document_title: Nitty Gritty Dirt Band

question_text: who are the current members of the nitty gritty dirt band

text: Nitty Gritty Dirt Band

text: History[edit]

text: The Nitty Gritty Dirt Band was founded around 1966 in Long Beach, California by singer-guitarist Jeff Hanna and singer-songwriter guitarist Bruce Kunkel who had performed as the New Coast Two and later the Illegitimate Jug Band. Trying, in the words of the band's website, to "figure out how not to have to work for a living," Hanna and Kunkel joined informal jam sessions at McCabe's Guitar Shop in Long Beach.[citation needed] There they met a few other musicians: guitarist/washtub bassist Ralph Barr, guitarist-clarinetist Les Thompson, harmonicist and jug player Jimmie Fadden, and guitarist-vocalist Jackson Browne. As Nitty Gritty Dirt Band, the six men started as a jug band and adopted the burgeoning southern California folk rock musical style, playing in local clubs while wearing pinstripe suits and cowboy boots. Their first paying performance was at the Golden Bear in Huntington Beach, California.[1]

text: Browne was in the band for only a few months before he left to concentrate on a solo career as a singer-songwriter. He was replaced by John McEuen on banjo, fiddle, mandolin, and steel guitar. McEuen's older brother, William, was the group's manager, and he helped the band get signed with Liberty Records, which released the group's debut album, The Nitty Gritty Dirt Band during 1967. The band's first single, "Buy for Me the Rain," was a Top 40 success, and the band gained exposure on The Tonight Show Starring Johnny Carson, as well as concerts with such disparate artists as Jack Benny and The Doors.

text: A second album, Ricochet, was released later during the year and was less successful than their first. Kunkel wanted the band to "go electric", and include more original material. Bruce left the group to form WordSalad and Of The People. He was replaced by multi-instrumentalist Chris Darrow.

text: By 1968, the band adopted electrical instruments anyway, and added drums. The first electric album, Rare Junk, was a commercial failure, as was their next, Alive.

text: The band continued to gain publicity, mainly as a novelty act, making an appearance in the 1968 film, For Singles Only, and a cameo appearance in the 1969 musical western film, Paint Your Wagon, performing "Hand Me Down That Can o' Beans". The band also played Carnegie Hall as an opening act for Bill Cosby and played in a jam session with Dizzy Gillespie.

text: The group was inactive for a 6-month period after Paint Your Wagon, then reformed with Jimmy Ibbotson replacing Chris Darrow. With William McEuen as producer and a renegotiated contract that gave the band more artistic freedom, the band recorded and released Uncle Charlie & His Dog Teddy, issued in 1970. Embracing a straight, traditional country and bluegrass sound, the album included the group's best-known singles; a cover version of Jerry Jeff Walker's "Mr. Bojangles", Michael Nesmith's "Some of Shelley's Blues", and four Kenny Loggins songs including "House at Pooh Corner", the first recordings of Loggins's songs. Their version of "Mr. Bojangles" became the group's first hit, peaking at #9 on Billboard's all genre Hot 100 chart, with an unusual 36 weeks on the charts.

text: The next album, All The Good Times, released during early 1972, had a similar style.

text: Nitty Gritty Dirt Band next sought to solidify its reputation as a country band when band member John McEuen asked Earl Scruggs if he would record with the group. Earl's "yes" was followed the next week when John asked Doc Watson the same question, receiving the same answer of 'yes'. This set in motion the further addition of other artists, and with the help of Earl and Louise Scruggs, they set to traveling to Nashville, Tennessee, and recording what was to become a triple album, Will the Circle Be Unbroken with Nashville stalwarts Roy Acuff, Earl Scruggs, and Jimmy Martin, country pioneer Mother Maybelle Carter, folk-blues guitarist Doc Watson, Merle Travis, Norman Blake, and others. The title is from the song, "Will the Circle Be Unbroken (By and By)", as adapted by A. P. Carter, and reflects the album's theme of trying to tie together three generations of musicians: long-haired boys from California and older veterans of the middle American establishment. The track "I Saw the Light" with Acuff singing, was a success, and the album received two nominations for Grammy Award. Veteran fiddler Vassar Clements was introduced to a wider audience by the album and gave him a new career. The band also toured Japan twice soon after this period.

text: After the next album Les Thompson left the group, making the band a foursome. Stars & Stripes Forever was a live album that mixed old successes such as "Buy for Me the Rain" and "Mr. Bojangles" with Circle collaborations (fiddler Vassar Clements was a guest performer) and long storytelling spoken-word monologues. A studio album, Dream, was also released.

text: During July 1974, the band was among the headline acts at the Ozark Music Festival at the Missouri State Fairgrounds in Sedalia, Missouri. Some estimates put the crowd at 350,000 people, which would make this one of the largest music events in history. At another concert, the band opened for the rock band Aerosmith.

text: 1976–81: "The Dirt Band"[edit]

text: Jimmy Ibbotson left the band at the end of 1976, leaving Fadden, Hanna, and McEuen to add John Cable and Jackie Clark, brought in on guitar and bass. In May 1977 the Nitty Gritty Dirt Band became the first American group allowed to tour Russia, Armenia, Georgia and Latvia - the Soviet Union. Playing 28 sold out concerts, and a televised appearance that is estimated to have been watched by 145 million people. In 1977, the Nitty Gritty Dirt Band first appeared on the second season of the PBS music program Austin City Limits.

text:
After returning from Russia, the band released its first 'greatest successes' compilation, another now rare triple album Dirt, Silver & Gold, in 1978.
After that release, the band shortened its name to The Dirt Band, and the group's sound became more pop and rock oriented. Saxophonist Al Garth, drummer Merel Bregante, and bassist Richard Hathaway were also added to the lineup in 1978 and Jeff Hanna became the group's producer for a few albums.

text: Keyboardist Bob Carpenter (who would occasionally sit in with the band from 1975 on) contributed to their 1978 album The Dirt Band and joined the band permanently in 1979.

text: Albums during this period included The Dirt Band and An American Dream. The single "American Dream" with Linda Ronstadt reached No. 13 on the popular music charts. The band also appeared on Saturday Night Live in their own slot (performing the instrumental penned by John, "White Russia'), and separately, billed as The Toot Uncommons, provided backing for Steve Martin on his million-selling novelty tune, "King Tut." They also played on that hit recorded in Aspen earlier that year.

text: In 1980, Bregante left the group and drummer Mike Gardner replaced Bregante on stage with the group on tour, only to be succeeded by Vic Mastrianni in 1981. Al Garth moved on to Pure Prairie League and later the Eagles.

text: The albums Make a Little Magic and Jealousy were released in 1980 and 1981, with the single "Make a Little Magic" featuring Nicolette Larson reaching the Top 25 on the pop chart. The group also performed the song on a 1980 Steve Martin television special, All Commercials, with an added comic element in which Martin lip-synced the Larson vocal for the last segment of the song.

text: 1982–89: return to "Nitty Gritty"[edit]

text: The band returned to its original name and its country roots in 1982 with the lineup paring down to Hanna, Fadden, McEuen and Jimmy Ibbotson rejoining for recording sessions in Nashville, Tennessee for the album Let's Go, which yielded the success "Dance Little Jean" which was a Top 10 country hit. Carpenter rejoined the band in 1983 and the next album, 1984's Plain Dirt Fashion had the band's first No. 1 success, "Long Hard Road (The Sharecropper's Dream)".

text: There were two more country No. 1's: "Modern Day Romance" (1985) and "Fishin' in the Dark" (1987), the latter of which became the band's biggest-selling single, eventually being certified platinum in 2014 despite never reaching the Hot 100. Other successful songs were "Dance Little Jean" (1983); "I Love Only You" (1984); "High Horse" (1985); "Home Again in My Heart," "Partners, Brothers and Friends" and "Stand a Little Rain" (1986); "Fire in the Sky," "Baby's Got a Hold on Me" and "Oh What a Love" (1987); "Workin' Man (Nowhere to Go)" and "I've Been Lookin'" (1988); and "Down That Road Tonight" and "When it's Gone" (1989).

text: Performances included the 1984 Los Angeles Olympic Games and the inaugural Farm Aid concert in Champaign, Illinois. A 20-year anniversary concert at McNichols Sports Arena in Denver, Colorado featured such guests as Ricky Skaggs, Emmylou Harris, Doc Watson, and John Prine.

text: John McEuen left the band at the end of 1986, replaced by Bernie Leadon, formerly of the Eagles. He was with the Nitty Gritty Dirt Band in 1987 and 1988. The band's 19th album, Hold On featured the No. 1 singles "Fishin' in the Dark" and "Baby's Got a Hold on Me." The band appeared on the Today Show and The Tonight Show in the same week, and toured Europe.

text: During 1989, Nitty Gritty Dirt Band again returned to Nashville, to record Will the Circle Be Unbroken: Volume Two. Returnees from the first Circle included Earl Scruggs, Vassar Clements, and Roy Acuff. Johnny Cash and the Carter Family, Emmylou Harris, and Ricky Skaggs joined the sessions, as did John Prine, Levon Helm, John Denver, John Hiatt, Bruce Hornsby, and former Byrds Roger McGuinn and Chris Hillman. This album won two Grammy Awards[2] and was named Album of the Year at the Country Music Association Awards for Best Country Vocal Performance (duo or group) and the Country Music Association's Album of the Year Award in 1989.

text: As a foursome of Hanna, Fadden, Ibbotson and Carpenter, the band again toured the former Soviet Union, as well as Canada, Europe, and Japan. A 25th anniversary concert was recorded on Live Two Five in Red Deer, Alberta, produced by T-Bone Burnett.

text: During 1992, the band collaborated with Irish folk music's The Chieftains for the Grammy Award-winning Another Country. Other efforts included the album Acoustic, spotlighting their "wooden" sound, a duet with Karla Bonoff, "You Believed in Me" for the MCA Olympic compilation, One Voice, and a cover version of Buddy Holly's "Maybe Baby" for the Decca tribute album, Not Fade Away. The Christmas Album was released in 1997, followed by Bang! Bang! Bang! in 1999.

text: During April 1992, they were the unwitting subject of one of George H. W. Bush's malapropisms when he referred to the group as the "Nitty Ditty Nitty Gritty Great Bird" at a country music awards ceremony in Nashville:

text: This unusual phrasing was repeatedly used as an example of Bush's garbled syntax (notably, in Dave Barry's book Dave Barry Hits Below the Beltway and in Barry's only non-audiobook album, A Totally Random Evening with Dave Barry), which in turn helped publicize the band.[citation needed]

text: John McEuen rejoined the band in 2001. During 2002, Nitty Gritty Dirt Band celebrated the 30th anniversary of their landmark Will the Circle Be Unbroken with a remastered CD reissue of the 1972 album and a new compilation, Will the Circle Be Unbroken: Volume III. An album of all-new material, Welcome to Woody Creek, was released in 2004. Jimmy Ibbotson again left the band a few years later.

text: Also during 2004, country group Rascal Flatts released a cover of "Bless the Broken Road," which the Nitty Gritty Dirt Band had recorded on Acoustic, from 1994. Songwriters Jeff Hanna, Marcus Hummon, and Bobby Boyd won a Grammy for Best Country Song for this work in 2005.

text: During 2005 the band donated use of the song "Soldier's Joy" for the benefit album, Too Many Years to benefit Clear Path International's work with landmine survivors. Also in 2005, the band was recognized by the International Entertainment Buyers Association for 40 years of contributions to the music industry.

text: In 2009 the band released a new album, Speed of Life. Produced by George Massenburg and Jon Randall Stewart, Speed of Life is composed of a series of live, freewheeling studio recordings that purposefully avoid overproduction and demonstrate the band's collaborative spirit and spontaneity. Of the 13 tracks on Speed of Life, 11 are new songs penned by the band, and two are classic covers: Canned Heat's Woodstock hit "Going Up the Country" and Stealers Wheel's "Stuck in the Middle".

text: In September 2015, Nitty Gritty Dirt Band commemorated their 50th anniversary with a sold out show at the Ryman Theater.  Taped for a PBS special which debuted in March 2016, the concert included guests John Prine, Sam Bush, Vince Gill, Jerry Jeff Walker, Alison Krauss, Rodney Crowell, Byron House, Jerry Douglas and Jackson Browne in addition to former member Ibbotson. On September 30, 2016,  Circlin’ Back: Celebrating 50 Years,  a live CD and DVD was released.  In a 2016 review, the Los Angeles Times wrote that the original release  "helped knock down barriers then separating the traditional country and rock music communities, setting the stage for the eventual emergence of what came to be known as Americana music."[4] John McEuen announced his departure from the band in December 2017 at the conclusion of their 50th anniversary tour.  John currently performs as a solo artist.

text: Family[edit]

text: Jeff Hanna and John McEuen's sons, Jaime Hanna and Jonathan McEuen, recorded for DreamWorks Records in 2005 as Hanna-McEuen.[5]

text: Awards and nominations[edit]

text:
1984 — CMA Nomination for Instrumental Group of the Year
1985 — CMA Nomination for Instrumental Group of the Year; ACM Nomination for Vocal Group of the Year
1986 — CMA Nomination for Vocal Group of the Year
1988 — CMA Nomination for Vocal Group of the Year
1989 — CMA award for Album Of The Year[6]; Grammy award for Best Country Collaboration with Vocals; Grammy award for Best Bluegrass Recording[7]; Grammy award for Co-producing Best Country Instrumental
2002 — Grammy nominations for Best Country Vocal Performance - Duo or Group and Best Country Collaboration with Vocals
2003 — CMA nomination for Vocal Event of the Year (NGDB with Johnny Cash); IBMA award for Best Recorded Event
2004 — Grammy award for Best Country Instrumental (NGDB with Earl Scruggs, Randy Scruggs, Jerry Douglas and Vassar Clements)[8]
2015 — Colorado Music Hall of Fame induction[9]

text: Band lineups[edit]

text:
May–August1966

Jeff Hanna – Guitar, mandolin, washboard, vocals
Jimmie Fadden – Guitar, harmonica, washtub bass, jug, vocals
Ralph Barr – Guitar, clarinet, vocals
Les Thompson – Guitar, mandolin, vocals
Bruce Kunkel – Guitar, kazoo, vocals
Jackson Browne – Guitar, vocals

1966–1967

Jeff Hanna – Guitar, mandolin, washboard, vocals
Jimmie Fadden – Guitar, harmonica, washtub bass, vocals
Ralph Barr – Guitar, clarinet, vocals
Les Thompson – Guitar, mandolin, vocals
Bruce Kunkel – Guitar, kazoo, vocals
John McEuen – Banjo, guitar, mandolin, washtub bass

1967–1968

Jeff Hanna – Guitar, washboard, vocals
Jimmie Fadden – Guitar, harmonica, washtub bass, jug, vocals
Ralph Barr – Guitar, clarinet, vocals
Les Thompson – Bass, guitar, mandolin, vocals
John McEuen – Guitar, banjo, washtub bass
Chris Darrow – Guitar, mandolin, fiddle, vocals

1969–1973

Jeff Hanna – Guitars, drums, washboard, vocals
Jimmie Fadden – Drums, guitar, harmonica, vocals
Les Thompson – Bass, guitar, mandolin, vocals
John McEuen – Guitar, fiddle, banjo, mandolin, accordion, vocals
Jimmy Ibbotson – Guitars, keyboards, drums, accordion, vocals

1974–1975

Jeff Hanna – Guitars, drums, washboard, vocals
Jimmie Fadden – Drums, guitar, harmonica, vocals
John McEuen – Guitar, fiddle, banjo, mandolin
Jimmy Ibbotson – Guitars, Bass, keyboards, drums, accordion, vocals

1976-1977As TheDirt Band

Jeff Hanna – Guitars, drums, washboard, percussion, vocals
Jimmie Fadden – Drums, guitar, harmonica, vocals
John McEuen – Guitar, fiddle, banjo, mandolin, accordion
John Cable – Guitar, bass, vocals
Jackie Clark – Guitar, bass, piano, vocals

1977-1979As TheDirt Band

Jeff Hanna – Guitars, washboard, percussion, vocals
Jimmie Fadden – Guitar, harmonica, vocals
John McEuen – Guitar, fiddle, banjo, mandolin
Al Garth – Saxophone, fiddle, keyboards, percussion, vocals
Merel Bregante – Drums, percussion
Richard Hathaway – Bass, vocals

1979-1980As TheDirt Band

Jeff Hanna – Guitars, washboard, percussion, vocals
Jimmie Fadden – Guitar, harmonica, vocals
Bob Carpenter – keyboards, accordion, vocals
John McEuen – Guitar, fiddle, banjo, mandolin
Al Garth – Saxophone, fiddle, keyboards, percussion, vocals
Merel Bregante – Drums, percussion
Richard Hathaway – Bass, vocals

1980–1981As TheDirt Band

Jeff Hanna – Guitars, washboard, percussion, vocals
Jimmie Fadden – Guitar, harmonica, vocals
Bob Carpenter – Keyboards, accordion, vocals
John McEuen – Guitar, fiddle, banjo, mandolin, accordion, vocals
Al Garth – Violin, keyboards, saxophone, vocals
Richard Hathaway – Bass, vocals
Michael Buono/Michael Gardner – Drums

1981-1982As TheDirt Band

Jeff Hanna – Guitars, washboard, percussion, vocals
Jimmie Fadden – Guitar, harmonica, vocals
Bob Carpenter – Keyboards, accordion, vocals
John McEuen – Guitar, fiddle, banjo, mandolin, accordion, vocals
Richard Hathaway – Bass, vocals
Vic Mastrianni – Drums
Bryan Savage - saxophone

1982–1983

Jeff Hanna – Guitars, washboard, vocals
Jimmie Fadden – Guitar, harmonica, vocals
John McEuen – Guitar, fiddle, banjo, mandolin
Jimmy Ibbotson – Bass, guitars, keyboards, accordion, vocals

1983–1986

Jeff Hanna – Guitars, washboard, vocals
Jimmie Fadden – Guitar, harmonica, vocals
John McEuen – Guitar, fiddle, banjo, mandolin
Bob Carpenter – Keyboards, accordion, vocals
Jimmy Ibbotson – Bass, guitars, keyboards, accordion, vocals

1987–1988

Jeff Hanna – Guitars, washboard, vocals
Jimmie Fadden – Drums, harmonica, vocals
Bob Carpenter – Keyboards, accordion, vocals
Jimmy Ibbotson – Bass, guitar, vocals
Bernie Leadon – Guitars, banjo, mandolin, vocals

1988–2000

Jeff Hanna – Guitars, vocals
Jimmie Fadden – Drums, harmonica, vocals
Jimmy Ibbotson – Bass, guitar, mandolin, vocals
Bob Carpenter – Keyboards, accordion, bass, vocals

2001–2004

Jeff Hanna – Guitars, vocals
Jimmie Fadden – Drums, harmonica, vocals
Jimmy Ibbotson – Bass, guitar, vocals
Bob Carpenter – Keyboards, accordion, bass, vocals
John McEuen – Banjo, fiddle, guitar, mandolin

2005–2017

Jeff Hanna – Guitars, vocals
Jimmie Fadden – Drums, harmonica, vocals
Bob Carpenter – Keyboards, accordion, bass, vocals
John McEuen – Banjo, fiddle, guitar, mandolin, lap steel
Jim Photoglo - Acoustic guitar, bass, background vocals.  Jim joins the band in 2016 for their 50th Anniversary Tour.  He is the co-author of Fishin' in the Dark.

2018-present

Jeff Hanna – Guitars, vocals
Jimmie Fadden – Drums, harmonica, vocals
Bob Carpenter – Keyboards, accordion, bass, vocals

text: Timeline[edit]

text: Discography[edit]


document_title: World Rugby Junior Player of the Year

question_text: world rugby u20 championship player of the tournament

root

text: World Rugby Junior Player of the Year

text: List of Winners and Nominees[edit]

text:
Year
Winner
Other nominees
Ref

2008
Luke Braid ( New Zealand)

2009
Aaron Cruden ( New Zealand)
 Winston Stanley
 Carl Fearns
 Richard Kingi
[1]

2010
Julian Savea ( New Zealand)
 Tyler Bleyendaal
 Robbie Coleman
 Ignacio Rodriguez Muedra
[2]

2011
George Ford ( England)
 Luke Whitelock
 Sam Cane

2012
Jan Serfontein ( South Africa)
 JJ Hanrahan
 Shaun Adendorff

2013
Sam Davies ( Wales)
 Ardie Savea
 Jack Clifford

2014
Handré Pollard ( South Africa)
 Garry Ringrose
 Tevita Li
 Nathan Earle
[3]

2015
James Chisholm ( England)
 Akira Ioane
 Tevita Li
 Jonah Placid

2016
Max Deegan ( Ireland)
 Harry Mallinder
 Shaun Stevenson
 Ataata Moeakiola
 Curwin Bosch

2017
Juarno Augustus ( South Africa)
 Zach Mercer
 Will Jordan
 Tiaan Falcon
 Gabriel Ibitoye

tag: table

text: Other IRB Awards[edit]


document_title: Wonder Woman (2017 film)

question_text: who plays wonder woman in the 2017 movie

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares, Zeus's son, became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who wounded Ares and forced his retreat. Zeus left the Amazons the island and a weapon, the "Godkiller", to prepare them for Ares' return.

tag: p

text: Initially forbidding Diana to train as a warrior, Hippolyta allows her sister Antiope to train Diana, but only if the training is more rigorous than that of any other warrior. In 1918, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themyscira coast. The island is soon invaded by a German cruiser pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia, and reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook of the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas, under the orders of General Erich Ludendorff. Believing Ares is responsible for the war, Diana arms herself with the "Godkiller" sword, the lasso, and her armor before leaving Themyscira with Steve to find and destroy Ares.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the war front. Although forbidden by his commanders to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. When the team reaches the Western Front in Belgium, they are halted by the enemy lines. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns a gala will be held at the nearby German High Command. Steve and Diana each infiltrate the party, with Steve intending to locate the gas and destroy it, while Diana intends to kill Ludendorff, believing that he is Ares and thus killing him will end the war. Steve stops her to avoid jeopardizing the mission, and Ludendorff unleashes the gas on Veld, killing its inhabitants. Blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff but is confused when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, using Ludendorff and Maru as pawns in the process, it is ultimately their decision to cause violence as they are inherently corrupt. When Diana attempts to kill Ares with the "Godkiller" sword he destroys it, then reveals Diana to be the "Godkiller", as the daughter of Zeus and Hippolyta. He fails to persuade Diana to help him destroy mankind to restore paradise on Earth. While the two battle, the others on Steve's team destroy Maru's laboratory. Steve pilots the bomber carrying the gas to a safe altitude and detonates it, sacrificing himself in the process. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but memories of her experience with Steve cause her to realize that humans have good within them. She spares Maru and redirects Ares' lightning into him, killing him. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve, and reaffirms her new mission to protect and give love to the world.

text: Cast[edit]

text: Gal Gadot as Diana:

tag: ul

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Ares / Sir Patrick Morgan:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[61][62][63][64] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch model Doutzen Kroes portrays the Amazon Venelia.[63] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonian, Car-Vex, in Man of Steel.[65] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[66]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[67] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[68] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[69] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[70] Leonard Goldberg, however, focused on Bullock[71] who said that she was approached for the role. In addition, wrestler Chyna also expressed interest. Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero."[72] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[73] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[74]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film,[75] with a reported salary was of $2 to $3 million.[76] Since Whedon was directing Serenity at the time, and required time to research Wonder Woman's background, he did not begin the screenplay until late 2005.[77][78][79] Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[80] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[81][82]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[83] actors such as Kate Beckinsale were linked to the part.[84] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[80][85] A few years later in May 2017, Indie Ground Films leaked a version of Whedon's script in-progress online.[86] Some reacted negatively to it on social media in June 2017, shortly after the release of Patty Jenkins version of the film.[87][88][89][90][91] When asked about this response to his script, Jenkins said in a June 2017 interview that she has not read it and that Whedon is "in the DC universe now, and I don't think there's any reason to go there [...] It was what it was. I'm lucky that I'm the person who got to do it. But I don't see what would be beneficial about comparing what he would've done versus what I would have done."[92][93]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[82] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[94] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[95] In November 2008, Beyoncé met with representatives from DC Comics and Warner Bros., to discuss her interest in portraying Wonder Woman.[96]

text: In 2010, Warner Bros. stated that a film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[97] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[98] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[99] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[100] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[101][102] The studio then began to search for female directors to direct the film.[103] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[104][105][106] she eventually left the project due to creative differences.[107]

text: Development[edit]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[108] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[109] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[5]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[110] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[111] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[112] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[10][113] Jenkins cited Richard Donner's Superman as an inspiration.[114]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank [...] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her [...] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it [...] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen [...] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."

– Director Patty Jenkins[115] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

tag: div

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[116][117][118][119] Some fans initially reacted to this choice by criticizing Gadot's appearance.[120] Snyder would later comment on his decision to cast Gadot, stating that he

text: tested a bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[121]

text: Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[5] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[122] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[123] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[124][125] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[126] Gadot signed a three-picture deal.[118] She was only paid a base salary of $300,000 for the film itself.[127]

text: Chris Pine was cast as Steve Trevor,[19][128] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[129] He signed a multi-picture deal.[19] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[130] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[131][132]

text: Filming[edit]

text: Production began on November 21, 2015,[133][134] under the working title Nightingale.[135][136] Among the film sets were Lower Halstow, Kent,[137] Australia House,[138] and the Sassi di Matera,[139] Castel del Monte[139] and Camerota[140] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy.[142] Production in London ended on March 13, 2016.[143] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[144] Production ended on May 9, 2016.[145] Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent.[146] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[147]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[148] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[149]

text: The estuary at Lower Halstow in Kent, featured in the scenes in which Princess Diana arrives in the Belgium creek to make her way to the warfront.[150]

text: Post-production[edit]

text: Bill Westenhofer served as the visual effects supervisor for the film[151] and Martin Walsh served as editor.[141]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[152] He was joined by Evan Jolly, Tom Howe,[153] Paul Mounsey,[154] and Andrew Kawczynski,[155] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[156]

text: Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[157]

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[158] Also features samples from the movie's soundtrack "Is She with You" from Batman v Superman: Dawn of Justice composed by Hans Zimmer and Junkie XL.

text: Release[edit]

text: Wonder Woman had its world premiere on May 25, 2017 in Los Angeles.[159] The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[160] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[161] on June 2, 2017, after originally being scheduled for June 23.[162][163] Belgium, Singapore and South Korea received the film first, with May 31 openings.[164][165][166] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[167]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[168] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[168] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[168] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[168] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[169] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[169]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[170]

text: Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[171] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[172]

text: In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[173]

text: Home media[edit]

text: The film was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[174]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, is Israeli.[175] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[176][177] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[178] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[179] but on June 11, Al Bawaba reported that the government decided not to do so, as there was no legal precedent for it.[180]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[181][182][183]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[184] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[181] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[185]

text: Reception[edit]

text: Box office[edit]

text: As of October 19, 2017[update], Wonder Woman has grossed $412.5 million in the United States and Canada and $409.1 million in other territories for a worldwide total of $821.6 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[186] to $460 million.[187]

text: North America[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[188][189][190][191][186] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[192] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[193][194]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[195] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[196] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[197] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[198] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[199] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[200] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[8] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest origin superhero film; supplanting the previous record held by Spider-Man (2002) and also becoming the highest-earning film with a female director in terms of domestic earnings, surpassing Frozen (2013).[201][202]

text: International[edit]

text: Internationally, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[186] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[203] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[204] As of June 25, 2017, the biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million) and Australia (US$24 million). In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[205][206][207] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[208]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews, with some critics calling it the best film in the DC Extended Universe, and praising Jenkins' direction, performances, chemistry of Gadot and Pine and musical score.[7][212] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 351 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[213] It is the highest-rated superhero film on the site.[214][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[215] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[216]

text: Critics commented favorably on Gadot's performance and Chris Pine's Steve Trevor.[217][218][211] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films: "Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way."[219] Vox stated "Trevor is the superhero girlfriend comic book movies need".[220] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[221] Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[222]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like ... what's the word I'm looking for? A movie. A pretty good one, too."[223] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[224] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[225] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[226] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[227] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins' direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[228]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[211] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[211] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[229] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[229] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[230]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[231] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins...are ready to kick ass, we get backstory."[232]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[233] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[234]

text: Feminist debate[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[235] since her initial 1941 appearance in Sensation Comics,[235] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[236] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[236][237]

text: A few decades later, Second-wave feminist Gloria Steinem's[238] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggested that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[235][239][240] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to the comic book character Wonder Woman a few months before, in a ceremony attended by the actors who had portrayed her (Lynda Carter and Gal Gadot).[241] The title was dropped in response to a petition signed by 44,000 people which argued that Wonder Woman undermines female empowerment due to her costume, described as a "shimmery, thigh-baring bodysuit with an American flag motif and knee-high boots". The petition stated that "it is alarming that the United Nations would consider using a character with an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[242][243][239] Wonder Woman director Patty Jenkins responded to both the petition and to the U.N.'s decision by stating that she thinks "that that's sexist. I think it's sexist to say you can't have both. I have to ask myself what I would apply to any other superhero".[244]

text: The debate continued with the release of Jenkins' 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[245][246][247][248][249] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[250] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[251] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[252] Other critics refer to the construction of Wonder Woman in the film as "an implausible post-feminist hero".[237][253]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a Second wave "feminist mother",[254][255] who taught her to be "both super aware that there had been sexism but also: 'Congratulations – thank you, now I get to do whatever I want, Mom!'"[254] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman’s costume.[256] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[257] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time – the same way men want Superman to have huge pecs and an impractically big body."[15] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[255]Gal Gadot concurs with Jenkins, arguing that the character "is a feminist"[258] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[259]

text: Critics such as Valerie Estelle Frankel support Jenkins' vision. Frankel argues that the film subverts the male gaze,[256] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including Third-wave feminism (which reflects Jenkins' approach).[256][260][261] Zoe Williams offers a similar argument stating that while Wonder Woman "is sort of naked a lot of the time" it isn't, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[262] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[262] Gloria Steinem thought that the film "was very good" as it made Wonder Woman's "Amazon origin story clear; she was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[263] Steinem also gave Hillary Clinton the first Wonder Woman Award in October 2017 during the Women's Media Center's "Speaking Truth to Power Awards" (an organization created by Steinem, Jane Fonda, and Robin Morgan). Upon receiving the award, Clinton noted that she had seen Jenkins' Wonder Woman film and that she "loved the outfit". She also said that as her granddaughter was "really keen" on Wonder Woman, Clinton "thought maybe I could borrow something from her for the night. It didn't quite work for me, but I will say that this award means a lot to me because as a little girl, and then as a young woman, and then as a slightly older woman, I always wondered when Wonder Woman would have her time, and now that has happened."[264] Clinton had previously praised Jenkins' film, in a public August 2017 message, stating that "it was just as inspirational as I'd suspected a movie about a strong, powerful woman in a fight to save the world from international disaster would be."[265][266][267]

text: American director James Cameron continued this debate, through his critique of the representation of female power in Jenkins' film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins' vision of Wonder Woman as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[268] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[269] Reaction to this debate was mixed. Julie Miller sided with Cameron whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[270] Susannah Breslin also agreed with Cameron, describing Jenkins' Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[271] Others were more critical of Cameron's critique.[272] An article in Newsweek suggested that Cameron's films include "lot of objectification", and included quotes from Hollywood celebrities such as Jesse McLaren who commented that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[273] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins film isn't "solely focused on objectifying Gal Gadot for a male audience".[274]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with the Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch films of the 1960s,[275] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[275] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[275] Former Wonder Woman actress Lynda Carter responded to Cameron's Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character" she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that "are ill advised" as the "movie was spot on". Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[276][277][278] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all" as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[279] Tricia Ennis was also critical of Cameron's statements, arguing that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[280]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Wonder Woman
Nominated
[281]

Golden Trailer Awards
June 6, 2017
Best of Show
Won
[282]
[283]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[284]
[285]
[286]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[287]

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[288] Jenkins initially signed for only one film,[289] but in an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2.[9][290][291] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[292] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[293] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[294]

text: Notes[edit]

text: Jump up ^ This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.

tag: ol


document_title: Emergency Response Guidebook

question_text: what pages in the guidebook are ordered by id number

text: Emergency Response Guidebook

text: Guidebook Contents[edit]

text:
The ERG is primarily applicable for hazardous materials transported by highway and railway, but also is applicable for materials transported by air or waterway, as well as by pipeline. It was first issued by the US Department of Transportation in 1973, but later became a joint publication of the Department of Transportation (US DOT), Transport Canada (TC), and the Secretariat of Communications and Transportation (SCT) of Mexico, with collaboration with the Chemistry Information Center for Emergencies (CIQUIME) of Argentina. The ERG is issued every 4 years, with editions now being published in Spanish (Guía de Respuesta en Caso de Emergencia). In 1996 it was published as the North American Emergency Response Guidebook, but by the next publication in 2000 "North American" was removed due to its use by several South American countries).
The ERG "is primarily a guide to aid first responders in quickly identifying the specific or generic hazards of the material(s) involved in the incident, and protecting themselves and the general public during the initial response phase of
the incident"[2] and should only be used for the "initial response phase" ("that period
following arrival at the scene of an incident during which the presence and/or identification
of dangerous goods is confirmed, protective actions and area securement are initiated, and
assistance of qualified personnel is requested.") of an incident . It is divided into six color-coded sections (white [uncolored], yellow, blue, orange, green, and a second white [uncolored]). The ERG includes 62 "Guides" (found in the Orange Section) that identify the primary hazards associated with the applicable general category of hazardous material and general guidance on how to respond to incidents involving that general category of hazardous material. The primary purpose of ERG is to direct the emergency responders to the most appropriate of these guides, based on the incident. The ERG also provides guidance regarding recommended evacuation distances, if applicable, in the Green Section.

text: White Section (front)[edit]

text: The first section, with white page (uncolored) borders, provides the following:

text:
Information regarding shipping documents
Instructions on how to use the guidebook
General guidance for responding to any hazardous material incident
Basic information on the hazard classification system and the associated placards/labels
Recommendations the proper guides based transporting vehicle types and/or placards (when the material in question cannot be further identified otherwise)
General safety precautions
Specific guidance for incidents involving pipelines

text: Yellow Section[edit]

text: The second section, with yellow page borders, references the material in order of its assigned 4-digit ID number/UN/NA number (which is often placarded with the other hazardous materials placards) and identifies the appropriate guide number to reference in the Orange Section). Items highlighted in green in this section will have evacuation distances included in the Green Section.

text: Blue Section[edit]

text: The third section, with blue page borders, references the material in alphabetical order of its name and identifies the appropriate guide number to reference in the Orange Section). Items highlighted in green in this section will also have evacuation distances included in the Green Section.

text: Orange Section[edit]

text: The fourth section, with orange page borders, includes the actual response guides. Each of the 62 guides provides safety recommendations and directions on how to proceed during the initial response phase (first thirty minutes) of the incident. It includes "health" and "fire or explosion" potential hazard information (with the more dangerous hazard listed first). For example, "the material gives off irritating vapors, easily ignited by heat, reactive with water"; "highly toxic, may be fatal if inhaled, swallowed or absorbed through skin"; etc.

text: Next this section includes information for responders on appropriate protective clothing and possible evacuation information for either spill or fire is given. It also includes information on fighting fires (example, do not apply water to sodium), warnings for spills or leaks, and special directions for first aid (example, not to give mouth-to-mouth resuscitation if the materials are toxic).

text: In the event of an unknown material, Guide #111 should be followed until more information becomes available.

text: Green Section[edit]

text:
The fifth section, with green page borders, suggests initial evacuation or shelter in place distances (protective action distances) for spills of materials that are Toxic-by-Inhalation (TIH). These distances vary based on the size of the spill (small or large) and whether the incident occurs during the day or at night. Only materials that were highlighted in green in the Yellow and Blue Sections are included in the Green Section.
This section also includes information regarding toxic gases that are produced when certain materials are spilled in water (as identified previously in this section). Finally, this section includes some very specific evacuation details for six common materials.

text: White Section (back)[edit]

text: The sixth section, with white page (uncolored) borders, provides the following:

text:
Additional instructions on how to use the guidebook
Information regarding protective clothing and equipment
Instructions on fire and spill control
BLEVE (boiling liquid expanding vapor explosion) safety precautions
Beginning with the 2004 edition, information specifically for hazardous materials being used for terrorism
Glossary of terms used in the ERG
Contact information for the various countries


document_title: To Kill a Mockingbird (film)

question_text: who played atticus in to kill a mockingbird

text: To Kill a Mockingbird (film)

text: Plot[edit]

text: The film's young protagonists, Jean Louise "Scout" Finch (Mary Badham) and her brother Jeremy Atticus "Jem" Finch (Phillip Alford), live in the fictional town of Maycomb, Alabama, during the early 1930s. The story covers three years, during which Scout and Jem undergo changes in their lives. They are innocent children, spending their days happily playing games with each other and spying on Arthur "Boo" Radley (Robert Duvall) who has not left his home for many years and about whom many rumors circulate. Their widowed father, Atticus (Gregory Peck), is a town lawyer and has strong beliefs that all people are to be treated fairly, to turn the other cheek, and to stand for what you believe. He also allows his children to call him by his first name. Early in the film, the children see their father accept hickory nuts, and other produce, from Mr. Cunningham (Crahan Denton) for legal work because the client has no money.[3] Through their father's work as a lawyer, Scout and Jem begin to learn of the racism and evil in their town, aggravated by poverty; they mature quickly as they are exposed to it.

text: The local judge (Paul Fix) appoints Atticus to defend a black man, Tom Robinson (Brock Peters), against an accusation of rape of a white girl, Mayella Ewell (Collin Wilcox). Atticus accepts the case. Jem and Scout experience schoolyard taunts for their father's decision. Later, as Atticus is sitting in front of the local jail to safeguard Robinson, a lynch mob arrives, which includes Mr. Cunningham. Scout, Jem and their friend, Dill (John Megna), interrupt the confrontation. Scout, unaware of the mob's purpose, recognizes Cunningham as the man who paid her father in hickory nuts and tells him to say hello to his son, who is her schoolmate. Cunningham becomes embarrassed and the mob disperses.

text: At the trial, it is undisputed that Tom came to Mayella's home at her request to help with the chopping up of a chifforobe, and that Mayella showed signs of having been beaten around that time. Among Atticus' chief arguments is that Tom has a crippled left arm, yet the supposed rapist would have had to make extensive use of his left hand in assaulting Mayella before raping her. Atticus then points out that Mayella's father, Bob Ewell (James Anderson), is left handed, implying that he – rather than Tom – was the one who beat Mayella. Atticus also states that the girl had not been examined by a doctor to check for signs of rape after the supposed assault. In his closing argument Atticus asks the all-white male jury to cast aside their prejudices and instead focus on Tom's obvious innocence. In taking the stand in his own defense, Tom denies he attacked Mayella, but states she kissed him. He testifies he voluntarily assisted Mayella because "I felt sorry for her because…". Although Tom does not finish his sentence, the prosecutor (William Windom) hammers home the point that he was a black man feeling sorry for a white woman. In a town where whites are viewed as superior to blacks, Tom's sympathy for Mayella dooms his case, and he is found guilty.

text: As Atticus leaves the courtroom, the black spectators in the balcony rise to their feet as a sign of respect and appreciation. Reverend Sykes says to Scout, "Miss Jean Louise, stand up. Your father's passing." When Atticus arrives home, Sheriff Heck Tate (Frank Overton) tells him that Tom has been killed by a deputy during his transfer to prison. According to this deputy, Tom was trying to escape, "running like a crazy man" before he was shot. Atticus and Jem go to the Robinson family home to inform them of Tom's death. Bob Ewell, Mayella's father, appears and spits in Atticus' face while Jem waits in the car. Atticus wipes his face and leaves.

text: Autumn arrives, and Scout and Jem attend a nighttime Halloween pageant at their school. Scout wears a large hard-shelled ham costume, portraying one of Maycomb county's products. At some point during the pageant, Scout's dress and shoes are misplaced. She is forced to walk home without shoes, wearing her ham costume. While cutting through the woods, Scout and Jem are attacked by an unidentified man who has been following them. Scout's costume, like an awkward suit of armor, protects her from the attack but restricts her movement and severely restricts her vision. Jem is knocked unconscious and Scout escapes unharmed in a brief but violent struggle. Their attacker is thwarted and overcome by another unidentified man. Scout escapes her costume in time to see the second man carrying Jem to their home. Scout follows the stranger inside and runs into the arms of a concerned Atticus. Doc Reynolds comes over and treats the broken arm of an unconscious Jem.

text: When Sheriff Tate asks Scout what happened, she sees a man standing quietly in the corner behind the door of Jem's room. Atticus formally introduces Scout to Arthur Radley, whom she has known as Boo, the man who came to the aid of Jem and Scout in the woods. It is revealed that Boo had overpowered Bob Ewell before carrying Jem home. The sheriff reports that Ewell was discovered dead at the scene of the attack with a knife in his ribs. Atticus assumes that Jem killed Ewell in self-defense. Sheriff Tate, however, believes that Boo killed Ewell in defense of the children, and he tells Atticus that to drag the shy and reserved Boo into the spotlight for his heroism would be "a sin". To protect Boo, Sheriff Tate suggests that Ewell "fell on his knife". Scout draws a startlingly precocious analogy, likening unwelcome public attention to Boo to the killing of a mockingbird.

text: Cast[edit]

text: In the order of the film's opening credits:

text:
Gregory Peck as Atticus Finch
John Megna as Charles Baker "Dill" Harris
Frank Overton as Sheriff Heck Tate
Rosemary Murphy as Miss Maudie Atkinson
Ruth White as Mrs Dubose
Brock Peters as Tom Robinson
Estelle Evans as Calpurnia
Paul Fix as Judge John Taylor
Collin Wilcox as Mayella Violet Ewell
James Anderson as Robert E. Lee "Bob" Ewell
Alice Ghostley as Miss Stephanie Crawford
Robert Duvall as Arthur "Boo" Radley
William Windom as Horace Gilmer, District Attorney
Crahan Denton as Walter Cunningham
Richard Hale as Nathan Radley
Mary Badham as Scout
Phillip Alford as Jem

text: Uncredited roles (in order of appearance)

text:
Kim Stanley.........Unseen narrator—the voice of adult Scout—"Maycomb was a tired old town – even in 1932 when I first knew it – that summer I was six years old."
Paulene Myers.........Mrs. Dubose's servant, sitting close to her on the Dubose porch (she has no speaking lines).
Jamie Forster.........Mr. Townsend, sitting on a bench, with three men, near the courthouse: "If you're lookin' for your daddy, he's inside the courthouse."
Steve Condit.........Mr. Cunningham's son Walter, at dinner with the Finch family: "Yes, sir. I don't know when I had roast. We been havin' squirrels and rabbits lately."
David Crawford.........David, Tom Robinson's son, sitting on the steps to the Robinsons' shack: "Good evening."
Kim Hamilton.........Helen, Tom Robinson's wife, inside the Robinsons' shack: "Good evening, Mr. Finch."
Dan White.........Mob leader approaching as Atticus Finch sits in front of the jailhouse: "He in there, Mr. Finch?"
Kelly Thordsen.........Heavyset member of the mob who grabs and picks up Jem: "Well, I'll send you home."
William "Bill" Walker.........Reverend Sykes, at the courthouse for Tom Robinson's trial: "Miss Jean Louise? Miss Jean Louise, stand up. Your father's passin'."
Charles Fredericks.........Court clerk at Tom Robinson's trial: "Place your hand on the bible, please. Do you solemnly swear to tell the truth...?"
Guy Wilkerson.........Jury foreman at Tom Robinson's trial: We find the defendant guilty as charged."
Jay Sullivan.........Court reporter at Tom Robinson's trial: "Yes."
Jester Hairston.........Tom Robinson's father in front of the Robinsons' shack: "Hello Mr. Finch. I'm Spence, Tom's father."
Hugh Sanders.........Doctor who examines Jem: "He's got a bad break, so far as I can tell. Somebody tried to wring his arm off."

text: Music[edit]

text:
To Kill a Mockingbird

Soundtrack album by Elmer Bernstein

Released
Early April 1963[4]

Recorded
August 1–2, 1996, City Halls, Glasgow

Label
Varèse Sarabande

text: Elmer Bernstein's score for To Kill a Mockingbird is regarded as one of the greatest film scores[5] and has been recorded three times. It was first released in April 1963 on Ava; then Bernstein re-recorded it in the 1970s for his Film Music Collection series; and finally, he recorded the complete score (below) in 1996 with the Royal Scottish National Orchestra for the Varese Sarabande Film Classics series.

text:
"Main Title" – 3:21
"Remember Mama" – 1:08
"Atticus Accepts The Case – Roll in the Tire" – 2:06
"Creepy Caper – Peek-A-Boo" – 4:10
"Ewell's Hatred" – 3:33
"Jem's Discovery" – 3:47
"Tree Treasure" – 4:23
"Lynch Mob" – 3:04
"Guilty Verdict" – 3:10
"Ewell Regret It" – 2:11
"Footsteps in the Dark" – 2:07
"Assault in the Shadows" – 2:28
"Boo Who" – 3:00
"End Title" – 3:25

text: Critical response[edit]

text: The film received widespread critical acclaim. As of March 2017, it maintains a 91% rating on Rotten Tomatoes, based on 56 reviews.[6] According to Bosley Crowther:[7]

text: "Horton Foote's script and the direction of Mr. Mulligan may not penetrate that deeply, but they do allow Mr. Peck and little Miss Badham and Master Alford to portray delightful characters. Their charming enactments of a father and his children in that close relationship, which can occur at only one brief period, are worth all the footage of the film. Rosemary Murphy as a neighbor, Brock Peters as the Negro on trial, and Frank Overton as a troubled sheriff are good as locality characters, too. James Anderson and Collin Wilcox as Southern bigots are almost caricatures. But those are minor shortcomings in a rewarding film."

text: Roger Ebert of the Chicago Sun-Times criticized the film for focusing less on the blacks, denouncing the cliché of the honest, white man standing for a helpless black:[8]

text: "It expresses the liberal pieties of a more innocent time, the early 1960s, and it goes very easy on the realities of small-town Alabama in the 1930s. One of the most dramatic scenes shows a lynch mob facing Atticus, who is all by himself on the jailhouse steps the night before Tom Robinson's trial. The mob is armed and prepared to break in and hang Robinson, but Scout bursts onto the scene, recognizes a poor farmer who has been befriended by her father, and shames him (and all the other men) into leaving. Her speech is a calculated strategic exercise, masked as the innocent words of a child; one shot of her eyes shows she realizes exactly what she's doing. Could a child turn away a lynch mob at that time, in that place? Isn't it nice to think so."

text: Gregory Peck's performance became synonymous with the role and character of Atticus Finch. Producer Alan J. Pakula remembered hearing from Peck when he was first approached with the role: "He called back immediately. No maybes. […] I must say the man and the character he played were not unalike".[9] Peck later said in an interview that he was drawn to the role because the book reminded him of growing up in La Jolla, California.[10] "Hardly a day passes that I don't think how lucky I was to be cast in that film", Peck said in a 1997 interview. "I recently sat at a dinner next to a woman who saw it when she was 14 years old, and she said it changed her life. I hear things like that all the time".[11]

text: Gregory Peck[edit]

text: The 1962 softcover edition of the novel opens with the following: The Southern town of Maycomb, Alabama, reminds me of the California town I grew up in. The characters of the novel are like people I knew as a boy. I think perhaps the great appeal of the novel is that it reminds readers everywhere of a person or a town they have known. It is to me a universal story – moving, passionate and told with great humor and tenderness. Gregory Peck.

text: Harper Lee, in liner notes written for the film's DVD re-release by Universal, wrote: "When I learned that Gregory Peck would play Atticus Finch in the film production of To Kill a Mockingbird, I was of course delighted: here was a fine actor who had made great films – what more could a writer ask for? ...The years told me his secret. When he played Atticus Finch, he had played himself, and time has told all of us something more: when he played himself, he touched the world".[12] Upon Peck's death in 2003, Brock Peters, who played Tom Robinson in the film version, quoted Harper Lee at Peck's eulogy, saying, "Atticus Finch gave him an opportunity to play himself". Peters concluded his eulogy stating, "To my friend Gregory Peck, to my friend Atticus Finch, vaya con Dios".[13] Peters remembered the role of Tom Robinson when he recalled, "It certainly is one of my proudest achievements in life, one of the happiest participations in film or theater I have experienced".[14] Peters remained friends not only with Peck but with Mary Badham throughout his life.

text: Peck himself admitted that many people have reminded him of this film more than any other film he has ever done.[15]

text: Awards and honors[edit]

text: In 1995 To Kill a Mockingbird was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16] It is also Robert Duvall's big-screen debut, as the misunderstood recluse Boo Radley. Duvall was cast on the recommendation of screenwriter Horton Foote, who met him at Neighborhood Playhouse in New York City where Duvall starred in a 1957 production of Foote's play, The Midnight Caller.[17]

text: The American Film Institute named Atticus Finch the greatest movie hero of the 20th century.[18] Additionally, the AFI ranked the movie second on their 100 Years... 100 Cheers list, behind It's a Wonderful Life.[19] The film was ranked number 34 on AFI's list of the 100 greatest movies of all time, but moved up to number 25 on the 10th Anniversary list.[20] In June 2008, the AFI revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. To Kill a Mockingbird was acknowledged as the best film in the courtroom drama genre.[21]

text: In 2007 Hamilton was honored by the Harlem community for her part in the movie. She was the last surviving African-American adult who had a speaking part in the movie. When told of the award, she said, "I think it is terrific. I'm very pleased and very surprised".[22]

text:
AFI's 100 Years...100 Movies – #34
AFI's 100 Years...100 Heroes & Villains:

Atticus Finch – #1 Hero

AFI's 100 Years...100 Movie Quotes:

"Miss Jean Louise, stand up. Your father's passing." – Nominated[23]
"You never really understand a person until you consider things from his point of view, until you climb inside of his skin and walk around in it." – Nominated[23]

AFI's 100 Years of Film Scores – #17
AFI's 100 Years...100 Cheers – #2
AFI's 100 Years...100 Movies: 10th Anniversary Edition– #25
AFI's 10 Top 10 – #1 Courtroom Drama

text: Academy Awards[edit]

text: The film won three Academy Awards out of the eight for which it was nominated.[24]

text:
Academy Award for Best Actor — Gregory Peck (The award was presented to Peck by Sophia Loren)
Academy Award for Best Adapted Screenplay – Horton Foote
Academy Award for Best Art Direction – Set Decoration, Black-and-White — (Henry Bumstead, Alexander Golitzen, and Oliver Emert)

text: Other nominations were for

text:
Best Picture (Producer, Alan J. Pakula)
Best Director (Robert Mulligan)
Best Cinematography, Black-and-White (Russell Harlan),
Best Actress in a Supporting Role (Mary Badham)
Best Music, Score — Substantially Original (Elmer Bernstein)

text: Its main competition was Lawrence of Arabia, which won the Oscar for Best Picture, Best Director and Best Original Score. Peter O'Toole had been nominated for Best Actor for his performance as T. E. Lawrence, but Peck won for Mockingbird. The Longest Day claimed the award for Best Cinematography, while Patty Duke was awarded Best Supporting Actress for her work in The Miracle Worker.

text: Golden Globe Awards[edit]

text:
Golden Globe Award for Best Actor – Motion Picture Drama — Gregory Peck
Golden Globe Award for Best Original Score — Motion Picture — Elmer Bernstein
Golden Globe Award for Best Film Promoting International Understanding — To Kill a Mockingbird

text: Cannes Film Festival[edit]

text: The film was selected for the 1963 Cannes Film Festival in feature film category, winning the Gary Cooper Award.[25][26]

text: Restoration[edit]

text: The film was restored and released on Blu-ray and DVD in 2012 as part of the 100th anniversary of Universal Pictures.[27]


document_title: Null Island

question_text: what are the coordinates where the prime meridian and equator meet

text: Null Island

text:
Null Island

The weather buoy moored at the coordinates of Null Island

Null Island

Geography

Coordinates
0°N 0°E / 0°N 0°E / 0; 0Coordinates: 0°N 0°E / 0°N 0°E / 0; 0

Additional information

This fictional island is a cartographical convenience only

text: Null Island is a fictional island in the Gulf of Guinea added to the Natural Earth public domain map dataset,[1] located where the equator crosses the prime meridian, at coordinates 0°N 0°E / 0°N 0°E / 0; 0.[2][3][4] Natural Earth describes the entity as a "1 meter square island" with "scale rank 100, indicating it should never be shown in mapping."[1] The name 'Null' refers to the two 0 co-ordinates, both of which are sometimes known as null in mathematics .

text: Although intended humorously, the fiction has a serious purpose and is used by mapping systems to trap errors.[3] Such errors arise, for example, where an image artifact is erroneously associated to the location by software which cannot attribute a geo-position, and instead associates a latitude and longitude of "Null,Null" or "0,0".[5] Null Island was developed as an idea in 2011 or slightly earlier. Since then, numerous web pages have documented this fictional landmass's flag, geography, and history.[6]

text: In reality, a weather observation buoy, part of the PIRATA system, is moored at the supposed location of the island.[7] The depth at this place is around 4,940 metres (16,210 ft).[8]