question_text: who plays the young jack sparrow in the new pirates of the caribbean movie

text: Plot

text: Twelve-year-old Henry Turner boards the Flying Dutchman and informs his father, Will Turner, that the curse which binds Will to the Dutchman and only permits him to step on land once a decade can be broken by the Trident of Poseidon. Henry intends to recruit Captain Jack Sparrow to help find it, but Will believes this is impossible and orders Henry to leave. Will and the Dutchman then disappear into the sea, but Henry vows to find Jack and the Trident.

text: Nine years later, Henry is a sailor in the British Royal Navy. The ship sails into the supernatural Devil's Triangle and stumbles upon the wreck of the Silent Mary, whose ghostly crew led by Spanish pirate-hunter Captain Salazar attack. Salazar spares Henry's life to deliver a message to Jack: Salazar is coming for him.

text: In Saint Martin, a young astronomer and horologist named Carina Smyth is sentenced to death for witchcraft but escapes and briefly crosses paths with Jack as he and his crew spectacularly blunder a bank robbery. Having suffered years of such bad luck, Jack's crew lose faith and abandon him. Depressed, Jack trades his magical compass for a drink. However, this betrayal of the compass frees Salazar and his crew from the Devil's Triangle. Carina learns Henry is looking for the Trident's location and offers to help him using her unknown father's diary. Carina and Jack are captured and face execution, but are saved by Henry and Jack's crew, setting sail on the Dying Gull. Carina deciphers clues that the stars will lead to an island where the Trident is hidden.

text: Meanwhile, Captain Barbossa hears from his pirate crew that the revived Captain Salazar has killed several pirates at sea, and learns that the Trident could lead him to a new "treasure". Barbossa sets off to find the Trident, until Salazar and his crew appear and destroy Barbossa's fleet. Barbossa manages to talk his way out of being killed by offering to help find Jack. Salazar agrees, wanting revenge on the pirate that caused his demise. Salazar pursues the Dying Gull, forcing Jack, Henry, and Carina to flee to an island, discovering that Salazar's crew cannot go on land. After saving Jack from a forced marriage, Barbossa allies himself with Jack, returning his compass and restoring the miniaturized Black Pearl, trapped in a bottle by Blackbeard, to its original size. They all continue their journey to the Trident's island, with Barbossa taking command of the Pearl once more. During the voyage, Jack and Barbossa realize Carina is the latter's long-lost daughter. Barbossa tells Jack that he had left her at an orphanage with his diary so she could live a better life, and refuses to tell her the truth so she will continue to believe her father was an astronomer.

text: Approaching the Trident's island, the Pearl evades a British Navy warship, which is destroyed by the Silent Mary before the Pearl runs aground on the island. Jack, Barbossa, and Carina use the island's magic to part the ocean and open a path to the Trident's location on the ocean floor. Salazar captures Henry and demonically possesses his body in order to walk on the ocean floor and seize the Trident. Once he does so, Henry is given his body back and decides to destroy the Trident, breaking all curses upon the sea and restoring Salazar's crew to life. However, the divided sea begins to collapse in on itself. The Pearl lowers its anchor to lift them to safety, but Salazar pursues them, still hell-bent on killing Jack. Carina realizes that Barbossa is her father when she spots a tattoo on his arm identical to the diary's cover. Barbossa sacrifices himself to kill Salazar, allowing the others to escape alive.

text: Some time later, Henry and Carina reach Port Royal, where Will appears, free from the Dutchman. His wife, Elizabeth, appears moments later and the Turner family reunites. Henry and Carina begin a relationship as well. Jack watches from the Pearl in faux-disgust before sailing away into the horizon, having been accepted by his crew as their captain once again.

text: In a post-credits scene, Will appears to have a nightmare where a resurrected Davy Jones enters his room, oblivious that Jones left a trace of wet barnacles on the floor beneath he and Elizabeth.

text: Cast

text:
Johnny Depp as Captain Jack Sparrow:[10]
Rønning wanted to focus on relatable characters, as in the first film, "where Jack is not the [lead ... but] comes in and crashes the party every now and then,"[11] and to make use of Depp's "comedic genius".[12] The film examines Jack's backstory, with the young Jack portrayed by Anthony De La Torre,[13] whose face was replaced by a CGI replica of Depp as he looked in 21 Jump Street and What's Eating Gilbert Grape.[14] Rønning felt de-aging Depp was tricky against the canon of the franchise.[15]
Javier Bardem as Captain Armando Salazar:
Bardem set out to imbue the character with "a rage based on dented pride," owing to his spectacular fall, from a high-ranking commander of a Spanish fleet to being betrayed and trapped in hell by Jack.[16] With Salazar's body language, he tried to convey a bull in an arena, "full of rage and need of vengeance, but also wounded."[17] It took three hours a day to apply the make-up, which Bardem referred to as having "cold chicken breasts" glued to his face.[18]
Geoffrey Rush as Captain Hector Barbossa:[19]
Barbossa has become extremely wealthy since the previous film, with Rush referring to him as a "corporate pirate," having amassed a fleet of ships under his command and encrusted his peg-leg with jewels.[20]
Brenton Thwaites as Henry Turner:[21][1]
The directors were keen to draft a new protagonist relationship with Henry and Carina, stating that "in the middle of a big action scene, you need to be able to lean on the characters and find the heart of that story, and channel the characters' vulnerability." Rønning noted that identity is a major theme in the film, and to Henry and Carina's story arc: "they are on a similar quest and find common ground in looking for who they are."[12] Lewis McGowan portrays a young Henry.[22]
Kaya Scodelario as Carina Smyth:[1]
A headstrong, altruistic astronomer. Scodelario explained the character's motivation and role, saying, "she is an academic, she's fighting for the right to study at university because women couldn't at that time."[23] For the directors, it was important to "modernise it with Henry and Carina, Kaya, especially brought that with her. She's a modern woman."[11] Scodelario worked with scriptwriter Jeff Nathanson to ensure the character was unique to the series[16] and not a copy of Elizabeth Swann.[24] She said that female characters often "fall into two camps; they are either pretty and perfectly put together or completely insane. Carina has definitely got a little bit of both."[16]
Kevin McNally as Joshamee Gibbs:[1]
Captain Jack's loyal friend and first mate.
Golshifteh Farahani as Shansa:[1]
A sea-witch and ally of Captain Barbossa.
David Wenham as Lieutenant John Scarfield:
The second antagonist of the film and a British Royal Navy officer, who commands the HMS Essex.[25]
Stephen Graham as Scrum:[1]
A member of Jack Sparrow's crew and former member of Blackbeard's crew.
Martin Klebba as Marty:[26]
A member of Jack Sparrow's crew.
Giles New and Angus Barnett as Murtogg and Mullroy:
Former Royal Marines turned pirates, who serve as Barbossa's right-hand men on board the Queen Anne's Revenge.[26]
Orlando Bloom as Captain William "Will" Turner Jr.:
A blacksmith-turned-pirate who was transformed into the Captain of the Flying Dutchman at the end of At World's End. Speaking in late 2014 about his possible return to the franchise, Bloom stated that he would like to portray a character outside of his usual role types as a good-looking hero, alluding to the make-up requirements for Davy Jones.[27]

text: Additionally, Keira Knightley briefly appears at the end in a non-speaking role as Elizabeth Swann,[28] Will's wife and Henry's mother. Adam Brown, Danny Kirrane, and Delroy Atkinson appear as members of Jack's crew, and in the prison scene, Paul McCartney briefly appears as Jack's paternal uncle, Uncle Jack.[29][29][29][30][31] Alexander Scheer plays a young Captain Edward Teague in a flashback sequence. A silhouette of Davy Jones, one of the series' former villains, is seen in the post-credits scene, but his portrayer Bill Nighy stated that he was not informed about the character's appearance.[32] Pablo and Chiquita reprised their role as Jack the Monkey.

text: Production

text: Development

text: Shortly before the release of On Stranger Tides in 2011, the cast and crew of the fourth film were told to set aside time in the near future, because Walt Disney Pictures intended to shoot a fifth and sixth film back-to-back.[33] However, it was later stated that only a fifth film was in the works. Terry Rossio wrote a script for a fifth film without his partner Ted Elliott.[34] Rob Marshall was rumoured to return to direct,[35] but declined after choosing to direct Into the Woods[36] (2014),[37] a Disney project starring Johnny Depp. After Marshall passed on the film, many directors were rumored to take over, including Gore Verbinski, who was responsible for the original three films.[38] Verbinski ultimately passed on the project, feeling that "there's no reason other than financial" in making the film.[39] The eventual shortlist included Fredrik Bond, Rupert Sanders, and the eventual choice, Norwegian film duo Joachim Rønning and Espen Sandberg.[40] The studio chose them based on their Academy Award-nominated high-sea film Kon-Tiki, and their ability to work with a limited budget.[41]

text: Rossio's script draft was ultimately rejected, and the writer stated that a major reason was its use of a female villain, which made actor Johnny Depp "worried that would be redundant to Dark Shadows, which also featured a female villain."[42] In January 2013, Disney hired Jeff Nathanson to work on a script.[43] Rønning and Sandberg said they were particularly moved by Nathanson's "funny and touching" script,[44] which convinced them to sign to direct in May,[45] Rønning believing that the script was "all there" but needed scenes to "carry the tradition of Gore Verbinski, bring the emotional core and big action set pieces."[12] In August, Rønning and Sandberg revealed that the title would be Dead Men Tell No Tales.[46] However, the following month producer Jerry Bruckheimer said, "We have an outline everyone loves but the script is not done," explaining that the release would be postponed beyond summer 2015.[41] The studio questioned Depp's bankability following the financial losses of The Lone Ranger in 2013,[47] and the screenplay's first drafts were not approved by Walt Disney Studios chairman Alan Horn, who was concerned about the finished product.[48] Bruckheimer revealed that script and budget issues were behind the delay, and that Nathanson was at work on a second draft, based on a well-received outline, saying they needed a script and budget everyone would approve.[41] Depp was also invited to collaborate on the script, with the actor believing it would be the last of the franchise and wanting to end it right.[49] After the script was accepted, the film was officially green-lit by Disney in July 2014, with a planned release on July 7, 2017.[50]

text: The directors were inspired by the first film, The Curse of the Black Pearl,[44] stating that the original is thrilling but above all a comedy with heart, and wanted to reinvent the "structure and the dynamics between the characters." In addition to recapturing the best of previous franchise installments, the directors had the works of Charlie Chaplin and Buster Keaton in mind when crafting the tone of the film.[12] The pair wanted the film to be the "most emotional" of the series, and to explore the roots of Jack Sparrow.[51] They decided to use Jack's compass as the "key to unlock Salazar from his hellish prison in the Triangle," and toned down some of the fantastic elements "to ground it, even in Pirates Of The Caribbean."[52] Geoffrey Rush argued that the pair brought "Euro sensibility to traditional Hollywood franchise thinking,"[53] while Orlando Bloom believed that they had "recaptured the simplicity and charm" of the original film.[54] Kaya Scodelario said that the producers wanted to take the franchise back to its origins, with a story that gave characters a conclusion while opening new possibilities.[55] Along with the directors and writers, many of the crew members were new to the franchise, replacing those who had served on the previous four films, with the exception of Bruckheimer, costume designer Penny Rose, and executive producer Chad Oman.[1][56]

text: Casting

text: Speaking at the On Stranger Tides press launch in Cannes, Depp said he would play the role so long as it is popular with the public.[57] In August 2012, news surfaced that Depp had signed for the fifth film, earning A$90,000,000 to reprise his role.[10] One month later, Penélope Cruz stated that in spite of her enjoying playing Angelica in On Stranger Tides, she had not been contacted regarding a fifth film.[58] Geoffrey Rush had commented on returning as Hector Barbossa in the fifth installment, saying "If they keep shapeshifting this character, absolutely," and implied that he might return as the villain.[59] In December 2014, Rush confirmed his return for the fifth installment, with Barbossa and Jack being "at the heart of it and there's a whole new set of story lines."[19] In late 2011, about four years after choosing not to return for the fourth installment, Orlando Bloom stated that he would like to return for a fifth film, if offered.[60] Several weeks after Disney officially green-lit the film, Bloom stated that there were "discussions" about his return to the franchise in September 2014.[61] Bloom further commented in December 2014, saying that while he was not sure whether he would return, there were talks. He also indicated that Disney could make a soft reboot with the franchise and focus on Will Turner and his son.[27] Bloom's participation was kept secret until the Disney D23 in 2015, after filming had wrapped.[62] Once the filmmakers started working with Bloom, they decided that they needed to reunite the character with his wife, Elizabeth. To ensure that Keira Knightley could reprise this role, the production moved for a one-day shoot in London, where she was working.[52]

text: On December 2, 2013, it was reported that Christoph Waltz was in talks to appear as the film's main antagonist,[63] but he later declined. The villain was eventually portrayed by Cruz's husband, Javier Bardem.[64] In 2014, Bardem signed on to portray Armando Salazar, who in early scripts was referred to as Captain John Brand.[1] Bardem had liked the working environment of the fourth movie, which he witnessed accompanying his wife, and stated he was also a fan of the franchise and of Depp's performance as Jack Sparrow.[65] Australian actor Brenton Thwaites entered talks for the role of Henry in late November 2014,[66] after Disney chose him over Taron Egerton, George MacKay, Mitchell Hope, Ansel Elgort and Sam Keeley.[67]

text: Kaya Scodelario was chosen as the female lead out of a shortlist that included Gabriella Wilde, Alexandra Dowling, Jenna Thiam, and Lucy Boynton.[68] Her character, Carina, is an astronomer accused of being a witch. Scodelario confirmed that she was playing "a totally different character" from Elizabeth Swann, and also that she will be Henry's love interest,[24][69] given in earlier drafts she was envisioned as a love interest of Sparrow.[70] Kevin McNally confirmed his return as Joshamee Gibbs in late January.[26] Shortly after on-location pre-production opened in Australia, Disney issued a casting call to local agents for actors from all ages and experience levels to apply for roles, and as extras in the upcoming film, with casting also open in the US.[71] Adam Brown, Delroy Atkinson, and Danny Kirrane were revealed as cast members shortly before filming.[29] As filming begun, two actors from the previous films were confirmed to return, Martin Klebba as Marty[72] and Stephen Graham as Scrum.[73] Director Joachim Rønning's two children appear in the film as extras.[74] Keith Richards expressed interest in reprising his role as Captain Teague,[75] but was unavailable, leading Depp to invite Paul McCartney into appearing as Jack Sparrow's uncle (also named Jack).[76]

text: Other actors had expressed interest in reprising their roles from the previous films, such as Tia Dalma portrayer Naomie Harris,[77] and Greg Ellis, even if his character Theodore Groves appeared to die in the previous film.[78] Both Lee Arenberg and Mackenzie Crook commented on the possibility of returning as Pintel and Ragetti.[79] In an interview on November 7, 2014, Crook confirmed that he had received a call of availability from Disney for the film,[80] though he later declined in order to focus on his television series Detectorists.[81] He said he had felt "pangs of nostalgia" when the cast and crew filmed without him.[82] Arenberg, who also had a television commitment, to Once Upon a Time, added that he felt like the producers "weren’t really trying to court us like they really wanted us."[83]

text: Filming

text: Directors Joachim Rønning and Espen Sandberg originally stated that shooting would take place in Puerto Rico and New Orleans,[84] and Bruckheimer had previously mentioned that there might be a sequence in Louisiana.[85] However, a spokesman for Australian Arts Minister George Brandis confirmed that the fifth installment was set to shoot exclusively in Australia, after the government agreed to repurpose $20 million of tax incentives, originally intended for the remake of 20,000 Leagues Under the Sea; thus edging out Mexico and South Africa as filming locations.[86] According to Australian film industry sources, on location pre-production started in late September 2014, and its cost was set at around $250 million.[87] Filming took place exclusively in Queensland, Australia, as the largest production to ever shoot in the country. Village Roadshow Studios and the Whitsunday Islands were officially confirmed as filming locations.[88] On January 1, 2015, The Rainbow Gypsy, a 15-year-old replica of an 1897 Scottish bawley, underwent an extensive refit at the Gold Coast, including a new bowsprit, and reconfigured decks and cabins, for filming as the Dying Gull. Its captain and owner, Kit Woodward, was a rigger on the film.[89]

text: Filming commenced on February 17, 2015.[1] Ship scenes were filmed in front of a giant outdoor greenscreen in Helensvale,[90] while a film set in the form of a village was built in Maudsland.[91] Because the greenscreens' height blocked the sunlight, containers with inflatable bluescreens mounted on top were added to the set to allow some light to enter.[92] While an initial draft of the script featured six ships, the end product had eleven vessels; to cut costs, most of these were partial constructs later enhanced by computer graphics, with some built atop an hydraulic rig to mimic the movement of seafaring while on land. The camera crew, led by director of photography Paul Cameron, also made extensive use of drones, to capture immersive views at sea without resorting to aerial footage or cranes.[14][93]

text: Filming moved to Doug Jennings Park on The Spit from March 30 to June 15 for water-bound scenes.[94] However, due to extreme sea sickness among the cast and crew from the "big swells," filming moved to Raby Bay for calmer waters.[95][96] Scenes were shot at Byron Bay on June 1. Locals made up more than 75 percent of the 850-plus crew then working on the film.[97] After much speculation about whether Orlando Bloom would return, Bloom arrived at the Gold Coast in late May to reprise his role as Will Turner.[98][99] Scenes featuring a skeleton of a sperm whale that had been constructed were shot at Hastings Point from June 21 to 23.[100]

text: A number of issues and controversies set back the film during its production. The biosecurity laws in Australia posed problems regarding the capuchin monkeys that portray Hector Barbossa's pet monkey Jack, because the animals are regarded as a category 1 pest and call for strict requirements and a 30-day quarantine.[101] Further controversy erupted from animal rights activist groups, who urged Federal Environment Minister Greg Hunt to reject the entry application, arguing that the long air-flight would affect their health, and that their performance was unnatural and would create demand for illegal wildlife trade.[102] One of the monkeys caused further disruption when it wandered off set at Movie World, and bit the ear of a make-up artist on another production.[103] Crew and cast members were forced to cover the camera lenses on all mobile phones with duct tape to prevent the film from being pirated before its release. To prevent fans from interfering with the production, secret filming locations used the production name of "Herschel" to hide the fact it was the fifth Pirates of the Caribbean film.[104] Following the attempt of an armed man trying to bypass security, the already tight security was increased.[105]

text: On March 10, 2015, Depp was injured off set and had to be flown to the United States for surgery.[106] Due to his absence, filming stalled completely and 200 crew members were forced to stand down for two weeks, after finishing all they could do without Depp.[107] Filming was set to resume "on or about April 20,"[108] and Depp returned to set on April 21.[109] In June, Kaya Scodelario was injured on set along with a stuntman.[110] In early July, dismantling of the sets at The Spit had began.[111] Most of the cast and crew had finished on July 8, and a wrap party was held on July 11.[112] Filming then moved to the Whitsundays for the final shots.[111][113] On July 21, 2015, Rønning announced that filming had wrapped after a 95-day shoot.[114] After nearly a year in post-production, reshoots and additional photography were conducted in Vancouver, Canada from March 24 to April 13, 2016, under the production title "Herschel Additional Photography."[115]

text: Music

text: This was the first film in the series that Hans Zimmer did not compose the music for. Instead, the main composer is one of his protégés, Geoff Zanelli, who had worked on the previous four installments in the franchise.[116] Zanelli said that Zimmer "redefined the sound of the entire genre" and considered it a great accomplishment to have worked with him and Bruckheimer. He used this experience with the franchise to build a new sound for the film.[116] He stated that "you don't have to modernize the melodies, those are timeless," and only tried to make the sound more modern by featuring an electric cello to create a menacing leitmotif for Salazar.[117] As it took more than a year for the film to start production following Zanelli being hired, he accompanied the script's evolution, and was familiar with the character arcs that he would need to translate in their theme songs. Zanelli always started writing the music on the piano, namely a synthesized orchestra.[118] The film's soundtrack was released on May 26, 2017.[119]

text: Post-production

text: Work on the film concluded on April 19, 2017.[120] Editing was a collaboration between Roger Barton and Leigh Folsom Boyd, with the latter detailing that "Roger started from the beginning of the film and I started from the end, and we kind of met in the middle." Boyd added that it was the longest post-production process she was ever involved with, as Disney wanted to give "the support and leeway we needed to tell the story and allow for the complex visual effects to bake."[121] The editors worked closely with the previsualization team to, according to effects supervisor Gary Brozenich, "give meat to the bones of the plates that needed effects explanation as well as any new CG beats that would be added later." Along with the post-production team in Los Angeles, Brozenich had to split his time going to the UK and Montreal, to check on the eight companies handling the film's 2,000 visual effects shots, with 150 of them consisting only of computer graphics. The primary vendor was Brozenich's own employer Moving Picture Company (MPC).[92][122] Among MPC's work were Salazar's undead pirates, whose on-set footage was mostly replaced by CGI to achieve missing body parts and floating hair and clothing. Brozenich stated that what was kept of the original actors was "their run, gait and faces." To provide reference for the floating parts, which were meant to resemble a perpetual drowning state, a stuntman in full costume and wig was filmed underwater in a swimming pool performing various actions.[14]

text: Atomic Fiction handled the scenes at St. Martin, turning the few blocks of buildings built on set into more than 600 CG buildings, surrounded by a jungle environment. The work combined references from both the Caribbean and Thailand, and enhanced through CGI both the guillotine on which Jack Sparrow is nearly executed and the bank from the heist scene; the bank was meant to look as if its foundations were dug through the ground instead of sliding on the surface.[123] Along with sea footage filmed in both the Australian sets and Key West, Florida, there was extensive usage of water simulations, with the artists using the Beaufort scale to ensure the waves and wind realistically matched.[92]

text: Release

text: Dead Men Tell No Tales had its world premiere at the Shanghai Disney Resort on May 11, 2017.[2] In several countries, including the United Kingdom, the film was released as Pirates of the Caribbean: Salazar's Revenge,[124] a decision that the directors were not informed about.[52] It was released at cinemas in Italy[125] and Norway on May 24,[126] and in the United States, Canada, and China on May 26.[127] It is the first Hollywood feature to be released in the United States for the new panorama-like ScreenX format, which played in two locations in the U.S.—CGV Buena Park and CGV Cinemas—both in Los Angeles, California. Additionally, it played in 81 screens at select theaters in Korea, China, Thailand, Vietnam, Turkey and Indonesia. The film also played in 4D on 373 4DX screens worldwide.[128] The film was released in IMAX in an expanded 1.9:1 aspect ratio.[129] It was Disney's third wide release of the year, following Beauty and the Beast and Guardians of the Galaxy Vol. 2.[130]

text: Shortly before release, Dead Men Tell No Tales was allegedly stolen by a group of piracy hackers, who demanded a large sum of money from Disney in order for them not to leak the unreleased film. The company refused to do so and worked with the FBI in order to uncover the identity of the group.[131] Disney CEO Bob Iger reported that hackers did not steal their movie.[132]

text: Marketing

text: A robust marketing effort helped promote Dead Men Tell No Tales.[133] The film was first showcased at the Disney D23 Expo 2015, where Depp appeared in costume as Jack Sparrow and the film's logo was revealed, with Orlando Bloom confirmed to be starring in the film.[134][135] Elizabeth Rudnick was self-confirmed to novelize the film, describing it the film as bringing back the series' initial sensibility, while returning Jack Sparrow to "all of his swaggering glory."[136] A tie-in prequel expanding the backstory of the character Carina Smyth was also released, titled Pirates of the Caribbean: Dead Men Tell No Tales – The Brightest Star in the North.[137] The film was showcased at the 2016 Walt Disney Content Showcase in South Africa, where concept art, story details and on-set images were previewed.[138]

text: The first teaser trailer was released on October 2, 2016, during Fear the Walking Dead, and showcased Armando Salazar hunting for Jack Sparrow, who is shown on a wanted poster.[139] On January 27, 2017, Disney uploaded an eight-second motion poster to their official Instagram account, promoting the release of a television spot of the film during Super Bowl LI.[140] Disney then released a 30-second television teaser at Super Bowl LI, with an extended version released online set to Johnny Cash's "Ain't No Grave". The trailer was considered to be the "big" trailer of the event and was the most-viewed trailer of all the films advertised at the halftime show. A new teaser poster was released with the trailer. Both teasers received a highly positive reaction from audiences.[141][142] The official trailer was released on March 2.[143] Another trailer was released on March 25.[144] The first 30-second TV spot was released on March 31. On April 21, at Disney Parks and on the four Disney cruise ships, Disney showcased a sneak peek of the film.[145] Disney premiered a 5-minute extended sequence of the film in front of the UK release of Marvel's Guardians of the Galaxy Vol. 2, on April 28.[146][147]

text: Home media

text: Pirates of the Caribbean: Dead Men Tell No Tales was released on digital download by Walt Disney Studios Home Entertainment on September 19, 2017, and on Blu-ray, Ultra HD Blu-ray and DVD on October 3.[148] It was the top home-media release in its first week, with the Blu-ray version accounting for 78% of sales, and brought the previous four films back into the 25 best-sold Blu-rays.[149]

text: Reception

text: Box office

text: Pirates of the Caribbean: Dead Men Tell No Tales had a worldwide opening of $271.4 million from 55 markets, with $24 million coming from 1,088 IMAX screens.[150] The film's six-day opening gross pushed the franchise gross past the $4 billion mark.[151] The film grossed $172.6 million in the United States and Canada, and $622.3 million in other territories, for a worldwide total of $794.9 million, against a production budget of $230 million.[4] Despite being the lowest-grossing film of the series in the US by nearly $70 million, the film became the highest-grossing entry of the Pirates franchise internationally when going by modern foreign-exchange rates, passing On Stranger Tides, which grossed $593.4 million at current rates.[152] The largest-earning foreign markets were China ($172.3 million), Japan ($59.5 million), and Russia and the CIS ($40.7 million), where it was the second-highest-grossing film behind Avatar.[153] Despite weak US totals, Deadline.com noted the film should turn a net profit of around $280 million after factoring together all expenses and revenues.[154]

text: North America

text: Dead Men Tell No Tales debuted over the four-day Memorial Day opening weekend, being released in 4,276 theaters, of which over 3,100 were 3D, taking advantage of formats such as IMAX, D-Box and 4DX.[155] The film earned $23.4 million on its first day, including $5.5 million from previews. It was the lowest opening day of the franchise.[156] It grossed $63 million over three days, and $78.5 million over four (Friday–Monday), finishing first at the box office, ahead of Guardians of the Galaxy Vol. 2 and fellow newcomer Baywatch.[157][158] It was the second-smallest opening weekend of the franchise, only earning more than the first film, with each of the other installments earning at least $90 million.[159] Despite the film registering the highest test score in the series,[160] the opening came in well below expectations of $80–115 million.[161][162] Analysts attributed the underperformance to negative reviews, franchise fatigue, and Johnny Depp's diminishing returns and depreciating public image, amid his personal problems. Still, it performed better than Disney's previous Memorial Day releases (Prince of Persia: The Sands of Time, Tomorrowland and Alice Through the Looking Glass),[5][163][164] and studio executives said they were pleased with the movie's opening,[151] which helped Disney push past $1 billion in the US.[165]

text: The film fell by a total of 65% in its second weekend, the worst of the series, grossing $22.1 million,[166] and finishing in third place, after newcomers Wonder Woman ($103.3 million) and Captain Underpants: The First Epic Movie ($23.9 million).[167] It remained in the top ten for four more weeks.[168][169]

text: Outside North America

text: Internationally, where it is marketed as Salazar's Revenge in most countries, the film was released day-and-date with its North American debut in 54 markets (91% of its total marketplace, except Japan, where it debuted on July 1).[170] Preliminary reports had the film opening to $150–175 million, but possibly overperforming depending on major markets, most notably China.[155][171] While its Chinese run benefited from the May 28–30 Dragon Boat Festival—a lucrative moviegoing period—and from International Children's Day (June 1),[172][173] the 2017 Manchester Arena bombing had a deteriorating effect on certain European markets over the film's opening weekend.[174] From Wednesday to Friday, it registered an opening of $208.8 million. Around $14 million of that came from IMAX screenings, the second-biggest international IMAX opening in May, after Captain America: Civil War.[150] Similar to its US plunge, it earned $73.8 million in its second weekend, falling to second place, behind Wonder Woman.[175]

text: It recorded the biggest opening day of the year in several markets, including Germany ($3.6 million), Austria, France ($2.3 million), Finland, Sweden, Belgium, Thailand ($400,000), Indonesia, Malaysia and the Netherlands ($900,000, the second-biggest Disney opening, behind Star Wars: The Force Awakens).[174][176] Russia posted the biggest opening of all time with $18.4 million ($18.6 million including previews).[150][165][177][178] In China, where the film had its global premiere, it earned $21.3 million on its opening day, the fourth-biggest Disney opening in the country. It had an 87% marketshare and had already surpassed the entire earnings of Pirates of the Caribbean: At World's End.[179] Earning a total of $67.9 million, it registered the third-highest three-day for any Disney title, and a much-higher opening than the US.[150] The film did extremely well in IMAX, earning $9 million from 401 screens from Friday to early Monday bookings. The robust opening has been attributed to the Dragon Boat Festival, Depp's star power, the ubiquity of the franchise, the impact of Shanghai Disneyland Park, and good word of mouth, with a score of 7.5/10 on reviews aggregator Douban and 8.7/10 on top mobile-ticketing platform Weying.[180][181] The film's final release market was Japan (July 1), where it opened at number one, achieving the highest-grossing opening for a Western film of the year, earning $9.25 million over the July 1–2 weekend.[182] It retained the box office lead for one more week, and was the highest-grossing foreign film in the following weekend.[183]

text: Critical response

text: Dead Men Tell No Tales received mixed reviews.[184][185] On Rotten Tomatoes, the film has an approval rating of 30%, based on 239 reviews, and an average rating of 4.7/10. The site's critical consensus reads, "neither a change in directors nor an undead Javier Bardem is enough to drain this sinking franchise's murky bilge."[186] On Metacritic, the film has a weighted average score of 39 out of 100, based on 45 critics, indicating "generally unfavorable reviews".[187] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, while comScore reported filmgoers gave it an 82% overall positive score.[159]

text: Mike Ryan of Uproxx criticized what he termed as a convoluted plot and overabundance of characters, resulting in a film that was "practically incoherent."[188] Writing for Rolling Stone, Peter Travers called the film "bloated, boring, repetitive and draining" and gave it one star out of four.[189] Ignatiy Vishnevetsky of The A.V. Club wrote that the film echoes the first three of the franchise, "in which Johnny Depp's louche and campy Jack Sparrow played second banana to an insipid love story... the two romantic leads [...] succeed only in making the shortest movie in the series seem just as long as the rest."[190] A. O. Scott of The New York Times said of the film, "Its pleasures are so meager, its delight in its own inventions so forced and false, that it becomes almost the perfect opposite of entertainment."[191] Michael O'Sullivan of The Washington Post remarked that the film was "loud, overstimulating and hard to take in all in one sitting."[192] Mick LaSalle of San Francisco Chronicle found the film to be "a jumble of half-baked impulses" that had been forced into a played-out franchise.[193]

text: Richard Roeper of Chicago Sun-Times gave the film 3 out of 4 stars, saying: "Dead Men works well enough as a stand-alone, swashbuckling comedic spectacle, thanks to the terrific performances, some ingenious practical effects, impressive CGI and a steady diet of PG-13 dialogue peppered with not particularly sophisticated but (I have to admit) fairly funny sexual innuendo."[194] Pete Hammond of Deadline.com praised the film, calling it "the most entertaining installment," and giving credit to Rønning and Sandberg for creating a "rollicking good time". He praised the visual effects, particularly Salazar and his crew, arguing that the film should be in line to receive an Academy Award for Visual Effects. He also gave high praise to Bardem for being able to create such a "fully dimensional villain" under the layers of make-up and CGI, and Depp for keeping the film and franchise going.[195] Leah Greenblatt of Entertainment Weekly gave the film a 'B', praising the fun nature of the film and its visuals and calling it "gorgeously detailed swashbuckling nonsense," but wished that the script had taken more risks instead of following the formula used in previous films.[196] Ashley Esqueda of CNET gave the film a positive review, arguing that it brought the franchise back to what made its first two installments so fun, and praised Depp's performance as being "delightful as ever."[197] Brian Truitt of USA Today gave the film 3 out of 4 stars, saying "What was once a past-its-prime franchise seems to have found new life."[198] Mark Hughes of Forbes opined "Dead Men Tell No Tales isn't as good as the first three films, but it's better than the fourth," adding "it has mostly good performances, and a couple of great ones. It has fantastic visual effects, lots of humor that works, a lighthearted feel and sense of fun, and many terrific action set pieces."[199]

text: Accolades

text:
Award
Category
Recipients and nominees
Outcome

38th Golden Raspberry Awards
Worst Actor
Johnny Depp[note 1] as Captain Jack Sparrow
Nominated

Worst Supporting Actor
Javier Bardem[note 1] as Captain Armando Salazar
Nominated

Worst Screen Combo
Johnny Depp & his worn-out drunk routine[note 1]
Nominated

Teen Choice Awards
Choice Action Movie

Nominated

Choice Action Movie Actor
Johnny Depp & Brenton Thwaites
Nominated

Choice Movie Liplock
Orlando Bloom & Keira Knightley
Nominated

Choice Action Movie Actress
Kaya Scodelario
Nominated

Choice Movie Villain
Javier Bardem
Nominated

Choice Summer Movie

Nominated

text: Sequel

text: On March 4, 2017, director Joachim Rønning stated that Dead Men was only the beginning of the final adventure, implying that it would not be the last film of the franchise, and that a sixth film could be released.[201] The post-credits scene of Dead Men shows Will Turner, Elizabeth Swann, and Davy Jones.[202] In September 2017, producer Jerry Bruckheimer indicated that another Pirates sequel is still possible if Dead Men Tell No Tales does well in its home release.[203] In October 2017, the sixth film was confirmed and Kaya Scodelario said that she was contracted to return.[204] Shortly after, it was announced that Rønning is being eyed to return to direct the sequel.[205]


document_title: All Is Fair in Love and War

question_text: where did the phrase all is fair in love and war come from

root

text: All Is Fair in Love and War

text: All Is Fair in Love and War may refer to:

tag: p

text:
All Is Fair in Love and War (album), an album by Blessed by a Broken Heart
"All Is Fair in Love and War" (song), a song by Ronnie Milsap
"All is fair in love and war", a proverb attributed to John Lyly's Euphues

tag: ul

text:
This disambiguation page lists articles associated with the title All Is Fair in Love and War.
If an internal link led you here, you may wish to change the link to point directly to the intended article.

tag: table

text: Disambiguation pages

text: All article disambiguation pagesAll disambiguation pages


document_title: Digital cinematography

question_text: where is the footage recorded on most cameras

text: Digital cinematography

text: History[edit]

text: Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest high definition video shot feature movies, Julia and Julia (1987).[5]

text: Rainbow (1996) was the world's first film utilizing extensive digital post production techniques.[6] Shot entirely with Sony's first Solid State Electronic Cinematography cameras and featuring over 35 minutes of digital image processing and visual effects, all post production, sound effects, editing and scoring were completed digitally. The Digital High Definition image was transferred to 35mm negative via electron beam recorder for theatrical release.

text: The first digitally filmed and post produced feature film was Windhorse, shot in Tibet and Nepal in 1996 on a prototype of the digital-beta Sony DVW-700WS and the prosumer Sony DCE-VX1000. The offline editing (avid) and the online post and color work (Roland House / da Vinci) were also all digital. The film, transferred to 35mm negative for theatrical release, won Best U.S. Feature at the Santa Barbara Film Festival in 1998.

text: In 1998, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction in the market.[citation needed] Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment.[7]

text: In May 1999 George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. The digital footage blended seamlessly with the footage shot on film and he announced later that year he would film its sequels entirely on hi-def digital video. Also in 1999, digital projectors were installed in four theaters for the showing of The Phantom Menace. In June 2000, Star Wars: Episode II – Attack of the Clones began principal photography shot entirely using a Sony HDW-F900 camera as Lucas had previously stated. The film was released in May 2002. In May 2001 Once Upon a Time in Mexico was also shot in 24 frame-per-second high-definition digital video, partially developed by George Lucas using a Sony HDW-F900 camera,[8] following Robert Rodriguez's introduction to the camera at Lucas' Skywalker Ranch facility whilst editing the sound for Spy Kids. Two lesser-known movies, Vidocq (2001) and Russian Ark (2002), had also been shot with the same camera, the latter notably consisting of a single long take.

text: Today, cameras from companies like Sony, Panasonic, JVC and Canon offer a variety of choices for shooting high-definition video. At the high-end of the market, there has been an emergence of cameras aimed specifically at the digital cinema market. These cameras from Sony, Vision Research, Arri, Silicon Imaging, Panavision, Grass Valley and Red offer resolution and dynamic range that exceeds that of traditional video cameras, which are designed for the limited needs of broadcast television.

text: In 2009, Slumdog Millionaire became the first movie shot mainly in digital to be awarded the Academy Award for Best Cinematography[9] and the highest-grossing movie in the history of cinema, Avatar, not only was shot on digital cameras as well, but also made the main revenues at the box office no longer by film, but digital projection.

text: In late 2013, Paramount became the first major studio to distribute movies to theaters in digital format eliminating 35mm film entirely.[10] Anchorman 2 was the last Paramount production to include a 35mm film version, while The Wolf of Wall Street was the first major movie distributed entirely digitally.[10]

text: Technology[edit]

text: Digital cinematography captures motion pictures digitally in a process analogous to digital photography. While there is no clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is seldom applied when digital acquisition is substituted for video acquisition, as with live broadcast television programs.

text: Recording[edit]

text: Cameras[edit]

text: Professional cameras include the Sony CineAlta(F) Series, Blackmagic Cinema Camera, RED ONE, Arriflex D-20, D-21 and Alexa, Panavisions Genesis, Silicon Imaging SI-2K, Thomson Viper, Vision Research Phantom, IMAX 3D camera based on two Vision Research Phantom cores, Weisscam HS-1 and HS-2, GS Vitec noX, and the Fusion Camera System. Independent filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking.

text: Sensors[edit]

text: Digital cinematography cameras capture images using CMOS or CCD sensors, usually in one of two arrangements.

text: Single chip cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 16 or 35 mm film frame or even (as with the Vision 65) a 65 mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65 mm motion picture film cameras, which many cinematographers consider an essential visual tool.[11]

text: Video formats[edit]

text:
Unlike other video formats, which are specified in terms of vertical resolution (for example, 1080p, which is 1920×1080 pixels), digital cinema formats are usually specified in terms of horizontal resolution. As a shorthand, these resolutions are often given in "nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly

1024
n

{\displaystyle 1024n}

 pixels. Here the "K" has a customary meaning corresponding to the binary prefix "kibi" (ki).

text: For instance, a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide. Vertical resolutions vary with aspect ratios though; so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV or Academy ratio (4:3) is 2048×1536 pixels, and one with a Panavision ratio (2.39:1) would be 2048×856 pixels, and so on. Due to the "nK" notation not corresponding to specific horizontal resolutions per format a 2K image lacking, for example, the typical 35mm film soundtrack space, is only 1828 pixels wide, with vertical resolutions rescaling accordingly. This led to a plethora of motion-picture related video resolutions, which is quite confusing and often redundant with respect to nowadays few projection standards.

text: All formats designed for digital cinematography are progressive scan, and capture usually occurs at the same 24 frame per second rate established as the standard for 35mm film. Some films such as The Hobbit: An Unexpected Journey have a High Frame Rate of 48 fps, although in some theatres it was also released in a 24 fps version which many fans of traditional film prefer.

text: The DCI standard for cinema usually relies on a 1.89:1 aspect ratio, thus defining the maximum container size for 4K as 4096×2160 pixels and for 2K as 2048×1080 pixels. When distributed in the form of a Digital Cinema Package (DCP), content is letterboxed or pillarboxed as appropriate to fit within one of these container formats.

text: In the early years of digital cinematography, 2K was the most common format for digitally acquired major motion pictures however, as new camera systems gain acceptance, 4K is becoming more prominent. The Arri Alexa captured a 2.8k image. During 2009 at least two major Hollywood films, Knowing and District 9, were shot in 4K on the RED ONE camera, followed by The Social Network in 2010. As of 2017[update], 4k cameras are now commonplace, with most high-end films being shot at 4k resolution.

text: Data storage[edit]

text: Broadly, two workflow paradigms are used for data acquisition and storage in digital cinematography.

text: Tape-based workflows[edit]

text: With video-tape-based workflow, video is recorded to tape on set. This video is then ingested into a computer running non-linear editing software, using a deck. Upon ingestion, a digital video stream from tape is converted to computer files. These files can be edited directly or converted to an intermediate format for editing. Then video is output in its final format, possibly to a film recorder for theatrical exhibition, or back to video tape for broadcast use. Original video tapes are kept as an archival medium. The files generated by the non-linear editing application contain the information necessary to retrieve footage from the proper tapes, should the footage stored on the computer's hard disk be lost. With increasing convenience of file-based workflows, the tape-based workflows have become marginal in recent years.

text: File-based workflows[edit]

text: Digital cinematography has mostly shifted towards "tapeless" or "file-based" workflows. This trend has accelerated with increased capacity and reduced cost of non-linear storage solutions such as hard disk drives, optical discs, and solid-state memory. With tapeless workflows digital video is recorded as digital files onto random-access media like optical discs, hard disk drives or flash memory-based digital "magazines". These files can be easily copied to another storage device, typically to a large RAID (array of computer disks) connected to an editing system. Once data is copied from the on-set media to the storage array, they are erased and returned to the set for more shooting.

text: Such RAID arrays, both of "managed" (for example, SANs and NASs) and "unmanaged" (for example, JBoDs on a single computer workstation), are necessary due to the throughput required for real-time (320 MB/s for 2K @ 24fps) or near-real-time playback in post-production, compared to throughput available from a single, yet fast, hard disk drive. Such requirements are often termed as "on-line" storage. Post-production not requiring real-time playback performances (typically for lettering, subtitling, versioning and other similar visual effects) can be migrated to slightly slower RAID stores.

text: Short-term archiving, "if ever", is accomplished by moving the digital files into "slower" RAID arrays (still of either managed and unmanaged type, but with lower performances), where playback capability is poor to non-existent (unless via proxy images), but minimal editing and metadata harvesting still feasible. Such intermediate requirements easily fall into the "mid-line" storage category.

text: Long-term archiving is accomplished by backing up the digital files from the RAID, using standard practices and equipment for data backup from the IT industry, often to data tapes (like LTOs).

text: Chroma subsampling[edit]

text: Most digital cinematography systems further reduce data rate by subsampling color information. Because the human visual system is much more sensitive to luminance than to color, lower resolution color information can be overlaid with higher resolution luma (brightness) information, to create an image that looks very similar to one in which both color and luma information are sampled at full resolution. This scheme may cause pixelation or color bleeding under some circumstances. High quality digital cinematography systems are capable of recording full resolution color data (4:4:4) or raw sensor data.

text: Intra- vs. Inter-frame compression[edit]

text: Most compression systems used for acquisition in the digital cinematography world compress footage one frame at a time, as if a video stream is a series of still images. This is called intra-frame compression. Inter frame compression systems can further compress data by examining and eliminating redundancy between frames. This leads to higher compression ratios, but displaying a single frame will usually require the playback system to decompress a number of frames from before & after it. In normal playback this is not a problem, as each successive frame is played in order, so the preceding frames have already been decompressed. In editing, however, it is common to jump around to specific frames and to play footage backwards or at different speeds. Because of the need to decompress extra frames in these situations, inter-frame compression can cause performance problems for editing systems. Inter-frame compression is also disadvantageous because the loss of a single frame (say, due to a flaw writing data to a tape) will typically ruin all the frames until the next keyframe occurs. In the case of the HDV format, for instance, this may result in as many as 6 frames being lost with 720p recording, or 15 with 1080i.[12] An inter-frame compressed video stream consists of groups of pictures (GOPs), each of which has only one full frame, and a handful of other frames referring to this frame. If the full frame, called I-frame, is lost due to transmission or media error, none of the P-frames or B-frames (the referenced images) can be displayed. In this case, the whole GOP is lost.

text: Digital distribution[edit]

text: For theaters with digital projectors, digital films may be distributed digitally, either shipped to theaters on hard drives or sent via the Internet or satellite networks. Digital Cinema Initiatives, LLC, a joint venture of Disney, Fox, MGM, Paramount, Sony Pictures Entertainment, Universal and Warner Bros. Studios, has established standards for digital cinema projection. In July 2005, they released the first version of the Digital Cinema System Specification,[13] which encompasses 2K and 4K theatrical projection. They also offer compliance testing for exhibitors and equipment suppliers.

text: Theater owners initially balked at installing digital projection systems because of high cost and concern over increased technical complexity. However new funding models, in which distributors pay a "digital print" fee to theater owners, have helped to alleviate these concerns. Digital projection also offers increased flexibility with respect to showing trailers and pre-show advertisements and allowing theater owners to more easily move films between screens or change how many screens a film is playing on, and the higher quality of digital projection provides a better experience to help attract consumers who can now access high-definition content at home. These factors have resulted in digital projection becoming an increasingly attractive prospect for theater owners, and the pace of adoption has been rapidly increasing.

text: Since some theaters currently don't have digital projection systems, even if a movie is shot and post-produced digitally, it must be transferred to film if a large theatrical release is planned. Typically, a film recorder will be used to print digital image data to film, to create a 35 mm internegative. After that the duplication process is identical to that of a traditional negative from a film camera.

text: Comparison with film cinematography[edit]

text: Resolution[edit]

text: Unlike a digital sensor, a film frame does not have a regular grid of discrete pixels.

text: Determining resolution in digital acquisition seems straightforward, but it is significantly complicated by the way digital camera sensors work in the real world. This is particularly true in the case of high-end digital cinematography cameras that use a single large bayer pattern CMOS sensor. A bayer pattern sensor does not sample full RGB data at every point; instead, each pixel is biased toward red, green or blue, and a full color image is assembled from this checkerboard of color by processing the image through a demosaicking algorithm. Generally with a bayer pattern sensor, actual resolution will fall somewhere between the "native" value and half this figure, with different demosaicing algorithms producing different results. Additionally, most digital cameras (both bayer and three-chip designs) employ optical low-pass filters to avoid aliasing; suboptimal antialiasing filtering can further reduce system resolution.

text: Grain and noise[edit]

text: Film has a characteristic grain structure. Different film stocks have different grain.

text: Digitally acquired footage lacks this grain structure. It has electronic noise.

text: Digital intermediate workflow and archiving[edit]

text: The process of using digital intermediate workflow, where movies are color graded digitally instead of via traditional photochemical finishing techniques, has become common.

text: In order to utilize digital intermediate workflow with film, the camera negative must first be processed and then scanned to a digital format. Some filmmakers have years of experience achieving their artistic vision using the techniques available in a traditional photochemical workflow, and prefer that finishing/editing process.

text: Digitally shot movies can be printed, transferred or archived on film. Large scale digital productions are often archived on film, as it provides a safer medium for storage, benefiting insurance and storage costs.[14] As long as the negative does not completely degrade, it will always be possible to recover the images from it in the future, regardless of changes in technology, since all that will be involved is simple photographic reproduction.

text: In contrast, even if digital data is stored on a medium that will preserve its integrity, highly specialized digital equipment will always be required to reproduce it. Changes in technology may thus render the format unreadable or expensive to recover over time. For this reason, film studios distributing digitally-originated films often make film-based separation masters of them for archival purposes.[14]

text: Reliability[edit]

text: Film proponents have argued that digital cameras lack the reliability of film, particularly when filming sequences at high speed or in chaotic environments, due to digital cameras technical glitches. Cinematographer Wally Pfister noted that for his shoot on the film Inception, "Out of six times that we shot on the digital format, we only had one useable piece and it didn't end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35mm running through it, every single shot was in the movie."[15] Michael Bay stated that when filming Transformers: Dark of the Moon, 35mm cameras had to be used when filming in slow-motion and sequences where the digital cameras were subject to strobing or electrical damage from dust.[16]

text: Criticism and concerns[edit]

text: Some film directors such as Christopher Nolan,[17] Paul Thomas Anderson[18] and Quentin Tarantino have publicly criticized digital cinema, and advocated the use of film and film prints. Tarantino has suggested he may retire because he will no longer be able to have his films projected in 35mm in most American cinemas. Tarantino considers digital cinema to be simply "television in public."[19] Christopher Nolan has speculated that the film industry's adoption of digital formats has been driven purely by economic factors as opposed to digital being a superior medium to film: "I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo."[17]

text: Another concern with digital image capture is how to archive all the digital material. Archiving digital material is turning out to be extremely costly, and it creates issues in terms of long-term preservation. In a 2007 study, the Academy of Motion Picture Arts and Sciences found that the cost of storing 4K digital masters is "enormously higher – 1100% higher – than the cost of storing film masters." Furthermore, digital archiving faces challenges due to the insufficient longevity of today's digital storage: no current media, be it magnetic hard drives or digital tape, can reliably store a film for a hundred years, something that properly stored and handled film can do.[20] Although this also used to be the case with optical disc, in 2012 Millenniata, Inc. a digital storage company based in Utah, released M-DISC, an optical storage solution, designed to last up to 1,000 years, thus, offering a possibility of digital storage as a viable storage solution.[21][22]


document_title: Jesus Christ Superstar

question_text: where did j.c. superstar have it's longest run

question_tokens: where did j.c . superstar have it 's longest run

text: Jesus Christ Superstar

text: Plot[edit]

text: Act I[edit]

text: In the year 30 AD, Judas Iscariot, a sullen member of the 12 apostles, expresses his concern over Jesus's rising popularity as a "king" and the negative repercussions that will have. He strongly criticises Jesus for accepting his followers' unrealistic views, and for not heeding his concerns ("Heaven on Their Minds"). While Judas still loves Jesus, he believes that Jesus is just a man, not God, and worries that Jesus's following will be seen as a threat to the Roman Empire which would then severely punish Jesus, his associates, and possibly the Jewish people as a whole. Judas's warning goes unheeded, as Jesus's followers have their minds set on going to Jerusalem with Jesus. As they ask Jesus for information about his plans for the future, Jesus will not give them any, since whatever will happen is determined by God ("What's the Buzz?").

text: Recognizing that Jesus is irritated by the badgering and lack of understanding from his followers, Mary Magdalene tries to help Jesus relax. Judas is concerned that Jesus is associating with a woman of "her profession", as if she were a prostitute. It seems to Judas that Jesus is contradicting his own teaching, and he worries that this apparent lack of judgment will be used against Jesus and his followers ("Strange Thing Mystifying"). Jesus tells Judas that Mary is with him now, and unless Judas is without sin he should not judge the character of others. Jesus then reproaches his apostles for being "shallow, thick, and slow" and somewhat bitterly answers that not a single one of them cares about him. Mary Magdalene tries to assure Jesus that everything is alright while anointing him with oil ("Everything's Alright"). Judas angrily insists that the money used to obtain the oil should have been used to help the poor instead. Jesus sadly declines that he and his followers do not have the resources to alleviate poverty and that they should be glad for the privileges they have. He claims that once his followers no longer have him, they will lose their path.

text: Meanwhile, Caiaphas, the High Priest of Israel, assembles the Pharisees together at the Sanhedrin to talk about Jesus and his disciples. According to the Pharisees, Jesus's growing following consists of Jews unwilling to accept the Romans as their rulers, and the priests believe that Jesus may come to be seen as a threat to the Roman Empire, and to the priesthood's integrity; if the Romans retaliate, many Jews will suffer, even those who are not following Jesus. Caiaphas then concludes that there could be great bloodshed and the stakes are "frighteningly high!". So, for the greater good, he suggests they should "crush him completely! So like John before him, this Jesus must die!", and the Pharisees concur upon his decision ("This Jesus Must Die"). As Jesus and his followers arrive exultantly in Jerusalem, they are confronted by Caiaphas, who demands that Jesus should postpone this parade, which Jesus says would be futile and change nothing, and he proceeds to greet the happy Israelites instead ("Hosanna"). As the crowd cheers him on, they suddenly ask, "Hey JC, JC, won't you die for me?" To this, Jesus visibly reacts with concern. Then, one of his apostles, Simon the Zealot, suggests that Jesus lead his mob in a war against Rome and gain absolute power ("Simon Zealotes"). Jesus rejects this suggestion, stating that none of his followers understand what true power is, nor do they understand his true message ("Poor Jerusalem").

text: Pontius Pilate, the governor of Judea, has had a dream, in which he meets with a Galilean (in the form of Jesus) and that he, Pilate, will receive all of the blame for the man's violent and mournful death, predicting the rise of Christianity ("Pilate's Dream"). Jesus arrives at the Temple in Jerusalem and finds that it has become a haven of sin and debauchery as it is being used for selling everything from usury and weapons to prostitutes and drugs; angered by this, Jesus drives everyone out ("The Temple"). Angry, disconsolate, and tired by his burden, Jesus is confronted by lepers, cripples, and beggars, all wanting to be healed. Even though he heals some, their number increases, and he is overwhelmed. Unable to solve everyone's problems, Jesus screams "HEAL YOURSELVES!!!" until he finds Mary Magdalene by his side, laying him to rest ("Everything's Alright (Reprise)"). While Jesus is asleep, Mary acknowledges that she is unconditionally in love with Jesus, unlike any man she has known before, and it frightens her ("I Don't Know How to Love Him").

text: Conflicted, Judas seeks out the Pharisees and promises to help them arrest Jesus, while belaboring that he is acting with unselfish motives and that Jesus himself would approve if he knew those motives ("Damned for All Time"). Sustaining his testimony, Caiaphas and Annas ask that Judas reveal the location of Jesus so that the authorities can apprehend him. In exchange for the information, Judas is offered thirty pieces of silver as a "fee" so that he can assuage his conscience by using the money charitably ("Blood Money"). Judas decides that it would be better to turn Jesus in before his popularity leads to the deaths of Jesus and his followers, Judas included. He reveals that on Thursday night, Jesus will be at the Garden of Gethsemane.

text: Act II[edit]

text: At what Jesus knows will be the Last Supper, he pours wine and passes bread for his apostles ("The Last Supper"). Very aware of the ordeal he faces, he is stung when the others pay little attention to him; "For all you care this wine could be my blood / For all you care this bread could be my body," he remarks, alluding to (and anticipating) the Christian doctrine of the Eucharist. He asks them to remember him when they eat and drink; he predicts that Peter will deny him three times "in just a few hours" and that one of them will betray him. Judas, believing that Jesus already knows ("cut the dramatics, you know very well who"), admits he is the one and angrily accuses Jesus of acting recklessly and egotistically. Claiming he does not understand Jesus's decisions, he leaves to bring the Roman soldiers.

text: The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray ("Gethsemane"). He admits to God his doubts, fears, and anger; that he is tired and has done all he can. He asks powerfully if any of it has meaning and implores God not let him suffer the horrible death that portends for him. He feels disillusioned with his quest as the Messiah, does not understand what it has achieved, and wishes to give up. Receiving no answer, Jesus realises that he cannot defy God's will, and surrenders to God. His prayer ends with a request that God take him immediately, "before I change my mind."

text: Finally, Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek ("The Arrest"). While Jesus is being arrested, his apostles attempt to fight the soldiers, Jesus tells them to let the soldiers take him to Caiaphas. On the way, a mob (acting like—and sometimes represented as—modern-day news reporters) asks Jesus what he plans to do, but Jesus declines to comment. When Jesus is brought to trial before the Sanhedrin, Caiaphas demands if he is the King of the Jews. Jesus responds: "That's what you say, you say that I am." This answer is affirmative according to Jewish custom, and that provides enough justification for the Pharisees to bring Jesus to Pilate. Meanwhile, Jesus's apostle Peter is confronted by an old man, a soldier and a maid, and Peter denies to each that he knows Jesus ("Peter's Denial"). Mary asks Peter why he denied Jesus, and Peter responds that he had to do it in order to save himself. Mary wonders how Jesus knew that Peter would deny him three times.

text: Later, Pilate asks Jesus if he is the King of the Jews. Jesus gives the same answer that he gave Caiaphas: "that's what you say."[1] Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod ("Pilate and Christ"). As Jesus is dragged away, the chorus asks where Jesus's power has gone. The decadent and flamboyant King Herod persuades Jesus to prove his divinity by performing miracles, offering to free him if he complies ("King Herod's Song (Try It And See)"), but Jesus ignores him. Herod decides that Jesus is just another phony messiah and angrily sends him back to Pilate. Meanwhile, Mary Magdalene, Peter, and the apostles remember when they first began following Jesus, and wish that they could return to a time of peace ("Could We Start Again, Please?")[2]

text: Later, Judas is horrified upon beholding Jesus's harsh treatment by the authorities. Feeling extreme guilt for this, and panicking that he will be seen as responsible, Judas expresses regret to the pharisees, fearing he will forever be remembered as a traitor. Thankfully, Caiaphas and Annas never believe him, saying that what he has done now will save everyone and that he should not feel remorse for his actions. Although rewarded for a job well done, Judas recognizes that memories of this could haunt the rest of his life, that God chose him to be the one to betray Jesus, and that he has been used as a pawn for the "foul bloody crime". He suffers a mental breakdown during the epiphany, cursing God for his manipulative ways, and in a final attempt to detach himself from his destiny, he commits suicide by hanging himself from a tree ("Judas's Death").

text: At Jesus's trial, Pilate interrogates Jesus into revealing the whereabouts of his kingdom, but was cut off by a bloodthirsty mob who demands that Jesus should be sentenced to death by crucifixion. In spite of the mob’s behavior,[3] Pilate remembers the dream he had about the mob and the unjust execution of Jesus. Pilate tells the mob that, while Jesus should be imprisoned, he does not deserve to die. Pilate demands that the crowd give him a reason to condemn Jesus, and the mob answers that Jesus is a blasphemer and has defied the Roman Empire. However, after revealing Jesus as nothing more than a pathetic human being, Pilate calls the crowd hypocrites, as he knows they hate Roman rule. Even so, he decides to satisfy their bloodlust by having Jesus flogged, counting thirty-nine bloody strokes ("Trial Before Pilate, (Including The Thirty-Nine Lashes)"). Pilate, clearly disturbed by the whole ordeal, pleads with Jesus to defend himself, but Jesus says weakly that everything has been determined, by God, and Pilate cannot change it. More outraged by Jesus's words, the crowd still calls for Jesus's death, informing Pilate that he has his duty to keep the peace. Finally, he reluctantly agrees to crucify Jesus to keep the crowd from getting violent, saying to Jesus: "Don’t let me stop your great self-destruction! Die if you want to, you misguided martyr! I wash my hands of your demolition! Die if you want to, you – innocent puppet...."

text: As Jesus prepares to be crucified, he is mocked by the ghost of Judas, who questions why Jesus chose to arrive in the manner and time that he did, and if what happened to him was really part of a divine plan, but Judas' questions go unanswered ("Superstar").[4] After reciting his final words and commending his spirit to God, Jesus slowly dies on the cross, his fate coming full circle ("The Crucifixion"). In the end, the Apostles and Mary, mourning the death of their fallen saviour, reflect on the impact he has had on their lives ("John Nineteen: Forty-One").[5]

text: Principal roles[edit]

text:
Character
Voice type
Description

Jesus Christ
tenor (A2–G5)
Title role, leader of the twelve disciples, called the "Son of God" and the "King of the Jews."

Judas Iscariot
tenor (D3–D5)
One of the twelve apostles of Jesus; concerned for the poor and the consequences of Jesus's fame.

Mary Magdalene
mezzo-soprano (F3–E♭5)
A female follower of Jesus who finds herself falling in love with him.

Pontius Pilate
tenor (A2–B4)
Governor of Judea who foresees the events of Jesus's crucifixion from beginning to aftermath in a dream and finds himself being presented with that very situation.

Caiaphas
bass (C♯2–F4)
One of the main antagonists of the show. High priest who sees Jesus as a threat to the nation.

Annas
countertenor (G2–D5)
One of the main antagonists of the show. Fellow priest at the side of Caiaphas who is persuaded by Caiaphas into seeing Jesus as a threat.

Peter
baritone (A2–G4)
One of Jesus's twelve apostles; denies Jesus three times upon the night of Jesus's arrest to save himself.

Simon Zealotes
tenor (G3–B4)
One of Jesus's twelve apostles; urges Jesus to lead his followers into battle against the Romans.

King Herod
baritone (C♯3–G4)
The King of Galilee; Jesus is brought to him for judgment after first being taken to Pilate.

text: Instrumentation[edit]

text: 2 flutes, clarinet, 2 bassoons, 2 saxophones (one tenor), 6 horns, 4 trumpets, 2 trombones, drum set, percussion set, 6 guitars (1 acoustic, 2 electric), 4 bass guitars, 5 pianos, electric piano, 3 organs, positive organ, and strings. Additional vocals are provided by a choir, a children's choir ("Overture"), and other singers ("Superstar").[6]

text: Musical numbers[edit]

text:
Act One

"Overture" – Orchestra
"Heaven on Their Minds" – Judas
"What's the Buzz?" – Jesus, Apostles
"Strange Thing Mystifying" - Judas, Jesus, Apostles
"Everything's Alright" – Mary, Judas, Jesus, Women, Apostles
"This Jesus Must Die" – Caiaphas, Annas, Priests
"Hosanna" – Jesus, Caiaphas and Company
"Simon Zealotes" - Simon and Company
"Poor Jerusalem" - Jesus
"Pilate's Dream" – Pilate
"The Temple" – Jesus, Ensemble
"Everything's Alright (reprise)" – Mary, Jesus
"I Don't Know How to Love Him" – Mary
"Damned For All Time" – Judas
"Blood Money" - Caiaphas, Annas, Judas, Choir

Act Two

"The Last Supper" – Jesus, Judas, Apostles
"Gethsemane (I Only Want to Say)" – Jesus
"The Arrest" – Judas, Jesus, Peter, Apostles, Annas, Caiaphas, Ensemble
"Peter's Denial" – Maid by the Fire, Peter, Soldier, Old Man, Mary
"Pilate and Christ" – Pilate, Soldier, Jesus, Ensemble
"King Herod's Song" – Herod and Company
"Could We Start Again Please?" – Mary and Peter
"Judas' Death" – Judas, Annas, Caiaphas, Ensemble
"Trial Before Pilate" – Pilate, Caiaphas, Jesus, Ensemble
"Superstar" – Judas, Soul Sisters, Angels
"The Crucifixion" – Jesus, Ensemble
"John Nineteen: Forty-One" – Orchestra

text: Production[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2015) (Learn how and when to remove this template message)

text: The songs were first written and conceived as a concept album, before the musical was created and staged.[7] On the original album, the part of Jesus was sung by Ian Gillan, with Murray Head as Judas, Michael d'Abo as King Herod, Yvonne Elliman as Mary Magdalene, and Barry Dennen as Pilate. In July 1971, the first authorised American concert of the rock opera took place in front of an audience of 13,000 people at Pittsburgh, Pennsylvania's Civic Arena with Jeff Fenholt singing the role of Jesus, Carl Anderson as Judas and Elliman repeating as Mary Magdalene.[8]

text: Original Broadway production[edit]

text: The musical opened on Broadway on 12 October 1971, directed by Tom O'Horgan, at the Mark Hellinger Theatre. It starred Jeff Fenholt as Jesus, Ben Vereen as Judas and Bob Bingham as Caiaphas. Dennen and Elliman played the roles that they had sung on the album. Kurt Yaghjian was Annas, and Ted Neeley (as a Christ understudy), Samuel E. Wright and Anita Morris appeared in the cast. Carl Anderson replaced Vereen when he fell ill, and the two performers later took turns playing the role. The show closed on 30 June 1973 after 711 performances. The production received mixed reviews; the bold casting of African-Americans as Judas was lauded, but reviewer Clive Barnes from The New York Times said, "the real disappointment was not in the music ... but in the conception."[9][10] Lloyd Webber said in 2012: "I hugely objected to the original New York production, which was probably the worst night of my life. It was a vulgar travesty."[7] The show was nominated for five Tony Awards, including Best Score, but didn't win any. Lloyd Webber won a Drama Desk Award as "Most Promising Composer", and Vereen won a Theatre World Award.

text: Controversy[edit]

text: The Broadway show and subsequent productions were condemned by some religious groups. Tim Rice was quoted as saying "It happens that we don't see Christ as God but simply the right man at the right time at the right place."[11][12] Some Christians considered such comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive.[13] At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews were responsible for Jesus' death by showing most of the villains as Jewish (Caiaphas and the other priests, Herod) and showing the crowd in Jerusalem calling for the crucifixion.[14][15] The musical was banned in South Africa for being "irreligious".[16] A 1972 production of the play was banned in the Hungarian People's Republic for "distribution of religious propaganda".[17]

text: Other 1970s and 1980s productions[edit]

text: Superstar opened at the Palace Theatre in London in 1972, starring Paul Nicholas as Jesus, Stephen Tate as Judas and Dana Gillespie as Mary Magdalene. It was directed by Australian Jim Sharman. This production was much more successful than the original production on Broadway, running for eight years and becoming the United Kingdom's longest-running musical at the time. Dmitri Shostakovich attended this production in London just before his death. He regretted that he could not have composed something like it; he lauded especially a rock band underpinning full symphonic strings, brass and woodwind.[18]

text: One of the earliest foreign productions was a five-day run in Sweden at Scandinavium in Gothenburg, opening on 18 February 1972 and playing to 74,000 people (a record at the time). Starring as Mary Magdalene was Agnetha Fältskog. On 16 March 1972 an oratorio version was performed at Memorial Drive Park in Adelaide, South Australia as part of the Adelaide Festival of the Arts.[19] This was followed in May by the first full Australian production, at the Capitol Theatre, Sydney, later moving to the Palais Theatre in Melbourne.[20] Sharman again directed, and the cast included Trevor White as Jesus, Jon English as Judas, and Michele Fawdon (1972–1973) and Marcia Hines (1973–1974) as Mary Magdalene. Hines was the first black woman to play the role. Other cast members included Reg Livermore, John Paul Young, Stevie Wright, and Graham Russell and Russell Hitchcock, who met during the production and subsequently formed the band Air Supply. The production ran until February 1974.[citation needed] In June 1972 the show opened in Belgrade, Yugoslavia, in Atelje 212 theatre, in adaptation by Jovan Ćirilov.[21] The role of Jesus Christ was played by Korni Grupa vocalist Zlatko Pejaković, the role of Mary Magdalene by Azra Halinović and the role of Pontius Pilate by Branko Milićević.[21] The premiere was directly broadcast by Radio Television of Belgrade.[21] Bora Đorđević[22] and Srđan Marjanović, at the time a little known musicians, also participated as members of the choir.[23] The production was praised by the Yugoslav public.[21]

text: In 1973, the show opened in Paris at the Théâtre de Chaillot in a French adaptation by Pierre Delanoë. The title role was sung by Daniel Beretta, and Mary Magdalena was Anne-Marie David. The critics were unimpressed, and the production stopped after 30 performances.[citation needed] In the same year, Noel Pearson produced the show at the Gaiety Theatre, Dublin, Republic of Ireland, with Luke Kelly giving a critically acclaimed performance as King Herod.[24] In 1974, first Spanish-language production ran in Mexico with the title "Jesucristo Super Estrella". Julissa played Mary Magdalen. The musical was seen in 1974 in Peru and Singapore.[25]

text: Robert Stigwood launched two road touring companies in 1971 to cover North America, with Robert Corff and Tom Westerman as Jesus, respectively.[citation needed] The first major US National Tour, however began In 1976, managed by Laura Shapiro Kramer. The tour continued until 1980. In 1977, the show had its first Broadway revival, running from 23 November 1977 to 12 February 1978. It was directed by William Daniel Grey, with choreography by Kelly Carrol and starred William Daniel Grey as Jesus, Patrick Jude as Judas, and Barbara Niles as Mary Magdalene.[26] Regional productions followed.[citation needed]

text: In 1981, Emilio de Soto directed an English-language version in Venezuela, with 163 actors.[citation needed] From 1982 to 1984, an Australian production toured Australia and South-East Asia, directed by Trevor White, who also reprised his role of Jesus. The cast included Doug Parkinson as Judas and Marcia Hines (reprising her role as Mary Magdalene).[citation needed]

text: 1990s and 2000s[edit]

text: The North American touring revival of Superstar in 1992 starred Neeley and Anderson reprising their respective Broadway and 1973 film roles as Jesus and Judas, receiving positive reviews for their performances. This production also starred both Dennis DeYoung as Pilate, and Syreeta and Irene Cara sharing Mary Magdalene. Originally expected to run for three to four months, the tour ended up running for five years. Replacements in this tour included Jason Raize as Pontius Pilate and Simone as the Maid by the Fire and understudy for Mary. In 1994, a New Zealand production starred Darryl Lovegrove as Jesus, Jay Laga'aia as Judas and Frankie Stevens as Caiaphas. Also in 1994, a stage version titled Jesus Christ Superstar: A Resurrection was performed in Atlanta, Austin and Seattle featuring Amy Ray as Jesus, Emily Saliers as Mary Magdalene and Michael Lorant as Judas.

text: In 1996, the musical was revived in London at the Lyceum Theatre and ran for a year and a half. Directed by Gale Edwards, it starred Steve Balsamo and Zubin Varla as Jesus and Judas, and Joanna Ampil as Mary Magdalene and Alice Cooper as King Herod. The production was nominated for a Olivier Award for Best Musical Revival but did not win. It was followed by a UK tour. This production was revived on Broadway at the Ford Center for the Performing Arts in 2000, starring Glenn Carter as Jesus and Tony Vincent as Judas. It opened to mixed reviews and ran for 161 performances.[27] It was nominated for a Tony Award for Best Revival of a Musical but did not win. In 2002, a national tour starred Sebastian Bach as Jesus and Anderson once again as Judas. Bach received mixed reviews while Anderson was again praised. In April 2003, Bach was replaced by Eric Kunze. Anderson left the show later in 2003 after being diagnosed with leukaemia and died in 2004. The tour closed shortly after Anderson's departure.

text: In 2004 a year-long UK tour began, directed by Bob Tomson and Bill Kenwright. Carter reprised his role as Jesus, with James Fox as Judas. In 2005, a successful Scandinavian tour starred Australian Peter Murphy (Jesus), American Kristen Cummings (Mary), Englishman Jon Boydon née Stokes (Judas), Frenchman Jérôme Pradon (King Herod) and Australian Michael-John Hurney (Pilate). A US tour starring Neeley, reprising his role as Jesus and Corey Glover as Judas, began in 2006 and played for five years. A Chilean heavy metal version has played annually in Santiago since 2004.[28] In Boston, Gary Cherone portrayed Jesus in productions in 1994, 1996 and 2003 and Judas in 2000.

text: A new production of Jesus Christ Superstar was mounted at the Stratford Shakespeare Festival, in Stratford, Ontario, in 2011. Directed by Des McAnuff, the cast starred Paul Nolan as Jesus, Josh Young as Judas, Brent Carver as Pilate, Chilina Kennedy as Mary Magdalene, Bruce Dow as Herod and Melissa O'Neil as Martha. This moved to La Jolla Playhouse later in the year and transferred to the Neil Simon Theatre on Broadway in 2012, with Tom Hewitt taking over the role of Pilate.[29] Reviews were mixed.[30][31] The revival was nominated for two Tonys: Best Revival and, for Young, Best Actor.[32] Neither award was won, but Young won a Theatre World Award. The revival closed after 116 performances and 24 previews.[33]

text: Through a 2012 ITV competition TV show called Superstar, produced by Andrew Lloyd Webber, the UK public chose Ben Forster for the role of Jesus in an arena tour of the musical, beginning at O2 in September 2012.[34][7] The production also starred Tim Minchin as Judas, Melanie C as Mary Magdalene and Chris Moyles as King Herod.[35] Lloyd Webber stated, "The funny thing is that Jesus Christ Superstar [as a rock concert] is what we actually intended it to be. When it is done in a conventional proscenium theatre production it feels shoe-horned in. That is why I wanted to do this."[7] The tour resumed in March 2013 in the UK, and an Australian leg of the tour commenced in Perth in May 2013.[36] Andrew O'Keefe played King Herod in Australia, with Jon Stevens as Pilate. Stevens had played Judas in an Australian arena tour in 1992.[37][38]

text: In 2016, celebrating 45 years since the musical debuted on Broadway, Jesus Christ Superstar returned to London at Regent's Park Open Air Theatre, directed by Timothy Sheader. The production won the BBC Radio 2 Audience Award for Best Musical at the Evening Standard Theatre Awards,[39] and a Laurence Olivier Award for Best Musical Revival.[40] The production returned to the Open Air Theatre as part of the 2017 season, running from 11 August 2017 to 23 September.[41] Additionally, the Lyric Opera of Chicago is hosting a run of the opera from late April 2018 to late May 2018. [42]

text: Notable international productions[edit]

text: Two notable Jesuses were Takeshi Kaga, in the 1976 Japanese production, and Camilo Sesto in the 1975 Spanish production[why?]. Mary Magdalene was Rocío Banquells in a 1981 production in Mexico. A Czech version premiered in 1994 in Prague's Spirála Theatre and ran until 1998, with 1288 performances.[43] In the 2000s, a Venezuelan production ran for two years (2006–2008), directed by Michel Hausmann. A Spanish production produced by Stage Entertainment ran from 2007 to 2009, followed by long-running productions in Italy and Sweden (featuring Ola Salo) and Norway.

text: Concerts of the show have been mounted in Vienna, Austria, since 1981, including one on Easter of 2015 starring Drew Sarich in the title role.[44]

text: In 2010, an Australian production presented by Harvest Rain Theatre Company was directed by Tim O'Connor. Luke Kennedy appeared as Jesus, Naomi Price as Mary, Tod Strike as Judas, and Steven Tandy as Herod. A 2017 Professional Australian Production was staged at the Arts Centre Melbourne and starred Rob Mills as Jesus.

text: A 2014 production in São Paulo, Brazil starred Igor Rickli as Jesus. Negra Li was Mary Magdalene.[45] A 2014 production in Lima, Peru, at the Sarita Colonia prison, as part of a rehabilitation program for inmates, received some press.[46] Eighty prisoners mounted the production, directed by inmate Freddy Battifora, who also played the role of Jesus.[47] The Catholic Church approved of the production.[47]

text: Recordings and radio broadcasts[edit]

text: The original 1970 concept album was very popular; its 1971 release topped the US Billboard Pop Albums.[48] The 1972 and 1992 Australian cast recordings were also both highly successful.[49]

text: In 1994, a studio recording under the name of Jesus Christ Superstar: A Resurrection was released.

text: A 1996 radio production for BBC Radio 2 starred Tony Hadley as Jesus, Roger Daltrey as Judas, Frances Ruffelle as Mary Magdalene and Julian Clary as King Herod; this production was re-broadcast on BBC Radio 4 Extra on 6 August 2016.[50]

text: Films[edit]

text: A film adaptation of Jesus Christ Superstar was released in 1973 and was the eighth highest-grossing film of that year. The film, directed by Norman Jewison, was shot in Israel[51] and other Middle Eastern locations. Ted Neeley, Carl Anderson and Yvonne Elliman were each nominated for a Golden Globe Award for their portrayals of Jesus, Judas and Mary Magdalene, respectively. Bob Bingham (Caiaphas) and Barry Dennen (Pilate) also reprised their roles. Though it attracted criticism from some religious groups, the film was generally well received.[citation needed] A new song, called "Then We Are Decided" and phrased as a dialogue between Caiaphas and Annas, was written and composed for this adaptation.

text: A second adaptation was filmed in 1999, and released around the world on video in 2000 and 2001.[52] It starred Glenn Carter as Jesus, Jérôme Pradon as Judas, Reneé Castle as Mary Magdalene, and Rik Mayall as Herod, and was directed by Gale Edwards and Nick Morris. It was released on video in the UK in October 2000.[53] In the U.S. it was released on VHS and DVD in March 2001, and aired on PBS's Great Performances series in April 2001.[54] It won the International Emmy Award for Best Performing Arts Film in November 2001.[55] The style of the film is more like the stage version than the location-based 1973 adaptation, and it used many of the ideas from the 1996–1999 UK production.[52]

text: Television[edit]

text: On Easter Sunday, April 1, 2018, NBC aired a live concert version of the show featuring John Legend as Jesus, Sara Bareilles as Mary Magdalene, Brandon Victor Dixon as Judas, Alice Cooper as King Herod, Norm Lewis as Caiaphas, Ben Daniels as Pilate, Jin Ha as Annas, Erik Grönwall as Simon Zealotes and Jason Tam as Peter.[56]

text: Principal roles and casting history[edit]

text:
Character
Concept Album
(1970)[57]
Broadway
(1971)[58]
West End
(1972)[59]
Film
(1973)[60]
Broadway Revival
(1977)[61]
West End Revival
(1996)[62]
Broadway Revival
(2000)[63]
Broadway Revival
(2012)[64]
Regent's Park Open Air Theatre
(2016)[65]
Live in Concert
(2018)[66]

Jesus Christ
Ian Gillan
Jeff Fenholt
Paul Nicholas
Ted Neeley
William Daniel Grey
Steve Balsamo
Glenn Carter
Paul Alexander Nolan
Declan Bennett
John Legend

Judas Iscariot
Murray Head
Ben Vereen
Stephen Tate
Carl Anderson
Patrick Jude
Zubin Varla
Tony Vincent
Josh Young
Tyrone Huntley
Brandon Victor Dixon

Mary Magdalene

Yvonne Elliman

Dana Gillespie
Yvonne Elliman
Barbara Niles
Joanna Ampil
Maya Days
Chilina Kennedy
Maimuna Memon
Sara Bareilles

Caiaphas
Victor Brox
Bob Bingham
George Harris
Bob Bingham
Christopher Cable
Peter Gallagher
Frederick B. Owens
Marcus Nance
Phillip Browne
Norm Lewis

Pontius Pilate

Barry Dennen

John Parker
Barry Dennen
Randy Wilson
David Burt
Kevin Gray
Tom Hewitt
David Thaxton
Ben Daniels

Annas
Brian Keith
Kurt Yaghjian
Jimmy Cassidy
Kurt Yaghjian
Steve Schochet
Martin Callaghan
Ray Walker
Aaron Walpole
Sean Kingsley
Jin Ha

Simon Zealotes
John Gustafson
Dennis Buckley
Derek James
Larry Marshall
Bobby London
Glenn Carter
Michael K. Lee
Lee Siegel
Tim Newman
Erik Grönwall

Peter
Paul Davis
Michael Jason
Richard Barnes
Philip Toubus
Randy Martin
Jonathan Hart
Rodney Hicks
Mike Nadajewski
Phil King
Jason Tam

King Herod
Mike d'Abo
Paul Ainsley
Paul Jabara
Josh Mostel
Mark Syers
Nick Holder
(Alice Cooper in cast recording)
Paul Kandel
Bruce Dow
Peter Caulfield
Alice Cooper

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1972
Tony Award
Best Performance by a Featured Actor in a Musical
Ben Vereen
Nominated

Best Original Score
Andrew Lloyd Webber and Tim Rice
Nominated

Best Scenic Design
Robin Wagner
Nominated

Best Costume Design
Randy Barceló
Nominated

Best Lighting Design
Jules Fisher
Nominated

Drama Desk Award
Most Promising Composer
Andrew Lloyd Webber
Won

Theatre World Award
Ben Vereen
Won

text: 1996 London revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

1997
Laurence Olivier Award
Best Musical Revival
Nominated

text: 2000 Broadway revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

2000
Tony Award
Best Revival of a Musical
Nominated

text: 2012 Broadway revival[edit]

text:
Year
Award
Category
Nominee
Result

2012
Tony Award
Best Revival of a Musical
Nominated

Best Performance by a Featured Actor in a Musical
Josh Young
Nominated

Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Sound Design
Steve Canyon Kennedy
Nominated

Theatre World Award
Josh Young
Won

text: 2016 London revival[edit]

text:
Year
Award ceremony
Category
Nominee
Result

2016
Evening Standard Theatre Awards
Best Musical
Won

Emerging Talent
Tyrone Huntley
Won

2017
Whatsonstage.com Awards
Best Musical Revival
Nominated

Best Supporting Actor in a Musical
Tyrone Huntley
Nominated

Best Choreography
Drew McOnie
Nominated

2017
Laurence Olivier Awards
Best Musical Revival
Won

Best Actor in a Musical
Tyrone Huntley
Nominated

Best Theatre Choreographer
Drew McOnie
Nominated

Best Lighting Design
Lee Curran
Nominated

Best Sound Design
Nick Lidster for Autograph
Nominated

Outstanding Achievement in Music
The band and company for creating the gig-like rock vibe of the original concept album of Jesus Christ Superstar
Nominated

text: Further reading[edit]

text:
Robert M. Price. Jesus Christ Superstar: The Making of a Modern Gospel. eBookIt. 2011.
Ellis Nassour, Richard Broderick. Rock Opera: The Creation of Jesus Christ Superstar, from Record Album to Broadway Show and Motion Picture. Hawthorn Books, 1973.