document_title: Alice in Wonderland (2010 film)

question_text: who plays the alice in alice in wonderland

text: Alice in Wonderland (2010 film)

text: Plot[edit]

text: Troubled by a strange recurring dream and mourning the loss of her father, 19-year-old Alice Kingsleigh attends a garden party at Lord Ascot's estate. There, she is confronted by an unwanted marriage proposal to Lord Ascot's son, Hamish, and the stifling expectations of the society in which she lives. Unsure of how to proceed, she pursues a rabbit wearing a blue waistcoat and accidentally falls into a large rabbit hole under a tree. She emerges in a forest where she is greeted by the White Rabbit, the Dormouse, the Dodo, the Talking Flowers, and Tweedledum and Tweedledee. They argue over whether Alice is "the right Alice" who must slay the Red Queen's Jabberwocky and restore the White Queen to power, as foretold by Absolem the Caterpillar and his prophetic scroll. The group is then ambushed by the Bandersnatch and a group of playing-card soldiers led by the Knave of Hearts. Alice, Tweedledum and Tweedledee escape into the woods. The Knave steals the Caterpillar's scroll. The Dormouse leaves the others behind with one of the Bandersnatch's eyes in her possession. Tweedledum and Tweedledee are then captured by the Red Queen's Jubjub bird.

text: The Knave informs the Red Queen that Alice threatens her reign, and the soldiers and Bayard the Bloodhound are ordered to find Alice immediately. Meanwhile, the Cheshire Cat guides Alice to the March Hare and the Mad Hatter. The Hatter helps Alice avoid capture by allowing himself to be seized instead. Later, Alice is found by the Bloodhound, but Alice insists upon helping the Hatter. At the Red Queen's citadel and palace, the Red Queen is unaware of Alice's true identity and therefore welcomes her as a guest. Alice learns that the vorpal sword, the only weapon capable of killing the Jabberwocky, is locked inside the den of the Bandersnatch. The Knave attempts to seduce Alice, but she rebuffs him, causing a jealous Red Queen to order that Alice be beheaded. Alice obtains the sword and befriends the Bandersnatch by returning its eye. She then escapes on the back of the grateful Bandersnatch and delivers the sword to the White Queen. The Cheshire Cat saves the Hatter from the executioner, and the Hatter calls for rebellion against the Red Queen. The rebellion is quickly put down by the Jubjub bird, but the resistance flees to the White Queen's castle, and both armies prepare for battle. Absolem advises Alice to fight the Jabberwocky just before completing his transformation into a pupa.

text: On the appointed day, the White Queen and the Red Queen gather their armies on a chessboard-like battlefield and send Alice and the Jabberwocky to decide the battle in single combat. Encouraged by the advice of her late father, Alice fights the Jabberwocky among the ruins surrounding the battlefield and finally jumps from the remains of a spiral staircase onto the Jabberwocky's neck and beheads it. During this fight, a catapult stone kills the Jubjub bird. As punishment for their crimes, the White Queen banishes the Red Queen and the Knave into exile together. The Knave attempts to kill the Red Queen, yet the Hatter protects the Red Queen from his attack. After the Hatter performs a celebration dance called Futterwacken, the White Queen gives Alice a vial of the Jabberwocky's purple blood whose power will bring her whatever she wishes. She decides to rejoin the everyday world after saying farewell to her friends. Back in England, Alice impresses Lord Ascot with her idea of establishing oceanic trade routes to Hong Kong, inspiring him to take her as his apprentice. As the story closes, Alice prepares to set off on a trading ship. A light-blue butterfly with dark vein markings lands on her shoulder, and Alice recognizes him as Absolem.

text: Cast[edit]

text:
Actor

Character

Character Description/Additional Info

Mia Wasikowska
Alice Kingsleigh
When creating the character, screenwriter Linda Woolverton researched how young women were expected to behave in the Victorian era and then made her the opposite.[8] Wasikowska read Carroll's books as a child and re-read them to prepare for her role. She also watched Jan Švankmajer's Alice. She said, "When we were kids, my mum would pop it in the VCR player. We would be disturbed, and wouldn't really understand it, but we couldn't look away because it was too intriguing. So I had kept that feeling about Alice, a kind of haunting feeling."[9] Although facing pressures to conform to society's expectations, Alice grows into a stronger-willed and empowered heroine who chooses her own path; Independent columnist Liz Hoggard praised Alice as a role model for girls, describing the character as "stubborn, brave, [and] non-girlie".[8][10] Mairi Ella Challen portrayed Alice as a six-year-old girl.[11]

Johnny Depp
Tarrant Hightopp/Mad Hatter
Wasikowska said that the characters, "both feel like outsiders and feel alone in their separate worlds, and have a special bond and friendship."[12][13] Burton explained that Depp "tried to find a grounding to the character … as opposed to just being mad."[14] Burton also said that, "In a lot of versions it's a very one-note kind of character and you know [Depp's] goal was to try and bring out a human side to the strangeness of the character."[14] The orange hair is an allusion to the mercury poisoning suffered by hatters who used mercury to cure felt; Depp believes that the character "was poisoned … and it was coming out through his hair, through his fingernails and eyes".[15] Depp and Burton decided that the Hatter's clothes, skin, hair, personality and accent would change throughout the film to reflect his emotions.[16] In an interview with Depp, the character was paralleled to "a mood ring, [as] his emotions are very close to the surface".[17] The Hatter is "made up of different people and their extreme sides", with a gentle voice much like the character's creator Lewis Carroll reflecting the lighter personality and with a Scottish Glaswegian accent (which Depp modeled after Gregor Fisher's Rab C. Nesbitt character) reflecting a darker, more dangerous personality.[18] Illusionary dancer David "Elsewhere" Bernal doubled for Depp during the "Futterwacken" sequence near the end of the film.[19]

Helena Bonham Carter
Iracebeth/Red Queen
She is an amalgamation of two Carroll characters: the Red Queen and the Queen of Hearts.[7] Her first name is a play on the word irascible because she is easily irritated, obstreperous, impatient, and quick to anger.[20] Bonham Carter's head was digitally increased to three times its original size on screen.[21][22] The character hates animals, and chooses to use them as servants and furniture.[23] It is implied that the Red Queen beheaded her former husband, the King. The actress took inspiration from her young daughter Nell, a toddler, stating that, "The Red Queen is just like a toddler, because she's got a big head and she's a tyrant."

Anne Hathaway
Mirana/White Queen
She was one of few characters that did not require digital manipulation.[24] Hathaway summed up her character with a caption on a magnet of Happy Bunny holding a knife; "Cute but psycho. Things even out."[25] According to Hathaway, "She comes from the same gene pool as the Red Queen. She really likes the dark side, but she's so scared of going too far into it that she's made everything appear very light and happy. But she's living in that place out of fear that she won't be able to control herself."[26] Hathaway described her interpretation of the White Queen as "a punk-rock vegan pacifist", with inspiration drawn from Debbie Harry, Greta Garbo, and the artwork of Dan Flavin.[26] Burton said that the White Queen's appearance was inspired by Nigella Lawson.[27]

Alan Rickman
Absolem (voice)
Rickman was originally going to have his face composited onto the animated Caterpillar. He was filmed recording his voice in the studio, but the idea was eventually scrapped. The animators did, however, try to give Absolem's face characteristics similar to Rickman's.

Michael Sheen
Nivens McTwisp (voice)
Sheen said the character "is such an iconic character that [he] didn't feel like [he] should break the mold too much."[28] Burton said the quality he wanted most in his clock-watching bunny was a twitchiness, also commenting that "[in] any incarnation of the [White Rabbit] through the years, there's that sort of nervousness of a rabbit."[28]

Stephen Fry
Cheshire Cat (voice)
Burton stated that the character had a creepy quality in addition to tapping into his own hatred of cats.[29][30] The role was intended to be played by Michael Sheen but he changed his role to the White Rabbit due to scheduling conflicts.

Timothy Spall
Bayard Hamar (voice)
Although Bayard does not appear in the book, a similar character named The Puppy is likely the inspiration for the character.

Crispin Glover
Ilosovic Stayne/Knave of Hearts
The Knave of Hearts is arrogant and tricky. While he follows the Red Queen's every order, he is the only one capable of calming her dramatic mood swings. Glover said, "The Red Queen has a fair amount of short-tempered reactions to things that people do, and so [the Knave] has to be quite diplomatic." The Red Queen believes that the Knave of Hearts is her lover, but this proves to be false.

Christopher Lee
The Jabberwocky (voice)
While it only had two lines, Burton said that he felt Lee to be a good match for the iconic character because he is "an iconic guy".[31] For the character, Lee had originally tried to make his voice 'burble' (as described in the poem "Jabberwocky"). However, Tim Burton convinced him to use his actual voice, as he found it more intimidating.

Paul Whitehouse
Thackery Earwicket/March Hare (voice)
Burton stated that because Whitehouse is a great comedic actor, a lot of his lines came from improvisation.[32]

Matt Lucas
Tweedledee/Tweedledum
Burton commented on the mixture of animation and Lucas, saying that "It's a weird mixture of things which gives his characters the disturbing quality that they so richly deserve."[33] The characters are portrayed through a combination of CGI and live-action, with Lucas's face digitally composited to a full animated body. While performing the character, Lucas had to wear a teardrop-shaped motion capture suit and walk on stilts. In order to play both characters, Lucas was doubled by Ethan Cohn.

Michael Gough
Uilleam (voice)
Burton said that Gough was the first person he thought of for the role of Uilleam because he has "a full life quality to his voice".[34] The character only speaks three lines, that Gough recorded in a day. This would be Gough's final acting role; he died a year after its release, aged 94. Gough had previously portrayed the March Hare in the 1966 TV play of the book.

Barbara Windsor
Mallymkun (voice)
Burton said that he sought after Windsor for the role because he was a fan of her TV show EastEnders. Her voice sealed the deal for her role as the character.[35]

Marton Csokas
Charles Kingsleigh
Alice's deceased father

Leo Bill
Hamish Ascot
Alice's would-be fiancé.[36]

Frances de la Tour
Aunt Imogene
Alice's aunt.[36] She is suffering from severe delusions and is constantly awaiting her fictional fiancé whom she believes to be a prince.

Imelda Staunton
Tall Flower Faces (voice)
Though there are many flowers that appear around Underland, only one of them speaks and one of them is clearly a caricature of Staunton.[37] Staunton only speaks three lines that are heard very briefly at the beginning of the film.

Billy Burton
Young Boy
N/A

Nell Burton
Young Girl
N/A

Lindsay Duncan
Helen Kingsleigh
Alice's mother

Jemma Powell
Margaret Manchester
Alice's sister

Tim Pigott-Smith
Lord Ascot
Hamish's father

Geraldine James
Lady Ascot
Hamish's mother

Harry Taylor
Ship Captain
N/A

Jim Carter
The Executioner (voice)
The Executioner only speaks one line and appears extremely briefly, though Carter also voiced several other servants to the Red Queen.

John Hopkins
Lowell
Margaret's unfaithful husband

Peter Mattinson
Colleague #1
N/A

John Surman
Colleague #2
N/A

Mairi Ella Challen
Young Alice
N/A

Eleanor Gecks
Faith Chattaway
N/A

Eleanor Tomlinson
Fiona Chattaway
N/A

Frank Welker
Bandersnatch/Jubjub Bird/Monkeys
N/A

Rebecca Crookshank
Strange Woman Kisser
N/A

Holly Hawkins
Woman with Large Nose
N/A

Lucy Davenport
Woman with Big Ears
N/A

Joel Swetow
Man with Large Belly
N/A

Jessica Oyelowo
Woman with Large Poitrine
N/A

Ethan Cohn
Man with Large Chin
N/A

Richard Alonzo
Man with Big Forehead
N/A

David "Elsewhere" Bernal
Hatter Futterwacken Dance Double
N/A

Chris Grabher
High Top Hat Juggler
N/A

Hilary Morris
Maypole Dancer #1
N/A

Savannah McReynolds
Maypole Dancer #2
N/A

Brighid Fleming
Maypole Dancer #3
N/A

Regan Licciardello
Maypole Dancer #4
N/A

Austin James Wolff
Maypole Dancer #5
N/A

Amy Bailey
Hatteress
N/A

Parker Contreras
Maypole Kid
N/A

Jacqueline Delamora
White Queen Loyaltist
N/A

Brooke Forbes
White Queen's Courtier
N/A

text: Production[edit]

text: Tim Burton signed with Walt Disney Pictures to direct two films in Disney Digital 3D, which included Alice in Wonderland[38] and his remake of Frankenweenie. Burton developed the story because he never felt an emotional tie to the original book.[39]

text: He explained "the goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of Alice." On prior versions, Burton said "It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection." His goal with the new film is to give the story "some framework of emotional grounding" and "to try and make Alice feel more like a story as opposed to a series of events."[14] Burton focused on the poem "Jabberwocky" as part of his structure,[40] and refers to the described creature by the name of the poem rather than by the name "Jabberwock" used in the poem. Burton also stated that he does not see his version as either a sequel to any existing Alice film nor as a "re-imagining".[39] However, the idea of the climax of the story being Alice's battle with the Queen's champion, the Jabberwocky, was first added in the video game American McGee's Alice, and the landscape, tower, weapons and appearance of Alice in those scenes of the film are very reminiscent of the same scenes in the game.

text:
We wanted somebody who had... it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her.

—Burton on casting Mia Wasikowska as Alice[41]

text: This film was originally set to be released in 2009 but was pushed back to March 5, 2010.[42] Principal photography was scheduled for May 2008, but did not begin until September and concluded in three months.[38][43] Scenes set in the Victorian era were shot at Torpoint and Plymouth from September 1 to October 14 (Mia Wasikowska's birthday). Two hundred and fifty local extras were chosen in early August. Locations included Antony House in Torpoint, Charlestown, Cornwall and the Barbican,[44][45] however, no footage from the Barbican was used. Motion capture filming began in early October at Sony Pictures Studios in Culver City, California, though the footage was later discarded.[46][47][48] Filming also took place at Culver Studios.[49] Burton said that he used a combination of live action and animation, without motion capture.[50] He also noted that this was the first time he had filmed on a green screen.[50] Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days.[51] Many of the cast and crew felt nauseated as a result of the long hours surrounded by green, and Burton had lavender lenses fitted into his glasses to counteract the effect.[51] Due to the constant need for digital effects to distort the actors' physical appearances, such as the size of the Red Queen's head or Alice's height, visual effects supervisor Ken Ralston cited the film as being exhausting, saying it was "The biggest show I've ever done, [and] the most creatively involved I've ever been."[52]

text: Sony Pictures Imageworks designed the visual effects sequences.[53] Burton felt 3D was appropriate to the story's environment.[13] Burton and Zanuck chose to film with conventional cameras, and convert the footage into 3D during post-production; Zanuck explained 3D cameras were too expensive and "clumsy" to use, and they felt that there was no difference between converted footage and those shot in the format.[54] James Cameron, who released his 3D film Avatar in December 2009, criticized the choice, stating, "It doesn't make any sense to shoot in 2-D and convert to 3-D".[55]

text: Music[edit]

text: Score[edit]

text:
Alice in Wonderland: An Original Walt Disney Records SoundtrackFilm score by Danny ElfmanReleased
March 2, 2010Genre
Orchestral, Classical, PopLength
50:59Label
Walt Disney

text: Longtime Burton collaborator Danny Elfman's score was released March 2, 2010.[56] It debuted at #89 on the Billboard Top 200 albums chart.[57]

text: Almost Alice[edit]

text: Almost Alice is a collection of various artists' music inspired by the film.[56][58][59] The lead single, "Alice" by Avril Lavigne, premiered on January 27, 2010 on Ryan Seacrest's radio program. Other singles include "Follow Me Down" by 3OH!3, "Her Name Is Alice" by Shinedown, and "Tea Party" by Kerli.[60] The album was released on March 2, 2010.[56]

text: Release[edit]

text: On February 12, 2010, major UK cinema chains, Odeon, Vue, and Cineworld, had planned to boycott the film because of a reduction of the interval between cinema and DVD release from the usual 17 weeks to 12 (possibly to avoid the release of the DVD clashing with the 2010 FIFA World Cup, which was Disney's pretext for cutting short Alice's theatrical run but UK exhibitors protested that Alice would be less threatened by the World Cup than other titles).[61] A week after the announcement, Cineworld, who has a 24% share of UK box office, chose to play the film on more than 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. As the success of Avatar has shown, there is currently a huge appetite for the 3D experience".[62] Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland, and Italy.[63] On February 25, 2010 Odeon had reached an agreement and decided to show the film on March 5, 2010.[64] The Royal premiere took place at the Odeon Leicester Square in London on February 25, 2010 for the fundraiser The Prince's Foundation for Children and The Arts where the Prince of Wales and the Duchess of Cornwall attended. It also did not affect their plans to show the film in Spain, Germany, Portugal, and Austria.[63][65][66] The film was released in the U.S. and UK, in both Disney Digital 3D and IMAX 3D,[43] as well as regular theaters on March 5, 2010.[67]

text: Marketing[edit]

text: On June 22, 2009, the first pictures of the film were released, showing Depp as the Mad Hatter, Hathaway as the White Queen, Bonham Carter as the Red Queen and Lucas as Tweedledee and Tweedledum.[43] A new image of Alice was also released.[68] In July, new photos emerged of Alice holding a white rabbit, the Mad Hatter with a hare, the Red Queen holding a pig, and the White Queen with a mouse.[69]

text: On July 22, 2009, a teaser trailer from the Mad Hatter's point of view was released on IGN but was shortly taken down because Disney claimed that the trailer was not supposed to be out yet. The teaser was also planned to premiere along with a trailer of Robert Zemeckis' film adaptation of A Christmas Carol on July 24, 2009 for G-Force. The following day, the teaser trailer premiered at Comic-Con but the trailer shown was different from the one that leaked. The ComicCon version didn't have the Mad Hatter's dialogue. Instead, it featured "Time to Pretend" by MGMT, and the clips shown were in different order than in the leaked version. The leaked version was originally to be shown to one of the three Facebook groups used to promote the film that had the most members. The groups used to promote the film are "The Loyal Subjects of the Red Queen", "The Loyal Subjects of the White Queen" and "The Disloyal Subjects of the Mad Hatter".[70]

text: Also at ComicCon, props from the film were displayed in an "Alice in Wonderland" exhibit. Costumes featured in the exhibit included the Red Queen's dress, chair, wig, glasses, and scepter; the White Queen's dress, wig and a small model of her castle; the Mad Hatter's suit, hat, wig, chair and table; Alice's dress and battle armor (to slay the Jabberwocky). Other props included the "DRINK ME" bottles, the keys, an "EAT ME" pastry and stand-in models of the White Rabbit and March Hare.[71]

text: A nighttime party area at the Disney California Adventure theme park was created, called "Mad T Party".

text: Video games[edit]

text: On July 23, 2009, Disney Interactive Studios announced that an Alice in Wonderland video game, developed by French game studio Étranges Libellules, would be released in the same week as the film for the Wii, Nintendo DS, and Microsoft Windows. The soundtrack was composed by video games music composer Richard Jacques.[72] The Wii, DS, and PC versions were released on March 2, 2010.

text: Disney Interactive released in 2013 the game Alice in Wonderland: A New Champion for iOS.[73]

text: Home media[edit]

text: Walt Disney Studios Home Entertainment released a three-disc Blu-ray combo pack (which includes the Blu-ray, DVD and a digital copy), single-disc Blu-ray and single-disc DVD on June 1, 2010 in North America and July 1, 2010 in Australia.[74] The DVD release includes three short features about the making of the film, focusing on Burton's vision for Wonderland and the characters of Alice and the Mad Hatter. The Blu-ray version has nine additional featurettes centered on additional characters, special effects and other aspects of the film's production.[75] In some confusion, a small number of copies were put on shelves a week before schedule in smaller stores, but were quickly removed, although a handful of copies were confirmed purchased ahead of schedule.

text: In its first week of release (June 1–6, 2010), it sold 2,095,878 DVD units (equivalent to $35,441,297) and topped the DVD sales chart for two continuous weeks. By May 22, 2011, it had sold 4,313,680 units ($76,413,043). It failed to crack the 2010 top ten DVDs list in terms of units sold, but reached 10th place on that chart in terms of sales revenue.[76][77]

text: Reception[edit]

text: Box office[edit]

text: Alice in Wonderland has grossed $334,191,110 in North America and $691,276,000 in other territories for a worldwide total of $1,025,467,110 against a budget of $200 million.[5][78][79] Worldwide, it is currently the thirtieth-highest-grossing film[80] and the second-highest-grossing 2010 film.[81] It is the third-highest-grossing film starring Johnny Depp,[82] the highest-grossing film directed by Tim Burton.[83] The second-highest-grossing film of Anne Hathaway and the second-highest-grossing children's book adaptation (worldwide, as well as in North America and outside North America separately).[84]

text: On its first weekend, the film made $220.1 million worldwide, marking the second-largest opening ever for a movie not released during the summer or the holiday period (behind The Hunger Games), the fourth-largest for a Disney-distributed film and the fourth-largest among 2010 films.[85] It dominated for three consecutive weekends at the worldwide box office.[86][87][88][89] On May 26, 2010, its 85th day of release, it became the sixth film ever to surpass the $1 billion mark and the second film that had been released by Walt Disney Studios that did so.[90][91]

text: In North America, Alice in Wonderland is the forty-fourth-highest-grossing film but out of the top 100 when adjusted for inflation. It is also the second-highest-grossing 2010 film, behind Toy Story 3,[92] the second-highest-grossing film starring Johnny Depp[82] and the highest-grossing film directed by Tim Burton.[83] The film opened on March 5, 2010, on approximately 7,400 screens at 3,728 theaters with $40,804,962 during its first day, $3.9 million of which came from midnight showings,[93] ranking number one and setting a new March opening-day record.[94] Alice earned $116.1 million on its opening weekend, breaking the record for the largest opening weekend in March (previously held by 300),[95] the record for the largest opening weekend during springtime (previously held by Fast and Furious), the largest opening weekend for a non-sequel (previously held by Spider-Man)[96] and the highest one for the non-holiday, non-summer period. However, all of these records were broken by The Hunger Games ($152.5 million) in March 2012.[97][98] Alice made the seventeenth-highest-grossing opening weekend ever[99] and the fifth-largest among 3D films.[100] Opening-weekend grosses originating from 3D showings were $81.3 million (70% of total weekend gross). This broke the record for the largest opening-weekend 3D grosses[101][102] but it was later topped by Marvel's The Avengers ($108 million).[103] It had the largest weekend per-theater average of 2010 ($31,143 per theater) and the largest for a PG-rated film.[104] It broke the IMAX opening-weekend record[105] by earning $12.2 million on 188 IMAX screens, with an average of $64,197 per site. The record was first overtaken by Deathly Hallows – Part 2 ($15.2 million).[102] Alice remained in first place for three consecutive weekends at the North American box office.[106][107] Alice closed in theaters on July 8, 2010 with $334.2 million.

text: Outside North America, Alice is the thirteenth-highest-grossing film,[108] the highest-grossing 2010 film,[109] the fourth-highest-grossing Disney film, the second-highest-grossing film starring Johnny Depp[82] and the highest-grossing film directed by Tim Burton.[83] It began with an estimated $94 million, on top of the weekend box office, and remained at the summit for four consecutive weekends and five in total.[110][111] Japan was the film's highest-grossing country after North America, with $133.7 million, followed by the UK, Ireland and Malta ($64.4 million), and France and the Maghreb region ($45.9 million).[112]

text: Critical reaction[edit]

text: Review aggregate Rotten Tomatoes reports that 52% of critics have given the film a positive review based on 267 reviews; the average score is 5.7/10. The consensus is: "Tim Burton's Alice sacrifices the book's minimal narrative coherence—and much of its heart—but it's an undeniable visual treat".[113] Metacritic rated it 53/100 based on 38 reviews.[114]

text: Todd McCarthy of Variety praised it for its "moments of delight, humor and bedazzlement", but went on to say, "But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years".[115] Michael Rechtshaffen of The Hollywood Reporter said "Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks", while as well praising its computer-generated imagery (CGI), saying "Ultimately, it's the visual landscape that makes Alice's newest adventure so wondrous, as technology has finally been able to catch up with Burton's endlessly fertile imagination."[116] Owen Gleiberman of Entertainment Weekly said, "But Burton's Disneyfied 3-D Alice in Wonderland, written by the girl-power specialist Linda Woolverton, is a strange brew indeed: murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that's like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film's rather humdrum 3-D, the place doesn't dazzle—it droops."[117] Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars and wrote in his review that, "Alice plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails."[118] The market research firm CinemaScore found that audiences gave the film an average rating of "A-".[119]

text: Several reviews criticized the decision to turn Alice into a "colonialist entrepreneur" at the end of the film setting sail for China.[120][121][122] Given Britain's role in the First and Second Opium Wars during the Victorian era and the foreign domination of China through "unequal treaties", China expert Kevin Slaten writes, "Not only is it troubling imagery, for a female role model in a Disney movie, but it's also a celebration of the exploitation that China suffered for a century."[123]

text: Game developer American McGee, best known for creating Alice and Alice: Madness Returns, was asked in a 2011 interview about Tim Burton's interpretation of the title character since both versions share almost similar dark and twisted tone of Wonderland. McGee praised the film's visuals and audio but criticized the lack of screen time Alice had compared to the other characters. He felt Alice did not have any purpose in the story and that she was merely used as a "tool".[124]

text: Accolades[edit]

text:
Award

Category

Recipient

Result

83rd Academy Awards[125]

Best Art Direction

Robert Stromberg  Karen O'Hara

Won

Best Visual Effects

Ken Ralston  David Schaub  Carey Villegas  Sean Phillips

Nominated

Best Costume Design

Colleen Atwood

Won

64th British Academy Film Awards[126]

Best Costume Design

Won

Best Film Music

Danny Elfman

Nominated

Best Production Design

Robert Stromberg  Karen O’Hara

Nominated

Best Special Visual Effects

Ken Ralston  David Schaub  Carey Villegas  Sean Phillips

Nominated

Best Makeup and Hair

Won

68th Golden Globe Awards[127]

Best Motion Picture – Musical or Comedy

Nominated

Best Actor – Motion Picture Musical or Comedy

Johnny Depp

Nominated

Best Original Score

Danny Elfman

Nominated

53rd Grammy Awards

Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media

Nominated

9th Annual Visual Effects Society Awards (VES Awards)[128]

Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture

Ken Ralston  Carey Villegas  David Schaub  Tom Peitzman

Nominated

Outstanding Compositing in a Feature Motion Picture (Stolen Tarts)

Lisa Deaner  Orde Stevanoski  Aaron Kupferman Ruben Flores

Nominated

15th Annual Satellite Awards[129]

Best Visual Effects

Ken Ralston  Carey Villegas  David Schaub  Sean Phillips

Won

Best Costume Design

Colleen Atwood

Won

Best Art Direction & Production Design

Robert Stromberg  Stefan Dechant

Nominated

Best Motion Picture, Animated or Mixed Media

Nominated

Best Original Song

Avril Lavigne

Nominated

37th Saturn Awards

Best Fantasy Film

Won

Best Costume

Won

Best Make-Up

Nominated

Best Production Design

Nominated

Best Special Effects

Ken Ralston  Carey Villegas  David Schaub  Tom Peitzman

Nominated

Broadcast Film Critics Association Awards

Best Costume Design

Colleen Atwood

Won

Best Makeup

Jaremy Aiello

Won

Best Visual Effects

Ken Ralston  Carey Villegas  David Schaub  Tom Peitzman

Nominated

Best Art Direction

Robert Stromberg  Karen O'Hara

Nominated

2011 Kids' Choice Awards[130]

Favorite Movie

Nominated

Favorite Movie Actor

Johnny Depp

Won

MTV Movie Awards

Global Superstar

Nominated

Best Movie

Nominated

Best Villain

Helena Bonham Carter

Nominated

National Movie Awards

Best Performance

Nominated

Johnny Depp

Nominated

Best Fantasy

Nominated

People's Choice Awards[131]

Favorite Movie

Nominated

Favorite Drama Movie

Nominated

Teen Choice Awards

Choice Movie: Fantasy

Nominated

Choice Movie Actor: Fantasy

Johnny Depp

Nominated

Choice Movie: Female Scene Stealer

Anne Hathaway

Nominated

Choice Movie Actress: Fantasy

Mia Wasikowska

Nominated

Choice Movie: Female Breakout Star

Nominated

Choice Movie: Fight

Mia Wasikowska vs. The Jabberwock

Won

2010 Scream Awards

Ultimate Scream

Nominated

Best Fantasy Movie

Nominated

Best Director

Tim Burton

Nominated

Best Fantasy Actress

Mia Wasikowska

Nominated

Best Breakout Performance – Female

Nominated

Best Fantasy Actor

Johnny Depp

Nominated

Best Supporting Actress

Anne Hathaway

Won

3-D Top Three

Nominated

AD First Half of the Year Awards[132]

Best Art Direction

Nominated

Best Visual Effects

Won

Best Make Up

Nominated

MTV Fan Music Awards

Best Movie Song

Avril Lavigne

Won

ChartAttack's 16th Annual Year-End Readers' Poll

Best Song

Won

text: Legacy[edit]

text: After the release and success of the movie, Walt Disney Pictures has announced the development of several live-action adaptations of their Animated Classics series.[133][134][135][136] Maleficent, Cinderella, The Jungle Book, Beauty and the Beast, Christopher Robin have followed to similar box-office results with the latter four also earning critical praise. Disney has also announced the development of live-action adaptations of Dumbo,[137] Aladdin,[138] The Lion King,[139] Mulan,[140] Pinocchio,[141] Fantasia,[142] The Sword in the Stone,[143] The Black Cauldron,[144] Peter Pan,[145] The Little Mermaid,[146] Snow White and the Seven Dwarfs,[147] Lady and the Tramp,[148] and Lilo & Stitch.[149] The company also has plans for live-action spin-offs of One Hundred and One Dalmatians, Snow White and the Seven Dwarfs, and Peter Pan along with a live-action prequel to Aladdin.[150][151][152][153]

text: Stage adaptation Walt Disney Theatrical is in early talks with Burton and screenwriter Linda Woolverton to develop the property as a Broadway musical. Woolverton authored the screenplay for Disney's The Lion King and is also the Tony Award-nominated book writer of Beauty and the Beast, Aida, and Lestat. Burton will also render the overall designs for the stage musical. Woolverton will adapt her screenplay for the stage production. Neither a composer nor songwriting team has been chosen yet. Direction and choreography will be done by Rob Ashford.[154][155][156] The musical is aiming to make its world-premiere in London.[157]

text: Sequel[edit]

text: On December 7, 2012, Variety announced the development of a sequel to Alice in Wonderland. Linda Woolverton returned to write a screenplay.[158] On May 31, 2013, James Bobin began talks to direct the sequel under the working title Alice in Wonderland: Into the Looking Glass.[159] Johnny Depp returned as The Hatter, Mia Wasikowska reprised the role of Alice, and Helena Bonham Carter returned as the Red Queen.[160][161][162] Several other cast members from the 2010 film also reprised their roles in the sequel.[163] On November 22, 2013, it was announced that the sequel will be released on May 27, 2016 and that Bobin would direct the film. Rhys Ifans and Sacha Baron Cohen are featured in the film.[161][164][165] On January 21, 2014, the film was again retitled to Alice in Wonderland: Through the Looking Glass.[166] The title was later reworked once again to Alice Through the Looking Glass.


document_title: Apollo 13 (film)

question_text: how did they film zero gravity in apollo 13

root

text: Apollo 13 (film)

text: Plot[edit]

text: Astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.

tag: p

text: Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband's safety, but goes to the Kennedy Space Center the night before launch to see him off.

text: On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.

text: Three days into the mission, the crew makes a television transmission, which the networks decline to broadcast live. After Swigert turns on the liquid oxygen tank stirring fans as requested, one of the tanks explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking. Mission Control aborts the Moon landing, and Lovell and Haise must hurriedly power up Aquarius to use as a "lifeboat" for the return home, as Swigert shuts down Odyssey before its battery power runs out. In Houston, Kranz rallies his team to come up with a plan to bring the astronauts home safely, declaring "failure is not an option". Controller John Aaron recruits Mattingly to help him invent a procedure to restart Odyssey for the landing on Earth.

text: As Swigert and Haise watch the Moon pass beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the business of getting home. With Aquarius running on minimal electrical power, the crew suffers freezing conditions, and Haise contracts a urinary infection and a fever. Swigert suspects Mission Control is withholding their inability to get them home; Haise angrily blames Swigert's inexperience for the accident; and Lovell quickly squelches the argument. When carbon dioxide approaches dangerous levels, ground control must quickly invent a way to make the Command Module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, the crew must make a difficult but vital course correction by manually igniting the Lunar Module's engine.

text: Mattingly and Aaron struggle to find a way to turn on the Command Module systems without drawing too much power, and finally transmit the procedure to Swigert, who restarts Odyssey by transferring extra power from Aquarius. When the crew jettisons the Service Module, they are surprised to see the extent of the damage. As they release Aquarius and re-enter the Earth's atmosphere, no one is sure that Odyssey's heat shield is intact. The tense period of radio silence due to ionization blackout is longer than normal, but the astronauts report all is well and splash down in the Pacific Ocean.

text: As helicopters bring the three men aboard the recovery ship USS Iwo Jima for a hero's welcome, Lovell's voice-over describes the subsequent investigation into the explosion, and the careers of Haise, Swigert, Mattingly, and Kranz. He wonders if and when mankind will return to the Moon.

text: Cast[edit]

text:
Tom Hanks as Apollo 13 Commander Jim Lovell: Jim Lovell stated that before his book Lost Moon was even written, the movie rights were being shopped to potential buyers[5] and that his first reaction was that Kevin Costner would be a good choice to play him.[5][6] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that a script was being passed around, he had the script sent to him.[5] John Travolta was initially offered the role of Lovell, but declined.[7]
Kevin Bacon as Apollo 13 backup Command Module Pilot Jack Swigert
Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise
Gary Sinise as Apollo 13 prime Command Module Pilot Ken Mattingly: Sinise was invited by Howard to read for any of the characters, and chose Mattingly.[5]
Ed Harris as White Team Flight Director Gene Kranz: Harris described the film as "cramming for a final exam." Harris described Gene Kranz as "corny and like a dinosaur", but was respected by the crew.[5] Apollo 13 would be Harris' second space travel-themed movie; he had starred as pioneering astronaut John Glenn in 1983's The Right Stuff.
Kathleen Quinlan as Marilyn Gerlach Lovell, Jim's wife
Chris Ellis as Director of Flight Crew Operations Deke Slayton
Joe Spano as "NASA Director", a composite character loosely based on Chris Kraft
Marc McClure as Black Team Flight Director Glynn Lunney
Clint Howard as White Team Electrical, Environmental and Consumables Manager (EECOM) Sy Liebergot
Ray McKinnon as White Team Flight Dynamics Officer Jerry Bostick
Todd Louiso as White Team Flight Activities Officer
Loren Dean as EECOM John Aaron
Xander Berkeley as "Henry Hurt", a fictional NASA Office of Public Affairs staff member[8]
David Andrews as Apollo 12 Commander Pete Conrad
Christian Clemenson as Flight Surgeon Dr. Charles Berry
Ben Marley as Apollo 13 backup Commander John Young
Brett Cullen as Capsule Communicator (CAPCOM) 1
Ned Vaughn as CAPCOM 2
Tracy Reiner as Haise's wife Mary
Mark Wheeler as Neil Armstrong Apollo 11 Commander
Larry Williams as Buzz Aldrin Apollo 11 Lunar Module Pilot
Mary Kate Schellhardt as Lovell's older daughter Barbara
Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight
Emily Ann Lloyd as Lovell's younger daughter Susan
Miko Hughes as Lovell's younger son Jeffrey

tag: ul

text: The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his protégés' films.[9][10] The real Marilyn Lovell appeared among the spectators during the launch sequence.[6] CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic.[6]

text: In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie:

text:
Rance Howard (his father) appears as the Lovell family minister.
Jean Speegle Howard (his mother) appears as Lovell's mother Blanch.
Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families.[10]

text: Brad Pitt was offered a role in the film, but turned it down to star in Se7en.[11] Reportedly, the real Pete Conrad expressed interest in appearing in the film.[6]

text: Jeffrey Kluger appears as a television reporter.[10]

text: Production[edit]

text: Preproduction and props[edit]

text: The screenplay by William Broyles, Jr. and Al Reinert was rewritten by John Sayles after Hanks had been cast and construction of the spacecraft sets had begun.[12]

text: While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used.[13] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center's Space Works, which also restored the Apollo 13 Command Module. Two individual Lunar Modules and two Command Modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced-gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When the actors put the suits on with their helmets locked in place, air was pumped into the suits to cool them down and allow them to breathe, exactly as in launch preparations for the real Apollo missions.[14]

text: The real Mission Control Center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming, but Howard declined, opting instead to make his own replica from scratch.[6][13] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop.[14] The Mission Control room built for the film was on the ground floor.[13] One NASA employee, who was a consultant for the film, said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control.[6] By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead.[13]

text:
"For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was."

—Tom Hanks[14]

tag: div

text: Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights.[15]

text: Cast training and filming[edit]

text: In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts, and attended a crash course in physics.[13][14] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word.[5]

text: Soundtrack[edit]

text:
Apollo 13: Music From The Motion Picture

Soundtrack album by James Horner

Released
June 27, 1995

Genre
Soundtrack

Length
77:41

Label
MCA

tag: table

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[16]

Filmtracks.com
[17]

SoundtrackNet
[18]

Tracksounds
[19]

text: The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-eight minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score.[20]

text: All music composed by James Horner, except where noted.

text:
Apollo 13: Original Motion Picture Soundtrack

No.
Title
Length

1.
"Main Title"
1:32

2.
"One Small Step"
0:42

3.
"Night Train" (performed by James Brown)
3:27

4.
"Groovin'" (performed by The Young Rascals)
2:26

5.
"Somebody to Love" (performed by Jefferson Airplane)
2:55

6.
"I Can See for Miles" (performed by The Who)
4:09

7.
"Purple Haze" (performed by The Jimi Hendrix Experience)
2:48

8.
"Launch Control"
3:28

9.
"All Systems Go/The Launch"
6:39

10.
"Welcome to Apollo 13"
0:38

11.
"Spirit in the Sky" (performed by Norman Greenbaum)
3:50

12.
"House Cleaning/Houston, We Have a Problem"
1:34

13.
"Master Alarm"
2:54

14.
"What's Going On?"
0:34

15.
"Into the L.E.M."
3:43

16.
"Out of Time/Shut Her Down"
2:20

17.
"The Darkside of the Moon" (performed by Annie Lennox)
5:09

18.
"Failure is Not an Option"
1:18

19.
"Honky Tonkin'" (performed by Hank Williams)
2:42

20.
"Blue Moon" (performed by The Mavericks)
4:09

21.
"Waiting for Disaster/A Privilege"
0:43

22.
"Re-Entry & Splashdown"
9:05

23.
"End Titles" (performed by Annie Lennox)
5:34

text: Release[edit]

text: The film was released on June 30, 1995 in North America and on September 22, 1995 in the UK.

text: In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology.[21]

text: Box-office performance[edit]

text: The film was a box-office success, bringing in $355,237,933 worldwide.[2] The film's widest release was 2,347 theaters.[2] The film's opening weekend and the following two weeks placed it at #1 with a US gross of $25,353,380, which made up 14.7% of the total US gross.[2]

text:
Apollo 13 box office revenue

Source
Gross (US$)
 % Total
All-time rank (unadjusted)

US
$173,837,933[2]
48.9%
229[2]

Non-US
$181,400,000[2]
51.1%
N/A

Worldwide
$355,237,933[2]
100.0%
282[2]

text: Reception[edit]

text: Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95%, based on 85 reviews, with a weighted average rating of 8.2/10. The site's critical consensus reads, "In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances."[22] Metacritic, which assigns a normalized rating to reviews from mainstream critics, gave the film an average score of 77 out of 100, based on 22 critics, indicating "generally favorable reviews".[23]

text: Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics."[24] Richard Corliss from Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride."[25] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide."[26] Peter Travers from Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film."[27] Movie Room Reviews said "This film is arguably one of the most dramatic and horrendous spaceflight stories ever told."[28]

text: Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story." According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style (Rita Ryack's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind)."[29] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late 20th-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'."[30]

text: Ron Howard stated that, after the first test preview of the film, one of the comment cards indicated "total disdain"; the audience member had written that it was a "typical Hollywood" ending and that the crew would never have survived.[31] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind.[5]

text: Home media[edit]

text: A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras.[32] The IMAX version has a 1.66:1 aspect ratio.[33]

text: In 2006, Apollo 13 was released on HD DVD and on April 13, 2010 it was released on Blu-ray disc as the 15th-anniversary edition on the 40th anniversary of the Apollo 13 accident.[32]

text: Accolades[edit]

text:
Year
Award
Category
Recipient
Result
Ref.

1996
Academy Awards (1996)
Best Film Editing
Mike Hill and Daniel Hanley
Won
[4]

Best Sound
Rick Dior, Steve Pederson, Scott Millan, and David MacMillan
Won

Best Actor in a Supporting Role
Ed Harris (lost to Kevin Spacey in The Usual Suspects)
Nominated

Best Actress in a Supporting Role
Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite)
Nominated

Best Art Direction
Art Direction: Michael Corenblith; Set Decoration: Merideth Boswell (lost to Restoration)
Nominated

Best Original Dramatic Score
James Horner (lost to Il Postino)
Nominated

Best Picture
Brian Grazer (lost to Braveheart)
Nominated

Best Visual Effects
Robert Legato, Michael Kanfer, Leslie Ekker, and Matt Sweeney (lost to Babe)
Nominated

Best Adapted Screenplay
William Broyles Jr. and Al Reinert (lost to Sense & Sensibility)
Nominated

American Cinema Editors (Eddies)
Best Edited Feature Film
Mike Hill, Daniel P. Hanley
Nominated

American Society of Cinematographers
Outstanding Achievement in Cinematography in Theatrical Releases
Dean Cundey
Nominated

BAFTA Film Awards
Best Production Design
Michael Corenblith
Won

Outstanding Achievement in Special Visual Effects
Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker
Won

Best Cinematography
Dean Cundey
Nominated

Best Editing
Mike Hill, Daniel Hanley
Nominated

Best Sound
David MacMillan, Rick Dior, Scott Millan, Steve Pederson
Nominated

Casting Society of America (Artios)
Best Casting for Feature Film, Drama
Jane Jenkins, Janet Hirshenson
Nominated

Chicago Film Critics Association Awards
Best Picture
Apollo 13
Won

Directors Guild of America
Outstanding Directorial Achievement in Motion Pictures
Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul
Won

Golden Globe Awards
Best Supporting Actor – Motion Picture
Ed Harris as Gene Kranz
Nominated

Best Supporting Actress – Motion Picture
Kathleen Quinlan as Marilyn Lovell
Nominated

Best Director – Motion Picture
Ron Howard
Nominated

Best Motion Picture – Drama
Apollo 13
Nominated

Heartland Film Festival
Studio Crystal Heart Award
Jeffrey Kluger
Won

Hugo Awards
Best Dramatic Presentation
Apollo 13
Nominated

MTV Movie Awards
Best Male Performance
Tom Hanks as Jim Lovell
Nominated

Best Movie
Apollo 13
Nominated

PGA Awards
Motion Picture Producer of the Year Award
Brian Grazer, Todd Hallowell
Won

Saturn Awards
Best Action / Adventure / Thriller Film
Apollo 13
Nominated

Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Supporting Role
Ed Harris as Gene Kranz
Won

Outstanding Performance by a Cast
Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan, and Gary Sinise
Won

Space Foundation's Douglas S. Morrow Public Outreach Award
Best Family Feature – Drama
Apollo 13
Won
[34]

Writers Guild of America Awards
Best Screenplay Adapted from Another Medium
William Broyles Jr., Al Reinert
Nominated

Young Artist Awards
Best Family Feature – Drama
Apollo 13
Nominated

2005
American Film Institute
AFI's 100 Years... 100 Movie Quotes
"Houston, we have a problem." (#50)
Won
[35]

2006
American Film Institute
AFI's 100 Years... 100 Cheers
Apollo 13 (#12)
Won
[35]

text: Technical and historical accuracy[edit]

text: The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later.[36]

text: The film portrays the Saturn V launch vehicle being rolled out to the launch pad two days before launch. In reality, the launch vehicle was rolled out on the mobile launch platform using the crawler-transporter weeks before the launch date.

text: The movie depicts Swigert and Haise arguing about who was at fault. The show The Real Story: Apollo 13 broadcast on the Smithsonian Channel includes Haise stating that no such argument took place and that there was no way anyone could have foreseen that stirring the tank would cause problems.[37]

text: The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, "Houston, we have a problem." (This quote was voted #50 on the list "AFI's 100 Years... 100 Movie Quotes".) According to the mission transcript, the actual words uttered by Jack Swigert were "Hey, we've got a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please." Jim Lovell then repeated, "Houston, we've had a problem."[38]

text: One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again." In the actual re-entry, the Command Module's transmission was finally acquired by a Sikorsky SH-3D Sea King recovery aircraft which then relayed communications to Mission Control. CAPCOM and fellow astronaut Joe Kerwin (not Mattingly, who serves as CAPCOM in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over." Jack Swigert, not Lovell, replied "Okay, Joe," and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment.[39]

text: The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick:

text: In the film, Flight Director Gene Kranz and his White Team are portrayed as managing all of the essential parts of the flight, from liftoff to landing. Consequently, the actual role of the other flight directors and teams, especially Glynn Lunney and his Black Team, were neglected. In fact, it was Flight Director Lunney and his Black Team who got Apollo 13 through its most critical period in the hours immediately after the explosion, including the mid-course correction that sent Apollo 13 on a "free return" trajectory around the Moon and back to the Earth. Astronaut Ken Mattingly, who was replaced as Apollo 13 Command Module Pilot at the last minute by Jack Swigert, later said:

text: A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions,[32] mentions several inaccuracies included in the film, all done for reasons of artistic license:

text:
"We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering."

—Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere[42]

text:
In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem.[6]
When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission." Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module Pilot and that no one was really worried about whether he was up to the job,[42] but he admitted that it made a nice subplot for the film. What the astronauts were really worried about, Lovell says, was the expected rendezvous between the Lunar Module and the Command Module after Lovell and Haise left the surface of the Moon.[6]
A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition not begun until the Space Shuttle program.[6]
The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur,[42] but the drain trap caught the ring and his wife was able to retrieve it.[6] Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 blasted off.[42]


document_title: List of highest paid film actors

question_text: highest paid actor in hollywood for one movie

text: List of highest paid film actors

text: Salaries for the world's highest paid film actors currently range from $20–30 million, but an actor can earn substantially more by deferring all or part of their salary against a percentage of the film's gross, known within the industry as a "profit participation" deal. Since not all salaries are made public, this is a non-definitive list of actors who have received $30 million or more as compensation for their services. The figures are given at their nominal value, since earnings from profit based deals are accumulated over many years, making it unfeasible to adjust for inflation.

text:
Highest-earning actors in films

Actor
Film
Year
Salary
Total income
Ref

Reeves, KeanuKeanu Reeves
Matrix Reloaded, TheThe Matrix Reloaded
The Matrix Revolutions
2003
$30,000,000
$156,000,000
[1]

Willis, BruceBruce Willis
Sixth Sense, TheThe Sixth Sense
1999
$14,000,000
$100,000,000
[1]

Cruise, TomTom Cruise
Mission Impossible 2Mission: Impossible 2
2000

$100,000,000
[1]

Cruise, TomTom Cruise
War of the Worlds
2005

$100,000,000
[1]

Smith, WillWill Smith
Men in Black 3
2012

$100,000,000
[2]

Bullock, SandraSandra Bullock
Gravity
2013
$20,000,000
$70,000,000+
[3]

Hanks, TomTom Hanks
Forrest Gump
1994

$70,000,000
[1]

Cruise, TomTom Cruise
Mission Impossible 1Mission: Impossible
1996

$70,000,000
[1]

Ford, HarrisonHarrison Ford
Indiana Jones and the Kingdom of the Crystal Skull
2008

$65,000,000
[4]

Nicholson, JackJack Nicholson
Batman
1989
$6,000,000
$60,000,000
[1][5]

DiCaprio, LeonardoLeonardo DiCaprio
Inception
2010

$59,000,000
[6]

Depp, JohnnyJohnny Depp
Pirates of the Caribbean: On Stranger Tides
2011
$35,000,000
$55,000,000
[6][7]

Downey, Jr., RobertRobert Downey, Jr.
Avengers, TheThe Avengers
2012

$50,000,000
[8]

Diaz, CameronCameron Diaz
Bad Teacher
2011

$42,000,000
[9]

DiCaprio, LeonardoLeonardo DiCaprio
Titanic
1997

$40,000,000
[1]

Hanks, TomTom Hanks
Saving Private Ryan
1998

$40,000,000
[1]

Depp, JohnnyJohnny Depp
Alice in Wonderland
2010

$40,000,000
[6]

Khan, AamirAamir Khan
Dangal
2016

$37,000,000+
[nb 1][10][11]

Carrey, JimJim Carrey
Yes Man
2008

$35,000,000
[12]

Schwarzenegger, ArnoldArnold Schwarzenegger
Terminator 3: Rise of the Machines
2003
$29,250,000
$30,000,000+
[nb 2][1]

Gibson, MelMel Gibson
Lethal Weapon 4
1998
$30,000,000
$30,000,000
[1]

Pitt, BradBrad Pitt
Ocean's Eleven
2001
$10,000,000
$30,000,000
[1]

text:
Jump up ^ ₹257 crore ($37–41 million at 2017 exchange rates).
Jump up ^ Arnold Schwarzenegger received a $29,250,000 salary for Terminator 3 plus a 20% royalty on the worldwide box office gross over $380 million. The film ultimately had a global gross of $433 million.

tag: ol


document_title: Royal Liverpool University Hospital

question_text: when does the new royal liverpool hospital open

text: Royal Liverpool University Hospital

text: History[edit]

text: The current Royal Liverpool University Hospital (RLUH) opened in 1978 and was designed to replace three other city centre acute hospitals that existed at the time — the Royal Liverpool Infirmary on Brownlow Street, the David Lewis Northern Hospital on Great Howard Street, and the Royal Southern Hospital on Caryl Street.

text: In 1938 the three hospitals, alongside smaller specialist hospitals (including St Paul's Eye Hospital on Old Hall Street)[2] — had administratively merged under the Royal Liverpool United Hospitals group, and it had long been agreed to eventually amalgamate the separate facilities on a central site within close proximity to the University of Liverpool for the purposes of medical education and research. By 1948, the site on which the current Royal now stands (on Prescot Street); was identified for this centralisation as part of the post-war regeneration of Liverpool. However, building on the main hospital did not commence until 1963. The Royal Liverpool University Hospital was designed and constructed by Holford Associates, between 1963 and 1965. Its construction was plagued from the outset by problems of cost, time and quality, together with difficulties over fire certification due to changes in health and safety law whilst building work was ongoing. Eventually, the hospital opened in 1978.[3]

text: On 10 March 1975, ITV's World in Action aired a special film of a 24-hour shift in the A&E department of the Royal Southern Hospital, one of the three Liverpool city centre hospitals that existed prior to 1978 - the year the RLUH superseded it. The footage documents a typical Saturday night in the casualty department, which the staff call the 'Blood and Guts Shift'. Although the patient presentations to the department remains largely unchanged - with alcohol intoxication, brawls and mental health problems being the overarching theme; there is a stark contrast in both culture and practice to the modern NHS which the film encapsulates. Examples include the department only possessing a very small number of beds and the night shift being staffed by only one sister and an anaesthestist, with access being restricted by a locked door. Other footage records the anaesthestist attempting to intubate a conscious and gagging patient who has presented with an overdose; and infection control and manual handling practices by nursing staff being radically different from what is now considered standard practice.[4]

text: In December 2013 the landmark £429 million redevelopment of the Royal Liverpool University Hospital reached financial close; its collaborative links with the University of Liverpool, and institutes on the Liverpool BioCampus, have given the city of Liverpool recognition as one of the leading UK centres for health research and innovation.[5] The new Royal Liverpool University Hospital, which was designed by NBBJ and HKS[6] and is being built by Carillion, is expected to be the largest all single-patient room hospital in the UK on completion in 2018.[7][8] The New Royal is expected to open in the Summer of 2018.[9]

text: Rating[edit]

text: In 2007, the Healthcare Commission rated Royal Liverpool and Broadgreen University Hospitals NHS Trust "Good" for 'Quality of Services' and Good for 'Use of Resources'.[10] In 2009, Royal Liverpool and Broadgreen University Hospitals NHS Trust was rated "Excellent" for the quality of its services and the quality of its financial management.[11]

text: Teaching and research[edit]

text: The Royal Liverpool University Hospital is a major teaching and research hospital for student doctors, nurses, dentists and allied health professionals. The hospital works with the University of Liverpool, Liverpool John Moores University and the Liverpool School of Tropical Medicine.


document_title: Shooting schedule

question_text: who's job is it to schedule each day's shooting

question_tokens: who 's job is it to schedule each day 's shooting

text: Shooting schedule

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2007) (Learn how and when to remove this template message)

text: A shooting schedule is a project plan of each day's shooting for a film production. It is normally created and managed by the assistant director, who reports to the production manager managing the production schedule. Both schedules represent a timeline stating where and when production resources are used.


document_title: 1999 Melbourne Cup

question_text: which horse came second to rogan josh in the 1999 melbourne cup

text: 1999 Melbourne Cup

text: This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (May 2008)

text: The event took place on Tuesday, 2 November 1999.[1] This is a list of horses which ran in the 1999 Melbourne Cup.

text:
Place
Name
Jockey

1
Rogan Josh
John Marshall

2
Central Park
Frankie Dettori

Equal 3
Lahar
C. Brown

Equal 3
Zazabelle
E. Wilkinson

5
Travelmate
David Harrison

6
The Warrior
G. Grylls

7
Second Coming
G. Childs

8
The Hind
Jim Cassidy

9
Bohemiath
J. Patton

10
Brew
L. O'Sullivan

11
Zabuan
S. Hyland

12
Yavana's Pace
Richard Hughes

13
Streak
G. Hall

14
Tie the Knot
Shane Dye

15
Figurehead
O.P. Bosson

16
Skybeau
Larry Cassidy

17
Sky Heights
Damien Oliver

18
Lady Elsie
L. Beasley

19
Laebeel
S. Baster

20
Maridpour
S. W. Arnold

21
The Message
A. Spiteri

22
Arena
Darren Gauci

23
Rebbor
Chris Munce

Lost Rider
Able Master
G. Cooksley


document_title: Right hand of God

question_text: who sits on the right hand of god

question_tokens: who sits on the right hand of god

text: Right hand of God

text: The right hand of God (Dextera Domini "right hand of the Lord" in Latin) or God's right hand may refer to the Bible and common speech as a metaphor for the omnipotence of God and as a motif in art.

text: In the Bible, to be at the right side "is to be identified as being in the special place of honor".[1] In Jesus' The Sheep and the Goats, the sheep and goats are separated with the sheep on the right hand of God and the goats on the left hand.

text: It is also a placement next to God in Heaven, in the traditional place of honor, mentioned in the New Testament as the place of Christ at Mark 16:19, Luke 22:69, Matthew 22:44 and 26:64, Acts 2:34 and 7:55, 1 Peter 3:22 and elsewhere. These uses reflect use of the phrase in the Old Testament, for example in Psalms 63:8 and 110:1.[2] The implications of this anthropomorphic phrasing have been discussed at length by theologians, including Saint Thomas Aquinas.[3]


document_title: Mandate of Heaven

question_text: when did china stop using the mandate of heaven

text: Mandate of Heaven

text: The right to rule and the right of rebellion[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2014) (Learn how and when to remove this template message)

text: Chinese historians interpreted a successful revolt as evidence that the Mandate of Heaven had passed. In China, the right of rebellion against an unjust ruler has been a part of political philosophy ever since the Zhou dynasty, and the successful rebellion was interpreted by Chinese historians as evidence that divine approval had passed on to the successive dynasty. The Right of Rebellion is not coded into any official law, rather rebellion is always outlawed and severely punished, but still is a positive right grounded in the Chinese moral system. Often, it is used as a justification for actions to overthrow a previous dynasty after a rebellion has been successful and a new dynastic rule has been established. Since the winner is the one who determines who has obtained the Mandate of Heaven and who has lost it, some Chinese scholars consider it to be a sort of Victor's justice, best characterized in the popular Chinese saying "The winner becomes king, the loser becomes outlaw" (Chinese: ”成者爲王，敗者爲寇“). Due to the above, it is considered that Chinese historical accounts of the fall of a dynasty and the rise of a new one need to be handled with caution. Chinese traditional historical compiling methods produce accounts that tend to fit their account to the theory; emphasize aspects tending to prove that the old dynasty lost the Mandate of Heaven and the new one gained it, and de-emphasize other aspects.

text: Transition between the Shang and the Zhou[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2014) (Learn how and when to remove this template message)

text: The prosperous Shang dynasty saw its rule filled with many outstanding accomplishments. Notably, the dynasty lasted for a considerable time during which 31 kings ruled over an extended period of 17 generations. During this period, the dynasty enjoyed a period of peace and tranquility in which citizens could make a good living. The government was originally able to control most of its internal affairs due to the firm support provided by the people. As time went on, however, the rulers' abuse of the other social classes led to social unrest and instability. The corruption in this dynasty created the conditions necessary for a new ruling house to rise —the Zhou dynasty. Rebellion against the Shang was led by Zhou Wu. They created the Mandate of Heaven to explain their right to assume rule and presumed that the only way to hold the mandate was to rule well in the eyes of Heaven. They believed that the Shang ruling house had become morally corrupt, and that the Shang leaders' loss of virtue entitled their own house to take over. The overthrow of the Shang Dynasty, they said, was in accordance with the mandate given by Heaven.[4]

text: After the Zhou became the ruling dynasty, they mostly appointed their own officials. The Zhou Dynasty had their own way of assigning their officials. However, in order to appease some of the citizens, they allowed some Shang beneficiaries to continue governing their small kingdoms in compliance with Zhou rules and regulations. As the empire continued to expand, intermarriage increased because the rulers believed that it was a method of forming strong alliances that enabled them to absorb more countries into the dynasty. In case of a war, the Zhou dynasty boasted an excellent military and technology mostly because of influence from annexed countries. They also excelled in shipbuilding, which, coupled with their discovery of celestial navigation, made them excellent mariners. Intellectually, the Zhou excelled in fields of literature and philosophy while many governmental positions were filled according to the intellectual ability of a candidate. A large amount of literature survives from the Zhou period, including the Book of Changes, Book of History, Book of Etiquette, Book of Song, Book of Odes, and the Book of Rites. Most of these works are commentaries on the progress and political movement of the dynasty. In philosophical terms, Confucius and his followers played an important role in shaping the mentality of the government as defined by the Five Confucian Relationships. These critical thinkers served as a foundation for the government. Their works primarily stressed the importance of the ruling class, respect and their relationship with the lower class. Due to the growing size of the dynasty, it became apparent that a centralized government would lead to a lot of confusion and corruption because the government would not be able to exert its influence or accede to the needs of everyone. To address this political barrier, the dynasty formed a decentralized government in which the empire was broken down into sections. Within these districts were administrators who were appointed by the government, in return, they had to maintain their allegiance to the main internal government. In effect, the Zhou dynasty became a collection of districts. Consequently, this marked the fall of the dynasty as it became difficult for the central government to exert influence on all other regions of the empire.

text: Finally, when the Zhou dynasty's power decreased, it was wiped out by the State of Qin, which believed that the Zhou had become weak and their rule unjust.[5] This transition emphasizes the customary trend of the Mandate of Heaven, which provided leeway for the rise of a new power. The Qin initially attempted to capitalize on the errors made by the Zhou, either by eliminating the source of error or reforming it. During this reformation, administrative changes were made and a system of legalism was developed which stated that the law is supreme over every individual, including the rulers. Although significant progress was made during the Qin dynasty, the persecution of scholars and ordinary citizens led to an unstable state.

text: After the death of Qin Shihuang, first emperor of the Qin dynasty, a widespread revolt by prisoners, peasants, and unhappy soldiers inevitably led to the fall of the Qin dynasty due to its tyrannical practices.[citation needed] The establishment of the Han dynasty marked a great period in China’s history marked by significant changes in the political structure of the country. Under the Han emperors, significant changes were made in which the government introduced entrance examinations known as civil service or imperial examinations for governmental positions. Additionally, the Han dynasty prospered economically through the Silk Road and other trading means.

text: Five Dynasties period[edit]

text: During the Five Dynasties and Ten Kingdoms Period, there was no dominant Chinese dynasty that ruled all of China. This created a problem for the Song dynasty that followed, as they wanted to legitimize their rule by claiming that the Mandate of Heaven had passed on them. The scholar-official Xue Juzheng compiled the Old History of the Five Dynasties (五代史) during the 960s and 970s, after the Song dynasty had taken northern China from the last of the Five Dynasties, the Later Zhou. A major purpose was to establish justification for the transference of the Mandate of Heaven through these five dynasties, and thus to the Song dynasty. He argued that these dynasties met certain vital criteria to be considered as having attained the Mandate of Heaven despite never having ruled all of China. One is that they all ruled the traditional Chinese heartland. They also held considerably more territory than any of the other Chinese states that had existed conterminously in the south.

text: However, there were certain other areas where these dynasties all clearly fell short. The brutal behavior of Zhu Wen and the Later Liang was a source of considerable embarrassment, and thus there was pressure to exclude them from the Mandate. The following three dynasties, the Later Tang, Later Jin, and Later Han were all non-Han Chinese dynasties, all having been ruled by the Shatuo ethnic minority. There is also the concern that though each of them was the most powerful Chinese kingdom of its respective era, none of them ever really had the ability to unify the entire Chinese realm as there were several powerful states to the south. However, it was the conclusion of Xue Juzheng that the Mandate had indeed passed through each of the Five Dynasties, and thus onto the Song Dynasty when it conquered the last of those dynasties.

text: Transition between the Ming and the Qing[edit]

text: In previous dynasties the Song, Jin, and Yuan dynasties reigned for much of the beginning three centuries where the mandate of heaven was questioned heavily between dynastic councils among each emperor. Some emperors were not entirely sure of their validity when it came to claiming the mandate, for it was ambiguous. Especially for the case of the Jurchen Jin, where much of the council was not sure how to discern the validity of their rulers. From the Emperor Gaozong of the Tang Dynasty to Kangxi Emperor much of the chosen emperors contemplated much of this when they became a contender for the mandate. The reason for this was because of the ambiguity of the Mandate and overwhelmingly unofficial formality when declaring the Mandate of Heaven. However, Kubilai Khan was the only indifferent ruler when he claimed the Mandate of Heaven over the Yuan Dynasty since he had a sizable military and was part of the Khitan people, as with many others from the same background since they did not have the same traditions and culture as their Chinese adversaries. [6]

text: It was said that the peasant group of the Ming dynasty were the real selectors which allowed for the Mandate of Heaven to be claimed by the ruler. As a prospective candidate to the Mandate, they could please the peasantry group in order to win favor amongst the dynasty. It was solely politics from beginning to end and an attempt from the emperor to maintain a favorable act towards Heaven. Many emperors within the Qing dynasty looked immensely within themselves trying to come to terms with their ruling if natural disasters occurred within their time. This was interpreted as a warning of Heaven's displeased wrath towards an emperors ruling, such that the Mandate under their rule was unstable. Furthermore, Qing emperors would take their advisors feedback very seriously when pertaining to ruling and take it upon themselves to reflect on their current decisions of the dynastic overview in hopes that it favors Heaven. Towards the end of the Qing dynasty, as the Peoples Republic of China began to become established, there was no more Mandate to be claimed as it became a ritual of the past. Especially since there was no formal statement or writing of the Mandate of Heaven.[6]

text: Neighboring countries[edit]

text: The concept of the Mandate of Heaven eventually spread to nearby countries as a justification for rule by divine political legitimacy. In Korea, it was first adopted by the Joseon dynasty and became an enduring state ideology.[7]

text: The Japanese government found the concept ideologically problematic, preferring not to have divine political legitimacy that was conditional and that could be withdrawn. The Japanese Taihō Code, formulated in 703, was largely an adaptation of the governmental system of China's then Tang dynasty, but the Mandate of Heaven was specifically omitted. In later times, this need was obviated because the Imperial House of Japan claimed to be descended in an unbroken line from the Japanese sun goddess, Amaterasu. Nevertheless, while maintaining this role, the Japanese emperor became politically marginalized in the Nara and Heian periods by powerful regents of the Fujiwara clan who seized executive control of state. Even though the Japanese imperial line itself remained unbroken after the eighth century, actual political authority passed through successive dynasties of regents and shōguns which cycled in a manner similar to that of Chinese dynasties. Even after the Meiji Restoration in 1868, when the emperor was placed back in the center of the political bureaucracy, the throne itself had very little power vis-à-vis the Meiji oligarchy. Actual political power has passed through at least four systems since the Meiji restoration: the Taishō democracy, the militarists, the Occupation of Japan, and postwar democracy. The emperor today is a political figurehead and not a ruling sovereign. It could be said the imperial line of Japan survived for so long precisely because it did not have control over the state, and that the turmoil of succession was projected onto a series of proxy rulers.


document_title: The Death of Captain America

question_text: who becomes captain america after steve rogers dies

text: The Death of Captain America

text: Plot[edit]

text: In the aftermath of Civil War, Captain America is taken into S.H.I.E.L.D. custody where he is assassinated per the order of the Red Skull. Crossbones snipes at him while Sharon Carter (Agent 13; Cap's girlfriend), who has been brainwashed by Doctor Faustus, posing as a S.H.I.E.L.D. psychiatrist, delivers the killing shot. Overwhelmed with guilt, S.H.I.E.L.D. director Tony Stark and Black Widow hunt Captain America's murderers. Falcon, Captain America's old partner, follows his own leads to find the killers. Meanwhile, Bucky Barnes decides to kill Tony Stark, blaming him for Captain America's death.

text: After receiving a letter written by Steve Rogers telling him that the Captain America legacy should continue, and look out for Bucky, Stark shows Bucky Barnes the letter and proposes to make him the new Captain America. Bucky agrees on the condition that he can be an independent agent who doesn't answer to Stark, S.H.I.E.L.D., or the Initiative. The Red Skull fakes the death of Aleksander Lukin, whose mind he inhabits, begins using Kronas Corporation's vast holdings to economically cripple the United States, before having S.H.I.E.L.D. agents brainwashed by Doctor Faustus open fire on crowds of protesters in front of the White House. The Red Skull continues his assault by engineering a riot via the placing of Kronas security troops and utilizing drugged water in a protest on the Lincoln Monument. The Skull also kidnaps Sharon Carter, who now knows that she is pregnant with Steve Rogers' child.

text: All of the Red Skull's actions benefit his puppet politician, Gordon Wright, who quickly becomes a popular third party Presidential candidate. Once elected, Wright will lead the country directly into a police state secretly controlled by the Red Skull.

text: The Skull also plans to transfer his consciousness into Sharon's unborn child, apparently sired by Steve Rogers himself and potentially having inherited his Project Rebirth enhancements.

text: Both schemes fail because of the impatience and incompetence of the Skull's daughter — her near-fatal attack on Sharon Carter causes her to lose the baby, and she intentionally botches her pseudo-assassination of Gordon Wright by attempting to kill him in earnest. Faustus has surreptitiously tampered with Sharon's programming, allowing her to rebel, and before escaping shoots Lukin to death. Black Widow and the Falcon lead a S.H.I.E.L.D. raid at the Red Skull's compound. Most of the Skull's agents are captured. The Red Skull escapes however; his consciousness is transferred from Lukin to one of the robot bodies used by Arnim Zola.

text: Collected editions[edit]

text: The story arc is collected in three trade paperbacks and one Marvel Omnibus: –

text:
Captain America: The Death of Captain America, Vol. 1 – The Death of the Dream (ISBN 0785124233)
Captain America: The Death of Captain America, Vol. 2 – The Burden of Dreams (ISBN 0785124241)
Captain America: The Death of Captain America, Vol. 3 – The Man Who Bought America (ISBN 0785129707)
Captain America: The Death Of Captain America Omnibus (ISBN 0785138064)

text: Reception[edit]

text: Captain America #25 which depicted Steve Rogers' death was the highest selling comic of March 2007 with preorder sales of 290,514 which was double the sales of the Mighty Avengers #1 in the same period.[1] The Death of Captain America was reported in ABC News, where Bryan Robinson paralleled the events to the Post-September 11 World and Iraq.[2]

text: Novel[edit]

text: The storyline was adapted into a novel by comics writer Larry Hama in March 2014 to tie in the release of Captain America: The Winter Soldier and features Sharon Carter, Bucky Barnes, Black Widow, and Falcon as central characters.[citation needed]