document_title: History of the New York Giants (baseball)

question_text: where did the giants baseball team play in ny

text: Early days and the John McGraw era[edit]

text: The Giants began as the second baseball club founded by millionaire tobacconist John B. Day and veteran amateur baseball player Jim Mutrie. The Gothams, as the Giants were originally known, entered the National League seven years after its 1876 formation, in 1883, while their other club, the Metropolitans (the original New York Mets) played in the rival American Association (1882-1891). Nearly half of the original Gothams players were members of the disbanded Troy Trojans in upstate New York, whose place in the National League the Gothams inherited. While the Metropolitans were initially the more successful club, after they won the 1884 AA championship, Day and Mutrie began moving star players to the NL Gothams, whose fortunes improved while the Metropolitans' afterwards slumped.

text: It is said that after one particularly satisfying victory over the Philadelphia Phillies, Mutrie (who was also the team's manager) stormed into the dressing room and exclaimed, "My big fellows! My giants!"[1] From then on (1885), the club was known as the Giants.

text: The team won its first National League pennant in 1888, as well as a victory over the St. Louis Browns in an early incarnation of the pre-modern-era World Series. They repeated as champions the next year with a pennant and world championship victory over the Brooklyn Bridegrooms.

text: The Giants' original home stadium, the Polo Grounds, also dates from this early era. It was originally located north of Central Park adjacent to Fifth and Sixth Avenues and 110th and 112th Streets, in Harlem in upper Manhattan. After their eviction from that first incarnation of the Polo Grounds after the 1888 season, they moved further uptown to various fields which they also named the "Polo Grounds" located between 155th and 159th Streets in Harlem and Washington Heights, playing in the Washington Heights located famous Polo Grounds until the end of the 1957 season, when they moved to San Francisco.

text: The Giants were a powerhouse in the late 1880s, winning their first two National League Pennants and World Championships in 1888 & 1889. But nearly all of the Giants' stars jumped to the upstart newly-organized rival loop, the Players' League, whose New York franchise was also named the Giants, in 1890. The new team even built a stadium next door to the NL Polo Grounds. With a decimated roster, the NL Giants finished a distant sixth. Attendance took a nosedive, and the financial strain affected Day's tobacco business as well. The Players' League dissolved after the single season, and Day sold a minority interest in his NL Giants to the defunct PL Giants' principal backer, Edward Talcott. As a condition of the sale, Day had to fire Mutrie as manager. Although the Giants rebounded to third place in 1891, Day was forced to sell a controlling interest to Talcott at the end of the '91 season.

text: Four years later, Talcott sold the Giants to Andrew Freedman, a real estate developer with ties to the Tammany Hall political machine/of the city/state Democratic Party running New York City. Freedman was one of the most detested owners in baseball history, getting into heated disputes with other owners, writers and his own players, most famously with star pitcher Amos Rusie, author of the first Giants no-hitter. When Freedman offered Rusie only $2,500 for 1896, the disgruntled hurler sat out the entire season. Attendance fell off throughout the league without Rusie, prompting the other owners to chip in $50,000 to get him to return for 1897. Freedman even hired former owner Day as manager for part of the 1899 season.

text: In 1902, after a series of disastrous moves that left the Giants 53½ games behind the front-runner, Freedman signed John McGraw as player-manager, convincing him to jump in mid-season from the Baltimore Orioles (1901-1902) of the fledgling American League and bring with him several of his teammates. McGraw went on to manage the Giants for three decades until 1932, one of the longest and most successful tenures in professional sports. Hiring "Mr. McGraw," as his players referred to him, was one of Freedman's last significant moves as owner of the Giants, since after that 1902 season he was forced to sell his interest in the club to John T. Brush. McGraw went on to manage the Giants to nine National League pennants (in 1904-1905, 1911–1913, 1914) and three World Series championships (in 1905 & 1921-1922), with a tenth pennant and fourth world championship as Giants owner in 1933 under his handpicked player-manager successor, Bill Terry.

text: The Giants already had their share of stars beginning in the 1880s & 1890s, such as "Smiling" Mickey Welch, Roger Connor, Tim Keefe, Jim O'Rourke and John Montgomery Ward, the player-lawyer who formed the renegade Players' League in 1890 to protest unfair player contracts. McGraw, a veteran of the infamous 1890s Baltimore Orioles, in his three decades managing the Giants, cultivated a new crop of baseball heroes with names like Christy Mathewson, "Iron Man" Joe McGinnity, Jim Thorpe, Red Ames, Casey Stengel, Art Nehf, Edd Roush, Rogers Hornsby, Bill Terry and Mel Ott.

text: The Giants under McGraw famously snubbed their first modern World Series chance in 1904, established as the price of peace with the rival Americans, first played the year before, by refusing the invitation to play the reigning world champion Boston Americans (now known as the Boston Red Sox) because McGraw considered the newly established American League of 1901, as little more than a minor league and disliked its firebrand president, Ban Johnson. He also resented his Giants' new intra-city rival New York Highlanders, (from the old relocated charter AL franchise Baltimore Orioles), who almost won the pennant but lost to Boston on the last day, and stuck by his refusal to play whoever won the 1904 AL pennant. Of note, McGraw had managed the relocated Highlanders franchise in their first two seasons (1901–1902), when they were playing in Baltimore.

text: The ensuing criticism resulted in Brush's taking the lead to formalize the rules and format of the World Series. The Giants won the 1905 World Series over Connie Mack's Philadelphia Athletics, with Christy Mathewson nearly winning the series single-handedly with a still-standing record three complete-game shutouts and 27 consecutive scoreless innings in that one World Series, a feat unlikely ever to be duplicated.

text: The Giants then had several frustrating years. In 1908, they finished in a tie with the Chicago Cubs due to a late-season home tie game with the Cubs resulting from the Fred Merkle baserunning "boner". They lost the postseason replay of the tie game (ordered by NL president Harry Pulliam) to the Cubs (after disgruntled Giants fans had set fire to the stands the morning of the game), who would go on to win their second (consecutive, and their last for the next 108 years!!) World Series. That post-season game was further darkened by a story that someone on the Giants had attempted to bribe umpire Bill Klem. This could have been a disastrous scandal for baseball, but because Klem was honest and the Giants lost the duel between Christy Mathewson and Mordecai "Three-Fingered" Brown 4–2, it faded over time.

text: The Giants experienced a mixture of success and hard luck in the early 1910s, losing three straight World Series in 1911–1913 to the A's, Red Sox and A's again (two seasons later, both the Giants and the A's, decimated by the short-lived rival third loop, the Federal League of 1914-1915, with the "jumping ship" signings of many of their stars, finished in eighth [last] place). After losing the 1917 Series to the Chicago White Sox (the last "Chisox Series" win until 2005), the Giants played in four straight World Series in the early 1920s, winning the first two over their Polo Grounds fellow tenants, the Yankees (after winning the first two of their many pennants, led by their new young slugger and former Red Sox and Orioles pitcher George Herman "Babe" Ruth), then losing to the Yankees in 1923 after old Yankee Stadium had opened that May. They also lost in 1924, when the Washington Senators won their only World Series while in D.C. (prior to their move to Minneapolis - St. Paul as the Minnesota Twins before the 1961 season and their later 1987 & 1991 Series wins there).

text: 1930–57: Five pennants in 28 seasons[edit]

text: McGraw handed over the team to Bill Terry after the 1932 season, and Terry played for and managed the Giants for ten years, winning three pennants, defeating the Senators in the 1933 World Series but swept by the Yankees in consecutive fall classics, 1936 and 1937. Aside from Terry himself, the other stars of the era were slugger Mel Ott and southpaw hurler Carl Hubbell. Known as "King Carl" and "The Meal Ticket", Hubbell gained fame in the first two innings of the 1934 All-Star Game (played at the Polo Grounds) by striking out five future AL Hall of Famers in a row: Babe Ruth, Lou Gehrig, Jimmie Foxx, Al Simmons and Joe Cronin.

text: Ott succeeded Terry as manager in 1942, but the war years proved to be difficult for the Giants. Midway during the 1948 season Brooklyn Dodgers Leo Durocher left as Dodgers skipper to manage the Giants, not without controversy. Not only was such a midseason managerial switch unprecedented, but Durocher had been accused of gambling in 1947 and subsequently suspended for that whole season by Baseball Commissioner Albert "Happy" Chandler. Durocher's ensuing eight full seasons managing the Giants proved some of the most memorable for their fans, particularly because of the arrival of five-tool superstar Willie Mays, their two pennants in 1951 & 1954, their unexpected sweep of the powerful (111-43) Cleveland Indians in the 1954 World Series and arguably the two most famous plays in Giants history.

text: 1951: The "Shot Heard 'Round the World"[edit]

text: The "Shot Heard 'Round the World," or Bobby Thomson's come-from-behind ninth-inning walk-off home run that won the National League pennant for the Giants over their bitter rivals, the Brooklyn Dodgers, in the deciding game of a three-game playoff series ending one of baseball's most memorable pennant races. The Giants had been 13 1/2 games behind the league-leading Dodgers in August, but under Durocher's guidance and with a 16-game winning streak, got hot and caught the Dodgers to tie for the lead on the next-to-last day of the season.

text: Mays's catch and the 1954 Series[edit]

text: In Game 1 of the 1954 World Series at the Polo Grounds against the Cleveland Indians, Willie Mays made "The Catch," a dramatic over-the-shoulder catch of a fly ball by Vic Wertz after sprinting with his back to the plate on a dead run to deepest center field. At the time the game was tied 2–2 in the eighth inning, with men on first and second and nobody out. Mays caught the ball 450 ft (140 m) from the plate, whirled and threw the ball to the infield, keeping the lead runner, Larry Doby, from scoring. Although Doby took third after the catch, he was stranded there and the Giants won on Dusty Rhodes' tenth-inning pinch-hit walk-off home run with two aboard, 5-2.

text: The underdog Giants went on to sweep the series in four straight, despite the Indians' American League 111-43 regular season. The 1954 World Series title would be their last appearance in the World Series as the New York Giants, with the team moving to San Francisco to start the 1958 season.

text: New York Giants of the 1950s[edit]

text: In addition to Bobby Thomson and Willie Mays, other memorable New York Giants of the 1950s include Hall of Fame manager Leo Durocher, coach Herman Franks, Hall of Fame outfielder Monte Irvin, outfielder and runner-up for the 1954 NL batting championship (won by Willie Mays) Don Mueller, Hall of Fame knuckleball relief pitcher Hoyt Wilhelm, starting pitchers Larry Jansen, Sal Maglie, Jim Hearn, Marv Grissom, Dave Koslo, Don Liddle, Max Lanier, Rubén Gómez, Al Worthington, and Johnny Antonelli, catcher Wes Westrum, catchers Ray Katt and Sal Yvars, shortstop Alvin Dark, third baseman Hank Thompson, first baseman Whitey Lockman, second basemen Davey Williams and Eddie Stanky, outfielder-pitcher Clint Hartung and utility men Johnny Mize, Bill Rigney, Daryl Spencer, Bobby Hofman, Joey Amalfitano, Tookie Gilbert, and 1954 Series hero Dusty Rhodes, among others. In the late 1950s and after the move to San Francisco two Hall of Fame first basemen, Orlando Cepeda and Willie McCovey, joined the team.

text: 1957: Move to California[edit]

text: The Giants' final three years in New York City were unmemorable. They stumbled to third place the year after their World Series win, and attendance fell off precipitously. While seeking a new stadium to replace the crumbling Polo Grounds, the Giants began to contemplate a move from New York, initially considering Metropolitan Stadium in Bloomington, Minnesota, which was home to their top farm team, the Minneapolis Millers. Under the rules of the time, the Giants' ownership of the Millers gave them priority rights to a major league team in the area (the Washington Senators wound up there as the Minnesota Twins in 1961).

text: At this time, the Giants were approached by San Francisco mayor George Christopher. Despite objections from shareholders such as Joan Whitney Payson, majority owner Horace Stoneham entered into negotiations with San Francisco officials around the same time the Dodgers' owner Walter O'Malley was courting the city of Los Angeles. O'Malley had been told that the Dodgers would not be allowed to move to Los Angeles unless a second team moved to California as well. He pushed Stoneham toward relocation, and so in the summer of 1957 both the Giants and Brooklyn Dodgers announced their moves to California, ending the three-team golden age of baseball in New York City.

text: New York would remain a one-team town with the New York Yankees until 1962, when Joan Payson founded the New York Mets and brought National League baseball back to the city (as part of MLB's first wave of expansion). Owners Payson and M. Donald Grant, who became the Mets' chairman, had been the only Giants board members to vote against the Giants' move to California. The "NY" script on the Giants' caps and the orange trim on their uniforms, along with the blue background used by the Dodgers, would be adopted by the Mets, honoring their New York NL forebears with a blend of Giants orange and Dodgers blue.


document_title: Ambassadors and High Commissioners of India

question_text: who is the newly elected indian ambassador in international trade organisation

root

text: Current Ambassadors and High Commissioners[edit]

text:
Country
List
Ambassador/High Commissioner
Took office

 Bhutan
List
Jaideep Sarkar
February 2016

 Germany
List
Mukta Tomar
2017

 Ivory Coast

R. Ravindra

 Russia
List
Pankaj Saran
2016

 Saudi Arabia

Ahmad Javed
2016

Pakistan

Ajaey Bisaria
December 2016

 Panama (along with  Costa Rica &  Nicaragua)
List
Shamma Jain
2014

 Tanzania
List
Debnath Shaw
July 2012

 United Arab Emirates
List
T.P. Seetharam
2013

 United Kingdom
List
Yashvardhan Kumar Sinha
December 2016

 Venezuela

Rahul Shrivastava [1]
2016

 United Kingdom
List
Yashvardhan Kumar Sinha
December 2016

 United States
List
Navtej Sarna
January 2017

tag: table

text: Permanent representatives to international organizations[edit]

text:
Host organization
Location
Permanent Representative
Took office
Ref.

Conference on Disarmament
Geneva
Amandeep Gill

[2]

 United Nations
New York City
Syed Akbaruddin (Permanent Representative of India to the United Nations)
January 2016
[3]

Geneva
Ajit Kumar

[4][5]

World Trade Organization
Geneva
Mr. J.S. Deepak,

[6]


document_title: Harry Potter (film series)

question_text: what was the harry potter movies in order

question_tokens: what was the harry potter movies in order

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

tag: p

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture
Director
Writer
Producer(s) [n 1]
Composer
Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone
Chris Columbus
Steve Kloves
David Heyman
John Williams
Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets
Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban
Alfonso Cuarón
Chris Columbus, David Heyman & Mark Radcliffe
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire
Mike Newell
David Heyman
Patrick Doyle
Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix
David Yates
Michael Goldenberg
David Heyman & David Barron
Nicholas Hooper
Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince
Steve Kloves
Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1
David Heyman, David Barron & J. K. Rowling
Alexandre Desplat
Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by Disney–ABC Domestic Television, which typically airs the films on the Freeform network. Disney's contract is expected to end in June 2018, after which, NBCUniversal will take control of the rights, after their deal with Warner Bros. was made in August 2016.[78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture
Rotten Tomatoes
Metacritic
CinemaScore

Harry Potter and the Philosopher's Stone
80% (193 reviews)[88]
64 (35 reviews)[89]
A[90]

Harry Potter and the Chamber of Secrets
82% (232 reviews)[91]
63 (35 reviews)[92]
A+[90]

Harry Potter and the Prisoner of Azkaban
91% (253 reviews)[93]
82 (40 reviews)[94]
A[90]

Harry Potter and the Goblet of Fire
88% (248 reviews)[95]
81 (38 reviews)[96]
A[90]

Harry Potter and the Order of the Phoenix
78% (245 reviews)[97]
71 (37 reviews)[98]
A−[90]

Harry Potter and the Half-Blood Prince
84% (269 reviews)[99]
78 (36 reviews)[100]
A−[90]

Harry Potter and the Deathly Hallows – Part 1
78% (265 reviews)[101]
65 (42 reviews)[102]
A[90]

Harry Potter and the Deathly Hallows – Part 2
96% (315 reviews)[103]
87 (41 reviews)[104]
A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture
Academy Award nomination
Academy Award nominee
Academy Award ceremony

Harry Potter and the Philosopher's Stone
Best Art Direction
Best Costume Design
Best Original Score
Stuart Craig and Stephenie McMillan
Judianna Makovsky
John Williams
74th Academy Awards

Harry Potter and the Prisoner of Azkaban
Best Original Score
Best Visual Effects
John Williams
Roger Guyett, Tim Burke, John Richardson and Bill George
77th Academy Awards

Harry Potter and the Goblet of Fire
Best Art Direction
Stuart Craig and Stephenie McMillan
78th Academy Awards

Harry Potter and the Half-Blood Prince
Best Cinematography
Bruno Delbonnel
82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1
Best Art Direction
Best Visual Effects
Stuart Craig and Stephenie McMillan
Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2
Best Art Direction
Best Makeup
Best Visual Effects
Stuart Craig and Stephenie McMillan
Nick Dudman, Amanda Knight and Lisa Tomblin
Tim Burke, David Vickery, Greg Butler and John Richardson
84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of 2017[update], the Harry Potter film series is the 2nd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture
Release date
Box office gross
Budget
Ref(s)

United Kingdom
USA & Canada
(approx. ticket sales)
Other countries
Worldwide

Harry Potter and the Philosopher's Stone
16 November 2001 (2001-11-16)
£66,096,060
$317,575,550
(55,976,200)
$657,179,821
$974,755,371
$125 million
[131][132][132][133][134]

Harry Potter and the Chamber of Secrets
14 November 2002 (2002-11-14)
£54,780,731
$261,988,482
(44,978,900)
$616,991,152
$878,979,634
$100 million
[133][134][135][136]

Harry Potter and the Prisoner of Azkaban
31 May 2004 (2004-05-31)
£45,615,949
$249,541,069
(40,183,700)
$547,147,480
$796,688,549
$130 million
[133][134][137]

Harry Potter and the Goblet of Fire
18 November 2005 (2005-11-18)
£48,328,854
$290,013,036
(45,188,100)
$606,898,042
$896,911,078
$150 million
[133][134][138][139]

Harry Potter and the Order of the Phoenix
11 July 2007 (2007-07-11)
£49,136,969
$292,004,738
(42,442,500)
$647,881,191
$939,885,929
$150 million
[133][134][140][141]

Harry Potter and the Half-Blood Prince
15 July 2009 (2009-07-15)
£50,713,404
$301,959,197
(40,261,200)
$632,457,290
$934,416,487
$250 million
[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1
19 November 2010 (2010-11-19)
£52,364,075
$295,983,305
(37,503,700)
$664,300,000
$960,283,305
Less than $250 million (official)
[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2
15 July 2011 (2011-07-15)
£73,094,187
$381,011,219
(48,046,800)
$960,500,000
$1,341,511,219
[134][146][147]

Total
£440,269,736
$7009239007659600000♠2,390,076,596
$7009533335497600000♠5,333,354,976
$7009772343157200000♠7,723,431,572
$1.155 billion
[148]

text: All-time rankings

text:
Motion picture
Rank
Ref(s)

All-time
(worldwide)
All-time
(United States)
All-time
(United Kingdom)
Yearly
(United States)
Yearly
(worldwide)
Opening day
(all-time)
Opening weekend
(all-time)

Philosopher's Stone
#29
#54
#9
#1
#1
#66
#55
[131]

Chamber of Secrets
#46
#90
#17
#4
#2
#81
#60
[133][135][136]

Prisoner of Azkaban
#62
#106
#33
#6
#2
#47
#49
[133]

Goblet of Fire
#42
#77
#28
#3
#1
#41
#40
[133][138][139]

Order of the Phoenix
#38
#73
#25
#5
#2
#34
#77
[133][140][141]

Half-Blood Prince
#39
#65
#24
#3
#2
#24
#75
[133][142][143]

Deathly Hallows – Part 1
#34
#68
#18
#5
#3
#22
#25
[133][144][145]

Deathly Hallows – Part 2
#8
#27
#7
#1
#1
#3
#8
[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."

—The Economist[150]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga, The Hunger Games and The Divergent Series.[153]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[154] Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: Charlie and Lola

question_text: lola's best friend in charlie and lola

question_tokens: lola 's best friend in charlie and lola

text: Charlie and Lola

text: Publications[edit]

text:
I Will Not Ever Never Eat A Tomato (Orchard Books, 2000); US title, I Will Never Not Ever Eat a Tomato (Candlewick Press, 2000)
I Am Not Sleepy and I Will Not Go to Bed (2001)
I Am Too Absolutely Small for School (2003)
Slightly Invisible (2010)

tag: ul

text:
I've Won, No I've Won, No I've Won
Snow Is My Favourite and My Best (US title: "Snow Is My Favorite and My Best")
But Excuse Me That Is My Book (TV episode title: But That Is My Book)
We Honestly Can Look After Your Dog (TV episode title: We Do Promise Honestly We Can Look After Your Dog)
My Wobbly Tooth Must Not Ever Never Fall Out (TV episode title: I Do Not Ever Never Want My Wobbly Tooth To Fall Out)
Say Cheese!
I'm Really Ever So Not Well
Whoops! But It Wasn't Me! (TV episode title: It Wasn't Me!)
This Is Actually My Party
I Can Do Anything That's Everything All on My Own
You Can Be My Friend
I Am Going to Save a Panda
You Won't Like This Present As Much As I Do!
But I Do Know All About Chocolate (special edition for Comic Relief)
My School Play Sticker Book (Based upon the episode There Is Only One Sun and That Is Me!)
My Haircut Sticker Book (Based upon the episode I Like My Hair Completely the Way It Is)
My Very Busy Sticker Book (Based upon the episode I'm Far Too Extremely Busy)
My Picnic Sticker Book (Based upon the episode The Most Wonderfullest Picnic in the Whole Wide World)

text: Various colouring books and a magazine are also available in the UK.

text: The "Charlie and Lola" books have been translated into Welsh under the name Cai a Lois and into many other languages.

text: Characters of Charlie and Lola[edit]

text: Charlie Sonnor[edit]

text: Charlie is the imaginative and helpful brother of Lola and is a hero. He is seven years old[3] and has the same hair color as Lola. Charlie is often asked to look after Lola, and he sometimes has to think of creative ways to keep her busy. In the TV series, he breaks the fourth wall by talking about Lola to the viewers, and also narrates the episodes.

text: Lola Sonnor[edit]

text: Lola is an imaginative, quirky 5-year-old[3] girl. Lola is Charlie's little sister; and is best friends with Lotta. She likes playing and is full of character. She normally wears blue butterfly hair clips. She has black eyes and short blonde hair and is a drama queen.

text: Marv Lowe[edit]

text: Marv (In the TV Series, Charlie calls him 'Marv' for short) is Charlie's best friend and his sidekick. He has a younger brother named Morten and an older brother named Marty. Marv also has a sausage dog named Sizzles and a pet mouse named Squeak. He is the same age as Charlie. He resides at the third level in his flat like Charlie who resides on the third level too.

text: Lotta Zehybe[edit]

text: Lotta is Lola's best friend. She has black curly hair or puffy pigtails and she is the same age as Lola.

text: t[edit]

text: Soren Lorensen

text: Soren Lorensen is Lola's imaginary friend and is always rendered as monochrome and translucent. When Lola and Soren Lorensen are playing, Soren Lorensen is rather detailed and has the look of a real person only grey and translucent. When someone interrupts them (such as Charlie), Soren Lorensen still has detail and he becomes more Unknown.

text: Minor or background characters[edit]

text: Big hero: He is Marv's older brother. He does not throw anything away. Marty cannot seem to like people in his room. His voice is heard in Look After Your Planet. He exclaims "Get out of my room, now!" and "Who's been in my room?"he decided to team up with the others when something bad happened.

text: etc. She said she was going to be the "Wicked Witch of the West" in "What Can I Wear For Halloween" but she went as a girly rabbit instead of a witch. She had purple-rimmed-glasses with orange flowers on it on "I Really Absolutely Must Have Glasses" Sometimes she is seen with Evie. Sometimes not.

text: Small hero: He is Marv's younger brother, he is quite shy and quiet. Sometimes he is not.

text: The amazing Arnold Wolf: He is Lola's neighbour. Arnold is only featured in some episodes, and in one he did not stop being friends with Lola, after sharing his ice cream with Lola when she drops hers, but then Arnold and Lola are able to build their hero friendship when he let her and Charlie use his paddling pool. His hero chant is tra la laaaaaaa!

text: Granny and Grandpa heroes: Charlie and Lola's grandparents. Granny paints for a hobby, while it appears that Grandpa is good with horses. Like Charlie and Lola's parents and other character's parents, they are referred to and are shown. Before you can say come sidekick they will be leaping out of prison.

text: Evie: A ruddy girl in Lola and Lotta's school who became a superhero in "hero Friend" with red hair which she wears in pigtails. She also wears a skirt, a long sleeve shirt and striped leggings.

text: Jack: Marv's cousin who Lola and Lotta did not think he was Marv's new best friend in the episode, "But Marv is Absolutely Charlie's Best Friend"

text: Macy Zehybe: Lotta's older cousin and a hero.

text: Katsuki: A Japanese girl who has the same hair clips just like Lola, a cardigan and a skirt with two long ponytails and a japense hero

text: Other background characters[edit]

text: Pets[edit]

text: Sizzles - Marv's dog. Sizzles is a dachshund (weiner dog).

text: Lumpy - Charlie and Lola's short-lived mouse.

text: Snotty - Marv's white mouse. He can jump from one leg to another.

text: Buddy - Charlie and Lola's guinea pig. Despite the name, Buddy is a girl, because at first, Charlie and Lola thought Buddy was a boy, until she had a litter of baby guinea pigs.

text: Cheeseball - Charlie and Lola's second mouse. He can easily tickle anyone, hence the name.

text: Casper - Charlie & Lola's Grandparent's cat who loves Charlie more than Lola.

text: Stinky - That's Nibbles' mouse sister.

text: Other[edit]

text: Bat Cat - A character from one of Charlie and Lola's favourite comics. He is grey/black upright cat that goes about doing heroic deeds, usually for other cats. A pun on the superhero Batman. And can defeat the dog.

text: Pirate Squidbones - Another of Charlie and Marv's favourite comics and cartoons, Pirate Squidbones tells of the adventures of a notorious one-eyed pirate and his motley crew and has a villain to beat known as the kraken

text: Toys[edit]

text: Foxie - Lola's stuffed fox, it is her favourite. In a longing search for her dear lost toy, she later comes to find out that she left it under her pillow in the episode "But Where Completely Are We".

text: Ellie - Lola's elephant, Ellie is a China elephant with nice pink flowery designs all about it.

text: Frog - Lola's springy frog that she keeps on her bed stand so much of the time. Apparently, this is also Soren Lorenson's favourite toy; he plays with when Lola's not around.

text: The Rocket - A class project of Charlie's making, the rocket is a toy space rocket that won Charlie a First Place prize in school; he beat Marv and that boy Harvy. Unfortunately, Lola in her curiosity had a bit of a mishap with it and broke the rocket some. But Charlie, notwithstanding he was really cross, was able to mend it like new.

text: Hyaenas - A pair of unkind hyaenas that were caught making fun of Ellie's nose once.

text: Daisy - Lola's rag doll, she is a blonde doll wearing a pink dress and a bow to match in its hair. She has blue buttons for eyes.

text: Molly the Rabbit - An anthropomorphic female stuffed rabbit who's all pink with a red bow on its head. She is one of Lola's stuffed animals.

text: Mr. Teddy - Charlie's former teddy bear when he was the same age as Lola, he is yellow with green buttons for eyes and a blue bow tie. He's now of Lola's.

text: In other media[edit]

text: Television series[edit]

text: The books have been adapted by Tiger Aspect into a cartoon series, using a collage style of animation which accurately captures the style of the original books. Directed by Kitty Taylor and Claudia Lloyd. 2D cel animation, paper cutout, fabric design, real textures, photomontage, and archive footage are all employed and subsequently animated in a software application called CelAction.[4] The cartoons are also notable for their use of children's voices, rather than adult voice actors, a technique pioneered by the Peanuts television specials.

text: The first series of 26 episodes (11 minutes each) was first broadcast on 7 November 2005. .[5] The second series of 26 episodes (again, 11 minutes each) started broadcasting on CBeebies on 2 October 2006 (with the morning broadcast also being shown on BBC Two) a third series followed. In the television series, Charlie is seven and Lola is four, and goes to school (her teacher is called Mrs. Hansen). In episodes of both the first and second series, Charlie celebrates his birthday (in "It's a Secret..." and "This Is Actually My Party"), although this doesn't seem to affect his age in other episodes. The third series, a final 26-episode run, was broadcast in the UK and the US in the 2007-2008 television season. With two special episodes broadcast in 2006 and 2007, a total of 80 episodes were produced.

text: Theatre[edit]

text: Charlie and Lola's Best Bestest Play was first performed at Polka Theatre on 26 April 2008 and has subsequently been performed at the venue again in 2010 and 2012. It will be staged for the first time at Glow, the events and exhibition space at Bluewater in Kent, by Watershed Productions over the Christmas period of 2013.[6]

text: Charlie and Lola's Best Bestest Play is based on the characters created by Lauren Child and adapted by Jonathan Lloyd, Artistic Director of Polka Theatre.

text: The Charlie and Lola Album[edit]

text: Charlie and Lola's Favourite and Best Music Record was released on 19 March 2007, aimed at parents as well as children. The music is largely a development of existing interstitial and theme music taken from series 1 and 2. There are elements of easy listening, lounge, big band jazz, reggae, bluegrass, eastern European, sci-fi, Latin, classical and film music. There are 17 tracks plus one hidden track, with the programme's theme tune opening and closing the album.

text: Each track includes spoken word extracts from the series. In many cases, these are manipulated to fit with the musical accompaniment.

text: "The Bestest in the Barn" was released as a single on 12 March 2007. It features Lola and Lotta teaching various animals on their farm how to sing, dance and play music. This is the only track on the album which does not appear in any episode. Lola and Lotta do however appear as farmers in "I Do Not Ever Never Want My Wobbly Tooth To Fall Out". They also have a tendency to imagine that animals are capable of developing impressive human skills, as seen in "We Do Promise Honestly We Can Look After Your Dog" and "I Will Not Ever Never Forget You Nibbles". "The Bestest in the Barn" now features on a playlist of CBeebies programme music played throughout CBeebies Land at the Alton Towers Resort.

text: The album is a collaboration between various composers and musicians who write and perform for the TV series. Much of the music is programmed but many tracks feature performances by musicians from London-based bands – Menlo Park, Polar Bear and Acoustic Ladyland.

text: Four of the tracks have been animated by Tiger Aspect Productions: "The Bestest in the Barn", "Sizzles", "Batcat" and "It's Snowing". "The Bestest in the Barn" video is encoded as an mpeg on the album CD, and all four videos are included as DVD extras on the series 2 DVD collection.

text: Track listing[edit]

text:
"Charlie and Lola Theme Tune"
"I Really Want To Play Music"
"The Bestest in the Barn"
"Boo!"
"Sizzles"
"I Will Not Ever Never Eat A Tomato"
"Milk Monkeys"
"Germs"
"Magic"
"Bat Cat"
"Lolaland"
"Greendrops"
"I Am Not Sleepy"
"Martian Attack"
"All Sleepy"
"Can You Maybe Turn The Light on?"
"Charlie and Lola Theme Tune" (Extended Version)
".... It's Snowing" (secret track)

text: Music credits[edit]

text:
Theme Tune written by Tom Dyson and Soren Munk
Production & Arrangement with John Greswell

text: All other tracks written by John Greswell and produced by Greswell / Taylor for MPM London Ltd.

text: Except:

text:
3 written by John Greswell, Christopher Taylor, Benjamin Nicholls
6, 12 written by John Greswell, Christopher Taylor
7 written by Tom Dyson, Soren Munk
16 written and produced by David Schweitzer

text: Additional musicians[edit]

text:
Andy Mellon – Trumpet / Flugel horn / Piano / Vocals / Clarinet
Benjamin Nicholls – Guitars / Banjo / Jews harp / Double bass / Bass guitar
Pete Wareham – Tenor saxophone / Trumpet
Sebastian Rochford - Drums / Percussion
Joe Bentley – Trombone

text: Demon Music Group Ltd.

text: BBC Worldwide Ltd.

text: All tracks published by Tiger Aspect / BMG Music Publishing

text: Sleeve Package design by David Mackintosh

text: Voices[edit]

text:
Charlie – Jethro Lundie-Brown, Daniel Mayers (series 2), Oriel Agranoff (series 3)
Lola – Maisie Cowell, Clementine Cowell (series 2), Holly Callaway (series 3)
Marv – Ryan Harris
Lotta – Morgan Gayle
Soren Lorenson – Stanley Street

text: Animation of promos[edit]

text: "The Bestest in the Barn", "Dancing Dogs", "Batcat" and "It's Snowing" promos animated by Tiger Aspect Productions. Tom Beattie, Betti Doherty, Alistair Douglas, Catherine T. Elliot, Tim Fehrenbach, Claudia Lloyd, James O'Shea, Caroline Parkinson, Mark Patterson, Steve Perkins, Kitty Taylor, Clare Winkworth, Andrew Zein.


document_title: United Kingdom and the United Nations

question_text: when did the united kingdom join the united nations

text: United Kingdom and the United Nations

text: United Kingdom's role in establishing the UN[edit]

text: On 12 June 1941, representatives of the United Kingdom, Canada, Australia, New Zealand, the Union of South Africa, and of the exiled governments of Belgium, Czechoslovakia, Greece, Luxembourg, Netherlands, Norway, Poland, and Yugoslavia, as well as General de Gaulle of France, met in London and signed the Declaration of St. James' Palace. This was the first of six conferences that led up to the founding of the United Nations and the Charter of the United Nations.[7]

text: Following the drafting of the Atlantic Charter in August 1941 by British Prime Minister Winston Churchill and U.S. President Franklin Roosevelt, Churchill visited the White House for three weeks in December 1941. During the visit, the name "United Nations" was suggested by Roosevelt to Churchill to refer to the Allies of World War II. Roosevelt proposed it as an alternative to "Associated Powers", a term the U.S. used in the First World War (the U.S. was never formally a member of the Allies of World War I but entered the war in 1917 as a self-styled "Associated Power"). Churchill accepted the idea noting the phrase was used by Lord Byron in the poem Childe Harold's Pilgrimage, which referred to the Allies at the Battle of Waterloo in 1815.[8][9]

text: The name appeared in the "Declaration by the United Nations", which was drafted by Roosevelt and Churchill with Roosevelt's aide Harry Hopkins while meeting at the White House in December 1941. The phrase "Four Policemen" was coined to refer to the four major Allied countries, the United States, United Kingdom, Soviet Union, and the Republic of China.[10][11] The term United Nations was first officially used when 26 governments signed this Declaration in January 1942.

text: The concept of the United Nations as an international organisation to replace the ineffective League of Nations was formulated and negotiated among the delegations from the U.S., the U.K., the Soviet Union and China at the Dumbarton Oaks Conference in 1944.[12][13] Winston Churchill urged Roosevelt to restore France to its status of a major Power after the liberation of Paris in August 1944. After months of planning, the UN Conference on International Organization opened in San Francisco in April 1945 attended by 50 governments and a number of non-governmental organisations involved in drafting the United Nations Charter. The heads of the delegations of the sponsoring countries took turns as chairman of the plenary meetings beginning with Anthony Eden of Britain.[14] The UN officially came into existence on 24 October 1945 upon ratification of the Charter by the five permanent members of the Security Council—the U.S., the U.K., France, the Soviet Union and the Republic of China—and by a majority of the other 46 signatories.[15]

text: The first meetings of the United Nations General Assembly and the Security Council took place in London beginning on 6 January 1946.[15] The General Assembly met in Westminster Central Hall,[16] and the Security Council met at Church House, Westminster.[17]

text: Veto power in the UN Security Council[edit]

text: The United Kingdom has used its Security Council veto power on 32 occasions.[18] The first occurrence was in October 1956 when the United Kingdom and France vetoed a letter from the US to the president of the Security Council concerning Palestine. The most recent was in December 1989 when the United Kingdom, France and the United States vetoed a draft resolution condemning the United States invasion of Panama.[19]

text: Along with France, the United Kingdom used its veto power to veto a draft resolution aimed at resolving the Suez Canal crisis in 1956. The UK and France eventually withdrew after the US instigated an 'emergency special session' of the General Assembly, under the terms of the "Uniting for Peace" resolution, which led to the establishment of the United Nations Emergency Force I (UNEF I), by the adoption of Assembly resolution 1001.[20] The UK also used its veto seven times in relation to Rhodesia from 1963 to 1973, five of these occasions were unilateral which are the only occasions on which the UK has used its veto power unilaterally.[19]

text: Modernisation and reform[edit]

text: The United Kingdom has stated its support for modernisation of the United Nations and reform the Security Council.[21] According to a formal statement made jointly by the United Kingdom and France in 2008:

text: Reform of the UNSC, both its enlargement and the improvement of its working methods, must therefore succeed. We reaffirm the support of our two countries for the candidacies of Germany, Brazil, India and Japan for permanent membership, as well as for permanent representation for Africa on the Council. ...

text: We will work with all our partners to define the parameters of such a reform.

text: Military operations and peacekeeping[edit]

text: Under the United Nations Command, the United Kingdom participated in the Korean War from 1950-53. Since then, the UK has contributed to a number of United Nations peacekeeping missions. In the 1990s, British Armed Forces were part of the United Nations Protection Force from 1992–1995 that intervened in the Bosnian War. The 2000 British military intervention in the Sierra Leone Civil War supported the United Nations Mission in Sierra Leone. Acting under United Nations Security Council Resolution 1973 in 2011, the UK and other NATO countries intervened in the Libyan Civil War.

text: As the fifth largest provider of financial contributions to United Nations peacekeeping, the UK provided 6.7 percent of the budget in 2013-15.[4] In September 2015, the UK was contributing 286 troops and five police officers to United Nations peacekeeping missions.[23] In November 1990, it was contributing 769.[24]

text: The Strategic Defence and Security Review 2015 included a commitment to double the number of UK military personnel contributed to UN peacekeeping operations as well as increasing the number of UK law enforcement and civilian experts on UN peace operations and in UN headquarters.[25]