document_title: Who Framed Roger Rabbit

question_text: who framed roger rabbit in who framed roger rabbit

text: Who Framed Roger Rabbit

text: Plot[edit]

text: In 1947, "toons" act out theatrical cartoon shorts as with live-action films; they regularly interact with real people and animals and reside in Toontown, an animated portion of Los Angeles. Private detective Eddie Valiant and his brother, Teddy, once worked closely with the toons on several famous cases, but after Teddy was killed by a toon, Eddie lapsed into alcoholism and vowed never to work for toons again. One day, R.K. Maroon, head of Maroon Cartoon Studios, is concerned about the recent poor acting performances of one of his biggest stars, Roger Rabbit. Maroon hires Valiant to investigate rumors about Roger's voluptuous toon wife Jessica being romantically involved with businessman and gadgets inventor, Marvin Acme, owner of both Acme Corporation and Toontown. After watching Jessica perform at the underground Ink & Paint Club, Valiant secretly takes photographs of her and Acme playing patty-cake in her dressing room, which he shows to Roger. Maroon suggests to Roger that he should leave Jessica, but a drunken Roger refuses and flees.

text: The next morning, Acme is discovered dead at his factory by the Los Angeles Police Department with a safe dropped on his head, and evidence points to Roger's being responsible. While investigating, Valiant meets Judge Doom, Toontown's Superior Court judge, who has created a substance capable of killing a toon: a toxic "Dip" made of turpentine, acetone, and benzene. Valiant runs into Roger's toon co-star, Baby Herman, who believes Roger is innocent and that Acme's missing will, which will give the toons ownership of Toontown, may be the key to his murder. He then finds Roger hiding in his office, who begs him to help exonerate him. Valiant reluctantly hides Roger in a local bar where his ex-girlfriend, Dolores, works. Later, Jessica approaches Valiant and says that Maroon had forced her to pose for the photographs so that he could blackmail Acme.

text: Doom and his toon-weasel henchmen discover Roger, but he and Valiant escape with Benny, an anthropomorphic taxicab. They flee to a theater, where Valiant explains to Roger that a toon killed Teddy when they were investigating a crime in Toontown. As they leave with Dolores, Valiant sees a newsreel detailing the sale of Maroon Cartoons to Cloverleaf, a mysterious corporation that bought the city's trolley network shortly before Acme's murder. Valiant goes to the studio to confront Maroon, leaving Roger to guard outside, but Jessica knocks Roger out and puts him in the trunk. Maroon tells Valiant that he blackmailed Acme into selling his company so that he could then sell the studio, but is killed before he can explain the consequences of the missing will. Valiant spots Jessica fleeing the scene and, assuming she is the culprit, follows her into Toontown. Jessica reveals that Doom killed Acme and Maroon and that the former had given her his will for safe-keeping, but she discovered that the will was blank. She and Valiant are soon captured by Doom and the weasels.

text: At the Acme factory, Doom reveals his plot to destroy Toontown with a giant machine loaded with dip to build a freeway, the only way past Toontown since Cloverleaf (which Doom owns) has bought out Los Angeles' tram system. Roger unsuccessfully attempts to save Jessica, and the couple is tied onto a hook in front of the machine's hose. Valiant then performs a comedic vaudeville act, causing the weasels to die of laughter; Valiant kicks their leader, Smart Ass, into the machine's Dip vat, killing him instantly. Valiant then fights Doom, who is eventually flattened by a steamroller, but survives. Eddie is shocked when Doom reveals that he is a toon in disguise—the same toon who killed Teddy. Valiant uses a toon mallet with a spring-loaded boxing glove and fires it at a switch that causes the machine to empty its dip onto Doom, dissolving him.

text: The empty machine crashes through the wall into Toontown, where it is destroyed by a train. Numerous toons run in to regard Doom's remains, and Roger discovers that he inadvertently wrote his love letter for Jessica on Acme's will, which was written in disappearing-reappearing ink. Roger then shocks Valiant with a joy buzzer, and Valiant gives him a kiss, having regained his sense of humor. Valiant happily enters Toontown with Dolores, and Roger with Jessica, followed by the other toons.

text: Cast[edit]

text:
Bob Hoskins as Eddie Valiant, an alcoholic private investigator who resents Toons. Executive producer Spielberg's first choice for the role was Harrison Ford, but Ford's price was too high. Bill Murray was also considered for the role; however, due to his method of receiving offers for roles, he missed out.[8] Eddie Murphy reportedly turned down the role and later regretted it.[9]
Christopher Lloyd as Judge Doom, the cold and power-hungry judge of Toontown District's Superior Court. Lloyd was cast because he previously worked with Zemeckis and Amblin Entertainment in Back to the Future. Lloyd compared his part as Doom to his previous role as the Klingon commander Kruge in Star Trek III: The Search for Spock, both being overly evil characters which he considered being "fun to play".[10] Lloyd avoided blinking his eyes while on camera in order to perfectly portray the character.[11]
Charles Fleischer as the voice of Roger Rabbit, an A-list Toon working for Maroon Cartoons, who is framed for the murder of Marvin Acme, and requests Eddie's help in proving his innocence. To facilitate Hoskins' performance, Fleischer dressed in a Roger bunny suit and "stood in" behind camera for most scenes.[12] Animation director Williams explained Roger Rabbit was a combination of "Tex Avery's cashew nut-shaped head, the swatch of red hair...like Droopy's, Goofy's overalls, Porky Pig's bow tie, Mickey Mouse's gloves and Bugs Bunny-like cheeks and ears."[13]

Fleischer also voices Benny the Cab and two members of Doom's Weasel Gang, Psycho and Greasy. Lou Hirsch, who supplied the voice for Baby Herman, was the original choice for Benny the Cab but was replaced by Fleischer.[12]

Stubby Kaye as Marvin Acme, the jester-like owner of the Acme Corporation. This was Kaye's last film before his retirement in 1988.
Joanna Cassidy as Dolores, Eddie's on-off girlfriend who works as a waitress.
Kathleen Turner provides the uncredited voice of Jessica Rabbit, Roger Rabbit's beautiful and flirtatious Toon wife,[14] She loves Roger because, as she says, "he makes me laugh". Amy Irving supplied the singing voice, while Betsy Brantley served as the stand-in.
Alan Tilvern, in his final film role, portrays R.K. Maroon, the short-tempered and manipulative owner of "Maroon Cartoon" studios.
Lou Hirsch provides the voice of Baby Herman, a mentally middle-aged smoker baby and co-star in Maroon Cartoons. Williams said Baby Herman was a mixture of "Elmer Fudd and Tweety crashed together".[13]

text: April Winchell provides the voice of Mrs. Herman and the "baby noises". Additionally, Richard LeParmentier has a minor role as Santino, a Lieutenant of the Los Angeles Police Department. Joel Silver has a cameo appearance as Raoul J. Raoul, a director frustrated with Roger Rabbit's antics. David Lander voices Smart Ass, the leader of the weasels, Fred Newman voices Stupid and June Foray voices Wheezy. Foray also voiced Lena Hyena, a hag Toon woman who resembles Jessica Rabbit and provides a comical role which shows her falling for Eddie and pursuing him.

text: Mel Blanc voiced Bugs Bunny, Daffy Duck, Porky Pig, Tweety, and Sylvester (Roger Rabbit was one of the final productions in which Blanc voiced his Looney Tunes characters before his death the following year). Joe Alaskey voiced Yosemite Sam and Foghorn Leghorn (in place of the elderly Blanc), Wayne Allwine voiced Mickey Mouse, Tony Anselmo voiced Donald Duck (with an archival recording of Clarence Nash, the original voice of Donald, used at the beginning of the scene[15]), Tony Pope voiced Goofy (also partially voiced by Bill Farmer[16]) and The Big Bad Wolf, Mae Questel reprised her role of Betty Boop, Russi Taylor voiced Minnie Mouse and some birds, Pat Buttram, Jim Cummings and Jim Gallant voiced Valiant's animated bullets, Les Perkins voiced Mr. Toad, Mary Radford voiced Hyacinth Hippo from Fantasia, Nancy Cartwright voiced the Dipped shoe, Cherry Davis voiced Woody Woodpecker, Peter Westy voiced Pinocchio, and Frank Welker voiced Dumbo. Animation director Richard Williams voiced Droopy.

text: Production[edit]

text: Development[edit]

text: Walt Disney Productions purchased the film rights to Gary K. Wolf's novel Who Censored Roger Rabbit? shortly after its publication in 1981. Ron W. Miller, then president of Disney, saw it as a perfect opportunity to produce a blockbuster.[17] Jeffrey Price and Peter S. Seaman were hired to write the script, penning two drafts. Robert Zemeckis offered his services as director in 1982,[13] but Disney declined as his two previous films (I Wanna Hold Your Hand and Used Cars) had been box office bombs.[11] Between 1981 and 1983 Disney developed test footage with Darrell Van Citters as animation director, Paul Reubens voicing Roger Rabbit, Peter Renaday as Eddie Valiant, and Russi Taylor as Jessica Rabbit.[18] The project was revamped in 1985 by Michael Eisner, the then-new CEO of Disney. Amblin Entertainment, which consisted of Steven Spielberg, Frank Marshall and Kathleen Kennedy, were approached to produce Who Framed Roger Rabbit alongside Disney. The original budget was projected at $50 million, which Disney felt was too expensive.[8]

text: Roger Rabbit was finally green-lit when the budget decreased to $30 million, which at the time still made it the most expensive animated film ever green-lit.[8] Walt Disney Studios chairman Jeffrey Katzenberg argued that the hybrid of live action and animation would "save" Disney's animation department. Spielberg's contract included an extensive amount of creative control and a large percentage of the box office profits. Disney kept all merchandising rights.[8] Spielberg convinced Warner Bros., Fleischer Studios, King Features Syndicate, Felix the Cat Productions, Turner Entertainment, and Universal Pictures/Walter Lantz Productions to "lend" their characters to appear in the film with (in some cases) stipulations on how those characters were portrayed; for example, Disney's Donald Duck and Warner's Daffy Duck appear as equally-talented dueling pianists, and Mickey Mouse and Bugs Bunny also share a scene. Apart from this agreement, Warner Bros. and the various other companies were not involved in the production of Roger Rabbit. Additionally, the producers were unable to acquire the rights to use Popeye, Tom and Jerry, Little Lulu, Casper the Friendly Ghost or the Terrytoons for appearances from their respective owners (King Features, Turner, Western Publishing, Harvey Comics and Viacom).[13][11]

text: Terry Gilliam was offered the chance to direct, but he found the project too technically challenging. ("Pure laziness on my part," he later admitted, "I completely regret that decision.")[19] Robert Zemeckis was hired to direct in 1985, based on the success of Romancing the Stone and Back to the Future. Disney executives were continuing to suggest Darrell Van Citters to direct the animated sequences, but Spielberg and Zemeckis decided against it.[8] Richard Williams was eventually hired to direct the animation. Zemeckis wanted the film to imbue "Disney's high quality of animation, Warner Bros.' characterization and Tex Avery humor".[20]

text: Casting[edit]

text: Harrison Ford was Spielberg's original choice to play Eddie Valiant.[21] Bill Murray was also considered for the part, but due to his method of receiving offers for roles, Murray missed out on it.[22] Eddie Murphy reportedly turned down the role of Eddie, but later regretted it.[9] Several other actors were also considered for the role of Eddie Valiant including Chevy Chase, Robert Redford, Jack Nicholson, Sylvester Stallone, Wallace Shawn, Ed Harris, Charles Grodin and Don Lane.[23]

text: Tim Curry original auditioned for the role of Judge Doom, but after his audition, the producers found him too terrifying for the role.[24] Christopher Lee was also considered for the role, but turned it down.[23] Several other actors were also considered for the role of Judge Doom including John Cleese, Roddy McDowell, Eddie Deezen and Sting.[23]

text: Writing[edit]

text: Price and Seaman were brought aboard to continue writing the script once Spielberg and Zemeckis were hired. For inspiration, the two writers studied the work of Walt Disney and Warner Bros. Cartoons from the Golden Age of American animation, especially Tex Avery and Bob Clampett cartoons. The Cloverleaf streetcar subplot was inspired by Chinatown.[13] Price and Seaman said that "the Red Car plot, suburb expansion, urban and political corruption really did happen," Price stated. "In Los Angeles, during the 1940s, car and tire companies teamed up against the Pacific Electric Railway system and bought them out of business. Where the freeway runs in Los Angeles is where the Red Car used to be."[11] In Wolf's novel Who Censored Roger Rabbit?, the Toons were comic strip characters rather than movie stars.[13]

text: During the writing process, Price and Seaman were unsure of whom to include as the villain in the plot. They wrote scripts that had either Jessica Rabbit or Baby Herman as the villain, but they made their final decision with newly created character Judge Doom. Doom was supposed to have an animated vulture sit on his shoulder, but this was deleted due to the technical challenges this posed.[11] Doom would also have a suitcase of 12 small animated kangaroos that act as a jury, by having their joeys pop out of their pouches, each with letters, when put together would spell YOU ARE GUILTY. This was also cut for budget and technical reasons.[25] Doom's five-man "Weasel Gang" (Stupid, Smart Ass, Greasy, Wheezy and Psycho) satirizes the Seven Dwarfs (Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy and Dopey) who appeared in Snow White and the Seven Dwarfs (1937). There were originally seven weasels to mimic the dwarf's complement, but eventually two of them, Slimey and Slezey, were written out of the script.[11] Further references included The "Ink and Paint Club" resembling the Harlem Cotton Club, while Zemeckis compared Judge Doom's invention of "The Dip" to eliminate all the Toons as Hitler's Final Solution.[13] Doom was originally the hunter that killed Bambi's Mother, but Disney objected to the idea.[25] Benny the Cab was first conceived to be a Volkswagen Beetle before being changed to a Taxicab. Ideas originally conceived for the story also included a sequence set at Marvin Acme's funeral, whose attendees included Eddie, Foghorn Leghorn, Mickey Mouse, Minnie Mouse, Tom and Jerry, Heckle and Jeckle, Chip n' Dale, Mighty Mouse, Superman, Popeye, Olive Oyl, Bluto, Clarabelle Cow, and The Seven Dwarfs in cameo appearances. However, the scene was cut for pacing reasons and never made it past the storyboard stage.[25] Before finally agreeing on Who Framed Roger Rabbit as the film's title, working titles included Murder in Toontown, Toons, Dead Toons Don't Pay Bills, The Toontown Trial, Trouble in Toontown, and Eddie Goes to Toontown.[26]

text: Filming[edit]

text: Animation director Richard Williams admitted he was "openly disdainful of the Disney bureaucracy"[27] and refused to work in Los Angeles. To accommodate him and his animators, production was moved to Elstree Studios in Hertfordshire, England. Disney and Spielberg also told Williams that in return for doing Roger Rabbit, they would help distribute his uncompleted film The Thief and the Cobbler.[27] Supervising animators included Dale Baer, James Baxter, David Bowers, Andreas Deja, Chris Jenkins, Phil Nibbelink, Nik Ranieri, and Simon Wells. The animation production, headed by associate producer Don Hahn, was split between Richard Williams' London studio and a specialized unit in Los Angeles, set up by Walt Disney Feature Animation and supervised by Dale Baer.[28] The production budget continued to escalate while the shooting schedule lapsed longer than expected. When the budget reached $40 million, Disney president Michael Eisner seriously considered shutting down production, but Jeffrey Katzenberg talked him out of it.[27] Despite the budget escalating to over $50 million, Disney moved forward on production because they were enthusiastic to work with Spielberg.[8]

text: VistaVision cameras installed with motion control technology were used for the photography of the live-action scenes which would be composited with animation. Rubber mannequins of Roger Rabbit, Baby Herman and the Weasels would portray the animated characters during rehearsals in order to teach the actors where to look when acting with "open air and imaginative cartoon characters".[12] Many of the live-action props held by cartoon characters were shot on set with either robotic arms holding the props or the props were manipulated by strings, similar to a marionette.[11] The voice of Roger, Charles Fleischer, insisted on wearing a Roger Rabbit costume while on the set, in order to get into character.[12] Filming began on December 2, 1986, and lasted for seven months at Elstree Studios, with an additional month in Los Angeles and at Industrial Light & Magic (ILM) for blue screen effects of Toontown. The entrance of Desilu Studios served as the fictional Maroon Cartoon Studio lot.[29]

text: Animation and post-production[edit]

text: Post-production lasted for fourteen months.[11] Because the film was made before computer animation and digital compositing were widely used, all the animation was done using cels and optical compositing.[12] First, the animators and lay-out artists were given black and white printouts of the live action scenes (known as "photo stats"), and they placed their animation paper on top of them. The artists then drew the animated characters in relationship to the live action footage. Due to Zemeckis' dynamic camera moves, the animators had to confront the challenge of ensuring the characters were not "slipping and slipping all over the place."[12][11] After rough animation was complete, it would run through the normal process of traditional animation until the cels were shot on the rostrum camera with no background. The animated footage was then sent to ILM for compositing, where technicians would animate three lighting layers (shadows, highlights and tone mattes) separately, in order to make the cartoon characters look three-dimensional and give the illusion of the characters being affected by the lighting on set.[12] Finally, the lighting effects were optically composited on to the cartoon characters, who were, in turn, composited into the live-action footage. One of the most difficult effects in the film was Jessica's dress in the night club scene, because it had flashing sequins, an effect accomplished by filtering light through a plastic bag scratched with steel wool.[13]

text: Music[edit]

text:
Who Framed Roger Rabbit (Soundtrack from the Motion Picture)

Soundtrack album by Alan Silvestri and the London Symphony Orchestra

Released
June 22, 1988

Recorded
April 3, 1988

Genre
Soundtrack

Length
45:57

Label
Buena Vista

text: Regular Zemeckis collaborator Alan Silvestri composed the film score, performed by the London Symphony Orchestra (LSO) under the direction of Silvestri. Zemeckis joked that "the British [musicians] could not keep up with Silvestri's jazz tempo". The performances of the music themes written for Jessica Rabbit were entirely improvised by the LSO. The work of American composer Carl Stalling heavily influenced Silvestri's work on Who Framed Roger Rabbit.[12][11] The film's soundtrack was originally released by Buena Vista Records on June 22, 1988, and reissued by Walt Disney Records on CD on April 16, 2002.[30]

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Maroon Logo"
Alan Silvestri
Alan Silvestri
0:19

2.
"Maroon Cartoon"
Silvestri
Silvestri
3:25

3.
"Valiant & Valiant"
Silvestri
Silvestri
4:22

4.
"The Weasels"
Silvestri
Silvestri
2:08

5.
"Hungarian Rhapsody (Dueling Pianos)"
arranged by Silvestri
Tony Anselmo, Mel Blanc
1:53

6.
"Judge Doom"
Silvestri
Silvestri
3:47

7.
"Why Don't You Do Right?"
Joseph "Kansas Joe" McCoy
Amy Irving
3:07

8.
"No Justice for Toons"
Silvestri
Silvestri
2:45

9.
"The Merry-Go-Round Broke Down (Roger's Song)"
Dave Franklin, Cliff Friend
Charles Fleischer
0:47

10.
"Jessica's Theme"
Silvestri
Silvestri
2:03

11.
"Toontown"
Silvestri
Silvestri
1:57

12.
"Eddie's Theme"
Silvestri
Silvestri
5:22

13.
"The Gag Factory"
Silvestri
Silvestri
3:48

14.
"The Will"
Silvestri
Silvestri
1:10

15.
"Smile, Darn Ya, Smile!"
Jack Meskill, Charles O'Flynn, Max Rich
Toon Chorus
1:17

16.
"End Title (Who Framed Roger Rabbit)"
Silvestri
Silvestri
4:56

text: Release[edit]

text: Michael Eisner, then CEO, and Roy E. Disney, Vice Chairman of the Walt Disney Company, felt Who Framed Roger Rabbit was too risqué with sexual references.[31] Eisner and Zemeckis disagreed over various elements of the film, but since Zemeckis had final cut privilege, he refused to make alterations.[12] Roy E. Disney, head of Feature Animation along with studio chief Jeffrey Katzenberg, felt it was appropriate to release the film under their Touchstone Pictures banner instead of the traditional Walt Disney Pictures banner.[31]

text: Who Framed Roger Rabbit opened in the United States on June 22, 1988, grossing $11,226,239 in 1,045 theaters during its opening weekend, ranking first place in the domestic box office.[32] The film went on to gross $156,452,370 in North America and $173,351,588 internationally, coming to a worldwide total of $329,803,958. At the time of release, Roger Rabbit was the twentieth highest-grossing film of all time.[33] The film was also the second highest-grossing film of 1988, behind only Rain Man.[34]

text: Zemeckis has revealed a 3D reissue could be possible.[35]

text: Home media[edit]

text: Who Framed Roger Rabbit was first released on VHS on October 12, 1989.[36] A Laserdisc edition was also released. A DVD version was first available on September 28, 1999.

text: On March 25, 2003, Buena Vista Home Entertainment released it as a part of the "Vista Series" line in a two-disc collection with many extra features including a documentary, Behind the Ears: The True Story of Roger Rabbit; a deleted scene in which a pig's head is "tooned" onto Eddie's own; the three Roger Rabbit shorts, Tummy Trouble, Roller Coaster Rabbit, and Trail Mix-Up; as well as a booklet and interactive games. The only short on the 2003 VHS release was Tummy Trouble.

text: On March 12, 2013, Who Framed Roger Rabbit was released by Touchstone Home Entertainment on Blu-ray Disc and DVD combo pack special edition for the film's 25th Anniversary.[37][38] The film was also digitally restored by Disney for its 25th Anniversary. Frame-by-frame digital restoration was done by Prasad Studios removing dirt, tears, scratches and other defects.[39][40]

text: Reception[edit]

text: Critical response[edit]

text: Review aggregator Rotten Tomatoes gave the film an approval rating of 97% based on 61 reviews and an average score of 8.4/10. The site's critical consensus reads, "Who Framed Roger Rabbit is an innovative and entertaining film that features a groundbreaking mix of live action and animation, with a touching and original story to boot."[41] Aggregator Metacritic calculated a score of 83 out of 100 based on 15 reviews, indicating "universal acclaim".[42]

text: Roger Ebert of the Chicago Sun-Times gave the film four stars out of four, predicting it would carry "the type of word of mouth that money can't buy. This movie is not only great entertainment but a breakthrough in craftsmanship."[43] Ebert and his colleague Gene Siskel of the Chicago Tribune spent a considerable amount of time in the Siskel & Ebert episode in which they reviewed the film analyzing the film's painstaking filmmaking. Siskel also praised the film, and ranked it #2 on his top ten films list for 1988, while Ebert ranked it as #8 on a similar list.[44] Janet Maslin of The New York Times commented that "although this isn't the first time that cartoon characters have shared the screen with live actors, it's the first time they've done it on their own terms and make it look real".[45] Desson Thomson of The Washington Post considered Roger Rabbit to be "a definitive collaboration of pure talent. Zemeckis had Walt Disney Pictures' enthusiastic backing, producer Steven Spielberg's pull, Warner Bros.'s blessing, Canadian animator Richard Williams' ink and paint, Mel Blanc's voice, Jeffrey Price's and Peter S. Seaman's witty, frenetic screenplay, George Lucas' Industrial Light & Magic, and Bob Hoskins' comical performance as the burliest, shaggiest private eye."[46] Gene Shalit on the Today Show also praised the film, calling it "one of the most extraordinary movies ever made".[47] Filmsite.org called it "a technically-marvelous film" and a "landmark" that resulted from "unprecedented cooperation" between Warner Bros. and Disney.[48]

text: Conversely, Richard Corliss, writing for Time, gave a mixed review. "The opening cartoon works just fine but too fine. The opening scene upstages the movie that emerges from it," he said. Corliss was mainly annoyed by the homages to the Golden Age of American animation.[49] Animation legend Chuck Jones made a rather scathing attack on the film in his book Chuck Jones Conversations. Among his complaints, Jones accused Robert Zemeckis of robbing Richard Williams of any creative input and ruining the piano duel that both he and Williams storyboarded.[50]

text: Accolades[edit]

text: Who Framed Roger Rabbit won three competitive Academy Awards and a Special Achievement Award. It became the first live-action/animation hybrid film to win multiple Academy Awards since Mary Poppins in 1964. It won Academy Awards for Best Sound Effects Editing (Charles L. Campbell and Louis Edemann), Best Visual Effects and Best Film Editing. Other nominations included Best Art Direction (Art Direction: Elliot Scott; Set Decoration: Peter Howitt), Best Cinematography and Best Sound (Robert Knudson, John Boyd, Don Digirolamo and Tony Dawe).[51] Richard Williams received a Special Achievement Academy Award "for animation direction and creation of the cartoon characters".[52] Roger Rabbit won the Saturn Award for Best Fantasy Film, as well as Best Direction for Zemeckis and Special Visual Effects. Hoskins, Lloyd, and Cassidy were nominated for their performances, while Alan Silvestri and the screenwriters received nominations.[53] The film was nominated for four categories at the 42nd British Academy Film Awards and won for Best Visual Effects.[54] Roger Rabbit was nominated the Golden Globe for Best Motion Picture (Musical or Comedy), while Hoskins was also nominated for his performance.[55] The film also won the Hugo Award for Best Dramatic Presentation[56] and the Kids' Choice Award for Favorite Movie.

text:
AFI's 100 Years...100 Laughs—Nominated
AFI's 100 Years...100 Movie Quotes:

"I'm not bad. I'm just drawn that way."—Nominated

AFI's 10 Top 10—Nominated Fantasy Film

text: Legacy[edit]

text: The success of Who Framed Roger Rabbit rekindled an interest in the Golden Age of American animation, and sparked the modern animation scene.[57] In 1991, Walt Disney Imagineering began to develop Mickey's Toontown for Disneyland, based on the Toontown that appeared in the film. The attraction also features a ride called Roger Rabbit's Car Toon Spin.[31] Three theatrical animated shorts were also produced; Tummy Trouble played in front of Honey, I Shrunk the Kids, Roller Coaster Rabbit was shown with Dick Tracy and Trail Mix-Up was included with A Far Off Place.[58][59] The film also inspired a short-lived comic book and video game spin-offs, including two PC games, the Japanese version of The Bugs Bunny Crazy Castle (which features Roger instead of Bugs), a 1989 game released on the Nintendo Entertainment System, and a 1991 game released on the Game Boy.[59]

text: In December 2016, the film was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

text: Controversy[edit]

text: With the film's Laserdisc release, Variety first reported in March 1994 that observers uncovered several scenes of antics from the animators that supposedly featured brief nudity of the Jessica Rabbit character. While undetectable when played at the usual rate of 24 film frames per second, the Laserdisc player allowed the viewer to advance frame-by-frame to uncover these visuals. Whether or not they were actually intended to depict the nudity of the character remains unknown.[60][61] Many retailers said that within minutes of the Laserdisc debut, their entire inventory was sold out. The run was fueled by media reports about the controversy, including stories on CNN and various newspapers.[62]

text: Another frequently debated scene includes one in which Baby Herman extends his middle finger as he passes under a woman's dress and re-emerges with drool on his lip.[61][63] There is also controversy over the scene where Daffy Duck and Donald Duck are playing a piano duel, and, during his trademark ranting gibberish, it is claimed that Donald calls Daffy a "goddamn stupid nigger"; however, this is a misinterpretation, with the line from the script being "doggone stubborn little—."[64][65][66]

text: Legal issue[edit]

text: Gary K. Wolf, author of the novel Who Censored Roger Rabbit?, filed a lawsuit in 2001 against The Walt Disney Company. Wolf claimed he was owed royalties based on the value of "gross receipts" and merchandising sales. In 2002, the trial court in the case ruled that these only referred to actual cash receipts Disney collected and denied Wolf's claim. In its January 2004 ruling, the California Court of Appeal disagreed, finding that expert testimony introduced by Wolf regarding the customary use of "gross receipts" in the entertainment business could support a broader reading of the term. The ruling vacated the trial court's order in favor of Disney and remanded the case for further proceedings.[67] In a March 2005 hearing, Wolf estimated he was owed $7 million. Disney's attorneys not only disputed the claim but said Wolf actually owed Disney $500,000–$1 million because of an accounting error discovered in preparing for the lawsuit.[68] Wolf won the decision in 2005, receiving between $180,000 and $400,000 in damages.[69]

text: Proposed sequel[edit]

text: With the film's critical and financial success, Disney and Spielberg felt it was obviously time to plan a second installment. J. J. Abrams says that he met Spielberg in 1989 to discuss working on a sequel, to the extent of preparing an outline and storyboards.[70] More substantial work was done by Nat Mauldin, who wrote a prequel titled Roger Rabbit: The Toon Platoon, set in 1941. Similar to the previous film, Toon Platoon featured many cameo appearances by characters from the golden Age of American animation. It began with Roger Rabbit's early years, living on a farm in the Midwestern United States.[57] With human Richie Davenport, Roger travels west to seek his mother, in the process meeting Jessica Krupnick (his future wife), a struggling Hollywood actress. While Roger and Ritchie are enlisting in the Army, Jessica is kidnapped and forced to make pro-Nazi Germany broadcasts. Roger and Ritchie must save her by going into Nazi-occupied Europe accompanied by several other toons in their Army platoon. After their triumph, Roger and Ritchie are given a Hollywood Boulevard parade, and Roger is finally reunited with his mother, and father: Bugs Bunny.[57][71]

text: Mauldin later re-titled his script Who Discovered Roger Rabbit. Spielberg left the project when deciding he could not satirize Nazis after directing Schindler's List.[72][73] Eisner commissioned a rewrite in 1997 with Sherri Stoner and Deanna Oliver. Although they kept Roger's search for his mother, Stoner and Oliver replaced the WWII subplot with Roger's inadvertent rise to stardom on Broadway and Hollywood. Disney was impressed and Alan Menken was hired to write five songs for the film and offered his services as executive producer.[73] One of the songs, "This Only Happens in the Movies", was recorded in 2008 on the debut album of Broadway actress Kerry Butler.[74] Eric Goldberg was set to be the new animation director, and began to redesign Roger's new character appearance.[73]

text: Spielberg had no interest in the project because he was establishing DreamWorks, although Frank Marshall and Kathleen Kennedy decided to stay on as producers. Test footage for Who Discovered Roger Rabbit was shot sometime in 1998 at the Disney animation unit in Lake Buena Vista, Florida; the results were a mix of CGI, traditional animation and live-action that did not please Disney. A second test had the toons completely converted to CGI; but this was dropped as the film's projected budget escalated well past $100 million. Eisner felt it was best to cancel the film.[73] In March 2003, producer Don Hahn was doubtful about a sequel being made, arguing that public tastes had changed since the 1990s with the rise of computer animation. "There was something very special about that time when animation was not as much in the forefront as it is now."[75]

text: In December 2007, Marshall stated that he was still "open" to the idea,[76] and in April 2009, Zemeckis revealed he was still interested.[77] According to a 2009 MTV News story, Jeffrey Price and Peter S. Seaman were writing a new script for the project, and the animated characters would be in traditional 2D, while the rest would be in motion capture.[78] However, in 2010, Zemeckis said that the sequel would remain hand-drawn animated and live-action sequences will be filmed, just like in the original film, but the lighting effects on the cartoon characters and some of the props that the toons handle will be done digitally.[79] Also in 2010, Don Hahn, who was the film's original associate producer, confirmed the sequel's development in an interview with Empire. He stated, "Yeah, I couldn't possibly comment. I deny completely, but yeah... if you're a fan, pretty soon you're going to be very, very, very happy."[80] In 2010, Bob Hoskins stated he was interested in the project, reprising his role as Eddie Valiant.[81] However, he retired from acting in 2012 after being diagnosed with Parkinson's disease a year earlier, and died from those complications in 2014.[82] Marshall has confirmed that the film is a prequel, similar to earlier drafts, and that the writing was almost complete.[83] During an interview at the premiere of Flight, Zemeckis stated that the sequel was still possible, despite Hoskins' absence, and the script for the sequel was sent to Disney for approval from studio executives.[84]

text: In February 2013, Gary K. Wolf, writer of the original novel, said that he, as well as Erik Von Wodtke were working on a development proposal for an animated Disney buddy comedy starring Mickey Mouse and Roger Rabbit called The Stooge, based on the 1952 film of the same name. The proposed film is set to a prequel, taking place five years before Who Framed Roger Rabbit and part of the story is about how Roger met Jessica, his future wife. Wolf has stated the film is currently wending its way through Disney.[85]

text: In November 2016, while promoting his latest film, Allied, in England, Zemeckis took some time to have an interview with Robbie Collin of The Daily Telegraph. As the conversation shifted focus to the Roger Rabbit sequel, Zemeckis stated that the sequel "moves the story of Roger and Jessica Rabbit into the next few years of period film, moving on from film noir to the world of the 1950s". He also stated that the sequel would feature a "digital Bob Hoskins", as Eddie Valiant would return in "ghost form". While the director went on to state that the script is "terrific" and the film would still utilize hand-drawn animation, Zemeckis thinks that the chances of Disney green-lighting the sequel are "slim". As he explained more in detail, "The current corporate Disney culture [the current studio management of The Walt Disney Company] has no interest in Roger, and they certainly don't like Jessica at all."[86]

text: Roger Rabbit dance[edit]

text: Roger Rabbit was the inspiration for a popular dance move in the early 1990s, called "the Roger Rabbit" due to the floppy movements of the character in the film.[87][88]

text: Notes[edit]

text: Jump up ^ The budget has been commonly reported as $70 million, including by The New York Times in 1991, who subsequently issued an erratum to state that both Amblin and Touchstone insist the budget was "about $50 million".[2] Publications of the film's accounts since then indicate that the exact production cost of the film was $58,166,000,[3] including the production overhead which came to a total of $7,587,000, putting the net cost at $50,587,000.[4]

tag: ol


document_title: List of monarchs in Britain by length of reign

question_text: who is the longest reigning king in british history

root

text: Overall[edit]

text: These are the ten longest reigning monarchs in the British Isles for whom there is reliable recorded evidence.

tag: p

text:
No.

Monarch

Reign

Duration

From

To

Days

Years, days

1

 Elizabeth II of the United Kingdom

6 February 1952

Present

24,309

7004243090000000000♠66 years, 202 days

2

 Victoria of the United Kingdom

20 June 1837

22 January 1901

23,226

63 years, 216 days

3

 George III of the United Kingdom

25 October 1760

29 January 1820

21,644

59 years, 96 days

4

 James VI of Scotland

24 July 1567

27 March 1625

21,066

57 years, 246 days

5

 Henry III of England

28 October 1216

16 November 1272

20,473

56 years, 19 days

6

 Edward III of England

25 January 1327

20 June 1377

18,410

50 years, 147 days

7

 William I of Scotland

9 December 1165

4 December 1214

17,892

48 years, 360 days

8

 Llywelyn of Gwynedd

1195

11 April 1240

16,173–16,902

c. 44–45 years

9

 Elizabeth I of England

17 November 1558

24 March 1603

16,198

44 years, 127 days

10

 David II of Scotland

7 June 1329

22 February 1371

15,235

41 years, 260 days

tag: table

text: The longest claim by a pretender was that of James Francis Edward Stuart (the "Old Pretender"), who was the Jacobite pretender to the thrones of England, Scotland and Ireland for 64 years, 3 months, and 16 days (17 September 1701 – 1 January 1766).

text: Elizabeth II: the longest-reigning monarch[edit]

text: On 9 September 2015 (at the age of 89 years, 141 days), Elizabeth II became the longest-reigning British monarch and the longest-reigning female monarch in world history.[3][4] On 23 May 2016 (at the age of 90 years, 32 days), her reign surpassed the claimed reign of James Francis Edward Stuart (the "Old Pretender").[5] On 13 October 2016 (at the age of 90 years, 175 days), she became the world's longest-reigning current monarch (and the world's longest-serving current head of state) after the death of Bhumibol Adulyadej (Rama IX), King of Thailand.[6][7]

text: If she is still reigning on –

text:
18 July 2020 (at age 94 years, 88 days), she will have been queen for 25,000 days.[8]
6 February 2022 (at age 95 years, 291 days), she will celebrate her platinum jubilee, marking 70 years on the throne.[9]
27 May 2024 (at age 98 years, 36 days), she will surpass Louis XIV of France as the longest-reigning monarch of a major European country.[10]

tag: ul

text: Unitary monarchy[edit]

text: United Kingdom[edit]

text: On 1 January 1801 the Kingdom of Great Britain united with the Kingdom of Ireland to become the United Kingdom of Great Britain and Ireland, becoming the United Kingdom of Great Britain and Northern Ireland by Act of Parliament in 1927[11] following the creation of the Irish Free State in 1922.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

Elizabeth II
6 February 1952
Present
24,309
7004243090000000000♠66 years, 202 days

Victoria
20 June 1837
22 January 1901
23,226
63 years, 216 days

George V
6 May 1910
20 January 1936
9,390
25 years, 259 days

George III [12]
1 January 1801
29 January 1820
6,967
19 years, 28 days

George VI
11 December 1936
6 February 1952
5,535
15 years, 57 days

George IV
29 January 1820
26 June 1830
3,801
10 years, 148 days

Edward VII
22 January 1901
6 May 1910
3,391
9 years, 104 days

William IV
26 June 1830
20 June 1837
2,551
6 years, 359 days

Edward VIII
20 January 1936
11 December 1936
326
326 days

text: Great Britain[edit]

text: On 1 May 1707, under the Acts of Union 1707, the Kingdom of England united with the Kingdom of Scotland as the Kingdom of Great Britain.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

George III[12] (also United Kingdom)
25 October 1760
1 January 1801
14,677
40 years, 68 days

George II
22 June 1727N.S.
25 October 1760
12,168
33 years, 114 days

George I
1 August 1714
11 June 1727
4,697
12 years, 314 days

Anne[13]
1 May 1707
1 August 1714
2,649
7 years, 92 days

text: Kingdoms[edit]

text: England[edit]

text: Includes English monarchs from the installation of Alfred the Great as King of Wessex in 871 to Anne (House of Stuart) and the Acts of Union on 1 May 1707, when the crown became part of the Kingdom of Great Britain.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

Henry III
28 October 1216
16 November 1272
20,473
56 years, 19 days

Edward III
25 January 1327
21 June 1377
18,410
50 years, 147 days

Elizabeth I
17 November 1558
24 March 1603
16,198
44 years, 127 days

Henry VI[14]
1 September 142231 October 1470
4 March 146111 April 1471
14,064162Total: 14,226
38 years, 184 days162 days38 years, 347 days

Æthelred II[14]
18 March 9783 February 1014
25 December 101323 April 1016
13,065810Total: 13,875
35 years, 282 days2 years, 80 days37 years, 362 days

Henry VIII
22 April 1509
28 January 1547
13,795
37 years, 281 days

Charles II[15]
30 January 1649
6 February 1685
13,156
36 years, 7 days

Henry I
5 August 1100
1 December 1135
12,901
35 years, 118 days

Henry II(co-ruler with Henry the Young King)
25 October 1154
6 July 1189
12,673
34 years, 254 days

Edward I
20 November 1272
7 July 1307
12,646
34 years, 229 days

Alfred the Great
24 April 871
26 October 899
10,412
28 years, 185 days

Edward the Elder
27 October 899
17 July 924
9,029
24 years, 264 days

Charles I[16]
27 March 1625
30 January 1649
8,710
23 years, 309 days

Henry VII
22 August 1485
21 April 1509
8,642
23 years, 242 days

Edward the Confessor
8 June 1042
5 January 1066
8,612
23 years, 211 days

Richard II
22 June 1377
29 September 1399
8,134
22 years, 99 days

James I[17]
24 March 1603
27 March 1625
8,039
22 years, 3 days

Edward IV[14]
4 March 146111 April 1471
3 October 14709 April 1483
3,5004,381Total: 7,881
9 years, 213 days11 years, 363 days21 years, 211 days

William I
12 December 1066
9 September 1087
7,563
20 years, 258 days

Edward II
8 July 1307
20 January 1327
7,136
19 years, 196 days

Cnut
30 November 1016
12 November 1035
6,921
18 years, 347 days

Stephen[14]
22 December 11351 November 1141
7 April 114125 October 1154
1,9334,741Total: 6,674
5 years, 106 days12 years, 358 days 18 years, 99 days

John
6 April 1199
19 October 1216
6,406
17 years, 196 days

Edgar I
1 October 959
8 July 975
5,759
15 years, 280 days

Æthelstan
2 August 924(or 925)
27 October 939
5,564 or  5,199
15 years, 86 daysor 14 years, 86 days

Henry IV
30 September 1399
20 March 1413
4,919
13 years, 171 days

William III[18](co-ruler with Mary II)
13 February 1689
8 March 1702
4,770
13 years, 23 days

Henry the Young King(co-ruler with Henry II)
14 June 1170
11 June 1183
4,745
12 years, 362 days

William II
26 September 1087
2 August 1100
4,693
12 years, 310 days

Richard I
6 July 1189
6 April 1199
3,561
9 years, 274 days

Eadred
26 May 946
23 November 955
3,468
9 years, 181 days

Henry V
21 March 1413
31 August 1422
3,450
9 years, 163 days

Edmund I
27 October 939
26 May 946
2,403
6 years, 211 days

Edward VI
28 January 1547
6 July 1553
2,351
6 years, 159 days

Mary II[19](co-ruler with William III)
13 February 1689
28 December 1694
2,144
5 years, 318 days

Mary I
19 July 1553
17 November 1558
1,947
5 years, 121 days

Anne[13] (also Kingdom of Great Britain)
8 March 1702
30 April 1707
1,879
5 years, 53 days

Eadwig
23 November 955
1 October 959
1,408
3 years, 312 days

James II[20]
6 February 1685
11 December 1688
1,404
3 years, 309 days

Edward the Martyr
9 July 975
18 March 978
984
2 years, 253 days

Harold I
12 November 1037
17 March 1040
856
2 years, 126 days

Harthacnut
17 March 1040
8 June 1042
813
2 years, 83 days

Richard III
26 June 1483
22 August 1485
788
2 years, 57 days

Harold II
5 January 1066
14 October 1066
282
282 days

Edmund II
23 April 1016
30 November 1016
221
221 days

Matilda (disputed)
7 April 1141
1 November 1141
208
208 days

Edward V
9 April 1483
26 June 1483
78
78 days

Edgar II
15 October 1066
17 December 1066
63
63 days

Sweyn Forkbeard
25 December 1013
3 February 1014
40
40 days

Jane (disputed)
10 July 1553
19 July 1553
9
9 days

text: Scotland[edit]

text: Includes Scottish monarchs from the installation of Kenneth I (House of Alpin) in 848 to Anne (House of Stuart) and the Acts of Union on 1 May 1707, when the crown became part of the Kingdom of Great Britain.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

James VI[17]
24 July 1567
27 March 1625
21,066
57 years, 246 days

William I
9 December 1165
4 December 1214
17,892
48 years, 360 days

Constantine II
900
943
c. 15,500
c. 43 years

David II
7 June 1329
22 February 1371
15,235
41 years, 260 days

Alexander III
6 July 1249
19 March 1286
13,405
36 years, 256 days

Malcolm III
17 March 1058
13 November 1093
13,025
35 years, 241 days

Alexander II
4 December 1214
6 July 1249
12,633
34 years, 214 days

James I
4 April 1406
21 February 1437
11,281
30 years, 323 days

Malcolm II
25 March 1005
25 November 1034
10,837
29 years, 245 days

James V
9 September 1513
14 December 1542
10,688
29 years, 96 days

David I
23 April 1124
24 May 1153
10,623
29 years, 31 days

James III
3 August 1460
11 June 1488
10,174
27 years, 313 days

Charles II[15]
30 January 164929 May 1660
3 September 16516 February 1685
9469,019Total: 9,965
2 years, 216 days24 years, 253 days27 years, 104 days

James IV
11 June 1488
9 September 1513
9,220
25 years, 90 days

Mary I
14 December 1542
24 July 1567
8,988
24 years, 222 days

Charles I[16]
27 March 1625
30 January 1649
8,710
23 years, 309 days

Kenneth II
971
995
c. 8,700
c. 23-24 years

James II
21 February 1437
3 August 1460
8,564
23 years, 164 days

Robert I
25 March 1306
7 June 1329
8,475
23 years, 74 days

Robert II
22 February 1371
19 April 1390
6,996
19 years, 56 days

Alexander I
8 January 1107
23 April 1124
6,315
17 years, 106 days

Macbeth
14 August 1040
15 August 1057
6,210
17 years, 1 day

Robert III
19 April 1390
4 April 1406
5,828
15 years, 350 days

Constantine I
862
877
c. 5,400
c. 15 years

Kenneth MacAlpin
843
13 February 858
c. 5,100
c. 14 years

William II[18]
11 May 1689
8 March 1702
4,683
12 years, 301 days

Malcolm IV
24 May 1153
9 December 1165
4,582
12 years, 199 days

Giric(co-ruler with Eochaid?)
878
889
c. 4.000
c. 11 years

Donald II
889
900
c. 4,000
c. 11 years

Malcolm I
943
954
c. 3,600
c. 10-11 years

Edgar
1097
8 January 1107
c. 3,600
c. 10 years

Kenneth III
997
25 March 1005
c. 2,900
c. 8 years

Indulf
954
962
c. 2,700
c. 8 years

Duncan I
25 November 1034
14 August 1040
2,089
5 years, 263 days

Mary II[19]
11 April 1689
28 December 1694
2,087
5 years, 261 days

Amlaíb
971
977
c. 2,000
c. 5-6 years

Anne[13] (also Kingdom of Great Britain)
8 March 1702
30 April 1707
1,879
5 years, 53 days

Dub
962
c. 966-967
c. 1,800
c. 5 years

Cuilén
c. 966-967
971
c. 1,800
c. 5 years

Domnall mac Ailpín
858
13 April 862
c. 1.300
c. 4 years

James VII[21]
6 February 1685
11 December 1688(claimed until 16 September 1701.)
1,404(claimed 6,065.)
3 years, 309 daysclaimed 16 years, 222 days

Margaret
25 November 1286
26 September 1290
1,401
3 years, 305 days

John Balliol
17 November 1292
10 July 1296
1,331
3 years, 236 days

Donald III
13 November 1093
1097
c. 1,000
c. 3-4 years

Constantine III
1095
1097
c. 700
c. 2 years

Áed mac Cináeda
877
878
c. 365
c. 1 year

Lulach
15 August 1057
17 March 1058
212
212 days

Duncan II
May 1094
12 November 1094
c. 195
"less than 7 months"

text: Ireland[edit]

text: The High King of Ireland (846–1198) was primarily a titular title (with the exception of Ruaidrí Ua Conchobair who was regarded as the first "King of Ireland"). The later Kingdom of Ireland (1542–1800) came into being under the Crown of Ireland Act 1542, the long title of which was "An Act that the King of England, his Heirs and Successors, be Kings of Ireland". In 1801 the Irish crown became part of the United Kingdom of Great Britain and Ireland.

text: This section needs expansion. You can help by adding to it. (February 2018)

text:
Name
Reign
Duration

From
To
(days)
(years, days)

Ruaidrí Ua Conchobair
1166
1193

c. 26-27 years

Edward Bruce (disputed)
June 1315
14 October 1318

c. 3 years, 100 days

Brian Ua Néill (disputed)
1258
1260

c. 1-2 years

text: Principalities[edit]

text: Gwynedd[edit]

text: The Principality (or Kingdom) of Gwynedd (5th century–1216) was based in northwest Wales, its rulers were repeatedly acclaimed as "King of the Britons" before losing their power in civil wars or Saxon and Norman invasions. In 1216 it was superseded by the title Principality of Wales, although the new title was not first used until the 1240s.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

Gruffudd ap Cynan
1081
1137

c. 55-56 years

Llywelyn the Great
1195
11 April 1240
>16,172
c. 44-45 years

Owain Gwynedd
1137
1170
>11,688
c. 33 years

Dafydd ab Owain Gwynedd
1170
1195
>8,766
c. 25 years

Hywel ab Owain Gwynedd
1170
1170

<1 year

text: Wales[edit]

text: The Principality of Wales (1216–1542) was a client state of England for much of its history, except for brief periods when it was de facto independent under a Welsh Prince of Wales (see House of Aberffraw). From 1301 it was first used as a title of the English (and later British) heir apparent. The Laws in Wales Acts 1535–1542 formally incorporated all of Wales within the Kingdom of England.

text:
Name
Reign
Duration

From
To
(days)
(years, days)

Llywelyn ap Gruffudd
1253
11 December 1282
>10,572
c. 29 years

Owain Glyndŵr (disputed)
16 September 1400
c. 1416
>5,585
c. 16 years

Owain Goch ap Gruffydd
25 February 1246
1255
>3,000
c. 9 years

Owain Lawgoch (disputed)
May 1372
July 1378
>2,221
c. 6 years

Dafydd ap Llywelyn
12 April 1240
25 February 1246
2,145
5 years, 319 days

Dafydd ap Gruffydd
11 December 1282
3 October 1283
296
296 days

text: Charles, Prince of Wales, is the longest-serving Prince of Wales, with a tenure of 7004219470000000000♠60 years, 32 days since his proclamation as such in 1958.


document_title: The Last Boy Scout

question_text: who played the daughter in the last boy scout

text: The Last Boy Scout

text: Plot[edit]

text: During halftime at a televised football game, L.A. Stallions running back Billy Cole (Billy Blanks) receives a phone call from a mysterious man named Milo (Taylor Negron), who warns him to win the game or he will be assassinated. Cole ingests PCP and, in a drug-induced rage, brings a gun onto the field, shooting three opposing players to reach the end zone. Cole then shoots himself in the head. Meanwhile, private investigator Joe Hallenbeck (Bruce Willis), a disgraced former Secret Service agent, who at one time was a national hero for saving the president from an assassination attempt, discovers that his wife Sarah (Chelsea Field) is having an affair with his best friend and business partner, Mike Matthews (Bruce McGill). Mike gives Joe an assignment to act as bodyguard for a stripper named Cory (Halle Berry). Mike is then killed by a car bomb outside Joe's house.

text: Joe is approached by Cory's boyfriend, former Stallions quarterback Jimmy Dix (Damon Wayans), who was banned from the league on gambling charges and alleged drug abuse. After an argument between Joe and Jimmy, an annoyed Jimmy takes Cory from the stage while she is performing. Joe plans to wait outside, where he is knocked out by a team of hitmen. Jimmy and Cory leave the bar in separate cars while Joe is left to dispatch one of the hitmen. When Cory is struck from behind and stops to confront the other driver, she is killed by the hitmen. Jimmy is fired upon and pinned down, but is saved by Joe.

text: At Cory's house, Jimmy and Joe find a taped phone conversation between Senator Calvin Baynard (Chelcie Ross), who is leading a congressional investigation into gambling in sports, and Stallions owner Sheldon Marcone (Noble Willingham). When the tape is ruined in Joe's faulty car stereo, Jimmy realizes that Cory tried using the tape against Marcone to put Jimmy back on the team, prompting Marcone to send the hitmen. Joe saves Jimmy from a second car bomb, and manages to trick two hitmen into blowing themselves up. But the explosion destroys the remaining evidence.

text: Joe reveals to Jimmy that when he was in the Secret Service, he witnessed Baynard torturing a woman in a hotel room and assaulted the senator to thwart the attack. Baynard retaliated by having Joe fired from the Secret Service for refusing to cover up the incident. At Joe's house, Jimmy meets Joe's abrasive daughter Darian (Danielle Harris). When Joe catches Jimmy attempting to use illegal painkillers in the bathroom, Joe kicks him out. As Jimmy leaves, he is asked by Darian to sign a football trading card, stating that Joe was a fan of Jimmy's and never watched another game after he was banned from the league. He leaves her with the signed card, "To the daughter of the last Boy Scout."

text: Learning of Mike's affair with Sarah, the police assumed that he was killed by Joe and move to make an arrest. But Milo, Marcone's top henchman, captures Joe first and shoots a detective using Joe's gun. Marcone explains to Joe that he has been buying Senate votes to legalize sports gambling, but that Baynard tried to blackmail Marcone for $6 million. Being aware of Joe's history with Baynard, Marcone says that it would be cheaper to kill the senator and frame Joe for the murder. Joe is forced to hand a briefcase filled with money to Baynard's bodyguards, who switched it with a wired briefcase. Joe is rescued by Jimmy and Darian, and acquires both briefcases after running the bodyguards and Milo off the road. However, Milo survives and while Darian is left to wait for the police, he abducts her.

text: Heading to the stadium to rescue Darian, Joe and Jimmy are captured and escorted to Marcone's office. Jimmy creates a diversion, allowing them to fight their way free. Realizing Milo will attempt to shoot Baynard, Joe goes after him while sending Jimmy to warn the senator. Grabbing the game ball, Jimmy throws it at Baynard, knocking him down just as Milo starts shooting. Joe knocks Milo to the edge of the stadium light platform, where SWAT officers shoot him several times. Milo then falls into the moving rotor blades of a police helicopter. The breifcase of money is recovered and Marcone, having escaped with the rigged briefcase, is killed when he opens it at his estate. The next day, Joe and Sarah reconcile, and Joe and Jimmy decide to become partners.

text: Cast[edit]

text:
Bruce Willis as Joseph "Joe" Cornelius Hallenbeck
Damon Wayans as James "Jimmy" Alexander Dix
Chelsea Field as Sarah Hallenbeck
Noble Willingham as Sheldon Marcone
Taylor Negron as Milo
Danielle Harris as Darian Hallenbeck
Halle Berry as Cory
Bruce McGill as Mike Matthews
Kim Coates as Chet
Chelcie Ross as Senator Calvin Baynard
Joe Santos as Benjamin Bessalo
Clarence Felder as McCoskey
Tony Longo as Big Ray Walston
Frank Collison as Pablo
Eddie Griffin as Club DJ
Billy Blanks as Billy Cole

text: Production[edit]

text: Development[edit]

text: The film was based on an original script by Shane Black. He wrote the script after having taken a two-year break from writing, triggered in part by the end of a relationship. Black later recalled:

text: I was busy mourning my life and, in many ways, the loss of my first real love. I didn’t feel much like doing anything except smoking cigarettes and reading paperbacks. All things come around. Time passed and eventually I sat down and transformed some of that bitterness into a character, the central focus of a private eye story which became The Last Boy Scout. Writing that script was a very cathartic experience, one of the best experiences I’ve ever had. I spent so much time alone working on that. Days which I wouldn’t speak. Three, four days where I maybe said a couple words. It was a wonderfully intense time where my focus was better than it’s ever been. And I was rewarded so handsomely ($1.75 million) for that script, if felt like a vindication and like I was back on track.[3]

text: Roger Ebert, commenting on the script, said "The original screenplay for The Last Boy Scout set a record for its purchase price; that was probably because of the humor of the locker-room dialogue, since the plot itself could have been rewritten out of the Lethal Weapon movies by any film school grad."[4]

text: Shooting[edit]

text: The Last Boy Scout was filmed in 90 days between March 11 and June 9, 1991.[5] The movie had a very troubled production. Conflict and arguments flared between Joel Silver, Bruce Willis and Tony Scott. Although they play buddies in the film, Willis and Damon Wayans hated working with each other.[6] Silver was described as "insane, with long, horrible fits of sanity,” and was compared to a fighter pilot riding as a passenger. “As soon as you hit a little bit of turbulence, he’s right away going to throw the guy out of the window and take over the steering.” Taylor Negron, who played Milo, described Silver as extremely hands-on in every aspect of the production.[7]

text: Assistant director James Skotchdopole attributed the tension on-set to an “overabundance of alpha males on that project. Bruce was at the height of his stardom, so was Joel, so was Tony and so was Shane. There were a lot of people who had a lot of opinions about what to do. There were some heated, early-Nineties, testosterone charged personalities on the line. It was a ‘charged environment,’ shall we say.” Writer Shane Black had to wrestle with the script. “I was forced to do more rewriting on that movie than on anything else I’ve done. There was tremendous pressure from the studio to get Bruce Willis and have this be a follow-up to Die Hard. He was reluctant, and rightly so: ‘This whole movie is about me saving my wife. I just did that in Die Hard.’ So they said, ‘OK, let’s minimize the wife and, and while we’re at it, add a big finale.' There was a general pressure to somehow make it bigger.”[8]

text: More problems emerged during post-production, when the original cut of the film turned out be a "borderline unwatchable workprint." Different editors were hired in an attempt to address Scott's tendency for filming excessive coverage with multiple cameras. Editor Mark Helfrich described sorting through "mountains of raw material" to edit the first cut: “There was more footage shot for The Last Boy Scout than on any film I had ever worked on.” He recalled with incredulity that the work of previous editors appeared to have been rejected, taken apart and put back into the daily reels: “There were still splices all over the place.” Expert action movie editor Mark Goldblatt, who also worked on the film, recalls it as one the most painful and frustrating experiences of his entire career, and refuses to discuss it in interviews, although he did mention in a podcast interview that several other editors were hired and then fired before him, and that Warner Bros. began testing the movie before it was completely finished. Studio executives fretted about the expanding budget, while less-than-enthusiastic reactions from a test screening audience, as well as the unlikeable character played by Willis, did little to allay these concerns.

text: When editor Stuart Baird was hired, the film finally took a positive turn. Baird had been brought in to help re-edit other troubled productions, including Tango & Cash (1989) and Demolition Man (1993). Some later cuts were done with the film's graphic scenes after it was originally rated NC-17, which explains quick-cut edits in some of the death scenes in the film.[9][10][11]

text: Original script[edit]

text: Joel Silver said in a Q&A for The Nice Guys (2016) that Shane Black's original title was Die Hard. Silver asked if he could take the title for a project he was working on at the time called Nothing Lasts Forever, which eventually became Die Hard (1988).

text: Shane Black and Tony Scott both said in later years how the original script was far better than the final film.[12][13]

text: Awards[edit]

text: The film was nominated for two MTV Movie Awards.[14]

text:
Best Action Sequence – For the helicopter blade sequence
Best On-Screen Duo – Bruce Willis & Damon Wayans

text: Reception[edit]

text: The film under-performed expectations given the star power and hype surrounding the then record price paid for the screenplay by Shane Black ($1.75 million).[15]

text: Roger Ebert gave the film three stars, saying it was "a superb example of what it is: a glossy, skillful, cynical, smart, utterly corrupt and vilely misogynistic action thriller".[16] It has a 44% approval rating on Rotten Tomatoes based on 34 reviews. Reviews were mixed, and some critics cited the Christmas time release for such a violent film as a reason for its somewhat underwhelming box office.[17][18][19][20] It grossed $7,923,669 in its opening weekend, and the total gross was $59,509,925.[21][22] Although the film was not a blockbuster, it helped Bruce Willis recover his star status after the disastrous Hudson Hawk and became hugely popular in the video rental market.[23][24]

text: Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[25]

text: Music[edit]

text: The film's score was composed and conducted by Michael Kamen (who also scored Hudson Hawk that year), his only work for Tony Scott. Bill Medley performed the song "Friday Night's A Great Night For Football," written by Steve Dorff and John Bettis, on screen during the opening credits (the song is also reprised over the end titles); the song was released as a CD single by Curb Records.[26]

text: On August 25, 2015, La-La Land Records released a limited edition soundtrack album featuring most of Kamen's score, plus Medley's song.[27]


document_title: Stir of Echoes

question_text: where was the movie stir of echoes filmed

text: Stir of Echoes

text: Plot[edit]

text: Tom Witzky is a phone lineman living in a working-class neighborhood in Chicago with his pregnant wife Maggie and his son Jake, who possesses the ability to commune with the dead. At a party one evening, Tom challenges Maggie's sister, Lisa, who is a believer in paranormal activity, to hypnotize him. After putting him under, Lisa plants a post-hypnotic suggestion in Tom urging him to "be more open-minded". Tom then begins experiencing visions of a violent scuffle involving a girl who he later learns is Samantha Kozac, a 17-year-old that disappeared from the neighborhood six months prior.

text: While Tom and Maggie attend a high school football game, Jake is overheard by his babysitter, Debbie Kozac, as he speaks with Samantha. Debbie gets upset and snatches Jake, running off with him in the night. Meanwhile, Tom senses Jake is in danger and rushes home but finds him gone. Tom then sees strange flashes of red light that eventually leads him to the 'L' station where Debbie is speaking with her mother about Jake. When Tom and Maggie confront her, Debbie angrily questions them about her sister Samantha, explaining that she had an intellectual disability: having the mental capacity of an eight-year-old and thus a child's tendency to trust strangers. Tom denies knowing her to Debbie but admits to Maggie that she is the girl in his visions.

text: Tom becomes obsessed with Samantha and begins probing members of the community about her disappearance. This attracts the attention of his landlord Harry Damon, Tom's friend, Frank McCarthy and their respective sons Kurt Damon and Adam McCarthy, who all dismiss Samantha as a runaway teen. During an afternoon walk, Jake and Maggie encounter a funeral where Chicago policemen are saluting in a ceremony; here a policeman named Neil immediately recognizes Jake's unique talent and invites Tom to a private gathering of like-minded people to learn more about what is happening to his son. Maggie withholds her conversation with Neil from Tom and goes to the meeting herself, and Neil tells her the spirit that contacted Tom has asked for something and will grow upset if it does not get done. As predicted, Samantha begins plaguing Tom, eventually leading to his insomnia. He goes back to Lisa and demands she undo what she did, but when she hypnotizes him, Samantha tells him to dig. Tom complies and digs holes in the backyard and eventually tears up the house in a desperate attempt to appease Samantha.

text: While Maggie and Jake attend her grandmother's wake at a relative's house, Tom inadvertently knocks down a shoddy brick wall in the basement and discovers Samantha's decomposed remains. He receives a vision showing him that before his family moved in, Adam and Kurt lured Samantha into the house to rape her. When she resisted, they unintentionally suffocated her and hid her body. Tom brings Frank back to the basement to disclose to him the crime. Frank breaks down and admits that Adam and Kurt had already confided their secret to him and Harry. Frank pulls out a gun and demands to be alone. As Tom leaves the basement, he hears a single shot.

text: Harry and Kurt suddenly show up. Harry, in his capacity as landlord, voices displeasure with the torn up house. They corner Tom with the intention of killing him, but Maggie interrupts them when she arrives back home. As Harry takes her hostage, Frank emerges from the basement and fatally shoots both Kurt and Harry to save Tom and Maggie. Tom notices Samantha's spirit put on her glasses and coat, smile as she walks down the road, and disappear. Afterwards, the family packs up a U-Haul and moves out of the house. Meanwhile, Samantha's mother and sister are finally able to give her a proper funeral and burial. Tom and Maggie smile happily as they drive away to a new neighborhood, but Jake covers his ears as they approach their new home, overwhelmed by the spirits that linger in all of the houses they pass by.

text: Cast[edit]

text:
Kevin Bacon as Tom Witzky
Kathryn Erbe as Maggie Witzky
Zachary David Cope as Jake Witzky
Illeana Douglas as Lisa
Jennifer Morrison as Samantha Kozac
Liza Weil as Debbie Kozac, the Babysitter
Kevin Dunn as Frank McCarthy
Lusia Strus as Sheila McCarthy
Chalon Williams as Adam McCarthy
Conor O'Farrell as Harry Damon
Steve Rifkin as Kurt Damon
Eddie Bo Smith Jr. as Neil

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (February 2018)

text: The novel A Stir of Echoes was written by Richard Matheson, of whom director David Koepp is an avid fan. Koepp had decided he wanted his next project to be a horror film;[4] his love for the screen adapted Duel (1971), as well as Matheson's work on The Twilight Zone (1959), contributed to his decision to purchase a copy of A Stir of Echoes, which he bought from a used bookstore.[5] Producer Gavin Polone then secured the rights to the book.[4] Koepp remembered being high-strung when approaching Matheson to ask for his thoughts on his script, terrified that the changes he made in the story may displease the author. Matheson, who expressed admiration for Koepp's directorial debut film The Trigger Effect (1996), responded positively to his draft and gave him his approval: "I'm sure he's done a good job of it. I do know what he's done before, and it's quite good. He has a very good touch," he said. Among Koepp's influences for the film were Roman Polanski's Repulsion (1965) and Rosemary's Baby (1968), and David Cronenberg's The Dead Zone (1983).[5]

text: The film was produced by Artisan Entertainment on a budget of $12 million. Principal photography took place in Chicago and lasted 39 days,[5] in the period from October 5 to November 21, 1998.[6] Director Brian De Palma paid the set a visit and offered Koepp some ideas, one of which is shooting a long take of Kevin Bacon during the first half of a long dialogue scene.[4] Koepp shot the hypnosis scene, where Bacon's character envisions himself in a theater and paint everything apart from the projection screen black, as how it was written in Matheson's book. Koepp felt that many hypnosis scenes in films are "most skipped by", so he came up with the idea of allowing viewers see through Bacon's point-of-view as he undergoes hypnosis to make the concept fresh. The theater from this sequence is located at Joliet, Illinois.[4] Bacon's tooth extraction scene, which was inspired by a nightmare Koepp had about dying of age, was achieved with practical effect. Koepp told Entertainment Weekly:

text: We blacked out Kevin's tooth and built a cap to go over it, so he's pulling out a cap that comes off fairly easily, and he gives some grunts and groans and we added grotesque, crunching flesh noises… while he's pulling out the tooth, he's [also] palming a real tooth in his other hand [to drop into the sink]. He drops the real tooth, we tilt down to see it, and then somebody darted in [from off-camera] with a washcloth and wiped the blood off Kevin's face, so when he looks back up into the mirror, his face and teeth are clean.[7]

text: Box office[edit]

text: On its opening weekend, the film ranked third in box office gross with $5,811,664, and stayed in the top ten for three weeks. After a 14-week run, its total domestic gross was $21,073,708.[8] In the UK, the film grossed £818,213. Worldwide, it made more than $23 million.

text: Reception[edit]

text: Many reviewers felt that the film suffered by being released shortly after previous high-earning occult films of the year: The Sixth Sense, The Blair Witch Project and The Mummy.[9][10][11][12][13][14][15][16] (Reviewer Sara Voorhees gave it "the benefit of the doubt, because the movie, or at least the story for it, appeared long before The Sixth Sense, in Richard Matheson's 1958 novel."[13])

text: Roger Ebert wrote that Bacon "stars in one of his best performances" and that "Koepp's screenplay dovetails the supernatural stuff with developments among the neighbors which are, wisely, more sad and tragic than sensational."[17] Empire, giving the film 4 out of 5 stars ("Excellent") wrote that "this quietly creepy adaptation of a Richard Matheson novel" was "[o]vershadowed at the American box office by The Sixth Sense" and adds, "There are neat camera tricks - the spook moves at a slightly different film speed to the living - and a couple of great bad dream moments, but the real skill Koepp shows is that he grounds the scary stuff in a believable reality and delivers a ghost story that doesn't lose its grip after the spirits have unambiguously been made manifest." [12] The Seattle Post-Intelligencer wrote that "the film offers above-average occult entertainment" with Bacon's "most believable, heart-wrenching and charismatic lead performance in many years."[11]

text: The San Antonio Express-News reviewer thought that Koepp "molds this ghastly ghost tale into a supernatural thriller that builds suspense at a fever pitch from beginning to end,"[18] while the reviewer for The Cincinnati Post, Voorhees, felt mixed, saying she thought the movie "too predictable" but also "a well-crafted psychological mystery"; "Koepp's dialogue is genuine and funny."[13] The Baltimore Sun wrote, "Koepp and director of photography Fred Murphy have created some dazzling in-camera special effects, especially the ingenious idea of filming the story's ghost at a slow speed, six frames per second, giving the being a strange, otherworldly way of moving. If only they had sustained the suspense longer -- and resolved it in a less ripped-from-the-headlines manner -- they could have kept summer audiences scared sleepless for at least one more night."[15] The Miami Herald reviewer wrote, "A good deal of effort was invested in setting up an atmosphere of mystery and dread: Stir of Echoes is a scream-out-loud movie, upsetting and deliriously effective. Problem is, Koepp relies almost entirely on the isolated shocking images, ignoring the human element at the center in favor of digitalized special effects and rapid-fire editing."[16]

text: Contemporary review aggregation website Rotten Tomatoes offers a 67% approval rating from 103 critics—an average rating of 6.4 out of 10, which provides the consensus, "Kevin Bacon's acting is so genuine that it's creepy and director David Keopp  [sic] knows how to create true suspense."[19] The film also has a score of 67 out of 100 on Metacritic based on 30 critics indicating "generally favorable reviews".[20] Audiences polled by CinemaScore during opening weekend gave the film an average grade of "B" on a scale ranging from A+ to F.[21]

text: Sequel[edit]

text: In 2007, Stir of Echoes: The Homecoming was released as an American television movie produced by Lions Gate Entertainment. The film premiered on the Sci Fi Channel. Originally titled The Dead Speak, it was written and directed by Ernie Barbarash and purports to be a sequel to the 1999 feature film Stir of Echoes, although its only connection to the previous work is the inclusion of Jake Witzky, who had a key role in the original film but is only a secondary character here.


document_title: Interstate 90 in Illinois

question_text: how many tolls are on i 90 in illinois

question_tokens: how many tolls are on i 90 in illinois

text: Interstate 90 in Illinois

text: Route description[edit]

text: I-90 enters from Beloit, Wisconsin with I-39. At the Rockton Road exit, I-39/I-90 becomes the Jane Addams Memorial Tollway. The two Interstates run concurrently south to Rockford, where I-39 continues as a freeway south to Bloomington–Normal. I-90 continues east-southeast to Belvidere and Elgin on the way through the Chicago area. In Schaumburg, I-90 meets the western end of I-290, the only loop from I-90 in Illinois.[citation needed]

text: I-90 passes north of O'Hare International Airport, where I-190 branches west to the airport terminals. I-90 also meets I-294 at this junction with I-190. I-90 continues southeast as the Kennedy Expressway and is later joined with eastbound I-94; westbound I-94 runs on the Edens Expressway. I-90 and I-94 then head toward the Loop, intersecting the eastern end of I-290. South of I-290, the highway is given the name of the Dan Ryan Expressway.[citation needed]

text: On Chicago's South Side, the Dan Ryan passes I-55 before I-90 splits off from I-94 just south of 63rd Street, and becomes the Chicago Skyway, again becoming a toll road. I-90 then runs directly southeast to the Indiana state line, and becomes the Indiana Toll Road at the state line.[citation needed]

text: Directional system[edit]

text: Often confusing to non-residents is the direction system for I-90/94, in which signs that say "I-90/I-94 West" go north-northwest and signs that say "I-90/I-94 East" go south-southeast. This naming system is due to the overall direction of the freeway. Westbound I-90 runs physically northward to Wisconsin and eventually to Seattle. Eastbound I-90 runs physically southward and then turns east into Indiana and eventually to Boston.[citation needed]

text: Chicago Skyway designation[edit]

text:
Chicago Skyway

Location:
Chicago

Length:
7.49 mi[1] (12.05 km)

Existed:
April 1958 (1958-04)–present

text: Historically, the Chicago Skyway was signed as, and was widely considered to be part of, I-90 from the mid-1960s forward (after I-90 in this area had been swapped with I-94). However, around 1999, the City of Chicago realized they had never received official approval to designate the Skyway as I-90. The city subsequently replaced most of the "I-90" signage with "TO I-90/I-94" signage. However, the Illinois Department of Transportation (IDOT) has always and continues to report the Skyway as part of the Interstate Highway System, and the Federal Highway Administration also considers the Chicago Skyway an official part of I-90.[2]

text: The Skyway's official name, referring to it as a "toll bridge" rather than a "toll road", is the result of a legal quirk. At the time of its construction, the city charter of Chicago did not provide the authority to construct a toll road. However, the city could build toll bridges, and it was found that there was no limit to the length of the approaches to the bridge. Therefore, the Skyway is technically a toll bridge with a six-mile-long (9.7 km) approach. This also is part of the reason that there are no exits available until after one has crossed the bridge and paid the toll.[3]

text: Tolls[edit]

text: Along the Jane Addams Tollway, there are four mainline toll barriers in each direction—two split plazas and two full plazas. The barriers are located around the O'Hare International Airport area (River Road eastbound and Devon Avenue westbound), in Elgin, near Marengo (eastbound), in Belvidere (westbound), and in South Beloit. I-39 travelers exiting or entering at Rockford paid at the Cherry Valley toll plaza, but that toll plaza has been decommissioned southbound in 2003 and northbound in 2004 due to traffic congestion.[4]

text: In February 2006, the Marengo westbound and the Belvidere eastbound toll plazas were removed. Two two-toll plazas near O'Hare and the one in Elgin each charge cash tolls of $1.50 (as of January 1, 2012) and I-Pass tolls of 75 cents for a two-axle passenger vehicle. The South Beloit toll plaza near the Illinois and Wisconsin state line is $1.90 and 95 cents for I-Pass users (formerly $1.00 and 50¢ before 2012). Eastbound traffic does not pay a toll at Belvidere because of the removal of the eastbound Belvidere plaza, but pays $3.00 at Marengo (I-Pass users pay $1.50). On the other hand, westbound traffic pays no toll at Marengo but pays $3.00 at Belvidere (I-Pass users pay $1.50). This change was done to accommodate open road tolling construction. Originally, a ticket system was used to compute tolls on the segment between Beloit and Elgin with each driver receiving a Hollerith card upon entering and paying upon exiting, but it was replaced with a cash barrier system in the late 1970s. It was the only portion of the Illinois Tollways to use a ticket system.[citation needed]

text: The current rate for passenger cars and other two-axle vehicles on the Chicago Skyway is $5.00; vehicles with more axles pay higher rates. A discount is given during the overnight hours for vehicles with three or more axles.[5]

text: Services[edit]

text: One Oasis on the Jane Addams Tollway is sited at Belvidere, an over-highway oasis. This unique rest stop provides several vendors and allows tollway travels to rest, refuel, and eat without having to exit the tollway. Another oasis was previously sited in Des Plaines near O'Hare, but it was closed and demolished in 2014 to make room for the widening of I-90 and the O'Hare West Bypass.[6] A welcome center is located south of Beloit, Wisconsin, that is located on the IDOT portion of the highway between the border with Wisconsin and Illinois tollway control.[citation needed]

text: At the Chicago Skyway's toll plaza, a McDonald's was at highway grade in the road's median until July 2015.[7]

text: Golden Corridor[edit]

text: From O'Hare to Huntley, the region around the Jane Addams Tollway is sometimes referred to as the "Golden Corridor", due to the proximity of commercial and business activity located along the corridor in northwest suburban Chicago. A number of Fortune 500 companies, large malls, hotels, entertainment and exhibition facilities, restaurants, and retailers are located along the corridor.[citation needed]

text: History[edit]

text: Jane Addams Memorial Tollway[edit]

text: The 76-mile (122 km) Northwest Tollway portion of I-90 opened on August 20, 1958.[8] Prior to the opening, the first vehicle to officially travel the new roadway was a covered wagon navigated by local resident John Madsen who took 5 days to make the journey.[9]

text: On September 7, 2007, the Northwest Tollway was renamed the Jane Addams Memorial Tollway after Jane Addams, the Nobel Peace Prize winner and founder of the Settlement House movement in the United States.[10][11]

text: The Illinois Tollway's 2005–2012 Congestion-Relief Program provided $644.1 million in improvements to the I-90 corridor.[12] The most prominent projects were the reconstruction of the I-90/I-39 interchange to improve traffic flow and reconstructing and widening the tollway to six lanes between I-39 and Rockton Road. This construction started in 2008 and was completed by the end of 2009.[13]

text: As part of the Tollway's $12 billion capital program, Move Illinois, over US$2 billion will be spent on improving the Jane Addams Memorial Tollway (I-90). Projects include rebuilding and widening the roadway to six lanes between I-39 and Randall Road, and eight lanes between Randall Road and the Kennedy Expressway. The inside shoulders will be widened for future transit opportunities, and active traffic management will be incorporated into the corridor.[14][15] In addition, almost all of the crossroad bridges will be rebuilt and several interchanges will be reconfigured/expanded.[16]

text: Chicago Skyway[edit]

text: The Chicago Skyway was originally known as the Calumet Skyway.[17] It cost $101 million (1958, $791 million in 2011) to construct and took about 34 months (nearly 3 years) to build. Nearly 8 miles (13 km) of elevated roadway, the Chicago Skyway was originally built as a shortcut from State Street, a major north-south street on Chicago's South Side that serves the Loop, to the steel mills on the Southeast to the Indiana state line where the Indiana Toll Road begins. Later, when the Dan Ryan Expressway opened, the Chicago Skyway was extended west to connect to it. There are only two eastbound exits east of the toll barrier, whereas there are four westbound exits west of the toll barrier (so that no exits are available until one has crossed the bridge and paid the toll). The Chicago Skyway opened to traffic on April 16, 1958.[17][18]

text: In the 1960s, the newly constructed Dan Ryan Expressway and the neighboring Calumet Expressway, Kingery Expressway and Borman Expressway provided free alternatives to the tollway, and the Skyway became much less used. As a result, from the 1970s through the early 1990s, the Skyway was unable to repay revenue bonds used in its construction.[19]

text: Traffic volumes have rebounded in recent years, (to 47,700 vehicles per day)[20] partially because of the construction of casinos in Northwest Indiana, along with re-construction of the Dan Ryan, Kingery and Borman Expressways. The city of Chicago claims a record number of motorists used the Skyway in 2002.[citation needed]

text: In 2003 and 2004, the city of Chicago initiated a $250 million project to rehabilitate and widen the Skyway. The project involved extensive work on the cantilever span and its approaches that included replacing the bridge's structural steel, rebuilding the piers that support the structure, and reconstructing the bridge deck. Because the city of Chicago required the Skyway to remain open during construction, engineers had to construct temporary bridge piers that would bear the load of the bridge and its traffic while new piers were built. The bridge was lifted up onto the temporary piers using 600 ton hydraulic jacks, the old piers were removed, and new ones were built. Crews also devised innovative methods for replacing the bridge's structural steel, replacing steel members one at a time. This process involved installing hydraulic chords around the component to be replaced. The bridge load was then transferred to the hydraulic chord, the steel member was removed and a new steel member was then installed.[21]

text: In June 2005, the Skyway became compatible with electronic toll collection, with users now able to pay tolls using I-PASS or E-ZPass transponders. There is no discount for using a transponder.[citation needed]

text: The city of Chicago's Department of Streets and Sanitation formerly maintained the Chicago Skyway Toll Bridge System. A transaction that gave the city of Chicago a $1.83 billion cash infusion leased the Skyway to the Skyway Concession Company (SCC), a joint-venture between the Australian Macquarie Infrastructure Group and Spanish Cintra Concesiones de Infraestructuras de Transporte S.A., which assumed operations on the Skyway on a 99–year operating lease. SCC will be responsible for all operating and maintenance costs of the Skyway but has the right to all toll and concession revenue. The Triple-A bond insurer Financial Security Assurance Inc. (FSA) has guaranteed $1.4 billion of senior bonds to provide long-term funding for the privately operated Chicago Skyway. On June 30, 2006, this same joint-venture assumed responsibility for operating and maintaining the adjacent Indiana East–West Toll Road for $3.8 billion. The agreement between SCC and the city of Chicago marked the first time an existing toll road was moved from public to private operation in the United States.[22]

text: The SCC has been owned by a consortium of Canadian pension funds (Borealis Infrastructure, Ontario Teachers' Pension Plan, and CPP Investment Board) since February 2016.[23]

text: Exit list[edit]

text:
County
Location
mi[1]
km
Exit
Destinations
Notes

Winnebago
South Beloit
0.00
0.00

 I-39 north / I-90 west – Madison
Continuation into Wisconsin

0.29
0.47
1
 US 51 north / IL 75 – South Beloit
Western end of US 51 overlap

Rockton
2.71
4.36
3
 CR 9 (Rockton Road) – Roscoe
Northwestern end of Jane Addams Memorial Tollway

3.60
5.79
South Beloit Toll Plaza

Rockford
8.94
14.39
9
 IL 173 (West Lane Road) – Machesney Park

12.47
20.07
12
East Riverside Boulevard – Loves Park

15.76
25.36
15

 US 20 Bus. (State Street)

17.40
28.00
17
 I-39 south / US 51 south to US 20 – Bloomington
Eastern end of I-39 / US 51 overlap. To Chicago Rockford International Airport via US 20 West

Boone
Belvidere
20.40
32.83
21
Irene Road

22.93
36.90
Belvidere Toll Plaza (westbound)

23.51
37.84
Belvidere Tollway Oasis

24.62
39.62
25
Belvidere–Genoa Road – Belvidere

McHenry
Riley
37.39
60.17
Marengo Toll Plaza (eastbound)

Kane
Hampshire
41.54
66.85
42
 US 20 – Marengo, Hampshire

Huntley
46.02
74.06
47
 IL 47 – Huntley, Woodstock, Elburn
I-PASS only

Elgin
51.78
83.33
52
 CR 34 (Randall Road)

53.42
85.97
Elgin Toll Plaza

54.22
87.26
54
 IL 31 (State Street, 8th Street) – Elgin, Carpentersville, St. Charles, Geneva

Kane–Cook
county line
55.95
90.04
56
 IL 25 (Dundee Avenue)

Cook
Hoffman Estates
57.77
92.97
58
Beverly Road
Westbound exit and eastbound entrance only

59.31
95.45
59
 IL 59 (Sutton Road) – Barrington, Hoffman Estates, Streamwood, Bartlett

61.81
99.47
62
Barrington Road – Barrington, Hoffman Estates, Streamwood, Hanover Park

Schaumburg
65.19
104.91
65
Roselle Road – Schaumburg, Palatine, Roselle, Hoffman Estates
A new entrance ramp to westbound I-90 from Central Road will be built by Cook County[24]

66.93
107.71
67
Meacham Road
I-PASS only; westbound exit and entrance only, no access from I-290 and IL 53 ramp

Rolling Meadows
67.84
109.18
68
 I-290 east (Eisenhower Expressway) / IL 53 – Chicago, West Suburbs, Northwest Suburbs
Signed as exits 68A (I-290) and 68B (IL 53); to I-355 (Veterans Memorial Tollway); to IL 390 (formerly the Elgin-O'Hare Expressway)

Arlington Heights
70.47
113.41
70
Arlington Heights Road – Arlington Heights, Elk Grove, Rolling Meadows

Des Plaines
73.25
117.88
73
Elmhurst Road – Des Plaines, Mount Prospect, Elk Grove Village, Bensenville
to IL 83

75.80
121.99
76
 IL 72 (Lee Street)
Westbound exit and eastbound entrance only

Rosemont
76.75
123.52
Devon Avenue Toll Plaza (westbound)

77.03
123.97
—
 IL 72 / Devon Avenue
Westbound entrance only

77.20–
78.65
124.24–
126.57
77/78
 I-190 west (Kennedy Expressway) – O'Hare Airport

 I-294 (Tri-State Tollway) – Indiana, Milwaukee
Signed as exits 77A (I-294 south/I-190 west) and 77B (I-294 north) eastbound; signed as exits 77 (I-294 north) and 78 (I-294 south/I-190 west) westbound

78.20
125.85
River Road Toll Plaza (eastbound)

Chicago
78.49
126.32
Southeastern end of Jane Addams Memorial Tollway
Northwestern end of Kennedy Expressway

79.28
127.59
79
 IL 171 south (Cumberland Avenue)
Signed as exits 79A (south) and 79B (north)

79.99
128.73
80
Canfield Road
Westbound exit and eastbound entrance only

80.84
130.10
81A
 IL 43 (Harlem Avenue)

81.14
130.58
81B
Sayre Avenue
Westbound exit and eastbound entrance only

81.85
131.72
82A
Nagle Avenue
No westbound exit

82.09
132.11
82B
Bryn Mawr Avenue
Westbound exit only

82.31
132.47
82C
Austin Avenue
Eastbound exit only

82.79
133.24
83A
Foster Avenue
No eastbound exit

83.01
133.59
83B
Central Avenue
Westbound exit and eastbound entrance only

83.71
134.72
84
Lawrence Avenue
Eastbound To I-94

84.35–
84.59
135.75–
136.13
—
 I-94 west (Edens Expressway) – Milwaukee
Western end of I-94 overlap; westbound exit and eastbound entrance only; western end of reversible express lanes

84.77
136.42
43C
Montrose Avenue
Westbound exit and eastbound entrance only

85.03
136.84
43D
Kostner Avenue
Westbound exit only

85.39–
85.62
137.42–
137.79
44A
 IL 19 (Irving Park Road) / Keeler Avenue
No westbound exit

85.62–
85.81
137.79–
138.10
44B
 IL 19 (Irving Park Road) / Pulaski Road
Westbound exit and eastbound entrance only

86.34
138.95
45A
Addison Street

86.77
139.64
45B
Kimball Avenue

87.08
140.14
45C
Belmont Avenue
Westbound exit and eastbound entrance only

87.64
141.04
—
Sacramento Avenue
Eastbound entrance only

87.79
141.28
46A
California Avenue
Eastbound exit and westbound entrance only

87.96
141.56
46B
Diversey Avenue
Westbound exit and eastbound entrance only

88.53–
88.90
142.48–
143.07
47A
Western Avenue, Fullerton Avenue
Westbound exit and eastbound entrance from Western Avenue

89.08
143.36
47B
Damen Avenue
Westbound exit and eastbound entrance only

89.52
144.07
48A
Armitage Avenue
Eastbound traffic uses Armitage Avenue to Ashland Avenue

90.10
145.00
48B
 IL 64 (North Avenue)
Westbound traffic uses North Avenues to Ashland Avenue

90.66
145.90
49A
Division Street

90.91
146.31
49B
Augusta Boulevard, Milwaukee Avenue
Westbound exit and eastbound entrance only

91.40
147.09
50A
Ogden Avenue
Eastbound exit and westbound entrance only

91.62
147.45
50B
Ohio Street
Eastern end of reversible express lanes

92.19
148.37
51A
Lake Street
Westbound exit and eastbound entrance only

92.27
148.49
51B
Randolph Street west

92.34
148.61
51C
Washington Boulevard east
Exits only; no entrances

92.44
148.77
51D
Madison Street

92.53
148.91
51E
Monroe Street
Eastbound exit only

92.62
149.06
51F
Adams Street west
Eastbound exit and westbound entrance only

92.71
149.20
51G
Jackson Boulevard east
Eastbound exit and westbound entrance only

92.72–
93.35
149.22–
150.23
51H
51I

 I-290 / IL 110 (CKC) west (Eisenhower Expressway) – West Suburbs
Congress Parkway – Chicago Loop
Circle Interchange; signed as exits 51H (west) and 51I (east); southeastern end of Kennedy Expressway and northern end of Dan Ryan Expressway

93.42
150.34
52A
Taylor Street, Roosevelt Road
Eastbound exit and westbound entrance only

93.57
150.59
52B
Roosevelt Road, Taylor Street
Westbound exit and eastbound entrance only

94.22
151.63
52C
18th Street
Eastbound exit and westbound entrance only

94.22–
96.04
151.63–
154.56
53B
53C
 I-55 south (Stevenson Expressway) – St. Louis
 I-55 north (Stevenson Expressway) / Lake Shore Drive, Cermak Road – Chinatown
Signed as exits 53B (south) and 53C (north) westbound; Cermak Road access from westbound only; western end of express lanes

94.48
152.05
53A
Canalport Avenue, Cermak Road
Westbound exit and eastbound entrance only; Chinatown exit

96.16
154.75
54
31st Street

96.45
155.22
55A
35th Street
U.S. Cellular Field, Illinois Institute of Technology

96.98
156.07
55B
Pershing Road

97.44
156.81
56A
43rd Street

97.97
157.67
56B
47th Street

98.88
159.13
57
Garfield Boulevard

99.50
160.13
58A
59th Street
Westbound exit and eastbound entrance only

100.00
160.93
58B
63rd Street
Eastbound exit and westbound entrance only

100.00–
100.33
160.93–
161.47
—
 I-94 east (Dan Ryan Expressway) – Indiana
Eastern end of I-94 overlap; eastern end of express lanes; western end of Chicago Skyway

100.33
161.47
100
State Street
Westbound exit and eastbound entrance only

101.42
163.22
101
St. Lawrence Avenue
Westbound exit and eastbound entrance only

101.78
163.80
102
73rd Street
Westbound exit and eastbound entrance only

103.04–
103.33
165.83–
166.29
103
Stony Island Avenue to Lake Shore Drive
Westbound exit and eastbound entrance only

103.93
167.26
—
Jeffery Boulevard, 84th Street
Eastbound entrance only

104.28
167.82
104
87th Street
Westbound exit

104.67
168.45
Chicago Skyway Toll Plaza

105.26
169.40
105
Anthony Avenue, 92nd Street
Eastbound exit and westbound entrance only

105.82–
106.21
170.30–
170.93
Chicago Skyway Toll Bridge

107.82
173.52
107
 US 12 / US 20 / US 41 (Indianapolis Boulevard)
Eastbound exit and westbound entrance only

 I-90 east / Indiana Toll Road east to I-80 / I-65 / I-94 – Toledo, Ohio
Continuation into Indiana; eastern end of Chicago Skyway

1.000 mi = 1.609 km; 1.000 km = 0.621 mi

      Concurrency terminus
      ETC
      Incomplete access
      Route transition
      Unopened

text: Related routes[edit]

text:
I-190 - a spur into O'Hare International Airport in Chicago. Also known as the Kennedy Expressway O'Hare Extension or the O'Hare Expressway.
I-290 - a southwest dogleg left route accessing the west suburbs and heading east into downtown Chicago. Also known as the Dwight D. Eisenhower Expressway.