document_title: Jaws (novel)

question_text: where does jaws take place in the book

question_tokens: where does jaws take place in the book

text: Jaws (novel)

text: Plot summary[edit]

text: The story is set in Amity, a seaside resort town on Long Island, New York. One night, a massive great white shark kills a young tourist named Chrissie Watkins while she skinny dips in the open waters. After finding what remains of her body washed up on the beach, investigators realize she was attacked by a shark. Police chief Martin Brody orders Amity's beaches closed, but mayor Larry Vaughn and the town's selectmen overrule him out of fear for damage to summer tourism, the town's main industry. With the connivance of Harry Meadows, the editor of the local newspaper, they hush up the attack.

text: A few days later, the shark kills a young boy named Alex Kintner and an old man not far from the shore. A local fisherman, Ben Gardner, is sent by Amity's authorities to kill the shark but disappears on the water. Brody and deputy Leonard Hendricks find Gardner's boat anchored off-shore, empty, and covered with large bite holes, one of which has a massive shark tooth stuck in it. Blaming himself for these deaths, Brody again tries to close the beaches, while Meadows investigates the Mayor's business contacts to determine why he wants to keep the beaches open. Meadows uncovers links to the Mafia, who pressure Vaughn to keep the beaches open in order to protect the value of Amity's real estate, in which the Mafia invested a great deal of money. Meadows also recruits marine biologist Matt Hooper from the Woods Hole Institute to advise them on how to deal with the shark.

text: Meanwhile, Brody's wife Ellen misses the affluent life she had before marrying Brody and having children. She starts a romantic relationship with Hooper, who is the younger brother of a man she used to date, and the two have a brief affair in a motel outside of town. Throughout the rest of the novel, Brody suspects they have had a liaison and is haunted by the thought.

text: With the beaches still open, people pour to the town, hoping to glimpse the killer shark. Brody sets up patrols to watch for the fish. After a boy narrowly escapes another attack close to the shore, Brody closes the beaches and hires Quint, a professional shark hunter, to kill the shark. Brody, Quint, and Hooper set out on Quint's vessel, the Orca. The trio are soon at odds with one another. Quint's methods anger Hooper, especially when he disembowels a blue shark, and then uses an illegally fished unborn dolphin for bait. All the while, Quint taunts Hooper as a rich college boy. Brody and Hooper also argue, as Brody's suspicions about Hooper's possible affair with Ellen grow stronger; at one point, Brody unsuccessfully attempts to strangle Hooper.

text: Their first two days at sea are unproductive and they return to port each night. On the third day, Hooper wants to bring along a shark proof cage. Initially Quint refuses, considering it a suicidal idea, but he relents when Hooper offers him a hundred dollars. On the ocean, the shark finally shows up. Hooper guesses the animal must be at least twenty feet long, and is visibly excited and in awe. After several unsuccessful attempts by Quint to harpoon the shark, Hooper goes underwater in the cage. He resolves to first take photos of the shark, before trying to kill it with a bang stick. However, the shark attacks the cage, and, after ramming the bars apart, kills and eats Hooper.

text: Larry Vaughn arrives at the Brody house before Brody returns home, and informs Ellen that he and his wife are leaving Amity. Before he leaves, he tells Ellen that he always thought they would have made a great couple. When Brody and Quint return to sea the following day, the shark starts ramming the boat, but Quint is able to harpoon it several times. The shark leaps out of the water and onto the stern of the Orca, ripping a huge hole in the aft section and causing the boat to begin to sink. Quint plunges another harpoon into the shark, but as it falls back into the water, his foot gets entangled in the rope, and he is dragged underwater to his death as he drowns. Brody, now floating on a seat cushion, spots the shark swimming towards him and prepares for his death. However, just as the shark gets within a few feet of him, it succumbs to its many wounds, rolls over in the water, and dies before it can kill Brody. The great fish sinks down out of sight, dragging Quint's still entangled body behind it. Brody manages to paddle back to shore on his makeshift float, the lone survivor of the ordeal.

text: Development[edit]

text: Peter Benchley had a long time fascination with sharks, which he frequently encountered while fishing with his father Nathaniel in Nantucket.[2] As a result, for years, he had considered writing "a story about a shark that attacks people and what would happen if it came in and wouldn't go away."[3] This interest grew greater after reading a 1964 news story about fisherman Frank Mundus catching a great white shark weighing 4,550 pounds (2,060 kg) off the shore of Montauk Point, Long Island, New York.[4][5]

text: In 1971, Benchley worked as a freelance writer struggling to support his wife and children.[6] In the meantime, his literary agent scheduled regular meetings with publishing house editors.[2] One of them was Doubleday editor Thomas Congdon, who had lunch with Benchley seeking book ideas. Congdon did not find Benchley's proposals for non-fiction interesting, but instead favored his idea for a novel about a shark terrorizing a beach resort. Benchley sent a page to Congdon's office, and the editor paid him $1,000 for 100 pages.[4] Those pages would comprise the first four chapters, and the full manuscript received a $7,500 total advance.[2] Congdon and the Doubleday crew were confident, seeing Benchley as "something of an expert in sharks",[7] given the author self-described "knowing as much as any amateur about sharks" as he had read some research books and seen the 1971 documentary Blue Water White Death.[2] After Doubleday commissioned the book, Benchley then started researching all possible material regarding sharks. Among his sources were the Peter Matthiessen's Blue Meridian, Jacques Cousteau's The Shark: Splendid Savage of the Sea, Thomas B. Allen's Shadows In The Sea, and David H. Davies' About Sharks And Shark Attacks.[8][9]

text: Benchley only began writing once his agent reminded him that if he did not deliver the pages, he would have to return the already cashed and spent money. The hastily written pages were met with derision by Congdon, who did not like Benchley's attempt at making the book comedic.[2] Congdon only approved the first five pages, which went into the eventual book without any changes, and asked Benchley to follow the tone of that introduction.[4] After a month, Benchley delivered rewritten chapters, which Congdon approved, alongside a broader outline of the story. The manuscript took a year and a half to complete.[8] During this time, Benchley worked in his makeshift office above a furnace company in Pennington, New Jersey during the winter, and in a converted turkey coop in the seaside property of his wife's family in Stonington, Connecticut during the summer.[6] Congdon dictated further changes from the rest of the book, including a sex scene between Brody and his wife which was changed to Ellen and Hooper. Congdon did not feel that there was "any place for this wholesome marital sex in this kind of book". After various revisions and rewrites, alongside sporadic payments of the advance, Benchley delivered his final draft in January 1973.[7]

text: Benchley was also partly inspired by the Jersey Shore shark attacks of 1916 where there were four recorded fatalities and one critical injury from shark attacks from July 1 through July 12, 1916. The story is very similar to the story in Benchley's book with a vacation beach town on the Atlantic coast being haunted by a killer shark and people eventually being commissioned to hunt down and kill the shark or sharks responsible. There is another similarity in the 1916 incident and the book where kids are attacked in a body of water other than the ocean - in the 1916 incident a child and an adult who attempted to save him were attacked and killed in Matawan Creek, a brackish/freshwater creek about 30 miles inland from the Atlantic and in the film adaptation Mike Brody is nearly killed in the "pond" which in reality is a small inland cove that connects to the open ocean through a small tributary.

text: Title and cover[edit]

text: Shortly before the book went to print, Benchley and Congdon needed to choose a title. Benchley had many working titles during development, many of which he calls "pretentious", such as The Stillness in the Water and Leviathan Rising. Benchley regarded other ideas, such as The Jaws of Death and The Jaws of Leviathan, as "melodramatic, weird or pretentious".[3] Congdon and Benchley brainstormed about the title frequently, with the writer estimating about 125 ideas raised.[8] The novel still did not have a title until twenty minutes before production of the book. The writer discussed the problem with editor Tom Congdon at a restaurant in New York:

text: We cannot agree on a word that we like, let alone a title that we like. In fact, the only word that even means anything, that even says anything, is "jaws". Call the book Jaws. He said "What does it mean?" I said, "I don't know, but it's short; it fits on a jacket, and it may work." He said, "Okay, we'll call the thing Jaws.[3]

text: For the cover, Benchley wanted an illustration of Amity as seen through the jaws of a shark.[7] Doubleday's design director, Alex Gotfryd, assigned book illustrator Wendell Minor with the task.[10] The image was eventually vetoed for sexual overtones, compared by sales managers to the vagina dentata. Congdon and Gotfryd eventually settled on printing a typographical jacket, but that was subsequently discarded once Bantam editor Oscar Dystel noted the title Jaws was so vague "it could have been a title about dentistry".[7] Gotfryd tried to get Minor to do a new cover, but he was out of town, so he instead turned to artist Paul Bacon.[10] Bacon drew an enormous shark head, and Gotfryd suggested adding a swimmer "to have a sense of disaster and a sense of scale". The subsequent drawing became the eventual hardcover art, with a shark head rising towards a swimming woman.[7]

text: Despite the acceptance of the Bacon cover by Doubleday, Dystel did not like the cover, and assigned New York illustrator Roger Kastel to do a different one for the paperback. Following Bacon's concept, Kastel illustrated his favorite part of the novel, the opening where the shark attacks Chrissie. For research, Kastel went to the American Museum of Natural History, and took advantage of the Great White exhibits being closed for cleaning to photograph the models. The photographs then provided reference for a "ferocious-looking shark that was still realistic."[10] After painting the shark, Kastel did the female swimmer. Following a photoshoot for Good Housekeeping, Kastel requested the model he was photographing to lie on a stool in the approximate position of a front crawl.[11] The oil-on-board painting Kastel created for the cover would eventually be reused by Universal Studios on the film posters.[10]

text: Themes and style[edit]

text: The story of Jaws is limited by how the humans respond to the shark menace.[12] The fish is given much detail, with descriptions of its anatomy and presence creating the sense of an unstoppable threat.[13] Elevating the menace are violent descriptions of the shark attacks.[14] Along with a carnivorous killer on the sea, Amity is populated with equally predatory humans: the mayor has ties with the mafia, an adulterous housewife, criminals among the tourists.[15]

text: In the meantime, the impact of the predatory deaths resemble Henrik Ibsen's play An Enemy of the People, with the mayor of a small town panicking over how a problem will drive away the tourists.[12] Another source of comparison raised by critics was Moby-Dick, particularly regarding Quint's characterization and the ending featuring a confrontation with the shark; Quint even dies the same way as Captain Ahab.[16][17][18] The central character, Chief Brody, fits a common characterization of the disaster genre, an authority figure who is forced to provide guidance to those affected by the sudden tragedy.[12] Focusing on a working class local leads the book's prose to describe the beachgoers with contempt, and Brody to have conflicts with the rich outsider Hooper.[13]

text: Publication history[edit]

text:
"I knew that Jaws couldn't possibly be successful. It was a first novel, and nobody reads first novels. It was a first novel about a fish, so who cares?"

-Peter Benchley[3]

tag: div

text: Benchley says that neither he nor anyone else involved in its conception initially realized the book's potential. Tom Congdon, however, sensed that the novel had prospects and had it sent out to The Book of the Month Club and paperback houses. The Book of the Month Club made it an "A book", qualifying it for its main selection, then Reader's Digest also selected it. The publication date was moved back to allow a carefully orchestrated release. It was released first in hardcover in February 1974,[1] then in the book clubs, followed by a national campaign for the paperback release.[19] Bantam bought the paperback rights for $575,000,[1] which Benchley points out was "then an enormous sum of money".[3] Once Bantam's rights lapsed years later, they reverted to Benchley, who subsequently sold them to Random House, who has since done all the reprints of Jaws.[8]

text: Upon release, Jaws became a great success. According to John Baxter's biography of Steven Spielberg, the novel's first entry on California's best-seller list was caused by Spielberg and producers Richard D. Zanuck and David Brown, who were on pre-production for the Jaws film, buying a hundred copies of the novel each, most of which were sent to "opinion-makers and members of the chattering class".[1] Jaws was the state's most successful book by 7 p.m. on the first day. However, sales were good nationwide without engineering.[1] The hardcover stayed on The New York Times bestseller list for some 44 weeks – peaking at number two behind Watership Down – selling a total of 125,000 copies. The paperback version was even more successful, topping book charts worldwide,[20] and by the time the film adaptation debuted in June 1975 the novel had sold 5.5 million copies domestically,[21] a number that eventually reached 9.5 million copies.[1] Worldwide sales are estimated at 20 million copies.[22] The success inspired the American Broadcasting Company to invite Benchley for an episode of The American Sportsman, where the writer wound up swimming with sharks in Australia, in what would be the first of many nature-related television programs Benchley would take part in.[8]

text: Critical reception[edit]

text: Despite the commercial success, reviews were mixed. The most common criticism focused on the human characters. Michael A. Rogers of Rolling Stone declared that "None of the humans are particularly likable or interesting" and confessed the shark was his favorite character "and one suspects Benchley's also."[23] Steven Spielberg shared the sentiment, saying he initially found many of the characters unsympathetic and wanted the shark to win, a characterization he changed in the film adaptation.[4]

text: Critics also derided Benchley's writing. Time reviewer John Skow described the novel as "cliché and crude literary calculation", where events "refuse to take on life and momentum" and the climax "lacks only Queequeg's coffin to resemble a bath tub version of Moby-Dick."[17] Writing for The Village Voice, Donald Newlove declared that "Jaws has rubber teeth for a plot. It's boring, pointless, listless; if there's a trite turn to make, Jaws will make that turn."[24] An article in The Listener criticized the plot, stating the "novel only has bite, so to say, at feed time," and these scenes are "naïve attempts at whipping along a flagging story-line."[25] Andrew Bergman of The New York Times Book Review felt that despite the book serving as "fluid entertainment", "passages of hollow portentousness creep in" while poor scene "connections [and] stark manipulations impair the narrative."[26]

text: Nevertheless, some reviewers found Jaws's description of the shark attacks entertaining. John Spurling of the New Statesman asserted that while the "characterisation of the humans is fairly rudimentary", the shark "is done with exhilarating and alarming skill, and every scene in which it appears is imagined at a special pitch of intensity."[27] Christopher Lehmann-Haupt praised the novel in a short review for The New York Times, highlighting the "strong plot" and "rich thematic substructure."[28] The Washington Post's Robert F. Jones described Jaws as "much more than a gripping fish story. It is a tightly written, tautly paced study," which "forged and touched a metaphor that still makes us tingle whenever we enter the water."[29] New York Magazine reviewer Eliot Fremont-Smith found the novel "immensely readable" despite the lack of "memorable characters or much plot surprise or originality"; Fremont-Smith wrote that Benchley "fulfills all expectations, provides just enough civics and ecology to make us feel good, and tops it off with a really terrific and grisly battle scene".[18]

text: In the years following publication, Benchley began to feel responsible for the negative attitudes against sharks that his novel engendered. He became an ardent ocean conservationist.[4] In an article for the National Geographic published in 2000, Benchley writes "considering the knowledge accumulated about sharks in the last 25 years, I couldn't possibly write Jaws today ... not in good conscience anyway. Back then, it was generally accepted that great whites were anthropophagus (they ate people) by choice. Now we know that almost every attack on a human is an accident: The shark mistakes the human for its normal prey."[30] Upon his death in 2006, Benchley's widow Wendy declared the author "kept telling people the book was fiction", and comparing Jaws to The Godfather, "he took no more responsibility for the fear of sharks than Mario Puzo took responsibility for the Mafia."[16]

text: Film adaptation[edit]

text: Richard D. Zanuck and David Brown, film producers at Universal Pictures, both heard about the book before publication at the same time. Upon reading it, both agreed the novel was exciting and deserved a feature film adaptation, even if they were unsure how to accomplish it.[3] Benchley's agent sold the adaptation rights for $150,000, plus an extra $25,000 for Benchley to write the screenplay.[7] Although this delighted the author, who had very little money at the time,[3] it was a low sum, as the agreement occurred before the book became a surprise bestseller.[31] After securing the rights, Steven Spielberg, who was making his first theatrical film, The Sugarland Express, for the Universal producers, was hired as the director.[32] To play the protagonists, the producers cast Robert Shaw as Quint, Roy Scheider as Brody and Richard Dreyfuss as Hooper.[33]

text: Benchley's contract promised him the first draft of the Jaws screenplay. He wrote three drafts before passing the job over to other writers;[31] the only other writer credited beside Benchley was the author responsible for the shooting script, actor-writer Carl Gottlieb.[33] Benchley also appears in the film playing a small onscreen role as a reporter.[34] For the adaptation, Spielberg wanted to preserve the novel's basic concept while removing Benchley's many subplots and changing the characterizations, having found the characters of the book unlikable.[31] Among the changes were the removal of the adulterous affair between Ellen Brody and Matt Hooper,[35] making Quint a survivor of the World War II USS Indianapolis disaster,[36] and changing the cause of the shark's death from extensive wounds to a scuba tank explosion.[37] The director estimated the final script had a total of 27 scenes that were not in the book.[35] Amity was also relocated; while scouting the book's Long Island setting, Brown found it "too grand" and not fitting the idea of "a vacation area that was lower middle class enough so that an appearance of a shark would destroy the tourist business." Thus now the setting was an island in New England, filmed in Martha's Vineyard, Massachusetts.[38]

text: Released on theaters in 1975, Jaws became the highest-grossing film ever at the time, a record it held for two years until the release of Star Wars.[39][40] Benchley was satisfied with the adaptation, noting how dropping the subplots allowed for "all the little details that fleshed out the characters".[8] The film's success lead to three sequels, which Benchley had no involvement despite drawing on his characters.[41] According to Benchley, once his payment of the adaptation-related royalties got late, he called his agent and she replied that the studio was arranging a deal for sequels. Benchley disliked the idea, saying, "I don't care about sequels; who'll ever want to make a sequel to a movie about a fish?" He subsequently relinquished the Jaws sequel rights, aside for a one-time payment of $70,000 for each one.[8]


document_title: Three-point field goal

question_text: when did 3 point shot start in nba

question_tokens: when did 3 point shot start in nba

root

text: Three-point field goal

text: History[edit]

text: The three-point line was first tested at the collegiate level in a 1945 NCAA game between Columbia and Fordham but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.

tag: p

text: The three-point shot later became popularized by the American Basketball Association after its introduction in the 1967–68 season. Then commissioner of the ABA George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[3] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the National Basketball Association (NBA).

text: In the 1979–80 season, after having tested it in the previous pre-season, the NBA adopted the three-point line despite the view of many that it was a gimmick.[4] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979. Kevin Grevey of the Washington Bullets also made one on the same day.

text: The sport's international governing body, FIBA, introduced the three-point line in 1984, at a distance of 6.25 m (20 ft 6 in).

text: The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[5][6] Ronnie Carr of Western Carolina University was the first to score a three-point field goal in college basketball history on November 29, 1980.[6][7][8] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference, and as far away as 22 feet in the Big Sky Conference.[9] Used in conference play, it was adopted by the NCAA for the 1986–87 men's season at 19 ft 9 in (6.02 m), and was first used in the NCAA Tournament in 1987.[10] In the same 1986–87 season, the NCAA adopted the three-pointer in women's basketball on an experimental basis, using the same 19 ft 9 in distance, and made its use mandatory beginning in 1987–88.[11] In 2007, the NCAA lengthened the men's three-point distance to 20 ft 9 in (6.32 m), with the rule coming into effect at the beginning of the 2008–09 season.[12] The NCAA women's three-point distance was moved to match the men's distance in 2011–12.[11] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[13]

text: During the 1994–95, 1995–96, and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3 inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[14]

text: In 2008, FIBA announced that the distance would be increased by 50 cm (19.69 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using FIBA's distance, too, as of the 2013 season. The NBA has discussed adding a four-point line, according to president Rod Thorn.[15]

text: Rule specifications[edit]

text: A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:

text:
Arc radius
Minimum distance from sidelines

National Basketball Association
23 feet 9 inches (7.24 m)
3 feet (0.91 m)
[16]

FIBA (also used by WNBA)
6.75 meters (22 ft 2 in)
0.90 meters (2 ft 11 in)
[17]

National Collegiate Athletic Association
20 feet 9 inches (6.32 m)
4 feet 3 inches (1.30 m)
[18]

American High school basketball
19 feet 9 inches (6.02 m)
5 feet 3 inches (1.60 m)
[19]

tag: table

text: A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.

text: An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[20] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.

text: If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.

text: Related concepts[edit]

text: Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.

text: In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).

text: During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.

text: The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[21]

text: The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.


document_title: National Treasure (film)

question_text: who is the fbi agent in national treasure

text: National Treasure (film)

text: Plot[edit]

text: Benjamin Franklin Gates is an American historian, cryptologist, and treasure hunter. As a child, his grandfather, John Adams Gates, told him of a story that Charles Carroll of Carrollton passed on a secret to their ancestor in 1832 of a fabled national treasure hidden in America by the Founding Fathers and Freemasons. The clue leading to the treasure is the phrase "The secret lies with Charlotte". While Ben is convinced by the story, his skeptical father, Patrick Henry Gates, dismisses it as nonsense.

text: Thirty years later, Ben leads an expedition with Ian Howe, and his friend, Riley Poole, a computer expert, to find the Charlotte, a ship lost in the Arctic, which holds the first clue to finding the national treasure. They find a meerschaum pipe, which has a clue implying the next is on the Declaration of Independence. When Ian suggests they steal the Declaration of Independence, Ben opposes, causing a fight to ensue resulting in a massive fire fueled by gunpowder, and the group split in two. Ian and his men escape the ship while Ben and Riley take cover just before the ship explodes.

text: Ben and Riley return to Washington D.C. and report the potential theft of the Declaration to the FBI and Dr. Abigail Chase of the National Archives, but both dismiss their claim. Ben decides to steal the document himself from the Archives' preservation room during a gala event. Obtaining Abigail's fingerprints, Ben successfully obtains the Declaration, but is spotted by Ian's group just as they break in to steal it. Ben tries to leave via the gift shop, but has to buy the Declaration when the clerk mistakes it for a souvenir copy; having not enough cash in hand at the time, Ben pays for it with a credit card. Abigail, suspecting something is astray, pursues Ben and takes back the document. Ian kidnaps her, but Ben and Riley rescue Abigail, tricking Ian by leaving behind a purchased copy of the Declaration. FBI Agent Sadusky begins tracking Ben down, using Ben's credit card information.

text: Unable to return home, the trio goes to Patrick's house. Patrick tries to convince Ben that the treasure is a myth, but Ben dismisses this. The trio then study the Declaration and discover an Ottendorf cipher written in invisible ink. The message refers to the Silence Dogood letters written by Benjamin Franklin. Patrick formerly owned them but donated them to the Franklin Institute. Using a school boy to acquire the letters' key words, Ben, Riley, and Abigail discover a message pointing to the bell tower of Independence Hall, where the Liberty Bell once stood, unfortunately Ian and his men question the school boy and pursue the new lead. A chase ensues throughout Philadelphia. Ben finds a hidden cache containing a pair of glasses with multiple colored lenses invented by Benjamin Franklin, which, when used to read the back of the Declaration, reveals a clue pointing to the symbol of Trinity Church which is located on Wall Street and Broadway in New York City.

text: The group is chased by Ian's associates. Ben is arrested by the FBI, while Abigail and Riley lose the Declaration to Ian. However, Abigail convinces Ian to help them rescue Ben in exchange for the next clue. Ian agrees, arranging a meeting at the USS Intrepid where they help Ben evade the FBI.

text: Ian returns the Declaration and asks for the next clue, but when Ben remains coy, Ian reveals he has kidnapped Patrick as a hostage. They go inside Trinity Church where they find an underground passage but it appears to lead to a dead end lit by a lone lantern. Patrick claims it is referencing the Midnight Ride of Paul Revere, pointing Ian to the Old North Church in Boston. Ian leaves Gates trapped in the chamber, heading for Boston. Patrick reveals the clue was a fake, then enter the treasure room but it seems looted. After a heart to heart between Ben and Patrick, they find a notch which the meerschaum pipe fits into, opening a large chamber containing the treasure, then escape through the back exit. Ben contacts Sadusky, actually a Freemason, surrendering the Declaration and the treasure's location in exchange for clemency. Ben tips the FBI off about Ian's whereabouts, and Ian and his men are ambushed by the FBI in Boston, and charged with kidnapping, attempted murder, and trespassing on multiple government properties.

text: Later, Ben and Abigail have started a relationship. Meanwhile, Riley is somewhat upset that Ben turned down the 10% finder's fee for the treasure but accepted a much smaller amount, which still has netted them all significant wealth.

text: Cast[edit]

text:
Nicolas Cage as Benjamin Franklin Gates:[2]An American treasure hunter and cryptologist.
Sean Bean as Ian Howe:An entrepreneur and treasure hunter who is a former friend of Benjamin Gates.[3]
Harvey Keitel as Agent Peter Sadusky:A FBI Special Agent in charge of the theft of the Declaration of Independence.
Jon Voight as Patrick Henry Gates:A former treasure hunter and the father of Benjamin Gates.
Justin Bartha as Riley Poole:A sarcastic computer expert and best friend of Benjamin Gates.
Diane Kruger as Dr. Abigail Chase:An archivist at the National Archives who aids in Benjamin Gates treasure hunting.
Christopher Plummer as John Adams Gates:The father of Patrick Gates and the grandfather of Benjamin Gates.
Hunter Gomez as young Benjamin Gates

tag: ul

text: Additionally, David Dayan Fisher appears as Shaw, Stewart Finlay-McLennan as Powell,  Oleg Taktarov as Victor Shippen, and Stephen Pope as Phil McGregor (all four being Ian's henchmen); Annie Parisse, Mark Pellegrino, Armando Riesco, and Erik King play agents Johnson, Dawes, Hendricks, and Colfax, respectively. Jason Earles portrays Thomas Gates.

text: Production[edit]

text: Development[edit]

text: Early 1999, it was revealed that Jon Turteltaub was developing National Treasure based upon an idea developed by Oren Aviv and Charles Segars two years earlier, with the script penned by Jim Kouf.[4] By 2001, the project was relocated to Touchstone Pictures.[5]

text: In May 2003, Nicolas Cage was cast as lead in the film.[6] New drafts were written by nine scribers, including Cormac and Marianne Wibberley,[6] E. Max Frye and Jon Turteltaub.[7] By October, Sean Bean was cast.[3]

text: Filming locations[edit]

text: National Treasure was filmed primarily in Washington, New York, Philadelphia and Utah. Most scenes were filmed on location, with the exceptions of the Independence Hall scene, which was filmed at the replica of Independence Hall at Knott's Berry Farm, and the Arctic scene, which was filmed in Utah.[8]

text: Soundtrack[edit]

text:
National Treasure (Original Score)Film score by Trevor RabinReleased
November 16, 2004Recorded
2004Genre
Stage & screenLength
38:45Label
HollywoodProducer
Trevor Rabin

text: Professional ratingsReview scoresSourceRatingAllMusic[9]

text: All tracks written by Trevor Rabin.

text: No.TitleLength1."National Treasure Suite"3:172."Ben"4:033."Finding Charlotte"1:044."Library of Congress"2:275."Preparation Montage"4:536."Arrival at National Archives"1:547."The Chase"4:228."Declaration of Independence"1:439."Foot Chase"3:3410."Spectacle Discovery"3:1811."Interrogation"4:3012."Treasure"3:39

text: Reception[edit]

text: Box office[edit]

text: National Treasure earned $11 million on its opening day in the United States, ahead of Paramount & Nickelodeon's The SpongeBob SquarePants Movie (which earned $9,559,752).[10][11] It grossed a combined total of $35,142,554 during its opening weekend, on 4,300 screens at 3,243 theaters, averaging $11,648  per venue, again ahead of The SpongeBob SquarePants Movie.[12][13][14][15] The film had the best opening weekend for a Disney film released in November, until it was surpassed by Chicken Little in 2005. It held on to the No. 1 spot for three weekends. In Japan National Treasure bested out the double-billing MegaMan NT Warrior: Program of Light and Dark and Duel Masters: Curse of the Deathphoenix by grossing $11,666,763 in its first week. The film closed on June 2, 2005 with its domestic gross being $173,008,894 while earning $174,503,424 internationally. Worldwide, National Treasure grossed over $347,512,318  against a budget of $100 million.

text: Critical reception[edit]

text: National Treasure received mixed reviews from critics, some of whom lauded it as a fun, straightforward family adventure, while others ridiculed its numerous implausibilities and unbelievable plot twists. On Rotten Tomatoes, the film has a rating of 44%, based on 169 reviews, with an average rating of 5.3/10. The site's consensus reads, "National Treasure is no treasure, but it's a fun ride for those who can forgive its highly improbable plot."[16] On Metacritic, the film has a score of 39 out of 100, based on 35 critics, indicating "generally unfavorable reviews."[17] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[18]

text: Roger Ebert gave the film 2/4 stars, calling it "so silly that the Monty Python version could use the same screenplay, line for line."[19] Academic David Bordwell has expressed a liking for the film, placing it in the tradition of 1950s Disney children's adventure movies,[20] and using it as the basis for an essay on scene transitions in classical Hollywood cinema.[21]

text: Awards[edit]

text:
Year

Association

Award Category

Notes

Result

2005

BMI Film & TV Awards

BMI Film Music Award

BMI Film Music Award for Trevor Rabin

Won

2005

Academy of Science Fiction, Fantasy & Horror Films, USA

Saturn Award for Best Action/Adventure/Thriller Film

Nominated

2005

Academy of Science Fiction, Fantasy & Horror Films, USA

Saturn Award for Best Supporting Actress

Diane Kruger

Nominated

2005

Teen Choice Awards

Movie: Action/Adventure

Nominated

2005

Visual Effects Society Awards

Outstanding Models and Miniatures in a Motion Picture

Matthew Gratzner, Forest Fischer, Scott Beverly,and Leigh-Alexandra Jacob, for the treasure room

Nominated

2005

World Stunt Awards

Taurus Award for Best Overall Stunt by a Stunt Woman

Lisa Hoyle

Nominated

2005

Young Artist Awards

Best Family Feature Film: Drama

Nominated

2005

Young Artist Awards

Best Performance in a Feature Film, Supporting Young Actor

Hunter Gomez

Nominated

text: Home video releases[edit]

text: Collector's Edition DVD[edit]

text: A special collector's edition, two-disc DVD set of the movie was released on December 18, 2007. The set features deleted scenes and bonus content.[22]

text: Blu-ray Disc[edit]

text: Walt Disney Studios Home Entertainment released Blu-ray Disc versions of National Treasure and its sequel, National Treasure 2: Book of Secrets, on May 20, 2008.[23]

text: Sequels[edit]

text: Although the DVD commentary stated that there were no plans for a sequel, the film's box office gross of an unexpected $347.5 million worldwide warranted a second film, which was given the green light in 2005. National Treasure: Book of Secrets was released on December 21, 2007.

text: In 2008, director Jon Turteltaub said that the filmmaking team will take its time on another National Treasure sequel.[24] In October 2013, Turteltaub confirmed that the studio, himself, producer Jerry Bruckheimer and the actors all want to do the third film, saying: "We want to do the movie, Disney wants to do the movie. We're just having the damnedest time writing it. I'll bet that within two years, we'll be shooting that movie. I'd say we're about half-way there."[25] In May 2016, Nicolas Cage confirmed the film was still in the writing process,[26] and in July 2018, Turtletaub reiterated that a script for a possible third film was "close" but Disney still wasn't completely sold by the idea.[27]


document_title: I Can Only Imagine (film)

question_text: who did the singing for bart in the movie i can only imagine

text: I Can Only Imagine (film)

text: Plot[edit]

text: Coming from a home with an abusive father, 10-year-old Bart Millard is dropped off at a Christian camp by his mother, where he meets Shannon. Upon his return from camp, Bart finds his mother has left and movers are removing her belongings, leading to a physical confrontation with his father Arthur, who takes custody of him.

text: Years later, Millard is in Lakeside high school and dating Shannon. Hoping to impress his father, he begins playing football. However, he is injured, breaking both ankles and ending his career. In order to make up the credits he would miss from football, he signs up for music class, the only available class left. Initially, Millard is assigned to be a sound technician. After the director catches him singing in the empty auditorium of Lakeside high school, she casts him as Curly, the lead role in the school production of Oklahoma. He doesn't tell his father of his role in the play, and while Bart has risen to the singing demands of the part, Arthur subsequently collapses with severe abdominal pain, but refuses to tell Bart or Shannon about his cancer diagnosis. The following morning, Millard voices his frustrations with his father and is assaulted by his father, who smashes a plate over his head. Shannon presses Bart to open up, but he responds by breaking up with her and leaving to seek his fortune in the city after graduation.

text: Millard then connects with the band who would become MercyMe, and eventually attracts the attention of Christian music producer Scott Brickell (Trace Adkins), who coaches Millard and gets them a showcase in Nashville, leading to meetings with Amy Grant (Nicole DuPort) and Michael W. Smith (Jake B. Miller). Millard has been unable to reconcile with Shannon, who rejects his invitation to tour with the band to their upcoming Nashville showcase. While the band felt their performance was the best of their career, industry representatives reject the band as not being good enough to sell records. In despair, Millard quits the band. After talking with Brickell, who encourages him to resolve his issues with his father, Millard rejoins the band but asks they wait for him to confront his father and settle the conflict before they play again.

text: Millard returns home and is greeted enthusiastically by his father, who prepares breakfast for him the next morning. His father claims to have become a Christian, but Bart is initially skeptical and rejects his father's offer to start over. In anger, Arthur takes a baseball bat and hits his old Jeep, which he had hoped to repair with his son. As Bart prepares to leave, he finds out his father has terminal cancer. Bart and his father reconcile and form a deep bond before Arthur dies of his illness.

text: After his father's funeral, Millard rejoins the band and writes "I Can Only Imagine". Brickell sends the demo tape to several artists, including Grant, who, deeply moved by the song, asks to record it herself as her next single. The band accepts Grant's offer. Millard is seated in the audience when Grant intends to unveil the song live in concert. However, Grant decides that Millard should be the one to sing the song, and offers it back to him, calling him to the microphone to sing it before the large audience. Millard's unexpected performance is wildly applauded and he reunites with Shannon, who had also been in attendance at the concert. The band releases the song as their first single, achieving success on Christian and mainstream radio.

text: Cast[edit]

text:
J. Michael Finley as Bart Millard

Brody Rose as Young Bart

Dennis Quaid as Arthur Millard, Bart's father
Tanya Clarke as Adele
Cloris Leachman as Meemaw, Bart's grandmother
Madeline Carroll as Shannon, Bart's girlfriend

Taegen Burns as Young Shannon

Trace Adkins as Scott Brickell, MercyMe's manager
Priscilla Shirer as Mrs. Fincher, Bart's teacher
Nicole DuPort as Amy Grant
Jake B. Miller as Michael W. Smith
Mark Furze as Nathan

text: Production[edit]

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

text: The film was announced in December 2016.[4] Dennis Quaid joined the cast in January 2017.[5] Broadway actor J. Michael Finley makes his film debut as Bart Millard.[1] The same month, it was announced that the film was slated for release in the spring of 2018.[5] In August 2017, Lionsgate and Roadside Attractions signed on as distributors for the film for a nationwide release in the United States.[1][6]

text: Reception[edit]

text: Box office[edit]

text: As of May 13, 2018[update], I Can Only Imagine has grossed $82.4 million in the United States, and Canada and $1.1 million in other territories, for a worldwide total of $83.5 million, against a production budget of $7 million.[2] It is the third-highest grossing music biopic of all-time in the United States, behind Straight Outta Compton and Walk the Line.[7]

text: The film was released on March 16, 2018, alongside Tomb Raider and Love, Simon, and was originally projected to gross $2–4 million from 1,620 theaters in its opening weekend.[8] However, after making $6.2 million on its first day (including $1.3 million from Thursday night previews), weekend estimates were increased to $14 million.[9] It ended up grossing $17.1 million, exceeding expectations and finishing third at the box office behind Black Panther and Tomb Raider. 67% of the opening weekend audience was female while 80% was over the age of 35.[10] It was the fourth best-ever opening for a faith-based film, following The Passion of the Christ ($83.8 million), Son of God ($25.6 million) and Heaven Is for Real ($22.5 million).[11] In its second weekend the film was added to 624 additional theaters and dropped just 19% to $13.8 million, again finishing third.[12] It was added to another 395 venues and finished fourth in its third weekend, making $10.4 million (including $3 million on Easter Sunday).[13] The film was released on iTunes and Google Play on June 5, 2018, and on DVD and Blu-ray on June 12, 2018.

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of 71% based on 24 reviews, and an average rating of 6/10. The site's critical consensus reads, "I Can Only Imagine's message will have the most impact among Christian audiences, but overall, its performances and storytelling represent a notable evolution in faith-based cinema."[14] On Metacritic, the film has a weighted average score of 29 out of 100, based on 7 critics, indicating "generally unfavorable reviews".[15] Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, one of fewer than 80 films in the history of the service to earn such a score.[9]

text: The Arizona Republic's James Ward gave the film 4/5 stars and wrote, "Too often faith-based films — say anything with Kirk Cameron or the terrible God's Not Dead series — tend to preach to the choir or hector their audience. The Erwins’ films — I Can Only Imagine definitely among them — are more inclusive, charitable of spirit and hopeful, all qualities that are always appreciated, be they rooted in Christian faith or otherwise."[16] David Ehrlich of IndieWire gave the film a "C–" saying: "There’s a reason why all of these movies are so amateurishly made; why they all end with links to religious websites; why they all look like they were shot on an iPhone by a Walmart-brand Janusz Kaminski who lit each interior like the white light of heaven was streaming through every window...Art can be affirmation, but affirmation cannot be art."[17]


document_title: A Goofy Movie

question_text: who sang for powerline in a goofy movie

question_tokens: who sang for powerline in a goofy movie

text: A Goofy Movie

text: Plot[edit]

text: Goofy is the single father of a 14-year old teenage boy named Max Goof in the town of Spoonerville, Ohio, though the two have a tense relationship. On the last day of school before summer vacation, Max and his best friends P.J. and Robert "Bobby" Zimmeruski hijack the auditorium stage in the middle of Principal Mazur's speech, creating a small concert where Max performs, while costumed as the pop singer Powerline. The performance succeeds in making Max a school celebrity and impressing his love interest, Roxanne; but he, P.J. and Bobby are sent to Mazur's office. Roxanne speaks with Max and agrees to go with him to a party where Powerline's concert will be aired live. However, Mazur exaggerates these events to Goofy, making Max look like a gang member, and forewarns him that Max's actions may result in him facing capital punishment.

text: Goofy decides to take Max on a fishing trip to Lake Destiny, Idaho, following a map route he and his father took years ago, and the two go into his station wagon. However, he is oblivious to what Max is planning to do with Roxanne. Max stops by Roxanne's house to call off their date, but when Roxanne says she will just have to go with someone else, Max instead fabricates a story about his father knowing Powerline; he tells her he will be on stage at the concert.

text: Despite his son's objections, Goofy plans his own trip, with initially disastrous results. Max hurts his father's feelings after his father humiliates him at an opossum-based theme park. While camping, Pete and P.J. join them. Following Pete's advice to keep Max under control, Goofy takes his son fishing and performs the Perfect Cast fishing technique, luring Bigfoot to their camp. Pete and P.J. flee, leaving Goofy and Max to spend the night with Bigfoot. At night, while Goofy is still asleep, Max alters the map route to Los Angeles, where the concert is taking place.

text: The next morning, Goofy decides to make Max the navigator of the trip. The two go to several locations that satisfy both of them. They stop by a motel where they meet Pete and P.J. again. When Pete overhears a conversation between Max and P.J., he tells Goofy that Max has tricked him in traveling to Los Angeles. The next day, Goofy and Max come to a junction: One leading to Idaho, the other to California. Max chooses the route to California, making Goofy stop the car at the Grand Canyon and storm off in anger. With the brake loose, the car drives off on its own; Goofy and Max chase after it and end up in the canyon. Goofy reveals that no matter how old Max gets, he will always be his son and the two reconcile with each other. After learning that Max had promised Roxanne that he would be at the concert, Goofy decides to take him to Los Angeles. The two nearly plummet down a waterfall to their deaths, but Max fortunately saves Goofy, using the Perfect Cast technique.

text: Goofy and Max get to Los Angeles, and while attempting to sneak backstage, they end up onstage and dance with Powerline, watched by Pete, P.J. and Roxanne on separate televisions. Goofy and Max later return to Roxanne's house in their damaged car. Max tells the truth to Roxanne, though she accepts it and admits she always had feelings for him, ever since he first said, "Ahyuck!"; thus, a relationship starts between them. Goofy's car suddenly explodes due to the damage it has sustained, ejecting Goofy in the process, but he safely falls through the porch roof of Roxanne's house, and Max proceeds to introduce him to Roxanne.

text: Voice cast[edit]

text:
Jason Marsden as Max Goof

Aaron Lohr as his singing voice

Bill Farmer as Goofy
Jim Cummings as Peter Pete
Kellie Martin as Roxanne
Rob Paulsen as P.J. Pete
Pauly Shore (uncredited) as Robert "Bobby" Zimmeruski
Jenna von Oÿ as Stacy
Wallace Shawn as Principal Arthur Mazur
Julie Brown as Lisa
Joey Lawrence as Chad
Tevin Campbell as Powerline
Frank Welker as Bigfoot
Kevin Lima as Lester
Florence Stanley as Waitress
Jo Anne Worley as Miss Maple
Wayne Allwine as Mickey Mouse
Pat Buttram as Possum Park Emcee
Herschel Sparber as Security guard
Pat Carroll as Restaurant waiter
Corey Burton as Wendell
Brittney Alyse Smith as Photo Studio Girl

text: Production[edit]

text: A Goofy Movie was the directorial debut for Disney crew member Kevin Lima, who went on to direct the Disney films Tarzan (1999), 102 Dalmatians (2000), and Enchanted (2007).[4] In 1995, Lima said that "Instead of just keeping Goofy one-dimensional as he's been in the past, we wanted to give an emotional side that would add to the emotional arc of the story. We wanted the audience to see his feelings instead of just his antics."[5]

text: The main characters of this film, specifically Goofy, Max Goof, Pete and PJ, are based on their incarnations in the Goof Troop television show, albeit slightly older: Max and PJ are high-school aged rather than middle-schoolers. However, other characters that had been established in Goof Troop do not appear in this film, such as Pete's wife Peg, his daughter Pistol, and pets Waffles and Chainsaw. Goofy and Pete retain their classic looks from the 1940s cartoons as opposed to the looks that they had in the 1950s cartoons and Goof Troop.

text: Although based upon a Disney TV series, A Goofy Movie was jointly produced by Walt Disney Feature Animation, Walt Disney Television Animation, Disney MovieToons, Walt Disney Animation France S.A. and Walt Disney Animation Australia. Pre-production was done at the main WDFA studio in Burbank, California, starting as early as mid-1993. The animation work was done at Walt Disney Animation France in Paris, France supervised by Paul and Gaëtan Brizzi, with additional scenes animated at Disney's studio in Sydney, Australia under the direction of Steve Moore, and clean-up work done at the main Burbank studio.[6][7] Additional clean-up/animation was done by Phoenix Animation Studios in Canada, and digital ink and paint by the Pixibox studio in France.[8]

text: Music[edit]

text: The score for A Goofy Movie was provided by Carter Burwell and Don Davis.[9] Bobby Brown was the original choice for Powerline and had some songs recorded but was replaced. Some of the songs Brown did for the movie were revamped and ended up on his Forever album.[citation needed] The songs "I 2 I" and "Stand Out" were performed by R&B singer Tevin Campbell. The soundtrack album for A Goofy Movie was released by Walt Disney Records on March 18, 1995.[10] Mitchell Musso covered the song "Stand Out" for the DisneyMania 7 album, which was released on March 9, 2010.[11]

text:
A Goofy Movie Original Soundtrack

No.
Title
Length

1.
"I 2 I" (Tevin Campbell)
4:37

2.
"After Today" (Aaron Lohr and Chorus)
2:21

3.
"Stand Out" (Tevin Campbell)
3:00

4.
"On the Open Road" (Bill Farmer, Aaron Lohr, and Chorus)
3:01

5.
"Lester's Possum Park" (Kevin Quinn and Chorus)
1:25

6.
"Nobody Else But You" (Bill Farmer and Aaron Lohr)
2:35

7.
"Opening Fanfare / Max's Dream / Transformation"
1:25

8.
"Deep Sludge"
2:35

9.
"Bigfoot"
1:50

10.
"Hi Dad Soup"
2:04

11.
"Runaway Car"
2:14

12.
"Junction"
1:32

13.
"The Waterfall! / The Truth"
2:17

text: Release[edit]

text: A Goofy Movie was originally scheduled for a November 1994 theatrical release,[12] but production setbacks resulted in a push-back to 1995, while The Lion King was reissued to fill in for the film's absence.[13] The film's premiere took place on April 5, 1995, at the AMC Pleasure Island at Walt Disney World Resort in Lake Buena Vista, and was attended by director Kevin Lima and voice stars Bill Farmer and Jenna von Oy. On the 7th, it was released nationwide.[14]

text: Home media[edit]

text: The film was first released on VHS by Walt Disney Home Video on September 6, 1995, and included a music video for the Parachute Express song Doctor Looney's Remedy on their video, Come Sing with Us. In the UK, it was released in theaters succeeding the Mickey Mouse short Runaway Brain on October 18, 1996, and on VHS in 1997. It was reissued on June 20, 2000, along with a DVD version as part of the short-lived Walt Disney Gold Classic Collection. To date, this film and Doug's 1st Movie are the only two Disney animated films produced in widescreen that have pan and scan-only Region 1 DVD releases (not counting separate widescreen and pan and scan DVD releases of the two Disney/Pixar films The Incredibles and Cars). However, the film's PAL and NTSC (Japan) counterpart does have a non-anamorphic widescreen DVD, and the film is available in a letterbox presentation on LaserDisc.

text: Reception[edit]

text: Critical response[edit]

text: A Goofy Movie holds a score of 53% at Rotten Tomatoes, based on reviews from 15 critics.[15]

text: Variety's Todd McCarthy criticized the film's score, calling the six featured songs "unmemorable". He also felt that the personality of Goofy's character, while agreeable enough in support, proved a bit over the top for a headliner, and that "by any reasonable reckoning, he's distinctly overbearing and selfish, and responds with a bland dismissal to any opinion offered up by his son". McCarthy praised the film's technical aspects, calling them "crisp and clean".[6] Louis Black of The Austin Chronicle summed up his review by saying the film was "bland, a barely television-length cartoon stretched out to fill a feature, and not much fun".[5]

text: Siskel and Ebert both approved of the movie, praising the color scheme and the "sweet" father-son plot, and gave it three stars.[16]

text: Box office[edit]

text: A Goofy Movie was considered a relative success for Disney, opening in 2,159 theaters at #2 on its opening weekend with $6,129,557 - held from the #1 spot only because of the Will Smith blockbuster Bad Boys that opened the same weekend, with $15,523,358 in box office returns.[17] It ultimately ended its run at the US box office grossing $35,348,597 - coming in as the 51st highest-grossing domestic film in 1995.[3]

text: Accolades[edit]

text: The film was nominated for "Best Animated Feature" in the production categories and "Best Production Design", "Best Storyboarding", "Best Music", and "Best Animation" in the individual categories at the 23rd Annie Awards.[18]

text: Sequel[edit]

text: A sequel to this film was released in 2000, titled A Goofy Movie 2: An Extremely Goofy Movie. The sequel involves Max's freshman year in college. Characters that returned for the sequel were Goofy, Max, PJ, Pete, and Bobby, but Roxanne, Max's love interest, is absent from the sequel and is not referenced. Roxanne later appeared in the television series, House of Mouse in the episode titled "Max's Embarrassing Date", where she was voiced by Grey DeLisle instead of Kellie Martin.

text: Reunion[edit]

text: On August 14, 2015, a 20th anniversary reunion for the film occurred at the D23 Expo at Anaheim Convention Center in Anaheim, California.[19] Those in attendance included Bill Farmer, Jason Marsden, Jim Cummings, Rob Paulsen, Jenna von Oy, and producer Don Hahn. Wallace Shawn, Pauly Shore, and director Kevin Lima also sent video messages.[19] The panel also included musical performances from Farmer, Marsden, and Tevin Campbell.[19][20]


document_title: I Love You, Man

question_text: who plays zoe in i love you man

question_tokens: who plays zoe in i love you man

text: I Love You, Man

text: Plot[edit]

text: Peter Klaven (Paul Rudd), a Los Angeles real estate agent, proposes to his girlfriend Zooey Rice (Rashida Jones), and she accepts. Peter seems to not have any close friends to share the good news with, only family and mainly female acquaintances. After overhearing Zooey's friends voicing their concerns over his lack of close male friends, Peter decides that he needs to find male friends in order to have a best man for the upcoming wedding.

text: Peter turns to his gay younger brother, Robbie (Andy Samberg), for advice on dealing with men. He makes a series of overtures toward various men, including Barry (Jon Favreau), the persistently hot-headed husband of Zooey's friend Denise who doesn't really like Peter all that much to begin with. A problem that only escalates when Peter inadvertently projectile-vomits on Barry after winning a beer-drinking contest and is kicked out of Barry's house.

text: Feeling rejected, Peter is about to give up, when during an open house at Lou Ferrigno's mansion which Peter is trying to sell, he meets Sydney Fife (Jason Segel), an investor who is attending the showing simply to pick up divorced women and take advantage of the free food. The two quickly become friends, especially bonding over their mutual adoration of the progressive rock band Rush. Peter introduces Sydney to Zooey at their engagement party, but the meeting takes an unfortunate turn when a nervous Sydney makes a very awkward toast.

text: The next night, Peter agrees to attend a Rush concert with Sydney, on the condition that he can bring Zooey. During the concert, Zooey is left feeling ignored by Peter and Sydney. The next day, while shopping for tuxedos, Sydney asks Peter why he is marrying Zooey, and also asks for an $8,000 loan. After some thought, Peter decides to lend Sydney the money, and later grants him the honor of being best man at his wedding. Zooey, meanwhile, has become suspicious of Sydney. Peter tells Zooey that he lent Sydney money and asks her if she knows why they are getting married, since he had no answer to Sydney's question. Hurt and angry, Zooey leaves.

text: Peter leaves for work the next morning only to discover that Sydney has used the $8,000 loan to purchase several ridiculous billboard advertisements promoting Peter's real estate business (using pictures of Peter he took of him on his iPhone). Still upset over his fight with Zooey, Peter confronts Sydney and decides to end their friendship. Peter then patches things up with Zooey, explaining to her that while he is nervous, he is ready to get married. While Zooey and Peter prepare for the wedding, Sydney finds himself alone and desperate to hang with someone.

text: At work, Peter discovers that Sydney's billboard advertising campaign was successful. Feeling encouraged, Peter finally stands up to his insufferable colleague, Tevin Downey (Rob Huebel), who had been badgering Peter for half the selling rights to the lucrative Ferrigno property. When Tevin makes one final attempt to get a piece of the Ferrigno listing, Peter slaps him across his face and tells him to stay away from it.

text: Peter feels bad about fighting with Sydney but does not re-invite him to the wedding. Instead, he assembles an array of random groomsmen that includes Robbie, father Oswald (J. K. Simmons), and Ferrigno. Before the wedding, Zooey sees Peter looking forlorn, clearly missing his friend Sydney. She calls and invites Sydney, who is, unbeknownst to them, already en route to the wedding. Just before the vows are to be taken, Sydney makes a dramatic entrance via moped. He informs Peter and Zooey that he is, in fact, a successful investor and returns the money he borrowed from Peter, stating that the billboards were the couple's wedding present. Peter and Zooey declare their love to each other, Sydney assumes the role of best man, and the wedding commences.

text: As the end credits begin to roll, we see the wedding reception, where Peter and Sydney join the hired band (played by OK Go) in a rendition of the Rush song "Limelight" pulling Zooey on stage to join them. After the song ends, Sydney attempts to toast the newlyweds and Peter runs to frantically stop him as the screen cuts out (still remembering Sydney's ill-advised toast at the engagement dinner.)

text: Cast[edit]

text:
Paul Rudd as Peter Klaven
Jason Segel as Sydney Fife
Rashida Jones as Zooey Rice
Andy Samberg as Robbie Klaven
Josh Cooke as Alan, Robbie's boyfriend
J. K. Simmons as Oswald Klaven
Jane Curtin as Joyce Klaven
Jaime Pressly as Denise McLean
Jon Favreau as Barry McLean
Sarah Burns as Hailey
Lou Ferrigno as Himself
Rob Huebel as Tevin Downey
Aziz Ansari as Eugene
Nick Kroll as Larry
Mather Zickel as Gil
Thomas Lennon as Doug Evans
Murray Gershenz as Mel
Joe Lo Truglio as Lonnie
Jay Chandrasekhar as Barry's friend
David Krumholtz as Sydney's friend
Carla Gallo as Zooey's friend
Larry Wilmore as Minister
Rush (Geddy Lee, Alex Lifeson, and Neil Peart) as themselves
OK Go as The Wedding Band "Tastes Like Chicken"

text: Production[edit]

text: "I really wrote my own version of the script, so my version was always going to be R-rated. I wanted to discuss sex, I wanted to discuss - there were blowjobs in the movie, there was Sydney Fife's character who's no way he could live in a PG-13 universe. It wasn't like trying to be raunchy or gratuitous, it was just like, I think most people live in an R-rated world."" — John Hamburg, Director/Co-Writer/Producer[4]

text: The script, Let's Be Friends, was originally written by Larry Levin.[5] It was purchased but went unused for about 11 years before the film was made.[6] Hamburg was offered the script and kept turning it down, but after his friends moved to Los Angeles he was inspired by the experience of trying to meet more friends to give it a shot. When Hamburg finally took the script he rewrote it to make it as real as possible.[4] The film was originally announced in December 2007, with production originally scheduled for March 2008.[7] In March 2008, Variety revealed that producer Ivan Reitman's Montecito Pictures officially began production on I Love You, Man during the week of March 31, 2008.[8]

text: Casting[edit]

text: I Love You, Man is the third collaboration between Paul Rudd and Jason Segel, following the Judd Apatow projects Knocked Up and Forgetting Sarah Marshall, while writer/director John Hamburg previously worked with Segel on Apatow's Undeclared television series.[9] It only took one lunch to get Segel and Rudd to sign on to do the film and this set the stage for other actors to sign on.[10] On February 13, 2008 it was announced that Rashida Jones would be in the female lead opposite Rudd.[11] Later, in an interview with firstshowing.net, Jones revealed that because Segel and Rudd were already attached to the project she "knew immediately that it was gonna be even funnier than I would think."[12] At the beginning of the March 31, 2008 week, The Hollywood Reporter announced that Jaime Pressly had joined the film's cast, playing the best friend of Rashida Jones' character.[13] Hamburg comically stated that he was lucky in casting J.K. Simmons because his contract states "he has to be in one out of every four movies made."[14] Jon Favreau started working on the film the same week Iron Man came out, a film which he directed. He said he "probably wouldn't have agreed to have done it had I known my life was going to be that shape", but Iron Man star Robert Downey, Jr. told him that "It is the best thing you could do" — he said 'chop wood, carry water,' which is what they do in the Kung Fu movies to keep you humble."[15]

text: Anwar Sadat[edit]

text: One of late President of Egypt Anwar Sadat's daughters filed a lawsuit against the filmmakers because, in the film, Sydney's dog is named after her father. He tells Peter that he thinks "they look exactly alike." Samir Sabri, the lawyer in the case, asked the US embassy to apologize. Complaints have been raised by Egyptian bloggers as well.[16] In the Arab world, "dog" is often used as an insult, and, in the more specific context of Islam, dogs have historically been seen as unclean.

text: Rush[edit]

text: Rush were approached by Hamburg, a fan of the band, to appear in the film. The filming schedule was tight because there was a one-day window between two of their concerts on tour. The band later said that they enjoyed the experience.[17] Hamburg felt that "once Rush got that I wasn't poking fun at them, that I'm genuinely a fan and the main characters of the movie are fans and it's kind of a loving tribute to them, I think that's when they came on board."[18] Subsequently, both Rudd and Segel appeared in character as Peter and Sydney alongside the members of Rush in a short video played at the end of concerts during the band's 2010-11 Time Machine Tour.[19] In August 2013, Rudd reprised his character at the final show of Rush's Clockwork Angels Tour, conducting the Clockwork Angels Orchestra (a string section which accompanied the band) during the song "YYZ."[20] In 2015, on Rush's R40 Live Tour, Rudd and Segel were again featured among a number of celebrities in an accompanying rear-screen video lip-synching the rap section to the song "Roll the Bones".

text: Release[edit]

text: Critical reception[edit]

text: I Love You, Man received largely positive reviews, with critics mainly praising the chemistry between Rudd and Segel, as well as the supporting performances.

text: Film review website Rotten Tomatoes gives it an overall approval rating of 84% based on 200 reviews, with the critical consensus stating, "I Love You, Man makes the most of its simple premise due to the heartfelt and hilarious performances of Paul Rudd and Jason Segel."[21] Metacritic gives it a weighted average score of 70% based on reviews from 34 critics.[22]

text: Giving the film three out of four stars, Peter Travers with Rolling Stone said that despite the formulaic plot, "It's the variations that Rudd and Segel spin on this theme that make the movie hugely enjoyable." He also praised the supporting cast.[23] Entertainment Weekly gave the film an A, and said that "Paul Rudd gives a startlingly funny and original performance."[24] USA Today gave the film a glowing review, stating "the movie works because everything hinges on the camaraderie and undeniable chemistry between Rudd and Segel."[25] More conservatively, People magazine said the movie "sails along on goodwill and blush-worthy bawdiness," but concluded that "like instant chocolate pudding, it goes down easy — even if it isn't especially good for you."[26]

text: The film was not without its critics. Peter Rainer of The Christian Science Monitor was not impressed with the film, and after noting that the character Sydney seemed to be written for Owen Wilson, Rainer remarked, "Maybe Wilson was busy. Lucky him."[27] The Colorado Daily described the relationship between the male leads as a "watered-down false bromance", noting that the pace of their relationship seemed "rushed", and that Peter was looking out for his wife rather than his best friend.[28]

text: Box office[edit]

text: In its U.S. opening weekend, the film made $17,810,270 in 2,711 theaters, ranking number two at the box office. The film grossed $71,440,011 domestically and $20,196,975 internationally making $91,636,986 worldwide. I Love You, Man was able to stay in the box office top ten for five weeks. This places it at number 27 of films released in 2009.[2]

text: Home media[edit]

text: The film was released on Blu-ray and DVD by Paramount Home Entertainment instead of DreamWorks Home Entertainment on August 11, 2009 in the US and August 24, 2009 in Europe and as of November 2009 generated more than $22 million in DVD sales. I Love You, Man was ranked number two in sales during its opening week and declined from there.[29] The DVD extras contains an hour and a half of content including a full performance of "Limelight."[30]

text: Awards[edit]

text: The film has been nominated for Best Kiss for the 2009 MTV Movie Awards for the smooch between Thomas Lennon's character Doug and Rudd's Peter, but lost to Twilight.[31] It was also nominated for a GLAAD Media Award for "Outstanding Film - Wide Release" during the 21st GLAAD Media Awards.[32]

text: Soundtrack[edit]

text:
I Love You, Man

Soundtrack album by Various Artists

Released
March 17, 2009 (2009-03-17)

Length
49:11

Label
Lakeshore Records

Producer
Theodore Shapiro

text:
Professional ratings

Review scores

Source
Rating

Allmusic
[33]

SoundtrackNet
[34]

text:
Track #
Title
Performer
Length

1
"Good Times"
Latch Key Kid
2:30

2
"Oxford Comma"
Vampire Weekend
3:15

3
"Tom Sawyer"
Rush
4:35

4
"Set You Free"
The Black Keys
2:45

5
"Lights Out"
Santigold
3:12

6
"Soul of a Man"
Beck
2:37

7
"Limelight"
Rush
4:20

8
"Good Times Roll"
The Cars
3:47

9
"Campus"
Vampire Weekend
2:56

10
"Mr. Pitiful"
Matt Costa
2:55

11
"Dancing With Myself"
The Donnas
3:28

12
"Waterslide"
The Bonedaddys
3:54

13
"Limelight"
Paul Rudd & Jason Segel
4:22

14
"Ain't That a Kick in the Head?"
Dean Martin
2:26

15
"Peter and Zooey"
Teddy Shapiro
2:17