Good Night, and Good Luck Production who produced the film George Clooney
when was it produced
when was Good Night, and Good Luck produced
In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER
In September 2005,
Good Night, and Good Luck (stylized as good night, and good luck.) is a 2005 historical drama film directed by George Clooney, and starring David Strathairn, Patricia Clarkson, Clooney, Jeff Daniels, Robert Downey Jr., and Frank Langella. The film was written by Clooney and Grant Heslov, and portrays the conflict between veteran radio and television journalist Edward R. Murrow (Strathairn) and U.S. Senator Joseph McCarthy of Wisconsin, especially relating to the anti-Communist Senator's actions with the Senate Permanent Subcommittee on Investigations.

Although released in black and white, it was filmed on color film stock, but on a grayscale set, and was color-corrected to black and white during post-production. It focuses on the theme of media responsibility, and also addresses what occurs when the media offers a voice of dissent from government policy. The movie takes its title (which ends with a period or full stop) from the line with which Murrow routinely signed off his broadcasts.

The film received critical acclaim for Clooney's direction, the writing, cinematography, production design, and performances (particularly Strathairn's). It was nominated for six Academy Awards, including Best Picture, Best Director, and Best Actor for Strathairn.

Plot
The setting is 1953, during the early days of television broadcast journalism. Edward R. Murrow, along with his news team, producer Fred Friendly and reporter Joseph Wershba, learn of U.S. Air Force officer Milo Radulovich, who is being forcibly discharged because of family members being known communists and his refusal to denounce them.

Interest is piqued when it is found that the compilation of charges at Radulovich's hearing was in a sealed envelope and nobody saw them. Murrow presents the story to CBS News' director, Sig Mickelson, who warns Murrow that the story will bring serious accusations and repercussions to CBS and their sponsors, some of whom have government contracts. He reluctantly allows the story to air, which gains positive responses from the public. Murrow also tries to ease the worries of his colleague, Don Hollenbeck, who is struggling with both the strain of his recent divorce and attacks from newspaper writer Jack O'Brian, who is accusing him of being biased in his news reporting and being a "pinko".

Wershba is then given an envelope suggesting that Murrow has previously interacted with the Soviets and used to be on their payroll. CBS's Chief Executive, William Paley, brings this up with Murrow. He warns him that if any members of his staff are associated with Communism in any way, however remotely, they would have to recuse themselves from Murrow's next story. They were planning to make a direct attack on Senator Joseph McCarthy and his crusade against Communist infiltration in the U.S. government, which some denounce as a witch hunt. Friendly and Murrow gather their staff together, and when one of the team members voluntarily excuses himself because his ex-wife had attended Communist meetings before they even met, Murrow concludes that this kind of fear is what McCarthy wants. The team stays together and presents the story, which becomes highly praised by the public and the press, with the exception of Jack O'Brian, who continues to attack both Murrow and especially Hollenbeck on their supposed support of communism. Hollenbeck pleads with Murrow to go after O'Brian, but Murrow reluctantly tells him that he cannot attack O'Brian while he is busy going after McCarthy.

As the team turns their focus to a filmed hearing of Annie Lee Moss, a Pentagon communication worker accused of being a Communist based on her name appearing on a list seen by an FBI infiltrator of the American Communist Party, they receive the news that Milo Radulovich is being reinstated by the Air Force, citing no direct evidence supporting any connections with Communism. McCarthy then asks for the opportunity to speak for himself on Murrow's show, which Murrow allows. McCarthy openly accuses Murrow of being a Communist, citing several pieces of evidence that seem to support it. Murrow broadcasts a rebuttal the following week, easily disproving McCarthy's accusations and pointing out that McCarthy didn't do anything to defend himself other than accuse anyone who opposes him as being either a Communist or a Communist sympathizer.

A few days later, the news arrives that the U.S. Senate is investigating McCarthy, which means the imminent end of his crusade. As the team celebrates, Friendly and Murrow learn that Hollenbeck has died by suicide. Paley then tells Murrow and Friendly that their news program's air time is going to be severely cut, citing the high costs of the show's production, along with Murrow's attacks on controversial topics. Also, Joe Wershba and his wife Shirley, who have been concealing their marriage due to CBS forbidding co-workers from being married, are approached by Mickelson, who tells them that everyone knows of their marriage and that he will allow one of them to resign to save face, which Joe agrees to do.

The film is framed by performance of the speech given by Murrow to the Radio and Television News Directors Association at "A Salute to Edward R. Murrow" on October 25, 1958, in which he harshly admonishes his audience not to squander the potential of television to inform and educate the public, so that it does not become only "wires and lights in a box".

Cast
 David Strathairn as Edward R. Murrow, journalist and host of the CBS television program See It Now
 George Clooney as Fred W. Friendly, coproducer with Murrow of See It Now
 Robert Downey Jr., as Joseph Wershba, writer, editor, and correspondent for CBS News
 Patricia Clarkson as Shirley Wershba
 Frank Langella as William Paley, chief executive of CBS
 Jeff Daniels as Sig Mickelson, director of CBS News
 Tate Donovan as Jesse Zousmer
 Ray Wise as Don Hollenbeck, journalist for CBS News; accused in the press of being a "pinko".
 Helen Slayton-Hughes as Mary
 Alex Borstein as Natalie
 Thomas McCarthy as Palmer Williams
 Rose Abdoo as Mili Lerner
 Reed Diamond as John Aaron
 Matt Ross as Eddie Scott
 Grant Heslov as Don Hewitt, director of See It Now
 Glenn Morshower as Colonel Anderson
 Don Creech as Colonel Jenkins
 Robert John Burke as Charlie Mack
 Robert Knepper as Don Surine
 Dianne Reeves as Jazz Singer
 JD Cullum as Stage Manager
 Peter Jacobson as Jimmy
 Simon Helberg as CBS Page
 Joseph McCarthy (archive footage) as himself
 Liberace (archive footage) as himself
 Roy Cohn (archive footage) as himself
 Dwight D. Eisenhower (archive footage) as himself

Production
In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio; Salt Lake City, Utah; Los Angeles, California; and Buffalo, New York. The elder Clooney also ran for Congress in 2004.

George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeffrey Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.

The CBS offices and studios seen in the movie were all sets on a sound stage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license—the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the MetLife Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.

Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert F. Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy.

Music
A small jazz combo starring jazz singer Dianne Reeves was hired to record the soundtrack to the movie. This combo (Peter Martin, Christoph Luty, Jeff Hamilton and Matt Catingub) was featured in the movie in several scenes; for example, in one scene the newsmen pass a studio where she is recording with the rest of the band. The CD is Dianne Reeves's second featuring jazz standards (including "How High the Moon", "I've Got My Eyes on You", "Too Close For Comfort", "Straighten Up and Fly Right" and "One for My Baby"), and it won the Grammy Award in 2006 for Best Jazz Vocal Album.

Soundtrack
The soundtrack to Good Night, and Good Luck. was released on September 27, 2005. The film's score was composed by Jim Papoulis.

Reception
On review aggregator Rotten Tomatoes the film holds an approval rating of 93% based on 226 reviews, with an average rating of 8.1/10. The website's critics consensus states: "A passionate and concise cinematic civics lesson, Good Night, and Good Luck has plenty to say about today's political and cultural climate, and its ensemble cast is stellar." On Metacritic, the film has a weighted average score of 80 out of 100 based on 41 critics, indicating "generally favorable reviews".

The film received six Academy Award nominations, including Best Picture, Director (Clooney), and Actor (Strathairn).

Roger Ebert, in his Chicago Sun-Times review, contends that "the movie is not really about the abuses of McCarthy, but about the process by which Murrow and his team eventually brought about his downfall (some would say his self-destruction). It is like a morality play, from which we learn how journalists should behave. It shows Murrow as fearless, but not flawless." Margaret Pomeranz and David Stratton from the Australian Broadcasting Corporation's film review show At the Movies each gave the film five stars, making Good Night, and Good Luck the only other film besides Brokeback Mountain to receive such a score from the hosts in 2005. Both described the film as "beautiful", but also praised Clooney for the film's importance. Pomeranz commented that, "[The film] is so important, because it's about things that are really vital today, like the responsibility of the press and examining the press' role in forming opinion." David noted: "Though [the film] is in black-and-white, there's nothing monochromatic about Clooney's passion for his subject or the importance of his message."

Jack Shafer, at the time a libertarian-leaning columnist for the online magazine Slate, accused the film of continuing what he characterizes as the hagiography of Murrow. Clooney's film gives the impression that Murrow brought down McCarthy single-handedly, while Shafer notes that in reality much of the mainstream media, many Democrats and some Republicans were condemning him before Murrow. Furthermore, Shafer writes, evidence obtained via the declassified Venona espionage program confirmed that many Soviet agents and sympathizers were in fact in positions of influence in the U.S. government, a disclosure the film entirely overlooks: "Clooney and company ignore the material that might argue against their simple-minded thesis about Murrow, the era, and the press to produce an after school special".

One complaint about the film among test audiences was their belief that the actor playing McCarthy was too over the top, not realizing that the film used actual archive footage of McCarthy himself.

Awards and nominations

The film was nominated for six Academy Awards at the 2006 Academy Awards, for six BAFTAs at the 2005 BAFTA Awards, and four Golden Globes at the 2006 Golden Globe Awards. The American Film Institute named Good Night, and Good Luck. as one of the Top Ten Movies of 2005.

See also
History of television
Tail Gunner Joe-a 1977 TV movie starring Peter Boyle as Joseph McCarthy 
Red Scare

References

External links

 
 
 
 
 

Grammy Award for Best Jazz Vocal Album
2005 films
2000s historical drama films
2000s political drama films
American black-and-white films
American films
American historical drama films
American political drama films
Drama films based on actual events
English-language films
European Film Awards winners (films)
Films about freedom of expression
Films set in the 1950s
Films about journalists
Films about McCarthyism
Films about television
Films about the Hollywood blacklist
Films directed by George Clooney
Films produced by Grant Heslov
Films set in 1953
Films set in 1958
Films set in New York City
Films with screenplays by George Clooney
Films with screenplays by Grant Heslov
Lionsgate films
Participant Media films
Procedural films
Warner Independent Pictures films
Warner Bros. films
Biographical films about journalists
Oskar van Deventer (born 1965) is a Dutch puzzle maker. He prototypes puzzles using 3D printing. His work combines mathematics, physics, and design, and he collaborates at academic institutions. Many of his combination puzzles are in mass production by Uwe Mèffert and WitEden. Oskar van Deventer has also designed puzzles for Hanayama.

He was a Guinness World Record holder for his 17×17×17 "Over the Top Cube" Rubik's cube-style puzzle from 2012 to 2016, when it was beaten by a 22×22×22 cube.

In addition to being a puzzle maker, Oskar is a research scientist in the area of media networking and holds a Ph.D. in optics. He has over 100 publications, over 80 patents applications, and hundreds of standardization contributions.

Mass produced puzzles 
 Gear cube: Previously named "Caution Cube" because there was a big chance to pinch your fingers with the gears. It was mass-produced by Mèffert's in 2010, but over time it appeared as several copies and shape mods of the same design.
 Gear Cube Extreme: A bandaged version of the Gear cube, where 4 gears are replaced with 4 standard edges, making the puzzle harder. It was mass-produced by Mèffert's in 2010, and was also copied by other companies.
 Gear Shift: It was mass-produced by Mèffert's in 2011; a knock off version also appeared.
 David Gear Cube: Previously called "Polo cube" in reference to Alex Polonsky, who had the idea. It was mass-produced By Mèffert's in 2013.
 Geared Mixup: A variant of the gear cube where all faces can perform 90° rotations, allowing centers to be interchanged with edges, hence the term "mixup". It was mass-produced by Mèffert's in 2014.
 Geared 5×5×5: An unknown Chinese company mass-produced this puzzle in 2015 using a 3D printed sample, without the permission of Oskar. An agreement was met to please both sides.
 Gear Ball: A mass-produced spherical Gear cube made by Mèffert's.
 Mosaic cube: Previously called "Fadi cube", it is a corner turning puzzle with two cut depths similar to Okamoto and Greg's "Lattice Cube". It was mass-produced by Mèffert's in 2010.
 Planets puzzle: Four balls in a frame. Craters on the balls block and unblock movement on the adjacent balls.
 Rob's Pyraminx: It was mass-produced by Mèffert's in 2014.
 Rob's Octahedron: It was mass-produced by Mèffert's in 2015.
 Mixup Cube: a 3×3×3 Rubik's cube that can perform 45° rotations on the middle layers, allowing centers interchange with edges. It was mass-produced by WitEden.
 Treasure chest: A 3×3×3 puzzle that when solved, can be opened, revealing a small chamber inside. It was mass-produced by Mèffert's.
 Icosaix: A face turning icosahedron with jumbling movements. It was mass-produced by MF8 in 2015.
 Crazy Comet: Was mass-produced by LanLan without Oskar's permission in 2016 but a deal was archived later.
 Redi Cube: A corner turning puzzle mass produced by Moyu in 2017.

References

External links
 Oskar van Deventer's list of his own puzzles
 YouTube channel

See also
Bram Cohen

20th-century births
Living people
Puzzle designers
Dutch designers
Year of birth missing (living people) The Farmall F-12 is a small two-plow row crop tractor produced by International Harvester under the Farmall brand from 1932 to 1938, with approximately 123,000 produced. An improved model, the two-plow F-14, was produced beginning in 1938 and ending in 1939, when the Farmall letter series tractors were introduced.

Description and production
The F-12 was a smaller, modernized version of the earlier Farmall Regular, developed from a prototype designated the F-10. To reduce mechanical complexity and to improve transmission efficiency, the Regular's portal axle rear wheel arrangement was changed to a straight axle, with larger wheels to provide ground clearance. This had the additional benefit of allowing a broader range of wheel adjustment to accommodate different row-crop row widths. Versions were available for gasoline or distillate. A wide front axle was available as an option. F-12s were delivered with steel wheels, with optional rubber tires. Early-year F-12s were painted gray, like the Regular. Beginning in 1936 the F-12 was painted bright red, to increase visibility. This quickly became a trademark of the Farmall line. The F-12 cost about $600 when introduced, rising to about $700.

Early W-12s were equipped with a   engine, which was superseded by a similar engine produced in house by International Harvester, The sliding-gear transmission offered three gears. More than 120,000 F-12s were produced through the model's production run.

Variants
A McCormick W-12 version with a wide front axle was produced as well. The F-12-G4 was produced in an International Harvester plant in Neuss, Germany. I-12 industrial tractors, and O-12 orchard tractors with fairings and underside exhaust routing were also produced. The Fairway 12 was produced for golf course and mowing use. All of these variants except the Fairway had rubber tires.

Farmall F-14
The Farmall F-14 replaced the F-12 in 1938, with a  engine of the same displacement, running at higher RPMs, which allowed a two-plow rating. A hydraulic lift was a popular option on the F-14. O-14, W-14 and I-14 models were produced as well. The F-14 was produced in 1938 and 1939, with a run of about 32,000 units. The Farmall A and B replaced the F-14 in the Farmall small tractor line-up beginning in 1939. Cost was between $800 and $850.

Comparable product
The John Deere H was a comparable product from John Deere.

References

External links
NTTL Test #212 - Farmall F-12 at the Nebraska Tractor Test Laboratory archive
NTTL Test #297 - Farmall F-14 at the Nebraska Tractor Test Laboratory archive

Farmall tractors
Vehicles introduced in 1931