document_title: Dances with Wolves

question_text: what was the horses name in dances with wolves

text: Dances with Wolves

text: Plot[edit]

text: In 1863, First Lieutenant John J. Dunbar is wounded in battle at St. David's Field in Tennessee. Choosing death in battle over amputation of his leg, he takes a horse and rides up to and along the Confederate lines. Despite numerous pot shots, the Confederates fail to hit him, and while they are distracted, the Union Army successfully attacks the line. Dunbar survives, receives a citation for bravery, and proper medical care. He recovers fully and is awarded Cisco, the horse who carried him, and his choice of posting. Dunbar requests a transfer to the western frontier so he can see it before it disappears.

text: Dunbar is transferred to Fort Hays, a large fort presided over by Major Fambrough, an unhinged officer who despises Dunbar's enthusiasm.  He agrees to post him to the furthest outpost they have, Fort Sedgewick, and kills himself shortly afterwards. Dunbar travels with Timmons, a mule wagon provisioner; they arrive to find the fort deserted. Despite the threat of nearby native tribes, Dunbar elects to stay and man the post himself. He begins rebuilding and restocking the fort, and prefers the solitude, recording many of his observations in his diary. Timmons is killed by Pawnee people on the journey back to Ft. Hays; his death, together with that of the major who had sent them there, prevents other soldiers from knowing of Dunbar's assignment, and no other soldiers arrive to reinforce the post.

text: Dunbar initially encounters his Sioux neighbors when attempts are made to steal his horse and intimidate him. Deciding that being a target is a poor prospect, he decides to seek out the Sioux camp and attempt dialogue. On his way, he comes across Stands With A Fist, the white adopted daughter of the tribe's medicine man Kicking Bird, who is ritually mutilating herself while mourning for her husband. Dunbar brings her back to the Sioux to recover, and some of the tribe begin to respect him. Eventually, Dunbar establishes a rapport with Kicking Bird, the warrior Wind In His Hair and the youth Smiles A Lot, initially visiting each other's camps. The language barrier frustrates them, and Stands With A Fist acts as an interpreter, although with difficulty; she only remembers English from her early childhood before the rest of her family was killed during a Pawnee raid.

text: Dunbar discovers that the stories he had heard about the tribe were untrue, and he develops a growing respect and appreciation for their lifestyle and culture. Learning their language, he is accepted as an honored guest by the Sioux after he tells them of a migrating herd of buffalo and participates in the hunt. When at Fort Sedgewick, Dunbar also befriends a wolf he dubs "Two Socks" for its white forepaws. Observing Dunbar and Two Socks chasing each other, the Sioux give him the name "Dances With Wolves." During this time, Dunbar also forges a romantic relationship with Stands With A Fist and helps defend the village from an attack by the rival Pawnee tribe. Dunbar eventually wins Kicking Bird's approval to marry Stands With A Fist, and abandons Fort Sedgewick.

text: Because of the growing Pawnee and white threat, Chief Ten Bears decides to move the tribe to its winter camp. Dunbar decides to accompany them but must first retrieve his diary from Fort Sedgewick as he realizes that it would provide the army with the means to find the tribe. However, when he arrives he finds the fort reoccupied by the U.S. Army. Because of his Sioux clothing, the soldiers open fire, killing Cisco and capturing Dunbar, arresting him as a traitor. Two officers interrogate him, but Dunbar cannot prove his story, as a corporal has found his diary and kept it for himself. Having refused to serve as an interpreter to the tribes, Dunbar is charged with desertion and transported back east as a prisoner. Soldiers of the escort shoot Two Socks when the wolf attempts to follow Dunbar, despite Dunbar's attempts to intervene.

text: Eventually, the Sioux track the convoy, killing the soldiers, and freeing Dunbar. They assert that they do not see him as a white man, but as a Sioux warrior called Dances With Wolves. But, at the winter camp, Dunbar decides to leave with Stands With A Fist because his continuing presence would endanger the tribe. As they leave, Smiles A Lot returns the diary, which he recovered during Dunbar's liberation, and Wind In His Hair shouts to Dunbar, reminding him that he is Dunbar's friend, a contrast to their original meeting where he shouted at Dunbar in hostility. U.S. troops are seen searching the mountains, but are unable to locate them, while a lone wolf howls in the distance. An epilogue states that thirteen years later, the last remnants of the free Sioux were subjugated to the American government, ending the conquest of the Western frontier states and the livelihoods of the tribes on the Great Plains.

text: Cast[edit]

text:
Kevin Costner as Lt. John J. Dunbar / Dances with Wolves (Lakota: Šuŋgmánitu Tȟáŋka Ób Wačhí)
Mary McDonnell as Stands With A Fist (Napépȟeča Nážiŋ Wiŋ)
Graham Greene as Kicking Bird (Ziŋtká Nagwáka)
Rodney A. Grant as Wind In His Hair (Pȟehíŋ Otȟáte)
Floyd Red Crow Westerman as Chief Ten Bears (Matȟó Wikčémna)
Tantoo Cardinal as Black Shawl (Šiná Sápa Wiŋ)
Jimmy Herman as Stone Calf (Íŋyaŋ Ptehíŋčala)
Nathan Lee Chasing His Horse as Smiles A Lot (Iȟá S’a)
Michael Spears as Otter (Ptáŋ)
Jason R. Lone Hill as Worm (Waglúla)
Charles Rocket as Lt. Elgin
Robert Pastorelli as Timmons
Tony Pierce as Spivey
Kirk Baltz as Edwards
Tom Everett as Sgt. Pepper
Maury Chaykin as Maj. Fambrough
Wes Studi as Toughest Pawnee
Wayne Grace as The Major
Michael Horton as Captain Cargill (Extended version)

text: Production[edit]

text: Originally written as a spec script by Michael Blake, it went unsold in the mid-1980s. However, Kevin Costner had starred in Blake's only previous film, Stacy's Knights (1983), and encouraged Blake in early 1986 to turn the Western screenplay into a novel to improve its chances of being produced. The novel was rejected by numerous publishers but finally published in paperback in 1988. The rights were purchased by Costner, with an eye on directing it. Actual production lasted for four months, from July 18 to November 23, 1989. Most of the movie was filmed on location in South Dakota, mainly on private ranches near Pierre and Rapid City, with a few scenes filmed in Wyoming. Specific locations included the Badlands National Park, the Black Hills, the Sage Creek Wilderness Area, and the Belle Fourche River area. The bison hunt scenes were filmed at the Triple U Buffalo Ranch outside Fort Pierre, South Dakota, as were the Fort Sedgewick scenes, the set being constructed on the property.[5]

text: Reception[edit]

text: Defying expectations, Dances with Wolves proved instantly popular, eventually earning great critical acclaim, making $184 million in U.S. box office and $424 million in total worldwide.[6] As of  1 March 2018[update], the film holds an approval rating of 82% on Rotten Tomatoes, based on 72 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "A grand, sweeping epic with inarguably noble intentions and arresting cinematography, but one whose center, arguably, is not as weighty as it should be."[7] Metacritic gave the film a score of 72 out of 100 based on 20 critical reviews, indicating "generally favorable reviews".[8] CinemaScore reported that audiences gave the film a rare "A+" grade.[9]

text: Because of the film's popularity and lasting impact on the image of Native Americans, the Sioux Nation adopted Costner as an honorary member.[10] At the 63rd Academy Awards ceremony in 1991, Dances with Wolves earned twelve Academy Award nominations and won seven, including Best Writing, Adapted Screenplay (Michael Blake), Best Director (Kevin Costner), and Best Picture of the Year. In 2007, the Library of Congress selected Dances with Wolves for preservation in the United States National Film Registry.[4]

text: Native American activist and actor Russell Means was less kind about some aspects of the film's technical accuracy. In 2009, he said "Remember Lawrence of Arabia? That was Lawrence of the Plains. The odd thing about making that movie is that they had a woman teaching the actors the Lakota language, but Lakota has a male-gendered language and a female-gendered language. Some of the Natives and Kevin Costner were speaking in the feminine way. When I went to see it with a bunch of Lakota guys, we were laughing."[11]  Other Native Americans like Michael Smith (Sioux), Director of San Francisco's long-running annual American Indian Film Festival, said, "There's a lot of good feeling about the film in the Native community, especially among the tribes. I think it's going to be very hard to top this one."[12]

text: Some of the criticism was inspired by the fact that the pronunciation is not authentic since only one of the movie's actors was a native speaker of the language. The movie's dialogues in the native language have been lauded as a remarkable achievement.[13] However, other writers have noted that earlier otherwise English-language films, such as Eskimo (1933), Wagon Master (1950) and The White Dawn (1974), had also incorporated Native dialogue.[14]

text: David Sirota of Salon referred to Dances with Wolves as a "white savior" film, as Dunbar "fully embeds himself in the Sioux tribe and quickly becomes its primary protector." He argued that its use of the "noble savage" character type "preemptively blunts criticism of the underlying White Savior story. The idea is that a film like Dances With Wolves cannot be bigoted or overly white-centric if it at least shows [characters such as] Kicking Bird and Chief Ten Bears as special and exceptional. This, even though the whole story is about a white guy who saves the day."[15]

text: Writer Richard Grenier was strongly critical of the film. Grenier accused Costner of misrepresenting the Sioux as peaceful, claiming that the film's "portrait of the Sioux, the most bloodthirsty of all Plains Native tribes and neither pacifists nor environmentalists, is false in every respect".[16]

text: Accolades[edit]

text: In addition to becoming the first Western film to win an Academy Award for Best Picture since 1931's Cimarron,[17] Dances with Wolves won a number of additional awards, making it one of the most honored films of 1990.[18]

text: Sequel[edit]

text: The Holy Road, a sequel novel by Michael Blake, the author of both the original Dances with Wolves novel and the movie screenplay, was published in 2001.[19] It picks up eleven years after Dances with Wolves. John Dunbar is still married to Stands with a Fist and they have three children. Stands with a Fist and one of the children are kidnapped by a party of white rangers and Dances with Wolves must mount a rescue mission. As of 2007, Blake was writing a film adaptation.[20] Costner, who has refused to do sequels to any of his films, including The Untouchables, stated he would not take part in this production.

text: Historical references[edit]

text: Judith A. Boughter wrote: "The problem with Costner's approach is that all of the Sioux are heroic, while the Pawnees are portrayed as stereotypical villains. Most accounts of Sioux–Pawnee relations see the Pawnees as victims of the more powerful Sioux."[21]

text: There was a real John Dunbar who worked as a missionary for the Pawnee in the 1830s–40s, and sided with the native Americans in a dispute with government farmers and a local native agent.[22] It is unclear whether the name "John Dunbar" was chosen as a corollary to the real historical figure.[23]

text: The fictional Lieutenant John Dunbar of 1863 is correctly shown in the film wearing a gold bar on his officer shoulder straps, indicating his rank as a First Lieutenant. From 1836–1872, the rank of First Lieutenant was indicated by a gold bar; after 1872, the rank was indicated by a silver bar. Similarly, Captain Cargill is correctly depicted wearing a pair of gold bars, indicating the rank of Captain at that time.[24]

text: In an interview, author and screenwriter Michael Blake said that Stands With a Fist, the white captive woman who marries Dunbar, was actually based upon the story of Cynthia Ann Parker, the white girl captured by Comanches and mother of Quanah Parker.[25]

text: Alternate version[edit]

text: One year after the original theatrical release of Dances with Wolves, a four-hour version of the film opened at select theaters in London. This longer cut was titled Dances with Wolves: The Special Edition, and it restored nearly an hour's worth of scenes that had been removed to keep the original film's running time under 3 hours.[26]

text: In a letter to British film reviewers, director Kevin Costner and producer Jim Wilson addressed their reasons for presenting a longer version of the film:

text: Why add another hour to a film that by most standards pushes the time limit of conventional movie making? The 52 additional minutes that represent this "new" version were difficult to cut in the first place, and ... the opportunity to introduce them to audiences is compelling.

text: We have received countless letters from people worldwide asking when or if a sequel would be made, so it seemed like a logical step to enhance our film with existing footage... making an extended version is by no means to imply that the original Dances With Wolves was unfinished or incomplete; rather, it creates an opportunity for those who fell in love with the characters and the spectacle of the film to experience more of both.[27]

text: The genesis of the 4-hour version of the film was further explained in an article for Entertainment Weekly that appeared ten months after the premiere of the original film. "While the small screen has come to serve as a second chance for filmmakers who can't seem to let their babies go, Kevin Costner and his producing partner, Jim Wilson, hope that their newly completed version will hit theater screens first."

text: "I spent seven months working on it," Wilson says of the expanded Wolves. He's quick to defend the Oscar-winning version as "the best picture we had in us at the time," yet Wilson also says he's "ecstatic" over the recut. "It's a brand-new picture," he insists. "There's now more of a relationship between Kevin and Stands With a Fist, more with the wolf, more with the Indians—stuff that's integral all through the story."

text: Of course, exhibitors may not want a longer version of an already widely seen movie, but Wilson remains optimistic. "I don't think the time is now," he acknowledges, "but ideally, there is a point at which it would come out with an intermission, booked into the very best venues in America."[28]

text: Costner would later claim that he did not work on the creation of the four-hour cut at all.[29]

text: Soundtrack[edit]

text:
John Barry composed the Oscar-winning score. It was issued in 1990 initially and again in 1995 with bonus tracks and in 2004 with the score "in its entirety."
Peter Buffett scored the "Fire Dance" scene.


document_title: Timon and Pumbaa

question_text: who played pumbaa in the lion king movie

root

text: Timon and Pumbaa

text: Appearances[edit]

text: The Lion King[edit]

text: Based on the characters Rosencrantz and Guildenstern from Hamlet, Timon and Pumbaa are played by Nathan Lane and Ernie Sabella. Timon was animated and created by Michael Surrey. They made their first appearances in the 1994 film when they shooed away the vultures that swarmed around young Simba, who had collapsed from heat exhaustion. Timon and Pumbaa then took the collapsed lion cub back to a small pool, where they splashed water on him to wake him up. After Simba is awakened by the two, they introduce themselves and welcome Simba to stay with them and follow their hakuna matata philosophy. At first, Simba is confused about Timon and Pumbaa's lifestyle, but it is explained to him in the song "Hakuna Matata".

tag: p

text: Many years later, while out on a musical walk with Timon, Pumbaa is distracted by a bug, which he follows into the jungle. The bug leads him right to a hungry lioness prowling around, who then tries to hunt down Pumbaa. She chases the warthog until Simba springs into action, and the two lions engage in conflict. When the lioness pins Simba, he recognizes her as Nala, his childhood playmate. They are happy to be together, but Timon is jealous after they leave for a night of romance. He and Pumbaa start singing the song "Can You Feel The Love Tonight?" and are joined by Simba and Nala on their night out. Still, the two help Simba defeat Scar and gain his rightful place as the king of the Pride Lands, most notably when they create a hula distraction to lure away Scar's hyenas. Pumbaa single-handedly drives off Shenzi, Banzai and Ed. They also stand on top of Pride Rock along with Simba and Nala when Rafiki presents Simba and Nala's newborn cub to the animals of the Pride Lands.

text: The Lion King II: Simba's Pride[edit]

text: It is unclear whether Timon and Pumbaa have taken up residence at Pride Rock, or just make frequent visits. They serve as aides to Simba, and are often called upon to keep an eye on his adventurous daughter Kiara so in a way replacing Zazu's role as babysitters. Despite being bumbling, Simba trusts them to look after Kiara, and does not blame them when Kiara runs off as Kiara is known to do just that. When Kiara goes on her first hunt, they are hired to make sure she won't get hurt. Enraged, she escapes from the Pridelands to hunt outside the boundary. Timon and Pumbaa also teach Kovu how to have fun after he forgets due to years of indoctrination in hatred. When Kovu's pride, the Outsiders, turn on Simba and ambush him, Timon is on Simba's side automatically, not even wanting to hear his argument. They later assist in the battle against Kovu's manipulative and vengeful mother Zira, and her pride of exiled lions, but get chased off and cornered by a group, until Timon threatens to use Pumbaa's tail as a gun and use his gas on them causing them to flee in fear. Despite being slightly cowardly, they are willing to fight for what is right. When Simba tries to make peace with Zira after realizing that both prides "were one", he uses the same advice Timon and Pumbaa gave him when he was a cub (put the past behind you) showing how much he had learned from his old friends.

text: The Lion King 1½[edit]

text: Timon and Pumbaa are the main characters in this followup, and are revealed to have passed by and caused some key events in the first film before their first appearance. Timon, his mother Ma and Uncle Max were part of a group of meerkats who lived on the savannah, but he was unable to do any job properly, and almost led to the meerkat being eaten by the hyenas Shenzi, Banzai and Ed (Pumbaa was revealed to have blocked out part of the scene by sitting on the remote). Feeling depressed, he received counsel from Rafiki, who taught him the "Hakuna Matata" philosophy and told him to "look beyond what you see." Timon took this literally, and set off to find the ultimate paradise. Along the way, he first encountered Pumbaa, and the two became friends. On the way to find paradise, they passed by the presentation of Simba (it turns out that Pumbaa accidentally passed some gas and the smell made a few animals collapse, causing the other animals to think they were bowing and later they all bowed) and Mufasa was very puzzled at seeing this and his majordomo Zazu then tells him they are bowing to his son; Simba, Nala, and when the animals are singing "I Just Can't Wait To Be King" (it was Timon who hit an elephant's leg with a stick, causing the tower of animals to collapse); the elephant graveyard where Mufasa was on his way to save Simba and Nala from the hyenas ("I see carnivores"); the hyenas marching to "Be Prepared" ("something tells me this ain't the traveling company of Riverdance"); and the wildebeest stampede ("Shall we run for our lives?" "Oh yes, let's."). Finally, they reach a beautiful oasis and are enjoying life until they find a collapsed Simba. After rescuing Simba, Timon and Pumbaa find themselves with their hands full trying to keep up with the mischievous cub.

text: The film also shows more of Simba's life with Timon and Pumbaa before Nala came along, stating that Simba had beaten Timon in every bug-eating contest they had done with one another. Timon and Pumbaa, afraid that Nala would take away their friend, attempted to spoil Simba and Nala's date by letting out bees, a spider, and tripping the two (explaining why they fell down the hill in the first film), but all failed. Later on, they see Simba and Nala quarrelling. They also mistake the appearance of Mufasa's ghost as bad weather ("I think the storm is coming to a head"). After they realize Simba has gone back to take his rightful place as king, it is revealed that Pumbaa had set off to help Simba before Timon, who was indifferent and reluctant. Timon eventually came to his senses thanks to Rafiki's continued advice, and quickly followed, after which Rafiki says, "My work here is done." The duo provides their hula distraction (shown in the first film. This apparently was Timon's fault because before he did the dance, he asked Simba what his plan was to get past the hyenas, Simba replies "Live bait." When Timon realizes he and Pumbaa were the live bait, he sarcastically asked Simba "What do you want me to do? Dress in drag and do the hula?".[3] A few seconds later, the hyenas wake up and see Timon in a hula skirt, a flower, and a flower necklace and Pumbaa like a cooked pig), the two run into Ma and Uncle Max, who had been searching for Timon ever since he left the meerkat colony. Later on during the fight, they defeated the hyenas by digging a massive tunnel network, sending the hyenas down Pride Rock where they get to take revenge on Scar who had betrayed them. This scene explains what happened to Timon and Pumbaa while Simba is fighting Scar. After Scar is killed in the first film and this film, Timon and Pumbaa show up alive and unharmed against the hyenas that chased them, suggesting to audiences that they have either outsmarted or beat up the hyenas in the first film. At the end, Timon takes his entire meerkat colony to live in the oasis, free from threats.

text: Despite the appearance of Timon's mother, Ma (who was also given reference in at least one episode of Timon and Pumbaa) and his Uncle Max (believed to be his great uncle due to his age-which may be premature-and the fact that Ma also calls him 'Uncle' Max), Timon's father is never mentioned. However, in deleted scenes, Timon's father is an active character, though he was apparently replaced by Uncle Max.

text: The Lion King (2019)[edit]

text: In April, Billy Eichner and Seth Rogen were cast to play Timon and Pumbaa respectively in the 2019 live-action CGI remake of The Lion King.[4]

text: The Lion King's Timon & Pumbaa[edit]

text: Timon and Pumbaa starred in their own animated television series which focuses on their lives. The duo is seen having misadventures in the jungle and they are also seen visiting different places around the world, such as the United States, Spain, and France. This series also reveals their last names: Timon's is revealed to be Berkowitz while Pumbaa's is revealed to be Smith.

text: It is revealed in the series that before Timon met Pumbaa, he had a best friend named Fred, who enjoys pulling practical jokes. In the episode "Isle of Manhood", it is shown that Timon attempts to pass the test of manhood in order to become brave and manly instead of the cowardly meerkat he sometimes claims himself to be. In Pumbaa's case, it is revealed that he was once a member of a warthog sounder, but by the time he was fully grown, the warthogs banished him because of his smell, which was appalling even by warthog standards. It is also stated that years before the episode "Madagascar About You", an arranged marriage has been set up for Pumbaa before he was even born.

text: It is notable that a pre-existing storyline of how Timon met Pumbaa appeared in this series. This would make the series and The Lion King 1½ independent continuities. However, this pre-existing storyline was later retconned into being a fictional story that Rafiki was telling Zazu.[citation needed]

text: The Lion Guard[edit]

text: Timon and Pumbaa appear with several of the film's other characters in the Disney Junior series The Lion Guard, which centers around Simba's second-born cub, Kion. During the series, which is set within the time gap in The Lion King II: Simba's Pride,[5] Timon and Pumbaa are adoptive uncles of a young honey badger named Bunga, who is one of the members of the Lion Guard. When Bunga was an infant, he encountered Timon and Pumbaa singing "Utamu." Instantly smitten, Bunga had begun following them around. Pumbaa wanted to keep Bunga, but Timon didn't want to raise anymore kids since he and Pumbaa have already done so with Simba, but the two friends see that the honey badger wants to be with them as well. Before he accepted Bunga, Timon instructed the honey badger to climb a tree and fetch them some Utamu grubs. When Bunga had succeeded and given the grubs to Timon, the meerkat had allowed him to stay, and the three have lived together ever since.

text: Other appearances[edit]

text: Timon and Pumbaa made regular appearances in the animated television series Disney's House of Mouse (2001–2002) as guests and also appeared in Mickey's Magical Christmas: Snowed in at the House of Mouse. An occasional running gag in the show involved Timon trying to eat Jiminy Cricket, only to be stopped by Pumbaa.

text: The two have made cameos in other Disney films. In Aladdin and the King of Thieves, the Genie turns into Pumbaa in a scene saying, "Hakuna Matata". Timon appears in the Virtual Magic Carpet Ride game included on disc 2 of the 2004 Aladdin Platinum Edition DVD. In Enchanted, Pip accidentally transforms himself momentarily into Pumbaa in the DVD extra "Pip's Predicament: A Pop-Up Adventure". Pumbaa also makes a cameo appearance in the "Good Neighbor Cruella" episode of 101 Dalmatians: The Series, as well as making a cameo appearance in Tangled. Both characters also make a cameo appearance in the Lilo & Stitch: The Series finale film, Leroy & Stitch, hidden among Stitch's experiment "cousins" in the climax.

text: They also appear on the packaging of the Kellogg's cereal "Chocolate Mud & Bugs".

text: A toy Pumbaa briefly appears in the music video to Steps's version of Tragedy in the bedroom of band member H.

text: In The Jungle Book 2, Timon and Pumbaa can briefly be seen dancing during the song "W-I-L-D" until Baloo bounces them off with his backside.

text: Kingdom Hearts[edit]

text: They reprise their roles from The Lion King in the 2006 video game Kingdom Hearts II. They charge in to battle the hyenas, and are saved by the game's main protagonists Sora, Donald Duck, and Goofy. After Simba's coronation, they fear that Simba will forget them and let the other lions eat them, though Sora assures them that Simba will never forget them. Pumbaa later shows his bravery by standing between a pregnant Nala and Scar's "ghost". Ernie Sabella reprises his role as Pumbaa, while Timon is voiced by Bruce Lanoil. Coincidentally, Quinton Flynn also had a role in the game, providing the voice for Axel of Organization XIII.

text: Walt Disney Parks and Resorts[edit]

text: Timon also appears at the Walt Disney Parks and Resorts as a meetable character. Pumbaa also appears on certain floats in certain parades or shows. Timon and Pumbaa are also the mascots used at Disney World to help kids and parents understand safety issues in the Disney parks and resorts. They are also featured on the Disney Safety website which was created in conjunction with Animax Entertainment. Timon and Pumbaa were also main characters in Legend of the Lion King, a former Fantasyland attraction in Walt Disney World's Magic Kingdom, which retold the story of the film using fully articulated puppets. The two also make cameo appearances in the Hong Kong Disneyland and the Disneyland versions of It's a Small World. They appeared along with Simba in the 1995 film Circle of Life: An Environmental Fable, an edutainment film at Epcot's Land Pavilion. Timon and Pumbaa both feature in Festival of the Lion King at Animal Kingdom.

text: Educational shorts[edit]

text:
In 2008, 2009, 2012 and 2013, Disney Educational Productions and Underwriters Laboratories coproduced an educational film series called Wild About Safety: Safety Smart with Timon and Pumbaa, where Pumbaa educated Timon on how to stay safe. Ernie Sabella reprised his role as Pumbaa, while Timon was voiced by Bruce Lanoil. Each installment was approximately 11 minutes long. They are all animated in the style of the 1994 TV show.
The following titles were produced:

text:
Wild About Safety: Safety Smart At Home!
Wild About Safety: Safety Smart Healthy and Fit!
Wild About Safety: Safety Smart About Fire!
Wild About Safety: Safety Smart Goes Green!
Wild About Safety: Safety Smart In The Water!
Wild About Safety: Safety Smart Online!
Wild About Safety: Safety Smart Honest & Real!
Wild About Safety: Safety Smart On The Go!

tag: ul


document_title: Pitch Perfect 3

question_text: who plays the army guy in pitch perfect 3

text: Pitch Perfect 3

text: Plot[edit]

text: Three years after the events of the second movie, the Bellas have graduated college, but have jobs which they all hate. Desperate to see each other again to sing once more, Beca (Anna Kendrick), Fat Amy (Rebel Wilson), Chloe (Brittany Snow), Aubrey (Anna Camp), Lilly (Hana Mae Lee), Stacie (Alexis Knapp), Cynthia-Rose (Ester Dean), Florencia (Chrissie Fit), Jessica (Kelley Jakle), and Ashley (Shelley Regner) are all thrilled to learn that Emily (Hailee Steinfeld), now a senior at Barden and leader of the Barden Bellas, has seemingly asked for the Bellas to reunite at an event in New York Aquarium to sing with each other once more. Upon arriving at the reunion they are told that the reunion was not for the Bellas to sing together, but to watch Emily sing with the new Bellas.

text: They later gather at a bar in disappointment and Emily apologizes as she thought it would be the only way for them to see each other again. They all express how much they miss each other. Suddenly, Aubrey convinces them to join a USO performance accessed by her Army officer father. If they win the competition, they get to open for DJ Khaled. The Bellas gladly accept, all except for Stacie who is eight months pregnant at the moment and is unable to go with them. The Bellas later arrive at a hangar where two soldiers, Chicago (Matt Lanter) and Zeke (Troy Ian Hall) introduce them to their competition, revealed to be three other groups who use instruments, unlike the Bellas. When the band Evermoist, led by their leader Calamity (Ruby Rose) begin to mock and belittle the Bellas, the competitors are challenged to a riff-off by the Bellas, who leave defeated when the other groups compete using their musical instruments.

text: The Bellas are taken to a fancy hotel in Spain, where Chloe begins to catch an eye for Chicago. Fat Amy finds an old stuffed bunny sitting in her bed, which she recognizes as an old toy she used to hold when she was very little as her father Fergus (John Lithgow) sang her to sleep every night. Amy then realizes that her father is staying in the same hotel she is in and is shocked upon the discovery, seeing as how Fergus is an international criminal. Later that night, the Bellas are invited to a party at DJ Khaled's suite at the hotel, where Fat Amy splits with the group when she is called to be at a poker tournament. The tournament was set up by Fergus, who promptly begs for Amy to be back in his life. A hesitant Amy finally agrees to do so after seeing how much he has changed. Beca, after having her breasts grabbed by Chloe, who develops a friendship with DJ Khaled's music producer Theo (Guy Burnet), is taken to DJ Khaled's music editing room. Beca produces a mix which impresses Theo who is prompted to send the mix to DJ Khaled. Moments later, the party is thrown into chaos when Aubrey accidentally sets the suite on fire.

text: The Bellas are left in disgrace after the incident with no hopes of winning the competition until Stacie calls the girls to inform she has given birth to a baby girl and named her Bella. This motivates the Bellas to just perform their hearts out without trying to win. Back at the USO competition, the Bellas perform tremendously to adoring crowds through different performances, repairing their reputation and chances to win in the process. Fergus is accepted by Amy, who believes he came to one of their performances to see her. He accidentally reveals that he has not seen her perform at all, while confessing that he is only trying to acquire an offshore account Amy's mother set up which contains US$180 million. After Amy shuts out Fergus again, Chicago and Zeke escort her away from her father, who swears revenge on her. Meanwhile, only Beca is asked personally by DJ Khaled to open for him, disregarding the other Bellas. Beca politely declines the offer and leaves to her room. Later, the Bellas are taken away by a Frenchman in a dark grey van out onto a yacht in a nearby harbor. The yacht belongs to Fergus, who is using the Bellas as a means to get Amy to come for him. Amy and Beca hear of the kidnapping and decide to rescue the Bellas. Beca distracts Fergus by having the Bellas perform "Toxic" for him and two of his men, just as Amy sets the yacht to explode. The Bellas escape the yacht just before it blows. Fergus survives the explosion and is arrested for his crimes.

text: After the Bellas are rescued by the military, Fat Amy reveals DJ Khaled's proposition to Beca to the others. They encourage her to take the chance, and they all agree that now it's time to move on with their lives, with Amy using her bank account for multiple tributes to singers named Amy, Aubrey trying to be a birthing coach, Flo's juice cart becoming part of an international brand, Chloe getting accepted into vet school, Cynthia-Rose staying at the base to get into flight school, Emily going back to Barden to prepare for her upcoming abnormal psychology test while continuing her songwriting, and Lilly revealing that the reason she was quiet was because she was possessed by Satan and the yacht incident snapped her out of it, and that her real name is Ester. They know very well they'll be separated, but still be connected to each other as a family. Later at the USO's final performance, Beca opens for DJ Khaled and sings on stage, and afterwards brings up the Bellas onstage for the girls to sing their final performance with the other competitors gladly watching the Bellas sing "Freedom! '90" to their hearts content.

text: Gail (Elizabeth Banks) and John (John Michael Higgins) (who were the Bellas' public announcers in the previous installments) finish filming the Bellas as part of a documentary they have been making about the girls throughout the whole film, only to be appalled when John realizes they didn't record the Bellas' final performance, which was supposed to be the documentary's big ending. A series of mid credit scenes reveal the Bellas' separate story arcs closed out to their mostly happy endings, with Lilly hanging around with DJ Dragon Nutz, whom she flirted with earlier, Chloe and Chicago making out whilst Beca, watching uncomfortably, speaks with Theo about her new job now that he works for her, and Aubrey reconnects with her father.

text: Cast[edit]

text: The Bellas[edit]

text:
Anna Kendrick as Beca Mitchell, an alumna and the former leader of The Barden Bellas, who works as a producer but quits due to creative differences, before joining the tour. She has been sharing an apartment in New York City with her best friends Chloe and Fat Amy for the last three years.
Rebel Wilson as Patricia "Fat Amy" Hobart, a comedic alumna of The Barden Bellas, from Australia. She held a one-woman show, "Fat Amy Winehouse", before joining the tour.
Brittany Snow as Chloe Beale, a Barden Bellas alumna and former co-leader, who longs for glory days with the Bellas. She applied to attend a vet school before joining the tour.
Anna Camp as Aubrey Posen, a Barden Bellas alumna and former leader, before Beca, who worked at the Lodge of Fallen Leaves. Through her father, The Bellas were invited to the USO tour.
Hailee Steinfeld as Emily Junk, a senior student at Barden University and the current leader of the new Barden Bellas, who joins her former seniors for the tour.
Ester Dean as Cynthia Rose Adams, a lesbian Barden Bellas alumna, who failed the Flight School simulation before joining the tour.
Hana Mae Lee as Lilly Onakuramara / Esther, a Barden Bellas alumna known for her quiet speaking voice and odd remarks. She worked as a tailor before joining the tour.
Kelley Jakle as Jessica Smith, a Barden Bellas alumna.
Shelley Regner as Ashley Jones, a Barden Bellas alumna.
Chrissie Fit as Florencia "Flo" Fuentes, a Barden Bellas alumna, from Guatemala. She worked at a juice truck before joining the tour.
Alexis Knapp as Stacie Conrad, a Barden Bellas alumna, known for being overly sexual. She works as a pilates instructor and despite wanting to, could not join the tour due to her pregnancy

text: Additional characters[edit]

text:
Elizabeth Banks as Gail Abernathy-McKadden-Feinberger, an a cappella commentator making an insulting documentary about The Bellas
John Michael Higgins as John Smith, an a cappella commentator making an insulting documentary about The Bellas
John Lithgow as Fergus Hobart, Fat Amy's estranged criminal father
Matt Lanter as Chicago Walp, a U.S. soldier guiding the Bellas during the tour, and Chloe's love interest.
Guy Burnet as Theo, DJ Khaled's music producer, who takes a liking to Beca
DJ Khaled as himself
Troy Ian Hall as Zeke, a U.S. soldier, partners with Chicago
Michael Rose as Aubrey's father
Jessica Chaffin as Evan
Moises Arias as Pimp-Lo
Ruby Rose, Andy Allo, Venzella Joy Williams, and Hannah Fairlight as Calamity, Serenity, Charity, and Veracity, respectively, members of the band Evermoist
Whiskey Shivers as Saddle Up, a country-bluegrass-based band competing against the Bellas
Trinidad James and D.J. Looney as Young Sparrow and DJ Dragon Nutz, respectively

text: Production[edit]

text: On April 11, 2015, a month before the release of the second film, it was announced that Rebel Wilson would return for a third film, although she stated that she did not know if Anna Kendrick or other cast members would also reprise their roles. She added that she would be "up for a Fat Amy spin-off."[6] Director, star, and producer of the second film Elizabeth Banks acknowledged the possibility of a third film during promotion of Pitch Perfect 2, saying, "I will say, it would be disingenuous to say that no one’s talking about a Pitch Perfect 3; the possibility of it."[7]

text: On June 10, 2015, a third film was officially confirmed, and Kay Cannon was set to return to write the script.[8] On June 15, 2015, it was announced that Kendrick and Wilson would both reprise their roles,[9] and on July 28, 2015, Brittany Snow signed on to return. Paul Brooks again produced for Gold Circle Films, along with Max Handelman and Banks for Brownstone Productions.[10] On October 27, 2015, Banks was officially announced to return as director for the film, though she exited in that capacity on June 3, 2016.[11][12] On September 1, 2016, Trish Sie was confirmed to direct the film.[13] On December 13, 2016, it was reported that Ruby Rose was in talks to join the film, while Anna Camp also signed on to return for the sequel.[14][15] Cannon wrote the script with later drafts by Mike White and Dana Fox; White would eventually receive screenwriting credits alongside Cannon.[14] On January 5, 2017, a table read occurred, with Ester Dean, Hana Mae Lee, Chrissie Fit, Kelley Jakle, and Shelley Regner also being confirmed to reprise their roles,[16] and singer Andy Allo joining as Charity, a rival in a group opposing the Bellas.[17] While it was revealed by vocal director Deke Sharon that Alexis Knapp is returning, she wasn't spotted during the first month of filming, leading fans to show concerns that she might not be returning at all. However, on February 6, she posted a photo on Instagram, confirming her return, and was on set the following day.[18][19]

text: Filming[edit]

text: Principal photography on the film began on January 5, 2017, and took place in Atlanta, Georgia, and Cádiz, Spain. Filming wrapped on April 3, 2017.[20][21][22]

text: Release[edit]

text: Pitch Perfect 3 was initially scheduled for July 21, and August 4, 2017. It had its world premiere in Sydney, Australia, on November 29, 2017,[23] and was released in the United States on December 22, 2017.[24]

text: Box office[edit]

text: As of March 3, 2018[update], Pitch Perfect 3 has grossed $104.9 million in the United States and Canada and $79 million in other territories, for a total of $183.9 million, against a production budget of $45 million.[2]

text: In the United States and Canada, Pitch Perfect 3 was released alongside the openings of Downsizing and Father Figures, and the wide expansions of The Shape of Water and Darkest Hour, and was projected to gross $27–35 million from 3,447 theaters in its opening weekend.[25][26] The film took in $2.1 million from Thursday night previews, about half of the $4.6 million earned by its predecessor. Over the three-day weekend, which included Christmas Eve, it grossed $19.9 million (down nearly 70% from the second film's $69.2 million debut), finishing third at the box office, behind Star Wars: The Last Jedi and Jumanji: Welcome to the Jungle. It grossed an additional $6.5 million on Christmas Day, for a four-day total of $26.4 million.[27] It dropped 15% the following weekend, grossing $16.8 million, and a total of $21.7 million over the four-day New Year's frame.[28]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 32% based on 117 reviews and an average rating of 4.7/10. The website's critical consensus reads, "Pitch Perfect 3 strains to recapture the magic that helped the original spawn a franchise, but ends up sending this increasingly unnecessary trilogy out on a low note."[29] On Metacritic, the film has a weighted average score of 40 out of 100 based on 35 critics, indicating "mixed or average reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score earned by its predecessor.[27]

text: Owen Gleiberman of Variety praised the cast and said, "The new film doesn't add anything revolutionary to the Pitch Perfect formula. It still sounds like we're in middle-period Glee written by someone who finds Ryan Murphy too solemn. But as directed by Trish Sie, the movie is bubbly, it's fast, it's hella synthetic-clever, and it's an avid showcase for the personalities of its stars."[31]

text: In a review for The Hollywood Reporter, Frank Scheck wrote "...what started out as a charmingly offbeat comic premise has inevitably degenerated into the sort of crass commercialism that probably would make the Bellas themselves turn up their noses."[32]

text: Music[edit]

text: The official soundtrack was released on December 15, 2017.[33]

text:
No.
Title
Music
Length

1.
"Universal Fanfare"

The Bellas

0:38

2.
"Toxic"
The Bellas
3:21

3.
"Sit Still, Look Pretty"
The New Bellas
3:06

4.
"Riff Off (Get the Party Started/Shut Up and Dance/Ignition/Swing Down Sweet Chariot)/Fly Away/One More Night/Call Me/Love Me Harder/If I Were a Boy/Zombie/Stronger (What Doesn't Kill You)/Human/Wake Me Up/Grenade)"
The Bellas, Evermoist, Saddle Up, Young Sparrow and DJ Dragon Nutz & Soldiers
4:48

5.
"You Got It"
Young Sparrow and DJ Dragon Nutz
3:16

6.
"Ex's & Oh's"
Saddle Up
2:49

7.
"How a Heart Unbreaks"
Evermoist
3:44

8.
"Cheap Thrills"
The Bellas
3:40

9.
"I Don't Like It, I Love It"
The Bellas
3:59

10.
"Cake by the Ocean"
The Bellas
3:14

11.
"Freedom! '90"
The Bellas
5:16

12.
"Soy Yo"
Bomba Estéreo
2:41

13.
"Boom Boom (feat. Zedd)"
Iggy Azalea
3:08

14.
"Tribe"
Kim Viera
3:09

15.
"Score Suite From Pitch Perfect 3"
Christopher Lennertz
3:46

16.
"Silent Night (feat. 80fitz)"
Hana Mae Lee
1:50

17.
"Baby, It's Cold Outside"
Kelley Jakle & Shelley Regner
2:52

18.
"Feliz Navidad"
Chrissie Fit
2:37

19.
"Freedom! '90 x Cups"
The Bellas & The Voice Season 13 Top 12 Contestants
2:27

Total length:
60:30[34][35]

tag: table


document_title: Fire in the hole

question_text: where does the term fire in the hole come from

text: Fire in the hole

text: "Fire in the hole" is a warning that an explosive detonation in a confined space is imminent. It originated with miners, who needed to warn their fellows that a charge had been set.[1] The phrase appears in this sense in state mining regulations,[2][3] in military and corporate procedures,[4][5] and in various mining and military blasting-related print books and narratives,[6] e.g., during bomb disposal or throwing grenades into a confined space.[1]

text: In common parlance it has became a catchphrase for a warning of type "Watch out!" or "Heads up!". [1]

text: NASA has used the term to describe a means of staging a multistage rocket vehicle by igniting the upper stage simultaneously with the ejection of the lower stage, without a usual delay of several seconds. On the Apollo 5 unmanned flight test of the first Apollo Lunar Module, a "fire in the hole test" used this procedure to simulate a lunar landing abort. Gene Kranz describes the test in his autobiography:

text: The fire-in-the-hole test involved shutting down the descent rocket, blowing the bolts that attached the ascent and descent stages, switching control and power to the ascent stage, and igniting the ascent rocket while still nestled to the landing stage.[7]


document_title: Distortion (music)

question_text: how did the kinks get their distorted sound

text: Distortion (music)

text: History[edit]

text: Early uses of amplified distortion[edit]

text: The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume (gain) was increased beyond their design limit or if they sustained minor damage.[3] Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up and a small amplifier to obtain his signature "low-down and dirty" bluesy sound. Many electric blues guitarists, including Chicago bluesmen such as Elmore James and Buddy Guy, experimented in order to get a guitar sound that paralleled the rawness of blues singers such as Muddy Waters and Howlin' Wolf,[4] replacing often their originals with the powerful Valco "Chicagoan" pick-ups, originally created for lap-steel, to obtain a louder and fatter tone. In early rock music, Goree Carter's "Rock Awhile" (1949) featured an over-driven electric guitar style similar to that of Chuck Berry several years later,[5] as well as Joe Hill Louis' "Boogie in the Park" (1950).[6][7]

text: In the early 1950s, pioneering rock guitarist Willie Johnson of Howlin' Wolf′s band began deliberately increasing gain beyond its intended levels to produce "warm" distorted sounds.[3] Guitar Slim also experimented with distorted overtones, which can be heard in his hit electric blues song "The Things That I Used to Do" (1953).[8] Chuck Berry's 1955 classic "Maybellene" features a guitar solo with warm overtones created by his small valve amplifier.[9] Pat Hare produced heavily distorted power chords on his electric guitar for records such as James Cotton's "Cotton Crop Blues" (1954) as well as his own "I'm Gonna Murder My Baby" (1954), creating "a grittier, nastier, more ferocious electric guitar sound,"[10] accomplished by turning the volume knob on his amplifier "all the way to the right until the speaker was screaming."[11]

text: In the mid-1950s, guitar distortion sounds started to evolve based on sounds created earlier in the decade by accidental damage to amps, such as in the popular early recording of the 1951 Ike Turner and the Kings of Rhythm song "Rocket 88", where guitarist Willie Kizart used a vacuum tube amplifier that had a speaker cone,[12][13] slightly damaged in transport.[14] Rock guitarists began intentionally "doctoring" amplifiers and speakers in order to emulate this form of distortion.[15] In 1956, guitarist Paul Burlison of the Johnny Burnette Trio deliberately dislodged a vacuum tube in his amplifier to record "The Train Kept A-Rollin" after a reviewer raved about the sound Burlison's damaged amplifier produced during a live performance. According to other sources Burlison's amp had a partially broken loudspeaker cone. Pop-oriented producers were horrified by that eerie "two-tone" sound, quite clean on trebles but strongly distorted on basses, but Burnette insisted to publish the sessions, arguing that "that guitar sounds like a nice horn section".[16]

text: In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers' vacuum tubes to create a "noisy" and "dirty" sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers (then usually employed by singers), the recent powerful and "fat" Gibson humbucker pickups, and controlled "feedback" (Larsen effect). The resultant sound can be heard on his highly influential 1958 instrumental, "Rumble" and Rawhide.[17]

text: 1960s: fuzz, distortion, and introduction of commercial devices[edit]

text: In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song "Don't Worry". Later that year Martin recorded an instrumental tune under his own name, using the same faulty preamp. The song, on the Decca label, was called "The Fuzz." Martin is generally credited as the discoverer of the "fuzz effect." [18]

text: Shortly thereafter, the American instrumental rock band The Ventures asked their friend, session musician and electronics enthusiast Orville "Red" Rhodes for help recreating the Grady Martin "fuzz" sound.[18] Rhodes offered The Ventures a fuzzbox he had made, which they used to record "2000 Pound Bee" in 1962.[19] The best-known early commercial distortion circuit was the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson, released in 1962.[20]

text: Also in the early 1960s, surf rock guitarist Dick Dale, who produced hits such as "Let's Go Trippin'" (1961) and "Misirlou" (1962), worked closely with Fender to push the limits of electric amplification technology,[21] producing the first 100-watt guitar amplifier.[22]

text: In 1964, a fuzzy and somewhat distorted sound gained widespread popularity after guitarist Dave Davies of The Kinks used a razor blade to slash his speaker cones for the band's single "You Really Got Me".[23]

text: In May 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record "(I Can't Get No) Satisfaction".[24] The song's success greatly boosted sales of the device, and all available stock sold out by the end of 1965.[25] Other early fuzzboxes include the Mosrite FuzzRITE and Arbiter Group Fuzz Face used by Jimi Hendrix,[26] the Electro-Harmonix Big Muff Pi used by Hendrix and Carlos Santana,[27] and the Vox Tone Bender used by Paul McCartney to play fuzz bass on "Think for Yourself" and other Beatles recordings (even in 1962 in their live shows they used something about distortion).[28]

text: In 1966, Jim Marshall of the British company Marshall Amplification began modifying the electronic circuitry of his amplifiers so as to achieve a "brighter, louder" sound and fuller distortion capabilities.[29][30]

text: In the late 1960s and early 1970s hard rock bands such as Deep Purple, Led Zeppelin and Black Sabbath forged what would eventually become the heavy metal sound through a combined use of high volumes and heavy distortion.[31]

text: Theory and circuits[edit]

text: The word distortion refers to any modification of wave form of a signal, but in music it is used to refer to nonlinear distortion (excluding filters) and particularly to the introduction of new frequencies by memoryless nonlinearities.[32] In music the different forms of linear distortion have specific names describing them. The simplest of these is a distortion process known as "volume adjustment", which involves distorting the amplitude of a sound wave in a proportional (or ‘linear’) way in order to increase or decrease the volume of the sound without affecting the tone quality. In the context of music, the most common source of (nonlinear) distortion is clipping in amplifier circuits and is most commonly known as overdrive.[33]

text: Clipping is a non-linear process that produces frequencies not originally present in the audio signal. These frequencies can be harmonic overtones, meaning they are whole number multiples of one of the signal's original frequencies, or "inharmonic", resulting from general intermodulation distortion.[34][35][36] The same nonlinear device will produce both types of distortion, depending on the input signal. Intermodulation occurs whenever the input frequencies are not already harmonically related. For instance, playing a power chord through distortion results in intermodulation that produces new subharmonics.

text: "Soft clipping" gradually flattens the peaks of a signal which creates a number of higher harmonics which share a harmonic relationship with the original tone. "Hard clipping" flattens peaks abruptly, resulting in higher power in higher harmonics.[37] As clipping increases a tone input progressively begins to resemble a square wave, which has odd number harmonics. This is generally described as sounding "harsh".

text: Distortion and overdrive circuits each 'clip' the signal before it reaches the main amplifier (clean boost circuits do not necessarily create 'clipping') as well as boost signals to levels that cause distortion to occur at the main amplifier's front end stage (by exceeding the ordinary input signal amplitude, thus overdriving the amplifier) Note : product names may not accurately reflect type of circuit involved - see above.[38]

text: A fuzz box alters an audio signal until it is nearly a square wave and adds complex overtones by way of a frequency multiplier.[39]

text: Valve overdrive[edit]

text: Vacuum tube or "valve" distortion is achieved by "overdriving" the valves in an amplifier.[40] In layperson's terms, overdriving is pushing the tubes beyond their normal rated maximum. Valve amplifiers—particularly those using class-A triodes—tend to produce asymmetric soft clipping that creates both even and odd harmonics. The increase in even harmonics is considered to create "warm"-sounding overdrive effects.[37][41]

text: A basic triode valve (tube) contains a cathode, a plate and a grid. When a positive voltage is applied to the plate, a current of negatively charged electrons flows to it from the heated cathode through the grid. This increases the voltage of the audio signal, amplifying its volume. The grid regulates the extent to which plate voltage is increased. A small negative voltage applied to the grid causes a large decrease in plate voltage.[42]

text: Valve amplification is more or less linear—meaning the parameters (amplitude, frequency, phase) of the amplified signal are proportional to the input signal—so long as the voltage of the input signal does not exceed the valve's "linear region of operation". The linear region falls between "1." the saturation region: the voltages at which plate current stops responding to positive increases in grid voltage and "2." the cutoff region: the voltages at which the charge of the grid is too negative for electrons to flow to the plate. If a valve is biased within the linear region and the input signal's voltage exceeds this region, overdrive and non-linear clipping will occur.[40][43]

text: Multiple stages of valve gain/clipping can be "cascaded" to produce a thicker and more complex distortion sound. In layperson's terms, a musician will plug a fuzz pedal into a tube amp that is being "cranked" to a clipping "overdriven" condition; as such, she will get the distortion from the fuzz which is then distorted further by the amp. During the 1990s, some Seattle grunge guitarists chained together as many as four fuzz pedals to create a thick "wall of sound" of distortion.

text: In some modern valve effects, the "dirty" or "gritty" tone is actually achieved not by high voltage, but by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as "starved plate" configurations, and result in an "amp death" sound.[citation needed]

text: Solid-state distortion[edit]

text: Solid-state amplifiers incorporating transistors and/or op amps can be made to produce hard clipping. When symmetrical, this adds additional high-amplitude odd harmonics, creating a "dirty" or "gritty" tone.[37] When asymmetrical, it produces both even and odd harmonics. Electronically, this is usually achieved by either amplifying the signal to a point where it is clipped by the DC voltage limitation of the power supply rail, or by clipping the signal with diodes.[citation needed] Many solid-state distortion devices attempt to emulate the sound of overdriven vacuum valves using additional solid-state circuitry. Some amplifiers (notably the Marshall JCM 900) utilize hybrid designs that employ both valve and solid-state components.[citation needed]

text: Approaches[edit]

text: Guitar distortion can be produced by many components of the guitar's signal path, including effects pedals, the pre-amplifier, power amplifier, and speakers. Many players use a combination of these to obtain their "signature" tone.

text: Pre-amplifier distortion[edit]

text: The pre-amplifier section of a guitar amplifier serves to amplify a weak instrument signal to a level that can drive the power amplifier. It often also contains circuitry to shape the tone of the instrument, including equalization and gain controls. Often multiple cascading gain/clipping stages are employed to generate distortion. Because the first component in a valve amplifier is a valve gain stage, the output level of the preceding elements of the signal chain has a strong influence on the distortion created by that stage. The output level of the guitar's pickups, the setting of the guitar's volume knob, how hard the strings are plucked, and the use of volume-boosting effects pedals can drive this stage harder and create more distortion.

text: During the 1980s and 1990s, most valve amps featured a "master volume" control, an adjustable attenuator between the preamp section and the power amp. When the preamp volume is set high to generate high distortion levels, the master volume lowered, keeping the output volume at manageable levels.

text: Overdrive/distortion pedals[edit]

text: Demo of a Big Muff (help·info)

text: Analog overdrive/distortion pedals work on similar principles to preamplifier distortion. Because most effects pedals are designed to operate from battery voltages, using vacuum tubes to generate distortion and overdrive is impractical; instead, most pedals use solid-state transistors, op-amps and diodes. Classic examples of overdrive/distortion pedals include the Boss OD series (overdrives), the Ibanez Tube Screamer (an overdrive), the Electro-Harmonix Big Muff Pi (a fuzz box) and the Pro Co RAT (a distortion). Typically, "overdrive" pedals are designed to produce sounds associated with classic rock or blues, with "distortion" pedals producing the "high gain, scooped mids" sounds associated with heavy metal; fuzz boxes are designed to emulate the distinctive sound of the earliest overdrive pedals such as the Big Muff and the Fuzz Face.[citation needed]

text: Most overdrive/distortion pedals can be used in two ways: a pedal can be used as a "boost" with an already overdriven amplifier to drive it further into saturation and "color" the tone, or it can be used with a completely clean amplifier to generate the whole overdrive/distortion effect. With care - and with appropriately chosen pedals - it is possible to "stack" multiple overdrive/distortion pedals together, allowing one pedal to act as a 'boost' for another.[44]

text: Fuzz boxes and other heavy distortions can produce unwanted dissonances when playing chords. To get around this, guitar players (and keyboard players) using these effects may restrict their playing to single notes and simple "power chords" (root, fifth, and octave). Indeed, with the most extreme fuzz pedals, players may choose to play mostly single notes, because the fuzz can make even single notes sound very thick and heavy. Heavy distortion also tends to limit the player's control of dynamics (loudness and softness) - similar to the limitations imposed on a Hammond organ player (Hammond organ does not produce louder or softer sounds depending on how hard or soft the performer plays the keys; however, the performer can still control the volume with drawbars and the expression pedal). Heavy metal music has evolved around these restrictions, using complex rhythms and timing for expression and excitement. Lighter distortions and overdrives can be used with triadic chords and seventh chords; as well, lighter overdrive allows more control of dynamics.[citation needed]

text: Power amplifier distortion[edit]

text: Power valves (tubes) can be overdriven in the same way that pre-amplifier valves can, but because these valves are designed to output more power, the distortion and character they add to the guitar's tone is unique. During the 1960s to early 1970s, distortion was primarily created by overdriving the power valves. Because they have become accustomed to this sound[dubious – discuss], many guitar players[who?] favour this type of distortion, and thus set their amps to maximum levels in order to drive the power section hard. Many valve-based amplifiers in common use have a push-pull output configuration in their power section, with matched pairs of tubes driving the output transformer. Power amplifier distortion is normally entirely symmetric, generating predominantly odd-order harmonics.

text: Because driving the power valves this hard also means maximum volume, which can be difficult to manage in a small recording or rehearsal space, many solutions have emerged that in some way divert some of this power valve output from the speakers, and allow the player to generate power valve distortion without excessive volume. These include built-in or separate power attenuators and power-supply-based power attenuation, such as a VVR, or Variable Voltage Regulator to drop the voltage on the valves' plates, to increase distortion whilst lowering volume. Guitarists such as Edward Van Halen have been known to use variacs before VVR technology was invented.[specify] Lower-power valve amps (such as a quarter-watt or less)[citation needed], speaker isolation cabinets, and low-efficiency guitar speakers are also used to tame the volume.

text: Power-valve distortion can also be produced in a dedicated rackmount valve power amp. A modular rackmount setup often involves a rackmount preamp, a rackmount valve power amp, and a rackmount dummy load to attenuate the output to desired volume levels. Some effects pedals internally produce power-valve distortion, including an optional dummy load for use as a power-valve distortion pedal. Such effects units can use a preamp valve such as the 12AX7 in a power-valve circuit configuration (as in the Stephenson's Stage Hog), or use a conventional power valve, such as the EL84 (as in the H&K Crunch Master compact tabletop unit). However, because these are usually placed before the pre-amplifier in the signal chain, they contribute to the overall tone in a different way. Power amplifier distortion may damage speakers.

text: A Direct Inject signal can capture the power-tube distortion sound without the direct coloration of a guitar speaker and microphone. This DI signal can be blended with a miked guitar speaker, with the DI providing a more present, immediate, bright sound, and the miked guitar speaker providing a colored, remote, darker sound. The DI signal can be obtained from a DI jack on the guitar amp, or from the Line Out jack of a power attenuator.

text: Output transformer distortion[edit]

text: The output transformer sits between the power valves and the speaker, serving to match impedance. When a transformer's ferromagnetic core becomes electromagnetically saturated a loss of inductance takes place, since the back E.M.F. is reliant on a change in flux in the core. As the core reaches saturation,the flux levels off and cannot increase any further. With no change in flux there is no back E.M.F. and hence no reflected impedance. The transformer and valve combination then generate large 3rd order harmonics. So long as the core does not go into saturation, the valves will clip naturally as they drop the available voltage across them. In single ended systems the output harmonics will be largely even ordered due to the valve's relatively non linear characteristics at large signal swings. This is only true however if the magnetic core does NOT saturate.[45]

text: Power supply "sag"[edit]

text: Early valve amplifiers used unregulated power supplies. This was due to the high cost associated with high-quality high-voltage power supplies. The typical anode (plate) supply was simply a rectifier, an inductor and a capacitor. When the valve amplifier was operated at high volume, the power supply voltage would dip, reducing power output and causing signal attenuation and compression. This dipping effect is known as "sag", and is sought-after by some electric guitarists.[46] Sag only occurs in class-AB amplifiers. This is because, technically, sag results from more current being drawn from the power supply, causing a greater voltage drop over the rectifier valve. In a class-A amplifier, current draw is constant, so sag does not occur.

text: As this effect is more pronounced with higher input signals, the harder "attack" of a note will be compressed more heavily than the lower-voltage "decay", making the latter seem louder and thereby improving sustain. Additionally, because the level of compression is affected by input volume, the player can control it via their playing intensity: playing harder results in more compression or "sag". In contrast, modern amplifiers often use high-quality, well-regulated power supplies.

text: Speaker distortion[edit]

text: Guitar loudspeakers are designed differently from high fidelity stereo speakers or public address system speakers. While hi-fi and public address speakers are designed to reproduce the sound with as little distortion as possible, guitar speakers are usually designed so that they will shape or color the tone of the guitar, either by enhancing some frequencies or attenuating unwanted frequencies.[47]

text: When the power delivered to a guitar speaker approaches its maximum rated power, the speaker's performance degrades, causing the speaker to "break up", adding further distortion and colouration to the signal. Some speakers are designed to have lots of clean headroom, while others are designed to break up early to deliver grit and growl.

text: Amp modeling for distortion emulation[edit]

text: Guitar amp modeling devices and software can reproduce various guitar-specific distortion qualities that are associated with a range of popular "stomp box" pedals and amplifiers. Amp modeling devices typically use digital signal processing to recreate the sound of plugging into analogue pedals and overdriven valve amplifiers. The most sophisticated devices allow the user to customize the simulated results of using different preamp, power-tube, speaker distortion, speaker cabinet, and microphone placement combinations. For example, a guitarist using a small amp modeling pedal could simulate the sound of plugging their electric guitar into a heavy vintage valve amplifier and a stack of 8 X 10" speaker cabinets.

text: Voicing with equalization[edit]

text: Guitar distortion is obtained and shaped at various points in the signal processing chain, including multiple stages of preamp distortion, power valve distortion, output and power transformer distortion, and guitar speaker distortion. Much of the distortion character or voicing is controlled by the frequency response before and after each distortion stage. This dependency of distortion voicing on frequency response can be heard in the effect that a wah pedal has on the subsequent distortion stage, or by using tone controls built into the guitar, the preamp or an EQ pedal to favor the bass or treble components of the guitar pickup signal prior to the first distortion stage. Some guitarists place an equalizer pedal after the distortion effect, to emphasize or de-emphasize different frequencies in the distorted signal.

text: Increasing the bass and treble while reducing or eliminating the centre midrange (750 Hz) results in what is popularly known as a "scooped" sound (since the midrange frequencies are "scooped" out). Conversely, decreasing the bass while increasing the midrange and treble creates a punchy, harsher sound. Rolling off all of the treble produces a dark, heavy sound.

text: Avoiding distortion[edit]

text: While this article has focused on the ways that musicians intentionally create or add distortion to electric instrument signals or vocals to create a musical effect, there are some musical styles and musical applications where as little distortion as possible is sought. When DJs are playing recorded music in a nightclub, they typically seek to reproduce the recordings with little or no distortion. In many musical styles, including pop music, country music and even genres where the electric guitars are almost always distorted, such as metal and hard rock, sound engineers usually take a number of steps to ensure that the vocals sounding through the sound reinforcement system are undistorted (the exception is the rare cases where distortion is purposely added to vocals in a song as a special effect).

text: Sound engineers prevent unwanted, unintended distortion and clipping using a number of methods. They may reduce the gain on microphone preamplifiers on the audio console; use attenuation "pads" (a button on audio console channel strips, DI unit and some bass amplifiers; and use electronic audio compressor effects and limiters to prevent sudden volume peaks from vocal mics from causing unwanted distortion.

text: As well, even though some bass guitar players in metal and punk bands intentionally use fuzz bass to distort their bass sound, in other genres of music, such as pop, big band jazz and traditional country music, bass players typically seek an undistorted bass sound. To obtain a clear, undistorted bass sound, professional bass players in these genres use high-powered amplifiers with a lot of "headroom" and they may also use audio compressors to prevent sudden volume peaks from causing distortion. In many cases, musicians playing stage pianos or synthesizers use keyboard amplifiers that are designed to reproduce the audio signal with as little distortion as possible. The exceptions with keyboards are the Hammond organ as used in blues and the Fender Rhodes as used in rock music; with these instruments and genres, keyboardists often purposely overdrive a tube amplifier to get a natural overdrive sound. Another example of instrument amplification where as little distortion as possible is sought is with acoustic instrument amplifiers, designed for musicians playing instruments such as the mandolin or fiddle in a folk or bluegrass style.


document_title: Greenhouse effect

question_text: where does the greenhouse effect occur in the atmosphere

text: Greenhouse effect

text: History

text: The existence of the greenhouse effect was argued for by Joseph Fourier in 1824. The argument and the evidence were further strengthened by Claude Pouillet in 1827 and 1838 and reasoned from experimental observations by John Tyndall in 1859, who measured the radiative properties of specific greenhouse gases.[7] The effect was more fully quantified by Svante Arrhenius in 1896, who made the first quantitative prediction of global warming due to a hypothetical doubling of atmospheric carbon dioxide.[8] However, the term "greenhouse" was not used to refer to this effect by any of these scientists; the term was first used in this way by Nils Gustaf Ekholm in 1901.[9][10]

text: Mechanism

text: Earth receives energy from the Sun in the form of ultraviolet, visible, and near-infrared radiation. Of the total amount of solar energy available at the top of the atmosphere, about 26% is reflected to space by the atmosphere and clouds and 19% is absorbed by the atmosphere and clouds. Most of the remaining energy is absorbed at the surface of Earth. Because the Earth's surface is colder than the photosphere of the Sun, it radiates at wavelengths that are much longer than the wavelengths that were absorbed. Most of this thermal radiation is absorbed by the atmosphere, thereby warming it. In addition to the absorption of solar and thermal radiation, the atmosphere gains heat by sensible and latent heat fluxes from the surface. The atmosphere radiates energy both upwards and downwards; the part radiated downwards is absorbed by the surface of Earth. This leads to a higher equilibrium temperature than if the atmosphere were absent.

text: An ideal thermally conductive blackbody at the same distance from the Sun as Earth would have a temperature of about 5.3 °C. However, because Earth reflects about 30%[11][12] of the incoming sunlight, this idealized planet's effective temperature (the temperature of a blackbody that would emit the same amount of radiation) would be about −18 °C.[13][14] The surface temperature of this hypothetical planet is 33 °C below Earth's actual surface temperature of approximately 14 °C.[15]

text: The basic mechanism can be qualified in a number of ways, none of which affect the fundamental process. The atmosphere near the surface is largely opaque to thermal radiation (with important exceptions for "window" bands), and most heat loss from the surface is by sensible heat and latent heat transport. Radiative energy losses become increasingly important higher in the atmosphere, largely because of the decreasing concentration of water vapor, an important greenhouse gas. It is more realistic to think of the greenhouse effect as applying to a "surface" in the mid-troposphere, which is effectively coupled to the surface by a lapse rate. The simple picture also assumes a steady state, but in the real world, there are variations due to the diurnal cycle as well as the seasonal cycle and weather disturbances. Solar heating only applies during daytime. During the night, the atmosphere cools somewhat, but not greatly, because its emissivity is low. Diurnal temperature changes decrease with height in the atmosphere.

text: Within the region where radiative effects are important, the description given by the idealized greenhouse model becomes realistic. Earth's surface, warmed to a temperature around 255 K, radiates long-wavelength, infrared heat in the range of 4–100 μm.[16] At these wavelengths, greenhouse gases that were largely transparent to incoming solar radiation are more absorbent.[16] Each layer of atmosphere with greenhouses gases absorbs some of the heat being radiated upwards from lower layers. It reradiates in all directions, both upwards and downwards; in equilibrium (by definition) the same amount as it has absorbed. This results in more warmth below. Increasing the concentration of the gases increases the amount of absorption and reradiation, and thereby further warms the layers and ultimately the surface below.[14]

text: Greenhouse gases—including most diatomic gases with two different atoms (such as carbon monoxide, CO) and all gases with three or more atoms—are able to absorb and emit infrared radiation. Though more than 99% of the dry atmosphere is IR transparent (because the main constituents—N2, O2, and Ar—are not able to directly absorb or emit infrared radiation), intermolecular collisions cause the energy absorbed and emitted by the greenhouse gases to be shared with the other, non-IR-active, gases.

text: Greenhouse gases

text: By their percentage contribution to the greenhouse effect on Earth the four major gases are:[17][18]

text:
water vapor, 36–70%
carbon dioxide, 9–26%
methane, 4–9%
ozone, 3–7%

text: It is not physically realistic to assign a specific percentage to each gas because the absorption and emission bands of the gases overlap (hence the ranges given above). The major non-gas contributor to Earth's greenhouse effect, clouds, also absorb and emit infrared radiation and thus have an effect on the radiative properties of the atmosphere.[18]

text: Role in climate change

text: Strengthening of the greenhouse effect through human activities is known as the enhanced (or anthropogenic) greenhouse effect.[20] This increase in radiative forcing from human activity is attributable mainly to increased atmospheric carbon dioxide levels.[21] According to the latest Assessment Report from the Intergovernmental Panel on Climate Change, "atmospheric concentrations of carbon dioxide, methane and nitrous oxide are unprecedented in at least the last 800,000 years. Their effects, together with those of other anthropogenic drivers, have been detected throughout the climate system and are extremely likely to have been the dominant cause of the observed warming since the mid-20th century".[22]

text: CO2 is produced by fossil fuel burning and other activities such as cement production and tropical deforestation.[23] Measurements of CO2 from the Mauna Loa observatory show that concentrations have increased from about 313 parts per million (ppm)[24] in 1960 to about 389 ppm in 2010. It reached the 400 ppm milestone on May 9, 2013.[25] The current observed amount of CO2 exceeds the geological record maxima (~300 ppm) from ice core data.[26] The effect of combustion-produced carbon dioxide on the global climate, a special case of the greenhouse effect first described in 1896 by Svante Arrhenius, has also been called the Callendar effect.

text: Over the past 800,000 years,[27] ice core data shows that carbon dioxide has varied from values as low as 180 ppm to the pre-industrial level of 270 ppm.[28] Paleoclimatologists consider variations in carbon dioxide concentration to be a fundamental factor influencing climate variations over this time scale.[29][30]

text: Real greenhouses

text: The "greenhouse effect" of the atmosphere is named by analogy to greenhouses which become warmer in sunlight. However, a greenhouse is not primarily warmed by the "greenhouse effect".[31] "Greenhouse effect" is actually a misnomer since heating in the usual greenhouse is due to the reduction of convection,[32] while the "greenhouse effect" works by preventing absorbed heat from leaving the structure through radiative transfer.

text: A greenhouse is built of any material that passes sunlight usually glass, or plastic. The sun warms the ground and contents inside just like the outside, which then warms the air. Outside, the warm air near the surface rises and mixes with cooler air aloft, keeping the temperature lower than inside, where the air continues to heat up because it is confined within the greenhouse. This can be demonstrated by opening a small window near the roof of a greenhouse: the temperature will drop considerably. It was demonstrated experimentally (R. W. Wood, 1909) that a (not heated) "greenhouse" with a cover of rock salt (which is transparent to infrared) heats up an enclosure similarly to one with a glass cover.[6] Thus greenhouses work primarily by preventing convective cooling.[5]

text: Heated greenhouses are yet another matter, having an internal source of heating they leak heat out, which must be prevented. So it again makes sense to try to prevent radiative cooling through the use of adequate glazing.[33]

text: Related effects

text: Anti-greenhouse effect

text: The anti-greenhouse effect is a mechanism similar and symmetrical to the greenhouse effect: greenhouse effect is about atmosphere letting radiation in, while not letting thermal radiation out, which warms the body surface; anti-greenhouse effect is about atmosphere NOT letting radiation in, while letting thermal radiation out, which lowers the equilibrium surface temperature. Such an effect has been cited about Titan[34]

text: Runaway greenhouse effect

text: A runaway greenhouse effect occurs if positive feedbacks lead to the evaporation of all greenhouse gases into the atmosphere.[35] A runaway greenhouse effect involving carbon dioxide and water vapor has long ago been hypothesized to have occurred on Venus,[36] this idea is still largely accepted[citation needed].

text: Bodies other than Earth

text: In the Solar System, there are also greenhouse effects on Mars, Venus, and Titan.

text: The greenhouse effect on Venus is particularly large because its dense atmosphere consists mainly of carbon dioxide.[37]

text: The greenhouse effect on Mars is small as its atmosphere is tenuous.[citation needed].

text: Titan has an anti-greenhouse effect, in that its atmosphere absorbs solar radiation but is relatively transparent to outgoing infrared radiation.

text: Pluto is also colder than would be expected because evaporation of nitrogen cools it.[38]


document_title: The Zookeeper's Wife (film)

question_text: where was the movie the zookeeper's wife filmed

question_tokens: where was the movie the zookeeper 's wife filmed

text: The Zookeeper's Wife (film)

text: Plot[edit]

text: This film's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (March 2018) (Learn how and when to remove this template message)

text: Dr. Jan Żabiński (Johan Heldenbergh) is the director of the Warsaw Zoo, one of the largest and most prolific zoos in 1930s Europe. He is aided by his wife, Antonina (Jessica Chastain). Jan endures the scornful, yet envious rivalry of a colleague, Dr. Lutz Heck (Daniel Brühl), the head of the Berlin Zoo and Adolf Hitler's chief zoologist.

text: On September 1, 1939, Antonina and her son Ryszard (Timothy Radford and later, Val Maloku) barely survive the aerial bombardment of Warsaw as German forces storm Poland. Bombs raze the zoo cages, killing many animals while others escape into the streets. As Polish resistance collapses, Heck arrives at the zoo when Jan is away, convincing Antonina to "loan" him the prize animals to save them. He promises to return them to Warsaw when the war ends. Heck later returns with Nazi soldiers to shoot the remaining animals, claiming they will die from the winter weather. It becomes evident that Heck has developed a romantic interest in Antonina.

text: Warsaw undergoes a monstrous upheaval as Jews are herded into the Ghetto. Two of the Zabinskis' Jewish friends, Maurycy Fraenkel (Iddo Goldberg) and his partner Magda Gross (Efrat Dor), seek a safe place for another friend's notable insect collection. Antonina makes an unusual offer to shelter Magda in an attic closet. Jan and Antonina know they can be executed for helping Jews but realize the zoo can be used to save lives. Magda Gross is the first.

text: With the zoo abandoned, Jan and Antonina seek out Heck at his Warsaw headquarters. They propose turning the zoo into a pig farm to help feed the German occupying forces. Secretly, they hope to bring food to Jews in the Ghetto. Heck is intrigued; he needs a new site for his experiments, recreating Aurochs, an extinct cattle breed, as a symbol of the Reich.[Note 2] He agrees to the pig farm idea.

text: Jan begins retrieving garbage scraps from the Ghetto to feed the pigs; seeing starving Jews is shocking and unbearable to Jan, and he secretly begins working with the Underground Army to transport Jews from the Ghetto to safehouses throughout the country. He sneaks them into the zoo and hides them in animal cages, tunnels, and inside the Zabinski house. After some trepidation, Antonina agrees to help. It is difficult at first, but she uses her ability to soothe frightened animals to comfort the terrified people.

text: Jan rescues a young girl, Urszula (Shira Haas), who was raped by two Nazi guards, and takes her to the zoo. She is traumatized and refuses to speak. Antonina slowly draws her out by talking about her own difficult childhood, and gives her a baby rabbit. Urszula overcomes her fear and becomes part of the secret household of hidden Jews.

text: The Żabińskis continue smuggling Jews out of the Ghetto, hiding them in the zoo or disguising them as Aryans and taking them to safehouses. However, in 1942, the Germans begin deporting Jews to the death camps. Jan is devastated to see young children being taken to the camps, but he has no choice but to help load them into the cattle cars as German police keep watch.

text: In 1943, two women rescued by Jan and disguised as Aryans by Antonina are arrested and executed in a Warsaw street. Several months later, after a failed uprising, the Germans announce their intention to liquidate the Ghetto. It will happen on Hitler's birthday, which also falls on the first night of Passover. While the Jews mournfully celebrate a secret Passover Seder hidden inside the zoo, the Germans burn the Ghetto, killing those left inside.

text: Several months later, Antonina gives birth to a baby girl, whom Ryszard names Teresa. As Heck's attraction to Antonina intensifies, she struggles to fend him off while guarding the secret "guests." Jan participates in the Warsaw uprising and is shot and captured. Antonina is given no information as to his whereabouts; she fears he is dead.

text: In January 1945, with the Soviet troops forcing the Germans to retreat, the enemy begins evacuating Warsaw. Antonina seeks Heck's help to find Jan, but he refuses, and accuses Antonina of resistance activity. Heck attacks Antonina in a sexual rage. When she tells him that he repulses her, he realizes she had duped him. Antonina returns to the zoo, warning her guests just in time to escape. Magda takes baby Teresa with her as Antonina hides Ryszard in the basement, knowing Heck will return. Heck arrives in a fury with his men, barging into the villa's basement and discovering the secret drawings on the walls: yellow Stars of David and dates, and images of hidden Jewish guests drawn with animal faces.

text: Enraged, Heck chases Ryszard through the underground lion tunnel and outside again, seizing him at gunpoint. Antonina begs Heck to spare Ryszard but he drags him away. A shot rings out off-screen and Antonina, devastated, collapses. Ryszard suddenly returns, the victim of Heck's cruel hoax. Heck leaves the zoo for good, and Antonina and Ryszard join the march out of Warsaw, taking along the rabbit and one of Heck's test subjects, a young bison. As they leave their home and the city is liberated, they release the bison into the woods.

text: Four months after the Nazi surrender, Warsaw begins rebuilding. Antonina, Ryszard and baby Teresa return. The zoo is extensively damaged but still standing. Jerzyk, their loyal zookeeper, greets them, and they begin rebuilding the zoo. Jan later returns home, having survived a prison camp.

text: In the film's final moment, the Żabińskis paint Stars of David on all the cages in the zoo.

text: The Postscript tells us that 300 people were saved by the Zabinskis in their zoo. Lutz Heck returned to Berlin, where his zoo was destroyed by Allied bombings. His efforts to recreate extinct aurochs failed. The Żabińskis were eventually recognized by Israel (Jad Vashem Y) for their righteous acts and defiance against the Germans.[9] The Zabinskis rebuilt their zoo and the Warsaw Zoo remains open to this day.

text: Cast[edit]

text:
Jessica Chastain as Antonina Żabińska
Johan Heldenbergh as Jan Żabiński
Daniel Brühl as Lutz Heck
Michael McElhatton as Jerzyk
Iddo Goldberg as Maurycy Fraenkel
Efrat Dor as Magda Gross
Shira Haas as Urszula
Val Maloku as Ryszard Żabiński
Timothy Radford as Young Ryszard Żabiński
Martha Issová as Regina Kenigswein
Goran Kostić as Mr. Kinszerbaum
Arnošt Goldflam as Janusz Korczak

text: Historical context[edit]

text: The Zookeeper's Wife is based on Diane Ackerman's non-fiction book of the same name, which relied heavily on the diaries of Antonina Żabińska, published in Poland as Ludzie i zwierzęta (translated as: People and Animals) (1968). In key aspects of historical context, the screenplay follows the story of Antonina and her husband, Jan, closely. Both worked at the Warsaw Zoo. Antonina helped her husband who was the director of the zoo. Animals were part of their family's life, and the devastation that resulted from the attack on Warsaw and the subsequent pillaging of the zoo is well documented. The actions of Lutz Heck and his animal breeding experiments were also a matter of historical record, although the intimate relationship of the protagonist, Antonina and the antagonist, Heck, is exaggerated. However, the defiance of Nazi occupation and ultimately, the rescue of over 300 Jews from the Warsaw Ghetto were depicted accurately. The contributions and participation of the Żabinski children, Ryszard and Teresa (credited as Theresa in the film) were also notable.[5]

text: Production[edit]

text: In September 2010, it was announced that Angela Workman was adapting Diane Ackerman's non-fiction book, The Zookeeper's Wife.[10] On April 30, 2013, Jessica Chastain was attached to play the titular role as Antonina Żabińska, while Niki Caro signed on to direct the film.[11] On August 24, 2015, Focus Features acquired the US rights to the film, and Daniel Brühl and Johan Heldenbergh signed on to star in it.[12]

text: Filming[edit]

text: Filming began with the animals on September 9, 2015, and principal photography with the actors began on September 29, 2015, in Prague, Czech Republic.[13][14] Suzie Davies served as the production designer, Andrij Parekh as the director of photography, and Bina Daigeler as the costume designer.[15] Filming ended on November 29, 2015.[16]

text: Release[edit]

text: The Zookeeper's Wife had its world premiere on March 8, 2017 in Warsaw, Poland, and its US premiere at the Cinequest Film Festival on March 12, 2017.[17] The film was released in the United States on March 31, 2017 and was released in the United Kingdom on April 21, 2017.[18] It premiered in Spain at the Barcelona-Sant Jordi International Film Festival on April 22, 2017.[19] It also premiered in France at the 43rd Deauville Film Festival on September 7, 2017.[20]

text: A special screening was held at the US Holocaust Museum in Washington DC on March 22, 2017, with a panel discussion including speakers Diane Ackerman, Jessica Chastain, Niki Caro and Angela Workman.[21][22] Prior to the film's release, Focus Features partnered with the International Rescue Committee to screen the film in cities across the country, including a special screening at the Museum of Tolerance in Los Angeles, California, and a special screening in New York City, with a panel of speakers which included Chastain, Caro and Workman. The New York screening occurred on behalf of the Anne Frank Center for Mutual Respect, and was hosted by activist Steven Goldstein. The film speakers were joined by Sarah O'Hagan of the International Rescue Committee. The evening's topic of discussion was the rescue of Jewish refugees during the Holocaust, and the current refugee crisis in Europe.[23]

text: The film began running on HBO as of December 23, 2017.[24]

text: Reception[edit]

text: Box office[edit]

text: The Zookeeper's Wife grossed $17.4 million in the United States and Canada and $7.1 million in other territories for a worldwide total of $24.5 million, against a production budget of $20 million.[2]

text: In North America, the film grossed $3.3 million in its opening weekend from 541 theaters (a per-theater average of $6,191), finishing 10th at the box office.[25] It remained the top grossing indie film in its second, third and fourth weeks of release.[26][27]

text: The film remained the top grossing specialty film of 2017 in its fifth week of release, with IndieWire praising the film's release strategy, saying: "Focus’ aggressive push for this Jessica Chastain Holocaust rescue story has paid off with the top result for any specialized audience release since awards season. It won’t hit the level of Woman in Gold two years ago ($33 million), but that’s more of a factor of the steep decline in overall upscale grosses and more competition at the moment than other differences between the two films."[28] In its eighth and ninth weeks of release, The Zookeeper's Wife was the third highest grossing specialty release of 2017, despite a reduction in its theater count.[29][30] In its tenth week of release, IndieWire said the film "has been a rare specialized standout this spring."[31]

text: The film remained the top-selling war film for the first three months of its home media release, making a total of $3.5 million in sales.[32]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 61% based on 160 reviews, with an average rating of 6.2/10. The site's critical consensus reads, "The Zookeeper's Wife has noble intentions, but is ultimately unable to bring its fact-based story to life with quite as much impact as it deserves."[33] On Metacritic, the film has a weighted average score of 57 out of 100, based on 36 critics, indicating "mixed or average reviews".[34]

text: IndieWire listed The Zookeeper's Wife on its shortlist of best indie films of the year, stating: "Niki Caro’s fact-based historical drama is a heartbreaker of the highest order, anchored by an understated performance by Jessica Chastain and a series of wrenching dramatic twists that will wring tears out of even the hardest of hearts."[35] Mick LaSalle, writing for The San Francisco Chronicle, gave the film a 5-star review, saying that it "grabs us from its first seconds" and that:

text: The Zookeeper's Wife achieves its grandeur not through the depiction of grand movements, but through its attentiveness to the shifts and flickers of the soul. The war was a great external event, but Caro reminds us that it was experienced internally, by the people and the animals who had to try to live through it.[36]

text: Kenneth Turan, in The Los Angeles Times, says "Niki Caro and Jessica Chastain create an emotionally satisfying Zookeeper's Wife".[37] The AP, the national wire service, says the film "tells a riveting true story" that is "both inspiring and comes as a welcome reminder in this time of uncertainty that even in the face of astonishing evil, humanity and goodness can also rise to the occasion."[38] Jacob Soll in The New Republic heralded the film as the "first feminist Holocaust film".[39]

text: In a negative review, Variety's Peter Debruge said, "There’s no nice way to put it in this case, but The Zookeeper’s Wife has the unfortunate failing of rendering its human drama less interesting than what happens to the animals — and for a subject as damaging to our species as the Holocaust, that no small shortcoming."[40] In contrast, Variety's Kristopher Tapley wrote that the film deserved consideration as an Oscar contender.[41]

text: Stephen Holden of The New York Times said the film "was like "Schindler's List with pets," writing that it was "so timid and sanitized it almost feels safe for children."[42]

text: Polish reviewers expressed a strong positive response to the film, as it spoke to their history. The Krakow Post stated: "On a universal level (the film) is a prayer for sanity and the civilized values of charity, empathy, and humanity in any time which finds itself threatened to be ruled by mass insanity, hatred, and barbarism. Lessons derived from this darkest period of recent history can never be untimely."[43]

text: Alexandra Macaaron, in Women's Voices For Change, gave the film a rave review, noting that The Zookeeper's Wife is a rarity among Holocaust films, and is distinguished by its female perspective on war and the struggle to protect every living soul, strangers and friends alike.[44]

text: Accolades[edit]

text: At the 2016 Heartland Film Festival, held each October in Indianapolis, Indiana, The Zookeeper's Wife was awarded the "Truly Moving Picture Award"; emblematic of the festival's goal to "inspire filmmakers and audiences through the transformative power of film."[45][46]

text: The Zookeeper's Wife was awarded the Audience Choice Award for Best Narrative Feature at the 2017 Seattle Jewish Film Festival.[47]

text: In April 2017, Political Film Society USA nominated The Zookeeper's Wife for its PFS award, in the category "Human Rights".[47]

text:
List of Accolades

Award / Film Festival
Category
Recipient(s)
Result

Heartland Film Festival 2017[48]
Truly Moving Picture Award
Niki Caro
Won

Women Film Critics Circle 2017[49]
The Invisible Woman Award
Jessica Chastain
Nominated

Women Film Critics Circle 2017[49]
Best Woman Storyteller (Screenwriting Award)
Angela Workman
Nominated