document_title: Beauty and the Beast (2017 film)

question_text: who played as beast in beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later in the small town of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a birthday gift to Belle. Belle ventures out in search for him and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask and realises that she and her father were forced to leave her mother's deathbed when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the herb-wife Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his will upon seeing Belle return. He overpowers Gaston but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return.[11][12]

Adam Mitchell[3] portrays the younger version of the Prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[13]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[14]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[15]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[16]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[17]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[18]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[19]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[13]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[20] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form. The film is released posthumously after Davies' Death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[21]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[20]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

tag: ul

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[22]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[22]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[23]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[24][25] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[26]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[27] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[28] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[29]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[30] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[31]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[32] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[31] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[33][34] and Watson confirmed their casting the following day through tweets.[11][35] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[14][13][17][19][18][15][16][36]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[37] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[38]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[39]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[13][40][41] Filming with the principal actors concluded on August 21.[42][43] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[44]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[22]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[45]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[46] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[49]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[50] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[51][52][53][54]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[55][56] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[57]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[58]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video-hosting service.[58]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[13] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[59]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, United Kingdom;[60] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[61] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[62] Following an announcement on May 22, 2016,[63] Disney premiered the first official teaser trailer on Good Morning America the next day.[64] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[65] This record has since been broken by Thor: Ragnarok and It.[66] The first official teaser poster was released on July 7, 2016.[67] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[68][69] One week later, Emma Watson and Disney debuted a new poster for the film.[70] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[71] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[72] This record has since been broken again by The Fate of the Furious.[73] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[74] Disney released the final trailer on January 30, 2017.[75] BMW and Mini partnered with the film to promote it globally; including teasers, a television commercial featuring Mini Hatch John Cooper Works, BMW M2, Mini Clubman, BMW M3 and BMW M4, online exclusives, in-store and in-theater advertisements.

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[76] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[77] The movie regained the top spot on the national home video sales charts during its third week of release.[78] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.4 million in other territories for a worldwide gross of $1.263 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[80] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[81] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[82] It surpassed the entire lifetime total of the original film in just six days.[83][84]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[85] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[86][87][88][89] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[90][91][92] It is currently the highest-grossing film of 2017,[93] the highest-grossing March release,[94] the highest-grossing remake of all-time,[95] and the fifth-biggest Disney film.[96] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[95]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[97][98][99] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[100][101] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[102] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m.[103] The numbers were considered more impressive given that the film played during a school week.[104]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[105][106] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[107] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[85] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[108] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[109][110] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[111] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[112] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[112] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[108]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[113] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[85] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[112] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[114][115] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[114][116]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[117] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[118] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[119] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[120] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[80] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[121] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[122] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[123] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[124] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[125] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[126] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[127] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[128][129][130]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[131] the biggest musical film (both animated and live-action),[132] as well as the biggest film of 2017.[133]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[134] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[135] It topped the international box office for three consecutive weekends[136] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[137][92]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[138][139] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[134][135]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[140] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[141] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[142][135] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[143][144][145] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[146] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[147][148][149] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[150]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[151] The original film was, however, never widely popular in the country.[152] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[153] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[154][155] Either ways, it recorded the second-biggest opening for a Disney live-action film,[152] with $3.4 million coming from 386 IMAX screens.[134] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[135] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[156][157] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[158] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[159][160][161] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[162] It topped the box office there for eight consecutive weekends.[163][164]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[134] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[137][165] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[166] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[167] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[156][168] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[163] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[156][159][169]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews..[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 297 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180] James Berardinelli of ReelViews described the 2017 version as "enthralling".[181]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[182] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[183] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[184] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[185] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[186] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[187]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[188] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[189] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[190][191]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[192] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[193]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[194]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[195]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[196]
[197]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[198] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[199] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[200]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[201] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[202] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[203] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[204][205][206] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[207] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[208][209] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[210]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[211] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[212]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[213] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[214] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[215] Furthermore, the only gay interaction LeFou has is a three second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences. [216]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[217] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[218] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[219][220] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[221]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[222] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[223][224] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[225] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[226]

text: Notes[edit]

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.

tag: ol


document_title: Office Space

question_text: where did jennifer aniston work in the movie office space

root

text: Office Space

text: Plot[edit]

text: Peter Gibbons is a programmer at a company called Initech who is frustrated and unmotivated at his job. His co-workers include Samir Nagheenanajar and Michael Bolton, also programmers, and Milton Waddams, a meek collator who is mostly ignored by the rest of the office. The staff constantly suffer under callous management, especially Initech's smarmy vice president Bill Lumbergh, whom Peter loathes. They are further agitated by the arrival of consultants Bob Slydell and Bob Porter, who are brought in to help the company downsize.

tag: p

text: Peter's girlfriend Anne persuades him to attend an occupational hypnotherapy session, but Dr. Swanson, the therapist, dies of a heart attack while hypnotizing Peter. Peter wakes up the next morning newly relaxed, and he ignores repeated phone calls from Lumbergh, who had been expecting him to work over the weekend. He also ignores calls from Anne, who responds by angrily breaking up with him and admitting that she has been cheating on him, confirming his friends' suspicions. The following workday, Peter decides to skip work and asks Joanna, a restaurant waitress, out for lunch. Joanna and Peter bond over their shared loathing of idiotic management and love of the television series Kung Fu.

text: When Peter finally shows up at work, he casually disregards office protocol, including violating Initech's dress code, taking Lumbergh's reserved parking spot, refusing to follow Lumbergh's directions, and removing a cubicle wall that blocks his view out the window. The consultants, however, are impressed by his frank insights into the office problems, and they decide to promote him. They also confide that Michael and Samir's jobs will be eliminated; Peter relays this news to them, and the trio decide to get even by infecting Initech's accounting system with a computer virus designed to divert fractions of pennies into a bank account. They believe that such transactions are small enough to avoid detection but will result in a substantial amount of money over time. On Michael and Samir's last day at Initech, the pair along with Peter steal a frequently malfunctioning printer, which the three take to a field and smash to pieces to vent their frustration.

text: At a barbecue, Peter learns that Joanna had previously slept with a colleague identified as "Lumbergh". He assumes it to be his boss and confronts Joanna in disgust. She questions the morality of his financial scheme, and the two split up. Peter then discovers that a bug in Michael's code has caused their virus to steal over $300,000 in only a few days, which is far more conspicuous. Meanwhile, Joanna has finally stood up to her boss and quit, and Peter has discovered that she slept with a different "Lumbergh." Peter admits to her that the scheme was a bad idea and that he plans to accept responsibility for the crime, and they reconcile. He writes out a confession and slips it under Lumbergh's office door late at night, along with traveler's cheques for the stolen money.

text: Milton, meanwhile, has become increasingly disgruntled at his treatment by management, to the point that he has mumbled threats about setting the building on fire. The next morning, he enters Lumbergh's office to reclaim a red Swingline stapler that was taken from him. Peter arrives at work fully expecting to be arrested, but he finds instead that his problem has solved itself. The Initech building is engulfed in flames, and all evidence of the missing money has been destroyed. Peter finally finds a job that he likes, doing construction work with his next-door neighbor Lawrence, while Samir and Michael both get jobs at a rival company to Initech. Milton lounges on the beach at a fancy Mexican resort, complaining about his beverage and threatening to take his business to a competitor.

text: Cast[edit]

text:
Ron Livingston as Peter Gibbons
Jennifer Aniston as Joanna
Stephen Root as Milton Waddams
Gary Cole as Bill Lumbergh
David Herman as Michael Bolton
Ajay Naidu as Samir Nagheenanajar
Diedrich Bader as Lawrence
John C. McGinley as Bob Slydell
Joe Bays as Dom Portwood
Alexandra Wentworth as Anne
Richard Riehle as Tom Smykowski
Paul Willson as Bob Porter
Kinna McInroe as Nina
Todd Duffey as Brian
Greg Pitts as Drew
Mike McShane as Dr. Swanson
Orlando Jones as Steve
Mike Judge (credited as "William King") as Stan

text: Production[edit]

text: Development[edit]

text: Office Space was shot primarily in Austin, Texas. It originated in a series of four animated short films that Judge created entitled Milton about an office drone named Milton. They first aired on Liquid Television and Night After Night with Allan Havey, and later aired on Saturday Night Live.[5] The inspiration came from a temp job which he had that involved alphabetizing purchase orders[6] and another job as an engineer for three months in the Bay Area during the 1980s, "just in the heart of Silicon Valley and in the middle of that overachiever yuppie thing, it was just awful".[7]

text: The setting of the film reflects a prevailing trend that Judge observed in the United States. "It seems like every city now has these identical office parks with identical adjoining chain restaurants", he said in an interview.[5] "There were a lot of people who wanted me to set this movie in Wall Street, or like the movie Brazil, but I wanted it very unglamorous, the kind of bleak work situation like I was in".[6]

text: Judge sold the film to 20th Century Fox based on his script and a cast that included Jennifer Aniston, Ron Livingston, and David Herman.[5] Originally, the studio wanted to make a film out of the Milton character but Judge was not interested, opting instead to make more of an ensemble cast–based film.[7] The studio suggested that he make a movie like Car Wash but "just set in an office".[7]

text: Judge made the transition from animation to live-action with the help of the film's director of photography who taught him about lenses and where to put the camera. Judge says, "I had a great crew, and it's good going into it not pretending you're an expert".[6] Studio executives were not happy with the footage that Judge was getting. He remembers them telling him, "More energy! More energy! We gotta reshoot it! You're failing! You're failing!"[8] In addition, Fox did not like the gangsta rap music used in the film until a focus group approved of it. Judge hated the ending and wished he could have completely rewritten the third act.[8]

text: Film poster[edit]

text: Judge also hated the poster that the studio created for Office Space (which portrayed an office worker completely covered in Post-it notes). He said, "People were like, 'What is this? A big bird? A mummy? A beekeeper?' And the tagline 'Work Sucks'? It looked like an Office Depot ad. I just hated it. I hated the trailers, too and the TV ads especially".[8] Fox Filmed Entertainment chairman Tom Rothman conceded that the marketing campaign did not work and said, "Office Space isn't like American Pie. It doesn't have the kind of jokes you put in a 15-second television spot of somebody getting hit on the head with a frying pan. It's sly. And let me tell you, sly is hard to sell".[8]

text: Release[edit]

text: Box office[edit]

text: Office Space was released on February 19, 1999 in 1,740 theatres, grossing USD$4,231,727 on its opening weekend. It went on to make $10,827,810 in North America.[9] In addition to this gross, $2 million was made internationally,[10] 6 million copies in DVD, Blu-ray Disc and VHS sales[10] since February 12, 2006.[11]

text: Critical response[edit]

text: Office Space received positive reviews from critics.[8] On review aggregator Rotten Tomatoes, the film has a 79% rating based on 96 reviews, and an average rating of 6.8/10. The site's critical consensus reads, "Mike Judge lampoons the office grind with its inspired mix of sharp dialogue and witty one-liners."[12] Metacritic gives a weighted average score of 68/100, based on reviews from 30 critics, indicating "generally favorable reviews".[13] Audiences polled by CinemaScore during opening weekend gave the film an average grade of "C+" on a scale ranging from A+ to F.[14]

text: Roger Ebert of the Chicago Sun-Times gave the film three out of four stars and wrote that Judge "treats his characters a little like cartoon creatures. That works. Nuances of behavior are not necessary, because in the cubicle world every personality trait is magnified, and the captives stagger forth like grotesques".[15] In his review for the San Francisco Chronicle, Mick LaSalle writes, "Livingston is nicely cast as Peter, a young guy whose imagination and capacity for happiness are the very things making him miserable."[16] In USA Today, Susan Wloszczyna wrote, "If you've ever had a job, you'll be amused by this paean to peons."[17]

text: Owen Gleiberman in Entertainment Weekly gave the film a "C" rating and criticized it for feeling "cramped and underimagined".[18] In his review for the Globe and Mail, Rick Groen wrote, "Perhaps his TV background makes him unaccustomed to the demands of a feature-length script (the ending seems almost panicky in its abruptness), or maybe he just succumbs to the lure of the easy yuk...what began as discomfiting satire soon devolves into silly farce."[19] In his review in The New York Times, Stephen Holden wrote, "It has the loose-jointed feel of a bunch of sketches packed together into a narrative that doesn't gather much momentum."[20]

text: In 2008, Entertainment Weekly named Office Space one of "The 100 best films from 1983 to 2008", ranking it at #73.[21]

text: Legacy[edit]

text: Cult status[edit]

text: Office Space has become a cult classic, selling well on home video and DVD.[4] As of 2003[update], it had sold 2.6 million copies on VHS and DVD.[22] In the same year, it was in the top 20 best-selling Fox DVDs along with There's Something About Mary.[23] As of 2006[update], it had sold over six million DVDs in the United States alone.[24]

text: In 2008, Entertainment Weekly ranked it fifth on its list "25 Great Comedies From the Past 25 Years", despite having originally given the film a poor review.[25]

text: On February 8, 2009, a reunion of many of the cast members took place at the Paramount Theatre in Austin to celebrate the tenth anniversary of the film, which included the destruction of a printer on the sidewalk.[26]

text: On October 5, 2008, Fox aired the Family Guy episode "I Dream of Jesus" which features a scene in which Stewie and Brian destroy the record Surfin Bird in a nearly identical scene to the movie in which the characters destroy a printer, including use of the same song.

text: During the 2016 presidential election, a scene from the film was spoofed in a political advertisement, which was run by Ted Cruz mocking Hillary Clinton over her wiped personal email server. The advertisement spoofs the scene where the office workers destroy their malfunctioning printer.[27][28]

text: Television[edit]

text: Comedy Central premiered Office Space on August 5, 2001 and 1.4 million viewers tuned in. By 2003, the channel had broadcast the film another 35 times.[23] These broadcasts helped develop the film's cult following and Ron Livingston remembers being approached by college students and office workers. He said, "I get a lot of people who say, 'I quit my job because of you.' That's kind of a heavy load to carry."[23] People approached Stephen Root asking him to sign their staplers. The red Swingline stapler featured prominently in the film was not available until April 2002 when the company released it in response to repeated requests by fans of the film. Its appearance in the film was achieved by taking a standard Swingline stapler and spray-painting it red.[23]

text: Video game[edit]

text: Kongregate released a mobile game based on the film, titled Office Space: Idle Profits, on iOS and Android in 2017. The game is a free-to-play idle clicker that offers in-app purchases.[29]

text: Soundtrack[edit]

text:
Office Space: Motion Picture Soundtrack

Soundtrack album by various artists

Released
February 18, 1999

Genre
Hip hop, Rap

Length
44:35

Label
Interscope

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[30]

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Shove This Jay-Oh-Bee" (contains portions of "Take This Job and Shove It" by Johnny Paycheck, 1977)
Canibus, Salaam Remi,
David Allan Coe
Canibus with Biz Markie
4:21

2.
"Get Dis Money"
T3, Baatin, Jay Dee
Slum Village
3:36

3.
"Get Off My Elevator"
Kool Keith, KutMasta Kurt
Kool Keith
3:46

4.
"Big Boss Man" (cover of Jimmy Reed, 1960)
Luther Dixon, Al Smith
Junior Reid
3:46

5.
"9-5" (Cover of Dolly Parton, 1980)
Dolly Parton
Lisa Stone
3:40

6.
"Down for Whatever" (from Lethal Injection, 1993)
Ice Cube, Madness 4 Real
Ice Cube
4:40

7.
"Damn It Feels Good to Be a Gangsta" (from Uncut Dope: Geto Boys' Best, 1992)
Scarface, John Okuribido,
James Prince
Geto Boys
5:09

8.
"Home"
Benny Wise, C. Hernandez, N. Vasquez, John Forte
Blackman, Destruct & Icon
4:22

9.
"No Tears" (from The Diary, 1994)
Scarface, N.O. Joe
Scarface
2:27

10.
"Still" (from The Resurrection, 1996)
Willie D, Scarface, N.O Joe
Geto Boys
4:03

11.
"Mambo #8" (from Pérez Prado Plays Mucho Mambo For Dancing, 1952)
Prado
Perez Prado
2:06

12.
"Peanut Vendor" (from Havana, 3 A.M., 1956)
Moises Simons
Perez Prado
2:39


document_title: Robert A. Lewis

question_text: who said my god what have we done

question_tokens: who said my god what have we done

text: Robert A. Lewis

text: Military career[edit]

text: This section includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this section by introducing more precise citations. (July 2017) (Learn how and when to remove this template message)

text: Lewis grew up in Ridgefield Park, New Jersey, and attended Ridgefield Park High School, graduating in 1937.[2] During World War II, he had to wait after enlisting to be processed into the USAAF Officer Candidate School (OCS). Lewis went on to be a multi-engine test pilot in B-24, B-26, B-17 and B-29 bombers, which later led to him as co-pilot and his crew being selected for the Hiroshima bombing mission.

text: Lewis was field promoted to captain by General Curtis LeMay after demonstrating the B-29 and training the general on how to fly it. LeMay addressed Lieutenant Lewis as "Captain Lewis" on the field at the conclusion of several days of training and testing. Lewis tried to correct the general as to his rank, but LeMay insisted on captain, with the field commission arriving several weeks later by USAAF mail to him based in the midwestern US at the time.

text: Lewis was always a "crew-first" pilot who survived two crashes due to electrical failure and engine failure. Articles from New York City area newspapers attested to his "cool head under stressful conditions", ultimately leading to his selection as captain of a B-29 crew. Lewis led hundreds of bombing runs from Utah to Salton Sea in California leading up to his selection with his crew by Colonel Paul Tibbets. In early June, Lewis and his co-pilot Dick Nelson flew the entire crew and support crew from Utah to Tinian, in the B-29 specially modified to carry Little Boy to Japan from the huge Tinian base that General LeMay controlled from Guam.

text: On August 6, 1945 – August 5 in the United States, due to the International Date Line – Lewis was the co-pilot of the Enola Gay when it dropped Little Boy on Hiroshima. Normally the aircraft commander assigned to the Enola Gay, for this important mission he acted as co-pilot, assisting Enola Gay's new aircraft commander, Colonel Tibbets. Lewis and his crew, minus their original co-pilot Dick McNamara, were Tibbet's crew for the mission, and it included two specialists for the arming of Little Boy, the uranium-235 fission bomb.

text: The entire story was written by Lewis just before his death in 1983. His log, the only minute-by-minute recording on paper by any crew member that day, is part of his copyrighted historical manuscript. His sons and daughter are in the process of publishing the manuscript before the 75th anniversary of the bombing in 2020.[citation needed]

text: Post-war[edit]

text: After the war, Lewis became a pilot for American Overseas Airlines,[3][4] specializing in the New York to London routes. He left in 1947 to rejoin his prewar employer, the Henry Heide Candy Company, where he became plant manager and personnel director of their factory in New Brunswick, New Jersey.[3] He was granted at least three patents during his time at Heide.[5][6][7] In the 1950s, Lewis lived with his family in a home that he had built in Old Tappan, New Jersey.[8] He and his wife had a daughter and four sons.[3][4]

text: Survivor meetings[edit]

text: In New York City in 1951, Lewis met Hiroshima survivor Father Hubert Schiffer,[9] who was eight blocks from ground zero when the explosion occurred and was seriously injured.[10] Schiffer invited Lewis to visit Hiroshima in August 1952 for the dedication of a "palace of prayer", which Lewis accepted;[9] however, there is no record of Lewis actually making such a visit. The two also appeared together at Fordham University in 1957, on the twelfth anniversary of the bombing, with Schiffer noting that they had become "very fast friends."[10]

text: In 1955, Lewis appeared on the television show This is Your Life, in an episode not without controversy. The show had as its guest Reverend Kiyoshi Tanimoto, who had been living in Hiroshima at the time of the bombing and survived the explosion, as recounted in John Hersey's 1946 book Hiroshima. Tanimoto had traveled to the United States with the Hiroshima Maidens to get reconstructive surgery for them, and while there was the subject of the May 11 episode of This Is Your Life.[11] After some acquaintances were introduced and interviewed, a surprise for Tanimoto was meeting Lewis — on live television broadcast to a nationwide audience — representing the crew of the aircraft that had so dramatically changed his life.[12] Contemporary reaction to the episode was mixed, ranging from "one of [the] best"[11] to a "new low in poor taste."[13] Lewis described the Enola Gay's flight and the dropping of the bomb on Hiroshima. When asked by host Ralph Edwards if he remembered his reaction on that fateful day, he remarked, "I wrote down later, 'My God, what have we done?' "[14]

text: Later life[edit]

text: Lewis became a self-taught stone sculptor, working in marble and alabaster, following a business trip to Florence where he saw some apprentices at work.[15] One of his sculptures, titled ‘God’s Wind’ at Hiroshima?, depicted a mushroom cloud.[16] In the 1970s, Lewis lived in a small cottage on West Shore Trail in the quiet Lake Mohawk community of Sparta, New Jersey.

text: In 1971, Lewis sold his manuscript log from the Hiroshima mission, which he had written during the flight at the request of journalist William L. Laurence; it was auctioned by Christies and sold for $37,000.[17] The manuscript was later resold to Malcolm Forbes, and after Forbes' death was purchased by an anonymous buyer.[18] Prior to the 1971 sale, Lewis made six hand-written copies of the log, one each for his wife and five children; one copy was sold in 2015 for $50,000.[18]

text: In 1975, Lewis took a position with the Estee Candy Corporation, until his retirement in 1981.[3][4] He was portrayed by Gregory Harrison in the 1980 television film Enola Gay: The Men, the Mission, the Atomic Bomb.[19] Lewis lived in Smithfield, Virginia, for two years before his death in 1983 of a heart attack at home;[3] he was declared dead at Riverside Hospital in Newport News, Virginia.[4]

text: In 1990, Lewis' widow put up for auction a manuscript navigator's log from the Hiroshima mission, however it failed to sell after questions arose about its authenticity, with Enola Gay navigator Theodore Van Kirk stating that he still had the log he wrote during the mission.[20]


document_title: Chun-Li (song)

question_text: where did nicki minaj get chun li from

question_tokens: where did nicki minaj get chun li from

text: Chun-Li (song)

text: Background and release[edit]

text: In March 2017, Minaj released a three-single pack that included "Changed It" with Lil Wayne, "No Frauds" with Drake and Wayne, and "Regret in Your Tears". She then did a number of collaborations with other artists throughout 2017, before starting a social media hiatus on December 31. On April 10, 2018, Nicki Minaj announced on Instagram that she will be releasing two new songs: "Barbie Tingz" and "Chun-Li" on April 12, and also posted cover artworks of the respective singles.[2][3] "Chun-Li", which takes its name from Street Fighter character of the same name,[4] was released alongside the buzz single "Barbie Tingz" as a part of Minaj's upcoming fourth studio album Queen (2018) and made available for streaming and digital download on April 12 by Young Money Entertainment and Cash Money Records.[2][3] The release of songs landed on the 10th-year anniversary of Minaj's second mixtape, Sucka Free (2008).[5] On May 30, Minaj posted a video showing the making of the song, in preview of her upcoming documentary titled The Making of Queen (2018).[6]

text: Production[edit]

text:
Chun-Li (2018)

A sample of the song, where the second interlude and the chorus can be heard.
Problems playing this file? See media help.

text: "Chun-Li" was produced by Atlanta-native producer J. Reid for Chevi Muzic, alongside Minaj who was credited as a co-producer. According to him, Minaj wanted to deliver the type of "boom-bap" flavored beats that are reminiscent of New York City hip hop. The song is sonically built on slapping, percussion and sparse soundbeads. Minaj linked with Reid in late December 2017, and later explained to him what kind of beat she wanted for the song: she proceeded to rap it and give him the vibe. He made about 13 different beats and Minaj picked out one of them. The song was done in early April 2018, including writing, production, mixing and mastering.[5]

text: Lyrically, Minaj "rails" against online haters in the track. "They need rappers like me! So they can get on their fucking keyboards and make me the bad guy, Chun-Li." she declares in the second interlude.[7]

text: Music videos[edit]

text: A vertical music video for the song was released on April 13, 2018, via Minaj's YouTube channel. It is a video montage of videos filmed by Minaj while holding her phone vertically. In the visual, Minaj recites the lyrics of the song while posing on a couch, but relinquishes control of her phone for a couple of runway-like shots.[8]

text: On April 27, Minaj released a teaser to promote the official music video. However, she confirmed on her Instagram that the teaser was not related in any way to the music video and is rather a video of her and Aliya Janell, the choreographer of the official video, doing a freestyle dance to the song.[9]

text: The full accompanying video of the song was released on May 4.[10] It was directed by Steven Klein of Good Company Pictures.[11] It features Asian futuristic/superhero-inspired outfits.[12] Its music video won the Best Hip-Hop Video Award at the 2018 MTV Video Music Awards.[13]

text: Critical reception[edit]

text: Bianca Gracie of Billboard said "Minaj sounds cocky in the best way […] she resurrects her Nicki the Ninja alter-ego by assassinating the horn-driven beat with her lyrical wordplay, switching accents with ease."[14] Jon Caramanica of The New York Times said, "these are sparring records–loose, pugnacious, a little uncentered […] "Chun-Li" swaggers with the authority of the mid-90s. As is the norm, Ms. Minaj aims shots at unnamed antagonists, but in the past, that bluster felt truly targetless. But now, for the first time since the beginning of her career, there's someone who might plausibly shoot back, and win."[15] John Kennedy from XXL said the song is "open enough for Nicki [Minaj] to get her bars off à la her mixtape days."[5]

text: Commercial performance[edit]

text: "Chun-Li" debuted at number 92 on the US Billboard Hot 100 after a day of tracking, with 20,000 downloads sold and 3.5 million streams, and four days of radio airplay.[16] It ascended to number 10 the following week, selling 38,000 copies and earning 22.1 million streams.[17] The song became Minaj's sixth top 10 entry as a lead artist–and her first solo single to enter that region since "Anaconda" in 2014–and 16th overall, extending her record for most top 10 singles among female rappers.[18] "Chun-Li" also logged the greatest jump on the Hot 100, 82 positions, since Katy Perry's "Roar" (2013) jumped 83 spots following a full tracking week.[17] It fell 38 positions to number 48 in its third week.[19] On its fifth week, the song re-entered the top 20 of the chart jumping to number 19. It was certified platinum by the Recording Industry Association of America (RIAA) on July 30, 2018 for 1 million equivalent units moved.[20]

text: Outside the United States, "Chun-Li" reached the top 20 in Canada and the top 30 in France and the United Kingdom.

text: Live performances[edit]

text: Minaj first performed "Chun-Li" live during Future’s set at Rolling Loud Festival in Miami on May 13, 2018.[21] She also performed the song during her Saturday Night Live season finale appearance on May 19.[22] She performed a medley of "Chun-Li" and "Rich Sex" on the BET Awards 2018 held on June 23.[23]

text: Other versions[edit]

text: American rappers Juelz Santana,[24] BlocBoy JB,[25] and Baby Soulja[26] recorded their own freestyles over the song's beat.

text: Credits and personnel[edit]

text: Credits and personnel adapted from Queen album liner notes.[27]

text: Recording

text:
Recorded at Glenwood Place Studios, Burbank, California
Mastered at Chris Athen Masters, Austin, Texas

text: Personnel

text:
Nicki Minaj – vocals, co-production
J. Reid – production
Aubry "Big Juice" Delaine – record engineering
Laura Bates – record engineering assistance
Iván Jiménez – record engineering assistance
Chris Athens – mastering

text: Charts[edit]

text:
Chart (2018)

Peak position

Australia (ARIA)[28]

54

Canada (Canadian Hot 100)[29]

18

France (SNEP)[30]

30

Ireland (IRMA)[31]

65

New Zealand Heatseekers (RMNZ)[32]

2

Portugal (AFP)[33]

100

Scotland (Official Charts Company)[34]

23

Sweden Heatseeker (Sverigetopplistan)[35]

9

Switzerland (Schweizer Hitparade)[36]

99

UK Singles (Official Charts Company)[37]

26

US Billboard Hot 100[38]

10

US Hot R&B/Hip-Hop Songs (Billboard)[39]

6

US Rhythmic (Billboard)[40]

7

text: Certifications[edit]

text:
Region

Certification
Certified units/Sales

Canada (Music Canada)[41]

Gold

40,000^

United States (RIAA)[42]

Platinum

1,000,000

^shipments figures based on certification alonesales+streaming figures based on certification alone