document_title: Halloween (1978 film)

question_text: how old was michael myers when he killed his older sister

text: Halloween (1978 film)

text: Plot[edit]

text: On Halloween night 1963, in the town of Haddonfield, Illinois, six-year-old Michael Myers, dressed in a clown costume, stabs his older sister Judith to death with a knife in their home. Fifteen years later on October 30, 1978, Michael's psychiatrist, Dr. Samuel Loomis, and his colleague, Marion Chambers, arrive at Smith's Grove Sanitarium to escort Michael to court. Noticing that the patients are wandering about, Loomis gets out of the car to investigate, allowing Michael, who has escaped, to steal Loomis's car. Returning home to Haddonfield, Michael kills a mechanic for his uniform and steals a mask, some knives, and some rope from a local hardware store.

text: The following day, on Halloween, Michael stalks Laurie Strode. Throughout the day, Laurie notices Michael following her, but her friends Annie Brackett and Lynda Van der Klok dismiss her concerns. Loomis arrives in Haddonfield in search of Michael. After discovering that Judith Myers' headstone has been stolen from the local cemetery, he meets with Annie's father, Sheriff Leigh Brackett. The two begin their search at Michael's former home, where Loomis tries to warn the skeptical sheriff about the danger Michael poses, explaining that Michael is pure evil and capable of further violence, despite years of catatonia. Sheriff Brackett patrols the streets while Loomis waits and watches the house, expecting Michael to return there.

text: Later that night, Laurie babysits Tommy Doyle, while Annie babysits Lindsey Wallace just across the street, unaware that Michael has followed them. When Annie's boyfriend, Paul, calls her to come and pick him up, she takes Lindsey over to the Doyle house to spend the night with Laurie and Tommy. Annie is just about to leave in her car when Michael, who was hiding in the back seat, strangles her before slitting her throat, killing her.

text: Soon after, Lynda and her boyfriend Bob Simms arrive at the Wallace house. After having sex, Bob goes downstairs to get a beer for Lynda, but Michael stabs him and pins him to a wall, killing him. Michael then poses as Bob in a ghost costume and confronts Lynda, who teases him, to no effect. Annoyed, Lynda calls Laurie, but Michael strangles Lynda to death with the telephone wire just as Laurie picks up. Meanwhile, Loomis discovers the stolen car and begins searching the streets.

text: Suspicious, Laurie goes over to the Wallace house. There, she finds the bodies of Annie, Bob, and Lynda in an upstairs bedroom, as well as Judith Myers' headstone. Horrified, Laurie cowers in a hallway. Michael suddenly appears and attacks her, slashing her arm. Barely escaping, Laurie races back to the Doyle house. Michael gets in and attacks her again, but Laurie manages to fend him off long enough for Tommy and Lindsey to escape. Loomis sees the two children fleeing the house, and goes to investigate, finding Michael and Laurie fighting upstairs. Loomis shoots Michael six times, once point blank in the face and knocking him off the balcony. When Loomis goes to check on Michael's body, he finds it missing. Not surprised, Loomis stares off into the night, while Laurie begins sobbing in terror.

text: Cast[edit]

text:
Donald Pleasence as Dr. Sam Loomis
Jamie Lee Curtis as Laurie Strode
Nick Castle as Michael Myers / The Shape
Tony Moran as Michael Myers (unmasked)
Will Sandin as Michael Myers (age 6)
P. J. Soles as Lynda Van Der Klok
Nancy Kyes as Annie Brackett
Charles Cyphers as Sheriff Leigh Brackett
Kyle Richards as Lindsey Wallace
Brian Andrews as Tommy Doyle
John Michael Graham as Bob Simms
Nancy Stephens as Marion Chambers
Arthur Malet as Angus Taylor
Mickey Yablans as Richie Castle
Brent Le Page as Lonnie Elam
Adam Hollander as Keith
Sandy Johnson as Judith Margaret Myers
David Kyle as Danny Hodges
Peter Griffith as Morgan Strode
Robert Phalen as Dr. Terence Wynn

text: Analysis[edit]

text: Themes[edit]

text: Some feminist critics, according to historian Nicholas Rogers, "have seen the slasher movies since Halloween as debasing women in as decisive a manner as hard-core pornography."[9] Critics such as John Kenneth Muir state that female characters such as Laurie Strode survive not because of "any good planning" or their own resourcefulness, but sheer luck. Although she manages to repel the killer several times, in the end, Strode is rescued in Halloween and Halloween II only when Dr. Loomis arrives to shoot Myers.[10]

text: Other feminist scholars such as Carol J. Clover argue that despite the violence against women, Halloween and other slasher films turned women into heroines.[11] In many pre-Halloween horror films, women are depicted as helpless victims and are not safe until they are rescued by a strong masculine hero. Despite the fact that Loomis saves Strode, Clover asserts that Halloween initiates the role of the "final girl" who ultimately triumphs in the end. Strode fights back against Myers and severely wounds him.[12] Had Myers been a normal man, Strode's attacks would have killed him; even Loomis, the male hero of the story, who shoots Michael repeatedly at near point blank range with a large caliber handgun, cannot kill him.[13] Aviva Briefel argued that moments such as when Michael's face was temporarily revealed are meant to give pleasure to the male viewer. Briefel further argues that these moments are masochistic in nature and give pleasure to men because they are willingly submitting themselves to the women of the film; they submit themselves temporarily because it will make their return to authority even more powerful.[14] Critics, such as Pat Gill, see Halloween as a critique of American social values. She remarks that parental figures are almost entirely absent throughout the film, noting that when Laurie is attacked by Michael while babysitting, "No parents, either of the teenagers or of the children left in their charge, call to check on their children or arrive to keen over them."[15]

text: Another major theme found in the film is the dangers of premarital sex. Clover believes that killers in slasher films are fueled by a "psychosexual fury"[16] and that all the killings are sexual in nature. She reinforces this idea by saying that "guns have no place in slasher films" and when examining the film I Spit on Your Grave she notes that "a hands-on killing answers a hands-on rape in a way that a shooting, even a shooting preceded by a humiliation, does not."[17] Equating sex with violence is important in Halloween and the slasher genre according to Pat Gill, who made a note of this in her essay "The Monstrous Years: Teens, Slasher Films, and the Family". She remarks that Laurie's friends "think of their babysitting jobs as opportunities to share drinks and beds with their boyfriends. One by one they are killed ... by Michael Myers an asylum escapee who years ago at the age of six murdered his sister for preferring sex to taking care of him."[15]

text: The dangers of suburbia is another major theme that runs throughout the film and the slasher genre at large: Pat Gill states that slasher films "seem to mock white flight to gated communities, in particular the attempts of parents to shield their children from the dangerous influences represented by the city."[18] Halloween and slasher films, generally, represent the underside of suburbia.[19] Myers was raised in a suburban household and after he escapes the mental hospital he returns to his hometown to kill again; Myers is a product of the suburban environment.[18]

text: Michael is thought by some to represent evil in the film. This is based on the common belief that evil never dies, nor evil shows any remorse. This idea is demonstrated in the film when Dr. Loomis discusses Michael's history with the sheriff. Loomis states, "I spent eight years trying to reach him [Michael Myers], and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply ... evil." Loomis also refers to Michael as "evil" when he hijacks his car at the sanitarium.[20]

text: Carpenter himself dismisses the notion that Halloween is a morality play, regarding it as merely a horror film.[21] According to Carpenter, critics "completely missed the point there". He explains, "The one girl who is the most sexually uptight just keeps stabbing this guy with a long knife. She's the most sexually frustrated. She's the one that's killed him. Not because she's a virgin but because all that sexually repressed energy starts coming out. She uses all those phallic symbols on the guy."[21]

text: Aesthetic elements[edit]

text:
Historian Nicholas Rogers notes that film critics contend that Carpenter's direction and camera work made Halloween a "resounding success."[22] Roger Ebert remarks, "It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled, for example, at the use of foregrounds in his compositions, and everyone who likes thrillers knows that foregrounds are crucial . ... "[23]
The opening title, featuring a jack-o'-lantern placed against a black backdrop, sets the mood for the entire film. The camera slowly moves toward the jack-o'-lantern's left eye as the main title theme plays. After the camera fully closes in, the jack-o'-lantern's light dims and goes out. Film historian J.P. Telotte says that this scene "clearly announces that [the film's] primary concern will be with the way in which we see ourselves and others and the consequences that often attend our usual manner of perception."[24] Carpenter's first-person point-of-view compositions were employed with steadicam; Telotte argues, "As a result of this shift in perspective from a disembodied, narrative camera to an actual character's eye ... we are forced into a deeper sense of participation in the ensuing action."[25] Along with the 1974 Canadian horror film Black Christmas, Halloween made use of seeing events through the killer's eyes.[26]

text: The first scene of the young Michael's voyeurism is followed by the murder of Judith seen through the eye holes of Michael's clown costume mask. According to scholar Nicholas Rogers, Carpenter's "frequent use of the unmounted first-person camera to represent the killer's point of view ... invited [viewers] to adopt the murderer's assaultive gaze and to hear his heavy breathing and plodding footsteps as he stalked his prey."[22] Film analysts have also noted its delayed or withheld representations of violence, characterized as the "false startle" or "the old tap-on-the-shoulder routine" in which the stalkers, murderers, or monsters "lunge into our field of vision or creep up on a person."[27] Critic Susan Stark described the film's opening sequence in her 1978 review:

text: In a single, wonderfully fluid tracking shot, the camera establishes the quiet character of a suburban street, the sexual hanky-panky going on between a teenage couple in one of the staid-looking homes, the departure of the boyfriend, a hand in the kitchen drawer removing a butcher's knife, the view on the way upstairs from behind the eye-slits of a Halloween mask, the murder of a half-nude young girl seated at her dressing table, the descent downstairs and whammo! The killer stands speechless on the lawn, holding the bloody knife, a small boy in a satin clown suit with a newly-returned parent on each side shrieking in an attempt to find out what the spectacle means.[28]

text: Production[edit]

text: Concept[edit]

text: After viewing Carpenter's film Assault on Precinct 13 (1976) at the Milan Film Festival, independent film producer Irwin Yablans and financier Moustapha Akkad sought out Carpenter to direct a film for them about a psychotic killer that stalked babysitters.[29][30] In an interview with Fangoria magazine, Yablans stated: "I was thinking what would make sense in the horror genre, and what I wanted to do was make a picture that had the same impact as The Exorcist."[29] Carpenter agreed to direct the film contingent on his having full creative control,[31] and was paid $10,000 for his work, which included writing, directing, and scoring the film.[32] He and his then-girlfriend Debra Hill began drafting a story originally titled The Babysitter Murders.[33] Yablans subsequently suggested setting the movie on Halloween night and naming it Halloween instead, to which Carpenter agreed.[33][34]

text: Screenplay[edit]

text: It took approximately 10 days to write the screenplay.[33] Yablans and Akkad ceded most of the creative control to writers Carpenter and Hill (whom Carpenter wanted as producer), but Yablans did offer several suggestions. According to a Fangoria interview with Hill, "Yablans wanted the script written like a radio show, with 'boos' every 10 minutes."[29] By Hill's recollection, the script took three weeks to write,[35] and much of the inspiration behind the plot came from Celtic traditions of Halloween such as the festival of Samhain. Although Samhain is not mentioned in the plot of the first film, Hill asserts that:

text: ... the idea was that you couldn't kill evil, and that was how we came about the story. We went back to the old idea of Samhain, that Halloween was the night where all the souls are let out to wreak havoc on the living, and then came up with the story about the most evil kid who ever lived. And when John came up with this fable of a town with a dark secret of someone who once lived there, and now that evil has come back, that's what made Halloween work.[36]

text:
I met this six year old child with this blank, pale, emotionless face, and the blackest eyes; the devil's eyes ... I realized what was living behind that boy's eyes was purely and simply ... evil.
—Loomis' description of a young Michael was inspired by John Carpenter's experience with a real life mental patient[37]

tag: div

text: Hill, who had worked as a babysitter during her teenage years, wrote most of the female characters' dialogue,[38] while Carpenter drafted Loomis' speeches on the soullessness of Michael Myers. Many script details were drawn from Carpenter's and Hill's own backgrounds and early careers: The fictional town of Haddonfield, Illinois was derived from Haddonfield, New Jersey, where Hill was raised,[39] while several of the street names were taken from Carpenter's hometown of Bowling Green, Kentucky.[39] Laurie Strode was allegedly the name of one of Carpenter's old girlfriends,[40] while Michael Myers was the name of an English producer who had previously entered, with Yablans, Assault on Precinct 13 in various European film festivals.[29] Homage is also paid to Alfred Hitchcock with two characters' names: Tommy Doyle is named after Lt. Det. Thomas J. Doyle (Wendell Corey) from Rear Window (1954),[41] and Dr. Loomis' name was derived from Sam Loomis (John Gavin) from Psycho, the boyfriend of Marion Crane (Janet Leigh, who is the real-life mother of Jamie Lee Curtis).[33] Sheriff Leigh Brackett shared the name of a Hollywood screenwriter and frequent collaborator of Howard Hawks.[42]

text: In devising the backstory for the film's villain, Michael Myers, Carpenter drew on "haunted house" folklore that exists in many small American communities: "Most small towns have a kind of haunted house story of one kind or another," he stated. "At least that's what teenagers believe. There's always a house down the lane that somebody was killed in, or that somebody went crazy in."[43] Carpenter's inspiration for the "evil" that Michael would embody came from a visit he had taken during college to a psychiatric institution in Kentucky.[44] There, he visited a ward with his psychology classmates where "the most serious, mentally ill patients" were held.[44] Among those patients was an adolescent boy, who possessed a blank, "schizophrenic stare."[37] Carpenter's experience would inspire the characterization that Loomis would give of Michael to Sheriff Brackett in the film.[37]

text: Casting[edit]

text: The cast of Halloween included veteran actor Donald Pleasence and then-unknown actress Jamie Lee Curtis.[39] The low budget limited the number of big names that Carpenter could attract, and most of the actors received very little compensation for their roles. Pleasence was paid the highest amount at $20,000, Curtis received $8,000, and Nick Castle earned $25 a day.[29] The role of Dr. Loomis was originally intended for Peter Cushing, who had recently appeared as Grand Moff Tarkin in Star Wars (1977); Cushing's agent rejected Carpenter's offer due to the low salary.[45] Christopher Lee was also approached for the role; he too turned it down, although the actor would later tell Carpenter and Hill that declining the role was the biggest mistake he made during his career.[46] Yablans then suggested Pleasence, who agreed to star because his daughter Lucy, a guitarist, had enjoyed Assault on Precinct 13 for Carpenter's score.[47]

text: In an interview, Carpenter admits that "Jamie Lee wasn't the first choice for Laurie. I had no idea who she was. She was 19 and in a TV show at the time, but I didn't watch TV." He originally wanted to cast Anne Lockhart, the daughter of June Lockhart from Lassie, as Laurie Strode. However, Lockhart had commitments to several other film and television projects.[39] Hill says of learning that Jamie Lee was the daughter of Psycho actress Janet Leigh: "I knew casting Jamie Lee would be great publicity for the film because her mother was in Psycho."[48] Curtis was cast in the part, though she initially had reservations as she felt she identified more with the other female characters: "I was very much a smart alec, and was a cheerleader in high school, so [I] felt very concerned that I was being considered for the quiet, repressed young woman when in fact I was very much like the other two girls."[49]

text: Another relatively unknown actress, Nancy Kyes (credited in the film as Nancy Loomis), was cast as Laurie's outspoken friend Annie Brackett, daughter of Haddonfield sheriff Leigh Brackett (Charles Cyphers).[50] Kyes had previously starred in Assault on Precinct 13 (as had Cyphers) and happened to be dating Halloween's art director Tommy Lee Wallace when filming began.[51] Carpenter chose P. J. Soles to play Lynda Van Der Klok, another loquacious friend of Laurie's, best remembered in the film for dialogue peppered with the word "totally."[52]  Soles was an actress known for her supporting role in Carrie (1976) and her minor part in The Boy in the Plastic Bubble (1976).[53] According to Soles, she was told after being cast that Carpenter had written the role with her in mind.[54] Soles's then-husband, actor Dennis Quaid, was considered for the role of Bob Simms, Lynda's boyfriend, but was unable to perform the role due to prior work commitments.[55]

text: The role of "The Shape" — as the masked Michael Myers character was billed in the end credits — was played by Nick Castle, who befriended Carpenter while they attended the University of Southern California.[56] After Halloween, Castle became a director, taking the helm of films such as The Last Starfighter (1984), The Boy Who Could Fly (1986), Dennis the Menace (1993), and Major Payne (1995).[57]

text: Filming[edit]

text: Akkad agreed to put up $300,000 for the film's budget, which was considered low at the time[29] (Carpenter's previous film, Assault on Precinct 13, had an estimated budget of $100,000). Akkad worried over the tight, four-week schedule, low budget, and Carpenter's limited experience as a filmmaker, but told Fangoria: "Two things made me decide. One, Carpenter told me the story verbally and in a suspenseful way, almost frame for frame. Second, he told me he didn't want to take any fees, and that showed he had confidence in the project". Carpenter received $10,000 for directing, writing, and composing the music, retaining rights to 10 percent of the film's profits.[58]

text: Because of the low budget, wardrobe and props were often crafted from items on hand or that could be purchased inexpensively. Carpenter hired Tommy Lee Wallace as production designer, art director, location scout and co-editor.[59] Wallace created the trademark mask worn by Michael Myers throughout the film from a Captain Kirk mask[60] purchased for $1.98 from a costume shop on Hollywood Boulevard.[29][61] Carpenter recalled how Wallace "widened the eye holes and spray-painted the flesh a bluish white. In the script it said Michael Myers's mask had 'the pale features of a human face' and it truly was spooky looking. I can only imagine the result if they hadn't painted the mask white. Children would be checking their closet for William Shatner after Tommy got through with it."[29] Hill adds that the "idea was to make him almost humorless, faceless—this sort of pale visage that could resemble a human or not."[29] Many of the actors wore their own clothes, and Curtis' wardrobe was purchased at J. C. Penney for around a hundred dollars.[29] Wallace described the filming process as uniquely collaborative, with cast members often helping move equipment, cameras, and helping facilitate set-ups.[62]

text: Halloween was filmed in 20 days over a four-week period in May 1978.[63][64] Much of the filming was completed using a Steadicam, a then-new camera that allowed the filmmakers to move around spaces smoothly.[65] Filming locations included South Pasadena, California; Garfield Elementary School in Alhambra; and the cemetery at Sierra Madre, California. An abandoned house owned by a church stood in as the Myers house. Two homes on Orange Grove Avenue (near Sunset Boulevard) in Hollywood were used for the film's climax, as the street had few palm trees, and thus more closely resembled a Midwestern street.[66] Some palm trees, however, are visible in the film's earlier establishing scenes.[67] The crew had difficulty finding pumpkins in the spring, and artificial fall leaves had to be reused for multiple scenes.[68] Local families dressed their children in Halloween costumes for trick-or-treat scenes.[29]

text: Carpenter worked with the cast to create the desired effect of terror and suspense. According to Curtis, Carpenter created a "fear meter" because the film was shot out-of-sequence and she was not sure what her character's level of terror should be in certain scenes. "Here's about a 7, here's about a 6, and the scene we're going to shoot tonight is about a 9½", remembered Curtis. She had different facial expressions and scream volumes for each level on the meter.[29] Carpenter's direction for Castle in his role as Myers was minimal.[69] For example, when Castle asked what Myers' motivation was for a particular scene, Carpenter replied that his motivation was to walk from one set marker to another and "not act."[70] By Carpenter's account the only direction he gave Castle was during the murder sequence of Bob, in which he told Castle to tilt his head and examine the corpse as if it "were a butterfly collection."[71]

text: Musical score[edit]

text: Lacking a symphonic soundtrack, the film's score consists of a piano melody played in a 10/8 or "complex 5/4" time signature composed and performed by director Carpenter.[72] It took Carpenter three days to compose the entire score for the film. Critic James Berardinelli calls the score "relatively simple and unsophisticated", but admits that "Halloween's music is one of its strongest assets".[73] Carpenter stated in an interview, "I can play just about any keyboard, but I can't read or write a note."[74] In the end credits, Carpenter bills himself as the "Bowling Green Philharmonic Orchestra" for performing the film's score, but he did receive assistance from composer Dan Wyman, a music professor at San José State University.[29][75]

text: Some songs can be heard in the film, one being an untitled song performed by Carpenter and a group of his friends who formed a band called The Coupe De Villes. The song is heard as Laurie steps into Annie's car on her way to babysit Tommy Doyle.[29] Another song, "(Don't Fear) The Reaper" by classic rock band Blue Öyster Cult, appears in the film.[76]

text: The soundtrack was first released in the United States in October 1983, by Varèse Sarabande/MCA.[citation needed] It was subsequently released on Compact Disc in 1985, re-released in 1990, and again in 2000.[citation needed] On the film's 40th anniversary, coinciding with the release of Anthology: Movie Themes 1974–1998, a cover of the theme by Trent Reznor and Atticus Ross was released.[77]

text: Release[edit]

text: Theatrical distribution[edit]

text: Halloween premiered on October 25, 1978 in downtown Kansas City, Missouri at the AMC Empire theatre. Regional distribution in the Philadelphia and New York City metropolitan areas was acquired by Aquarius Releasing.[4] The film had its Los Angeles debut on October 27, 1978,[79] playing on 232 screens for a total of four weeks.[4] It opened in Pittsburgh, Pennsylvania, the following month on November 22, 1978.[80] The film grossed $47 million in the United States[8] and an additional $23 million internationally, making the theatrical total $70 million.[7]

text: On September 7, 2012, the official Halloween Movies Facebook page announced that the original Halloween would be theatrically re-released starting October 25, 2013 in celebration of the film's 35th anniversary in 2013. A new documentary was screened before the film at all locations, entitled, You Can't Kill the Boogeyman: 35 Years of Halloween, written and directed by HalloweenMovies.com webmaster Justin Beahm.[81][82]

text: Television rights[edit]

text: In 1980, the television rights to Halloween were sold to the National Broadcasting Company (NBC) for approximately $3 million.[83] After a debate among Carpenter, Hill and NBC's Standards and Practices over censoring of certain scenes, Halloween appeared on television for the first time in October 1981.[84] To fill the two-hour time slot, Carpenter filmed twelve minutes of additional material during the production of Halloween II. The newly filmed scenes include Dr. Loomis at a hospital board review of Michael Myers and Dr. Loomis talking to a then-6-year-old Michael at Smith's Grove, telling him, "You've fooled them, haven't you, Michael? But not me." Another extra scene features Dr. Loomis at Smith's Grove examining Michael's abandoned cell after his escape and seeing the word "Sister" scratched into the door.[83] Finally, a scene was added in which Lynda comes over to Laurie's house to borrow a silk blouse before Laurie leaves to babysit, just as Annie telephones asking to borrow the same blouse. The new scene had Laurie's hair hidden by a towel, since Curtis was by then wearing a much shorter hairstyle than she had worn in 1978.[85]

text: In August 2006, Fangoria reported that Synapse Films had discovered boxes of negatives containing footage cut from the film. One was labeled "1981" suggesting that it was additional footage for the television version of the film. Synapse owner Don May, Jr. said, "What we've got is pretty much all the unused original camera negative from Carpenter's original Halloween. Luckily, Billy [Kirkus] was able to find this material before it was destroyed. The story on how we got the negative is a long one, but we'll save it for when we're able to showcase the materials in some way. Kirkus should be commended for pretty much saving the Holy Grail of horror films."[86] It was later reported, "We just learned from Sean Clark, long time Halloween genius, that the footage found is just that: footage. There is no sound in any of the reels so far, since none of it was used in the final edit."[87]

text: Critical response[edit]

text: Contemporaneous[edit]

text: Upon its initial release, Halloween performed well with little advertising—relying mostly on word-of-mouth, but many critics seemed uninterested or dismissive of the film. Pauline Kael wrote a scathing review in The New Yorker suggesting that "Carpenter doesn't seem to have had any life outside the movies: one can trace almost every idea on the screen to directors such as Hitchcock and Brian De Palma and to the Val Lewton productions" and claiming that "Maybe when a horror film is stripped of everything but dumb scariness—when it isn't ashamed to revive the stalest device of the genre (the escaped lunatic)—it satisfies part of the audience in a more basic, childish way than sophisticated horror pictures do."[88]

text: The Los Angeles Times deemed the film a "well-made but empty and morbid thriller,"[90] while Bill von Maurer of The Miami Times felt it was "surprisingly good," noting: "Taken on its own level, Halloween is a terrifying movie–if you are the right age and the right mood."[91] Susan Stark of the Detroit Free Press branded Halloween a bourgeoning cult film at the time of its release, describing it as "moody in the extreme"  and praising its direction and music.[28] Some critics were less praising of the film, however, such as Lou Cedrone of The Baltimore Evening Sun who referred to it as "tediously familiar" and whose only notable element is "Jamie Lee Curtis, whose performance as the intended fourth victim, is well above the rest of the film."[92] Tom Allen of The Village Voice praised the film in his November 1978 review, noting it as sociologically irrelevant but ceding its Hitchcock-like technique as effective and "the most honest way to make a good schlock film". Allen pointed out the stylistic similarities to Psycho and George A. Romero's Night of the Living Dead (1968).[78]

text: The following month,  Voice lead critic Andrew Sarris wrote a follow-up feature on cult films, citing Allen's appraisal of Halloween and saying in the lead sentence that the film "bids fair to become the cult discovery of 1978. Audiences have been heard screaming at its horrifying climaxes".[93] Roger Ebert gave the film similar praise in his 1979 review in the Chicago Sun-Times, referring to it as "a visceral experience–we aren't seeing the movie, we're having it happen to us. It's frightening. Maybe you don't like movies that are really scary: Then don't see this one."[23] Ebert also selected it as one of his top ten films of 1978.[94] Once-dismissive critics were impressed by Carpenter's choice of camera angles and simple music, and surprised by the lack of blood and graphic violence.[73] On review aggregator website Rotten Tomatoes, the film has an approval rating of 95% based on 59 reviews, with an average rating of 8.6/10. The site's critical consensus reads, "Scary, suspenseful, and viscerally thrilling, Halloween set the standard for modern horror films."[95] On Metacritic, the film has a weighted average score of 80 out of 100 based on 12 critics, indicating "generally favorable reviews".[96]

text: Retrospective[edit]

text: Many compared the film with the work of Alfred Hitchcock, although TV Guide calls comparisons made to Psycho "silly and groundless"[97] and some critics in the late 1980s and early 1990s blamed the film for spawning the slasher subgenre, which they felt had rapidly descended into sadism and misogyny.[9][98] Scholars such as Adam Rockoff dispute the recurring descriptions of Halloween as overtly violent or gory, commenting that the film is in fact "one of the most restrained horror films," showing very little onscreen violence.[99] Almost a decade after its premiere, Mick Martin and Marsha Porter critiqued the first-person camera shots that earlier film reviewers had praised and later slasher-film directors utilized for their own films (for example, 1980's Friday the 13th). Claiming it encouraged audience identification with the killer, Martin and Porter pointed to the way "the camera moves in on the screaming, pleading, victim, 'looks down' at the knife, and then plunges it into chest, ear, or eyeball. Now that's sick."[98]

text: Years after its debut, Halloween enjoys a reputation as a classic[95] and is considered by many as one of the best films of 1978.[94][100][101][102][103]

text: Home media[edit]

text: Since Halloween's premiere, it has been released in several home video formats. Early VHS versions were released by Media Home Entertainment.[104] This release subsequently became a collectors' item, with one copy from 1979 selling on eBay for $13,000 in 2013.[104] On August 3, 1995, Blockbuster Video issued a commemorative edition of the film on VHS.[105]

text: The film was released for the first time on DVD in the United States by Anchor Bay Entertainment on October 28, 1997.[106] Over the ensuing years, Anchor Bay re-released the film on DVD in various editions; among these were an "extended edition," released in 1999, which features the original theatrical release with the scenes that were shot for the broadcast TV version edited in at their proper places.[107] The same year, Anchor Bay issued a two-disc limited edition, which featured both the theatrical and "extended editions," as well as lenticular cover art and lobby cards.[108] In 2003, Anchor Bay released a two-disc "25th Anniversary edition" with improved DiviMax picture and audio, along with an audio commentary by Carpenter, Curtis and Hill, among other features.[109]

text: On October 2, 2007, the film was released for the first time on Blu-ray by Anchor Bay.[110] The following year, a "30th Anniversary Commemorative Set" was issued, containing DVD and Blu-ray versions of the film, the sequels Halloween 4: The Return of Michael Myers and Halloween 5: The Revenge of Michael Myers, and a replica Michael Myers mask.[111] A 35th-anniversary Blu-ray was released in October 2013, featuring a new transfer supervised by cinematographer Dean Cundey.[112] This release earned a Saturn Award for Best Classic Film Release.[113] In September 2014, Scream Factory teamed with Anchor Bay Entertainment to release the film as part of a Blu-ray boxed set featuring every film in the series (up to 2009's Halloween II), made available as in a standard and limited edition.[114]

text: The film was released by Lionsgate Home Entertainment in a Ultra HD Blu-ray and Blu-ray edition for the film's 40th anniversary.

text: Accolades[edit]

text: Halloween was nominated for the Saturn Award for Best Horror Film by the Academy of Science Fiction, Fantasy & Horror Films in 1979, but lost to The Wicker Man (1973).[115] In 2001, Halloween ranked #68 on the American Film Institute TV program 100 Years ... 100 Thrills.[116] The film was #14 on Bravo's The 100 Scariest Movie Moments (2004).[117] Similarly, the Chicago Film Critics Association named it the 3rd scariest film ever made.[118] In 2006, Halloween was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."[119] In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time.[120] In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time.[121]

text: American Film Institute lists

text:
AFI's 100 Years ... 100 Thrills – #68
AFI's 100 Years ... 100 Heroes & Villains:
Michael Myers – Nominated Villain
AFI's 100 Years ... 100 Movies (10th Anniversary Edition) – Nominated

text: Influence[edit]

text: Halloween is a widely influential film within the horror genre; it was largely responsible for the popularization of slasher films in the 1980s. Halloween popularized many tropes that have become completely synonymous with the slasher genre. Halloween helped to popularize the final girl trope, the killing off of characters who are substance abusers or sexually promiscuous,[122] and the use of a theme song for the killer. Carpenter also shot many scenes from the perspective of the killer in order to build tension. These elements have become so established that many historians argue that Halloween is responsible for the new wave of horror that emerged during the 1980s.[123][124] Due to its popularity, Halloween became a blueprint for success that many other horror films, such as Friday the 13th and A Nightmare on Elm Street, would follow, and that others like Scream would satirise.[citation needed]

text: The major themes present in Halloween would also become common in the slasher films it inspired. Film scholar Pat Gill notes that in Halloween, there is a theme of absentee parents[15] but films such as A Nightmare on Elm Street and Friday the 13th feature the parents becoming directly responsible for the creation of the killer.[125]

text: There are slasher films that predated Halloween, such as Silent Night, Bloody Night (1972),  The Texas Chain Saw Massacre (1974) and Black Christmas (1974) which contained prominent elements of the slasher genre; both involving a group of teenagers being murdered by a stranger as well having the final girl trope. Halloween, however, is considered by historians as being responsible for the new wave of horror films, because it not only used these tropes but also pioneered many others.[123][124] Rockoff notes that it is "difficult to overestimate the importance of Halloween," noting its pioneering use of the final girl character, subjective point-of-view shots, and holiday setting.[126] Rockoff considers the film "the blueprint for all slashers and the model against which all subsequent films are judged."[126]

text: Related works[edit]

text: Novelization and video game[edit]

text: A mass market paperback novelization of the same name, written by Curtis Richards (a pseudonym that was used by author Richard Curtis), was published by Bantam Books in 1979. It was reissued in 1982.[127] it later went out of print. The novelization adds aspects not featured in the film, such as the origins of the curse of Samhain and Michael Myers' life in Smith's Grove Sanatorium, which contradict its source material. For example, the novel's version of Michael speaks during his time at the sanitarium;[128] in the film, Dr. Loomis states, "He hasn't spoken a word in fifteen years."

text: In 1983, Halloween was adapted as a video game for the Atari 2600 by Wizard Video.[129] None of the main characters in the game were named. Players take on the role of a teenage babysitter who tries to save as many children from an unnamed, knife-wielding killer as possible.[130] In another effort to save money, most versions of the game did not even have a label on the cartridge. It was simply a piece of tape with "Halloween" written in marker.[131] The game contained more gore than the film, however. When the babysitter is killed, her head disappears and is replaced by blood pulsating from the neck as she runs around exaggeratedly. The game's primary similarity to the film is the theme music that plays when the killer appears onscreen.[132]

text: Sequels and remake[edit]

text: Halloween spawned seven sequels, a 2007 remake directed by Rob Zombie, and a 2009 sequel to the remake,  which is unrelated to the sequel of the original.[133][134] Of these films, only the first sequel was written by Carpenter and Hill. It begins exactly where Halloween ends and was intended to finish the story of Michael Myers and Laurie Strode. Halloween II was a box office success, becoming the second-highest grossing horror film of 1981 behind An American Werewolf in London.[135] Carpenter did not direct any of the subsequent films in the Halloween series, although he did produce Halloween III: Season of the Witch (1982), the plot of which is unrelated to the other films in the series due to the absence of Michael Myers.[136] He, along with Alan Howarth, also composed the music for the second and third films. After the negative critical and commercial reception for Season of the Witch, the filmmakers brought back Michael Myers in Halloween 4: The Return of Michael Myers (1988), which was successful enough to warrant its own direct sequel with Halloween 5: The Revenge of Michael Myers (1989), as well as Halloween: The Curse of Michael Myers (1995).[137] Financier Moustapha Akkad continued to work closely with the Halloween franchise, acting as executive producer of every sequel until his death in the 2005 Amman bombings.[138]

text: With the exception of Halloween III, the sequels further develop the character of Michael Myers and the Samhain theme. Even without considering the third film, the Halloween series contains continuity issues, which some sources attribute to the different writers and directors involved in each film.[139]

text: A new sequel to the 1978 original was released in the United States in October 2018.  The 2018 sequel, directed by David Gordon Green, is set 40 years after the original film. The plot follows Laurie Strode as she prepares to face Michael Myers in a final confrontation when he returns to Haddonfield, Illinois to finish her off for escaping his killing spree on Halloween night in 1978. Jamie Lee Curtis and Nick Castle reprise their roles as Strode and Myers, respectively, with stuntman James Jude Courtney also portraying Myers. The film also stars Judy Greer, Andi Matichak, Will Patton, and Virginia Gardner. This sequel disregards the story lines of the previous sequels and continues with the original story line that ends at Halloween 2 in 1981.


document_title: All Is Fair in Love and War

question_text: who said everything is fare in love and war

root

text: All Is Fair in Love and War

text: All Is Fair in Love and War may refer to:

tag: p

text:
"All is fair in love and war", a proverb attributed to John Lyly's Euphues
All Is Fair in Love and War (album), an album by Blessed by a Broken Heart
"All Is Fair in Love and War" (song), a song by Ronnie Milsap

tag: ul

text:
Disambiguation page providing links to articles with similar titles
This disambiguation page lists articles associated with the title All Is Fair in Love and War.
If an internal link led you here, you may wish to change the link to point directly to the intended article.

tag: table

text: Disambiguation pages

text: Disambiguation pages with short descriptionAll article disambiguation pagesAll disambiguation pages


document_title: Chennai Super Kings–Sunrisers Hyderabad rivalry

question_text: who won the match between csk and sunrisers hyderabad

text: Background[edit]

text: The rivalry started between the two teams during the 2013 Indian Premier League season. This was also the season where Sunrisers Hyderabad eventually made its IPL debut replacing the old franchise Deccan Chargers. At the 2013 IPL season, in the first ever meeting between the two sides, Chennai Super Kings defeated Sunrisers Hyderabad by 5 wickets at MA Chidambaram Stadium. The Sunrisers Hyderabad team recorded its first victory against them during the 2014 Indian Premier League season at Ranchi.

text: 2018 IPL[edit]

text: After the conclusion of the 2015 IPL league season since the gap of 3 years, the CSK team renewed its rivalry against Sunrisers Hyderabad on 22 April, 2018 at the 2018 Indian Premier League season. The Chennai Super Kings was previously banned from playing in IPL for 2 seasons in 2016 and 2017 after being involved in 2013 Indian Premier League spot-fixing and betting case. Chennai Super Kings recorded a close victory against Sunrisers Hyderabad in a group stage match at Hyderabad by 4 runs in the first match between two sides after 2015 during the 2018 IPL season.[2] In the return fixture on 13 May, 2018 which held at CSK's temporary home, Pune; CSK managed a convincing 8 wicket victory against SRH.[3]

text: The two teams also clashed against each other in the 1st Qualifier of the season which held in Wankhede Stadium with Chennai Super Kings edging the Sunrisers Hyderabad team by 2 wickets to make room for the direct finale which was also CSK's 7th final at the IPL history.[4] On the other hand, Sunrisers Hyderabad defeated Kolkata Knight Riders in the Qualifier 2 to set up a final against Chennai Super Kings.[5]

text: List of matches[edit]

text:
No.
Year
Tournament
Venue
Winner
Margin
MoM

1
2013
2013 IPL
Chennai

CSK

5 wickets
MS Dhoni – CSK – 67* (37)

2
2013
2013 IPL
Hyderabad

CSK

77 runs
Suresh Raina – CSK – 99* (54) & 1/4 (3 overs)

3
2013
2013 CLT20
Hyderabad

CSK

12 runs
Suresh Raina – CSK – 84 (57)

4
2014
2014 IPL
Sharjah

CSK

5 wickets
Dwayne Smith – CSK – 66 (46)

5
2014
2014 IPL
Ranchi

SRH

6 wickets
David Warner – SRH – 90 (45)

6
2015
2015 IPL
Chennai

CSK

45 runs
Brendon McCullum – CSK – 100* (56)

7
2015
2015 IPL
Hyderabad

SRH

22 runs
David Warner – SRH – 61 (28)

8
2018
2018 IPL
Hyderabad

CSK

4 runs
Ambati Rayudu – CSK – 79 (37)

9
2018
2018 IPL
Pune

CSK

8 wickets
Ambati Rayudu – CSK – 100* (62)

10
2018
2018 IPL
Mumbai

CSK

2 wickets
Faf du Plessis – CSK – 67* (42)

11
2018
2018 IPL
Mumbai

CSK

8 wickets
Shane Watson – CSK – 117* (42)


document_title: Flag of Nigeria

question_text: who designed the nigerian flag and in what year

text: Flag of Nigeria

text: Design[edit]

text: The national flag is an adaptation of the winning entry from Michael Taiwo Akinkunmi in a competition held in 1959. The original submission had a red radiating sun badge in the centre triptych of one white vertical with a green vertical on each side. After the badge was removed by the judges, the flag has remained unchanged. Like other countries, Nigeria has special ensigns for civil and naval vessels. Some of its states also have flags.[1]

text: Akinkunmi was a twenty-three year-old student at the time he designed the flag. He was studying at Norwich Technical College in London, England, when he saw an advertisement in a newspaper that submissions were being accepted for the design of a new national flag of Nigeria. In 1959 Akinkunmi's design was chosen as the winner and, with adaptations, was first officially used on 1 October 1960, Nigeria's Independence Day.[2]

text: Flag specifications[edit]

text: Colour specifications[edit]

text:
Colour scheme
Green
White

RAL

None

9003
Signal white

CMYK
100.0.39.47
0.0.0.0

Hexadecimals
#008753
#FFFFFF

Decimals
0,135,83
255,255,255

text: Gallery[edit]

text: Government flags[edit]

text:
Flag of the President of Nigeria

Flag of the President as Commander-in-chief of the Armed Forces

Former flag of the President, adopted in 1963

Flag of the Nigerian Defence Forces

Naval ensign of Nigeria (1960-1998)

Akinkunmi's original proposal

text: Historical flags[edit]

text:
Flag of the Royal Niger Company (1887-1888)

Flag of the Royal Niger Company (1888-1899)

Flag of the British West African Settlements

Flag of the Lagos Colony (1886-1906)

Flag of the Oil Rivers Protectorate

Flag of the Niger Coast Protectorate

Flag of the Northern Nigeria Protectorate (1900-1914)

Flag of the Southern Nigeria Protectorate (1900-1914)

Flag of the Colony and Protectorate of Nigeria (1914-1960)

text: Subnational flags[edit]

text: Flag of Osun State


document_title: Harry Potter and the Prisoner of Azkaban (film)

question_text: where is harry potter and the prisoner of azkaban filmed

text: Plot[edit]

text: Harry Potter has been spending another dissatisfying summer with The Dursleys. When one of the Dursleys insults Harry's parents, Harry loses his temper and silently wills her to bloat up and float away. Harry flees with his luggage, fed up with his life with the Dursleys. The Knight Bus delivers Harry to the Leaky Cauldron, where he is forgiven by Minister of Magic Cornelius Fudge for using magic outside of Hogwarts. After reuniting with his best friends Ron and Hermione, Harry learns that Sirius Black, a convicted supporter of the dark wizard Voldemort, who murdered Harry's parents, has escaped Azkaban prison, intending to kill Harry.

text: The trio are returning to Hogwarts for the school year on the Hogwarts Express, when dementors suddenly board the train, searching for Sirius. One enters the trio's compartment, causing Harry to pass out. New Defence Against the Dark Arts teacher Professor Lupin repels the dementor with a Patronus Charm. At Hogwarts, headmaster Albus Dumbledore announces that dementors will be guarding the school while Sirius is at large. Hogwarts groundskeeper Hagrid is announced as the new Care of Magical Creatures teacher; his first class goes awry when Draco Malfoy deliberately provokes a hippogriff, Buckbeak, who attacks him. Draco exaggerates his injury, and Draco's father Lucius Malfoy later has Buckbeak sentenced to death.

text: The Fat Lady's portrait, which guards the Gryffindor quarters, is found ruined and empty. Terrified and hiding in another painting, the Fat Lady tells Dumbledore that Sirius Black has entered the castle. During a stormy Quidditch match against Hufflepuff, dementors attack Harry, causing him to fall off his broomstick. At Hogsmeade, Harry is shocked to learn that not only had Sirius Black been his father's best friend and apparently betrayed them to Voldemort, but that Sirius is also his godfather. Lupin privately teaches Harry to defend himself against dementors, using the Patronus Charm.

text: After Harry, Ron and Hermione witness Buckbeak's execution, Ron's pet rat Scabbers bites him and escapes. When Ron gives chase, a large dog appears and drags both Ron and Scabbers into a hole at the Whomping Willow's base, which leads to an underground passage to the Shrieking Shack. The trio discover that the dog is actually Sirius, who is an Animagus. Lupin arrives and embraces Sirius as an old friend. He admits to being a werewolf, and explains that Sirius is innocent. Sirius was falsely accused of betraying the Potters to Voldemort, and murdering twelve Muggles and their mutual friend, Peter Pettigrew. It is revealed that Scabbers is actually Pettigrew, an Animagus who committed the crime for which Sirius was convicted, and had betrayed the Potters. After forcing him back into a human, Lupin and Sirius prepare to kill him, but Harry convinces them to turn Pettigrew over to the dementors.

text: As the group departs, the full moon rises; Lupin transforms into a werewolf, and Sirius transforms into his dog form to fight him off. In the chaos, Pettigrew transforms back into a rat and escapes. Sirius and Harry are attacked by dementors and Harry sees a figure in the distance save them by casting a powerful Patronus spell. He believes the mysterious figure is his deceased father, and passes out. He awakens to discover that Sirius has been captured and sentenced to the Dementor's Kiss. Acting on Dumbledore's advice, Harry and Hermione travel back in time with Hermione's Time Turner, and watch themselves and Ron repeat the night's events. They save Buckbeak from execution and witness the Dementors overpower Sirius and Harry. The present Harry realises that it was actually he who conjured the Patronus, and does so again. Harry and Hermione rescue Sirius, who escapes with Buckbeak. Lupin resigns to prevent an uproar from parents over a werewolf teaching their children. Sirius sends Harry a Firebolt broom, and Harry happily takes it for a ride.

text: Cast[edit]

text:
Daniel Radcliffe as Harry Potter, a 13-year-old British wizard famous for surviving his parents' murder at the hands of the evil dark wizard Lord Voldemort as an infant, who now enters his third year at Hogwarts School of Witchcraft and Wizardry.
Rupert Grint as Ron Weasley, Harry's best friend at Hogwarts.
Emma Watson as Hermione Granger, Harry's Muggle-born best friend and the trio's brains.
Robbie Coltrane as Rubeus Hagrid, the gamekeeper and new Care of Magical Creatures teacher at Hogwarts.
Michael Gambon as Albus Dumbledore, the headmaster of Hogwarts and one of the greatest wizards of the age. Gambon assumed the role after Richard Harris, who played Dumbledore in the previous two films, died on 25 October 2002.[11] Despite his illness, Harris was determined to film his part, telling a visiting David Heyman not to recast the role.[12] Four months after Harris's death, Cuarón chose Gambon as his replacement.[12][13] Gambon was unconcerned with bettering or copying Harris, instead giving his own interpretation, putting on a slight Irish accent for the role,[14] as well as completing his scenes in three weeks.[15] Rumours of Ian McKellen being offered the role started to spread, but when asked he rejected the rumours and stated he had played a similar character in Gandalf of The Lord of the Rings trilogy. He also stated it would have been inappropriate to take Harris' role, as the late actor had called McKellen a "dreadful" actor.[16][17] Harris's family had expressed an interest in seeing Harris's close friend Peter O'Toole being chosen as his replacement.[18]
Richard Griffiths as Vernon Dursley, Harry's Muggle uncle.
Gary Oldman as Sirius Black, Harry's infamous godfather, who escapes from the Wizarding prison Azkaban after serving twelve years there for being falsely accused of being the Death Eater who betrayed Harry's parents to Voldemort. Oldman accepted the part because he needed the money, as he had not taken on any major work in several years after deciding to spend more time with his children.[19] He drew inspiration from Cuarón, whom he described as having "such enthusiasm and a joy for life,"[20] and compared Sirius to John Lennon.[19] He was "surprised by how difficult it was to pull off", comparing the role to Shakespearean dialogue.[20] Oldman suggested Sirius's hairstyle, while Cuarón designed his tattoos.[20] He had read the first book, and his children were fans of the series. The part made Oldman a hero with his children and their schoolmates.[14]
Alan Rickman as Severus Snape, the Potions teacher at Hogwarts and head of Slytherin.
Fiona Shaw as Petunia Dursley, Harry's Muggle aunt.
Maggie Smith as Minerva McGonagall, Deputy Headmistress of Hogwarts, the Transfiguration teacher at Hogwarts and head of Gryffindor.
Tom Felton as Draco Malfoy,Harry's arch rival and a Slytherin house student
Timothy Spall as Peter Pettigrew, a friend of Harry's parents said to have been killed by Sirius Black, but was later revealed to have been the real Death Eater who betrayed Harry's parents to Voldemort.
David Thewlis as Remus Lupin, the new Defence Against the Dark Arts teacher at Hogwarts and a werewolf. Thewlis, who had previously auditioned for the role of Quirinus Quirrell in Harry Potter and the Philosopher's Stone, was Cuarón's first choice for the role of Professor Lupin. He accepted the role on advice from Ian Hart, who was cast as Quirrell, and had told him that Professor Lupin was "the best part in the book."[21] Cuarón told Thewlis that he thought Lupin was gay, describing him as a "gay junkie", although his idea turned out to be incorrect.[22] Thewlis had seen the first two films and had only read part of the first book, although after taking the role he read the third. He was excited about the prospect of making a children's film, and enjoyed its filming.[14]
Emma Thompson as Sybill Trelawney, the Divination teacher at Hogwarts.

text: Production[edit]

text: Development[edit]

text: With Prisoner of Azkaban, production of the Harry Potter films switched to an eighteen-month cycle, which producer David Heyman explained was "to give each [film] the time it required."[12] Chris Columbus, the director of the previous two films, decided not to return to helm the third instalment as he "hadn't seen [his] own kids for supper in the week for about two and a half years."[23] Even so, he remained on as a producer alongside Heyman.[24] Guillermo del Toro was approached to direct, but considered the film "so bright and happy and full of light, that [he] wasn't interested."[25] Marc Forster turned down the film because he had made Finding Neverland and did not want to direct child actors again. M. Night Shyamalan was considered to direct but turned it down because he was working on his own film, The Village. Warner Bros. then composed a three-name short list for Columbus's replacement, which comprised Callie Khouri, Kenneth Branagh (who played Gilderoy Lockhart in Chamber of Secrets) and eventual selection Alfonso Cuarón.[26] Cuarón was initially nervous about accepting as he had not read any of the books, or seen the films. After reading the series, he changed his mind and signed on to direct,[27] as he had immediately connected to the story.[24] Cuarón's appointment pleased J. K. Rowling who loved his film Y Tu Mamá También and was impressed with his adaptation of A Little Princess.[28] Heyman found that "tonally and stylistically, [Cuarón] was the perfect fit."[12] As his first exercise with the actors who portray the central trio, Cuarón assigned Radcliffe, Grint and Watson to write an autobiographical essay about their character, written in the first person, spanning birth to the discovery of the magical world, and including the character's emotional experience. Of Rupert Grint's essay, Cuarón recalls, "Rupert didn't deliver the essay. When I questioned why he didn't do it, he said, 'I'm Ron; Ron wouldn't do it.' So I said, 'Okay, you do understand your character.' That was the most important piece of acting work that we did on Prisoner of Azkaban, because it was very clear that everything they put in those essays was going to be the pillars they were going to hold on to for the rest of the process."[14][29]

text: Filming[edit]

text: Principal photography began on 24 February 2003,[13] at Leavesden Film Studios, and concluded in October 2003.[30]

text: The third film was the first to extensively utilise real-life locations, as much of the first two films had been shot in the studio. Some sets for the film were built in Glen Coe, Scotland, near the Clachaig Inn. The indoor sets, including ones built for the previous two films, are mainly in Leavesden Film Studios. The Hogwarts Lake was filmed from Loch Shiel, Loch Eilt and Loch Morar in the Scottish Highlands. Incidentally, the train bridge, which was also featured in the Chamber of Secrets, is opposite Loch Shiel and was used to film the sequences when the Dementor boarded the train. A small section of the triple-decker bus scene, where it weaves in between traffic, was filmed in North London's Palmers Green. Some parts were also filmed in and around Borough Market and Lambeth Bridge in London.

text: Hogwarts grew and expanded significantly with the third film. For the first time, the Hogwarts courtyard and bridge were seen. At the end of the bridge, rock monoliths were placed onto the hillside to evoke a Celtic feeling. The use of live-action also significantly changed the look of Hagrid's hut. In the first two films, it appeared at the end of a flat stretch, right in front of the Forbidden Forest. The third film utilised the more rugged Scottish locations to place Hagrid's hut at the bottom of a steep hillside. A large pumpkin patch was added behind the hut.

text: The Honeydukes set in this film is a redress of the set of Flourish & Blotts that was seen in Chamber of Secrets, which, in turn, was a redress of the Ollivanders set from the first film.

text: Rowling allowed Cuarón to make minor changes to the book, on the condition that he stuck to the book's spirit.[27] She allowed him to place a sundial on Hogwarts' grounds, but rejected a graveyard, as that would play an important part in the then unreleased sixth book.[27] Rowling said she "got goosebumps" when she saw several moments in the film, as they inadvertently referred to events in the final two books, she stated "people are going to look back on the film and think that those were put in deliberately as clues."[28] When filming concluded, Cuarón found that it had "been the two sweetest years of my life," and expressed his interest in directing one of the sequels.[27]

text: Effects[edit]

text: Cuarón originally wanted to move away from CGI toward puppetry. He hired master underwater puppeteer Basil Twist to help, using puppets to study the potential movement of the Dementors.[12] Once it became apparent that puppetry would be too expensive and unable to portray the specific elements of the Dementors, Cuarón turned to CGI; however, he and his team did use footage of Dementor puppets underwater as a basis for the flowing movements of the computer-generated Dementors.

text: The Knight Bus segment when Harry is being taken to The Leaky Cauldron uses the technique known as bullet time, popularised in The Matrix series of films. This segment takes humorous advantage of the magic quality of the Harry Potter world by having the Muggle world go into bullet time while inside the Knight Bus, Harry, Stan Shunpike and Ernie Prang (and the talking shrunken head) keep moving in real time.

text: Music[edit]

text: The Academy Award-nominated score was the third and final score in the series to be composed and conducted by John Williams. It was released on CD on 25 May 2004. In general, this film's music is not as bright as that of the previous films, with distinct medieval influences in the instrumentation. One of the new themes, "Double Trouble," was written during production so that a children's choir could perform it in Hogwarts's Great Hall in one of the film's earlier scenes. The lyrics of "Double Trouble" are from a ritual performed by the Weïrd Sisters in Act 4, Scene 1 of Shakespeare's Macbeth.[31] The film's trailer prominently features the cues "Anticipation" and "Progeny" by Brand X Music, a trailer music band.

text: Differences from the book[edit]

text: Prisoner of Azkaban was, at the time of publication, the series' longest book. The increasing plot complexity necessitated a looser adaptation of the book's finer plot lines and back-story. The film opens with Harry using magic to light his wand in short bursts, whereas in the same scene in the book, he uses a torch/flashlight, as performing magic outside the wizard world is illegal for wizards under the age of seventeen. The connection between Harry's parents and the Marauder's Map is only briefly mentioned,[32] as is Remus Lupin's association to both the map and James Potter.[33] Additionally, it was never mentioned who the Marauders were or who the nicknames Moony, Wormtail, Padfoot, and Prongs referred to. Some exposition was removed for dramatic effect: both the Shrieking Shack and Scabbers the rat are mentioned only very briefly in the film, while they receive a more thorough coverage in the novel.[32] Most of Sirius Black's back story is also cut, with no mention of the manner of his escape from Azkaban.[33] Only the first Quidditch game was kept in the film, due to its importance to the storyline; the second (Gryffindor/Ravenclaw) and third (Gryffindor/Slytherin) were cut. Thus, Harry receives the Firebolt at the film's end, while in the book he receives it anonymously at Christmas and it is confiscated for a few weeks to be checked for possible jinxes by Professor Flitwick and Madam Hooch.

text: On account of pace and time considerations, the film glosses over detailed descriptions of magical education. Only one Hippogriff, Buckbeak, is seen, and only Malfoy and Harry are seen interacting with the Hippogriff during Care of Magical Creatures lessons, and most other lessons, including all of Snape's potions classes, were cut from the film.[32] The Fidelius Charm's complicated description is removed entirely from the film, with no explanation given of exactly how Black "betrayed" the Potters to Lord Voldemort. Many of this scene's lines are redistributed amongst Cornelius Fudge and Minerva McGonagall; in compensation, McGonagall's exposition of the Animagus transformation is instead given by Snape.[32]

text: In the film, where Harry and Hermione have travelled back in time and are hiding outside of Hagrid's hut, it is heavily implied that Dumbledore somehow knows that they are there, as he distracts the other characters at key moments or slows down the proceedings (such as by suggesting that he sign Buckbeak's execution order as well, then after Fudge agrees he says it will take some time as he has an extremely long name), which allows Harry and Hermione time to free Buckbeak unseen. In the book, Dumbledore merely comments that the executioner must sign the order, right before he is about to leave the cabin to execute Buckbeak.

text: The embryonic romantic connection between Ron and Hermione is more prominent in the film than the book; in response to criticism of the first two films for sacrificing character development for mystery and adventure, the emotional development of all three lead characters is given more attention in the third film.[32] That said, any mention of the beginnings of Harry's crush on Cho Chang is removed.[34] Chang herself is not even seen until the next film. Harry's darker side is first glimpsed in this film, when Harry proclaims, "I hope he [Black] finds me. Cause when he does, I'm going to be ready. When he does, I'm going to kill him!"[32]

text: Distribution[edit]

text: Marketing[edit]

text: As with the series' previous instalments, Prisoner of Azkaban was a large merchandising opportunity.[35] The video game version, designed by EA UK, was released 25 May 2004 in North America and 29 May 2004 in Europe. Mattel released film tie-ins that included the Harry Potter Championship Quidditch board game and character action figures.[36] Lego also expanded on its previous merchandising for the first two films with the release of sets ranging from the Knight Bus to the Shrieking Shack.[37]

text: Theatrical release[edit]

text: Harry Potter and the Prisoner of Azkaban held its New York premiere at Radio City Music Hall on 23 May 2004,[38] followed by its London premiere at Leicester Square on 30 May 2004.[39] The film then opened in the United Kingdom on 31 May 2004 and on 4 June 2004 in the United States. It was the first film in the series to be released in both conventional and IMAX theatres.[40]

text: Reception[edit]

text: Box office[edit]

text: Upon release, the film broke the record for biggest single day in the United Kingdom's box office history making £5.3 million on a Monday.[41] It went on to break records both with and without previews making a stunning £23.9 million including previews[42] and £9.3 million excluding them.[43] Prisoner of Azkaban had the highest-opening weekend at the UK's box office, until Spectre beat the record in 2015. It went on to make a total of £45.6 million in the UK.[44] The film made $93.7 million during its opening weekend in the United States and Canada at 3,855 theatres, achieving, at the time, the third biggest-opening weekend of all time.[45] This opening also broke Hulk's record ($62.1 million) for the highest-opening weekend for a film released in June.[45] Prisoner of Azkaban held this record for five years until Transformers: Revenge of the Fallen topped it in 2009 with $108.9 million.[46] The film was also No. 1 at the North American box office for two consecutive weekends.[47]

text: Prisoner of Azkaban made a total of $796.7 million worldwide,[3] which made it 2004's second-highest-grossing film worldwide behind Shrek 2.[48] In the U.S. and Canada, it was only the year's sixth-highest-grossing film, making $249.5 million.[49] Everywhere else in the world, however, it was the year's number one film, making $547 million compared to Shrek 2's $478.6 million.[50] Despite its successful box office run, Azkaban is the lowest-grossing Harry Potter film (all the others have grossed more than US$875 million worldwide) and the lowest-grossing film of J.K. Rowling's Wizarding World Series.

text: Critical response[edit]

text: Prisoner of Azkaban is often regarded by critics and fans as the best film in the franchise.[5][6][7][8][9][10] On the review aggregator Rotten Tomatoes the film has an approval rating of 91% based on 250 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "Under the assured direction of Alfonso Cuarón, Harry Potter and the Prisoner of Azkaban triumphantly strikes a delicate balance between technical wizardry and complex storytelling."[51] On Metacritic the film has a score of 82 out of 100, based on 40 critics, indicating "universal acclaim".[52] On CinemaScore, audiences gave the film an average grade of "A" on an A+ to F scale.[53]

text: Mick LaSalle of the San Francisco Chronicle lauded the film's more mature tone and said it was "darker, more complex, rooted in character."[54] The Hollywood Reporter called the film "a deeper, darker, visually arresting and more emotionally satisfying adaptation of the J.K. Rowling literary phenomenon," especially compared to the first two installments.[55] Peter Travers of Rolling Stone gave the film three-and-a-half out of four stars: "Not only is this dazzler by far the best and most thrilling of the three Harry Potter movies to date, it's a film that can stand on its own even if you never heard of author J.K. Rowling and her young wizard hero."[56] Stephanie Zacharek of Salon.com asserts it to be "one of the greatest fantasy films of all time."[57] Nicole Arthur of The Washington Post praised the film as "complex, frightening, [and] nuanced."[58] Roger Ebert gave the film three-and-a-half out of four stars, saying that the film was not quite as good as the first two, but still called it "delightful, amusing and sophisticated"[59] Claudia Puig from USA Today found the film to be "a visual delight," and added that "Cuarón is not afraid to make a darker film and tackle painful emotions."[60] while Richard Roeper called the film "a creative triumph."[61] Sean Smith from Newsweek said: "The Prisoner of Azkaban boasts a brand-new director and a bold new vision," he also called the film "moving," praising the performances by the three main leads,[62] while Entertainment Weekly praised the film for being more mature than its predecessors.[63]

text: Accolades[edit]

text: Harry Potter and the Prisoner of Azkaban was nominated for Best Original Music Score (John Williams) and Best Visual Effects at the 77th Academy Awards held in 2005.[64] This was the second film in the series to be nominated for an Oscar.

text: The film also ranks at No. 471 in Empire magazine's 2008 list of the 500 greatest movies of all time.[65] IGN designated Prisoner of Azkaban as the fifth best fantasy film.[66] Additionally, Moviefone designated the film as the tenth best of the decade. In 2011, the film was voted Film of the Decade at the First Light Awards by children aged 5–15.[67]

text:
AFI's 100 Years...100 Movies – Nominated[68]
AFI's 10 Top 10 – Nominated Fantasy Film[69]

text:
[show]List of awards and nominations

Award
Category
Recipient(s)
Outcome
Ref.

77th Academy Awards
Best Original Music Score
John Williams
Nominated
[64]

Best Visual Effects
Tim Burke, Roger Guyett, Bill George, John Richardson

Amanda Awards
Best Foreign Feature Film

[70]

58th British Academy Film Awards
Best British Film
[71]

Best Production Design
Stuart Craig

Best Makeup & Hair
Nick Dudman, Eithne Fennel, Amanda Knight

Best Visual Effects

Broadcast Film Critics Association
Best Family Film (Live Action)
[72]

Best Young Actor
Daniel Radcliffe

Best Young Actress
Emma Watson

47th Grammy Awards
Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
John Williams
[73]

Hugo Awards
Best Dramatic Presentation

[74]

2005 Kids' Choice Awards
Favorite Movie
[75]

2002 MTV Movie Awards
Breakthrough Male Performance
Daniel Radcliffe
[76]

Phoenix Film Critics Society Awards
Best Live Action Family Film

Won
[77]

31st Saturn Awards
Best Fantasy Film
Nominated
[78]

Best Director
Alfonso Cuarón

Best Supporting Actor
Gary Oldman

Best Performance by a Younger Actor
Daniel Radcliffe

Best Writer
Steve Kloves

Best Music
John Williams

Best Costumes
Jany Temime

Best Make-Up
Nick Dudman, Amanda Knight

Best Special Effects
Roger Guyett, Tim Burke, Bill George, John Richardson

Teen Choice Awards
Choice Movie: Action

Won
[79]

Choice Summer Movie
Nominated

Visual Effects Society Awards
Outstanding Visual Effects in an Effects Driven Motion Picture
Roger Guyett, Tim Burke, Theresa Corrao, Emma Norton
Won
[80]

Best Single Visual Effect of the Year
Bill George, David Andrews, Sandra Scott, Dorne Huebler
Nominated

Outstanding Performance by an Animated Character in a Live Action Motion Picture
Michael Eames, David Lomax, Felix Balbas, Pablo Grillo
Won

Outstanding Models and Miniatures in a Motion Picture
Jose Granell, Nigel Stone
Nominated

Outstanding Compositing in a Motion Picture
Dorne Huebler, Jay Cooper, Patrick Brennan, Anthony Shafer


document_title: You Dropped a Bomb on Me

question_text: who sings the song you dropped the bomb on me

text: You Dropped a Bomb on Me

text:
"You Dropped a Bomb on Me"

A-side label of U.S. 12-inch vinyl release

Single by The Gap Band

from the album Gap Band IV

B-side
"Humpin'" (from The Gap Band III)
"Early in the Morning" (Germany)

Released
August 1982

Format
7", 12"

Recorded
1981

Genre
Electrofunk, synth-funk[1]

Length
4:05 (Single Version)
5:13 (12" Single Edit)
13:07 (Special Disco Mix)

Label
Total Experience

Songwriter(s)
Lonnie Simmons, Rudy Taylor, Charlie Wilson

Producer(s)
Lonnie Simmons

The Gap Band singles chronology

"Early in the Morning"
(1982)
"You Dropped a Bomb on Me"
(1982)
"Outstanding"
(1983)

"Early in the Morning"
(1982)
"You Dropped a Bomb on Me"
(1982)
"Outstanding"
(1983)

text: "You Dropped a Bomb on Me" is an electrofunk song performed by The Gap Band, released in 1982 on producer Lonnie Simmons' label, Total Experience Records. It reached #2 on the Billboard R&B charts, #39 on the dance charts and #31 on the Billboard Hot 100.[2] In addition to the single release, the song was featured on the band's 1982 album IV.

text: A notable feature of the song is its use of a synthesizer to imitate the whistling sound of a bomb dropping. This is first heard immediately before the first verse, and throughout the song from the fourth chorus onward.

text: In the aftermath of the September 11 attacks, the song was one of those named on the 2001 Clear Channel memorandum of "lyrically questionable" songs.[3]