document_title: Monsters, Inc.

question_text: where does mike take celia in monsters inc

text: Monsters, Inc.

text: Plot[edit]

text: The city of Monstropolis in the monster world is powered by energy from the screams of human children. At the Monsters, Inc. factory, skilled monsters employed as "scarers" venture into the human world to scare children and harvest their screams, through doors that activate portals to children's bedroom closets. It is considered dangerous work, as human children are believed to be toxic. Energy production is falling because children are becoming less easily scared, and Monsters, Inc.'s chairman, Henry J. Waternoose, is determined to find a solution.

text: James P. "Sulley" Sullivan and his partner, Mike Wazowski, are the organization's top employees, but their chief rival, Randall Boggs, is close behind. One day, Sulley discovers that Randall has left a door activated on the scare floor and a small girl has entered the factory. After several failed attempts to put her back, Randall sends the door back into the factory's door vault and Sulley conceals her and takes her out of the factory. He interrupts Mike's date with his girlfriend, Celia, at a sushi restaurant, and chaos erupts when the child is discovered. Sulley and Mike manage to escape with the child before the Child Detection Agency (CDA) quarantines the restaurant. They soon discover that she is not toxic after all; Sulley grows attached to her and calls her "Boo," while Mike is just anxious to be rid of her.

text: The two smuggle her back into the factory disguised as a baby monster in an attempt to send her home. Randall discovers Boo and tries to kidnap her, but mistakenly kidnaps Mike instead. He straps Mike to a large machine called "The Scream Extractor", which he intends to use to revolutionize the scaring industry and solve the monster world's energy problems by forcefully extracting screams from kidnapped human children. Before Randall can use the machine on Mike, Sulley disables the machine, frees Mike and reports Randall to Waternoose. Waternoose, who is secretly in league with Randall, initially indicates anger at hearing of Randall's actions, but instead exiles Mike and Sulley to the Himalayas after revealing he is involved in Randall's plot. The two meet the Abominable Snowman, who tells them about a nearby village, which Sulley realizes he can use to return to the factory. Sulley prepares to return, but Mike refuses to go with him.

text: Meanwhile, Randall is preparing to use the Scream Extractor on Boo, but Sulley suddenly arrives and saves her, destroying the machine in the process. Randall and Sulley battle, and after Mike returns and helps Sulley overpower Randall, the two reconcile, take Boo, and flee.

text: Randall pursues them to the door vault, and a wild chase ensues among the millions of doors as they move in and out of the storage vault on rails to the factory floor. Boo's laughter causes all the doors to activate at once, allowing the monsters to freely pass in and out of the human world. Randall attempts to kill Sulley, but Boo overcomes her fear and attacks him, enabling Sulley to catch him. Sulley and Mike then trap Randall in the human world, where two residents at a trailer park mistake him for an alligator and beat him with a shovel.

text: Sulley and Mike take Boo and her door to the training room. Waternoose appears and demands Sulley surrender Boo to him. Sulley inadvertently baits Waternoose into shouting "I'll kidnap a thousand children before I let this company die, and I'll silence anyone who gets in my way"; the confession is videotaped by Mike, who then plays the recording to the CDA, who quickly arrest and imprison Waternoose. Roz appears, revealing herself to be the CDA's director who worked for nearly three years to expose Waternoose as a fraud and kidnapper. She thanks Mike and Sulley for revealing his true colors, but orders the CDA to destroy Boo's door; they do so and Sulley is left saddened by Boo's departure.

text: With the factory temporarily shut down, Sulley is named the new CEO of Monsters, Inc. Under his leadership, the energy crisis is solved by harvesting children's laughter instead of screams, as laughter has been found to be ten times more potent. Mike takes Sulley aside, revealing he has rebuilt Boo's door. It needs one final piece, which Sulley took as a memento, in order to work. Sulley puts the door chip into place, enters and joyfully reunites with Boo.

text: Voice cast[edit]

text:
John Goodman as James P. "Sulley" Sullivan, a large, furry blue monster with horns and purple spots. Even though Sulley excels at scaring children, he is a gentle giant by nature. At the film's beginning, Sulley has been the "Best Scarer" at Monsters, Inc. for several months running.
Billy Crystal as Michael "Mike" Wazowski, a short, round green monster with a single big eyeball and skinny limbs. Mike is Sulley's station runner and coach on the scare floor, and the two are close friends and roommates. Mike is charming and generally the more organized of the two, but is prone to neurotics and his ego sometimes leads him astray. He is dating Celia Mae, who calls him "Googly-Bear".
Mary Gibbs as Boo, a two-year-old[3][4][5] human girl who is unafraid of any monster except Randall, the scarer assigned to her door. She believes Sulley is a large cat and refers to him as "Kitty". In the film, one of Boo's drawings is covered with the name "Mary". The book based on the film gives Boo's "real" name as Mary Gibbs, the name of her voice actress, who is also the daughter of one of the film's story artists, Rob.[6]
Steve Buscemi as Randall Boggs, a purple, eight-legged lizard monster with a chameleon-like ability to change his skin color and blend in completely with his surroundings. He is a snide and preening character who makes himself a rival to Sulley and Mike in scream collection.
James Coburn as Henry J. Waternoose III, an arthropodic monster with a crab-like lower body. Waternoose is the CEO of Monsters, Inc., a job passed down through his family for three generations. He acts as a mentor to Sulley, holding great faith in him as a scarer.
Jennifer Tilly as Celia Mae, a gorgon-like monster with one eye and tentacle-like legs. Celia is the receptionist for Monsters, Inc. and Mike's girlfriend.
Bob Peterson as Roz, a slug-like monster with a raspy voice who administrates for Scare Floor F where Sulley, Mike, and Randall work. At the end of the movie, it is revealed that Roz is "Agent Number 1" of the CDA, and has worked undercover at Monsters, Inc. for two and a half years.
John Ratzenberger as Yeti[7] a.k.a. The Abominable Snowman,[8] a furry white monster who was banished to the Himalayas. He was inspired by the Abominable Snowman from the 1964 Rankin/Bass animated special Rudolph the Red-Nosed Reindeer.[9]
Frank Oz as Jeff Fungus, Randall's red-skinned, three-eyed, beleaguered assistant.
Dan Gerson as Smitty and Needleman, two goofy monsters with cracking voices, who work as janitors and operate the Door Shredder when required.
Steve Susskind as Jerry Slugworth, a red, seven-fingered monster, who manages Scare Floor F and is a good friend of Waternoose.
Bonnie Hunt as Ms. Flint, a female monster, who trains new monsters to scare children.
Jeff Pidgeon as Thaddeus "Phlegm" Bile, a trainee scarer for Monsters, Inc.
Samuel Lord Black as George Sanderson, a chubby, oranged-furred monster with a sole horn on top of his head. A running gag throughout the film involves George repeatedly making contact with human artifacts (such as socks and the like which cling to his fur via static), prompting his scare coach to trigger "23–19" incidents with the CDA resulting in him mobbed, shaved bald, and sterilized.  He is good friends with Pete "Claws" Ward.
Phil Proctor as Charlie, George's assistant with sea-green skin and tendrils for limbs. He is friends with George, Mike, and Sulley, but is quick to call the CDA on his scarer at the drop of a hat.
Joe Ranft as Pete "Claws" Ward, a blue monster with razor-sharp claws and horrifying breath.

text: Production[edit]

text: Development[edit]

text: The idea for Monsters, Inc. was conceived in a lunch in 1994 attended by John Lasseter, Pete Docter, Andrew Stanton and Joe Ranft during the production of Toy Story.[10] One of the ideas that came out of the brainstorming session was a film about monsters. "When we were making Toy Story", Docter said, "everybody came up to me and said 'Hey, I totally believed that my toys came to life when I left the room.' So when Disney asked us to do some more films, I wanted to tap into a childlike notion that was similar to that. I knew monsters were coming out of my closet when I was a kid. So I said, 'Hey, let's do a film about monsters.'"[11]

text: Docter began work on the film that would become Monsters, Inc. in 1996 while others focused on A Bug's Life (1998) and Toy Story 2 (1999). Its code name was Hidden City, named for Docter's favorite restaurant in Point Richmond.[12] By early-February 1997, Docter had drafted a treatment together with Harley Jessup, Jill Culton, and Jeff Pidgeon that bore some resemblance to the final film. Docter pitched the story to Disney with some initial artwork on February 4 that year. He and his story team left with some suggestions in hand and returned to pitch a refined version of the story on May 30. At this pitch meeting, longtime Disney animator Joe Grant – whose work stretched back to Snow White and the Seven Dwarfs (1937) – suggested the title Monsters, Inc., a play on the title of a gangster film Murder, Inc.,[13] which stuck.[14] The film marks the first Pixar feature to not be directed by Lasseter instead being helmed by Docter, as well as Lee Unkrich and David Silverman who served as co-directors.[15]

text: Writing[edit]

text: The story line took on many forms during production.[16] His original idea featured a 30-year-old man dealing with monsters that he drew in a book as a child coming back to bother him as an adult. Each monster represented a fear he had, and conquering those fears caused the monsters eventually to disappear.[17]

text: After Docter scrapped the initial concept of a 30-year-old terrified of monsters, he decided on a buddy story between a monster and a child titled simply Monsters, in which the monster character of Sulley (known at this stage as Johnson) was an up-and-comer at his workplace, where the company's purpose was to scare children. Sulley's eventual sidekick, Mike Wazowski, had not yet been added.[16][18][18]

text: Between 1996 and 2000, the lead monster and child went through radical changes as the story evolved. As the story continued to develop, the child varied in age and gender. Ultimately, the story team decided that a girl would be the best counterpart for a furry, 8-foot-tall (96 in) co-star.[16] After a girl was settled upon, the character continued to undergo changes, at one point being from Ireland and at another time being an African-American character.[14] Originally the character of the little girl, known as Mary, became a fearless seven-year-old who has been toughened by years of teasing and pranks from four older brothers.[14] In stark contrast, Johnson is nervous about the possibility of losing his job after the boss at Monsters, Inc. announces a downsizing is on the way. He feels envious because another scarer, Ned (who later became Randall), is the company's top performer.[14] Through various drafts, Johnson's occupation went back-and-forth from being a scarer and from working in another area of the company such as a janitor or a refinery worker, until his final incarnation as the best scarer at Monsters, Inc.[14] Throughout development Pixar worried that having a main character whose main goal was to scare children would alienate audiences and make them not empathize with him. Docter would later describe that the team "bent over backwards trying to create a story that still had monsters " while still solving the problem,[15] A key moment came when the team decided "Okay, he's the BEST scarer there. He's the star quarterback" with Docter noting that before that moment "design after design, we really didn't know what he was about."[15] Disney noted to Pixar early on that they did not want the character to "look like a guy in a suit."[15] To this end Johnson was originally planned to have tentacles for feet; however, this caused many problems in early animation tests. The idea was later largely rejected, as it was thought that audiences would be distracted by the tentacles.[19] Mary's age also differed from draft to draft until the writers settled on the age of 3. "We found that the younger she was, the more dependent she was on Sulley", Docter said.[11]

text: Eventually Johnson was renamed Sullivan. The name was suggested by an animator who had attended Texas A&M University, inspired by one of Texas A&M's historic icons, Lawrence Sullivan Ross, nicknamed "Sulley" by students. Sullivan was also planned to wear glasses throughout the film. However, the creators found it a dangerous idea because the eyes were a perfectly readable and clear way of expressing a character's personality; thus, the idea was rejected.[19]

text: The idea of a monster buddy for the lead monster emerged at an April 6, 1998 "story summit" in Burbank with employees from Disney and Pixar. A term coined by Lasseter, a "story summit" was a crash exercise that would yield a finished story in only two days.[20] Such a character, the group agreed, would give the lead monster someone to talk to about his predicament. Development artist Ricky Nierva drew a concept sketch of a rounded, one-eyed monster as a concept for the character, and everyone was generally receptive to it.[11] Docter named the character Mike for the father of his friend Frank Oz, a director and Muppet performer.[14] Jeff Pidgeon and Jason Katz story-boarded a test in which Mike helps Sulley choose a tie for work, and Mike Wazowski soon became a vital character in the film.[11] Originally, Mike had no arms and had to use his legs as appendages; however, due to some technical difficulties, arms were soon added to him.[11]

text: Screenwriter Dan Gerson joined Pixar in 1999 and worked on the film with the filmmakers on a daily basis for almost two years. He considered it his first experience in writing a feature film. He explained, "I would sit with Pete [Docter] and David Silverman and we would talk about a scene and they would tell me what they were looking for. I would make some suggestions and then go off and write the sequence. We'd get together again and review it and then hand it off to a story artist. Here's where the collaborative process really kicked in. The board artist was not beholden to my work and could take liberties here and there. Sometimes, I would suggest an idea about making the joke work better visually. Once the scene moved on to animation, the animators would plus the material even further."[16]

text: Casting[edit]

text: Bill Murray was considered for the voice role of James P. "Sulley" Sullivan. He screen tested for the role and was interested, but when Pete Docter was unable to make contact with him, he took it as a "no".[21][22] The voice role of Sulley went to John Goodman, the longtime co-star of the comedy series Roseanne and a regular in the films of the Coen brothers. Goodman interpreted the character to himself as the monster equivalent of a National Football League player. "He's like a seasoned lineman in the tenth year of his career," he said at the time. "He is totally dedicated and a total pro."[23] Billy Crystal, having regretted turning down the part of Buzz Lightyear years prior, accepted that of Mike Wazowski, Sulley's one-eyed best friend and scare assistant.[24][25] The casting of Steve Buscemi as Randall, Sulley's rival, saw a reunion between himself and John Goodman; they had previously worked together on The Big Lebowski and Barton Fink.

text: Animation[edit]

text: In November 2000, early in the production of Monsters, Inc., Pixar packed up and moved for the second time since its Lucasfilm years.[23] The company's approximately 500 employees had become spread among three buildings, separated by a busy highway. The company moved from Point Richmond to a much bigger campus in Emeryville, co-designed by Lasseter and Steve Jobs.[23]

text: In production, Monsters Inc. differed from earlier Pixar features, as every main character in this movie had its own lead animator – John Kahrs on Sulley, Andrew Gordon on Mike, and Dave DeVan on Boo.[26] Kahrs found that the "bearlike quality" of Goodman's voice provided an exceptionally good fit with the character. He faced a difficult challenge, however, in dealing with Sulley's sheer mass; traditionally, animators conveyed a figure's heaviness by giving it a slower, more belabored movement, but Kahrs was concerned that such an approach to a central character would give the film a "sluggish" feel.[26] Like Goodman, Kahrs came to think of Sulley as a football player, one whose athleticism enabled him to move quickly in spite of his size. To help the animators with Sulley and other large monsters, Pixar arranged for Rodger Kram, a University of California, Berkeley expert on the locomotion of heavy mammals, to lecture on the subject.[26]

text: Adding to Sulley's lifelike appearance was an intense effort by the technical team to refine the rendering of fur. Other production houses had tackled realistic fur, most notably Rhythm & Hues in its 1993 polar bear commercials for Coca-Cola and in its talking animals' faces in the 1995 film Babe.[26] This film, however, required fur on a far larger scale. From the standpoint of Pixar's engineers, the quest for fur posed several significant challenges; one was to figure out how to animate a large numbers of hairs – 2,320,413 of them on Sulley – in a reasonably efficient way,[26] and another was to make sure that the hairs would cast shadows on other ones. Without self-shadowing, either fur or hair takes on an unrealistic flat-colored look (e.g., in Toy Story, the hair on Andy's toddler sister, as seen in that movie's opening sequence, is hair without self-shadowing).[26]

text: The first fur test allowed Sulley to run an obstacle course. Results were not satisfactory, as such objects would catch and stretch out the fur due to the extreme amount of motion. Another similar test was also unsuccessful, because, this time, the fur would go through the objects.[19]

text: Pixar then set up a Simulation department and created a new fur simulation program called Fizt (short for "physics tool").[27] After a shot with Sulley in it had been animated, this department took the data for that shot and added Sulley's fur. Fizt allowed the fur to react in a more natural way. Every time when Sulley would have to move, his fur would (automatically) react to his movements, thus taking the effects of wind and gravity into account as well. The Fizt program also controlled the movement of Boo's clothes, which provided another "breakthrough".[27] The deceptively simple-sounding task of animating cloth was also a challenge to animate thanks to those hundreds of creases and wrinkles that automatically occurred in the clothing when the wearer moved.[28] Also, this meant they would have to solve the complex problem of how to keep cloth untangled – in other words, to keep it from passing through itself when parts of it intersect.[29] Fizt applied the same system to Boo's clothes as to Sulley's fur. First of all, Boo would be animated shirtless; the Simulation department then used Fizt to apply the shirt over Boo's body, and every time she would move, her clothes also would react to her movements in a more natural manner.

text: To solve the problem of cloth-to-cloth collisions, Michael Kass, Pixar's senior scientist, was joined on Monsters, Inc. by David Baraff and Andrew Witkin and developed an algorithm they called "global intersection analysis" to handle the problem. The complexity of the shots in the film, including elaborate sets such as the door vault, required more computing power to render than any of Pixar's earlier efforts combined. The render farm in place for Monsters, Inc. was made up of 3500 Sun Microsystems processors, compared with 1400 for Toy Story 2 and only 200 for Toy Story.[29]

text: Release[edit]

text: The film premiered on October 28, 2001, at the El Capitan Theatre in Hollywood, California.[30] It was theatrically released on November 2, 2001 in the United States, in Australia on December 26, 2001, and in the United Kingdom on February 8, 2002.[31] The theatrical release was accompanied with the Pixar short animated film For the Birds.[32]

text: As with A Bug's Life and Toy Story 2, a montage of "outtakes" and a performance of a play based on a line from the film were made and included in the end credits of the film starting on December 7, 2001.[33]

text: After the success of the 3D re-release of The Lion King,[34] Disney and Pixar re-released Monsters, Inc. in 3D on December 19, 2012.[35]

text: Home media[edit]

text: Monsters, Inc. was released on VHS and DVD on September 17, 2002.[36] It was then released on Blu-ray on November 10, 2009,[37] and on Blu-ray 3D on February 19, 2013.[38]

text: Reception[edit]

text: Box office[edit]

text: Monsters, Inc. ranked number 1 at the box office on its opening weekend, grossing $62,577,067 in North America alone. The film had a small drop-off of 27.2% over its second weekend, earning another $45,551,028. In its third weekend, the film experienced a larger decline of 50.1%, placing itself in the second position just after Harry Potter and the Philosopher's Stone. In its fourth weekend, however, there was an increase of 5.9%, making $24,055,001 that weekend for a combined total of over $525 million. As of May 2013, it is the eighth-biggest fourth weekend ever for a film.[39][40]

text: The film made $289,916,256 in North America, and $287,509,478 in other territories, for a worldwide total of $577,425,734.[1] The film is Pixar's ninth highest-grossing film worldwide and sixth in North America.[41] For a time, the film surpassed Toy Story 2 as the second highest-grossing animated film of all time, only behind 1994's The Lion King.[29]

text: In the U.K., Ireland, and Malta, it earned £37,264,502 ($53,335,579) in total, marking the sixth highest-grossing animated film of all time in the country and the thirty-second highest-grossing film of all time.[42] In Japan, although earning $4,471,902 during its opening and ranking second behind The Lord of the Rings: The Fellowship of the Ring for the weekend, it moved to first place on subsequent weekends due to exceptionally small decreases or even increases and dominated for six weeks at the box office. It finally reached $74,437,612, standing as 2001's third highest-grossing film and the third largest U.S. animated feature of all time in the country behind Toy Story 3 and Finding Nemo.[43]

text: Critical response[edit]

text: Monsters, Inc. received critical acclaim. Review aggregator Rotten Tomatoes gave the film a score of 96% based on 194 reviews, with an average score of 8/10. The critical consensus was, "Clever, funny, and delightful to look at, Monsters, Inc. delivers another resounding example of how Pixar elevated the bar for modern all-ages animation."[44] Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 78 based on 34 reviews, indicating "generally favorable reviews."[45] According to CinemaScore, audiences gave the film a rare "A+" grade[46], becoming the second Pixar film to gain an "A+" grade, after Toy Story 2[47]

text: Charles Taylor from Salon.com stated, "[i]t's agreeable and often funny, and adults who take their kids to see it might be surprised to find themselves having a pretty good time."[48] Elvis Mitchell from The New York Times gave it a positive review, praising the film's use of "creative energy", saying "There hasn't been a film in years to use creative energy as efficiently as Monsters, Inc."[49] Although Mike Clark from USA Today thought the comedy was sometimes "more frenetic than inspired and viewer emotions are rarely touched to any notable degree," he also viewed the film as "visually inventive as its Pixar predecessors."[50]

text: ReelViews film critic James Berardinelli gave the film 31⁄2 stars out of 4 and wrote that the film was "one of those rare family films that parents can enjoy (rather than endure) along with their kids."[51] Roger Ebert from the Chicago Sun-Times gave the film 3 out of 4 stars, calling it "cheerful, high-energy fun, and like the other Pixar movies, has a running supply of gags and references aimed at grownups."[52] Lisa Schwarzbaum from Entertainment Weekly gave the film a "B" grade and praised the film's animation, stating "Everything from Pixar Animation Studios – the snazzy, cutting-edge computer animation outfit – looks really, really terrific and unspools with a liberated, heppest-moms-and-dads-on-the-block iconoclasm."[53]

text: Accolades[edit]

text: Monsters, Inc. won the Academy Award for Best Original Song (Randy Newman, after fifteen previous nominations, for "If I Didn't Have You").[54] It was one of the first animated films to be nominated for Best Animated Feature (lost to Shrek).[54] It was also nominated for Best Original Score (lost to The Lord of the Rings: The Fellowship of the Ring) and Best Sound Editing (lost to Pearl Harbor).[54] At the Kid's Choice Awards in 2002, it was nominated for "Favorite Voice in an Animated Movie" for Billy Crystal (who lost to Eddie Murphy in Shrek).[54]

text: Music[edit]

text:
Monsters, Inc.Soundtrack album by Randy NewmanReleased
October 23, 2001Recorded
2000–2001Genre
ScoreLength
1:00:30Label
Walt DisneyRandy Newman chronology

Meet the Parents(2000)Meet the Parents2000

Monsters, Inc.(2001)

Seabiscuit(2003)Seabiscuit2003

Pixar soundtrack chronology

Toy Story 2(1999) Toy Story 21999

Monsters, Inc.(2001) Monsters, Inc.2001

Finding Nemo(2003) Finding Nemo2003

text: Professional ratingsReview scoresSourceRatingAllMusic[55]Empire[56]Filmtracks.com[57]Movie Wave[58]Soundtrack.net[59]

text: Monsters Inc. was Randy Newman's fourth feature film collaboration with Pixar. The end credits song "If I Didn't Have You" was sung by John Goodman and Billy Crystal.[16]

text: The album was nominated for the Academy Award for Best Original Score and a Grammy Award for Best Score Soundtrack for Visual Media.[54] The score lost both these awards to The Lord of the Rings: The Fellowship of the Ring, but after sixteen nominations, the song "If I Didn't Have You" finally won Newman his first Academy Award for Best Original Song.[54] It also won a Grammy Award for Best Song Written for Visual Media.[54]

text: Track listing[edit]

text: All tracks written by Randy Newman.

text: No.TitleLength1."If I Didn't Have You" (performed by Billy Crystal and John Goodman)3:412."Monsters, Inc."2:093."School"1:384."Walk to Work"3:295."Sulley and Mike"1:576."Randall Appears"0:497."Enter the Heroes"1:038."The Scare Floor"2:419."Oh, Celia!"1:0910."Boo's Adventures in Monstropolis"6:2311."Boo's Tired"1:0312."Putting Boo Back"2:2213."Boo Escapes"0:5214."Celia's Mad"1:4115."Boo Is a Cube"2:1916."Mike's in Trouble"2:1917."The Scream Extractor"2:1218."Sulley Scares Boo"1:1019."Exile"2:1720."Randall's Attack"2:2221."The Ride of the Doors"5:0822."Waternoose is Waiting"3:1423."Boo's Going Home"3:3424."Kitty"1:2025."If I Didn't Have You" (performed by Newman)3:38Total length:1:00:30

text: Chart positions[edit]

text:
Chart (2001)

Peakposition

US Top Soundtracks (Billboard)[60]

25

text: Lawsuits[edit]

text: Shortly before the film's release, Pixar was sued by children's songwriter Lori Madrid of Wyoming, stating that the company had stolen her ideas from her 1997 poem "There's a Boy in My Closet."

text: Madrid mailed her poem to six publishers in October 1999, notably Chronicle Books, before turning it into a local stage musical in August 2001. After seeing the trailer for Monsters, Inc., Madrid concluded that Chronicle Books had passed her work to Pixar and that the film was based on her work.[62] In October 2001, she filed the suit against Chronicle Books, Pixar, and Disney in a federal court in Cheyenne, Wyoming. Her lawyer asked the court to issue a preliminary injunction, that would forbid Pixar and Disney from releasing the film while the suit was pending.

text: In a hearing on November 1, 2001 – the day before the film's scheduled release on 5,800 screens in 3,200 theaters across the country – the judge refused to issue the injunction. On June 26, 2002, he ruled that the film had nothing in common with the poem.[63]

text: In November 2002, Stanley Mouse filed a lawsuit, in which he alleged that the characters of Mike and Sulley were based on drawings of Excuse My Dust, a film that he had tried to sell to Hollywood in 1998.[64] The lawsuit also stated that a story artist from Pixar visited Mouse in 2000, and discussed Mouse's work with him.[64] A Disney spokeswoman responded, by saying that the characters in Monsters, Inc. were "developed independently by the Pixar and Walt Disney Pictures creative teams, and do not infringe on anyone's copyrights".[61] The case was ultimately settled under undisclosed terms.[65]

text: Prequel[edit]

text: A prequel, titled Monsters University, was released on June 21, 2013. John Goodman, Billy Crystal, and Steve Buscemi reprised their roles of Sulley, Mike, and Randall, while Dan Scanlon directed the film. The prequel's plot focuses on Sulley and Mike's studies at Monsters University, where they start off as rivals but soon become best friends.

text: Other media[edit]

text: An animated short, Mike's New Car, was made by Pixar in 2002 in which the two main characters have assorted misadventures with a car Mike has just bought. This film was not screened in theaters, but is included with all home video releases of Monsters, Inc., and on Pixar's Dedicated Shorts DVD.[66] In August 2002, a manga version of Monsters, Inc. was made by Hiromi Yamafuji and distributed in Kodansha's Comic Bon Bon magazine in Japan; the manga was published in English by Tokyopop until it went out of print.[67] A series of video games, including a multi-platform video game were created based on the film. The video games included Monsters, Inc., Monsters, Inc. Scream Team and Monsters, Inc. Scream Arena.[68] A game titled Monsters, Inc. Run was released on the App Store for iPhone, iPod Touch, and iPad on December 13, 2012.[69]

text: Feld Entertainment toured a Monsters, Inc. edition of their Walt Disney's World on Ice skating tour from 2003 to 2007.[70] Monsters, Inc. has inspired three attractions at Disney theme parks around the world. In 2006 Monsters, Inc. Mike & Sulley to the Rescue! opened at Disneyland Resort's Disney California Adventure in Anaheim, California.[71] In 2007, Monsters, Inc. Laugh Floor opened at Walt Disney World Resort's Magic Kingdom in Lake Buena Vista, Florida, replacing The Timekeeper. The show is improvisational in nature, and features the opportunity for Guests to interact with the monster comedians and submit jokes of their own via text message.[72] In 2009 Monsters, Inc. Ride & Go Seek opened at Tokyo Disney Resort's Tokyo Disneyland in Chiba, Japan.[73]

text: In 2009, Boom! Studios produced a Monsters Inc. comic book mini-series that ran for four issues. The storyline takes place after the movie and focuses on Sulley and Mike's daily struggles to operate Monsters Inc. on its new laughter-focused company policy. At the same time, their work is impeded by the revenge schemes of Randall and Waternoose, as well as a human child (indirectly revealed to be Sid Phillips from the Toy Story franchise) who has hijacked the company's closet door technology to commit a string of toy thefts throughout the human world.[74]

text: A world based on the film will make its debut appearance in the Kingdom Hearts series in Kingdom Hearts III,[75][76] making it the second Disney-Pixar movie featured in the series after Toy Story.[77][78] Sulley, Mike, Randall, and Boo are slated to appear, so far, with Sulley and Mike serving as temporary party members.

text: TV series[edit]

text: On November 9, 2017, while commenting the plans for a new Star Wars trilogy and live-action TV show, Disney CEO Bob Iger spoke about plans to develop TV spin-off shows of Monsters, Inc as well with Disney Channel's High School Musical and Marvel Entertainment's Marvel Cinematic Universe.[79] It was also confirmed that this announcement is just part of the plans that Disney has for the new streaming platform that they will launch in 2019 following their announcement to exit from Netflix.[80][81]


document_title: Potassium cyanide

question_text: how long does it take potassium cyanide to kill you

root

text: Potassium cyanide

text: Production[edit]

text: KCN is produced by treating hydrogen cyanide with aqueous solution of potassium hydroxide, followed by evaporation of the solution in a vacuum:[8]

tag: p

text: or by treating formamide with potassium hydroxide[citation needed]:

text: About 50,000 tons of potassium cyanide are produced yearly.[4]

text: Historical production[edit]

text: Prior to 1900, before the invention of the Castner process, potassium cyanide was the most important source of alkali metal cyanides.[4] In this historical process, potassium cyanide was produced by decomposing potassium ferrocyanide:[9]

text: K4[Fe(CN)6] → 4 KCN + FeC2 + N2

text: Structure[edit]

text:
In aqueous solution, KCN is dissociated into hydrated potassium (K+) ions and cyanide (CN−) ions. The common form of solid KCN, stable at ambient pressure and temperature, has the same cubic crystal structure as sodium chloride, with each potassium ion surrounded by six cyanide ions, and vice versa.  Despite the cyanide ions being diatomic, and thus less symmetric than chloride, they rotate so rapidly, their time-averaged shape is spherical.  At low temperature and high pressure, this free rotation is hindered, resulting in a less symmetric crystal structure with the cyanide ions arranged in sheets.
[10][11]

text: Applications[edit]

text: KCN and sodium cyanide (NaCN) are widely used in organic synthesis for the preparation of nitriles and carboxylic acids, particularly in the von Richter reaction. It also finds use for the synthesis of hydantoins, which can be useful synthetic intermediates, when reacted with a carbonyl compound such as an aldehyde or ketone in the presence of ammonium carbonate.

text: KCN is used as a photographic fixer in the wet plate collodion process.[12] The KCN dissolves silver where it has not been made insoluble by the developer. This reveals and stabilizes the image, making it no longer sensitive to light. Modern wet plate photographers may prefer less toxic fixers, often opting for the less toxic Sodium thiosulphate, but KCN is still used.

text: Potassium gold cyanide[edit]

text: In gold mining, KCN forms the water-soluble salt potassium gold cyanide (or gold potassium cyanide) and potassium hydroxide from gold metal in the presence of oxygen (usually from the surrounding air) and water:

text: A similar process uses NaCN to produce sodium gold cyanide (NaAu(CN2)).

text: Toxicity[edit]

text: Potassium cyanide is a potent inhibitor of cellular respiration, acting on mitochondrial cytochrome c oxidase, hence blocking oxidative phosphorylation. This prevents the body from oxidizing food to produce useful energy. Lactic acidosis then occurs as a consequence of anaerobic metabolism. Initially, acute cyanide poisoning causes a red or ruddy complexion in the victim because the tissues are not able to use the oxygen in the blood. The effects of potassium and sodium cyanide are identical, and symptoms of poisoning typically occur within a few minutes of ingesting the substance: the person loses consciousness, and brain death eventually follows. During this period the victim may suffer convulsions. Death is caused by cerebral hypoxia.

text: The lethal dose(human) for potassium cyanide is 20 mg.[13]  Its toxicity when ingested depends on the acidity of the stomach, because it must react with an acid to become hydrogen cyanide, the deadly form of cyanide. Grigori Rasputin may have survived a potassium cyanide poisoning because his stomach acidity was unusually low.[14]

text: A number of prominent persons were killed or committed suicide using potassium cyanide, including members of the Young Bosnia and famous personalities in the Third Reich, such as Erwin Rommel, Hitler's longtime companion Eva Braun, Joseph Goebbels, Heinrich Himmler, and Hermann Göring.  World War II era British agents (using purpose-made suicide pills), computer scientist Alan Turing, polymer chemist Wallace Carothers, 19th-Century German chemist Viktor Meyer,[15], and various religious cult suicides such as by the Peoples Temple, Danish writer Gustav Wied in 1914, and members of the LTTE involved in the assassination of Indian prime minister Rajiv Gandhi. Jason Altom, who was a promising graduate student in the lab of Nobel-Prizewinning chemist EJ Corey at Harvard.  Slobodan Praljak, a Wartime general in Republic of Croatia, committed suicide by drinking from a vial containing potassium cyanide during the reading of his sentence in The Hague on International Criminal Tribunal for the former Yugoslavia (ICTY) on 29 November 2017.[16]

text: It is used by professional entomologists as a killing agent in collecting jars, as insects succumb within seconds to the HCN fumes it emits, thereby minimizing damage to even highly fragile specimens.

text: KCN can be detoxified most efficiently with hydrogen peroxide or with a solution of sodium hypochlorite. Such solutions should be kept basic whenever possible so as to eliminate the possibility of generation of hydrogen cyanide:[4]


document_title: List of highest paid American television stars

question_text: how much money did jerry seinfeld make per episode

text: Network primetime salaries per episode[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Charlie Sheen
Two and a Half Men
Charlie Harper
$1.8 million
2010-11
[1]

Ray Romano
Everybody Loves Raymond
Raymond Barone
$1.7 million
2003–05
[2]

Kelsey Grammer
Frasier
Frasier Crane
$1.6 million
2002–04
[3]

Tim Allen
Home Improvement
Tim Taylor
$1.25 million
1998–99
[1]

Peter Dinklage
Game of Thrones
Tyrion Lannister
£2,000,000[a]
2017–18
[5]

Nikolaj Coster-Waldau
Jaime Lannister

Lena Headey
Cersei Lannister

Emilia Clarke
Daenerys Targaryen

Kit Harington
Jon Snow

James Gandolfini
The Sopranos
Tony Soprano
$1 million
2006–07
[6]

Jennifer Aniston
Friends
Rachel Green
$1 million
2002–04
[7]

Courteney Cox
Monica Geller

Lisa Kudrow
Phoebe Buffay

Matt LeBlanc
Joey Tribbiani

David Schwimmer
Ross Geller

Matthew Perry
Chandler Bing

Helen Hunt
Mad About You
Jamie Buchman
$1 million
1998–99
[8]

Paul Reiser
Paul Buchman

Jerry Seinfeld
Seinfeld
Jerry Seinfeld
$1 million
1997–98
[9]

Johnny Galecki
The Big Bang Theory
Leonard Hofstadter
$900,000
2017-19
[10]

Jim Parsons
Sheldon Cooper

Kunal Nayyar
Raj Koothrapali

Simon Helberg
Howard Wolowitz

Kaley Cuoco
Penny

Ashton Kutcher
Two and a Half Men
Walden Schmidt
$755,000

[1]

Drew Carey
The Drew Carey Show
Drew Carey
$750,000
2001–04
[1]

Lauren Graham
Gilmore Girls
Lorelai Gilmore
$750,000
2016
[11]

Alexis Bledel
Rory Gilmore

David Hyde Pierce
Frasier
Niles Crane
$750,000

[12]

Hugh Laurie
House
Dr. Gregory House
$700,000

Andrew Lincoln
The Walking Dead
Rick Grimes
$650,000
2017–18
[5]

Jon Cryer
Two and a Half Men
Alan Harper
$620,000
2013–15
[13]

Julia Louis-Dreyfus
Seinfeld
Elaine Benes
$600,000
1997–98
[1]

Jason Alexander
George Costanza

Michael Richards
Cosmo Kramer

Norman Reedus
The Walking Dead
Daryl Dixon
$550,000
2017–18
[5]

tag: table

text: Network primetime salaries per season[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Simon Cowell
The X Factor
Judge
$75 million
2012–13
[14]

Katy Perry
American Idol
$25 million
2017–18
[15]

Jennifer Lopez
$20 million
2011–12
[16]

Mariah Carey
$18 million
2012–13
[17]

Hugh Laurie
House
Gregory House
$15 million
2013
[14]

Ryan Seacrest
American Idol
Host
2013–16
[14]

Britney Spears
The X Factor
Judge
2012
[17]

Miley Cyrus
The Voice
Coach
$13 million
2016–17
[18]

Adam Levine
2016–18
[18]

Blake Shelton
2016–18
[18]

Christina Aguilera
$12.5 million
2013
[19]

Kelly Clarkson
$12 million
2018
[20]

Nicki Minaj
American Idol
Judge
2012–13
[19]

Shakira
The Voice
Coach
2013
[19]

Gwen Stefani
2017
[21]

text: Morning annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Judith Sheindlin
Judge Judy
Judge
$47 million
2013
[22]

Barbara Walters
The View
Host
$13 million
2007
[23]

Bob Barker
The Price Is Right
Game show host
$10 million
2001
[24]

Ellen DeGeneres
The Ellen DeGeneres Show
Host
$5 million
2007
[25]

Jerry Springer
The Jerry Springer Show
Host
$3–4 million
1999
[26]

Tyra Banks
The Tyra Banks Show
Host
$3.5 million

[27][28]

text: News presenter annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Matt Lauer
Today
Anchor
$21 million

[29]

Meredith Vieira
Today
Anchor
$15 million

[30][31]

Katie Couric
CBS Evening News
News anchor
$15 million

[32]

text: Notes[edit]

text: Jump up ^ The ''Daily Express gives a £2 million figure, though sources differ. This figure possibly includes the percentage the cast makes from reruns and overseas syndications.[4]

tag: ol


document_title: 40-yard dash

question_text: who has the fastest nfl combine 40 time

question_tokens: who has the fastest nfl combine 40 time

text: 40-yard dash

text: Timing method and track comparisons[edit]

text: In terms of judging a person's speed, the best method of timing is through lasers which start and stop the times when passed through. A laser start (from a stationary position) is more accurate for measuring pure speed as it does not register a runner's reaction time. However, the method of timing a 40-yard dash can affect the accuracy by as much 0.5 seconds (with the manual stopwatch method). The National Football League (NFL) did not begin using partial electronic timing (started by hand, stopped electronically) at the NFL Scouting Combine until 1990.[citation needed] For purposes of measurement at the Combine, the run is made along the lower sideline from the 40 yard-line to the end zone, which has built-in rundown space.

text: In track and field races, the runner must react to the starting gun, which takes approximately 0.24 seconds, based on FAT timing. A runner with a reaction time less than .100 is subject to disqualification as that is deemed too fast of a reaction time. For electronically timed 40-yard dashes, the runner is allowed to start when he wishes, and a timer hand-starts the clock. This aspect means that comparisons with track times are impossible given that a reaction time is not factored in. Furthermore, the use of hand-timing in the 40-yard dash can considerably alter a runner's time; the methods are not comparable to the rigorous electronic timing used in track and field.

text: Jacoby Ford, who ran a 4.28 s in the 2010 NFL Combine, had a collegiate best of 6.51 s in the 60-meter dash (outside the top-40 of the all-time lists).[2] This highlights the difficulties in comparing track running times to football 40-yard times due to the different timing methods.[3]

text: Records[edit]

text: Auburn's Bo Jackson claims to have run a 40-yard dash with a time of 4.12 s.[4][5] A time of 4.18 run by Jackson within the same week added some support to the legitimacy of the times.[6][7] Texas Tech's Jakeem Grant was hand-timed by a New Orleans Saints scout as running a 4.10 in 2016, potentially beating Jackson's record.[8] Deion Sanders ran a 4.27-second 40-yard dash in 1989.[9]

text: In 2013, Carlin Isles recorded a time of 4.22 at a Detroit Lions facility during a workout.[10]

text: In 2017 Olympic sprinter Christian Coleman ran a time of 4.12 seconds on turf in response to claims that NFL players are as fast as Usain Bolt.[11]

text: Records at the NFL Scouting Combine[edit]

text: This is a list of the official 40-yard dash results of 4.30 seconds or better recorded at the NFL Scouting combine since 1999, the first year electronic timing was implemented at the NFL Scouting Combine.[12][13]

text:
Time
Name
Height
Weight
Position
College
Year
Draft

4.22[14]
John Ross
5 ft 11 in (180 cm)
190 lb (86 kg)
Wide receiver
Washington
2017
No. 9 overall by Cincinnati Bengals

4.24
Rondel Menendez
5 ft 9 in (175 cm)
192 lb (87 kg)
Wide receiver
Eastern Kentucky
1999
No. 247 overall by Atlanta Falcons

4.24
Chris Johnson
5 ft 11 in (180 cm)
192 lb (87 kg)
Running back
East Carolina
2008
No. 24 overall by Tennessee Titans

4.26
Jerome Mathis
5 ft 11 in (180 cm)
184 lb (83 kg)
Wide receiver
Hampton
2005
No. 114 overall by Houston Texans

4.26
Dri Archer
5 ft 8 in (173 cm)
173 lb (78 kg)
Running back
Kent State
2014
No. 97 overall by Pittsburgh Steelers

4.27
Stanford Routt
6 ft 2 in (188 cm)
193 lb (88 kg)
Cornerback
Houston
2005
No. 38 overall by Oakland Raiders

4.27
Marquise Goodwin
5 ft 10 in (178 cm)
181 lb (82 kg)
Wide receiver
Texas
2013
No. 78 overall by Buffalo Bills

4.28
Champ Bailey
6 ft 0 in (183 cm)
192 lb (87 kg)
Cornerback
Georgia
1999
No. 7 overall by Washington Redskins

4.28
Jacoby Ford
5 ft 9 in (175 cm)
190 lb (86 kg)
Wide receiver
Clemson
2010
No. 108 overall by Oakland Raiders

4.28[15]
Jalen Myrick
5 ft 10 in (178 cm)
200 lb (91 kg)
Cornerback
Minnesota
2017
No. 222 overall by Jacksonville Jaguars

4.28[16]
J. J. Nelson
5 ft 10 in (178 cm)
156 lb (71 kg)
Wide receiver
UAB
2015
No. 159 overall by Arizona Cardinals

4.28
DeMarcus Van Dyke
6 ft 1 in (185 cm)
187 lb (85 kg)
Cornerback
Miami
2011
No. 81 overall by Oakland Raiders

4.29
Fabian Washington
5 ft 11 in (180 cm)
188 lb (85 kg)
Cornerback
Nebraska
2005
No. 23 overall by Oakland Raiders

4.29
Dominique Rodgers-Cromartie
6 ft 2 in (188 cm)
184 lb (83 kg)
Cornerback
Tennessee State
2008
No. 16 overall by the Arizona Cardinals

4.29
Josh Robinson
5 ft 10 in (178 cm)
199 lb (90 kg)
Cornerback
UCF
2012
No. 66 overall by Minnesota Vikings

4.30
Darrent Williams
5 ft 9 in (175 cm)
176 lb (80 kg)
Cornerback
Oklahoma State
2005
No. 56 overall by Denver Broncos

4.30
Tye Hill
5 ft 10 in (178 cm)
185 lb (84 kg)
Cornerback
Clemson
2006
No. 15 overall by St. Louis Rams

4.30
Yamon Figurs
5 ft 11 in (180 cm)
174 lb (79 kg)
Wide receiver
Kansas State
2007
No. 74 overall by Baltimore Ravens

4.30
Darrius Heyward-Bey[17]
6 ft 2 in (188 cm)
210 lb (95 kg)
Wide receiver
Maryland
2009
No. 7 overall by Oakland Raiders

text: Average time by position[edit]

text: According to a five-year NFL combine report, wide receivers and cornerbacks had the fastest average times at 4.55, followed by running backs at 4.59. The following average times were measured between 2008 and 2012 at the NFL combine.[18]

text:
Position
Time

Wide receiver
4.55

Cornerback
4.55

Running back
4.59

Safety
4.62

Outside linebacker
4.74

Tight end
4.77

Fullback
4.80

Inside linebacker
4.80

Quarterback
4.87

Defensive end
4.88

Defensive tackle
5.13

Center
5.30

Offensive tackle
5.32

Offensive guard
5.36