document_title: Live Free or Die Hard

question_text: where was live free or die hard filmed

question_tokens: where was live free or die hard filmed

text: Live Free or Die Hard

text: Plot[edit]

text: The FBI responds to a brief computer outage at its Cyber-Security Division by tracking down top computer hackers who had been on a watch list, finding several of them have been killed. The FBI asks New York City Police Department detective John McClane to bring in Matthew "Matt" Farrell, one of the targeted hackers who had been put on the watch list. McClane arrives just in time to save Farrell from assassins working for Mai Linh, who works for her boss and love interest, Thomas Gabriel.

text: En route to Washington, D.C., with McClane, Farrell reveals that he had been contacted by Mai, under the guise that she was working for corporate security, and that she had paid him a large sum of money to write an algorithm that could crack a specific security system for white hat purposes. Meanwhile, Gabriel orders his own crew of hackers to take control of the transportation grids and stock market, while nationally broadcasting a message threatening the United States. Farrell recognizes this as the start of a "fire sale", an attack designed to target the nation's infrastructure that is reliant on computerized systems. McClane and Farrell are driven to the FBI headquarters, but Mai poses as a dispatcher and reroutes the convoy into the path of an assault helicopter. McClane manages to fend off the attackers and destroy the helicopter.

text: Gabriel initiates a second broadcast by showing a simulated explosion of the U.S. Capitol building, causing a public panic. Farrell guesses that his next target is likely the power grid, and the two drive to a utility superstation in West Virginia. They find a team led by Mai taking over the station. McClane manages to kill all of them, including Mai. He obtains video footage of Gabriel which he relays to the FBI. Enraged over Mai's death, Gabriel seizes control of the natural gas distribution system and redirects all of the gas into the station. McClane and Farrell escape before the station explodes, leaving much of the eastern seaboard of the United States and Canada without power.

text: Farrell takes McClane to fellow hacker Frederick "Warlock" Kaludis. Running several generators to keep his computer systems online, Warlock identifies the piece of code Farrell wrote as a means to access data at a master Social Security Administration building at Woodlawn, Maryland. They realize the building is actually a NSA facility intended to backup the nation's entire personal and financial records in the event of a cyber attack, designed by Gabriel himself when he worked for the NSA. Warlock tells McClane and Matt that Gabriel is an extremely talented programmer and top security expert for the U.S. Department of Defense. Gabriel tried to alert the political and military leadership to critical weaknesses that made America's network infrastructure vulnerable to cyberwarfare, but his unorthodox methods led to his dismissal. Warlock runs a traceroute and manages to identify Gabriel's location, but Gabriel detects the intrusion.

text: Gabriel taps into their connection and reveals that he has located McClane's estranged daughter, Lucy, and intends to kidnap her. McClane and Farrell race to the Woodlawn facility, where Farrell discovers that Gabriel's men are downloading all the information. He manages to encrypt the data just in time before he is captured. Gabriel kidnaps Farrell and takes him as well as Lucy, who had been kidnapped earlier, with him as his team flees from Woodlawn. McClane pursues Gabriel, hijacking his semi and enlisting Warlock to trace Gabriel's vehicle. Gabriel accesses the communication system of a U.S. Marine Corps F-35B Lightning II and, impersonating an air traffic controller, orders the pilot to attack the truck McClane is driving. McClane barely escapes, then makes his way to a nearby warehouse where Warlock has tracked Gabriel. There, Gabriel is installing the remaining files and holding Lucy and Farrell. Although McClane kills most of Gabriel's remaining henchmen, Emerson shoots him in the right shoulder.

text: While Gabriel holds McClane at gunpoint from behind, McClane manages to shoot Gabriel's weapon through his own shoulder and kill Gabriel. Farrell then kills Emerson. An FBI tactical response team arrives and secures the scene. Afterwards, McClane tries to discourage the romantic feelings developing between Farrell and Lucy.

text: Cast[edit]

text:
Bruce Willis as Detective John McClane
Justin Long as Matthew "Matt" Farrell
Timothy Olyphant as Thomas Gabriel, a former Defense Department analyst who leads a group of cyber-terrorists systematically shutting down the entire U.S. infrastructure. Olyphant filmed his role within three weeks.[5]
Mary Elizabeth Winstead as Lucy Gennero-McClane, McClane's estranged daughter. The inclusion of McClane's daughter was previously considered for the third film, and she was in the video game Die Hard: Vendetta.[6] It was speculated that Willis' real life daughter Rumer, was a prime candidate for the part of McClane's daughter.[7]
Maggie Q as Mai Linh
Kevin Smith as Frederick "Warlock" Kaludis. Smith made uncredited rewrites to the scenes in which he appears.[8]
Cliff Curtis as Miguel Bowman, Deputy Director of the FBI Cyber Security Division
Jonathan Sadowski as Trey
Edoardo Costa as Emerson
Cyril Raffaelli as Rand
Yorgo Constantine as Russo
Željko Ivanek as Agent Molina
Christina Chang as Taylor

text: Additional characters include Gabriel's henchmen: Chris Palmero as Del, Andrew Friedman as Casper and Bryon Weiss as Robinson. Chris Ellis appears as Jack Sclavino, McClane's superior officer. Sung Kang makes an appearance as Raj, a desk officer of FBI's cyber division. Matt O'Leary appears as Clay, a hacker who unwittingly gives Gabriel code, allowing his house to be destroyed. Jake McDorman plays a small role as Jim, Lucy's boyfriend. Rosemary Knower has a cameo as Mrs. Klaudis, Frederick's mother.

text: Production[edit]

text: Script and title[edit]

text: The film's plot is based on an earlier script entitled WW3.com by David Marconi, screenwriter of the 1998 film Enemy of the State.[9] Using John Carlin's Wired magazine article entitled "A Farewell to Arms", Marconi crafted a screenplay about a cyber-terrorist attack on the United States.[2][10] The attack procedure is known as a "fire sale", depicting a three-stage coordinated attack on a country's transportation, telecommunications, financial, and utilities infrastructure systems. After the September 11, 2001 attacks, the project was stalled, only to be resurrected several years later and rewritten into Live Free or Die Hard by Doug Richardson and eventually by Mark Bomback.[11]

text: Willis said in 2005 that the film would be called Die Hard 4.0, as it revolves around computers and cyber-terrorism. IGN later reported the film was to be called Die Hard: Reset instead.[12] 20th Century Fox later announced the title as Live Free or Die Hard and set a release date of June 29, 2007 with filming to begin in September 2006.[13][14] The title is based on New Hampshire's state motto, "Live Free or Die", which is attributed to a quote from General John Stark. International trailers use the Die Hard 4.0 title,[15] as the film was released outside North America with that title. Early into the film's DVD commentary, both Wiseman and Willis note a preference for the title Die Hard 4.0.[16]

text: Visual effects[edit]

text: For the visual effects used throughout the film, actor Bruce Willis and director Len Wiseman stated that they wanted to use a limited amount of CGI.[17] One VFX producer said that "Len was insisting on the fact that, because we’ve got Transformers and other big CG movies coming out, this one has to feel more real. It has to be embedded in some kind of practical reality in order to give it that edge of being a Die Hard."[18] Companies such as Digital Dimension, The Orphanage, R!ot, Pixel Magic, and Amalgamated Pixels assisted in the film's visual effects.[18]

text: Digital Dimension worked on 200 visual effects shots in the film,[19] including the sequence that shows characters John McClane and Matt Farrell crouching between two cars as another car lands on top of the other cars. To achieve this effect, a crane yanked the car and threw it in the air onto the two cars that were also being pulled by cables. The shot was completed when the two characters were integrated into the footage of the car stunt after the lighting was adjusted and CGI glass and debris were added.[18] In the same sequence, John McClane destroys a helicopter that several of Gabriel's henchman are riding in by ramming it with a car. This was accomplished by first filming one take where one of Gabriel's henchman, Rand, jumps from the helicopter, and in the next take the car is propelled into the stationary helicopter as it is hoisted by wires. The final view of the shot overlays the two takes, with added CGI for the debris and moving rotor blades.[18] The company also assisted in adding cars for traffic collisions and masses of people for evacuations from several government buildings.[19]

text: The Orphanage developed a multi-level freeway interchange for use in one of the film's final scenes by creating a digital environment and a 1,000-foot (300 m) long spiral ramp that was built in front of a bluescreen.[20] When a F-35 jet is chasing McClane on the freeway, a miniature model and a full-size prop were both built to assist in digitally adding the jet into the scene.[20][21] The nine-foot model was constructed from November 2006 through February 2007.[20] When the jet is shown hovering near the freeway, editors used the software 3D graphics program Maya to blur the background and create a heat ripple effect.[20]

text: Filming and injuries[edit]

text: Filming for Live Free or Die Hard started in downtown Baltimore, Maryland on September 23, 2006.[22] Eight different sets were built on a large soundstage for filming many scenes throughout the film.[23] When recording the sound for the semi trailer used in one of the film's final scenes, 18 microphones were used to record the engine, tires, and damage to the vehicle.[23] Post-production for the film only took 16 weeks, when it was more common for similar films to use 26 weeks.[23]

text: In order to prevent possible injuries and be in peak condition for the film, Willis worked out almost daily for several months prior to filming.[24] Willis was injured on January 24, 2007 during a fight scene, when he was kicked above his right eye by a stunt double for actress Maggie Q who was wearing stiletto heels. Willis described the event as "no big deal" but when Len Wiseman inspected his injury, he noticed that the situation was much more serious than previously thought—in the DVD commentary, Wiseman indicates in inspecting the wound that he could see bone. Willis was hospitalized and received seven stitches which ran through his right eyebrow and down into the corner of his eye. Due to the film's non-linear production schedule, these stitches can accidentally be seen in the scene where McClane first delivers Farrell to Bowman.[25]

text: Throughout filming, between 200 and 250 stunt people were used.[23] Bruce Willis' stunt double, Larry Rippenkroeger, was knocked unconscious when he fell 25 feet (7.6 m) from a fire escape to the pavement. Rippenkroeger suffered broken bones in his face, several broken ribs, a punctured lung, and fractures in both wrists. Due to his injuries, production was temporarily shut down. Willis personally paid the hotel bills for Rippenkroeger's parents and visited him a number of times at the hospital.[26]

text: Kevin Smith recalls rewriting scenes on the set of Live Free or Die Hard in his spoken word film Sold Out: A Threevening with Kevin Smith.[8]

text: Rating[edit]

text: In the United States, the first three films in the Die Hard series were rated R by the Motion Picture Association of America. Live Free or Die Hard, however, was edited to obtain a PG-13 rating. In some cases, alternate profanity-free dialogue was shot and used or swearing was cut out in post-production to reduce profanity. Director Len Wiseman commented on the rating, saying "It was about three months into it [production], and I hadn't even heard that it was PG-13... But in the end, it was just trying to make the best Die Hard movie, not really thinking so much about what the rating would be."[16] Bruce Willis was upset with the studio's decision, stating, "I really wanted this one to live up to the promise of the first one, which I always thought was the only really good one. That's a studio decision that is becoming more and more common, because they’re trying to reach a broader audience. It seems almost a courageous move to give a picture an R rating these days. But we still made a pretty hardcore, smashmouth film."[27] Willis said he thought that viewers unaware that it was not an R-rated film would not suspect so due to the level and intensity of the action as well as the usage of some profanity, although he admitted these elements were less intense than in the previous films.[28][29] He also said that this film was the best of the four: "It's unbelievable. I just saw it last week. I personally think, it's better than the first one."[30]

text: In the United Kingdom, the British Board of Film Classification awarded the film a 15 rating (including the unrated version, released later), the same as Die Hard with a Vengeance and Die Hard 2, albeit both were cut for both theatrical and video release, (the first film in the series originally received an 18 certificate). All films have been re-rated 15 uncut. Die Hard 4.0 was released with no cuts made and the cinema version (i.e. US PG-13 version) consumer advice read that it "contains frequent action violence and one use of strong language".[31] The unrated version was released on DVD as the "Ultimate Action Edition" with the consumer advice "contains strong language and violence".[32]

text: In Australia, Die Hard 4.0 was released with the PG-13 cut with an M rating, the same as the others in the series (The Australian Classification Board is less strict with regards to language and to a lesser extent, violence). The unrated version was later released on DVD and Blu-ray also with an M rating. The film notably was never released in home media with its theatrical cut, and has only been released in Australia as the extended edition.

text: Release[edit]

text: Live Free or Die Hard debuted at #2 at the box office and made $9.1 million in its first day of release in 3,172 theaters, the best opening day take of any film in the Die Hard series (not taking inflation into account).[3][33] On its opening weekend Live Free or Die Hard made $33.3 million ($48.3 million counting Wednesday and Thursday).[34] The film made $134.5 million domestically, and $249.0 million overseas for a total of $383.5 million, making it the twelfth highest-grossing film of 2007.[1] To date, it is the most successful film in the series.[35]

text: Reception[edit]

text: On Rotten Tomatoes, the film has an approval rating of 82% based on 209 reviews, and an average rating of 6.8/10. The site's critical consensus reads, "Live Free or Die Hard may be preposterous, but it's an efficient, action-packed summer popcorn flick with thrilling stunts and a commanding performance by Bruce Willis. Fans of the previous Die Hard films will not be disappointed".[36] On Metacritic, the film has a score of 69 out of 100, based on 34 critics, indicating "generally favorable reviews".[37] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[38]

text: IGN stated "Like the recent Rocky Balboa, this new Die Hard works as both its own story about an over-the-hill but still vital hero and as a nostalgia trip for those who grew up with the original films."[39] On the television show Ebert & Roeper, film critic Richard Roeper and guest critic Katherine Tulich both gave the film "two thumbs up", with Roeper stating that the film is "not the best or most exciting Die Hard, but it is a lot of fun" and that it is his favorite among the Die Hard sequels. Roeper also remarked, "Willis is in top form in his career-defining role."[40] Michael Medved gave the film three and a half out of four stars, opining, "a smart script and spectacular special effects make this the best Die Hard of 'em all."[41]

text: Conversely, Lawrence Toppman of The Charlotte Observer stated: "I can safely say I've never seen anything as ridiculous as Live Free or Die Hard." Toppman also wrote that the film had a lack of memorable villains and referred to John McClane as "just a bald Terminator with better one-liners".[42]

text: Soundtrack[edit]

text:
Live Free or Die Hard

Soundtrack album by Marco Beltrami

Released
July 2, 2007

Length
63:06

Label
Varèse Sarabande

text: The score for Live Free or Die Hard, written by Marco Beltrami, was released on July 2, 2007 by Varèse Sarabande (which also released the soundtracks for the first two Die Hard films), several days after the United States release of the film. This was the first film not to be scored by Michael Kamen, due to his death in 2003; Beltrami incorporates Kamen's thematic material into his score, but Kamen is not credited on the film or the album. Other songs in the film include "Rock & Roll Queen" by The Subways, "Fortunate Son" by Creedence Clearwater Revival and "I'm So Sick" by Flyleaf. Eric Lichtenfeld, reviewing from Soundtrack.net, said of the score's action cues "the entire orchestra seems percussive, flow well together."[43]

text:
"Out of Bullets" (1:08)
"Shootout" (3:41)
"Leaving the Apartment" (2:08)
"Dead Hackers" (1:31)
"Traffic Jam" (4:13)
"It's a Fire Sale" (2:57)
"The Break-In" (2:28)
"Farrell to D.C." (4:36)
"Copter Chase" (4:41)
"Blackout" (2:03)
"Illegal Broadcast" (3:48)
"Hurry Up!" (1:23)
"The Power Plant" (2:01)
"Landing" (2:28)
"Cold Cuts" (2:00)
"Break a Neck" (2:47)
"Farrell Is In" (4:22)
"The F-35" (4:13)
"Aftermath" (3:12)
"Live Free or Die Hard" (2:56)

tag: ol

text: Home media release[edit]

text: The Blu-ray and DVD were released on October 29, 2007, in the United Kingdom,[44] on October 31 in Hungary,[45] November 20 in the United States,[46] and December 12 in Australia. The DVD topped rental and sales charts in its opening week of release in the U.S. and Canada.[47][48] There is an unrated version, which retains much of the original 'R-rated' dialogue, and a theatrical version of the film. However, the unrated version has a branching error resulted in one of the unrated changes to be omitted. The film briefly switches to the PG-13 version in the airbag scene; McClane's strong language is missing from this sequence (although international DVD releases of the unrated version are unaffected).[49] The Blu-ray release features the PG-13 theatrical cut which runs at 128 minutes, while the Collector's Edition DVD includes both the unrated and theatrical versions. Time magazine's Richard Corliss named it one of the Top 10 DVDs of 2007, ranking it at #10.[50] In 2017, the movie was included in the "Die Hard Collection" Blu-ray set with all 5 films in it, and for the first time in the US, features the unrated version in HD. [51]Though unlike the DVD, the Blu-ray doesn't contain the branching error during the airbag scene.

text: The DVD for the film was the first to include a Digital Copy of the film which could be played on a PC or Mac computer and could also be imported into several models of portable video players.[52] Mike Dunn, a president for 20th Century Fox, stated "The industry has sold nearly 12 billion DVDs to date, and the release of Live Free or Die Hard is the first one that allows consumers to move their content to other devices."[52]


document_title: Chitty Chitty Bang Bang

question_text: where was chitty chitty bang bang beach scene filmed

root

text: Chitty Chitty Bang Bang

text: Plot[edit]

text: The story opens with a montage of European Grand Prix races in which one particular car appears to win every race it runs in from 1907 through 1908. However, in its final 1909 race, the car crashes and catches fire, ending its racing career. The car eventually ends up in an old garage in rural England, where two children, Jeremy and Jemima Potts, have grown fond of it. However, a man in the junkyard intends to buy the car from the garage owner, Mr. Coggins, for scrap. The children, who live with their father Caractacus Potts, an eccentric inventor, and the family's equally peculiar grandfather, implore their father to buy the car, but Caractacus cannot afford it. While playing truant from school, they meet Truly Scrumptious, a beautiful upper-class woman with her own motor car, who brings them home to report their truancy to their father. After she leaves, Caractacus promises the children that he will save the car, but is taken aback at the cost he has committed himself to. He looks for ways to raise money to avoid letting them down.

tag: p

text: Later that evening, Potts discovers that the sweets produced by a machine he has invented can be played like a flute. He tries to sell the "Toot Sweets" to Truly's father, Lord Scrumptious, a major confectionery manufacturer. He is almost successful until the whistle attracts a pack of dogs who overrun the factory, resulting in Caractacus's proposition being rejected.

text: Caractacus next takes his automatic hair-cutting machine to a carnival to raise money, but his invention accidentally ruins the hair of a customer. Potts eludes the man by joining a song-and-dance act. He becomes the centre of the show and earns enough in tips to buy the car and rebuild it. They name the car "Chitty Chitty Bang Bang" for the unusual noise of its engine. In the first trip in the car, Caractacus, the children, and Truly picnic on the beach. Caractacus tells them a tale about nasty Baron Bomburst, the tyrant of fictional Vulgaria, who wants to steal Chitty Chitty Bang Bang.

text: As Potts tells his story, the quartet and the car are stranded by high tide and are attacked by pirates working for the Baron. All of a sudden, Chitty deploys huge flotation devices and transforms into a power boat, and they escape Bomburst's yacht and return to shore. The Baron sends two spies to capture the car, but they capture Lord Scrumptious, then Grandpa Potts, mistaking each for the car's creator. Caractacus, Truly, and the children see Grandpa being taken away by airship, and they give chase. When they accidentally drive off a cliff, Chitty sprouts wings and propellers and begins to fly. They follow the airship to Vulgaria and find a land without children; the Baroness Bomburst abhors them and imprisons any she finds. Grandpa has been ordered by the Baron to make another floating car, and he bluffs his abilities to avoid being executed. The Potts' party is hidden by the local Toymaker, who now works only for the childish Baron. Chitty is discovered and taken to the castle. While Caractacus and the toymaker search for Grandpa and Truly searches for food, the children are caught by the Baroness’ Child Catcher.

text: The Toymaker takes Truly and Caractacus to a grotto beneath the castle where the townspeople have been hiding their children. They concoct a scheme to free the children and the village from the Baron. The Toymaker sneaks them into the castle disguised as life-size dolls for the Baron's birthday. Caractacus snares the Baron, and the children swarm into the banquet hall, overcoming the Baron's palace guards and guests. In the ensuing chaos, the Baron, Baroness, and the evil Child Catcher are captured. The Potts family and Truly fly back to England. When they arrive home, Lord Scrumptious surprises Caractacus with an offer to buy the Toot Sweet as a canine confection. Caractacus, realising that he will be rich, rushes to tell Truly the news. They kiss, and Truly agrees to marry him. As they drive home, he acknowledges the importance of pragmatism, as the car takes off into the air again.

text: Cast[edit]

text: The cast includes:[5]

text:
Dick Van Dyke as Caractacus Potts
Sally Ann Howes as Truly Scrumptious
Adrian Hall as Jeremy Potts
Heather Ripley as Jemima Potts
Lionel Jeffries as Grandpa Bungie Potts
Gert Fröbe as Baron Bomburst
Anna Quayle as Baroness Bomburst
Benny Hill as the Toymaker
James Robertson Justice as Lord Scrumptious
Robert Helpmann as the Child Catcher
Barbara Windsor as Blonde
Davy Kaye as Admiral
Stanley Unwin as the Chancellor
Peter Arne as the Captain of Bomburst's Army
Desmond Llewelyn as Mr. Coggins
Victor Maddern as Junkman
Arthur Mullard as Big Man
Max Wall as Inventor
Gerald Campion as Minister
Max Bacon as Orchestra Leader
Alexander Doré as First Spy
Bernard Spear as Second Spy
Richard Wattis as Secretary at Sweet Factory  (uncredited)
Phil Collins as Vulgarian Child (scene cut)

tag: ul

text: The part of Truly Scrumptious had originally been offered to Julie Andrews, to reunite her with Van Dyke after their success in Mary Poppins. Andrews rejected the role specifically because she considered that the part was too close to the Poppins mould.[6] Instead, Sally Ann Howes was given the role. Dick Van Dyke was cast after he turned down the role of Fagin from another 1968 musical Oliver! (which ended up going to Ron Moody).

text: Production[edit]

text: Hughes said he did not enjoy making the film. "We took too long to make it," he said. "I sweated over it for about a year and really it was a only a children's film. I think such a thing should be made quickly and with enthusiasm. My enthusiasm ran out long before the end."[7]

text: The Caractacus Potts inventions in the film were created by Rowland Emett; by 1976, Time magazine, describing Emett's work, said no term other than "Fantasticator...could remotely convey the diverse genius of the perky, pink-cheeked Englishman whose pixilations, in cartoon, watercolor and clanking 3-D reality, range from the celebrated Far Tottering and Oyster Creek Railway to the demented thingamabobs that made the 1968 movie Chitty Chitty Bang Bang a minuscule classic."[8]

text: Six Chitty-Chitty Bang-Bang cars were created for the film, only one of which was fully functional. At a 1973 auction in Florida, one of them sold for $37,000, equal to $203,972 today.[9] The original "hero" car, in a condition described as fully functional and road-going, was offered at auction on 15 May 2011 by a California-based auction house.[10] The car sold for $805,000, less than the $1–2 million it was expected to reach.[11] It was purchased by New Zealand film director Sir Peter Jackson.[12]

text: Locations[edit]

text:
Feature in film
Location of filming

Scrumptious Sweet Co. factory (exterior)
Kempton Waterworks, Snakey Lane, Hanworth, Greater London, England.[13] This location now includes a steam museum open to the public.

Scrumptious Mansion
Heatherden Hall at Pinewood Studios in Iver Heath, Buckinghamshire, England[13]

Windmill/Cottage
Cobstone Windmill in Ibstone, near Turville, Buckinghamshire, England[13]

Duck Pond
Russell's Water, Oxfordshire, England[13]

Train scene
The Longmoor Military Railway, Hampshire, England

Beach
Cap Taillat, St. Tropez, France

River bridge where spies attempt to blow up Chitty
Iver Bridge, Iver, Buckinghamshire, England

Railway bridge where spies kidnap Lord Scrumptious
Ilmer Bridge, Ilmer, Buckinghamshire, England

White rock spires in the ocean and lighthouse
The Needles stacks, Isle of Wight, England

White cliffs
Beachy Head, East Sussex, England

Baron Bomburst's castle
Neuschwanstein Castle for the exterior.Bavaria, Germany

Vulgarian village
Rothenburg ob der Tauber, Bavaria, Germany

tag: table

text: Reception[edit]

text: Box office[edit]

text: The film was the tenth most popular at the US box office in 1969.[14]

text: Critical[edit]

text: Time began its review by saying the film is a "picture for the ages—the ages between five and twelve" and ended noting that "At a time when violence and sex are the dual sellers at the box office, Chitty Chitty Bang Bang looks better than it is simply because it's not not all all bad bad"; the film's "eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility."[15]

text: The New York Times critic Renata Adler wrote, "in spite of the dreadful title, Chitty Chitty Bang Bang ... is a fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game"; Adler called the screenplay "remarkably good" and the film's "preoccupation with sweets and machinery seems ideal for children"; she ends her review on the same note as Time: "There is nothing coy, or stodgy or too frightening about the film; and this year, when it has seemed highly doubtful that children ought to go to the movies at all, Chitty Chitty Bang Bang sees to it that none of the audience's terrific eagerness to have a good time is betrayed or lost."[16]

text: Film critic Roger Ebert reviewed the film, writing: "Chitty Chitty Bang Bang contains about the best two-hour children's movie you could hope for, with a marvelous magical auto and lots of adventure and a nutty old grandpa and a mean Baron and some funny dances and a couple of [scary] moments."[17]

text: In 2008 film critic and historian Leonard Maltin considered the picture "one big Edsel, with totally forgettable score and some of the shoddiest special effects ever."[18] In 2013, Entertainment Weekly named Helpmann's depiction of the Child Catcher the 32nd of the "50 Most Vile Movie Villains."[19]

text: As of  5 July 2018[update], the film has a 67% approval rating on Rotten Tomatoes, based on 27 reviews with an average rating of 5.6/10.[20]

text: Accolades[edit]

text: The film was nominated for the American Film Institute's 2006 AFI's Greatest Movie Musicals list.[21]

text: Soundtrack[edit]

text: The original soundtrack album, as was typical of soundtrack albums, presented mostly songs with very few instrumental tracks. The songs were also edited, with specially recorded intros and outros and most instrumental portions removed, both because of time limitations of the vinyl LP and the belief that listeners would not be interested in listening to long instrumental dance portions during the songs.

text: The soundtrack has been released on CD four times, the first two releases using the original LP masters rather than going back to the original music masters to compile a more complete soundtrack album with underscoring and complete versions of songs. The 1997 Rykodisc release included several quick bits of dialogue from the film between some of the tracks and has gone out of circulation. On 24 February 2004, a few short months after MGM released the movie on a 2-Disc Special Edition DVD, Varèse Sarabande reissued a newly remastered soundtrack album without the dialogue tracks, restoring it to its original 1968 LP format.

text: In 2011, Kritzerland released the definitive soundtrack album, a 2-CD set featuring the Original Soundtrack Album plus bonus tracks, music from the Song and Picture Book Album on disc 1, and the Richard Sherman Demos, as well as six Playback Tracks (including a long version of international covers of the theme song). Inexplicably, this release was limited to only 1,000 units.[22]

text: In April 2013, Perseverance Records re-released the Kritzerland double CD set with expansive new liner notes by John Trujillo and a completely new designed booklet by Perseverance regular James Wingrove.

text: Home video releases[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010) (Learn how and when to remove this template message)

text: Chitty Chitty Bang Bang was released numerous times in the VHS format. In 1998 the film saw its first DVD release. The year 2003 brought a two-disc "Special Edition" release. On 2 November 2010, 20th Century Fox released a two-disc Blu-ray and DVD combination set featuring the extras from the 2003 release as well as new features. The 1993 LaserDisc release by MGM/UA Home Video was the first home video release with the proper 2.20:1 Super Panavision 70 aspect ratio.

text: Adaptations[edit]

text: Novelisation of film[edit]

text: The film did not follow Fleming's novel closely. A separate novelisation of the film was published at the time of the film's release. It basically followed the film's story but with some differences of tone and emphasis, e.g. it mentioned that Caractacus Potts had had difficulty coping after the death of his wife, and it made it clearer that the sequences including Baron Bomburst were extended fantasy sequences. It was written by John Burke.[23]

text: Comic book adaption[edit]

text: Gold Key: Chitty Chitty Bang Bang. Gold Key Comics. February 1969. [24]


document_title: Dork Diaries

question_text: what is brandon's last name in dork diaries

question_tokens: what is brandon 's last name in dork diaries

text: Dork Diaries

text: Books

text: There are currently eleven books in the series.

text: Book 1

text:
Dork Diaries: Tales From a Not-So-Fabulous Life
(Release date: June 2, 2009)

text: Fourteen-year-old Nikki Maxwell is not happy when her father arranges a scholarship for her to attend a private middle school called Westchester Country Day as part of the contract for his bug extermination services. Nikki does not fit in with the wealthy, designer clad students and spends most of her time alone writing in her diary. To make matters worse, she has a locker right next to the school's most popular girl, MacKenzie Hollister. MacKenzie labels Nikki as a "Dork" and goes out of her way to make Nikki’s life miserable.

text: It appears the new school may work out when Nikki befriends two other dorky but loyal girls, Chloe and Zoey. She even meets a really cute boy named Brandon. But, things take a turn for the worse when Nikki enters the school art show and discovers her main competition is her enemy, MacKenzie, who will stop at nothing to win.[3]

text: Book 2

text:
Dork Diaries: Tales From a Not-So-Popular Party Girl
(Release date: June 8, 2010)

text: Nikki Maxwell is hoping her crush, Brandon Roberts, will ask her to the Halloween dance. But she is heartbroken when she overhears her nemesis, MacKenzie Hollister, bragging that she and Brandon are going to the dance together. Having nothing better to do on the night of the dance, Nikki reluctantly agrees to serve on the dance clean-up committee with her best friends, Chloe and Zoey, as well as help out at a ballet class Halloween party for her little sister, Brianna.

text: Nikki is shocked when Brandon asks her to the dance and realizes that MacKenzie was lying. However, in spite of her prior commitments, Nikki agrees to go with him and ends up spending the evening juggling three events at the same time.

text: Book 3

text:
Dork Diaries: Tales From a Not-So-Talented Pop Star
(Release date: June 7, 2011)[1]

text: Nikki Maxwell knows her reputation will be destroyed if anyone at school finds out her Dad works as the school’s exterminator in exchange for her academic scholarship. So when it looks like her secret might be leaked, Nikki is willing to go to any lengths to protect the truth. When she took her sister to a pizza joint, she performed on stage with her sister, she has been caught on film by Mackenzie who is BTW the only one who knows about Nikki's dad. MacKenzie said if she says something bad to her she would show everyone the video. The timing seems perfect when a major talent competition is announced with a school scholarship offered as the top prize. Nikki didn't even notice it until she got a tuition bill so she decides to make a band. She is so excited when Violet, Theo, Marcus, and Nikki's crush Brandon wants to be her bandmates. She was crushed when her BFFs went to MacKenzie's side for the talent show. She is determined to win the prize to pay her bill.

text: Book 3 1/2

text:
Dork Diaries: How to Dork Your Diary
(Release date: October 8, 2011)[1]

text: Nikki Maxwell has been writing in a diary since the start of the school year, and she usually takes it everywhere she goes – so she can't believe it when one morning she can't find her diary! The hunt is on, and while she looks, pursuing various theories about where it could be, Nikki can't help putting together a list of important diary-keeping lessons to remember in case of missing diary emergencies like this one. How to Dork Your Diary is full of tips from Nikki on fun things to write about in your diary, with space for readers to write and draw their own entries. Meanwhile, Nikki's friends Chloe and Zoey, her little sister Brianna, her crush Brandon, and mean girl Mackenzie are all a part of the story as Nikki searches everywhere for that diary.

text: Book 4

text:
Dork Diaries: Tales From a Not so Graceful Ice Princess
(Release date: June 5, 2012)

text: Nikki Maxwell finds out that her crush, Brandon, volunteers at a local animal shelter that is in danger of closing. Nikki wants to try to save the animal shelter, especially after discovering a shocking secret about Brandon. Nikki, along with friends Chloe and Zoey, enter an ice skating competition to raise money for the shelter. Of course, Mackenzie tries to interfere so that she can be the one to save the day instead. If Nikki doesn’t want Mackenzie to get the best of her, she’ll have to come up with a creative plan.[4]

text: Book 5

text:
Dork Diaries: Tales From a Not So Smart Miss Know-It-All
(Release date: October 2, 2012)

text: Nikki Maxwell’s rival, Mackenzie, starts writing a gossip column, so Nikki takes a sudden interest in journalism and joins the school newspaper staff. Nikki just wants to keep tabs on Mackenzie and keep her from spreading some juicy gossip involving Nikki’s crush, Brandon. Soon, however, Nikki’s new role as an advice columnist makes her inbox overflow with pleas for advice. Luckily, Miss Know-It-All gets guidance of her own from her best friends, Chloe and Zoey.[5]

text: Book 6

text:
Dork Diaries: Tales from a Not-So-Happy Heartbreaker
(Release date: June 4, 2013)

text: It’s the biggest dance of the year and Nikki Maxwell is hoping her crush, Brandon, wants to be her date. But time is running out. What if he doesn’t want to go with her? Or worse—what if he ends up going with Mackenzie?!!

text: Book 6 1/2

text: Dork Diaries: OMG! All About Me Diary

text: Book 7

text:
Dork Diaries: Tales from a Not-So-Glam TV Star
(Release date: June 3, 2014)

text: When Trevor Chase, the host of "15 Minutes of Fame" tells Nikki she's getting her own reality show, she can hardly believe it! But with Mackenzie out for revenge, will her friendship with Brandon end? Throw in ka-ray-zee karate instructors, an "Actually, I'm Not Really Sure Yet" listening party, and an unexpected first kiss(?!!), and you have the life of a NOT-SO-Glam TV Star!

text: Book 8

text: Dork Diaries 8: Tales from a Not-So-Happily Ever After

text: Book 9

text: Dork Diaries 9: Tales from a Not-So-Dorky Drama Queen

text: Book 10

text: Dork Diaries 10: Tales from a Not-So-Perfect Pet Sitter

text: Book 11

text: Dork Diaries 11: Tales from a Not-So-Friendly Frenemy

text: Characters

text: Nikki J. Maxwell

text: MacKenzie Hollister

text: Chloe Christina Garcia

text: Zoeysha "Zoey" Ebony Franklin

text: Brandon Roberts

text: Brianna Lynn Maxwell

text: Jessica Hunter

text: Violet Baker

text: Theodore L. Swagmire III

text: Marcy

text: Awards and honors

text: As of August 2012, the Dork Diaries series has spent 43 weeks on The New York Times Best Seller list in the Children’s Series category.[6]

text: Book 1

text: Book 2

text: Book 3

text: Book 3 1/2

text: Audio books

text: Audio books for Books 1 and 2 were released on September 28, 2010.[12]

text: Movie

text: Summit Entertainment has acquired the movie rights to the series. Karen Rosenfelt is in negotiations to produce.[13][14]


document_title: The Secret Life of Pets

question_text: who voices chloe in the secret life of pets

text: The Secret Life of Pets

text: Plot[edit]

text: A Jack Russell Terrier named Max lives with his owner Katie in a Manhattan apartment. While she is at work during the day, he hangs out with other pets in the building: tabby cat Chloe, pug Mel, dachshund Buddy, and budgerigar Sweet Pea. One day, Katie adopts Duke, a large mongrel from the pound, leaving Max jealous because of her divided focus on Duke. Enraged by Max's attitude towards him, Duke tries to abandon Max in an alley, but they are both attacked by cats led by Sphynx cat Ozone who removed both dogs' collars and leave them to be caught by Animal Control. Duke fears that he will be put down if he goes back to the pound. When Gidget, a white Pomeranian discovers that Max is missing, she must find him.

text: Meanwhile, he and Duke are rescued by a white rabbit named Snowball, the leader of "The Flushed Pets" – a gang of sewer-dwelling animals who hate humans because their owners mistreated them. After Max and Duke pretend to despise humans as much as they do by saying they killed their owners, the Flushed Pets invite them to join. Before they can prove their loyalty by allowing a one-fanged viper to bite them, Snowball learns from the cats that Max and Duke are domesticated. The two dogs escape the sewers and board a ferry to Brooklyn, inadvertently killing the viper in the process; Snowball vows to kill them and leads the Flushed Pets after them.

text: Meanwhile, Gidget recruits a red-tailed hawk named Tiberius to find him, but mistakenly returns carrying Ozone, whom Gidget coerces into telling what he knows about the dogs. They then enlisted Mel, Buddy, Chloe, guinea pig Norman and Sweet Pea. On the way, they meet Pops, an old Basset Hound, who helps Gidget and the pets find Max. Meanwhile, Max and Duke raid a sausage factory for food. Meanwhile, Gidget and her team encounter Snowball, who vows to kill them as well, and Norman is captured as the rest of Gidget's team flees.

text: Meanwhile, Duke tells Max about his previous owner, Fred, an elderly man who adopted him as a puppy and loved spending time with him. One day, Duke got lost while chasing a butterfly and was caught by Animal Control, but Fred never came to claim him. Max convinces him to visit Fred's house in a nearby neighborhood, confident Fred will still love him and take him back. When they arrive at Fred's house, they learn from the resident cat Reginald that Fred has died. Heartbroken, Duke accuses Max of attempting to get rid of him and barks at the new homeowners who had just returned to the house, who call Animal Control. The handlers catch Max, but Duke interferes long enough for Max to escape and ends up being captured instead.

text: While trying to rescue Duke as he follows the Animal Control van, Max is attacked by Snowball who tries to kill him. However, when his gang is captured, Snowball realizes that he and Max must work together to rescue them. They drive a city bus into the van on the Brooklyn Bridge, stopping traffic. The Flushed Pets encircle Max, unaware of his partnership with Snowball, but Gidget and her team save him. When Gidget is using her kung-fu fighting skills, Max starts to fall in love with her. The van gets stuck in scaffolding and the Flushed Pets escape. Once Max got the keys to Duke's cage, the van plummets into the East River with him inside. Max is unable to free Duke, so Snowball jumps into the river to retrieve the keys, allowing them to escape the sinking van. Once out of the river, Snowball realizes how good being heroic feels.

text: The entire group returns to the apartment block by pig-driven taxi. Max expresses his love for Gidget, who returns his affection. Snowball and the Flushed Pets then come up with a new plan to annihilate all humans, but a little girl named Molly arrives to adopt Snowball and the remaining Flushed Pets return to the sewers. At first, Snowball resists, but gives in and lets himself become a domesticated pet. The domesticated pets return to their homes and embrace their owners, and Max and Duke finally reunite with Katie, sparking a true friendship.

text: In a mid-credits scene, Buddy and Mel show up in costume at a party in poodle Leonard's apartment. Leonard's owner returns and Tattoo crashes to the floor on the chandelier.

text: Cast[edit]

text:
Louis C.K. as Max, a Jack Russell Terrier.[8]
Eric Stonestreet as Duke, a large, brown, shaggy mongrel.[8]
Kevin Hart as Snowball, a white rabbit.[8]
Jenny Slate as Gidget, a white Pomeranian and Max's love interest.
Ellie Kemper as Katie, Max and Duke's friendly owner.[1][9]
Lake Bell as Chloe, an obese and apathetic grey tabby cat[9] who is one of Max's friends.
Dana Carvey as Pops, an elderly Basset Hound,[10] who is paralyzed in his back legs.
Hannibal Buress as Buddy, a laid-back dachshund[9][11] and one of Max's friends.
Bobby Moynihan as Mel, an hyperactive pug and one of Max's friends.
Steve Coogan as Ozone, a Cockney-accented Sphynx cat.

Steve Coogan also voices Reginald, a malevolent Himalayan cat.

Albert Brooks as Tiberius, a curmudgeonly red-tailed hawk.[9][11]
Chris Renaud as Norman, a guinea pig who keeps getting lost trying to find his apartment.
Michael Beattie as Tattoo, a slow-witted tattooed pig who is one of the Flushed Pets.
Sandra Echeverría as Maria, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Jaime Camil as Fernando, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Kiely Renaud as Molly, a little girl who adopts Snowball.

text: Production[edit]

text: In January 2014, it was announced that Louis C.K., Eric Stonestreet, and Kevin Hart had joined the cast of the film, with Chris Renaud set to direct from a screenplay written by Brian Lynch, Cinco Paul and Ken Daurio, while Illumination Entertainment would produce, and Universal Pictures would distribute the film and was originally titled Max.[12][8] In June 2014, Albert Brooks, Hannibal Buress, Bobby Moynihan, Lake Bell and Ellie Kemper joined the cast.[9] The animation was created entirely in France by Illumination MacGuff.[13]

text: Music and soundtrack[edit]

text:
The Secret Life of Pets (Original Motion Picture Soundtrack)

Soundtrack album by Alexandre Desplat

Released
July 1, 2016 (2016-07-01)

Recorded
2016

Genre

Film score
Jazz
Classical

Length
51:31

Label
Back Lot Music

Producer
Dominique Lemonnier

Alexandre Desplat soundtrack chronology

Florence Foster Jenkins
(2016)Florence Foster Jenkins2016
The Secret Life of Pets
(2016)
The Light Between Oceans
(2016)The Light Between Oceans2016

text: The original score for the film was composed by Alexandre Desplat.[14] The soundtrack was released on July 1, 2016 by Back Lot Music.[15]

text: All music composed by Alexandre Desplat, except "We Go Together" by The Sausage Factory Singers.

text:
[show]Track listing

No.
Title
Length

1.
"Meet the Pets"
2:37

2.
"Katie's Leaving"
0:55

3.
"Meet Duke"
3:36

4.
"Fetch Me a Stick"
3:09

5.
"Telenovela Squirrels"
1:24

6.
"Hijack!"
2:00

7.
"Gidget Meets Tiberius"
4:56

8.
"Initiation Time"
1:01

9.
"Rooftop Route"
1:27

10.
"The Viper"
1:49

11.
"You Have an Owner?"
3:04

12.
"Good Morning Max"
1:21

13.
"Sewer Chase"
1:09

14.
"Who's With Me?"
1:21

15.
"Me Like What Me See"
0:54

16.
"Traveling Bossa"
1:56

17.
"Flushed Out To Brooklyn"
2:47

18.
"Sausages!"
1:13

19.
"Duke's Old House / Captured"
3:03

20.
"Brooklyn Bridge Showdown"
2:34

21.
"Rescuing Duke"
2:46

22.
"Wet But Handsome / Blue Taxi"
1:24

23.
"Max and Gidget"
1:36

24.
"Welcome Home"
1:57

25.
"We Go Together" (originally from Grease)
1:24

Total length:
51:31

text: Release[edit]

text: The film was originally scheduled to be released on February 12, 2016, but was pushed back to July 8, 2016.[2] It was released in 2D, 3D, and IMAX 3D using DMR.[16][better source needed] The Secret Life of Pets premiered at the 2016 Annecy International Animated Film Festival on June 16, 2016, and was screened at VidCon.[17] The film is accompanied by a Despicable Me short film entitled Mower Minions.

text: Home media[edit]

text: The Secret Life of Pets was released on Digital HD on November 22, 2016, and on Blu-ray, Blu-ray 3D, Ultra HD Blu-ray, and DVD on December 6, 2016. In addition to the short film Mower Minions, which was released theatrically with the feature film, the releases also include two short films: Norman Television and Weenie.[18]

text: Reception[edit]

text: Box office[edit]

text: The Secret Life of Pets grossed $368.4 million in Canada and the U.S., and $507.1 million in other countries for a worldwide total of $875.5 million, against a production budget of $75 million.[4] Its internationally takings helped push Universal Pictures [International] past $1 billion for the tenth consecutive year,[19] and aided Illumination Entertainment to pass the $4 billion mark for the first time since 2010.[20]

text: Worldwide, it is the fifth highest-grossing original film of all time (behind Avatar, Zootopia, The Lion King, and Finding Nemo),[21] the sixth highest-grossing film of 2016,[22] the 12th highest-grossing animated film of all time, and the 50th highest-grossing film of all time. Deadline.com calculated the net profit of the film to be $374.6 million, when factoring together all expenses and revenues for the film, making it the most profitable release of 2016.[23]

text: North America[edit]

text: In Canada and the United States, the film was projected to gross around $70 million in its opening weekend, with some predictions going as high as $100 million.[24][25][26] It received the widest release for an animated film as well as for a PG-rated film (breaking Shrek Forever After's record) and the seventh widest of all time overall, across 4,370 theaters, the widest release since The Dark Knight Rises.[25][27][28][29] It made $5.3 million from Thursday night previews in 3,009 theaters, which is the second biggest of all time for Illumination, behind only Minions ($6.2 million), and the third biggest of all time for an animated film, behind Finding Dory ($9.2 million) and Minions.[26][30] This was followed by a record-breaking $38.5 million opening day gross (including previews), the biggest for an original film.[31][32] In its opening weekend, it exceeded expectations and grossed $104.4 million, finishing first at the box office.[33] Its debut is the sixth biggest for an animated film, the sixth highest weekend debut in July, and the fourth biggest opening weekend for Universal Pictures.[34] It also set the record for largest opening for an original film, eclipsing the $90.4 million debut of Inside Out.[35][36]

text: In its second weekend, the film made $50.8 million (-51.3%) while maintaining the top spot, despite facing stiff competition with newcomer Ghostbusters.[37] Although it slipped into second place when overtaken by Star Trek Beyond in its third weekend, it was still able to fend off the two other new releases—Lights Out and Ice Age: Collision Course—by earning another $29.6 million.[38] It passed $300 million on its twenty-sixth day—the same day it crossed $400 million worldwide[39]—becoming the seventh film of 2016,[40] the seventh Universal Pictures film (the first for the year),[41] and the twelfth animated film overall to reach the benchmark.[42]

text: Outside North America[edit]

text: Internationally, The Secret Life of Pets received a scattered release from June to September in a total of 69 markets, and faced competition from other animated films such as Finding Dory and Ice Age: Collision Course in the course of its release.[43][44][45] In total, it had number-one openings in 45 markets and recorded the biggest opening for an original animated film in 17 territories, and the No. 1 animated film of 2016 to date in 13 markets.[20][46] It topped the international box office in its ninth weekend after earning $43.8 million in 53 markets (dethroning Suicide Squad).[47] However, this wasn't the film's biggest single weekend gross. Its biggest weekend gross was actually in its seventh weekend when it grossed $69.3 million. That weekend it was No. 3 behind Suicide Squad ($133.3 million) and Chinese film Time Raiders ($64.6 million).[48]

text: It was released in the United Kingdom and Norway two weeks ahead of its U.S. release, where it grossed a combined total of $14.1 million in the two markets.[43] Prior to its official debut in the UK and Ireland on June 24, the film had two days worth of previews on June 18 and 19, from which it made £3.63 million ($5.2 million) in two days. This figure was later counted in the film's official opening weekend.[49] It went on to score the fourth biggest original animation opening weekend ever there, with £9.58 million ($13.4 million) from 592 theaters, trailing behind Inside Out, Monsters, Inc., and Up. Excluding previews, its total three-day opening was $8.1 million.[50][51] This was amidst Brexit and despite facing competition from Independence Day: Resurgence.[43][52] The film held off extremely well in its second and third weekend falling just 20% and 24%, earning £4.47 million ($6.1 million) and £3.62 million ($4.8 million) respectively despite facing some competitions.[53][54] It has topped the box office for three consecutive weekends and has grossed total of $41 million there.[55] In Norway, it took the number one spot as well, with $778,000.[43] It scored the biggest animation opening of 2016 and the second biggest of all time overall in both Taiwan ($2 million)—behind Madagascar, and Hong Kong ($1.9 million)—behind Inside Out.[44]

text: In Argentina, the film had a record-breaking number-one debut with $4 million from 195 screens — the biggest opening weekend ever for an animated film and the second biggest opening ever for any film (behind Furious 7). Similarly, Chile also recorded the second biggest animated opening ever with $1.7 million (behind Minions). Colombia also opened at No. 1 with a huge $1.5 million.[56] In Mexico, other than opening at No. 1, it posted the biggest original animated opening of all time with $7.6 million, surpassing the studio's own previous record holder Inside Out.[45] Also in Russia, it scored the biggest original animated opening and the second biggest ever for an animated film, behind Minions with $16.3 million, although this included $6.4 million five days worth of previews.[47] It went on to become the highest-grossing film of the summer that year.[57] In Japan, the film opened on August 11—the date of Japan's first Mountain Day national holiday—with Toho-Towa distributing, and earned $4.6 million on 370,000 admissions for its two-day opening weekend dethroning Shin Godzilla off the top spot. The cumulative total for the four-day holiday (August 11–14) was $9.7 million.[19][58] Similarly, it had number-one debuts in Germany ($7.1 million) and France ($5.9 million), Australia ($5.6 million), Italy ($5.1 million), Brazil ($4.4 million), Spain ($4.5 million), Poland ($1.7 million), Singapore ($1.3 million), Belgium ($1.2 million) and Denmark ($1.2 million), Indonesia ($1.1 million), the Philippines ($1 million), and South Africa ($463,000). In Germany, it scored the best animation opening since Minions.[45][59][60][61][62][63][64][65] It topped the box office in Israel for five straight weekends and in Australia, Russia and Spain for three weekends.[45][47][61][63] In Japan, the film was the highest-grossing foreign release of the weekend, holding the top spot for four consecutive weekends.[60]

text: In China—the world's second biggest film market—the film opened on a Tuesday, earning a modest $5.2 million on its opening day. To Sunday, it achieved a six-day opening of $29.3 million and $15.5 million for the weekend alone (Friday to Sunday), with per screen averages over $500 per screen per day. In both instances, it was behind the local film Time Raiders.[59][66][67] In South Korea, despite debuting in fifth place, it had an opening of $6.9 million.[59] Elsewhere, it grossed $2.7 million in the Netherlands, $1.2 million in Sweden and in Hungary it scored the biggest opening of the year with $738,000,[59] and also in Portugal ($965,000), Latvia ($224,000),[47] and South Africa.[64]

text: In terms of total earnings, its biggest markets are China ($58 million), United Kingdom and Ireland ($47.2 million), Japan ($41.6 million) and Russia ($34.2 million).[19][47][68] It became the third highest-grossing film of all time in Russia (behind Avatar and Zootopia)[61] and the highest-grossing film of 2016 in Spain.[20][62]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 74% based on 200 reviews with an average rating of 6.2/10. The site's critical consensus reads, "Fast-paced, funny, and blessed with a talented voice cast, The Secret Life of Pets offers a beautifully animated, cheerfully undemanding family-friendly diversion."[69] On Metacritic, the film has a score of 61 out of 100 based on 39 critics, indicating "generally favorable reviews."[70] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[71]

text: Peter Travers of Rolling Stone gave the film three out of four stars and called it "an animated fluffball-a sort of Toy Story with pets does everything to drive you crazy and ends up being totally irresistible."[72] Scott Tobias, writing for NPR, characterized the film's concept as "Toy Story but with house pets," highlighting the film's "thinly distinguished characters" and "gloppy sentimentality."[73] Steven Rea of The Philadelphia Inquirer gave the film three out of four stars and said "In much the same way that the smash Zootopia demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur – and the warm, fuzzy feelings – fly."[74]

text: However, some critics disliked the film's unexpected similarities with Pixar's Toy Story.[75] Matthew Parkinson of The Escapist compared the plots of both films and wrote that "The Secret Life of Pets feels like one of those hour-long ripoffs you'd see on a children's television network."[76] Ethan Anderton of the website /Film criticised the film's characterisation, and noted that the relationship between Max and Duke was akin to "Woody and Buzz Lightyear all over again."[77]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Annie Awards
February 4, 2017
Outstanding Achievement, Character Design in an Animated Feature Production
Eric Guillon
Nominated
[78]

Outstanding Achievement, Music in an Animated Feature Production
Alexandre Desplat

British Academy Children's Awards
November 20, 2016
BAFTA Kids' Vote
The Secret Life of Pets
[79][80]

Cinema Audio Society
February 18, 2017
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
David Accord, Jason Butler, Gary A. Rizzo, Carlos Sotolongo and Frank Wolf
[81]

Hollywood Music in Media Awards
November 17, 2016
Best Original Score – Animated Film
Alexandre Desplat
Won
[82][83]

2017 Kids' Choice Awards
March 11, 2017
Favorite Animated Movie
The Secret Life of Pets
Nominated
[84]

Favorite Voice From an Animated Movie
Kevin Hart

Favorite Villain
Won

Most Wanted Pet

NAACP Image Awards
February 11, 2017
Outstanding Character Voice-Over Performance
Nominated
[85]

People's Choice Awards
January 18, 2017
Favorite Family Movie
The Secret Life of Pets
[86]

Favorite Animated Movie Voice
Kevin Hart

Producers Guild of America
January 28, 2017
Best Animated Motion Picture
Janet Healy and Chris Meledandri
[87]

text: Sequel[edit]

text: In August 2016 it was announced that there would be a sequel, with director Chris Renaud, producers Chris Meledandri and Janet Healy, and writer Brian Lynch, with a release date of July 13, 2018.[88] On January 25, 2017, its release date was pushed back to July 3, 2019.[89] On August 15, 2017, its release date was moved forward to June 7, 2019.[7]


document_title: Space rendezvous

question_text: when did gemini 6 and 7 complete 1st space rendezvous

text: Space rendezvous

text: History[edit]

text: In its first human spaceflight program Vostok, the Soviet Union launched pairs of spacecraft from the same launch pad, one or two days apart (Vostok 3 and 4 in 1962, and Vostok 5 and 6 in 1963). In each case, the launch vehicles' guidance systems inserted the two craft into nearly identical orbits; however, this was not nearly precise enough to achieve rendezvous, as the Vostok lacked maneuvering thrusters to adjust its orbit to match that of its twin. The initial separation distances were in the range of 5 to 6.5 kilometers (3.1 to 4.0 mi), and slowly diverged to thousands of kilometers (over a thousand miles) over the course of the missions.[1][2]

text: In 1963 Buzz Aldrin submitted his doctoral thesis titled, Line-Of-Sight Guidance Techniques For Manned Orbital Rendezvous.[3] As a NASA astronaut, Aldrin worked to "translate complex orbital mechanics into relatively simple flight plans for my colleagues." [4]

text: First attempt failed[edit]

text: The first attempt at rendezvous was made on June 3, 1965, when US astronaut Jim McDivitt tried to maneuver his Gemini 4 craft to meet its spent Titan II launch vehicle's upper stage. McDivitt was unable to get close enough to achieve station-keeping, due to depth-perception problems, and stage propellant venting which kept moving it around.[5] However, the Gemini 4 attempts at rendezvous were unsuccessful largely because NASA engineers had yet to learn the orbital mechanics involved in the process. Simply pointing the active vehicle's nose at the target and thrusting was unsuccessful. If the target is ahead in the orbit and the tracking vehicle increases speed, its altitude also increases, actually moving it away from the target. The higher altitude then increases orbital period due to Kepler's third law, putting the tracker not only above, but also behind the target. The proper technique requires changing the tracking vehicle's orbit to allow the rendezvous target to either catch up or be caught up with, and then at the correct moment changing to the same orbit as the target with no relative motion between the vehicles (for example, putting the tracker into a lower orbit, which has a shorter orbital period allowing it to catch up, then executing a Hohmann transfer back to the original orbital height).[6]

text: As GPO engineer André Meyer later remarked, "There is a good explanation for what went wrong with rendezvous." The crew, like everyone else at MSC, "just didn't understand or reason out the orbital mechanics involved. As a result, we all got a whole lot smarter and really perfected rendezvous maneuvers, which Apollo now uses."

text: First successful rendezvous[edit]

text: Rendezvous was first successfully accomplished by US astronaut Wally Schirra on December 15, 1965. Schirra maneuvered the Gemini 6 spacecraft within 1 foot (30 cm) of its sister craft Gemini 7. The spacecraft were not equipped to dock with each other, but maintained station-keeping for more than 20 minutes. Schirra later commented:

text: Somebody said ... when you come to within three miles (5 km), you've rendezvoused. If anybody thinks they've pulled a rendezvous off at three miles (5 km), have fun! This is when we started doing our work. I don't think rendezvous is over until you are stopped – completely stopped – with no relative motion between the two vehicles, at a range of approximately 120 feet (37 m). That's rendezvous! From there on, it's stationkeeping. That's when you can go back and play the game of driving a car or driving an airplane or pushing a skateboard – it's about that simple.

text: First docking[edit]

text: The first docking of two spacecraft was achieved on March 16, 1966 when Gemini 8, under the command of Neil Armstrong, rendezvoused and docked with an unmanned Agena Target Vehicle. Gemini 6 was to have been the first docking mission, but had to be cancelled when that mission's Agena vehicle was destroyed during launch.[8]

text: The Soviets carried out the first automated, unmanned docking between Cosmos 186 and Cosmos 188 on October 30, 1967.[9]

text: The first Soviet cosmonaut to attempt a manual docking was Georgy Beregovoy who unsuccessfully tried to dock his Soyuz 3 craft with the unmanned Soyuz 2 in October 1968. He was able to bring his craft from 200 meters (660 ft) to as close as 30 centimetres (1 ft), but was unable to dock before exhausting his maneuvering fuel.[citation needed]

text: The Soviet's first successful manned docking occurred on January 16, 1969 when Soyuz 4 and Soyuz 5 docked and exchanged two crew members.[citation needed]

text: The first rendezvous of two spacecraft from different countries took place on July 17, 1975, when an Apollo spacecraft docked with a Soyuz spacecraft as part of the Apollo-Soyuz Test Project.[citation needed]

text: The first multiple space docking took place when both Soyuz 26 and Soyuz 27 were docked to the Salyut 6 space station during January 1978.[citation needed]

text:
Gemini 8 Agena target vehicle

Gemini 8 docking with the Agena in March 1966

text: Uses[edit]

text: A rendezvous takes place each time a spacecraft brings crew members or supplies to an orbiting space station. The first spacecraft to do this was the ill-fated Soyuz 11, which successfully docked with the Salyut 1 station on June 7, 1971.[10] Human spaceflight missions have successfully made rendezvous with six Salyut stations, with Skylab, with Mir and with the International Space Station (ISS). Currently Soyuz spacecraft are used at approximately six month intervals to transport crew members to and from ISS.[11]

text: Robotic spacecraft are also used to rendezvous with and resupply space stations. Soyuz and Progress spacecraft have automatically docked with both Mir[12] and the ISS using the Kurs docking system, the Automated Transfer Vehicle also uses this system. The robotic H-II Transfer Vehicle flies to a close rendezvous and maintains station-keeping without docking, allowing the ISS Canadarm2 to grapple it and berth it to the station.[13]

text: Space rendezvous has been used for a variety of other purposes, including recent service missions to the Hubble Space Telescope. Historically, for the missions of Project Apollo that landed astronauts on the Moon, the ascent stage of the Apollo Lunar Module would rendezvous and dock with the Apollo Command/Service Module in lunar orbit rendezvous maneuvers. Also, the STS-49 crew rendezvoused with and attached a rocket motor to the Intelsat VI F-3 communications satellite to allow it to make an orbital maneuver.[citation needed]

text: Possible future rendezvous may be made by a yet to be developed automated Hubble Robotic Vehicle (HRV), and by the CX-OLEV, which is being developed for rendezvous with a geosynchronous satellite that has run out of fuel. The CX-OLEV would take over orbital stationkeeping and/or finally bring the satellite to a graveyard orbit, after which the CX-OLEV can possibly be reused for another satellite. Gradual transfer from the geostationary transfer orbit to the geosynchronous orbit will take a number of months, using Hall effect thrusters.[14]

text: Alternatively the two spacecraft are already together, and just undock and dock in a different way:

text:
Soyuz spacecraft from one docking point to another on the ISS or Salyut[citation needed]
In the Apollo spacecraft, a maneuver known as transposition, docking, and extraction was performed an hour or so after Trans Lunar Injection of the sequence third stage of the Saturn V rocket / LM inside LM adapter / CSM (in order from bottom to top at launch, also the order from back to front with respect to the current motion), with CSM manned, LM at this stage unmanned:[citation needed]

the CSM separated, while the four upper panels of the LM adapter were disposed of
the CSM turned 180 degrees (from engine backward, toward LM, to forward)
the CSM connected to the LM while that was still connected to the third stage
the CSM/LM combination then separated from the third stage

text: Phases and methods[edit]

text: This section needs expansion. You can help by adding to it. (August 2007)

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text: The standard technique for rendezvous and docking is to dock an active vehicle, the "chaser", with a passive "target". This technique has been used successfully for the Gemini, Apollo, Apollo/Soyuz, Salyut, Skylab, Mir, ISS, and Tiāngōng programs.[citation needed]

text: To properly understand spacecraft rendezvous it is essential to understand the relation between spacecraft velocity and orbit. A spacecraft in a certain orbit cannot arbitrarily alter its velocity. Each orbit correlates to a certain orbital velocity. If the spacecraft fires thrusters and increases (or decreases) its velocity it will obtain a different orbit, one that correlates to the higher (or lower) velocity. For circular orbits, higher orbits have a lower orbital velocity. Lower orbits have a higher orbital velocity.

text: For orbital rendezvous to occur, both spacecraft must be in the same orbital plane, and the phase of the orbit (the position of the spacecraft in the orbit) must be matched. The "chaser" is placed in a slightly lower orbit than the target. The lower the orbit, the higher the orbital velocity. The difference in orbital velocities of chaser and target is therefore such that the chaser is faster than the target, and catches up with it.[citation needed]

text: Once the two spacecraft are sufficiently close, the chaser's orbit is synchronized with the target's orbit. That is, the chaser will be accelerated. This increase in velocity carries the chaser to a higher orbit. The increase in velocity is chosen such that the chaser approximately assumes the orbit of the target. Stepwise, the chaser closes in on the target, until proximity operations (see below) can be started. In the very final phase, the closure rate is reduced by use of the active vehicle's reaction control system. Docking typically occurs at a rate of 0.1 ft/s (0.030 m/s) to 0.2 ft/s (0.061 m/s).[15]

text: Rendezvous phases[edit]

text: Space rendezvous of an active, or "chaser," spacecraft with an (assumed) passive spacecraft may be divided into several phases, and typically starts with the two spacecraft in separate orbits, typically separated by more than 10,000 kilometers (6,200 mi):[16]

text:
Phase
Separation distance
Typical phase duration

Drift Orbit A
(out of sight, out of contact)
>2 λmax[17]
1 to 20 days

Drift Orbit B
(in sight, in contact)
2 λmax to 1 kilometer (3,300 ft)
1 to 5 days

Proximity Operations A
1,000–100 meters (3,280–330 ft)
1 to 5 orbits

Proximity Operations B
100–10 meters (328–33 ft)
45 – 90 minutes

Docking
<10 meters (33 ft)
<5 minutes

text: A variety of spacecraft control techniques may be used to effect the translational and rotational maneuvers necessary for proximity operations and docking.[18]

text: Methods of approach[edit]

text: The two most common methods of approach for proximity operations are in-line with the flight path of the spacecraft (called V-bar, as it is along the velocity vector of the target) and perpendicular to the flight path along the line of the radius of the orbit (called R-bar, as it is along the radial vector, with respect to Earth, of the target).[16] The chosen method of approach depends on safety, spacecraft / thruster design, mission timeline, and, especially for docking with the ISS, on the location of the assigned docking port.

text: The V-bar approach is an approach of the "chaser" horizontally along the passive spacecraft's velocity vector. That is, from behind or from ahead, and in the same direction as the orbital motion of the passive target. The motion is parallel to the target's orbital velocity.[16][19] In the V-bar approach from behind, the chaser fires small thrusters to increase its velocity in the direction of the target. This, of course, also drives the chaser to a higher orbit. To keep the chaser on the V-vector, other thrusters are fired in the radial direction. If this is omitted (for example due to a thruster failure), the chaser will be carried to a higher orbit, which is associated with an orbital velocity lower than the target's. Consequently, the target moves faster than the chaser and the distance between them increases. This is called a natural braking effect, and is a natural safeguard in case of a thruster failure.[citation needed]

text: STS-104 was the third Space Shuttle mission to conduct a V-bar arrival at the International Space Station.[20] The V-bar, or velocity vector, extends along a line directly ahead of the station. Shuttles approach the ISS along the V-bar when docking at the PMA-2 docking port.[21]

text: The R-bar approach consists of the chaser moving below or above the target spacecraft, along its radial vector. The motion is orthogonal to the orbital velocity of the passive spacecraft.[16][19] When below the target the chaser fires radial thrusters to close in on the target. By this it increases its altitude. However, the orbital velocity of the chaser remains unchanged (thruster firings in the radial direction have no effect on the orbital velocity). Now in a slightly higher position, but with an orbital velocity that does not correspond to the local circular velocity, the chaser slightly falls behind the target. Small rocket pulses in the orbital velocity direction are necessary to keep the chaser along the radial vector of the target. If these rocket pulses are not executed (for example due to a thruster failure), the chaser will move away from the target. This is a natural braking effect. For the R-bar approach, this effect is stronger than for the V-bar approach, making the R-bar approach the safer one of the two.[citation needed] Generally, the R-bar approach from below is preferable, as the chaser is in a lower (faster) orbit than the target, and thus "catches up" with it. For the R-bar approach from above, the chaser is in a higher (slower) orbit than the target, and thus has to wait for the target to approach it.[citation needed]

text: Astrotech proposed meeting ISS cargo needs with a vehicle which would approach the station, "using a traditional nadir R-bar approach."[22] The nadir R-bar approach is also used for flights to the ISS of H-II Transfer Vehicles, and of SpaceX Dragon vehicles.[23][24]

text: An approach of the active, or "chaser," spacecraft horizontally from the side and orthogonal to the orbital plane of the passive spacecraft—that is, from the side and out-of-plane of the orbit of the passive spacecraft—is called a Z-bar approach.[25]