document_title: Guardians of the Galaxy (film)

question_text: what is the blue guys name from guardians of the galaxy

text: Guardians of the Galaxy (film)

text: Plot[edit]

text: In 1988, following his mother's death, a young Peter Quill is abducted from Earth by the Ravagers, a group of space pirates led by Yondu Udonta. Twenty-six years later on the planet Morag, Quill steals an orb but is attacked by Korath, a subordinate to the fanatical Kree, Ronan. Although Quill escapes with the orb, Yondu discovers his theft and issues a bounty for his capture, while Ronan sends the assassin Gamora after the orb.

text: When Quill attempts to sell the orb on Xandar, capital of the Nova Empire, Gamora ambushes him and steals it. A fight ensues, drawing in a pair of bounty hunters: the genetically and cybernetically modified raccoon Rocket, and the tree-like humanoid Groot. Nova Corps officers capture the four, detaining them in the Kyln. A powerful inmate there, Drax, attempts to kill Gamora due to her association with Ronan, who killed his family. Quill convinces Drax that Gamora can bring Ronan to him, though Gamora reveals that she has betrayed Ronan, unwilling to let him use the orb's power. Learning that Gamora has a buyer for the orb, Quill, Rocket, Groot, and Drax work with her to escape the Kyln in Quill's ship, the Milano.

text: Ronan meets with Gamora's adoptive father, Thanos, to discuss her betrayal. Quill's group flee to Knowhere, a remote criminal outpost in space built in the giant severed head of a Celestial. A drunken Drax summons Ronan while the rest of the group meet Gamora's contact, the collector Taneleer Tivan. Tivan opens the orb, revealing an Infinity Stone, an item of immeasurable power that destroys all but the most powerful beings who wield it. Tivan's tormented assistant Carina grabs the Stone, triggering an explosion that engulfs Tivan's archive.

text: Ronan arrives and easily defeats Drax, while the others flee by ship, pursued by Ronan's followers and Gamora's adoptive sister Nebula. Nebula destroys Gamora's ship, leaving her floating in space, and Ronan's fighters capture the orb. Quill contacts Yondu before following Gamora into space, giving her his helmet to survive; Yondu arrives and retrieves the pair. Rocket, Drax, and Groot threaten to attack Yondu's ship to rescue them, but Quill negotiates a truce, promising the orb to Yondu. Quill's group agrees that facing Ronan means certain death, but that they cannot let him use the Infinity Stone to destroy the galaxy. On Ronan's flagship, the Dark Aster, Ronan embeds the Stone in his warhammer, taking its power for himself. He contacts Thanos, threatening to kill him after first destroying Xandar; hateful of her adoptive father, Nebula allies with Ronan.

text: The Ravagers and Quill's group join with the Nova Corps to confront the Dark Aster at Xandar, with Quill's group breaching the Dark Aster with the Milano. Ronan uses his empowered warhammer to destroy the Nova Corps fleet. Gamora fights and defeats Nebula, who then escapes, but the group find themselves outmatched by Ronan's power until Rocket crashes a Ravager ship through the Dark Aster. The damaged Dark Aster crash-lands on Xandar, with Groot sacrificing himself to shield the group. Ronan emerges from the wreck and prepares to destroy Xandar, but Quill distracts him, allowing Drax and Rocket to destroy Ronan's warhammer. Quill grabs the freed Stone, and with Gamora, Drax, and Rocket sharing its burden, they use it to destroy Ronan.

text: In the aftermath, Quill tricks Yondu into taking a container supposedly containing the Stone, and gives the real Stone to the Nova Corps. As the Ravagers leave Xandar, Yondu remarks that it turned out well that they did not deliver Quill to his father per their contract. Quill's group, now known as the Guardians of the Galaxy, have their criminal records expunged, and Quill learns that he is only half-human, his father being part of an ancient, unknown species. Quill finally opens the last present he received from his mother: a cassette tape filled with her favorite songs. The Guardians leave in the rebuilt Milano along with a sapling cut from Groot.

text: In a post-credits scene, Tivan sits in his destroyed archive with two of his living exhibits: a canine cosmonaut and an anthropomorphic duck.[N 1]

text: Cast[edit]

text:
Chris Pratt as Peter Quill / Star-Lord:
The half-human, half-alien[8] leader of the Guardians who was abducted from Missouri as a child in 1988 and raised by a group of alien thieves and smugglers called the Ravagers.[9][10][11] About the character, Pratt said, "He had a hard time as a kid, and now he goes around space, making out with hot alien girls and just being a rogue and a bit of a jerk, and through teaming up with these guys, finds a higher purpose for himself."[12] He also added that the character is a mix of Han Solo and Marty McFly.[8] Pratt, who was mostly known for playing supporting characters, including Andy Dwyer on the television series Parks and Recreation, initially turned down the role. Pratt had lost weight to portray fit characters in films such as Moneyball and Zero Dark Thirty, and had given up ambitions to play the lead role in action films after humbling auditions for Star Trek and Avatar. Casting director Sarah Finn suggested Pratt to Gunn, who dismissed the idea despite struggling to cast that role. Despite this, Finn arranged for a meeting between the two, at which point Gunn was immediately convinced that Pratt was perfect for the role. Pratt also won over Feige, despite having gained weight again for Delivery Man.[13] Prior to filming, Pratt underwent a strict diet and training regimen to lose 60 lb (27 kg) in six months.[14] Pratt signed a multi-film contract with Marvel,[15] and was granted a temporary leave from his work on Parks and Recreation in order to accommodate his participation in the film.[16] Wyatt Oleff portrays a young Quill.[17]

Zoe Saldana as Gamora:
An orphan from an alien world who seeks redemption for her past crimes. She was trained by Thanos to be his personal assassin.[9][18][19] Saldana said that she became Gamora through make-up rather than computer generated imagery (CGI) or performance capture.[20] On taking the role, Saldana said, "I was just excited to be asked to join by James Gunn and to also play someone green. I've been blue before [in Avatar]."[21] Saldana described Gamora as "...a warrior, she’s an assassin and she’s very lethal but what saves her is the same thing that can doom her. She has a sense of righteousness. She’s a very righteous individual."[8]

Dave Bautista as Drax the Destroyer:
A warrior who seeks to avenge his family's death at the hands of Ronan.[18] On relating to the character, Bautista said, "I can just relate to Drax so much it's not even funny. Just the simple things that we have in common. Simple things like the tattoos, the tragedy – because you know, I had a bit of tragedy in my life as well. So it's really easy for me to pull from that." Bautista also said that there was "a lot of comic relief to Drax", but the character was not aware of it. Bautista stated that he did not do much preparation for the role, because "Luckily, for me, I'm a lifelong athlete and I adapted real quick."[22] Bautista's makeup took approximately four hours to apply, though it could be removed in just 90 minutes.[23] Drax has various scarring patterns on his body, which replace the simple tattoos from the comics, each having a specific story. Additionally, his skin tone was changed from the bright green in the comics to a muddier grey, to avoid visual similarities to the Hulk.[24]

Vin Diesel as Groot:
A tree-like humanoid[25] who is the accomplice of Rocket. Diesel stated that he provided the voice and motion capture for Groot, after originally being in talks to star in a new Phase Three Marvel film.[26][27][28] Diesel also provided Groot's voice for several foreign-language releases of the film.[29] Krystian Godlewski portrayed the character on set, though his acting was not used in the final character CGI.[30][31] On the character, which Gunn based on his dog,[32] Gunn said, "All the Guardians start out the movie as bastards – except Groot. He's an innocent. He's a hundred percent deadly and a hundred percent sweet. He's caught up in Rocket's life, really." Gunn added that the design and movement of Groot took "the better part of a year" to create.[33] Gunn added, "The ways in which Vin Diesel says, 'I am Groot,' I am astounded. All of the 'I am Groots' that were earlier voices didn't sound very good at all... Vin came in and in one day, laid down all these 'I am Groot' tracks, and he's a perfectionist. He made me explain to him with ever  [sic] 'I am Groot,' exactly what he was saying... It was amazing when we first put that voice in there how much the character changed and how much he influenced the character."[34] Regarding the limited words used by Groot, Diesel said in many ways this was, "... the most challenging thing to ask an actor to do."[35] Diesel found an emotional note in his performance, invoking the death of his friend and Fast and Furious co-star Paul Walker, saying, "This was in December [2013], and the first time I came back to dealing with human beings after dealing with death, so playing a character who celebrates life in the way Groot does was very nice."[36] Groot's form and size-changing abilities are seen, with Gunn stating that he has the ability to grow in the film.[37]

Bradley Cooper as Rocket:
A genetically engineered raccoon-like bounty hunter and mercenary who is a master of weapons and battle tactics.[9][25][38][39] Gunn worked with live raccoons to get the correct feel for the character, and to make sure it was "not a cartoon character", saying, "It's not Bugs Bunny in the middle of the Avengers, it's a real, little, somewhat mangled beast that's alone. There's no one else in the universe quite like him, he's been created by these guys to be a mean-ass fighting machine."[40] Gunn also based the character on himself.[32] Describing Rocket in relation to the rest of the Guardians, Cooper said, "I think Rocket is dynamic. He's the sort of Joe Pesci in Goodfellas guy."[41] Cooper voiced Rocket, while Sean Gunn (James' younger brother) stood in for the character during filming.[42] James Gunn said that for the role of Rocket, some physical movement from Cooper, including facial expressions and hand movements, was recorded as potential reference for the animators,[43] though much of Sean Gunn's acting is used throughout the film.[30] Before Cooper was cast, James Gunn said that it was a challenge finding a voice for Rocket, that he was looking for someone that could balance "the fast-talking speech patterns that Rocket has, but also can be funny, because he is really funny. But also has the heart that Rocket has. Because there are actually some pretty dramatic scenes with Rocket."[44]

Lee Pace as Ronan the Accuser:
A Kree radical who agrees to retrieve an artifact for Thanos in exchange for eradicating his mortal enemies, the Xandarians. Ronan and his Sakaaran army[45] hunt down the Guardians when they interfere with his goals.[9][46] Describing Ronan, Gunn said, "He is the primary villain, and he is a really twisted guy, he has a really religious bent in this film. He has a very sick and twisted view of what morality is; strength is virtue and weakness is sin and that is what he lives by, and I think he is very scary because of his beliefs, which are real to him."[47] Pace, who originally auditioned for Peter Quill,[48] described Ronan as a "psycho" and a "monster".[49]

Michael Rooker as Yondu Udonta:
A blue-skinned bandit who is the leader of the Ravagers and a paternal figure to Quill.[9][50] Yondu helps Quill to steal the orb before Quill betrays him, leaving Yondu and the Ravagers to chase the Guardians. On the character, Rooker said, he has "some interesting issues–not a good guy, not a bad guy. There's hope and there's a heart inside Yondu." Gunn created the film's version of the character specifically with Rooker in mind, while borrowing the character's mohawk and use of a whistle-controlled arrow from the comics. Rooker fully committed to the role once he knew his role on the TV series The Walking Dead would be ending.[51] Rooker's makeup took approximately four hours to apply.[52]

Karen Gillan as Nebula:
An adopted daughter of Thanos who was raised with Gamora as siblings and is a loyal lieutenant in the employ of Ronan and Thanos.[9][11] About the character, Gillan said, "She is the female villain of the film ... She is very sadistic and evil, but I like to think for a very valid reason."[53] She also added, "I think she's a really interesting character. What I like to play around with is how jealous she is. She's Gamora's sister, and there's a lot of sibling rivalry. That's the most interesting aspect to me, because jealousy can consume you and turn you bitter, and ugly. And she's a total sadist, so that's fun too."[54] Gillan researched the ancient Spartans, shaved off her hair, and trained for two months for the role.[54][55] The character's makeup took approximately four and a half hours to be applied.[54]

Djimon Hounsou as Korath:
A Kree[45] ally of Ronan who is a feared intergalactic hunter.[9] As to why he took the role Hounsou said, "I have a four-year old son who loves superheroes from Spider-Man to Iron Man to Batman. He's got all the costumes. One day he looks at me and says 'Dad, I want to be light-skinned so I could be Spider-Man. Spider-Man has light skin.' That was sort of a shock. This is why I am excited to be a part of the Marvel Universe, so I could hopefully provide that diversity in the role of the superhero."[56]

John C. Reilly as Rhomann Dey: A corpsman in the Nova Corps, the Nova Empire's military and police force.[9][57]
Glenn Close as Irani Rael:
The leader of the Nova Corps, known as Nova Prime, whose mission is to protect the citizens of the Nova Empire and keep peace.[9][58][59] Close stated that she "had always wanted to be in a movie like [Guardians of the Galaxy], and that it would be "the most fun to play something like the Judi Dench [as M or] Samuel L. Jackson [as Nick Fury] role".[60] She said that she took the role because she "love[s] to do stuff that's different" and wanted to show that she "[has] always been up for anything."[61] She also stated that her contract has "several" films on it, and that she would be open to working on other Marvel Studios films in addition to returning for Guardians sequels.[60]

Benicio del Toro as Taneleer Tivan / The Collector:
An obsessive keeper of the largest collection of interstellar fauna, relics, and species in the galaxy who operates out of a place in space named Knowhere.[9][58][62] Describing del Toro's performance, Gunn said, "He's like an outer-space Liberace. That's what it says in the script, which he's kind of doing."[43] On bringing the character to life, del Toro said, "What James [Gunn] wanted, that I found out little by little as I was doing it, is that he wanted me to explore and just keep pushing the character and keep creating [him] as I was in front of the camera."[63]

text: Additionally, Josh Brolin appears, uncredited, as Thanos through voice acting and performance capture.[64][65][66] Sean Gunn stood in for Thanos during filming and portrays Kraglin, Yondu's first mate in the Ravagers.[30] Alexis Denisof reprises his role as Thanos's vizier, "The Other", from The Avengers.[67] Ophelia Lovibond plays Carina, the Collector's slave;[68][69] Peter Serafinowicz plays Denarian Garthan Saal, a Nova Corps officer;[70][71] Gregg Henry plays Quill's grandfather;[72] Laura Haddock plays Quill's mother, Meredith;[71][73] Melia Kreiling plays Bereet;[74] Christopher Fairbank plays The Broker;[75] Mikaela Hoover plays Nova Prime's assistant;[76] Marama Corlett plays a pit boss at the bar, The Boot;[77] Emmett J. Scanlan plays a Nova riot guard;[78][79] Alexis Rodney plays Moloka Dar;[80][81] Tom Proctor plays Horuz, a Ravager;[82] and Spencer Wilding plays a prison guard who confiscates Quill's Walkman.[80][83] Canine actor Fred appears as Cosmo.[6] Stephen Blackehart had a supporting role.[84] Naomi Ryan also had a supporting role in the film, though it was cut in the final version.[77] Cameos in the film include: James Gunn as a Sakaaran;[6] Stan Lee as a Xandarian Ladies' Man;[6][85] Lloyd Kaufman as an inmate;[86][87] Nathan Fillion as the voice of an inmate;[6][88] Rob Zombie as the voice of the Ravager Navigator;[6] composer Tyler Bates as a Ravager pilot;[89] and Seth Green as the voice of Howard the Duck.[7]

text: Production[edit]

text: Development[edit]

text:
"I think anybody... who would have said that this would make a great main movie would have been laughed off. It's such an unlikely thing to do. So I think it's lovely to work on something and expose its potential to the point where a company like Marvel will say, 'Yes, this makes sense.'"

—Dan Abnett, co-writer of the 2008 Guardians of the Galaxy relaunch, on the project[90]

tag: div

text: Marvel Studios President Kevin Feige first mentioned Guardians of the Galaxy as a potential film at the 2010 San Diego Comic-Con International, stating, "There are some obscure titles, too, like Guardians of the Galaxy. I think they've been revamped recently in a fun way in the [comic] book."[91] Feige reiterated that sentiment in a September 2011 issue of Entertainment Weekly, saying, "There's an opportunity to do a big space epic, which Thor sort of hints at, in the cosmic side" of the Marvel Cinematic Universe. Feige added, should the film be made, it would feature an ensemble of characters, similar to X-Men and The Avengers.[92]

text: Feige announced that the film was in active development at the 2012 San Diego Comic-Con International during the Marvel Studios panel, with an intended release date of August 1, 2014. He stated that the film's titular team would consist of the characters Star-Lord, Drax the Destroyer, Gamora, Groot, and Rocket Raccoon.[93] Two pieces of concept art were also displayed, one of Rocket Raccoon, and one featuring the entire team.[94] In August 2012, James Gunn entered talks to direct the film, beating out other contenders, including Peyton Reed and the duo Ryan Fleck and Anna Boden.[95] The Avengers director Joss Whedon, who signed a deal to creatively consult on all of the films leading up to The Avengers sequel,[96] was enthusiastic about the selection of Gunn to direct, saying "James [Gunn] is what makes me think it will work... He is so off the wall, and so crazy, but so smart, such a craftsman and he builds from his heart. He loves the raccoon. Needs the raccoon... He has a very twisted take on it, but it all comes from a real love for the material. It's going to be hard for [the human characters] to keep up."[97]

text: Writing[edit]

text: Nicole Perlman, who was enrolled in Marvel's screenwriting program in 2009,[98] was offered several of their lesser known properties to base a screenplay on.[99] Out of those, Perlman chose Dan Abnett and Andy Lanning's Guardians of the Galaxy, due to her interest in space and science fiction,[99] adding, "I think [Marvel] were a little taken aback when I chose Guardians, because there were ones that would make a lot more sense if you were a romantic-comedy writer or something like that." Perlman spent two years writing a draft, immersing herself in the Guardians universe, and was asked in late 2011 to create another draft, before Gunn was brought in in early 2012 to contribute to the script.[100] Gunn eventually rewrote the script entirely because "it didn’t work" for him; he would use the film The Dirty Dozen as a reference to convey his ideas of the film to Marvel.[101] Gunn later explained that Perlman's draft was very different from the script he used during filming, including a different story, character arcs and no Walkman; he stated, "In Nicole’s script everything is pretty different... it's not about the same stuff. But that's how the WGA works. They like first writers an awful lot."[102] In August 2012, Marvel Studios hired writer Chris McCoy to rewrite Perlman's script,[103] however, it is unclear what contribution he had to the final script, since he did not receive production credit.[58]

text: Gunn revealed that character introductions were the "hardest scenes to crack", with Thanos' introduction being the most difficult. He felt that "having Thanos be in that scene was more helpful to the [MCU] than it was to Guardians of the Galaxy," yet he still wanted Thanos in the film, without "[belittling] the actual antagonist of the film, which is Ronan." To solve his dilemma, Gunn chose to have Ronan kill "The Other", Thanos' vizier, saying, "I thought that was interesting, because we’ve had the Other, who’s obviously very powerful even in comparison to Loki, and then we see Ronan wipe his ass with him. So that I liked, but even that was sort of difficult, because it played as funnier when I first wrote it, and the humor didn’t work so much."[104]

text: Pre-production[edit]

text: In September 2012, Gunn confirmed that he had signed on to direct the film and rewrite the script.[105] By the end of November, Joel Edgerton, Jack Huston, Jim Sturgess, and Eddie Redmayne signed deals to test for the role of Peter Quill, as did Lee Pace,[106] which he confirmed a week later in early December.[48] Other actors who were considered for the role included Thor: The Dark World's Zachary Levi,[107] Joseph Gordon-Levitt,[108] Michael Rosenbaum,[109] and John Gallagher Jr.[110] Chris Pratt was cast in the role in February 2013, as part of a multi-film deal that he signed with Marvel.[15][111]

text: In January 2013, filming was scheduled to take place at Shepperton Studios in London, United Kingdom,[112] and Marvel Studios announced that the film would be released in 3D.[113] Victoria Alonso, an executive producer on the film, said that filming would begin in June. She also said that both Rocket Raccoon and Groot would be created through a combination of CGI and motion capture, going on to say that "You can't do any motion capture with a raccoon – they won't let you put the suit on. But we will do rotomation, probably, for some of the behavior... we definitely will have performers to emulate what James Gunn will lead to be, the behavior and the performance. He's very clear on where he wants to take the characters."[114] In March 2013, Feige discussed Guardians of the Galaxy in relation to the Marvel Cinematic Universe, saying, "It's much more of a standalone film. It takes place in the same universe. And when we've been on the other side of that universe in other movies, you might see those characteristics in Guardians, but the Avengers are not involved with what's happening out there at this time." Feige also stated that 95% of the film would take place in space.[115] In mid-March, Dave Bautista was signed to play Drax the Destroyer.[116] Other actors who had been considered for the role included Isaiah Mustafa, Brian Patrick Wade and Jason Momoa.[116] By the following week, sculptor Brian Muir, who sculpted Darth Vader's mask for the Star Wars films, was revealed to be working on the film.[117]

text: In early April 2013, Zoe Saldana entered into negotiations to star as Gamora in the film, and it was confirmed she had been cast later that month.[68][118] Also in April, Michael Rooker joined the film's cast as Yondu,[50] and it was announced that Ophelia Lovibond had been cast in a supporting role.[68] By this point in time, Lee Pace was in final negotiations to play the villain of the film.[119] In May, Marvel offered John C. Reilly the role of Rhomann Dey.[120] At the same time, it was disclosed that filmmakers were looking at actors including Hugh Laurie, Alan Rickman, and Ken Watanabe, for another role, and that Christopher Markus and Stephen McFeely were providing finishing touches to the script.[120] A few days later, Glenn Close was cast as the head of the Nova Corps in the film,[59] followed shortly by the casting of Karen Gillan as the film's lead female villain.[121] By June 2013, Benicio del Toro was cast in the film, as part of a multi-film deal with Marvel Studios.[62] Later in the month, it was confirmed that Reilly had been cast as Rhomann Dey.[57]

text: Special effects makeup designer David White took head and body casts of actors, such as Bautista, to experiment with materials used to create the characters. White said, "James always pushed for practical and makeup effects. He wanted, like me, to see the real deal there on set." White was careful not to use "modern" creature designs to ensure they did not fall short in Gunn's uniquely envisioned world. White and his team created upwards of 1,000 prosthetic makeup applications and 2,000 molds of different colored aliens.[122] For the specific aesthetic look to the film, Gunn wanted to create "a colorful science-fiction world", and include elements of 1950s and 60s pulp movies, citing the Ravagers' spaceships, which he compared to muscle cars, as an example of the latter.[123] Science fiction artist Chris Foss inspired and helped design the final look of some of the spacecrafts that appear in the film.[124]

text: Filming[edit]

text: Principal photography began around July 6, 2013 in London, United Kingdom,[55] under the working title of Full Tilt.[8] Filming took place at Shepperton Studios and Longcross Studios.[112][125] Later in July, Gunn and the film's cast flew from London to attend San Diego Comic-Con International, where it was revealed that Pace would play Ronan the Accuser, Gillan would be Nebula, del Toro as The Collector, and that Djimon Hounsou had been cast as Korath.[55][58] Close was later revealed to play Nova Prime Irani Rael.[9][58] Also at San Diego Comic-Con, Feige stated that Thanos would be a part of the film as the "mastermind".[126] On August 11, 2013, filming began at London's Millennium Bridge,[127] which was selected as a double for Xandar.[24] In August 2013, Marvel announced that Bradley Cooper would voice Rocket.[38] On September 3, 2013, Gunn said that filming was "a little over half[way]" complete.[128] Also in September, Vin Diesel stated that he was voicing Groot.[28] However, Marvel did not confirm Diesel's involvement in the film at the time.[42][43][129] On October 12, 2013, Gunn announced on social media that filming had completed.[130]

text: Director of photography Ben Davis used Arri Alexa XT cameras for the film, saying, "I’m traditionally a photochemical fan, but going with the digital format was the right way for this movie... the Alexa [provided] the right look for this particular film." During the opening scenes in the 1980s, Davis chose JDC Cooke Xtal (Crystal) Express anamorphic prime lenses because they "had more anamorphic artifacts and aberrations, which [he] felt added something." Davis used spherical Panavision Primos for the rest of the film. Additionally, Davis worked closely with production designer Charles Wood in order to achieve the correct lighting looks for each scene.[125] Dealing with two fully CGI characters forced Davis to shoot scenes multiple times, usually once with the references for the characters and once without them in the shot.[131]

text: Gunn revealed that his brother, Sean Gunn, took on multiple roles during the filming process, such as standing in for Rocket, which he noted was beneficial for the other actors, including Saldana, Pratt, and Bautista, who responded positively to Sean and his on-set performances.[30] Special effects makeup designer David White made two life-size versions of Rocket and a bust of Groot as aids for visual effects, with White saying, "it gives [the filmmakers] a good indication of where visual effects needs to pick up and whether Rocket can actually reach certain things or use certain devices."[31] These busts were also used to see how the on-set lighting would affect the characters, to assist with the visual effects lighting process.[31]

text: In January 2015, Disney revealed that the film came in "slightly over the agreed budget" at $232.3 million, with Disney receiving a rebate of $36.4 million from the British government.[2] It was previously estimated to have had a $170 million budget.[132]

text: Post-production[edit]

text: In November 2013, Gunn stated that he attempted to use as many practical effects as possible while filming to aid the use of CGI and motion capture during post-production, saying, "Our sets are enormous. We have a prison that is 350,000 pounds of steel. Anybody who knows me knows I love the mix of practical and CGI effects... I can't wait for people to see it, because it's astonishingly beautiful."[133] After the release of Thor: The Dark World, Feige stated that the Infinity Stones would be a focus in the film, as well as going forward into the Phase Three slate of films within the MCU.[134] In a separate interview for The Dark World in November, Feige added that a third, unknown Infinity Stone would be seen in the film,[135] referred to as the "Power Stone" by the Collector.[136][137] The mid-credits scene in The Dark World revealed Lovibond's role as the Collector's aide, later named Carina.[69] In December 2013, Marvel confirmed that Diesel would voice Groot.[138]

text: A few weeks of additional filming, involving the film's main cast and crew, occurred in March 2014 at Walt Disney Studios in Burbank, California.[139][140][141] In April 2014, Gunn described Thanos as the "head of the snake" in the film, and confirmed he would appear via performance capture.[11] In May 2014, Gunn stated that the film features an "enormous" amount of smaller and minor characters from the Marvel Universe, adding that he felt the film had the most characters overall of any Marvel Studios film to date.[142] Costume supervisor Dan Grace added to this by saying, "We really, really get the feeling of the scale and scope of the galaxy. We visit five planets, we see a hundred different races." The film introduces the alien race Sakaaran, who act as Ronan's mercenaries, as a replacement to the Badoon, as the Badoon film rights belonged to 20th Century Fox.[45]

text: By the end of May, Josh Brolin was revealed as the voice of Thanos,[64][65] with Feige confirming in July that Brolin also provided the performance capture for the character.[66] Thanos communicates via hologram for much of the film, though he does appear in a scene with Ronan and Nebula.[136] In June 2014, Feige added that Thanos and his followers are "the biggest piece of connective tissue that will eventually lead us back into Avengers films in the future."[143] On casting Brolin, Feige said,

text: We reached out to him and it was one of those things that does not happen all the time but when it does it’s very nice, where he was totally intrigued. He was a fan of what we did, he met with Jeremy Latcham in a hotel in London and learned about the characters a little bit. I spoke to him on the phone a few times. We ran it by James who loved it, ran it by Joss [Whedon] who loved it because Thanos is in this universe because of Avengers. Then we shot him and recorded for it.[66]

text: On July 7, 2014, Gunn announced on social media that he had completed work on the film.[144] In August, regarding the post-credit scene, Gunn revealed that the scene did not involve Howard the Duck when it was originally filmed, rather he was added during post-production,[145] a decision made by "some combination of [Gunn] and the editor Fred Raskin".[146] As the decision to add the character was made late in the post-production process, he had to be designed that day, before being handed off to Sony Pictures Imageworks to animate.[146] Also in August, regarding the pre-credit scene of Groot dancing, Gunn stated that he himself danced to provide motion reference for the animators, and that the decision was made to place the scene before the credits, rather than during or after them, because of positive responses from a test audience, which made Marvel and Gunn feel that they did not want "people walking out and missing this thing".[147] Marvel used design firm Sarofsky once again for the film's title sequences, after liking their work for Captain America: The Winter Soldier. Sarofsky developed a custom typeface based on the font used in the teaser posters for the opening credits, which was tinted orange to offer a better contrast to the film's blue and grey imagery. One of the typography solutions offered before the final product wound up being repurposed as the locator cards seen throughout the film.[148]

text: Visual effects[edit]

text: The film featured 2,750 visual effects shots,[150] which make up approximately 90% of the film.[149] The visual effects were created by: Moving Picture Company (MPC), who worked on creating Groot, as well as Morag, Xandar, the Dark Aster and the final battle on Xandar;[149] Framestore, who worked on creating Rocket, extending the Kyln prison set and constructing Knowhere;[149][151] Luma Pictures, who worked on Thanos;[149] Method Studios, who worked on creating the Orb opening and revealing its powers, as well as the holographic displays at the Nova Corps command center;[149] Lola VFX; Cantina Creative; Sony Pictures Imageworks, who worked on Howard the Duck and creating the Dark Aster shots with MPC;[146][149] CoSA VFX; Secret Lab; Rise Visual Effects Studios; and Technicolor VFX.[152][153] Pre- and post-visualizations were done by Proof and The Third Floor, with Proof also contributing to the creation of Rocket and Groot.[149]

text: Producer Nik Korda noted how helpful it was to have Sean Gunn and Krystian Godlewski portray Rocket and Groot on set, as it provided references for lighting and on-set performances to the animators.[31] When creating Groot, MPC realized early on that his eyes would be essential in maintaining the character's human qualities, as his face couldn't move in the way that humans' do. MPC visual effects supervisor Nicolas Aithadi explained that, "When you look at humans what makes the eyes interesting is the imperfections – trying to make these two irises not aimed at the same place – trying to make them strange and look more human."[149] Textures for Groot came from a number of sources, including inspiration from a botanical garden in London, and the character was modeled as individual branches, rigged individually, to simulate a muscle system for the character.[149]

text: One of the major challenges for Framestore in creating Rocket was his fur. Framestore's Rachel Williams explained that, since "raccoon fur is made up from a layer of short fine hair and a layer of longer thicker hairs", these layers were separated and animated individually, removing the need to use "guide hairs" to control the movements of thick sections of fur.[149] Framestore and MPC worked closely sharing assets, to ensure shots of Rocket at MPC would match the Rocket created by Framestore, and vice versa for when Groot was needed by the other studio.[149]

text: In order to give Thanos "the performance and the weight that he deserved", Luma Pictures created a new facial animation system to re-create Josh Brolin as a fully CG character, using his "eyes, some of his cheek, how his muscles move when he talks". The character's large jaw, and the deep groves that run down his face, had "to be carefully planned out with the movement of his face."[149]

text: Music[edit]

text: In August 2013, Gunn revealed that Tyler Bates would be composing the film's score. Gunn stated that Bates would write some of the score first so that he can film to the music, as opposed to scoring to the film.[154] In February 2014, Gunn revealed that the film would incorporate songs from the 1960s and 1970s, such as "Hooked on a Feeling", on a mixtape in Quill's Walkman, which acts as a way for him to stay connected to the Earth, home, and family he lost.[155] In May 2014, Gunn added that using the songs from the 60s and 70s were "cultural reference points", saying, "It’s striking the balance throughout the whole movie, through something that is very unique, but also something that is easily accessible to people at the same time. The music and the Earth stuff is one of those touchstones that we have to remind us that, yeah, [Quill] is a real person from planet Earth who’s just like you and me. Except that he’s in this big outer space adventure."[142]

text: When choosing the songs, Gunn revealed he "started the process by reading the Billboard charts for all of the top hits of the '70s", downloading "a few hundred" songs that were "semi-familiar — ones you recognize but might not be able to name off the top of your head" and creating a playlist for all the songs that would fit the film tonally. He added that he "would listen to the playlist on my speakers around the house — sometimes I would be inspired to create a scene around a song, and other times I had a scene that needed music and I would listen through the playlist, visualizing various songs, figuring out which would work the best."[156] Most of the songs were played on set to help "the actors and the camera operators find the perfect groove for the shot", with David Bowie's "Moonage Daydream" the only song chosen and added during post-production. Gunn also said that the opening scenes were designed with "Hooked on a Feeling" in mind; however once Gunn discovered "Come and Get Your Love", the song used in the sequence, Gunn felt it was a "better fit."[156]

text: Three albums were released by Hollywood Records on July 29, 2014: The film's score, Guardians of the Galaxy (Original Score), which features the music composed by Bates for the film;[157] Guardians of the Galaxy: Awesome Mix Vol. 1 (Original Motion Picture Soundtrack), which comprises the twelve songs from Quill's mixtape; and a deluxe edition featuring both albums.[158] By August 2014, the album which mirrored Quill's mixtape had reached the top of the Billboard 200 chart, becoming the first soundtrack album in history consisting entirely of previously released songs to top the chart.[159] Hollywood Records also released a cassette version of the Awesome Mix Vol. 1 soundtrack on November 28, 2014, as an exclusive to Record Store Day participants. The cassette, which is the first cassette Disney Music Group has released since 2003, comes with a digital download version of the album.[160]

text: Release[edit]

text: The world premiere of Guardians of the Galaxy was held on July 21, 2014, at the Dolby Theatre in Hollywood.[161][162] The film was released theatrically in the United Kingdom on July 31, 2014,[142] and in the United States on August 1,[93] in 3D and IMAX 3D.[113][163] The film was released in 4,080 theaters in the United States, making it the widest August release, breaking the five year record held by G.I. Joe: The Rise of Cobra (4,007 theatres). The breakdown of venues was: 354 IMAX screens, 3,200 3D screens, 350 large format screens and 240 D-Box screens.[164] In its sixth weekend, Guardians of the Galaxy was playing in 69 territories, its most.[165]

text: In June 2014, Gunn stated that the film had always been planned as a 3D film, and "Unlike many directors, I've been actively involved with converting every shot to 3D, making sure it works perfectly for the story and the film, making sure it's spectacular and immersive without being silly, distracting, or overly showy." Gunn also revealed that the IMAX 3D version would include shifting aspect ratios, to make the viewing experience "even fuller and more encompassing. I've personally chosen all the places where the changes occur... The changing aspect ratios in this case are actually a part of the storytelling."[166] In July 2014, Gunn revealed that there were multiple scenes he had cut from the film, and he was investigating how to release them, either in an extended cut of the film, or as bonus features on the film's home media release.[66]

text: Marketing[edit]

text: At Disney's D23 Expo in August 2013, Feige presented footage first revealed at the San Diego Comic-Con in July 2013.[167] The first trailer for the film debuted on Jimmy Kimmel Live! on February 18, 2014, with a special introduction by Chris Pratt.[10] The Los Angeles Times said the trailer delivered "some spirited alien action, with exploding spaceships and muscled bad guys, not to mention a few purely comedic moments," while spotlighting "a number of the offbeat characters."[168] Total Film noted the similarity of the trailer's opening clip to the 1981 film, Raiders of the Lost Ark, which Gunn stated was a big influence for Guardians,[169] and made note of the "edgy" humor used throughout.[170] Total Film also noted the similarity of the trailer to the one debuted at Comic-Con and D23, with a few new shots featuring Nebula and the Collector.[171][172] Social media response to the trailer was strong, with 88,000 mentions across Twitter, Facebook and various blogs in a 12-hour period. Those numbers were comparable to trailers for other superhero films like Man of Steel and The Amazing Spider-Man 2, and noteworthy for the late night time period in which it premiered.[173] The trailer received 22.8 million views in the 24 hours after it debuted.[174] After the debut of the trailer, Blue Swede's version of "Hooked on a Feeling", which was prominently used throughout the trailer, went up 700% in sales the following day.[175] The line from Serafinowicz's character, "What a bunch of A-holes.", was only intended to be featured in the trailers, but due to its positive reception, was included in the final cut of the film.[176] Gunn noted that a different teaser was almost released "that was very cheesy [and] sold the movie as something different than what it was", as it tested better than the version that was ultimately released. Gunn credited the marketing teams at Marvel and Disney for having faith in the latter version, despite how it tested, over choosing the version that would have mis-marketed the film.[177]

text: In March 2014, the Marvel's Agents of S.H.I.E.L.D. episode "T.A.H.I.T.I." introduced the Kree race to the MCU, which began a storyline that recurs throughout the series and involves finding a hidden Kree city.[178][179] Also in March, ABC aired a one-hour television special titled, Marvel Studios: Assembling a Universe, which included a sneak peek of Guardians of the Galaxy.[180] Starting in April 2014, a two-part comic was released, titled Marvel's Guardians of the Galaxy Prelude. Written by Dan Abnett and Andy Lanning, with art by Wellington Alves, the first issue focused on the background of Nebula and her bond with Thanos; the second issue featured the adventures of Rocket and Groot before they join forces with the other Guardians.[181] In June 2014, Mike Pasciullo, senior VP of Marvel Studios, described the marketing approach for Guardians of the Galaxy by saying that Marvel had "built a robust marketing program for the theatrical release that carefully integrates traditional advertising, social media, digital marketing, strategic promotional partnerships, organic entertainment integrations [and] publicity."[182]

text: In July 2014, Marvel launched a viral marketing campaign for the film called "Galaxy Getaways", a fictional travel website that allows users to book passage to some of the planets depicted in the film, including Xandar, Morag, and Knowhere.[183] Beginning July 4, 2014, a sneak peek of the film was presented at Disneyland and Disney's Hollywood Studios in the Magic Eye and ABC Sound Studio theaters, respectively.[184] Approximately 14 minutes of the film was screened on July 7, 2014, in IMAX 3D in the United States, and 3D theaters and IMAX 3D in Canada, along with two trailers.[185][186] The screening was met with positive reviews, praising the humor, the 3D and IMAX conversion, and Cooper's portrayal of Rocket.[186][187][188][189] However, it was criticized for beginning partway through the film, not allowing viewers to easily acclimate to the film's tone,[187][190] and for how the general audience might respond to a film within the MCU without established characters making appearances.[190]

text: On July 12, 2014, Gunn and the actors from the film promoted Guardians of the Galaxy at the Lido 8 Cineplex in Singapore.[191] On July 17, 2014, Disney Interactive released an action RPG video game titled Guardians of the Galaxy: The Universal Weapon for iOS, Android and Windows devices.[192] The game's original story was written by Dan Abnett, and was meant to complement the film.[193] On July 21, Pratt, Saldana, Bautista, Diesel and Cooper appeared on Jimmy Kimmel Live! to promote the film and debut some additional exclusive content.[162] On July 29, Pratt and Saldana rang the opening bell of the New York Stock Exchange as part of the film's marketing strategy.[194]

text: On August 14, Marvel released the scene of Groot dancing,[195] which was shortly followed by an announcement from Funko that they were releasing a toy "Dancing Groot". The Hollywood Reporter noted that the quick release of the scene from Marvel two weeks after the film's theatrical release, along with the rush announcement from Funko, indicated the popularity of both the character and the scene.[196] The scene also produced the word "grooting", coined by Michael Rooker, in which a person dances similar to Groot, with the word entering the social media lexicon.[197] Also in August, Marvel held a special screening of the film at Children's Hospital Los Angeles, where Pratt dressed as Star-Lord to entertain the patients.[198]

text: Merchandise[edit]

text: In June 2012, Marvel filed eleven trademark applications for Guardians of the Galaxy, covering a variety of consumer products, from video games to cosmetics.[199] Disney Consumer Products partnered with Mad Engine, C-Life, New Era, Hasbro, Disguise, Rubies, Sideshow Collectibles, Lego, KIDdesigns, iHome, Funko, Freeze, Fast Forward, and Innovative Designs to produce merchandise for the film, with releases starting in June 2014.[182][200][201][202] Mad Engine and C-Life were partnered as the core apparel outfitters, producing a line of T-shirts and fleece jackets, while New Era produced headwear and hats.[200] Hasbro produced toys for the film; Disguise and Rubies produced the costumes; and Sideshow Collectibles was given charge of the collectibles.[182][200] Lego announced three toy sets based on scenes from the film,[201] while iHome created character speakers, Funko made vinyl bobble heads, Freeze crafted 1980s-inspired apparel, and backpacks and stationery were made by Fast Forward and Innovative Designs.[182] Despite first films in a potential new franchise usually being off-limits to licensees, Marvel used Iron Man's success as evidence of unknown characters becoming hits with audiences to attract partnerships. Licensees embraced Rocket as the film's potential breakout character, with Drax and Gamora being used for older demographics; Star-Lord’s obsession with 1980s nostalgia, including his "Awesome Mix Vo. 1" cassette, has also served as a basis for tie-in products.[182] In August 2014, Funko announced a toy based on "Dancing Groot",[196] while in October 2014, Marvel and KID designs announced a replica of dancing Groot, for release in December 2014.[203]

text: In December 2014, Disney made a second marketing push, to coincide with the film's home media release with additional merchandise. Merchandise partners included: KID designs with its replica dancing Groot; Funko’s Fabrikations line with a plush Rocket; Mattel’s Hot Wheels character cars; C-Life, Hybrid-Jem Sportswear, Freeze, MZ Berger, Accutime, AME and Her Universe with apparel; ThinkGeek with jewelry and watches; American Greetings with cards; Jay Franco with homegoods; and Vandor with drinkware. Additional partners included Mad Engine, Just Play and Dragon Models. Paul Gitter, senior vice president of Marvel licensing at Disney Consumer Products said, "The demand for Guardians of the Galaxy merchandise has been truly out of this world. Our merchandising and retail partners are doing a tremendous job of providing creative and innovative ways for fans to continue interacting with these popular characters and showcase their fandom year round."[204]

text: Home media[edit]

text: Guardians of the Galaxy was released for digital download by Walt Disney Studios Home Entertainment on November 18, 2014 and on Blu-ray, Blu-ray 3D, and DVD on November 24, 2014, in the United Kingdom and on December 9 in the United States.[205][206] The digital and Blu-ray releases include behind-the-scenes featurettes, audio commentary, deleted scenes, a blooper reel, and an exclusive preview of Avengers: Age of Ultron.[206] As of October 4, 2015[update], the film has earned over $118 million in sales in the US.[207]

text: The film was also included in the 13-disc box set, titled "Marvel Cinematic Universe: Phase Two Collection", which includes all of the Phase Two films in the Marvel Cinematic Universe. It was released on December 8, 2015.[208]

text: Reception[edit]

text: Box office[edit]

text: Guardians of the Galaxy earned $333.2 million in North America and an estimated $440.2 million in other countries, for a worldwide total of $773.3 million.[3] The film became the third highest-grossing film in the Marvel Cinematic Universe, behind The Avengers and Iron Man 3.[209] It was the third highest-grossing 2014 film (behind Transformers: Age of Extinction and The Hobbit: The Battle of the Five Armies) and the highest-grossing superhero film of 2014.[2][210] It had a worldwide opening weekend of $160.7 million.[211] Deadline.com calculated the net profit for the film to be $204.2 million, when factoring together "production budgets, P&A, talent participations and other costs, with box office grosses, and ancillary revenues from VOD to DVD and TV," placing it fifth on their list of 2014's "Most Valuable Blockbusters".[212]

text: North America[edit]

text: Guardians of the Galaxy earned $11.2 million on its Thursday night pre-opening, surpassing Captain America: The Winter Soldier's gross ($10.2 million) for the biggest Thursday evening start for a movie in 2014.[213] IMAX accounted for 17% of the total gross ($1.9 million), which was the biggest August pre-release in IMAX format.[164] On its opening day, the film earned $37.8 million, including the Thursday night earnings.[214] Guardians of the Galaxy was the number one movie during its opening weekend and grossed $94.3 million, setting an August weekend record.[215] During the opening weekend, IMAX earnings amounted to $11.7 million and 3-D showings accounted for 45% of ticket sales. The film's success was partially attributed to its appeal to both genders: the opening weekend audience was 44% female, which is the biggest proportion ever for a MCU film; 55% of the opening-weekend audience was over the age of 25.[215]

text: Although the film fell to second place in its second and third weekends, behind Teenage Mutant Ninja Turtles,[216][217] the film was number one in its fourth, fifth and sixth weekend.[218][219][220] By doing so, it became the first film in 2014 to top the domestic box office in non-consecutive weeks,[218] the first film of the summer (May–August) to be the number one film in three weekends[221] and the first MCU film to be the top film for four weeks, surpassing Captain America: The Winter Soldier and The Avengers, both of which were number one for three weeks, and tied The Dark Knight for the most weeks at number one among comic book-based films.[222] Phil Contrino, vice president and chief analyst of BoxOffice.com felt Guardians success was "unconventional" and was "shattering expectations".[219] The film remained in the top 10 for ten weekends.[223]

text: The film was the top grossing film of summer 2014 (ahead of Transformers: Age of Extinction),[224][225] first of 2014 to pass $300 million for its domestic gross,[226] and was the third highest-grossing domestic film of 2014 (behind American Sniper and The Hunger Games: Mockingjay – Part 1).[227] The film was said to have "injected life" into an otherwise lower than normal summer box office.[219][225][228]

text: Outside North America[edit]

text: Guardians of the Galaxy was released in 42 international markets and grossed $66.4 million on its opening weekend. The biggest debuts came from Russia ($13 million), the United Kingdom ($10.8 million), Mexico ($6.5 million), Brazil ($6.5 million) and South Korea ($4.7 million).[211] The film topped the weekend box office two times, in its first and second weekends.[211][229] In its eleventh weekend, the film opened in China, earning $29.8 million, its largest, and became the third highest opening in the country for any Disney release, behind Iron Man 3 and Captain America: The Winter Soldier, and was an all-time industry record opening in October.[230] The following weekend saw an additional $21.3 million from China, making China the highest grossing market with $69 million.[209] The film's three biggest markets in total earnings were: China ($96.5 million); the UK ($47.4 million); and Russia ($37.5 million).[231]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 91% approval rating with an average rating of 7.8/10 based on 288 reviews. The website's consensus reads, "Guardians of the Galaxy is just as irreverent as fans of the frequently zany Marvel comic would expect—as well as funny, thrilling, full of heart, and packed with visual splendor."[232] Metacritic, which uses a weighted average, assigned a score of 76 out of 100, based on 52 critics, indicating "generally favorable reviews".[233] CinemaScore audiences gave Guardians of the Galaxy an "A" grade rating on an A+ to F scale,[234] while earning an "A+" among under-18 and 25- to 34-year-old viewers.[235]

text: Scott Foundas of Variety said "James Gunn's presumptive franchise-starter is overlong, overstuffed and sometimes too eager to please, but the cheeky comic tone keeps things buoyant — as does Chris Pratt’s winning performance", and praised the film's look created by cinematographer Ben Davis, production designer Charles Wood, and special effects makeup designer David White.[152] Justin Lowe of The Hollywood Reporter also praised the film's look, and felt "A well-matched ensemble rises to the challenge of launching a heroic origin film with distinctive style, abundant thrills and no shortage of humor."[236] The Daily Telegraph's Robbie Collin said, "A brand new summer family blockbuster this may be, but it plays by old, half-forgotten rules; trimming out the clutter and cross-referencing for snappy, streamlined, Saturday-cartoon fun".[237] Kenneth Turan of the Los Angeles Times said, "Blessed with a loose, anarchic B-picture soul that encourages you to enjoy yourself even when you're not quite sure what's going on, the scruffy Guardians is irreverent in a way that can bring the first Star Wars to mind, in part because it has some of the most unconventional heroes this side of the Mos Eisley Cantina."[238] Manohla Dargis of The New York Times said, "While Guardians takes you down one after another crazy narrative turn, it also pulls you into – and, for the most part, keeps you in – a fully realized other world."[239] Richard Roeper of the Chicago Sun-Times said, "Guardians of the Galaxy is a late summer treat — a mostly lighthearted and self-referential comic-book movie with loads of whiz-bang action, some laugh-out-loud moments and a couple of surprisingly beautiful and touching scenes as well," calling it "a refreshing confection of entertainment."[240] Jim Starlin, creator of Drax the Destroyer, Gamora, and Thanos, said it "might be Marvel's best movie yet".[241]

text: Jake Coyle of the Associated Press was more critical of the film, calling it "terribly overstuffed and many of the jokes get drowned out by the special effects... The pervasive movie references detract from the stab at freshness, and Guardians depends all too much on the whimsy of '70s anthems for an original beat." He also felt that Close, Reilly and del Toro were underused in the film.[242] Mick LaSalle of the San Francisco Chronicle said, "In place of wit, Guardians offers a sort of generalized willingness to be amusing, an atmosphere of high spirits that feels like lots of people pumping air into a tire that has a hole in it. Everyone is clearly working, but nothing is really happening–and yet the effort is so evident that there's an impulse to reward it."[243] Kyle Smith of the New York Post also had a negative response to the film, comparing it to Howard the Duck and Green Lantern, and criticizing the dialogue, villains, soundtrack, lack of suspense, and the characters of Quill, Rocket, and Drax.[244] The film received mixed reviews in China, where viewers complained that the film's "poor subtitle translation not only spoiled the fun of watching it, but also made it difficult to understand its humor."[245]

text: Accolades[edit]

text:
Year
Award / Film Festival
Category
Recipient(s)
Result
Ref(s)

2014
CinemaCon Awards
Breakthrough Performer of the Year
Chris Pratt
Won
[246]

Detroit Film Critics Society
Best Ensemble
Guardians of the Galaxy
Won
[247]

Hollywood Film Awards
Hollywood Blockbuster Award
Guardians of the Galaxy
Won
[248]

Young Hollywood Awards
Super Superhero
Chris Pratt
Nominated
[249]

2015
Critics' Choice Movie Awards
Best Action Movie
Guardians of the Galaxy
Won
[250]

Best Actor in an Action Movie
Chris Pratt
Nominated

Best Actress in an Action Movie
Zoe Saldana
Nominated

Best Makeup
David White
Won

Best Visual Effects
Stephane Ceretti
Nominated

Empire Awards
Best Female Newcomer
Karen Gillan
Won
[251]

Best Sci-Fi/Fantasy
Guardians of the Galaxy
Nominated

Grammy Awards
Best Compilation Soundtrack for Visual Media
Guardians of the Galaxy: Awesome Mix Vol. 1
Nominated
[252]

Make-Up Artists and Hair Stylists Guild Awards
Best Contemporary Hair Styling in Feature Length Motion Picture
Elizabeth Yianni-Georgiou
Nominated
[253]

Best Contemporary Make-Up in Feature Length Motion Picture
Elizabeth Yianni-Georgiou
Won

Best Special Make-Up Effects in Feature Length Motion Picture
David White
Won

People's Choice Awards
Favorite Movie
Guardians of the Galaxy
Nominated
[254]

Favorite Action Movie
Guardians of the Galaxy
Nominated

Favorite Action Movie Actress
Zoe Saldana
Nominated

MTV Movie Awards
Movie of the Year
Guardians of the Galaxy
Nominated
[255]

Best Male Performance
Chris Pratt
Nominated

Best On-Screen Duo
Bradley Cooper and Vin Diesel
Nominated

Best Shirtless Performance
Chris Pratt
Nominated

Best Musical Moment
Chris Pratt
Nominated

Best Comedic Performance
Chris Pratt
Nominated

Best On-Screen Transformation
Zoe Saldana
Nominated

Best Hero
Chris Pratt
Nominated

Satellite Awards
Best Visual Effects
Stephane Ceretti
Nominated
[256]

Phoenix Film Critics Society
Top 10 Films of the Year
Guardians of the Galaxy
Won
[257]

Best Ensemble Acting
Guardians of the Galaxy
Nominated

Best Live Action Family Film
Guardians of the Galaxy
Nominated

Best Visual Effects
Stephane Ceretti
Nominated

Houston Film Critics Society Awards
Best Picture
Guardians of the Galaxy
Nominated
[258]

Best Poster
Guardians of the Galaxy
Nominated

Art Directors Guild Awards
Excellence in Production Design for a Fantasy Film
Charles Wood
Won
[259]

Writers Guild of America Awards
Best Adapted Screenplay
James Gunn and Nicole Perlman
Nominated
[260]

British Academy Film Awards
Best Special Visual Effects
Stephane Ceretti, Paul Corbould, Jonathan Fawkner, Nicolas Aithadi
Nominated
[261]

Best Makeup and Hair
Elizabeth Yianni-Georgiou and David White
Nominated

Academy Awards
Best Visual Effects
Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould
Nominated
[262]

Best Makeup and Hairstyling
Elizabeth Yianni-Georgiou and David White
Nominated

Saturn Awards
Best Comic-to-Film Motion Picture
Guardians of the Galaxy
Won
[263]

Best Director
James Gunn
Won

Best Writing
James Gunn and Nicole Perlman
Nominated

Best Actor
Chris Pratt
Won

Best Editing
Fred Raskin, Craig Wood and Hughes Winborne
Nominated

Best Production Design
Charles Wood
Nominated

Best Costume
Alexandra Byrne
Nominated

Best Make-up
David White and Elizabeth Yianni-Georgiou
Won

Best Special Effects
Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould
Nominated

Hugo Awards (Science Fiction Achievement Awards)
Best Dramatic Presentation (Long Form)
James Gunn (director, screenplay), Nicole Perlman (screenplay)
Won

text: Sequels[edit]

text: Guardians of the Galaxy Vol. 2[edit]

text: Guardians of the Galaxy Vol. 2 was released on May 5, 2017, again written and directed by James Gunn.[264] Pratt, Saldana, Bautista, Diesel, Cooper, Rooker, Gillan, and Sean Gunn all reprise their roles in the film,[265] and are joined by Pom Klementieff as Mantis,[5][266] Elizabeth Debicki as Ayesha, Chris Sullivan as Taserface, and Kurt Russell as Quill's father Ego.[5][265]

text: Guardians of the Galaxy Vol. 3[edit]

text: In April 2017, Gunn announced he would return to write and direct Guardians of the Galaxy Vol. 3.[267] It is scheduled to be released in 2020.[268]


document_title: Train horn

question_text: when do trains have to blow their horns

question_tokens: when do trains have to blow their horns

root

text: Train horn

text: History and background[edit]

text: Trains move on fixed rails, making them uniquely susceptible to collision. This susceptibility is exacerbated by the enormous weight and inertia of a train, which make it difficult to quickly stop when encountering an obstacle. Also, trains generally do not stop at grade crossings (level crossings), instead relying upon pedestrians and vehicles to clear the tracks when they pass. Therefore, from their beginnings locomotives have been equipped with loud horns or bells to warn vehicles or pedestrians that they are coming. Steam locomotives had steam whistles, operated from steam produced by their boilers.

tag: p

text: As Diesel locomotives began to replace steam on most railroads during the mid-20th century, it was realized that the new locomotives were unable to utilize the steam whistles then in use. Early internal combustion locomotives were initially fitted with small truck horns or exhaust-powered whistles, but these were found to be unsuitable and hence the air horn design was scaled up and modified for railroad use. Early train horns often were tonally similar to the air horns still heard on road-going trucks today. It was found that this caused some confusion among people who were accustomed to steam locomotives and the sound of their whistles; when approaching a grade crossing, when some people heard an air horn they expected to see a truck, not a locomotive, and accidents happened. So, locomotive air horns were created that had a much higher, more musical note, tonally much more like a steam whistle. This is why most train horns have a unique sound, different from that of road going trucks, although many switch engines, which didn't see road service (service on the main lines), retained the deeper truck-like horns.

text: Strict regulations specific to each country specify how loud horns must be, and how far in advance of grade crossings and other locations locomotive engineers are required to sound their horns to give adequate time to clear the tracks. Standard signals consisting of different sequences of horn blasts must be given in different circumstances.

text: Due to the encroachment of development, some suburban dwellers have opposed railroad use of the air horn as a trackside warning device.[1] Residents in some communities have attempted to establish quiet zones, in which train crews are instructed not to sound their horns, except in case of emergency.[2]

text: Recent years have seen an increase of horn theft from railroad property.[3]

text: Operation[edit]

text: Train horns are operated by compressed air, typically 125-140 psi (8.6-9.6 bar), and fed from a locomotive main air reservoir. When the engineer opens the horn valve, air flows through a supply line into the power chamber at the base of the horn (diagram, right). It passes through a narrow opening between a nozzle and a circular diaphragm in the power chamber, then out through the flaring horn bell. The flow of air past the diaphragm causes it to vibrate or oscillate against the nozzle, producing sound.

text: Keep in mind that when an Air horn is not operating and has no Fluid pressure flowing through it, the interior of the power chamber housing is completely air tight, as the Diaphragm disc creates a full air tight seal against the nozzle surface. Referring to the cut-away blueprint diagram of a conventional air horn power chamber on the right, when a constant stream of pressurised Fluid enters through the small inlet at the bottom, the pressure in the power chamber increases as it is air tight internally. The pressure continues rising in Chamber 'A' until the air pressure overcomes the spring tension of the Diaphragm. Once this occurs, the Diaphragm is deflected back, and in such, is no longer sealed against the nozzle. From this, the interior of the power chamber is now no longer air tight, as the Diaphragm has deflected off the nozzle. As a result, the pressurised Fluid now escapes out of the horn bell. Because the pressurised Fluid exits through the horn bell at a much faster rate than the Fluid enters into the power chamber through the base air inlet, the air pressure in the power chamber drops rapidly. As such, the Diaphragm re-seats itself against the nozzle surface. This entire process is one cycle of the Diaphragm operating. In reality, this operation process occurs much faster in accordance to the Frequency produced by the horn. The constant back and forth Oscillation of the Diaphragm creates sound waves, which are then amplified by the large flared horn bell. The length, thickness and diameter of the horn bell contribute to the Frequency of the note produced by the horn.

text: When vibrated by the diaphragm, the column of air in the bell oscillates with standing waves. The length of the bell determines the wavelength of the sound waves, and thus the fundamental frequency (pitch) of the note produced by the horn (measured in hertz). The longer the horn bell, the lower the note.

text: North American diesel locomotives manufactured prior to the 1990s utilized an air valve actuated by the engineer through the manipulation of a lever or pull cord. Use of this method made possible a practice known as "feathering", meaning that modulation of the horn's volume was possible through finer regulation of the air valve.

text: Many locomotives manufactured during the 1990s made use of pushbutton controls. In addition, several North American locomotives incorporated a sequencer pedal built into the cab floor beneath the operators position; that when depressed, sounded the grade crossing sequence.

text: Locomotives of European origin have featured pushbutton control of air horns since the mid-1960s.

text: Current production locomotives from GE Transportation Systems and Electro-Motive Diesel utilize a lever-actuated solenoid valve.

text: United States[edit]

text: On April 27, 2005, the Federal Railroad Administration (FRA), which enforces rail safety regulations, published the final rule on the use of locomotive horns at highway-rail grade crossings.[4][5] Effective June 24, 2005, the rule requires that locomotive horns be sounded at all public grade crossings at least 15 seconds, but not more than 20 seconds before entering a crossing.[6] This rule applies when the train speed is below 45 mph (70 km/h). At 45 mph or above, trains are still required to sound their horn at the designated location (usually denoted with a whistle post).

text: The pattern for blowing the horn remains two long, one short, and one long. This is to be repeated or prolonged as necessary until the lead locomotive fully occupies the crossing. Locomotive engineers retain the authority to vary this pattern as necessary for crossings in close proximity, and are allowed to sound the horn in emergency situations no matter where the location.

text: A ban on sounding locomotive horns in Florida was ordered removed by the FRA after it was shown that the accident rate doubled during the ban.[7] The new ruling preempts any state or local laws regarding the use of the train horn at public crossings.[8] This also provides public authorities the option to maintain and/or establish quiet zones provided certain supplemental or alternative safety measures are in place, and the crossing accident rate meets government standards.

text: The following are the required horn signals listed in the operating rules of most North American railroads, along with their meanings. Signals are illustrated by an "o" for short sounds, and "–" for longer sounds. (Note that these signals and their indications are updated to reflect modern practice.) Those rules marked with an asterisk (*) must be sounded when and/or where applicable. Those signals without an asterisk convey information to employees; they must be used when voice communication is not available.

text:
Rule

Sequence
Indication[9]

14 (a)

o
Applying air brakes while standing.

14 (b)
*
– –
Proceeding. Releasing air brakes. This signal is often referred to as "whistling off," despite it being given by an air horn.

14 (f)
*
o o –
Acknowledging a flagman's stop signal.

14 (g)
*
o o
Acknowledging any signal not otherwise provided for.

14 (h)
*
o o o
Backing up.

14 (j)

o o o o
Calling for signals.

14 (l)
*
– – o –
1. Trains or engines approaching public highway grade crossings shall sound the horn at least 15 seconds, but no more than 20 seconds before the lead engine enters the crossing. Trains or engines travelling at speeds greater than 45 mph shall begin sounding the horn at or about, but not more than, one-quarter mile (1,320 feet) in advance of the nearest public crossing. Even if the advance warning provided by the horn will be less than 15 seconds in duration. This signal is to be prolonged or repeated until the engine or train occupies the crossing; or, where multiple crossing are involved, until the last crossing is occupied. 2. Approaching tunnels, yards, or other points where railroad workers may be at work. 3. Passing standing trains.

14 (m)
*
o
Approaching passenger station.

14 (o)

o –
Inspect train for a leak in brake pipe system or for brakes sticking.

14 (p)
*
Succession of sounds
Warning to people and/or animals.

14 (q)
*
– o
When running against the current of traffic: 1. Approaching stations, curves, or other points where view may be obscured: and 2. Approaching passenger or freight trains and when passing freight trains.

tag: table

text: Exception: Engine horn signals required by rules 14 (b) and 14 (h) do not apply after momentary stops in continuous switching movements.

text: Germany[edit]

text: Horn signals are regulated in the Zp category of the Eisenbahn-Bau- und Betriebsordnung. Their most common use today is when approaching a level crossing that lacks barriers, and for warning purposes.

text: Whistle posts are labeled with the letter "P" (for 'Pfeifen'). Common signals are:[10]

text:
Sequence
Meaning

_
Zp 1 - Generic "Attention" signal.

o
Zp 2 - Tighten handbrakes.

o o
Zp 3 - Strongly tighten handbrakes.

_ _
Zp 4 - Loosen handbrakes

ooo ooo ooo
Zp 5 - Emergency. Brake immediately.

_ o _
Zp 11 - Come. Used to call out for train staff.

text: France[edit]

text: Train horns are sounded where a whistle post (marked with the letter "S" for "siffler") is present. If the whistle post is labelled "J" (meaning "jour"), the horn is only to be sounded between 0700 and 2000. Horns must also be sounded when passing an oncoming train, and shortly before reaching the last car of the train.

text: India[edit]

text: The IRFCA FAQ lists the following:[11]

text:
'o' : denotes a short blast on the horn.
'--' : denotes a comparatively long blast on the horn.
'-----' : denotes a longer blast on the horn.
'----------' : denotes a very long blast on the horn.

text: Code [ o ] - Before Starting:

text:
Indication to driver of the assisting engine that driver of leading engine is ready to start.
Acknowledgement by the driver of the assisting engine.
Engine ready to leave yard
Engine ready to go to loco yard
Light loco or shunter about to move

tag: ul

text: Code [ o ] - On the run:

text:
Assistance of other engine not required
Acknowledgement by driver of the assisting engine

text: Code [ -- ]

text:
Normal departure from station on receipt of clear signal. This is usually followed by another long blast about 10–20 seconds after the first one, after the guard's all-right signal is received.
Beginning of shunting operation (if shunted rake has passengers in it)

text: Code [ o o ]

text:
Call for guard's signal
Signals not exchanged by guard
Signals not exchanged by station staff

text: Code [ -- o ]

text:
Guard to release brakes
Before starting engine from a midsection/station
Main Line clear

text: Code [ o o o ]

text:
Guard to apply brakes
Train out of control, guard to assist

text: Code [ o o -- ]

text: Sudden loss of brake pressure or vacuum (perhaps by alarm chain being pulled)

text: Code [ o o o o ]

text:
Train cannot proceed on account of accident, failure or other cause
Protect train in rear

text: Code [ -- -- o o ]

text: Call for guard to come to engine

text: Code [ o -- o ]

text:
Token not received
Token missed
With wrong authority to proceed
Passing stop signal at 'on' on proper authority

text: Code [ ----- ] - Before Starting

text:
Vacuum recreated on ghat section, remove sprags
Passing automatic 'stop' signal at 'On'

text: Code [ ----- ] - On the run

text: Acknowledgement of guards signal

text: Code [ ---------- ]

text:
Approaching level crossing or tunnel area
Recall staff protecting train in rear
Material train ready to leave
Running through a station
Approaching a stop signal at 'on'
Detained at stop signal
Crossing stop signal at 'on' after waiting the stipulated time.

text: Code [ -- o -- o ]

text:
Alarm chain pulled
Insufficient vacuum in engine
Guard applies vacuum brakes.

text: Code [ -- -- ]

text: Raise Pantograph (electric loco only)

text: Code [ -- o -- ]

text: Lower Pantograph (electric loco only)

text: Code [ o o o o o o o o o ] (Frequently)

text:
Apprehension of danger
Danger signal to driver of an approaching train whose path is obstructed
Moving in wrong direction on a double line.
Also used by EMU motormen to warn passengers on a crowded platform of the approach of a fast train which will not stop at that station

text: United Kingdom[edit]

text: UK diesel and electric locomotives are usually fitted with two-tone horns, sounded sequentially to distinguish them from the horns used on road vehicles, and, in the past, both tones were routinely used. However, because of noise complaints, new rules were introduced in 2007:[12]

text:
The introduction of a night time quiet period, between 2300 and 0700 when trains will no longer routinely sound their horns at whistle boards (they will always sound their horns when people are seen on the track)
That where the technology is available, drivers should only use the low tone from the two tone horn at whistle boards.
For all new or replacement train horns on trains capable of travelling up to 160 km/h a much lower minimum sound pressure level has been established – and a maximum sound level has been introduced (min 101 dB and max 106 dB)

tag: ol

text: Placement on locomotives[edit]

text: As many individuals do with their personal vehicles, railroads order locomotives with different options in order to suit their operating practices. Air horns are no exception, and railroad mechanical forces mount these on locomotives where they are deemed most effective at projecting sound, and for ease of maintenance.

text:
Horn mounted on MBTA Commuter Rail control car when in Push Pull Mode

Nathan K5LA mounted atop a San Diego Coaster Cab Car

Horn mounted in the middle section of the roof on a GE locomotive

Typical horn mounting location on European locomotives

Low horn mounting location on a European locomotive. The horn is visible above the right side buffer.

text: Audio samples[edit]

text: Wikimedia Commons has media related to Train horns.

text: The following are samples of select air horns as used in North American railroad service:[13]

text:
AirChime K5LA

(329 KB)

Problems playing this file? See media help.

Leslie A200-156

(127 KB)

Problems playing this file? See media help.

text:
Leslie S-3L

(187 KB)

Problems playing this file? See media help.

Leslie S-5T

(275 KB)

Problems playing this file? See media help.

text:
Nathan M5

(277 KB)

Problems playing this file? See media help.

Nathan P5

(358 KB)

Problems playing this file? See media help.

text:
Prime PM-920

(312 KB)

Problems playing this file? See media help.

Prime PM-990

(301 KB)

Problems playing this file? See media help.

text:
WABCO E2

(243 KB)

Problems playing this file? See media help.

WABCO E2-B1

(274 KB)

Problems playing this file? See media help.

text: Manufacturers[edit]

text: North America[edit]

text: AirChime, Ltd.[edit]

text: AirChime, Ltd. traces their beginnings through the work of Robert Swanson in 1949. Prior to the early 1950s, locomotives were equipped with air horns that sounded a singular note.

text: Swanson sought to develop an air horn which would mimic the sound of a classic steam whistle. Using ancient Chinese musical theory, Swanson produced the six-note model 'H6'. This was impractical for railroad use, due to its relatively large size. Railroad equipment operates over routes restricted by loading gauge, a difference of only a few inches may prohibit that equipment from operating on the line in question.

text: Swanson would later refine his 'H6' into the model 'H5'. As the numeric designation indicates, the horn sounds a five-note chord.

text: In 1950, AirChime introduced the 'M' series, a further improvement on the earlier horns through elimination of unnecessary moving parts. Among the earliest customers of the AirChime 'M' was the Southern Railway, which sought replacement horns for their motive power. The company announced this program through the placement of a full-page advertisement in the May 25, 1951 edition of the Washington Times-Herald.

text: Under Swanson's guidance, AirChime would focus on ease of mass production, low maintenance, and reliability in their air horn design, with the development of the 'P' (1953), and 'K' (1954) series

text: AirChime has been sold to their American licensee, Nathan Manufacturing, Inc., a division of Micro Precision Group, Inc, in Windham, Connecticut.[14]

text: Buell Air Horns[edit]

text: Founded in 1912 as The American Strombos Co. of Philadelphia, PA, Buell sold modified marine horns for rail use. They were often installed on small locomotives, electric interurban equipment. and railcars (for example the Doodlebugs).

text: Buell has recently made available a line of air horns specific for railroad equipment.[15]

text: Gustin Bacon Mfg. Co.[edit]

text: The Gustin Bacon Mfg. Co. of Kansas City, MO offered airhorns for use on railroad equipment prior to the Second World War.

text: Leslie Controls, Inc.[edit]

text: Leslie Controls, Inc. (originally the Leslie Company of Lyndhurst, New Jersey, later Parsippany, finally relocating to Tampa, Florida in 1985) began horn production by obtaining the rights to manufacture the Kockums Mekaniska Verkstad product line of "Tyfon" brand airhorns, marketing these for railroad use beginning in the 1930s. Their model A200 series would later grace the rooftops of countless locomotives, such as the legendary Pennsylvania Railroad GG1, as well as thousands of EMD E and F-units. Leslie eventually introduced their own line of multi-note airhorns, known as the "Chime-Tone" series, in direct competition with AirChime.

text: Poor sales of the Chime-Tones (due to the horns requiring an ample volume of air) led the Leslie Company to introduce a new line of air horns utilizing interchangeable components while using less air to produce greater sound volume than the earlier "Tyfon" series. Developed by Kockums, this horn utilized a back-pressure power chamber design in order to enhance diaphragm oscillation. Known as the "SuperTyfon" series, these horns would eventually supplant the "Tyfon" in railroad service.

text: "SuperTyfon" horns were offered in single,[16] dual,[17] triple,[18] quad,[19] and five note[20] configurations.

text: Leslie Controls continues to manufacture "SuperTyfon" air horns for the railroad industry.[21]

text: Prime Manufacturing, Inc.[edit]

text: Prime Manufacturing, Inc. had produced locomotive appliances for many years prior to their entry into the air horn market in 1972. Their line of "Pneumatic Horns" was basically a derivative of the Leslie SuperTyfon design (having taken advantage of a patent expiration at the time), though their horns employed heavier castings than equivalents from Leslie, and sounding a somewhat richer timbre as a result.

text: Sales were brisk (railroads such as Union Pacific and the Burlington Northern were notable customers) but ultimately disappointing. Finding themselves increasingly unable to compete in a niche market dominated by Leslie Controls and AirChime, Prime ceased air horn production c. 1999.

text: Westinghouse Air Brake Co.[edit]

text: Westinghouse Air Brake Company (known throughout the 19th and 20th Century as WABCO) was the first to offer air horns specifically for use with railroad equipment, as early as the 1910s. Their model E2 was recognized by many for the deep, commanding tone it produced.

text: In response to the Leslie multi-note "Chime-Tone" series, Westinghouse offered a bracket to which three of their single-note "honkers" could be bolted onto, achieving the same result as what the Chime-Tones did for Leslie.

text: Overshadowed later on by Leslie and AirChime, WABCO eventually ceased production of most horns for the North American market.

text: At present, the company is known as Wabtec, Inc., and continues to offer their line of 'Pneumatic horns' for the export market.[22]

text: Australia[edit]

text: Railways in Australia often utilize the same type of air horns as their North American counterparts. Examples from both the Leslie Co. and AirChime Ltd. can be found there.

text: Notable horns used in Australian railways, sourced from the United States include the Leslie S5T, Leslie RS5T, Nathan Airchime P3, Nathan Airchime P5, and the unique Nathan Airchime K5UL-AU-LS.

text: In the earlier years of dieselisation in Australia, during the 1950's, the earliest diesel locomotives were fitted with two chime horns manufactured by the Westinghouse Air Brake Company in Australia. These two chime horns were the WABCO Pneuphonic AB, consisting of an 'A' single chime, and a 'B' single chime. When played together, the combination often sounded melodious due to the 'perfect 4th chord' produced when blowing in unison.

text: Throughout the early 1960's, the Roy-Victor-Butler (R.V.B) company of Spotswood, Victoria, manufactured and supplied the majority of horns fitted to the locomotives constructed from the late 1950's, to the late 1960's.

text: The R.V.B horns fitted to the majority of locomotives used in Victoria (Australia) during the late 1950's to 1960's, were the 3 chime models. They were not very effective and seldom operated as intended. Not to mention, they produced a very displeasing sound, eventually resulting in their nickname "screaming cats".

text: The company specialised in producing pneumatic tyre pressure gauge meters, tyre air pumps, valves, as well as small automotive klaxons. In fact, many vintage Holden and Ford vehicles may be found to have R.V.B electric snail horns fitted to them.

text: Three chime R.V.B horns have also been fitted to the older Electric Multiple Units (EMU's) operating in Victoria. The old Swing Door (train) and Tait (train) EMU's of the 1920's and 1930's, were fitted with R.V.B three chimes, while the Harris (train) (1950's & 60's), Hitachi (train) (1970's), and Comeng (train) (1980's) were also fitted with R.V.B three chime horns.

text: From the mid 1960's, the railroads in Australia commenced sourcing horns from the United States. These horns were manufactured by the two main companies: Nathan Manufacturing, and Leslie Controls.

text: Many of the older Australian Commonwealth Railways GM class diesel locomotives were re-fitted with Leslie S5T's, as did the Commonwealth Railways CL class, with their horns re-located behind the pilot after their rebuild and consequent re-classing to CLP, and CLF.

text: A large order of Leslie S5T's took place in 1976 - 1977 in preparation for the Clyde Engineering built 'C' class diesel locomotives, which were constructed from 1977 - 1978. All the C classes were fitted with round-back Leslie S5T's as standard.

text: Through to the early to mid 1980's, with the Leslie company replacing their 'S' line of horns with the more improved 'RS' line of horns, the A class (rebuilt from B classes in 1983), N class, 1st & 2nd order G class and BL class diesel locomotives all received Leslie RS5T's as standard horns.

text: The RS5T's are somewhat more reliable than the previous S5T horns, however the sound produced by the RS5T tends to be flatter sounding, and harsher compared to the deeper and throatier sound emitted by the earlier S5T's.

text: Most of the X class diesel locomotives received Nathan Airchime P5 horns in the mid 1980's, to replace the wretched and unpopular fleet of R.V.B 3 chime horns originally mounted on the X class. Originally, it was thought of to replace the R.V.B's on the X classes, with the Leslie RS5T, however, this was deemed inappropriate due to the large size of the Leslie 5 chime horns, which would consequently reduce visibility significantly. Another factor was the Leslie horns were much dearer in price than the Nathan P5. And so the X classes received Nathan P5's, one mounted on the nose and one on the roof.

text: Third and fourth order G class diesel locomotives all received the identical Nathan P5's which the X classes received during the mid 1980's. This was to reduce costs, as the Leslie RS5T's were much dearer, as stated earlier.

text: The AN class diesel locomotive is thought to be the final class fitted with Leslie RS5T's in the factory.

text: The older S class diesel locomotives were fitted with R.V.B 3 chime horns originally. Only a very small amount still retain these. Most have been replaced with Nathan P5's. S307 and S317 were fitted with Leslie 5 chime horns. 307 was fitted with a Leslie RS5T, while 317 was fitted with a Leslie S5T. Both locomotives have air restricting components built in to the air feed to the horns, to reduce noise pollution.

text: Locomotives built from the mid 2000's to current, were fitted with Nathan Airchime K5UL-AU-LS five chime horns. The 'UL' in K5UL, denotes an 'Ultra-Low' manifold, which was fabricated in order for the horn to be as low as possible when mounted, in order to comply with the tight loading gauge in Australia. The AU, in K5UL-AU, denotes 'Australian market' as these horns were designed by Nathan Airchime in the United States specially for use in Australia. The 'LS' in K5UL-AU-LS, denotes 'Low-Sound' as these horns have multiple air inlets on the manifold, enabling low sound output in populated areas, as well as regular loud operation for general use.


document_title: High School Football National Championship

question_text: who won the high school football national championship

text: Selectors[edit]

text:
Selector
Years

National Sports News Service (NSNS)
1910–1916, 1918–1943, 1946–1999

Louisiana Sports Association (LSA)
1938–39

USA TODAY (USA)
1982–present

National Prep Poll (NPP)
1987–present

MaxPreps Freeman Computer Rankings (Freeman)
2004–present

MaxPreps Composite Rankings (MPComposite)
2013–present

High School Football America Top 25 (Algorithm)
2012–present

text: National Champions by year[edit]

text:
Year
Champion(s)
Record
Coach
Selector(s)

1910
Oak Park, IL
10–2
Robert Zuppke
NSNS

1911
Oak Park, IL
10–0
Robert Zuppke
NSNS

1912
Oak Park, IL
10–0
Robert Zuppke
NSNS

1913
Oak Park, IL
10–1
Glenn Thistlewaite
NSNS

1914
Everett, MA
13–0
Cleo O'Donnell
NSNS

1915
Detroit, MI, Central
11–0–1
Edbert C. Buss
NSNS

Everett, MA
11–0–1
Cleo O'Donnell
NSNS

1916
San Diego, CA
Scott, Toledo, Ohio

12-0-0
10-0-0

Nibs Price
Tom Merrell

NSNS
NSNS

1917
No Known Champion

1918
Harrisburg, PA, Tech
9–0
Paul Smith
NSNS

1919
Harrisburg, PA, Tech
12–0
Paul Smith
NSNS

1920
Everett, WA
9–0–1
Enoch Bagshaw
NSNS

Oak Park, IL
9–0–1
Glenn Thistlewaite
NSNS

1921
Jacksonville, FL, Duval
8–0
Unknown
NSNS

1922
Toledo, OH, Scott
9–0
Dr. William A. Neill
NSNS

1923
East Cleveland, OH, Shaw
9–1
John Snavely
NSNS

Toledo, OH, Scott
10–0
Dr. William A. Neill
NSNS

1924
Toledo, OH, Waite
10–0
Joe C. Collins
NSNS

1925
Pine Bluff, AR
16–0
Foy Hammons
NSNS

1926
Tuscaloosa, AL
9–0
Paul Burnum
NSNS

1927
Waco, TX
14–0
Paul Tyson
NSNS

1928
Medford, OR
9–0
Prink Callison
NSNS

1929
Tuscaloosa, AL
9–0
Paul Burnum
NSNS

1930
Phoenix, AZ, Union
13–0
R.R. Robinson
NSNS

1931
Ashland, KY
10–0
Paul Jenkins
NSNS

1932
Toledo, OH, Waite
12–0
Donald McCallister
NSNS

1933
Oklahoma City, OK, Capitol Hill
12–0
Jim Lookabaugh
NSNS

1934
Canton, OH, McKinley
11–0
Jimmy Aiken
NSNS

1935
Massillon, OH, Washington
10–0
Paul Brown
NSNS

1936
Massillon, OH, Washington
10–0
Paul Brown
NSNS

1937
Chicago, IL, Austin
10–0
William Heiland
NSNS

1938
Louisville, KY, Manual
10–0
Ray Baer
LSA,[2] NSNS

1939
Massillon, OH, Washington
10–0
Paul Brown
NSNS

Pine Bluff, AR
11–0–1
Allen Dunaway
LSA[2]

1940
Massillon, OH, Washington
10–0
Paul Brown
NSNS

1941
Chicago, IL, Leo
11–0
Whitey Cronin
NSNS

1942
Miami, FL
9–0
Lyles Alley
NSNS

1943
Miami, FL
9–0
Tom Moore
NSNS

1944
No Award Made

1945
No Award Made

1946
Little Rock, AR, Senior
14–0
Raymond Burnett
NSNS

1947
East Chicago, IN, Roosevelt
9–0
Unknown
NSNS

Lynn, MA, Classical
11–1
Bill Joyce [1]
NSNS

1948
Waco, TX
14–0
Carl Price
NSNS

1949
Wichita Falls, TX
14–0
Joe Golding
NSNS

1950
Massillon, OH, Washington
10–0
Chuck Mather
NSNS

1951
Weymouth, MA
9–0
Harry Arlanson [2]
NSNS

1952
Massillon, OH, Washington
10–0
Chuck Mather
NSNS

1953
Massillon, OH, Washington
10–0
Chuck Mather
NSNS

1954
Vallejo, CA
9–0
Bob Patterson
NSNS

1955
San Diego, CA
12–0
Duane Maley
NSNS

1956
Abilene, TX
14–0
Charles Moser
NSNS

1957
Little Rock, AR, Central
12–0
Wilson Matthews
NSNS

Downey HS, Downey, California
11–0

NSNS

1958
Oak Ridge, TN, Oak Ridge
10–0
Jack Armstrong
NSNS

1959
Massillon, OH, Washington
10–0
Leo Strang
NSNS

1960
Miami, Fla.
8-0-2
Ottis Mooney
NSNS

1961
Massillon, OH, Washington
11–0
Leo Strang
NSNS

1962
Valdosta, GA
12–0
Wright Bazemore
NSNS

1963
Chicago, IL, St. Rita
9–0
Edward Buckley
NSNS

1964
Coral Gables, FL
12–0
Nick Kotys
NSNS

1965
Miami, FL
12–0
Robert Carlton
NSNS

1966
Pico Rivera, CA, El Rancho
13–0
Ernest Johnson
NSNS

1967
Austin, TX, Reagan
14–0
Travis Raven
NSNS

Coral Gables, FL
13–0
Nick Kotys
NSNS

1968
Austin, TX, Reagan
15–0
Travis Raven
NSNS

Coral Gables, FL
12–1
Nick Kotys
NSNS

1969
Coral Gables, FL
11–0
Nick Kotys
NSNS

Valdosta, GA
12–0–1
Wright Bazemore
NSNS

1970
Reagan, Austin, Texas
14–1
Travis Raven
NSNS

1971
Valdosta, GA
13–0
Wright Bazemore
NSNS

1972
Bristol, TN
13–0
John Cropp
NSNS

1973
Chattanooga, TN, Baylor
13–0
E. B. Etter
NSNS

1974
Thomasville, GA
12–1
Jim Hughes
NSNS

1975
Los Angeles, CA, Loyola
13–0
Marty Shaughnessy
NSNS

1976
Moeller, Cincinnati, Oh
12-0
Gerry Faust
NSNS

Warner Robins, Warner Robins, Ga.
13-0
Robert Davis
NSNS

1977
Cincinnati, OH, Moeller
12–0
Gerry Faust
NSNS

1978
Annandale, VA
14–0
Bob Hardage
NSNS

1979
Cincinnati, OH, Moeller
12–0
Gerry Faust
NSNS

1980
Cincinnati, OH, Moeller
13–0
Gerry Faust
NSNS

1981
Warner Robins, GA
15–0
Robert Davis
NSNS

1982
Cincinnati, OH, Moeller
13–0
Steve Klonne[3]
NSNS, USA

1983
Berwick Area, PA
13–0
George Curry
NSNS, USA

1984
Valdosta, GA
15–0
Nick Hyder
NSNS, USA

1985
East St. Louis, IL
14–0
Bob Shannon
NSNS, USA

1986
Valdosta, GA
15–0
Nick Hyder
NSNS, USA

1987
Fontana, CA
14–0
Dick Bruich
NPP

Pittsburgh, PA, North Hills
13–0
Jack McCurry
USA

Plano, TX
16–0
Gerald Brence
NSNS

1988
Pensacola, FL, Pine Forest
14–0
Carl Madison
NSNS, USA

Prichard, AL, Vigor
13–0
Harold Clark
NPP

1989
Cleveland, OH, St. Ignatius
13–0
Chuck Kyle
USA

Odessa, TX, Permian
16–0
Gary Gaines
NPP, NSNS

1990
Houston, Texas Aldine High School
15–0
Bill Smith
NPP

Lawton, OK, Eisenhower
14–0
Tim Reynolds
USA

Ruston, LA
14–0
Jimmy "Chick" Childress
NSNS

1991
Indianapolis, IN, Ben Davis
14–0
Dick Dullaghan
NPP, NSNS

LaGrange, GA
15–0
Gary Guthrie
USA

1992
Berwick Area, PA
15–0
George Curry
USA

Valdosta, GA
14–0
Nick Hyder
NPP, NSNS

1993
Cleveland, OH, St. Ignatius
14–0
Chuck Kyle
NPP, NSNS, USA

1994
Concord, CA, De La Salle
13–0
Bob Ladouceur
NPP, NSNS

Santa Ana, CA, Mater Dei
14–0
Bruce Rollinson
USA

1995
Berwick Area, PA
15–0
George Curry
USA

Cleveland, OH, St. Ignatius
14–0
Chuck Kyle
NPP, NSNS

1996
Hampton, VA
14–0
Mike Smith
NPP, NSNS

Santa Ana, CA, Mater Dei
14–0
Bruce Rollinson
USA

1997
Canton, OH, McKinley
14–0
Thom McDaniels
USA

Hampton, VA
13–0
Mike Smith
NPP, NSNS

1998
Concord, CA, De La Salle
12–0
Bob Ladouceur
NPP, NSNS, USA

1999
Concord, CA, De La Salle
12–0
Bob Ladouceur
NSNS

Midland, TX, Lee
15–0
John Parchman
USA

Shreveport, LA, Evangel Christian
15–0
Dennis Dunn
NPP

2000
Concord, CA, De La Salle
13–0
Bob Ladouceur
NPP, USA

2001
Concord, CA, De La Salle
12–0
Bob Ladouceur
NPP, USA

2002
Concord, CA, De La Salle
13–0
Bob Ladouceur
NPP, USA

2003
Concord, CA, De La Salle
13–0
Bob Ladouceur
NPP, USA

2004
Southlake, TX, Carroll
16–0
Todd Dodge
NPP, USA

2005
Lakeland, FL
15–0
Bill Castle
USA

Southlake, TX, Carroll
16–0
Todd Dodge
NPP, Freeman

2006
Lakeland, FL
15–0
Bill Castle
NPP

Southlake, TX, Carroll
16–0
Todd Dodge
USA, Freeman

2007
Cincinnati, OH, St. Xavier
15–0
Steve Specht
NPP, Freeman

Miami, FL, Northwestern
15–0
Billy Rolle
USA

2008
Fort Lauderdale, FL, St. Thomas Aquinas
15–0
George Smith
NPP, USA, Freeman

2009
Ramsey, NJ, Don Bosco Prep
12–0
Greg Toal
NPP, USA, Freeman

2010
Fort Lauderdale, FL, St. Thomas Aquinas
15–0
George Smith
NPP

South Panola, MS
15–0
Lance Pogue
USA, Freeman

2011
Ramsey, NJ, Don Bosco Prep
11–0
Greg Toal
NPP, USA, Freeman

2012
River Ridge, LA, John Curtis Christian
14–0
J.T. Curtis
NPP, USA

2013
Miami, FL, Booker T. Washington
16-0
Jason Negro
NPP, USA

2014
Las Vegas, NV, Bishop Gorman
15–0
Tony Sanchez
NPP, USA

2015
Katy, TX
16-0
Gary Joseph
NPP

Las Vegas, NV, Bishop Gorman
15–0
Kenny Sanchez
USA

2016
Las Vegas, NV, Bishop Gorman
15–0
Kenny Sanchez
NPP, USA, Freeman, High School Football America

text: National Championships by school (multiple winners only)[edit]

text:
School
Championships
Years

Massillon, OH, Washington
9
1935, 1936, 1939, 1940, 1950, 1952, 1953, 1959, 1961

Concord, CA, De La Salle
7
1994, 1998, 1999, 2000, 2001, 2002, 2003

Valdosta, GA
6
1962, 1969, 1971, 1984, 1986, 1992

Miami, FL
5
1942, 1943, 1960, 1962,1965

Cincinnati, OH, Moeller
5
1976, 1977, 1979, 1980, 1982

Oak Park, IL
5
1910, 1911, 1912, 1913, 1920

Coral Gables, FL
4
1964, 1967, 1968, 1969

Austin, TX, Reagan
3
1967, 1968, 1970

Berwick, PA
3
1983, 1992, 1995

Cleveland, OH, St. Ignatius
3
1989, 1993, 1995

Southlake, TX, Carroll
3
2004, 2005, 2006

Las Vegas, NV, Bishop Gorman
3
2014, 2015, 2016

Canton, OH, McKinley
2
1997, 1998

Everett, MA
2
1914, 1915

Fort Lauderdale, FL, St. Thomas Aquinas
2
2008, 2010

Lakeland, FL
2
2005, 2006

Little Rock, AR, Central
2
1946, 1957

Odessa, TX, Permian
2
1972, 1989

Pine Bluff, AR
2
1925, 1939

Ramsey, NJ, Don Bosco Prep
2
2009, 2011

Santa Ana, CA, Mater Dei
2
1994, 1996

Toledo, OH, Scott
2
1922, 1923

Toledo, OH, Waite
2
1924, 1932

Tuscaloosa, AL
2
1926, 1929

Waco, TX,
2
1927, 1948

Warner Robins, GA
2
1976, 1981