document_title: X-Men: Days of Future Past

question_text: who played magneto in days of future past

root

text: X-Men: Days of Future Past

text: Plot[edit]

text: In a dystopian future,[A] Sentinels have been programmed to identify and hunt down mutants and their human allies who carry the mutant gene for extermination. During a Sentinel raid which overwhelms nearly every mutant in Russia, Kitty Pryde sends Bishop's consciousness back in time a few days before the attack, in an effort to warn the other mutants so as to ensure their survival.

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text: Professor Charles Xavier and other mutant survivors later meet Kitty Pryde at a remote Chinese temple, and explains the history of the Sentinels, which were designed by Bolivar Trask, whom Mystique assassinated in 1973; Mystique's DNA was then modified by scientists to advance the Sentinel program. Using Kitty's ability to send a mutant's consciousness back in time, Xavier and Magneto plan to alter history by preventing Trask’s assassination. While Xavier initially plans to be the candidate, Wolverine volunteers instead since his regenerative powers would allow him to survive the process.

text: After awakening in his younger body in 1973, Wolverine arrives at the X-Mansion, discovering the school has been shut down and that the younger Xavier can walk due to a specialized serum suppressing his mutant abilities. Hoping to reunite with Mystique, Xavier agrees to help Wolverine and busts Erik Lensherr out of his prison cell under the Pentagon, aided by Hank McCoy and Peter Maximoff.

text: Mystique discovers Trask has been experimenting on mutants and in revenge plots to assassinate him at the Paris Peace Accords. Her vengeance results in failure after Xavier, Hank, and Wolverine intervene, and Erik attempts to kill her to prevent the Sentinel takeover from happening. During the fight, Hank, Erik, and Mystique expose themselves as mutants to the world. Trask takes advantage of this event and successfully convinces President Richard Nixon to initialize the Sentinel program.

text: Erik obtains his signature helmet to block out Xavier’s psychic powers and secretly takes control of Trask's Sentinel prototypes. Xavier abandons the serum, regaining his mutant power, and communicates with his future self, who inspires him to protect the relationship between mutants and mankind. After using Cerebro to track Mystique, he, Hank and Wolverine take flight to Washington, D.C. to put an end to her assassination plot on Trask.

text: At a ceremony where Nixon unveils the Sentinels, Xavier, Hank, and Wolverine search for the disguised Mystique. Magneto appears, controlling the Sentinels, and uses the Robert F. Kennedy Memorial Stadium to surround the White House. Hank transforms into Beast and fights a Sentinel. Wolverine confronts Magneto, but is thrown into the Potomac River. Nixon, Trask, and Mystique hide in a safe room beneath the White House, but Magneto rips it out of the building with the intention of killing the U.S. President.

text: In the future, the Sentinels launch an attack on the X-Men, slaying most of them. In the present, Xavier persuades Mystique to spare Trask after she saves President Nixon from Magneto, altering history and erasing the Sentinels from existence. Magneto and Mystique both leave, one a criminal, the other a hero; and Trask is jailed for attempting to sell U.S. military secrets to Vietnamese officials.

text: Wolverine wakes up at the mansion in the present day to find Iceman, Rogue, Colossus, Kitty, Beast, Storm, Jean Grey, Scott Summers and Xavier all alive. Wolverine speaks to Xavier, who is also aware of the changes in history. Back in 1973, the younger Wolverine is rescued by Mystique, who is disguised as William Stryker.

text: In a post-credits scene, an Egyptian crowd is seen chanting to En Sabah Nur, who telekinetically elevates building blocks to forge pyramids as four horsemen observe him from afar, hinting the sequel X-Men: Apocalypse'.[7][8]

text: Cast[edit]

text: Hugh Jackman as Logan / Wolverine

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text: James McAvoy and Patrick Stewart as Charles Xavier / Professor X

text: Michael Fassbender and Ian McKellen as Erik Lehnsherr / Magneto

text: Jennifer Lawrence as Raven Darkhölme / Mystique

text: Halle Berry as Ororo Munroe / Storm

text: Nicholas Hoult and Kelsey Grammer as Dr. Hank McCoy / Beast

text: Anna Paquin as Marie / Rogue

text: Ellen Page as Kitty Pryde / Shadowcat

text: Peter Dinklage as Bolivar Trask

text: Shawn Ashmore as Bobby Drake / Iceman

text: Omar Sy as Bishop

text: Evan Peters as Peter Maximoff / Quicksilver

text: Josh Helman as Major William Stryker

text: Daniel Cudmore as Peter Rasputin / Colossus

text: Fan Bingbing as Blink

text: Adan Canto as Sunspot

text: Booboo Stewart as Warpath

text: Additionally, Famke Janssen and James Marsden reprise their roles as Jean Grey and Scott Summers / Cyclops respectively in cameo appearances. Lucas Till reprises his role as Alex Summers / Havok. Evan Jonigkeit portrays Mortimer Toynbee / Toad. Gregg Lowe portrays Eric Gitter / Ink. X-Men comic-book writers Len Wein and Chris Claremont appear as United States congressmen. Michael Lerner plays Senator Brickman. Mark Camacho portrays U.S. President Richard Nixon. Singer cameos as a man with a small film camera as Magneto walks away after Mystique's escape in Paris. In a post-credits scene, Brendan Pedder portrays the ancient mutant, En Sabah Nur.[43]

text: Production[edit]

text: Development[edit]

text: Producer Lauren Shuler Donner stated in August 2006 that a continuation of the X-Men main film series would require a renegotiation. New cast members of X-Men: The Last Stand were signed, while the older cast members were not.[44] Donner said, "There is forty years worth of stories. I've always wanted to do 'Days of Future Past' and there are just really a lot of stories yet to be told".[45] She later pitched the idea of a fourth installment of the X-Men franchise to director Bryan Singer, following the completion of the 2011 prequel X-Men: First Class.[46] In March 2011, Donner said the film was in "active development at Fox"; she said, "We took the treatment to Fox and they love it... And X4 leads into X5".[47]

text: 20th Century Fox saw X-Men: First Class as the first film of a new X-Men trilogy.[48] Donner compared the franchise plans to the darker, more mature content of the Harry Potter film series.[49] Early reports said Matthew Vaughn and Singer were returning to direct and produce the sequel, respectively.[50] While still attached to the project as a director, Vaughn said, "First Class is similar to Batman Begins, where you have the fun of introducing the characters and getting to know them, but that takes time. But with the second one, you can just get on with it and have a rollicking good time. That's the main difference between Batman Begins and The Dark Knight".[51] Describing the possible beginning of the film, Vaughn said, "I thought it would be fun to open with the Kennedy assassination, and we reveal that the magic bullet was controlled by Magneto".[52] Singer said the film could be set around the civil rights movement or the Vietnam War,[53] and that Wolverine could once again be featured.[54] Singer also talked about "changing history" in an interview with Empire magazine. He said he does not want people to panic about events in the past "erasing" the storylines of the previous X-Men films, as he believes in multiverses, explaining the possibility of certain events can exist equally in the histories of alternate universes.[55]

text: Writing[edit]

text: Kinberg said the main focus of this film was the future of the X-Men film series. With the use of cast members from the original trilogy and from First Class, they needed to decide the sequels' destination.[18] In preparation for the film, Kinberg studied films about time travel, including Back to the Future, The Terminator, and Terminator 2: Judgment Day. Singer originated a philosophy and a set of rules for the time travel in the film so the story would be as plausible as possible.[18]

text: According to Kinberg, as they were writing the script, they thought it is sensible that Wolverine was traveling between time periods, because of his ageless look and ability to heal rapidly.[18] He further stated of making Wolverine the time traveler, "We made the decision for a lot of reasons ... he's the protagonist of the franchise, and probably the most beloved character to a mass audience".[56] Kinberg and Vaughn considered Bishop and Cable candidates for the role of time traveler.[11] Kinberg said Rachel Summers was in the first draft of the script; she sent Wolverine back to 1973. The character was later replaced with Kitty Pryde, to whom Kinberg gave a secondary power of sending people's consciousnesses into the past.[57] Juggernaut, Jubilee, Nightcrawler and Psylocke were also considered for the film.[58][59][60][61]

text: Singer was asked how the film integrates the themes of the earlier X-Men films; he said, "It establishes that some villain characters may have been right with their fears. It confronts the notions of hope and second chances. Its characters that are lost trying to find themselves. In X-Men 1 and 2, the characters had come into their own and knew who they were. In this one, they're all lost and they're trying to keep it together".[62]

text: Pre-production[edit]

text: In November 2011, Simon Kinberg—co-writer of X-Men: The Last Stand and co-producer of X-Men: First Class—was hired to write the film's screenplay.[63] In May 2012, 20th Century Fox announced the film would be released on July 18, 2014.[64] The release was later moved forward to May 23, 2014.[65] In August 2012, the title for the film was confirmed to be X-Men: Days of Future Past. The film is inspired by Chris Claremont and John Byrne's X-Men comic book storyline, "Days of Future Past", which introduced the idea of an alternate future for mutants that grew from the Brotherhood of Evil Mutants' killing of a senator, leading to a future in which mutants are hunted by Sentinels.[66]

text: In October 2012, Vaughn left the role of director to focus on Mark Millar's Kingsman: The Secret Service (2014).[67] Singer was later announced as the film's director; it was his third directorial role in the X-Men film series.[68] In preparation for the film, Singer approached James Cameron to discuss time travel, string theory and multiverses.[69] In the same month, Richard Stammers was approached to be the visual effects supervisor, as Singer liked his work in the 2012 film Prometheus.[70]

text: Singer brought back most of the crew he had in X-Men and X2. In December 2012, two long-absent designers were hired: production designer John Myhre, who had only done X-Men, and costume designer Louise Mingenbach —who also did X2 and X-Men Origins: Wolverine.[71][72] In February 2013, John Ottman—who aside from X-Men, collaborated on all of Singer's works since the 1995 film The Usual Suspects—was confirmed to work on the music and the editing of the film.[73]

text: Casting[edit]

text:
"I decided that the next time I got myself involved in a movie that had a huge amount of attention already that I would use Twitter. As a way of connecting with fans, principally. And also as a way of clearing up misunderstandings so that people know. You know, they may hear that an actor is cast or hear somebody is going to be in it, but until I say it's so, that's the confirmation".[74]
—Bryan Singer explaining the Twitter presence of the film.

tag: div

text: Singer used the online social networking service Twitter to announce casting of the film.[74] In November 2012, he announced that James McAvoy, Michael Fassbender, Jennifer Lawrence and Nicholas Hoult would reprise their roles from X-Men: First Class. Later the same month, he announced that Patrick Stewart and Ian McKellen would reprise their respective roles as the older versions of the characters played by McAvoy and Fassbender.[75][76][77] In December, Singer announced that Hugh Jackman would reprise his role as Wolverine.[78]

text: In January 2013, Singer announced that Anna Paquin, Shawn Ashmore, and Ellen Page would reprise their roles of Rogue, Iceman, and Kitty Pryde.[79][80] In February, Singer announced that Peter Dinklage would star in the film as the main antagonist.[81] In March, Singer announced that French actor Omar Sy had joined the cast.[82] Halle Berry said in an interview that she would reprise her role as Storm, which was followed by an announcement from Singer that Berry would be in the film.[83][84] Singer tweeted a picture of the cast, which confirmed that Daniel Cudmore would return as Colossus and that Fan Bingbing and Booboo Stewart had joined the cast.[85]

text: In April, Singer announced that American singer and songwriter Lady Gaga had joined the cast as Dazzler,[86] but it was later revealed as an April Fools' Day prank.[74] Singer retweeted a photograph of himself, Adan Canto, and confirmed cast members Patrick Stewart, McKellen, and Ashmore, which was followed by a confirmation from Canto that he had joined the cast.[87] In May, Singer announced that Evan Peters had been cast as Quicksilver.[88] In June, Australian actor Josh Helman was cast in a role.[89] In July, Singer tweeted a picture of actor Lucas Till on the set of the film, which confirmed that he was returning as Havok.[90] In January 2014, Evan Jonigkeit had been cast as the younger version of Toad.[91]

text: Filming[edit]

text: X-Men: Days of Future Past had a production budget of $205 million.[2] Principal photography began on April 15, 2013, at Mel's Cité du Cinema in Montreal, Canada, and ended on August 17, 2013.[92][93][94] Filming had to begin in April 2013 to accommodate the cast's individual schedules.[18] Olympic Stadium, Montreal City Hall, and McGill University were also used as filming locations.[95][96] An aerial plate unit was sent to film in Washington, D.C.[70] Additional filming took place in Montreal in November 2013 and February 2014.[97][98] According to the Calgary Herald, the film is the second most expensive produced by 20th Century Fox after Avatar (2009).[99] Comic book writer Chris Claremont said in an interview that he was consulted for the film.[100]

text: X-Men: Days of Future Past is the first X-Men film to be filmed in native 3D; it was shot using Arri Alexa-M cameras with Leica Prime lenses and Fujinon Zoom lenses, along with 3ality Technica TS-35 camera rigs and Stereo Image Processor (SIP) technology systems.[101][102] Director of photography Newton Thomas Sigel was asked about using Arri Alexa-M cameras; he said, "For Bryan and myself, the Alexa has been almost the gateway to getting the look we like in film". Sigel added that the Arri Alexa-M camera's small size was a big advantage to the film's main unit, which carried three 3D rigs. The film also used the Alexa XTs for the production's 2D work.[103]

text: Production designer John Myhre said his work load was "six months squeeze[d] down in to 3-4 months", given the sets were massive but he did not have the usual time to design and build before principal photography began. The lue underground hallways and Cerebro sets were faithful recreations of the sets seen in the first X-Men, albeit ransacked and damaged to imply the government had raided the mansion.[71] The sets had many hidden "Xs", including the staircase of the X-Mansion. Myrhe said he wanted to embrace the 1970s setting in the same way First Class embraced its 1960s setting,[18] and costume designer Louise Mingenbach also drew heavily from 1970s styles for the clothing seen in the 1973 scenes. Hoult wore corduroys, Jackman a wooden-paneled buckle and a peacock-print shirt, and McAvoy wore a brown leather jacket. Peters wore 1981-inspired clothing; this was Mingenbach's way of showing Quicksilver's irreverence for the exact time and place. In one scene, Mingenbach gave Fassbender as the younger Erik Lehnsherr a fedora as a nod to the one the character wore in the first X-Men film.[14] For the future period of the film, Mingenbach wanted a darker, slightly futuristic and tactical look for the characters. This included changing the suit Patrick Stewart had previously worn as Xavier to battle fatigues.[14]

text: The Sentinels had two separate versions, to depict how the earlier prototypes built by Trask in the 1970s evolved into the adaptable killing machines of the dystopian future.[104] Singer described the 1973 version as "a little fun and stylish but also a little retro", with a key element being that they are made of plastic to be unaffected by Magneto's powers. Myhre used styles from molded plastics from the 1970s to design Sentinels from that period,[18] and cited inspiration from both the cars of the decade and "those wonderful TV sets that were round with smoked glass panels". The overall style was bulky to fit "the traditional idea of a robot looks like",[104] and drew the most from the comics version, such as the purple color and a humanoid shape, while trying to stand out on its own with its retro design.[105] The robots' ability to fly was compared to a Harrier Jump Jet, as the Sentinels had vertical takeoff and could glide. Life-sized Sentinels were built by Legacy Effects to be featured on the set, and had articulated joints to be fully poseable. The sound effects averted metallic noises, while adding woof effects on the Sentinels' footsteps to display its weight on the ground.[104]

text: On the other hand, the future Sentinels would resemble "giant versions of Mystique" to show how their technological development was based on studying the shapeshifting mutant's DNA. Thus their design is sleek and feminine, with a body covered in mechanical scales that move during the process of adapting to a mutant's attack, while also featuring angular and dark faces to enhance the intimidation. The future robots would feature what Singer described as "biomechanical technology to transform to adapt to other mutants, to take on their physicality and some of their powers to use against mutantkind", which the director imagined to be fueled by nanotechnology and "the ability to really change things almost at a molecular level". The Sentinels' heads would also open up as an extra weapon, and for straighter combat the robots could create blades and spikes out of their limbs. The crackling sound of the robots' scales was made by rubbing riveted belts on shale rocks.[16][104]

text: For the future setting of the film, a set featuring a hillside monastery was built. Myhre was inspired by Chinese temples built on the sides of cliffs. The future set also featured a mixture of architectural styles from China, India, and Indonesia. Part of the set was a big wall, which was inspired by the Great Wall of China.[105]

text: Visual effects[edit]

text:
X-Men: Days of Future Past had 1,311 visual effects shots produced by twelve studios. Richard Stammer served as the overall effects supervisor based on his work for Prometheus.[70] The leading company was Moving Picture Company, who created the future Sentinels and worked on the sequences involving the X-Jet and Cerebro's red virtual world.[70] The Sentinels' scaled bodies were created by adapting a tool originally developed to create hair and fur, which would later evolve into creating a proxy representation of each individual scale as a "follicle".[16] Another major contributor was Digital Domain, with effects from the 1973 portion that encompassed nearly a third of the work. These included the Sentinels, Mystique's transformations and eyes, and various digital environments. Digital augmentation turned a remote airstrip into a Vietnam prisoner camp and added Paris' famed mansard rooftops to the Montreal locations. The environment work based on Washington, D.C. required the team to study period references of the National Mall and White House, and photograph almost all of RFK Stadium to create a detailed digital replica.[106]
Rising Sun Pictures created a sequence considered by many reviewers the centerpiece of the film's effects, where Quicksilver uses his super speed in the Pentagon kitchen. Depicting how, to a speedster, actions in real time come down to a virtual standstill, objects float around in slow motion. After doing LIDAR scan of the kitchen set, the digital recreation added many computer generated props  - cooking gear, cutlery, vegetables and water released by a fire sprinkler system - rendered in near microscopic detail regarding placement and lighting, particularly because the footage had to work in 3D. To simulate Quicksilver running on the walls, Evan Peters and a stunt double were filmed in both the set being suspended by a harness and on a treadmill that stood in front of a chroma key green screen. Only Peters' legs were digitally replaced.[16][107] Despite the sequence only having 29 effects shots,[70] it required nearly seven months of work from RSP's team of 70 artists.[108]

text: Rhythm and Hues Studios worked on Beast's transformations, the creation of Xavier's plane, and speed effects for Quicksilver. They also worked with Digital Domain on the sequence featuring the inside of the 1973 Sentinel.  Mokko Studio worked on Mystique's eyes and costume fixes. Cinesite worked on the future New York City in the opening prologue along with clean-ups, wire removals, and production fixes. Fuel VFX worked on holographic effects and Havok's mutant powers. Vision Globale worked on visual effects relating to a dream and flashback sequence. Hydraulx, Lola and Method Studios handled a number of compositions and production fixes. The Third Floor worked on extensive story-boarding and visualisation.[70]

text: Music[edit]

text: Director Bryan Singer’s regular collaborator John Ottman worked on the score of the film, in addition to being its editor.[109] Ottman is the first composer to score more than one film in the X-Men film series, having previously scored X2 (2003). This also marked the first time a theme from a previous X-Men film has been retained; Ottman re-used some of his themes from X2, most notably the main title theme. While Ottman retained the same style of "lyrical and build upon character themes that would weave in and out of the film and done in a straight orchestral sense" that he had used in X2, following Singer's request he tried to compose "something more 'modern'" that could be compared to other contemporary superhero scores, and not follow Henry Jackman' score for First Class. The 1970s setting inspired the inclusion of "synthesized elements with some analog synths and electric piano and bass and some guitar".[110] The film score was released on digital download on May 16, 2014, on CD on May 26, 2014, and on vinyl on August 4, 2014.[111][112][113] The Rogue Cut also got a soundtrack album, released on July 10, 2015, by Sony Classical Records.[114]

text:
X-Men: Days of Future Past (Original Motion Picture Soundtrack)Film score by John OttmanReleased
May 26, 2014 (2014-05-26)Genre
Film scoreLength
76:28Label
Sony ClassicalJohn Ottman chronology

Non-Stop (2014)Non-Stop2014

X-Men: Days of Future Past(2014)

Krampus(2015)Krampus2015

X-Men soundtrack chronology

The Wolverine(2013) The Wolverine2013

X-Men: Days of Future Past(2014) X-Men: Days of Future Past2014

Deadpool(2016) Deadpool2016

tag: table

text: Track listing[edit]

text: No.TitleLength1."The Future – Main Titles"2:442."Time's Up"4:183."Hope (Xavier's Theme)"4:484."I Found Them"2:525."Saigon/Logan Arrives"4:366."Pentagon Plan/Sneaky Mystique"3:257."He Lost Everything"1:518."Springing Erik"3:339."How Was She"1:4710."All Those Voices"3:1911."Paris Pandemonium"7:4512."Contacting Raven"1:4813."Rules of Time"3:0714."Hat Rescue"1:3015."Time's Up" (Film Version)3:3416."The Attack Begins"5:0417."Join Me"3:2018."Do What You Were Made For"2:5619."I Have Faith in You/Goodbyes"2:2720."Welcome Back/End Titles"3:5821."Time in a Bottle" (Performed by Jim Croce)2:2722."The First Time Ever I Saw Your Face" (Performed by Roberta Flack)5:20Total length:76:28

text: Release[edit]

text: The world premiere of X-Men: Days of Future Past occurred at the Jacob K. Javits Convention Center in New York City on May 10, 2014.[115][116] It was released in international markets in 2D and 3D theaters on May 21, 2014, and in the United States on May 23, 2014.[4] Premiere events were also held in London, Beijing, Moscow, Singapore, São Paulo, Melbourne, and Tokyo.[117]

text: Marketing[edit]

text: In June 2013, 20th Century Fox presented a set tour video of X-Men: Days of Future Past at the CineEurope conference in Barcelona; director Bryan Singer acted as the tour guide.[118] The set tour video was included with the home video release of the 2013 film The Wolverine.[119] In July 2013, Singer, writer Simon Kinberg, producers Lauren Shuler Donner and Hutch Parker, together with cast members Jennifer Lawrence, Evan Peters, Omar Sy, Ellen Page, Shawn Ashmore, Anna Paquin, Halle Berry, Ian McKellen, Patrick Stewart, Hugh Jackman, James McAvoy, Michael Fassbender, Nicholas Hoult, and Peter Dinklage presented at the 2013 San Diego Comic-Con International. Footage from the film was screened.[120] In August 2013, Singer presented footage from the film at the Fantasia International Film Festival.[121] In March 2014, 20th Century Fox presented footage from the film at CinemaCon.[122] In April 2014, Page presented footage from the film at the 2014 MTV Movie Awards. Kinberg and Dinklage attended WonderCon to discuss the film.[123][124] Singer withdrew from the publicity rounds for the film because of  a lawsuit alleging sexual abuse filed against him.[125] In July 2014, 20th Century Fox and Oculus Rift presented a "virtual reality experience" in 2014 San Diego Comic-Con International. Attendees were given a chance to sit in a replica of Professor X's wheelchair and virtually hunt Mystique in the San Diego Convention Center.[126]

text: In July 2013, a mid-credits scene teasing X-Men: Days of Future Past was attached to the theatrical release of The Wolverine.[127] The scene, set two years after the events of The Wolverine, depicts Wolverine going through an airport security checkpoint while a commercial for Trask Industries plays in the background. Suddenly, Wolverine notices that all the metal objects around him start to shake and levitate. He turns around to see Magneto, who says he needs Wolverine's help to combat a threat to all mutants. When Wolverine asks Magneto why he should trust him, the people around them freeze as Xavier approaches Wolverine and assures him that Magneto is telling the truth. Adam Pockross of Yahoo! Movies described the mid-credits scene as the coolest part of The Wolverine and wrote, "Boom! And that's how you tease the next film: by giving us so much to chew on, yet so few answers".[128]

text: The first official trailer for X-Men: Days of Future Past was released in October 2013.[129] Jason Callina of Herald News gave the trailer a positive response, saying, "it is fantastic to see characters that I grew up with in the flesh ... we still have to wait till the end of May to see if Fox succeeded, but for now they have my interest".[130] Ben Child of The Guardian criticized the trailer for the number of characters that will appear in the film. Child wrote, "overloading the movie with superheroes might please fans of the comic books, but the rest of us will be chewing on our own spleens when the umpteenth brightly coloured dude turns up to spout one line of dialogue, then drop off the map".[131]

text: A mid-credits scene teasing X-Men: Days of Future Past was attached to the theatrical release of The Amazing Spider-Man 2 in April 2014. In the scene, which is set during the Vietnam War, Mystique tries to infiltrate a military camp led by William Stryker to recruit fellow mutants Havok, Ink, and Toad. The Amazing Spider-Man 2 director Marc Webb had an existing contract with Fox Searchlight Pictures to direct another film following 500 Days of Summer (2009). After The Amazing Spider-Man, Webb's negotiations with Sony Pictures Entertainment stalled because of his commitment to Fox. Fox eventually agreed to allow Webb to direct the sequel of The Amazing Spider-Man, and in exchange, Sony promoted the X-Men film without charge.[132] In addition, three viral websites were launched before the release of the film—Trask-Industries.com in July 2013, TheBentBullet.com in November 2013 and 25Moments.com in April 2014.[133][134][135] To further promote the film, Jackman made a guest appearance on the April 28, 2014, episode of WWE Raw.[136][137][138] The segment received mixed reactions.[139]

text: Promotional partners[edit]

text: In July 2013, CKE Restaurant Holdings, Inc. and 20th Century Fox announced a promotional partnership for the theatrical release of X-Men: Days of Future Past. The promotion included advertising, in-restaurant merchandising, collectors' cups, and a film-themed burger—The Western "X-Tra" Bacon Thickburger[140] sold it CKE Restaurants outlets Hardee's and Carl's Jr.. Zachary Eller, senior vice president of marketing partnerships & promotions at 20th Century Fox, said, "their fun and irreverent advertising campaigns are a great fit with our film and we couldn't be more thrilled to join together to feed mutants everywhere!".[141]

text: Mountain Dew partnered with the film to promote it globally; the promotion included prizes, a television commercial, online exclusives, in-store and in-theater advertisements, and commemorative packaging featuring X-Men characters from future and past. Anna Roca, senior vice president of international promotions at 20th Century Fox, stated, "The adventurous, energetic attitude of [Mountain Dew's] fan base mirrors the franchise's own—and their international reach helps bring our beloved mutants to more corners of the world than ever before".[142]

text: In March 2014, Virgin Trains launched an 11-car Pendolino train, which featured the film characters on the carriages, at London's Euston station to promote the film. Hugh Jackman and James McAvoy attended the launch.[143]

text: Kia Motors collaborated with 20th Century Fox to promote the home media release of the film with a Wolverine-themed Sorento. The SUV made its debut at the 2015 Australian Open, with a series of videos featuring Rafael Nadal teaming up with the X-Men to save the tennis event from the Sentinels.[144]

text: Home media[edit]

text: In June 2014, cable network FX acquired the television rights to X-Men: Days of Future Past.[145] The film was released by 20th Century Fox Home Entertainment on digital download on September 23, 2014, and on DVD, Blu-ray and Blu-ray 3D on October 14, 2014.[146] In the United Kingdom, it was released on November 10, 2014.[147] Three versions were released; a Deluxe Edition containing the Blu-ray 3D, Blu-ray and digital download; a Blu-ray and digital download combo pack; and a single-disc DVD.[146]

text: The Rogue Cut[edit]

text: 20th Century Fox Home Entertainment released an alternate version of the film, titled The Rogue Cut, on July 14, 2015. It added 17 minutes of previously unused footage, including a subplot involving Anna Paquin's character Rogue, whose role was reduced to a brief cameo in the theatrical release.[148] The Rogue Cut was also screened at the 2015 San Diego Comic-Con International.[149]

text: In the Rogue Cut, Rogue's role is more consequential, and the narrative is more complex: When Kitty Pryde is accidentally wounded after Wolverine's consciousness experiences a phase between past and future from seeing Stryker in 1973, Bobby Drake (Iceman) proposes breaking into the heavily guarded remains of Cerebro at the former X-Mansion, the one place where Xavier's mind cannot reach others from the outside, in order to rescue Rogue, who is being held captive there. Xavier, Magneto, and Iceman succeed in rescuing Rogue, but at the cost of Iceman's life. Rogue uses her power to take over for Kitty in regards to keeping Wolverine's mind in 1973, for the remaining time until the moment history is changed, with a suggestion that Wolverine is aware of the switch as he appears to feel Rogue's presence. The Sentinels are able to find the X-Men through a tracking device inside a Sentinel's hand that was severed from the X-Jet during their escape. In another scene, Mystique spends the night at the X-Mansion, revisits her previous romance with Beast, and destroys Cerebro the next morning in order to prevent Xavier from finding her. A new mid-credits scene shows Bolivar Trask imprisoned at the Pentagon cell for selling military secrets to foreign countries.

text: Reception[edit]

text: Box office[edit]

text: Worldwide, X-Men: Days of Future Past earned $262.8 million during its opening weekend, the highest worldwide opening weekend for an X-Men film.[150] The film grossed $233.9 million in the USA & Canada and $513.9 million in other markets for a worldwide gross of $747.9 million, making it the highest-grossing entry in the X-Men film series before being surpassed by Deadpool two years later.[4]

text: In the United States and Canada, the film earned $8.1 million from Thursday night showings, which is the highest late night opening for an X-Men film.[151] It was also the highest-grossing film during its opening weekend, earning $90.8 million, which made it the second-highest opening weekend of the series, at the time, behind X-Men: The Last Stand ($102.8 million).[152] During the four-day Memorial Day weekend, it earned $110.6 million.[152] The audience was 56% male and 59% were older than 25.[152]

text:
Elsewhere, the film was the highest-grossing film during its opening weekend, taking $172 million, making it Fox International's highest opening weekend.[153] The film's highest-grossing debuts were in China, South Korea, the United Kingdom, Ireland, and Malta.[154] It was also the highest-grossing debut for a 20th Century Fox film in 11 markets, including South Korea, Brazil, the Philippines, and India.[152] It became the highest-grossing X-Men film in Argentina, Australia, Austria, Belgium, Brazil, China, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Finland, France, Hong Kong, Hungary, India, Israel, Italy, Malaysia, Lebanon, Mexico, the Netherlands, New Zealand, Norway, the Philippines, Poland, Singapore, Slovakia, South Korea, Sweden, Thailand, the United Kingdom & Ireland, and Venezuela.[154]
[155][156][157][158][159][160]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes X-Men: Days of Future Past has an approval rating of 90% based on 300 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "X-Men: Days of Future Past combines the best elements of the series to produce a satisfyingly fast-paced outing that ranks among the franchise's finest installments".[161] On Metacritic, the film has a score of 74 out of 100, based on 43 critics, indicating "generally favorable reviews".[162] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[152]

text: Sean O'Connell of Cinema Blend gave the film four and a half stars out of five, and said it was "the greatest, most complete and staggeringly entertaining [X-Men film] to date".[163] Empire gave it four out of five stars and called it, "The best X-Men film since the second one".[164]  Steve Rose of The Guardian rated the film three stars out of five; he said, "Non-devotees might struggle, but director Bryan Singer whips up the action towards a symphonic climax".[165] David Rooney of The Hollywood Reporter said, "While it's more dramatically diffuse than the reboot and lacks a definitive villain, the new film is shot through with a stirring reverence for the Marvel Comics characters and their universe".[166] Justin Chang of Variety said, "If the characters' quandaries at times feel overly circumscribed, they're also advanced with a bracing emotional directness, devoid of either cynicism or sentimentalism, that touches genuine chords of feeling over the course of the film’s fleet 130-minute [sic] running time".[167] In 2016, James Charisma of Playboy ranked the film #8 on a list of 15 Sequels That Are Way Better Than The Originals.[168]

text: In contrast, Robbie Collin of The Daily Telegraph rated the film two stars out of five and called the plot "a curate's egg, thoroughly scrambled". He concluded, "The film squanders both of its casts, reeling from one fumbled set-piece to the next. It seems to have been constructed in a stupor, and you watch in a daze of future past".[169] Simon Abrams, writing for RogerEbert.com, gave the film two-and-a-half stars out of four, calling it a "visually driven and paint-by-numbers-plot". Abrams was critical of the undeveloped subplots that built up because the film's pacing left little time to develop each element of the story set in the 1970s.[170]

text: Following criticism of X-Men: The Last Stand for killing off major characters such as Professor Charles Xavier, Cyclops, and Jean Grey, X-Men: Days of Future Past has subsequently been viewed by some critics as a revision of those controversial plot elements in X-Men: The Last Stand.[171]

text: Accolades[edit]

text:
Year

Award

Category

Recipient

Result

Ref.

2014

Golden Trailer Awards

Best Summer 2014 Blockbuster Trailer

X-Men: Days of Future Past

Nominated

[172]

Teen Choice Awards

Choice Movie: Sci-Fi/Fantasy

Nominated

[173][174]

Choice Movie Actress: Sci-Fi/Fantasy

Halle Berry

Nominated

Choice Movie: Villain

Michael Fassbender

Nominated

Choice Movie: Scene Stealer

Nicholas Hoult

Nominated

Ellen Page

Nominated

Young Hollywood Awards

Best Cast Chemistry – Film

X-Men: Days of Future Past

Nominated

[176]

Favorite Flick

Nominated

Fan Favorite Actor – Female

Jennifer Lawrence

Nominated

Super Superhero

Nicholas Hoult

Nominated

2015

People's Choice Awards

Favorite Movie

X-Men: Days of Future Past

Nominated

[177]

Favorite Action Movie

Nominated

Screen Actors Guild Awards

Outstanding Performance by a Stunt Ensemble in a Motion Picture

Nominated

[178]

AACTA Awards

Best Visual Effects

Nominated

[179]

Visual Effects Society Awards

Outstanding Visual Effects in a Visual Effects Driven Photoreal/Live Action Feature Motion Picture

Ricard Stammers, Blondel Aidoo, Lou Pecora, Anders Landlangs, Cameron Waldbauer

Nominated

[180]

Outstanding Virtual Cinematography in a Photoreal/Live Action Feature Motion Picture

Austin Bonang, Casey Schatz, Dennis Jones, Newton Thomas Sigel for the "Kitchen Scene"

Won

Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture

Adam Paschke, Premamurti Paetsch, Sam Hancock, Timmy Lundin for "Quicksilver Pentagon Kitchen"

Won

British Academy Film Awards

Best Special Visual Effects

X-Men: Days of Future Past

Nominated

[181]

Academy Awards

Best Visual Effects

Nominated

[182]

Saturn Awards

Best Comic-to-Film Motion Picture

Nominated

[183]

Best Director

Bryan Singer

Nominated

Best Editing

John Ottman

Nominated

Best Costume

Louise Mingenbach

Nominated

Best Make-up

Adrien Morot, Norma Hill-Patton

Nominated

Kids' Choice Awards

Favorite Female Action Star

Halle Berry

Nominated

[184]

Ellen Page

Nominated

Favorite Male Action Star

Hugh Jackman

Nominated

Favorite Movie Actor

Nominated

MTV Movie Awards

Best Villain

Peter Dinklage

Nominated

[185]

Empire Awards

Best Sci-Fi/Fantasy

X-Men: Days of Future Past

Won

[186]

2016

Saturn Awards

Best DVD/BD Special Edition

X-Men: Days of Future Past (The Rogue Cut)

Won

[187]

text: Sequel[edit]

text: In December 2013, Singer announced X-Men: Apocalypse, an X-Men film acting as a sequel to X-Men: Days of Future Past.[188] Singer directed from a script by Simon Kinberg, Dan Harris, and Michael Dougherty.[189] Kinberg said it would take place in 1983 and would also complete a trilogy that began with X-Men: First Class. Released in 2016, Apocalypse features the ancient mutant  En Sabah Nur, who was introduced in the Days of Future Past post-credits scene,[7] awakening in the 1980s and deciding to destroy modern civilization and take over the world.[61][190] Jennifer Lawrence, James McAvoy, Michael Fassbender, Nicholas Hoult, Evan Peters,  Lucas Till and Hugh Jackman reprise their roles, along with Rose Byrne, who returned as Moira MacTaggert from X-Men: First Class.[191] Filming began in April 2015 in Montreal, Quebec for a May 27, 2016, release.[188][192]


document_title: Great Pyramid of Giza

question_text: how long did it take to make the great pyramid of giza

text: Great Pyramid of Giza

text: History and description

text: Egyptologists believe the pyramid was built as a tomb for the Fourth Dynasty Egyptian pharaoh Khufu (often Hellenicised as "Cheops") and was constructed over a 20-year period. Khufu's vizier, Hemiunu (also called Hemon), is believed by some to be the architect of the Great Pyramid.[2] It is thought that, at construction, the Great Pyramid was originally 280 Egyptian Royal cubits tall (146.5 metres (480.6 ft)), but with erosion and absence of its pyramidion, its present height is 138.8 metres (455.4 ft). Each base side was 440 cubits, 230.4 metres (755.9 ft) long. The mass of the pyramid is estimated at 5.9 million tonnes. The volume, including an internal hillock, is roughly 2,500,000 cubic metres (88,000,000 cu ft).[3]

text: Based on these estimates, building the pyramid in 20 years would involve installing approximately 800 tonnes of stone every day. Additionally, since it consists of an estimated 2.3 million blocks, completing the building in 20 years would involve moving an average of more than 12 of the blocks into place each hour, day and night. The first precision measurements of the pyramid were made by Egyptologist Sir Flinders Petrie in 1880–82 and published as The Pyramids and Temples of Gizeh.[4] Almost all reports are based on his measurements. Many of the casing stones and inner chamber blocks of the Great Pyramid fit together with extremely high precision. Based on measurements taken on the northeastern casing stones, the mean opening of the joints is only 0.5 millimetre wide (1/50 of an inch).[5]

text: The pyramid remained the tallest man-made structure in the world for over 3,800 years,[6] unsurpassed until the 160-metre-tall (520 ft) spire of Lincoln Cathedral was completed c. 1300. The accuracy of the pyramid's workmanship is such that the four sides of the base have an average error of only 58 millimetres in length.[7] The base is horizontal and flat to within ±15 mm (0.6 in).[8] The sides of the square base are closely aligned to the four cardinal compass points (within four minutes of arc)[9] based on true north, not magnetic north,[10] and the finished base was squared to a mean corner error of only 12 seconds of arc.[11]

text: The completed design dimensions, as suggested by Petrie's survey and subsequent studies, are estimated to have originally been 280 Egyptian Royal cubits high by 440 cubits long at each of the four sides of its base. The ratio of the perimeter to height of 1760/280 Egyptian Royal cubits equates to 2π to an accuracy of better than 0.05% (corresponding to the well-known approximation of π as 22/7). Some Egyptologists consider this to have been the result of deliberate design proportion. Verner wrote, "We can conclude that although the ancient Egyptians could not precisely define the value of π, in practice they used it".[12] Petrie, author of Pyramids and Temples of Gizeh concluded: "but these relations of areas and of circular ratio are so systematic that we should grant that they were in the builder's design".[13] Others have argued that the Ancient Egyptians had no concept of pi and would not have thought to encode it in their monuments. They believe that the observed pyramid slope may be based on a simple seked slope choice alone, with no regard to the overall size and proportions of the finished building.[14] In 2013, rolls of papyrus called the Diary of Merer were discovered written by some of those who delivered limestone and other construction materials from Tora to Giza.[15]

text: Materials

text: The Great Pyramid consists of an estimated 2.3 million blocks which most believe to have been transported from nearby quarries. The Tura limestone used for the casing was quarried across the river. The largest granite stones in the pyramid, found in the "King's" chamber, weigh 25 to 80 tonnes and were transported from Aswan, more than 800 km (500 mi) away. Traditionally,[clarification needed] ancient Egyptians cut stone blocks by hammering into them wooden wedges, which were then soaked with water. As the water was absorbed, the wedges expanded, causing the rock to crack. Once they were cut, they were carried by boat either up or down the Nile River to the pyramid.[16] It is estimated that 5.5 million tonnes of limestone, 8,000 tonnes of granite (imported from Aswan), and 500,000 tonnes of mortar were used in the construction of the Great Pyramid.[17]

text: Casing stones

text: At completion, the Great Pyramid was surfaced by white "casing stones" – slant-faced, but flat-topped, blocks of highly polished white limestone. These were carefully cut to what is approximately a face slope with a seked of 5½ palms to give the required dimensions. Visibly, all that remains is the underlying stepped core structure seen today. In AD 1303, a massive earthquake loosened many of the outer casing stones, which were then carted away by Bahri Sultan An-Nasir Nasir-ad-Din al-Hasan in 1356 to build mosques and fortresses in nearby Cairo. Many more casing stones were removed from the great pyramids by Muhammad Ali Pasha in the early 19th century to build the upper portion of his Alabaster Mosque in Cairo not far from Giza. These limestone casings can still be seen as parts of these structures. Later explorers reported massive piles of rubble at the base of the pyramids left over from the continuing collapse of the casing stones, which were subsequently cleared away during continuing excavations of the site.

text: Nevertheless, a few of the casing stones from the lowest course can be seen to this day in situ around the base of the Great Pyramid, and display the same workmanship and precision that has been reported for centuries. Petrie also found a different orientation in the core and in the casing measuring 193 centimetres ± 25 centimetres. He suggested a redetermination of north was made after the construction of the core, but a mistake was made, and the casing was built with a different orientation.[4] Petrie related the precision of the casing stones as to being "equal to opticians' work of the present day, but on a scale of acres" and "to place such stones in exact contact would be careful work; but to do so with cement in the joints seems almost impossible".[19] It has been suggested it was the mortar (Petrie's "cement") that made this seemingly impossible task possible, providing a level bed, which enabled the masons to set the stones exactly.[20][21]

text: Construction theories

text: Many alternative, often contradictory, theories have been proposed regarding the pyramid's construction techniques.[22] Many disagree on whether the blocks were dragged, lifted, or even rolled into place. The Greeks believed that slave labour was used, but modern discoveries made at nearby workers' camps associated with construction at Giza suggest that it was built instead by tens of thousands of skilled workers. Verner posited that the labour was organized into a hierarchy, consisting of two gangs of 100,000 men, divided into five zaa or phyle of 20,000 men each, which may have been further divided according to the skills of the workers.[23]

text: One mystery of the pyramid's construction is its planning. John Romer suggests that they used the same method that had been used for earlier and later constructions, laying out parts of the plan on the ground at a 1-to-1 scale. He writes that "such a working diagram would also serve to generate the architecture of the pyramid with precision unmatched by any other means".[24] He also argues for a 14-year time span for its construction.[25] A modern construction management study, in association with Mark Lehner and other Egyptologists, estimated that the total project required an average workforce of about 14,500 people and a peak workforce of roughly 40,000. Without the use of pulleys, wheels, or iron tools, they used critical path analysis methods, which suggest that the Great Pyramid was completed from start to finish in approximately 10 years.[26]

text: Interior

text: The original entrance to the Great Pyramid is on the north, 17 metres (56 ft) vertically above ground level and 7.29 metres (23.9 ft) east of the centre line of the pyramid. From this original entrance, there is a Descending Passage 0.96 metres (3.1 ft) high and 1.04 metres (3.4 ft) wide, which goes down at an angle of 26° 31'23" through the masonry of the pyramid and then into the bedrock beneath it. After 105.23 metres (345.2 ft), the passage becomes level and continues for an additional 8.84 metres (29.0 ft) to the lower Chamber, which appears not to have been finished. There is a continuation of the horizontal passage in the south wall of the lower chamber; there is also a pit dug in the floor of the chamber. Some Egyptologists suggest that this Lower Chamber was intended to be the original burial chamber, but Pharaoh Khufu later changed his mind and wanted it to be higher up in the pyramid.[27]

text: 28.2 metres (93 ft) from the entrance is a square hole in the roof of the Descending Passage. Originally concealed with a slab of stone, this is the beginning of the Ascending Passage. The Ascending Passage is 39.3 metres (129 ft) long, as wide and high as the Descending Passage and slopes up at almost precisely the same angle to reach the Grand Gallery. The lower end of the Ascending Passage is closed by three huge blocks of granite, each about 1.5 metres (4.9 ft) long. One must use the Robbers' Tunnel (see below) to access the Ascending Passage. At the start of the Grand Gallery on the right-hand side there is a hole cut in the wall. This is the start of a vertical shaft which follows an irregular path through the masonry of the pyramid to join the Descending Passage. Also at the start of the Grand Gallery there is the Horizontal Passage leading to the "Queen's Chamber". The passage is 1.1m (3'8") high for most of its length, but near the chamber there is a step in the floor, after which the passage is 1.73 metres (5.7 ft) high.

text: Queen's Chamber

text: The "Queen's Chamber"[1] is exactly halfway between the north and south faces of the pyramid and measures 5.75 metres (18.9 ft) north to south, 5.23 metres (17.2 ft) east to west, and has a pointed roof with an apex 6.23 metres (20.4 ft) above the floor. At the eastern end of the chamber there is a niche 4.67 metres (15.3 ft) high. The original depth of the niche was 1.04 metres (3.4 ft), but has since been deepened by treasure hunters.[28]

text: In the north and south walls of the Queen's Chamber there are shafts, which unlike those in the King's Chamber that immediately slope upwards (see below), are horizontal for around 2 m (6.6 ft) before sloping upwards. The horizontal distance was cut in 1872 by a British engineer, Waynman Dixon, who believed a shaft similar to those in the King's Chamber must also exist. He was proved right, but because the shafts are not connected to the outer faces of the pyramid or the Queen's Chamber, their purpose is unknown. At the end of one of his shafts, Dixon discovered a ball of black diorite (a type of rock) and a bronze implement of unknown purpose. Both objects are currently in the British Museum.[29]

text: The shafts in the Queen's Chamber were explored in 1993 by the German engineer Rudolf Gantenbrink using a crawler robot he designed, Upuaut 2. After a climb of 65 m (213 ft),[30] he discovered that one of the shafts was blocked by limestone "doors" with two eroded copper "handles". Some years later the National Geographic Society created a similar robot which, in September 2002, drilled a small hole in the southern door, only to find another door behind it.[31] The northern passage, which was difficult to navigate because of twists and turns, was also found to be blocked by a door.[32]

text: Research continued in 2011 with the Djedi Project. Realizing the problem was that the National Geographic Society's camera was only able to see straight ahead of it, they instead used a fiber-optic "micro snake camera" that could see around corners. With this they were able to penetrate the first door of the southern shaft through the hole drilled in 2002, and view all the sides of the small chamber behind it. They discovered hieroglyphs written in red paint. They were also able to scrutinize the inside of the two copper "handles" embedded in the door, and they now believe them to be for decorative purposes. They also found the reverse side of the "door" to be finished and polished, which suggests that it was not put there just to block the shaft from debris, but rather for a more specific reason.[33]

text: Grand Gallery

text: The Grand Gallery continues the slope of the Ascending Passage, but is 8.6 metres (28 ft) high and 46.68 metres (153.1 ft) long. At the base it is 2.06 metres (6.8 ft) wide, but after 2.29 metres (7.5 ft) the blocks of stone in the walls are corbelled inwards by 7.6 centimetres (3.0 in) on each side. There are seven of these steps, so, at the top, the Grand Gallery is only 1.04 metres (3.4 ft) wide. It is roofed by slabs of stone laid at a slightly steeper angle than the floor of the gallery, so that each stone fits into a slot cut in the top of the gallery like the teeth of a ratchet. The purpose was to have each block supported by the wall of the Gallery, rather than resting on the block beneath it, in order to prevent cumulative pressure.[34]

text: At the upper end of the Gallery on the right-hand side there is a hole near the roof that opens into a short tunnel by which access can be gained to the lowest of the Relieving Chambers. The other Relieving Chambers were discovered in 1837–1838 by Colonel Howard Vyse and J. S. Perring, who dug tunnels upwards using blasting powder.

text: The floor of the Grand Gallery consists of a shelf or step on either side, 51 centimetres (20 in) wide, leaving a lower ramp 1.04 metres (3.4 ft) wide between them. In the shelves there are 54 slots, 27 on each side matched by vertical and horizontal slots in the walls of the Gallery. These form a cross shape that rises out of the slot in the shelf. The purpose of these slots is not known, but the central gutter in the floor of the Gallery, which is the same width as the Ascending Passage, has led to speculation that the blocking stones were stored in the Grand Gallery and the slots held wooden beams to restrain them from sliding down the passage.[35] This, in turn, has led to the proposal that originally many more than 3 blocking stones were intended, to completely fill the Ascending Passage.[citation needed]

text: At the top of the Grand Gallery, there is a step giving onto a horizontal passage some metres long and approximately 1.02 metres (3.3 ft) in height and width, in which can be detected four slots, three of which were probably intended to hold granite portcullises. Fragments of granite found by Petrie in the Descending Passage may have come from these now-vanished doors.

text: In 2017, scientists from the Scan Pyramids Project discovered a large cavity above the Grand Gallery, using muon radiography that can detect cosmic rays. Its length is at least 30 metres (98 ft) and its cross-section is similar to that of the Grand Gallery. It was detected using three different technologies: nuclear emulsion films, scintillator hodoscopes, and gas detectors.[36][37] The purpose of the cavity is not known and it is not accessible but according to Zahi Hawass it may have been a gap used in the construction of the Grand Gallery.[38] The Japanese research team disputes this, however, saying that the huge void is completely different from the construction spaces previously identified.[39]

text: King's Chamber

text: The "King's Chamber"[1] is 20 Egyptian Royal cubits or 10.47 metres (34.4 ft) from east to west and 10 cubits or 5.234 metres (17.17 ft) north to south. It has a flat roof 11 cubits and 5 digits or 5.852 metres (19 feet 2 inch) above the floor. 0.91 m (3.0 ft) above the floor there are two narrow shafts in the north and south walls (one is now filled by an extractor fan in an attempt to circulate air inside the pyramid). The purpose of these shafts is not clear: they appear to be aligned towards stars or areas of the northern and southern skies, yet one of them follows a dog-leg course through the masonry, indicating no intention to directly sight stars through them. They were long believed by Egyptologists to be "air shafts" for ventilation, but this idea has now been widely abandoned in favour of the shafts serving a ritualistic purpose associated with the ascension of the king’s spirit to the heavens.[40]

text: The King's Chamber is entirely faced with granite. Above the roof, which is formed of nine slabs of stone weighing in total about 400 tons, are five compartments known as Relieving Chambers. The first four, like the King's Chamber, have flat roofs formed by the floor of the chamber above, but the final chamber has a pointed roof. Vyse suspected the presence of upper chambers when he found that he could push a long reed through a crack in the ceiling of the first chamber. From lower to upper, the chambers are known as "Davison's Chamber", "Wellington's Chamber", "Nelson's Chamber", "Lady Arbuthnot's Chamber", and "Campbell's Chamber". It is believed that the compartments were intended to safeguard the King's Chamber from the possibility of a roof collapsing under the weight of stone above the Chamber. As the chambers were not intended to be seen, they were not finished in any way and a few of the stones still retain masons' marks painted on them. One of the stones in Campbell's Chamber bears a mark, apparently the name of a work gang.[41][42]

text: The only object in the King's Chamber is a rectangular granite sarcophagus, one corner of which is broken. The sarcophagus is slightly larger than the Ascending Passage, which indicates that it must have been placed in the Chamber before the roof was put in place. Unlike the fine masonry of the walls of the Chamber, the sarcophagus is roughly finished, with saw marks visible in several places. This is in contrast with the finely finished and decorated sarcophagi found in other pyramids of the same period. Petrie suggested that such a sarcophagus was intended but was lost in the river on the way north from Aswan and a hurriedly made replacement was used instead.

text: Modern entrance

text: Today tourists enter the Great Pyramid via the Robbers' Tunnel, a tunnel purportedly created around AD 820 by Caliph al-Ma'mun's workmen using a battering ram.[43] The tunnel is cut straight through the masonry of the pyramid for approximately 27 metres (89 ft), then turns sharply left to encounter the blocking stones in the Ascending Passage. It is believed that their efforts dislodged the stone fitted in the ceiling of the Descending Passage to hide the entrance to the Ascending Passage and it was the noise of that stone falling and then sliding down the Descending Passage, which alerted them to the need to turn left. Unable to remove these stones, however, the workmen tunnelled up beside them through the softer limestone of the Pyramid until they reached the Ascending Passage. It is possible to enter the Descending Passage from this point, but access is usually forbidden.[44]

text: Pyramid complex

text: The Great Pyramid is surrounded by a complex of several buildings including small pyramids. The Pyramid Temple, which stood on the east side of the pyramid and measured 52.2 metres (171 ft) north to south and 40 metres (130 ft) east to west, has almost entirely disappeared apart from the black basalt paving. There are only a few remnants of the causeway which linked the pyramid with the valley and the Valley Temple. The Valley Temple is buried beneath the village of Nazlet el-Samman; basalt paving and limestone walls have been found but the site has not been excavated.[45][46] The basalt blocks show "clear evidence" of having been cut with some kind of saw with an estimated cutting blade of 15 feet (4.6 m) in length, capable of cutting at a rate of 1.5 inches (38 mm) per minute. John Romer suggests that this "super saw" may have had copper teeth and weighed up to 300 pounds (140 kg). He theorizes that such a saw could have been attached to a wooden trestle and possibly used in conjunction with vegetable oil, cutting sand, emery or pounded quartz to cut the blocks, which would have required the labour of at least a dozen men to operate it.[47]

text: On the south side are the subsidiary pyramids, popularly known as Queens' Pyramids. Three remain standing to nearly full height but the fourth was so ruined that its existence was not suspected until the recent discovery of the first course of stones and the remains of the capstone. Hidden beneath the paving around the pyramid was the tomb of Queen Hetepheres I, sister-wife of Sneferu and mother of Khufu. Discovered by accident by the Reisner expedition, the burial was intact, though the carefully sealed coffin proved to be empty.

text: The Giza pyramid complex, which includes among other structures the pyramids of Khufu, Khafre and Menkaure, is surrounded by a cyclopean stone wall, the Wall of the Crow. Mark Lehner has discovered a worker's town outside of the wall, otherwise known as "The Lost City", dated by pottery styles, seal impressions, and stratigraphy to have been constructed and occupied sometime during the reigns of Khafre (2520–2494 BC) and Menkaure (2490–2472 BC).[48][49] Recent discoveries by Mark Lehner and his team at the town and nearby, including what appears to have been a thriving port, suggest the town and associated living quarters consisting of barracks called "galleries" may not have been for the pyramid workers after all, but rather for the soldiers and sailors who utilized the port. In light of this new discovery, as to where then the pyramid workers may have lived Lehner now suggests the alternative possibility they may have camped on the ramps he believes were used to construct the pyramids or possibly at nearby quarries.[50]

text: In the early 1970s, the Australian archaeologist Karl Kromer excavated a mound in the South Field of the plateau. This mound contained artefacts including mudbrick seals of Khufu, which he identified with an artisans' settlement.[51] Mudbrick buildings just south of Khufu's Valley Temple contained mud sealings of Khufu and have been suggested to be a settlement serving the cult of Khufu after his death.[52] A worker's cemetery used at least between Khufu's reign and the end of the Fifth Dynasty was discovered south of the Wall of the Crow by Zahi Hawass in 1990.[53]

text: Boats

text: There are three boat-shaped pits around the pyramid, of a size and shape to have held complete boats, though so shallow that any superstructure, if there ever was one, must have been removed or disassembled. In May 1954, the Egyptian archaeologist Kamal el-Mallakh discovered a fourth pit, a long, narrow rectangle, still covered with slabs of stone weighing up to 15 tons. Inside were 1,224 pieces of wood, the longest 23 metres (75 ft) long, the shortest 10 centimetres (0.33 ft). These were entrusted to a boat builder, Haj Ahmed Yusuf, who worked out how the pieces fit together. The entire process, including conservation and straightening of the warped wood, took fourteen years.

text: The result is a cedar-wood boat 43.6 metres (143 ft) long, its timbers held together by ropes, which is currently housed in a special boat-shaped, air-conditioned museum beside the pyramid. During construction of this museum, which stands above the boat pit, a second sealed boat pit was discovered. It was deliberately left unopened until 2011 when excavation began on the boat.[54]

text: Looting

text: Although succeeding pyramids were smaller, pyramid building continued until the end of the Middle Kingdom. However, as authors Briar and Hobbs claim, "all the pyramids were robbed" by the New Kingdom, when the construction of royal tombs in a desert valley, now known as the Valley of the Kings, began.[55][56] Joyce Tyldesley states that the Great Pyramid itself "is known to have been opened and emptied by the Middle Kingdom", before the Arab caliph Abdullah al-Mamun entered the pyramid around AD 820.[43]

text: I. E. S. Edwards discusses Strabo's mention that the pyramid "a little way up one side has a stone that may be taken out, which being raised up there is a sloping passage to the foundations". Edwards suggested that the pyramid was entered by robbers after the end of the Old Kingdom and sealed and then reopened more than once until Strabo's door was added. He adds: "If this highly speculative surmise be correct, it is also necessary to assume either that the existence of the door was forgotten or that the entrance was again blocked with facing stones", in order to explain why al-Ma'mun could not find the entrance.[57]

text: He also discusses a story told by Herodotus. Herodotus visited Egypt in the 5th century BC and recounts a story that he was told concerning vaults under the pyramid built on an island where the body of Cheops lies. Edwards notes that the pyramid had "almost certainly been opened and its contents plundered long before the time of Herodotus" and that it might have been closed again during the Twenty-sixth Dynasty of Egypt when other monuments were restored. He suggests that the story told to Herodotus could have been the result of almost two centuries of telling and retelling by Pyramid guides.[58]


document_title: Pearl Harbor (film)

question_text: who did jennifer garner play in pearl harbor

text: Pearl Harbor (film)

text: Plot[edit]

text: In 1923 Tennessee, two best friends, Rafe McCawley and Danny Walker, play together in the back of an old biplane, pretending to be soldiers fighting the Germans in World War I. After Rafe's father lands his biplane and leaves, Rafe and Danny climb into the plane. Rafe accidentally starts it, but manages to stop the plane at the end of the runway. Enraged, Danny's father beats his son. Rafe stands up to him, calling him a "dirty German". However, Danny's father reveals that he fought the Germans in France during World War I, and hopes the boys never see the horrors he saw.

text: Eighteen years later, in January 1941, with World War II raging, Danny and Rafe are both first lieutenants under the command of Major Jimmy Doolittle. Doolittle informs Rafe that he has been accepted into the Eagle Squadron (a RAF outfit for American pilots during the Battle of Britain). A nurse named Evelyn meets Rafe, who passes his medical exam despite his dyslexia. That night, Rafe and Evelyn enjoy an evening of dancing at a nightclub and later a jaunt in the New York harbor in a borrowed police boat. Rafe shocks Evelyn by saying that he has joined the Eagle Squadron and is leaving the next day.

text: Danny, Evelyn and their fellow pilots and nurses are transferred to Pearl Harbor in Hawaii. Meanwhile, Rafe becomes a flying ace, but is shot down over the English Channel and presumed to be killed in action. Danny gives Evelyn the news and she is devastated. Three months later, Evelyn and Danny begin a romantic relationship.

text: On the night of December 6, Evelyn is shocked to discover Rafe standing outside her door, having survived his downing and spending the ensuing months trapped in Nazi-occupied France. Rafe, in turn, discovers Danny's romance with Evelyn and leaves for the Hula bar, where he is welcomed back by his overjoyed fellow pilots. Danny finds a drunken Rafe in the bar with the intention of making things right, but the two get into a fight. They drive away, avoiding being put in the brig when the military police arrive at the bar. The two later fall asleep in Danny's car.

text: Next morning, on December 7, 1941, the Japanese navy begins its attack on Pearl Harbor. The USS Arizona is obliterated when an armor-piercing bomb detonates the ship's forward ammunition magazine, literally lifting the bow out of the water. The USS Oklahoma capsizes after several torpedoes strike her, trapping hundreds of men inside. The USS West Virginia suffers severe damage. One bomb mortally wounds Captain Mervyn S. Bennion. Cook Dorie Miller, mans a .50 caliber machine gun and shoots down a Japanese plane. The USS Nevada makes a run for the sea, becoming a primary target during the second wave. Danny and Rafe drive away in search of a still standing airfield, while Evelyn and the other nurses struggle to assist hundreds of wounded. Rafe and Danny manage to get in the air in P-40s, downing several Zeroes. Landing, they assist in the rescue of the capsized USS Oklahoma, but are too late to save the crew of the USS Arizona.

text: The next day, President Franklin Delano Roosevelt delivers his Day of Infamy Speech to the nation and requests the US Congress declare a state of war with the Empire of Japan. The survivors attend a memorial service to honor the numerous dead. Later, Danny and Rafe are both assigned to travel stateside under newly promoted Lt. Colonel Doolittle for a secret mission. Before they leave, Evelyn reveals to Rafe that she is pregnant with Danny's child, and intends to stay with Danny.

text: Upon their arrival in California, Danny and Rafe are both promoted to Captain and awarded the Silver Star, and volunteer for a secret mission under Doolittle. During the next three months, Rafe, Danny and other pilots train with specially modified B-25 Mitchell bombers. In April, the raiders are sent towards Japan on board the USS Hornet. Their mission: bombing Tokyo, landing in China. However, the Japanese discover them early, forcing the raiders to launch from a longer distance than planned. After a successful bombing run, the raiders crash-land in a rice paddy in Japanese-controlled China. The Japanese Army pin down Rafe's plane, but Danny's crew manages to destroy a patrol before crashing. Danny is shot during the attack by Japanese patrols while the other pilots, Red and Gooz, kill the remaining Japanese patrolmen. Rafe tells Danny that Evelyn is pregnant and he must live to be the baby's father. Danny then tells Rafe that he will have to be the father and dies. Back in California, a pregnant Evelyn sees Rafe getting off the aircraft, carrying Danny's coffin. Afterward, Evelyn and Miller are awarded medals and Rafe is awarded his medal by President Roosevelt. After the war, Rafe and Evelyn, now married, visit Danny's grave with Danny and Evelyn's son, also named Danny. Rafe then asks his stepson if he would like to go flying, and they fly off into the sunset in the old biplane that his father once had.

text: Cast[edit]

text:
Ben Affleck as the First Lieutenant (later Captain) Rafe McCawley

Jesse James as young Rafe McCawley

Josh Hartnett as First Lieutenant (later Captain) Daniel "Danny" Walker

Reiley McClendon as young Danny Walker

Kate Beckinsale as Lieutenant Evelyn Johnson McCawley
Cuba Gooding Jr. as Petty Officer Second Class Dorie Miller
Tom Sizemore as Sergeant Earl Sistern
Jon Voight as President Franklin D. Roosevelt
Colm Feore as Admiral Husband E. Kimmel
Mako as Kaigun Taishō (Admiral) Isoroku Yamamoto
Alec Baldwin as Major (later Lieutenant Colonel) Jimmy Doolittle

text: Supporting characters[edit]

text:
William Lee Scott as First Lieutenant Billy Thompson
Greg Zola as First Lieutenant Anthony Fusco
Ewen Bremner as First Lieutenant Red Winkle
Jaime King as Nurse Betty Bayer
Catherine Kellner as Nurse Barbara
Jennifer Garner as Nurse Sandra
Michael Shannon as First Lieutenant Gooz Wood
Matt Davis as Joe
Cary-Hiroyuki Tagawa as Kaigun Chūsa (Commander) Minoru Genda
Dan Aykroyd as Captain Thurman
Scott Wilson as General George Marshall
Graham Beckel as Admiral Chester W. Nimitz
Tom Everett as Secretary of the Navy Frank Knox
Tomas Arana as Rear-Admiral Frank J. 'Jack' Fletcher
Peter Firth as Captain Mervyn S. Bennion
Glenn Morshower as Vice Admiral William F. 'Bull' Halsey Jr.
Madison Mason as Admiral Raymond A. Spruance
Sara Rue as Nurse Martha
Kim Coates as Lieutenant Jack Richards
Michael Shamus Wiles as Captain Marc Andrew "Pete" Mitscher
William Fichtner as Mr. Walker (Danny's father)
Steve Rankin as Mr. McCawley (Rafe's Father)
Andrew Bryniarski as Joe the Boxer
Leland Orser as Major Jackson
Michael Milhoan as Army Commander
Eric Christian Olsen as gunner to Captain McCawley
David Kaufman as young nervous doctor
Tony Curran as Ian
Brandon Lozano as Baby Danny McCawley (Danny and Evelyn's son)

text: Production[edit]

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text: The proposed budget of $208 million that Bay and Bruckheimer wanted was an area of contention with Disney executives, since a great deal of the budget was to be expended on production aspects. Also controversial was the effort to change the film's rating from R to PG-13. Bay wanted to graphically portray the horrors of war and was not interested in primarily marketing the final product to a teen and young adult audience. Budget fights continued throughout the planning of the film, with Bay "walking" on several occasions.

text: In order to recreate the atmosphere of pre-war Pearl Harbor, the producers staged the film in Hawaii and used current naval facilities. Many active duty military members stationed in Hawaii and members of the local population served as extras during the filming. The set at Rosarito Beach in the Mexican state of Baja California was used for scale model work as required. Formerly the set of Titanic (1997), Rosarito was the ideal location to recreate the death throes of the battleships in the Pearl Harbor attack. A large-scale model of the bow section of USS Oklahoma mounted on a gimbal produced an authentic rolling and submerging of the doomed battleship. Production Engineer Nigel Phelps stated that the sequence of the ship rolling out of the water and slapping down would involve one of the "biggest set elements" to be staged. Matched with computer generated imagery, the action had to reflect precision and accuracy throughout.[4] In addition, to simulate the ocean, the film crew used a massive stadium-like "bowl" filled with water. The bowl was built in Honolulu, Hawaii and cost nearly $8 million. Today the bowl is used for scuba training and deep water fishing tournaments.

text: The vessel most seen in the movie was USS Lexington, representing both USS Hornet and a Japanese carrier. All aircraft take-offs during the movie were filmed on board the Lexington, a museum ship in Corpus Christi, Texas. The aircraft on display were removed for filming and were replaced with film aircraft as well as World War II anti-aircraft turrets. Other ships used in filler scenes included USS Hornet,[5] and USS Constellation during filming for the carrier sequences. Filming was also done on board the museum battleship USS Texas located near Houston, Texas.

text: Release[edit]

text: Marketing[edit]

text: The first trailer was released in 2000 and was shown alongside screenings of Cast Away and O Brother, Where Art Thou?, with another trailer released in Spring 2001, shown before Pokémon 3: The Movie.

text: Box office[edit]

text: Pearl Harbor grossed $198,542,554 at the domestic box office and $250,678,391 overseas for a worldwide total of $449,220,945, ahead of Shrek. The film was ranked the sixth highest-earning picture of 2001.[2] It is also the third highest-grossing romantic drama film of all time, as of January 2013, behind Titanic and Ghost.[6]

text: Critical response[edit]

text: The film received generally negative reviews from critics. On Rotten Tomatoes, The film holds an approval rating of 25% based on 190 reviews, with an average rating of 4.5/10. The site's critical consensus reads: "Pearl Harbor tries to be the Titanic of war movies, but it's just a tedious romance filled with laughably bad dialogue. The 40-minute action sequence is spectacular, though."[7] On Metacritic, the film has a score of 44 out of 100 based on 35 reviews, indicating "mixed or average reviews".[8]

text: Roger Ebert of the Chicago Sun-Times gave the film one and a half stars, writing: "Pearl Harbor is a two-hour movie squeezed into three hours, about how, on Dec. 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialogue, it will not be because you admire them". Ebert also criticized the liberties the film took with historical facts: "There is no sense of history, strategy or context; according to this movie, Japan attacked Pearl Harbor because America cut off its oil supply, and they were down to an 18-month reserve. Would going to war restore the fuel sources? Did they perhaps also have imperialist designs? Movie doesn't say".[9]

text: A. O. Scott of the New York Times wrote, "Nearly every line of the script drops from the actors' mouths with the leaden clank of exposition, timed with bad sitcom beats".[10] USA Today gave the film two out of four stars and wrote, "Ships, planes and water combust and collide in Pearl Harbor, but nothing else does in one of the wimpiest wartime romances ever filmed."[11]

text: In his review for The Washington Post, Desson Howe wrote, "although this Walt Disney movie is based, inspired and even partially informed by a real event referred to as Pearl Harbor, the movie is actually based on the movies Top Gun, Titanic and Saving Private Ryan. Don't get confused."[12] Peter Travers of Rolling Stone magazine wrote, "Affleck, Hartnett and Beckinsale – a British actress without a single worthy line to wrap her credible American accent around – are attractive actors, but they can't animate this moldy romantic triangle".[13] Time magazine's Richard Schickel criticized the love triangle: "It requires a lot of patience for an audience to sit through the dithering. They're nice kids and all that, but they don't exactly claw madly at one another. It's as if they know that someday they're going to be part of "the Greatest Generation" and don't want to offend Tom Brokaw. Besides, megahistory and personal history never integrate here".[14]

text: Entertainment Weekly was more positive, giving the film a "B−" rating, and Owen Gleiberman praised the Pearl Harbor attack sequence: "Bay's staging is spectacular but also honorable in its scary, hurtling exactitude. ... There are startling point-of-view shots of torpedoes dropping into the water and speeding toward their targets, and though Bay visualizes it all with a minimum of graphic carnage, he invites us to register the terror of the men standing helplessly on deck, the horrifying split-second deliverance as bodies go flying and explosions reduce entire battleships to liquid walls of collapsing metal".[15]

text: In his review for The New York Observer, Andrew Sarris wrote, "here is the ironic twist in my acceptance of Pearl Harbor – the parts I liked most are the parts before and after the digital destruction of Pearl Harbor by the Japanese carrier planes" and felt that "Pearl Harbor is not so much about World War II as it is about movies about World War II. And what's wrong with that?"[16]

text: Historical accuracy[edit]

text: Like many historical dramas, Pearl Harbor provoked debate about the artistic license taken by its producers and director. National Geographic Channel produced a documentary called Beyond the Movie: Pearl Harbor[18] detailing some of the ways that "the film's final cut didn't reflect all the attacks' facts, or represent them all accurately".

text: Many Pearl Harbor survivors dismissed the film as grossly inaccurate and pure Hollywood. In an interview done by Frank Wetta, producer Jerry Bruckheimer was quoted saying: "We tried to be accurate, but it's certainly not meant to be a history lesson".[19] Historian Lawrence Suid's review is particularly detailed as to the major factual misrepresentations of the film and the negative impact they have even on an entertainment film.[20] Some other historical inaccuracies found in the film include the early childhood scenes depicting a Stearman biplane crop duster in 1923; the aircraft was not accurate for the period, as the first commercial crop-dusting company did not begin operation until 1924,[21] and the U.S. Department of Agriculture did not purchase its first cotton-dusting aircraft until April 16, 1926.[22][Note 1]

text: The inclusion of Affleck's character in the Eagle Squadron is another jarring aspect of the film, since active-duty U.S. airmen were prohibited from joining the squadron, though some American civilians did join the RAF.[23][Note 2] Yet another flaw: Ben Affleck's Spitfire has insignia "RF" – this is an insignia of No. 303 Polish Fighter Squadron. Countless other technical lapses rankled film critics, such as Bay's decision to paint the Japanese Zero fighters green (most of the aircraft in the attack being painted light gray/white), even though he knew that was historically inaccurate, because he liked the way the aircraft looked and because it would help audiences differentiate the "good guys from the bad guys".[24]

text: One of the film's scenes show Japanese aircraft targeting medical staff and the base's hospital. Although it was damaged in the attack, the Japanese did not deliberately target the U.S. naval hospital and only a single member of its medical staff was killed as he crossed the navy yard to report for duty.[25]

text: Critics decried the use of fictional replacements for real people, declaring that Pearl Harbor was an "abuse of artistic license".[26] The roles the two male leads have in the attack sequence are analogous to the real historical deeds of U.S. Army Air Forces Second Lieutenants George Welch and Kenneth M. Taylor, who took to the skies in P-40 Warhawk aircraft during the Japanese attack and, together, claimed six Japanese aircraft and a few probables. Taylor, who died in November 2006, called the film adaptation "a piece of trash... over-sensationalized and distorted".[27]

text: The harshest criticism was aimed at instances in the film where actual historical events were altered for dramatic purposes. For example, Admiral Kimmel did not receive the report that an enemy midget submarine was being attacked until after the bombs began falling, and did not receive the first official notification of the attack until several hours after the attack ended.[28][Note 3]

text: The scene following the attack on Pearl Harbor, where President Roosevelt demands an immediate retaliatory strike on the soil of Japan, did not happen as portrayed in the film. Admiral Chester Nimitz and General George Marshall are seen denying the possibility of an aerial attack on Japan, but in real life they actually advocated such a strike. Another inconsistency in this scene is when President Roosevelt (who was at this time in his life, stricken and bound to a wheelchair due to Polio) is able to stand up to challenge his staff's distrust in a strike on Japan. This too, never happened in real life.[30] In the film Admiral Isoroku Yamamoto says “I fear all we have done is to awaken a sleeping giant”, a quote which was copied from the 1970 film Tora! Tora! Tora!.[20]

text: The portrayal of the planning of the Doolittle Raid, the air raid itself, and the raid's aftermath, is considered one of the most historically inaccurate portions of the film. In the film, Jimmy Doolittle and the rest of the Doolittle raiders had to launch from USS Hornet 624 miles off the Japanese coast and after being spotted by a few Japanese patrol boats. In actuality, the Doolittle raiders had to launch 650 miles off the Japanese coast and after being spotted by only one Japanese patrol boat. The aircraft were launched from USS Constellation, standing in for USS Hornet from which the Doolittle Raid was launched. In the film, all of the raiders are depicted as dropping their bombs on Tokyo, with some of the bomb blasts obliterating entire buildings. In actuality, the Doolittle raiders did bomb Tokyo but also targeted three other industrial cities, and the damage inflicted was minimal.[31][32] The film shows the Doolittle raider personnel in China overcoming the Japanese soldiers in a short gun battle with help from a strafing B-25, which never happened in real life.[20] Also, there was no acknowledgement given in the film to the fact that approximately 250,000 Chinese civilians were massacred by the Japanese Army in eastern China in retaliation for Chinese assistance of the attacking American aviators, who participated in the Doolittle Raid.

text: Actor Kim Coates criticized the film[33] for choosing not to portray historically accurate smoking habits and men's hairstyles.

text: An establishing shot of the United States Department of War building is clearly a shot of the exterior of the U.S. Capitol Building. In 1941, the War Department was housed in the War Department Building in Washington's Foggy Bottom neighborhood (renamed the Harry S Truman Building in 2000) and in the Munitions Building on the National Mall. Neither structure bears any architectural resemblance to the edifice shown in the film.

text: Anachronisms[edit]

text: Numerous other inconsistencies and anachronisms are present in the film. A sailor has a pack of Marlboro Light cigarettes in his pocket, not introduced until 1972. In the beginning of the movie, a newsreel of 1940 is presented with combat footage in Europe, showing a M-26 Pershing tank fighting in the city of Cologne, which did not happen until March 1945.[34] Earlier, a newsreel of the Battle of Britain in 1940 shows a Focke Wulf 190, which didn't see active service until 1941.

text: The crop duster in the first scene set in 1923 was not commercially available until the late 1930s.[30]

text: Actor Michael Milhoan is seen as an army major advising Admiral Kimmel about island air defenses on Oahu. On the morning of the attack, he is seen commanding a radar station. While playing chess he is addressed as "lieutenant" but, in a further inconsistency, is seen wearing the insignia of an army captain.

text: Four Spruance destroyers tied abreast of each other at their pier are seen being bombed by the Japanese planes, although this class of ship only entered service with the US Navy in the 1970s. The retired Iowa-class battleship USS Missouri was used to represent USS West Virginia for Dorie Miller's boxing match. The West Virginia did not have the modernized World War II-era bridge and masts found on newer U.S. battleships until her reconstruction was finished in 1943, while the Iowa-class did not enter service until 1943 onwards. In one shot, the USS Arizona memorial is briefly visible in the background during a scene taking place several months before the attack.

text: One of Doolittle's trophies in a display case depicts a model of an F-86 Sabre, which was not flown until 1947. Late production models of the B-25J were used instead of the early B-25B. Several shots of the USS Hornet aircraft carrier depicted it as having an angled flight deck, a technology that was not implemented until after the war. While Hornet was portrayed by a World War II era vessel (USS Lexington), Hornet was a Yorktown-class carrier, whereas Lexington was a modernized Essex-class carrier.[35] The takeoff sequences for the Doolittle Raid were filmed on USS Constellation, a Kitty Hawk-class aircraft carrier which did not enter service until 1961. As a supercarrier, the Constellation has a much longer flight deck than the Yorktown or Essex class carriers, giving the B-25s a substantially longer (and safer) takeoff run.[36] The Japanese carriers are portrayed more correctly by comparison—, the Akagi and Hiryu did have their bridge/conning tower superstructure on the port side rather than the more common starboard configuration. In the movie it was done by maneuvering an Essex class aircraft carrier backwards to act as the Akagi.

text: Honors and awards[edit]

text:
Award
Category
Subject
Result

Academy Award
Best Sound Editing
George Watters II and Christopher Boyes
Won

Best Sound
Greg P. Russell, Peter J. Devlin, and Kevin O'Connell
Nominated

Best Visual Effects
Eric Brevig, John Frazier, Ben Snow, and Ed Hirsh
Nominated

Best Original Song[37]
Diane Warren ("There You'll Be")
Nominated

Golden Globe Award
Best Original Song
Nominated

Best Original Score
Hans Zimmer
Nominated

MTV Movie Award
Best Action Sequence
Attack on Pearl Harbor
Won

Golden Raspberry Award
Worst Actor
Ben Affleck
Nominated

Worst Screen Couple
Nominated

Josh Hartnett
Nominated

Kate Beckinsale
Nominated

Worst Screenplay
Randall Wallace
Nominated

Worst Picture
Jerry Bruckheimer
Nominated

Michael Bay
Nominated

Worst Director
Nominated

Worst Remake or Sequel
Nominated

World Stunt Taurus Award
Best Aerial Work
Nominated

text: In popular culture[edit]

text: The soundtrack for the 2004 film Team America: World Police contains a song entitled "End of an Act". The song's chorus recounts, "Pearl Harbor sucked, and I miss you" equating the singer's longing to how much "Michael Bay missed the mark when he made Pearl Harbor" which is "an awful lot, girl". The ballad contains other common criticisms of the film, concluding with the rhetorical question "Why does Michael Bay get to keep on making movies?"[38]

text: Soundtrack[edit]

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text:
Pearl Harbor: Music From The Motion Picture

Soundtrack album by Hans Zimmer

Released
May 22, 2001 (2001-05-22)

Genre
Film score

Length
46:21

Label
Hollywood

Producer

Bob Badami
"There You'll Be":
Trevor Horn
Byron Gallimore

Hans Zimmer chronology

Riding in Cars with Boys
(2001)Riding in Cars with Boys2001
Pearl Harbor
(2001)
Hannibal
(2001)Hannibal2001

text: The soundtrack to Pearl Harbor on Hollywood Records was nominated for the Golden Globe Award for Best Original Score (lost to the score of Moulin Rouge!). The original score was composed by Hans Zimmer. The song "There You'll Be" was nominated for the Academy Award and Golden Globe Award for Best Original Song.

text:
"There You'll Be" – song performed by Faith Hill
Tennessee – 3:40
Brothers – 4:04
...And Then I Kissed Him – 5:37
I Will Come Back – 2:54
Attack – 8:56
December 7 – 5:08
War – 5:15
Heart of a Volunteer – 7:05

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