document_title: WERC (AM)

question_text: what station is rush limbaugh on in alabama

text: WERC (AM)

text: Programming[edit]

text: Like most Clear Channel talk stations, WERC airs several local programs, as well as nationally syndicated programs such as The Glenn Beck Program, The Rush Limbaugh Show, The Schnitt Show, The Savage Nation and America Now with Andy Dean. In addition, WERC simulcasts the audio feed of WBRC-TV's early morning and late night newscasts, along with breaking news/weather coverage (in effect continuing the linkage between WERC and its onetime sister TV station). Overnight, the station broadcasts the syndicated Coast to Coast AM hosted by George Noory.[1] The station also broadcasts the syndicated Saturday night program Somewhere In Time, which consists of reruns of Art Bell-hosted editions of Coast to Coast AM.[1]

text: History[edit]

text: The forerunner of WERC was the first radio station in Birmingham, and the second station in Alabama. It signed on in May 1925 as WBRC, owned by Birmingham doctor J. C. Bell; the call letters stood for Bell Radio Corporation.[2] It broadcast with 50 watts power at 1210 AM from a transmitter in Bell's Fountain Heights home. In 1928, businessman M. D. Smith bought a controlling stake in the station from Bell for $2,000.

text: Throughout the 1920s the station increased its broadcast power several times as well as its broadcast frequency. It also moved its studios several times, eventually moving to the Bankhead Hotel in downtown Birmingham by 1932. By 1935, the station was affiliated with the NBC network. In 1947, it advertised that it "was the first radio station in the Deep South to subscribe to full day and night news wire service--INS."[3] Smith died in 1937, and his wife, Eloise, inherited the station. In 1940, she became full owner of WBRC.

text: In 1946, WBRC introduced the first FM station in Birmingham. Due to the lack of FM radios in Birmingham, WBRC-FM was not very successful, and was taken off the air two years later. Undaunted, in 1949, Hanna launched the WBRC-TV, Alabama's second television station, on channel 4. Hanna retired in 1953, and sold the stations to Storer Broadcasting in 1953. Four years later, the stations were sold to Taft Broadcasting.

text: The advent of television in the 1950s caused network radio programming to decline. By the early 1960s, WBRC was one of two "middle of the road" music stations in Birmingham. It continued in that format until 1972, when Taft Broadcasting sold WBRC and a revived WBRC-FM (106.9 FM) to Mooney Broadcasting. Taft retained ownership of WBRC-TV until 1987. As Federal Communications Commission (FCC) regulations at that time prohibited non-commonly owned stations from sharing call letters, Mooney changed the call letters of the radio stations to WERC and WERC-FM--a deliberate nod to the old call letters. WERC was christened “96-ERC”, and launched an all-out assault on the market’s leading top 40 station, WSGN (now WAGG).

text: For much of the 1970s, WERC and WSGN were two of the most listened-to stations in Birmingham. The beginning of WERC's demise as a top 40 powerhouse came in 1977, when its own FM sister station was relaunched as top 40 station WKXX, “Kicks 106” (now WBPT). By 1980, WERC modified its format to adult contemporary music and was known as ”News Plus 960, WERC”. An afternoon drive sports call-in show hosted by future University of Alabama football announcer Eli Gold was launched in 1981. Competing unsuccessfully against WSGN and WAPI as an adult contemporary station, WERC dropped music in May, 1982 and changed to a news-talk format, which it continued with until January 2011. The station was an early affiliate for Rush Limbaugh's radio network.

text: For much of the 1990s the WERC line-up featured TC and John Ed as morning hosts, Paul Finebaum in the afternoons, and Russ and Dee Fine hosting evenings.

text: During a 1993 snowstorm that paralyzed the Birmingham area, WERC became the primary source of information and assistance for hundreds of thousands of residents that were stranded by the weather without power (in some cases, for weeks).

text: WERC began to transition its format to the FM dial on July 6, 2009, when a new incarnation of WERC-FM replaced modern rock station WVVB (”The Vulcan”) at 105.5 FM. 960 AM simulcast with 105.5 FM until January 7, 2011, when it began originating the programming being broadcast on a new FM translator, W276BQ, that began broadcasting on the 103.1 frequency. After stunting with several formats, ranging from oldies to classic country to adult album alternative to urban, the station settled on a permanent format on January 13, 2011, reviving the ”Vulcan” branding with an active rock format. In addition to broadcasting on 960 AM and 103.1 FM, "The Vulcan" also broadcast on WQEN-HD2 103.7-2. The transition was completed on February 15, 2011, when the WERC call letters were replaced with 105.5's former WVVB call letters.

text: On June 23, 2011, WVVB began simulcasting WERC-FM's news/talk format. On July 14, 2011 WVVB changed its call letters back to WERC. 103.1 continues to broadcast the active rock format from WQEN-HD2.


document_title: List of National Basketball Association career 3-point scoring leaders

question_text: who has made the most 3-pointers in nba history

root

text: Three-point field goals made leaders[edit]

text: This is a list of National Basketball Association players by total career regular-season three-point field goals made.

tag: p

text:
^
Active NBA player

*
Inducted into the Naismith Memorial Basketball Hall of Fame

†
Not yet eligible for Hall of Fame consideration [3]

§
1st time eligible for Hall of Fame in 2018 [4]

tag: table

text:
Rank
Name
Position(s)
Team(s) played for (years)[6]
Total 3-point field
goals made
Total 3-point field
goals attempted
3-point field goal
percentage

1
Allen, RayRay Allen†
SG
Milwaukee Bucks (1996–2003)
Seattle SuperSonics (2003–2007)
Boston Celtics (2007–2012)
Miami Heat (2012–2014)
2,972
7,429

.400

2
Miller, ReggieReggie Miller*
SG
Indiana Pacers (1987–2005)
2,560
6,486
.395

3
Terry, JasonJason Terry^
SG/PG
Atlanta Hawks (1999–2004)
Dallas Mavericks (2004–2012)
Boston Celtics (2012–2013)
Brooklyn Nets (2013–2014)
Houston Rockets (2014–2016)
Milwaukee Bucks (2016–present)
2,243
5,895
.380

4
Pierce, PaulPaul Pierce†
SF
Boston Celtics (1998–2013)
Brooklyn Nets (2013–2014)
Washington Wizards (2014–2015)
Los Angeles Clippers (2015–2017)
2,143
5,816
.368

5
Korver, KyleKyle Korver^
SG/SF
Philadelphia 76ers (2003–2007)
Utah Jazz (2007–2010)
Chicago Bulls (2010–2012)
Atlanta Hawks (2012–2017)
Cleveland Cavaliers (2017–present)
2,049
4,754
.431

Carter, VinceVince Carter^
SG/SF
Toronto Raptors (1998–2004)
New Jersey Nets (2004–2009)
Orlando Magic (2009–2010)
Phoenix Suns (2010–2011)
Dallas Mavericks (2011–2014)
Memphis Grizzlies (2014–2017)
Sacramento Kings (2017–present)
2,049
5,485
.374

Crawford, JamalJamal Crawford^
SG/PG
Chicago Bulls (2000–2004)
New York Knicks (2004–2008)
Golden State Warriors (2008–2009)
Atlanta Hawks (2009–2011)
Portland Trail Blazers (2011–2012)
Los Angeles Clippers (2012–2017)
Minnesota Timberwolves (2017–present)
2,049
5,861
.350

8
Kidd, JasonJason Kidd§
PG
Dallas Mavericks (1994–1996, 2008–2012)
Phoenix Suns (1996–2001)
New Jersey Nets (2001–2008)
New York Knicks (2012–2013)
1,988
5,701
.349

9
Johnson, JoeJoe Johnson^
SG/SF
Boston Celtics (2001–2002)
Phoenix Suns (2002–2005)
Atlanta Hawks (2005–2012)
Brooklyn Nets (2012–2016)
Miami Heat (2016)
Utah Jazz (2016–present)
1,938
5,186
.374

10
Curry, StephenStephen Curry^
PG
Golden State Warriors (2009–present)
1,917
4,379
.438

11
Billups , ChaunceyChauncey Billups †
PG/SG
Boston Celtics (1997–1998)
Toronto Raptors (1998)
Denver Nuggets (1999, 2008–2011)
Minnesota Timberwolves (2000–2002)
Detroit Pistons (2002–2008, 2013–2014)
New York Knicks (2011)
Los Angeles Clippers (2011–2013)
1,830
4,725
.387

12
Bryant, KobeKobe Bryant†
SG
Los Angeles Lakers (1996–2016)
1,827
5,546
.330

13
Lewis, RashardRashard Lewis†
SF/PF
Seattle SuperSonics (1998–2007)
Orlando Magic (2007–2010)
Washington Wizards (2010–2012)
Miami Heat (2012–2014)
1,787
4,625
.386

14
Nowitzki, DirkDirk Nowitzki^
PF
Dallas Mavericks (1998–present)
1,780
4,668
.381

15
Smith, J. R.J. R. Smith^
SG
New Orleans/Oklahoma City Hornets (2004–2006)
Denver Nuggets (2006–2011)
New York Knicks (2011–2015)
Cleveland Cavaliers (2015–present)
1,774
4,747
.374

16
Stojaković, PejaPeja Stojaković
SF
Sacramento Kings (1998–2006)
Indiana Pacers (2006)
New Orleans/Oklahoma City Hornets (2006–2010)
Toronto Raptors (2010–2011)
Dallas Mavericks (2011)
1,760
4,392
.401

17
Ellis, DaleDale Ellis
SF/SG
Dallas Mavericks (1983–1986)
Seattle SuperSonics (1986–1991, 1997–1999)
Milwaukee Bucks (1991–1992, 1999–2000)
San Antonio Spurs (1992–1994)
Denver Nuggets (1994–1997)
Charlotte Hornets (2000)
1,719
4,266
.403

18
Nash, SteveSteve Nash†
PG
Phoenix Suns (1996–1998, 2004–2012)
Dallas Mavericks (1998–2004)
Los Angeles Lakers (2012–2015)
1,685
3,939
.428

19
Richardson, JasonJason Richardson†
SG
Golden State Warriors (2001–2007)
Charlotte Bobcats (2007–2008)
Phoenix Suns (2008–2010)
Orlando Magic (2010–2012)
Philadelphia 76ers (2012–2015)
1,608
4,344
.370

20
Miller, MikeMike Miller^
SF/SG
Orlando Magic (2000–2003)
Memphis Grizzlies (2003–2008, 2013–2014)
Minnesota Timberwolves (2008–2009)
Washington Wizards (2009–2010)
Miami Heat (2010–2013)
Cleveland Cavaliers (2014–2015)
Denver Nuggets (2015–2017)
1,590
3,910
.407

21
Rice, GlenGlen Rice
SF
Miami Heat (1989–1995)
Charlotte Hornets (1995–1998)
Los Angeles Lakers (1999–2000)
New York Knicks (2000–2001)
Houston Rockets (2001–2003)
Los Angeles Clippers (2003–2004)
1,559
3,896
.400

22
Jones, EddieEddie Jones
SG
Los Angeles Lakers (1994–1999)
Charlotte Hornets (1999–2000)
Miami Heat (2000–2005, 2007)
Memphis Grizzlies (2005–2007)
Dallas Mavericks (2007–2008)
1,546
4,147
.373

23
Hardaway, TimTim Hardaway
PG
Golden State Warriors (1989–1996)
Miami Heat (1996–2001)
Dallas Mavericks (2001–2002)
Denver Nuggets (2002)
Indiana Pacers (2003)
1,542
4,345
.355

24
Van Exel, NickNick Van Exel
PG
Los Angeles Lakers (1993–1998)
Denver Nuggets (1999–2002)
Dallas Mavericks (2002–2003)
Golden State Warriors (2003–2004)
Portland Trail Blazers (2004–2005)
San Antonio Spurs (2005–2006)
1,528
4,278
.357

25
Bibby, MikeMike Bibby
PG
Vancouver Grizzlies (1998–2001)
Sacramento Kings (2001–2008)
Atlanta Hawks (2008–2011)
Washington Wizards (2011)
Miami Heat (2011)
New York Knicks (2011–2012)
1,517
3,999
.379

26
James, LeBronLeBron James^
SF
Cleveland Cavaliers (2003–2010, 2014–present)
Miami Heat (2010–2014)
1,467
4,295
.342

27
Finley, MichaelMichael Finley
SF
Phoenix Suns (1995–1996)
Dallas Mavericks (1996–2005)
San Antonio Spurs (2005–2010)
Boston Celtics (2010)
1,454
3,880
.375

28
Ginóbili, ManuManu Ginóbili^
SG
San Antonio Spurs (2002–present)
1,431
3,863
.370

29
Barry, BrentBrent Barry
SG
Los Angeles Clippers (1995–1998)
Miami Heat (1998)
Chicago Bulls (1999)
Seattle SuperSonics (1999–2004)
San Antonio Spurs (2004–2008)
Houston Rockets (2008–2009)
1,395
3,442
.405

30
Walker, AntoineAntoine Walker
PF
Boston Celtics (1996–2003, 2005)
Dallas Mavericks (2003–2004)
Atlanta Hawks (2004–2005)
Miami Heat (2005–2007)
Minnesota Timberwolves (2007–2008)
1,386
4,264
.325

31
Harden, JamesJames Harden^
SG
Oklahoma City Thunder (2009–2012)
Houston Rockets (2012–present)
1,382
3,801
.364

32
Majerle, DanDan Majerle
SG/SF
Phoenix Suns (1988–1995, 2001–2002)
Cleveland Cavaliers (1995–1996)
Miami Heat (1996–2001)
1,360
3,798
.358

33
Davis, BaronBaron Davis
PG
Charlotte Hornets (1999–2002)
New Orleans Hornets (2002–2005)
Golden State Warriors (2005–2008)
Los Angeles Clippers (2008–2011)
Cleveland Cavaliers (2011)
New York Knicks (2012)
1,332
4,159
.320

34
Thompson, KlayKlay Thompson^
SG
Golden State Warriors (2011–present)
1,328
3,171
.419

35
Richmond, MitchMitch Richmond*
SG
Golden State Warriors (1988–1991)
Sacramento Kings (1991–1998)
Washington Wizards (1998–2001)
Los Angeles Lakers (2001–2002)
1,326
3,419
.388

36
Houston, AllanAllan Houston
SG
Detroit Pistons (1993–1996)
New York Knicks (1996–2005)
1,305
3,247
.402

37
Dunleavy Jr., MikeMike Dunleavy Jr.^
SF/SG
Golden State Warriors (2002–2007)
Indiana Pacers (2007–2011)
Milwaukee Bucks (2011–2013)
Chicago Bulls (2013–2016)
Cleveland Cavaliers (2016)
Atlanta Hawks (2017)
1,304
3,460
.377

38
Porter, TerryTerry Porter
PG
Portland Trail Blazers (1985–1995)
Minnesota Timberwolves (1995–1998)
Miami Heat (1999)
San Antonio Spurs (1999–2002)
1,297
3,360
.386

39
Blaylock, MookieMookie Blaylock
PG
New Jersey Nets (1989–1992)
Atlanta Hawks (1992–1999)
Golden State Warriors (1999–2002)
1,283
3,816
.336

40
Redick, J.J.J.J. Redick^
SG
Orlando Magic (2006–2014)
Milwaukee Bucks (2013–2014)
Los Angeles Clippers (2013–2017)
Philadelphia 76ers (2017–present)
1,271
3,064
.415

41
Durant, KevinKevin Durant^
SF
Seattle SuperSonics/Oklahoma City Thunder (2007–2016)
Golden State Warriors (2016–present)
1,260
3,321
.379

42
Maxwell, VernonVernon Maxwell
SG
San Antonio Spurs (1988–1990, 1996–1997)
Houston Rockets (1990–1995)
Philadelphia 76ers (1995–1996, 2000)
Orlando Magic (1998)
Charlotte Hornets (1998)
Sacramento Kings (1999)
Seattle SuperSonics (1999–2000)
Dallas Mavericks (2001)
1,256
3,931
.320

43
Robinson, CliffordClifford Robinson
PF/SF
Portland Trail Blazers (1989–1997)
Phoenix Suns (1997–2001)
Detroit Pistons (2001–2003)
Golden State Warriors (2003–2005)
New Jersey Nets (2005–2007)
1,253
3,515
.356

44
Matthews, WesleyWesley Matthews^
SG
Utah Jazz (2009–2010)
Portland Trail Blazers (2010–2015)
Dallas Mavericks (2015–present)
1,252
3,265
.383

Jackson, StephenStephen Jackson†
SG/SF
New Jersey Nets (2000–2001)
San Antonio Spurs (2001–2003, 2012–2013)
Atlanta Hawks (2003–2004)
Indiana Pacers (2004–2007)
Golden State Warriors (2007–2009)
Charlotte Bobcats (2009–2011)
Milwaukee Bucks (2011–2012)
Los Angeles Clippers (2013–2014)
1,252
3,763
.333

46
Battier, ShaneShane Battier†
SF
Memphis Grizzlies (2001–2006, 2011)
Houston Rockets (2006–2011)
Miami Heat (2011–2014)
1,250
3,254
.384

47
Fisher, DerekDerek Fisher†
PG/SG
Los Angeles Lakers (1996–2004, 2007–2012)
Golden State Warriors (2004–2006)
Utah Jazz (2006–2007)
Oklahoma City Thunder (2012, 2013–2014)
Dallas Mavericks (2012)
1,248
3,341
.374

48
Türkoğlu, HedoHedo Türkoğlu†
SF
Sacramento Kings (2000–2003)
San Antonio Spurs (2003–2004)
Orlando Magic (2004–2009, 2010–2013)
Toronto Raptors (2009–2010)
Phoenix Suns (2010)
Los Angeles Clippers (2014–2015)
1,246
3,246
.384

49
Curry, DellDell Curry
SG
Utah Jazz (1986–1987)
Cleveland Cavaliers (1987–1988)
Charlotte Hornets (1988–1998)
Milwaukee Bucks (1999)
Toronto Raptors (1999–2002)
1,245
3,098
.402

50
Williams, JasonJason Williams
PG
Sacramento Kings (1999–2001)
Memphis Grizzlies (2001–2005, 2011)
Miami Heat (2005–2008)
Orlando Magic (2009–2011)
1,238
3,784
.327

text: Progressive list of 3-point scoring leaders[edit]

text: This is a progressive list of 3-point scoring leaders showing how the record has increased through the years.

text:
^
Active NBA player

*
Inducted into the Naismith Memorial Basketball Hall of Fame

†
Not yet eligible for Hall of Fame consideration[3]

text:
Team Abbreviations
Team listed is the one player was on when he established the record.

BOS
Boston Celtics
HOU
Houston Rockets
ORL
Orlando Magic
SEA
Seattle SuperSonics

CHA
Charlotte Bobcats
IND
Indiana Pacers
PHI
Philadelphia 76ers
TOR
Toronto Raptors

CHI
Chicago Bulls
LAL
Los Angeles Lakers
PHO
Phoenix Suns
UTA
Utah Jazz

CLE
Cleveland Cavaliers
MIA
Miami Heat
SAC
Sacramento Kings
WAS
Washington Wizards

DEN
Denver Nuggets
MIL
Milwaukee Bucks
SAS
San Antonio Spurs
WSB
Washington Bullets

GSW
Golden State Warriors
NYK
New York Knicks
SDC
San Diego Clippers

text:
Progressive 3 point Leaders

Season
Year-by-year leader
3P
Active player leader
3P
Career record
3P
Single season record
3P
Season

1979–80
Brian Taylor000SDC
90
Brian Taylor000SDC
90
Brian Taylor000SDC
90
Brian Taylor000SDC
90
1979–80

1980–81
Mike Bratz000CLE
57
134
134
1980–81

1981–82
Don Buse000IND
73
Joe Hassett000GSW
193
Joe Hassett000GSW
193
1981–82

1982–83
Mike Dunleavy000 SAS
67
194
194
1982–83

1983–84
Darrell Griffith000UTA
91
Darrell Griffith000UTA
154
Darrell Griffith000UTA
91
1983–84

1984–85
92
246
Darrell Griffith000UTA
246
92
1984–85

1985–86
Larry Bird*000BOS
82
Larry Bird*000BOS
267
Larry Bird*000BOS
267
1985–86

1986–87
90
357
357
1986–87

1987–88
Danny Ainge000BOS
148
455
455
Danny Ainge000BOS
148
1987–88

1988–89
Michael Adams000DEN
166
Dale Ellis000SEA
472
Dale Ellis000SEA
472
Michael Adams000DEN
166
1988–89

1989–90
158
568
568
1989–90

1990–91
Vernon Maxwell000HOU
172
Michael Adams
000DEN 1990–91
000WSB 1991–92
658
Michael Adams
000DEN 1990–91
000WSB 1991–92
658
Vernon Maxwell000HOU
172
1990–91

1991–92
162
783
783
1991–92

1992–93

Reggie Miller*000IND
Dan Majerle000PHO
167
Dale Ellis
000 SAS 1992–94
000 DEN 1994–97
882
Dale Ellis
000 SAS 1992–94
000 DEN 1994–97
882
1992–93

1993–94
Dan Majerle000PHO
192
1,013
1,013
Dan Majerle000PHO
192
1993–94

1994–95
John Starks000NYK
217
1,119
1,119
John Starks000NYK
217
1994–95

1995–96
Dennis Scott000ORL
267
1,269
1,269
Dennis Scott000ORL
267
1995–96

1996–97
Reggie Miller*000IND
229
1,461
1,461
1996–97

1997–98
Wesley Person000CLE
192
Reggie Miller*000IND
1,596
Reggie Miller*000IND
1,596
1997–98

1998–99
Dee Brown000TOR
135
1,702
1,702
1998–99

1999–00
Gary Payton*000SEA
177
1,867
1,867
1999–00

2000–01
Antoine Walker000BOS
221
2,037
2,037
2000–01

2001–02
Allen, RayRay Allen†000MIL
229
2,217
2,217
2001–02

2002–03
201
2,330
2,330
2002–03

2003–04
Peja Stojaković000SAC
240
2,464
2,464
2003–04

2004–05

Quentin Richardson†0PHO
Kyle Korver^00PHI

226
2,560
2,560
2004–05

2005–06
Allen, RayRay Allen†000SEA
269
Allen, RayRay Allen†
000SEA 2005–07
000BOS 2007–12
000MIA 2012–14
1,755
Allen, RayRay Allen†000SEA
269
2005–06

2006–07
Gilbert Arenas00WAS
Raja Bell†00PHO

205
1,920
2006–07

2007–08
Jason Richardson†000CHA
243
2,100
2007–08

2008–09
Rashard Lewis†000ORL
220
2,299
2008–09

2009–10
Aaron Brooks^000HOU
209
2,444
2009–10

2010–11
Dorell Wright†000GSW
194
2,612
Allen, RayRay Allen†
000BOS 2010–12
000MIA 2012–14
2,612
2010–11

2011–12
Ryan Anderson^000ORL
166
2,718
2,718
2011–12

2012–13
Stephen Curry^000GSW
272
2,857
2,857
Stephen Curry^000GSW
272
2012–13

2013–14
261
2,973
2,973
2013–14

2014–15
286
Jason Terry^
000HOU 2014–16
000MIL 2016–17
2,076
286
2014–15

2015–16
402
2,169
402
2015–16

2016–17
324
2,242
2016–17

Season
Year-by-Year Leader
3P
Active Player Leader
3P
Career Record
3P
Single Season Record
3P
Season

text: Notes[edit]

text:
Jump up ^ The National Basketball Association did not record 3-point field goals until the 1979–80 season
Jump up ^ "NBA Progressive Leaders and Records for 3-Pt Field Goals". Basketball-Reference.com. Sports-Reference. Retrieved 24 March 2015.
^ Jump up to: a b A player is not eligible for induction into the Naismith Memorial Basketball Hall of Fame until he has been fully retired for four calendar years (reduced from five in 2015).
Jump up ^ "2018 Hall of Fame Candidates". Basketball-reference.com. Retrieved 8 April 2016.
Jump up ^ "NBA Win Shares". Basketball-reference.com. Retrieved 8 April 2016.
Jump up ^ American Basketball Association (ABA) teams other than those admitted into the NBA in 1976 are not included; each year is linked to an article about that particular NBA season.

tag: ol


document_title: Seat belt laws in the United States

question_text: when did the seatbelt law come into effect in california

text: Seat belt laws in the United States

text: Primary and secondary enforcement[edit]

text: U.S. seatbelt laws may be subject to primary enforcement or secondary enforcement. Primary enforcement allows a police officer to stop and ticket a driver if he or she observes a violation. Secondary enforcement means that a police officer may only stop or cite a driver for a seatbelt violation if the driver committed another primary violation (such as speeding, running a stop sign, etc.) at the same time. New Hampshire is the only U.S. state that does not by law require adult drivers to wear safety belts while operating a motor vehicle.

text: In 18 of the 50 states, the seat belt law is considered a secondary offense, which means that a police officer cannot stop and ticket a driver for the sole offense of not wearing a seatbelt. (One exception to this is Colorado, where children not properly restrained is a primary offense and brings a much larger fine.) If a driver commits a primary violation (e.g., for speeding) he may additionally be charged for not wearing a seatbelt. In most states the seat belt law was originally a secondary offense; in many it was later changed to a primary offense: California was the first state to do this, in 1993. Of the 30 with primary seat belt laws, all but 8, Connecticut, Hawaii, Iowa, New Mexico, New York, North Carolina, Oregon, and Texas, originally had only secondary enforcement laws.

text: Laws by state[edit]

text: This table contains a brief summary of all seatbelt laws in the United States.[3][4] This list includes only seatbelt laws, which often do not themselves apply to children; however, all 50 states and the District of Columbia have separate child restraint laws. Keep in mind these fines are the base fines only. In many cases considerable extra fees such as the head injury fund and court security fees can mark up the fine to almost five times as much in some cases. These are also "first offense" fines; a subsequent offense may be much higher.

text:
State
Type of law
Date of first law
Who is covered
Base fine before fees
Seat Belt Usage[5]

 Alabama
Primary Enforcement
July 18, 1991
Age 15+ in front seats
$25
91.4%

 Alaska
Primary Enforcement
September 12, 1990
Age 16+ in all seats
$15 ($25 actual)
86.8%

 Arizona
Secondary Enforcement
January 1, 1991
Age 8+ in front seats; Age 8–15 in all seats
$10 ($37.20 actual)
81.8%

 Arkansas
Primary Enforcement
July 15, 1991
Age 15+ in front seats
$25
78.3%

 California
Primary Enforcement
January 1, 1986
Age 16+ in all seats
$20 ($162 actual) $50 second offense ($190 actual)5
96.2%

 Colorado
Secondary Enforcement1 exception Mountain View where it is a primary violation[6]
July 1, 1987
Age 16+ in front seats
$71
82.9%

 Connecticut
Primary Enforcement
January 1, 1986
Age 7+ in front seats
$92
88.2%

 Delaware
Primary Enforcement
January 1, 1992
Age 16+ in all seats
$25
90.7%

 District of Columbia
Primary Enforcement
December 12, 1985
Age 16+ in all seats
$504
92.3%

 Florida
Primary Enforcement
July 1, 1986
6+ years in front seat; 6 through 17 years in all seats
$30 ($116 actual)
87.4%

 Georgia
Primary Enforcement
September 1, 1988
Age 8–17 in all seats; Age 18+ in front seats
$15
89.6%

 Hawaii
Primary Enforcement
December 16, 1985
Age 8+ in all seats
$45 ($112 actual)
97.6%

 Idaho
Secondary Enforcement2
July 1, 1986
Age 7+ in all seats
$10 ($51.50 actual)
77.9%

 Illinois
Primary Enforcement
January 1, 1988
Age 16+ in all seats
$25 ($60 actual or $95 if choosing traffic school)
92.6%

 Indiana
Primary Enforcement
July 1, 1987
Age 16+ in all seats
$25
92.4%

 Iowa
Primary Enforcement
July 1, 1986
All ages in front seats; under 18 in rear seats[7]
$25 ($127.50 actual)
93.1%

 Kansas
Primary Enforcement3
July 1, 1986
Age 14+ in all seats
$60 for age 14-17; $10 for 18+
81.8%

 Kentucky
Primary Enforcement
July 15, 1994
Age 7 and younger and more than 57 inches in all seats; 8+ in all seats
$25
80.3%

 Louisiana
Primary Enforcement
July 1, 1986
Age 13+ in front seats
$25
75.9%

 Maine
Primary Enforcement
December 26, 1995
Age 18+ in all seats
$50
82.0%

 Maryland
Primary Enforcement3
July 1, 1986
Age 16+ in all seats
$83
94.7%

 Massachusetts
Secondary Enforcement
February 1, 1994
Age 13+ in all seats [8]
$25
73.7%

 Michigan
Primary Enforcement
July 1, 1985
Age 16+ in front seats
$25 ($65 actual)
95.2%

 Minnesota
Primary Enforcement
August 1, 1986
7 and younger and more than 57 inches in all seats; 8+ in all seats
$25 + $75 fee
92.3%

 Mississippi
Primary Enforcement
July 1, 1994
Age 7+ in all seats
$25
81.0%

 Missouri
Secondary Enforcement1
September 28, 1985
Age 16+ in front seats; age 8-15 in all seats
$10 for age 16+; $50 for age 8-15
76.0%

 Montana
Secondary Enforcement
October 1, 1987
Age 6+ in all seats
$20
78.9%

 Nebraska
Secondary Enforcement
January 1, 1993
Age 18+ in front seats
$25
84.1%

 Nevada
Secondary Enforcement
July 1, 1987
Age 6+ in all seats
$25
93.2%

 New Hampshire
None, Primary for children only
No law
Age 17 and under in all seats
$50
72.2%

 New Jersey
Primary Enforcement3
March 1, 1985
Age 8+ in all seats
$46 per person
93.7%

 New Mexico
Primary Enforcement
January 1, 1986
Age 18+ in all seats
$254
89.8%

 New York
Primary Enforcement
December 1, 1984
Age 16+ in front seats; under 16 in all seats
$50 ($135 Actual after surcharges)[9]
89.8%

 North Carolina
Primary Enforcement, Secondary for Backseat[10]
October 1, 1985
All ages in all seats
$161 for front seat; $10 for rear seat
89.7%

 North Dakota
Secondary Enforcement2
July 14, 1994
Age 18+ in front seats;
under 18 in all seats

$20 for age 18+; $25 + 1 point on license for under 184
74.8%

 Ohio
Secondary Enforcement
May 6, 1986
Age 15+ in front seat; 8–14 in all seats
$30 for driver; $20 for passenger
83.8%

 Oklahoma
Primary Enforcement
February 1, 1987
Age 13+ in front seats
$20
85.9%

 Oregon
Primary Enforcement
December 7, 1990
All ages in all seats
$130
97.0%

 Pennsylvania
Secondary Enforcement2
November 23, 1987
Age 18+ in front seats; age 8-17 in all seats
$10
86.0%

 Rhode Island
Primary Enforcement
June 18, 1991
Age 8+ in all seats
$75
78.0%

 South Carolina
Primary Enforcement
July 1, 1989
Age 6+ in all seats
$25
85.4%

 South Dakota
Secondary Enforcement
January 1, 1995
Age 18+ in front seats
$25
74.5%

 Tennessee
Primary Enforcement
April 21, 1986
Age 16+ in front seats
$25
87.1%

 Texas
Primary Enforcement
September 1, 1985
Age 7 years and younger and 57 inches or taller in all seats; age 8+ years in all seats
$200 if under 17 (driver); $50 if over 15 (driver or passenger)
93.8%

 Utah
Primary Enforcement
April 28, 1986
All ages in all seats
$45
89.0%

 Vermont
Secondary Enforcement2
January 1, 1994
All ages in all seats
$25
85.2%

 Virginia
Secondary Enforcement2
January 1, 1988
All drivers; age 18+ in front seats; under 18 in all seats
$25
80.5%

 Washington
Primary Enforcement
June 11, 1986
Age 8+ in all seats
$124
97.6%

 West Virginia
Primary Enforcement
September 1, 1993
All ages in front seats; 8–17 in rear seats
$25
82.1%

 Wisconsin
Primary Enforcement
December 1, 1987
Age 8+ in all seats
$10
79.2%

 Wyoming
Secondary Enforcement
June 8, 1989
Age 9+ in all seats
$25 for driver; $10 for passenger
78.9%

text: 1 Colorado and Missouri's law is Secondary for adults but Primary for under the age of 16.

text: 2 Idaho, North Dakota, Pennsylvania, Vermont and Virginia's law is Secondary for adults but Primary for under 18.

text:
3 Kansas, Maryland, and New Jersey, law is Secondary Enforcement for rear seat occupants (18+ in Kansas).
4 These states assess points on one's driving record for the seat belt violation.
5 In California- An additional penalty of $24 shall be levied upon every $10 or fraction thereof, of every fine, penalty, or forfeiture imposed by and collected by the court for criminal offenses, including all traffic offenses, except parking offenses as defined in subdivision (i) of Penal Code § 1463. The additional penalty is calculated as follows:

text: • State penalty required by PC 1464 $10,

text: • County penalty required by GC 76000(e), $ 7 • Court facilities construction penalty required by GC 70372(a),$ 3 • DNA Identification Fund penalty required by GC 76104.6 and 76104.7,$ 2

text: Penal Code § 1465.8 requires imposition of an additional fee of twenty dollars ($20) for court security on every conviction for a criminal offense, including a traffic offense, except parking offenses as defined in Penal Code § 1463,$20

text: Damages reduction[edit]

text: A person involved in a car accident who was not using a seatbelt may be liable for damages far greater than if they had been using a seatbelt. However, when in court, most states protect motorists from having their damages reduced in a lawsuit due to the nonuse of a seatbelt, even if they were acting in violation of the law by not wearing the seatbelt. Currently, damages may be reduced for the nonuse of a seatbelt in 16 states: Alaska, Arizona, California, Colorado, Florida (See F.S.A. 316.614(10)), Iowa, Michigan, Missouri, Nebraska, New Jersey, New York, North Dakota, Ohio, Oregon, West Virginia, and Wisconsin.[11]

text: Effectiveness[edit]

text: Seat belt laws are effective in reducing car crash deaths.[12] One study found that mandatory-seatbelt laws reduced traffic fatalities by 8% and serious traffic-related injuries by 9%, respectively.[13] Primary-seatbelt laws seem to be more effective at reducing crash deaths than secondary laws.[14][15]


document_title: Mortuary Temple of Hatshepsut

question_text: who built the mortuary temple of queen hatshepsut

text: Mortuary Temple of Hatshepsut

text: Architecture[edit]

text: .Hatshepsut's chancellor, royal architect Senenmut oversaw the construction of the temple.[3]  Although the adjacent, earlier mortuary temple of Mentuhotep II was used as a model, the two structures are nevertheless significantly different in many ways. Hatshepsut's temple employs a lengthy, colonnaded terrace that deviates from the centralised structure of Mentuhotep’s model – an anomaly that may be caused by the decentralized location of her burial chamber.[1] There are three layered terraces reaching 29.5 metres (97 ft) tall. Each story is articulated by a double colonnade of square piers, with the exception of the northwest corner of the central terrace, which employs proto-Doric columns to house the chapel. These terraces are connected by long ramps which were once surrounded by gardens with foreign plants including frankincense and myrrh trees.[3]  The layering of Hatshepsut's temple corresponds with the classical Theban form, employing pylons, courts, hypostyle, sun court, chapel and sanctuary.

text: Relief and sculpture[edit]

text: The relief sculpture within Hatshepsut’s temple recites the tale of the divine birth of a female pharaoh – the first of its kind. The text and pictorial cycle also tell of an expedition to the Land of Punt, an exotic country on the Red Sea coast. While the statues and ornamentation have since been stolen or destroyed, the temple once was home to two statues of Osiris, a sphinx avenue as well as many sculptures of the Queen in different attitudes – standing, sitting, or kneeling. Many of these portraits were destroyed at the order of her stepson Thutmose III after her death.

text: Astronomical alignment[edit]

text: The main and axis of the temple is set to an azimuth of about 116½° and is aligned to the winter solstice sunrise,[4] which in our modern era occurs around the 21st or 22 December each year. The sunlight penetrates through to the rear wall of the chapel, before moving to the right to highlight one of the Osiris statutes that stand on either side of the doorway to the 2nd chamber.[4]  A further subtlety to this main alignment is created by a light-box, which shows a block of sunlight that slowly moves from the central axis of the temple to first illuminate the god Amun-Ra to then shining on the kneeling figure of Thutmose III before finally illuminating the Nile god Hapi.[4] Additionally, because of the heightened angle of the sun, around 41 days on either side of the solstice, sunlight is able to penetrate via a secondary light-box through to the innermost chamber.[4]  This inner-most chapel was renewed and expanded in the Ptolemaic era and has cult references to Imhotep, the builder of the Pyramid of Djoser, and Amenhotep, son of Hapu, the overseer of the works of Amenhotep III.[5]

text: Historical influence[edit]

text: Hatshepsut’s temple is considered the closest Egypt came to Classical architecture.[1] Representative of New Kingdom funerary architecture, it both aggrandizes the pharaoh and includes sanctuaries to honor the gods relevant to her afterlife.[6] This marks a turning point in the architecture of Ancient Egypt, which forsook the megalithic geometry of the Old Kingdom for a temple which allowed for active worship, requiring the presence of participants to create the majesty. The linear axiality of Hatshepsut’s temple is mirrored in the later New Kingdom temples. The architecture of the original temple has been considerably altered as a result of misguided reconstruction in the early twentieth century AD.

text: Model of the temple complex[edit]

text: A walk-in model of the temple complex has been created since October 2016 in the freely available virtual world of Second Life. The main focus of this model is the overall architectural impression of the temples and gardens, but also some important murals of the Hatshepsut temple are shown (see links).

text: Gallery[edit]

text: This section contains what may be an unencyclopedic or excessive gallery of images. Galleries containing indiscriminate images of the article subject are discouraged;  please help improve the section by reducing indiscriminate gallery sections or by moving relevant images beside adjacent text, in accordance with the Manual of Style on use of images. (April 2017) (Learn how and when to remove this template message)

text:
Temple of Hatshepsut

Deir el Bahari

Temple of Hatshepsut

Hatshepsut Temple

Hatshepsut Temple

Hatshepsut Temple

Tempio di Hatshepsut

Deir el-Bahari TIII

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, Column detail

Mortuary Temple of Hatshepsut, Column detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, detail

Mortuary Temple of Hatshepsut, Column detail

tag: ul


document_title: War Horse (film)

question_text: what breed of horse is joey in war horse

question_tokens: what breed of horse is joey in war horse

text: War Horse (film)

text: Plot[edit]

text: This film's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (July 2018) (Learn how and when to remove this template message)

text: In 1912, a teenage boy named Albert Narracott (Jeremy Irvine) from Devon, England, witnesses the birth of a bay Thoroughbred foal and subsequently watches with admiration the growth of the young horse. Much to the dismay of his mother Rose (Emily Watson), his father Ted (Peter Mullan) buys the colt at an auction, outbidding their landlord Lyons despite them needing a more suitable plough horse for the farm work. Albert's best friend, Andrew Easton, watches as Albert teaches his colt many things, such as to come to him when he imitates the call of an owl by blowing through his cupped hands. He names the horse Joey.

text: Ted carries a war injury that causes him ongoing physical and mental pain. While he cannot speak of his time in the Cavalry, Rose shows Albert his father's medals from the Second Boer War that he earned for bravery under fire. She gives Albert his father's regimental pennant, telling Albert that his father felt shame over what he did during the war, and that he had thrown the flag and medals away, though Rose saved and kept them hidden. Albert does not understand why Ted would be ashamed of having fought in a war.

text: Against all odds and Lyons' hopes, Albert manages to train Joey and have him plough a rocky field that Ted plants with turnips. However, a heavy downpour in 1914 destroys the turnip crops, so Ted is compelled to sell the horse to the army in order to pay his rent. Albert begs his father to return the money. Captain James Nicholls  (Tom Hiddleston) sees the boy's attachment and promises to look after the steed. Albert tries to enlist in the army but is too young, and before the captain leaves with Joey, Albert ties his father's pennant to Joey's bridle.

text: Joey is trained for military operations and becomes attached to Topthorn, a black horse with whom he is trained for his military role. The two horses are deployed to Flanders with a flying column under the command of Nicholls and Major Jamie Stewart (Benedict Cumberbatch), but they lead a cavalry charge through a German encampment, and the unit is mown down by machine gun fire. Nicholls is killed along with almost all his fellow cavalrymen; the Germans capture the horses.

text: A young German soldier called Gunther is assigned to the care of Joey and Topthorn, who are used to draw an ambulance wagon. When his 14-year-old brother Michael is sent to the front line, Gunther takes the horses and the four of them desert, hiding inside a nearby windmill. The German Army soon tracks down the boys, and they are shot for desertion. However, the Germans leave without noticing Joey and Topthorn in the windmill.

text: An orphaned French girl named Emilie, who lives at the farm with her grandfather, finds the two horses and takes care of them. German soldiers arrive and confiscate supplies from the property, even the jam that Emilie's grandfather makes, but Emilie hides the horses in her bedroom. Emilie suffers from a disease that makes her bones fragile and is not allowed to ride the horses for fear of risking injury when falling off the horse. Nonetheless, Emilie's grandfather, for her birthday, allows her to ride Joey. She gallops the horse up the hill and runs into the Germans who then take the horses, breaking Emilie's heart. The grandfather keeps the pennant.

text: By 1918, Albert has enlisted and is fighting alongside Andrew in the Second Battle of the Somme, under the command of Lyons's son David. After a British charge into no man's land, Albert and Andrew miraculously make it across into a deserted German trench, where a gas bomb explodes, filling the trench with poison gas.

text: Joey and Topthorn are used by the Germans to haul artillery up a large muddy hill, under the command of Private Friedrich Henglemann, who tries to keep the horses alive. Topthorn eventually succumbs to exhaustion and dies. Friedrich is dragged away by other German soldiers, leaving Joey to face an oncoming Mark IV tank. The horse escapes and runs into no man's land, where he gets entangled in the barbed wire barriers. From their respective trenches, both British and German soldiers spot Joey in the night mist, and a British soldier named Colin, waves a white flag and tries to free the horse. Peter (Hinnerk Schönemann), a German soldier, comes over with wire cutters, and together they free Joey from the wire. The two make friendly talk on the remorseless war. They flip a coin, provided by Peter, to decide who should take the horse; Colin, who called heads, wins (Peter remarks, on seeing the coin land in the mud heads up, "Aye, that is my Kaiser, and he looks none too pleased with me!") and guides Joey back to the British trench, now having made friends with Peter.

text: Andrew is killed by the gas attack, but Albert survives, temporarily blinded. While recuperating, he hears about the "miraculous horse" rescued from no-man's land. The army doctor instructs Sgt. Fry to put Joey down. But when Fry is about to shoot, Joey hears the owl call he learnt as a colt. Albert is led through the troops to Joey, again sounding his call, and Joey hurries to meet his long-missed friend. Albert explains that he raised Joey, and with bandages still covering his eyes, gives an exact description of the horse's markings, confirming his claim. With Joey covered in mud, the camp doctor at first dismisses Albert's statement, but he is astonished when soldiers wash away the grime, revealing the four white socks and diamond star on Joey's forehead.

text: World War I ends, and an order is made that the horse should be auctioned. Albert is given money collected from his fellow soldiers in order to bid for him, but bidding by a butcher exceeds that of the collection. Then a bid of £100 is entered. The bidder is an older gentleman, Emilie's grandfather, who informs the butcher that if he is bid against, he will sell his coat and bid to £110—and should he bid against him again, he will sell his farm and bid to £1,000. No other bid is placed, and the grandfather takes ownership of Joey, planning to return with him to his farm. He tells Albert that Emilie has died, and after hearing about the miracle horse, he travelled for three days to get Joey back, for the sake of his beloved granddaughter's memory.

text: Albert pleads for the horse with Emilie's grandfather, who at first remains unmoved. The old man is surprised, however, when the horse chooses to return to Albert, and he presents Albert with the military pennant, asking him what it is. Albert's quick recognition of the pennant convinces the grandfather that Joey is indeed his horse. He gives Joey back to Albert, saying that it's what Emilie would have wanted. Albert returns with Joey to his family's farm, where he returns the pennant to his father. The elder Narracott extends his hand to the boy, now a man and like him, a former soldier.

text: Cast[edit]

text:
Jeremy Irvine as Albert Narracott
Emily Watson as Rose Narracott
Peter Mullan as Ted Narracott
Niels Arestrup as Grandfather
David Thewlis as Lyons
Tom Hiddleston as Captain James Nicholls
Benedict Cumberbatch as Major Jamie Stewart
Céline Buckens as Emilie
Toby Kebbell as Colin, the British soldier from South Shields
Hinnerk Schönemann as Peter, the German soldier from Düsseldorf
Patrick Kennedy as Lieutenant Charlie Waverly
Leonard Carow as Private Michael Schröder
David Kross as Private Gunther Schröder
Matt Milne as Andrew Easton
Robert Emms as David Lyons
Eddie Marsan as Sergeant Fry
Nicolas Bro as Private Friedrich Henglemann
Rainer Bock as Brandt
Geoff Bell as Sergeant Sam Perkins
Liam Cunningham as British Army Doctor
Gerard McSorley as Market Auctioneer
Tony Pitts as Sergeant Martin
Pip Torrens as Major Tompkins
Philippe Nahon as French Auctioneer
Julian Wadham as British Captain in Trench
David Dencik as German Base Camp Officer
Edward Bennett as Cavalry Recruiting Officer
Johnny Harris as Infantry Recruiting Officer
Tam Dean Burn as British Medic in Trench
Maximilian Brückner as German Artillery Officer
Maggie Ollerenshaw as the Narracotts' neighbour

text: Pre-production[edit]

text: Background[edit]

text: Michael Morpurgo wrote the 1982 children's novel War Horse after meeting World War I veterans in the Devon village of Iddesleigh where he lived. One had been with the Devon Yeomanry and was involved with horses; another veteran in his village, Captain Budgett,[6] was with the cavalry and told Morpurgo how he had confided all his hopes and fears to his horse. Both told him of the horrific conditions and loss of life, human and animal, during the Great War. A third man remembered the army coming to the village to buy horses for the war effort: horses were used for cavalry and as draught animals, pulling guns, ambulances and other vehicles. Morpurgo researched the subject further and learned that a million horses died on the British side; he extrapolated an overall figure of 10 million horse deaths on all sides. Of the million horses that were sent abroad from the U.K., only 62,000 returned, the rest dying in the war or slaughtered in France for meat. The Great War had a massive and indelible impact on the U.K.'s male population: 886,000 men died, one in eight of those who went to war, and 2% of the entire country's population.[7][8][9]

text: After observing a young boy with a stammer forming a fond relationship with and talking fluently to a horse at a farm run by Morpurgo's charity Farms for City Children, Morpurgo found a way to tell the story through the horse and its relations with the various people it meets before and during the course of the war: a young Devon farmboy, a British cavalry officer, a German soldier, and an old Frenchman and his granddaughter.[8][9][10]

text: Morpurgo tried to adapt the book into a film screenplay, working for over five years with Simon Channing-Williams, but in the end they had to admit defeat.[11] The book was successfully adapted for a stage play by Nick Stafford in 2007. To work dramatically, the story could not be told solely through the horse's viewpoint (as it was in the book), and so the film version with a screenplay by Richard Curtis and Lee Hall is based on the narrative approach of the stage play more than that of the book. Unlike the play, which used puppet horses, the film uses a combination of real horses, animatronic horses and computer-generated imagery.[12][13][14][15]

text: Development[edit]

text:
"I won't kid you, it was more money [for the film rights] than I've ever been paid for anything I've ever written. But that wasn't the temptation. The temptation was the chance for an iconic film about the First World War, perhaps as great as All Quiet on the Western Front with its overpowering sense of waste."
–Michael Morpurgo[16]

tag: div

text:
From 2006–2009, Morpurgo, Lee Hall and Revel Guest worked on a proposed film version of War Horse, which Morpurgo and Hall would write and Guest produce. Lack of finances meant that it was an informal arrangement, with the film rights not formally sold by Morpurgo to Guest's production company and no one being paid for the work they undertook.[17][18] In 2009, film producer Kathleen Kennedy saw the critically acclaimed production of War Horse in London's West End with her husband, fellow producer Frank Marshall and their two daughters. They were very impressed by the story and Marshall has recalled how he was amazed that no one had already bought the film rights to the book.[19][20] Steven Spielberg was told about War Horse by several people, including Kennedy, who was his colleague at Amblin Entertainment.[20][21][22] After discussions with Revel Guest, it was announced on 16 December 2009 that DreamWorks had acquired the film rights to the book, with Spielberg stating: "From the moment I read Michael Morpurgo's novel War Horse, I knew this was a film I wanted DreamWorks to make … Its heart and its message provide a story that can be felt in every country."[23][24]
Spielberg saw the London production of the play on 1 February 2010 and met some of the cast afterwards.[25][26][27] He admitted to being moved to tears by the performance.[28]

text: Hall commented that "Weirdly the week that we finished it [the screenplay], Spielberg expressed an interest, we sent him the script, and within a couple of weeks he'd decided he was going to make the film—it was one of those situations that never happens in the world of film."[29]

text: DreamWorks executive Stacey Snider suggested Richard Curtis to work on rewrites for the screenplay: she had worked with Curtis during her time at Universal Studios, and Curtis had previously written the World War I-set BBC comedy television series Blackadder Goes Forth along with Ben Elton which meant he was already familiar with the period. Spielberg was a fan of Blackadder but had never met Curtis.[30] Curtis was initially reluctant to take part, but on meeting Spielberg they got on so well that Curtis rethought and committed to work on the script.[30] Curtis has stated that the screenplay is closer to the book than the play, and that 'the existence of the play itself helped him "be brave" about his own adaptation.'[31] Curtis produced more than a dozen drafts in three months,[32] and has spoken of the close collaboration he had with Spielberg while working on the script.[33][34]

text: Having previously only been slated to produce the film, Spielberg decided to direct "the second I read [Curtis's] first draft. It happened faster than anything else we've [Spielberg and Snider] done together."[29][35] It was announced that Spielberg was to direct the film on 3 May 2010;[36] the cast was announced on 17 June 2010.[3] Speaking at the Tribeca Film Festival in April 2011, actor Peter Mullan said that he took the part not just because Spielberg was directing, but also because of the 'beautiful script, really nice script'.[37]

text: According to an account of the book, play and film's development by Michael Morpurgo, within weeks of hearing from Kennedy about the London theatre production, Spielberg had "seen the play, met the cast, visited the Imperial War Museum and decided this would be his next film. In the weeks that followed he worked with Lee Hall and Richard Curtis on the script, and within months the film was being made".[9] Spielberg was able to act so quickly because he was on a hiatus, waiting for the animation on his other 2011-released film, The Adventures of Tintin: The Secret of the Unicorn, to be completed.[32]

text: Spielberg has directed six films with World War II themes (1941, Raiders of the Lost Ark, Empire of the Sun, Indiana Jones and the Last Crusade, Schindler's List, and Saving Private Ryan), and has produced two others, Flags of Our Fathers and Letters from Iwo Jima, as well as producing two major television miniseries set during this period, Band of Brothers and The Pacific. In contrast, War Horse is Spielberg's first foray into World War I storytelling,[38] as Spielberg admitted that prior to learning about the War Horse book and play "I had never been that interested in World War I".[22] Kathleen Kennedy elaborated on the appeal of the story: "In cinema we've told very few stories about World War I and I think that's one of the things that attracted us to this … It's a forgotten war in the United States, and that had a very powerful effect on Steven and I [sic]."[39]

text: Dr. David Kenyon and Andrew Robertshaw of Battlefield Partnerships were military advisors on the film.[40][41][42][43]

text: Casting[edit]

text: After some speculation, the cast for War Horse was announced on 17 June 2010.[3] It had been rumoured in the previous week that Eddie Redmayne had been cast in the lead part as Albert Narracott;[44] however, relatively unknown stage actor Jeremy Irvine was chosen instead. Spielberg commented after seeing hundreds of young boys reading for the role, Irvine had come in and done a cold reading and that "his performance was very natural, very authentic."[22] Irvine auditioned for two months, going in two or three times a week, and learned that he had the part when he was asked to read a piece of War Horse script on camera in order to check his West Country accent, and the piece of mocked-up script that he read out was Albert telling Joey that Steven Spielberg wanted him to play the part.[45]

text: The cast is European,[46] with British, French and German actors playing characters of their respective nationalities.[47] Robert Emms, who played the lead of Albert Narracott in the West End production of the play, was cast as David Lyons.[48]

text: Casting for extras took place in Devon in late July 2010.[49] In all, some 5,800 extras were used in the film.[32] The granddaughter of Captain Budgett, one of the World War I veterans who had inspired Morpurgo to write the story, acted as an extra in scenes filmed in Castle Combe,[9][50] and Morpurgo himself filmed a cameo role there, along with his wife Clare.[51][52][53]

text: Prior to the start of filming, some of the actors underwent two months of intensive horse training.[13]

text: Production[edit]

text: Filming[edit]

text: Spielberg films are renowned for the levels of secrecy and security during filming, and this was no exception: filming took place under the codename Dartmoor.[49][54] The filming period took 'about 64 days' in total.[55]

text: Filming of War Horse began with the cavalry scenes being filmed at Stratfield Saye House in north Hampshire, the estate of the Duke of Wellington, where incidentally Wellington's war horse Copenhagen is buried. Here a cavalry charge involving 130 extras was filmed.[13][56]

text: Filming on location on Dartmoor, Devon started in August 2010.[57][58] Initially, Spielberg was only going to have four or five days' worth of second unit material shot in Devon, but after Kathleen Kennedy sent him photographs of the various locations she had scouted, he decided to cut other elements of the story to enable more filming to take place in countryside that Kennedy described as "so extraordinarily beautiful and absolutely perfect for the story".[59] Dartmoor locations included the small villages of Meavy and Sheepstor, Burrator Reservoir, Bonehill Rocks and surrounding area near Widecombe-in-the-Moor, Ringmoor Down, Combestone Tor and surrounding area, Haytor, Hexworthy Bridge and Cadover Bridge/Brisworthy.[60][61] Ditsworthy Warren House, an isolated Grade II listed building near Sheepstor on Dartmoor served as the Narracott family's farmhouse, and many scenes were filmed in the surrounding area.[60][62][63]

text: On 11 September 2010, the annual Dartmoor Yomp was re-routed to allow filming to continue undisturbed.[64] Spielberg praised the Dartmoor countryside's beauty: "I have never before, in my long and eclectic career, been gifted with such an abundance of natural beauty as I experienced filming War Horse on Dartmoor… And, with two-and-a-half weeks of extensive coverage of landscapes and skies, I hardly scratched the surface of the visual opportunities that were offered to me."[65] Spielberg felt that the landscape was very much a character in the film.[66]

text: Although Devon rural locations were used, scenes in the main village in the story were filmed at the Wiltshire village of Castle Combe near Chippenham, despite the vernacular architecture of Devon (predominantly cob walls and thatched roofs) being very different from that of Wiltshire (stone walls and stone tiled roofs). Filming began there on 21 September 2010 and continued until 1 October 2010.[67][68][69][70] Some residents of Castle Combe were angered by the imposition of tightened security within the village, claiming they could not enter the village without waiting at perimeter barriers until breaks in filming.[71]

text: After Castle Combe, the production moved on to Wisley Airfield in Surrey, where no man's land battlefield scenes were filmed.[30][54][72][73] Shooting of wartime camp scenes also took place for about two weeks from 4 October 2010 at Bourne Wood near Farnham in Surrey, a frequent location for filming.[54][74][75][76] On 13–14 October 2010, scenes were shot at the stately home Luton Hoo.[77] Filming was also scheduled to be undertaken at Caerwent in Wales.[78] Studio filming was undertaken at Longcross Studios, Chertsey in Surrey[75] and at Twickenham Film Studios.[79] The film shoot was completed in the last week of October 2010,[32][80] with the entire film, French scenes included, being shot in the U.K.,[9] apart from some pick-up shots of a bay foal filmed in March 2011 in California.

text:
"The Michael Morpurgo book is ‘Black Beauty goes to war’. So if you’re English, two of the most emotive subjects you could touch on are Black Beauty and the First World War. The crew were constantly in tears, as there were war memorials and everybody had a story in their family ... for English people, everyone is touched by that war."
–Emily Watson on World War I's enduring emotional legacy.[81]

text: Michael Morpurgo, the author of the book on which the film is based, visited the set several times while filming was being undertaken: "Spielberg's a wonderful storyteller and a kid. He adores stories and that's what he's best at. It's extraordinary to meet someone with that kind of enthusiasm, utterly unspoiled … When I went to visit him on set, he was clearly enthralled by the countryside. He fell for Devon in a big way. He was warm, kind and open, and utterly without ego … Spielberg was like a conductor with a very light baton. He hardly had to wave it at all. I was in awe."[73] Emily Watson also praised Spielberg's approach: "It was intimate, passionate and about the acting. And every single priority that as an actor that you would want to be there was there. It felt very real and focused."[81] On set, he'd come in, in the morning, and say, 'I couldn't sleep last night. I was worrying about this shot!' Which was great! He's human and he's still working in an impassioned way, like a 21-year-old, trying to make the best out of everything."[82]

text: For lead actor Jeremy Irvine, starring in his first film role, the filming process was intense at times, in particular the scene where the British cavalry, 130 horses in total and many hundreds of extras, charged the German machine gun lines. He explained: "It's the weapons of the old world—our men on horses—meeting the absolute destruction of these tools of mass slaughter. There was this line of machine guns and there's this wall of lead coming out of these guns. There were real explosions at my feet, bodies flying through the air, stunt men getting shot at. It was terrifying. The smoke and the smell and the taste of the guns firing. It's not difficult to act scared in that situation. There's no doubt this was deliberate: not only to have the film look great, but to have that effect on the actors. It was an eye-opening scene."[13]

text: When actor Peter Mullan won the award for Best Film at the San Sebastián International Film Festival in Spain for Neds, the film he wrote, directed and in which he acted, Spielberg insisted that Mullan should attend the ceremony on 26 September 2010 to accept his award in person, and re-arranged the War Horse shooting schedule accordingly.[83][84]

text: Spielberg commented on how he and cinematographer Janusz Kamiński developed the 'look' of the film: "…it doesn't feel like Ryan at all … it has a much more daguerrotype feel, much more brownish. We're not using any of the techniques we used on Ryan. The only similarity is that it is war and it is handheld."[30]

text: Filming locations[edit]

text:
Longcross Studios, Longcross, Surrey, England, UK
Burrator Reservoir near Plymouth, England, UK
Castle Combe, Wiltshire, England, UK
Ditsworthy Warren, Devon, England, UK
Holwell Farm, Widecombe-in-the-Moor, Devon, England, UK
Stratfield Saye, Hampshire, England, UK
Bourne Woods, Farnham, Surrey, England, UK
Dartmoor, Devon, England, UK
Luton Hoo Estate, Luton, Bedfordshire, England, UK
Meavy, Devon, England, UK
Twickenham Film Studios, Twickenham, London, England, UK
Wisley Airfield, Wisley, Surrey, England, UK[85]

text: The horses[edit]

text:
"When I'm on an Indy movie, I'm watching Indiana Jones, not the horse he is riding ... Suddenly I'm faced with the challenge of making a movie where I not only had to watch the horse, I had to compel the audience to watch it along with me. I had to pay attention to what it was doing and understand its feelings. It was a whole new experience for me."
–Steven Spielberg[30]

text: The pre-production period only allowed for three months to train the horses before shooting commenced.[86] The main horse trainer was Bobby Lovgren,[86] and other horse trainers included Dylan Jones, Bill Lawrence,[87][88] and Zelie Bullen.[89][90]

text: During filming, fourteen different horses were used as the main horse character Joey, eight of them portraying him as an adult animal, four as a colt and two as a foal;[87][91] four horses played the other main equine character, Topthorn.[86] Up to 280 horses were used in a single scene.[32] A farrier was on set to replace horseshoes sucked off in the mud during filming, and the horses playing the main horse characters had a specialist equine make-up team, with their coats dyed and markings added to ensure continuity. Equine artist Ali Bannister was responsible for the 'hair and make-up' of the horses, as well as drawing the sketches of horses that are featured in the film.[92] Extra filming involving a bay foal took place in California in March 2011.[15] Working with horses on this scale was a new experience for Spielberg, who commented: "The horses were an extraordinary experience for me, because several members of my family ride. I was really amazed at how expressive horses are and how much they can show what they're feeling."[12]

text: Representatives of the American Humane Association were on set at all times to ensure the health and safety of all animals involved,[93] and the Association awarded the film an "outstanding" rating for the care that was taken of all the animals during the production.[94] However, a 2013 suit by former AHA employee Barbara Casey alleges that a horse was killed on set, but the organisation chose to "cover-up the death" to protect Spielberg's reputation.[95] An animatronic horse was used for some parts of the scenes where Joey is trapped in barbed wire;[96] the wire was rubber prop wire.[94]

text: Post-production[edit]

text: Film editor Michael Kahn spoke of his work on the film: "We have some shots in War Horse that are just fantastic … We shot it in Devon, and you know it's gorgeous down there, and the horses are beautiful and the farms are beautiful, beautiful scenery and every shot is gorgeous, and eventually you get to the war part of it and it's really, really something." Kahn had a trailer on set and edited the film during filming.[97] Kahn and Spielberg cut the film digitally on an Avid, rather than on film, a first time with this technology for Spielberg: "He decided that he'd like to try it", Kahn commented.[98][99]

text: After filming, further editing was undertaken at the U.K.'s Twickenham Film Studios, with the production moving back to the U.S. in November 2010.[79] Kahn also said of his work on the film: "We put together here in Hollywood. It worked well … Those English actors are awfully good and so were the horses. The horses were beautifully trained. For an editor there were a lot of match [frame] problems with the horses but the shooting was so good that I got everything I needed."[14]

text: The film score by John Williams was recorded in late March and early April 2011.[97] Tuba player Jim Self reported in May 2011: "For John Williams I [sic] recently finished recording for the film War Horse. It's a war movie so the score has a lot of brass—but it was gentle music often."[100] English folk singer John Tams, who wrote the songs for the stage production of War Horse, was approached by Spielberg and Williams about including one of his songs from the stageshow in the film.[51][101] In the liner notes to the film soundtrack CD, Spielberg wrote "I feel that John has made a special gift to me of this music, which was inspired not only by my film but also by many of the picturesque settings of the poet William Wordsworth, whose vivid descriptions of the British landscape inspired much of what you are going to hear."[102] In the premiere of three of the tracks on New York radio station WQXR's "Movies on the Radio", broadcaster David Garland drew parallels with the work of British composer Ralph Vaughan Williams.[103]

text: Visual effects for the film were undertaken by London-based company Framestore.[104] According to Spielberg, the film's only digital effects are three shots lasting three seconds, which were undertaken to ensure the safety of the horse involved: "That's the thing I'm most proud of. Everything you see on screen really happened."[28] Kathleen Kennedy elaborated, stating "We really did it very naturalistically. There isn't a lot of blood. Steven wasn't interested in bringing Private Ryan into it, but we did want to make a PG-13 movie."[21] Actor Tom Hiddleston said of the film that Spielberg had "seen the stage play and he wanted to retain the magic and heartbeat of that … It's a moving, powerful story you can take children to see, but it is still very upsetting … People die, and it is war."[105]

text: Music[edit]

text: John Williams composed and conducted the film's musical score, the second score composed the same year by Williams for Spielberg after The Adventures of Tintin.[106] Williams took inspiration by visiting a horse farm in California and observing horses and their behavior, elaborating that "I got in the habit of watching the horses in the morning, and I began to see how they connect to each other and how they became curious about me. That's when I really began to get the sense that horses are very special creatures. They have been magnificent and trusted friends for such a long time and have done so much for us with such grace."[107] Williams was also influenced by the geographic scope of the film's story. In regards to that approach, Williams stated; "This was a very rich opportunity musically because it is both about humans and animals and it takes place in three different countries. It starts out in a more intimate way, on the farm with the bonding of Joey and Albert. Then, the eruption of war changes the scale, and the music does a 180-degree turn. From this bucolic, gentle, even sentimental music, you move into the music of battle surges and gripping struggles. It's a musical journey full of dimension and emotional content, and I tried also to create an atmosphere reflective of that period, which was lyrical, poetic and tragic."[107] The score was recorded by a 90-piece orchestra, with Williams comparing the recording sessions more to a concert piece rather than a traditional film score, as it relied more on the individual performance of the musicians.[107]

text:
War Horse (Original Motion Picture Soundtrack)Film score by John WilliamsReleased
November 18, 2011Recorded
2011Studio
Sony Pictures StudiosGenre
SoundtrackLength
65:26Label
Sony ClassicalProducer
John WilliamsJohn Williams film scores chronology

The Adventures of Tintin(2011)

War Horse (Original Motion Picture Soundtrack)(2011)

Lincoln(2012)

text: All music composed by John Williams.

text: No.TitleLength1."Dartmoor, 1912"3:352."The Auction"3:343."To Giant Country"4:424."Bringing Joey Home, and Bonding"3:205."Seeding, and Horse vs. Car"3:336."Plowing"5:107."Ruined Crop, and Going to War"3:298."The Charge and Capture"3:219."The Desertion"2:3310."Joey's New Friends"3:3011."Pulling the Cannon"4:1112."The Death of Topthorn"2:4513."No Man's Land"4:3514."The Reunion"3:5515."Remembering Emilie, and Finale"5:0716."The Homecoming"8:06Total length:65:26

text: Release[edit]

text:
"To round out the year, Steven Spielberg's War Horse appears in time for the festive period. If you're thinking that nothing says Christmas like the bloody trench warfare carnage, you may be in luck. But while Spielberg isn't one to sugarcoat the horrors of war, he's just the director to fill this Great War-set story of a boy and his horse with saddlebags of heart and soul. We can't wait to see how he's brought the colossally popular stage play to the big screen."
–Empire magazine[108]

text: War Horse was released in North America by Walt Disney Studios Motion Pictures through its Touchstone Pictures label on December 25, 2011.[109][110] The release date for America was originally set for 10 August 2011, but after a meeting in London in early October 2010 between DreamWorks and Disney executives, when some footage was screened, the decision was taken to move its release to 28 December 2011 in the holiday period,[111] and in the U.K. on 13 January 2012.[112] DreamWorks executive Stacey Snider said: "The reaction to the footage—which he [Spielberg] usually never shows—was that it feels like a big, holiday movie … It just became inevitable that we would move it. (Spielberg) feels great about it."[111] In late September 2011, Disney moved the release date again, to Christmas Day 2011.

text: Only a very few unofficial on-set photographs and clips of video footage were published in the press and online during the filming period. Due to the usual embargo on photographs and videos being taken and made public during Spielberg shoots, very few photographs emerged, with the majority being snatched paparazzi shots. In October 2010 Spielberg's cinematographer on the film, Janusz Kamiński, put an on-set photograph of himself on a battlefield set on his Facebook page.[113] The first ten official photographs were made public by DreamWorks in several releases between 11 and 14 March 2011, in Empire magazine, in an article in the Daily Mail and in an article in Entertainment Weekly.[13][114] On 16 March 2011 a British blogger published an account of her unofficial visit to the War Horse set at Ditsworthy Warren House, and despite the security on-set, was able to take photographs of the set's interior and of Steven Spielberg.[115] On 29 March 2011, DreamWorks presented behind-the-scenes footage, introduced on film by Spielberg, to theatre owners at CinemaCon in Las Vegas. Spielberg was unable to attend in person as he was still working on the film's post-production.[116]

text: On 29 June 2011, the film's first official teaser trailer was released, and the official website was launched.[117][118] On its launch, the website was rather a sparse affair, with just the official trailer and synopsis, and only two of the ten previously-released official photographs. Further footage, introduced on film by Spielberg, was shown at the Empire magazine 'Big Screen' event in London in August 2011.[119] Jeremy Irvine talked about his experiences making the film at the same event.[45] The full theatrical trailer was released on 4 October 2011,[120][121] and more on-set photographs were released on 17 November 2011.[122]

text:
"The film feels like a Christmas present, [Morpurgo] says—one he desperately wants to open but isn't allowed to yet. If that sounds almost childlike, so does the quality of his anticipation: 'I know I've built up my hopes considerably ... I want it to live on and on in people's minds'."
–New Statesman magazine[123]

text: The publicity strategy for War Horse unusually featured preview screenings for the public in U.S. heartland areas before either the critics were shown the film or it was screened to the public in major metropolitan areas. The first preview screenings of War Horse were held at various locations across the U.S. on 1, 2 and 10 November 2011.[124][125] Military veterans in Canada were invited to seven different screenings on 16 November, in honour of Remembrance Day, five days earlier.[126] More preview screenings in the U.S. took place on 27 November, with Spielberg attending a question and answer session at the New York screening that was beamed to the other screening cinemas and shown live on the internet.[127][128]

text: Press screenings for critics were first held in New York and Los Angeles on Thanksgiving Day, 24 November 2011, although there was an embargo on official reviews being published at that time.[129] On 27 November, there was a special screening in London for the crew and cast, the first time anyone involved with the film (apart from Spielberg and his close collaborators) had seen it.[130] Three television advertisements for the film were released in the U.S. on Thanksgiving Day, 24 November 2011,[131] shortly followed by others.[132][133]

text: The film's world premiere was held on Sunday 4 December at the Avery Fisher Hall of New York City's Lincoln Center, where the Tony award-winning Broadway production of War Horse was playing in the neighbouring Vivian Beaumont Theater. The U.K. premiere took place in London's Leicester Square on 8 January 2012, and was attended by Prince William, Duke of Cambridge and his wife Catherine, Duchess of Cambridge.[134]

text: A tie-in book by Steven Spielberg, titled War Horse, was published by Harper Collins on 27 December 2011.[135]

text: The horse portrait painted by Ali Bannister now hangs in the Iddesleigh Town Hall in the approximate location described in the introduction to Morpurgo's novel:

text: In the old school they use now for the Village Hall, below the clock that has stood always at one minute past ten, hangs a small dusty painting of a horse. He stands, a splendid red bay with a remarkable white cross emblazoned on his forehead and with four perfectly matched white socks. He looks wistfully out of the picture, his ears pricked forward, his head turned as if he has just noticed us standing there.

text:
To many who glance up at it casually, as they might do when the hall is opened up for Parish meetings, for harvest suppers or evening socials, it is merely a tarnished old oil painting of some unknown horse by a competent but anonymous artist. To them the picture is so familiar that it commands little attention. But those who look more closely will see, written in fading black copperplate writing across the bottom of the bronze frame:

Joey.
Painted by Captain James Nicholls, autumn 1914.

text: Some in the village, only a very few now and fewer as each year goes by, remember Joey as he was. His story is written so that neither he nor those who knew him nor the war they lived and died in, will be forgotten. (1-2)

text: Bannister's commissioned portrait was hung in the Iddesleigh Town Hall in part response to the reported tourists who had previously sought out the (fictional) portrait.[136]

text: Home media[edit]

text: War Horse was released on Blu-ray Disc, DVD, and digital download on 3 April 2012 from Touchstone Home Entertainment. The release was produced in three different physical packages: a 4-disc combo pack (2-disc Blu-ray, DVD, and Digital Copy); a 2-disc combo pack (Blu-ray and DVD); and a 1-disc DVD. The film was released digitally through on-demand services such as the "iTunes Store" in high and standard definitions.[137] The 1-disc DVD includes the bonus feature "'War Horse': The Look" and the digital versions come with "An Extra's Point of View." The 2-disc combo pack includes "'War Horse': The Look" and "An Extra's Point of View" bonus features. The 4-disc combo pack comes with the same extras as the 2-disc combo pack, as well as "A Filmmaking Journey," "Editing & Scoring," "The Sounds of 'War Horse,'" and "Through the Producer's Lens" bonus features.[138]

text: Reception[edit]

text: Critical response[edit]

text: Based on 218 reviews collected by Rotten Tomatoes, War Horse received a 76% "Certified Fresh" approval rating from critics with an average score of 7/10. The site's critical consensus is "Technically superb, proudly sentimental, and unabashedly old-fashioned, War Horse is an emotional drama that tugs the heartstrings with Spielberg's customary flair."[5]

text: Although there was an embargo on official reviews of the film being published before 21 December 2011,[139] reviews started appearing from 26 November 2011 onwards in mainstream press such as The Daily Telegraph, which gave it 4½ out of 5 stars.[140]

text: Giving the film an A- grade, Lisa Schwarzbaum of Entertainment Weekly wrote, "The project is tailor-made for Saving Private Ryan Spielberg, the war-story specialist, as well as for E.T. Spielberg, the chronicler of boyhood desires and yearnings for family."[141] Christopher Tookey of Daily Mail gave the film 5 out of 5 stars and called it "Spielberg's finest hour".[142] Rex Reed of The New York Observer gave the film 4 out of 4 stars and said, "War Horse is a don't-miss Spielberg classic that reaches true perfection. It's as good as movies can get, and one of the greatest triumphs of this or any other year."[143]

text: Roger Ebert gave the film 3.5 out of 4 stars, saying the film contained "surely some of the best footage Spielberg has ever directed". He wrote, "The film is made with superb artistry. Spielberg is the master of an awesome canvas. Most people will enjoy it, as I did." [144] Richard Roeper praised War Horse by saying, "What a gorgeous, breathtaking, epic adventure this is." He gave the film 4.5 out of 5 stars.[145] Ty Burr of The Boston Globe said that the film was a work of full-throated Hollywood classicism that looks back to the craftsmanship and sentimentality of John Ford and other legends of the studio era. He gave it 3 out of 4 stars.[146]

text: The film also made many critics' top film lists of 2011. Richard Corliss of Time named it 2011's fifth-best film, saying "Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched".[147] David Chen of /Film selected War Horse as 2011's best film.[148]

text: In The Guardian, Simon Winder wrote that the film, "despite twisting and turning to be even-handed, simply could not help itself and, like some faux-reformed alcoholic, gorged itself on an entire miniature liqueur selection of Anglo-German clichés".[149] David Denby of The New Yorker wrote about the film that "The horses themselves are magnificent, and maybe that's reason enough to see the movie. But War Horse is a bland, bizarrely unimaginative piece of work".[150]

text: The soundtrack recording by John Williams received a Sammy Award for Best New Film Score CD.[151]

text: Box office[edit]

text: War Horse grossed $79,859,441 domestically and $97,200,000 overseas, for a worldwide total of $177,584,879. Although not one of Spielberg's biggest box office successes, it was the highest-grossing World War I film of all time until Wonder Woman, five years later.[2]

text: Accolades[edit]

text:
showList of awards and nominations

Awards

Date of ceremony

Category

Name

Result

84th Academy Awards[152]

26 February 2012

Best Picture

Steven Spielberg, Kathleen Kennedy

Nominated

Best Art Direction

Rick Carter (production designer), Lee Sandales (set decorator)

Nominated

Best Cinematography

Janusz Kamiński

Nominated

Best Original Score

John Williams

Nominated

Best Sound Editing

Richard Hymns, Gary Rydstrom

Nominated

Best Sound Mixing

Gary Rydstrom, Andy Nelson, Tom Johnson, Stuart Wilson

Nominated

62nd American Cinema Editors Awards[153]

18 February 2012

Best Edited Feature Film - Dramatic

Michael Kahn

Nominated

American Film Institute Awards[154]

11 December 2011

Film of the Year 2011

Won

65th British Academy Film Awards[155]

12 February 2012

Best Film Music

John Williams

Nominated

Best Cinematography

Janusz Kamiński

Nominated

Best Production Design

Rick Carter, Production Designer, Lee Sandales, Set Decorator

Nominated

Best Sound

Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Johnson, Richard Hymns

Nominated

Best Special Visual Effects

Ben Morris, Neil Corbould

Nominated

BMI Film & TV Awards[156]

17 May 2012

Film Music Award

John Williams

Won

Broadcast Film Critics Association Awards 2011[157]

12 January 2012

Best Picture

Nominated

Best Director

Steven Spielberg

Nominated

Best Cinematography

Janusz Kamiński

Won

Best Art Direction

Rick Carter, Production Designer, Lee Sandales, Set Decorator

Nominated

Best Editing

Michael Kahn

Nominated

Best Sound

Nominated

Best Score

John Williams

Nominated

Central Ohio Film Critics Association Awards[158]

5 January 2011

Best Cinematography

Janusz Kamiński

Nominated

Best Score

John Williams

Nominated

Chicago Film Critics Association Awards[159]

19 December 2011

Best Cinematography

Janusz Kamiński

Nominated

69th Golden Globe Awards[160]

15 January 2012

Best Motion Picture – Drama[160]

Nominated

Best Original Score

John Williams

Nominated

Houston Film Critics Society Awards[161][162]

14 December 2011

Best Film

Nominated

Best Cinematography

Janusz Kamiński

Nominated

Best Score

John Williams

Nominated

32nd London Film Critics' Circle Awards[163]

19 January 2012

British Actor of the Year

Peter Mullan

Nominated

Young British Performer of the Year

Jeremy Irvine

Nominated

59th Motion Picture Sound Editors Golden Reel Awards[164]

19 February 2012

Best Sound Editing: Sound Effects and Foley in a Feature Film

Won

Best Sound Editing: Dialogue and ADR in a Feature Film

Nominated

National Board of Review Awards[165]

1 December 2011

Best Film

Nominated

23rd Producers Guild of America Awards 2011[166]

21 January 2012

Best Theatrical Motion Picture

Kathleen Kennedy, Steven Spielberg

Nominated

16th Satellite Awards[167]

18 December 2011

Best Motion Picture

Nominated

Best Director

Steven Spielberg

Nominated

Best Adapted Screenplay

Lee Hall, Richard Curtis

Nominated

Best Original Score

John Williams

Nominated

Best Cinematography

Janusz Kamiński

Won

Best Visual Effects

Ben Morris

Nominated

Best Film Editing

Michael Kahn

Nominated

Best Sound (Editing & Mixing)

Andy Nelson, Gary Rydstrom, Richard Hymns, Stuart Wilson, Tom Johnson

Nominated

Southeastern Film Critics Association[168]

19 December 2011

Top Ten Film

Won

Visual Effects Society Awards[169]

February 7, 2012

Outstanding Supporting Visual Effects in a Feature Motion Picture

Annie Godin, Louis Morin

Nominated

Washington D.C. Area Film Critics Association[170]

5 December 2011

Best Art Direction

Rick Carter, Production Designer, Lee Sandales, Set Decorator

Nominated

Best Cinematography

Janusz Kamiński

Nominated

Best Score

John Williams

Nominated