document_title: Spider-Man 3

question_text: who is the sandman in spider man 3

question_tokens: who is the sandman in spider man 3

text: Spider-Man 3

text: Plot[edit]

text: One year after the events of the second film, Peter Parker plans to propose to Mary Jane Watson, who has just made her Broadway musical debut. Later a meteorite lands at Central Park, and an extraterrestrial symbiote follows Peter to his apartment. Harry Osborn, seeking vengeance after his father's death, attacks Peter with weapons based on his father's Green Goblin technology. The battle ends with Harry crashing out and developing amnesia, wiping out his memory of Peter as Spider-Man. Meanwhile, police pursue escaped convict Flint Marko, who visits his wife and dying daughter before fleeing again, and falling into an experimental particle accelerator that fuses his body with the surrounding sand, transforming him into the Sandman, with powers to control sand and to deform at will.

text: During a public festival honoring Spider-Man for saving Gwen Stacy's life, he kisses her, infuriating Mary Jane. The super-powered Marko robs an armored car, and Spider-Man confronts him. Marko easily subdues Spider-Man, and escapes. NYPD Captain George Stacy (Gwen's father) informs Peter and Aunt May that Marko was Uncle Ben's true killer; the deceased Dennis Carradine was Marko's accomplice. As Peter sleeps in his Spider-Man suit and waiting for Marko, the symbiote assimilates his suit. Peter later awakens on top of a building, discovers his costume changed and his powers enhanced; however, the symbiote also brings out Peter's dark side. Wearing the new suit, Spider-Man locates Marko and battles him in a subway tunnel. Discovering that water is Marko's weakness, Spider-Man breaks a water pipe, causing water to reduce Marko into mud and washing him away.

text: Peter's changed personality alienates Mary Jane, whose career is floundering, and she finds solace with Harry, but leaves afterwards in regret. Harry recovers from his amnesia and, urged by a hallucination of his father, blackmails Mary Jane into breaking up with Peter. After Mary Jane tells Peter she loves "somebody else", Harry meets with Peter and claims to be "the other guy". Peter confronts Harry about forcing Mary Jane to end her relationship with him and spitefully tells Harry that his father never loved him. Another fight ensues, in which Harry throws a pumpkin bomb at Peter, who deflects it back, disfiguring Harry's face.

text: Peter then confronts rival photographer Eddie Brock, who created photos depicting black suit Spider-Man as a criminal, to get the staff photographer job. Peter proves his plagiarism which results in their boss, J. Jonah Jameson, firing Brock, printing out a retraction and giving Brock's job to Peter. Later, to make Mary Jane jealous, Peter brings Gwen to a nightclub, where Mary Jane now works. Realizing this, Gwen leaves the nightclub, and, after he accidentally attacks Mary Jane, Peter realizes how the symbiote is corrupting him. Retreating to a bell tower of a church, Peter removes the symbiote after bumping into a church bell weakens it, which falls below to the floor and bonds with Brock, who in turn, praying for Peter's death, is transformed into Venom. Brock locates Marko and convinces him to join forces to defeat Spider-Man.

text: Posing as a taxi driver, Brock kidnaps Mary Jane, and holds her as bait from a web high above a construction site, while Marko keeps the police at bay. Seeking help, Peter goes to Harry, who rejects him. While Spider-Man battles Brock and Marko, Harry learns the truth about his father's death from his butler, and goes to the construction site to help Peter, resulting in a battle between the four. Harry subdues the Sandman before assisting Peter against Brock. In the ensuing battle, Brock attempts to impale Peter with Harry's glider, but Harry steps in, and is impaled himself. Remembering the symbiote's weakness, Peter assembles a perimeter of metal pipes to create a sonic attack, weakening it, and allowing Peter to separate Brock from the symbiote. Peter activates a pumpkin bomb from Harry's glider and throws it at the symbiote, but Brock, attempting to become Venom again, dives in and is killed along with the symbiote.

text: After the battle, Marko explains that Uncle Ben's death was an accident, and that his uncle was trying to help him. His death has haunted him ever since. Peter forgives Marko, who then leaves. Peter and Mary Jane accompany Harry, who dies peacefully from his injuries. Peter, Mary Jane, and Aunt May attend Harry's funeral. Later, at the nightclub, Peter and Mary Jane reconcile and dance.

text: Cast[edit]

text:
Tobey Maguire as Peter Parker/Spider-Man: a  brilliant physics student at Columbia University and photographer for the "Daily Bugle," who gets spider-like abilities from a genetically-modified spider and uses them to take up the persona of a spider-based vigilante protecting New York City from its criminal underworld.
Kirsten Dunst as Mary Jane Watson: a Broadway actress, and Peter's childhood girlfriend.
James Franco as Harry Osborn/New Goblin: the dedicated son of Norman Osborn and Peter's estranged best friend, who believes Spider-Man murdered his father, but after learning Peter is Spider-Man and his father was the Green Goblin, he tends to battle Peter directly as a psychopathic assassin armed with the same equipment as his father.
Thomas Haden Church as Flint Marko/Sandman: a small-time thug with an estranged wife and sick daughter, whose struggle to rob for money to get his daughter treatment lures him into a freak accident that alters him into a master sand manipulator hunted by Spider-Man since he was Peter's uncle Ben's true killer.
Topher Grace as Eddie Brock/Venom: a rival "Daily Bugle" photographer, who is exposed by Peter for creating a fake image of Spider-Man, and is ready for revenge when he bonds with the symbiote, turning him into monstrous being with the same spider-like powers.
Bryce Dallas Howard as Gwen Stacy: Peter's lab partner and good friend, who is saved by Spider-Man from falling to her death.
Rosemary Harris as May Parker: Peter's aunt, who gives her nephew her engagement ring so he can propose to Mary Jane, and teaches him forgiveness.
J. K. Simmons as J. Jonah Jameson: the aggressive chief of the Daily Bugle, who despises Spider-Man.
James Cromwell as George Stacy: Gwen's father, and a New York City Police Department Captain.
Theresa Russell as Emma Marko: Flint's wife.
Dylan Baker as Dr. Curt Connors: Peter's college physics professor, who examines a piece of the symbiote and tells Peter it "amplifies characteristics of its host... especially aggression."
Bill Nunn as Robbie Robertson: a longtime employee at the "Daily Bugle."
Elizabeth Banks as Betty Brant: Jameson's receptionist at the "Daily Bugle."
Ted Raimi as Hoffman: a "Daily Bugle" employee, who suggests a catchphrase to Jameson.
Perla Haney-Jardine as Penny Marko: Flint and Emma's sick daughter.
Willem Dafoe as Norman Osborn: the hallucination of Harry's late father, who encourages his son to destroy Spider-Man.
Cliff Robertson as Ben Parker: Peter's deceased uncle. This would be Robertson's final acting performance; he died four years after its release, aged 88.
Elya Baskin as Dr. Ditkovitch: Peter's landlord, who is greedy for Peter's rent.
Mageina Tovah as Ursula Ditkovich: the unassuming daughter of Dr. Ditkovitch.
Michael Papajohn as Dennis Carradine: a carjacker, who was believed to have murdered Peter's uncle Ben.
Joe Manganiello as Flash Thompson: Mary Jane's former boyfriend, and a bully to Peter from the original film. He appears in a silent cameo at the end of the film, where he attends Harry's funeral.

text: Spider-Man co-creator Stan Lee has a cameo in Spider-Man 3, as he does in many Marvel-based films.[4] He plays a man who, after reading a news bulletin along with Peter, tells him, "You know, I guess one person can make a difference," followed by his catchphrase "Nuff said." Actor Bruce Campbell, who had cameo roles as a wrestling ring announcer in "Spider-Man" and as a rude usher in "Spider-Man 2," returns in "Spider-Man 3" with a new cameo as a French maître d'. His character helps Peter try to propose to Mary Jane. Years later, Jeffrey Henderson, who worked on the storyboards for the cancelled "Spider-Man 4" movie, released information regarding which villains would appear within the movie. One of those included Bruce Campbell's character's progression into Quentin Beck/Mysterio.[5][6] Composer Christopher Young appears in the film as a pianist at Mary Jane's theater when she is fired, while producer Grant Curtis has a cameo as the driver of an armored car that the Sandman attacks.[7]

text: Production[edit]

text: Development[edit]

text:
"The most important thing Peter right now has to learn is that this whole concept of him as the avenger or him as the hero, he wears this red and blue outfit, with each criminal he brings to justice he's trying to pay down this debt of guilt he feels about the death of Uncle Ben. He considers himself a hero and a sinless person versus these villains that he nabs. We felt it would be a great thing for him to learn a little less black and white view of life and that he's not above these people."
—Sam Raimi, on how the character of Peter Parker developed in this film[8]

tag: div

text: In March 2004, with Spider-Man 2 being released the coming June, Sony had begun developing Spider-Man 3 for a release in summer 2007.[9] By the release of Spider-Man 2, a release date for Spider-Man 3 had been set for May 2, 2007 before production on the sequel had begun.[10] The date was later changed to May 4, 2007. In January 2005, Sony Pictures Entertainment completed a seven-figure deal with screenwriter Alvin Sargent, who had penned Spider-Man 2, to work on Spider-Man 3 with an option to write a fourth film.[11]

text: Immediately after Spider-Man 2's release, Ivan Raimi wrote a treatment over two months,[12] with Sam Raimi deciding to use the film to explore Peter learning that he is not a sinless vigilante, and that there also can be humanity in those he considers criminals.[8] Harry Osborn was brought back as Raimi wanted to conclude his storyline.[8] Raimi felt that Harry would not follow his father's legacy, but be instead "somewhere between."[13] Sandman was introduced as an antagonist, as Raimi found him a visually fascinating character.[8] While Sandman is a petty criminal in the comics, the screenwriters created a background of the character being Uncle Ben's killer to increase Peter's guilt over his death[14] and challenge his simplistic perception of the event.[8] Overall, Raimi described the film as being about Peter, Mary Jane, Harry, and the Sandman,[15] with Peter's journey being one of forgiveness.[16]

text: Raimi wanted another villain, and Ben Kingsley was involved in negotiations to play the Vulture before the character was cut.[12] Producer Avi Arad convinced Raimi to include Venom, a character whose perceived "lack of humanity" had initially been criticized by Sam Raimi.[17] Venom's alter-ego, Eddie Brock, already had a minor role in the script.[18] Arad felt the series had relied too much on Raimi's personal favorite Spider-Man villains, not characters that modern fans were actually interested in, so Raimi included Venom to please them,[15] and even began to appreciate the character himself.[17] The film's version of the character is an amalgamation of Venom stories. Eddie Brock, Jr., the human part of Venom, serves as a mirror to Peter Parker, with both characters having similar jobs and romantic interests.[17] Brock's actions as a journalist in Spider-Man 3 also represent contemporary themes of paparazzi and tabloid journalism.[19] The producers also suggested adding rival love interest Gwen Stacy, filling in an "other girl" type that Raimi already created.[15] With so many additions, Sargent soon found his script so complex that he considered splitting it into two films, but abandoned the idea when he could not create a successful intermediate climax.[12]

text: Filming[edit]

text: Camera crews spent 2 weeks from November 5–18, 2005 to film sequences that would involve intense visual effects so Sony Pictures Imageworks could begin work on the shots early in the project. The same steps had been taken for Spider-Man 2 to begin producing visual effects early for sequences involving the villain Doctor Octopus.[20]

text: Principal photography for Spider-Man 3 began on January 16, 2006 and wrapped in July 2006 after over 100 days of filming. The team filmed in Los Angeles until May 19, 2006.[20] In spring 2006, film location manager Peter Martorano brought camera crews to Cleveland[21] due to the Greater Cleveland Film Commission offering production space at the city's convention center at no cost.[22] In Cleveland, they shot the battle between Spider-Man and Sandman in the armored car.[12] Afterwards, the team moved to Manhattan, where filming took place at various locations, including One Chase Manhattan Plaza, from May 26, 2006 until July 1, 2006.[20] Shooting placed a strain on Raimi, who often had to move between several units to complete the picture.[12] Shooting was also difficult for cinematographer Bill Pope, as the symbiote Spider-Man, Venom, and the New Goblin were costumed in black during fight scenes taking place at night.[23]

text: After August, pick-ups were conducted as Raimi sought to film more action scenes.[24] The film then wrapped in October, although additional special effects shots were taken to finalize the production a month later.[25] In early 2007, there were further pick-up shots regarding the resolution of Sandman's story, amounting to four different versions.[26]

text: Visual effects[edit]

text: John Dykstra, who won the Academy Award for Visual Effects for his work on Spider-Man 2, declined to work on the third film as visual effects supervisor. Dykstra's colleague, Scott Stokdyk, took his place as supervisor,[27] leading two hundred programmers at Sony Pictures Imageworks. This group designed specific computer programs that did not exist when Spider-Man 3 began production, creating nine hundred visual effects shots.[28]

text:
In addition to the innovative visual effects for the film, Stokdyk created a miniature of a skyscraper section at 1:16 scale with New Deal Studios's Ian Hunter and David Sanger. Stokdyk chose to design the miniature instead of using computer-generated imagery so damage done to the building could be portrayed realistically and timely without guesswork involving computer models.[29] In addition, to Sony Pictures Imageworks, Cafe FX provided visual effects for the crane disaster scene when Spider-Man rescues Gwen Stacy, as well as shots in the climactic battle.[30]
To understand the effects of sand for the Sandman, experiments were done with twelve types of sand, such as splashing, launching it at stuntmen, and pouring it over ledges. The results were mimicked on the computer to create the visual effects for Sandman.[28] For scenes involving visual effects, Thomas Haden Church was super-imposed onto the screen, where computer-generated imagery was then applied.[31] With sand as a possible hazard in scenes that buried actors, ground-up corncobs were used as a substitute instead.[32] Because of its resemblance to the substance, sand from Arizona was used as the model for the CG sand.[28] In a fight where Spider-Man punches through Sandman's chest, amputee martial arts expert Baxter Humby took Tobey Maguire's place in filming the scene. Humby, whose right hand was amputated at birth, helped deliver the intended effect of punching through Sandman's chest.[33]

text: Whereas the symbiote suit worn in the comics by Spider-Man was a plain black affair with a large white spider on the front and back, the design was changed for the film to become a black version of Spider-Man's traditional costume, complete with webbing motif. As a consequence of this, the suit Topher Grace wore as Venom also bore the webbing motif; as producer Grant Curtis noted, "it's the Spider-Man suit, but twisted and mangled in its own right."[34] Additionally, the motif gave a sense of life to the symbiote, giving it the appearance of gripping onto the character's body.[35] When animating the symbiote, Raimi did not want it to resemble a spider or an octopus, and to give it a sense of character. The CG model is made of many separate strands.[36] When animating Venom himself, animators observed footage of big cats such as lions and cheetahs for the character's agile movements.[37]

text: Music[edit]

text: Originally, Danny Elfman, the composer for the previous installments, did not plan to return for the third installment of Spider-Man because of difficulties with director Sam Raimi. Elfman said that he had a "miserable experience" working with Raimi on Spider-Man 2 and could not comfortably adapt his music.[38] Christopher Young was then announced to score Spider-Man 3 in Elfman's absence.[39] In December 2006, however, producer Grant Curtis announced that Elfman had begun collaborating with Christopher Young on the music for Spider-Man 3.[40]

text: Sandman's theme uses "two contrabass saxophones, two contrabass clarinets, two contrabass bassoons and eight very low French horns" to sound "low, aggressive and heavy". Young described Venom's theme as "Vicious, my instructions on that one were that he's the devil personified. His theme is much more demonic sounding."[41] Venom's theme uses eight French horns.[42] Raimi approved the new themes during their first performance, but rejected the initial music to the birth of Sandman, finding it too monstrous and not tragic enough. Young had to recompose much of his score at a later stage, as the producers felt there were not enough themes from the previous films.[41] Ultimately, new themes for the love story, Aunt May, and Mary Jane were dropped.[42]

text: Release[edit]

text: Spider-Man 3 had its world premiere at Toho Cinemas Roppongi Hills in Tokyo on April 16, 2007.[43][44] The film held its UK premiere on April 23, 2007 at the Odeon Leicester Square,[45] and the U.S. premiere took place at the Tribeca Film Festival in Queens on April 30, 2007.[46]

text: Spider-Man 3 was commercially released in sixteen territories on May 1, 2007.[47] The film was released in Japan on May 1, 2007, three days prior to the American commercial release, to coincide with Japan's Golden Week.[43] Spider-Man 3 was also released in China on May 3, 2007 to circumvent market growth of unlicensed copies of the film. The studio's release of a film in China before its domestic release was a first for Sony Pictures Releasing International.[48] By May 6, 2007, Spider-Man 3 opened in 107 countries around the world.[47]

text: The film was commercially released in the United States on May 4, 2007 in a North American record total of 4,253 theaters,[49] including fifty-three IMAX theaters.[50] The record number of theaters was later beaten by Pirates of the Caribbean: At World's End, which was released in 4,362 theaters in the United States—109 more than Spider-Man 3.[51] Tracking data a month before the U.S. release reflected over 90% awareness and over 20% first choice among moviegoers, statistics that estimated an opening weekend of over $100 million for Spider-Man 3.[52] Online tickets for Spider-Man 3 were reported on April 23, 2007 to have been purchased at a faster rate—three times at Movietickets.com and four times at Fandango—than online ticket sales for Spider-Man 2.[53] On May 2, 2007, Fandango reported the sales rate as six times greater than the rate for Spider-Man 2. The strong ticket sales caused theaters to add 3:00 AM showings following the May 4, 2007 midnight showing to accommodate the demand.[54]

text: The FX channel signed a five-year deal for the television rights to Spider-Man 3, which they began airing in 2009. The price was based on the film's box office performance, with an option for three opportunities for Sony to sell the rights to one or more other broadcast networks.[55]

text: Marketing[edit]

text: In New York City, the hometown of Spider-Man's fictional universe, tourist attractions arranged events and exhibits on April 30, 2007 to lead up to the release of Spider-Man 3. The unique campaign include a spider exhibit at the American Museum of Natural History, workshops on baby spider plants at the New York Botanical Garden, Green Goblin mask-making workshop at the Children's Museum of Manhattan, and a scavenger hunt and a bug show at Central Park Zoo.[56]

text: Hasbro, which holds the license for Marvel characters, released several toys to tie-in with the film. They include a deluxe spinning web blaster, along with several lines of action figures aimed at both children and collectors.[57] Toys of the Green Goblin and Doctor Octopus from the first two films have been re-released to match the smaller scale of the new figures, as have been toys of the Lizard, the Scorpion, Kraven the Hunter, and Rhino in a style reminiscent of the films.[58][59] Techno Source created interactive toys, including a "hand-held Battle Tronics device that straps to the inside of a player's wrist and mimics Spidey's web-slinging motions".[60] Japanese Medicom Toy Corporation produced collectables, which Sideshow Collectibles distributed in the U.S.[61]

text: Critical reception[edit]

text: On the film review aggregator site Rotten Tomatoes, Spider-Man 3 has an approval rating of 63% based on 253 reviews, with an average rating of 6.1/10. The site's critical consensus reads, "Though there are more characters and plotlines, and the action sequences still dazzle, Spider-Man 3 nonetheless isn't quite as refined as the first two."[62] On Metacritic, the film has a score of 59 out of 100, based on 40 critics, indicating "mixed or average reviews".[63] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, lower than the "A–" earned by both its predecessors.[64]

text: Manohla Dargis of The New York Times deplored the film's pacing as "mostly just plods" and said it lacked humor.[65] Richard Roeper of the Chicago Sun-Times gave the film only 2 out of 4 stars, feeling, "for every slam-bang action sequence, there are far too many sluggish scenes."[66] David Edelstein of New York magazine misses the "centrifugal threat" of Alfred Molina's character, adding that "the three villains here don't add up to one Doc Ock"[67] (referring to Molina's portrayal of the character in Spider-Man 2). James Berardinelli felt director Sam Raimi "overreached his grasp" by allowing so many villains, specifically saying, "Venom is one bad guy too many."[68] Roger Ebert, who gave Spider-Man 2 a glowing review,[69] gave the sequel 2 out of 4 stars and thought Church never expressed how Sandman felt about his new powers, something Molina, as Doc Ock in Spider-Man 2, did "with a vengeance"; he said the film was "a mess," with too many villains, subplots, romantic misunderstandings, conversations and "street crowds looking high into the air and shouting 'oooh!' this way, then swiveling and shouting 'aaah!' that way."[70] The New Yorker's Anthony Lane, who gave Spider-Man 2 a favorable review,[71] gave the film a negative review, characterizing the film as a "shambles" which "makes the rules up as it goes along."[72]

text: Roger Friedman of Fox News called the film a "4-star opera", noting that while long, there was plenty of humor and action.[73] Andy Khouri of Comic Book Resources praised the film as "easily the most complex and deftly orchestrated superhero epic ever filmed […] despite the enormous amount of characters, action and sci-fi superhero plot going on in this film, Spider-Man 3 never feels weighted down, tedious or boring."[74] Jonathan Ross, a big fan of the comic books, felt the film was the best of the trilogy.[75] Richard Corliss of Time commended the filmmakers for their ability to "dramatize feelings of angst and personal betrayal worthy of an Ingmar Bergman film, and then to dress them up in gaudy comic-book colors".[76] Wesley Morris of The Boston Globe, who gave the film 4 out of 5 stars, wrote that it was a well-made, fresh film, but would leave the viewer "overfulfilled".[77] Jonathan Dean of Total Film felt the film's complex plot helped the film's pacing, in that, "it rarely feels disjointed or loose […] Spider-Man cements its shelf-life."[78] Entertainment Weekly named the Sandman as the eighth best computer-generated film character.[79]

text: John Hartl of MSNBC gave Spider-Man 3 a positive review, but stated that it has some flaws such as having "too many storylines".[80] His opinion is echoed by Houston Chronicle's Amy Biancolli who complained that "the script is busy with so many supporting characters and plot detours that the series' charming idiosyncrasy is sometimes lost in the noise."[81] Jack Matthews of Daily News thought the film was too devoted to the "quiet conversations" of Peter and Mary Jane, but that fans would not be disappointed by the action.[82] Finally, Sean Burns of Philadelphia Weekly felt that the director "substituted scope and scale for the warmth and wit that made those two previous pictures so memorable."[83] Raimi himself would later call the film "awful" during a podcast interview.[84] Speaking to Screen Rant, Avi Arad also accepted responsibility for pushing Raimi to include Venom in the film, and how the end result had disappointed many fans of the character, saying "I think we learned that Venom is not a sideshow. In all fairness, I'll take the guilt because of what Sam Raimi used to say in all of these interviews feeling guilty that I forced him into it."[85]

text: Accolades[edit]

text: Both the 35th Annie Awards and 61st British Academy Film Awards gave this movie one nomination, the former for Best Animated Effects and the latter for Best Special Visual Effects. Spider-Man 3 did not win any of the four Visual Effects Society Awards nominations it received. Dunst's and Maguire's performances earned them each one nomination from the National Movie Awards. She also received another nomination for Favorite Movie Actress from the 2008 Kids' Choice Awards ceremony. The movie fared better at the Teen Choice Awards, amounting a total of seven nominations, varying from Choice Movie: Villain (for Grace) to Choice Movie: Dance (for Maguire) and Choice Movie: Liplock (shared between Dunst and Maguire).

text:
Award

Date of ceremony

Category

Recipients

Outcome

Annie Awards[86]

February 8, 2008

Best Animated Effects

Ryan Laney

Nominated

British Academy Film Awards[87]

February 10, 2008

Best Special Visual Effects

Scott Stokdyk, Peter Nofz, Kee-Suk Ken Hahn and Spencer Cook

Nominated

Kids' Choice Awards[88]

March 29, 2008

Favorite Movie Actress

Kirsten Dunst

Nominated

Golden Trailer Awards[89]

May 31, 2007

Best Summer Blockbuster

Spider-Man 3

Won

MTV Movie Award[90]

June 1, 2008

Best Fight

James Franco and Tobey Maguire

Nominated

Best Villain

Topher Grace

Nominated

National Movie Awards[91]

September 27, 2007

Best Family Film

Spider-Man 3

Nominated

Best Performance by a Female

Kirsten Dunst

Nominated

Best Performance by a Male

Tobey Maguire

Nominated

People's Choice Awards[92]

January 8, 2008

Favorite On Screen Match-up

Kirsten Dunst and Tobey Maguire

Nominated

Favorite Threequel

Spider-Man

Nominated

Saturn Awards[93]

June 24, 2008

Best Director

Sam Raimi

Nominated

Best Fantasy Film

Spider-Man 3

Nominated

Best Special Effects

Scott Stokdyk, Peter Nofz, Spencer Cook and John Frazier

Nominated

Best Supporting Actor

James Franco

Nominated

Teen Choice Awards[94]

August 26, 2007

Choice Movie: Action Actor

Tobey Maguire

Nominated

Choice Movie: Action Actress

Kirsten Dunst

Nominated

Choice Movie: Action

Spider-Man 3

Nominated

Choice Movie: Dance

Tobey Maguire

Nominated

Choice Movie: Liplock

Kirsten Dunst and Tobey Maguire

Nominated

Choice Movie: Rumble

James Franco, Tobey Maguire, Topher Grace and Thomas Haden Church

Nominated

Choice Movie: Villain

Topher Grace

Nominated

Visual Effects Society Award[95]

February 10, 2008

Best Single Visual Effect of the Year

Scott Stokdyk, Terry Clotiaux, Spencer Cook and Douglas Bloom

Nominated

Outstanding Animated Character in a Live Action Motion Picture

Chris Y. Yang, Bernd Angerer, Dominick Cecere and Remington Scott

Nominated

Outstanding Models or Miniatures in a Motion Picture

Ian Hunter, Scott Beverly, Forest P. Fischer and Ray Moore

Nominated

Outstanding Visual Effects in an Effects Driven Motion Picture

Scott Stokdyk, Terry Clotiaux, Peter Nofz and Spencer Cook

Nominated

text: Box office[edit]

text: Spider-Man 3 earned $336.5 million in North America and $554.3 million in other countries for a worldwide total of $890.9 million.[3] Worldwide, it is the third-highest-grossing film of 2007, the highest-grossing film of Sam Raimi's Spider-Man trilogy, and was the highest-grossing film distributed by Sony/Columbia until 2012's Skyfall.[96] The film set a worldwide single-day record ($104 million) on its first Friday and broke its own record again on Saturday ($117.6 million).[97][98] It also set a worldwide opening-weekend record with $381.7 million,[98] which now ranks as the fifth-largest (first surpassed by Harry Potter and the Half-Blood Prince).[99][100] The film's IMAX screenings reached $20 million in 30 days, faster than any other 2D film remastered in the format.[101]

text: In North America, Spider-Man 3 is the 49th-highest-grossing film, the third-highest-grossing film of the Spider-Man series, the third-highest-grossing film distributed by Sony/Columbia, and the highest-grossing 2007 film.[3][102][103] The film sold an estimated 48,914,300 tickets.[104] It was released in 4,252 theaters (about 10,300 screens) on Friday, May 4, 2007.[105] It set an opening- and single-day record with $59.8 million[97] (both were first surpassed by The Dark Knight). This included $10 million from midnight showings.[106] Spider-Man 3 then set an opening-weekend record with $151.1 million (first surpassed by The Dark Knight), a record for the weekend per-theater average with $35,540 per theater (first surpassed by Hannah Montana & Miley Cyrus: Best of Both Worlds Concert),[107] and an IMAX opening-weekend record with $4.8 million (first surpassed by The Dark Knight).[108][109] The film set record Friday[110] and Sunday grosses[111] and achieved the largest cumulative gross through its second, third, and fourth day of release (all were first surpassed by The Dark Knight).[112] It also set a record Saturday gross (surpassed by Marvel's The Avengers).[113]

text: Outside North America, it is the 23rd-highest-grossing film, the highest-grossing film of Sam Raimi's Spider-Man trilogy, and the third-highest-grossing film distributed by Sony/Columbia.[114] On its opening day (Tuesday, May 1, 2007), Spider-Man 3 grossed $29.2 million from 16 territories, an 86% increase from the intake of Spider-Man 2 on its first day of release. In 10 of the 16 territories, Spider-Man 3 set new opening-day records.[47] These territories are Japan, South Korea, Hong Kong, Thailand, Malaysia, Singapore, Taiwan, the Philippines,[49] France,[115] and Italy.[116] In Germany, the film surpassed the opening-day gross of Spider-Man 2.[115] During its six-day opening weekend (through its first Sunday), the film earned $230.5 million from 107 markets, finishing #1 in all of them.[98] Spider-Man 3 set opening-weekend records in 29 markets[98] including Italy, China, South Korea (the latter was first surpassed by Pirates of the Caribbean: At World's End),[117] India, Singapore, Philippines, Hong Kong, Thailand, Malaysia, Taiwan, Indonesia, Mexico, Brazil, Argentina, Colombia, and Peru. However, many of these records were achieved thanks to its six-day opening, while previous record-holders in some countries opened over the traditional three-day weekend (traditional two-, four-, or five-day weekend in other countries). In India, it grossed $16.4 million and was the seventh-highest-grossing film of 2007 there.[118][119] Spider-Man 3 was in first place at the box office outside North America for three consecutive weekends.[120][121]

text: Home video[edit]

text: Spider-Man 3 was released on Region 4 DVD (anamorphic widescreen) in Australia on September 18, 2007.[122] For Region 2 in the United Kingdom, the film was released on October 15, 2007.[123] Spider-Man 3 was released on DVD in Region 1 territories on October 30, 2007. The film is available in one-disc and two-disc editions, on both standard and Blu-ray formats, as well as packages with the previous films and a PSP release.[124] Sam Raimi, Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, Laura Ziskin, Avi Arad, and Grant Curtis are among those who contributed to the audio commentaries.

text: Sony announced plans to create "one of the largest" marketing campaigns in Hollywood for the October 30, 2007 release of the DVD. Beginning with a partnership with Papa John's, Sony printed close to 8.5 billion impressions for pizza boxes, television, radio, and online ads. Sony also worked with Pringles Potato Crisp, Blu Tack, Jolly Time Pop Corn, and Nutella. Sony's Vice President of marketing, Jennifer Anderson, stated the studio spend approximately 15% to 25% of its marketing budget on digital ad campaigns; from this, Papa Johns sent text messages to mobile phones with ads. Anderson stated that there would be three sweepstakes held for consumers, where they would be able to win prizes from Sony and its promotional partners.[125]

text: In the United States, the film grossed more than $124 million on DVD sales.[126] It also grossed more than $43.76 million on DVD/Home Video Rentals in 11 weeks.[127] However, the DVD sales results of this film did not meet industry expectations.[128] Spider-Man 3 was included in The Spider-Man Legacy Collection which includes 5 major Spider-Man films in a 4K UHD Blu-Ray collection which was released on October 17 2017.[129]

text: Spider-Man 3: Editor's Cut (2017)[edit]

text: In 2017, Sony announced that an "editor's cut" of Spider-Man 3 would be released for its 10th anniversary, alongside the Spider-Man: Origins Blu-ray collection on June 13, 2017. The film features unused music from Christopher Young and is two minutes shorter than the theatrical cut. Some scenes are shifted around or have been completely removed, and the film includes three new scenes, three alternate scenes, and one extended scene. Spider-Man 3: Editor's Cut was later re-released with the Spider-Man Legacy Collection 4K Blu-ray Box Set.[130]

text: Cancelled sequel and reboot[edit]

text: In 2007, Spider-Man 4 entered development, with Raimi attached to direct and Maguire, Dunst and other cast members set to reprise their roles. Both a fourth and a fifth film were planned and at one time the idea of shooting the two sequels concurrently was under consideration. However, Raimi stated in March 2009 that only the fourth film was in development at that time and that if there were fifth and sixth films, those two films would actually be a continuation of each other.[131][132][133][134] James Vanderbilt was hired in October 2007 to pen the screenplay after initial reports in January 2007 that Sony Pictures was in contact with David Koepp, who wrote the first Spider-Man film.[135][136] The script was subsequently rewritten by Pulitzer-winning playwright David Lindsay-Abaire in November 2008 and rewritten again by Gary Ross in October 2009.[137] Sony also engaged Vanderbilt to write scripts for Spider-Man 5 and Spider-Man 6.[136]

text: In 2007, Raimi expressed interest in portraying the transformation of Dr. Curt Connors into his villainous alter-ego, the Lizard, a villain which had been teased since Spider-Man 2; the character's actor Dylan Baker and producer Grant Curtis were also enthusiastic about the idea.[138][139][140] By December 2009, John Malkovich was in negotiations to play Vulture and Anne Hathaway would play Felicia Hardy, though she would not have transformed into the Black Cat as in the comics but a new superpowered figure, the Vulturess.[141] According to sources online, an early draft of the film would have had the Vulture buying out the Daily Bugle, forcing Spider-Man to kill him. Felicia Hardy, Vulture's daughter in this version of the script, would have had an affair with Peter Parker in order to shatter his engagement with Mary Jane. These rumors were never confirmed. Raimi stated years later during an interview in 2013, however, that Hathaway was going to be Black Cat if Spider-Man 4 had been made.[141]

text: Sony Pictures announced in January 2010 that plans for Spider-Man 4 had been cancelled due to Raimi's withdrawal from the project. Raimi reportedly ended his participation due to his doubt that he could meet the planned May 6, 2011 release date while at the same time upholding the film creatively. Raimi purportedly went through four iterations of the script with different screenwriters and still "hated it".[142]

text: A reboot of the series called The Amazing Spider-Man was released on July 3, 2012, with Andrew Garfield as Peter Parker.[143]

text: In March 2017, it was revealed that stock footage of a crowd reacting to Spider-Man catching Gwen Stacy from Spider-Man 3's B-roll was used in the 2017 film Life.[144]

text: Notes[edit]

text: Jump up ^ The company is credited as Marvel Studios, despite not being a part of the Marvel Cinematic Universe


document_title: Christopher Pike (Star Trek)

question_text: who is captain pike on the uss enterprise

root

text: Christopher Pike (Star Trek)

text: Depiction[edit]

text: According to dialogue in "The Cage", he is from the city of Mojave on Earth and once owned a horse named Tango.

tag: p

text: Pike is the second captain of the USS Enterprise NCC-1701 and the first to be shown in Star Trek canon. The animated Star Trek series reveals that Captain Robert April predated Pike, and printed Star Trek fiction and reference books also identify April as Pike's predecessor.[4][5] Pike took command of the USS Enterprise in the year 2252, at the age of 38, taking over command from Robert April, who commanded the Enterprise for nine years.

text: "The Cage"[edit]

text: At the beginning of "The Cage", set in the year 2254, Pike and his crew are recuperating from a mission to Rigel VII during which several members of the landing party were killed by the inhabitants. The incident filled Pike with so much guilt that he is considering resigning his commission.

text: Meanwhile, the Enterprise is en route to Vega Colony to drop off wounded crew members when it receives a distress call from the survey vessel SS Columbia, lost eighteen years previously. Pike orders the ship diverted to Talos IV to rescue survivors.

text: Pike soon learns that all but one of the survivors are illusions created by the Talosians in order to lure the Enterprise crew to Talos IV. The Talosians make every effort to provide sexual fantasies that they hope will appeal to Pike, using Vina, the only real Columbia survivor, as the object of desire. After Pike escapes from his prison cell with the aid of his first officer, Number One, and Yeoman J.M. Colt, the Talosians reveal, to Pike, Vina's real appearance as a disfigured older woman. The Talosians saved her life after the Columbia crashed, but they had no guide on how to repair a human body. Pike requests that the Talosians restore her illusion of beauty and the Enterprise leaves Talos IV.

text: "The Menagerie"[edit]

text: At some point prior to "The Menagerie", Pike is promoted to fleet captain. He is severely injured while rescuing several cadets from a baffle plate rupture on board a J-class training vessel, the delta ray radiation leaving him paralyzed, unable to speak, badly scarred, and using a brainwave-operated wheelchair for mobility. His only means of communicating is through a light on the chair: one flash meaning "yes" and two flashes indicating "no".

text: In "The Menagerie", the Enterprise, now under the command of Captain James T. Kirk, travels to Starbase 11. Spock, who had served with Pike for "eleven years, four months, and five days", makes clandestine arrangements to take Pike back to Talos IV, despite travel to Talos IV being the only criminal offense still punishable by death in Starfleet. Spock undergoes court-martial, with his evidence presented during the trial being footage from "The Cage". At the two-part episode's conclusion, it is revealed that the entire procedure was a Talosian-generated illusion to ensure that the Enterprise reached Talos. The Talosians invite Captain Pike to spend the remainder of his life among them, "unfettered by his natural body", which was the entire purpose of Spock's actions. Pike accepts the offer and Spock, now cleared of all charges, sees him off. The Talosians then show Captain Kirk an image of Pike in perfect health and reunited with Vina (another scene from "The Cage").

text: Later references[edit]

text: Pike is referenced in the episode "Mirror, Mirror". An alternate-universe version of Captain Kirk reportedly assassinated Pike to become captain of the ISS Enterprise (the Mirror Universe version of the USS Enterprise).

text: In the Star Trek: The Next Generation episode "The Most Toys", the name Pike can be seen briefly on the side of the shuttlecraft Lt. Commander Data was going to pilot at the beginning of the episode.

text: A citation named for Pike is revealed in the Star Trek: Deep Space Nine episode "Tears of the Prophets"; Captain Benjamin Sisko receives the "Christopher Pike Medal of Valor" for his actions during the Dominion War.

text: Reboot[edit]

text: Captain Pike appears in the 2009 reboot Star Trek, this time portrayed by Bruce Greenwood. In the film, Pike encourages a young, directionless James T. Kirk (Chris Pine) to follow in the footsteps of his hero father and enlist in Starfleet.[6] Pike is the first Captain of the USS Enterprise, with Kirk on board as a stowaway. During the Battle of Vulcan, Pike is taken prisoner by Nero (Eric Bana) and tortured for information about Earth's defenses. He is later rescued by Kirk, whom Pike also manages to save from an attack despite his wounds. At the end of the film, Pike is promoted to the rank of admiral and uses a wheelchair. Unlike his counterpart in "The Menagerie", however, Pike still retains the ability to speak and to use his upper body. He proudly yields command of the Enterprise to Kirk while he recovers from his injuries, stating that Kirk's father would be proud of his actions.

text: Greenwood reprised his role as Pike in the next film, Star Trek Into Darkness. In the film, Pike has partially recovered from the trauma Nero inflicted, and uses a cane rather than a wheelchair.[7] After Kirk violates the Prime Directive to rescue Spock (Zachary Quinto), Pike briefly retakes command of the Enterprise and warns Kirk that the Admiralty is threatening to put him back into the Academy. Pike confronts Kirk about his reckless behavior and how his own actions can get those nearest to him killed. Despite his anger at Kirk, however, Pike retains him as his First Officer, sparing him from having to return to the Academy. He later explains to Kirk that he still believes in him and that he also sees a "greatness" behind his recklessness. During a meeting with the Starfleet commanders, including veteran Admiral Marcus and Captain Kirk, Pike is killed in a terrorist attack on Starfleet by John Harrison. Pike's death incites a desire for revenge in Kirk, who seeks to hunt Harrison down, which nearly brings the Federation into a full-scale war with the Klingons. It is revealed that "John Harrison" is an alias, and Harrison's true identity is Khan Noonien Singh. Khan reveals a secret agenda of Admiral Marcus to militarize Starfleet via war with the Klingons and the use of the huge Dreadnought class starship, USS Vengeance, which was designed by Khan. At the end of the film, a memorial service is held for Pike and all of the other people who died as a result of Admiral Marcus' and Khan's actions. Pike's death also deeply affects Kirk and Spock, Kirk because of their close relationship and Spock because he'd been mind-melding with Pike as he died and felt his death.

text: Star Trek: Discovery[edit]

text: Pike is mentioned twice in the first season of the prequel series Star Trek: Discovery.

text: In the episode "Choose Your Pain", Pike is shown listed on the Starfleet Database as one of Starfleet's most decorated Captains as of 2256. (Also included in the list are Jonathan Archer, Matthew Decker, Philippa Georgiou, and Robert April.) The Enterprise is seen in the final scene of the first-season finale, "Will You Take My Hand?", with Pike sending a distress call to the Discovery.[8]

text: On April 9, 2018, Anson Mount was cast as Pike in the second season of the series, which was described as a "key role" for the season.[9]

text: Appearances in licensed spin-off media[edit]

text: Novels and short stories[edit]

text: Pike has significant roles in the Pocket Books novels Enterprise: The First Adventure (Vonda N. McIntyre, 1986), Final Frontier (Diane Carey, 1988), Vulcan's Glory (D. C. Fontana, 1989), Burning Dreams (Margaret Wander Bonanno, 2006), and Child of Two Worlds (Greg Cox, 2015).

text: A mirror-universe version of Pike (established in "Mirror, Mirror", as having been assassinated by the mirror James T. Kirk.[5])

text: He also appears in the novel Dark Victory (William Shatner, 1999), and the short story "The Greater Good" (Margaret Wander Bonanno) in the anthology Star Trek: Mirror Universe: Shards and Shadows (2009).

text: Dave Stern's 2010 original series novel The Children of Kings was set aboard Pike's Enterprise.

text: Captain Pike has his own novel in "Captain's Table" series, Where Sea Meets Sky, written by Jerry Oltion and published in October 1998.

text: Comics[edit]

text: Star Trek: Early Voyages[edit]

text: In the Paramount-licensed Star Trek comic book series published by Marvel Comics, Star Trek: Early Voyages chronicled the adventures of the Enterprise under the command of Pike. The earliest issues lead up to the events seen in "The Cage", which was retold from Yeoman Colt's point of view. Although extremely popular, the comic series ended on a cliffhanger when Marvel lost the Star Trek license rights.[citation needed]

text: Star Trek Annual #2 – "The Final Voyage" (DC comics, 1986)[edit]

text: In this issue, the Enterprise tries to return home to Earth only to find itself around Talos IV. They discover that the Klingons have gone to the planet reasoning anything that scared the Federation enough to maintain the death penalty could be used as a weapon. While on the surface they also discover two Klingons torturing Pike, who is back in his chair due to the Klingons having partially mastered the Talosian's mind powers. One of the Klingons then tortures the crew of the Enterprise by making them live their worst fears. Kirk, forced to relive the death of Edith Keeler, goes berserk with rage and breaks the illusion. Kirk then beats the Klingon tormenting them to death with his bare hands. The crew quickly free the Talosians, who mentally imprison the Klingons in illusions of peaceful, tranquil settings as they purge their memories of Talos IV. The crew returns home with Pike remaining on Talos IV to continue his illusionary life.

text: Starfleet Academy comic series[edit]

text: In the Paramount-licensed Star Trek comic book series published by Marvel Comics, Starfleet Academy, Nog and some fellow cadets encounter a solid image of Pike on Talos IV.[citation needed]

text: Star Trek Captain's Log: Pike (IDW Publishing, 2010)[edit]

text: Captain's Log: Pike published by IDW details the events leading up to and including Pike becoming disabled from the baffle plate rupture aboard the USS Exeter (NCC-1788) under the watch of Captain Colt, Pike's former yeoman on the Enterprise. The story also reveals Colt's unrequited love for her former Captain.

text: Star Trek: The New Voyages[edit]

text: In an episode of the non-canon fan film series Star Trek: New Voyages, a time-traveling Kirk and Spock attempt to warn Pike not to attempt to rescue the trapped cadets. Pike attempts it, in spite of what future-Kirk and future-Spock say, causing him to be injured by the delta rays and subsequently transition to a life in the wheelchair and its light communication device.


document_title: Stockholm Water Prize

question_text: name of the person who own the stockholm water prize in 2006

text: Stockholm Water Prize

text: Presented annually since 1991, the Stockholm Water Prize is an award that recognizes outstanding achievements in water related activities. Over the past two decades, Stockholm Water Prize Laureates [1] have come from across the world and represented a wide range of professions, disciplines and activities in the field of water.

text: Any activity or actor which contributes broadly to the conservation and protection of the world’s water resources, and to improved water conditions which contribute to the health and welfare of the planet’s inhabitants and our ecosystems, is eligible to be nominated for the Stockholm Water Prize.

text: The Stockholm Water Prize Laureate is announced each 22 March at the UN World Day for Water and honoured each August during the World Water Week in Stockholm at a Royal Prize Ceremony and Banquet in the Stockholm City Hall. At the ceremony, the Laureate receives the prize from H.M. King Carl XVI Gustaf of Sweden, who is the patron of the Stockholm Water Prize.

text: The prize, created and financed by the Stockholm Water Foundation and administered by the Stockholm International Water Institute (SIWI) [2], includes a 150,000 USD award and an Orrefors crystal sculpture.

text: The Stockholm Junior Water Prize is also administered by SIWI and awarded during the World Water Week in Stockholm each August.

text: Past winners and official motivation[edit]

text: 2016: Professor Joan Rose, Professor at Michigan State University, USA, for “The nexus of water-related microbiology, water quality and public health is rife with uncertainty – in both theory and practice. The world is blessed with few individuals who can tackle the increasing and changing challenges to clean water and health, starting from state-of-the-art science through dedicated and original research, then moving to professional dissemination, effective lobbying of the legislative arena, influencing practitioners, and raising the general awareness. Joan Rose is the leading example of this extremely rare blend of talents.”

text: 2015: Rajendra Singh, water conservationist and director of Tarun Bharat Sangh (TBS), India, for “today’s water problems cannot be solved by science or technology alone. They are instead human problems of governance, policy, leadership, and social resilience. Rajendra Singh’s life work has been in building social capacity to solve local water problems through participatory action, empowerment of women, linking indigenous know-how with modern scientific and technical approaches and upending traditional patterns of development, resource use, and social norms.”

text: 2014: Dr. John Briscoe, Founder and Director of University-Wide Harvard Water Quality Initiative, and for 20 years with the World Bank, for "unparalleled contributions to global and local management of wa ter - contributions covering vast thematic, geographic, and institutional environments-that have improved the lives and livelihoods of millions of people worldwide.”

text: For his "unparalleled contributions to global and local management of water - contributions covering vast thematic, geographic, and institutional environments-that have improved the lives and livelihoods of millions of people worldwide.”

text: 2013: Dr. Peter Morgan, Director of Aquamor, a not-for-profit in Zimbabwe for "his work to protect the health and lives of millions of people through improved sanitation and water technologies. Over the past four decades, Dr. Morgan has invented and advanced low-cost practical solutions to provide access to safe sanitation and clean water that are being used by millions of people worldwide".[1][2]

text: 2012: International Water Management Institute, Sri Lanka “The International Water Management Institute is the foremost organisation in agricultural water management. Their work has led to new policies and investments in agriculture that have not only enabled more productive use of water, but have enhanced food security, economic development and environmental health around the world.”

text: 2011:Stephen R. Carpenter, United States "Professor Carpenter has shown outstanding leadership in setting the ecological research agenda, integrating it into a socio-ecological context, and in providing guidance for the management of aquatic resources".

text: 2010: Professor Rita R. Colwell, United States "Dr Rita Colwell’s numerous contributions towards solving the world’s water and water-related public health problems, particularly her work to prevent the spread of cholera, is of utmost global importance. Through her research on its physiology, ecology, and metabolism, Dr Colwell advanced the fields of mathematics, genetics and remote sensing technology and not only as they relate to these bacteria but to the prevention other diseases in many developing countries."

text: 2009: Dr. Bindeshwar Pathak, founder of Sulabh International

text: For his wide-ranging work in the sanitation field to improve public health, advance social progress, and improve human rights in India and other countries. His accomplishments span the fields of sanitation technology, social enterprise, and healthcare education for millions of people in his native country, serving as a model for NGO agencies and public health initiatives around the world.

text: 2008: Professor John Anthony Allan, King’s College London and the School of Oriental and African Studies

text: For pioneering the development of key concepts in the understanding and communication of water issues and how they are linked to agriculture, climate change, economics and politics, including the virtual water concept, which measures how water is embedded in the production and trade of food and consumer products.

text: 2007: Professor Perry McCarty, Stanford University, United States

text: For pioneering work in developing the scientific approach for the design and operation of water and wastewater systems. He has established the role of fundamental microbiology and chemistry in the design of bioreactors. Professor McCarty has defined the field of environmental biotechnology that is the basis for small-scale and large-scale pollution control and safe drinking water systems.

text: 2006: Professor Asit K. Biswas, The Third World Center for Water Management

text: For his outstanding and multi-faceted contributions to global water resource issues, including research, education and awareness, water management, human and international relations in both developed and developing countries.

text: 2005: Centre for Science and Environment (CSE) under the directorship of Ms. Sunita Narain, New Delhi, India

text: For a successful recovery of old and generation of new knowledge on water management, a community-based sustainable integrated resource management under gender equity, a courageous stand against undemocratic, top-down bureaucratic resource control, an efficient use of a free press, and an independent judiciary to meet these goals.

text: 2004: Professor Sven Erik Jørgensen, Danish University of Pharmaceutical Sciences, Copenhagen, Denmark and Professor William J. Mitsch, Olentangy River Wetland Research Park at The Ohio State University, United States

text: For their pioneering development and global dissemination of ecological models of lakes and wetlands, widely applied as effective tools in sustainable water resource management.

text: 2003: Professor Peter A. Wilderer, Technical University of Munich, Germany

text: For the development and demonstration of integrative approaches to water and wastewater management across the spectrum of fundamental research, applied research, technology implementation and sustainable water management.

text: 2002: Professor Ignacio Rodríguez-Iturbe, Princeton University, United States

text: For lasting contributions to surface hydrology, where he has been in the forefront of the scientific evolution that placed hydrology in the fellowship of Earth Sciences.

text: 2001: Professor Takashi Asano, University of California at Davis, United States

text: For his outstanding contributions to efficient use of water in the domain of wastewater reclamation, recycling and reuse through theoretical developments, practical research and worldwide adaptation and promotion.

text: 2000: Professor Kader Asmal, Ministry of Education, South Africa

text: For unprecedented efforts in the development of vision, legislation and practice in the field of water management in South Africa.

text: 1999: Professor Werner Stumm, Federal Institute of Technology in Zurich, Switzerland and James J. Morgan, California Institute of Technology in Pasadena, United States

text: For outstanding contributions to aquatic chemistry of great importance for understanding chemical reactions in the water environment which contributed to the development of techniques for treatment of wastewater and drinking water.

text: 1998: Professor Gedeon Dagan, Tel Aviv University, Israel

text: For having established the basis of a new field within geohydrology where contaminant spreading in the subsurface environment is determined in such a way that it accounts for heterogeneity and for biochemical processes.

text: 1997: Professor Peter S. Eagleson, Massachusetts Institute of Technology, United States

text: For his achievements in developing models for dynamic hydrology and eco-hydrology.

text: 1996: Professor Jörg Imberger, University of Western Australia

text: For his contributions to the understanding of mixing and transport in lakes, estuaries and coastal seas and their influence on water quality.

text: 1995: Water Aid, under the leadership of Jon Lane, Great Britain

text: For bringing water and sanitation facilities to over three million people in the world’s poorest countries.

text: 1994: Dr. Takeshi Kubo, Research Institute of Wastewater Management, Japan

text: For his bridge-building work between nations in Asia and Europe.

text: 1993: Dr. Madhav Atmaram Chitale, International Commission on Irrigation and Drainage, India

text: For his achievements in the fields of water conservation and public education programs in Southeast Asia.

text: 1992: Department of Environmental Engineering at the Technical University of Denmark, under the leadership of Professor Poul Harremoës'

text: For research within water purification, contaminated groundwater and tools and techniques to protect it.

text: 1991: Professor David W. Schindler, University of Alberta, Canada

text: For research into excess nutrification and acidification of freshwater lakes. From 1968-1989 Schindler directed Experimental Lakes Area using whole-lakes as natural laboratories with an integrated ecosystem approach.[3][4]


document_title: Ski-Doo

question_text: when was the first ski doo snowmobile made

text: Ski-Doo

text: Look up Skidoo in Wiktionary, the free dictionary.

tag: table

text: Ski-Doo is a brand name of snowmobile manufactured by Bombardier Recreational Products (originally Bombardier Inc. before the spin-off). The Ski-Doo personal snowmobile brand is so iconic, especially in Canada, that it was listed in 7th place on the CBC's The Greatest Canadian Invention list in 2007.

text: Ski-Doo also has its own range of snowmobile suits.

text: History[edit]

text: The first Ski-Doo was launched in 1959.[1] It was a new invention of Joseph-Armand Bombardier. The original name was Ski-Dog, but a typographical error in a Bombardier brochure changed the name Ski-Dog to Ski-Doo.[2]

text: The first Ski-Doos found customers with missionaries, trappers, prospectors, land surveyors and others who need to travel in snowy, remote areas. The largest success for the snowmobile came from sport enthusiasts, a market that opened the door to massive production of snowmobiles.[3][4] This popularity led to skidoo (sometimes ski-doo), with the derived verb skidooing (or ski-dooing), becoming the traditional generic term for snowmobile in much of Canada.[5][6][7]

text: In early 2016 Ski-Doo announced that they are releasing an all new snowmobile engine and chassis. Most of the 2 stroke engines from Ski-Doo as well as its competitors mainly featured 800cc motors (for the newer snowmobiles). Ski-Doo announced that in its new line of model year 2017 snowmobiles, they would have an 850cc motor. That motor (the Rotax 850 E-Tec) was designed with an all new chassis, not designed separately. The new motor and chassis makes the snowmobile more agile, responsive and powerful. Ski-Doo named this new chassis/motor combination "Gen-4" and released it in several different models (Summit, MXZ, and Renegade).


document_title: Ra

question_text: who was believed to be the son of re the sun god

text: Ra

text: Role[edit]

text: The sun[edit]

text: To the Egyptians, the sun represented light, warmth, and growth. This made the sun deity very important, as the sun was seen as the ruler of all that he created. The sun disk was either seen as the body or eye of Ra. Ra was the father of Shu and Tefnut, whom he created. Shu was the god of the wind, and Tefnut was the goddess of the rain. Sekhmet was the Eye of Ra and was created by the fire in Ra's eye. She was a violent lioness who later turned into Hathor.

text: In the underworld[edit]

text: Ra was thought to travel on the Atet, two solar barks called the Mandjet (the Boat of Millions of Years) or morning boat and the Mesektet or evening boat.[4] These boats took him on his journey through the sky and the Duat, the literal underworld of Egypt. While Ra was on the Mesektet, he was in his ram-headed form.[4] When Ra traveled in his sun boat, he was accompanied by various other deities including Sia (perception) and Hu (command), as well as Heka (magic power). Sometimes, members of the Ennead helped him on his journey, including Set, who overcame the serpent Apophis, and Mehen, who defended against the monsters of the underworld. When Ra was in the underworld, he would visit all of his various forms.[4]

text: Apophis, the god of chaos, was an enormous serpent who attempted to stop the sun boat's journey every night by consuming it or by stopping it in its tracks with a hypnotic stare. During the evening, the Egyptians believed that Ra set as Atum or in the form of a ram. The night boat would carry him through the underworld and back towards the east in preparation for his rebirth. These myths of Ra represented the sun rising as the rebirth of the sun by the sky goddess Nut; thus attributing the concept of rebirth and renewal to Ra and strengthening his role as a creator god as well. Apophis was born from Ra's umbilical cord, indicative of how evil in Egyptian religion is the result of free will rather than a primordial force.[5]

text: When Ra was in the underworld, he merged with Osiris, the god of the dead, and through it became the god of the dead as well.[4]

text: As creator[edit]

text: Ra was worshipped as the Creator god among some ancient Egyptians, specifically followers of his cult at Heliopolis.[4] It was believed that Ra wept, and from his tears came man.[4] These cult-followers believed that Ra was self-created, while followers of Ptah believed that Ra was created by Ptah.[6] In a passage of the Book of the Dead, Ra cuts himself, and his blood transforms into two intellectual personifications: Hu, or authority, and Sia, or mind.[4] Ra is also accredited with the creation of the seasons, months, plants, and animals.

text: Iconography[edit]

text: Ra was represented in a variety of forms. The most usual form was a man with the head of a hawk and a solar disk on top and a coiled serpent around the disk.[4] Other common forms are a man with the head of a beetle (in his form as Khepri), or a man with the head of a ram. Ra was also pictured as a full-bodied ram, beetle, phoenix, heron, serpent, bull, cat, or lion, among others.[7]

text: He was most commonly featured with a ram's head in the Underworld.[4] In this form, Ra is described as being the "ram of the west" or "ram in charge of his harem.[4]

text: In some literature, Ra is described as an aging king with golden flesh, silver bones, and hair of lapis lazuli.[4]

text: Worship[edit]

text: The chief cult center of Ra was Iunu, the "Place of Pillars", later known to the Greeks as Heliopolis (lit. "Sun City")[3] and today located in the suburbs of Cairo. He was identified with the local sun god Atum. As Atum or Atum-Ra, he was reckoned the first being and the originator of the Ennead ("The Nine"), consisting of Shu and Tefnut, Geb and Nut, Osiris, Set, Isis and Nephthys. The holiday of 'The Receiving of Ra' was celebrated on May 26 in the Gregorian calendar.[citation needed]

text: His local cult began to grow from roughly the second dynasty, establishing Ra as a sun deity. By the Fourth Dynasty, pharaohs were seen as Ra's manifestations on earth, referred to as "Sons of Ra". His worship increased massively in the Fifth Dynasty, when Ra became a state deity and pharaohs had specially aligned pyramids, obelisks, and solar temples built in his honor. The rulers of the Fifth Dynasty told their followers that they were sons of Ra himself and the wife of the high priest of Heliopolis.[4] These pharaohs spent most of Egypt's money on sun temples.[4] The first Pyramid Texts began to arise, giving Ra more and more significance in the journey of the pharaoh through the Underworld.[4]

text: During the Middle Kingdom era, Ra was increasingly affiliated and combined with other chief deities, especially Amun and Osiris.

text: At the time of the New Kingdom, the worship of Ra had become more complicated and grander. The walls of tombs were dedicated to extremely detailed texts that depicted Ra's journey through the underworld. Ra was said to carry the prayers and blessings of the living with the souls of the dead on the sun boat. The idea that Ra aged with the sun became more popular during the rise of the New Kingdom.

text: Many acts of worship included hymns, prayers, and spells to help Ra and the sun boat overcome Apep.

text: The rise of Christianity in the Roman Empire put an end to the worship of Ra by the citizens of Egypt,[8] and as Ra's popularity suddenly died out, the study of Ra became of purely academic interest even among the Egyptian priests.[9]

text: Relationship to other gods[edit]

text: Gods merged with Ra[edit]

text: As with most widely worshiped Egyptian deities, Ra's identity was often combined with other gods, forming an interconnection between deities.

text: Gods created by Ra[edit]

text: Rival gods[edit]

text: In popular culture[edit]


document_title: Ready Player One (film)

question_text: who played the main character in ready player one

text: Ready Player One (film)

text: Plot

text: In 2045, due to various geopolitical events, many of Earth's cities have become slums; its inhabitants regularly escape into the virtual reality world of the OASIS. Its co-founder, the late James "Anorak" Halliday, announces a contest in which players must find an Easter egg inside a gate that requires three keys hidden in the worlds; the winner to receive full ownership and control of the OASIS. This attracts a number of Gunters ("egg hunters") as well as the video game conglomerate Innovative Online Industries (IOI), headed by their new CEO Nolan Sorrento, who employs researchers of Halliday, as well as top gamers and indentured servants called "Sixers".[a]

text: In Columbus, Ohio, Wade Watts, an orphaned 17-year-old Gunter, lives with his aunt Alice in the "stacks", makeshift towers of trailer homes, and logs onto the OASIS from a nearby cargo van. His avatar Parzival, and his online friend Aech, a male first-person shooter expert and virtual mechanic, participate in the first quest: a vehicle race across ever-shifting roadways in Manhattan. Parzival befriends a well-known Gunter named Art3mis by saving her from being "zeroed out" by King Kong, which would have wiped her character progression. At Anorak's virtual archives containing video clips reconstructing Halliday's life, Parzival gets an insight from a comment that Halliday made to his former business partner, Ogden Morrow, and on the next race, uncovers an underground shortcut to the finish line to acquire the first key. Aech and Art3mis, as well as players Daito and Sho, soon follow; appearing atop the global scoreboard as the "High Five".

text: At an OASIS dance club, i-R0k, a mercenary helping Sorrento, overhears Parzival tell Art3mis his real name. Sorrento requests Wade to join IOI, but when he refuses out of distrust, Sorrento and his aide F'Nale Zandor bomb Wade's stack, killing Alice and Wade's neighbors. Wade is taken to a Gunter hideout where he meets Art3mis in reality: Samantha Cook. They discover that Halliday regretted a movie date with a woman named Kira, who later married Morrow. After Parzival wins a coin on a small bet with the archive's curator, the High Five enter a re-creation of The Shining where they traverse a series of frightening events to eventually reach Kira to acquire the second key.

text: Zandor tracks Wade to the Gunter hideout, but finds only Samantha, who is arrested and made into a Sixer for defaulting on her family's debt. Wade is extracted by the other High Five players—Aech / Helen Harris, Daito / Toshiro, and Sho / Zhou—who have been secretly running their avatars from Helen's postal truck. i-R0k activates a force field around the location of the third key inside a fortress on Planet Doom. After tricking Sorrento into revealing Samantha's location, Wade helps her escape. She hacks Sorrento's station, allowing Wade to recruit OASIS players to join an all-out assault against Sorrento and the Sixers at the fortress. Hiding among the active Sixers, Samantha shuts down the force field. During the battle, the rebels defeat Sorrento's Mechagodzilla and i-R0k, but Parzival zeroes out Samantha's avatar to let her escape IOI in reality.

text: Parzival and Sho find Sixers lining up to play on an Atari 2600 console, but failing on each game after time expires, even when one of them beats Adventure. Sorrento activates the Cataclyst, which zeroes out everyone on Planet Doom (including himself). However, the curator's coin spares Parzival as an extra life. Parzival deduces that the goal is not to win Adventure but to simply find its own Easter egg, which Parzival completes to reveal the third key. Inside the gate, Anorak presents Parzival a contract; however, Wade declines as it is similar to the one Morrow had signed that dissolved his partnership with Halliday. Anorak transforms into Halliday and affirms Wade's decision to be correct. After showing Parzival a Big Red Button that would shut down the OASIS permanently, Halliday officially awards him the Golden Egg as the winner of the contest.

text: Sorrento and Zandor are arrested after Aech had sent the police a recording of Sorrento's conversation with Wade that resulted in the bombing. IOI's indentured players are freed from their debts, heavily restructuring the company. The High Five share control of the OASIS, with Wade hiring Morrow, who is revealed to be the archive curator, as a consultant. The OASIS resumes operations, but is shut down on Tuesdays and Thursdays to force people to spend more time in the real world, including Wade and Samantha who have formed a relationship and bought an apartment together.

text: Cast

text:
Tye Sheridan as Parzival / Wade Watts, a Gunter and one of the "High Five", who wishes to win the Quest so he can leave the stacks.
Olivia Cooke as Art3mis / Samantha Cook, a famous Gunter and one of the "High Five", who works with various allies to ensure the OASIS is kept free and out of the hands of IOI.
Ben Mendelsohn as Nolan Sorrento, the recently appointed CEO of Innovative Online Industries, who seeks full control over the OASIS. He leads the Sixers, an army of indentured servants in the OASIS.
Lena Waithe as Aech / Helen Harris, a Gunter and one of the "High Five", who is male in the OASIS and longtime friend of Wade's. Aech runs a virtual garage in her free time to create and fix various vehicles and items.
T.J. Miller as i-R0k, a freelance weapons and magic item dealer and bounty hunter, who is often employed by IOI.
Simon Pegg as Curator / Ogden Morrow, a co-creator of the OASIS, who eventually left the company due to personal reasons. He harbors a concern about how many people have developed an unhealthy dependency on the game.
Mark Rylance as Anorak / James Halliday, the deceased co-creator of the OASIS, who includes an Easter Egg hidden in the OASIS after his passing that grants control over the OASIS to its winner.
Philip Zhao as Sho / Zhou, a Gunter and one of the "High Five", an 11-year-old in reality.[9]
Win Morisaki as Daito / Toshiro, a Gunter and one of the "High Five".
Hannah John-Kamen as F'Nale Zandor, the head of IOI's operations in the physical world, as well as their indentured servitude programs.[9]

tag: ul

text: Additionally, Susan Lynch portrays Alice, Wade's aunt; Ralph Ineson portrays Rick, Alice's abusive boyfriend; Perdita Weeks portrays Karen "Kira" Underwood, Morrow's wife; Clare Higgins portrays Mrs. Gilmore, Wade's neighbor; and Letitia Wright portrays a rebel who can briefly be seen at the safe house. McKenna Grace and Lulu Wilson appear as elementary school children who use the OASIS.

text: Production

text: Development

text: Warner Bros. and De Line Pictures won an auction for the rights to Ernest Cline's novel Ready Player One in 2010, before it had been published.[10] Cline was set to write the script for the film, which Donald De Line and Dan Farah would produce.[10] Eric Eason rewrote Cline's script,[11] and Zak Penn was hired to rewrite the previous drafts by Cline and Eason. Village Roadshow Pictures came aboard to co-finance and co-produce the film with Warner Bros.[12] Steven Spielberg signed on to direct and produce the film, which Kristie Macosko Krieger also produced, along with De Line and Farah.[13] Ready Player One is Spielberg's first action-fantasy film since The Adventures of Tintin in late 2011.[14] Cline and Penn made several revisions while adapting the novel to film. Most of these changes were to eliminate scenes that would be uninteresting in a visual format, such as when Wade beats a high score in Pac-Man, or recites all the lines from the film WarGames.[15]

text: Casting

text: Three actresses were top-runners for the role of Art3mis: Elle Fanning, Olivia Cooke, and Lola Kirke;[16] In September 2015, Cooke was announced as having been cast in the coveted female lead role.[17] In January 2016, Ben Mendelsohn joined the cast.[18] In February 2016, Tye Sheridan was confirmed as playing the lead role of Wade, after a lengthy nationwide casting call failed to produce an unknown for the part.[19] In March 2016, Simon Pegg joined the cast.[20] In April 2016, Mark Rylance joined the cast,[21] and in June 2016, T.J. Miller, Hannah John-Kamen and Win Morisaki also joined.[22][23][24][25] In July 2016, Philip Zhao joined the cast,[26] and Lena Waithe, Ralph Ineson, McKenna Grace, and Letitia Wright were later also announced to have been cast.[27][28][29][30]

text: Filming

text: Production was set to begin in July 2016.[23] Screenwriter Zak Penn tweeted on July 1, 2016 that the first week of filming had been completed.[31] In August and September 2016, filming took place in Birmingham, England; this included Livery Street in the Jewellery Quarter area of the city, which was extensively used, including the van chase that takes place towards the film's end. The chase was edited to make the street appear longer than it actually is. The backpackers' hostel Hatters, also on Livery Street, was used for internal filming for a basement scene. Also utilized was the Ludgate Hill Car Park lot on Lionel Street, in which caravan homes were partially built; a planned explosion caused some local business and homes to call emergency services, as no prior notification were given by the production. Other locations in the city included the former industrial area of Digbeth, with a rooftop scene that overlooks the Birmingham City Centre skyline, with some of the city's landmark buildings being erased and replaced with CGI buildings in order to create a dystopian Ohio in the year 2045.[32][33] Principal photography ended on September 27, 2016.[34][35]

text: Visual effects and post-production

text: Spielberg worked with Industrial Light & Magic (ILM) to oversee the film's visual effects, meeting with ILM for 3 hours three times a week.[35] He has stated that "[t]his is the most difficult movie I've done since Saving Private Ryan."[35]

text: A significant part of the film takes place in a virtual space based on the Overlook Hotel in the film The Shining. This was mostly a digital recreation of the film using high-quality telecine of the original film, giving them some freedom of new camera angles and shots that could be generated from this recreation. The final film includes a combination of the original footage from The Shining and ILM's additional work. Only a few scenes in this sequence which involved real actors, such as the appearance of the Grady twins, required them to construct a faithful reproduction of The Shining's set for the actors to interact with. Finally, the sequence was post-processed to introduce film grain and other aging effects to make the new footage indistinguishable from the original film.[36]

text: Cultural references

text: Ready Player One pays homage to the popular culture of the 1970s and 1980s as in the book, but also extends to the 1990s, 2000s, and 2010s; several reviewers have identified well over one hundred references to films, television shows, music, toys, video games, anime and comics of these eras.[37][38][39] Cline did not have any issues with these copyrighted elements when he published the book, but was aware that securing all necessary rights would be a major obstacle for a film adaptation, a task made easier by Spielberg's reputation.[15] Spielberg and producer Kristie Macosko Krieger spent several years securing the rights for the copyrighted elements used in the film, starting before filming began, since some scenes would not be possible without certain copyrighted elements.[40][41] Spielberg estimated that they had gotten about 80% of the copyrighted elements they wanted.[15] Spielberg noted that in some cases, the filmmakers were able to secure rights for some but not all the characters they wanted; in negotiating with Warner Bros., they could not secure Close Encounters of the Third Kind from Columbia Pictures, despite the latter being one of Spielberg's first films as director.[42]

text: Blade Runner, which was integral to the plot of the book, was off limits to the film adaptation because Blade Runner 2049 was in production at the same time as Ready Player One. As a replacement, they conceived of players having to play out the events of The Shining, which Spielberg was able to secure the rights to as an homage to his friend Stanley Kubrick.[15] While Cline's original work heavily used the character of Ultraman, the rights over the character were still under legal dispute, requiring them to replace Ultraman with the titular robot from The Iron Giant.[43] Spielberg recognized that his past films were a significant part of the 1980s popular culture cited in the book, and to avoid being accused of "vanity", he opted to remove many of the references to his own work.[44] Cline stated that he believed Spielberg wanted to avoid self-references to films he directed, due to the criticism he received for his film 1941, which lampooned his own previous works Jaws and Duel. Cline said he had to convince Spielberg to include some iconic elements, such as the Back to the Future DeLorean time machine, which Spielberg conceded as the film was one he produced rather than directed.[45] Cline also asked ILM to include a reference to Last Action Hero, one of Penn's first screenplays, without Penn's knowledge.[46]

text: Music

text: On June 9, 2016, Variety stated that Spielberg's regular collaborator John Williams was planning to compose the film's score.[47] However, in July 2017, it was reported that Williams had left the project to work on Spielberg's The Post instead, with Alan Silvestri hired to take over scoring duties for Ready Player One.[48] The official score was released by WaterTower Music as a two-CD set on March 30, 2018,[49] with vinyl and cassette releases projected for the summer.[50] At Spielberg's request, Silvestri references his own music from Back to the Future within the film's score, as well as quoting the music from The Shining for the film's sequence at the Overlook Hotel.[51]

text: The film also includes licensed music from the 1970s and 1980s, which appears on the digital-only album Ready Player One: Songs From The Motion Picture.

text:
[show]Original Soundtrack

No.
Title
Musician
Length

1.
"I Wanna Be Your Lover"
Prince
5:48

2.
"Everybody Wants to Rule the World"
Tears for Fears
4:12

3.
"Just My Imagination (Running Away with Me)"
The Temptations
3:49

4.
"Stand on It"
Bruce Springsteen
3:06

5.
"One Way or Another"
Blondie
3:27

6.
"Can't Hide Love"
Earth, Wind & Fire
4:09

7.
"Blue Monday"
New Order
7:24

8.
"Stayin' Alive"
Bee Gees
4:45

9.
"We're Not Gonna Take It"
Twisted Sister
3:38

10.
"You Make My Dreams"
Hall & Oates
3:12

11.
"Pure Imagination (feat. Merethe Soltvedt)"
Bryan Nguyen
2:33

text:
[show]Ready Player One (Original Motion Picture Soundtrack)

No.
Title
Writer(s)
Length

1.
"The Oasis"
Alan Silvestri
1:49

2.
"Hello, I'm James Halliday"
Alan Silvestri
2:01

3.
"Why Can't We Go Backwards?"
Alan Silvestri
4:18

4.
"An Orb Meeting"
Alan Silvestri
4:11

5.
"Real World Consequences"
Alan Silvestri
3:30

6.
"Sorrento Makes an Offer"
Alan Silvestri
3:34

7.
"Welcome to the Rebellion"
Alan Silvestri
3:14

8.
"High 5 Assembles"
Alan Silvestri
4:24

9.
"Orb of Osuvox"
Alan Silvestri
3:45

10.
"Sorrento Punked"
Alan Silvestri
3:57

11.
"Wade's Broadcast"
Alan Silvestri
5:51

12.
"Arty on the Inside"
Alan Silvestri
2:33

13.
"Looking for a Truck"
Alan Silvestri
5:36

14.
"She Never Left"
Alan Silvestri
2:41

15.
"Last Chance"
Alan Silvestri
3:21

16.
"Get Me Out of This"
Alan Silvestri
1:35

17.
"Hold on to Something"
Alan Silvestri
5:14

18.
"This Is Wrong"
Alan Silvestri
3:49

19.
"What Are You?"
Alan Silvestri
3:29

20.
"There's Something I Need to Do"
Alan Silvestri
5:01

21.
"Main Title"
Alan Silvestri
2:27

22.
"End Credits"
Alan Silvestri
8:04

text: Release

text: Ready Player One was initially scheduled to be released on December 15, 2017,[52] but was pushed back to March 30, 2018, to avoid competition with Star Wars: The Last Jedi.[53] In January 2018, it was announced the film's release date had been moved up one day to March 29, 2018.[54] The film had its world premiere at the Paramount Theatre in Austin, Texas on March 11, 2018 (as part of the South by Southwest Film Festival).[4]

text: Warner Bros. distributes the film worldwide, with Village Roadshow Pictures distributing in several overseas territories.[55]

text: Reception

text: Box office

text: As of May 28, 2018[update], Ready Player One has grossed $135.7 million in the United States and Canada, and $443.3 million in other territories, for a worldwide total of $579 million.[6] Made on a production budget of $175 million, with about $150 million more spent on global marketing costs, the film needed to gross at least $440 million in order to break-even.[56]

text: In the United States and Canada, Ready Player One was released alongside God's Not Dead: A Light in Darkness and Acrimony, and was projected to gross $40–50 million from 4,100 theaters over its first four days.[57] It made $12.1 million on its first day, including $3.75 million from Wednesday night previews. It ended up grossing $41.8 million in its opening weekend (for a four-day total of $53.7 million), marking Spielberg's biggest debut since 2008's Indiana Jones and the Kingdom of the Crystal Skull.[58] In its second weekend it grossed $25.1 million (a drop of 40%), finishing second behind newcomer A Quiet Place ($50 million).[59] In its third weekend the film made $11.2 million, coming in fourth behind Rampage, A Quiet Place and Truth or Dare.[60] In its fourth weekend the film made $7.4 million, finishing sixth at the box office [61] In its fifth weekend it grossed $2.4 million, a drop of 67% from previous weekend and finishing ninth.[62]

text: Outside North America

text: Worldwide, the film was released day-in-date in 62 countries, including China, where it was expected to make $100–120 million in its opening weekend.[57] It grossed $2.9 million on its first day from 11 countries, including $980,000 from Korea.[63] In China the film made $14.75 million on its first day and earned a score of 9.2 from audiences on Douban (compared to the average 6–7 earned by Hollywood films).[56] It grossed $61.7 million in China in its opening weekend which is the highest opening ever for Warner Bros in said territory. The film's other major opening weekend territories were South Korea ($8.1 million), United Kingdom ($7.3 million), Russia ($6.1 million) and France ($6 million).[64] In its second weekend in China it grossed $42 million, and in third weekend grossed $13.9 million.[65][66] The film grossed $81.7 million in its second weekend overseas, dropping only 35% and is ahead of other newcomers A Quiet Place and Blockers.[65] In its third weekend it grossed $33.8 million overseas dropping 58.6%.[66] On April 21, 2018, the film topped $200 million in China, becoming the tenth-biggest U.S. release ever in the country.[67] In its fourth weekend in China, it grossed $8.24 million finishing third at the box office and has a total gross of $207 million.[68] It grossed $23 million overseas from 67 territories in its fourth weekend.[69] It opened in Japan, its final major market and grossed $4.4 million.[69] In its fifth weekend overseas, it grossed $8.6 million from 63 territories.[70] In China, the weekend was $2.4M to push it past Avatar as the no. 9 Hollywood title ever in the market with $213.8M (RMB 1.34B).[70] Japan's third frame held well during Golden Week with just a 6% drop from the last session. The total there is currently at $17.5M.[71] In its sixth weekend in China, it bumped up 10% from last session to lift the local cume to $220.2M.[71] As of April 29, the film's largest markets after China are United Kingdom ($22.6 million), France ($20.3 million), Korea ($18.6 million), Japan ($17.5 million), and Russia-CIS ($12.7 million).[71]

text: Critical response

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 73% based on 330 reviews, and an average rating of 6.9/10. The website's critical consensus reads, "Ready Player One is a sweetly nostalgic thrill ride that neatly encapsulates Spielberg's strengths while adding another solidly engrossing adventure to his filmography."[72] On Metacritic, the film has a weighted average score of 64 out of 100, based on 54 critics, indicating "generally favorable reviews".[73] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while PostTrak reported filmgoers gave it an 82% overall positive score and a 65% "definite recommend".[56]

text: In a review for RogerEbert.com, Brian Tallerico wrote that the film's "overwhelming" nature and non-stop action will likely thrill fans of pop culture; while he observed narrative weaknesses, such as a lack of depth among the supporting characters, he felt that they ultimately do not hinder the film from working "on the level of technical, blockbuster mastery that Spielberg helped define."[74] Writing for Variety, Owen Gleiberman called the film a "coruscating explosion of pop-culture eye candy," and found The Shining sequence to be "irresistible". However, he also criticized Spielberg's dichotomization of fantasy and reality, as well as the film having "more activity than it does layers."[75] IndieWire's Eric Kohn characterized the film as "an astonishing sci-fi spectacle and a relentless nostalgia trip at once" and praised both The Shining sequence as well as Penn's screenplay, particularly with respect to Mendelsohn's character. Nevertheless, he remarked that the film "drags a bunch in its final third".[76]

text: Alissa Wilkinson, writing for Vox, praised both the quality and quantity of the world building. She also commented on just how dystopian the future portrayed is, where the main characters fight to save the OASIS and the escape from reality it represents, with arguably less concern for the problems of the real world.[77]

text: Monica Castillo was more critical of the film in her review for The Guardian and drew attention to the absence of character arcs, the lack of resolution for plot holes in the novel, and the bloating of scenes in the film by trivia.[78] Matt Bobkin scored the film a 6 out of 10 for Exclaim! saying the film "is not so much a groundbreaking recontextualizing, more doe-eyed affection with no critical commentary."[79]

text: Possible sequel

text: Cline is working on a sequel to the novel.[80] For a sequel to the film, he stated, "[...] I think there's a good chance that, if this one does well, Warner Bros. will want to make a sequel. I don't know if Steven [Spielberg] would want to dive back in, because he would know what he is getting into. He's said that it's the third-hardest film he's made, out of dozens and dozens of movies."[81][82]

text: Notes

text: Jump up ^ IOI employees are called Sixers because their employee IDs are six digits long and begin with the number 6

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