stark Expo; it proves to be a diagram of the atomic structure of a new element. With the aid of his A.I., J.A.R.V.I.S., Stark synthesizes it. When he learns that Vanko is still alive, he places the new element in his arc reactor and ends his palladium dependency.
 At the current Expo, Hammer unveils Vanko's armored drones, led by Rhodes in a heavily weaponized version of the prototype armor. Stark arrives to warn Rhodes, but Vanko takes remote control of all the drones and Rhodes' armor and attacks Stark. Hammer soon gets arrested for breaking Vanko out of prison, while Romanoff and Stark's bodyguard Happy Hogan go after Vanko at Hammer's factory. Vanko escapes, but Romanoff returns control of Rhodes' armor to him. Together, Stark and Rhodes defeat Vanko and his drones. Vanko commits suicide by blowing up his suit, along with the defeated drones.
 At a debriefing, Fury informs Stark that because of his difficult personality, S.H.I.E.L.D. intends to use him only as a consultant. Stark and Rhodes receive medals for their heroism. In a post-credits scene, S.H.I.E.L.D. agent Phil Coulson reports the discovery of a large hammer at the bottom of a crater in a desert in New Mexico. [c] 
Cast[edit]
                    Downey, Johansson and Rockwell promoting the film at the 2009 San Diego Comic-Con International  
  Robert Downey Jr. as Tony Stark / Iron Man: A billionaire who escaped captivity in Afghanistan with a suit of armor he created, he now struggles to keep his technology out of the government's hands. Downey and Favreau, who had been handed a script and worked from it on the first movie, conceived part of the film's story themselves. [7]  On Stark being a hero, Downey said, "It's kind of heroic, but really kind of on his own behalf. So I think there's probably a bit of an imposter complex and no sooner has he said, 'I am Iron Man–' that he's now really wondering what that means. If you have all this cushion like he does and the public is on your side and you have immense wealth and power, I think he's way too insulated to be okay." [8]  Downey put on 20 pounds of muscle to reprise the role. [9]  Six-year-old Davin Ransom portrays Tony Stark as a child. [10]  
 Gwyneth Paltrow as Pepper Potts: Stark's closest friend, budding love interest, and business partner; Pepper is promoted to CEO of Stark Industries. [11]  On her character's promotion, Paltrow opined, "When we start Iron Man 2 Pepper and Tony are very much in the same vibe... as the movie progresses, Pepper is given more responsibility and she's promoted and it's nice to see her sort of grow up in that way. I think it really suits her, the job fits her really well." [12]  Paltrow expressed excitement about working with Johansson. [13]  
 Don Cheadle as James "Rhodey" Rhodes / War Machine: An officer in the U.S. Air Force and Tony Stark's close personal friend who later operates the War Machine armor. Cheadle replaces Terrence Howard from the first film. [14]  Cheadle had only a few hours to accept the role and did not even know what storyline Rhodes would undergo. [15]  He commented that he is a comic book fan, but had not previously participated in comics-themed films due to the scarcity of black superheroes. [16]  Cheadle said he thought Iron Man was a robot before the first film came out. [11]  On how he approached his character, Cheadle stated, "I go, what's the common denominator here? And the common denominator was really his friendship with Tony, and that's what we really tried to track in this one. How is their friendship impacted once Tony comes out and owns 'I am Iron Man'?". [17]  Cheadle said his suit was 23 kilograms (50 lb) of metal, and that he could not touch his face while wearing it. [18]  Cheadle signed a six-picture deal. [19]  
 Scarlett Johansson as Natasha Romanoff / Black Widow: An undercover spy for S.H.I.E.L.D. posing as Stark's new assistant. Johansson dyed her hair red before she landed the part, hoping that it would help convince Favreau that she was right for the role. [20]  On why she chose the role, Johansson said, "the Black Widow character resonated with me... [She] is a superhero, but she's also human. She's small, but she's strong... She is dark and has faced death so many times that she has a deep perspective on the value of life... It's hard not to admire her." [21]  She stated that she had "a bit of a freak-out moment" when she first saw the cat-suit and worked closely with the stunt team to learn how to fight in it in order to "sell it". [22]  During promotion for  Black Widow  (2021), Johansson said the character was hyper-sexualized in Iron Man 2, specifically referring to dialogue that described her as "a piece of something, like a possession", but at the time she felt this was "like a compliment". Though she was grateful to have been a part of the film, she was more grateful that the character's portrayal had evolved to convey a more positive message by the time of Black Widow. [23]  
 Sam Rockwell as Justin Hammer: A rival weapons manufacturer. Sam Rockwell was considered for the role of Tony Stark in the first film, and he accepted the role of Hammer without reading the script. [24]  He had never heard of the character before he was contacted about the part, and was unaware Hammer is an old Englishman in the comics. [25]  Rockwell said, "I worked with Jon Favreau on this film called  Made . And Justin Theroux, who wrote the script, is an old friend of mine, they sort of cooked up this idea and pitched it to Kevin Feige. What they did, they were maybe going to do one villain like they did with Jeff Bridges, but then they decided to split the villains. And really Mickey [Rourke] is the main [villain], but I come to his aid." [26]  Rockwell described his character as "plucky comic relief, but he's got a little bit of an edge". [27]  
 Mickey Rourke as Ivan Vanko / Whiplash: A Russian physicist and ex-convict who builds a pair of arc reactor-based electric whips to exact vengeance on the Stark family. [28]  The character is an amalgamation of Whiplash and Crimson Dynamo. [29]  Rourke visited Butyrka prison to research the role, [30]  and he suggested that half of the character's dialogue be in Russian. [31]  He also suggested the addition of tattoos, gold teeth and a fondness for a pet cockatoo, paying for the teeth and bird with his own money. [32]  Rourke explained that he did not want to play a "one-dimensional bad guy", and wanted to challenge the audience to see something redeemable in him. [11]  Not knowing anything about computers, Rourke described pretending to be tech-savvy as the hardest part of the role. [33]  
 Samuel L. Jackson as Nick Fury: Director of S.H.I.E.L.D.; Jackson signed a nine-film contract to play the character. [34]  On the subject of his character not seeing any action in the film, Jackson said, "We still haven't moved Nick Fury into the bad-ass zone. He's still just kind of a talker." [35]   
The director, Jon Favreau, reprises his role as Happy Hogan, [36]  Tony Stark's bodyguard and chauffeur, while Clark Gregg and Leslie Bibb reprise their roles as S.H.I.E.L.D. agent Phil Coulson  [37]  and reporter Christine Everhart, [38]  respectively. John Slattery appears as Tony's father Howard Stark  [39]  and Garry Shandling appears as United States Senator Stern, who wants Stark to give Iron Man's armor to the government. [40]  Favreau stated that Shandling's character was named after radio personality Howard Stern. [41]  Paul Bettany again voices Stark's computer, J.A.R.V.I.S.  [42]  Olivia Munn originally appeared as an unnamed character who was subsequently cut from the film. Favreau then gave her the role of Chess Roberts, a reporter covering the Stark expo. [43]   [44]  Yevgeni Lazarev appears as Ivan Vanko's father, Anton Vanko, [45]  Kate Mara portrays a process server who summons Tony to the government hearing, [46]  and Stan Lee appears as himself (but is mistaken for Larry King). [47] 
 Additionally, news anchor Christiane Amanpour, [48]  political commentator Bill O'Reilly, [49]  Tesla Motors CEO Elon Musk, and Oracle Corporation CEO Larry Ellison appear as themselves. [50]  Adam Goldstein also appears as himself, and the film is dedicated to his memory. Favreau's son Max appears as a child wearing an Iron Man mask whom Stark saves from a drone. In 2017,  Spider-Man: Homecoming  director Jon Watts said that he had suggested to Feige that they retroactively establish this child to be the introduction of a young Peter Parker / Spider-Man to the MCU, an idea that Feige agreed was plausible, [52]  and which Spider-Man actor Tom Holland also supported. [53] 
Production[edit]
Development[edit]
      Jon Favreau meeting with members of the U.S. Air Force while filming at Edwards Air Force Base  
Jon Favreau said it was originally his intent to create a film trilogy for Iron Man, [54]  with Obadiah Stane (Jeff Bridges) becoming Iron Monger during the sequels. After a meeting between Favreau and various comic book writers, including Mark Millar, Stane became the main villain in Iron Man. Millar argued that the Mandarin, whom Favreau originally intended to fill that role, was too fantastical. [55]  Favreau concurred, deciding, "I look at Mandarin more like how in  Star Wars  you had the Emperor, but Darth Vader is the guy you want to see fight. Then you work your way to the time when lightning bolts are shooting out of the fingers and all that stuff could happen. But you can't have what happened in  Return of the Jedi  happen in  A New Hope . You just can't do it." [56]  Favreau also discussed in interviews how the films' version of Mandarin "allows us to incorporate the whole pantheon of villains". He mentioned that S.H.I.E.L.D. would continue to have a major role. [57] 
 During development, Favreau said the film would explore Stark's alcoholism, but it would not be "the 'Demon in a Bottle' version". [57]  While promoting the first film, Downey stated that Stark would probably develop a drinking problem as he is unable to cope with his age, the effects of revealing he is Iron Man, and Pepper getting a boyfriend. [58]  Downey later clarified that the film was not a strict adaptation of the "Demon in a Bottle" storyline from the comic book series, but was instead about the "interim space" between the origin and the "Demon" story arc. [59]  Shane Black gave some advice on the script, and suggested to Favreau and Downey that they model Stark on J. Robert Oppenheimer, who became depressed with being "the destroyer of worlds" after working on the Manhattan Project. [58]  An early version for the film's story involved Justin Hammer creating different villains in addition to Whiplash, like Ghost, but the idea was discarded. Ghost debuted in the MCU years later in  Ant-Man and the Wasp . [60] 
Pre-production[edit]
Immediately following Iron Man's release, Marvel Studios announced that they were developing a sequel, with an intended release date of April 30, 2010. [61]  In July 2008, after several months of negotiating, Favreau officially signed on to direct. [62]  That same month, Justin Theroux signed to write the script, which would be based on a story written by Favreau and Downey. [63]  Theroux co-wrote  Tropic Thunder , which Downey had starred in, and Downey recommended him to Marvel. [64]  Genndy Tartakovsky storyboarded the film, [65]  and Adi Granov returned to supervise the designs for Iron Man's armor. [57] 
 In October 2008, Marvel Studios came to an agreement to film Iron Man 2, as well as their next three films, at Raleigh Studios in Manhattan Beach, California. [66]  A few days later, Don Cheadle was hired to replace Terrence Howard. [14]  On being replaced, Howard stated, "There was no explanation, apparently the contracts that we write and sign aren't worth the paper that they're printed on sometimes. Promises aren't kept, and good-faith negotiations aren't always held up." [67]   Entertainment Weekly  stated Favreau did not enjoy working with Howard, often re-shooting and cutting his scenes; Howard's publicist said he had a good experience playing the part, while Marvel chose not to comment. As Favreau and Theroux chose to reduce the role, Marvel came to Howard to discuss lowering his salary—Howard was the first actor hired in Iron Man and was paid the largest salary. The publication stated they were unsure whether Howard's representatives left the project first or if Marvel chose to stop negotiating. [68]  Theroux denied the part of the report which claimed the size of the role had fluctuated. [64]  In November 2013, Howard stated that, going into the film, the studio offered him far less than was in his three-picture contract, claiming they told him the second will be successful, "with or without you," and, without mentioning him by name, said Downey "took the money that was supposed to go to me and pushed me out." [69] 
 In January 2009, Rourke and Rockwell entered negotiations to play a pair of villains. [70]  A few days later, Rockwell confirmed he would take the role, and that his character would be Justin Hammer. [24]  Paul Bettany confirmed that he would be returning to voice J.A.R.V.I.S. [42]  Marvel entered into early talks with Emily Blunt to play the Black Widow, [71]  though she was unable to take the role due to a previous commitment to star in  Gulliver's Travels . [72]  Samuel L. Jackson confirmed that he had been in discussions to reprise the role of Nick Fury from the first film's post-credits scene, but that contract disputes were making a deal difficult. Jackson stated, "There was a huge kind of negotiation that broke down. I don't know. Maybe I won't be Nick Fury." [73] 
 In February, Jackson and Marvel came to terms, and he was signed to play the character in up to nine films. [34]  Downey and Rourke discussed his part during a roundtable discussion with David Ansen at the 2009 Golden Globes, and Rourke met with Favreau and Theroux to discuss the role. Rourke almost dropped out because of Marvel's initial salary offer of $250,000, but the studio raised the offer, and in March, Rourke signed on. [74]  Later that same day, Scarlett Johansson signed on to play the Black Widow. Her deal included options for multiple films, including potentially  The Avengers . [75]  Prior to her casting, Johansson had also researched other Marvel characters she could play, including the Blonde Phantom and the Wasp. [60]  In April, Garry Shandling, [40]  Clark Gregg, [37]  and Kate Mara  [37]  joined the cast.
Filming[edit]
"This is one of the richest men in the world, so we can't buy our practicals from Home Depot. Everything had to be intelligent technology, and it had to look classic enough to have some shelf life – we didn't want it to look embarrassingly dated 10 years from now."
  Matthew Libatique, the film's cinematographer [76]  
 Principal photography began April 6, 2009, [77]  at the Pasadena Masonic Temple, [78]  with the working title Rasputin. [79]  The bulk of the production took place at Raleigh Studios, [76]  though other locations were also used. Scenes were filmed at Edwards Air Force Base from May 11 through May 13. The location had also been used for Iron Man, and Favreau stated that he felt the "real military assets make the movie more authentic and the topography and the beauty of the desert and flightline open the movie up". [80]  The Historic Grand Prix of Monaco action sequence was shot in the parking lot of Downey Studios, with sets constructed in May [81]  and filming lasting through June. [82]  Permission to film in Monaco prior to the 2009 Monaco Grand Prix had initially been awarded, but was later retracted by Bernie Ecclestone. The filmmakers shipped one Rolls-Royce Phantom there and filmed a track sequence in which race cars were later digitally added. Tanner Foust took on the role of driving Stark's racing car. [83]  Also in June, it was reported that John Slattery had joined the film's cast as Howard Stark. [39]  Olivia Munn was also cast, in an unspecified role. [84] 
 A massive green screen was constructed at the Sepulveda Dam to film a portion of the Stark Expo exterior, with the rest either shot at an area high school or added digitally. To construct the green screen, hundreds of shipping containers were stacked, covered in plywood and plaster, and then painted green. [76]  For the conclusion of that climactic scene, which the crew dubbed the "Japanese Garden" scene, a set was built inside Sony Studios in Los Angeles. [76]  Filming lasted 71 days, and the film's production officially wrapped on July 18, 2009. [77]  A post-credits scene depicting the discovery of a large hammer was filmed on the set of  Thor , and some of it was reused in the film. Jon Favreau revealed that the scene was filmed with anamorphic lenses to match Thor, and was directed by Kenneth Branagh, the director of Thor. [85] 
Post-production[edit]
In January 2010, IMAX Corporation, Marvel, and Paramount announced that the film would receive a limited release on digital IMAX screens. [86]  It was not shot with IMAX cameras, so it was converted into the format using the IMAX DMR technology. [65]   [86]  The film underwent reshoots in February. [87]  Olivia Munn's original role was cut, but she was given a new role during the reshoots. [44] 
      Robert Downey Jr. and Don Cheadle in their suits, before and after ILM's CGI enhancements  
 Janek Sirrs was the film's visual effects supervisor, [88]  and Industrial Light &amp; Magic did the majority of the effects, as it did on the first film. [89]  ILM's visual effects supervisor on the film, Ben Snow, said their work on the film was "harder" than their work on the first, stating that Favreau asked more of them this time around. Snow described the process of digitally creating the suits:
 On the first Iron Man, we tried to use the Legacy [Studios, Stan Winston's effects company] and Stan Winston suits as much as we could. For the second one, Jon [Favreau] was confident we could create the CG suits, and the action dictated using them. So, Legacy created what we called the "football suits" from the torso up with a chest plate and helmet. We'd usually put in some arm pieces, but not the whole arm. In the house fight sequence, where Robert Downey Jr. staggers around tipsy, we used some of the practical suit and extended it digitally. Same thing in the Randy's Donuts scene. But in the rest of the film, we used the CG suit entirely. And Double Negative did an all-digital suit for the Monaco chase. [89]   
ILM created 527 shots for the film, using programs such as Maya. [90]  Perception worked on over 125 shots for the film. [91]  They crafted gadgets, such as Tony Stark's transparent LG smartphone, [92]  and created the backdrops for the Stark Expo as well as the computer screen interfaces on the touch-screen coffee table and the holographic lab environment. [91]  In total, 11 visual effect studios worked on the film. [88] 
Music[edit]
A soundtrack album featuring AC/DC was released by Columbia Records on April 19, 2010, [93]  in at least three different versions: basic, special and deluxe. The basic edition includes the CD; the special edition contains a 15-track CD, a 32-page booklet and a DVD featuring interviews, behind-the-scenes footage, and music videos; and the deluxe includes a reproduction of one of Iron Man's first comic book appearances. Only 2 songs on the soundtrack actually appear in the movie. Although not included on the soundtrack album the film includes songs by The Average White Band, The Clash, Queen, Daft Punk, 2Pac and Beastie Boys. [94] 
 The film score was released commercially as Iron Man 2: Original Motion Picture Score on July 20, 2010, featuring 25 tracks. John Debney composed the score with Tom Morello, with composer Richard M. Sherman of the Sherman Brothers contributing the Stark Expo theme song, "Make Way for Tomorrow Today". [95] 
Marketing[edit]
     
At the 2009 San Diego Comic Con, a five-minute trailer for the movie was shown. Actors portraying Stark Industries recruiters handed out business cards with an invitation to apply. [96]  A website for Stark Industries went online, with an attached graphic of a "napkin memo" from Stark to Potts announcing that Stark Industries no longer made weapons. Another section featured an online application. [97]  It was confirmed that the first theatrical trailer would premiere in front of  Sherlock Holmes  (another Robert Downey Jr. film). This trailer was released online on December 16, 2009. A new trailer was shown by Robert Downey Jr. on  Jimmy Kimmel Live!  on March 7 after the Academy Awards. [98]  Promotional partners included Symantec, Dr Pepper, Burger King, 7 Eleven, Audi, LG Electronics [99]  and Hershey. [100] 
 Author Alexander C. Irvine adapted the script into a novel, also titled Iron Man 2, that was released in April 2010. [101]  Prior to the film release, Marvel Comics released a four-issue miniseries comic book titled Iron Man vs Whiplash, which introduced the film's version of Whiplash into the Marvel Universe. [102]  A three-issue prequel miniseries titled Iron Man 2: Public Identity was released in April. [103]   [104]   [105] 
 An  Iron Man 2 video game was released by Sega on May 4, 2010, in North America, [106]  written by  The Invincible Iron Man  scribe Matt Fraction. [107]  The Wii version was developed by High Voltage Software and all console versions were published by Sega, [108]  while Gameloft published the mobile game. [109]  The game's Comic-Con trailer showed that the Crimson Dynamo was set to appear as a villain. Cheadle and Jackson voice their respective characters in the games. [110]  The trailer revealed that A.I.M, Roxxon Energy Corporation, and Ultimo (depicted as a man named Kearson DeWitt in a large armor suit) are enemies in the game as well as revealing that the wearer of the Crimson Dynamo armor is General Valentin Shatalov. [111]  The game received "generally unfavorable" reviews, with a Metacritic score of 41% for both the PS3 and Xbox 360 versions. [112]   [113] 
Release[edit]
Theatrical[edit]
 Iron Man 2 premiered at the El Capitan Theatre in Los Angeles, California, on April 26, 2010, [114]  and was released in 6,764 theaters (48 IMAX) across 54 countries between April 28 and May 7, [3]   [115]   [116]  before going into general release in the United States on May 7, 2010. [115]  In the United States, it opened at 4,380 theaters, 181 of which were IMAX. [117]  The international release date of the film was moved forward to increase interest ahead of the 2010 FIFA World Cup association football tournament. [118]  Iron Man 2 is part of Phase One of the MCU. [119] 
Home media[edit]
On September 28, 2010, the film was released by Paramount Home Entertainment on DVD and Blu-ray. [120]  The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled", which includes all of the Phase One films in the Marvel Cinematic Universe. [121]  It was released by Walt Disney Studios Home Entertainment on April 2, 2013. [122]   [123] 
Reception[edit]
Box office[edit]
 Iron Man 2 earned $312.4 million in the United States and Canada, as well as $311.5 million in other territories, for a worldwide total of $623.9 million. [3]  Since the film was included in a predetermined legacy distribution deal that was signed before The Walt Disney Company purchased Marvel, Paramount Pictures distributed the film and collected 8% of the box office, while the remaining portion went to Disney. [2]   [124] 
  Iron Man 2 earned $51 million on its opening day in the United States and Canada (including $7.5 million from Thursday previews), [125]  for a total weekend gross of $128 million, which was the fifth-highest opening weekend ever, at the time, behind  The Dark Knight ,  Spider-Man 3 ,  The Twilight Saga: New Moon , and  Pirates of the Caribbean: Dead Man's Chest . It also had the highest opening for a 2010 movie and Paramount's highest opening weekend. [117]  The film yielded an average of $29,252 per theater. [125]  IMAX contributed $9.8 million, which was the highest opening weekend for a 2D IMAX film, surpassing  Star Trek 's previous record of $8.5 million. [117]  Iron Man 2 is the thrid-highest-grossing film of 2010 in the United States and Canada, behind  Toy Story 3  and  Alice in Wonderland . [126] 
  Iron Man 2 launched in six European markets with number-one openings on Wednesday, April 28, 2010, for a total of $2.2 million. [127]  It earned $100.2 million its first five days from 53 foreign markets, for a strong average of $14,814 per site. [3]  IMAX Corporation reported grosses of $2.25 million, surpassing the previous record-holder for an IMAX 2D release, 2009's  Transformers: Revenge of the Fallen  ($2.1 million). [116]  It was the seventh-highest-grossing film of 2010 internationally, behind Toy Story 3, Alice in Wonderland,  Harry Potter and the Deathly Hallows – Part 1 ,  Inception ,  Shrek Forever After , and  The Twilight Saga: Eclipse . [128] 
Critical response[edit]
The review aggregator Rotten Tomatoes reported an approval rating of 71%, with an average score of 6.5/10, based on 303 reviews. The website's critical consensus reads, "It isn't quite the breath of fresh air that Iron Man was, but this sequel comes close with solid performances and an action-packed plot." [129]  Metacritic gave the film a weighted average rating of 57 out of 100, based on 40 critics, indicating "mixed or average reviews". [130]  Audiences polled by CinemaScore gave the film an average grade of "A" on a scale of A+ to F, the same score as its predecessor. [125] 
 Brian Lowry of  Variety  stated, "Iron Man 2 isn't as much fun as its predecessor, but by the time the smoke clears, it'll do". [49]  Anthony Lane of  The New Yorker  said, "To find a comic-book hero who doesn't agonize over his supergifts, and would defend his constitutional right to get a kick out of them, is frankly a relief". [131]  David Edelstein of  New York Magazine  wrote, "It doesn't come close to the emotional heft of those two rare 2s that outclassed their ones:  Superman II  and  Spider-Man 2 . But Iron Man 2 hums along quite nicely". [132]  Roger Ebert gave it 3 stars out of 4, stating, "Iron Man 2 is a polished, high-octane sequel, not as good as the original but building once again on a quirky performance by Robert Downey Jr". [133]  Frank Lovece of  Film Journal International , a one-time Marvel Comics writer, said, "In a refreshing and unexpected turn, the sequel to Iron Man doesn't find a changed man. Inside the metal, imperfect humanity grows even more so, as thought-provoking questions of identity meet techno-fantasy made flesh." [134] 
 Conversely, Kirk Honeycutt of  The Hollywood Reporter  stated, "Everything fun and terrific about Iron Man, a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines." [135] 
Accolades[edit]
 
Year
Award
Category
Recipient(s)
Result
 Ref.
 
2010
 Hollywood Film Award
Visual Effects of the Year
 Iron Man 2
Won
  [136] 
 
 Satellite Awards
Best Sound (Mixing &amp; Editing)
 Iron Man 2
Nominated
  [137] 
 
Best Visual Effects
Nominated
 
 Teen Choice Awards
 Choice Movie: Sci-Fi
 Iron Man 2
Nominated
  [138] 
 
 Choice Movie Actor: Sci-Fi
 Robert Downey Jr.
Nominated
 
 Choice Movie Actress: Sci-Fi
 Gwyneth Paltrow
Nominated
 
 Scarlett Johansson
Nominated
 
 Choice Movie: Villain
 Mickey Rourke
Nominated
 
Choice Movie: Dance
Robert Downey Jr.
Nominated
 
Choice Movie: Fight
 Don Cheadle and Robert Downey Jr. (Iron Man &amp; War Machine vs The Hammer Drones)
Nominated
 
 Scream Awards
The Ultimate Scream
 Iron Man 2
Nominated
  [139] 
 
Best Science Fiction Movie
Nominated
 
Best Science Fiction Actor
Robert Downey Jr.
Nominated
 
Best Science Fiction Actress
Gwyneth Paltrow
Nominated
 
Scarlett Johansson
Won
 
Best Supporting Actor
Don Cheadle
Nominated
 
Best Villain
Mickey Rourke
Won
 
Best Superhero
Robert Downey Jr.
Won
 
Best Cameo
 Stan Lee
Nominated
 
Best Ensemble
 Iron Man 2
Nominated
 
Fight Scene of the Year
"Final Battle: Iron Man and War Machine vs Whiplash and the Drones"
Nominated
 
Best F/X
 Iron Man 2
Nominated
 
Best Comic Book Movie
Nominated
 
2011
 People's Choice Awards
Favorite Action Movie
 Iron Man 2
Won
  [140] 
 
Favorite Movie
Nominated
 
Favorite Movie Actor
Robert Downey Jr.
Nominated
 
Favorite Action Star
Nominated
 
Favorite On-Screen Team
Robert Downey Jr. and Don Cheadle
Nominated
 
 Academy Awards
 Best Visual Effects
 Iron Man 2
Nominated
  [141] 
 
 Saturn Awards
 Best Science Fiction Film
 Iron Man 2
Nominated
  [142] 
 
 Best Actor
Robert Downey Jr.
Nominated
 
 Best Supporting Actress
Scarlett Johansson
Nominated
 
 Best Special Effects
 Iron Man 2
Nominated
 
 Visual Effects Society Awards
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
 Ben Snow, Ged Wright, Janek Sirrs, Susan Pickett
Nominated
  [143] 
 
Outstanding Models in a Feature Motion Picture
Bruce Holcomb, Ron Woodall, John Goodson, John Walker for "Hammer Military Drones"
Nominated
 
Outstanding Created Environment in a Feature Motion Picture
Giles Hancock, Richard Bluff, Todd Vaziri, Aaron McBride for the "Stark Expo"
Nominated
   
Sequel[edit]
After the release of Iron Man 2, Walt Disney Studios agreed to pay Paramount at least $115 million for the worldwide distribution rights to Iron Man 3 and The Avengers. [144]  Disney, Marvel, and Paramount announced a May 3, 2013, release date for Iron Man 3. [145]  Shane Black directed Iron Man 3, [146]  from a screenplay by Drew Pearce. [147]  Downey, Paltrow, Cheadle, and Favreau reprised their roles, while Ben Kingsley  [148]  played Trevor Slattery, [149]  Guy Pearce played Aldrich Killian, [150]  and Rebecca Hall  [151]  played Maya Hansen. [152] 
See also[edit]
  List of films featuring powered exoskeletons 
"What If... the World Lost Its Mightiest Heroes?", an episode of the MCU television series  What If...?  that reimagines some events of this film 
Notes[edit]
 
^    a       b    In July 2013, the film's distribution rights were transferred from Paramount Pictures to Walt Disney Studios Motion Pictures. [4]   [5] 
  ^  The events of the film also take place simultaneously with the events of  The Incredible Hulk  (2008) and  Thor  (2011). [6] 
  ^  As depicted in  Thor  (2011)
 
References[edit]
 
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External links[edit]
 
Wikimedia Commons has media related to Iron Man 2. 
  Official website 
  Iron Man 2  at IMDb 
  Iron Man 2  title listing at the Internet Speculative Fiction Database 
 Stark Expo viral marketing website (archived)
Iron Man 2 - Wikipedia
https://en.wikipedia.org/wiki/Iron_Man_2
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<li><i><a href="/wiki/Jurassic_Park_III_(film_score)">Jurassic Park III</a></i> (2001)</li>
<li><i><a href="/wiki/Jurassic_World:_Original_Motion_Picture_Soundtrack">Jurassic World</a></i> (2015)</li>
<li><i><a href="/wiki/Jurassic_World:_Fallen_Kingdom_(film_score)">Jurassic World: Fallen Kingdom</a></i> (2018)</li>
<li><i><a href="/wiki/Jurassic_World_Dominion_(film_score)">Jurassic World Dominion</a></i> (2022)</li></ul>
</div></td></tr><tr><th>Miscellaneous</th></tr><tr><th>Toy(s)</th><td><a href="#Toys">List of toys</a> and see <a href="/wiki/Lego_Jurassic_World_(theme)">Lego <i>Jurassic World</i></a></td></tr><tr><th>Theme park attraction(s)</th><td><div>
<ul><li><a href="/wiki/Jurassic_Park:_The_Ride">Jurassic Park: The Ride</a> (1996)</li>
<li><a href="/wiki/Canopy_Flyer">Canopy Flyer</a> (2010)</li>
<li><a href="/wiki/Dino-Soarin%27">Dino-Soarin'</a> (2010)</li>
<li><a href="/wiki/Jurassic_Park_Rapids_Adventure">Jurassic Park Rapids Adventure</a> (2010)</li>
<li><a href="/wiki/The_Flying_Dinosaur">The Flying Dinosaur</a> (2016)</li>
<li><a href="/wiki/Jurassic_World:_The_Ride">Jurassic World: The Ride</a> (2019)</li>
<li><a href="/wiki/VelociCoaster">VelociCoaster</a> (2021)</li></ul>
</div></td></tr><tr><th>Character(s)</th><td><a href="/wiki/List_of_Jurassic_Park_characters">List of characters</a></td></tr><tr><th>Official website</th></tr><tr><td><a href="http://www.jurassicworld.com/">Jurassicpark.com</a></td></tr></tbody></table>
<p><i><b>Jurassic Park</b></i>, later also referred to as <i><b>Jurassic World</b></i>,<sup><a href="#cite_note-1">[1]</a></sup> is an American <a href="/wiki/Science_fiction">science fiction</a> <a href="/wiki/Media_franchise">media franchise</a> created by <a href="/wiki/Michael_Crichton">Michael Crichton</a> and centered on a disastrous attempt to create a <a href="/wiki/Theme_park">theme park</a> of <a href="/wiki/De-extinction#Cloning">cloned</a> <a href="/wiki/Dinosaur">dinosaurs</a>. It began in 1990 when <a href="/wiki/Universal_Pictures">Universal Pictures</a> and <a href="/wiki/Amblin_Entertainment">Amblin Entertainment</a> bought the rights to Crichton's novel <i><a href="/wiki/Jurassic_Park_(novel)">Jurassic Park</a></i> before it was published. The book was successful, as was <a href="/wiki/Steven_Spielberg">Steven Spielberg</a>'s <a href="/wiki/Jurassic_Park_(film)">1993 film adaptation</a>. The film received a theatrical 3D re-release in 2013,<sup><a href="#cite_note-2">[2]</a></sup> and was selected in 2018 for preservation in the United States <a href="/wiki/National_Film_Registry">National Film Registry</a> by the <a href="/wiki/Library_of_Congress">Library of Congress</a> as being "culturally, historically, or aesthetically significant". A 1995 sequel novel, <i><a href="/wiki/The_Lost_World_(Crichton_novel)">The Lost World</a></i>, was followed by <a href="/wiki/The_Lost_World:_Jurassic_Park">a film adaptation</a> in 1997. Subsequent films in the series, including <i><a href="/wiki/Jurassic_Park_III">Jurassic Park III</a></i> (2001), are not based on the novels.
</p><p>In 2015, a second trilogy of films began with the fourth film in the series, <i><a href="/wiki/Jurassic_World">Jurassic World</a></i>. The film was successful, becoming the first film to gross over $500 million worldwide in its opening weekend,<sup><a href="#cite_note-3">[3]</a></sup> and grossed over $1.6 billion through the course of its theatrical run, making it the <a href="/wiki/List_of_highest-grossing_films">third highest-grossing film</a> at the time. It became the <a href="/wiki/2015_in_film#Highest-grossing_films">second highest-grossing film of 2015</a>,<sup><a href="#cite_note-BOM_2015-4">[4]</a></sup> and is currently the eighth <a href="/wiki/List_of_highest-grossing_films">highest-grossing film of all time</a>.<sup><a href="#cite_note-BOM_WW-5">[5]</a></sup> When adjusted for <a href="/wiki/Monetary_inflation">monetary inflation</a>, <i>Jurassic World</i> is the second highest-grossing film in the franchise after <i>Jurassic Park</i>. A sequel, <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i> (2018) grossed over $1.3 billion worldwide, making it the third <i>Jurassic</i> film to pass the billion-dollar mark. It is the <a href="/wiki/2018_in_film#Highest-grossing_films">third highest-grossing film of 2018</a>,<sup><a href="#cite_note-BOM_2018-6">[6]</a></sup> and currently the 18th <a href="/wiki/List_of_highest-grossing_films">highest-grossing film of all time</a>.<sup><a href="#cite_note-BOM_WW-5">[5]</a></sup> The final film in the trilogy, <i><a href="/wiki/Jurassic_World_Dominion">Jurassic World Dominion</a></i>, was released in 2022. It grossed over $1 billion worldwide and became the <a href="/wiki/2022_in_film#Highest-grossing_films">third highest-grossing film of 2022</a>.<sup><a href="#cite_note-BOM_2022-7">[7]</a></sup> <i>Jurassic World Dominion</i> also became the fourth film in the franchise to pass the billion-dollar mark.<sup><a href="#cite_note-8">[8]</a></sup><sup><a href="#cite_note-9">[9]</a></sup><sup><a href="#cite_note-10">[10]</a></sup>
</p><p><a href="/wiki/List_of_Jurassic_Park_video_games">Numerous video games</a> and <a href="#Comics">comic books</a> based on the franchise have been created since the release of the 1993 film, and <a href="#Theme_park_rides">several water rides</a> have been opened at various <a href="/wiki/Universal_Parks_%26_Resorts">Universal Studios theme parks</a>. <a href="/wiki/Lego">Lego</a> has produced <a href="#Lego_animated_projects">several animated projects</a> based on the <i>Jurassic World</i> films, including <i><a href="/wiki/Lego_Jurassic_World:_Legend_of_Isla_Nublar">Lego Jurassic World: Legend of Isla Nublar</a></i>, a miniseries released in 2019. <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a> also produced an animated series, <i><a href="/wiki/Jurassic_World_Camp_Cretaceous">Jurassic World Camp Cretaceous</a></i>, which ran on <a href="/wiki/Netflix">Netflix</a> from September 2020 to July 2022. As of 2000, the franchise had generated $5 billion in revenue making it one of the <a href="/wiki/List_of_highest-grossing_media_franchises">highest-grossing media franchises of all time</a>.<sup><a href="#cite_note-11">[11]</a></sup> The <i>Jurassic Park</i> franchise is also <a href="/wiki/List_of_highest-grossing_films#Highest-grossing_franchises_and_film_series">one of the highest-grossing film series</a> of all time, having earned over $6 billion at the worldwide box office.<sup><a href="#cite_note-12">[12]</a></sup><sup><a href="#cite_note-13">[13]</a></sup>
</p>
<h2>Background[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=1">edit</a>]</h2>
<h3>Premise and dinosaurs[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=2">edit</a>]</h3>
<p>The <i>Jurassic Park</i> franchise focuses on resurrected dinosaurs which wreak havoc on humans. The dinosaurs, created as theme park attractions, are cloned through genetic engineering. The process is accomplished by extracting <a href="/wiki/Ancient_DNA">ancient DNA</a> from mosquitoes, which sucked the blood of dinosaurs and then became <a href="/wiki/Fossil">fossilized</a> in <a href="/wiki/Amber">amber</a>, preserving the DNA. Scientists then fill gaps in the genome using frog DNA.<sup><a href="#cite_note-14">[14]</a></sup> Although the films primarily take place on islands located in the Pacific coast of <a href="/wiki/Central_America">Central America</a>, <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i> (2018) sees the dinosaurs relocated throughout the world, including the U.S. mainland.<sup><a href="#cite_note-Burning-15">[15]</a></sup>
</p><p>The film series is notable for its recreation of dinosaurs, achieved primarily through <a href="/wiki/Animatronics">animatronics</a> and <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a>.<sup><a href="#cite_note-16">[16]</a></sup><sup><a href="#cite_note-17">[17]</a></sup> The first film was praised for its dinosaur effects, and created an increased interest in the field of <a href="/wiki/Paleontology">paleontology</a>, while changing the public perception of dinosaurs with its modern portrayal.<sup><a href="#cite_note-18">[18]</a></sup><sup><a href="#cite_note-19">[19]</a></sup> Later films largely ignored recent paleontological findings to maintain continuity with the earlier installments, leading to criticism among paleontologists.<sup><a href="#cite_note-20">[20]</a></sup><sup><a href="#cite_note-21">[21]</a></sup><sup><a href="#cite_note-22">[22]</a></sup>
</p><p><i><a href="/wiki/Jurassic_World_Dominion">Jurassic World Dominion</a></i> (2022) introduces <a href="/wiki/Feathered_dinosaur">feathered dinosaurs</a>, in line with modern discoveries.<sup><a href="#cite_note-23">[23]</a></sup>
</p>
<h3>InGen[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=3">edit</a>]</h3>
<div><p><a href="/wiki/File:InGen_(_fictional_company_logo).png"></a></p><div><p>The company logo for InGen in the film series</p></div></div>
<p><b>International Genetic Technologies, Inc.</b> (<b>InGen</b>) is the fictional company responsible for cloning the dinosaurs. According to the novels, it is based in <a href="/wiki/Palo_Alto,_California">Palo Alto</a>, <a href="/wiki/California">California</a>, and has one location in <a href="/wiki/Europe">Europe</a> as well.<sup><a href="#cite_note-source-24">[nb 1]</a></sup> Nevertheless, most of InGen's research took place on the fictional islands of Isla Sorna and Isla Nublar, near Costa Rica.<sup><a href="#cite_note-source-24">[nb 1]</a></sup><sup><a href="#cite_note-25">[nb 2]</a></sup> While the first novel indicated InGen was just one of any number of small 1980s genetic engineering start-ups, the events of the novel and film revealed to a select group that InGen had discovered a method for cloning dinosaurs, which would be placed in an island theme park attraction.<sup><a href="#cite_note-source-24">[nb 1]</a></sup>
</p><p>InGen was well established in the first novel as the entity behind the park, but for simplicity the first film emphasized the <i>Jurassic Park</i> brand. The InGen name is visible in the film — on computer screens, helicopters, etc. — but is never spoken. InGen's corporate identity is more prominent in the second film. By the time that <i><a href="/wiki/Jurassic_World">Jurassic World</a></i> takes place, InGen and all its <a href="/wiki/Intellectual_property">intellectual property</a> has been absorbed by the Masrani Global Corporation.
</p><p><i>Beacham's Encyclopedia of Popular Fiction</i> describes InGen as comparable to other "sleazy organizations".<sup><a href="#cite_note-26">[24]</a></sup> Other sources reference the company's receiving a baby <i>T. rex</i> (in <i><a href="/wiki/The_Lost_World:_Jurassic_Park">The Lost World: Jurassic Park</a></i>) as an allusion to other exploitative entrepreneurs depicted in the 1933 film <i><a href="/wiki/King_Kong_(1933_film)">King Kong</a></i>.<sup><a href="#cite_note-27">[25]</a></sup> Ken Gelder describes InGen as "resolutely secretive", like the tax firm in <a href="/wiki/John_Grisham">John Grisham</a>'s 1991 novel <i><a href="/wiki/The_Firm_(novel)">The Firm</a></i>.<sup><a href="#cite_note-28">[26]</a></sup>
</p>
<h3>Biosyn[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=4">edit</a>]</h3>
<div><p><a href="/wiki/File:Biosyn_Genetics_(fictional_company_logo).png"></a></p><div><p>The logo for Biosyn in the film <i>Jurassic World Dominion</i></p></div></div>
<p>In the novels, <b>Biosyn Corporation</b> (or <b>Biosyn</b> for short) is InGen's corporate rival. The company is controversial for its <a href="/wiki/Industrial_espionage">industrial espionage</a> in the genetics industry. <a href="/wiki/Lewis_Dodgson">Lewis Dodgson</a>, an employee of Biosyn, helps the company in its theft of corporate secrets. Biosyn is interested in acquiring InGen's dinosaur DNA, believing the animals present a variety of uses such as hunting trophies and pharmaceutical test subjects.<sup><a href="#cite_note-source-24">[nb 1]</a></sup>
</p><p>Dodgson makes only a minor appearance in the first film, and his employer is not named.<sup><a href="#cite_note-Scott-29">[27]</a></sup> However, Biosyn is featured in several video games.<sup><a href="#cite_note-33">[nb 3]</a></sup>
</p><p>The company, as <b>Biosyn Genetics</b>, makes its film debut in <i><a href="/wiki/Jurassic_World_Dominion">Jurassic World Dominion</a></i> (2022). By the time that the film takes place, Dodgson has become the company's CEO. Biosyn's employees now include geneticist <a href="/wiki/Dr._Henry_Wu">Dr. Henry Wu</a> and mathematician <a href="/wiki/Dr._Ian_Malcolm">Dr. Ian Malcolm</a>, the latter working as the company's in-house philosopher.<sup><a href="#cite_note-Scott-29">[27]</a></sup> With dinosaurs loose around the world and captured by governments, Biosyn has a contract to house the animals at its headquarters in the <a href="/wiki/Dolomites">Dolomites</a> mountain range in Italy. In addition to performing pharmaceutical research on the dinosaurs, the company has also captured 14-year-old orphan <a href="/wiki/Maisie_Lockwood">Maisie Lockwood</a> and unleashed giant locusts to devour their rivals' crops. By the end of the film, this plot is foiled and exposed to the public.<sup><a href="#cite_note-34">[31]</a></sup><sup><a href="#cite_note-35">[32]</a></sup> The film's director, <a href="/wiki/Colin_Trevorrow">Colin Trevorrow</a>, described Biosyn not as an "evil" corporation but rather an entity with thousands of employees who have the best intentions in mind, only to feel betrayed by Dodgson upon learning of his actions.<sup><a href="#cite_note-Busch-36">[33]</a></sup>
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<h3>Isla Nublar[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=5">edit</a>]</h3>
<div><p><a href="/wiki/File:Isla_Nublar_map_english.jpg"></a></p><div><p>Fan-made map of Isla Nublar, based on its description in the first novel</p></div></div> 
<p><b>Isla Nublar</b> is a fictional <a href="/wiki/Central_America">Central American</a> island that serves as a major setting in <a href="/wiki/Jurassic_Park_(novel)">the first novel</a> and <a href="/wiki/Jurassic_Park_(film)">its film adaptation</a>, as well as the films <i><a href="/wiki/Jurassic_World">Jurassic World</a></i> and <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i>. According to the novel, its name means "Cloud Island" in Spanish. The tropical island is located 120 miles (190 kilometres) west of <a href="/wiki/Costa_Rica">Costa Rica</a> and has an inactive volcano. In the first novel and film, Isla Nublar is the location of Jurassic Park, a dinosaur theme park proposed by InGen, but it fails to open after the animals escape. In the novel, the Costa Rican government declares the island unsafe and has it <a href="/wiki/Napalmed">napalmed</a>; in the film series, the island continues to exist until the <i>Jurassic World</i> trilogy.
</p><p>In <i>Jurassic World</i>, the theme park idea has been carried out successfully by Masrani Global Corporation. By the end of the film however, the island is overrun by dinosaurs once more following the <i>Indominus rex</i> incident.
</p><p>In <i>Jurassic World: Fallen Kingdom</i>, Isla Nublar is destroyed when its volcano becomes active again and erupts.<sup><a href="#cite_note-EmpireSecrets-37">[34]</a></sup>
</p><p>In the films, several Hawaiian islands stood in as Isla Nublar, including <a href="/wiki/Oahu">Oahu</a> and <a href="/wiki/Kauai">Kauai</a>.<sup><a href="#cite_note-38">[35]</a></sup><sup><a href="#cite_note-39">[36]</a></sup><sup><a href="#cite_note-40">[37]</a></sup> Some filming also took place on sound stages, in California for the original film,<sup><a href="#cite_note-41">[38]</a></sup> and in Louisiana for <i>Jurassic World</i>.<sup><a href="#cite_note-42">[39]</a></sup>
</p>
<h3>Isla Sorna[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=6">edit</a>]</h3>
<p><b>Isla Sorna</b>, also called <b>Site B</b>, is another fictional <a href="/wiki/Central_America">Central American</a> island. It is 87 miles (140 km) southwest of Isla Nublar, and 207 miles (333 km) west of Costa Rica. It is the main setting for <a href="/wiki/The_Lost_World_(Crichton_novel)">the second novel</a> and <a href="/wiki/The_Lost_World:_Jurassic_Park">its film adaptation</a>, as well as <a href="/wiki/Jurassic_Park_III">the third film</a>. Isla Sorna is where InGen conducted much of its dinosaur research. It is here that the dinosaurs were bred before being shipped off to Isla Nublar; a laboratory on the latter island was built only as a showroom for tourists. Isla Sorna is significantly larger than Isla Nublar and has various climates including tropical, highland tropical and temperate rainforest. It is part of a five-island chain known as Las Cinco Muertes (The Five Deaths), although the other islands do not play a role in the novels or films.
</p><p>Isla Sorna is abandoned by InGen after the events of the first novel and film, and the dinosaurs are left to live freely and reproduce. At the end of the second film, it is stated that Isla Sorna has been set up as a biological preserve for the animals, after a failed attempt to relocate them to a new theme park in San Diego.<sup><a href="#cite_note-Biggest-43">[40]</a></sup> The status of Isla Sorna is not mentioned in <i>Jurassic World</i> or <i>Jurassic World: Fallen Kingdom</i>, but a promotional website for the latter film states that the island ecosystem suffered a breakdown after illegally-cloned animals were introduced there. The surviving dinosaurs were relocated to Isla Nublar for the opening of the Jurassic World theme park, leaving Sorna abandoned.<sup><a href="#cite_note-44">[41]</a></sup><sup><a href="#cite_note-Biggest-43">[40]</a></sup> <i>Jurassic World Dominion</i> shows the two adult <i>Tyrannosaurus</i> from Isla Sorna encountering the <i>Tyrannosaurus</i> from <i>Isla Nublar</i>. In the same movie, Ramsay Cole mentions that Isla Sorna's dinosaurs have been relocated to Biosyn's valley along with those from Isla Nublar that have been rounded up. The island briefly appears in video footage from 1986 shown to Maisie Lockwood by Henry Wu.
</p><p>For the second film, <a href="/wiki/Humboldt_County,_California">Humboldt County, California</a> served as the primary location for scenes set on Isla Sorna, giving it a forest climate.<sup><a href="#cite_note-45">[42]</a></sup><sup><a href="#cite_note-46">[43]</a></sup> Filming also took place on sound stages at <a href="/wiki/Universal_Studios_Hollywood">Universal Studios Hollywood</a>,<sup><a href="#cite_note-47">[44]</a></sup> and a beach scene was shot on Kauai.<sup><a href="#cite_note-48">[45]</a></sup><sup><a href="#cite_note-49">[46]</a></sup> The third film largely uses Oahu and Kauai to represent Isla Sorna, as the original film had done for Isla Nublar. A jungle set was also built on a sound stage at Universal Studios.<sup><a href="#cite_note-50">[47]</a></sup><sup><a href="#cite_note-Notes-51">[48]</a></sup>
</p>
<h2>Novels[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=7">edit</a>]</h2>
<div><p><a href="/wiki/File:Michael_Crichton%27s_Jurassic_World.jpg"></a></p><div><p>Cover of Michael Crichton's <i>Jurassic World</i> two-novel set</p></div></div>
<h3><i>Jurassic Park</i> (1990)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=8">edit</a>]</h3>
<p>In 1983, <a href="/wiki/Michael_Crichton">Michael Crichton</a> originally conceived a screenplay about a <a href="/wiki/Pterosaur">pterosaur</a> being cloned from <a href="/wiki/Ancient_DNA">fossil DNA</a>.<sup><a href="#cite_note-mc-52">[49]</a></sup> After wrestling with this idea for a while, he came up with the story of <i><a href="/wiki/Jurassic_Park_(novel)">Jurassic Park</a></i>.<sup><a href="#cite_note-53">[50]</a></sup> Crichton worked on the book for several years; he decided his first draft would have a theme park for the setting (similar to his 1973 film <i><a href="/wiki/Westworld_(film)">Westworld</a></i>) and a young boy as the main character.<sup><a href="#cite_note-mc-52">[49]</a></sup> Response was extremely negative, so Crichton rewrote the story to make it from an adult's point of view, which resulted in more positive feedback.<sup><a href="#cite_note-mc-52">[49]</a></sup>
</p><p><a href="/wiki/Steven_Spielberg">Steven Spielberg</a> learned of the novel in October 1989 while he and Crichton were discussing a screenplay that would become the TV series <i><a href="/wiki/ER_(TV_series)">ER</a></i>. <a href="/wiki/Warner_Bros._Pictures">Warner Bros. Pictures</a>, <a href="/wiki/Columbia_Pictures">Columbia Pictures</a>, <a href="/wiki/20th_Century_Fox">20th Century Fox</a>, and <a href="/wiki/Universal_Pictures">Universal Pictures</a> bid for the rights to the novel before its publication. In May 1990, Universal acquired the rights, with the backing of Spielberg's <a href="/wiki/Amblin_Entertainment">Amblin Entertainment</a>.<sup><a href="#cite_note-Production_notes-54">[51]</a></sup> Crichton put up a non-negotiable fee for $1.5 million as well as a substantial percentage of the gross. Universal further paid Crichton $500,000 to adapt his own novel (<a href="/wiki/Malia_Scotch_Marmo">Malia Scotch Marmo</a>, who was a writer on Spielberg's 1991 film <i><a href="/wiki/Hook_(film)">Hook</a></i>, wrote the next draft of <i>Jurassic Park</i>, but was not credited; <a href="/wiki/David_Koepp">David Koepp</a> wrote the final draft, which left out much of the novel's exposition and violence, and made numerous changes to the characters).<sup><a href="#cite_note-55">[52]</a></sup> Universal desperately needed money to keep their company alive, and partially succeeded with <i>Jurassic Park</i>, as it became a critical<sup><a href="#cite_note-56">[53]</a></sup> and commercial<sup><a href="#cite_note-57">[54]</a></sup> success.
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<h3><i>The Lost World</i> (1995)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=9">edit</a>]</h3>
 
<p>After the <a href="/wiki/Jurassic_Park_(film)">film adaptation</a> of <i>Jurassic Park</i> was released to <a href="/wiki/Home_video">home video</a>, Crichton was pressured from many sources for a sequel novel.<sup><a href="#cite_note-prod-58">[55]</a></sup> Crichton declined all offers until Spielberg himself told him that he would be keen to direct a movie adaptation of the sequel, if one were written. Crichton began work almost immediately and in 1995 published <i><a href="/wiki/The_Lost_World_(Crichton_novel)">The Lost World</a></i>. Crichton confirmed that his novel had elements taken from the <a href="/wiki/The_Lost_World_(Conan_Doyle_novel)">novel of the same name</a> by <a href="/wiki/Arthur_Conan_Doyle">Sir Arthur Conan Doyle</a>.<sup><a href="#cite_note-59">[56]</a></sup> The book was also an outstanding success, both with professional and amateur critics.<sup><a href="#cite_note-prod-58">[55]</a></sup> The film adaptation, <i><a href="/wiki/The_Lost_World:_Jurassic_Park">The Lost World: Jurassic Park</a></i>, began production in September 1996.<sup><a href="#cite_note-60">[57]</a></sup>
</p>
<h3><i>Jurassic Park Adventures</i> (2001–2002)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=10">edit</a>]</h3>
<p><a href="/wiki/Scott_Ciencin">Scott Ciencin</a> wrote a trilogy of spin-off novels based upon <i>Jurassic Park III</i>. The series contained <i><a href="/wiki/Jurassic_Park_Adventures:_Survivor">Jurassic Park Adventures: Survivor</a></i> and <i><a href="/wiki/Jurassic_Park_Adventures:_Prey">Jurassic Park Adventures: Prey</a></i>, both released in 2001, and <i><a href="/wiki/Jurassic_Park_Adventures:_Flyers">Jurassic Park Adventures: Flyers</a></i>, released the following year.
</p>
<h3><i>The Evolution of Claire</i> (2018)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=11">edit</a>]</h3>
<p><i>The Evolution of Claire (Jurassic World)</i><sup><a href="#cite_note-61">[58]</a></sup> is a <a href="/wiki/Young_adult_fiction">young adult</a> novel written by Tess Sharpe. It is based upon the <i><a href="#Jurassic_World_trilogy">Jurassic World</a></i> trilogy, and was released in 2018 in conjunction with the release of <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i>. It is a spin-off set in 2004, prior to the opening of the <a href="/wiki/Jurassic_World">Jurassic World</a> theme park. The novel is about college freshman <a href="/wiki/Claire_Dearing">Claire Dearing</a> during her summer internship at the park.<sup><a href="#cite_note-62">[59]</a></sup>
</p>
<h2>Films[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=12">edit</a>]</h2>
<h3><i>Jurassic Park</i> trilogy[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=13">edit</a>]</h3>
<h4><i>Jurassic Park</i> (1993)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=14">edit</a>]</h4>
<div><p><a href="/wiki/File:Tyrannosaurus_skeletal_diagram.jpg"></a></p><div><p>1917 skeletal diagram of <i><a href="/wiki/Tyrannosaurus">Tyrannosaurus</a></i> published by <a href="/wiki/Henry_Fairfield_Osborn">Henry Fairfield Osborn</a>, which was the basis of the covers of <i>Jurassic Park</i> and <i>The Lost World</i>, and subsequently the logo of the movies</p></div></div>
<div><p><a href="/wiki/File:Jurassic_Park_3D.jpg"></a></p><div><p>Theatrical poster for the 3D re-release of <i>Jurassic Park</i></p></div></div>
<p>John Hammond (<a href="/wiki/Richard_Attenborough">Richard Attenborough</a>) is the owner of Jurassic Park, a theme park located on Isla Nublar. After an incident with a velociraptor, Hammond brings in three specialists to sign off on the park to calm investors. The specialists, paleontologist Alan Grant (<a href="/wiki/Sam_Neill">Sam Neill</a>), paleobotanist Ellie Sattler (<a href="/wiki/Laura_Dern">Laura Dern</a>), and chaos theorist Ian Malcolm (<a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a>), are surprised to see that the island park's main attraction are living, breathing dinosaurs, created with a mixture of fossilized DNA and genetic cross-breeding/cloning. When lead programmer Dennis Nedry (<a href="/wiki/Wayne_Knight">Wayne Knight</a>) turns off the park's power to sneak out with samples of the dinosaur embryos to sell to a corporate rival, the dinosaurs break free, and the survivors are forced to find a way to turn the power back on and make it out alive. The film also stars <a href="/wiki/Bob_Peck">Bob Peck</a>, <a href="/wiki/Martin_Ferrero">Martin Ferrero</a>, <a href="/wiki/BD_Wong">BD Wong</a>, <a href="/wiki/Ariana_Richards">Ariana Richards</a>, <a href="/wiki/Joseph_Mazzello">Joseph Mazzello</a>, and <a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a>.
</p><p>Spielberg cited <i><a href="/wiki/Godzilla_(franchise)">Godzilla</a></i> as an inspiration for <i>Jurassic Park</i>, specifically <i><a href="/wiki/Godzilla,_King_of_the_Monsters!">Godzilla, King of the Monsters!</a></i> (1956), which he grew up watching. During production, Spielberg described <i>Godzilla</i> as "the most masterful of all the dinosaur movies because it made you believe it was really happening".<sup><a href="#cite_note-63">[60]</a></sup>
</p><p><i>Jurassic Park's</i> biggest impact on subsequent films was a result of its breakthrough use of <a href="/wiki/Computer-generated_imagery">computer-generated imagery</a>.<sup><a href="#cite_note-64">[61]</a></sup><sup><a href="#cite_note-65">[62]</a></sup><sup><a href="#cite_note-66">[63]</a></sup> The film is regarded as a landmark for <a href="/wiki/Visual_effects">visual effects</a>.<sup><a href="#cite_note-67">[64]</a></sup><sup><a href="#cite_note-68">[65]</a></sup><sup><a href="#cite_note-69">[66]</a></sup> It received positive reviews from critics, who praised the effects, though reactions to other elements of the picture, such as character development, were mixed. During its release, the film grossed more than $914 million worldwide,<sup><a href="#cite_note-70">[67]</a></sup> becoming the most successful film released up to that time (surpassing <i><a href="/wiki/E.T._the_Extra-Terrestrial">E.T. the Extra-Terrestrial</a></i> and surpassed 4 years later by <i><a href="/wiki/Titanic_(1997_film)">Titanic</a></i>), and it is currently the <a href="/wiki/List_of_highest-grossing_films">17th highest grossing feature film</a> (taking inflation into account, it is the <a href="/wiki/List_of_highest-grossing_films_in_Canada_and_the_United_States">20th-highest-grossing film</a> in North America). It is the most financially successful film for <a href="/wiki/NBCUniversal">NBCUniversal</a> and Steven Spielberg.
</p><p>Recently, <i>Jurassic Park</i> has been proposed to be recognized as Intangible Geoheritage due to its cultural impact on the people's views about dinosaurs, including a change in the popular iconography of carnivorous dinosaurs.<sup><a href="#cite_note-71">[68]</a></sup>
</p><p><i>Jurassic Park</i> had two re-releases: The first on September 23, 2011, in the <a href="/wiki/United_Kingdom">United Kingdom</a> and the second in which it was converted into 3D on April 5, 2013, for its 20th anniversary, which resulted in the film passing the $1 billion mark at the worldwide box office.<sup><a href="#cite_note-72">[69]</a></sup><sup><a href="#cite_note-73">[70]</a></sup><sup><a href="#cite_note-74">[71]</a></sup> In 2018, the film was selected for preservation in the United States <a href="/wiki/National_Film_Registry">National Film Registry</a> by the <a href="/wiki/Library_of_Congress">Library of Congress</a> as being "culturally, historically, or aesthetically significant".<sup><a href="#cite_note-75">[72]</a></sup>
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<h4><i>The Lost World: Jurassic Park</i> (1997)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=15">edit</a>]</h4>
<p>Before <i>The Lost World</i> was published, a film adaptation was already in pre-production, with its release occurring in May 1997. The film was a commercial success, breaking many box-office records when released. The film was released to mixed reviews, similar to its predecessor in terms of characterization.<sup><a href="#cite_note-76">[73]</a></sup> Critical response to <i>The Lost World</i> has since become more favorable, with some publications calling it the best <i>Jurassic Park</i> sequel.<sup><a href="#cite_note-77">[74]</a></sup><sup><a href="#cite_note-78">[75]</a></sup> Much like the first film, <i>The Lost World: Jurassic Park</i> made a number of changes to the plot and characters from the book, replacing the corporate rivals with an internal power struggle and changing the roles or characterizations of several protagonists.
</p><p>When a vacationing family stumbles upon the dinosaurs of Isla Sorna, a secondary island where the animals were bred <i>en masse</i> and allowed to grow before being transported to the park, Ian Malcolm (<a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a>) is called in by John Hammond (<a href="/wiki/Richard_Attenborough">Richard Attenborough</a>) to lead a team to document the island to turn it into a preserve, where the animals can roam free without interference from the outside world. Malcolm agrees to go when he discovers his girlfriend, paleontologist Sarah Harding (<a href="/wiki/Julianne_Moore">Julianne Moore</a>) is already on the island, while at the same time Hammond's nephew, Peter Ludlow (<a href="/wiki/Arliss_Howard">Arliss Howard</a>), has taken over his uncle's company and leads a team of hunters to capture the creatures and bring them back to a theme park in San Diego. The two groups clash and are ultimately forced to work together to evade the predatory creatures and survive the second island. The film also stars <a href="/wiki/Pete_Postlethwaite">Pete Postlethwaite</a>, <a href="/wiki/Richard_Schiff">Richard Schiff</a>, <a href="/wiki/Vince_Vaughn">Vince Vaughn</a>, <a href="/wiki/Vanessa_Lee_Chester">Vanessa Lee Chester</a>, <a href="/wiki/Peter_Stormare">Peter Stormare</a>, and a young <a href="/wiki/Camilla_Belle">Camilla Belle</a>.
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<h4><i>Jurassic Park III</i> (2001)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=16">edit</a>]</h4>
<p><a href="/wiki/Joe_Johnston">Joe Johnston</a> had been interested in directing the sequel to <i><a href="/wiki/Jurassic_Park_(film)">Jurassic Park</a></i> and approached his friend <a href="/wiki/Steven_Spielberg">Steven Spielberg</a> about the project. While Spielberg wanted to direct the first sequel, he agreed that if there was ever a third film, Johnston could direct.<sup><a href="#cite_note-79">[76]</a></sup> Spielberg, nevertheless, stayed involved in this film by becoming its executive producer. Production began on August 30, 2000,<sup><a href="#cite_note-80">[77]</a></sup> with filming in California, and the Hawaiian islands of <a href="/wiki/Kauai">Kauai</a>, <a href="/wiki/Oahu">Oahu</a>, and <a href="/wiki/Molokai">Molokai</a>.<sup><a href="#cite_note-81">[78]</a></sup> It is the first <i>Jurassic Park</i> film not to be based on a novel, although it does incorporate some unused plot elements from the Crichton novels, such as the river escape and the pterosaur aviary. <i>Jurassic Park III</i> had a troubled production,<sup><a href="#cite_note-82">[79]</a></sup> and received mixed reviews from critics.<sup><a href="#cite_note-83">[80]</a></sup>
</p><p>When their son Eric (<a href="/wiki/Trevor_Morgan_(actor)">Trevor Morgan</a>) goes missing while parasailing at Isla Sorna, the Kirbys (<a href="/wiki/William_H._Macy">William H. Macy</a> and <a href="/wiki/T%C3%A9a_Leoni">Téa Leoni</a>) hire Alan Grant (<a href="/wiki/Sam_Neill">Sam Neill</a>) under false pretenses to help them navigate the island. Believing it to be nothing more than sight-seeing, and that he will act as a dinosaur guide from the safety of their plane, he is startled to find them landing on the ground, where they are stalked by a <i><a href="/wiki/Spinosaurus">Spinosaurus</a></i>, which destroys their plane. As they search for the Kirbys' son, the situation grows dire as <i><a href="/wiki/Velociraptors">Velociraptors</a></i> hunt their group and they must find a way off the island. The film also stars <a href="/wiki/Alessandro_Nivola">Alessandro Nivola</a>, <a href="/wiki/Michael_Jeter">Michael Jeter</a>, <a href="/wiki/Mark_Harelik">Mark Harelik</a>, and <a href="/wiki/Laura_Dern">Laura Dern</a>.
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<h3><i>Jurassic World</i> trilogy[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=17">edit</a>]</h3>
<div><p><a href="/wiki/File:Jurassic_World_(logo).png"></a></p><div><p>Logo used for the <i>Jurassic World</i> trilogy</p></div></div>
<h4><i>Jurassic World</i> (2015)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=18">edit</a>]</h4>
<p>Steven Spielberg devised a story idea for a fourth film in 2001, during production of <i>Jurassic Park III</i>.<sup><a href="#cite_note-84">[81]</a></sup> In 2002, <a href="/wiki/William_Monahan">William Monahan</a> was hired to write the script,<sup><a href="#cite_note-85">[82]</a></sup> with the film's release scheduled for 2005.<sup><a href="#cite_note-86">[83]</a></sup> Early aspects of the plot included dinosaurs escaping to the mainland,<sup><a href="#cite_note-87">[84]</a></sup><sup><a href="#cite_note-88">[85]</a></sup><sup><a href="#cite_note-IGN-89">[86]</a></sup> and an army of genetically modified dinosaur-human mercenaries.<sup><a href="#cite_note-90">[87]</a></sup><sup><a href="#cite_note-91">[88]</a></sup><sup><a href="#cite_note-92">[89]</a></sup><sup><a href="#cite_note-93">[90]</a></sup> Monahan finished the first draft of the script in 2003.<sup><a href="#cite_note-94">[91]</a></sup> Sam Neill and Richard Attenborough were set to reprise their characters,<sup><a href="#cite_note-IGN-89">[86]</a></sup><sup><a href="#cite_note-95">[92]</a></sup> while <a href="/wiki/Keira_Knightley">Keira Knightley</a> was in talks for two separate roles.<sup><a href="#cite_note-96">[93]</a></sup> In 2004, <a href="/wiki/John_Sayles">John Sayles</a> wrote two drafts of the script.<sup><a href="#cite_note-97">[94]</a></sup><sup><a href="#cite_note-98">[95]</a></sup> Sayles' first draft involved a team of <i><a href="/wiki/Deinonychus">Deinonychus</a></i> being trained for use in rescue missions.<sup><a href="#cite_note-99">[96]</a></sup><sup><a href="#cite_note-100">[97]</a></sup><sup><a href="#cite_note-101">[98]</a></sup>
</p><p>Both drafts were scrapped, and a new script was being worked on in 2006.<sup><a href="#cite_note-102">[99]</a></sup><sup><a href="#cite_note-103">[100]</a></sup><sup><a href="#cite_note-104">[101]</a></sup> Laura Dern was contacted to reprise her role, with the film expected for release in 2008.<sup><a href="#cite_note-105">[102]</a></sup><sup><a href="#cite_note-106">[103]</a></sup> The film was further delayed by the <a href="/wiki/2007%E2%80%9308_Writers_Guild_of_America_strike">2007–08 Writers Guild of America strike</a>.<sup><a href="#cite_note-107">[104]</a></sup> <a href="/wiki/Mark_Protosevich">Mark Protosevich</a> wrote two <a href="/wiki/Film_treatment">film treatments</a> in 2011, which were rejected.<sup><a href="#cite_note-108">[105]</a></sup> <i><a href="/wiki/Rise_of_the_Planet_of_the_Apes">Rise of the Planet of the Apes</a></i> screenwriters <a href="/wiki/Rick_Jaffa_and_Amanda_Silver">Rick Jaffa and Amanda Silver</a> were hired in 2012 to write an early draft of the script.<sup><a href="#cite_note-109">[106]</a></sup> In 2013, <a href="/wiki/Colin_Trevorrow">Colin Trevorrow</a> was announced as a director and co-writer,<sup><a href="#cite_note-110">[107]</a></sup><sup><a href="#cite_note-111">[108]</a></sup> with the film scheduled for release on June 12, 2015.<sup><a href="#cite_note-112">[109]</a></sup> The film was shot in <a href="/wiki/Univisium">Univisium 2.00:1</a>.<sup><a href="#cite_note-113">[110]</a></sup> It grossed over $1.6 billion worldwide and received generally positive reviews.<sup><a href="#cite_note-114">[111]</a></sup><sup><a href="#cite_note-115">[112]</a></sup><sup><a href="#cite_note-116">[113]</a></sup>
</p><p>The film features a new park, Jurassic World, built on the remains of the original park on Isla Nublar.<sup><a href="#cite_note-117">[114]</a></sup> The film sees the park run by Simon Masrani (<a href="/wiki/Irrfan_Khan">Irrfan Khan</a>) and Masrani Corp, and features the return of Dr. Henry Wu (<a href="/wiki/BD_Wong">BD Wong</a>) from the first film.<sup><a href="#cite_note-118">[115]</a></sup> <a href="/wiki/Chris_Pratt">Chris Pratt</a>, <a href="/wiki/Bryce_Dallas_Howard">Bryce Dallas Howard</a>, and <a href="/wiki/Jake_Johnson">Jake Johnson</a> star, while <a href="/wiki/Vincent_D%27Onofrio">Vincent D'Onofrio</a> portrayed the main antagonist, Vic Hoskins. The cast also includes <a href="/wiki/Lauren_Lapkus">Lauren Lapkus</a>,<sup><a href="#cite_note-119">[116]</a></sup> <a href="/wiki/Ty_Simpkins">Ty Simpkins</a>, <a href="/wiki/Nick_Robinson_(American_actor)">Nick Robinson</a>, <a href="/wiki/Omar_Sy">Omar Sy</a>, and <a href="/wiki/Judy_Greer">Judy Greer</a>. The primary dinosaur antagonist is <i><a href="/wiki/Indominus_rex">Indominus rex</a></i>, a genetically-modified hybrid of <i><a href="/wiki/Tyrannosaurus">Tyrannosaurus rex</a></i> and several other species, including <i><a href="/wiki/Velociraptor">Velociraptor</a></i>, cuttlefish, tree frog, and <a href="/wiki/Pit_viper">pit viper</a>. The Indominus Rex also features a chameleon-like camouflage ability, which was a plot element from the second Crichton novel unused in previous films.<sup><a href="#cite_note-120">[117]</a></sup><sup><a href="#cite_note-121">[118]</a></sup>
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<h4><i>Jurassic World: Fallen Kingdom</i> (2018)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=19">edit</a>]</h4>
<p>A sequel to <i>Jurassic World</i> was released on June 22, 2018.<sup><a href="#cite_note-122">[119]</a></sup><sup><a href="#cite_note-:0-123">[120]</a></sup> The film was directed by <a href="/wiki/J._A._Bayona">J. A. Bayona</a> and written by Trevorrow and Connolly,<sup><a href="#cite_note-:0-123">[120]</a></sup><sup><a href="#cite_note-Trevorrow-Sep-124">[121]</a></sup> with Trevorrow and Spielberg as executive producers.<sup><a href="#cite_note-:0-123">[120]</a></sup> The film stars Chris Pratt, Bryce Dallas Howard, <a href="/wiki/Rafe_Spall">Rafe Spall</a>, <a href="/wiki/Justice_Smith">Justice Smith</a>, <a href="/wiki/Daniella_Pineda">Daniella Pineda</a>, <a href="/wiki/James_Cromwell">James Cromwell</a>, <a href="/wiki/Toby_Jones">Toby Jones</a>, <a href="/wiki/Ted_Levine">Ted Levine</a>, BD Wong, <a href="/wiki/Isabella_Sermon">Isabella Sermon</a>, and <a href="/wiki/Geraldine_Chaplin">Geraldine Chaplin</a>, with <a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a> reprising his role as Dr. Ian Malcolm.<sup><a href="#cite_note-Prod-info-125">[122]</a></sup>
</p><p>During early conversations on <i>Jurassic World</i>, Spielberg told Trevorrow that he was interested in having several more films made.<sup><a href="#cite_note-Collider-126">[123]</a></sup> In April 2014, Trevorrow announced that sequels to <i>Jurassic World</i> had been discussed: "We wanted to create something that would be a little bit less arbitrary and episodic, and something that could potentially arc into a series that would feel like a complete story".<sup><a href="#cite_note-empire-127">[124]</a></sup> Trevorrow, who said he would direct the film if asked,<sup><a href="#cite_note-empire-127">[124]</a></sup> later told Spielberg that he would only focus on directing one film in the series.<sup><a href="#cite_note-Collider-126">[123]</a></sup> Trevorrow believed that different directors could bring different qualities to future films.<sup><a href="#cite_note-128">[125]</a></sup> Bayona was once considered to direct <i>Jurassic World</i>, but he declined as he felt there was not enough time for production.<sup><a href="#cite_note-129">[126]</a></sup> Filming took place from February to July 2017, in the United Kingdom and Hawaii.<sup><a href="#cite_note-Prod-info-125">[122]</a></sup><sup><a href="#cite_note-130">[127]</a></sup><sup><a href="#cite_note-131">[128]</a></sup>
</p><p>Former Jurassic World manager Claire Dearing and <i>Velociraptor</i> handler Owen Grady join a mission to rescue Isla Nublar's dinosaurs from a volcanic eruption by relocating them to a new island sanctuary. They discover that the mission is part of a scheme to sell the captured dinosaurs on the black market in order to fund his party's genetic research. The captured dinosaurs are brought to an estate in northern California, where several of the creatures are auctioned and subsequently shipped to their new owners. A new hybrid dinosaur, the <i><a href="/wiki/Indoraptor">Indoraptor</a></i> (one of the primary antagonists of the film), escapes and terrorizes people at the estate, forcing Owen and Claire to survive the chaos and rampage in the estate. A subplot about <a href="/wiki/Maisie_Lockwood">human cloning</a> was introduced in the film. <i>Fallen Kingdom</i>, similar to the second installment, <i>The Lost World</i>, re-explores the themes about the aftermath of the dinosaur park's demise on Isla Nublar and dinosaurs being used for exploitation by humans. The film grossed over $1.3 billion worldwide, and received mixed reviews from critics.<sup><a href="#cite_note-132">[129]</a></sup><sup><a href="#cite_note-133">[130]</a></sup><sup><a href="#cite_note-134">[131]</a></sup>
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<h4><i>Jurassic World Dominion</i> (2022)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=20">edit</a>]</h4>
<p><i>Jurassic World Dominion</i> was released on June 10, 2022.<sup><a href="#cite_note-NME-135">[132]</a></sup> It was directed by Trevorrow, with a screenplay written by him and <a href="/wiki/Emily_Carmichael_(filmmaker)">Emily Carmichael</a>, based on a story by Trevorrow and Connolly. Trevorrow and Spielberg serve as executive producers for the film, with <a href="/wiki/Frank_Marshall_(producer)">Frank Marshall</a> and Patrick Crowley as producers.<sup><a href="#cite_note-136">[133]</a></sup><sup><a href="#cite_note-137">[134]</a></sup><sup><a href="#cite_note-138">[135]</a></sup> The film stars <a href="/wiki/Chris_Pratt">Chris Pratt</a> and <a href="/wiki/Bryce_Dallas_Howard">Bryce Dallas Howard</a>, returning from the previous <i>Jurassic World</i> films. <a href="/wiki/Sam_Neill">Sam Neill</a>, <a href="/wiki/Laura_Dern">Laura Dern</a> and <a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a> also reprise their characters for major roles,<sup><a href="#cite_note-139">[136]</a></sup> marking the trio's first film appearance together since the original <i>Jurassic Park</i> film.<sup><a href="#cite_note-140">[137]</a></sup><sup><a href="#cite_note-141">[138]</a></sup> In addition, <a href="/wiki/Daniella_Pineda">Daniella Pineda</a>, <a href="/wiki/Justice_Smith">Justice Smith</a>, Isabella Sermon, and <a href="/wiki/Omar_Sy">Omar Sy</a> reprise their roles from the previous two films.<sup><a href="#cite_note-142">[139]</a></sup><sup><a href="#cite_note-143">[140]</a></sup> Other actors include <a href="/wiki/Mamoudou_Athie">Mamoudou Athie</a>,<sup><a href="#cite_note-144">[141]</a></sup> <a href="/wiki/DeWanda_Wise">DeWanda Wise</a>,<sup><a href="#cite_note-145">[142]</a></sup> <a href="/wiki/Dichen_Lachman">Dichen Lachman</a>, and <a href="/wiki/Scott_Haze">Scott Haze</a>.<sup><a href="#cite_note-146">[143]</a></sup><sup><a href="#cite_note-147">[144]</a></sup> <a href="/wiki/Campbell_Scott">Campbell Scott</a> portrays the character <a href="/wiki/Lewis_Dodgson">Lewis Dodgson</a> from the first film, originally played by <a href="/wiki/Cameron_Thor">Cameron Thor</a>.<sup><a href="#cite_note-148">[145]</a></sup>
</p><p>Planning for the film dates to 2014.<sup><a href="#cite_note-149">[146]</a></sup><sup><a href="#cite_note-Trevorrow-Sep-124">[121]</a></sup> Trevorrow and Carmichael were writing the script as of April 2018.<sup><a href="#cite_note-Apr18-150">[147]</a></sup> Trevorrow said the film would focus on the dinosaurs that went <a href="/wiki/Open-source_model">open source</a> after being sold and spread around the world in <i>Jurassic World: Fallen Kingdom</i>, allowing people other than <a href="/wiki/Henry_Wu_(character)">Dr. Henry Wu</a> to create their own dinosaurs.<sup><a href="#cite_note-Burning-15">[15]</a></sup><sup><a href="#cite_note-Slash-151">[148]</a></sup><sup><a href="#cite_note-EmpireSecrets-37">[34]</a></sup> Trevorrow stated that the film would be set around the world, and said that the idea of Henry Wu being the only person who knows how to create a dinosaur was far-fetched "after 30 years of this technology existing" within the films' universe.<sup><a href="#cite_note-Slash-151">[148]</a></sup> Additionally, the film would focus on the dinosaurs that were freed at the end of <i>Jurassic World: Fallen Kingdom</i>,<sup><a href="#cite_note-Burning-15">[15]</a></sup><sup><a href="#cite_note-Slash-151">[148]</a></sup><sup><a href="#cite_note-EmpireSecrets-37">[34]</a></sup> but it would not depict dinosaurs terrorizing cities and going to war against humans; Trevorrow considered such ideas unrealistic. Instead, Trevorrow was interested in a world where "dinosaur interaction is unlikely but possible—the same way we watch out for bears or sharks".<sup><a href="#cite_note-152">[149]</a></sup><sup><a href="#cite_note-153">[150]</a></sup> Certain scenes and ideas regarding the integration of dinosaurs into the world were ultimately removed from the <i>Jurassic World: Fallen Kingdom</i> script to be saved for the third film.<sup><a href="#cite_note-Slash-151">[148]</a></sup><sup><a href="#cite_note-EmpireSecrets-37">[34]</a></sup>
</p><p>Filming locations included Canada, England's <a href="/wiki/Pinewood_Studios">Pinewood Studios</a>, and the country of <a href="/wiki/Malta">Malta</a>.<sup><a href="#cite_note-NME-135">[132]</a></sup><sup><a href="#cite_note-Wraps-154">[151]</a></sup> <i>Jurassic World Dominion</i> began filming in February 2020,<sup><a href="#cite_note-NME-135">[132]</a></sup> but was put on hiatus several weeks later as a safety precaution due to the <a href="/wiki/COVID-19_pandemic">COVID-19 pandemic</a>.<sup><a href="#cite_note-155">[152]</a></sup> Production later resumed that July, with numerous health precautions in place, including <a href="/wiki/COVID-19_testing">COVID-19 testing</a> and <a href="/wiki/Social_distancing">social distancing</a>.<sup><a href="#cite_note-156">[153]</a></sup> Filming wrapped four months later.<sup><a href="#cite_note-NME-135">[132]</a></sup> <i>Jurassic World Dominion</i> uses more animatronics than the previous films. The animatronic dinosaurs were created by John Nolan and his team.<sup><a href="#cite_note-157">[154]</a></sup><sup><a href="#cite_note-158">[155]</a></sup><sup><a href="#cite_note-159">[156]</a></sup> It is also the first film in the series to feature feathered dinosaurs.<sup><a href="#cite_note-160">[157]</a></sup><sup><a href="#cite_note-161">[158]</a></sup> The film is set four years after the events of <i>Fallen Kingdom</i>, with dinosaurs now living alongside humans around the world. It follows Owen Grady and Claire Dearing as they embark on a rescue mission, while Alan Grant and Ellie Sattler reunite with Ian Malcolm to expose a conspiracy by the genomics corporation Biosyn, a once rival of the defunct InGen. <i>Jurassic World Dominion</i> has grossed over $1 billion worldwide but received mixed-to-negative reviews from critics.<sup><a href="#cite_note-162">[159]</a></sup><sup><a href="#cite_note-163">[160]</a></sup><sup><a href="#cite_note-164">[161]</a></sup> An extended version of <i>Jurassic World Dominion</i> was released on 4K Ultra HD, Blu-ray and DVD on August 16, 2022.<sup><a href="#cite_note-165">[162]</a></sup><sup><a href="#cite_note-166">[163]</a></sup> The extended edition received more favorable reviews and is considered an improvement over the theatrical cut.<sup><a href="#cite_note-167">[164]</a></sup><sup><a href="#cite_note-168">[165]</a></sup><sup><a href="#cite_note-169">[166]</a></sup>
</p>
<h3>Future[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=21">edit</a>]</h3>
<p><i>Jurassic World Dominion</i> concludes the second film trilogy as well as the storyline that began in the original trilogy,<sup><a href="#cite_note-170">[167]</a></sup><sup><a href="#cite_note-Schaefer-171">[168]</a></sup><sup><a href="#cite_note-172">[169]</a></sup> although future films in the franchise have not been ruled out. Marshall said in May 2020 that <i>Jurassic World Dominion</i> would mark "the start of a new era", in which humans have to adjust to dinosaurs being on the mainland.<sup><a href="#cite_note-173">[170]</a></sup> Marshall reiterated in January 2022 that there could be more films: "We're going to sit down, and we're going to see what the future is".<sup><a href="#cite_note-Schaefer-171">[168]</a></sup>
</p><p>Trevorrow, noting that he spent nine years working on the <i>Jurassic World</i> trilogy, said in May 2022 that he would likely not return for another film, except in a possible advisory role.<sup><a href="#cite_note-174">[171]</a></sup> He expressed interest in having Howard direct a future film.<sup><a href="#cite_note-175">[172]</a></sup> He also suggested that several characters introduced in <i>Dominion</i> could return for future installments, including Kayla Watts (portrayed by <a href="/wiki/DeWanda_Wise">DeWanda Wise</a>), Ramsay Cole (<a href="/wiki/Mamoudou_Athie">Mamoudou Athie</a>), and Soyona Santos (<a href="/wiki/Dichen_Lachman">Dichen Lachman</a>).<sup><a href="#cite_note-Busch-36">[33]</a></sup><sup><a href="#cite_note-176">[173]</a></sup> Pratt and Howard do not expect to reprise their roles again,<sup><a href="#cite_note-177">[174]</a></sup> and Neill said <i>Dominion</i> would be the last film for Dern, Goldblum and himself.<sup><a href="#cite_note-178">[175]</a></sup>
</p>
<h2>Short films[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=22">edit</a>]</h2>
<p>As of 2022, two short films have been released. Both take place between <i>Jurassic World: Fallen Kingdom</i> and <i>Jurassic World Dominion</i>, and are considered canon with the film series.
</p>
<h3><i>Battle at Big Rock</i> (2019)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=23">edit</a>]</h3>
<p><i>Battle at Big Rock</i> is the first live-action short film in the franchise, and was released on September 15, 2019. The eight-minute film was directed by <a href="/wiki/Colin_Trevorrow">Colin Trevorrow</a>,<sup><a href="#cite_note-Weintraub-179">[176]</a></sup> and was co-written by him and <a href="/wiki/Emily_Carmichael_(filmmaker)">Emily Carmichael</a>. The film stars <a href="/wiki/Andr%C3%A9_Holland">André Holland</a>, <a href="/wiki/Natalie_Martinez">Natalie Martinez</a>, Melody Hurd, and Pierson Salvador.<sup><a href="#cite_note-Weintraub-179">[176]</a></sup><sup><a href="#cite_note-180">[177]</a></sup>
</p><p>The film is set one year after the events of <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i>. In the film, a family goes on a camping trip at the fictional Big Rock National Park in northern California, approximately 20 miles (30 km) from where dinosaurs from <i>Fallen Kingdom</i> were let loose. The film chronicles the first major confrontation between humans and the dinosaurs.<sup><a href="#cite_note-Weintraub-179">[176]</a></sup>
</p>
<h3><i>Jurassic World Dominion</i> prologue (2021)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=24">edit</a>]</h3>
<p>A five-minute <i>Jurassic World Dominion</i> prologue was released in 2021, serving as the franchise's second live-action short film. It was originally intended as the film's opening sequence before being removed from the final cut. It features a prehistoric segment showcasing dinosaurs in their natural habitats, then cuts to the present day as <a href="/wiki/Rexy">a <i>T. rex</i></a> wreaks havoc at a drive-in theater.<sup><a href="#cite_note-181">[178]</a></sup><sup><a href="#cite_note-182">[179]</a></sup> The prologue is used as the opening sequence in the extended edition of <i>Jurassic World Dominion</i>.<sup><a href="#cite_note-183">[180]</a></sup>
</p>
<h2>Television[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=25">edit</a>]</h2>
<h3>Lego animated projects[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=26">edit</a>]</h3>
<p>Lego produced various CGI-animated projects, including the two-part television special <i><a href="/wiki/Lego_Jurassic_World:_The_Secret_Exhibit">Lego Jurassic World: The Secret Exhibit</a></i>, which aired on <a href="/wiki/NBC">NBC</a> on November 29, 2018.<sup><a href="#cite_note-184">[181]</a></sup> A 13-episode miniseries, <i><a href="/wiki/Lego_Jurassic_World:_Legend_of_Isla_Nublar">Lego Jurassic World: Legend of Isla Nublar</a></i>, premiered in 2019. It was broadcast on <a href="/wiki/Family_Channel_(Canadian_TV_channel)">Family Channel</a> in Canada and on <a href="/wiki/Nickelodeon">Nickelodeon</a> in the U.S.<sup><a href="#cite_note-185">[182]</a></sup><sup><a href="#cite_note-186">[183]</a></sup>
</p>
<h3><i>Jurassic World Camp Cretaceous</i> (2020–2022)[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=27">edit</a>]</h3>
<p><i>Jurassic World Camp Cretaceous</i> is a CGI-animated series that debuted on <a href="/wiki/Netflix">Netflix</a> in 2020. It is a joint project between Netflix, Universal Studios, Amblin Entertainment and <a href="/wiki/DreamWorks_Animation">DreamWorks Animation</a>. Scott Kreamer and Lane Lueras are the showrunners, and executive produce the series with Spielberg, Marshall, and Trevorrow, while <a href="/wiki/Zack_Stentz">Zack Stentz</a> serves as consulting producer. The series is set during the events of the <i>Jurassic World</i> trilogy, and is about a group of six teenagers attending an adventure camp on Isla Nublar. When the park's dinosaurs escape, the teenagers are stranded and must work together to escape the island.<sup><a href="#cite_note-187">[184]</a></sup> The series premiered globally on Netflix on September 18, 2020 and ran for five seasons, concluding on July 21, 2022. It consists of 49 episodes. The voice cast includes Paul-Mikél Williams, <a href="/wiki/Jenna_Ortega">Jenna Ortega</a>, <a href="/wiki/Ryan_Potter">Ryan Potter</a>, <a href="/wiki/Raini_Rodriguez">Raini Rodriguez</a>, <a href="/wiki/Sean_Giambrone">Sean Giambrone</a>, <a href="/wiki/Kausar_Mohammed">Kausar Mohammed</a>, <a href="/wiki/Jameela_Jamil">Jameela Jamil</a>, and <a href="/wiki/Glen_Powell">Glen Powell</a>.<sup><a href="#cite_note-PremiereDetails-188">[185]</a></sup><sup><a href="#cite_note-189">[186]</a></sup>
</p>
<h3>Live-action series[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=28">edit</a>]</h3>
<p>A live-action television series based on the <i>Jurassic World</i> films was reportedly in development as of March 2020.<sup><a href="#cite_note-190">[187]</a></sup><sup><a href="#cite_note-191">[188]</a></sup><sup><a href="#cite_note-192">[189]</a></sup> However, Marshall said two years later that such a series had not been discussed, and that his focus was on the films. Speaking about <i>Camp Cretaceous</i>, Marshall said: "I think that's plenty for now".<sup><a href="#cite_note-193">[190]</a></sup>
</p>
<h3>Cancelled projects[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=29">edit</a>]</h3>
<h4><i>Escape from Jurassic Park</i>[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=30">edit</a>]</h4>
<p>In June 1993, after the theatrical release of <i>Jurassic Park</i>, spokesmen for Amblin and <a href="/wiki/MCA_Inc.">MCA</a> confirmed that an animated series based on the film was in development and awaiting Spielberg's final approval.<sup><a href="#cite_note-SanBer-194">[191]</a></sup> The series, titled <i>Escape from Jurassic Park</i>,<sup><a href="#cite_note-195">[192]</a></sup> would have consisted of 23 episodes for its first season. The series would have centered on John Hammond's attempts to finish Jurassic Park and open it to the public, while InGen's corporate rival Biosyn is simultaneously planning to open their own dinosaur theme park in Brazil, which ultimately ends with their dinosaurs escaping into the jungles.<sup><a href="#cite_note-196">[193]</a></sup><sup><a href="#cite_note-197">[194]</a></sup><sup><a href="#cite_note-198">[195]</a></sup>
</p><p>If produced, it was believed that the project would be the most expensive animated series up to that time. Jeff Segal, president of <a href="/wiki/Universal_Animation_Studios">Universal Cartoon Studios</a>, said: "We are developing a TV series that we anticipate would be computer animated and very sophisticated. However, Spielberg has not had a chance yet to look at either the material or the format for the series".<sup><a href="#cite_note-SanBer-194">[191]</a></sup> Segal said Universal was considering the possibility of developing the series for <a href="/wiki/Prime_time">prime time</a>, also commenting about the series' storyline: "It would essentially pick up from the closing moments of the movie and it would continue the story in a very dramatic way. The intention would be to continue with the primary characters and also introduce new characters". Segal also said the series would be aimed specifically at the same target audience as the film, while hoping that it would also appeal to young children.<sup><a href="#cite_note-SanBer-194">[191]</a></sup>
</p><p>Animation veteran and comic artist <a href="/wiki/Will_Meugniot">Will Meugniot</a> (then working at Universal Cartoon Studios for various projects, including <i><a href="/wiki/Exosquad">Exosquad</a></i>) contacted artist <a href="/wiki/William_Stout">William Stout</a> to ask if he would be interested in designing the animated series. According to Stout: "This was not going to be a kiddy show (although kids of all ages, including myself, could enjoy it). They wanted the show to be a mature prime time series with top writers and state-of-the-art television animation augmented with quite a bit of CG animation". <a href="/wiki/Universal_Animation_Studios">Universal Animation Studios</a> wanted the show to have the look of a graphic novel.<sup><a href="#cite_note-stout-199">[196]</a></sup>
</p><p>Stout was hired to work on the series and subsequently made a trailer to demonstrate how the series would look, and how it would combine traditional animation with computer animation. The series required Spielberg's final approval before it could go into production. However, Spielberg had grown tired of the massive promotion and merchandise revolving around the film, and never watched the trailer.<sup><a href="#cite_note-stout-199">[196]</a></sup> On July 13, 1993, <a href="/wiki/Margaret_Loesch">Margaret Loesch</a>, president of the <a href="/wiki/Fox_Kids">Fox Children's Network</a>, confirmed that discussions had been held with Spielberg about an animated version of the film. Loesch also said: "At least for now and in the foreseeable future, there will not be an animated <i>Jurassic Park</i>. That's Steven Spielberg's decision, and we respect that decision".<sup><a href="#cite_note-200">[197]</a></sup>
</p>
<h4><i>Jurassic Park: Chaos Effect</i>[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=31">edit</a>]</h4>
<p>Part three of the four-part comic adaptation of <i>The Lost World: Jurassic Park</i>, published by Topps Comics in July 1997, confirmed to readers that a cartoon series based on the film was in development.<sup><a href="#cite_note-201">[198]</a></sup><sup><a href="#cite_note-202">[199]</a></sup> It was commissioned by Spielberg and would be developed by DreamWorks Animation.<sup><a href="#cite_note-203">[200]</a></sup> In November 1997, it was reported that the cartoon would be accompanied by <i><a href="#Toys">Jurassic Park: Chaos Effect</a></i>, a series of dinosaur toys produced by <a href="/wiki/Kenner_Products">Kenner</a> and based on a premise that scientists had created dinosaur hybrids consisting of DNA from different creatures.<sup><a href="#cite_note-Nov1997-204">[201]</a></sup><sup><a href="#cite_note-JPToys-205">[202]</a></sup> The new toys were based on the upcoming cartoon.<sup><a href="#cite_note-Nov1997-204">[201]</a></sup> It was also reported that the cartoon could be ready by March 1998, as a <a href="/wiki/Mid-season_replacement">mid-season replacement</a>.<sup><a href="#cite_note-Nov1997-204">[201]</a></sup> The Chaos Effect toyline was released in June 1998,<sup><a href="#cite_note-JPToys-205">[202]</a></sup> but the animated series was never produced, for unknown reasons.<sup><a href="#cite_note-206">[203]</a></sup>
</p>
<h2>Cast and crew[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=32">edit</a>]</h2>
<h3>Principal cast[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=33">edit</a>]</h3>
<div>
<p>List indicator(s)</p>
<p>This section shows characters who will appear or have appeared in the franchise.
</p>
<ul><li>An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.</li>
<li> <sup>C</sup> indicates a cameo role.</li>
<li> <sup>O</sup> indicates an older version of the character.</li>
<li> <sup>P</sup> indicates an appearance in onscreen photographs.</li>
<li> <sup>V</sup> indicates a voice-only role.</li></ul>
</div>
<table>
<tbody><tr>
<th>Characters
</th>
<th>Films
</th>
<th>Animated series
</th></tr>
<tr>
<th><i><a href="/wiki/Jurassic_Park_(film)">Jurassic Park</a></i>
</th>
<th><i><a href="/wiki/The_Lost_World:_Jurassic_Park">The Lost World: Jurassic Park</a></i>
</th>
<th><i><a href="/wiki/Jurassic_Park_III">Jurassic Park III</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World">Jurassic World</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World_Dominion">Jurassic World Dominion</a></i>
</th>
<th><i><a href="/wiki/Lego_Jurassic_World:_Legend_of_Isla_Nublar">Lego Jurassic World:<br />Legend of Isla Nublar</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World_Camp_Cretaceous">Jurassic World Camp Cretaceous</a></i>
</th></tr>
<tr>
<th>1993</th>
<th>1997</th>
<th>2001</th>
<th>2015</th>
<th>2018</th>
<th>2022</th>
<th>2019</th>
<th>2020–2022
</th></tr>
<tr>
<th><a href="/wiki/Alan_Grant_(character)">Dr. Alan Grant</a>
</th>
<td><a href="/wiki/Sam_Neill">Sam Neill</a>
</td>
<td>
</td>
<td>Sam Neill
</td>
<td>
</td>
<td>Sam Neill
</td>
<td>Adrian Hough<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th><a href="/wiki/Ellie_Sattler">Dr. Ellie Sattler</a>
</th>
<td><a href="/wiki/Laura_Dern">Laura Dern</a>
</td>
<td>
</td>
<td>Laura Dern
</td>
<td>
</td>
<td>Laura Dern
</td>
<td>
</td></tr>
<tr>
<th><a href="/wiki/Ian_Malcolm_(character)">Dr. Ian Malcolm</a>
</th>
<td><a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a>
</td>
<td>
</td>
<td>Jeff Goldblum<sup><a href="#endnote_photo">P</a></sup>
</td>
<td>Jeff Goldblum
</td>
<td>Bradley Duffy<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>John Hammond
</th>
<td><a href="/wiki/Richard_Attenborough">Richard Attenborough</a>
</td>
<td>
</td>
<td>Richard Attenborough<sup><a href="#endnote_photo">P</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Lex Murphy
</th>
<td><a href="/wiki/Ariana_Richards">Ariana Richards</a>
</td>
<td>Ariana Richards<sup><a href="#endnote_cameo">C</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Tim Murphy
</th>
<td><a href="/wiki/Joseph_Mazzello">Joseph Mazzello</a>
</td>
<td>Joseph Mazzello<sup><a href="#endnote_cameo">C</a></sup>
</td>
<td>
</td></tr>
<tr>
<th><a href="/wiki/Henry_Wu_(character)">Dr. Henry Wu</a>
</th>
<td><a href="/wiki/BD_Wong">BD Wong</a>
</td>
<td>
</td>
<td>BD Wong
</td>
<td><a href="/wiki/Vincent_Tong_(actor)">Vincent Tong</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td><a href="/wiki/Greg_Chun">Greg Chun</a><sup><a href="#endnote_voice">V</a></sup>
</td></tr>
<tr>
<th>Dennis Nedry
</th>
<td><a href="/wiki/Wayne_Knight">Wayne Knight</a>
</td>
<td>
</td>
<td>William Kuklis<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Lewis Dodgson
</th>
<td><a href="/wiki/Cameron_Thor">Cameron Thor</a>
</td>
<td>
</td>
<td><a href="/wiki/Campbell_Scott">Campbell Scott</a>
</td>
<td>
</td>
<td><a href="/wiki/Adam_Harrington_(voice_actor)">Adam Harrington</a><sup><a href="#endnote_voice">V</a></sup>
</td></tr>
<tr>
<th>Mr. DNA
</th>
<td><a href="/wiki/Greg_Burson">Greg Burson</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td>
<td><a href="/wiki/Colin_Trevorrow">Colin Trevorrow</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td>
<td>Vincent Tong<sup><a href="#endnote_voice">V</a></sup>
</td>
<td><a href="/wiki/Jeff_Bergman">Jeff Bergman</a><sup><a href="#endnote_voice">V</a></sup>
</td></tr>
<tr>
<th><a href="/wiki/Owen_Grady">Owen Grady</a>
</th>
<td>
</td>
<td><a href="/wiki/Chris_Pratt">Chris Pratt</a><sup><a href="#cite_note-Apr18-150">[147]</a></sup>
</td>
<td><a href="/wiki/Ian_Hanlin">Ian Hanlin</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th><a href="/wiki/Claire_Dearing">Claire Dearing</a>
</th>
<td>
</td>
<td><a href="/wiki/Bryce_Dallas_Howard">Bryce Dallas Howard</a><sup><a href="#cite_note-Apr18-150">[147]</a></sup>
</td>
<td><a href="/wiki/Britt_McKillip">Britt McKillip</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Simon Masrani
</th>
<td>
</td>
<td><a href="/wiki/Irrfan_Khan">Irrfan Khan</a>
</td>
<td>
</td>
<td>Dhirendra<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Vic Hoskins
</th>
<td>
</td>
<td><a href="/wiki/Vincent_D%27Onofrio">Vincent D'Onofrio</a>
</td>
<td>
</td>
<td><a href="/wiki/Alex_Zahara">Alex Zahara</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Barry Sembène
</th>
<td>
</td>
<td><a href="/wiki/Omar_Sy">Omar Sy</a>
</td>
<td>
</td>
<td>Omar Sy
</td>
<td>
</td></tr>
<tr>
<th>Lowery
</th>
<td>
</td>
<td><a href="/wiki/Jake_Johnson">Jake Johnson</a>
</td>
<td>
</td>
<td>Jake Johnson<sup><a href="#endnote_photo">P</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Vivian
</th>
<td>
</td>
<td><a href="/wiki/Lauren_Lapkus">Lauren Lapkus</a>
</td>
<td>
</td>
<td>Lauren Lapkus<sup><a href="#endnote_photo">P</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Franklin Webb
</th>
<td>
</td>
<td><a href="/wiki/Justice_Smith">Justice Smith</a>
</td>
<td>
</td></tr>
<tr>
<th>Dr. Zia Rodriguez
</th>
<td>
</td>
<td><a href="/wiki/Daniella_Pineda">Daniella Pineda</a>
</td>
<td>Daniella Pineda<sup><a href="#endnote_cameo">C</a></sup>
</td>
<td>
</td></tr>
<tr>
<th><a href="/wiki/Maisie_Lockwood">Maisie Lockwood</a>
</th>
<td>
</td>
<td>Isabella Sermon
</td>
<td>
</td></tr>
<tr>
<th>Charlotte Lockwood
</th>
<td>
</td>
<td>Isabella Sermon<sup><a href="#endnote_photo">P</a></sup><sup><a href="#cite_note-Burning-15">[15]</a></sup>
</td>
<td>Isabella Sermon
</td>
<td>
</td></tr>
<tr>
<td><a href="/wiki/Elva_Trill">Elva Trill</a><sup><a href="#endnote_old">O</a></sup>
</td></tr>
<tr>
<th>Iris
</th>
<td>
</td>
<td><a href="/wiki/Geraldine_Chaplin">Geraldine Chaplin</a>
</td>
<td>Geraldine Chaplin<sup><a href="#endnote_photo">P</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Robert Muldoon
</th>
<td><a href="/wiki/Bob_Peck">Bob Peck</a>
</td>
<td>
</td></tr>
<tr>
<th>Donald Gennaro
</th>
<td><a href="/wiki/Martin_Ferrero">Martin Ferrero</a>
</td>
<td>
</td></tr>
<tr>
<th>Ray Arnold
</th>
<td><a href="/wiki/Samuel_L._Jackson">Samuel L. Jackson</a>
</td>
<td>
</td></tr>
<tr>
<th>Dr. Harding
</th>
<td><a href="/wiki/Gerald_R._Molen">Jerry Molen</a>
</td>
<td>
</td></tr>
<tr>
<th>Dr. Sarah Harding
</th>
<td>
</td>
<td><a href="/wiki/Julianne_Moore">Julianne Moore</a>
</td>
<td>
</td></tr>
<tr>
<th>Kelly Curtis
</th>
<td>
</td>
<td><a href="/wiki/Vanessa_Lee_Chester">Vanessa Lee Chester</a>
</td>
<td>
</td></tr>
<tr>
<th>Nick Van Owen
</th>
<td>
</td>
<td><a href="/wiki/Vince_Vaughn">Vince Vaughn</a>
</td>
<td>
</td></tr>
<tr>
<th>Eddie Carr
</th>
<td>
</td>
<td><a href="/wiki/Richard_Schiff">Richard Schiff</a>
</td>
<td>
</td></tr>
<tr>
<th>Roland Tembo
</th>
<td>
</td>
<td><a href="/wiki/Pete_Postlethwaite">Pete Postlethwaite</a>
</td>
<td>
</td></tr>
<tr>
<th>Peter Ludlow
</th>
<td>
</td>
<td><a href="/wiki/Arliss_Howard">Arliss Howard</a>
</td>
<td>
</td></tr>
<tr>
<th>Ajay Sidhu
</th>
<td>
</td>
<td><a href="/wiki/Harvey_Jason">Harvey Jason</a>
</td>
<td>
</td></tr>
<tr>
<th>Dr. Robert Burke
</th>
<td>
</td>
<td><a href="/wiki/Thomas_F._Duffy">Thomas F. Duffy</a>
</td>
<td>
</td></tr>
<tr>
<th>Dieter Stark
</th>
<td>
</td>
<td><a href="/wiki/Peter_Stormare">Peter Stormare</a>
</td>
<td>
</td></tr>
<tr>
<th>Carter
</th>
<td>
</td>
<td><a href="/wiki/Thomas_Rosales_Jr.">Thomas Rosales Jr.</a>
</td>
<td>
</td></tr>
<tr>
<th>Paul Kirby
</th>
<td>
</td>
<td><a href="/wiki/William_H._Macy">William H. Macy</a>
</td>
<td>
</td></tr>
<tr>
<th>Amanda Kirby
</th>
<td>
</td>
<td><a href="/wiki/T%C3%A9a_Leoni">Téa Leoni</a>
</td>
<td>
</td></tr>
<tr>
<th>Billy Brennan
</th>
<td>
</td>
<td><a href="/wiki/Alessandro_Nivola">Alessandro Nivola</a>
</td>
<td>
</td></tr>
<tr>
<th>Eric Kirby
</th>
<td>
</td>
<td><a href="/wiki/Trevor_Morgan_(actor)">Trevor Morgan</a>
</td>
<td>
</td></tr>
<tr>
<th>Udesky
</th>
<td>
</td>
<td><a href="/wiki/Michael_Jeter">Michael Jeter</a>
</td>
<td>
</td></tr>
<tr>
<th>Nash
</th>
<td>
</td>
<td><a href="/wiki/Bruce_A._Young">Bruce A. Young</a>
</td>
<td>
</td></tr>
<tr>
<th>Cooper
</th>
<td>
</td>
<td><a href="/wiki/John_Diehl">John Diehl</a>
</td>
<td>
</td></tr>
<tr>
<th>Ben Hildebrand
</th>
<td>
</td>
<td><a href="/wiki/Mark_Harelik">Mark Harelik</a>
</td>
<td>
</td></tr>
<tr>
<th>Gray Mitchell
</th>
<td>
</td>
<td><a href="/wiki/Ty_Simpkins">Ty Simpkins</a>
</td>
<td>
</td></tr>
<tr>
<th>Zach Mitchell
</th>
<td>
</td>
<td><a href="/wiki/Nick_Robinson_(American_actor)">Nick Robinson</a>
</td>
<td>
</td></tr>
<tr>
<th>Karen Mitchell
</th>
<td>
</td>
<td><a href="/wiki/Judy_Greer">Judy Greer</a>
</td>
<td>
</td></tr>
<tr>
<th>Scott Mitchell
</th>
<td>
</td>
<td><a href="/wiki/Andy_Buckley">Andy Buckley</a>
</td>
<td>
</td></tr>
<tr>
<th>Zara
</th>
<td>
</td>
<td><a href="/wiki/Katie_McGrath">Katie McGrath</a>
</td>
<td>
</td></tr>
<tr>
<th>Sir Benjamin Lockwood
</th>
<td>
</td>
<td><a href="/wiki/James_Cromwell">James Cromwell</a>
</td>
<td>
</td></tr>
<tr>
<th>Eli Mills
</th>
<td>
</td>
<td><a href="/wiki/Rafe_Spall">Rafe Spall</a>
</td>
<td>
</td></tr>
<tr>
<th>Ken Wheatley
</th>
<td>
</td>
<td><a href="/wiki/Ted_Levine">Ted Levine</a>
</td>
<td>
</td></tr>
<tr>
<th>Mr. Eversoll
</th>
<td>
</td>
<td><a href="/wiki/Toby_Jones">Toby Jones</a>
</td>
<td>
</td></tr>
<tr>
<th>Ramsay Cole
</th>
<td>
</td>
<td><a href="/wiki/Mamoudou_Athie">Mamoudou Athie</a>
</td>
<td>
</td></tr>
<tr>
<th>Kayla Watts
</th>
<td>
</td>
<td><a href="/wiki/DeWanda_Wise">DeWanda Wise</a>
</td>
<td>
</td></tr>
<tr>
<th>Soyona Santos
</th>
<td>
</td>
<td><a href="/wiki/Dichen_Lachman">Dichen Lachman</a>
</td>
<td>
</td></tr>
<tr>
<th>Rainn Delacourt
</th>
<td>
</td>
<td><a href="/wiki/Scott_Haze">Scott Haze</a>
</td>
<td>
</td></tr>
<tr>
<th>Allison Miles
</th>
<td>
</td>
<td>Bethany Brown<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Danny Nedermeyer
</th>
<td>
</td>
<td><a href="/wiki/Adrian_Petriw">Adrian Petriw</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Sinjin Prescott
</th>
<td>
</td>
<td><a href="/wiki/Andrew_Kavadas">Andrew Kavadas</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Larson Mitchell
</th>
<td>
</td>
<td><a href="/wiki/Kirby_Morrow">Kirby Morrow</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Hudson Harper
</th>
<td>
</td>
<td>Nicholas Holmes<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Dianne
</th>
<td>
</td>
<td><a href="/wiki/Patricia_Drake">Patricia Drake</a><sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr>
<tr>
<th>Stella
</th>
<td>
</td>
<td>Sabrina Pitre<sup><a href="#endnote_voice">V</a></sup>
</td>
<td>
</td></tr></tbody></table>
<h3>Additional crew[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=34">edit</a>]</h3>
<table>
<tbody><tr>
<th>Role
</th>
<th><i><a href="/wiki/Jurassic_Park_(film)">Jurassic Park</a></i>
</th>
<th><i><a href="/wiki/The_Lost_World:_Jurassic_Park">The Lost World:<br />Jurassic Park</a></i>
</th>
<th><i><a href="/wiki/Jurassic_Park_III">Jurassic Park III</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World">Jurassic World</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World:<br />Fallen Kingdom</a></i>
</th>
<th><i><a href="/wiki/Jurassic_World_Dominion">Jurassic World<br />Dominion</a></i>
</th></tr>
<tr>
<th>1993</th>
<th>1997</th>
<th>2001</th>
<th>2015</th>
<th>2018</th>
<th>2022
</th></tr>
<tr>
<th>Composer
</th>
<td><a href="/wiki/John_Williams">John Williams</a>
</td>
<td><a href="/wiki/Don_Davis_(composer)">Don Davis</a>
</td>
<td><a href="/wiki/Michael_Giacchino">Michael Giacchino</a><sup><a href="#cite_note-207">[204]</a></sup>
</td></tr>
<tr>
<th>Editor
</th>
<td><a href="/wiki/Michael_Kahn_(film_editor)">Michael Kahn</a>
</td>
<td><a href="/wiki/Robert_Dalva">Robert Dalva</a>
</td>
<td>Kevin Stitt
</td>
<td>Bernat Vilaplana<sup><a href="#cite_note-208">[205]</a></sup>
</td>
<td><a href="/wiki/Mark_Sanger">Mark Sanger</a><sup><a href="#cite_note-209">[206]</a></sup>
</td></tr>
<tr>
<th>Cinematographer
</th>
<td><a href="/wiki/Dean_Cundey">Dean Cundey</a>
</td>
<td><a href="/wiki/Janusz_Kami%C5%84ski">Janusz Kamiński</a>
</td>
<td><a href="/wiki/Shelly_Johnson_(cinematographer)">Shelly Johnson</a>
</td>
<td><a href="/wiki/John_Schwartzman">John Schwartzman</a>
</td>
<td><a href="/wiki/%C3%93scar_Faura">Óscar Faura</a>
</td>
<td>John Schwartzman
</td></tr>
<tr>
<th>Production designer
</th>
<td><a href="/wiki/Rick_Carter">Rick Carter</a>
</td>
<td>Edward Verreaux
</td>
<td><a href="/wiki/Andy_Nicholson_(production_designer)">Andy Nicholson</a>
</td>
<td>Kevin Jenkins<sup><a href="#cite_note-210">[207]</a></sup>
</td></tr>
<tr>
<th>Production companies
</th>
<td><a href="/wiki/Amblin_Entertainment">Amblin Entertainment</a>
</td>
<td>Amblin Entertainment<br /><a href="/wiki/Legendary_Entertainment">Legendary Entertainment</a><br /><a href="/wiki/The_Kennedy/Marshall_Company">The Kennedy/Marshall Company</a>
</td>
<td>Amblin Entertainment<br />Legendary Entertainment<br /><a href="/wiki/Perfect_World_Pictures">Perfect World Pictures</a><br />The Kennedy/Marshall Company
</td>
<td>Amblin Entertainment<br />Perfect World Pictures<br />The Kennedy/Marshall Company<sup><a href="#cite_note-211">[208]</a></sup>
</td></tr>
<tr>
<th>Distributor
</th>
<td><a href="/wiki/Universal_Pictures">Universal Pictures</a>
</td></tr></tbody></table>
<h2>Reception[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=35">edit</a>]</h2>
<h3>Box office performance[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=36">edit</a>]</h3>
<h3>Critical and public response[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=37">edit</a>]</h3>
<p>Each film is linked to the "Critical response" section of its article</p>
<h3>Accolades[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=38">edit</a>]</h3>
<h2>Music[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=39">edit</a>]</h2>
<h2>Merchandise and other media[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=40">edit</a>]</h2>
<h3>Toys[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=41">edit</a>]</h3>
<p>For the 1993 film, <a href="/wiki/Kenner">Kenner</a> produced a line of action figures and dinosaurs,<sup><a href="#cite_note-Horovitz-232">[229]</a></sup> marketed with the slogan, "If it's not 'Jurassic Park', it's extinct".<sup><a href="#cite_note-233">[230]</a></sup><sup><a href="#cite_note-234">[231]</a></sup> Paleontologist <a href="/wiki/Jack_Horner_(paleontologist)">Jack Horner</a>, who offered his advice for the film's dinosaurs, was also hired as a scientific advisor for the dinosaur toys.<sup><a href="#cite_note-235">[232]</a></sup> Kenner had two years to develop the toys, which sold successfully.<sup><a href="#cite_note-236">[233]</a></sup> <a href="/wiki/Dakin_(company)">Dakin</a> also produced stuffed dinosaurs based on the film.<sup><a href="#cite_note-Horovitz-232">[229]</a></sup>
</p><p>Kenner produced another toy line for the 1997 sequel.<sup><a href="#cite_note-237">[234]</a></sup> The company also released Jurassic Park: Chaos Effect a year later.<sup><a href="#cite_note-238">[235]</a></sup><sup><a href="#cite_note-239">[236]</a></sup> The toy line's premise involved scientists who had created new dinosaur species by combining the DNA of existing dinosaurs.<sup><a href="#cite_note-240">[237]</a></sup><sup><a href="#cite_note-241">[238]</a></sup><sup><a href="#cite_note-242">[239]</a></sup>
</p><p>Kenner's parent company, <a href="/wiki/Hasbro">Hasbro</a>, took over toy production for <i><a href="/wiki/Jurassic_Park_III">Jurassic Park III</a></i>, released in 2001.<sup><a href="#cite_note-243">[240]</a></sup> At that time, <a href="/wiki/Playskool">Playskool</a> also released a toy line aimed at young children, under the name Jurassic Park Junior.<sup><a href="#cite_note-Keier-244">[241]</a></sup><sup><a href="#cite_note-245">[242]</a></sup> <i>Jurassic Park III</i> toys were also released under the <a href="/wiki/Lego_Studios">Lego Studios</a> brand.<sup><a href="#cite_note-246">[243]</a></sup><sup><a href="#cite_note-247">[244]</a></sup> Hasbro also created a toy line for <i><a href="/wiki/Jurassic_World">Jurassic World</a></i>.<sup><a href="#cite_note-248">[245]</a></sup><sup><a href="#cite_note-249">[246]</a></sup> Some of the toy dinosaurs had been referred to on packaging as males, despite being females in the film. This drew some criticism which accused Hasbro of catering solely to a male demographic.<sup><a href="#cite_note-250">[247]</a></sup><sup><a href="#cite_note-251">[248]</a></sup> Hasbro updated the pronouns shortly after the toy line's release.<sup><a href="#cite_note-252">[249]</a></sup> The <a href="/wiki/Lego_Jurassic_World_(theme)">Lego Jurassic World</a> line was also released in 2015.
</p><p>In 2016, <a href="/wiki/Mattel">Mattel</a> took the toy license from Hasbro, in a deal which started one year later.<sup><a href="#cite_note-253">[250]</a></sup><sup><a href="#cite_note-254">[251]</a></sup><sup><a href="#cite_note-255">[252]</a></sup> Mattel produced various toys for <i><a href="/wiki/Jurassic_World:_Fallen_Kingdom">Jurassic World: Fallen Kingdom</a></i>,<sup><a href="#cite_note-256">[253]</a></sup> including dinosaurs, action figures,<sup><a href="#cite_note-257">[254]</a></sup><sup><a href="#cite_note-Konrad-258">[255]</a></sup> and <a href="/wiki/Barbie">Barbie</a> dolls.<sup><a href="#cite_note-259">[256]</a></sup> Mattel's dinosaur toys included symbols which could be scanned with a cell phone, providing facts about each animal through a <a href="/wiki/Mobile_app">mobile app</a> known as <i>Jurassic World Facts</i>.<sup><a href="#cite_note-Konrad-258">[255]</a></sup><sup><a href="#cite_note-260">[257]</a></sup> <a href="/wiki/Lego">Lego</a> and <a href="/wiki/Funko">Funko</a> also created toys based on the film.<sup><a href="#cite_note-261">[258]</a></sup><sup><a href="#cite_note-262">[259]</a></sup> In addition, Mattel released the Jurassic World Legacy Collection, which included toys based on characters and dinosaurs from the <i>Jurassic Park</i> trilogy.<sup><a href="#cite_note-263">[260]</a></sup><sup><a href="#cite_note-264">[261]</a></sup>
</p><p>In 2019, Mattel unveiled the Amber Collection, a toy line of posable characters and dinosaurs<sup><a href="#cite_note-265">[262]</a></sup> that had been featured in the first film.<sup><a href="#cite_note-266">[263]</a></sup><sup><a href="#cite_note-267">[264]</a></sup><sup><a href="#cite_note-268">[265]</a></sup><sup><a href="#cite_note-269">[266]</a></sup> A year later, the company released toys based on <i><a href="/wiki/Jurassic_World_Camp_Cretaceous">Jurassic World Camp Cretaceous</a></i>.<sup><a href="#cite_note-270">[267]</a></sup><sup><a href="#cite_note-271">[268]</a></sup> In February 2021, Mattel and Target partnered to sell a line of toys custom-made by the fan site Jurassic Outpost.<sup><a href="#cite_note-272">[269]</a></sup> The Amber Collection continued into 2021,<sup><a href="#cite_note-273">[270]</a></sup> and a new series of toys, known as the Hammond Collection, was released in 2022.<sup><a href="#cite_note-274">[271]</a></sup>
</p>
<h3>Board games[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=42">edit</a>]</h3>
<p>Board games were released by <a href="/wiki/Milton_Bradley_Company">Milton Bradley</a> for the first two <i>Jurassic Park</i> films.<sup><a href="#cite_note-275">[272]</a></sup><sup><a href="#cite_note-276">[273]</a></sup><sup><a href="#cite_note-277">[274]</a></sup><sup><a href="#cite_note-278">[275]</a></sup> Hasbro and Milton Bradley also released two board games for <i>Jurassic Park III</i>.<sup><a href="#cite_note-Keier-244">[241]</a></sup><sup><a href="#cite_note-279">[276]</a></sup><sup><a href="#cite_note-280">[277]</a></sup>
</p><p><i>Jurassic Park: Danger!</i>, released by <a href="/wiki/Ravensburger">Ravensburger</a> in 2018, pits humans and dinosaurs against each other.<sup><a href="#cite_note-281">[278]</a></sup> Meanwhile, <a href="/wiki/Mondo_(American_company)">Mondo</a> was working on a board game to be known as <i>Jurassic Park: The Chaos Gene</i>,<sup><a href="#cite_note-282">[279]</a></sup><sup><a href="#cite_note-283">[280]</a></sup><sup><a href="#cite_note-284">[281]</a></sup> although it was canceled during development.<sup><a href="#cite_note-285">[282]</a></sup> In 2019, Mondo announced that characters and dinosaurs from the <i>Jurassic Park</i> franchise would be released as playable characters for its <i>Unmatched</i> board game.<sup><a href="#cite_note-286">[283]</a></sup> The first set of characters was released in 2020.<sup><a href="#cite_note-287">[284]</a></sup>
</p><p>In 2021, Hasbro released a version of <i><a href="/wiki/Monopoly_(game)">Monopoly</a></i> based on the original <i>Jurassic Park</i> film.<sup><a href="#cite_note-288">[285]</a></sup><sup><a href="#cite_note-289">[286]</a></sup> <i><a href="/wiki/Jurassic_World:_The_Legacy_of_Isla_Nublar">Jurassic World: The Legacy of Isla Nublar</a></i> is a <a href="/wiki/Legacy_board_game">legacy board game</a> released in 2022. It was designed by <a href="/wiki/Funko">Funko</a>'s design studio, Prospero Hall.<sup><a href="#cite_note-290">[287]</a></sup><sup><a href="#cite_note-291">[288]</a></sup>
</p>
<h3>Comics[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=43">edit</a>]</h3>
<h4>Topps Comics[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=44">edit</a>]</h4>
<p>From June 1993 to August 1997, the now-defunct <a href="/wiki/Topps_Comics">Topps Comics</a> published comic adaptations of <i>Jurassic Park</i> and <i>The Lost World: Jurassic Park</i>, as well as several tie-in series.
</p>
<ul><li><i><b><a href="/wiki/Jurassic_Park_(film)">Jurassic Park</a></b></i> #0–4 (June–September 1993). Adaptation of the film, adapted by <a href="/wiki/Walter_Simonson">Walter Simonson</a> and pencilled by <a href="/wiki/Gil_Kane">Gil Kane</a>.<sup><a href="#cite_note-292">[289]</a></sup> Each issue had two covers – a main cover by Gil Kane, with the variant by <a href="/wiki/Dave_Cockrum">Dave Cockrum</a>. Issue #0 features two prequel stories to the film, and was only available with the trade paperback of the film adaptation.</li>
<li><i><b>Jurassic Park: Raptor</b></i> #1–2 (November–December 1993). Written by <a href="/wiki/Steve_Englehart">Steve Englehart</a> and pencilled by Armando Gil and Dell Barras.</li>
<li><i><b>Jurassic Park: Raptors Attack</b></i> #1–4 (March–June 1994). Written by Steve Englehart, pencilled by Armando Gil (#1) and Chaz Truog, with covers by Michael Golden.</li>
<li><i><b>Jurassic Park: Raptors Hijack</b></i> #1–4 (July–October 1994). Written by Steve Englehart, pencilled by Neil Vokes, with covers by <a href="/wiki/Michael_Golden_(comics)">Michael Golden</a>.</li>
<li><i><b>Jurassic Park Annual</b></i> #1 (May 1995). Featuring two stories, one being a sequel and one being a prequel. Written by <a href="/wiki/Bob_Almond">Bob Almond</a>, Michael Golden and <a href="/wiki/Ren%C3%A9e_Witterstaetter">Renée Witterstaetter</a>, pencilled by Claude St. Aubin and Ed Murr, with a cover by <a href="/wiki/Michael_Golden_(comics)">Michael Golden</a>.</li>
<li><i><b>Return to Jurassic Park</b></i> #1–9 (April 1995 – February 1996). An <a href="/wiki/Ongoing_series">ongoing series</a>, the first four issues were written by Steve Englehart and pencilled by <a href="/wiki/Joe_Staton">Joe Staton</a>. The next four issues were written by <a href="/wiki/Tom_Bierbaum">Tom Bierbaum</a> and <a href="/wiki/Mary_Bierbaum">Mary Bierbaum</a>, being drawn by Armando Gil. The first 8 issues had covers by Michael Golden. The ninth and final issue was a jam book<sup>[<i><a href="/wiki/Wikipedia:Please_clarify">clarification needed</a></i>]</sup> written by <a href="/wiki/Keith_Giffen">Keith Giffen</a> and Dwight Jon Zimmerman, featuring artwork by such acclaimed artists as <a href="/wiki/Jason_Pearson">Jason Pearson</a>, <a href="/wiki/Adam_Hughes">Adam Hughes</a>, <a href="/wiki/Paul_Gulacy">Paul Gulacy</a>, <a href="/wiki/John_Byrne_(comics)">John Byrne</a>, <a href="/wiki/Kevin_Maguire_(artist)">Kevin Maguire</a>, <a href="/wiki/Mike_Zeck">Mike Zeck</a>, <a href="/wiki/George_P%C3%A9rez">George Pérez</a> and <a href="/wiki/Paul_Chadwick">Paul Chadwick</a>, with a cover by <a href="/wiki/John_Bolton_(comics)">John Bolton</a>.</li>
<li><i><b><a href="/wiki/The_Lost_World:_Jurassic_Park">The Lost World: Jurassic Park</a></b></i> #1–4 (May–August 1997). Adaptation of the second film, adapted by <a href="/wiki/Don_McGregor">Don McGregor</a> and pencilled by <a href="/wiki/Jeff_Butler">Jeff Butler</a> (#1–2) and Claude St. Aubin (#3–4). Each issue of the series featured two covers – one by Walter Simonson and a photo cover.</li></ul>
<h4>IDW Comics[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=45">edit</a>]</h4>
<p>Beginning in June 2010, <a href="/wiki/IDW_Publishing">IDW Publishing</a> began publishing <i>Jurassic Park</i> comics. They also acquired the rights to reprint the issues published by Topps in the 1990s, which they began to do in trade paperback format starting in November 2010. After a four-year hiatus, IDW announced a comic series based on <i>Jurassic World</i> that was to be released in 2017.<sup><a href="#cite_note-293">[290]</a></sup>
</p>
<ul><li><i><b>Jurassic Park: Redemption</b></i> #1–5 (June 2010 – October 2010). Five-issue series written by <a href="/wiki/Bob_Schreck">Bob Schreck</a> with art by Nate van Dyke. Each issue has a main cover penciled by <a href="/wiki/Tom_Yeates">Tom Yeates</a>, with variant covers by <a href="/wiki/Frank_Miller_(comics)">Frank Miller</a>, <a href="/wiki/Arthur_Adams_(comics)">Arthur Adams</a>, <a href="/wiki/Paul_Pope">Paul Pope</a>, <a href="/wiki/Bernie_Wrightson">Bernie Wrightson</a>, and <a href="/wiki/Bill_Stout">Bill Stout</a>, respectively.</li>
<li><i><b>Jurassic Park: The Devils in the Desert</b></i> #1–4 (January 2011 – April 2011). Four-issue series written and illustrated by <a href="/wiki/John_Byrne_(comics)">John Byrne</a>.<sup><a href="#cite_note-294">[291]</a></sup><sup><a href="#cite_note-295">[292]</a></sup><sup><a href="#cite_note-296">[293]</a></sup><sup><a href="#cite_note-297">[294]</a></sup></li>
<li><i><b>Jurassic Park: Dangerous Games</b></i> #1–5 (September 2011 – January 2012). Five-issue series written by <a href="/wiki/Greg_Bear">Greg Bear</a> and Erik Bear, with art by Jorge Jiménez and a variant cover by <a href="/wiki/Geof_Darrow">Geof Darrow</a>.</li></ul>
<p>This series has been collected in the following <a href="/wiki/Trade_paperback_(comics)">trade paperbacks</a>:
</p>
<h4>Motion comic series[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=46">edit</a>]</h4>
<p>In late 2019, a <i>Jurassic World</i> <a href="/wiki/Motion_comic">motion comic</a> series was released by Universal on <a href="/wiki/YouTube">YouTube</a>. The four-part series is set after the events of <i>Jurassic World: Fallen Kingdom</i> and explores various dinosaur attacks throughout the world.<sup><a href="#cite_note-298">[295]</a></sup><sup><a href="#cite_note-299">[296]</a></sup><sup><a href="#cite_note-300">[297]</a></sup>
</p>
<h3>Video games[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=47">edit</a>]</h3>
<p>Since 1993, numerous <i>Jurassic Park</i> video games have been produced. To accompany the release of the first film, <a href="/wiki/Sega">Sega</a> and <a href="/wiki/Ocean_Software">Ocean Software</a> published several different games for various consoles, including the <a href="/wiki/Nintendo_Entertainment_System">NES</a> and <a href="/wiki/Sega_Genesis">Sega Genesis</a>. In 1994, Ocean produced a game sequel titled <i><a href="/wiki/Jurassic_Park_2:_The_Chaos_Continues">Jurassic Park 2: The Chaos Continues</a></i>, while Sega released <i><a href="/wiki/Jurassic_Park:_Rampage_Edition">Jurassic Park: Rampage Edition</a></i>. In addition, <a href="/wiki/Universal_Interactive_Studios">Universal Interactive Studios</a> produced <i><a href="/wiki/Jurassic_Park_Interactive">Jurassic Park Interactive</a></i> for the <a href="/wiki/3DO_Interactive_Multiplayer">3DO</a> system.
</p><p>In 1997, several games were released for the second film in the franchise, including some by <a href="/wiki/DreamWorks_Interactive">DreamWorks Interactive</a>. A subsequent game, <i><a href="/wiki/Trespasser_(video_game)">Trespasser</a></i>, was released as a "digital sequel" to <i>The Lost World: Jurassic Park</i>. The player assumes the role of Anne, who is the sole survivor of a plane crash on InGen's "Site B" one year after the events of the film. It was released for <a href="/wiki/Microsoft_Windows">Microsoft Windows</a> in 1998. The third film spawned six video games for <a href="/wiki/Personal_computer">PC</a> and <a href="/wiki/Game_Boy_Advance">Game Boy Advance</a>. A number of <a href="/wiki/Lightgun">lightgun</a> <a href="/wiki/Arcade_games">arcade games</a> were also released for all three films.
</p><p><i><a href="/wiki/Jurassic_Park:_The_Game">Jurassic Park: The Game</a></i> is an episodic video game that takes place during and after the events of the original film. It follows a new group of survivors trying to escape Isla Nublar. It was developed by <a href="/wiki/Telltale_Games">Telltale Games</a> in a deal with Universal<sup><a href="#cite_note-301">[298]</a></sup> and was released in 2011.
</p><p><i><a href="/wiki/Lego_Jurassic_World">Lego Jurassic World</a></i> is a 2015 <a href="/wiki/Action-adventure">action-adventure</a> video game developed by <a href="/wiki/Traveller%27s_Tales">Traveller's Tales</a> and published by <a href="/wiki/Warner_Bros._Interactive_Entertainment">Warner Bros. Interactive Entertainment</a>. It follows the plots of the series' first four films.
</p><p>Several park-building games have been released, including <i><a href="/wiki/Jurassic_Park:_Operation_Genesis">Jurassic Park: Operation Genesis</a></i> (2003), <i><a href="/wiki/Jurassic_World:_The_Game">Jurassic World: The Game</a></i> (2015), <i><a href="/wiki/Jurassic_World_Evolution">Jurassic World Evolution</a></i> (2018),<sup><a href="#cite_note-302">[299]</a></sup> and <i><a href="/wiki/Jurassic_World_Evolution_2">Jurassic World Evolution 2</a></i> (2021).<sup><a href="#cite_note-303">[300]</a></sup>
</p><p><i><a href="/wiki/Jurassic_World_Aftermath">Jurassic World Aftermath</a></i>, a <a href="/wiki/Virtual_reality_game">virtual reality game</a>, was released in 2020.<sup><a href="#cite_note-304">[301]</a></sup>
</p>
<h2>Attractions[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=48">edit</a>]</h2>
<h3>Theme park rides[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=49">edit</a>]</h3>
<p>Several water rides based on the series have opened at Universal's theme parks. On June 21, 1996, <a href="/wiki/Universal_Studios_Hollywood">Universal Studios Hollywood</a> opened <a href="/wiki/Jurassic_Park:_The_Ride">Jurassic Park: The Ride</a>. <a href="/wiki/Universal_Studios_Japan">Universal Studios Japan</a> later opened this attraction, and <a href="/wiki/Universal%27s_Islands_of_Adventure">Universal's Islands of Adventure</a> opened <a href="/wiki/Jurassic_Park:_The_Ride">Jurassic Park River Adventure</a>. The rides are heavily themed on the first three films. Another ride based on the series has also been opened at <a href="/wiki/Universal_Studios_Singapore">Universal Studios Singapore</a> (<a href="/wiki/Jurassic_Park_Rapids_Adventure">Jurassic Park Rapids Adventure</a>). In 2018, Jurassic Park: The Ride at Universal Studios Hollywood closed for preparations to become <a href="/wiki/Jurassic_World:_The_Ride">Jurassic World: The Ride</a>, which opened on July 12, 2019. A roller coaster, known as <a href="/wiki/VelociCoaster">VelociCoaster</a>, opened at Universal's Islands of Adventure in June 2021.<sup><a href="#cite_note-305">[302]</a></sup>
</p>
<h3>Exhibitions[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=50">edit</a>]</h3>
<p>In June 1993, the <a href="/wiki/American_Museum_of_Natural_History">American Museum of Natural History</a> in New York debuted The Dinosaurs of Jurassic Park, an <a href="/wiki/Exhibition">exhibition</a> featuring dinosaurs that were created for use in the first film. The exhibition opening coincided with the film.<sup><a href="#cite_note-306">[303]</a></sup><sup><a href="#cite_note-307">[304]</a></sup> Other museums were threatened with legal action for using the word "Jurassic" in exhibit titles.<sup><a href="#cite_note-308">[305]</a></sup>
</p><p>A <a href="/wiki/Travelling_exhibition">travelling exhibition</a>, The Lost World: The Life and Death of Dinosaurs, went on tour in 1997. The exhibit was produced in connection with the second film, and its centerpiece was a 70-foot-long recreation of a <i><a href="/wiki/Mamenchisaurus">Mamenchisaurus</a></i>, a dinosaur featured in the film.<sup><a href="#cite_note-309">[306]</a></sup><sup><a href="#cite_note-310">[307]</a></sup><sup><a href="#cite_note-311">[308]</a></sup><sup><a href="#cite_note-312">[309]</a></sup>
</p><p>Another travelling exhibit, The Dinosaurs of Jurassic Park and The Lost World,<sup><a href="#cite_note-315">[nb 4]</a></sup> went on tour in 1998. It was created by <a href="/wiki/Don_Lessem">Don Lessem</a>, and featured dinosaurs that were made for the first two films, as well as sets and props, and a video narrated by <a href="/wiki/Jeff_Goldblum">Jeff Goldblum</a>.<sup><a href="#cite_note-316">[312]</a></sup><sup><a href="#cite_note-317">[313]</a></sup><sup><a href="#cite_note-318">[314]</a></sup> It also featured the 70-foot <i>Mamenchisaurus</i>.<sup><a href="#cite_note-Culture-313">[310]</a></sup> The exhibit was ongoing as of 2001.<sup><a href="#cite_note-Cin-314">[311]</a></sup>
</p><p>Jurassic Park: The Life and Death of Dinosaurs was an exhibition that traveled around the United States during 2002. It was also created by Lessem and included dinosaur sculptures from the films, as well as cast skeletons and fossils.<sup><a href="#cite_note-319">[315]</a></sup><sup><a href="#cite_note-320">[316]</a></sup><sup><a href="#cite_note-321">[317]</a></sup>
</p><p>In 2001,<sup><a href="#cite_note-322">[318]</a></sup> Universal Studios and Amblin Entertainment created the Jurassic Park Institute, an educational program that included a website, as well as travelling dinosaur exhibits in later years.<sup><a href="#cite_note-323">[319]</a></sup><sup><a href="#cite_note-324">[320]</a></sup><sup><a href="#cite_note-325">[321]</a></sup> The exhibit toured in Japan under the name Jurassic Park Institute Tour,<sup><a href="#cite_note-326">[322]</a></sup><sup><a href="#cite_note-327">[323]</a></sup><sup><a href="#cite_note-328">[324]</a></sup> and a video game, <i><a href="/wiki/Jurassic_Park_Institute_Tour:_Dinosaur_Rescue">Jurassic Park Institute Tour: Dinosaur Rescue</a></i>, was released to accompany it.<sup><a href="#cite_note-329">[325]</a></sup> The tour, designed by <a href="/wiki/Thinkwell_Group">Thinkwell Design &amp; Production</a>,<sup><a href="#cite_note-330">[326]</a></sup> won a <a href="/wiki/Thea_award">Thea award</a> in 2005 for Outstanding Achievement.<sup><a href="#cite_note-331">[327]</a></sup>
</p><p>Jurassic World: The Exhibition was located at the <a href="/wiki/Melbourne_Museum">Melbourne Museum</a> in Australia for six months during 2016.<sup><a href="#cite_note-332">[328]</a></sup><sup><a href="#cite_note-333">[329]</a></sup><sup><a href="#cite_note-334">[330]</a></sup> The travelling exhibition was also held in 2017, at the <a href="/wiki/Franklin_Institute">Franklin Institute</a> in Philadelphia,<sup><a href="#cite_note-335">[331]</a></sup><sup><a href="#cite_note-336">[332]</a></sup> and at the <a href="/wiki/Field_Museum">Field Museum</a> in Chicago.<sup><a href="#cite_note-337">[333]</a></sup><sup><a href="#cite_note-338">[334]</a></sup> A new North American tour was launched in 2021,<sup><a href="#cite_note-339">[335]</a></sup> starting in Texas.<sup><a href="#cite_note-340">[336]</a></sup><sup><a href="#cite_note-341">[337]</a></sup>
</p>
<h3>Live show[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=51">edit</a>]</h3>
<p>A live show, titled Jurassic World Live, started touring in 2019.
</p>
<h2>Notes[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=52">edit</a>]</h2>
<div><ol>
<li>^ <a href="#cite_ref-source_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-source_24-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-source_24-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-source_24-3"><sup><i><b>d</b></i></sup></a> As described in the novels.
</li>
<li><b><a href="#cite_ref-25">^</a></b> As described in the films, <i>Jurassic Park</i> and <i>The Lost World: Jurassic Park</i>.
</li>
<li><b><a href="#cite_ref-33">^</a></b> Biosyn appears in the 1994 video games <i><a href="/wiki/Jurassic_Park_(Sega_CD_video_game)">Jurassic Park</a></i> (for the <a href="/wiki/Sega_CD">Sega CD</a>)<sup><a href="#cite_note-30">[28]</a></sup> and <i><a href="/wiki/Jurassic_Park_2:_The_Chaos_Continues">Jurassic Park 2: The Chaos Continues</a></i> (for the <a href="/wiki/Super_NES">Super NES</a>).<sup><a href="#cite_note-31">[29]</a></sup> It is also referenced in the subsequent games <i><a href="/wiki/Trespasser_(video_game)">Trespasser</a></i> and <i><a href="/wiki/Jurassic_World_Evolution">Jurassic World Evolution</a></i>.<sup><a href="#cite_note-32">[30]</a></sup>
</li>
<li><b><a href="#cite_ref-315">^</a></b> Also known as The Dinosaurs of Jurassic Park: The Lost World.<sup><a href="#cite_note-Culture-313">[310]</a></sup><sup><a href="#cite_note-Cin-314">[311]</a></sup>
</li>
</ol></div>
<h2>References[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=53">edit</a>]</h2>
<div><ol>
<li><b><a href="#cite_ref-1">^</a></b> 
<ul><li><cite><a href="http://www.jurassicworld.com/news/10-best-screams-jurassic-world-franchise">"10 Best Screams in the Jurassic World Franchise"</a>. <i>JurassicWorld.com</i>. October 18, 2018. <a href="https://web.archive.org/web/20190921150821/http://www.jurassicworld.com/news/10-best-screams-jurassic-world-franchise">Archived</a> from the original on September 21, 2019. Retrieved September 21, 2019.</cite></li>
<li><cite><a href="https://venturebeat.com/2019/12/13/why-frontier-is-returning-to-the-iconic-jurassic-park/">"Why Frontier is returning to the iconic Jurassic Park"</a>. <i>VentureBeat</i>. December 13, 2019. <a href="https://web.archive.org/web/20191214162108/https://venturebeat.com/2019/12/13/why-frontier-is-returning-to-the-iconic-jurassic-park/">Archived</a> from the original on December 14, 2019. Retrieved February 4, 2020. <q>There are a lot of fans that just know it as Jurassic World. That's their entry to the franchise.</q></cite></li>
<li><cite>McNary, Dave (September 24, 2019). <a href="https://variety.com/2019/film/news/laura-dern-jeff-goldblum-sam-neill-jurassic-world-3-1203348571/">"'Jurassic World 3' Bringing Back Laura Dern, Jeff Goldblum and Sam Neill"</a>. <i>Variety</i>. <a href="https://web.archive.org/web/20190925065028/https://variety.com/2019/film/news/laura-dern-jeff-goldblum-sam-neill-jurassic-world-3-1203348571/">Archived</a> from the original on September 25, 2019. Retrieved February 4, 2020. <q>The trio, who all appeared in the original "Jurassic Park" in 1993, will reprise their roles in the third chapter in Universal Pictures and Amblin Entertainment's "Jurassic World" franchise.</q></cite></li>
<li><cite>Wakeman, Gregory (July 25, 2020). <a href="https://www.yahoo.com/now/colin-trevorrow-steven-spielberg-jurassic-world-154529026.html">"Colin Trevorrow had to persuade Steven Spielberg to rename 'Jurassic Park' franchise 'Jurassic World'"</a>. <i>Yahoo!</i>.</cite></li></ul>
</li>
<li><b><a href="#cite_ref-2">^</a></b> <cite><a href="https://www.hollywoodreporter.com/news/jurassic-park-re-release-tom-cruise-oblivion-300774">"Jurassic Park Re-release"</a>. <i><a href="/wiki/The_Hollywood_Reporter">The Hollywood Reporter</a></i>. Universal. March 15, 2012. <a href="https://web.archive.org/web/20120501172903/http://www.hollywoodreporter.com/news/jurassic-park-re-release-tom-cruise-oblivion-300774">Archived</a> from the original on May 1, 2012. Retrieved June 8, 2012.</cite>
</li>
<li><b><a href="#cite_ref-3">^</a></b> <cite>Acuna, Kirsten (June 14, 2015). <a href="http://www.businessinsider.com/jurassic-world-worldwide-box-office-opening-weekend-2015-6">"'Jurassic World' is the first movie ever to crack $500 million in its opening weekend"</a>. <i><a href="/wiki/Business_Insider">Business Insider</a></i>. <a href="https://web.archive.org/web/20180202012303/http://www.businessinsider.com/jurassic-world-worldwide-box-office-opening-weekend-2015-6?_ga=2.114579271.1132107499.1517455648-1977927302.1517455648">Archived</a> from the original on February 2, 2018. Retrieved January 1, 2021.</cite>
</li>
<li><b><a href="#cite_ref-BOM_2015_4-0">^</a></b> <cite><a href="https://www.boxofficemojo.com/year/world/2015/">"2015 Worldwide Box Office"</a>. <i>Box Office Mojo</i>. Retrieved July 19, 2022.</cite>
</li>
<li>^ <a href="#cite_ref-BOM_WW_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-BOM_WW_5-1"><sup><i><b>b</b></i></sup></a> <cite><a href="https://www.boxofficemojo.com/chart/top_lifetime_gross/?area=XWW">"Top Lifetime Grosses"</a>. <i>Box Office Mojo</i>. Retrieved July 19, 2022.</cite>
</li>
<li><b><a href="#cite_ref-BOM_2018_6-0">^</a></b> <cite><a href="https://www.boxofficemojo.com/year/world/2018/">"2018 Worldwide Box Office"</a>. <i>Box Office Mojo</i>. Retrieved July 19, 2022.</cite>
</li>
<li><b><a href="#cite_ref-BOM_2022_7-0">^</a></b> <cite><a href="https://www.boxofficemojo.com/year/world/2022/">"2022 Worldwide Box Office"</a>. <i>Box Office Mojo</i>. Retrieved August 29, 2022.</cite>
</li>
<li><b><a href="#cite_ref-8">^</a></b> <cite><a href="https://variety.com/2022/film/box-office/jurassic-world-dominion-box-office-billion-1235380452/">"'Jurassic World Dominion' Slowly but Surely Crosses $1 Billion Globally"</a>. <i>Variety</i>. September 23, 2022.</cite>
</li>
<li><b><a href="#cite_ref-9">^</a></b> <cite><a href="https://deadline.com/2022/09/jurassic-world-dominion-crosses-1-billion-worldwide-box-office-1235125717/">"Dino-Might: 'Jurassic World Dominion' Crosses $1B At Worldwide Box Office"</a>. <i>Deadline Hollywood</i>. September 23, 2022.</cite>
</li>
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<ul><li>Pre-2022 releases: <cite><a href="https://web.archive.org/web/20210126121145/https://www.boxofficemojo.com/title/tt0107290/?ref_=bo_cso_table_42">"Jurassic Park (1993)"</a>. <i><a href="/wiki/Box_Office_Mojo">Box Office Mojo</a></i>. Archived from <a href="https://www.boxofficemojo.com/title/tt0107290/?ref_=bo_cso_table_42">the original</a> on January 26, 2021. Retrieved March 7, 2022. <q>Worldwide: $1,033,928,303; Original Release: $912,667,947; Production Budget: $63 million</q></cite></li>
<li>2022 re-release: <cite><a href="https://www.boxofficemojo.com/releasegroup/gr4086256133/">"Jurassic Park (2022 Re-release)"</a>. <i>Box Office Mojo</i>. Retrieved July 1, 2022. <q>Mexico: $270,700</q></cite></li></ul>
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<li><b><a href="#cite_ref-331">^</a></b> <cite><a href="http://www.teaconnect.org/Blog/Thea-Blog/index.cfm?id=2261&amp;redirect=y">"Past Thea Award recipients: 1994-2020"</a>. <a href="/wiki/Themed_Entertainment_Association">Themed Entertainment Association</a>. <a href="https://web.archive.org/web/20200106101318/http://www.teaconnect.org/Blog/Thea-Blog/index.cfm?id=2261&amp;redirect=y">Archived</a> from the original on January 6, 2020. Retrieved February 19, 2020.</cite>
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<li><b><a href="#cite_ref-332">^</a></b> <cite><a href="http://www.abc.net.au/news/2016-03-19/melburnians-walk-with-dinosaurs-for-jurassic-world-exhibition/7260392">"Jurassic World: Melburnians walk with dinosaurs for world premiere exhibit"</a>. <i><a href="/wiki/ABC_Online">ABC Online</a></i>. March 18, 2016. <a href="https://web.archive.org/web/20201002214413/https://www.abc.net.au/news/2016-03-19/melburnians-walk-with-dinosaurs-for-jurassic-world-exhibition/7260392">Archived</a> from the original on October 2, 2020. Retrieved February 22, 2020.</cite>
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<li><b><a href="#cite_ref-333">^</a></b> <cite>Fehily, Toby (March 22, 2016). <a href="https://www.theguardian.com/artanddesign/2016/mar/23/jurassic-world-at-melbourne-museum-tramples-line-between-science-and-fiction">"Jurassic World at Melbourne Museum tramples line between science and fiction"</a>. <i>The Guardian</i>. <a href="https://web.archive.org/web/20200222152705/https://www.theguardian.com/artanddesign/2016/mar/23/jurassic-world-at-melbourne-museum-tramples-line-between-science-and-fiction">Archived</a> from the original on February 22, 2020. Retrieved February 22, 2020.</cite>
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<li><b><a href="#cite_ref-334">^</a></b> <cite>Brundrette, Charlotte (September 29, 2016). <a href="https://www.news.com.au/national/victoria/jurassic-world-the-exhibition-closes-at-melbourne-museum-on-sunday/news-story/09f03d6efaa48aaae1929f5a51e0aedf">"Jurassic World: The Exhibition closes at Melbourne Museum on Sunday"</a>. <i><a href="/wiki/News.com.au">News.com.au</a></i>. <a href="https://web.archive.org/web/20200222152704/https://www.news.com.au/national/victoria/jurassic-world-the-exhibition-closes-at-melbourne-museum-on-sunday/news-story/09f03d6efaa48aaae1929f5a51e0aedf">Archived</a> from the original on February 22, 2020. Retrieved February 22, 2020.</cite>
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<li><b><a href="#cite_ref-335">^</a></b> <cite>Johnson, Steve (March 23, 2017). <a href="https://www.chicagotribune.com/entertainment/museums/ct-jurassic-world-exhibit-field-museum-20170323-column.html">"Blockbuster 'Jurassic World' exhibition will bring dinosaur park to Field Museum"</a>. <i>Chicago Tribune</i>. <a href="https://web.archive.org/web/20201111213504/https://www.chicagotribune.com/entertainment/museums/ct-jurassic-world-exhibit-field-museum-20170323-column.html">Archived</a> from the original on November 11, 2020. Retrieved February 22, 2020.</cite>
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</ol></div>
<h2>External links[<a href="/w/index.php?title=Jurassic_Park&amp;action=edit&amp;section=54">edit</a>]</h2>
<ul><li><a href="http://www.jurassicworld.com/">Official website</a></li></ul>
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 Contents

 move to sidebar hide
 * (Top)
 * 1 Background
 + 1.1 Premise and dinosaurs
 + 1.2 InGen
 + 1.3 Biosyn
 + 1.4 Isla Nublar
 + 1.5 Isla Sorna
 * 2 Novels
 + 2.1 Jurassic Park (1990)
 + 2.2 The Lost World (1995)
 + 2.3 Jurassic Park Adventures (2001–2002)
 + 2.4 The Evolution of Claire (2018)
 * 3 Films
 + 3.1 Jurassic Park trilogy
 o 3.1.1 Jurassic Park (1993)
 o 3.1.2 The Lost World: Jurassic Park (1997)
 o 3.1.3 Jurassic Park III (2001)
 + 3.2 Jurassic World trilogy
 o 3.2.1 Jurassic World (2015)
 o 3.2.2 Jurassic World: Fallen Kingdom (2018)
 o 3.2.3 Jurassic World Dominion (2022)
 + 3.3 Future
 * 4 Short films
 + 4.1 Battle at Big Rock (2019)
 + 4.2 Jurassic World Dominion prologue (2021)
 * 5 Television
 + 5.1 Lego animated projects
 + 5.2 Jurassic World Camp Cretaceous (2020–2022)
 + 5.3 Live-action series
 + 5.4 Cancelled projects
 o 5.4.1 Escape from Jurassic Park
 o 5.4.2 Jurassic Park: Chaos Effect
 * 6 Cast and crew
 + 6.1 Principal cast
 + 6.2 Additional crew
 * 7 Reception
 + 7.1 Box office performance
 + 7.2 Critical and public response
 + 7.3 Accolades
 * 8 Music
 * 9 Merchandise and other media
 + 9.1 Toys
 + 9.2 Board games
 + 9.3 Comics
 o 9.3.1 Topps Comics
 o 9.3.2 IDW Comics
 o 9.3.3 Motion comic series
 + 9.4 Video games
 * 10 Attractions
 + 10.1 Theme park rides
 + 10.2 Exhibitions
 + 10.3 Live show
 * 11 Notes
 * 12 References
 * 13 External links
 Toggle the table of contents

 Jurassic Park

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 From Wikipedia, the free encyclopedia
 This article is about the franchise. For the film, see Jurassic Park (film). For the novel, see Jurassic Park (novel). For other uses, see Jurassic Park (disambiguation).

 Jurassic Park 
 The first film's logo depicting the skeleton of a Tyrannosaurus
 Created by * Michael Crichton (Novel form) 
  * Steven Spielberg (Film form) 
  Jurassic Park (novel; 1990) 
 Original work  
  Jurassic Park (film; 1993) 
  
 Owner  * Universal Pictures 
  * Amblin Entertainment 
 Years 1990–present 
 Print publications 
  * Jurassic Park (1990) 
 Novel(s) * The Lost World (1995) 
  * The Evolution of Claire (2018) 
  * Jurassic Park Adventures: Survivor (2001)
 Short stories * Jurassic Park Adventures: Prey (2001) 
  * Jurassic Park Adventures: Flyers (2002) 
 Films and television 
  * Jurassic Park (1993) 
  * The Lost World: Jurassic Park (1997) 
 Film(s) * Jurassic Park III (2001) 
  * Jurassic World (2015) 
  * Jurassic World: Fallen Kingdom (2018) 
  * Jurassic World Dominion (2022) 
 Short film(s) * Battle at Big Rock (2019) 
  * Jurassic World Dominion prologue (2021) 
 Animated series Jurassic World Camp Cretaceous (2020–2022) 
 Theatrical presentations 
 Play(s) Jurassic World Live (2019) 
 Games 
 Traditional Jurassic World: The Legacy of Isla Nublar 
 Video game(s) List of video games 
 Audio 
  * Jurassic Park (1993) 
  * The Lost World: Jurassic Park (1997) 
 Soundtrack(s) * Jurassic Park III (2001) 
  * Jurassic World (2015) 
  * Jurassic World: Fallen Kingdom (2018) 
  * Jurassic World Dominion (2022) 
 Miscellaneous 
 Toy(s) List of toys and see Lego Jurassic World 
  * Jurassic Park: The Ride (1996) 
  * Canopy Flyer (2010) 
  * Dino-Soarin' (2010) 
 Theme park attraction(s) * Jurassic Park Rapids Adventure (2010) 
  * The Flying Dinosaur (2016) 
  * Jurassic World: The Ride (2019) 
  * VelociCoaster (2021) 
 Character(s) List of characters 
 Official website 
 Jurassicpark.com 
 

 Jurassic Park, later also referred to as Jurassic World,[1] is an American science fiction media franchise created by Michael Crichton and centered on a disastrous attempt to create a theme park of cloned dinosaurs. It began in 1990 when Universal Pictures and Amblin Entertainment bought the rights to Crichton's novel Jurassic Park before it was published. The book was successful, as was Steven Spielberg's 1993 film adaptation. The film received a theatrical 3D re-release in 2013,[2] and was selected in 2018 for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". A 1995 sequel novel, The Lost World, was followed by a film adaptation in 1997. Subsequent films in the series, including Jurassic Park III (2001), are not based on the novels.

 In 2015, a second trilogy of films began with the fourth film in the series, Jurassic World. The film was successful, becoming the first film to gross over $500 million worldwide in its opening weekend,[3] and grossed over $1.6 billion through the course of its theatrical run, making it the third highest-grossing film at the time. It became the second highest-grossing film of 2015,[4] and is currently the eighth highest-grossing film of all time.[5] When adjusted for monetary inflation, Jurassic World is the second highest-grossing film in the franchise after Jurassic Park. A sequel, Jurassic World: Fallen Kingdom (2018) grossed over $1.3 billion worldwide, making it the third Jurassic film to pass the billion-dollar mark. It is the third highest-grossing film of 2018,[6] and currently the 18th highest-grossing film of all time.[5] The final film in the trilogy, Jurassic World Dominion, was released in 2022. It grossed over $1 billion worldwide and became the third highest-grossing film of 2022.[7] Jurassic World Dominion also became the fourth film in the franchise to pass the billion-dollar mark.[8][9][10]

 Numerous video games and comic books based on the franchise have been created since the release of the 1993 film, and several water rides have been opened at various Universal Studios theme parks. Lego has produced several animated projects based on the Jurassic World films, including Lego Jurassic World: Legend of Isla Nublar, a miniseries released in 2019. DreamWorks Animation also produced an animated series, Jurassic World Camp Cretaceous, which ran on Netflix from September 2020 to July 2022. As of 2000, the franchise had generated $5 billion in revenue making it one of the highest-grossing media franchises of all time.[11] The Jurassic Park franchise is also one of the highest-grossing film series of all time, having earned over $6 billion at the worldwide box office.[12][13]

 Background [ edit ]

 Premise and dinosaurs [ edit ]

 See also: Dinosaurs in Jurassic Park

 The Jurassic Park franchise focuses on resurrected dinosaurs which wreak havoc on humans. The dinosaurs, created as theme park attractions, are cloned through genetic engineering. The process is accomplished by extracting ancient DNA from mosquitoes, which sucked the blood of dinosaurs and then became fossilized in amber, preserving the DNA. Scientists then fill gaps in the genome using frog DNA.[14] Although the films primarily take place on islands located in the Pacific coast of Central America, Jurassic World: Fallen Kingdom (2018) sees the dinosaurs relocated throughout the world, including the U.S. mainland.[15]

 The film series is notable for its recreation of dinosaurs, achieved primarily through animatronics and computer-generated imagery.[16][17] The first film was praised for its dinosaur effects, and created an increased interest in the field of paleontology, while changing the public perception of dinosaurs with its modern portrayal.[18][19] Later films largely ignored recent paleontological findings to maintain continuity with the earlier installments, leading to criticism among paleontologists.[20][21][22]

 Jurassic World Dominion (2022) introduces feathered dinosaurs, in line with modern discoveries.[23]

 InGen [ edit ]

 "inGen" redirects here. For other uses, see ingen (disambiguation).
 The company logo for InGen in the film series

 International Genetic Technologies, Inc. (InGen) is the fictional company responsible for cloning the dinosaurs. According to the novels, it is based in Palo Alto, California, and has one location in Europe as well.[nb 1] Nevertheless, most of InGen's research took place on the fictional islands of Isla Sorna and Isla Nublar, near Costa Rica.[nb 1][nb 2] While the first novel indicated InGen was just one of any number of small 1980s genetic engineering start-ups, the events of the novel and film revealed to a select group that InGen had discovered a method for cloning dinosaurs, which would be placed in an island theme park attraction.[nb 1]

 InGen was well established in the first novel as the entity behind the park, but for simplicity the first film emphasized the Jurassic Park brand. The InGen name is visible in the film — on computer screens, helicopters, etc. — but is never spoken. InGen's corporate identity is more prominent in the second film. By the time that Jurassic World takes place, InGen and all its intellectual property has been absorbed by the Masrani Global Corporation.

 Beacham's Encyclopedia of Popular Fiction describes InGen as comparable to other "sleazy organizations".[24] Other sources reference the company's receiving a baby T. rex (in The Lost World: Jurassic Park) as an allusion to other exploitative entrepreneurs depicted in the 1933 film King Kong.[25] Ken Gelder describes InGen as "resolutely secretive", like the tax firm in John Grisham's 1991 novel The Firm.[26]

 Biosyn [ edit ]

 Not to be confused with Bio-Synthesis, Inc..
 The logo for Biosyn in the film Jurassic World Dominion

 In the novels, Biosyn Corporation (or Biosyn for short) is InGen's corporate rival. The company is controversial for its industrial espionage in the genetics industry. Lewis Dodgson, an employee of Biosyn, helps the company in its theft of corporate secrets. Biosyn is interested in acquiring InGen's dinosaur DNA, believing the animals present a variety of uses such as hunting trophies and pharmaceutical test subjects.[nb 1]

 Dodgson makes only a minor appearance in the first film, and his employer is not named.[27] However, Biosyn is featured in several video games.[nb 3]

 The company, as Biosyn Genetics, makes its film debut in Jurassic World Dominion (2022). By the time that the film takes place, Dodgson has become the company's CEO. Biosyn's employees now include geneticist Dr. Henry Wu and mathematician Dr. Ian Malcolm, the latter working as the company's in-house philosopher.[27] With dinosaurs loose around the world and captured by governments, Biosyn has a contract to house the animals at its headquarters in the Dolomites mountain range in Italy. In addition to performing pharmaceutical research on the dinosaurs, the company has also captured 14-year-old orphan Maisie Lockwood and unleashed giant locusts to devour their rivals' crops. By the end of the film, this plot is foiled and exposed to the public.[31][32] The film's director, Colin Trevorrow, described Biosyn not as an "evil" corporation but rather an entity with thousands of employees who have the best intentions in mind, only to feel betrayed by Dodgson upon learning of his actions.[33]

 Isla Nublar [ edit ]

 Fan-made map of Isla Nublar, based on its description in the first novel

 Isla Nublar is a fictional Central American island that serves as a major setting in the first novel and its film adaptation, as well as the films Jurassic World and Jurassic World: Fallen Kingdom. According to the novel, its name means "Cloud Island" in Spanish. The tropical island is located 120 miles (190 kilometres) west of Costa Rica and has an inactive volcano. In the first novel and film, Isla Nublar is the location of Jurassic Park, a dinosaur theme park proposed by InGen, but it fails to open after the animals escape. In the novel, the Costa Rican government declares the island unsafe and has it napalmed; in the film series, the island continues to exist until the Jurassic World trilogy.

 In Jurassic World, the theme park idea has been carried out successfully by Masrani Global Corporation. By the end of the film however, the island is overrun by dinosaurs once more following the Indominus rex incident.

 In Jurassic World: Fallen Kingdom, Isla Nublar is destroyed when its volcano becomes active again and erupts.[34]

 In the films, several Hawaiian islands stood in as Isla Nublar, including Oahu and Kauai.[35][36][37] Some filming also took place on sound stages, in California for the original film,[38] and in Louisiana for Jurassic World.[39]

 Isla Sorna [ edit ]

 Isla Sorna, also called Site B, is another fictional Central American island. It is 87 miles (140 km) southwest of Isla Nublar, and 207 miles (333 km) west of Costa Rica. It is the main setting for the second novel and its film adaptation, as well as the third film. Isla Sorna is where InGen conducted much of its dinosaur research. It is here that the dinosaurs were bred before being shipped off to Isla Nublar; a laboratory on the latter island was built only as a showroom for tourists. Isla Sorna is significantly larger than Isla Nublar and has various climates including tropical, highland tropical and temperate rainforest. It is part of a five-island chain known as Las Cinco Muertes (The Five Deaths), although the other islands do not play a role in the novels or films.

 Isla Sorna is abandoned by InGen after the events of the first novel and film, and the dinosaurs are left to live freely and reproduce. At the end of the second film, it is stated that Isla Sorna has been set up as a biological preserve for the animals, after a failed attempt to relocate them to a new theme park in San Diego.[40] The status of Isla Sorna is not mentioned in Jurassic World or Jurassic World: Fallen Kingdom, but a promotional website for the latter film states that the island ecosystem suffered a breakdown after illegally-cloned animals were introduced there. The surviving dinosaurs were relocated to Isla Nublar for the opening of the Jurassic World theme park, leaving Sorna abandoned.[41][40] Jurassic World Dominion shows the two adult Tyrannosaurus from Isla Sorna encountering the Tyrannosaurus from Isla Nublar. In the same movie, Ramsay Cole mentions that Isla Sorna's dinosaurs have been relocated to Biosyn's valley along with those from Isla Nublar that have been rounded up. The island briefly appears in video footage from 1986 shown to Maisie Lockwood by Henry Wu.

 For the second film, Humboldt County, California served as the primary location for scenes set on Isla Sorna, giving it a forest climate.[42][43] Filming also took place on sound stages at Universal Studios Hollywood,[44] and a beach scene was shot on Kauai.[45][46] The third film largely uses Oahu and Kauai to represent Isla Sorna, as the original film had done for Isla Nublar. A jungle set was also built on a sound stage at Universal Studios.[47][48]

 Novels [ edit ]

 Cover of Michael Crichton's Jurassic World two-novel set

 Jurassic Park (1990) [ edit ]

 Main article: Jurassic Park (novel)

 In 1983, Michael Crichton originally conceived a screenplay about a pterosaur being cloned from fossil DNA.[49] After wrestling with this idea for a while, he came up with the story of Jurassic Park.[50] Crichton worked on the book for several years; he decided his first draft would have a theme park for the setting (similar to his 1973 film Westworld) and a young boy as the main character.[49] Response was extremely negative, so Crichton rewrote the story to make it from an adult's point of view, which resulted in more positive feedback.[49]

 Steven Spielberg learned of the novel in October 1989 while he and Crichton were discussing a screenplay that would become the TV series ER. Warner Bros. Pictures, Columbia Pictures, 20th Century Fox, and Universal Pictures bid for the rights to the novel before its publication. In May 1990, Universal acquired the rights, with the backing of Spielberg's Amblin Entertainment.[51] Crichton put up a non-negotiable fee for $1.5 million as well as a substantial percentage of the gross. Universal further paid Crichton $500,000 to adapt his own novel (Malia Scotch Marmo, who was a writer on Spielberg's 1991 film Hook, wrote the next draft of Jurassic Park, but was not credited; David Koepp wrote the final draft, which left out much of the novel's exposition and violence, and made numerous changes to the characters).[52] Universal desperately needed money to keep their company alive, and partially succeeded with Jurassic Park, as it became a critical[53] and commercial[54] success.

 The Lost World (1995) [ edit ]

 Main article: The Lost World (Crichton novel)

 After the film adaptation of Jurassic Park was released to home video, Crichton was pressured from many sources for a sequel novel.[55] Crichton declined all offers until Spielberg himself told him that he would be keen to direct a movie adaptation of the sequel, if one were written. Crichton began work almost immediately and in 1995 published The Lost World. Crichton confirmed that his novel had elements taken from the novel of the same name by Sir Arthur Conan Doyle.[56] The book was also an outstanding success, both with professional and amateur critics.[55] The film adaptation, The Lost World: Jurassic Park, began production in September 1996.[57]

 Jurassic Park Adventures (2001–2002) [ edit ]

 Scott Ciencin wrote a trilogy of spin-off novels based upon Jurassic Park III. The series contained Jurassic Park Adventures: Survivor and Jurassic Park Adventures: Prey, both released in 2001, and Jurassic Park Adventures: Flyers, released the following year.

 The Evolution of Claire (2018) [ edit ]

 The Evolution of Claire (Jurassic World)[58] is a young adult novel written by Tess Sharpe. It is based upon the Jurassic World trilogy, and was released in 2018 in conjunction with the release of Jurassic World: Fallen Kingdom. It is a spin-off set in 2004, prior to the opening of the Jurassic World theme park. The novel is about college freshman Claire Dearing during her summer internship at the park.[59]

 Films [ edit ]

 Film U.S. release date Director(s) Screenwriter(s) Story by Producer(s) 
 Jurassic Park trilogy 
 Jurassic Park June 11, 1993 Steven Spielberg Michael Crichton and David Koepp Gerald Molen and Kathleen Kennedy 
 The Lost World: Jurassic Park May 23, 1997 David Koepp Gerald Molen and Colin Wilson 
 Jurassic Park III July 18, 2001 Joe Johnston Peter Buchman and Alexander Payne & Jim Taylor Kathleen Kennedy and Larry Franco 
 Jurassic World trilogy 
 Jurassic World June 12, 2015 Colin Trevorrow Rick Jaffa & Amanda Silver and Derek Connolly & Colin Trevorrow Rick Jaffa & Amanda Silver Frank Marshall and Patrick Crowley
 Jurassic World: Fallen Kingdom June 22, 2018 J. A. Bayona Derek Connolly & Colin Trevorrow Frank Marshall, Patrick Crowley and Belén Atienza
 Jurassic World Dominion June 10, 2022 Colin Trevorrow Emily Carmichael & Colin Trevorrow Derek Connolly & Colin Trevorrow Frank Marshall and Patrick Crowley
 

 Jurassic Park trilogy [ edit ]

 Jurassic Park (1993) [ edit ]

 Main article: Jurassic Park (film)
 1917 skeletal diagram of Tyrannosaurus published by Henry Fairfield Osborn, which was the basis of the covers of Jurassic Park and The Lost World, and subsequently the logo of the movies
 Theatrical poster for the 3D re-release of Jurassic Park

 John Hammond (Richard Attenborough) is the owner of Jurassic Park, a theme park located on Isla Nublar. After an incident with a velociraptor, Hammond brings in three specialists to sign off on the park to calm investors. The specialists, paleontologist Alan Grant (Sam Neill), paleobotanist Ellie Sattler (Laura Dern), and chaos theorist Ian Malcolm (Jeff Goldblum), are surprised to see that the island park's main attraction are living, breathing dinosaurs, created with a mixture of fossilized DNA and genetic cross-breeding/cloning. When lead programmer Dennis Nedry (Wayne Knight) turns off the park's power to sneak out with samples of the dinosaur embryos to sell to a corporate rival, the dinosaurs break free, and the survivors are forced to find a way to turn the power back on and make it out alive. The film also stars Bob Peck, Martin Ferrero, BD Wong, Ariana Richards, Joseph Mazzello, and Samuel L. Jackson.

 Spielberg cited Godzilla as an inspiration for Jurassic Park, specifically Godzilla, King of the Monsters! (1956), which he grew up watching. During production, Spielberg described Godzilla as "the most masterful of all the dinosaur movies because it made you believe it was really happening".[60]

 Jurassic Park's biggest impact on subsequent films was a result of its breakthrough use of computer-generated imagery.[61][62][63] The film is regarded as a landmark for visual effects.[64][65][66] It received positive reviews from critics, who praised the effects, though reactions to other elements of the picture, such as character development, were mixed. During its release, the film grossed more than $914 million worldwide,[67] becoming the most successful film released up to that time (surpassing E.T. the Extra-Terrestrial and surpassed 4 years later by Titanic), and it is currently the 17th highest grossing feature film (taking inflation into account, it is the 20th-highest-grossing film in North America). It is the most financially successful film for NBCUniversal and Steven Spielberg.

 Recently, Jurassic Park has been proposed to be recognized as Intangible Geoheritage due to its cultural impact on the people's views about dinosaurs, including a change in the popular iconography of carnivorous dinosaurs.[68]

 Jurassic Park had two re-releases: The first on September 23, 2011, in the United Kingdom and the second in which it was converted into 3D on April 5, 2013, for its 20th anniversary, which resulted in the film passing the $1 billion mark at the worldwide box office.[69][70][71] In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[72]

 The Lost World: Jurassic Park (1997) [ edit ]

 Main article: The Lost World: Jurassic Park

 Before The Lost World was published, a film adaptation was already in pre-production, with its release occurring in May 1997. The film was a commercial success, breaking many box-office records when released. The film was released to mixed reviews, similar to its predecessor in terms of characterization.[73] Critical response to The Lost World has since become more favorable, with some publications calling it the best Jurassic Park sequel.[74][75] Much like the first film, The Lost World: Jurassic Park made a number of changes to the plot and characters from the book, replacing the corporate rivals with an internal power struggle and changing the roles or characterizations of several protagonists.

 When a vacationing family stumbles upon the dinosaurs of Isla Sorna, a secondary island where the animals were bred en masse and allowed to grow before being transported to the park, Ian Malcolm (Jeff Goldblum) is called in by John Hammond (Richard Attenborough) to lead a team to document the island to turn it into a preserve, where the animals can roam free without interference from the outside world. Malcolm agrees to go when he discovers his girlfriend, paleontologist Sarah Harding (Julianne Moore) is already on the island, while at the same time Hammond's nephew, Peter Ludlow (Arliss Howard), has taken over his uncle's company and leads a team of hunters to capture the creatures and bring them back to a theme park in San Diego. The two groups clash and are ultimately forced to work together to evade the predatory creatures and survive the second island. The film also stars Pete Postlethwaite, Richard Schiff, Vince Vaughn, Vanessa Lee Chester, Peter Stormare, and a young Camilla Belle.

 Jurassic Park III (2001) [ edit ]

 Main article: Jurassic Park III

 Joe Johnston had been interested in directing the sequel to Jurassic Park and approached his friend Steven Spielberg about the project. While Spielberg wanted to direct the first sequel, he agreed that if there was ever a third film, Johnston could direct.[76] Spielberg, nevertheless, stayed involved in this film by becoming its executive producer. Production began on August 30, 2000,[77] with filming in California, and the Hawaiian islands of Kauai, Oahu, and Molokai.[78] It is the first Jurassic Park film not to be based on a novel, although it does incorporate some unused plot elements from the Crichton novels, such as the river escape and the pterosaur aviary. Jurassic Park III had a troubled production,[79] and received mixed reviews from critics.[80]

 When their son Eric (Trevor Morgan) goes missing while parasailing at Isla Sorna, the Kirbys (William H. Macy and Téa Leoni) hire Alan Grant (Sam Neill) under false pretenses to help them navigate the island. Believing it to be nothing more than sight-seeing, and that he will act as a dinosaur guide from the safety of their plane, he is startled to find them landing on the ground, where they are stalked by a Spinosaurus, which destroys their plane. As they search for the Kirbys' son, the situation grows dire as Velociraptors hunt their group and they must find a way off the island. The film also stars Alessandro Nivola, Michael Jeter, Mark Harelik, and Laura Dern.

 Jurassic World trilogy [ edit ]

 Logo used for the Jurassic World trilogy

 Jurassic World (2015) [ edit ]

 Main article: Jurassic World

 Steven Spielberg devised a story idea for a fourth film in 2001, during production of Jurassic Park III.[81] In 2002, William Monahan was hired to write the script,[82] with the film's release scheduled for 2005.[83] Early aspects of the plot included dinosaurs escaping to the mainland,[84][85][86] and an army of genetically modified dinosaur-human mercenaries.[87][88][89][90] Monahan finished the first draft of the script in 2003.[91] Sam Neill and Richard Attenborough were set to reprise their characters,[86][92] while Keira Knightley was in talks for two separate roles.[93] In 2004, John Sayles wrote two drafts of the script.[94][95] Sayles' first draft involved a team of Deinonychus being trained for use in rescue missions.[96][97][98]

 Both drafts were scrapped, and a new script was being worked on in 2006.[99][100][101] Laura Dern was contacted to reprise her role, with the film expected for release in 2008.[102][103] The film was further delayed by the 2007–08 Writers Guild of America strike.[104] Mark Protosevich wrote two film treatments in 2011, which were rejected.[105] Rise of the Planet of the Apes screenwriters Rick Jaffa and Amanda Silver were hired in 2012 to write an early draft of the script.[106] In 2013, Colin Trevorrow was announced as a director and co-writer,[107][108] with the film scheduled for release on June 12, 2015.[109] The film was shot in Univisium 2.00:1.[110] It grossed over $1.6 billion worldwide and received generally positive reviews.[111][112][113]

 The film features a new park, Jurassic World, built on the remains of the original park on Isla Nublar.[114] The film sees the park run by Simon Masrani (Irrfan Khan) and Masrani Corp, and features the return of Dr. Henry Wu (BD Wong) from the first film.[115] Chris Pratt, Bryce Dallas Howard, and Jake Johnson star, while Vincent D'Onofrio portrayed the main antagonist, Vic Hoskins. The cast also includes Lauren Lapkus,[116] Ty Simpkins, Nick Robinson, Omar Sy, and Judy Greer. The primary dinosaur antagonist is Indominus rex, a genetically-modified hybrid of Tyrannosaurus rex and several other species, including Velociraptor, cuttlefish, tree frog, and pit viper. The Indominus Rex also features a chameleon-like camouflage ability, which was a plot element from the second Crichton novel unused in previous films.[117][118]

 Jurassic World: Fallen Kingdom (2018) [ edit ]

 Main article: Jurassic World: Fallen Kingdom

 A sequel to Jurassic World was released on June 22, 2018.[119][120] The film was directed by J. A. Bayona and written by Trevorrow and Connolly,[120][121] with Trevorrow and Spielberg as executive producers.[120] The film stars Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, BD Wong, Isabella Sermon, and Geraldine Chaplin, with Jeff Goldblum reprising his role as Dr. Ian Malcolm.[122]

 During early conversations on Jurassic World, Spielberg told Trevorrow that he was interested in having several more films made.[123] In April 2014, Trevorrow announced that sequels to Jurassic World had been discussed: "We wanted to create something that would be a little bit less arbitrary and episodic, and something that could potentially arc into a series that would feel like a complete story".[124] Trevorrow, who said he would direct the film if asked,[124] later told Spielberg that he would only focus on directing one film in the series.[123] Trevorrow believed that different directors could bring different qualities to future films.[125] Bayona was once considered to direct Jurassic World, but he declined as he felt there was not enough time for production.[126] Filming took place from February to July 2017, in the United Kingdom and Hawaii.[122][127][128]

 Former Jurassic World manager Claire Dearing and Velociraptor handler Owen Grady join a mission to rescue Isla Nublar's dinosaurs from a volcanic eruption by relocating them to a new island sanctuary. They discover that the mission is part of a scheme to sell the captured dinosaurs on the black market in order to fund his party's genetic research. The captured dinosaurs are brought to an estate in northern California, where several of the creatures are auctioned and subsequently shipped to their new owners. A new hybrid dinosaur, the Indoraptor (one of the primary antagonists of the film), escapes and terrorizes people at the estate, forcing Owen and Claire to survive the chaos and rampage in the estate. A subplot about human cloning was introduced in the film. Fallen Kingdom, similar to the second installment, The Lost World, re-explores the themes about the aftermath of the dinosaur park's demise on Isla Nublar and dinosaurs being used for exploitation by humans. The film grossed over $1.3 billion worldwide, and received mixed reviews from critics.[129][130][131]

 Jurassic World Dominion (2022) [ edit ]

 Main article: Jurassic World Dominion

 Jurassic World Dominion was released on June 10, 2022.[132] It was directed by Trevorrow, with a screenplay written by him and Emily Carmichael, based on a story by Trevorrow and Connolly. Trevorrow and Spielberg serve as executive producers for the film, with Frank Marshall and Patrick Crowley as producers.[133][134][135] The film stars Chris Pratt and Bryce Dallas Howard, returning from the previous Jurassic World films. Sam Neill, Laura Dern and Jeff Goldblum also reprise their characters for major roles,[136] marking the trio's first film appearance together since the original Jurassic Park film.[137][138] In addition, Daniella Pineda, Justice Smith, Isabella Sermon, and Omar Sy reprise their roles from the previous two films.[139][140] Other actors include Mamoudou Athie,[141] DeWanda Wise,[142] Dichen Lachman, and Scott Haze.[143][144] Campbell Scott portrays the character Lewis Dodgson from the first film, originally played by Cameron Thor.[145]

 Planning for the film dates to 2014.[146][121] Trevorrow and Carmichael were writing the script as of April 2018.[147] Trevorrow said the film would focus on the dinosaurs that went open source after being sold and spread around the world in Jurassic World: Fallen Kingdom, allowing people other than Dr. Henry Wu to create their own dinosaurs.[15][148][34] Trevorrow stated that the film would be set around the world, and said that the idea of Henry Wu being the only person who knows how to create a dinosaur was far-fetched "after 30 years of this technology existing" within the films' universe.[148] Additionally, the film would focus on the dinosaurs that were freed at the end of Jurassic World: Fallen Kingdom,[15][148][34] but it would not depict dinosaurs terrorizing cities and going to war against humans; Trevorrow considered such ideas unrealistic. Instead, Trevorrow was interested in a world where "dinosaur interaction is unlikely but possible—the same way we watch out for bears or sharks".[149][150] Certain scenes and ideas regarding the integration of dinosaurs into the world were ultimately removed from the Jurassic World: Fallen Kingdom script to be saved for the third film.[148][34]

 Filming locations included Canada, England's Pinewood Studios, and the country of Malta.[132][151] Jurassic World Dominion began filming in February 2020,[132] but was put on hiatus several weeks later as a safety precaution due to the COVID-19 pandemic.[152] Production later resumed that July, with numerous health precautions in place, including COVID-19 testing and social distancing.[153] Filming wrapped four months later.[132] Jurassic World Dominion uses more animatronics than the previous films. The animatronic dinosaurs were created by John Nolan and his team.[154][155][156] It is also the first film in the series to feature feathered dinosaurs.[157][158] The film is set four years after the events of Fallen Kingdom, with dinosaurs now living alongside humans around the world. It follows Owen Grady and Claire Dearing as they embark on a rescue mission, while Alan Grant and Ellie Sattler reunite with Ian Malcolm to expose a conspiracy by the genomics corporation Biosyn, a once rival of the defunct InGen. Jurassic World Dominion has grossed over $1 billion worldwide but received mixed-to-negative reviews from critics.[159][160][161] An extended version of Jurassic World Dominion was released on 4K Ultra HD, Blu-ray and DVD on August 16, 2022.[162][163] The extended edition received more favorable reviews and is considered an improvement over the theatrical cut.[164][165][166]

 Future [ edit ]

 Jurassic World Dominion concludes the second film trilogy as well as the storyline that began in the original trilogy,[167][168][169] although future films in the franchise have not been ruled out. Marshall said in May 2020 that Jurassic World Dominion would mark "the start of a new era", in which humans have to adjust to dinosaurs being on the mainland.[170] Marshall reiterated in January 2022 that there could be more films: "We're going to sit down, and we're going to see what the future is".[168]

 Trevorrow, noting that he spent nine years working on the Jurassic World trilogy, said in May 2022 that he would likely not return for another film, except in a possible advisory role.[171] He expressed interest in having Howard direct a future film.[172] He also suggested that several characters introduced in Dominion could return for future installments, including Kayla Watts (portrayed by DeWanda Wise), Ramsay Cole (Mamoudou Athie), and Soyona Santos (Dichen Lachman).[33][173] Pratt and Howard do not expect to reprise their roles again,[174] and Neill said Dominion would be the last film for Dern, Goldblum and himself.[175]

 Short films [ edit ]

 As of 2022, two short films have been released. Both take place between Jurassic World: Fallen Kingdom and Jurassic World Dominion, and are considered canon with the film series.

 Film U.S. release date Director(s) Screenwriter(s) Producer(s) 
 Battle at Big Rock September 15, 2019 Colin Trevorrow Emily Carmichael and Colin Trevorrow Patrick Crowley and Frank Marshall
 Jurassic World Dominion prologue November 23, 2021 
 

 Battle at Big Rock (2019) [ edit ]

 Main article: Battle at Big Rock

 Battle at Big Rock is the first live-action short film in the franchise, and was released on September 15, 2019. The eight-minute film was directed by Colin Trevorrow,[176] and was co-written by him and Emily Carmichael. The film stars André Holland, Natalie Martinez, Melody Hurd, and Pierson Salvador.[176][177]

 The film is set one year after the events of Jurassic World: Fallen Kingdom. In the film, a family goes on a camping trip at the fictional Big Rock National Park in northern California, approximately 20 miles (30 km) from where dinosaurs from Fallen Kingdom were let loose. The film chronicles the first major confrontation between humans and the dinosaurs.[176]

 Jurassic World Dominion prologue (2021) [ edit ]

 Main article: Jurassic World Dominion prologue

 A five-minute Jurassic World Dominion prologue was released in 2021, serving as the franchise's second live-action short film. It was originally intended as the film's opening sequence before being removed from the final cut. It features a prehistoric segment showcasing dinosaurs in their natural habitats, then cuts to the present day as a T. rex wreaks havoc at a drive-in theater.[178][179] The prologue is used as the opening sequence in the extended edition of Jurassic World Dominion.[180]

 Television [ edit ]

 Lego animated projects [ edit ]

 See also: Lego Jurassic World (theme)

 Lego produced various CGI-animated projects, including the two-part television special Lego Jurassic World: The Secret Exhibit, which aired on NBC on November 29, 2018.[181] A 13-episode miniseries, Lego Jurassic World: Legend of Isla Nublar, premiered in 2019. It was broadcast on Family Channel in Canada and on Nickelodeon in the U.S.[182][183]

 Jurassic World Camp Cretaceous (2020–2022) [ edit ]

 Main article: Jurassic World Camp Cretaceous
 Season Episodes Originally released
 1 8 September 18, 2020 
 2 8 January 22, 2021 
 3 10 May 21, 2021 
 4 11 December 3, 2021 
 5 12 July 21, 2022 
 6 1 November 15, 2022 
 

 Jurassic World Camp Cretaceous is a CGI-animated series that debuted on Netflix in 2020. It is a joint project between Netflix, Universal Studios, Amblin Entertainment and DreamWorks Animation. Scott Kreamer and Lane Lueras are the showrunners, and executive produce the series with Spielberg, Marshall, and Trevorrow, while Zack Stentz serves as consulting producer. The series is set during the events of the Jurassic World trilogy, and is about a group of six teenagers attending an adventure camp on Isla Nublar. When the park's dinosaurs escape, the teenagers are stranded and must work together to escape the island.[184] The series premiered globally on Netflix on September 18, 2020 and ran for five seasons, concluding on July 21, 2022. It consists of 49 episodes. The voice cast includes Paul-Mikél Williams, Jenna Ortega, Ryan Potter, Raini Rodriguez, Sean Giambrone, Kausar Mohammed, Jameela Jamil, and Glen Powell.[185][186]

 Live-action series [ edit ]

 A live-action television series based on the Jurassic World films was reportedly in development as of March 2020.[187][188][189] However, Marshall said two years later that such a series had not been discussed, and that his focus was on the films. Speaking about Camp Cretaceous, Marshall said: "I think that's plenty for now".[190]

 Cancelled projects [ edit ]

 Escape from Jurassic Park [ edit ]

 In June 1993, after the theatrical release of Jurassic Park, spokesmen for Amblin and MCA confirmed that an animated series based on the film was in development and awaiting Spielberg's final approval.[191] The series, titled Escape from Jurassic Park,[192] would have consisted of 23 episodes for its first season. The series would have centered on John Hammond's attempts to finish Jurassic Park and open it to the public, while InGen's corporate rival Biosyn is simultaneously planning to open their own dinosaur theme park in Brazil, which ultimately ends with their dinosaurs escaping into the jungles.[193][194][195]

 If produced, it was believed that the project would be the most expensive animated series up to that time. Jeff Segal, president of Universal Cartoon Studios, said: "We are developing a TV series that we anticipate would be computer animated and very sophisticated. However, Spielberg has not had a chance yet to look at either the material or the format for the series".[191] Segal said Universal was considering the possibility of developing the series for prime time, also commenting about the series' storyline: "It would essentially pick up from the closing moments of the movie and it would continue the story in a very dramatic way. The intention would be to continue with the primary characters and also introduce new characters". Segal also said the series would be aimed specifically at the same target audience as the film, while hoping that it would also appeal to young children.[191]

 Animation veteran and comic artist Will Meugniot (then working at Universal Cartoon Studios for various projects, including Exosquad) contacted artist William Stout to ask if he would be interested in designing the animated series. According to Stout: "This was not going to be a kiddy show (although kids of all ages, including myself, could enjoy it). They wanted the show to be a mature prime time series with top writers and state-of-the-art television animation augmented with quite a bit of CG animation". Universal Animation Studios wanted the show to have the look of a graphic novel.[196]

 Stout was hired to work on the series and subsequently made a trailer to demonstrate how the series would look, and how it would combine traditional animation with computer animation. The series required Spielberg's final approval before it could go into production. However, Spielberg had grown tired of the massive promotion and merchandise revolving around the film, and never watched the trailer.[196] On July 13, 1993, Margaret Loesch, president of the Fox Children's Network, confirmed that discussions had been held with Spielberg about an animated version of the film. Loesch also said: "At least for now and in the foreseeable future, there will not be an animated Jurassic Park. That's Steven Spielberg's decision, and we respect that decision".[197]

 Jurassic Park: Chaos Effect [ edit ]

 Part three of the four-part comic adaptation of The Lost World: Jurassic Park, published by Topps Comics in July 1997, confirmed to readers that a cartoon series based on the film was in development.[198][199] It was commissioned by Spielberg and would be developed by DreamWorks Animation.[200] In November 1997, it was reported that the cartoon would be accompanied by Jurassic Park: Chaos Effect, a series of dinosaur toys produced by Kenner and based on a premise that scientists had created dinosaur hybrids consisting of DNA from different creatures.[201][202] The new toys were based on the upcoming cartoon.[201] It was also reported that the cartoon could be ready by March 1998, as a mid-season replacement.[201] The Chaos Effect toyline was released in June 1998,[202] but the animated series was never produced, for unknown reasons.[203]

 Cast and crew [ edit ]

 Main article: List of Jurassic Park characters
 See also: Dinosaurs in Jurassic Park

 Principal cast [ edit ]

 List indicator(s)

 This section shows characters who will appear or have appeared in the franchise.

 * An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.
 * C indicates a cameo role.
 * O indicates an older version of the character.
 * P indicates an appearance in onscreen photographs.
 * V indicates a voice-only role.
 Characters Films Animated series 
 Jurassic Park The Lost World: Jurassic Park Jurassic Park III Jurassic World Jurassic World: Fallen Kingdom Jurassic World Dominion Lego Jurassic World: Jurassic World Camp Cretaceous
   Legend of Isla Nublar 
 1993 1997 2001 2015 2018 2022 2019 2020–2022 
 Dr. Alan Grant Sam Neill Sam Neill Sam Neill Adrian HoughV 
 Dr. Ellie Sattler Laura Dern Laura Dern Laura Dern 
 Dr. Ian Malcolm Jeff Goldblum Jeff GoldblumP Jeff Goldblum Bradley DuffyV 
 John Hammond Richard Attenborough Richard AttenboroughP 
 Lex Murphy Ariana Richards Ariana RichardsC 
 Tim Murphy Joseph Mazzello Joseph MazzelloC 
 Dr. Henry Wu BD Wong BD Wong Vincent TongV Greg ChunV 
 Dennis Nedry Wayne Knight William KuklisV 
 Lewis Dodgson Cameron Thor Campbell Scott Adam HarringtonV 
 Mr. DNA Greg BursonV Colin TrevorrowV Vincent TongV Jeff BergmanV 
 Owen Grady Chris Pratt[147] Ian HanlinV 
 Claire Dearing Bryce Dallas Howard[147] Britt McKillipV 
 Simon Masrani Irrfan Khan DhirendraV 
 Vic Hoskins Vincent D'Onofrio Alex ZaharaV 
 Barry Sembène Omar Sy Omar Sy 
 Lowery Jake Johnson Jake JohnsonP 
 Vivian Lauren Lapkus Lauren LapkusP 
 Franklin Webb Justice Smith 
 Dr. Zia Rodriguez Daniella Pineda Daniella PinedaC 
 Maisie Lockwood Isabella Sermon 
 Charlotte Lockwood Isabella SermonP[15] Isabella Sermon 
 Elva TrillO 
 Iris Geraldine Chaplin Geraldine ChaplinP 
 Robert Muldoon Bob Peck 
 Donald Gennaro Martin Ferrero 
 Ray Arnold Samuel L. Jackson 
 Dr. Harding Jerry Molen 
 Dr. Sarah Harding Julianne Moore 
 Kelly Curtis Vanessa Lee Chester 
 Nick Van Owen Vince Vaughn 
 Eddie Carr Richard Schiff 
 Roland Tembo Pete Postlethwaite 
 Peter Ludlow Arliss Howard 
 Ajay Sidhu Harvey Jason 
 Dr. Robert Burke Thomas F. Duffy 
 Dieter Stark Peter Stormare 
 Carter Thomas Rosales Jr. 
 Paul Kirby William H. Macy 
 Amanda Kirby Téa Leoni 
 Billy Brennan Alessandro Nivola 
 Eric Kirby Trevor Morgan 
 Udesky Michael Jeter 
 Nash Bruce A. Young 
 Cooper John Diehl 
 Ben Hildebrand Mark Harelik 
 Gray Mitchell Ty Simpkins 
 Zach Mitchell Nick Robinson 
 Karen Mitchell Judy Greer 
 Scott Mitchell Andy Buckley 
 Zara Katie McGrath 
 Sir Benjamin Lockwood James Cromwell 
 Eli Mills Rafe Spall 
 Ken Wheatley Ted Levine 
 Mr. Eversoll Toby Jones 
 Ramsay Cole Mamoudou Athie 
 Kayla Watts DeWanda Wise 
 Soyona Santos Dichen Lachman 
 Rainn Delacourt Scott Haze 
 Allison Miles Bethany BrownV 
 Danny Nedermeyer Adrian PetriwV 
 Sinjin Prescott Andrew KavadasV 
 Larson Mitchell Kirby MorrowV 
 Hudson Harper Nicholas HolmesV 
 Dianne Patricia DrakeV 
 Stella Sabrina PitreV 
 

 Additional crew [ edit ]

 Role Jurassic Park The Lost World: Jurassic Park III Jurassic World Jurassic World: Jurassic World 
  Jurassic Park  Fallen Kingdom Dominion 
 1993 1997 2001 2015 2018 2022 
 Composer John Williams Don Davis Michael Giacchino[204] 
 Editor Michael Kahn Robert Dalva Kevin Stitt Bernat Vilaplana[205] Mark Sanger[206]
 Cinematographer Dean Cundey Janusz Kamiński Shelly Johnson John Schwartzman Óscar Faura John Schwartzman
 Production designer Rick Carter Edward Verreaux Andy Nicholson Kevin Jenkins[207] 
  Amblin Entertainment Amblin Entertainment Amblin Entertainment 
 Production companies Amblin Entertainment Legendary Entertainment Legendary Entertainment Perfect World Pictures 
  The Kennedy/Marshall Company Perfect World Pictures The Kennedy/Marshall Company[208]
  The Kennedy/Marshall Company 
 Distributor Universal Pictures 
 

 Reception [ edit ]

 Box office performance [ edit ]

 Film North American Budget Box office gross Box office ranking Reference 
 release date  
 North America Other territories Worldwide All-time All-time 
  North America worldwide 
 Jurassic Park June 11, 1993 $63 million $404,214,720 $629,713,583 $1,033,928,303 #40 #32 [209]
 The Lost World: Jurassic Park May 23, 1997 $73 million $229,086,679 $389,552,320 $618,638,999 #162 #168 [210]
 Jurassic Park III July 18, 2001 $93 million $181,171,875 $187,608,934 $368,780,809 #267 #379 [211]
 Jurassic World June 12, 2015 $150 million $653,406,625 $1,018,130,819 $1,671,537,444 #9 #7 [212]
 Jurassic World: Fallen Kingdom June 22, 2018 $170 million $417,719,760 $892,746,536 $1,310,466,296 #31 #17 [213]
 Jurassic World Dominion June 10, 2022 $185 million $376,004,695 $625,624,488 $1,001,625,488 #49 #50 [214]
 Total $734 million $2,261,304,355 3,809,147,380 $6,070,748,039 [215][210][211][212][213][214]
 

 Critical and public response [ edit ]

 Each film is linked to the "Critical response" section of its article
 Film Critical Public 
 Rotten Tomatoes Metacritic CinemaScore[216] 
 Jurassic Park 92% (134 reviews)[217] 68 (20 critics)[218] A 
 The Lost World: Jurassic Park 54% (82 reviews)[219] 59 (18 critics)[220] B+
 Jurassic Park III 49% (187 reviews)[221] 42 (30 critics)[222] B−
 Jurassic World 71% (358 reviews)[223] 59 (49 critics)[224] A 
 Jurassic World: Fallen Kingdom 47% (433 reviews)[225] 51 (59 critics)[226] A−
 Jurassic World Dominion 29% (390 reviews)[227] 38 (59 critics)[228] A−
 

 Accolades [ edit ]

 Award Category Film 
 Jurassic Park The Lost World: 
 Jurassic Park 
 Academy Award Sound Editing Won 
 Sound Mixing Won 
 Visual Effects Won Nominated
 Grammy Award Best Score Soundtrack Nominated Nominated
 

 Music [ edit ]

 Title U.S. release date Length Composer(s) Label 
 Jurassic Park: Original Motion Picture Soundtrack May 25, 1993 1:13:13 John Williams MCA 
 The Lost World: Jurassic Park (Original Motion Picture Score) April 30, 1997 1:13:15 MCA, La-La Land 
 Jurassic Park III: Original Motion Picture Soundtrack June 12, 2001 54:31 Don Davis Decca 
 Jurassic World: Original Motion Picture Soundtrack June 9, 2015 1:17:05 Michael Giacchino Back Lot Music
 Jurassic World: Fallen Kingdom (Original Motion Picture Soundtrack) June 15, 2018 1:19:54
 Jurassic World Dominion (Original Motion Picture Soundtrack) June 3, 2022 1:47:00
 

 Merchandise and other media [ edit ]

 Toys [ edit ]

 For the 1993 film, Kenner produced a line of action figures and dinosaurs,[229] marketed with the slogan, "If it's not 'Jurassic Park', it's extinct".[230][231] Paleontologist Jack Horner, who offered his advice for the film's dinosaurs, was also hired as a scientific advisor for the dinosaur toys.[232] Kenner had two years to develop the toys, which sold successfully.[233] Dakin also produced stuffed dinosaurs based on the film.[229]

 Kenner produced another toy line for the 1997 sequel.[234] The company also released Jurassic Park: Chaos Effect a year later.[235][236] The toy line's premise involved scientists who had created new dinosaur species by combining the DNA of existing dinosaurs.[237][238][239]

 Kenner's parent company, Hasbro, took over toy production for Jurassic Park III, released in 2001.[240] At that time, Playskool also released a toy line aimed at young children, under the name Jurassic Park Junior.[241][242] Jurassic Park III toys were also released under the Lego Studios brand.[243][244] Hasbro also created a toy line for Jurassic World.[245][246] Some of the toy dinosaurs had been referred to on packaging as males, despite being females in the film. This drew some criticism which accused Hasbro of catering solely to a male demographic.[247][248] Hasbro updated the pronouns shortly after the toy line's release.[249] The Lego Jurassic World line was also released in 2015.

 In 2016, Mattel took the toy license from Hasbro, in a deal which started one year later.[250][251][252] Mattel produced various toys for Jurassic World: Fallen Kingdom,[253] including dinosaurs, action figures,[254][255] and Barbie dolls.[256] Mattel's dinosaur toys included symbols which could be scanned with a cell phone, providing facts about each animal through a mobile app known as Jurassic World Facts.[255][257] Lego and Funko also created toys based on the film.[258][259] In addition, Mattel released the Jurassic World Legacy Collection, which included toys based on characters and dinosaurs from the Jurassic Park trilogy.[260][261]

 In 2019, Mattel unveiled the Amber Collection, a toy line of posable characters and dinosaurs[262] that had been featured in the first film.[263][264][265][266] A year later, the company released toys based on Jurassic World Camp Cretaceous.[267][268] In February 2021, Mattel and Target partnered to sell a line of toys custom-made by the fan site Jurassic Outpost.[269] The Amber Collection continued into 2021,[270] and a new series of toys, known as the Hammond Collection, was released in 2022.[271]

 Board games [ edit ]

 Board games were released by Milton Bradley for the first two Jurassic Park films.[272][273][274][275] Hasbro and Milton Bradley also released two board games for Jurassic Park III.[241][276][277]

 Jurassic Park: Danger!, released by Ravensburger in 2018, pits humans and dinosaurs against each other.[278] Meanwhile, Mondo was working on a board game to be known as Jurassic Park: The Chaos Gene,[279][280][281] although it was canceled during development.[282] In 2019, Mondo announced that characters and dinosaurs from the Jurassic Park franchise would be released as playable characters for its Unmatched board game.[283] The first set of characters was released in 2020.[284]

 In 2021, Hasbro released a version of Monopoly based on the original Jurassic Park film.[285][286] Jurassic World: The Legacy of Isla Nublar is a legacy board game released in 2022. It was designed by Funko's design studio, Prospero Hall.[287][288]

 Comics [ edit ]

 Topps Comics [ edit ]

 From June 1993 to August 1997, the now-defunct Topps Comics published comic adaptations of Jurassic Park and The Lost World: Jurassic Park, as well as several tie-in series.

 * Jurassic Park #0–4 (June–September 1993). Adaptation of the film, adapted by Walter Simonson and pencilled by Gil Kane.[289] Each issue had two covers – a main cover by Gil Kane, with the variant by Dave Cockrum. Issue #0 features two prequel stories to the film, and was only available with the trade paperback of the film adaptation.
 * Jurassic Park: Raptor #1–2 (November–December 1993). Written by Steve Englehart and pencilled by Armando Gil and Dell Barras.
 * Jurassic Park: Raptors Attack #1–4 (March–June 1994). Written by Steve Englehart, pencilled by Armando Gil (#1) and Chaz Truog, with covers by Michael Golden.
 * Jurassic Park: Raptors Hijack #1–4 (July–October 1994). Written by Steve Englehart, pencilled by Neil Vokes, with covers by Michael Golden.
 * Jurassic Park Annual #1 (May 1995). Featuring two stories, one being a sequel and one being a prequel. Written by Bob Almond, Michael Golden and Renée Witterstaetter, pencilled by Claude St. Aubin and Ed Murr, with a cover by Michael Golden.
 * Return to Jurassic Park #1–9 (April 1995 – February 1996). An ongoing series, the first four issues were written by Steve Englehart and pencilled by Joe Staton. The next four issues were written by Tom Bierbaum and Mary Bierbaum, being drawn by Armando Gil. The first 8 issues had covers by Michael Golden. The ninth and final issue was a jam book[ clarification needed ] written by Keith Giffen and Dwight Jon Zimmerman, featuring artwork by such acclaimed artists as Jason Pearson, Adam Hughes, Paul Gulacy, John Byrne, Kevin Maguire, Mike Zeck, George Pérez and Paul Chadwick, with a cover by John Bolton.
 * The Lost World: Jurassic Park #1–4 (May–August 1997). Adaptation of the second film, adapted by Don McGregor and pencilled by Jeff Butler (#1–2) and Claude St. Aubin (#3–4). Each issue of the series featured two covers – one by Walter Simonson and a photo cover.

 IDW Comics [ edit ]

 Beginning in June 2010, IDW Publishing began publishing Jurassic Park comics. They also acquired the rights to reprint the issues published by Topps in the 1990s, which they began to do in trade paperback format starting in November 2010. After a four-year hiatus, IDW announced a comic series based on Jurassic World that was to be released in 2017.[290]

 * Jurassic Park: Redemption #1–5 (June 2010 – October 2010). Five-issue series written by Bob Schreck with art by Nate van Dyke. Each issue has a main cover penciled by Tom Yeates, with variant covers by Frank Miller, Arthur Adams, Paul Pope, Bernie Wrightson, and Bill Stout, respectively.
 * Jurassic Park: The Devils in the Desert #1–4 (January 2011 – April 2011). Four-issue series written and illustrated by John Byrne.[291][292][293][294]
 * Jurassic Park: Dangerous Games #1–5 (September 2011 – January 2012). Five-issue series written by Greg Bear and Erik Bear, with art by Jorge Jiménez and a variant cover by Geof Darrow.

 This series has been collected in the following trade paperbacks:

 Title Material collected No. of pages ISBN 
 Jurassic Park Jurassic Park #1–4 128 pages 1-85286-502-4 
 The Lost World: Jurassic Park The Lost World: Jurassic Park #1–4 96 pages 1-85286-885-6 
 Jurassic Park Vol. 1: Redemption Jurassic Park Redemption #1–5 120 pages 1-60010-850-4 
 Jurassic Park: The Devils in the Desert Jurassic Park: The Devils in the Desert #1–4 104 pages 1-60010-923-3 
 Jurassic Park: Dangerous Games Jurassic Park: Dangerous Games #1–5 112 pages 1-61377-002-2 
 Classic Jurassic Park Volume 1 Jurassic Park #1–4 104 pages 1-60010-760-5 
 Classic Jurassic Park Volume 2: Raptors' Revenge Juassic Park #0, Jurassic Park: Raptor #1–2, Jurassic Park: Raptors Attack #1–4 192 pages 1-60010-885-7 
 Classic Jurassic Park Volume 3: Amazon Adventure! Jurassic Park: Raptors Hijack #1–4, Jurassic Park Annual #1 124 pages 1-61377-042-1 
 Classic Jurassic Park Volume 4: Return to Jurassic Park Part 1 Return to Jurassic Park #1–4 128 pages 1-61377-117-7 
 Classic Jurassic Park Volume 5: Return to Jurassic Park Part 2 Return to Jurassic Park #5–9 108 pages 978-1613775332
 Classic Jurassic Park Volume 6: The Lost World The Lost World: Jurassic Park #1–4 104 pages 978-1613779156
 

 Motion comic series [ edit ]

 In late 2019, a Jurassic World motion comic series was released by Universal on YouTube. The four-part series is set after the events of Jurassic World: Fallen Kingdom and explores various dinosaur attacks throughout the world.[295][296][297]

 Video games [ edit ]

 Main article: Jurassic Park video games

 Since 1993, numerous Jurassic Park video games have been produced. To accompany the release of the first film, Sega and Ocean Software published several different games for various consoles, including the NES and Sega Genesis. In 1994, Ocean produced a game sequel titled Jurassic Park 2: The Chaos Continues, while Sega released Jurassic Park: Rampage Edition. In addition, Universal Interactive Studios produced Jurassic Park Interactive for the 3DO system.

 In 1997, several games were released for the second film in the franchise, including some by DreamWorks Interactive. A subsequent game, Trespasser, was released as a "digital sequel" to The Lost World: Jurassic Park. The player assumes the role of Anne, who is the sole survivor of a plane crash on InGen's "Site B" one year after the events of the film. It was released for Microsoft Windows in 1998. The third film spawned six video games for PC and Game Boy Advance. A number of lightgun arcade games were also released for all three films.

 Jurassic Park: The Game is an episodic video game that takes place during and after the events of the original film. It follows a new group of survivors trying to escape Isla Nublar. It was developed by Telltale Games in a deal with Universal[298] and was released in 2011.

 Lego Jurassic World is a 2015 action-adventure video game developed by Traveller's Tales and published by Warner Bros. Interactive Entertainment. It follows the plots of the series' first four films.

 Several park-building games have been released, including Jurassic Park: Operation Genesis (2003), Jurassic World: The Game (2015), Jurassic World Evolution (2018),[299] and Jurassic World Evolution 2 (2021).[300]

 Jurassic World Aftermath, a virtual reality game, was released in 2020.[301]

 Attractions [ edit ]

 Theme park rides [ edit ]

 Several water rides based on the series have opened at Universal's theme parks. On June 21, 1996, Universal Studios Hollywood opened Jurassic Park: The Ride. Universal Studios Japan later opened this attraction, and Universal's Islands of Adventure opened Jurassic Park River Adventure. The rides are heavily themed on the first three films. Another ride based on the series has also been opened at Universal Studios Singapore (Jurassic Park Rapids Adventure). In 2018, Jurassic Park: The Ride at Universal Studios Hollywood closed for preparations to become Jurassic World: The Ride, which opened on July 12, 2019. A roller coaster, known as VelociCoaster, opened at Universal's Islands of Adventure in June 2021.[302]

 Exhibitions [ edit ]

 In June 1993, the American Museum of Natural History in New York debuted The Dinosaurs of Jurassic Park, an exhibition featuring dinosaurs that were created for use in the first film. The exhibition opening coincided with the film.[303][304] Other museums were threatened with legal action for using the word "Jurassic" in exhibit titles.[305]

 A travelling exhibition, The Lost World: The Life and Death of Dinosaurs, went on tour in 1997. The exhibit was produced in connection with the second film, and its centerpiece was a 70-foot-long recreation of a Mamenchisaurus, a dinosaur featured in the film.[306][307][308][309]

 Another travelling exhibit, The Dinosaurs of Jurassic Park and The Lost World,[nb 4] went on tour in 1998. It was created by Don Lessem, and featured dinosaurs that were made for the first two films, as well as sets and props, and a video narrated by Jeff Goldblum.[312][313][314] It also featured the 70-foot Mamenchisaurus.[310] The exhibit was ongoing as of 2001.[311]

 Jurassic Park: The Life and Death of Dinosaurs was an exhibition that traveled around the United States during 2002. It was also created by Lessem and included dinosaur sculptures from the films, as well as cast skeletons and fossils.[315][316][317]

 In 2001,[318] Universal Studios and Amblin Entertainment created the Jurassic Park Institute, an educational program that included a website, as well as travelling dinosaur exhibits in later years.[319][320][321] The exhibit toured in Japan under the name Jurassic Park Institute Tour,[322][323][324] and a video game, Jurassic Park Institute Tour: Dinosaur Rescue, was released to accompany it.[325] The tour, designed by Thinkwell Design & Production,[326] won a Thea award in 2005 for Outstanding Achievement.[327]

 Jurassic World: The Exhibition was located at the Melbourne Museum in Australia for six months during 2016.[328][329][330] The travelling exhibition was also held in 2017, at the Franklin Institute in Philadelphia,[331][332] and at the Field Museum in Chicago.[333][334] A new North American tour was launched in 2021,[335] starting in Texas.[336][337]

 Live show [ edit ]

 Main article: Jurassic World Live

 A live show, titled Jurassic World Live, started touring in 2019.

 Notes [ edit ]

 1. ^ a b c d As described in the novels.
 2. ^ As described in the films, Jurassic Park and The Lost World: Jurassic Park .
 3. ^ Biosyn appears in the 1994 video games Jurassic Park (for the Sega CD ) [28] and Jurassic Park 2: The Chaos Continues (for the Super NES ). [29] It is also referenced in the subsequent games Trespasser and Jurassic World Evolution . [30]
 4. ^ Also known as The Dinosaurs of Jurassic Park: The Lost World. [310][311]

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 External links [ edit ]

 Wikiquote has quotations related to Jurassic Park.
 Wikimedia Commons has media related to Jurassic Park (franchise).
 * Official website
 * v 
 * t 
 * e 
 Michael Crichton's Jurassic Park
 Novels * Jurassic Park (1990) 
  * The Lost World (1995) 
  * Jurassic Park (1993) 
  Jurassic Park * The Lost World: Jurassic Park (1997) 
  * Jurassic Park III (2001) 
 Films * Jurassic World (2015) 
  Jurassic World + production 
  * Jurassic World: Fallen Kingdom (2018)
  * Jurassic World Dominion (2022) 
   
  * Lego Jurassic World: The Secret Exhibit (2018) 
 Television * Lego Jurassic World: Legend of Isla Nublar (2019) 
  * Jurassic World Camp Cretaceous (2020–2022) 
  + "Brave" 
 Short films * Battle at Big Rock (2019) 
  * Jurassic World Dominion prologue (2021) 
  * Alan Grant 
  * Ian Malcolm 
  * Ellie Sattler 
  * Henry Wu 
 Characters * Owen Grady 
  * Claire Dearing 
  * Maisie Lockwood 
  * Dinosaurs 
  + Rexy 
  * Jurassic Park 
  * The Lost World: Jurassic Park 
 Music * Jurassic Park III 
  * Jurassic World 
  * Jurassic World: Fallen Kingdom 
  * Jurassic World Dominion 
  * Jurassic Park: The Ride 
  * Rapids Adventure 
 Theme park * Canopy Flyer 
 attractions * Dino-Soarin' 
  * The Flying Dinosaur 
  * Jurassic World: The Ride 
  * VelociCoaster 
  * Video games 
  * Lego line 
 Related * Live show 
  * Board game 
  * "Weird Al" Yankovic song 
  * Light & Magic 
 * Category 
 
 * v 
 * t 
 * e 
 Jurassic Park video games
  * NES 
  * Super NES 
  * Genesis 
  * Sega CD 
  * Game Gear/Master System 
 Jurassic Park * PC 
  * Rampage Edition 
  * Arcade 
  * Pinball 
  * Interactive 
  * 2: The Chaos Continues 
  * Console 
  * Chaos Island 
  * Handheld 
 The Lost World * Genesis 
  * Arcade 
  * Pinball 
  * Trespasser 
  * Arcade 
  * III: Danger Zone! 
  * III: Dino Defender 
 Jurassic Park III * III: The DNA Factor 
  * III: Park Builder 
  * III: Island Attack 
  * Scan Command 
  * Survival (cancelled) 
  * Lego Jurassic World 
  * Jurassic World: The Game 
 Jurassic World trilogy * Jurassic World Evolution 
  * Jurassic World Aftermath 
  * Jurassic World Evolution 2 
  * Warpath 
  * Universal Studios Theme Parks Adventure
  * Operation Genesis 
 Other games * Jurassic Park: The Game 
  * Jurassic Park Builder 
  * Jurassic Park Arcade 
  * Lego Dimensions 
 
 * v 
 * t 
 * e 
 Michael Crichton 
 Bibliography 
  * The Andromeda Strain (1969) 
  * The Terminal Man (1972) 
  * The Great Train Robbery (1975) 
  * Eaters of the Dead (1976) 
  * Congo (1980) 
  * Sphere (1987) 
  * Jurassic Park (1990) 
  * Rising Sun (1992) 
 Novels * Disclosure (1994) 
  * The Lost World (1995) 
  * Airframe (1996) 
  * Timeline (1999) 
  * Prey (2002) 
  * State of Fear (2004) 
  * Next (2006) 
  * Pirate Latitudes (2009) * 
  * Micro (2011) * 
  * Dragon Teeth (2017) * 
  * Odds On (1966) 
  * Scratch One (1967) 
  * Easy Go (1968) 
  * A Case of Need (1968) 
 Novels written * Zero Cool (1969) 
 under pseudonyms * The Venom Business (1969) 
  * Drug of Choice (1970) 
  * Dealing: or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1970)
  * Grave Descend (1970) 
  * Binary (1972) 
 Post-Crichton novels * The Andromeda Evolution (2019) 
  * Five Patients (1970) 
 Non-fiction * Jasper Johns (1977) 
  * Electronic Life (1983) 
  * Travels (1988) 
  * Pursuit (1972) 
  * Westworld (1973) 
  * Coma (1978) 
 Films directed * The First Great Train Robbery (1978) 
  * Looker (1981) 
  * Runaway (1984) 
  * Physical Evidence (1989) 
  * Extreme Close-Up (1973) 
 Films written * Jurassic Park (1993) 
  * Rising Sun (1993) 
  * Twister (1996) 
  * Beyond Westworld (1980) 
 Television series * ER (1994–2009) 
  * Westworld (2016–2022) 
  * The Andromeda Strain (1971) 
  * Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1972)
  * The Carey Treatment (1972) 
  * Pursuit (1972) 
  * The Terminal Man (1974) 
  * The First Great Train Robbery (1979) 
  * Jurassic Park (1993) 
  * Rising Sun (1993) 
  * Disclosure (1994) 
 Adaptations * Congo (1995) 
  * The Lost World: Jurassic Park (1997) 
  * Sphere (1998) 
  * The 13th Warrior (1999) 
  * Jurassic Park III (2001) 
  * Timeline (2003) 
  * The Andromeda Strain (2008) 
  * Jurassic World (2015) 
  * Jurassic World: Fallen Kingdom (2018) 
  * Jurassic World Dominion (2022) 
  * Amazon (1984) 
 Video games * Westworld 2000 (1996) 
  * Timeline (2000) 
  * Jurassic Park series 
 Franchises * Westworld (1973–present) 
  * Jurassic Park (1993–present) 
 Related Antarctica cooling controversy 
 * *Released posthumously
 
 * v 
 * t 
 * e 
 Steven Spielberg 
 * Accolades 
 * Bibliography 
 * Filmography 
 * Unrealized projects
  * Firelight (1964, also screenplay) 
  1960s * Slipstream (1967, also co-screenplay) 
  * Amblin' (1968, also screenplay) 
  * Night Gallery ("Eyes" segment, 1969) 
  * " L.A. 2017 " (1971) 
  * Duel (1971) 
  * Something Evil (1972) 
  1970s * Savage (1973) 
  * The Sugarland Express (1974, also co-story) 
  * Jaws (1975) 
  * Close Encounters of the Third Kind (1977, also screenplay)
  * 1941 (1979) 
  * Raiders of the Lost Ark (1981) 
  * E.T. the Extra-Terrestrial (1982) 
  * Twilight Zone: The Movie ("Kick the Can" segment, 1983) 
  1980s * Indiana Jones and the Temple of Doom (1984) 
  * The Color Purple (1985) 
  * Empire of the Sun (1987) 
  * Indiana Jones and the Last Crusade (1989) 
  * Always (1989) 
 Films * Hook (1991) 
 directed * Jurassic Park (1993) 
  1990s * Schindler's List (1993) 
  * The Lost World: Jurassic Park (1997) 
  * Amistad (1997) 
  * Saving Private Ryan (1998) 
  * A.I. Artificial Intelligence (2001, also screenplay) 
  * Minority Report (2002) 
  * Catch Me If You Can (2002) 
  2000s * The Terminal (2004) 
  * War of the Worlds (2005) 
  * Munich (2005) 
  * Indiana Jones and the Kingdom of the Crystal Skull (2008) 
  * The Adventures of Tintin (2011) 
  * War Horse (2011) 
  * Lincoln (2012) 
  2010s * Bridge of Spies (2015) 
  * The BFG (2016) 
  * The Post (2017) 
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Jurassic Park      The first film's logo depicting the skeleton of a  Tyrannosaurus      Created by  
  Michael Crichton (Novel form)
 Steven Spielberg (Film form) 
    Original work     Jurassic Park  (novel; 1990)
   Jurassic Park  (film; 1993)
    Owner     Universal Pictures   Amblin Entertainment       Years 1990–present   Print publications   Novel(s)  
   Jurassic Park  (1990)
  The Lost World  (1995)
  The Evolution of Claire  (2018) 
    Short stories  
   Jurassic Park Adventures: Survivor  (2001)
  Jurassic Park Adventures: Prey  (2001)
  Jurassic Park Adventures: Flyers  (2002) 
    Films and television   Film(s)  
   Jurassic Park  (1993)
  The Lost World: Jurassic Park  (1997)
  Jurassic Park III  (2001)
  Jurassic World  (2015)
  Jurassic World: Fallen Kingdom  (2018)
  Jurassic World Dominion  (2022) 
    Short film(s)  
   Battle at Big Rock  (2019)
  Jurassic World Dominion prologue (2021) 
    Animated series   Jurassic World Camp Cretaceous  (2020–2022)   Theatrical presentations   Play(s)  Jurassic World Live (2019)   Games   Traditional   Jurassic World: The Legacy of Isla Nublar     Video game(s)  List of video games    Audio   Soundtrack(s)  
   Jurassic Park  (1993)
  The Lost World: Jurassic Park  (1997)
  Jurassic Park III  (2001)
  Jurassic World  (2015)
  Jurassic World: Fallen Kingdom  (2018)
  Jurassic World Dominion  (2022) 
    Miscellaneous   Toy(s)  List of toys and see Lego Jurassic World     Theme park attraction(s)  
  Jurassic Park: The Ride (1996)
 Canopy Flyer (2010)
 Dino-Soarin' (2010)
 Jurassic Park Rapids Adventure (2010)
 The Flying Dinosaur (2016)
 Jurassic World: The Ride (2019)
 VelociCoaster (2021) 
    Character(s)  List of characters    Official website    Jurassicpark.com    
  Jurassic Park , later also referred to as  Jurassic World , [1]  is an American science fiction media franchise created by Michael Crichton and centered on a disastrous attempt to create a theme park of cloned dinosaurs. It began in 1990 when Universal Pictures and Amblin Entertainment bought the rights to Crichton's novel  Jurassic Park  before it was published. The book was successful, as was Steven Spielberg's 1993 film adaptation. The film received a theatrical 3D re-release in 2013, [2]  and was selected in 2018 for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". A 1995 sequel novel,  The Lost World , was followed by a film adaptation in 1997. Subsequent films in the series, including  Jurassic Park III  (2001), are not based on the novels.
 In 2015, a second trilogy of films began with the fourth film in the series,  Jurassic World . The film was successful, becoming the first film to gross over $500 million worldwide in its opening weekend, [3]  and grossed over $1.6 billion through the course of its theatrical run, making it the third highest-grossing film at the time. It became the second highest-grossing film of 2015, [4]  and is currently the eighth highest-grossing film of all time. [5]  When adjusted for monetary inflation, Jurassic World is the second highest-grossing film in the franchise after Jurassic Park. A sequel,  Jurassic World: Fallen Kingdom  (2018) grossed over $1.3 billion worldwide, making it the third Jurassic film to pass the billion-dollar mark. It is the third highest-grossing film of 2018, [6]  and currently the 18th highest-grossing film of all time. [5]  The final film in the trilogy,  Jurassic World Dominion , was released in 2022. It grossed over $1 billion worldwide and became the third highest-grossing film of 2022. [7]  Jurassic World Dominion also became the fourth film in the franchise to pass the billion-dollar mark. [8]   [9]   [10] 
  Numerous video games and comic books based on the franchise have been created since the release of the 1993 film, and several water rides have been opened at various Universal Studios theme parks. Lego has produced several animated projects based on the Jurassic World films, including  Lego Jurassic World: Legend of Isla Nublar , a miniseries released in 2019. DreamWorks Animation also produced an animated series,  Jurassic World Camp Cretaceous , which ran on Netflix from September 2020 to July 2022. As of 2000, the franchise had generated $5 billion in revenue making it one of the highest-grossing media franchises of all time. [11]  The Jurassic Park franchise is also one of the highest-grossing film series of all time, having earned over $6 billion at the worldwide box office. [12]   [13] 
Background[edit]
Premise and dinosaurs[edit]
The Jurassic Park franchise focuses on resurrected dinosaurs which wreak havoc on humans. The dinosaurs, created as theme park attractions, are cloned through genetic engineering. The process is accomplished by extracting ancient DNA from mosquitoes, which sucked the blood of dinosaurs and then became fossilized in amber, preserving the DNA. Scientists then fill gaps in the genome using frog DNA. [14]  Although the films primarily take place on islands located in the Pacific coast of Central America,  Jurassic World: Fallen Kingdom  (2018) sees the dinosaurs relocated throughout the world, including the U.S. mainland. [15] 
 The film series is notable for its recreation of dinosaurs, achieved primarily through animatronics and computer-generated imagery. [16]   [17]  The first film was praised for its dinosaur effects, and created an increased interest in the field of paleontology, while changing the public perception of dinosaurs with its modern portrayal. [18]   [19]  Later films largely ignored recent paleontological findings to maintain continuity with the earlier installments, leading to criticism among paleontologists. [20]   [21]   [22] 
   Jurassic World Dominion  (2022) introduces feathered dinosaurs, in line with modern discoveries. [23] 
InGen[edit]
      The company logo for InGen in the film series  
 International Genetic Technologies, Inc. (InGen) is the fictional company responsible for cloning the dinosaurs. According to the novels, it is based in Palo Alto, California, and has one location in Europe as well. [nb 1]  Nevertheless, most of InGen's research took place on the fictional islands of Isla Sorna and Isla Nublar, near Costa Rica. [nb 1]   [nb 2]  While the first novel indicated InGen was just one of any number of small 1980s genetic engineering start-ups, the events of the novel and film revealed to a select group that InGen had discovered a method for cloning dinosaurs, which would be placed in an island theme park attraction. [nb 1] 
 InGen was well established in the first novel as the entity behind the park, but for simplicity the first film emphasized the Jurassic Park brand. The InGen name is visible in the film — on computer screens, helicopters, etc. — but is never spoken. InGen's corporate identity is more prominent in the second film. By the time that  Jurassic World  takes place, InGen and all its intellectual property has been absorbed by the Masrani Global Corporation.
  Beacham's Encyclopedia of Popular Fiction describes InGen as comparable to other "sleazy organizations". [24]  Other sources reference the company's receiving a baby T. rex (in  The Lost World: Jurassic Park ) as an allusion to other exploitative entrepreneurs depicted in the 1933 film  King Kong . [25]  Ken Gelder describes InGen as "resolutely secretive", like the tax firm in John Grisham's 1991 novel  The Firm . [26] 
Biosyn[edit]
      The logo for Biosyn in the film Jurassic World Dominion   
In the novels, Biosyn Corporation (or Biosyn for short) is InGen's corporate rival. The company is controversial for its industrial espionage in the genetics industry. Lewis Dodgson, an employee of Biosyn, helps the company in its theft of corporate secrets. Biosyn is interested in acquiring InGen's dinosaur DNA, believing the animals present a variety of uses such as hunting trophies and pharmaceutical test subjects. [nb 1] 
 Dodgson makes only a minor appearance in the first film, and his employer is not named. [27]  However, Biosyn is featured in several video games. [nb 3] 
 The company, as Biosyn Genetics, makes its film debut in  Jurassic World Dominion  (2022). By the time that the film takes place, Dodgson has become the company's CEO. Biosyn's employees now include geneticist Dr. Henry Wu and mathematician Dr. Ian Malcolm, the latter working as the company's in-house philosopher. [27]  With dinosaurs loose around the world and captured by governments, Biosyn has a contract to house the animals at its headquarters in the Dolomites mountain range in Italy. In addition to performing pharmaceutical research on the dinosaurs, the company has also captured 14-year-old orphan Maisie Lockwood and unleashed giant locusts to devour their rivals' crops. By the end of the film, this plot is foiled and exposed to the public. [31]   [32]  The film's director, Colin Trevorrow, described Biosyn not as an "evil" corporation but rather an entity with thousands of employees who have the best intentions in mind, only to feel betrayed by Dodgson upon learning of his actions. [33] 
Isla Nublar[edit]
      Fan-made map of Isla Nublar, based on its description in the first novel   
 Isla Nublar is a fictional Central American island that serves as a major setting in the first novel and its film adaptation, as well as the films  Jurassic World  and  Jurassic World: Fallen Kingdom . According to the novel, its name means "Cloud Island" in Spanish. The tropical island is located 120 miles (190 kilometres) west of Costa Rica and has an inactive volcano. In the first novel and film, Isla Nublar is the location of Jurassic Park, a dinosaur theme park proposed by InGen, but it fails to open after the animals escape. In the novel, the Costa Rican government declares the island unsafe and has it napalmed; in the film series, the island continues to exist until the Jurassic World trilogy.
 In Jurassic World, the theme park idea has been carried out successfully by Masrani Global Corporation. By the end of the film however, the island is overrun by dinosaurs once more following the Indominus rex incident.
 In Jurassic World: Fallen Kingdom, Isla Nublar is destroyed when its volcano becomes active again and erupts. [34] 
 In the films, several Hawaiian islands stood in as Isla Nublar, including Oahu and Kauai. [35]   [36]   [37]  Some filming also took place on sound stages, in California for the original film, [38]  and in Louisiana for Jurassic World. [39] 
Isla Sorna[edit]
 Isla Sorna, also called Site B, is another fictional Central American island. It is 87 miles (140 km) southwest of Isla Nublar, and 207 miles (333 km) west of Costa Rica. It is the main setting for the second novel and its film adaptation, as well as the third film. Isla Sorna is where InGen conducted much of its dinosaur research. It is here that the dinosaurs were bred before being shipped off to Isla Nublar; a laboratory on the latter island was built only as a showroom for tourists. Isla Sorna is significantly larger than Isla Nublar and has various climates including tropical, highland tropical and temperate rainforest. It is part of a five-island chain known as Las Cinco Muertes (The Five Deaths), although the other islands do not play a role in the novels or films.
 Isla Sorna is abandoned by InGen after the events of the first novel and film, and the dinosaurs are left to live freely and reproduce. At the end of the second film, it is stated that Isla Sorna has been set up as a biological preserve for the animals, after a failed attempt to relocate them to a new theme park in San Diego. [40]  The status of Isla Sorna is not mentioned in Jurassic World or Jurassic World: Fallen Kingdom, but a promotional website for the latter film states that the island ecosystem suffered a breakdown after illegally-cloned animals were introduced there. The surviving dinosaurs were relocated to Isla Nublar for the opening of the Jurassic World theme park, leaving Sorna abandoned. [41]   [40]  Jurassic World Dominion shows the two adult Tyrannosaurus from Isla Sorna encountering the Tyrannosaurus from Isla Nublar. In the same movie, Ramsay Cole mentions that Isla Sorna's dinosaurs have been relocated to Biosyn's valley along with those from Isla Nublar that have been rounded up. The island briefly appears in video footage from 1986 shown to Maisie Lockwood by Henry Wu.
 For the second film, Humboldt County, California served as the primary location for scenes set on Isla Sorna, giving it a forest climate. [42]   [43]  Filming also took place on sound stages at Universal Studios Hollywood, [44]  and a beach scene was shot on Kauai. [45]   [46]  The third film largely uses Oahu and Kauai to represent Isla Sorna, as the original film had done for Isla Nublar. A jungle set was also built on a sound stage at Universal Studios. [47]   [48] 
Novels[edit]
      Cover of Michael Crichton's Jurassic World two-novel set  
 Jurassic Park (1990)[edit]
In 1983, Michael Crichton originally conceived a screenplay about a pterosaur being cloned from fossil DNA. [49]  After wrestling with this idea for a while, he came up with the story of  Jurassic Park . [50]  Crichton worked on the book for several years; he decided his first draft would have a theme park for the setting (similar to his 1973 film  Westworld ) and a young boy as the main character. [49]  Response was extremely negative, so Crichton rewrote the story to make it from an adult's point of view, which resulted in more positive feedback. [49] 
  Steven Spielberg learned of the novel in October 1989 while he and Crichton were discussing a screenplay that would become the TV series  ER . Warner Bros. Pictures, Columbia Pictures, 20th Century Fox, and Universal Pictures bid for the rights to the novel before its publication. In May 1990, Universal acquired the rights, with the backing of Spielberg's Amblin Entertainment. [51]  Crichton put up a non-negotiable fee for $1.5 million as well as a substantial percentage of the gross. Universal further paid Crichton $500,000 to adapt his own novel (Malia Scotch Marmo, who was a writer on Spielberg's 1991 film  Hook , wrote the next draft of Jurassic Park, but was not credited; David Koepp wrote the final draft, which left out much of the novel's exposition and violence, and made numerous changes to the characters). [52]  Universal desperately needed money to keep their company alive, and partially succeeded with Jurassic Park, as it became a critical [53]  and commercial [54]  success.
 The Lost World (1995)[edit]
 
After the film adaptation of Jurassic Park was released to home video, Crichton was pressured from many sources for a sequel novel. [55]  Crichton declined all offers until Spielberg himself told him that he would be keen to direct a movie adaptation of the sequel, if one were written. Crichton began work almost immediately and in 1995 published  The Lost World . Crichton confirmed that his novel had elements taken from the novel of the same name by Sir Arthur Conan Doyle. [56]  The book was also an outstanding success, both with professional and amateur critics. [55]  The film adaptation,  The Lost World: Jurassic Park , began production in September 1996. [57] 
 Jurassic Park Adventures (2001–2002)[edit]
 Scott Ciencin wrote a trilogy of spin-off novels based upon Jurassic Park III. The series contained  Jurassic Park Adventures: Survivor  and  Jurassic Park Adventures: Prey , both released in 2001, and  Jurassic Park Adventures: Flyers , released the following year.
 The Evolution of Claire (2018)[edit]
 The Evolution of Claire (Jurassic World)  [58]  is a young adult novel written by Tess Sharpe. It is based upon the  Jurassic World  trilogy, and was released in 2018 in conjunction with the release of  Jurassic World: Fallen Kingdom . It is a spin-off set in 2004, prior to the opening of the Jurassic World theme park. The novel is about college freshman Claire Dearing during her summer internship at the park. [59] 
Films[edit]
 Jurassic Park trilogy[edit]
 Jurassic Park (1993)[edit]
      1917 skeletal diagram of  Tyrannosaurus  published by Henry Fairfield Osborn, which was the basis of the covers of Jurassic Park and The Lost World, and subsequently the logo of the movies  
      Theatrical poster for the 3D re-release of Jurassic Park   
John Hammond (Richard Attenborough) is the owner of Jurassic Park, a theme park located on Isla Nublar. After an incident with a velociraptor, Hammond brings in three specialists to sign off on the park to calm investors. The specialists, paleontologist Alan Grant (Sam Neill), paleobotanist Ellie Sattler (Laura Dern), and chaos theorist Ian Malcolm (Jeff Goldblum), are surprised to see that the island park's main attraction are living, breathing dinosaurs, created with a mixture of fossilized DNA and genetic cross-breeding/cloning. When lead programmer Dennis Nedry (Wayne Knight) turns off the park's power to sneak out with samples of the dinosaur embryos to sell to a corporate rival, the dinosaurs break free, and the survivors are forced to find a way to turn the power back on and make it out alive. The film also stars Bob Peck, Martin Ferrero, BD Wong, Ariana Richards, Joseph Mazzello, and Samuel L. Jackson.
 Spielberg cited  Godzilla  as an inspiration for Jurassic Park, specifically  Godzilla, King of the Monsters!  (1956), which he grew up watching. During production, Spielberg described Godzilla as "the most masterful of all the dinosaur movies because it made you believe it was really happening". [60] 
  Jurassic Park's biggest impact on subsequent films was a result of its breakthrough use of computer-generated imagery. [61]   [62]   [63]  The film is regarded as a landmark for visual effects. [64]   [65]   [66]  It received positive reviews from critics, who praised the effects, though reactions to other elements of the picture, such as character development, were mixed. During its release, the film grossed more than $914 million worldwide, [67]  becoming the most successful film released up to that time (surpassing  E.T. the Extra-Terrestrial  and surpassed 4 years later by  Titanic ), and it is currently the 17th highest grossing feature film (taking inflation into account, it is the 20th-highest-grossing film in North America). It is the most financially successful film for NBCUniversal and Steven Spielberg.
 Recently, Jurassic Park has been proposed to be recognized as Intangible Geoheritage due to its cultural impact on the people's views about dinosaurs, including a change in the popular iconography of carnivorous dinosaurs. [68] 
  Jurassic Park had two re-releases: The first on September 23, 2011, in the United Kingdom and the second in which it was converted into 3D on April 5, 2013, for its 20th anniversary, which resulted in the film passing the $1 billion mark at the worldwide box office. [69]   [70]   [71]  In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". [72] 
 The Lost World: Jurassic Park (1997)[edit]
Before The Lost World was published, a film adaptation was already in pre-production, with its release occurring in May 1997. The film was a commercial success, breaking many box-office records when released. The film was released to mixed reviews, similar to its predecessor in terms of characterization. [73]  Critical response to The Lost World has since become more favorable, with some publications calling it the best Jurassic Park sequel. [74]   [75]  Much like the first film, The Lost World: Jurassic Park made a number of changes to the plot and characters from the book, replacing the corporate rivals with an internal power struggle and changing the roles or characterizations of several protagonists.
 When a vacationing family stumbles upon the dinosaurs of Isla Sorna, a secondary island where the animals were bred en masse and allowed to grow before being transported to the park, Ian Malcolm (Jeff Goldblum) is called in by John Hammond (Richard Attenborough) to lead a team to document the island to turn it into a preserve, where the animals can roam free without interference from the outside world. Malcolm agrees to go when he discovers his girlfriend, paleontologist Sarah Harding (Julianne Moore) is already on the island, while at the same time Hammond's nephew, Peter Ludlow (Arliss Howard), has taken over his uncle's company and leads a team of hunters to capture the creatures and bring them back to a theme park in San Diego. The two groups clash and are ultimately forced to work together to evade the predatory creatures and survive the second island. The film also stars Pete Postlethwaite, Richard Schiff, Vince Vaughn, Vanessa Lee Chester, Peter Stormare, and a young Camilla Belle.
 Jurassic Park III (2001)[edit]
 Joe Johnston had been interested in directing the sequel to  Jurassic Park  and approached his friend Steven Spielberg about the project. While Spielberg wanted to direct the first sequel, he agreed that if there was ever a third film, Johnston could direct. [76]  Spielberg, nevertheless, stayed involved in this film by becoming its executive producer. Production began on August 30, 2000, [77]  with filming in California, and the Hawaiian islands of Kauai, Oahu, and Molokai. [78]  It is the first Jurassic Park film not to be based on a novel, although it does incorporate some unused plot elements from the Crichton novels, such as the river escape and the pterosaur aviary. Jurassic Park III had a troubled production, [79]  and received mixed reviews from critics. [80] 
 When their son Eric (Trevor Morgan) goes missing while parasailing at Isla Sorna, the Kirbys (William H. Macy and Téa Leoni) hire Alan Grant (Sam Neill) under false pretenses to help them navigate the island. Believing it to be nothing more than sight-seeing, and that he will act as a dinosaur guide from the safety of their plane, he is startled to find them landing on the ground, where they are stalked by a  Spinosaurus , which destroys their plane. As they search for the Kirbys' son, the situation grows dire as  Velociraptors  hunt their group and they must find a way off the island. The film also stars Alessandro Nivola, Michael Jeter, Mark Harelik, and Laura Dern.
 Jurassic World trilogy[edit]
      Logo used for the Jurassic World trilogy  
 Jurassic World (2015)[edit]
Steven Spielberg devised a story idea for a fourth film in 2001, during production of Jurassic Park III. [81]  In 2002, William Monahan was hired to write the script, [82]  with the film's release scheduled for 2005. [83]  Early aspects of the plot included dinosaurs escaping to the mainland, [84]   [85]   [86]  and an army of genetically modified dinosaur-human mercenaries. [87]   [88]   [89]   [90]  Monahan finished the first draft of the script in 2003. [91]  Sam Neill and Richard Attenborough were set to reprise their characters, [86]   [92]  while Keira Knightley was in talks for two separate roles. [93]  In 2004, John Sayles wrote two drafts of the script. [94]   [95]  Sayles' first draft involved a team of  Deinonychus  being trained for use in rescue missions. [96]   [97]   [98] 
 Both drafts were scrapped, and a new script was being worked on in 2006. [99]   [100]   [101]  Laura Dern was contacted to reprise her role, with the film expected for release in 2008. [102]   [103]  The film was further delayed by the 2007–08 Writers Guild of America strike. [104]  Mark Protosevich wrote two film treatments in 2011, which were rejected. [105]   Rise of the Planet of the Apes  screenwriters Rick Jaffa and Amanda Silver were hired in 2012 to write an early draft of the script. [106]  In 2013, Colin Trevorrow was announced as a director and co-writer, [107]   [108]  with the film scheduled for release on June 12, 2015. [109]  The film was shot in Univisium 2.00:1. [110]  It grossed over $1.6 billion worldwide and received generally positive reviews. [111]   [112]   [113] 
 The film features a new park, Jurassic World, built on the remains of the original park on Isla Nublar. [114]  The film sees the park run by Simon Masrani (Irrfan Khan) and Masrani Corp, and features the return of Dr. Henry Wu (BD Wong) from the first film. [115]  Chris Pratt, Bryce Dallas Howard, and Jake Johnson star, while Vincent D'Onofrio portrayed the main antagonist, Vic Hoskins. The cast also includes Lauren Lapkus, [116]  Ty Simpkins, Nick Robinson, Omar Sy, and Judy Greer. The primary dinosaur antagonist is  Indominus rex , a genetically-modified hybrid of  Tyrannosaurus rex  and several other species, including  Velociraptor , cuttlefish, tree frog, and pit viper. The Indominus Rex also features a chameleon-like camouflage ability, which was a plot element from the second Crichton novel unused in previous films. [117]   [118] 
 Jurassic World: Fallen Kingdom (2018)[edit]
A sequel to Jurassic World was released on June 22, 2018. [119]   [120]  The film was directed by J. A. Bayona and written by Trevorrow and Connolly, [120]   [121]  with Trevorrow and Spielberg as executive producers. [120]  The film stars Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Toby Jones, Ted Levine, BD Wong, Isabella Sermon, and Geraldine Chaplin, with Jeff Goldblum reprising his role as Dr. Ian Malcolm. [122] 
 During early conversations on Jurassic World, Spielberg told Trevorrow that he was interested in having several more films made. [123]  In April 2014, Trevorrow announced that sequels to Jurassic World had been discussed: "We wanted to create something that would be a little bit less arbitrary and episodic, and something that could potentially arc into a series that would feel like a complete story". [124]  Trevorrow, who said he would direct the film if asked, [124]  later told Spielberg that he would only focus on directing one film in the series. [123]  Trevorrow believed that different directors could bring different qualities to future films. [125]  Bayona was once considered to direct Jurassic World, but he declined as he felt there was not enough time for production. [126]  Filming took place from February to July 2017, in the United Kingdom and Hawaii. [122]   [127]   [128] 
 Former Jurassic World manager Claire Dearing and Velociraptor handler Owen Grady join a mission to rescue Isla Nublar's dinosaurs from a volcanic eruption by relocating them to a new island sanctuary. They discover that the mission is part of a scheme to sell the captured dinosaurs on the black market in order to fund his party's genetic research. The captured dinosaurs are brought to an estate in northern California, where several of the creatures are auctioned and subsequently shipped to their new owners. A new hybrid dinosaur, the  Indoraptor  (one of the primary antagonists of the film), escapes and terrorizes people at the estate, forcing Owen and Claire to survive the chaos and rampage in the estate. A subplot about human cloning was introduced in the film. Fallen Kingdom, similar to the second installment, The Lost World, re-explores the themes about the aftermath of the dinosaur park's demise on Isla Nublar and dinosaurs being used for exploitation by humans. The film grossed over $1.3 billion worldwide, and received mixed reviews from critics. [129]   [130]   [131] 
 Jurassic World Dominion (2022)[edit]
 Jurassic World Dominion was released on June 10, 2022. [132]  It was directed by Trevorrow, with a screenplay written by him and Emily Carmichael, based on a story by Trevorrow and Connolly. Trevorrow and Spielberg serve as executive producers for the film, with Frank Marshall and Patrick Crowley as producers. [133]   [134]   [135]  The film stars Chris Pratt and Bryce Dallas Howard, returning from the previous Jurassic World films. Sam Neill, Laura Dern and Jeff Goldblum also reprise their characters for major roles, [136]  marking the trio's first film appearance together since the original Jurassic Park film. [137]   [138]  In addition, Daniella Pineda, Justice Smith, Isabella Sermon, and Omar Sy reprise their roles from the previous two films. [139]   [140]  Other actors include Mamoudou Athie, [141]  DeWanda Wise, [142]  Dichen Lachman, and Scott Haze. [143]   [144]  Campbell Scott portrays the character Lewis Dodgson from the first film, originally played by Cameron Thor. [145] 
 Planning for the film dates to 2014. [146]   [121]  Trevorrow and Carmichael were writing the script as of April 2018. [147]  Trevorrow said the film would focus on the dinosaurs that went open source after being sold and spread around the world in Jurassic World: Fallen Kingdom, allowing people other than Dr. Henry Wu to create their own dinosaurs. [15]   [148]   [34]  Trevorrow stated that the film would be set around the world, and said that the idea of Henry Wu being the only person who knows how to create a dinosaur was far-fetched "after 30 years of this technology existing" within the films' universe. [148]  Additionally, the film would focus on the dinosaurs that were freed at the end of Jurassic World: Fallen Kingdom, [15]   [148]   [34]  but it would not depict dinosaurs terrorizing cities and going to war against humans; Trevorrow considered such ideas unrealistic. Instead, Trevorrow was interested in a world where "dinosaur interaction is unlikely but possible—the same way we watch out for bears or sharks". [149]   [150]  Certain scenes and ideas regarding the integration of dinosaurs into the world were ultimately removed from the Jurassic World: Fallen Kingdom script to be saved for the third film. [148]   [34] 
 Filming locations included Canada, England's Pinewood Studios, and the country of Malta. [132]   [151]  Jurassic World Dominion began filming in February 2020, [132]  but was put on hiatus several weeks later as a safety precaution due to the COVID-19 pandemic. [152]  Production later resumed that July, with numerous health precautions in place, including COVID-19 testing and social distancing. [153]  Filming wrapped four months later. [132]  Jurassic World Dominion uses more animatronics than the previous films. The animatronic dinosaurs were created by John Nolan and his team. [154]   [155]   [156]  It is also the first film in the series to feature feathered dinosaurs. [157]   [158]  The film is set four years after the events of Fallen Kingdom, with dinosaurs now living alongside humans around the world. It follows Owen Grady and Claire Dearing as they embark on a rescue mission, while Alan Grant and Ellie Sattler reunite with Ian Malcolm to expose a conspiracy by the genomics corporation Biosyn, a once rival of the defunct InGen. Jurassic World Dominion has grossed over $1 billion worldwide but received mixed-to-negative reviews from critics. [159]   [160]   [161]  An extended version of Jurassic World Dominion was released on 4K Ultra HD, Blu-ray and DVD on August 16, 2022. [162]   [163]  The extended edition received more favorable reviews and is considered an improvement over the theatrical cut. [164]   [165]   [166] 
Future[edit]
 Jurassic World Dominion concludes the second film trilogy as well as the storyline that began in the original trilogy, [167]   [168]   [169]  although future films in the franchise have not been ruled out. Marshall said in May 2020 that Jurassic World Dominion would mark "the start of a new era", in which humans have to adjust to dinosaurs being on the mainland. [170]  Marshall reiterated in January 2022 that there could be more films: "We're going to sit down, and we're going to see what the future is". [168] 
 Trevorrow, noting that he spent nine years working on the Jurassic World trilogy, said in May 2022 that he would likely not return for another film, except in a possible advisory role. [171]  He expressed interest in having Howard direct a future film. [172]  He also suggested that several characters introduced in Dominion could return for future installments, including Kayla Watts (portrayed by DeWanda Wise), Ramsay Cole (Mamoudou Athie), and Soyona Santos (Dichen Lachman). [33]   [173]  Pratt and Howard do not expect to reprise their roles again, [174]  and Neill said Dominion would be the last film for Dern, Goldblum and himself. [175] 
Short films[edit]
As of 2022, two short films have been released. Both take place between Jurassic World: Fallen Kingdom and Jurassic World Dominion, and are considered canon with the film series.
 Battle at Big Rock (2019)[edit]
 Battle at Big Rock is the first live-action short film in the franchise, and was released on September 15, 2019. The eight-minute film was directed by Colin Trevorrow, [176]  and was co-written by him and Emily Carmichael. The film stars André Holland, Natalie Martinez, Melody Hurd, and Pierson Salvador. [176]   [177] 
 The film is set one year after the events of  Jurassic World: Fallen Kingdom . In the film, a family goes on a camping trip at the fictional Big Rock National Park in northern California, approximately 20 miles (30 km) from where dinosaurs from Fallen Kingdom were let loose. The film chronicles the first major confrontation between humans and the dinosaurs. [176] 
 Jurassic World Dominion prologue (2021)[edit]
A five-minute Jurassic World Dominion prologue was released in 2021, serving as the franchise's second live-action short film. It was originally intended as the film's opening sequence before being removed from the final cut. It features a prehistoric segment showcasing dinosaurs in their natural habitats, then cuts to the present day as a T. rex  wreaks havoc at a drive-in theater. [178]   [179]  The prologue is used as the opening sequence in the extended edition of Jurassic World Dominion. [180] 
Television[edit]
Lego animated projects[edit]
Lego produced various CGI-animated projects, including the two-part television special  Lego Jurassic World: The Secret Exhibit , which aired on NBC on November 29, 2018. [181]  A 13-episode miniseries,  Lego Jurassic World: Legend of Isla Nublar , premiered in 2019. It was broadcast on Family Channel in Canada and on Nickelodeon in the U.S. [182]   [183] 
 Jurassic World Camp Cretaceous (2020–2022)[edit]
 Jurassic World Camp Cretaceous is a CGI-animated series that debuted on Netflix in 2020. It is a joint project between Netflix, Universal Studios, Amblin Entertainment and DreamWorks Animation. Scott Kreamer and Lane Lueras are the showrunners, and executive produce the series with Spielberg, Marshall, and Trevorrow, while Zack Stentz serves as consulting producer. The series is set during the events of the Jurassic World trilogy, and is about a group of six teenagers attending an adventure camp on Isla Nublar. When the park's dinosaurs escape, the teenagers are stranded and must work together to escape the island. [184]  The series premiered globally on Netflix on September 18, 2020 and ran for five seasons, concluding on July 21, 2022. It consists of 49 episodes. The voice cast includes Paul-Mikél Williams, Jenna Ortega, Ryan Potter, Raini Rodriguez, Sean Giambrone, Kausar Mohammed, Jameela Jamil, and Glen Powell. [185]   [186] 
Live-action series[edit]
A live-action television series based on the Jurassic World films was reportedly in development as of March 2020. [187]   [188]   [189]  However, Marshall said two years later that such a series had not been discussed, and that his focus was on the films. Speaking about Camp Cretaceous, Marshall said: "I think that's plenty for now". [190] 
Cancelled projects[edit]
 Escape from Jurassic Park[edit]
In June 1993, after the theatrical release of Jurassic Park, spokesmen for Amblin and MCA confirmed that an animated series based on the film was in development and awaiting Spielberg's final approval. [191]  The series, titled Escape from Jurassic Park, [192]  would have consisted of 23 episodes for its first season. The series would have centered on John Hammond's attempts to finish Jurassic Park and open it to the public, while InGen's corporate rival Biosyn is simultaneously planning to open their own dinosaur theme park in Brazil, which ultimately ends with their dinosaurs escaping into the jungles. [193]   [194]   [195] 
 If produced, it was believed that the project would be the most expensive animated series up to that time. Jeff Segal, president of Universal Cartoon Studios, said: "We are developing a TV series that we anticipate would be computer animated and very sophisticated. However, Spielberg has not had a chance yet to look at either the material or the format for the series". [191]  Segal said Universal was considering the possibility of developing the series for prime time, also commenting about the series' storyline: "It would essentially pick up from the closing moments of the movie and it would continue the story in a very dramatic way. The intention would be to continue with the primary characters and also introduce new characters". Segal also said the series would be aimed specifically at the same target audience as the film, while hoping that it would also appeal to young children. [191] 
 Animation veteran and comic artist Will Meugniot (then working at Universal Cartoon Studios for various projects, including  Exosquad ) contacted artist William Stout to ask if he would be interested in designing the animated series. According to Stout: "This was not going to be a kiddy show (although kids of all ages, including myself, could enjoy it). They wanted the show to be a mature prime time series with top writers and state-of-the-art television animation augmented with quite a bit of CG animation". Universal Animation Studios wanted the show to have the look of a graphic novel. [196] 
 Stout was hired to work on the series and subsequently made a trailer to demonstrate how the series would look, and how it would combine traditional animation with computer animation. The series required Spielberg's final approval before it could go into production. However, Spielberg had grown tired of the massive promotion and merchandise revolving around the film, and never watched the trailer. [196]  On July 13, 1993, Margaret Loesch, president of the Fox Children's Network, confirmed that discussions had been held with Spielberg about an animated version of the film. Loesch also said: "At least for now and in the foreseeable future, there will not be an animated Jurassic Park. That's Steven Spielberg's decision, and we respect that decision". [197] 
 Jurassic Park: Chaos Effect[edit]
Part three of the four-part comic adaptation of The Lost World: Jurassic Park, published by Topps Comics in July 1997, confirmed to readers that a cartoon series based on the film was in development. [198]   [199]  It was commissioned by Spielberg and would be developed by DreamWorks Animation. [200]  In November 1997, it was reported that the cartoon would be accompanied by  Jurassic Park: Chaos Effect , a series of dinosaur toys produced by Kenner and based on a premise that scientists had created dinosaur hybrids consisting of DNA from different creatures. [201]   [202]  The new toys were based on the upcoming cartoon. [201]  It was also reported that the cartoon could be ready by March 1998, as a mid-season replacement. [201]  The Chaos Effect toyline was released in June 1998, [202]  but the animated series was never produced, for unknown reasons. [203] 
Cast and crew[edit]
Principal cast[edit]
List indicator(s)
This section shows characters who will appear or have appeared in the franchise.
 An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed.
 C indicates a cameo role.
 O indicates an older version of the character.
 P indicates an appearance in onscreen photographs.
 V indicates a voice-only role. 
 
Characters
Films
Animated series
 
  Jurassic Park 
  The Lost World: Jurassic Park 
  Jurassic Park III 
  Jurassic World 
  Jurassic World: Fallen Kingdom 
  Jurassic World Dominion 
  Lego Jurassic World:Legend of Isla Nublar 
  Jurassic World Camp Cretaceous 
 
1993
1997
2001
2015
2018
2022
2019
2020–2022
 
 Dr. Alan Grant
 Sam Neill
Sam Neill
Sam Neill
Adrian Hough V 
 
 Dr. Ellie Sattler
 Laura Dern
Laura Dern
Laura Dern
 
 Dr. Ian Malcolm
 Jeff Goldblum
Jeff Goldblum P 
Jeff Goldblum
Bradley Duffy V 
 
John Hammond
 Richard Attenborough
Richard Attenborough P 
 
Lex Murphy
 Ariana Richards
Ariana Richards C 
 
Tim Murphy
 Joseph Mazzello
Joseph Mazzello C 
 
 Dr. Henry Wu
 BD Wong
BD Wong
 Vincent Tong  V 
 Greg Chun  V 
 
Dennis Nedry
 Wayne Knight
William Kuklis V 
 
Lewis Dodgson
 Cameron Thor
 Campbell Scott
 Adam Harrington  V 
 
Mr. DNA
 Greg Burson  V 
 Colin Trevorrow  V 
Vincent Tong V 
 Jeff Bergman  V 
 
 Owen Grady
 Chris Pratt  [147] 
 Ian Hanlin  V 
 
 Claire Dearing
 Bryce Dallas Howard  [147] 
 Britt McKillip  V 
 
Simon Masrani
 Irrfan Khan
Dhirendra V 
 
Vic Hoskins
 Vincent D'Onofrio
 Alex Zahara  V 
 
Barry Sembène
 Omar Sy
Omar Sy
 
Lowery
 Jake Johnson
Jake Johnson P 
 
Vivian
 Lauren Lapkus
Lauren Lapkus P 
 
Franklin Webb
 Justice Smith
 
Dr. Zia Rodriguez
 Daniella Pineda
Daniella Pineda C 
 
 Maisie Lockwood
Isabella Sermon
 
Charlotte Lockwood
Isabella Sermon P   [15] 
Isabella Sermon
 
 Elva Trill  O 
 
Iris
 Geraldine Chaplin
Geraldine Chaplin P 
 
Robert Muldoon
 Bob Peck
 
Donald Gennaro
 Martin Ferrero
 
Ray Arnold
 Samuel L. Jackson
 
Dr. Harding
 Jerry Molen
 
Dr. Sarah Harding
 Julianne Moore
 
Kelly Curtis
 Vanessa Lee Chester
 
Nick Van Owen
 Vince Vaughn
 
Eddie Carr
 Richard Schiff
 
Roland Tembo
 Pete Postlethwaite
 
Peter Ludlow
 Arliss Howard
 
Ajay Sidhu
 Harvey Jason
 
Dr. Robert Burke
 Thomas F. Duffy
 
Dieter Stark
 Peter Stormare
 
Carter
 Thomas Rosales Jr.
 
Paul Kirby
 William H. Macy
 
Amanda Kirby
 Téa Leoni
 
Billy Brennan
 Alessandro Nivola
 
Eric Kirby
 Trevor Morgan
 
Udesky
 Michael Jeter
 
Nash
 Bruce A. Young
 
Cooper
 John Diehl
 
Ben Hildebrand
 Mark Harelik
 
Gray Mitchell
 Ty Simpkins
 
Zach Mitchell
 Nick Robinson
 
Karen Mitchell
 Judy Greer
 
Scott Mitchell
 Andy Buckley
 
Zara
 Katie McGrath
 
Sir Benjamin Lockwood
 James Cromwell
 
Eli Mills
 Rafe Spall
 
Ken Wheatley
 Ted Levine
 
Mr. Eversoll
 Toby Jones
 
Ramsay Cole
 Mamoudou Athie
 
Kayla Watts
 DeWanda Wise
 
Soyona Santos
 Dichen Lachman
 
Rainn Delacourt
 Scott Haze
 
Allison Miles
Bethany Brown V 
 
Danny Nedermeyer
 Adrian Petriw  V 
 
Sinjin Prescott
 Andrew Kavadas  V 
 
Larson Mitchell
 Kirby Morrow  V 
 
Hudson Harper
Nicholas Holmes V 
 
Dianne
 Patricia Drake  V 
 
Stella
Sabrina Pitre V 
   
Additional crew[edit]
 
Role
  Jurassic Park 
  The Lost World:Jurassic Park 
  Jurassic Park III 
  Jurassic World 
  Jurassic World:Fallen Kingdom 
  Jurassic WorldDominion 
 
1993
1997
2001
2015
2018
2022
 
Composer
 John Williams
 Don Davis
 Michael Giacchino  [204] 
 
Editor
 Michael Kahn
 Robert Dalva
Kevin Stitt
Bernat Vilaplana [205] 
 Mark Sanger  [206] 
 
Cinematographer
 Dean Cundey
 Janusz Kamiński
 Shelly Johnson
 John Schwartzman
 Óscar Faura
John Schwartzman
 
Production designer
 Rick Carter
Edward Verreaux
 Andy Nicholson
Kevin Jenkins [207] 
 
Production companies
 Amblin Entertainment
Amblin Entertainment Legendary Entertainment  The Kennedy/Marshall Company
Amblin EntertainmentLegendary Entertainment Perfect World Pictures The Kennedy/Marshall Company
Amblin EntertainmentPerfect World PicturesThe Kennedy/Marshall Company [208] 
 
Distributor
 Universal Pictures
   
Reception[edit]
Box office performance[edit]
Critical and public response[edit]
Each film is linked to the "Critical response" section of its article
Accolades[edit]
Music[edit]
Merchandise and other media[edit]
Toys[edit]
For the 1993 film, Kenner produced a line of action figures and dinosaurs, [229]  marketed with the slogan, "If it's not 'Jurassic Park', it's extinct". [230]   [231]  Paleontologist Jack Horner, who offered his advice for the film's dinosaurs, was also hired as a scientific advisor for the dinosaur toys. [232]  Kenner had two years to develop the toys, which sold successfully. [233]  Dakin also produced stuffed dinosaurs based on the film. [229] 
 Kenner produced another toy line for the 1997 sequel. [234]  The company also released Jurassic Park: Chaos Effect a year later. [235]   [236]  The toy line's premise involved scientists who had created new dinosaur species by combining the DNA of existing dinosaurs. [237]   [238]   [239] 
 Kenner's parent company, Hasbro, took over toy production for  Jurassic Park III , released in 2001. [240]  At that time, Playskool also released a toy line aimed at young children, under the name Jurassic Park Junior. [241]   [242]  Jurassic Park III toys were also released under the Lego Studios brand. [243]   [244]  Hasbro also created a toy line for  Jurassic World . [245]   [246]  Some of the toy dinosaurs had been referred to on packaging as males, despite being females in the film. This drew some criticism which accused Hasbro of catering solely to a male demographic. [247]   [248]  Hasbro updated the pronouns shortly after the toy line's release. [249]  The Lego Jurassic World line was also released in 2015.
 In 2016, Mattel took the toy license from Hasbro, in a deal which started one year later. [250]   [251]   [252]  Mattel produced various toys for  Jurassic World: Fallen Kingdom , [253]  including dinosaurs, action figures, [254]   [255]  and Barbie dolls. [256]  Mattel's dinosaur toys included symbols which could be scanned with a cell phone, providing facts about each animal through a mobile app known as Jurassic World Facts. [255]   [257]  Lego and Funko also created toys based on the film. [258]   [259]  In addition, Mattel released the Jurassic World Legacy Collection, which included toys based on characters and dinosaurs from the Jurassic Park trilogy. [260]   [261] 
 In 2019, Mattel unveiled the Amber Collection, a toy line of posable characters and dinosaurs [262]  that had been featured in the first film. [263]   [264]   [265]   [266]  A year later, the company released toys based on  Jurassic World Camp Cretaceous . [267]   [268]  In February 2021, Mattel and Target partnered to sell a line of toys custom-made by the fan site Jurassic Outpost. [269]  The Amber Collection continued into 2021, [270]  and a new series of toys, known as the Hammond Collection, was released in 2022. [271] 
Board games[edit]
Board games were released by Milton Bradley for the first two Jurassic Park films. [272]   [273]   [274]   [275]  Hasbro and Milton Bradley also released two board games for Jurassic Park III. [241]   [276]   [277] 
  Jurassic Park: Danger!, released by Ravensburger in 2018, pits humans and dinosaurs against each other. [278]  Meanwhile, Mondo was working on a board game to be known as Jurassic Park: The Chaos Gene, [279]   [280]   [281]  although it was canceled during development. [282]  In 2019, Mondo announced that characters and dinosaurs from the Jurassic Park franchise would be released as playable characters for its Unmatched board game. [283]  The first set of characters was released in 2020. [284] 
 In 2021, Hasbro released a version of  Monopoly  based on the original Jurassic Park film. [285]   [286]   Jurassic World: The Legacy of Isla Nublar  is a legacy board game released in 2022. It was designed by Funko's design studio, Prospero Hall. [287]   [288] 
Comics[edit]
Topps Comics[edit]
From June 1993 to August 1997, the now-defunct Topps Comics published comic adaptations of Jurassic Park and The Lost World: Jurassic Park, as well as several tie-in series.
    Jurassic Park   #0–4 (June–September 1993). Adaptation of the film, adapted by Walter Simonson and pencilled by Gil Kane. [289]  Each issue had two covers – a main cover by Gil Kane, with the variant by Dave Cockrum. Issue #0 features two prequel stories to the film, and was only available with the trade paperback of the film adaptation.
  Jurassic Park: Raptor  #1–2 (November–December 1993). Written by Steve Englehart and pencilled by Armando Gil and Dell Barras.
  Jurassic Park: Raptors Attack  #1–4 (March–June 1994). Written by Steve Englehart, pencilled by Armando Gil (#1) and Chaz Truog, with covers by Michael Golden.
  Jurassic Park: Raptors Hijack  #1–4 (July–October 1994). Written by Steve Englehart, pencilled by Neil Vokes, with covers by Michael Golden.
  Jurassic Park Annual  #1 (May 1995). Featuring two stories, one being a sequel and one being a prequel. Written by Bob Almond, Michael Golden and Renée Witterstaetter, pencilled by Claude St. Aubin and Ed Murr, with a cover by Michael Golden.
  Return to Jurassic Park  #1–9 (April 1995 – February 1996). An ongoing series, the first four issues were written by Steve Englehart and pencilled by Joe Staton. The next four issues were written by Tom Bierbaum and Mary Bierbaum, being drawn by Armando Gil. The first 8 issues had covers by Michael Golden. The ninth and final issue was a jam book[ clarification needed ] written by Keith Giffen and Dwight Jon Zimmerman, featuring artwork by such acclaimed artists as Jason Pearson, Adam Hughes, Paul Gulacy, John Byrne, Kevin Maguire, Mike Zeck, George Pérez and Paul Chadwick, with a cover by John Bolton.
   The Lost World: Jurassic Park   #1–4 (May–August 1997). Adaptation of the second film, adapted by Don McGregor and pencilled by Jeff Butler (#1–2) and Claude St. Aubin (#3–4). Each issue of the series featured two covers – one by Walter Simonson and a photo cover. 
IDW Comics[edit]
Beginning in June 2010, IDW Publishing began publishing Jurassic Park comics. They also acquired the rights to reprint the issues published by Topps in the 1990s, which they began to do in trade paperback format starting in November 2010. After a four-year hiatus, IDW announced a comic series based on Jurassic World that was to be released in 2017. [290] 
   Jurassic Park: Redemption  #1–5 (June 2010 – October 2010). Five-issue series written by Bob Schreck with art by Nate van Dyke. Each issue has a main cover penciled by Tom Yeates, with variant covers by Frank Miller, Arthur Adams, Paul Pope, Bernie Wrightson, and Bill Stout, respectively.
  Jurassic Park: The Devils in the Desert  #1–4 (January 2011 – April 2011). Four-issue series written and illustrated by John Byrne. [291]   [292]   [293]   [294]  
  Jurassic Park: Dangerous Games  #1–5 (September 2011 – January 2012). Five-issue series written by Greg Bear and Erik Bear, with art by Jorge Jiménez and a variant cover by Geof Darrow. 
This series has been collected in the following trade paperbacks:
Motion comic series[edit]
In late 2019, a Jurassic World motion comic series was released by Universal on YouTube. The four-part series is set after the events of Jurassic World: Fallen Kingdom and explores various dinosaur attacks throughout the world. [295]   [296]   [297] 
Video games[edit]
Since 1993, numerous Jurassic Park video games have been produced. To accompany the release of the first film, Sega and Ocean Software published several different games for various consoles, including the NES and Sega Genesis. In 1994, Ocean produced a game sequel titled  Jurassic Park 2: The Chaos Continues , while Sega released  Jurassic Park: Rampage Edition . In addition, Universal Interactive Studios produced  Jurassic Park Interactive  for the 3DO system.
 In 1997, several games were released for the second film in the franchise, including some by DreamWorks Interactive. A subsequent game,  Trespasser , was released as a "digital sequel" to The Lost World: Jurassic Park. The player assumes the role of Anne, who is the sole survivor of a plane crash on InGen's "Site B" one year after the events of the film. It was released for Microsoft Windows in 1998. The third film spawned six video games for PC and Game Boy Advance. A number of lightgun arcade games were also released for all three films.
   Jurassic Park: The Game  is an episodic video game that takes place during and after the events of the original film. It follows a new group of survivors trying to escape Isla Nublar. It was developed by Telltale Games in a deal with Universal [298]  and was released in 2011.
   Lego Jurassic World  is a 2015 action-adventure video game developed by Traveller's Tales and published by Warner Bros. Interactive Entertainment. It follows the plots of the series' first four films.
 Several park-building games have been released, including  Jurassic Park: Operation Genesis  (2003),  Jurassic World: The Game  (2015),  Jurassic World Evolution  (2018), [299]  and  Jurassic World Evolution 2  (2021). [300] 
   Jurassic World Aftermath , a virtual reality game, was released in 2020. [301] 
Attractions[edit]
Theme park rides[edit]
Several water rides based on the series have opened at Universal's theme parks. On June 21, 1996, Universal Studios Hollywood opened Jurassic Park: The Ride. Universal Studios Japan later opened this attraction, and Universal's Islands of Adventure opened Jurassic Park River Adventure. The rides are heavily themed on the first three films. Another ride based on the series has also been opened at Universal Studios Singapore (Jurassic Park Rapids Adventure). In 2018, Jurassic Park: The Ride at Universal Studios Hollywood closed for preparations to become Jurassic World: The Ride, which opened on July 12, 2019. A roller coaster, known as VelociCoaster, opened at Universal's Islands of Adventure in June 2021. [302] 
Exhibitions[edit]
In June 1993, the American Museum of Natural History in New York debuted The Dinosaurs of Jurassic Park, an exhibition featuring dinosaurs that were created for use in the first film. The exhibition opening coincided with the film. [303]   [304]  Other museums were threatened with legal action for using the word "Jurassic" in exhibit titles. [305] 
 A travelling exhibition, The Lost World: The Life and Death of Dinosaurs, went on tour in 1997. The exhibit was produced in connection with the second film, and its centerpiece was a 70-foot-long recreation of a  Mamenchisaurus , a dinosaur featured in the film. [306]   [307]   [308]   [309] 
 Another travelling exhibit, The Dinosaurs of Jurassic Park and The Lost World, [nb 4]  went on tour in 1998. It was created by Don Lessem, and featured dinosaurs that were made for the first two films, as well as sets and props, and a video narrated by Jeff Goldblum. [312]   [313]   [314]  It also featured the 70-foot Mamenchisaurus. [310]  The exhibit was ongoing as of 2001. [311] 
 Jurassic Park: The Life and Death of Dinosaurs was an exhibition that traveled around the United States during 2002. It was also created by Lessem and included dinosaur sculptures from the films, as well as cast skeletons and fossils. [315]   [316]   [317] 
 In 2001, [318]  Universal Studios and Amblin Entertainment created the Jurassic Park Institute, an educational program that included a website, as well as travelling dinosaur exhibits in later years. [319]   [320]   [321]  The exhibit toured in Japan under the name Jurassic Park Institute Tour, [322]   [323]   [324]  and a video game,  Jurassic Park Institute Tour: Dinosaur Rescue , was released to accompany it. [325]  The tour, designed by Thinkwell Design &amp; Production, [326]  won a Thea award in 2005 for Outstanding Achievement. [327] 
 Jurassic World: The Exhibition was located at the Melbourne Museum in Australia for six months during 2016. [328]   [329]   [330]  The travelling exhibition was also held in 2017, at the Franklin Institute in Philadelphia, [331]   [332]  and at the Field Museum in Chicago. [333]   [334]  A new North American tour was launched in 2021, [335]  starting in Texas. [336]   [337] 
Live show[edit]
A live show, titled Jurassic World Live, started touring in 2019.
Notes[edit]
 
^    a       b       c       d    As described in the novels.
  ^  As described in the films, Jurassic Park and The Lost World: Jurassic Park.
  ^  Biosyn appears in the 1994 video games  Jurassic Park  (for the Sega CD) [28]  and  Jurassic Park 2: The Chaos Continues  (for the Super NES). [29]  It is also referenced in the subsequent games  Trespasser  and  Jurassic World Evolution . [30] 
  ^  Also known as The Dinosaurs of Jurassic Park: The Lost World. [310]   [311] 
 
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External links[edit]
  Official website
Jurassic Park - Wikipedia
https://en.wikipedia.org/wiki/Jurassic_Park