document_title: The Dark Knight Rises

question_text: who plays catwoman in batman the dark knight rises

text: The Dark Knight Rises

text: Plot

text: Eight years after the death of District Attorney Harvey Dent, Batman has disappeared and organized crime has been eradicated in Gotham City thanks to the Dent Act. Police Commissioner James Gordon has kept secret Dent's murderous rampage and allowed blame for his crimes to fall on Batman. He writes a resignation speech revealing the truth, but decides that the city is not ready to hear it.

text: Bruce Wayne has become a recluse, and Wayne Enterprises is losing profits after Wayne discontinued his fusion reactor project when he learned that it could be weaponized. Cat burglar Selina Kyle obtains Wayne's fingerprints from his home and tries to sell the fingerprints to Wayne's corporate rival John Daggett. She is double-crossed at the exchange, but alerts the police. Gordon and the police arrive and pursue Daggett's henchmen into the sewers while Selina flees. The men capture Gordon and take him to Bane, a masked terrorist and former member of the League of Shadows, who has set up his base in the sewers. Gordon escapes and is found by rookie officer John Blake. Blake, a fellow orphan, confronts Bruce and convinces him to return as Batman.

text: Bane attacks the Gotham Stock Exchange by using Wayne's fingerprints in a transaction that leaves Wayne bankrupt. Wayne's butler, Alfred Pennyworth, reveals that Rachel Dawes had intended to marry Dent before she died, and then resigns in an attempt to convince Bruce to move on with his life. Wayne finds comfort in Wayne Enterprises CEO Miranda Tate, who becomes his lover.

text: Kyle agrees to take Batman to Bane but instead leads him into Bane's trap. Bane reveals that he intends to fulfill Ra's al Ghul's mission to destroy Gotham, and then steals Batman's technology from Wayne Enterprises. Bane fights Batman and delivers a crippling blow to his back, before taking him abroad to an underground prison. There, the inmates tell Wayne the story of Ra's al Ghul's child, who was born and raised in the prison before finally escaping — the only prisoner to have done so.

text: Bane lures Gotham's police underground and uses explosives to trap them and destroy the bridges surrounding the city. He kills Mayor Anthony Garcia and forces a nuclear physicist to convert the reactor core into an atomic bomb before killing him as well. Bane reads Gordon's speech to the public, and releases the prisoners of Blackgate Penitentiary, initiating anarchy while holding the city hostage and isolated with the bomb.

text: Months later, a recovered Wayne escapes from the prison and returns to Gotham. Batman frees the trapped police and they clash with Bane's army in the streets; during the battle, Batman overpowers Bane. Tate intervenes and stabs Batman, revealing herself to be Talia al Ghul, Ra's al Ghul's daughter. She activates the detonator, but Gordon blocks her signal. Talia leaves to find the bomb while Bane prepares to kill Batman, but Kyle arrives and kills Bane. Batman and Kyle pursue Talia, hoping to bring the bomb back to the reactor chamber where it can be stabilized. Talia's truck crashes, but she remotely floods and destroys the reactor chamber before dying. With no way to stop the detonation, Batman uses the Bat to haul the bomb far over the bay, where it safely explodes. Before takeoff, Batman subtly reveals his identity to Gordon.

text: In the aftermath, Batman is presumed dead and is honored as a hero. With Wayne presumed dead as well, Wayne Manor becomes an orphanage, and his remaining estate is left to Alfred. While visiting Florence, Alfred discovers that Wayne is alive, and in a relationship with Kyle. Blake resigns from the police force and, in accordance with Wayne's will, inherits the Batcave.

text: Cast

text: Christian Bale as Bruce Wayne / Batman:

tag: ul

text: Michael Caine as Alfred Pennyworth:[13]

text: Gary Oldman as James Gordon:[13]

text: Anne Hathaway as Selina Kyle / Catwoman:[15][16]

text: Tom Hardy as Bane:[15]

text: Marion Cotillard as Miranda Tate / Talia al Ghul:

text: Joseph Gordon-Levitt as John Blake:

text: Morgan Freeman as Lucius Fox:[13]

text: Matthew Modine appears as Peter Foley, Gordon's second-in-command that disdains Batman.[29] Ben Mendelsohn portrays John Daggett, a rival billionaire socialite who employs Bane in his plan to take control of Wayne Enterprises, and Burn Gorman appears as Daggett's assistant and Executive Vice President Philip Stryver.[30] Alon Abutbul portrays Leonid Pavel, a Russian nuclear physicist who is kidnapped from Uzbekistan by Bane and forced to convert the new Wayne Enterprises reactor core into a bomb.[31][32] Juno Temple plays Jen, Kyle's friend and accomplice,[33] and Daniel Sunjata portrays Mark Jones, a U.S. Special Ops officer who leads a task force into Gotham to assist Gordon and the GCPD in freeing the city from Bane's rule.[30][34] Chris Ellis appears as Father Reilly, a priest at the orphanage that Blake grew up in.[35] Brett Cullen portrays Byron Gilley, a U.S. congressman who is kidnapped on Harvey Dent Day by Kyle.[35]

text: Cillian Murphy reprises his role as Jonathan Crane / Scarecrow from previous films,[36] as does Liam Neeson as Ra's al Ghul, who appears to Bruce in a hallucination.[37][38] Josh Pence portrays Ra's al Ghul in scenes set thirty years before the events of Batman Begins.[39] Nestor Carbonell also returns as Anthony Garcia, Gotham's mayor.[40] Other cast members include Aidan Gillen as CIA agent Bill Wilson[41][42] (referred to solely as "CIA" in the film's dialogue; the character's name is revealed in the film's novelization);[43] Rob Brown and Desmond Harrington as police officers; Josh Stewart as Bane's right-hand man Barsad,[44] Christopher Judge as one of Bane's henchmen,[45] Noel Gugliemi as Bane's exile compeller, and Tom Conti as a prisoner. William Devane portrays the President of the United States. Aaron Eckhart expressed enthusiasm in returning for a sequel if asked, although he later stated Nolan verified that his character, Harvey Dent / Two-Face, is dead,[46] and only archive footage of Eckhart from The Dark Knight appears in the film.[47]

text: Several members of the Pittsburgh Steelers have cameo appearances as members of the fictional Gotham Rogues football team in the film, including Ben Roethlisberger, Hines Ward, Troy Polamalu, Willie Colon, Maurkice Pouncey, Mike Wallace, Heath Miller, Aaron Smith, Ryan Clark, James Farrior, LaMarr Woodley, and Casey Hampton,[48][49] and former Steelers head coach Bill Cowher as the head coach of the Rogues.[50] Pittsburgh mayor Luke Ravenstahl, a kicker in college, appears as the kicker for the Rogues' opponents, the Rapid City Monuments.[51] In 2008, the Rooney family sold a minority stake in the team to Thomas Tull, the CEO and president of Legendary Pictures, which produced The Dark Knight Rises.[52] United States Senator Patrick Leahy, who had made a cameo appearance in The Dark Knight, returned in The Dark Knight Rises,[53] as a Wayne Enterprises board member. Thomas Lennon, who had appeared as a doctor in Memento, once again plays a doctor. India Wadsworth plays the wife of Ra's al Ghul and the mother of Talia.[54]

text: Production

text: Development

text:
"The key thing that makes the third film a great possibility for us is that we want to finish our story [...] rather than infinitely blowing up the balloon and expanding the story [...] Unlike the comics, these things don't go on forever in film and viewing it as a story with an end is useful. Viewing it as an ending, that sets you very much on the right track about the appropriate conclusion."

—Christopher Nolan, confirming his involvement in The Dark Knight Rises.[55]

text: Warner Bros. president of production Jeff Robinov had hoped a third film would be released in 2011 or 2012.[56] Nolan wanted the story for the third installment to keep him emotionally invested. "On a more superficial level, I have to ask the question," he reasoned, "how many good third movies in a franchise can people name?"[57] Nolan said that he never even thought a third film was possible in the foreword for his book The Art and Making of the Dark Knight Trilogy.[58] Nolan only agreed to a third film on the basis of finding a worthwhile story, fearing that he would become bored halfway through production if he discovered the film to be unnecessary.[59] By December 2008, Nolan completed a rough story outline, before he committed himself to Inception.[60] Later in December, Alan F. Horn confirmed that while discussions with Nolan about a third film were ongoing, no casting had been done, and Horn denied all such rumors.[61] Before Nolan confirmed his involvement, Gary Oldman had said he was confident Nolan would return.[62]

text: Following the success of the Joker in The Dark Knight, studio executives wished for the Riddler to be included as the primary villain as he was considered a similar character and encouraged the casting of Leonardo DiCaprio.[63] However, Nolan wanted the antagonist to be vastly different from the previous incarnations and committed to using Bane instead,[63] citing the need for a character with a physical presence within the film.[64] He was initially unfamiliar with the character's back-story,[21] but pointed out the appeal of an archetype, labelling it as "the extreme of some type of villainy". When comparing the choice of Bane with the Joker, Nolan highlighted the Joker as an example of "diabolical, chaotic anarchy and has a devilish sense of humor", juxtaposing him against Bane, whom he likened to "a classic movie monster [...] with a terrific brain."[64] Nolan has said that his draft of the script was inspired by Charles Dickens' 1859 novel A Tale of Two Cities, which centers around the French Revolution.[65] This homage to Dickens was briefly illustrated by having Bane inconspicuously finger knit paracord in the film, symbolizing his literary character Madame Defarge, and more overtly by Commissioner Gordon's eulogy for Bruce Wayne at the end of the film, which is taken directly from the classic book.[65]

text: It was not until February 9, 2010, that it was announced that Nolan had "cracked" the story of a sequel to The Dark Knight and was committed to return to the project.[66] Shortly afterward, it was announced David S. Goyer and Jonathan Nolan were working on a screenplay.[67] Goyer would leave the project during pre-production to begin work on Man of Steel; Jonathan continued writing the script based on the story by his brother Chris and Goyer.[13] Chris Nolan said that his brother's original draft was about 400 pages.[68] The film's storyline has been compared with the Batman comic book series' story arc "Knightfall" (1993), which showcased Bane; the mini-series The Dark Knight Returns (1986), in which Batman returns to Gotham City after a ten-year absence; and the story arc "No Man's Land" (1999), which depicts a Gotham cut off from the rest of the world and overrun by gangs.[69][70] The nickname "the Dark Knight" was first applied to Batman in Batman #1 (1940), in a story written by Bill Finger.[71][72] Nolan confirmed the Joker would not return in the third film, and dismissed rumors that he considered using unused footage of Heath Ledger from The Dark Knight.[73] The Dark Knight Rises reunited Nolan with many of his past collaborators, including cinematographer Wally Pfister, production designer Nathan Crowley, editor Lee Smith, costume designer Lindy Hemming, special effects supervisors Paul Franklin and Chris Corbould, and composer Hans Zimmer.[74]

text: Filming

text: During location scouting in December 2010, Nolan began searching for locations such as India, Romania, and Michigan.[75][76][77] According to the Romania Insider, Nolan was interested in Bucharest's historical centers, Edgar Quinet Street, the Palace of the Parliament, and the Turda salt mine.[75] The film had an estimated budget of $250–300 million, coming down to about $230 million after tax credits.[3] Nolan elected not to film in 3-D, but instead stated that he intended to focus on improving image quality and scale using the IMAX format.[78] The Dark Knight Rises featured over an hour of footage shot in IMAX (by comparison, The Dark Knight contained 28 minutes).[79][80] Nolan had several meetings with IMAX Vice-President David Keighley to work on the logistics of projecting films in digital IMAX venues.[80] Wally Pfister had expressed interest in shooting the film entirely in IMAX,[81] but because of the considerable noise made by IMAX cameras, 35mm and 70mm cameras had to be used for shooting the film's dialogue scenes,[80][82] as dialogue had to be dubbed when shot with IMAX cameras.[83] Chairman and president of the IMAX Corporation Greg Foster stated that IMAX planned to run the film in its theatres for two months, despite only being contractually committed to run the film for two weeks.[84] Nolan also bypassed the use of a digital intermediate for the film, resulting in less manipulation of the filmed image and higher film resolution.[85]

text: Filming was scheduled to start in May and conclude in November 2011.[86] Principal photography commenced on May 6, 2011, in Jodhpur, India at the Mehrangarh Fort[87][88][89] before moving to Pittsburgh, where it operated under the working title Magnus Rex to reduce the visibility of the production.[90][91] Shooting locations within the city included Heinz Field, the site of an American football game,[92] with members of the Pittsburgh Steelers playing the Gotham Rogues football team. More than 11,000 extras were used to depict the shot sequence.[8][48][49] Filming in Pittsburgh also took place at the Mellon Institute and Software Engineering Institute at Carnegie Mellon University.[91] A letter sent out to residents and business owners detailing road closures revealed that the streets of the city would be featured "as the start of [the] film".[93] 9-1-1 operators were told to expect an increase in calls related to gunshots and explosions in the film's production.[94] The Pittsburgh leg of production wrapped after three weeks on August 21, 2011.[95] The next portion of the filming began in Los Angeles in late August and finished up on October 23 after nine weeks of filming. New York and New Jersey were the next places of filming. The Trump Tower replaced the Richard J. Daley Center as the location for the headquarters of Wayne Enterprises.[96] In November 2011, shooting shifted to Newark, New Jersey.[97][98] Newark City Hall and Military Park were among the locations used for filming.[99] Other shooting locations include London and Glasgow, the latter of which was used for "additional exterior filming".[100] Principal photography concluded on November 14, 2011.[101] The external waterfall scene at the end of the film was shot at Sgwd Henrhyd falls, on the edge of the Brecon Beacons National Park in Wales.[102]

text: Production photos from filming in Pittsburgh showed a second Tumbler chassis after the first was destroyed, indicating that a new Batmobile would be in the film, following the destruction of the first in The Dark Knight.[103] Further set photos revealed a "new vehicle" being transported to Wabash Tunnel, prompting speculation as to its nature.[104] In June 2011, Autoblog confirmed the presence of the new Lamborghini Aventador on the film set.[105]

text: Several accidents occurred during the production of the film. While filming at Wollaton Hall, Nottingham, a tractor-trailer crashed into the main entrance, though no one was injured.[106] A stuntman parachutist later crashed through the roof of a home in Cairngorm Gliding Club, Feshiebridge in Scotland, and became wedged there after a failed landing during a skydiving stunt; he was not seriously injured.[107] While filming scenes in Pittsburgh, Hathaway's stunt double crashed into an IMAX camera while filming a sequence that required her to ride a Batpod down a flight of stairs during a riot. There were no injuries, but the camera was destroyed.[108] A second accident took place in Pittsburgh when the truck carrying the then-unidentified vehicle later termed "the Bat" went off-course and crashed into a lighting array, damaging the model of the aircraft. Production was delayed while the model was repaired.[109]

text: Shortly before Christmas of 2011, Christopher Nolan invited several prominent directors, including Edgar Wright, Michael Bay, Bryan Singer, Jon Favreau, Eli Roth, Duncan Jones and Stephen Daldry, to Universal CityWalk's IMAX theatre for a private screening of the first six minutes of The Dark Knight Rises, which had been shot on IMAX film and edited from the original camera negative. Nolan, feeling that the use of film stock in cinema is currently being phased out due to the introduction of digital cinematography and projection, used this screening to make a case for the continued use of film, which he asserts still offers superior image quality to any digital format, and warned the filmmakers that unless they continued to assert their choice to use film in their productions, they may eventually lose it as an option.[110][111] Nolan explained; "I wanted to give them a chance to see the potential, because I think IMAX is the best film format that was ever invented. It's the gold standard and what any other technology has to match up to, but none have, in my opinion. The message I wanted to put out there was that no one is taking anyone's digital cameras away. But if we want film to continue as an option, and someone is working on a big studio movie with the resources and the power to insist [on] film, they should say so. I felt as if I didn't say anything, and then we started to lose that option, it would be a shame. When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one."[110]

text: Design

text: Costume design

text: Costume designer Lindy Hemming explained that Bane uses a mask to inhale an analgesic gas, which, in director Christopher Nolan's words, "keeps his pain just below the threshold so he can function." In designing Bane's costume, Hemming needed it to look "like an amalgam of all sorts of bits and pieces he cobbled together, as he passed through some very remote places. We made parts of his vest, for example, from fragments of an old military tent. His clothes are militaristic, but are not in any way a uniform." Hemming also designed Bane's mask to look "animalistic".[8][112][113] Costume effects supervisor Graham Churchyard created a three-dimensional model of actor Tom Hardy's face and skull to design the mask, allowing the mask to perfectly conform to the contours of Hardy's face.[8] Hemming personally designed Bane's coat, which she admitted took two years to complete. Taking inspiration from a Swedish army jacket and a frock coat from the French Revolution, it was designed to make Bane look equal parts dictatorial and revolutionary.[8] The design was difficult as Hemming struggled to find a tailor in Los Angeles who could work with shearling.[114]

text: The Batsuit consisted of 110 separate pieces, each of which had to be replicated dozens of times over the course of the production. The base layer was made of a polyester mesh that is utilized by the military and high-tech sports manufacturers because of its breathability and moisture-wicking properties. Molded pieces of flexible urethane were then attached to the mesh, to form the overall body armor plating. Carbon fiber panels were placed inside the sections on the legs, chest and abdomen. The cowl was sculpted from a cast of Bale's face and head to become a perfect fit for Christian Bale. The suit remained unchanged for the film since The Dark Knight.[8]

text: In creating Selina Kyle's catsuit, two layers of material were used, with the outer layer being polyurethane coated spandex, embossed with a hexagonal pattern. The catsuit also consisted of elbow-length gloves, a utility belt, and thigh-high boots with spike heels.[8]

text: Production design

text: Concept artist Tully Summers commented on Nolan's style of cinematography when asked about the difference between his designs for this film and fantasy-based designs for Men in Black 3: "The difference for me was Christopher Nolan's visual style. One of the things that makes his Batman movies so compelling is their tone of plausibility. He will often prefer a raw, grittier design over one that is very sleek and product design pretty. It's sort of a practical military aesthetic. This stuff is made to work, not impress shoppers. The Dark Knight Rises is a war film." Producer Emma Thomas stated this Batman film has a different visual aesthetic from the first two Nolan-directed features, explaining that "it's meant to be winter in Gotham, so that right there is going to lend a whole different look to the film."[115]

text: The film introduces a vehicle that has been compared with the Batplane and the Batcopter, dubbed "the Bat". In designing the Bat, Nathan Crowley approached it as if it were an actual military project, emphasising the need for it to "fit into the same family" as the Tumbler and the Batpod. The final version of the Bat takes its design cues from the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache.[8] Chris Corbould described the Bat's size and shape as presenting a major challenge for filming given Christopher Nolan's emphasis on practical effects over computer-generated imagery. In order to make the Bat "fly", it was variously supported by wires, suspended from cranes and helicopters, and mounted on a purpose-built vehicle with hydraulic controls to simulate movement.[8][116][117]

text: When designing the Batcave set, Crowley and fellow production designer Kevin Kavanaugh hit upon the idea of flooding the Batcave and having Batman's equipment, the Batsuit and a supercomputer rise from the water.[8] Another set was designed at Cardington as an "underground prison", a rough-hewn labyrinth of stone cells in a vast abyss with a 120 foot (37 m) vertical shaft leading to the surface. Exteriors above the prison were filmed in Jodhpur, India, chosen because the "forbidding landscape added to the desolation".[8]

text: Music

text: In an interview in October 2010, composer Hans Zimmer confirmed that he would be returning to score The Dark Knight Rises. James Newton Howard was offered to return and write the score with Zimmer as he did for Batman Begins and The Dark Knight, but he chose not to because he noted that the chemistry established between Zimmer and Nolan during the making of Inception would make him seem like a "third wheel".[118] Zimmer included several cues from the earlier scores, but explains that he wanted to go in a "completely different direction" for Bane's theme. While the theme accompanying Selina Kyle is deliberately ambiguous, the musical thread spanning throughout the trilogy was composed exclusively for Bruce Wayne.[8]

text: The film features a prevalent Moroccan chant of the phrase deshi basara (proper transliteration: Tījī basara’ah) (Arabic: تيجي بسرعة), which translates to "rise up" (literally: "come quickly").[119][120] In November 2011, Zimmer crowdsourced online audio recordings of the chant to be used in the film's score.[121][122] When asked about the chant for clarification, Zimmer said, "The chant became a very complicated thing because I wanted hundreds of thousands of voices, and it's not so easy to get hundreds of thousands of voices. So, we tweeted and we posted on the internet, for people who wanted to be part of it. It seemed like an interesting thing. We've created this world, over these last two movies, and somehow I think the audience and the fans have been part of this world. We do keep them in mind."[123]

text: Marketing

text: The official website launched in May 2011, introducing a viral marketing campaign similar to the one used to promote The Dark Knight. The website streamed an encrypted audio file described by users as chanting. Users decrypted the audio to the Twitter hashtag, "#TheFireRises". Warner Bros. removed a pixel from the webpage for every tweet using the hashtag. The website revealed the first official image of Bane.[124]

text: In July 2011, a teaser trailer leaked online before its official release with Harry Potter and the Deathly Hallows – Part 2.[125] The studio released the teaser three days after the leak. The trailer received mixed responses; Stephen Spencer Davis of Slate wrote it successfully built hype,[125] while Kofi Outlaw of ScreenRant showed disappointment, claiming it was more of an "announcement trailer" than an actual teaser trailer. Outlaw criticized the quality, writing that a scene depicting Commissioner Gordon in a hospital bed was overly dramatic, had "hammy" dialogue, and was difficult to understand due to Gordon's labored breathing. Outlaw wrote that the sweeping shot of Gotham City had poor CGI and was too reminiscent of the Inception trailer.[126] The theatrical trailer leaked online, like the teaser trailer, before being released the following week attached to theatrical prints of Sherlock Holmes: A Game of Shadows.[127][128][129] Critics noted political undertones with dialogue foreshadowing the theme of income inequality and an "Occupy Gotham" campaign within the world of the story.[130][131][132] Receiving more than 12.5 million views in the first 24 hours after its release, the trailer set the record for most combined downloads from iTunes, beating the previous record held by The Avengers.[133] However, the second trailer for The Avengers again set the record with 13.7 million downloads.[134] Warner Bros. attached a second theatrical trailer for The Dark Knight Rises to theatrical prints of The Avengers. An "unnamed" Warner Brothers executive clarified that "We see this placement as a good strategic decision. We always want our trailers to be seen with films that people want to see—and a lot of people will be going to The Avengers!" The executive also commented that the trailer will "provide the best potential exposure for TDKR."[135] Warner Bros. released the trailer online on April 30, 2012, approximately four days before they attached it to theatrical prints of The Avengers.[136]

text: Continuing a method used with The Dark Knight whereby the opening sequence of the film was attached to IMAX prints of I Am Legend seven months before release,[137] a six-minute prologue of The Dark Knight Rises was attached to 70mm IMAX prints of Mission: Impossible – Ghost Protocol, again approximately seven months before release.[138] Critical reaction to the prologue was positive,[139][140][141] with one critic commenting that "no one gets to make a film on this kind of scale anymore. Except for Christopher Nolan," though a round-up of reviews highlighted the way many critics found Tom Hardy's dialogue very difficult to hear.[142] Addressing the issue in an interview with Entertainment Weekly, Nolan said "I think when people see the film, things will come into focus. Bane is very complex and very interesting and when people see the finished film people will be very entertained by him."[143]

text: Viral marketing campaigns for the film continued as magazine companies Empire and Wired received "CIA documents" concerning a "Dr. Leonid Pavel", with its mugshot connected to actor Alon Abutbul. According to the first document, Pavel is a missing Russian nuclear physicist, while the second document appears to be an edited transcript of a conversation discussing the handover of Dr. Pavel to the CIA by Georgian separatists, but with most of the conversation redacted.[32] These were later shown to be plot elements of the six-minute prologue.[139] The official Twitter account later linked to another censored document, this time, referencing "Operation Early Bird". A website of the same name was discovered, revealing a countdown timer. When the countdown finished, the site presented a map showing all available theaters that would be screening the film's prologue earlier than its release.[144][145] Various websites received a package that included a cylinder map of "strike zones", and a "fire rises" T-shirt.[146] In April 2012, the film's official website was updated with a "dossier" on a suspect named "John Doe" also known as "the Batman" for an arrest, with a list of several accusations. The premise of the campaign starts when the mayor of Gotham City "redoubles" the effort to capture Batman and anyone supporting his return in preparation for the upcoming "Harvey Dent Day". The site also includes an extensive list of real-world locations where "graffiti related to movement in support of the vigilante's return" is located. For each tweet of a specific location marked on the list, a frame of the second theatrical trailer for the film was released on a separate website.[147]

text: In January 2012, six months prior to the film's release, tickets for midnight IMAX showings in New York, San Francisco, and Los Angeles went on sale and sold out immediately. Purchased tickets surfaced for sale online for over $100, compared with their original price of $17.50.[148]

text: At the American International Toy Fair, Mattel unveiled figures for Batman, Bane, and Catwoman, and Batman's flying vehicle, the Bat. The Mattel figures were also released in the "Movie Masters" line, featuring more highly detailed and articulated presentation, and Quiktek versions that feature interchangeable accessories. Lego released building sets and mini-figures based on the film and incorporating other DC Comic characters. Additionally, Funko released a series of plush toys, Mezco Toyz released vinyl figures, and Hornby released the Batman Tumbler car.[149] Other partners include Jakks Pacific, who created novelty and large-scale figures and plush toys,[150] and PPW Toys, who created a Batman themed Mr. Potato Head.[151] Various clothing items including shoes, T-shirts, hats and wallets were also produced.[152]

text: A video game of the same name was released on the same day as the release of the film for the iOS and Android devices for promoting the movie. The game features an open world with primary focus on stealth and combat. The combat system of the game is inspired from Arkham Asylum and Arkham City. It takes place in Gotham City, with a somewhat similar but still significantly different plot from that of the movie. IGN gave it a mediocre score of 5.5/10.[153]

text: The film novelization, written by author Greg Cox and published by Titan Books, was released alongside the film on July 24, 2012.[154]

text: Warner Bros. partnered with Mountain Dew to do a cross-promotion that included a special paint scheme on the number 88 Chevrolet Impala owned by Hendrick Motorsports and driven by Dale Earnhardt, Jr. in the NASCAR Sprint Cup Series.[155] On June 17, 2012, the car won the 2012 Quicken Loans 400 at Michigan International Speedway.[156] On July 4, 2012, the studio signed a deal with Formula One team Lotus F1 to have the film's logos appear on the Lotus E20s driven by Kimi Räikkönen and Romain Grosjean at the 2012 British Grand Prix.[157] Räikkönen and Grosjean went on to finish the race in fifth and sixth place respectively.[158] Warner Bros. had previously followed a similar promotion at the 2008 British Grand Prix, when the now-defunct Toyota F1 carried a livery to promote The Dark Knight.[159]

text: Two digital comic books entitled Batman Origins[160] and The Dark Knight: Prologue[161] were released exclusively for Nokia Lumia devices. A special movie application has also been released, featuring trailers, wallpapers, movie schedules and Batman trivias.[162] Limited editions of the Lumia 710, Lumia 800 and Lumia 900 were also released featuring a laser-etched Batman logo.[163][164][165]

text: Shooting in Aurora, Colorado

text:
"I would not presume to know anything about the victims of the shooting but that they were there last night to watch a movie. I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime. The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me. Nothing any of us can say could ever adequately express our feelings for the innocent victims of this appalling crime, but our thoughts are with them and their families."

—Director Christopher Nolan's reaction to the theater shooting in Aurora, Colorado.[166]

text: On July 20, 2012, during a midnight showing of The Dark Knight Rises at the Century 16 cinema in Aurora, Colorado, a gunman wearing a gas mask opened fire inside the theater,[167] killing 12 people and injuring 58 others.[168][169] Police responding to the shooting apprehended a suspect later identified as 24-year-old James Eagan Holmes[170] shortly after arriving on the scene.[171] Initial reports stated that Holmes identified himself as "the Joker" at the time of his arrest.[172][173]

text: Warner Bros. cancelled the Paris, Mexico, and Japan premieres of The Dark Knight Rises,[174][175] and suspended the film's marketing campaign in Finland.[176] Several broadcast networks also suspended television ads for the film in the United States.[177] The trailer for Gangster Squad, another Warner Bros. movie included in the screening of The Dark Knight Rises, was removed as it contains a scene which shows gangsters shooting submachine guns at moviegoers through the screen, similar to the shooting in Aurora.[178]

text: Director Christopher Nolan released a public statement calling the shooting "unbearably savage".[166] Other stars of the film released statements expressing their condolences, with star Christian Bale paying a personal visit to the survivors and the memorial in Aurora.[179]

text: Release

text: On July 6, 2012, Warner Bros. held a special IMAX screening of The Dark Knight Rises for more than one hundred reporters and critics. However, technical issues with the computer device synchronizing the sound and picture forced the studio to postpone the screening by a day.[180] The film later premiered on July 16 at the AMC Lincoln Square Theater in New York City, New York,[181] followed by a European premiere on July 18 at Leicester Square in London, England.[182] The film was released in Australia and New Zealand on July 19,[183] and was later released in North America and the United Kingdom on July 20.[184][185]

text: Reception

text: The Dark Knight Rises received positive reviews from critics.[186][187][188] Film review aggregator Rotten Tomatoes gave The Dark Knight Rises an approval rating of 87% based on 345 reviews, and a rating average of 8/10. The web site's critical consensus reads, "The Dark Knight Rises is an ambitious, thoughtful, and potent action film that concludes Christopher Nolan's franchise in spectacular fashion."[189] Metacritic, another review aggregator, assigned the film a weighted average score of 78 out of 100, based on 45 critics, indicating "generally favorable reviews".[190] CinemaScore reported that audiences gave the film an average grade of "A" on an A+ to F scale.[191]

text: The Telegraph granted the film a maximum score of five stars, stating that it is "a superhero film without a superhero," comparing it with The Godfather Part II and praising Hardy's performance as well as the film's intricate plot and narrative.[192] Kenneth Turan of the Los Angeles Times thought the film was "potent, persuasive and hypnotic" and that it was "more than an exceptional superhero movie, it is masterful filmmaking by any standard."[193] The Playlists Todd Gilchrist wrote "A cinematic, cultural and personal triumph, The Dark Knight Rises is emotionally inspiring, aesthetically significant and critically important for America itself – as a mirror of both sober reflection and resilient hope."[194] IGN gave it a 9 out of 10, noting similarities in tone and theme to Batman Begins over the trilogy's second installment The Dark Knight, but also describing Bane as "that bit less interesting to watch" than Ledger's Joker, despite praising his "menacing voice" and "body language-driven performance".[195] The Guardian scored the film four out of five stars, calling it a film of "granite, monolithic intensity", yet also calling it a "hammy, portentous affair".[196] Andrew O'Hehir of Salon writes "if The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen".[197] Roger Ebert of the Chicago Sun-Times gave the film three out of four stars, stating "the film begins slowly with a murky plot and too many new characters, but builds to a sensational climax."[198] Film critic Richard Roeper gave the film an "A", calling it "a majestic, gorgeous, brutal and richly satisfying epic", and citing the final scenes of the picture as "the best five minutes of any film this year."[199] The London Film Review gave the film a B and said "Nolan's film is a reminder that superheroes aren't merely a frivolous distraction, but an embodiment of our best selves."[200] The film was crowned by Forbes as the best modern comic book superhero adaptation on screen, outranking both its main summer blockbuster competitor, Marvel's The Avengers, and the trilogy's previous installment The Dark Knight.[201] In 2014, Empire ranked The Dark Knight Rises the 72nd greatest film ever made on their list of "The 301 Greatest Movies Of All Time" as voted by the magazine's readers.[202]

text: The Daily Mail's Chris Tookey said that the film was bloated and overly long, and criticized the sombre tone and lack of humor, despite praising the film's visually impressive set pieces.[203] CNN's Tom Charity said the film was a "disappointingly clunky and bombastic conclusion to a superior series" and called it Nolan's worst film.[204] Anthony Lane of The New Yorker says that the "story is dense, overlong, and studded with references that will make sense only to those intimate with Nolan's previous excursions into Batmanhood".[205]

text: In reaction to fan backlash to some of the negative reviews, Rotten Tomatoes chose to disable user commentary for the film leading up to its release.[206] Some fans had threatened violence against critics while others threatened to take down the websites of movie critics who had given the film a negative review.[207]

text: In 2014, Aidan Gillen's character in the film, CIA agent Bill Wilson, became the subject of an Internet meme popular among 4chan users known as "Baneposting", which references the dialogue between Wilson and Bane in the film's opening plane scene.[208][209][210]

text: Commentary

text: Writing in Salon, David Sirota, a progressive[211] political commentator compared The Dark Knight Rises and the game Call of Duty to 1980s popular culture reflecting the political period of the time, accusing them of perpetuating a conservative agenda: "Just as so many 1980s pop culture products reflected the spirit of the Reagan Revolution's conservative backlash, we are now seeing two blockbuster, genre-shaping products not-so-subtly reflect the Tea Party's rhetorical backlash to the powerful Occupy Wall Street zeitgeist."[212] An article in Variety reported Chuck Dixon, the co-creator of the Bane character, as saying that Bane is "far more akin to an Occupy Wall Street type if you're looking to cast him politically."[213] Catherine Shoard of the center-left[214] British publication The Guardian claimed the film "is a quite audaciously capitalist vision, radically conservative, radically vigilante, that advances a serious, stirring proposal that the wish-fulfilment of the wealthy is to be championed if they say they want to do good."[215] In contrast, liberal commentator Jonathan Chait opined in New York that "What passes for a right-wing movie these days is The Dark Knight Rises, which submits the rather modest premise that, irritating though the rich may be, actually killing them and taking all their stuff might be excessive."[216] Writing in USA Today, Bryan Alexander called Bane "the ultimate occupier" and reported that Christian Bale was amazed that the script had "foreseen" the Occupy movement.[217]

text: Nolan has denied the film criticizes the Occupy movement and insists that none of his Batman films are intended to be political: "I've had as many conversations with people who have seen the film the other way round. We throw a lot of things against the wall to see if it sticks. We put a lot of interesting questions in the air, but that's simply a backdrop for the story. What we're really trying to do is show the cracks of society, show the conflicts that somebody would try to wedge open. We're going to get wildly different interpretations of what the film is supporting and not supporting, but it's not doing any of those things. It's just telling a story. If you're saying, 'Have you made a film that's supposed to be criticizing the Occupy Wall Street movement?' – well, obviously, that's not true."[218]

text: Alternatively, politically-conservative commentator Rush Limbaugh alleged that the film was biased against 2012 Republican presidential nominee Mitt Romney due to Bane's name being a homophone for Bain Capital, the financial service company Romney used to head, despite the fact that the character has existed as a major Batman foe since 1993.[219][220] In response, Nolan said that the comments were "bizarre",[221] while Dixon and Freeman said that the comments were "ridiculous".[220][222] Democratic adviser Christopher Lehane has noted the similarities between the narratives of the film and the presidential campaign.[220][223]

text: On January 20, 2017, multiple media outlets noted that a small but key part of U.S. president Donald Trump's inaugural address "had an uncanny echo" of Bane's speech after he takes control of Gotham in The Dark Knight Rises.[224][225] Trump had given the film a positive review in 2012.[226]

text: Accolades

text:
Award
Category
Recipients and nominees
Result

AFI Awards 2012

Movies of the Year

Emma Thomas, Christopher Nolan and Charles Roven

Won

British Academy of Film and Television Arts[227]

Special Visual Effects

Paul Franklin, Chris Corbould, Peter Bebb, Andrew Lockley

Nominated

Broadcast Film Critics Association[228]

Best Visual Effects

Nominated

Best Action Film

Nominated

Best Actor in an Action Movie

Christian Bale

Nominated

Best Actress in an Action Movie

Anne Hathaway

Nominated

Golden Trailer Awards[229]

Best in Show

"Chant"

Won

Summer 2012 Blockbuster Trailer

"Chant"

Won

Best International Poster

"UK Quad"

Won

Best Summer 2012 Blockbuster Poster

"Teaser One Sheet – City"

Won

Best Teaser Poster

"Teaser One Sheet City"

Nominated

Grammy Awards[230]

Best Score Soundtrack For Visual Media

Nominated

Kids Choice Awards[231]

Favorite Female Buttkicker

Anne Hathaway

Nominated

Los Angeles Film Critics Association[232]

Best Supporting Actress

Anne Hathaway (also for Les Misérables)

Runner-up

MTV Movie Awards[233]

Best Movie

Nominated

Best Hero

Christian Bale

Nominated

Best Hero

Anne Hathaway

Nominated

Best Villain

Marion Cotillard

Nominated

Best Villain

Tom Hardy

Nominated

Best Fight

Christian Bale & Tom Hardy

Nominated

Best Shirtless Performance

Christian Bale

Nominated

People's Choice Awards[234]

Favorite Face of Heroism

Anne Hathaway

Nominated

Favorite Movie

Nominated

Favorite Action Movie

Nominated

Favorite Movie Franchise

Nominated

Phoenix Film Critics Society[235]

Best Film Editing

Nominated

Satellite Awards[236]

Best Visual Effects

Chris Corbould, Paul Franklin

Nominated

Best Art Direction & Production Design

Nathan Crowley, Kevin Kavanaugh, James Hambidge, Naaman Marshall

Nominated

Saturn Awards[237][238]

Best Action of Adventure Film

Nominated

Best Director

Christopher Nolan

Nominated

Best Actor

Christian Bale

Nominated

Best Supporting Actor

Joseph Gordon-Levitt

Nominated

Best Supporting Actress

Anne Hathaway

Won

Best Music

Hans Zimmer

Nominated

Screen Actors Guild Awards[239]

Outstanding Performance by a Stunt Ensemble in a Motion Picture

Nominated

St. Louis Gateway Film Critics Association[240][241]

Best Music

Nominated

Teen Choice Awards[242][243][244]

Choice Movie: Action

Nominated

Choice Movie: Actor Action

Christian Bale

Nominated

Choice Movie: Actress Action

Anne Hathaway

Won

Choice Movie: Scene Stealer

Joseph Gordon-Levitt

Nominated

Choice Movie: Best Villain

Tom Hardy

Nominated

Visual Effects Society Awards[245]

Outstanding Models in a Feature Motion Picture

Scott Beverly, Alan Faucher, Ian Hunter, Steve Newburn for "Airplane Heist"

Nominated

Young Artist Award[246]

Best Performance in a Feature Film - Supporting Young Actress

Joey King

Nominated

text: Box office

text: Hours before the midnight release, several box office analysts suggested as much as a $198 million domestic opening weekend.[247][248][249] However, in the wake of the mass shooting during a midnight screening of the film, Warner Bros. decided to not report further box office figures for the movie until Monday, July 23, 2012.[250][251] As a result, other distributors also delayed the release of their official estimates as well.[252] The shooting is also speculated to have hurt the ticket sales as E! Online reported that a North Carolina audience member had stated that "this theater was kinda empty".[253] Some reports released on July 21, 2012 said that rival studios estimated that the film grossed $75 million to $77 million on its opening day.[254][255][256] Warner Brothers shortly after released a statement to ABC News stating that they delayed the release of their estimates for the opening day total of the film "out of respect for the victims and their families," and added "Warner Bros. Pictures will not be reporting box office numbers for The Dark Knight Rises throughout the weekend. Box office numbers will be released on Monday."[257]

text: The Dark Knight Rises earned $448 million in North America, and $636 million in other countries, summing up to a worldwide total of $1 billion($1084 million).[4] Worldwide, it is the sixteenth-highest-grossing film of all time[258] and the third-highest-grossing film of 2012.[259] It had a worldwide opening weekend of $248.9 million.[260] The film set a worldwide IMAX opening-weekend record with $23.8 million (overtaken by Avengers: Age of Ultron)[261][262] and also broke the record for the fastest movie to make over $50 million in IMAX theatres. IMAX CEO Richard L. Gelfond explained this by claiming, "Audiences are clearly seeking out and embracing the film the way it was meant to be seen – in IMAX."[263] On the 2012 Labor Day weekend, it became the third film distributed by Warner Bros. and the thirteenth film in cinematic history to cross the $1 billion mark.[264] The film also became the second movie (after Avatar) to reach $100 million in worldwide IMAX grosses.[265]

text: The Dark Knight Rises opened on Friday, July 20, 2012. It earned an estimated $30.6 million in midnight showings, which was the second-highest midnight gross behind Harry Potter and the Deathly Hallows – Part 2 ($43.5 million).[266][267] It did, however, set an IMAX midnight-gross record with $2.3 million (overtaken by Avengers: Age of Ultron).[268][269] The film made $75.8 million during its opening day, achieving, at the time, the third-highest single and opening day tally of all time.[270] On July 23, 2012, it was announced that the film grossed $160.9 million for its debut weekend, which was the third-highest opening weekend ever, at the time, behind Marvel's The Avengers ($207.4 million) and Deathly Hallows – Part 2 ($169.2 million).[271] However, it did set an opening-weekend record for a 2D film (previously held by The Dark Knight)[272] and an IMAX opening-weekend record with $19.0 million (previously held by Marvel's The Avengers).[273] The film also held the top spot at the box office for its second and third weekends.[274][275] In North America, it is the thirteenth-highest-grossing film,[276] the second-highest-grossing 2012 film,[277] as well as the sixth highest-grossing superhero film and film based on comics.[278][279] Box Office Mojo estimates that the film sold more than 55 million tickets in the US.[280]

text: Outside North America, the film opened with $88.0 million from 7,173 theaters in just 17 markets.[281] It was in first place at the box office outside North America for four consecutive weekends.[282][283] Its three largest markets are the UK, Ireland and Malta ($90.3 million), where it is the highest-grossing superhero film,[284] China ($52.8 million) and Australia ($44.2 million).[285]

text: Home media

text: The Dark Knight Rises was released on November 28, 2012 in Hong Kong and New Zealand. On December 3, it was released in the United Kingdom, and on December 4, it was released in the United States. It is available on Blu-ray, DVD, and as a digital download.[286] Coinciding with the release of this film, a box set of The Dark Knight trilogy was released.[287] The Dark Knight Rises was released on 4K UHD Blu-Ray on December 19, 2017.[288]


document_title: M27 motorway

question_text: why is there no junction 6 on m27

question_tokens: why is there no junction 6 on m27

root

text: M27 motorway

text: Route[edit]

text: Running approximately parallel both to the coast of the Solent and to the A27, the M27 starts as an eastwards continuation of the A31 from Bournemouth and Poole, meets the A36 from Salisbury, crosses the Wessex Main Line railway, and then meets the M271 to central Southampton. After the M271, the road becomes a dual four lane motorway and passes Rownhams services, it then meets the M3, (two lanes going off, two lanes continuing to the other side of the junction) reverting to a dual three lane motorway as it passes to the north of Southampton, passes Southampton Airport, meeting Junction 7 and becoming dual four lanes again, then becoming dual three lanes after Junction 8, it then runs alongside the West Coastway Line as it heads south-east towards Fareham. It then runs alongside the northern outskirts of Fareham, briefly with a fourth climbing lane in either direction, before its junction with the M275 to Portsmouth. Very shortly after this point the motorway ends, becoming the A27, a four lane dual carriageway almost to motorway standards until the junction with the A3 (M) Motorway. The official reason for this section of road not being a continuation of the motorway is the hard shoulders being too narrow. Although the M275 which the M27 junctions with, has no official hard shoulders throughout its entire length.

tag: p

text: History[edit]

text: Opening dates[edit]

text: The M27 was opened in stages (in common with many UK motorways) between 1975 and 1983.[3]

text:
Junction 1 to 2 opened 20 August 1975
Junction 2 to 4 opened in December 1975
Junction 4 to 7 opened in 1983
Junction 7 to 8 opened in February 1978
Junction 8 to 12 opened in March 1976

text: The South Stoneham Crematorium, which was located north of South Stoneham Cemetery, was demolished during 1973 to make way for the construction of the M27 motorway. The South Stoneham garden of remembrance is now located at the north end of the cemetery, adjacent to the motorway.[4]

text: Unfulfilled plans[edit]

text: It has been said that the M27 was intended as a motorway connecting south coast towns from Penzance to Ramsgate.[5] However the only proposal of a route similar to that was by the Institution of Highway Engineers in 1936.[1][6][7] Road developments in the New Forest are also restricted due to its National Park status.

text: The M27 was meant to be extended to Chichester; a sign of this is the width of the A27 road between Junction 12 and the junction with the A3(M), which has 3/4 lanes, a hard shoulder and grade-separated junctions. It is not part of the M27 as its hard shoulders are not quite wide enough to comply with motorway regulations.[1][8]

text: The M272 was meant to go from Junction 5 through Portswood to the centre of Southampton. The M272 was instead built (in much reduced form) as the A335 Thomas Lewis Way.

text: Junction 6 was never built – there were plans for a motorway spur (probably to be numbered M273) connecting the M27 to the centre of the Townhill Park area of Southampton.[2]

text: A planned service area just east of Junction 9 was never constructed. The long westbound exit slip road at Junction 9 was designed to allow an entry to and exit from the service area.[9]

text: Controversies[edit]

text: In November 2015, an elderly woman, Marion Munns, died after jumping from the A3057 bridge that crosses over the M27, into westbound traffic, just before Junction 3. She had become distressed due to mental illness, and escaped from her Southampton home through an upstairs window before climbing off the garage roof and running away. 9 people were taken to hospital to receive treatment for shock.

text: It was noted as a very controversial incident due to the carer, Emma Bulbrooke, telling Marion's daughter to go to her mother's house and ‘do the best she could’ because the Southern Health office was closing at five o’clock.

text: Marion Munns was reportedly one of the cases that caused Katrina Percy, ex Southern Health NHS Foundation Trust Chief Executive, to resign - for which she received £190,000 as a 'pay-off.'

text: Junctions[edit]

text: Data from driver location signs are used to provide distance and carriageway identifier information.[10] Where a junction spans several hundred metres and start and end points are available, both are cited.

text:
M27 motorway junctions

miles
km
Westbound exits (B carriageway)
Junction
Eastbound exits (A carriageway)
Coordinates

0.0
1.2
0.0
2.0
Road continues as A31 to The WEST, Poole, Dorchester, Bournemouth and Ringwood
Terminus
J1
Cadnam A336, Brook, Bramshaw B3079, Lyndhurst A337
50°55′14″N 1°35′22″W / 50.92051°N 1.58958°W / 50.92051; -1.58958 (M27, Junction 1)

The New Forest, Cadnam, Lyndhurst A337
Start of motorway

4.2
4.6
6.8
7.4
Salisbury A36, Fawley A326
J2
Salisbury, Romsey A36, Fawley A326, Paultons Park
50°56′45″N 1°31′46″W / 50.94583°N 1.52950°W / 50.94583; -1.52950 (M27, Junction 2)

6.6
6.8
10.6
11.0
Southampton, The Docks M271(S), Romsey M271(N)
J3
Southampton, The Docks M271
50°56′45″N 1°28′35″W / 50.94577°N 1.47637°W / 50.94577; -1.47637 (M27, Junction 3)

Rownhams Services (Roadchef)
Services
Rownhams Services (Roadchef)
50°57′26″N 1°26′57″W / 50.95732°N 1.44917°W / 50.95732; -1.44917 (M27, Rownhams Services)

9.4
9.8
15.2
15.7
The MIDLANDS, London, Winchester M3
J4
The MIDLANDS, London, Winchester M3
50°57′14″N 1°24′28″W / 50.95394°N 1.40767°W / 50.95394; -1.40767 (M27, Junction 4)

11.7
11.9
18.9
19.2
Southampton, Eastleigh, Airport  A335
J5
Southampton, Eastleigh, Airport  A335
50°56′58″N 1°22′16″W / 50.94948°N 1.37115°W / 50.94948; -1.37115 (M27, Junction 5)

No connection
J6
Planned junction for the unbuilt M273

15.5
15.7
24.9
25.2
Hedge End A334
J7
Hedge End, Botley A334
50°55′01″N 1°19′03″W / 50.91700°N 1.31763°W / 50.91700; -1.31763 (M27, Junction 7)

16.2
17.0
26.0
27.4
Southampton, Hamble, East Docks A3024
J8
Southampton (E), Hamble A3024
50°53′54″N 1°18′44″W / 50.89838°N 1.31222°W / 50.89838; -1.31222 (M27, Junction 8)

19.9
20.6
32.1
33.1
Fareham (W) A27, Whiteley
J9
Fareham (W) A27, Whiteley
50°52′28″N 1°15′09″W / 50.87431°N 1.25257°W / 50.87431; -1.25257 (M27, Junction 9)

23.2
23.5
37.4
37.8
Alton A32
J10
No exit
50°52′00″N 1°10′56″W / 50.86678°N 1.18232°W / 50.86678; -1.18232 (M27, Junction 10)

24.4
24.7
39.2
39.8
Fareham (C) A27, Gosport (A32)
J11
Fareham (C) A27, Gosport (A32)
50°51′36″N 1°09′27″W / 50.86004°N 1.15760°W / 50.86004; -1.15760 (M27, Junction 11)

27.7
28.1
44.6
45.2
Portsmouth, Ferries M275
J12
Cosham, Paulsgrove, Hilsea A27, Portsmouth (W), Ferries M275
50°50′32″N 1°05′34″W / 50.84213°N 1.09271°W / 50.84213; -1.09271 (M27, Junction 12)

29.0
46.6
Start of motorway
Terminus
No exit, access to A3 via J12
50°55′14″N 1°35′22″W / 50.92051°N 1.58958°W / 50.92051; -1.58958 (M27, Junction 1)

Cosham A3(N), Hilsea A3(S)
Road continues as A27 to Havant, Portsmouth (E), Brighton and London (A3(M))

Notes

Distances in kilometres and carriageway identifiers are obtained from driver location signs/location marker posts. Where a junction spans several hundred metres and the data is available, both the start and finish values for the junction are shown.
Coordinate data from ACME Mapper.

1.000 mi = 1.609 km; 1.000 km = 0.621 mi

      Incomplete access

tag: table

text: Nearby attractions[edit]

text: Junction 1 is about 1,800 metres (2,000 yd) (2,400 metres (2,600 yd) by road) from The Rufus Stone, where King William II, also known as William Rufus, was killed in what may have been a hunting accident in 1100.[11]


document_title: Byzantine economy

question_text: how did constantinople serve as a center of trade

text: Byzantine economy

text: Economic and fiscal history[edit]

text: The Eastern Roman economy suffered less from the Barbarian raids that plagued the Western Roman Empire. Under Diocletian's reign, the Eastern Roman Empire's annual revenue was at 9,400,000 solidi, out of a total of 18,000,000 solidi for the entire Roman Empire.[1] These estimates can be compared to the AD 150 annual revenue of 14,500,000 solidi and the AD 215 of 22,000,000 solidi. By the end of Marcian's reign, the annual revenue for the Eastern empire was 7,800,000 solidi, thus allowing him to amass about 100,000 pounds of gold or 7,200,000 solidi for the imperial treasury.[1] Warren Treadgold estimates that during the period from Diocletian to Marcian, the Eastern Empire's population and agriculture declined a bit, but not much. Actually, the few preserved figures show that the largest eastern cities grew somewhat between the 3rd and 5th centuries.[2] By Marcian's reign the Eastern Empire's difficulties seem to have been easing, and the population had probably begun growing for the first time in centuries.[3]

text: The wealth of Constantinople can be seen by how Justin I used 3,700 pounds of gold just for celebrating his own consulship. By the end of his reign, Anastasius I had managed to collect for the treasury an amount of 23,000,000 solidi or 320,000 pounds of gold. At the start of Justinian I's reign, the Emperor had inherited a surplus 28,800,000 from Anastasius I and Justin I.[4] Before Justinian I's reconquests the state had an annual revenue of 5,000,000 solidi, which further increased after his reconquests in 550.[4] Nevertheless, Justinian I had little money left towards the end of his reign partly because of the Justinian Plague, and the Roman–Persian Wars (Justinian spent large amounts of money in annual subsidies to the Sassanian Empire[5]), which both harmed the economy. In addition to these expenses, the rebuilding of Hagia Sophia cost 20,000 pounds of gold.[6] Subsidies to enemy states were also paid by Justinian's successors: Justin II was forced to pay 80,000 silver coins to the Avars for peace; his wife Sophia paid 45,000 solidi to Khosrau I in return for a year's truce,[7] and then Tiberius II Constantine gave away 7,200 pounds of gold each year for four years. Since Emperor Heraclius changed the empire's official language from Latin to Greek in around 620,[citation needed] the solidus (plural: solidi) would thereafter be known by its Greek name, the nomisma (plural: nomismata).[8]

text: The Byzantine-Arab Wars reduced the territory of the Empire to a third in the 7th century and the economy slumped; in 780 the Byzantine Empire's revenues were reduced to only 1,800,000 nomismata. From the 8th century onward the Empire's economy improved dramatically. This was a blessing for Byzantium in more than one way; the economy, the administration of gold coinage and the farming of the Anatolian peninsula served to meet the military's constant demands. Since Byzantium was in a constant state of warfare with her neighbours (even if only by raiding) the military required weapons to be manufactured by the bigger cities (such as Thessaloniki) whilst the smaller towns were subject to grain, wine and even biscuit requisitions by Imperial officers. Even though the soldiers' pay was minimal, large armies were a considerable strain on Byzantium. As gold coins were spent on soldiers to serve in the army, these would in time spend their money acquiring their own goods and much revenue would return to the state in the form of taxation. As a result, the Byzantine economy was self-sufficient, allowing it to thrive in the Dark Ages. The success of the Byzantine army was in no small part due to the success of her economy.

text: Around 775, the land and head taxes yielded an estimated 1,600,000 nomismata annually for the empire. Commerce during this period slumped, therefore only contributing 200,000 nomismata annually. The expenditures of the period were quite large when compared to the annual revenues. Approximately 600,000 nomismata went to the payroll of the army annually while other military costs took another 600,000 nomismata annually. Supporting the Byzantine bureaucracy needed 400,000 nomismata. Also, imperial largess cost the treasury 100,000 nomismata every year. All of these expenses meant that the Byzantine government had only about 100,000 nomismata in surplus revenue each year for treaties, bribes, or gifts.[9]

text: Expenses again soared, when a massive Muslim army invaded the empire in 806, forcing Nikephoros I to pay a ransom of 50,000 gold coins and a yearly tribute of 30,000 gold coins.[10] In order to impress the Caliph of Baghdad, Theophilos distributed 36,000 gold coins to the citizens of Baghdad, and in 838, he was forced to pay 100,000 gold dinars to the Caliph. The Byzantine economic recovery in the early 9th century can be seen by the fact that Emperor Theophilos was able to leave 7,000,000 nomismata in the imperial treasury for his successor in 842.[11] After Theophilos' death his wife Theodora II continued his successful policies and even increased the imperial reserves to 7,848,000 nomismata.

text: Around 850, the land and head taxes yielded an estimated 2,900,000 nomismata annually for the empire. Commerce during this period increased dramatically, therefore contributing 400,000 nomismata annually. The expenditures of the period were large, but manageable by the treasury. Approximately 1,400,000 nomismata went to the payroll of the army annually while other military costs took another 800,000 nomismata annually. Supporting the Byzantine bureaucracy needed 500,000 nomismata. Also, imperial largess cost the treasury 100,000 nomismata every year. All of these expenses meant that the Byzantine government had about 500,000 nomismata in surplus revenue each year, much more than in the 8th century.[9]

text: Unfortunately under their son Michael III the reserves dwindled to about 100,000 nomismata.[12] However, under Basil I's prudent economic policies, the state quickly raised 4,300,000 nomismata, far more even than the empire's annual revenue of 3,300,000 nomismata.[4]

text: From the 10th century, however, until the end of the twelfth, the Byzantine Empire projected an image of wealth and luxury. Constantine V's reforms (c. 765) marked the beginning of a revival that continued until 1204.[13] The travelers who visited its capital were impressed by the wealth accumulated in Constantinople; riches that also served the state's diplomatic purposes as a means of propaganda, and a way to impress foreigners as well its own citizens. When Liutprand of Cremona was sent as an ambassador to the Byzantine capital in the 940s, he was overwhelmed by the imperial residence, the luxurious meals, and acrobatic entertainment.[14]

text: Sviatoslav I was paid 15,000 pounds of gold by Nikephoros II to invade Bulgaria in 968. By the time of Basil II's death in 1025, the annual income had increased to 5,900,000 nomismata, which allowed him to amass a large surplus of 14,400,000 nomismata (200,000 pounds of gold) in the treasury for his successor.[15]

text: Nevertheless, the Byzantine economy went into a long decline until the Comnenian Dynasty was able to revive the economy. In the aftermath of the Battle of Manzikert, Alp Arslan at first suggested to Emperor Romanos IV a ransom of 10,000,000 gold coins, but later reduced it to 1,500,000 gold coins with a further 360,000 gold coins annually.[16]

text: In exchange for an alliance, Alexios I sent 360,000 gold coins to Emperor Henry IV.[17] The wealth of the empire under the Comnenians can be seen by how Emperor Manuel I was able to ransom some Latin prisoners from the Muslims for 100,000 dinars, then 150,000 dinars for Bohemond III in 1165, 120,000 dinars for Raynald of Châtillon, and 150,000 dinars for Baldwin of Ibelin in 1180.[18] When Manuel became emperor he ordered 2 gold coins to be given to every householder in Constantinople and 200 pounds of gold (including 200 silver coins annually) to be given to the Eastern Orthodox Church.[19] When his niece Theodora married King Baldwin III of Jerusalem in 1157, Manuel gave her a dowry of 100,000 gold coins, 10,000 gold coins for marriage expenses, and presents (jewels and silk garments) which were worth 14,000 gold coins total.[20] The expense of Manuel's involvement in Italy must have cost the treasury a great deal (probably more than 2,160,000 hyperpyra or 30,000 pounds of gold).[21] Then he also promised to pay 5,000 pounds of gold to the Pope and the Curia. During his reign, Manuel bought a very rich jewel (for 62,000 silver marks) which was used during the coronation of the Latin Emperor Baldwin I.[22] The main source of the state's wealth in the 12th century was the kommerkion, a customs duty levied at Constantinople on all imports and exports, which was stated to have collected 20,000 hyperpyra each day.[23] This, combined with other sources of income, meant the empire's annual revenue was at 5,600,000 hyperpyra in 1150.[24] Under the Komnenian emperors, many exemptions of trade duties were given to the Italian traders, which meant the loss of about 50,000 hyperpyra annually.[24] A Venetian embassy visited Constantinople in 1184 and an agreement was reached that compensation of 1,500 pounds of gold (or 108,000 hyperpyra) would be paid for the losses incurred in 1171.[25] By the end of Manuel I's reign the amount of money used to maintain the Komnenian imperial family is said to be able to maintain an army of 100,000 men.[26]

text: After the demise of the Komnenoi, the Byzantine economy declined under the impact of several factors: the dismemberment of the Empire after 1204, the successive territorial losses to the Turks (although the strong economic interaction of Byzantine territories with those lost by the Empire continued), and the Italian expansion in the Mediterranean and the Black Sea.[27] When Isaac II Angelos became Emperor in 1185, a mob broke into the palace and carried off 1,200 pounds of gold, 3,000 pounds of silver, and 20,000 pounds of bronze coins.[28] In 1195, Holy Roman Emperor Henry VI forced Byzantine Emperor Alexios III Angelos to pay him a tribute of 1,000 pounds of gold (originally 5,000 pounds of gold) and in 1204 Alexios III took 1,000 pounds of gold (or 72,000 hyperpyra) when he fled Constantinople.[29] The presence of the crusading army not only culminated in a violent sack that dispersed and destroyed the accumulated wealth, and culture of centuries, but was accompanied by a series of fires that ravaged the northern and central sections of the city resulting in a steady exodus of the city's residents to the Greek centers of government in exile. The sack of Constantinople by Latin crusaders in 1204 was an economic catastrophe. Due to the financial crisis, the state could only pay 100,000 silver marks (65,000 pounds of pure silver) out of 200,000 silver marks (equivalent to 800,000 hyperpyra) to the Crusaders in 1204.[30] The official tally of plunder from Constantinople was about 900,000 silver marks, the equivalent of about 3,600,000 hyperpyra or 50,000 pounds of gold.[30][31] The impoverished Latin emperors melted down statues for coin, while the Venetians exported their declining profits, along with choice relics and architecture spolia for their churches. In 1237, Latin Emperor Baldwin II pawned the Crown of Thorns to a Venetian merchant for 13,134 gold coins.[32]

text: By the time the Palaiologoi took power, Italian merchants had come to dominate the trade by sea whilst Turkic incursions prevented any success from trade across roads. Michael VIII Palaiologos strove to restore the capital's greatness, but the resources of the empire were inadequate. In 1282, Michael VIII was forced to drain the treasury to pay the enormous bribe of 60,000 hyperpyra to King Peter III of Aragon to invade the Kingdom of Sicily.[33] Constantinople became once more, as in the seventh and eighth centuries, a ruralized network of scattered nuclei; in the final decades before the fall, the population numbered 70,000 people.[34] Gradually, the state also lost its influence on the modalities of trade and the price mechanisms, and its control over the outflow of precious metals and, according to some scholars, even over the minting of coins.[35] By 1303, the empire's annual revenue dropped to less than 1,800,000 hyperpyra, under Andronikos II Palaiologos. In 1321, only with extreme effort was Andonikos II able to raise revenues to 1,000,000 hyperpyra.[36]

text: The Byzantine economy had declined so much that by 1343, Empress Anna of Savoy had to pawn the Byzantine crown jewels for 30,000 Venetian ducats, which was the equivalent of 60,000 hyperpyra.[37] In 1348, Constantinople had an annual revenue of 30,000 hyperpyra while across the Golden Horn in the Genoese colony of Galata, the annual revenue was 200,000 hyperpyra. When Emperor John VI Kantakouzenos attempted to rebuild the Byzantine navy, he was only able to raise an inadequate 50,000 hyperpyra. The only success during this period was when the Republic of Genoa agreed to pay a war indemnity of 100,000 hyperpyra in 1349. When Emperor John V Palaiologos was captured by Ivan Alexander in 1366, he was forced to pay a ransom of 180,000 florins. In 1370, the empire owed Venice, 25,663 hyperpyra (of which only 4,500 hyperpyra had so far been paid) for damage done to Venetian property.[38] In February 1424, Manuel II Palaiologos signed an unfavorable peace treaty with the Ottoman Turks, whereby the Byzantine Empire was forced to pay 300,000 silver coins to the Sultan on annual basis. In 1453, the economy of the Genoan quarter in Constantinople had a revenue 7 times greater than that of the whole Empire — not even a shadow of its former self.[citation needed] Emperor Constantine XI owed Venice 17,163 hyperpyra when he died in 1453.[39]

text: The exact amount of annual income the Byzantine government received, is a matter of considerable debate, due to the scantness and ambiguous nature of the primary sources. The following table contains approximate estimates.

text:
Year
Annual Revenue

305
9,400,000 solidi[1]

457
7,800,000 solidi[1]

518
8,500,000 solidi[40]

533
5,000,000 solidi[4]

540
11,300,000 solidi[41]

555
6,000,000 solidi[4]

565
8,500,000 solidi[42]

641
3,700,000 nomismata[43]

668
2,000,000 nomismata[44]

775
1,800,000 nomismata[9]

775
2,000,000 nomismata[44]

842
3,100,000 nomismata[45]

850
3,300,000 nomismata[9]

959
4,000,000 nomismata[45]

1025
5,900,000 nomismata[45]

1150
5,600,000 hyperpyra[24]

1303
1,800,000 hyperpyra

1321
1,000,000 hyperpyra[46]

text: State's role[edit]

text: The state retained the monopoly of issuing coinage, and had the power to intervene in other important sectors of the economy. It exercised formal control over interest rates, and set the parameters for the activity of the guilds and corporations in Constantinople, in which the state has a special interest (e.g. the sale of silk) or whose members exercised a profession that was of importance for trade. The emperor and his officials intervened at times of crisis to ensure the provisioning of the capital and to keep down the price of cereals. For this reason, the empire strictly controlled both the internal circulation of commodities, and the international trade (certainly in intent; to a considerable degree also in practice).[47] Additionally, the state often collected part of the surplus in the form of tax, and put it back into circulation, through redistribution in the form of salaries to state officials of the army, or in the form of investment in public works, buildings, or works of art.[48]

text: Coinage[edit]

text: Coinage was the basic form of money in Byzantium, although credit existed: archival documents indicate that both banking and bankers were not as primitive as has sometimes been implied.[50] The Byzantine Empire was capable of making a durable monetary system function for more than a thousand years, from Constantine I to 1453, because of its relative flexibility. Money was both product and instrument of a complex and developed financial and fiscal organization that contributed to the economic integration of its territory.[51]

text: The first features of the administrative organization of monetary production were first established by Diocletian and Constantine, and were still in existence at the beginning of the 7th century.[52] During Byzantine history, supervision of the mints[53] belonged to the Emperor; thus the government controlled, to a certain degree, the money supply. Nevertheless, the Emperor and his government were not always capable of conducting a monetary policy in the modern meaning of the term.[54]

text: Ever since the creation of the Byzantine monetary system by Constantine in 312, its pivot had been golden solidus, a coinage whose nominal value was equal to its intrinsic value, as is proven by the Theodosian Code.[55] Solidus became a highly priced and stable means of storing and transferring values[56] Novel 16 of Valentinian III punished with death anyone who dared "refuse or reduce a gold solidus of good weight."[57] Weight and fineness of the coinage were joined by another element: the authenticity of the stamp, which served to guarantee the other two.[58] Alongside this "real"-value gold coinage, and a slightly overvalued silver coinage, there was also a bronze coinage of a fiduciary nature that made up the second specific feature of the monetary system.[58] At the end of the 10th and in the 11th centuries, money underwent a profound transformation, followed by a crisis; the denomination affected all metals at different dates, and according to different modalities.[59] The reform of Alexios I Komnenos put an end to this crisis by restoring a gold coinage of high fineness, the hyperpyron, and by creating a new system destined to endure for about two centuries.[60]

text: In 1304 the introduction of the basilikon, a pure silver coinage modeled on the Venetian ducat marked the abandonment of Komnenian structures under the influence of western models. The system that began in 1367 was constructed around the stavraton, a heavy silver, equivalent to twice the weight of fine metal of the last hyperpyra.[62] By the end of the 12th century, especially from 1204 on, the political fragmentation of the empire resulted in the creation of coinages that were either "national" (e.g. in Trebizond in 1222, in Bulgaria in 1218, and in Serbia in 1228), colonial or feudal. Venetian coins soon penetrated the monetary circulation in Byzantium.[63] This situation stands in contrast with the monopoly that Byzantine currency had enjoyed until the 12th century, within its own frontiers, and through its diffusion in the lands beyond — a measure of its political and economic influence.[64]

text: Trade[edit]

text: One of the economic foundations of the empire was trade. Constantinople was located on important east-west and north-south trade routes. Trebizond was an important port in the eastern trade. The exact routes varied over the years with wars and the political situation. Imports and exports were uniformly taxed at ten percent.

text: Grain and silk were two of the most important commodities for the empire. The Arab invasion of Egypt and Syria harmed the Byzantium's trade, and affected the provisioning of the capital with grain. As the population increased in the 9th and 10th centuries, the demand for grain also increased. There was a functioning market for grain in Constantinople, but it was not entirely self-regulating: the state could play a role in the availability of grain, and the formation of prices.[65]

text: Silk was used by the state both as a means of payment, and of diplomacy. Raw silk was bought from China and made up into fine brocades and cloth-of-gold that commanded high prices through the world. Later, silk worms were smuggled into the empire and the overland silk trade became less important. After Justinian I the manufacturing and sale of silk had become an imperial monopoly, only processed in imperial factories, and sold to authorized buyers.[66] The raw silk merchants could buy the raw silk from outside Constantinople but did not themselves have the authority to travel outside the city to get it — possibly in order not to jeopardize the activities of the provincial merchants selling the silk.[67]

text: The other commodities that were traded, in Constantinople and elsewhere, were numerous: oil, wine, salt, fish, meat, vegetables, other alimentary products, timber and wax. Ceramics, linen, and woven cloth were also items of trade. Luxury items, such as silks, perfumes and spices were also important. Trade in slaves is attested, both on behalf of the state, and, possibly, by private individuals. International trade was practiced not only in Constantinople, which was until the late 12th century an important center of the eastern luxury trade, but also in other cities that functioned as centers of inter-regional and international trade, such as Thessaloniki and Trebizond.[68] Textiles must have been by far the most important item of export; silks were certainly imported into Egypt, and they also appear also in Bulgaria and the West.[69] The empire had also trading activity through Venice (as long as the latter was part of the empire): salt, wood, iron, and slaves, as well luxury products from the East, were the products exchanged.[66] In 992, Basil II concluded a treaty with Pietro Orseolo II by the terms that Venice's custom duties in Constantinople would be reduced from 30 nomismata to 17 nomismata in return for the Venetians agreeing to transport Byzantine troops to Southern Italy in times of war.[70] During the 11th and 12th centuries Italian trade in the empire took place under privileged conditions, incorporated in treaties and privileges that were granted to Amalfi, Venice, Genoa, and Pisa.[71]

text: The Fourth Crusade and the Venetian domination of trade in the area created new conditions. In 1261, the Genoese were given generous customs privileges, and six years later the Venetians regained their original quarter in Constantinople.[72] The two northern Italian trading powers created the conditions that allowed them to reach any point in Byzantium, and to put the entire economic region in the service of their commercial interests.[73]

text: The Palaiologoi tried to revive the economy, and re-establish traditional forms of political supervision, and guidance of the economy. It was, however, apparent that the late Byzantine state was unable to gain full control of either the foreign or domestic economic forces. Gradually, the state lost its influence on the modalities of trade and the price mechanisms, and its control over the outflow of precious metals and, according to some scholars, even over the minting of coins. Late Byzantine officials supposed to implement a regulatory policy used the state prerogatives placed into their hands to pursue their private businesses. Private commercial activity was also affected by the crises in foreign policy, and the internal erosion of Byzantium.[35]

text: Agriculture[edit]

text: Development in the rural economy, though certainly slow, was continuous from the 8th to the beginning of the 14th century.[74] Areas close to the sea featuring cereal crops, vines, and olive groves (the interior of the Balkans, and Asia Minor concentrated on stock raising) were relatively well-favored, and appear to have played an important role in the development of the Byzantine economy. The peasantry's tools changed little through the ages, and remained rudimentary, which resulted in a low ratio of productivity to labor. Nevertheless, according to certain scholars, the permanence of techniques, and tools are evidence of their successful adaptation to the environment.[75]

text: From the 7th to the 12th century, the social organization of production was arranged round two poles: estate and village (a collection of free smallholders). The village social structure was the organizational form best adapted to insecure conditions, with the estate fulfilling this role once conditions were safe again. There was in principle a clear distinction between tenants who lived on the estates (and owed dues to the master of the place), and the village inhabitants, many of whom owned land, and consequently paid taxes to the state. Nevertheless, not all the cultivators on the estate lived there, and not all enjoyed a special status. Some of them were slaves and some were wage laborers; references to wage laborers occur continuously from the 7th century to the end of the Byzantine period.[76] In the same way, the inhabitants of a village would not all be landholders, and of these, not all would be farmers; some village proprietors held the lowest rank of aristocrat status, and were wealthier than tenant farmers.[77] The distinction between landholder and tenant farmer (paroikos) was weakened once tenures held by paroikoi were considered hereditary, and once some paroikoi achieved owner status.[78] From the 10th century on, large estates assumed the leading role that had been held until then by villages, albeit in an economy that was henceforth orientated toward demand, with monetary exchanges taking a larger share.[79] By the beginning of the 14th century, the Macedonian countryside was made up of an almost unbroken network of estates that had replaced the former network of communes. Villages that are known to have possessed commune status in the 10th century became estates of the fisc, after which they might be ceded to a monastery or lay person.[80]

text: The population was dense in the 6th century, but it diminished in the 7th and 8th centuries. Epidemics (such as the plague of 541/542 and its recurrences until 747) seem to have had greater effects on population volume than wars. From the 9th century on, the population of the empire increased, but it was unevenly distributed.[81] A growing population would imply an increase in the area under cultivation. The automatic effect of a larger population was also amplified by the demand from a growing number of people who did not produce much or at all. Indeed, it is estimated that areas under cultivation must have almost doubled, and that the extension of crops might have affected a shift in the location of grazing lands, and pushed back the woodlands.[82]

text: After the Battle of Manzikert in 1071, most of the interior of Anatolia was lost to the Turks, and the remaining territories of the Empire were dominated by the cities the Byzantines were able to hold on to.

text: The conquest of the empire by the Crusaders in 1204, and the subsequent division of the Byzantine territories affected the agrarian economy as it did other aspects of economic organization, and economic life. These territories split among small Greek and Latin states, lost much of the cohesion they may have had: the Byzantine state could not function as a unifying force, and, in the 13th century, there was very little to replace it.[83] The 13th century is the last period, during which one may speak of significant land clearance, that is, the act of bringing previously uncultivated land into cultivation. But the progressive impoverishment of the peasantry, entailed the decline of a certain aggregate demand, and resulted in a concentration of resources in the hands of large landowners, who must have had considerable surpluses.[84]

text: The demographic expansion came to an end in the course of the 14th century, during which a deterioration of the status of paroikoi, an erosion of the economic function of village by the role of the large estates, and a precipitous demographic decline in Macedonia is established by modern research.[85] The upper levels of the aristocracy lost their fortunes, and eventually there was a concentration of property on the hands of the larger, and more privileged monasteries, at least in Macedonia. The monasteries did not show great versatility or innovative spirit, and the rural economy had to wait, for its recovery, until the effects of epidemics had been reversed, security had been established, and communications restored: that is, until the firm establishment of the Ottomans in the Balkans.[84]

text: GDP[edit]

text: The Byzantine GDP per capita has been estimated by the World Bank economist Branko Milanovic to range from $680 to $770 in 1990 International Dollars at its peak around 1000 (reign of Basil II).[86] This corresponds to a range of $1274 to $1442 in today's dollars. The Byzantine population size at the time is estimated to have been between 12 and 18 million.[87] This would yield a total GDP somewhere between $15 and $26 billion in today's terms.


document_title: Mozart in the Jungle

question_text: who plays haley on mozart in the jungle

question_tokens: who plays haley on mozart in the jungle

text: Mozart in the Jungle

text: Cast and characters[edit]

text: Main cast[edit]

text:
Lola Kirke as Hailey Rutledge, an oboist with a yearning ambition to play with the New York Symphony. She develops a strong bond with Rodrigo as the series progresses.
Gael García Bernal as Rodrigo De Souza, the new eccentric conductor of the New York Symphony.
Bernadette Peters as Gloria Windsor, the president of the New York Symphony (season 2-present; recurring, season 1)
Malcolm McDowell as Thomas Pembridge, the conductor emeritus of the New York Symphony
Saffron Burrows as Cynthia Taylor, a philandering cellist with the New York Symphony
Hannah Dunne as Elizabeth "Lizzie" Campbell, Hailey's roommate and best friend
Peter Vack as Alex Merriweather, Hailey's dancer boyfriend (seasons 1-2)

text: Recurring cast[edit]

text:
Debra Monk as Betty Cragdale, the long-time oboist for the New York Symphony who instantly despises Hailey
Mark Blum as Union Bob, a piccolo player for the symphony and known for bringing up the union rules
Jennifer Kim as Sharon, Rodrigo's assistant
Joel Bernstein as Warren Boyd, the concertmaster for the symphony
Nora Arnezeder as Ana Maria, Rodrigo's estranged violinist wife
John Miller as Dee Dee, the drug-dealing percussionist of the New York Symphony
Rubio Qian as Triangle Tanya, the triangle player of the New York Symphony.
Brennan Brown as Edward Biben, an orchestra board member
Gretchen Mol as Nina, the New York Symphony's lawyer who falls for Cynthia
Makenzie Leigh as Addison, Alex's dancing partner and roommate
Margaret Ladd as Claire, Thomas' ex-wife who dies after hearing his completed symphony.
Jason Schwartzman as Bradford Sharpe, a classical music enthusiast and host of his own podcast, "B-Sharpe"
John Hodgman as Marlin Guggenheim, a purported billionaire infatuated with Hailey
Wallace Shawn as Winslow Eliot, a neurotic concert pianist.
Tenoch Huerta Mejía as Manuel, Rodrigo's childhood friend
Dermot Mulroney as Andrew Walsh, a cello soloist who fraternizes with Hailey.
Monica Bellucci as Alessandra, a reclusive Italian soprano living in Venice, Italy, also known as "La fiamma".

Ana María Martínez provides Alessandra's singing voice.

Sandro Isaack as Pavel, the orchestra's stagehand who becomes friendly with Gloria
Philip Jackson Smith as Mike, a friend of Hailey's whom she recruits to work for the orchestra

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
10
February 6, 2014 (2014-02-06)
December 23, 2014 (2014-12-23)

2
10
December 30, 2015 (2015-12-30)
December 30, 2015 (2015-12-30)

3
10
December 9, 2016 (2016-12-09)
December 9, 2016 (2016-12-09)

text: Production[edit]

text: The many oboe solos played by the protagonist and other characters throughout the series are performed by Lelie Resnick, principal oboist of the Hollywood Bowl Orchestra, while the character of Rodrigo is loosely based on Gustavo Dudamel, the Venezuelan music director of the Los Angeles Philharmonic.[10] Dudamel coached García Bernal before the latter conducted, in the character of Rodrigo, for a real performance of the Los Angeles Philharmonic at the Hollywood Bowl, scenes of which were used for the second season opener.[11] Dudamel has a cameo in that episode, acting as a stagehand trying to convince Rodrigo to move to Los Angeles. Other musicians that have cameos in the series are violinist Joshua Bell, pianists Emanuel Ax and Lang Lang, composers Anton Coppola and Nico Muhly, Broadway star Brian d'Arcy James and conductors Alan Gilbert and Bernard Uzan. Blair Tindall, oboist and writer of the book on which the series is based, also appears in a cameo.[12] Interior shots of the home concert hall were filmed at the Performing Arts Center at SUNY Purchase.[13]

text: Reception[edit]

text: The first season of the series received positive reviews from critics. Review aggregator Rotten Tomatoes gave the series a 'fresh' 95% rating based on 20 critic reviews, with the critical consensus "Though confined to the isolated world of classical music, Mozart in the Jungle's Gael Garcia Bernal makes this charming little show sing."[14] Metacritic gave the series a 73 out of 100, indicating 'generally favorable reviews.'[15] Cory Barker, writing for TV.com, praised the series. "What works so well is that Mozart isn't afraid to throw you into a world you're likely unfamiliar with, but it doesn't swim so far into the deep end that you immediately drown in jargon and distanced dramatic stakes."[16] Robert Lloyd, writing for The Los Angeles Times, also lauded the first season. He stated that "Characters who were mouthpieces for attitudes start to seem like people, more complicated than a thumbnail description can accommodate. You grow interested in what will become of them without expecting or rooting for any particular outcome."[17] Kory Grow of Rolling Stone also praised the series, writing that "[t]hanks to quirky scripts and a smart ensemble cast... it comes off whimsical without ringing off-pitch."[18]

text: Tim Goodman of The Hollywood Reporter also gave the first season a positive review. "Bernal is both likable and magnetic, and makes the eclectic maestro surge on the screen. He alone is worth streaming the series, but, thankfully, there's a lot more going on here."[19] Brian Lowry, writing for Variety, also lauded the series. "While Mozart is surely a niche confection, the show generally shines by proving long on charm even when it's short on laughs."[20] In a more mixed review, Jeff Jensen of Entertainment Weekly gave the series a "B-".

text: Accolades[edit]

text:
Year
Award
Category
Recipients
Result
Ref.

2015
Imagen Foundation Awards
Best Actor - Television
Gael Garcia Bernal
Won
[21]

2016
Golden Globe Awards
Best Television Series – Comedy
Mozart in the Jungle
Won
[22]

Best Actor in a Television Series – Musical or Comedy
Gael Garcia Bernal
Won

Primetime Emmy Awards
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Thomas Varga, Andy D'Addario, Bill Higley, Chris Navarro (for "Nothing Resonates Like Rhinoceros Foreskin")
Won
[23]

Imagen Foundation Awards
Best Actor - Television
Gael García Bernal
Won
[24]

2017
Golden Globe Awards
Best Television Series – Comedy
Mozart in the Jungle
Nominated
[25]

Best Actor in a Television Series – Musical or Comedy
Gael Garcia Bernal
Nominated

Primetime Emmy Awards
Outstanding Cinematography for a Single-Camera Series (Half-Hour)
Tobias Datum (for "Now I Will Sing")
Nominated
[26]

Outstanding Production Design for a Narrative Program (Half-Hour or Less)
Tommaso Ortino, Susanna Codognato, Letizia Santucci (for "Now I Will Sing")
Nominated

Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation
Andy D'Addario, Gary Gegan, Marco Fiumara (for "Now I Will Sing")
Won