document_title: King Kong (1933 film)

question_text: which technique was used in the 1933 film king kong to create the special effects

question_tokens: which technique was used in the 1933 film king kong to create the special effects

text: King Kong (1933 film)

text: Plot[edit]

text: In New York Harbor, filmmaker Carl Denham, famous for making wildlife films in remote and exotic locations, charters Captain Englehorn's ship, the Venture for his new project, but is unable to secure an actress for a female role he has reluctantly added to the script. Due to adventure that night, Denham searches the streets of New York for a suitable woman. He meets Ann Darrow and convinces her to join him for what he proposes as the adventure of a lifetime. The Venture quickly gets underway and, during the voyage, the surly first mate, Jack Driscoll, gradually falls in love with Ann.

text: After weeks of secrecy, Denham finally tells Englehorn and Driscoll that their destination is Skull Island, an uncharted land shown on a map in Denham's possession. Denham also cryptically alludes to some monstrous creature rumored to dwell on the island, a legendary entity known only as "Kong". When they find the island and anchor offshore, they see a native village, separated from the rest of the island by an enormous ancient stone wall. A landing party, including the filming crew and Ann, witnesses a group of natives preparing to sacrifice a young maiden as the "bride of Kong". The intruders are spotted and the native chief stops the ceremony. When he sees Ann, he offers to trade six of his tribal women for the "golden woman". They rebuff him and return to the Venture.

text: That night, a band of natives kidnap Ann from the ship, and lead her through a huge wooden gate in the wall. Tied to an altar, she is offered to Kong, who turns out to be an enormous gorilla-like ape. Kong carries her off into the wilderness as the Venture crew, alerted to Ann's abduction, arrive. They open the gate and Denham, Driscoll and some volunteers enter the jungle in hopes of rescuing Ann. They soon discover that Kong is far from the only giant prehistoric creature on the island when they are charged by a Stegosaurus, which they manage to kill. After constructing a raft in order to cross a swamp, a Brontosaurus capsizes their supplies, killing several of the men. Fleeing through the wilderness, they soon encounter Kong, who tries to stop them from crossing a ravine by shaking them off a fallen tree that bridges it. Only Driscoll and Denham, on opposite sides, survive.

text: A Tyrannosaurus approaches Ann, but Kong kills it after breaking its jaws and skull. Driscoll continues to shadow Kong and Ann while Denham returns to the village for more men. Upon arriving in Kong's lair in a mountain cave, Ann is menaced by a snake-like Elasmosaurus, which Kong wrestles and kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Driscoll reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, they let go and fall unharmed into the water below. They run through the jungle and back to the village, where Denham, Englehorn, and the surviving crewmen are waiting. Kong, following, breaks open the gate, and relentlessly rampages through the village. On shore, Denham, now determined to bring Kong back alive, knocks him unconscious with a gas bomb.

text: Shackled in chains of chrome steel, Kong is presented to a Broadway theatre audience as "Kong, the Eighth Wonder of the World". Ann and Jack are brought on stage to join him, followed by an invited group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose as the audience flees in horror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. Kong's hand smashes through the hotel room window, knocking Jack unconscious and seizing Ann. Kong rampages through the city. He wrecks a crowded elevated train and then climbs the Empire State Building. At its top, he is met by four Observation Aircraft. Kong takes on the planes, downing one, but he finally succumbs to their gunfire, and falls to his death. Ann and Jack are reunited. Denham arrives and pushes through a crowd, surrounding Kong's corpse in the street. When a policeman remarks that the planes got him, Denham tells him, " It was Beauty who killed the Beast."

text: Cast[edit]

text:
Fay Wray as Ann Darrow
Robert Armstrong as Carl Denham
Bruce Cabot as Jack Driscoll
Frank Reicher as Captain Englehorn
Sam Hardy as Charles Weston
Noble Johnson as the Native Chief
Steve Clemente as the Witch King
James Flavin as Briggs, 2nd Mate
Victor Wong as Charlie the Cook (uncredited)
Everett Brown as the Native in Ape Costume (uncredited)

text: Background[edit]

text: Before King Kong entered production, a long tradition of jungle films existed, and, whether drama or documentary, such films generally adhered to a narrative pattern that followed an explorer or scientist into the jungle to test a theory only to discover some monstrous aberration in the undergrowth (see Stark Mad). In such films, scientific knowledge could be turned topsy-turvy at any time, and it was this that provided the genre with its vitality, appeal, and endurance.[7]

text: In the early 20th century, few zoos had primate exhibits so there was popular demand to see them on film. At the turn of the 20th century, the Lumière Brothers sent film documentarians to places westerners had never seen, and Georges Méliès utilized trick photography in film fantasies that prefigured that in King Kong. Jungle films were launched in the United States in 1913 with Beasts in the Jungle, a film that mixed live actors with lions, a tiger, and other animals. The film's popularity spawned similar pictures, including a few about "ape men" and gorillas. In 1918, Elmo Lincoln starred in Tarzan of the Apes,[7] and, in 1925, The Lost World made movie history with special effects by Willis O'Brien and a crew that later would work on King Kong.[8] William S. Campbell specialized in monkey-themed films with Monkey Stuff and Jazz Monkey in 1919, with Prohibition Monkey following in 1920. King Kong producer Ernest B. Schoedsack had earlier monkey experience directing Chang: A Drama of the Wilderness in 1927 (also with Merian C. Cooper) and Rango in 1931, both of which prominently featured monkeys in authentic jungle settings. Capitalizing on this trend, Congo Pictures released the hoax documentary Ingagi in 1930, advertising the film as "an authentic incontestable celluloid document showing the sacrifice of a living woman to mammoth gorillas." Ingagi was an unabashed black exploitation film, immediately running afoul of the Hollywood code of ethics, as it implicitly depicted black women having sex with gorillas, and baby offspring that looked more ape than human.[9] The film was an immediate hit, and by some estimates it was one of the highest-grossing movies of the 1930s at over $4 million. Although Cooper never listed Ingagi among his influences for King Kong, it has long been held that RKO green-lit Kong because of the bottom-line example of Ingagi and the formula that "gorillas plus sexy women in peril equals enormous profits".[10]

text: Production[edit]

text: Development[edit]

text: Concept[edit]

text: Merian C. Cooper's fascination with gorillas began with his boyhood reading of Paul Du Chaillu's Explorations and Adventures in Equatorial Africa (1861) and was furthered in 1929 by studying a tribe of baboons in Africa while filming The Four Feathers. After reading W. Douglas Burden's The Dragon Lizards of Komodo, he fashioned a scenario depicting African gorillas battling Komodo dragons intercut with artificial stand-ins for joint shots. He then narrowed the dramatis personae to one ferocious, lizard-battling gorilla (rather than a group) and included a lone woman on expedition to appease those critics who belabored him for neglecting romance in his films. A remote island would be the setting and the gorilla would be dealt a spectacular death in New York City.[11]

text: Cooper took his concept to Paramount Studios in the first years of the Great Depression but executives shied away from a project that sent film crews on costly shoots to Africa and Komodo. In 1931, David O. Selznick brought Cooper to RKO as his executive assistant, and, to sweeten the deal, promised him he could make his own films. Cooper began immediately developing The Most Dangerous Game, a story about a big game hunter, and hired his friend and former film partner, Ernest B. Schoedsack, to direct. A huge jungle stage set was built, with Robert Armstrong and Fay Wray as the stars. Once the film was underway, Cooper turned his attention to the studio's big-budget-out-of-control fantasy, Creation, a story about a group of travelers shipwrecked on an island of dinosaurs. The film employed special effects wizard Willis O'Brien.[12]

text: When Cooper screened O'Brien's stop-motion Creation footage, he was unimpressed, but realized he could economically make his gorilla picture by scrapping the Komodo dragons and costly location shoots for O'Brien's animated dinosaurs and the studio's existing jungle set. It was at this time Cooper probably cast his gorilla as a giant named Kong, and planned to have him die at the Empire State Building. The RKO board was wary about the project, but gave its approval after Cooper organized a presentation with Wray, Armstrong, and Cabot, and O'Brien's model dinosaurs. In his executive capacity, Cooper ordered the Creation production shelved, and put its crew to work on Kong.[13]

text: Script[edit]

text: Cooper assigned recently hired RKO screenwriter and best-selling British mystery/adventure writer Edgar Wallace the job of writing a screenplay and a novel based on his gorilla fantasy. Cooper understood the commercial appeal of Wallace's name and planned to publicize the film as being "based on the novel by Edgar Wallace". Wallace conferred with Cooper and O'Brien (who contributed, among other things, the "Ann's dress" scene) and began work on January 1, 1932. He completed a rough draft called The Beast on January 5, 1932. Cooper thought the draft needed considerable work but Wallace died on February 10, 1932, just after beginning revisions.[7][14] Despite not using any of the draft in the final production beyond the previously agreed upon plot outline, Cooper gave a screen credit to Wallace as he had promised it as a producer.

text: Cooper called in James Ashmore Creelman (who was working on the script of The Most Dangerous Game at the time) and the two men worked together on several drafts under the title The Eighth Wonder. Some details from Wallace's rough draft were dropped, notably his boatload of escaped convicts. Wallace's Danby Denham character, a big game hunter, became film director Carl Denham. His Shirley became Ann Darrow and her lover-convict John became Jack Driscoll. The 'beauty and the beast' angle was first developed at this time. Kong's escape was switched from Madison Square Garden to Yankee Stadium and (finally) to a Broadway theater. Cute moments involving the gorilla in Wallace's draft were cut because Cooper wanted Kong hard and tough in the belief that his fall would be all the more awesome and tragic.[14]

text: Time constraints forced Creelman to temporarily drop The Eighth Wonder and devote his time to the Game script. RKO staff writer Horace McCoy was called in to work with Cooper, and it was he who introduced the island natives, a giant wall, and the sacrificial maidens into the plot. Leon Gordon also contributed to the screenplay in a minimal capacity; both he and McCoy went uncredited in the completed film.[15] When Creelman returned to the script full-time, he hated McCoy's 'mythic elements', believing the script already had too many over-the-top concepts, but Cooper insisted on keeping them in. RKO head Selznick and his executives wanted Kong introduced earlier in the film (believing the audience would grow bored waiting for his appearance), but Cooper persuaded them that a suspenseful build-up would make Kong's entrance all the more exciting.[16]

text: Cooper felt Creelman's final draft was slow-paced, too full of flowery dialogue, weighted-down with long scenes of exposition,[16] and written on a scale that would have been prohibitively expensive to film.[17] Writer Ruth Rose (Schoedsack's wife) was brought in to for rewrites and, although she had never written a screenplay, undertook the task with a complete understanding of Cooper's style, streamlining the script and tightening the action. Rather than explaining how Kong would be transported to New York, for example, she simply cut from the island to the theater. She incorporated autobiographical elements into the script with Cooper mirrored in the Denham character, her husband Schoedsack in the tough but tender Driscoll character, and herself in struggling actress Ann Darrow. Rose also rewrote the dialogue and created the film's opening sequence, showing Denham meeting Ann on the streets of New York. Cooper was delighted with Rose's script, approving the newly re-titled Kong for production.[18] Cooper and Schoedsack decided to co-direct scenes but their styles were different (Cooper was slow and meticulous, Schoedsack brisk) and they finally agreed to work separately, with Cooper overseeing O'Brien's miniature work and directing the special effects sequences, and Schoedsack directing the dialogue scenes.[19]

text: Pre-production[edit]

text: Casting[edit]

text: Fay Wray[edit]

text: Fay Wray played bit parts in Hollywood until cast as the lead in Erich von Stroheim's 1928 silent film, The Wedding March. She met Kong co-directors Cooper and Schoedsack when cast as Ethne Eustace in The Four Feathers in 1929. Cooper cast her in 1932 as Eve Trowbridge in The Most Dangerous Game.[20]

text: After the RKO board approved the Kong test, Cooper decided a blonde would provide contrast to the gorilla's dark pelt. Dorothy Jordan, Jean Harlow, and Ginger Rogers were considered, but the role finally went to Wray who wore a blonde wig in the film and was inspired more by Cooper's enthusiasm than the script to accept the role. According to her autobiography, On the Other Hand, Wray recounts that Cooper had told her he planned to star her opposite the "tallest, darkest leading man in Hollywood". She assumed he meant Clark Gable until he showed her a picture of Kong climbing the Empire State Building.[20]

text: On the film's 50th anniversary in 1983, one New York theater held a Fay Wray scream-alike contest in its lobby,[15] and, two days after her death on August 8, 2004, the lights of the Empire State Building were dimmed for 15 minutes in her memory.[21]

text: Robert Armstrong and Bruce Cabot[edit]

text: Michigan native and veteran Broadway and silent film character actor Robert Armstrong played Wray's alcoholic brother in The Most Dangerous Game and, during filming, became a member of the Cooper-Schoedsack inner circle. He was a shoo-in as Denham when Kong was cast.[20] The film's romantic angle (rather than its jungle or animal angle) was played-up after animal films fared poorly at the box office in the early months of 1933. One exhibitor displayed a promotional still of Wray swooning in Armstrong's arms with the caption, "Their Hearts Stood Still...For There Stood Kong! A Love Story of Today That Spans the Ages!". Although the film's romantic subplot belongs to Cabot and Wray, established star Armstrong was chosen for the ad rather than the unknown Cabot.[22] Months later, Armstrong again played Carl Denham in Kong's sequel, Son of Kong (1933).[23]

text: New Mexico native Jacques De Bujac was signed by Selznick as a contract player, given the name Bruce Cabot, and met Cooper when auditioning for The Most Dangerous Game. He almost walked out of his Kong audition (mistakenly believing he was trying out as a stunt double for Joel McCrea) but was convinced otherwise and received the role of Jack Driscoll, his first starring role.[24] He was an inexperienced actor and described his participation in Kong as standing in the right place, doing what he was told, and collecting a paycheck.[25]

text: Other players[edit]

text: German-born Broadway veteran and silent film director Frank Reicher was cast as Captain Englehorn of the SS Venture, Victor Wong as the ship's cook Charlie, James Flavin as Second Mate Briggs, and a host of stuntmen and bit players as the ship's crew. Noble Johnson and Steve Clemente were members of the Cooper-Schoedsack inner circle and cast as the Native Chief and the Witch Doctor respectively while Etta McDaniel played a native mother of a child she rescues from Kong's rampage. Sam Hardy was cast as a theatrical agent and Sandra Shaw (later Mrs. Gary Cooper) was cast as the New York woman Kong drops to the street from the hotel ledge.[26] Merian C. Cooper, who was shot down in World War I in an Airco DH.4 and made a prisoner of war by the Germans, and who later flew with the Kosciuszko Squadron, played the airplane pilot and Schoedsack the machine gunner in uncredited roles in the film's final scenes.[27]

text: Models[edit]

text: After the RKO board approved the production of a test reel, Marcel Delgado constructed Kong (or the "Giant Terror Gorilla" as he was then known) per designs and directions from Cooper and O'Brien on a one-inch-equals-one-foot scale to simulate a gorilla 18 feet tall.[citation needed] Four models were built: two jointed 18-inch aluminum, foam rubber, latex, and rabbit fur models (to be rotated during filming), one jointed 24-inch model of the same materials for the New York scenes, and a small model of lead and fur for the plummeting-down-the-Empire-State-Building scene.[citation needed] At least two armatures have survived - one believed to be the original made for the test footage - and are owned by Peter Jackson and Bob Burns.[28] In 2009, one sold for £121,000 ($200,000) at Christie's in London.[29]

text: Kong's torso was streamlined to eliminate the comical appearance of the real world gorilla's prominent belly and buttocks. His lips, eyebrows, and nose were fashioned of rubber, his eyes of glass, and his facial expressions controlled by thin, bendable wires threaded through holes drilled in his aluminum skull. During filming, Kong's rubber skin dried out quickly under studio lights, making it necessary to replace it often and completely rebuild his facial features.[30]

text: A huge bust of Kong's head, neck, and upper chest was made of wood, cloth, rubber, and bearskin by Delgado, E. B. Gibson, and Fred Reefe.[citation needed] Inside the structure, metal levers, hinges, and an air compressor were operated by three men to control the mouth and facial expressions. Its fangs were 10 inches in length and its eyeballs 12 inches in diameter. The bust was moved from set to set on a flatcar. Its scale matched none of the models and, if fully realized, Kong would have stood thirty to forty feet tall.[31]

text: Two versions of Kong's right hand and arm were constructed of steel, sponge rubber, rubber, and bearskin.[citation needed] The first hand was non articulated, mounted on a crane, and operated by grips for the scene in which Kong grabs at Driscoll in the cave. The other hand and arm had articulated fingers, was mounted on a lever to elevate it, and was used in the several scenes in which Kong grasps Ann. A non articulated leg was created of materials similar to the hands, mounted on a crane, and used to stomp on Kong's victims.[32]

text: The dinosaurs were made by Delgado in the same fashion as Kong and based on Charles R. Knight's murals in the American Museum of Natural History in New York City. All the armatures were manufactured in the RKO machine shop. Materials used were cotton, foam rubber, latex sheeting, and liquid latex. Football bladders were placed inside some models to simulate breathing.[citation needed] A scale of one-inch-equals-one-foot was employed and models ranged from 18 inches to 3 feet in length. Several of the models were originally built for Creation and sometimes two or three models were built of individual species. Prolonged exposure to studio lights wreaked havoc with the latex skin so John Cerasoli carved wooden duplicates of each model to be used as stand-ins for test shoots and lineups. He carved wooden models of Ann, Driscoll, and other human characters. Models of the Venture, railway cars, and war planes were built.[34]

text: Special effects[edit]

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text: King Kong is well known for its groundbreaking use of special effects, such as stop-motion animation, matte painting, rear projection and miniatures, all of which were conceived decades before the digital age.

text: The numerous prehistoric creatures inhabiting Skull Island were brought to life through the use of stop-motion animation by Willis O’Brien and his assistant animator, Buzz Gibson. The stop-motion animation scenes were painstaking and difficult to achieve and complete after the special effects crew realized that they could not stop, because it would make the movements of the creatures seem inconsistent and the lighting would not have the same intensity over the many days it took to fully animate a finished sequence. A device called the surface gauge was used in order to keep track of the stop-motion animation performance. The iconic fight between Kong and the Tyrannosaurus took seven weeks to be completed. O’Brien’s protegé, Ray Harryhausen, who would work with him on several films and become one of the most prominent stop-motion animators in Hollywood, stated that O’Brien’s second wife noticed that there was so much of her husband in Kong.

text: The backdrop of Skull Island seen when the Venture crew first arrive was painted on glass by matte painters Henry Hillinck, Mario Larrinaga and Byron C. Crabbé. The scene was then composted with separate bird elements and rear projected behind the ship and the actors. The background of the scenes in the jungle (a miniature set) were also painted on several layers of glass to convey the illusion of deep and dense jungle foliage.

text: The most difficult task for the special effects artists to achieve was to make live-action footage interact with separately filmed stop-motion animation - to make the interaction between the humans and the creatures of the island seem believable. The most simple of these effects were accomplished by exposing part of the frame, than running the same piece of the film through the camera again by exposing the other part of the frame with a different image. The most complex shots, where the live-action actors interacted with the stop-motion animation, were achieved via two different techniques, the Dunning process and the Williams process, in order to produce the effect of a travelling matte. The Dunning process, invented by cinematographer Carroll H. Dunning, employed the use of blue and yellow lighting, filtered and photographed into black-and-white film. Bi packing of the camera was used for these types of effects. With it, the special effects crew could combine two strips of different film at the same time, creating the final composite shot in the camera. It was used in the climactic scene where one of the Curtiss Helldiver planes attacking Kong crashes from the top of the Empire State Building, and in the scene where natives are running through the foreground, while Kong is fighting other natives at the wall.

text: On the other hand, the Williams process, invented by cinematographer Frank D. Williams, did not require a system of colored lights and could be used for wider shots. It was used in the scene where Kong is shaking the sailors off the log, as well as the scene where Kong pushes the gates open. The Williams process did not use bipacking, but rather an optical printer, the first such device that synchronized a projector with a camera, so that several strips of film could be combined into a single composted image. Through the use of the optical printer, the special effects crew could film the foreground, the stop-motion animation, the live-action footage, and the background, and combine all of those elements into one single shot. The optical printer would continue to be used for films until the late 1980s, when they were superseded by digital composting.

text: Another technique that was used in combining live actors and stop-motion animation was rear-screen projection. The actor would have a translucent screen behind him where a projector would project footage onto the back of the translucent screen. The translucent screen was developed by Sidney Saunders and Fred Jackman, who received a Special Achievement Oscar. It was used in the famous scene where Kong and the Tyrannosaurus fight while Ann watches from the branches of a nearby tree. The stop-motion animation was filmed first. Fay Wray then spent a twenty-two hour period sitting in a fake tree acting out her observation of the battle, which was projected onto the translucent screen while the camera filmed her witnessing the projected stop-motion battle. She was sore for days after the shoot. The same process was also used for the scene where sailors from the Venture kill a Stegosaurus.

text: O’Brien and his special effects crew also devised a way to use rear-projection in miniature sets. A tiny screen was built into the miniature onto which live-action footage would then be projected. A fan pumped cool air to prevent the footage that was projected from melting or catching fire. This miniature rear projection was used in the scene where Kong is trying to grab Driscoll, who is hiding in a cave. The scene where Kong puts Ann in the top of a tree switched from a puppet in Kong's hand to a projected footage of Ann sitting.

text: The scene where Kong fights the snake-like reptile in his lair was likely the most significant special effects achievement of the film, due to the way in which all of the elements in the sequence work together at the same time. The scene was accomplished through the use of a miniature set, stop-motion animation for Kong, background matte paintings, real water, foreground rocks with bubbling mud, smoke and two miniature rear screen projections of Driscoll and Ann.

text: Over the years, some media reports have alleged that in certain scenes Kong was played by an actor wearing a gorilla suit.[35][36] However, film historians are generally agreed that all scenes involving Kong were achieved with animated models.[37][38]

text: Live-action scenes[edit]

text: King Kong was filmed in several stages over an eight-month period. Some actors had so much time between their Kong periods that they were able to fully complete work on other films. Cabot completed Road House and Wray appeared in the horror films Dr. X and Mystery of the Wax Museum. She estimated she worked for ten weeks on Kong over its eight-month production.[citation needed]

text: In May and June 1932, Cooper directed the first live-action Kong scenes on the jungle set built for The Most Dangerous Game. Some of these scenes were incorporated into the test reel later exhibited for the RKO board. The script was still in revision when the jungle scenes were shot and much of the dialogue was improvised. The jungle set was scheduled to be struck after Game was completed, so Cooper filmed all of the other jungle scenes at this time. The last scene shot was that of Driscoll and Ann racing through the jungle to safety following their escape from Kong's lair.[citation needed]

text: In July 1932, the native village was readied while Schoedsack and his crew filmed establishing shots in the harbor of New York City. Curtiss F8C-5/O2C-1 Helldiver war planes taking off and in flight were filmed at a U.S. Naval airfield on Long Island. Views of New York City were filmed from the Empire State Building for backgrounds in the final scenes and architectural plans for the mooring mast were secured from the building's owners for a mock-up to be constructed on the Hollywood sound stage.[39]

text: In August 1932, the island landing party scene and the gas bomb scene were filmed south of Los Angeles on a beach at San Pedro, California. All of the native village scenes were then filmed on the RKO-Pathé lot in Culver City with the native huts recycled from Bird of Paradise (1932). The great wall in the island scenes was a hand-me-down from DeMille's The King of Kings (1927) and dressed up with massive gates, a gong, and primitive carvings. The scene of Ann being led through the gates to the sacrificial altar was filmed at night with hundreds of extras and 350 lights for illumination. A camera was mounted on a crane to follow Ann to the altar. The Culver City Fire Department was on hand due to concerns that the set might go up in flames from the many native torches used in the scene. The wall and gate were destroyed in 1939 for Gone With the Wind's burning of Atlanta sequence. Hundreds of extras were once again used for Kong's rampage through the native village, and filming was completed with individual vignettes of mayhem and native panic.

text: Meanwhile, the scene depicting a New York woman being dropped to her apparent death from a hotel window was filmed on the sound stage using the articulated hand. At the same time, a scene depicting poker players surprised by Kong's face peering through a window was filmed using the 'big head', although the scene was eventually dropped.[40] When filming was completed, a break was scheduled to finish construction of the interior sets and to allow screenwriter Ruth Rose time to finish the script.

text: In September–October 1932, Schoedsack returned to the sound stage after completing the native village shoots in Culver City. The decks and cabins of the Venture were constructed and all the live-action shipboard scenes were then filmed. The New York scenes were filmed, including the scene of Ann being plucked from the streets by Denham, and the diner scene. Following completion of the interior scenes, Schoedsack returned to San Pedro and spent a day on a tramp steamer to film the scene of Driscoll punching Ann, and various atmospheric harbor scenes. The Shrine Auditorium in Los Angeles was rented for one day to film the scenes where Kong is displayed in chains and the backstage theater scenes following his escape.[41] Principal photography wrapped at the end of October 1932 with the filming of the climax wherein Driscoll rescues Ann at the top of the Empire State Building. Schoedsack's work was completed and he headed to Syria to film outdoor scenes for Arabia, a project that was never completed.[42]

text: In December 1932 – January 1933, the actors were called back to film a number of optical effects shots which were mostly rear-screen projections.[citation needed] Technical problems inherent in the process made filming difficult and time-consuming. Wray spent most of a twenty-two hour period sitting in a fake tree to witness the battle between Kong and a Tyrannosaurus. She was sore for days after. Many of the scenes featuring Wray in the articulated hand were filmed at this time.[citation needed] In December, Cooper re shot the scene of the female New Yorker falling to her death. Stunt doubles were filmed for the water scenes depicting Driscoll and Ann escaping from Kong. A portion of the jungle set was reconstructed to film Denham snagging his sleeve on a branch during the pursuit scene. Originally, Denham ducked behind a bush to escape danger, but this was later considered cowardly and the scene was re shot. The final scene was originally staged on the top of the Empire State Building, but Cooper was dissatisfied and re shot the scene with Kong lying dead in the street with the crowd gathered about him.[citation needed]

text: Post-production[edit]

text: King Kong was settled upon as the title, and the film cut from 125 to 100 minutes, with scenes that slowed the pace or diverted attention from Kong deleted. Infamously, the deleted scene was what later became known as the "Spider Pit Sequence", where a number of sailors from the Venture survived a fall into a ravine, only to be eaten alive by various large spiders, insects and other creatures. In a studio memo, Merian C. Cooper said that he cut the scene out himself because it "stopped the story". Aside from some still photographs and pre-production artwork, no trace of it has ever been found. Decades later, Peter Jackson would incorporate a re-imagining of this sequence for his 2005 King Kong remake, and he also shot another version of the scene for fun using stop-motion animation, which was included among the bonus features of the two-disc DVD of the 1933 original.[43]

text: Murray Spivack provided the sound effects for the film. Kong's roar was created by mixing the recorded roars of zoo lions and tigers, subsequently played backwards slowly. Spivak himself provided Kong's "love grunts" by grunting into a megaphone and playing it at a slow speed. For the huge ape's footsteps, Spivak stomped across a gravel-filled box with plungers wrapped in foam attached to his own feet, while the sounds of his chest beats were recorded by Spivak hitting his assistant (who had a microphone held to his back) on the chest with a drumstick. Spivak created the hisses and croaks of the dinosaurs with an air compressor for the former and his own vocals for the latter. The vocalizations of the Tyrannosaurus were additionally mixed in with puma screams. Bird squawks were used for the Pteranodon. Spivak also provided the numerous screams of the various sailors. Fay Wray herself provided all of her character's screams in a single recording session.[44][45]

text: For budget reasons, RKO decided not to have an original film score composed, instead instructing composer Max Steiner to simply reuse music from other films. Cooper thought the film deserved an original score and paid Steiner $50,000 to compose it. Steiner completed the score in six weeks and recorded it with a 46-piece orchestra. The studio later reimbursed Cooper.[46] The score was unlike any that came before and marked a significant change in the history of film music. King Kong's score was the first feature-length musical score written for an American "talkie" film, the first major Hollywood film to have a thematic score rather than background music, the first to mark the use of a 46-piece orchestra, and the first to be recorded on three separate tracks (sound effects, dialogue, and music). Steiner used a number of new film scoring techniques, such as drawing upon opera conventions for his use of leitmotifs.[47]

text: Release[edit]

text: King Kong opened at the 6,200-seat Radio City Music Hall in New York City and the 3,700-seat RKO Roxy across the street on Thursday, March 2, 1933. The film was preceded by a stage show called Jungle Rhythms. Crowds lined up around the block on opening day, tickets were priced at $.35 to $.75, and, in its first four days, every one of its ten-shows-a-day were sold out – setting an all-time attendance record for an indoor event. Over the four-day period, the film grossed $89,931.[48]

text: The film had its official world premiere on March 23, 1933 at Grauman's Chinese Theater in Hollywood. The 'big head bust' was placed in the theater's forecourt and a seventeen-act show preceded the film with The Dance of the Sacred Ape performed by a troupe of African American dancers the highpoint. Kong cast and crew attended and Wray thought her on-screen screams distracting and excessive. The film opened nationwide on April 10, 1933, and worldwide on Easter Day in London, England.[48]

text: Reception[edit]

text: Variety thought the film was a powerful adventure.[49] The New York Times gave readers an enthusiastic account of the plot and thought the film a fascinating adventure.[50] John Mosher of The New Yorker called it "ridiculous", but wrote that there were "many scenes in this picture that are certainly diverting".[51] The New York World-Telegram said it was "one of the very best of all the screen thrillers, done with all the cinema's slickest camera tricks".[52] The Chicago Tribune called it "one of the most original, thrilling and mammoth novelties to emerge from a movie studio."[53]

text: On February 3, 2002, Roger Ebert included King Kong in his "Great Movies" list, writing that "In modern times the movie has aged, as critic James Berardinelli observes, and 'advances in technology and acting have dated aspects of the production.' Yes, but in the very artificiality of some of the special effects, there is a creepiness that isn't there in today's slick, flawless, computer-aided images.... Even allowing for its slow start, wooden acting and wall-to-wall screaming, there is something ageless and primeval about "King Kong" that still somehow works."[54] King Kong holds an average score of 98% based on 54 reviews on Rotten Tomatoes.[55]

text: Racist allegory[edit]

text: In the 19th and early twentieth century, people of African descent were commonly visually represented as ape-like, a metaphor that fitted racist stereotypes, further bolstered by the emergence of scientific racism. Early blockbuster films frequently mirrored racial tensions. While King Kong is often compared to the story of Beauty and the Beast, many film scholars have argued that the film was a racist cautionary tale about interracial romance, in which the film's "carrier of blackness is not a human being, but an ape".[56] Cooper and Schoedsack rejected any allegorical interpretations, insisting in interviews that the film's story contained no hidden meanings.[57]

text: Box office[edit]

text: The film was a box office success making about $2 million in rentals on its initial release, with an opening weekend estimated at $90,000. Receipts fell by up to 50% in the second week of the film's release because of the national "bank holiday" called in President Franklin D. Roosevelt's first days in office;[58] the film still did nicely. During the film's first run it made a profit of $650,000.[3] It was re-released in 1938, 1942, 1946, 1952 and 1956. After the 1952 re-release, Variety estimated the film had made $4 million in cumulative domestic rentals for that year.[59]

text: Awards and honors[edit]

text: Kong did not receive any Academy Awards nominations. Selznick wanted to nominate O'Brien and his crew for a special award in visual effects but the Academy declined. Such a category did not exist at the time and would not exist until 1938. Sidney Saunders and Fred Jackman received a special achievement award for the development of the translucent acetate/cellulose rear screen – the only Kong-related award.[60]

text: The film has since received some significant honors. In 1975, Kong was named one of the 50 best American films by the American Film Institute, and, in 1991, the film was deemed "culturally, historically and aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. In 1998, the AFI ranked the film #43 on its list of the 100 greatest movies of all time.[61]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies – #43
AFI's 100 Years...100 Thrills – #12
AFI's 100 Years...100 Passions – #24
AFI's 100 Years...100 Heroes and Villains:

Kong – Nominated Villain

AFI's 100 Years...100 Movie Quotes:

"Oh, no, it wasn't the airplanes. It was Beauty killed the Beast." – #84

AFI's 100 Years of Film Scores – #13
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #41
AFI's 10 Top 10 – #4 Fantasy film

text: Re-releases, censorship and restorations[edit]

text: King Kong was re-released in 1938, 1942, 1946, 1952 and 1956, to great box office success. Stricter decency rules had been put into effect in Hollywood since its 1933 premiere and each time it was censored further, with several scenes, being either trimmed or excised altogether.

text: These scenes were as follows:[62]

text:
A Brontosaurus mauling crewmen in the water, chasing one up a tree and killing him;
Kong undressing Ann Darrow and sniffing his fingers;
Kong biting and stepping on natives when he attacks the village;
Kong biting a reporter in New York;
Kong mistaking a sleeping woman for Ann and dropping her to her death, after realizing his mistake.

text: After the 1956 re-release, the film was sold to television (first being broadcast March 5, 1956).[63]

text: RKO had failed to preserve copies of film's negative or release prints with the excised footage, and the cut scenes were considered lost for years. In 1969, a 16mm print, including the censored footage, was found in Philadelphia. The cut scenes were added to the film, restoring it to its original theatrical running time of 100 minutes. This version was re-released to art houses by Janus Films in 1970.[62]

text: Over the next two decades, Universal Studios carried out further photochemical restoration on King Kong. This was based on a 1942 release print, with missing censor cuts taken from a 1937 print, which "contained heavy vertical scratches from projection."[64] An original release print located in the UK in the 1980s was found to contain the cut scenes in better quality.

text: After a 6-year worldwide search for the best surviving materials, a further, fully digital, restoration utilizing 4K resolution scanning was completed by Warner Bros. in 2005.[65] This restoration also had a 4-minute overture added, bringing the overall running time to 104 minutes. King Kong was also, somewhat controversially, colorized in the late 1980s for television.[66]

text: Home media[edit]

text: In 1984, King Kong was one of the first films to be released on LaserDisc by the Criterion Collection, and was the very first movie to have an audio commentary track included. Criterion's audio commentary was by film historian Ron Haver; in 1985 Image Entertainment released another LaserDisc, this time with a commentary by film historian and soundtrack producer Paul Mandell. Neither of these commentaries has since resurfaced on any other format.

text: King Kong had numerous VHS and LaserDisc releases of varying quality prior to receiving an official studio release on DVD. Those included a Turner 60th anniversary edition in 1993 featuring a front cover which had the sound effect of Kong roaring when his chest was pressed. It also included the colorized version of the film and a 25-minute documentary, It Was Beauty Killed the Beast (1992). The documentary is also available on two different UK King Kong DVDs, while the colorized version is available on DVD in the UK and Italy.[67] Warner Home Video re-released the black and white version on VHS with the 25-minute documentary included under the Warner Bros. Classics label in 1999.

text: In 2005 Warner Bros. released their digital restoration of King Kong in a US 2-disc Special Edition DVD, coinciding with the theatrical release of Peter Jackson's remake. It had numerous extra features, including a new, third audio commentary by visual effects artists Ray Harryhausen and Ken Ralston, with archival excerpts from actress Fay Wray and producer/director Merian C. Cooper. Warners issued identical DVDs in 2006 in Australia and New Zealand, followed by a US digibook-packaged Blu-ray in 2010.[68] In 2014 the Blu-ray was repackaged with three unrelated films in a 4 Film Favorites: Colossal Monster Collection.

text: At present, Universal holds worldwide rights to Kong's home video releases outside of the US, Australia and New Zealand. All Universal's releases only contain their earlier, 100 minute, pre-2005 restoration.[65]

text: Adaptations[edit]

text: The 1933 King Kong film and character inspired imitations and installments. Son of Kong, a direct sequel to the 1933 film was released nine months after the first film's release. In the early 1960s, RKO had licensed the King Kong character to Japanese studio Toho and produced two King Kong films, King Kong vs. Godzilla and King Kong Escapes, both directed by Ishirō Honda.

text: In 1976, Italian producer Dino De Laurentiis released his version of King Kong, a modern remake of the 1933 film, which was followed by a sequel in 1986 titled King Kong Lives. In 2005, Universal Pictures released another remake of King Kong, directed by Peter Jackson. Legendary Pictures and Warner Bros. released a Kong reboot film titled Kong: Skull Island in 2017 which was directed by Jordan Vogt-Roberts.


document_title: There's a Moon Out Tonight

question_text: who sang there's a moon out tonight

question_tokens: who sang there 's a moon out tonight

root

text: There's a Moon Out Tonight

text:
"There's a Moon Out Tonight"Single by The CaprisB-side
"Indian Girl"Released
1958 (limited)[1][2]1960Format
Vinyl, 7", 45 RPMRecorded
1958[2][3]Genre
Doo-wop[4]Length
2:10Label
Planet (1958)Lost Nite (1960)Old Town (1960)Songwriter(s)
Joseph Luccisano, Anthony Gentile & Alfred Striano

tag: table

text: "There's a Moon Out Tonight" is a song originally released in 1958 by The Capris.[1] The initial release on the Planet label saw very limited sales, and the Capris disbanded.[2][1] In 1960, after a disk jockey played the song on air, the public interest in the song that was generated led to it being re-released on the Lost Nite label, and later that year the Old Town label.[2][1][3] The group reunited shortly thereafter.[2][3]

tag: p

text: In early 1961, "There’s a Moon Out Tonight" spent 14 weeks on the Billboard Hot 100 chart peaking at No. 3,[5] while reaching No. 11 on Billboard's Hot R&B Sides,[6][7] and No. 14 on Canada's CHUM Hit Parade.[8]

text: The song was ranked No. 50 on Billboard's end of year "Hot 100 for 1961 - Top Sides of the Year"[9] and No. 51 on Cash Box's "Top 100 Chart Hits of 1961".[10]

text: Chart performance[edit]

text:
Chart (1961)

Peakposition

US Billboard Hot 100

3

US Billboard Hot R&B Sides

11

Canada - CHUM Hit Parade

14


document_title: Ant-Man and the Wasp

question_text: who plays the wasp in antman and the wasp

text: Ant-Man and the Wasp

text: Premise[edit]

text: Set after the events of Captain America: Civil War, Scott Lang tries to balance his home life as a father with his responsibilities as Ant-Man, when Hope van Dyne and Hank Pym present him with a new mission to bring to light secrets from their past, requiring him to team up with van Dyne as the new Wasp.[1]

text: Cast[edit]

text:
Paul Rudd as Scott Lang / Ant-Man:
A former petty criminal who acquired a suit that allows him to shrink or grow in scale while also increasing in strength.[2] Following the events of Captain America: Civil War, in which Lang escapes from the Raft prison, director Peyton Reed said that "he’s a fugitive in most of the first Ant-Man movie. He’s just a bigger fugitive now."[3]
Evangeline Lilly as Hope van Dyne / Wasp:
The daughter of Hank Pym and Janet van Dyne, who is bequeathed a similar suit and the Wasp mantle from her mother.[2] The writers were "so excited about now being able to show [Hope] fully formed and what she is as a superhero. Her power set, how she fights, and what are the injustices that matter to her that she wants to right. That's part of the really fun thing of the [film]."[4]
Michael Peña as Luis:
Lang's former cellmate and a member of his crew.[5] Peña said that there was less opportunity for improvisation with his character compared to Ant-Man.[6]
Walton Goggins as Sonny Burch[7][8]
Bobby Cannavale as Paxton: A San Francisco Police Department officer who is engaged to Lang's ex-wife Maggie.[1]
Judy Greer as Maggie: Lang's ex-wife.[9]
Tip "T.I." Harris as Dave: A member of Lang's crew.[10]
David Dastmalchian as Kurt: A member of Lang's crew.[11]
Hannah John-Kamen as Ghost[7][12]
Abby Ryder Fortson as Cassie: The daughter of Lang and Maggie.[1]
Randall Park as Jimmy Woo: A S.H.I.E.L.D. agent.[7][13]
Michelle Pfeiffer as Janet van Dyne: The wife of Pym, mother of Hope, and the original Wasp. She was lost in the Quantum Realm years ago during a mission with Pym.[7]
Laurence Fishburne as Bill Foster:
An old friend of Pym's who was once his assistant.[7][14] Fishburne had approached Marvel about joining the MCU, pitching them a few ideas for who he could portray, before Marvel offered him the role of Foster in the film.[14] Despite having already portrayed Perry White for the DC Extended Universe, Fishburne admitted that he had always fantasized about being in an MCU film, admitting that he considered himself a "Marvel guy".[15]
Michael Douglas as Hank Pym:
A former S.H.I.E.L.D. agent, entomologist, and physicist who became the original Ant-Man in 1963 after discovering the subatomic particles that make the transformation possible.[16]

tag: ul

text: Additionally, Ant-Man and Wasp co-creator Stan Lee has a cameo in the film.[17]

text: Production[edit]

text: Development[edit]

text:
It's such a no-brainer that there needs to be female heroes ... In the '60s comics, the Janet van Dyne Wasp was clearly written by all men and was pretty one-dimensional. She's gotten much more dimensionalized since then. That's one of those things that I think is going to be really exciting and fresh about this movie.

—Director Peyton Reed on the Wasp's inclusion in the film[18]

tag: div

text: In June 2015, Ant-Man director Peyton Reed expressed interest in returning for a sequel or prequel to that film, saying that he had "really fallen in love with these characters" and felt "there's a lot of story to tell with Hank Pym".[19] A month later, Pym actor Michael Douglas was not signed for any additional films, but "would look forward to more if it comes my way",[20] and expressed the desire to have his wife Catherine Zeta-Jones cast as Janet van Dyne for a potential follow-up.[21] Evangeline Lilly—who played the daughter of Pym and van Dyne, Hope van Dyne—wanted to see Michelle Pfeiffer in the role.[22] Producer Kevin Feige revealed that the studio had a "supercool idea" for the next Ant-Man film, and "if audiences want it, we'll find a place to do it."[23] Reed also mentioned that there had been talks of doing a standalone adventure with Hank Pym as Ant-Man, possibly including the original opening to Ant-Man featuring Jordi Mollà which was cut from the final film. Eric Eisenberg of Cinema Blend opined that a standalone adventure with Pym and the cut sequence would be a good candidate to revive the Marvel One-Shots short film series.[24] By the end of July, David Dastmalchian expressed interest in returning for a sequel as Kurt.[25]

text: In October 2015, Marvel Studios confirmed the sequel, titled Ant-Man and the Wasp, with a scheduled release date of July 6, 2018.[26] Reed was in negotiations to direct the sequel by the end of the month,[27] and confirmed his return in November along with the confirmation of Paul Rudd and Lily returning as Scott Lang / Ant-Man and Hope van Dyne / Wasp, respectively.[2] One of the things that appealed to Reed about returning was being able to build the film "from the ground up" after he joined the first film late in the process when the original writer and director Edgar Wright departed. He also wanted to explore elements that he set up in the first film.[28] Reed would first begin work on an outline for the sequel,[29] which he thought could be "weird, unique and different" now that the characters' origins had been established.[28] On including the Wasp in the film's title (the first MCU film to have a female character in the title), Reed called it "organic" for both characters, and noted the Wasp's final line in Ant-Man—'It's about damn time'—as "very much about her specific character and arc in that movie, but it is absolutely about a larger thing. It’s about damn time: We’re going to have a fully realized, very very complicated hero in the next movie who happens to be a woman."[28] Reed would also push to ensure the Wasp received equal publicity and merchandise for the film, and even though Janet van Dyne had yet to be cast, he had a desire to explore her backstory in the film and "definite ideas" of who should portray her.[18] That month, Adam McKay, one of the writers of Ant-Man, expressed interest in returning to write the film,[30] and Douglas confirmed that he was in talks to return as well.[2]

text: Reed stated in early December that the film may "call back" to the heist film genre and tone of Ant-Man, but that Ant-Man and the Wasp would "have an entirely different genre template". He hoped to incorporate additional flashback sequences in the film, as well as explore Pym's various identities from the comics and his psychology. Reed also said he was "excited" about exploring and discovering the film version of the Ant-Man and Wasp relationship that is "a romantic partnership and a heroic partnership" in the comics, a "different dynamic than we've seen in the rest of the [MCU], an actual partnership." Additionally, Reed mentioned that pre-production would "probably" start in October 2016, with filming scheduled for early 2017.[31] Production writers for the first film, Gabriel Ferrari and Andrew Barrer, signed on to write the script along with Rudd,[32] with writing starting "in earnest" in January 2016.[31] The next month, McKay confirmed that he would be involved with the film in some capacity.[33] By April, the four writers and Reed had been "holed up in a room ... brainstorming the story", with Reed promising that it would have "stuff in it that you’ve never ever seen in a movie before".[34] Feige added that they wanted to "stay true to what made [Ant-Man] so unique and different", and teased the potential of seeing the Giant-Man version of Lang that was introduced in Captain America: Civil War.[35]

text: In June 2016, Reed said that for inspiration from the comics he had been looking at "early Avengers stuff and all the way up to the Nick Spencer stuff now", and was focusing on iconic images that could be replicated in the film over story beats from the comics. He added that there was "definitely a chance" for Michael Peña, Tip "T.I." Harris, and Dastmalchian to reprise their respective roles as Luis, Dave, and Kurt from the first film.[3] At San Diego Comic-Con 2016, Feige stated that Reed and Rudd were still working on the script,[36] and that filming was now expected to begin in June 2017.[36][37] Rudd elaborated that they had "turned in a treatment, but it’s so preliminary. We’ll see. We have an idea of what it might look like, but it could change a lot from where we’re at now."[38] The next month, Peña was confirmed to be returning as Luis,[5] while filming was revealed to be taking place in Atlanta, Georgia.[39] In early October, an initial script had been completed for the film that was awaiting approval from Marvel.[40]

text: Pre-production[edit]

text: At the start of November 2016, Reed said that the film's production would be transitioning from "the writing phase" to "official prep" that month, beginning with visual development. He talked about sharing characters with other MCU films, stating his disappointment in the Giant-Man introduction happening in Civil War, but reiterating his excitement for introducing the Wasp and "really designing her look, the way she moves, the power set, and figuring out, sort of, who Hope van Dyne is as a hero". Reed added that he spends "a lot of time" talking with the other writers and directors of MCU films, and that he and the writers on this film wished to maintain "our little Ant-Man corner of the universe. Because it's a whole different vibe tonally".[41]

text: In February 2017, Douglas confirmed that he would reprise his role as Hank Pym in the film.[16] During the Hollywood premiere of Guardians of the Galaxy Vol. 2 in April, Dastmalchian confirmed his return as Kurt,[11] and a month later, Harris confirmed his return as Dave as well.[10] Through that May, Marvel was meeting with several actresses for a "key role" in the sequel, with Hannah John-Kamen cast in the part at the beginning of June.[12] The following month, Randall Park joined the cast as Jimmy Woo,[13] and Walton Goggins was cast in an undisclosed role.[8] At San Diego Comic-Con 2017, Park's casting was confirmed; John-Kamen and Goggins roles were revealed to be Ghost and Sonny Burch, respectively; and the casting of Pfeiffer as Janet van Dyne and Laurence Fishburne as Bill Foster was announced.[7] Judy Greer was confirmed to be reprising her role as Maggie from the previous film the following week.[9] The Russo brothers, directors of Avengers: Infinity War and its untitled sequel which were filming while Ant-Man and the Wasp was preparing to film, were in constant discussion with Reed in order to ensure story elements would line up between the films. Joe Russo added that Ant-Man and the Wasp would have "some [plot] elements that stitch in" closely with Avengers: Infinity War, more so than some of the other films leading up to the Avengers films.[42]

text: Filming[edit]

text: Principal photography began on August 1, 2017,[1] at Pinewood Atlanta Studios in Fayette County, Georgia,[39][43] under the working title Cherry Blue,[44] Dante Spinotti served as director of photography.[1] At the start of filming, Marvel revealed that Bobby Cannavale and Abby Ryder Fortson would also be reprising their roles from the first film, respectively as Paxton and Cassie. They also revealed the writing team of Chris McKenna and Erik Sommers had contributed to the screenplay.[1]

text: Filming also took place in Metro Atlanta, with filming locations including the Atlanta International School, the Midtown and Buckhead districts of Atlanta and the Samuel M. Inman Middle School in the city's Virginia-Highland neighborhood, as well as Emory University and the Atlanta Motor Speedway in Hampton, Georgia.[45] Additional filming took place in San Francisco in September 2017,[46] in Savannah, Georgia in late October,[47] and in Hawaii.[48] Production wrapped on November 19, 2017.[49]

text: Post-production[edit]

text: In late November, Lilly said that the characters would be trying to enter the Quantum Realm in the film, and their potential success would "open a whole entire new multi-verse to enter into and play around in" for the MCU.[50] Visual effects for the film were created by Method Studios.[51]

text: Music[edit]

text: In June 2017, Reed confirmed that Christophe Beck, who composed the score for Ant-Man, would return for Ant-Man and the Wasp.[52]

text: Release[edit]

text: Ant-Man and the Wasp is scheduled to be released in the United States on July 6, 2018,[26] in IMAX and 3D.[53][54]

text: Marketing[edit]

text: Concept art and "pre-CGI video" was shown at the 2017 San Diego Comic-Con.[55] In January 2018, Hyundai Motor America announced that the 2019 Hyundai Veloster would play a significant role in the film, with other Hyundai vehicles scheduled to make an appearance.[56] The first trailer for the film was released on January 30, 2018 on Good Morning America,[57] and used the guitar riff from Adam and the Ants' "Ants Invasion".[58] David Betancourt of The Washington Post called the release, the day after Black Panther's premiere was widely praised on social media, a "smart move"; with Black Panther and Avengers: Infinity War also releasing in 2018, "it can be easy forget that hey, there is an Ant-Man sequel coming this year... So Marvel Studios giving us a quick reminder with this trailer release is logical".[59] Tracy Brown, writing for the Los Angeles Times, praised how the trailer prominently featured Lilly's van Dyne "[showing] off how she was always meant to be a superhero".[60]


document_title: Olivia (The Walking Dead)

question_text: what episode does olivia die in the walking dead

text: Olivia (The Walking Dead)

text: Comic book series[edit]

text: Olivia is a cheerful young woman in charge of the weapons storage at the Alexandria Safe Zone. Olivia persuades Douglas to let Michonne keep her weapons after Rick's group joins the community,[volume & issue needed] and also cuts Rick's hair for him.[volume & issue needed]  A bit of a gossip, Olivia is the first to tell Rick about Davidson.[volume & issue needed]  After the zombie attack, Andrea trains Olivia and the others on how to use weapons, though Olivia has difficulty killing the walkers.[volume & issue needed]  Later, Olivia tells Rick that food rations are running low, leading Rick to form a group to find food outside of the community.[volume & issue needed]  When Rick and the others leave, Olivia joins Nicholas and Spencer in conspiring against him, though it is unclear what her feelings are on ousting Rick.[volume & issue needed] She does not receive any blame for her part in the conspiracy after it is absolved, and her opinion of Rick seems to have improved.[volume & issue needed] Olivia later admits Maggie Greene and many other residents of the Hilltop Community into Alexandria after the Saviors' second attack on the town.[volume & issue needed] She is still residing in the Safe Zone after the time skip.[volume & issue needed] During the conflict with the Whisperers, Olivia is one of the twelve people who was decapitated by Alpha.[volume & issue needed]

text: Television series[edit]

text: Season 5[edit]

text: In the episode "Remember", Olivia takes the weapons from Rick's group in a tray to keep watch over them. She often works in the pantry and armory of Alexandria. In the episode "Forget", Olivia tells Sasha that she used to work at a coffee shop for seven years. When Olivia arrives at Deanna's party, Carol sneaks into the armory.

text: Season 6[edit]

text: In the season premiere "First Time Again", Olivia listens as Carter states his plan to overthrow Rick and his group. In the episode "JSS", Olivia hides in a closet when the Wolves attack. Carol finds her an gives her a gun to protect herself with.  In the episode "Now", Olivia tries to prevent several Alexandria residents from raiding the pantry after a horde of walkers has surrounded the town before Spencer arrives to stop them. In the episode "Heads Up", Olivia is distracted cleaning up a mess in the pantry when Ron Anderson sneaks behind her and steals some bullets from the armory.

text: In the mid-season premiere "No Way Out", Olivia retreats inside Eric's house when the walker horde finally gets through the walls. She is one of the first residents of Alexandria to emerge and help fight off the walker invasion, inspired by Rick taking a stand. In the episode "Twice as Far", Olivia reopens the pantry, and helps prep the weapons carts for the townspeople.

text: Season 7[edit]

text: In the episode "Service", Olivia is threatened with death by Negan when the Saviors find out that two of the guns are missing from the armory.  Eventually the guns are found in Spencer's house, and Olivia is released. In the episode "Sing Me a Song", Negan comes back to Alexandria to meet with Rick, and Olivia explains that he is out scavenging.  Negan suggests that they pass the time by having sex, and Olivia is incensed and slaps him on the face. In the episode "Hearts Still Beating", Olivia has to fulfill orders given by Negan to make lemonade for him. She is also the main caretaker of Judith Grimes in this episode. After Rosita tries to shoot Negan, he demands to know who made the bullet for her. When Rosita refuses to tell, Negan demands that Arat, a Savior, choose someone to kill. She pulls out her gun, turns around and shoots Olivia in the face, killing her.

text: Development and reception[edit]

text: Olivia is portrayed by Ann Mahoney on The Walking Dead television series.[1][2] She is a member of the supporting cast for the seventh season.[3]


document_title: Omaha Platform

question_text: what were the demands of the populist platform of 1892

text: Omaha Platform

text: Origin[edit]

text: The platform preamble was written by Ignatius L. Donnelly. The Omaha platform was seen as "The Second Declaration of Independence," as it called for reestablishing American liberty.[1] The planks themselves represent the merger of the agrarian concerns of the Farmers' Alliance with the free-currency monetarism of the Greenback Party while explicitly endorsing the goals of the largely urban Knights of Labor.  In the words of Donnelly's preamble, the convention was "[a]ssembled on the anniversary of the birthday of the nation, and filled with the spirit of the grand general and chieftain who established our independence, we seek to restore the government of the Republic to the hands of the plain people, with which class it originated." The Omaha Platform called for a wide range of social reforms, including a reduction in the working day, a "safe, sound, and flexible" national currency, assistance to farmers with the financing of their labours, "fair and liberal pensions to ex-Union soldiers and sailors," the direct election of Senators, single-terms for Presidents and Vice-Presidents, "the legislative system known as the initiative and referendum," "the unperverted Australian of secret ballot system," the nationalization of the railroads, the telegraph, and the telephone systems, a postal savings, "a graduated income tax," and "the free and unlimited coinage of silver." In referencing the Omaha Platform, Senator George Norris of Nebraska suggested the wealth of the "super rich" had to begin flowing "to all the people, from whom it was originally taken."[2]

text:
The Populist, or People's, Party went on to capture 11 seats in the United States House of Representatives, several governors and the state legislatures of Kansas, Nebraska and North Carolina.  1892 Presidential nominee and former Greenbacker James B. Weaver received over a million popular votes, and won four states (Colorado, Kansas, Idaho, and Nevada) and 22 electoral votes.  The Party's legislative majorities were thereafter able to elect several United States Senators. Taken as a whole, the electoral accomplishments of the Populist Party represent the high water mark for a United States third party after the Civil War.
In 1896, the Populists abandoned the Omaha Platform and endorsed Democratic nominee William Jennings Bryan on the basis of a single-plank free silver platform.

text: Goals[edit]

text:
The first goal of the Omaha Platform was to increase the coinage of silver to gold at a 16:1 ratio. The Omaha Platform suggested a federal loans system so that farmers could get the money they needed. The platform also called for the elimination of private banks.
The platform required a system of federal storage facilities for the farmers' crops. The objective was to allow the farmers to control the pricing of their products. The Omaha Platform made a special taxing system for them so that they would have to pay taxes depending on how much money they made. They also asked for an eight-hour workday and the direct election of senators, as opposed to them being elected by state legislatures. Those were the main goals of the Omaha Platform, all focused on helping rural and working-class Americans. They also made it so that farmers would only work 8 hours instead of 10 or more. After 1894, Populists emphasized the demand for free coinage of silver rather than other goals, such as state-run railroads.

text: Dissolution[edit]

text: The platform did not appeal to the more urban areas of the country where wage earners were working industrial jobs.[3] The platform's only clear attempt to appeal to northerners in the east was the clause mentioning pensions to ex-Union soldiers.[4] The Populist Party dissolved before World War II as members were unable to meet in Omaha for the party's semi-centennial celebration, and for the reason that many of the party's values have been accepted by other, more dominant political parties.[5]


document_title: Neighbors (2014 film)

question_text: who plays seth rogen's wife in neighbors

question_tokens: who plays seth rogen 's wife in neighbors

text: Neighbors (2014 film)

text: Plot[edit]

text: Mac Radner (Seth Rogen) and his Australian wife Kelly (Rose Byrne) are a young couple with an infant  daughter, Stella. The restrictions of parenthood make it difficult for them to maintain their old lifestyle, which alienates them from their friends Jimmy Blevins (Ike Barinholtz) and his ex-wife, Paula (Carla Gallo). One day, the couple finds out that Delta Psi Beta, a fraternity known for their outrageous parties, has moved into an adjacent house. The fraternity's leaders, Teddy Sanders (Zac Efron) and Pete Regazolli (Dave Franco), aspire to join Delta Psi's Hall of Fame by throwing a massive end-of-the-year party.

text: One night, the couple ask Teddy to keep the noise down. Teddy agrees on the condition that Mac and Kelly promise to always call him instead of calling the police. To earn Mac and Kelly's favor, Teddy invites them to join the party, which the couple agree to. At the party, Kelly meets Teddy's girlfriend Brooke Shy (Halston Sage) and Teddy shows Mac his bedroom, which includes a stash of fireworks and a breaker box that controls their power.

text: The following night, Mac tries his best to call Teddy but is unable to get in touch with him to ask him to keep it down so that their baby can sleep. Kelly convinces Mac to call the police and report the party as an anonymous person, but Officer Watkins (Hannibal Buress) identifies them to Teddy. Teddy feels betrayed that his new friends went back on their promise. The following day, Delta Psi constantly hazes Mac and Kelly, resulting in Stella nearly eating an unused condom after garbage from their party trash is dumped all over their lawn. The couple goes to the college dean Carol Gladstone (Lisa Kudrow) and learn that the school has a three strikes policy before they intervene with punishment; burning down their old house was Delta Psi's first strike.

text: After failing to force the fraternity to move by damaging their house, Kelly manipulates Pete and Brooke into having sex and Mac gets Teddy to catch them. Teddy and Pete fight, which ends with a barbecue grill being rolled into the path of a passing car and injuring a professor, giving Delta Psi their second strike and placing the fraternity on probation for the remainder of the year, effectively ending their party plans. To acquire evidence of Delta Psi's hazing, Kelly and Mac hire a pledge nicknamed Assjuice (Craig Roberts) to stand up to Teddy to record him threatening retaliation. When Teddy instead shows him kindness, he reveals that Mac and Kelly hired him and also damaged their house. Teddy begins playing violent pranks on the couple.

text: Mac and Kelly send Teddy a counterfeit letter from Gladstone enabling them to have parties again, and Teddy begins planning their end-of-the-year bash. Once the party is in full swing, the Radners call Watkins to complain about the noise. Teddy discovers the random strangers sent by Mac, Kelly and Jimmy. After finding a flyer about the party and determining the letter is counterfeit, he stops the party just as Watkins arrives. Jimmy throws himself from the balcony to distract Teddy, allowing Mac and Kelly to sneak into Teddy's bedroom and restart the party using the breaker box. Teddy catches them and fights Mac, while Kelly lights one of the fireworks and shoots it at Watkins's patrol car, while Paula convinces one of the Frat boys to turn the breaker box, resuming the huge party while the police officer is still there. Teddy takes the blame for the party and convinces Pete to take the others and flee. Gladstone shuts the house down and Mac and Kelly return home, adjusting to their new lives. Jimmy and Paula also get back together.

text: Four months later, Mac is at an outdoor shopping mall when he runs into Teddy, who is working as a shirtless greeter at Abercrombie & Fitch. The two greet each other warmly and Teddy tells Mac that he is attending night classes to complete his degree. Mac takes off his shirt and jokingly acts as a greeter with Teddy.

text: Mac and Kelly later take pictures of Stella dressed in various costumes for a calendar. They get a call from Jimmy and Paula, who are attending Burning Man and invite the couple to come, including Stella. Mac and Kelly decline, accepting their new roles as parents.

text: Cast[edit]

text:
Seth Rogen as Mac Radner
Zac Efron as Teddy Sanders, Mac and Kelly's new neighbor and the president of Delta Psi Beta
Rose Byrne as Kelly Radner
Christopher Mintz-Plasse as Scoonie Schofield, a close friend of Teddy and Pete and a member of Delta Psi Beta, who is known in the fraternity for being well endowed.
Dave Franco as Pete Regazolli, Teddy's best friend and the vice-president of Delta Psi Beta
Ike Barinholtz as Jimmy Blevins, Mac and Kelly's close friend
Carla Gallo as Paula Faldt, Jimmy's ex-wife
Craig Roberts as Gary "Assjuice"
Jerrod Carmichael as Garfield "Garf", a close friend of Teddy and Pete and a member of Delta Psi Beta
Lisa Kudrow as Dean Carol Gladstone
Hannibal Buress as Officer Watkins
Halston Sage as Brooke Shy
Ali Cobrin as Whitney
Jason Mantzoukas as Dr. Theodorakis
Elise and Zoey Vargas as Stella Radner, Mac and Kelly's recently born daughter
Brian Huskey as Bill Wazowkowski, Mac's boss
Randall Park as Rep
Liz Cackowski as Wendy the Realtor
Nick Offerman as Mr. Schofield (deleted scene)
Megan Mullally as Mrs. Schofield (deleted scene)

text: Andy Samberg, Akiva Schaffer, Jorma Taccone, Adam DeVine, Blake Anderson, Anders Holm, Kyle Newacheck,  and Jake Johnson all have cameo appearances as former Delta Psi members.

text: Production[edit]

text: Seth Rogen and Zac Efron became attached to the film before it was pitched to studios.[4] Universal and New Line Cinema put in bids for the film, with Universal eventually securing the rights of the then-untitled project in July 2011, which was written by Andrew J. Cohen and Brendan O'Brien.[5] The script was written shortly after.[4] It was inspired by Cohen and O'Brien's fear of adulthood.[6]:3 In May 2012, Nicholas Stoller was in talks to direct the film.[7] The story was originally about Rogen's character and students in a frat but as it was too similar to Old School, Stoller changed the focus on Rogen's character and his wife against the frat students. Producer Evan Goldberg said: "The initial idea was frat war with Zac Efron. Maybe Seth, but definitely Zac Efron."[4] Byrne's role grew from a footnote relegated to the responsibilities of adulthood to a full-on partner-in-crime. Cohen also said: "Initially, our biggest problem with the script was that it was too repetitious, and amping up Kelly’s involvement and bringing her into the war broke everything wide open."[6]:6 Rogen welcomed the change, "to me that made it even better because it became less about me and some guys fucking with a frat. It was much more about me and my wife, which was way more interesting."[4] The cast and crew had two weeks of rehearsals during which they practised improvisation.[6]

text: Principal photography began in April 2013[8] and was completed by the end of May 2013 in Los Angeles, United States.[9] Filming lasted 38 days.[10] The two houses used in the film are situated in the West Adams District of Los Angeles.[6]

text: Cameras and iPhones were distributed to extras, partygoers, and cast members for additional first-person perspective.[6]:11 On August 26, 2013, the film's original title Townies was changed to Neighbors.[11] The film was released as Bad Neighbours outside of the U.S., to prevent confusion with the similarly titled Australian soap opera.[12][13][14] Movie trailers released outside of the U.S. have exploited the movie title's similarity to the Australian soap.[15]

text: A "work-in-progress" cut of the film was screened on March 8, 2014, at The Paramount Theatre in Austin, Texas during South by Southwest.[16]

text: Reception[edit]

text: Critical response[edit]

text: On Rotten Tomatoes the film has an approval rating of 73% based on 206 reviews with an average rating of 6.3/10. The site's critical consensus reads, "With plenty of bawdy humor evenly spread between its well-matched stars, Neighbors earns its R rating -- and filmgoers' laughs."[17] On Metacritic, the film has a score of 68 out of 100 based on 45 critics.[18] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[19]

text: Critics praised Efron's performance, and noted that he had successfully shed the "Disney kid" pretty boy stereotype.[20][21] Critics also praised Byrne's performance and the writers' decision to have her character be a co-conspirator with Rogen's character as opposed to having her on the sidelines.[22]

text: Box office[edit]

text: Neighbors has grossed $150,157,400 in North America and $120,507,734 in other territories for a worldwide total of $270,665,134 against a budget of $18 million.[2] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $136.1 million.[23] It is Rogen's highest grossing non-animated film, surpassing Knocked Up ($219.1 million).[24]

text: The film grossed $49 million in its opening weekend in North America, finishing the weekend in first place at the box office. The opening total was the third highest United States opening for a non-sequel R-rated comedy behind Sex and the City ($57 million) in 2008 and Ted ($54.4 million) in 2012.[25]

text: Accolades[edit]

text:
List of awards and nominations

Group
Date of ceremony
Category
Recipients
Outcome

15th Golden Trailer Awards

May 30, 2014

Best Comedy

Trailer 4[26]

Nominated

Best Comedy Poster

Teaser One-sheet[27]

Won

Best Comedy TV Spot

Mad Neighbors[26][27]

Won

MTV Movie Awards

April 12, 2015

Best On-Screen Duo

Zac Efron and Dave Franco[28]

Won

Best Shirtless Performance

Zac Efron[28]

Won

Best Fight

Seth Rogen vs. Zac Efron[28]

Nominated

Best Kiss

Rose Byrne and Halston Sage[28]

Nominated

#WTF Moment

Seth Rogen and Rose Byrne[28]

Won

Best Musical Moment

Seth Rogen and Zac Efron[28]

Nominated

Best Comedic Performance

Rose Byrne[28]

Nominated

2014 Young Hollywood Awards

July 28, 2014

Best Threesome

Zac Efron, Dave Franco, Christopher Mintz-Plasse

Nominated

Best Cast Chemistry–Film

Neighbors cast

Nominated

41st People's Choice Awards

January 7, 2015

Favorite Comedic Movie

Neighbors

Nominated

20th Critics' Choice Awards

January 15, 2015

Best Actress in a Comedy

Rose Byrne

Nominated

text: Soundtrack[edit]

text:
Neighbors (Original Motion Picture Soundtrack)Soundtrack album by Various artistsReleased
April 29, 2014 (2014-04-29)Length
42:58

text: The soundtrack was released as a digital download in the US on April 29, 2014,[29] and in the UK on May 12, 2014.[30]

text: Standard edition[29]No.TitleArtistsLength1."Get Ur Freak On / Keep Me"Missy Elliott and The Black Keys3:272."Freaking Out"Flo Rida feat. StayC Reign2:583."Good Day"Nappy Roots3:394."London Bridge"Fergie3:255."Girls Girls $"Theophilus London3:126."All Night"Icona Pop3:087."Hurt Me Tomorrow"K'naan3:498."Die Young"Kesha3:339."Cheap Beer"FIDLAR2:2310."Raise Those Hands"Bassjackers and R3hab4:5711."First Name Trouble"Witchman featuring Marz4:1612."Here Comes the Hotstepper" (Heartical Remix)Ini Kamoze4:11

text: Sequel[edit]

text: On February 6, 2015, it was announced that a sequel to Neighbors is in development, entitled Sorority Rising, with Stoller set to return to direct. Once again written by Andrew J. Cohen and Brendan O'Brien, the film follows Mac and Kelly joining forces with Teddy to take on the sorority girls who move into the old frat house. Rogen, Byrne and Efron, as well as Franco, Barinholtz and Gallo, all reprised their roles. On July 23, 2015, Chloë Grace Moretz signed onto the sequel.[31][32] Kiersey Clemons, Beanie Feldstein and Selena Gomez also joined the cast.[33] Principal photography began in mid-2015 and the film was released May 20, 2016.


document_title: Jaws (soundtrack)

question_text: in jaws in what register of the orchestra is the shark's theme

question_tokens: in jaws in what register of the orchestra is the shark 's theme

text: Jaws (soundtrack)

text: Overview[edit]

text: John Williams composed the film's score, which earned him an Academy Award, his second win and first for Original Score,[1] and was later ranked the sixth greatest score by the American Film Institute.[2][3] The main "shark" theme, a simple alternating pattern of two notes—variously identified as "E and F"[4] or "F and F sharp"[5]—became a classic piece of suspense music, synonymous with approaching danger (see leading-tone). Williams described the theme as "grinding away at you, just as a shark would do, instinctual, relentless, unstoppable."[6] The piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound "a little more threatening".[7] When Williams first demonstrated his idea to Spielberg, playing just the two notes on a piano, Spielberg was said to have laughed, thinking that it was a joke. As Williams saw similarities between Jaws and pirate movies, at other points in the score he evoked "pirate music", which he called "primal, but fun and entertaining".The primal opening notes are developed from the opening foreboding tone of Ravel's La Valse. [8] Calling for rapid, percussive string playing, the score contains echoes of La mer by Claude Debussy as well of Igor Stravinsky's The Rite of Spring.[5][9]

text: There are various interpretations of the meaning and effectiveness of the primary music theme, which is widely described as one of the most recognizable cinematic themes of all time.[10] Music scholar Joseph Cancellaro proposes that the two-note expression mimics the shark's heartbeat.[11] According to Alexandre Tylski, like themes Bernard Herrmann wrote for Taxi Driver, North by Northwest, and particularly Mysterious Island, it suggests human respiration. He further argues that the score's strongest motif is actually "the split, the rupture"—when it dramatically cuts off, as after Chrissie's death.[5] The relationship between sound and silence is also taken advantage of in the way the audience is conditioned to associate the shark with its theme,[6] which is exploited toward the film's climax when the shark suddenly appears with no musical introduction.[10]

text: Spielberg later said that without Williams's score the film would have been only half as successful, and according to Williams it jumpstarted his career.[8] He had previously scored Spielberg's debut feature, The Sugarland Express, and went on to collaborate with the director on almost all of his films.[6]

text: Track Listing for the 1975 MCA Records album[edit]

text:
Main Title (Theme From 'Jaws')  – 2:18
Chrissie's Death  – 1:39
Promenade (Tourists on the Menu)  – 2:46
Out to Sea  – 2:26
The Indianapolis Story  – 2:23
Sea Attack Number One  – 5:23
One Barrel Chase  – 3:04
Preparing the Cage  – 3:23
Night Search  – 3:29
The Underwater Siege  – 3:31
Hand to Hand Combat  – 2:32
End Title (Theme From 'Jaws')  – 2:18

tag: ol

text: Total Time: 35:12

text: Track Listing for the 2000 Varèse Sarabande re-recording[edit]

text:
Main Title  – 1:19
Into the Estuary  – 2:49
Out to Sea  – 0:56
Man Against Beast  – 5:15
Quint's Tale  – 2:30
Brody Panics  – 1:16
Barrel Off Starboard  – 1:38
The Great Chase  – 3:02
Three Barrels Under  – 2:05
From Bad to Worse  – 0:53
Quint Thinks it Over  – 1:08
The Shark Cage Fugue  – 2:00
The Shark Approaches  – 0:42
The Shark Hits the Cage  – 1:45
Quint Meets his End  – 1:08
Blown to Bits  – 3:11
End Title  – 1:56

text: Total Time: 51:08

text: Track Listing for the 2000 Decca Records album[edit]

text:
Main Title and First Victim **  – 3:27
The Empty Raft *  – 1:23
The Pier Incident *  – 2:23
The Shark Cage Fugue  – 1:59
Shark Attack *† – 1:17
Ben Gardner's Boat  – 3:31
Montage  – 1:31
Father and Son *† – 3:42
Into the Estuary * – 2:50
Out to Sea  – 2:58
Man Against Beast  – 5:33
Quint's Tale  – 2:40
Brody Panics * – 1:10
Barrel Off Starboard * – 1:30
The Great Shark Chase **† – 3:28
Three Barrels Under *† – 2:05
Between Attacks *† – 2:06
The Shark Approaches ** – 2:40
Blown to Bits  – 3:03
End Titles  – 1:52

text:
* = Previously unreleased

** = Includes unreleased music

† = Includes music not used in the film

text: Total Time: 51:12