document_title: Contagion (film)

question_text: who is patient zero in the movie contagion

text: Contagion (film)

text: Plot[edit]

text: Returning from a Hong Kong business trip, Beth Emhoff has a layover in Chicago to rendezvous with a former lover before returning to her family in suburban Minneapolis. She appears to have contracted a cold during her trip. Her six-year-old son from a previous marriage, Clark, also becomes symptomatic and is sent home from school. Beth's condition worsens and two days later she collapses with severe seizures. Her husband, Mitch, rushes her to the hospital, but she dies of an unknown cause.

text: Mitch returns home and finds that Clark has also died from a similar infection. Mitch is placed in isolation but seems to be immune to the disease. He is released and returns home to his teenage daughter Jory, though they are unsure if she has inherited his immunity. She decides to stay with her father regardless, since he's now all alone. Mitch struggles to protect his daughter from the risk of infection, while learning that his wife was unfaithful to him prior to her death. Meanwhile, everyone who had contact with Emhoff begin to spread the disease around the world.

text: In Atlanta, representatives of the Department of Homeland Security meet with Dr. Ellis Cheever of the CDC and express fears that the disease is a bio weapon terror attack over the Thanksgiving weekend. Dr. Cheever dispatches Dr. Erin Mears, an Epidemic Intelligence Service officer, to Minneapolis to begin investigating. Mears traces the U.S. outbreak to Emhoff, while also dealing with local bureaucrats who are initially reluctant to commit to a proper public health response. After successfully setting up triage camps in large venues, Dr. Mears becomes infected. Her evacuation is postponed, as airports begin to close in anticipation of a quarantine. She later dies and is buried in a mass grave. As more and more people become infected with no cure in sight, social order begins to decay, with rampant looting of stores and homes. The U.S. President is moved underground while emergency services suffer absenteeism and no longer respond. Mitch and Jory attempt to escape to Wisconsin, but the borders are closed.

text: At the CDC, Dr. Ally Hextall determines the virus is a mix of genetic material from pig and bat viruses. Work on a cure stalls because scientists cannot discover a cell culture within which to grow the newly named Meningoencephalitis Virus One (MEV-1).

text: UCSF professor Dr. Ian Sussman violates orders from the CDC to destroy his samples, and on Day 12, with over 8 million already infected worldwide, identifies a usable MEV-1 cell culture using bat cells. Hextall uses the breakthrough to start working on a vaccine. Other scientists determine the virus is spread by fomites with a basic reproduction number of four when the virus mutates, projecting that one in twelve of the world population will be infected, with a 25-30% mortality rate.

text: Conspiracy theorist Alan Krumwiede posts videos about the virus on his popular blog. In one video, he shows himself sick and later claims he recovered using a homeopathic cure derived from forsythia. In a panic, people seeking forsythia overwhelm pharmacies.

text: Krumwiede's claims attract national attention. During a television interview, he reveals that Dr. Cheever had secretly advised his fiancé to leave Chicago just before the city was quarantined. Cheever is informed the government will investigate and may charge him for leaking information. Later, it is revealed Krumwiede had faked being infected in an attempt to increase profits for a hedge fund that paid him for advice on a cure, which he randomly stated was forsythia. Krumwiede is arrested for conspiracy, securities fraud and manslaughter, but is released when his many supporters successfully raise funds to provide for his bail.

text: Using an attenuated virus, Dr. Hextall identifies a possible vaccine. To cut out the lengthy testing process, she inoculates herself with the experimental vaccine and visits her father, a doctor suffering with MEV-1 after he refused to stop treating patients during the outbreak. Hextall does not contract MEV-1 and the vaccine is declared a success.

text: Even at full production rates, the vaccine supply can not match demand, so the CDC awards the vaccinations by lottery based on birth date; inoculations will take one full year to complete. First responders, doctors, and others designated by the government are vaccinated ahead of the lottery. Dr. Cheever gives his fast-tracked vaccination to the son of Roger, a CDC janitor who had overheard Dr. Cheever's phone call warning his girlfriend to leave Chicago. Meanwhile, Mitch and Jory reconcile with the hope of life going back to normal.

text: In the opening days, Dr. Leonora Orantes, a WHO epidemiologist, traveled to Hong Kong to follow the Beth Emhoff lead. She collaborates with Sun Feng and other local epidemiologists and public health officials; they identify Emhoff as patient zero, with security video showing her as the common contact with the next three known victims at a Macau casino. Before she can leave, Feng kidnaps Orantes to use her as leverage to obtain (anticipated) MEV-1 vaccine doses for his village. Orantes spends months living with the villagers until the vaccine is announced. Feng exchanges Orantes for enough vaccine for his village. When her colleague reveals that similar kidnappings were widespread, and the doses were placebos, Orantes rushes back to warn the villagers, exhibiting Stockholm Syndrome.

text: By Day 26, the death toll had reached at least 2.5 million in the U.S. and 26 million worldwide. The discovery, production and initial deliveries of vaccine took until Day 133, with vaccinations to run until nearly Day 500. The final death toll is not mentioned.

text: Dr. Hextall places samples of MEV-1 in cryogenic storage, alongside samples of H1N1 and SARS.

text: The source of the virus is revealed to viewers. A bulldozer (coincidentally, operating for the company Emhoff worked for) clears some jungle and disturbs some bats, with one finding shelter and food in a banana tree. That bat then flies over a pig pen, dropping a chunk of banana from its mouth, which is then eaten by a piglet. A chef from the Macau casino chooses the piglet and returns to the casino. As he handles the carcass in the kitchen, getting abrasions on his hands, he only wipes his hands when called to meet a customer – Beth Emhoff. The chef shakes hands with Beth (Mitch views the handshake on her camera in a previous scene), giving her the mix of bat and pig viruses, making the chef patient zero and Beth the second case.

text: Cast and characterizations[edit]

text: Marion Cotillard as Dr. Leonora Orantes, an epidemiologist with the World Health Organisation

text: Matt Damon as Mitch Emhoff

text: Laurence Fishburne as Dr. Ellis Cheever

text: Jude Law as Alan Krumwiede

text: Gwyneth Paltrow as Elizabeth "Beth" Emhoff

text: Kate Winslet as Dr. Erin Mears, an Epidemic Intelligence Service officer

text: Jennifer Ehle as Dr. Ally Hextall, a research scientist with the Centers for Disease Control and Prevention

text: Elliott Gould as Dr. Ian Sussman

text: Chin Han as Sun Feng

text:
Bryan Cranston as Rear Admiral Lyle Haggerty, United States Public Health Service Commissioned Corps
John Hawkes as Roger, CDC custodian and acquaintance of Dr. Cheever
Dan Flannery as Hextall's father
Anna Jacoby-Heron as Jory Emhoff, daughter of Mitch Emoff
Brian J. O'Donnell as Andrew, Jory's boyfriend
Josie Ho as Li Fai's sister
Sanaa Lathan as Aubrey Cheever, fiancée of Dr. Cheever
Demetri Martin as Dr. David Eisenberg, CDC colleague of Dr. Hextall
Armin Rohde as Damian Leopold, a WHO official
Enrico Colantoni as Dennis French, a Department of Homeland Security official
Larry Clarke as Dave, a Minnesota health official working with Dr. Mears
Monique Gabriela Curnen as Lorraine Vasquez, a print journalist in San Francisco
Amr Waked as Rafik
Matt Motyka as Minnesota Body Burial Worker

text: Production[edit]

text: Conception and writing[edit]

text:
There's a scene in The Informant! where Matt (Damon) is watching Scott Bakula's character talk on the phone and Scott coughs on the phone, and there's this whole rant that Matt goes off on of 'Oh, great, now what happens? He gets sick and then I'm going to get it, my kids are going to get it.' I've always been fascinated by transmissibility, so I said to Steven, 'I want to do an interesting thriller version of a pandemic movie' and he said, 'Great! Let's do that instead.'
“
”

Scott Z. Burns.[5]

tag: div

text: Concerted efforts to devise Contagion coincided with Burns' collaboration with Soderbergh in The Informant! (2009).[5] The duo had initially planned to create a biographical film on Leni Riefenstahl, a trailblazer in German cinema during the 1930s and a figure in the rise of the Nazi Party. Soderbergh later contacted Burns to cancel the project, as he thought that a film about Riefenstahl would struggle to attract an audience.[5] Intrigued with the field of transmission, Burns suggested that they instead create a film that centered on a pandemic situation—"an interesting thriller version of a pandemic movie". His main objective was to construct a medical thriller that "really felt like what could happen".[5]

text: Burns consulted with Lawrence "Larry" Brilliant, renowned for his work in eradicating smallpox, to develop an accurate perception of a pandemic event.[5] He had seen one of Brilliant's TED presentations, which he was fascinated by, and realized that "the point of view of people within that field isn't 'If this is going to happen', it's 'When is this going to happen?'"[5] Brilliant introduced Burns to another specialist, W. Ian Lipkin. With the aid of these physicians, the producers were able to obtain additional perspectives from representatives of the World Health Organization.[5] Burns also met with the author of The Coming Plague, Laurie Garrett. Her 1995 book helped Burns consider a variety of potential plots for the film. He wanted to feature an official from the CDC, and ultimately decided to use an epidemiologist, since that role requires interacting with people while tracking the disease.[5]

text: Although he had done research on pandemics six months prior to the 2009 flu pandemic, the outbreak was "really helpful" to his studies, because it provided a glimpse of the societal apparatus following the onset stages of a pandemic. To him, it was not solely the virus itself that one had to be concerned about, but how society handles the situation.[5] "I saw them come to life", Burns said, "and I saw issues about, 'Well, do you close the schools and if you close the schools, then who stays home with the kids? And will everyone keep their kids at home?' Things happening online, which is where the Jude Law character came from, that there's going to be information that comes out online where people want to be ahead of the curve, so some people will write things about anti-virals or different treatment protocols, and so there's always going to be an information and that information also has sort of a viral pulse."[5]

text: Filming[edit]

text: In conjunction with overseeing the directing process, Soderbergh functioned as a cinematographer for Contagion.[3] The film was wholly shot using Red Digital Cinema Camera Company's RED One MX digital camera, which uses ambient light and has a 4.5K image resolution.[3][9] Since he hoped for the premise to be authentic and "as realistic as possible", Soderbergh opted not to film in the studio. "There's, to me, nothing more satisfying occasionally than making someplace look like someplace else on film and having nobody know the difference."[10] For choosing cities, Soderbergh felt that they couldn't "go anywhere where one of our characters hasn't been", since he wanted to portray an "epic", yet "intimate" scenario.[6] He explained,

text: We can't cut to a city or a group of extras that we've never been to that we don’t know personally. That was our rule. And that’s a pretty significant rule to adhere to in a movie in which you're trying to give a sense of something that’s happening on a large scale, but we felt that all of the elements that we had issues with prior, when we see any kind of disaster film, we're centered around that idea.[6]

text: Principal photography started in Hong Kong in September 2010,[3] and continued for approximately two weeks.[5] Soderbergh was originally hoping to also film in mainland China, though Moviefone journalist David Ehrlich believed that permission from the Chinese government was unlikely to be forthcoming.[11] Although producers also intended to establish a filming location in one of the many casinos in Macau, the Jumbo Floating Restaurant in Hong Kong's Aberdeen Harbour was used instead for the casino setting, as filming within the vicinity of a gambling establishment is prohibited by law.[3] To move the equipment for the casino scenes to the on-the-water location, producers hired a number of locals to carry out the task, as they were accustomed to "using sampans like trucks".[3] Additional locations included the Hong Kong International Airport, InterContinental Hong Kong, and the Princess Margaret Hospital.[3]

text: Principal photography relocated in the following month to Chicago, Illinois, which served as the nexus for production.[3] Much of the cityscape and its surrounding suburbs were used to emulate Minneapolis, Minnesota, and Atlanta, Georgia, in addition to serving as backdrop for Chicago itself.[3] Since principal photography occurred during the winter months, snowfall was a prerequisite in simulating a "persistent coldness" that encompassed "a hypersensitive kind of glare".[3] Within the city limits, filming locations were installed at the Shedd Aquarium,[12] O'Hare International Airport, and the Midway Airport.[3] Arguably the largest sets were at the General Jones Armory, which was converted into an infirmary, and a major location shoot occurred in Waukegan, where a portion of the Amstutz Expressway was used to simulate the Dan Ryan Expressway.[3][13] Production also took place at Sherman Hospital in Elgin and Central Elementary School in Wilmette, and also in Downtown Western Springs, where the grocery store scene was filmed.[3]

text: Filming moved once again in January 2011 to the Druid Hills quadrant of Atlanta, which contains the headquarters of the Centers for Disease Control and Prevention. The restricted nature of the CDC campus meant that producers were only allowed to shoot exterior scenes of the area, as well as within the parking garage and reception area for the CDC's museum onsite.[14] Principal photography then proceeded into Atlanta's central business district and Decatur,[14] before advancing to London, Geneva, and lastly San Francisco, California, in the ensuing month.[15] The San Francisco Film Commission charged filmmakers $300 per day for production within the city limits.[15] In the North Beach and Potrero Hill sections of the city, production designer Howard Cummings scattered trash and discarded clothing on the ground to depict the rapid decline of civilization.[3] For the Civic Center set, over 2,000 extras were sought for in background roles; actors who were a part of the Screen Actors Guild were paid $139 per day, while nonunion workers received $64 per day for their work.[16] Other filming locations were established at Golden Gate Park, Chinatown, and Candlestick Park; it cost $60,000 to rent the football stadium for six days.[3][15]

text: Soundtrack[edit]

text: Cliff Martinez composed the film's soundtrack, which was his first score for Soderbergh since Solaris in 2002.[17] Given that the pacing of the music was one of Soderbergh's biggest concerns, Martinez needed to maintain a brisk pace throughout the soundtrack, while also conveying fear and hope within the music.[17] "I tried to create the sound of anxiety. And at key, strategic moments I tried to use the music to conjure up the sense of tragedy and loss."[17] Martinez incorporated orchestral elements, and fused them with the predominantly electronic sounds of the score. He noted that the "sound palette for Contagion came by way of combining three very different approaches Steven went through as he was cutting the film."[17] Martinez received a rough cut for the film in October 2010, which contained music that was imbued with elements of The French Connection (1971) and Marathon Man (1976). He "loved" those two soundtracks, and composed a few pieces in their style.[17] A few months later, he acquired a new cut, which included music influenced by German electronic group Tangerine Dream.[17] Toward the end, Soderbergh changed again and used contemporary soundtrack music that was "more energetic and more rhythmic".[18] Ultimately, Martinez used aspects of all three approaches: "I reasoned that combining them would not only be effective but would give the score a style all its own."[17]

text: Themes[edit]

text: Steven Soderbergh was motivated to make an "ultra-realistic" film about the public health and scientific response to a pandemic.[19] The movie touches on a variety of themes, including the factors which drive mass panic and collapse of social order, the scientific process for characterizing and containing a novel pathogen, balancing personal motives against professional responsibilities and rules in the face of an existential threat, the limitations and consequences of public health responses, and the pervasiveness of interpersonal connections which can serve as vectors to spread disease.[20] Soderbergh acknowledged the salience of these post-apocalyptic themes is heightened by reactions to the September 11 attacks and Hurricane Katrina.[20] The movie was intended to realistically convey the "intense" and "unnerving" social and scientific reactions to a pandemic.[21] The recent real-life epidemics such as the 2003 SARS epidemic and the 2009 flu pandemic have been inspirations and influences in the film.[21] The chain of contagion involving bats and pigs is reminiscent of the trail of the Nipah virus (which infects cells in the respiratory and nervous systems, the same cells as the virus in the movie) that originated in Malaysia in 1997, which similarly involved the disturbance of a bat colony by deforestation.[22]

text: The film presents examples of crowd psychology and collective behavior which can lead to mass hysteria and the loss of social order. The bafflement, outrage, and helplessness associated with the lack of information, combined with new media such as blogs, allow conspiracy theorists like Krumwiede to spread disinformation and fear, which become dangerous contagions themselves.[20][23][24] Dr. Cheever must balance the need for full disclosure but avoid a panic and allow the time to characterize and respond to an unknown virus.[25] The movie indirectly critiques the greed, selfishness, and hypocrisy of isolated acts in contemporary culture and the unintended consequences they can have in the context of a pandemic.[26] For example, the Centers for Disease Control and Prevention recommends social distancing by forcibly isolating the healthy to limit the spread of the disease, which stands in stark opposition to contemporary demands for social networking.[26] Responding to the pandemic presents a paradox, as the contagiousness and lethality of the virus instills deep distrust of others but surviving and limiting the spread of the disease also requires individuals to work together.[27]

text: Against this existential threat and fraying social order, the film also explores how individual characters bend or break existing rules for both selfish and selfless reasons.[28] Dr. Hextall violates protocols by testing a potential vaccine on herself, Dr. Sussman continues experiments on a cell line despite orders to destroy his samples, Dr. Cheever notifies his fiancé to leave the city before a public quarantine is imposed, Sun Feng kidnaps Dr. Orantes to secure vaccine supplies for his village, Dr. Mears continues her containment work despite contracting the virus, and Krumwiede is paid to use his blog to peddle snake oil cures so as to drive demand and profit for investors in Alternative Medicine. Soderbergh repeatedly uses the cinematographic style of lingering and focusing on the items and objects which are touched by the infected and become vectors (fomites) to infect other people.[29] These objects link characters together and reinforce the multi-narrative hyperlink cinema style which Soderbergh developed in Traffic (2000) and Syriana (2005), which he produced.[27][30]

text: The story also highlights examples of political cronyism (a plane to evacuate Dr. Mears from Minneapolis is instead diverted to evacuate a Congressman), platitudes and rigid thinking (public health officials consider postponing the closing of shopping malls until after the Thanksgiving shopping season), federal responders trying to navigate 50 separate state-level public health policies, and the heroism of Federal bureaucrats.[20][24] Soderbergh does not use type-cast pharmaceutical executives or politicians as villains,[31] but instead portrays bloggers such as Krumwiede in a negative light.[24] Social media plays a role in Krumwiede's accusations against Dr. Cheever and in Emhoff's daughter's attempts to carry on a relationship with her boyfriend through text messaging.[27] Other responses in the movie, such as Emhoff's appropriating a shotgun from a friend's abandoned house to protect his home from looters, imposition of federal quarantines and curfews, the allocation of vaccines by lottery, inadequate federal preparation and responses, and use of bar-coded wristbands to identify the inoculated highlight the complex tensions between freedom and order in responding to a pandemic.[25] Soderbergh uses Emhoff to illustrate the micro-effects of macro-level decisions.[32]

text: Reception[edit]

text: Release and box office[edit]

text: Contagion premiered on September 3, 2011 at the 68th Venice Film Festival in Venice, Italy,[33] and a wider release followed on September 9.[34] In the United States and Canada, Contagion was shown in 3,222 theaters, of which 254 screenings occurred at IMAX venues.[35] Various American commercial analysts anticipated that the film would have ticket sales of between $20 million and $25 million during its opening weekend,[34][35] which it did, grossing $8 million on its first day,[36] and $23.1M for the entire weekend.[37] Of that total, ten percent ($2.3M) of the gross came from IMAX screenings.[38] By outgrossing competitor The Help ($8.7M), Contagion became the highest-grossing film of the week.[37] Demographically, the opening audience was evenly divided among gender, according to Warner Bros., while eighty percent of spectators were of the age of 25 and over.[37][39] Contagion did well the following weekend, generating a $14.5M box office, but came in second to the re-release of The Lion King (1994).[40] The third week saw the box office drop by forty percent, for a total gross of $8.7M.[41] By the fourth week, Contagion had dropped to ninth place at the box office with $5M, and the number of theaters narrowed to 2,744.[42] The film completed its theatrical run on December 15, 2011, at which point its total domestic gross was $75.6M.[1]

text: Contagion made its international debut in six foreign markets the same weekend as its American release, including Italy, where it achieved $663,000 from 309 theaters.[43] The first week saw Contagion acquire $2.1M from 553 establishments—a per-theater average of $3,797.[43] Foreign grosses for Contagion would remain relatively stagnant up until the weekend of October 14–16, 2011, when the film expanded into several additional European markets.[44] Out of the $3.9M that was generated from 1,100 venues during that weekend, nearly 40% of the gross originated from Spain, where the film earned $1.5M from 325 theaters.[44] With the growing expansion of the film in seven additional markets, the weekend of October 21–23, 2011 saw Contagion take in $9.8M from 2,505 locations, increasing the international gross to $22.9M.[45] In the United Kingdom, one of the film's significant international releases, Contagion opened in third place at the box office with $2.3M from 398 theaters;[45] it subsequently garnered the highest debut gross of a Soderbergh film since Ocean's Thirteen (2007).[46] International grosses for Contagion stand at $59.8M.[1]

text: Critical response[edit]

text: Contagion has received positive reviews by film commentators. Review aggregator Rotten Tomatoes sampled 237 reviewers and judged 84% of the reviews to be positive. With a mean score of 7/10, the site's consensus stated, "Tense, tightly plotted, and bolstered by a stellar cast, Contagion is an exceptionally smart—and scary—disaster movie."[47] At Metacritic, which assigns a normalized rating out of 100 based on the critiques from mainstream critics, the film received an average score of 70 based on 38 reviews.[48]

text: The Guardian journalist Peter Bradshaw felt that Contagion blended well together as a film, although opined that Soderbergh was somewhat unsuccessful on channeling the fears, frights, and "the massive sense of loss" of "ordinary people".[49] To David Denby of The New Yorker, the "brilliant" film was "serious, precise, frightening," and "emotionally enveloping".[20] Despite applauding Soderbergh for "hopscotching" tidily "between the intimate and international", The Atlantic's Christopher Orr was disappointed with the film's detached and "clinical" disposition, which led him to conclude that Contagion should have gone with a more inflexible rationale, or a lesson "beyond 'wash your hands often and hope you're lucky'."[50] "For all the craft that went into it, Contagion is ultimately beyond good or bad, beyond criticism. It just is," professed The Atlantic writer.[50] Described as a "smart" and "spooky" installment, Manohla Dargis of The New York Times wrote, "Mr. Soderbergh doesn't milk your tears as things fall apart, but a passion that can feel like cold rage is inscribed in his images of men and women isolated in the frame, in the blurred point of view of the dying and in the insistent stillness of a visual style that seems like an exhortation to look."[29] In regards to the story, Salon columnist Andrew O'Hehir avouched that the "crisp" and succinct narrative matched up to the "beautifully composed" visuals of the film.[24] Todd McCarthy of The Hollywood Reporter proclaimed that Soderbergh and Burns effectively created anxiety in the "shrewd" and "unsensationalistic" film without becoming exaggerated,[51] a sentiment echoed by Jeanette Catsolis of NPR, who insisted that the duo "weave multiple characters into a narrative that's complex without being confusing, and intelligent without being baffling".[32] Writing for The Village Voice, Karina Longworth thought that Contagion reflected the "self-consciousness" and "experimentation" of some of Soderbergh's previous efforts, such as the Ocean's trilogy and The Girlfriend Experience (2009).[26]

text: The performances of multiple cast members were frequently mentioned in the reviews. Lou Lumenick of New York Post asserted that Ehle was "outstanding",[23] a view that was analogous to that of The Boston Globe journalist Wesley Morris, who praised not only Ehle's performance, but the work of the "undercard" such as Cranston, Gould, and Colantoni, among others.[30] Similarly, Peter Travers of Rolling Stone called Ehle the "best in show".[52] As Los Angeles Times' Kenneth Turan summed up, "Two-time Tony-winning actress Jennifer Ehle comes close to stealing the picture with this quietly yet quirkily empathetic performance."[53] In regards to Law, The Philadelphia Inquirer's Steven Rea stated that the actor portrayed the character with a "nutty" confidence;[54] Mick LaSalle from the San Francisco Chronicle agreed with Rea's thoughts.[55][56] Damon provided the film's "relatable heart", according to Forrest Wickman of Slate, who concluded that even with her controlled performance, Winslet "lives up to her head-of-the-class reputation even in an unusually small role".[27]

text: The character development of multiple characters produced varying response from critics. Contrary to Mitch's stance as the main protagonist, Michael O'Sullivan of The Washington Post felt that Contagion "treats him with an oddly clinical detachment".[57] In particular Law's character, Alan Krumwiede, attracted commentary from Roger Ebert of the Chicago Sun-Times, who wrote, "The blogger subplot doesn't interact clearly with the main story lines and functions mostly as an alarming but vague distraction."[58]

text: Scientific accuracy[edit]

text: Ferris Jabr of New Scientist approved of Contagion for accurately portraying the "successes and frustrations" of science. Jabr cites story elements such as "the fact that before researchers can study a virus, they need to figure out how to grow it in cell cultures in the lab, without the virus destroying all the cells" as examples of accurate depictions of science.[59] Carl Zimmer, a science commentator, praised the film, stating, "It shows how reconstructing the course of an outbreak can provide crucial clues, such as how many people an infected person can give a virus to, how many of them get sick, and how many of them die." He also describes a conversation with the film's scientific consultant, W. Ian Lipkin, in which Lipkin defended the rapid generation of a vaccine in the film. Zimmer wrote that "Lipkin and his colleagues are now capable of figuring out how to trigger immune reactions to exotic viruses from animals in a matter of weeks, not months. And once they've created a vaccine, they don't have to use Eisenhower-era technology to manufacture it in bulk."[60] Paul Offit, a pediatrician and vaccination expert, stated that "typically when movies take on science, they tend to sacrifice the science in favor of drama. That wasn't true here." Offit appreciated the film's usage of concepts such as R0 and fomites, as well as the fictional strain's origins, which was based on the Nipah virus.[61]

text: Home media[edit]

text: Contagion was released on DVD and Blu-ray in North America on January 3, 2012,[62] and in the United Kingdom on March 5, 2012.[63] In its first week of release, the film topped the DVD chart with 411,000 units sold for $6.16 million.[64] That same week it sold 274,000 Blu-ray copies for $4.93 million, topping that chart as well.[65] DVD sales dropped during the second week of release, with 193,000 units sold for $2.89 million.[66] As of early July 2012, Contagion had sold 802,535 copies in DVD, for $12.01 million in revenue.[62]


document_title: In the Heights

question_text: who won the 96000 in in the heights

question_tokens: who won the 96000 in in the heights

root

text: In the Heights

text: Background[edit]

text: Miranda wrote the earliest draft of In the Heights in 1999, his sophomore year of college. After the show was accepted by Wesleyan University's student theater company Second Stage, Miranda added "freestyle rap ... bodegas, and salsa numbers."[1] It played from April 27 to 29, 2000. After seeing the play, three Wesleyan seniors and one alumnus, John Buffalo Mailer, Neil Stewart, Anthony Veneziale and Thomas Kail, approached Miranda and asked if the play could be expanded with a view to a Broadway production. In 2002, Miranda and Mailer worked with director Kail and wrote five separate drafts of In the Heights.[citation needed] Book writer Quiara Alegría Hudes joined the team in 2004.[2]

tag: p

text: Productions[edit]

text: Connecticut (2005) and off-Broadway (2007) tryouts[edit]

text: A new version of In the Heights was presented at the National Music Theater Conference at the Eugene O'Neill Theater Center in Waterford, Connecticut in 2005, directed by Thomas Kail and with music director Alex Lacamoire.[3][4] The cast featured: Natalie Cortez, Janet Dacal, Robin De Jesus, Huey Dunbar, Christopher Jackson, Doreen Montalvo, Javier Muñoz, Rick Negron, Sheena Marie Ortiz, Matt Saldivar, Monica Salazar, and Nancy Ticotin [5]

text: It then opened at the Off-Broadway 37 Arts Theater, running from February 8, 2007, through July 15, 2007. Directed by Thomas Kail, with choreography by Andy Blankenbuehler and music direction by Alex Lacamoire, it was produced by Jill Furman, Kevin McCollum, Jeffrey Seller and Sander Jacobs. The Off-Broadway production was nominated for nine Drama Desk Awards, winning two, as well as winning the Outer Critics' Circle Award for Outstanding Musical.[6]

text: Broadway (2008–2011)[edit]

text: The musical premiered on Broadway, starting in previews on February 14, 2008,[7] with an official opening on March 9, 2008, at the Richard Rodgers Theatre. The Broadway production was again directed and choreographed by Kail and Blankenbuehler, with most of the off-Broadway principals reprising their roles. The creative team included set design by Anna Louizos, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Acme Sound Partners, arrangements and orchestrations by Alex Lacamoire and Bill Sherman, and music coordination by Michael Keller.

text: The producers announced on January 8, 2009, that the show had recouped its $10 million investment after 10 months.[8] The cast recording was released on June 3, 2008, by Ghostlight Records and won the 51st Annual Grammy Award for Best Musical Show Album, beating the recordings of The Little Mermaid, Young Frankenstein, and the revivals of Gypsy and South Pacific. The Broadway production celebrated its 1000th performance on August 2, 2010.[9]

text: The Broadway production closed on January 9, 2011, after 29 previews and 1,184 regular performances.[10][11] The final cast starred Lin-Manuel Miranda, Arielle Jacobs, Marcy Harriell, Shaun Taylor-Corbett, Olga Merediz, Andréa Burns, Christopher Jackson, Tony Chriroldes and Priscilla Lopez. Jon Rua starred as Graffiti Pete and understudied for the roles of Usnavi and Sonny for a large portion of 2010.[12]

text: North American tour (2009–2011)[edit]

text: The first national tour of In the Heights began on October 27, 2009, in Tampa, Florida.[13] The musical ran in San Juan, Puerto Rico in November 2010, the first time an Equity tour has played in the city. Librettist Hudes and songwriter-star Miranda are both of Puerto Rican descent. Miranda played this engagement.[14] The tour closed on April 3, 2011, at the Adrienne Arsht Center for the Performing Arts in Miami, Florida.[15] At the time of its closing, the tour starred Joseph Morales as Usnavi.[16]

text: Manila, Philippines (2011)[edit]

text: The international premiere ran in Manila, Philippines, from September 2 to 18, 2011. The new production was directed by Bobby Garcia and starred Nyoy Volante as Usnavi, Ima Castro as Vanessa, K-La Rivera as Nina Rosario, Felix Rivera as Benny, Calvin Millado as Kevin Rosario, Jackie Lou Blanco as Camila Rosario, Tex Ordoñez as Daniela, Tanya Manalang as Carla, and Jay Glorioso as Abuela Claudia.[17] The show had a repeat run in March 2012.[18]

text: Non-Equity US tour (2011–2012)[edit]

text: A non-Equity United States national tour of In The Heights ran from October 17, 2011, until June 2012.[19][20][21] The tour played in Chicago in January 2012, with Virginia Cavaliere as Nina, Presilah Nunez as Vanessa, Kyle Carter as Benny, and Perry Young as Usnavi.[22]

text: Panama City, Panama (2013) and São Paulo, Brazil (2014)[edit]

text: In Panama, Carnaval del Barrio (In the Heights) was staged at the famed Teatro en Círculo, from the October 3 to 31, 2013, produced by Top Line Events and directed by Aaron Zebede, who also adapted the book and songs to Spanglish, which worked perfectly for a Panamanian audience. Jose "Pepe" Casis was the musical director, who also played the part of Piragua Guy.[23]

text: The Brazilian premiere of Nas Alturas was staged at Teatro Bradesco from April 17 until May 25, 2014. The cast featured Myra Ruiz (Nina), Ricardo Marques (Benny), Mauro Gorini (Kevin), Germana Guilherme (Camila), Renata Brás (Daniela), Milena Martines (Carla), Lola Fanucchi (Vanessa), Thiago Vianna (Graffiti) and Rafael Dantas (Piragua Guy).

text: Off-West End, United Kingdom (2014)[edit]

text: The UK premiere of In The Heights was staged at Southwark Playhouse from 9 May until June 7, 2014. The cast featured Sam Mackay as Usnavi, Christina Modestou as Nina, David Bedella as Kevin Rosario and Victoria Hamilton-Barritt as Daniela, with direction by Luke Sheppard.[24]

text: Tokyo, Japan (2014) and Melbourne, Australia (2015)[edit]

text: The Japanese premiere played in Bunkamura's Theatre Cocoon from April 9 until April 20, 2014, and featured Yuya Matsushita, Ayaka Umeda, Chihiro Otsuka, and Motomu Azaki, among others.[25]

text: The Australian premiere of In The Heights, produced by StageArt, opened at Chapel Off Chapel on Feb 20 and ran for a short season of 21 shows, closing on March 8. Directed by James Cutler, Musical Direction by Cameron Thomas and choreographed by Yvette Lee, the show received overwhelming critical acclaim.[citation needed]

text: Off-West End, United Kingdom (2015–2017)[edit]

text: In the Heights transferred to the King's Cross Theatre, London on October 3, 2015.[26] The production was directed by Luke Sheppard, choreographed by Drew McOnie with musical supervision by Tom Deering. The production was nominated for four awards at the 2016 Olivier Awards: Best New Musical, Best Theatre Choreographer (Drew McOnie), Outstanding Achievement in Music and Best Actor in a Supporting Role in a Musical (David Bedella).[27] The performance of the production at the Olivier Awards was introduced by Jonathan Groff, in character as King George from Miranda's musical Hamilton.[28] The production closed on January 8, 2017, after a hugely successful run; with several extensions from its initial 4 month limited run.[29] The final show was concluded with speeches by actor Sam Mackay and producer Paul Taylor Mills, and a surprise appearance by Lin-Manuel Miranda.[30]

text: Vancouver, Canada and Seoul, South Korea (2015)[edit]

text: The Canadian premiere of In the Heights, produced by The Arts Club, opened at the Stanley Industrial Alliance Stage on May 6, 2015. Directed by Bill Millerd with co-direction and choreography by Lisa Stevens and musical direction by Ken Cormier. The cast featured Luc Roderique as Usnavi, Elena Juatco as Vanessa, Kate Blackburn as Nina, Chris Sams as Benny, Sharon Crandall as Abuela Claudia, Caleb Di Pomponio as Sonny, Francisco Trujillo as Kevin, Caitriona Murphy as Camila, Irene Karas Loeper as Daniela, Julia Harnett as Carla, Michael Culp as Graffiti Pete and Michael Antonakos as Piragua Guy.

text: The South Korean production opened in the Samsung Card Hall, Blue Square, Seoul on September 4, 2015. The production was scheduled to star numerous K-pop and hip hop musicians including Jeong Won-young, Yang Dong-geun, Jang Dongwoo of Infinite, and Key from Shinee as Usnavi, Seo Kyeong-su, Kim Sung-kyu of Infinite, and Chen from EXO as Benny, and Kim Bo-kyeong, Luna of f(x) as Nina.[31]

text: Lima, Peru (2016)[edit]

text: Los Productores presented In the Heights during the first months of 2016. The premiere took place on January 20, 2016, at Luigi Pirandello Theater amid allegations of racism.[32] The composition of the cast does not match those characteristics that the original work proposed. While the original work proposed racial diversity as an essential feature, the Peruvian version has a cast composed mainly of actors with white ancestry and not one single actor with native indigenous background.[33] Gisela Ponce de León, a member of the cast, said, "Peruvians are experts in self-managed racism."[34]

text: Characters[edit]

text:
Usnavi de la Vega is the narrator of the play's exposition and a major character throughout; he is the owner of a small bodega in Washington Heights. He was named after one of the first sights his parents saw when they arrived in America, a ship with the sign "US Navy" on it. Abuela Claudia, the neighborhood matriarch, "practically raised" him when his parents both died during his early childhood. He dreams of returning to the Dominican Republic, the place he was born, but left too young for him to remember. He is in love with Vanessa. [Originally played by Lin-Manuel Miranda.]
"Abuela" Claudia is the loving matriarch of the barrio who knows everybody and is like a grandmother to all ("abuela" means "grandmother" in Spanish). She is the one who looked after Usnavi when his parents died. She and her mother moved from Cuba to New York in 1943 while she was a child. She worked as a maid for several years but never earned the money for her and her mother to travel home. [Originally played by Olga Merediz.]
Vanessa is Usnavi's love interest who works at Daniela's salon. She is stunningly beautiful and catches the eye of every guy in the Heights, however she takes interest in Usnavi. She lives with an alcoholic mother and dreams of getting out of the Barrio and getting an apartment downtown, but cannot yet afford it. [Originally played by Karen Olivo]
Nina Rosario is the first in her family (and from the Barrio) to go to college (Stanford University), and everyone in the barrio admires her as the "one who made it out." However, she returns home from school for the summer to reluctantly tell her parents that she has become overburdened and dropped out. She is the typical "good girl" and always got along with her parents. Now, though, she loses patience constantly over her father's over protectiveness and his refusal to accept Benny, with whom she gets into a romantic relationship. [Originally played by Mandy Gonzalez]
Benny works at the dispatch of Nina's father, Kevin. The only character in the play who does not speak Spanish, Benny falls in love with Nina. He dreams of opening his own business. [Originally played by Christopher Jackson.]
Sonny de la Vega is Usnavi's sassy, superficially lazy, yet ambitious younger cousin who works with Usnavi in the bodega. He is typically the jokester of the Barrio, but he also has an intelligent and thoughtful side that yearns for social justice. Though never explicitly stated in the musical, Miranda has stated that the Graffiti Pete and Sonny share a romantic relationship.[35] [Originally played by Robin de Jesus.]
Daniela is the outrageously dramatic owner of the salon where the neighborhood girls come to gossip. She is very bold and loud and loves to banter. [Originally played by Andréa Burns.]
Carla works at Daniela's salon along with Vanessa, and is Daniela's close friend; young and pretty, but a little slow to get the others' jokes and innuendos, she is of Chilean, Cuban, Dominican, and Puerto Rican descent. [Originally played by Janet Dacal.]
Kevin Rosario is Nina's overprotective father, who, coming from a long line of farmers, has worked hard to resist following in his own father's footsteps. He now owns his own taxi cab service: Rosario's. [Originally played by Carlos Gomez.]
Camila Rosario is Nina's strong-willed mother, who wants what is best for Nina. She is typically tolerant of Kevin's control issues, but in the course of the show, reveals her real feelings. [Originally played by Priscilla Lopez]
The Piragua Guy (Piragüero) is the owner of a small piragua stand that competes with Mister Softee. [Originally played by Eliseo Roman.]
Graffiti Pete is a graffiti artist. He is very possibly Sonny's boyfriend, as Miranda has stated the relationship may have been romantic, although it's never explicitly discussed in the musical.[36] Usnavi believes he is a trouble-making vandal (constantly referring to him as a 'punk'), until Pete reveals his amazing skills as an artist. [Originally played by Seth Stewart.]

tag: ul

text: Plot summary [edit]

text: Act 1[edit]

text: At the crack of dawn, on the hottest day of summer, Usnavi chases away a graffiti artist from his tiny bodega in Washington Heights, opens the store, and introduces the major characters ("In the Heights"). Last to appear is Nina Rosario, back from her freshman year at Stanford University, who readies herself to give her parents some bad news ("Breathe"). Meanwhile, Nina's parents, Kevin and Camila, seek an emergency loan to keep their struggling taxi dispatch afloat, temporarily leaving Benny, a young employee and friend of Nina's, in charge; the two reconnect ("Benny's Dispatch").

text: At the hair salon across the street, Vanessa, Usnavi's potential love interest, dreams of escaping to a studio apartment in the West Village, remaining optimistic despite her own financial insecurity ("It Won't Be Long Now"). When Vanessa stops by Usnavi's bodega, Usnavi's younger cousin Sonny asks her out to a romantic evening on Usnavi's behalf, and she accepts.

text: Nina's parents return and she reveals how she lost her academic scholarship and dropped out of Stanford. (Due to working two jobs there, she could not maintain good grades). Kevin is devastated that he cannot provide for his daughter ("Inútil"). Nina seeks comfort from Vanessa, but the salon owner and local gossip, Daniela, sits Nina down for a makeover, coercing Vanessa into admitting that she cares about Usnavi's decisions; Nina then reveals to the salon that she has dropped out ("No Me Diga").

text: After Usnavi discovers that he sold a winning lottery ticket worth $96,000, everyone on the block dreams of how they would each spend the small fortune ("96,000"). Later, Abuela Claudia—the beloved neighborhood matriarch who "practically raised" Usnavi as a young orphan—reflects on her childhood journey from Cuba to New York in 1943, showing the audience that she secretly holds the winning lottery ticket ("Paciencia y Fe").

text: Nina and Benny take a tour of the neighborhood and reminisce, sharing romantic feelings ("When You're Home"). The local Piragua Guy comes out and sings a song in an attempt to sell his piragua ("Piragua"). Later, at a dinner party, Kevin announces that he has sold the family car service to pay for Nina's tuition. Vanessa and Usnavi then enter a dance club for their date, followed by a furious Benny, who is now out of work, and an apologetic Nina; tensions rise on the dance floor because Vanessa and Usnavi are attempting to make each other jealous, while Benny drunkenly hits a man dancing with Nina ("The Club"). The entire club breaks out into a huge fight when, suddenly, the power goes out throughout the city, probably due to the intense summer heat. The neighborhood erupts into chaos and Usnavi, Vanessa, Nina and Benny all look for each other in the darkness. Meanwhile, Sonny and his mischievous friend from the opening of the show, Graffiti Pete, attempt to distract the bodega from any potential looters by setting off fireworks obtained in preparation for the Fourth of July; at the same time, Abuela Claudia reveals to Usnavi that she won the lottery, while Nina and Benny find each other, argue, and then kiss ("Blackout").

text: Act 2[edit]

text: Benny and Nina spend the night together and it is now the morning of the Fourth of July. Nina teaches Benny some Spanish phrases, while he shares his stress over what Kevin will think of their new relationship ("Sunrise"). Down on the street, Usnavi's bodega has been looted. Abuela Claudia convinces Usnavi they should use her lottery winnings to move to Usnavi's homeland: the Dominican Republic, encouraging him to 'find his island'. Usnavi agrees to pursue this lifelong dream at last ("Hundreds of Stories").

text: Nina's parents have been searching for Nina. When they learn she was with Benny, Kevin is furious. Kevin vows that Benny will never be a part of the Rosario family because he is not Latino, but Camila ends the family fight ("Enough"). It is high noon and all are frustrated by the extreme heat and continuing power outage. The locals, led by Daniela, muster enough energy for a last celebration before the bodega, salon, and dispatch shut their doors forever. Vanessa complains about having been abandoned by Usnavi during the blackout the previous night, and Daniela finally snaps, telling the whole neighborhood "we all know that (Usnavi) loves you". Usnavi publicly announces that Abuela Claudia won the lottery, and he and she will soon leave for the Dominican Republic; the neighborhood celebrates, though Vanessa is heartbroken, and Sonny feels abandoned. When Daniela publicly gossips about Benny and Nina's night together, Sonny snaps, having had a crush on Nina himself, and goes into a rant about how once "they close the bodega, the neighborhood is gone". Usnavi comforts him, revealing that he and Claudia plan to split the money three ways- a third for Abuela, a third for Usnavi, and a third for Sonny. Quelling Sonny's fears of it being their last time all together, Usnavi manages to rally the block for a huge blowout ("Carnaval del Barrio"). Kevin makes a sudden announcement over the taxi radios: Abuela Claudia has died ("Atención"). The neighborhood holds a vigil for Claudia, while Usnavi, attributing her death to a "combination of the stress and the heat," makes an impromptu eulogy ("Alabanza"). Usnavi and Nina rummage through boxes of Claudia's keepsakes ("Everything I Know"). As Nina discovers photographs from her own high school graduation, she decides to accept her father's sacrifice and return to Stanford.

text: The Piragua Guy's rival, Mr. Softee, is unable to sell due to his truck being broken down, and Piragua Guy celebrates the flourishing of his business ("Piragua" – Reprise). Vanessa brings a bottle of champagne to thank Usnavi and, though she flirts with him, he is so flustered by Abuela's death and Vanessa being open with him that he is unable to appreciate Vanessa's attempts; Vanessa finally kisses him and leaves ("Champagne"). Meanwhile, Benny worries about his relationship with Nina, since her decision to go back west, and they stand together while the sun sets, uncertain of their future ("When the Sun Goes Down").

text: The next morning, Usnavi wakes up early to begin closing up shop. In just a few weeks, Usnavi imagines that the block will be completely changed. Sonny, however, has commissioned Graffiti Pete to paint a mural of Abuela Claudia on the bodega's grate. Pete now rolls down the bodega grate in front of Usnavi, revealing the memorial. Usnavi is stunned that they completed this all in one night; he tells Sonny and Pete to spread the news that he has changed his mind to stay, promises to pursue Vanessa, and realizes that "I've found my island, I've been on it this whole time- I'm home!" ("Finale").

text: Musical numbers[edit]

text:
Act I

"In the Heights" — Usnavi and Company
"Breathe" — Nina and Company
"Benny's Dispatch" — Benny and Nina
"It Won't Be Long Now" — Vanessa, Usnavi, and Sonny
"Inútil" (Useless) — Kevin
"No Me Diga" (You Don't Say)— Daniela, Carla, Vanessa, and Nina
"96,000" — Usnavi, Benny, Sonny, Graffiti Pete, Vanessa, Daniela, Carla, and Company
"Paciencia y Fe" (Patience and Faith) — Abuela Claudia and Company
"When You're Home" — Nina, Benny, and Company
"Piragua" — Piragua Guy
"The Club" — Usnavi, Vanessa, Nina, Benny, and Company
"Blackout" — Usnavi, Vanessa, Benny, Nina, Kevin, Sonny, Graffiti Pete, Abuela Claudia, Carla and Company

Act II

"Sunrise" — Nina, Benny, and Company
"Hundreds of Stories" — Abuela Claudia and Usnavi
"Enough" — Camila
"Carnaval del Barrio" (Neighborhood Carnival) — Daniela, Carla, Vanessa, Usnavi, Sonny, Piragua Guy, and Company
"Atención" (Attention)— Kevin
"Alabanza" (Praise) — Usnavi, Nina, and Company
"Everything I Know" — Nina
"No Me Diga (Reprise)" — Carla, Nina, Vanessa, and Daniela †
"Piragua (Reprise)" — Piragua Guy
"Champagne" — Vanessa and Usnavi
"When the Sun Goes Down" — Nina and Benny
"Finale" — Usnavi and Company

tag: table

text: † Designates number not included on original cast recording

text: Casts[edit]

text:
Character
Opening Broadway Cast
Closing Broadway Cast
Notable Broadway
Cast replacement(s)
Original Melbourne Cast
Original West End Cast[37]
Closing West End Cast[38]

Usnavi
Lin-Manuel Miranda
Javier Muñoz[39]
Corbin Bleu[40]
Stephen Lopez / Antony Talia
Sam Mackay

Nina
Mandy Gonzalez
Arielle Jacobs
Janet Dacal
Jordin Sparks[41]
Anna Francesca Armenia
Lily Frazer
Gabriela Garcia

Abuela Claudia
Olga Merediz
N/A
Francesca Arena
Eve Polycarpou
Norma Atallah

Carla
Janet Dacal
Courtney Reed
N/A
Sarah Calsiña
Sarah Naudi
Stephanie Rojas

Daniela
Andréa Burns
Justina Machado
Bianca Marroquín
Laura Marcucci
Victoria Hamilton-Barritt
Aimie Atkinson

Kevin
Carlos Gomez
Rick Négron
Danny Bolero
Clarence Marshall
David Bedella

Camila
Priscilla Lopez
N/A
Bianca Bruce
Josie Benson
Juliet Gough

Sonny
Robin de Jesús
Shaun Taylor-Corbett
David Del Rio
Andrew Doyle
Cleve September
Damian Buhagiar

Benny
Christopher Jackson
Clifton Oliver
James Elmer
Joe Aaron Reid
Arun Blair-Mangat

Vanessa
Karen Olivo
Marcy Harriell
N/A
Bianca Baykara
Jade Ewen (October 2015 - April 2016)
Christine Allado (April - September 2016)
Sarah Naudi (September 2016 - January 2017)

Piragua Guy
Eliseo Román
Tony Chiroldes
N/A
Gareth Jacobs
Vas Constanti

Graffiti Pete
Seth Stewart
N/A
Peter Sette
Antoine Murray-Straughan
Johnny Bishop

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award Ceremony
Category
Nominee
Result

2007
Drama Desk Award
Outstanding Musical
Nominated

Outstanding Ensemble Performance
Won

Outstanding Director of a Musical
Thomas Kail
Nominated

Outstanding Choreography
Andy Blankenbuehler
Won

Outstanding Music
Lin-Manuel Miranda
Nominated

Outstanding Lyrics
Nominated

Outstanding Orchestrations
Alex Lacamoire and Bill Sherman
Nominated

Outstanding Set Design
Anna Louizos
Nominated

Outstanding Sound Design
Acme Sound Partners
Nominated

2008
Tony Award
Best Musical
Won

Best Book of a Musical
Quiara Alegría Hudes
Nominated

Best Original Score
Lin-Manuel Miranda
Won

Best Performance by a Leading Actor in a Musical
Nominated

Best Performance by a Featured Actor in a Musical
Robin de Jesús
Nominated

Best Performance by a Featured Actress in a Musical
Olga Merediz
Nominated

Best Direction of a Musical
Thomas Kail
Nominated

Best Choreography
Andy Blankenbuehler
Won

Best Orchestrations
Alex Lacamoire and Bill Sherman
Won

Best Scenic Design
Anna Louizos
Nominated

Best Costume Design
Paul Tazewell
Nominated

Best Lighting Design
Howell Binkley
Nominated

Best Sound Design
Acme Sound Partners
Nominated

Grammy Award
Best Musical Show Album
Won

2009
Pulitzer Prize
Pulitzer Prize for Drama
Nominated

text: Original West End production[edit]

text:
Year
Award Ceremony
Category
Nominee
Result

2016
Laurence Olivier Awards

Best New Musical
Nominated

Best Actor in a Supporting Role in a Musical
David Bedella
Won

Best Theatre Choreographer
Drew McOnie
Won

Outstanding Achievement in Music
Lin-Manuel Miranda
Won

WhatsOnStage Awards
Best New Musical
Nominated

Best Actor in a Musical
Sam Mackay
Nominated

Best Actress in a Musical
Lily Frazer
Nominated

Best Supporting Actor in a Musical
David Bedella
Won

Best Supporting Actress in a Musical
Victoria Hamilton-Barritt
Nominated

Best Director
Luke Sheppard
Nominated

Best Choreography
Drew McOnie
Nominated

Best Set Design
Takis
Nominated

Best Costume Design
Howard Hudson
Nominated

text: Reception[edit]

text: The reviews for the show were positive to mixed (the median grade of 9 major reviews was "B+").[42] Charles Isherwood's review in The New York Times said that "when this musical erupts in one of its expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year or two."[43] Heather Bing of The Cleveland Plain Dealer wrote, "Although I was sometimes struggling to keep up with the hip-hop and Spanish-infused lyrics, the exciting set and choreography paired with excellent acting held my interest in the storyline."[44] David Rooney's Variety review said, "That depth of feeling, together with the wit of Miranda's lyrics, the playful dexterity of his rhymes, his dynamic score and a bunch of truly winning performances, make the show an uncalculated charmer."[45]

text: Hudes' book received mixed reviews. Charles McNulty's The Los Angeles Times review mentioned that "the downside to In the Heights is the book...which is overstuffed and oversimplified."[46] The New York Post's Clive Barnes also gave negative comments about the book, saying that "Hudes' work is droopily sentimental and untruthful."[47] Joe Dziemianowicz of the NY Daily News also disliked the book, but added that "what it lacks in story and believability it makes up for in a vibrant rap- and salsa-flavored score, spirited dances and great-looking design."[48]

text: After the release of Miranda's next Broadway musical Hamilton, which earned critical and commercial success, In the Heights gained a large resurgence in popularity and a cult following[peacock term] mostly owed to the former show's success, and over the years has gained a much more positive reception than initial reviews from its first few moments on stage.

text: Film adaptation[edit]

text: On November 2008, Universal Studios announced that they planned to adapt the musical as a feature film for release in 2011.[49][50] Kenny Ortega was set to direct it.[51][52] However, Universal opted not to produce the film, and the project was canceled.[53] In January 2012, Lin-Manuel Miranda said the adaptation was back under discussion.[54]

text: In May 2016, it was announced that The Weinstein Company would produce the film.[55] The following month, it was reported that Jon M. Chu was in talks to direct.[56] In September 2016, Chu was confirmed to direct, with production potentially beginning in spring 2017. Lin-Manuel Miranda will not return as Usnavi, the role he originated, but may return in another role.[57] Businessman and rapper Jay Z will produce the film.[58][59]

text: Television[edit]

text: On May 27, 2009, PBS' Great Performances aired an episode entitled In the Heights: Chasing Broadway Dreams. It documents the journey taken by the cast and crew to bring the show to Broadway and to later win the Tony Award for Best Musical.[60] Producer Andrew Fried and director Paul Bozymowski captured footage of the cast and creative team for over two years, from the Off-Broadway production to their Tony Award wins. The special previewed at the Paley Center for Media in New York on May 4, 2009.[61]


document_title: The Princess Bride (film)

question_text: where was the movie the princess bride filmed

text: The Princess Bride (film)

text: Plot[edit]

text: The film is an enactment of the following story read by a sick boy's grandfather as the boy sits in bed listening, framed and occasionally interrupted by scenes of the reading.

text: A beautiful young woman named Buttercup lives on a farm in the fictional country of Florin. Whenever she orders the farmhand Westley to do chores for her, he complies and answers, "As you wish." Eventually she realizes he loves her and admits her love for him. Westley leaves to seek his fortune so they can marry, but his ship is attacked by the Dread Pirate Roberts.

text: Five years later, believing Westley is dead, Buttercup reluctantly agrees to marry Prince Humperdinck, heir to the throne of Florin. Before the wedding, she is kidnapped by three outlaws: a short Sicilian boss named Vizzini, a gigantic wrestler from Greenland named Fezzik, and a Spanish fencing master named Inigo Montoya, who seeks revenge against the six-fingered man who killed his father. The outlaws are pursued by Prince Humperdinck with a complement of soldiers, and also by a masked man in black.

text: The man in black catches up to the outlaws at the top of the Cliffs of Insanity, where he defeats Inigo in a duel and knocks him unconscious, chokes Fezzik until he blacks out, and kills Vizzini by tricking him into drinking poison. He takes Buttercup prisoner and they flee, stopping to rest at the edge of a gorge. When Buttercup correctly guesses that he is the Dread Pirate Roberts, she becomes enraged at him for killing Westley; as he suddenly notices Humperdinck and his men appear in the distance, she shoves him down into the gorge and wishes death upon him. She then realizes he is Westley himself when he replies, "As you wish!" She throws herself into the gorge after him, and together they enter the dangerous Fire Swamp. When they are captured on the other side of the Fire Swamp by Humperdinck and his sadistic six-fingered vizier Count Rugen, Buttercup agrees to return with Humperdinck in exchange for Westley's release. However, Humperdinck secretly orders Rugen to lock Westley in the castle torture chamber.

text: When Buttercup expresses unhappiness at marrying Humperdinck, he promises to search for Westley; but his real plan is to start a war with the neighboring country of Guilder, by killing Buttercup and framing Guilder for her death. Buttercup taunts Humperdinck after learning that he never tried to find Westley. Enraged, Humperdinck tortures Westley almost to death. Meanwhile, Inigo and Fezzik meet when Humperdinck orders a gang of goons to arrest the thieves in a nearby forest, and Fezzik tells Inigo about Rugen. Inigo decides that they need Westley's help to get into the castle, and when he hears cries of anguish, he realizes they must be from Westley. Inigo and Fezzik find Westley and fear him dead. Upon bringing him to a "miracle man", however, they learn that Westley is "only mostly dead", and the miracle man revives him to a state of heavy paralysis.

text: After Westley, Inigo, and Fezzik invade the castle, Humperdinck orders the wedding ceremony shortened and Inigo finds and kills Rugen in a duel, repeatedly reciting his greeting of vengeance: "Hello, my name is Inigo Montoya. You killed my father. Prepare to die." Westley finds Buttercup, who is about to commit suicide, and assures her that her marriage is invalid because she never said "I do." Still partly paralyzed, he bluffs his way out of a duel with Humperdinck, then rides away with Buttercup, Inigo, and Fezzik.

text: Back in the boy's bedroom, the boy asks his grandfather to read the story to him again the next day, to which the grandfather replies, "As you wish", which, as he explained earlier, means "I love you."

text: Cast[edit]

text: Framing story[edit]

text:
Peter Falk as Grandpa/The Narrator
Fred Savage as The Grandson
Betsy Brantley as The Mother

text: Main story[edit]

text:
Cary Elwes as Westley/Dread Pirate Roberts/The Man in Black
Robin Wright as Buttercup/The Princess Bride
Chris Sarandon as Prince Humperdinck
Mandy Patinkin as Inigo Montoya
Christopher Guest as Count Tyrone Rugen
André the Giant as Fezzik
Wallace Shawn as Vizzini
Billy Crystal as Miracle Max
Carol Kane as Valerie, Max's wife
Peter Cook as The Impressive Clergyman
Mel Smith as The Albino
Margery Mason as The Ancient Booer
Malcolm Storry as Yellin, a soldier of Florin
Willoughby Gray as The King

text: Production[edit]

text: There had been many attempts to turn the novel into a film. In 1973, 20th Century Fox paid Goldman $500,000 for the film rights and to do a screenplay.[3][4] Richard Lester was signed to direct and the movie was almost made, but the head of production at Fox was fired and the project was put on hiatus. Goldman subsequently bought back the film rights to the novel with his own money.[5] The movie was almost financed several times over the next decade—at one stage in the early 1980s, Christopher Reeve was interested in playing Westley[6]—before Rob Reiner managed to secure funding from Norman Lear.[7]

text: The film was shot in various locations in Great Britain and Ireland:

text:
Carl Wark, Sheffield, England
Burnham Beeches, Buckinghamshire, England
Lathkill Dale where it meets Cales Dale (the 'Battle of wits' scene)
Cave Dale, Castleton, Derbyshire, England
Bradley Rocks and Robin Hood's Stride, Birchover, Derbyshire, England
Cliffs of Moher, County Clare, Ireland (for the Cliffs of Insanity)
Haddon Hall, Bakewell, Derbyshire, England
Penshurst Place, Kent, England [8]

text: Cary Elwes and Mandy Patinkin learned to fence (both left- and right-handed) for the film (reportedly spending all their free time during the production practicing with fencing instructors Bob Anderson and Peter Diamond, and with each other). The actors performed all of the fencing in the sword fight scene personally, although stunt doubles were used for the two somersaults.[9]

text: Popular professional wrestler André the Giant had undergone major back surgery prior to filming and, despite his great size and strength, could not support the weight of Cary Elwes during their fight scene or Robin Wright for a scene at the end of the film. For the wrestling scene, when Elwes was pretending to hang on André's back, he was actually walking on a series of ramps below the camera during close-ups. For the wide shots, a stunt double took the place of André.[10] When he was apparently carrying Wright, she was actually suspended by cables.[11]

text: Soundtrack[edit]

text: The original soundtrack album was composed by Mark Knopfler, and released by Warner Bros. Records in the United States and Vertigo Records internationally in November 1987. The album contains the song "Storybook Love", performed by Willy DeVille and produced by Mark Knopfler. It was nominated for an Academy Award for Best Original Song at the 60th Academy Awards.[12]

text: In his audio commentary of the film on the special edition DVD, director Rob Reiner said that only Mark Knopfler of Dire Straits could create a soundtrack to capture the film's quirky yet romantic nature. Reiner was an admirer of Knopfler's work but did not know him before working on the film. He sent the script to him hoping he would agree to score the film. Knopfler agreed on one condition: that somewhere in the film Reiner would include the USS Coral Sea (CV-43) baseball cap (which had been modified to say "USS Ooral Sea OV-4B") he wore as Marty DiBergi in This Is Spinal Tap. Reiner was unable to produce the original cap, but did include a similar cap in the grandson's room. Knopfler later said he was joking.

text: Reception[edit]

text: Box office[edit]

text: The film was initially a modest success,[13] grossing $30.8 million at the United States and Canada box office,[14] on a $16 million production budget.[15]

text: Critical response[edit]

text: The Princess Bride received critical acclaim. On Rotten Tomatoes, the film holds a 97% "Certified Fresh" rating, based on 64 reviews, with an average rating of 8.3/10. The site's consensus states: "A delightfully postmodern fairy tale, The Princess Bride is a deft, intelligent mix of swashbuckling, romance, and comedy that takes an age-old damsel-in-distress story and makes it fresh."[16] On Metacritic, the film holds a score of 77 out of 100, based on 20 critics, indicating "generally favorable reviews."[17]

text: Gene Siskel and Roger Ebert gave the film a "two thumbs up" rating on their television program.[18] Ebert also wrote a very favorable print review in his column for the Chicago Sun-Times.[19] Richard Corliss of Time said the film was fun for the whole family,[20] and later, Time listed the film as one of the "Best of '87".[21] Janet Maslin of The New York Times praised the cast and the sweetness of the film.[22]

text: Legacy[edit]

text: The Princess Bride was not a major box-office success, but it became a cult classic after its release to the home video market. The film is widely regarded as eminently quotable.[23][24]

text: In 2000, readers of Total Film magazine voted The Princess Bride the 38th greatest comedy film of all time. In 2006, William Goldman's screenplay was selected by the Writers Guild of America as the 84th best screenplay of all time; it earned the same ranking in the Guild's 2013 update.[25] The film was selected number 88 on The American Film Institute's (AFI) "AFI's 100 Years... 100 Passions" listing the 100 greatest film love stories of all time. BBC Radio 5's resident film critic, Mark Kermode, is a fan of the film, frequently considering it a model to which similar films aspire.[citation needed].

text:
AFI's 100 Years...100 Laughs – Nominated[26]
AFI's 100 Years...100 Passions – No. 88
AFI's 100 Years...100 Movie Quotes:

"Hello. My name is Inigo Montoya. You killed my father; prepare to die!" – Nominated[27]

AFI's 10 Top 10 – Nominated Fantasy Film[28]

text: In December 2011, director Jason Reitman staged a live dramatic reading of The Princess Bride script at the Los Angeles County Museum of Art (LACMA), with Paul Rudd as Westley; Mindy Kaling as Buttercup; Patton Oswalt as Vizzini; Kevin Pollak as Miracle Max; Goran Visnjic as Inigo Montoya; Cary Elwes (switching roles) as Humperdinck; director Rob Reiner as the grandfather; and Fred Savage reprising his role as the grandson.[29]

text: In 2013, director Ari Folman released a live action/animation film, The Congress, directly referencing the film and starring Robin Wright herself as a digitally cloned actress.

text: Post-theatrical release[edit]

text: In North America, the film was released on VHS and Laserdisc in 1988 by Nelson Entertainment, the latter being a "bare bones" release in unmatted full screen. New Line Home Video reissued the VHS in 1994.[30]

text: The Criterion Collection released a matted widescreen version, bare bones version on laserdisc in 1989, supplementing it with liner notes. In 1997 Criterion re-released the Laserdisc as a "special edition". This edition was widescreen and included an audio commentary by Rob Reiner, William Goldman, Andrew Scheinman, Billy Crystal, and Peter Falk; excerpts from the novel read by Rob Reiner; behind the scenes footage; a production scrapbook by unit photographer Clive Coote; design sketches by production designer Norman Garwood; and excerpts from the television series Morton and Hayes, directed by Christopher Guest.

text: By 2000, MGM had acquired the US home video rights to the film (as part of the "pre-1996 Polygram film library" package) and released the film on VHS and DVD. The DVD release featured the soundtrack remastered in Dolby Digital 5.1 with the film in wide and full screen versions, and included the original US theatrical trailer. The next year MGM re-released the film in another widescreen "special edition", this time with two audio commentaries—one by Rob Reiner, the other by William Goldman—"As You Wish", "Promotional", and "Making Of" featurettes;[clarification needed] a "Cary Elwes Video Diary"; the US and UK theatrical trailers; four television spots; a photo gallery; and a collectible booklet.

text: In 2006, MGM released a two-disc set with varying covers—the "Dread Pirate" and "Buttercup" editions. Each featured their respective character, but had identical features: in addition to the features in the previous release were, the "Dread Pirate Roberts: Greatest Legend of the Seven Seas", "Love is Like a Storybook Story", and "Miraculous Make Up" featurettes, "The Quotable Battle of Wits" game, and Fezzik's "Guide to Florin" booklet.

text: Another year later, to commemorate the 20th anniversary of the film, MGM and 20th Century Fox Home Entertainment (whose parent company 20th Century Fox continues to hold all US rights to the film except for US home video rights) released the film with flippable cover art featuring the title displayed in an ambigram. This DVD did not include any of the bonus features from the older editions, but had new short featurettes and a new game. A Blu-ray Disc was released on March 17, 2009, encoded in 5.1 DTS-HD Master Audio. Special features include two audio commentaries, the original theatrical trailer and eight featurettes.[31]

text: In 2007, the film was released for download in the iTunes Store.[32]

text: The film is also available in Region 2 where it is published by Lions Gate Entertainment. Its extras are the theatrical trailer and text filmographies.

text: Adaptations[edit]

text: It was announced that composer Adam Guettel was working with William Goldman on a musical adaptation of The Princess Bride in 2006. The project was abandoned in February 2007 after Goldman reportedly demanded 75 percent of the author's share, even though Guettel was writing both the music and the lyrics.[33] Some of Guettel's music for the production has since surfaced in concert performances and workshops.[citation needed]

text: In 2008, PlayRoom Entertainment released The Princess Bride: Storming the Castle, a board game based on the film.[34]

text: The Princess Bride Game is a casual video game developed and published by New York game development studio Worldwide Biggies.[35][36]


document_title: GHS hazard pictograms

question_text: which pictogram is used to warn about the oxidizer class of chemical hazards

text: GHS hazard pictograms

text: Physical hazards pictograms[edit]

text:
Usage

Unstable explosives
Explosives, divisions 1.1, 1.2, 1.3, 1.4, 1.5, 1.6
Self-reactive substances and mixtures, types A, B
Organic peroxides, types A, B

Further information: Explosive material

GHS01: Explosive

text:
Usage

Flammable gases, category 1
Flammable aerosols, categories 1, 2
Flammable liquids, categories 1, 2, 3
Flammable solids, categories 1, 2
Self-reactive substances and mixtures, types B, C, D, E, F
Pyrophoric liquids, category 1
Pyrophoric solids, category 1
Self-heating substances and mixtures, categories 1, 2
Substances and mixtures, which in contact with water, emit flammable gases, categories 1, 2, 3
Organic peroxides, types B, C, D, E, F

Further information: Flammability

GHS02: Flammable

text:
Usage

Oxidizing gases, category 1
Oxidizing liquids, categories 1, 2, 3
Oxidizing solids, categories 1, 2, 3

Further information: Oxidizing agent

GHS03: Oxidizing

text:
Usage

Compressed gases
Liquefied gases
Refrigerated liquefied gases
Dissolved gases

GHS04: Compressed Gas

text:
Usage

Corrosive to metals, category 1

Further information: Corrosive substance

GHS05: Corrosive

text:
Usage

Explosives, divisions 1.5, 1.6
Flammable gases, category 2
Self-reactive substances and mixtures, type G (see HAZMAT Class 4 Flammable solids)
Organic peroxides, type G

no pictogram required

text: Health hazards pictograms[edit]

text:
Usage

Acute toxicity (oral, dermal, inhalation), categories 1, 2, 3

GHS06: Toxic

text:
Usage

Acute toxicity (oral, dermal, inhalation), category 4
Skin irritation, categories 2, 3
Eye irritation, category 2A
Skin sensitization, category 1
Specific target organ toxicity following single exposure, category 3

Respiratory tract irritation
Narcotic effects

Not used[3]

with the "skull and crossbones" pictogram
for skin or eye irritation if:

the "corrosion" pictogram also appears
the "health hazard" pictogram is used to indicate respiratory sensitization

GHS07: Harmful

text:
Usage

Respiratory sensitization, category 1
Germ cell mutagenicity, categories 1A, 1B, 2
Carcinogenicity, categories 1A, 1B, 2
Reproductive toxicity, categories 1A, 1B, 2
Specific target organ toxicity following single exposure, categories 1, 2
Specific target organ toxicity following repeated exposure, categories 1, 2
Aspiration hazard, categories 1, 2

GHS08: Health hazard

text:
Usage

Acute toxicity (oral, dermal, inhalation), category 5
Eye irritation, category 2B
Reproductive toxicity – effects on or via lactation

no pictogram required

text: Physical and health hazard pictograms[edit]

text:
Usage

Explosives, divisions 1.5, 1.6
Flammable gases, category 2
Self-reactive substances and mixtures, type G (see HAZMAT Class 4 Flammable solids)
Organic peroxides, type G
Skin corrosion, categories 1A, 1B, 1C
Serious eye damage, category 1

Corrosive

text: Environmental hazards pictograms[edit]

text:
Usage

Acute hazards to the aquatic environment, category 1
Chronic hazards to the aquatic environment, categories 1, 2

GHS09: Environmental hazard

text:
Usage

Acute hazards to the aquatic environment, categories 2, 3
Chronic hazards to the aquatic environment, categories 3, 4

no pictogram required

text: Transport pictograms[edit]

text: Class 1: Explosives[edit]

text:
Usage

Explosives
Division 1.1: Substances and articles which have a mass explosion hazard
Division 1.2: Substances and articles which have a projection hazard but not a mass explosion hazard
Division 1.3: Substances and articles which have a fire hazard and either a minor blast hazard or a minor projection hazard or both, but not a mass explosion hazard

Note

The asterisks are replaced by the class number and compatibility code

Divisions 1.1–1.3

text:
Usage

Explosives

Substances and articles which are classified as explosives but which present no significant hazard

Note

The asterisk is replaced by the compatibility code

Division 1.4

text:
Usage

Explosives

Very insensitive substances which have a mass explosion hazard

Note

The asterisk is replaced by the compatibility code

Division 1.5

text:
Usage

Explosives

No hazard statement

Note

The asterisk is replaced by the compatibility code

Division 1.6

text: Class 2: Gases[edit]

text:
Usage

Flammable gases

Gases which at 20 °C and a standard pressure of 101.3 kPa:

are ignitable when in a mixture of 13 per cent or less by volume with air; or
have a flammable range with air of at least 12 percentage points regardless of the lower flammable limit.

 Alternative sign

Division 2.1

text:
Usage

Non-flammable non-toxic gases

Gases which:

are asphyxiant – gases which dilute or replace the oxygen normally in the atmosphere; or
are oxidizing – gases which may, generally by providing oxygen, cause or contribute to the combustion of other material more than air does; or
do not come under the other divisions;

 Alternative sign

Division 2.2

text:
Usage

Toxic gases

Gases which:

are known to be so toxic or corrosive to humans as to pose a hazard to health; or
are presumed to be toxic or corrosive to humans because they have an LC50 value equal to or less than 5000 ml/m3 (ppm).

Division 2.3

text: Classes 3 and 4: Flammable liquids and solids[edit]

text:
Usage

Flammable liquids

Liquids which have a flash point of less than 60 °C and which are capable of sustaining combustion
 Alternative sign

Class 3

text:
Usage

Flammable solids, self-reactive substances and solid desensitized explosives

Solids which, under conditions encountered in transport, are readily combustible or may cause or contribute to fire through friction; self-reactive substances which are liable to undergo a strongly exothermic reaction; solid desensitized explosives which may explode if not diluted sufficiently

Division 4.1

text:
Usage

Substances liable to spontaneous combustion

Substances which are liable to spontaneous heating under normal conditions encountered in transport, or to heating up in contact with air, and being then liable to catch fire

Division 4.2

text:
Usage

Substances which in contact with water emit flammable gases

Substances which, by interaction with water, are liable to become spontaneously flammable or to give off flammable gases in dangerous quantities
 Alternative sign

Division 4.3

text: Other GHS transport classes[edit]

text:
Usage

Oxidizing substances

Substances which, while in themselves not necessarily combustible, may, generally by yielding oxygen, cause, or contribute to, the combustion of other material

Division 5.1

text:
Usage

Organic peroxides

Organic substances which contain the bivalent –O–O– structure and may be considered derivatives of hydrogen peroxide, where one or both of the hydrogen atoms have been replaced by organic radicals
 Alternative sign

Division 5.2

text:
Usage

Toxic substances

Substances with an LD50 value ≤ 300 mg/kg (oral) or ≤ 1000 mg/kg (dermal) or an LC50 value ≤ 4000 ml/m3 (inhalation of dusts or mists)

Division 6.1

text:
Usage

Corrosive substances

Substances which:

cause full thickness destruction of intact skin tissue on exposure time of less than 4 hours; or
exhibit a corrosion rate of more than 6.25 mm per year on either steel or aluminium surfaces at 55 °C

Class 8

text: Non-GHS transport pictograms[edit]

text: The following pictograms are included in the UN Model Regulations but have not been incorporated into the GHS because of the nature of the hazards.

text:
Class 6.2
Class 7
Class 9

Infectious substances
Radioactive material
Miscellaneous dangerous substances and articles

text: Notes[edit]

text:
Jump up ^ Part 1, section 1.4.10.5.1, GHS Rev.2
Jump up ^ Part 1, section 1.4.10.5.2, GHS Rev.2
Jump up ^ Part 1, section 1.4.10.5.3.1, GHS Rev.2

tag: ol