document_title: Keeping Up with the Kardashians (season 14)

question_text: keeping up with the kardashians season 14 episode 9 air date

root

text: Cast and characters[edit]

text: Main cast[edit]

text:
Kris Jenner
Kourtney Kardashian
Kim Kardashian
Khloé Kardashian
Kendall Jenner
Scott Disick

tag: ul

text: Recurring cast[edit]

text:
Rob Kardashian
Kylie Jenner
Kanye West
Jonathan Cheban
Tristan Thompson
Mary Jo Campbell
Malika Haqq
Corey Gamble

text: Production[edit]

text: Development[edit]

text: On August 3, 2017 It was announced the show's 10 year anniversary will premiere on September 24, 2017 following the show's season 14 premiere.[1]

tag: p

text: On September 19, 2017 E! introduced a new promo for the new season, in which the girls recreated the opening credits from the first season. [2]

text: This season has a new open sequence, which has not changed since Season 11.

text: This season will also have a Christmas themed episode.[3]

text: Episodes[edit]

text: Season 14 (2017)[edit]

text: {{Episode table |background=#800080 |overall=6 |season=6 |title=53 |airdate=23 |viewers=12 |country=U.S. |episodes=

text:
196
1
"Cleveland Show"
October 1, 2017 (2017-10-01)
1.44[4]

Kim and Kourtney finally get a glimpse into Khloé's private life in Cleveland. Kendall receives some harsh feedback on a recent project. The family is blindsided when Cait reveals some shocking news.

197
2
"MILFs Gone Wild"
October 8, 2017 (2017-10-08)
1.40[5]

Scott gets jealous when Kourtney goes on a girls trip to Cuba for her birthday. Kim feels violated when some unflattering photos of her in Mexico surface on the Internet.

198
3
"Cheers To That"
October 15, 2017 (2017-10-15)
1.26[6]

Kim struggles with life and regain her confidence after her trip to Mexico. Khloé's spirits sour when Kris becomes too busy for mother-daughter bonding. Kourtney acts sneaky about her dating life.

199
4
"Clothes Quarters"
October 22, 2017 (2017-10-22)
1.13[7]

Kourtney is distracted during a sister getaway with Kendall. Kim stages an unwelcome intervention on Khloé's wardrobe.

200
5
"Catch Me If You Cannes"
October 29, 2017 (2017-10-29)
0.89[8]

Scott threatens to ruin Kourtney's trip to Cannes with her new romantic interest. Kim struggles to set clear boundaries with her assistant. The girls get educated about Planned Parenthood.

201
6
"Fan-Friction"
November 5, 2017 (2017-11-05)
1.15[9]

Khloé fears that Cleveland fans may turn on her family during a trip to see Tristan. The girls wonder how to treat Scott after his bad behavior in Cannes. Kim gets fed up with her lack of willpower and makes a drastic lifestyle change.

202
7
"Beauty Queen."
November 12, 2017 (2017-11-12)
1.01[10]

Kim anxiously preps for the launch of her new KKW Beauty line. Kourtney tries to adopt a new positive attitude. Khloé scrambles to make arrangements for Tristan's upcoming move to LA.

203
8
"Close To Home"
November 19, 2017 (2017-11-19)
0.77[11]

Kim is shocked to learn about the rising rate of homelessness in LA and sets out to bring awareness to the growing crisis. Meanwhile Kris hires a scribe to document her every word.

204
9
"Dog Tired"
December 3, 2017 (2017-12-03)
0.96[12]

Khloé and Kendall consider getting guns for protection. Kris imposes strict guidelines for her mom to follow in her new condo. Kim can't handle her rambunctious new puppy.

205
10
"Baby One More Time"
December 10, 2017 (2017-12-10)
1.06[13]

Kim gets some big news about the future of her family. The girls wonder if Kourtney sees a future with her current beau. Kim and Khloé compete to win Kris's affection.

206
11
"Press Pass"
December 17, 2017 (2017-12-17)
1.03[14]

Khloé and Kourtney butt heads over the design of their fitness line. Kim thinks the family needs media training to learn to handle controversial topics.

207
12
"My Mother's Keeper"
January 7, 2018 (2018-01-07)
1.05[15]

Khloé struggles to keep her explosive temper under control. Kris plants a secret tracking device on her mother and Kim wonders if Kourtney’s gluten-free diet is truly healthy.

208
13
"Mime Over Matter"
January 14, 2018 (2018-01-14)
N/A

A guilt-ridden Kourtney must decide whether to take a trip to Egypt without her kids. Khloé recognizes that the stress of dealing with six kids is weighing on Kris, so she hires a mime to cheer her mom up.

209
14
"Bun In The Oven"
January 15, 2018 (2018-01-15)
N/A

Khloé has some big news to share with her family, but her strained relationship with Corey threatens to overshadow the big reveal. Kris gets a complex about her sagging earlobes.

210
15
"Diamonds Are Forever"
January 21, 2018 (2018-01-21)
1.16[16]

Scott's behavior takes a turn for the worse after he learns that Kourtney has a boyfriend. Kourtney struggles to find her career passion. Kris comes up with a creative way to preserve her memory long after she's gone.

211
16
"Tangled Web"
February 11, 2018 (2018-02-11)
TBD

Kim fears for her surrogate's safety when sources begin exposing her personal information. Kris keeps a watchful eye on Scott during Fashion Week. Kourtney deals with a scary infestation.

212
17
"Kris Jenner's Legacy"
February 18, 2018 (2018-02-18)
TBD

Scott sets out to make Kris a commemorative legacy video. Kendall's anxiety strikes again right before Milan Fashion week. Khloé attempts to rebuild her friendship with Malika after a falling out.

213
18
"Trimester Trouble"
February 25, 2018 (2018-02-25)
TBD

Khloé attempts to keep her pregnancy a secret while dealing with some complications. Kourtney questions whether she is done having children. Kris debuts a loud new hairdo.

214
19
"The Gender Reveal"
March 4, 2018 (2018-03-04)
TBD

The girls take one last sister getaway to San Francisco before their babies arrive, but they quickly tire of Kourtney's bad attitude. Kim wants to include her family in the surrogacy process. Khloé anxiously awaits news of her baby's gender.

tag: table


document_title: Royal Tyrrell Museum of Palaeontology

question_text: who is the royal tyrrell museum named after

text: Royal Tyrrell Museum of Palaeontology

text: History[edit]

text: The museum is named in honour of Joseph Burr Tyrrell, a geologist who accidentally discovered the first reported dinosaur fossil in the Red Deer River valley in 1884 while searching for coal seams.[7] The carnivorous dinosaur was later named Albertosaurus sarcophagus. The museum opened September 25, 1985 and was given "Royal" status in 1990.

text: Collections and exhibits[edit]

text: More than 4,400 square metres (47,000 sq ft) of the museum's 11,200 square metres (121,000 sq ft) is dedicated to exhibits[8] in a series of chronological galleries celebrating the 3.9-billion-year-history of life on Earth. One of the most popular is "Dinosaur Hall", with over 40 mounted dinosaur skeletons, including specimens of Tyrannosaurus rex, Albertosaurus, Stegosaurus and Triceratops.[4] Other exhibits include "Lords of the Land", a gallery of some of the most dangerous theropods known from Alberta, "Burgess Shale", a diorama of dozens of creatures from Yoho National Park in British Columbia;[9] "Devonian Reef", a life-size model of a 375-million-year old reef;[10] the newly renovated "Cretaceous Garden", featuring representatives of the plants that lived in prehistoric Alberta,[11] and "Age of Mammals" and "Ice Ages" which cover mammalian life in the Cenozoic. Dioramas painted by Vladimir Krb. Also on display is the "Triassic Giant", a 1,700 square feet (160 m2) specimen of the world's largest known marine reptile. The 21 metres (69 ft) long ichthyosaur Shastasaurus sikanniensis was recovered from the shores of the Sikanni Chief River in northeastern British Columbia by a team led by Elizabeth Nicholls, former curator of Marine Reptiles. This exhibit pays homage to the work of Nicholls, who died in 2004.[12] In May 2017 the museum displayed an unusually well-preserved nodosaur. [13]

text: A window into the "Preparation Lab" allows visitors to watch technicians as they prepare fossils for research and exhibition.[14] Additional offerings include guided and self-guided tours of the badlands, the hands-on "Science Hall" with interactive stations that introduce palaeontological concepts,[15] simulated fossil digs, fossil casting, school programs and summer camps.

text: Affiliations[edit]

text: The museum is affiliated with: CMA, CHIN, and Virtual Museum of Canada.

text: Images[edit]

text:
Cleaning and preparing a fossil at the museum

A detail of The Story of Life, mural sculpted by Canadian artist Lorraine Malach, just inside the museum's entrance

An exhibit of Gorgosaurus at the museum

Triceratops at the museum

An Albertosaurus and an ankylosaur on display

Dimetrodon

Exterior

Drumheller Badlands

Chasmosaurus belli found in Dinosaur Provincial Park

Edmontonia

Prosaurolophus

Tyrannosaurus rex

Inside the largest display area

A Camarasaurus on display inside the museum

A pack of Albertosauruses

Jurassic section


document_title: Wilson (name)

question_text: where does the last name wilson come from

text: Wilson (name)

text: Wilson is an English and Scottish surname, common in the English-speaking world. The name is derived from a patronymic form of Will, a popular medieval name. The medieval Will is derived from any of several names containing the first Germanic element wil, meaning "desire".[1] Possibly the most common of these names was William, derived from elements wil and helm, meaning "desire" and "helmet", "protection".[2] The surname Wilson is first recorded in England as Willeson in 1324，[3] and in Scotland as Wulson in 1405.[4]

text: It is the seventh most common surname in England,[5] and tenth most common in the United States.[6], occurring 783,051 times as of 2000.[7] Wilson is also now quite common as a surname in many other countries with a large English-speaking population such as Canada, Australia, South Africa, and New Zealand.

text: Wilson is the third most common surname in Scotland. In the sixteenth and seventeenth century the surname was greatly increased in Ulster by the thousands of Scottish settlers and as a result of this settlement it is the most common Surname in Northern Ireland.

text: Wilson can also be a given name[citation needed].


document_title: Reserve Officers' Training Corps (Philippines)

question_text: when did the military instruction start in the university of the philippines

text: Nomenclature[edit]

text: Commonwealth Act No. 1, the National Defense Act of 1935, referred to the ROTC as the "Reserve Officers Training Corps",[4] whereas Republic Act No. 7077, the Citizen Armed Forces of the Philippines Reservist Act of 1991, referred to the ROTC as the "Reserve Officers' Training Corps",[5] ascribing the possessive form to the word "officers". Republic Act No. 9163, the National Service Training Program Act of 2001 likewise uses the same possessive form as RA 7077.[1]

text: History[edit]

text: ROTC in the Philippines began in 1912 when the Philippine Constabulary commenced with military instruction at the University of the Philippines. The university's Board of Regents then made representations to the United States Department of War through the Governor-General and received the services of a United States Army officer who took on the duties of a professor of Military Science. Through this arrangement, the first official ROTC unit in the Philippines was established in the University of the Philippines on 3 July 1922.[6]

text: The National University, Ateneo de Manila University, Liceo de Manila, and Colegio de San Juan de Letran soon followed suit and organized their own respective ROTC units. In 1936, the Office of the Superintendent for ROTC Units under the Philippine Army was activated to supervise all ROTC units in the country.[6]

text: National Defense Act of 1935[edit]

text: President Manuel L. Quezon issued Executive Order No. 207 in 1939 in order to implement the National Defense Act of 1935, otherwise known as Commonwealth Act No. 1,[4] the embodiment of the national defense plan formulated by General Douglas MacArthur for the Philippine Commonwealth. This executive order made ROTC obligatory at all colleges and universities with a total enrollment of 100 students and greater. This measure was made in order to help fill out the reserve force requirement of 400,000 men by 1946 and especially for junior reserve officers.[7]

text: World War II[edit]

text: At the onset of World War II in 1941, thirty-three colleges and universities in the Philippines had organized ROTC units, the cadets and officers of which would see action for the first time. Elements from different ROTC units in Metro Manila took part in the Battle of Bataan. ROTC cadets of Silliman University in the Visayas made up 45% of the strength of the 75th Infantry Regiment of the United States Army Forces in the Far East (USAFFE). Volunteers from the Philippine Military Academy and various other ROTC units formed the Hunters ROTC guerrilla group, which took part in the resistance movement during the Japanese occupation after the last American and Filipino forces had surrendered.[6]

text: Post-World War II[edit]

text: On 13 September 1946, Philippine Army Headquarters reactivated the pre-war ROTC units. The Philippine Army became the Armed Forces of the Philippines on 23 December 1950, at which time the Philippines was divided into four military areas and ROTC units operating within these areas fell under the supervision of their respective Area Commanders. On 8 February 1967, President Ferdinand Marcos rescinded Executive Order No. 207 of 1939, promulgating Executive Order No. 59 in its place. This executive order made ROTC mandatory at all colleges, universities and other institutions with an enrollment of 250 male students and greater.[6] President Marcos also issued Presidential Decree No. 1706, otherwise known as the "National Service Law", on 8 August 1980. It made national service obligatory for all Filipino citizens and specified three categories of national service: civic welfare service, law enforcement service and military service.[8]

text: Republic Act 7077[edit]

text: Republic Act 7077, otherwise known as the "Citizen Armed Forces of the Philippines Reservist Act", was enacted by the 8th Congress of the Philippines on 27 June 1991. The Reservist Act provided for organization, training and utilization of reservists, referred to in the Act as "Citizen Soldiers". The primary pool of manpower for the reservist organization are graduates of the ROTC basic and advance courses.[5]

text: Controversy[edit]

text: A period of discontent over ROTC's conduct and the corruption that often plagued its individual units had long been fermenting prior to 2000. Filipino student websites often contain short essays regarding the alleged pointlessness of the program. Student groups would occasionally include ROTC in their roster of grievances, whereas lawmakers would introduce resolutions intended to abolish ROTC.[9]

text: Into this national mood of resentment fell a tragedy that would have a significant impact on the Philippine ROTC program. Mark Welson Chua, a student of the University of Santo Tomas and a member of the UST ROTC unit, was found dead, his body floating in the Pasig River on 18 March 2001. Prior to his death, he and another student had reported an account of alleged corruption within the UST ROTC unit to the school's student publication.[10] The National Bureau of Investigation would later conclude that members of the UST ROTC unit were responsible for Chua's death.[11] One of the suspects would be sentenced to death three years later.[12]

text: The incident set off an explosion of anti-ROTC sentiment as student associations, school administrators and other cause-oriented groups focused on protests and parliamentary approaches to the matter. The Congress of the Philippines took up the legal challenge; generating no less than seventeen bills and resolutions in both houses of Congress, in response to the clamor. Many of the bills mentioned Mark Chua in the text, acknowledging his death as the catalyst for reform.[13]

text: Republic Act 9163[edit]

text: Republic Act 9163, otherwise known as the "National Service Training Program (NSTP) Act of 2001", was Congress' answer to the clamor for change in the ROTC program. It was promulgated by the 12th Congress of the Philippines on 23 January 2002. Under the NSTP Program, both male and female college students of any baccalaureate degree course or technical vocational course in public or private educational institutions are obliged to undergo one of three program components, one of which is ROTC, for an academic period of two semesters. However, ROTC as a pre-requisite for graduation was rescinded.[1]

text: Impact on Philippine society[edit]

text: The ROTC program of the Philippines was for many decades a compelling aspect affecting the lives of male youths, especially those who went in pursuit of college education. It was also a significant contributor to the officer corps of the Armed Forces of the Philippines (AFP).

text: Armed Forces of the Philippines[edit]

text: Composition of the Armed Forces of the Philippines Officer Corps as of 2008.

text: As of 2008, ROTC graduates of the officer candidate schools of the various services constituted roughly 75% of the AFP officer corps; the rest come from the ranks of the Philippine Military Academy.[3] Among the more prominent graduates of the Philippine ROTC program are Gen. Alfredo M. Santos, Chief of Staff of the Armed Forces of the Philippines from 1962 to 1965 and the first four-star general of the AFP, Gen. Rigoberto J. Atienza, 9th Chief of Staff of the AFP and for whom Camp Atienza in Quezon City is named, and Gen. Romeo C. Espino, the longest-serving AFP Chief of Staff who served from January 15, 1972 to Aug. 16, 1981.[3] Gen. Santos was a civil engineering graduate of Mapua Institute of Technology and was the Corp Commander of the Mapua Institute of Technology Reserve Officers' Training Corps; Gen. Atienza, a civil engineering graduate of the University of the Philippines, and Gen. Espino an agriculture graduate of University of the Philippines Los Baños.[3] Another notable ROTC graduate was Gen. Fabian C. Ver, AFP Chief of Staff under Ferdinand Marcos and director general of the National Intelligence and Security Authority.[3]

text: Post-2001 ROTC Controversy[edit]

text:
ROTC enrollment before and after 2001

School Year
Students enrolled in ROTC

1999-2000

800,000

2011-2012

150,000

text:
School participation in the ROTC program

Year
Schools with active ROTC programs

Pre-2001

200,000

2011

500

text: At present, ROTC is no longer a mandatory program for college students, but an optional program component of the NSTP. The ROTC program accepts both male and female cadets. According to the latest available data, there has been a significant reduction in the number of students enrolling in ROTC. From more than 800,000 enrolled cadets during the 1999-2000 school year, ROTC enrollment has dropped to 150,000 as of 2011. During the first quarter of 2011, 500 colleges and universities were participating in the ROTC program. This is a sharp decline from the 200,000 schools offering ROTC before the National Service Training Program was enforced.[14]

text: According to the Commission on Higher Education, the ROTC component of NSTP has produced 1,435,000 graduates over a ten-year period from 2002 to 2012. In comparison, the CWTS and LTS components of NSTP has produced 8,614,000 and 538,700 graduates respectively.[15]

text: Proposals for and against mandatory implementation[edit]

text:
A comparison of the number of ROTC graduates against other NSTP component graduates, 2002-2012

NSTP Component
No. of Graduates

CWTS
8,614,000

LTS
538,700

ROTC
1,435,000

text: In 2006, Alfredo Lim sponsored Senate Bill 2224 and Representative Eduardo Gullas sponsored House Bill 5460, seeking to make ROTC again mandatory.[16] In June 2013, Department of National Defense Secretary Voltaire Gazmin aired a proposal to make ROTC once again mandatory for college students, a move ardently being protested by progressive youth groups such as Anakbayan.[17] There have also been reports of schools offering merchant marine courses that want to retain the ROTC program as mandatory, arguing that maritime companies prefer mariners with ROTC training.[18]

text: Members of the House of Representatives of the 16th Congress of the Philippines have filed at least six house bills related to the ROTC program. Congressmen Francis Abaya,[19] Rodolfo Biazon,[20] Erico Aumentado,[21] Sherwin Gatchalian[22] and Manny Pacquiao[23] have proposed reinstating the mandatory nature of ROTC training, while Kabataan Party-list representative Terry Ridon[24] has proposed the outright abolishment of the program.

text: In February 2017, President Rodrigo Duterte approved the proposal to revive the mandatory nature of ROTC training for senior high school students in both public and private schools. Duterte certified the proposal as urgent and forwarded it to the Congress and Senate.[25]

text: Notable Philippine ROTC units[edit]

text:
Mapúa Institute of Technology ROTC Unit
University of Santo Tomas Golden Corps of Cadets
University of the Philippines ROTC Unit


document_title: Call Me by Your Name (film)

question_text: where is call me by your name based

question_tokens: where is call me by your name based

text: Call Me by Your Name (film)

text: Plot[edit]

text: It is the summer of 1983. Elio, a 17-year-old Jewish-American youth, lives with his parents in rural Northern Italy. Elio's father, a professor of archaeology, invites a 24-year-old Jewish-American graduate student, Oliver, to live with the family over the summer and help with his academic paperwork. Elio, an introspective bibliophile and a talented musician, initially finds little in common with Oliver, who has a contrastingly carefree and exuberant personality. Elio resents having to give up his bedroom for Oliver for the duration of his stay. Elio spends much of the summer reading, playing piano, and hanging out with his girlfriend, Marzia. Meanwhile, Oliver expresses attraction for one of the local girls, much to Elio's annoyance.

text: Elio and Oliver swim together, go for long walks into town, and accompany Elio's father on an archaeological trip. Elio begins a sexual relationship with Marzia and brags about it in front of Oliver to gauge his reaction, but nonetheless finds himself increasingly attracted to Oliver. He sneaks into Oliver's room to smell his bathing suit, and thinks about him while masturbating. During a trip to the post office, Elio indirectly confesses his feelings to Oliver, who tells him he should not act on them. Later that day, Elio and Oliver kiss, but Oliver is reluctant to go any further. The two grow distant.

text: In response to a note from Elio, Oliver leaves a message on Elio's desk suggesting they meet at midnight. Elio spends the day with Marzia but longs to see Oliver. At midnight, he approaches Oliver and they have sex. They become more physically and emotionally intimate over the next few days, having sex frequently while keeping their relationship secret. In bed, Oliver tells Elio, "Call me by your name and I'll call you by mine". Now smitten with Oliver, Elio starts avoiding Marzia.

text: As the end of Oliver's stay approaches, the couple find themselves overcome by uncertainty and longing. Elio's parents—who are privately aware of the bond between the two, but do not address it openly—recommend they visit Bergamo together before Oliver returns to the United States. After spending three romantic days together, Elio, heartbroken after Oliver leaves, calls his mother and asks her to pick him up and take him home. Marzia, who still wants to be friends with Elio, is sympathetic. His father, seeing Elio's sadness, tells him he was aware of their relationship, confesses to almost having had a similar relationship in his own youth, and urges Elio to learn and grow from his grief, instead of quickly moving on.

text: During Hanukkah, Oliver telephones Elio's family to tell them he is engaged to be married. Oliver tells Elio he "remembers everything" very clearly. After the call, Elio sits by the fireplace, distraught, as his parents and the house staff prepare a holiday dinner.

text: Cast[edit]

text: Cast list adapted from Fandango.[4]

text:
Timothée Chalamet as Elio Perlman
Armie Hammer as Oliver
Michael Stuhlbarg as Mr. Perlman[a]
Amira Casar as Annella Perlman
Esther Garrel as Marzia
Victoire Du Bois as Chiara
Vanda Capriolo as Mafalda
Antonio Rimoldi as Anchise
André Aciman as Mounir
Peter Spears as Isaac

text: Styles and themes[edit]

text:
Call Me by Your Name is the final installment in Luca Guadagnino's thematic "Desire" trilogy, following I Am Love (2009) and A Bigger Splash (2015).[6][7] Guadagnino described his approach in the film as "lighthearted and simple";[8][9] it is a departure from his "highly stylised [and] dazzling" previous work, according to Jordan Hoffman of The Guardian.[10] Guadagnino considers Call Me by Your Name a "homage to the fathers of my life: my own father, and
my cinematic ones", referring to filmmakers Jean Renoir, Jacques Rivette, Éric Rohmer, and Bernardo Bertolucci, who inspired him.[11]

text: Guadagnino has described Call Me by Your Name as a family-oriented film for the purpose of "transmission of knowledge and hope that people of different generations come to see the film together."[12] He saw it not as a "gay" movie but as a film about the "beauty of the newborn idea of desire, unbiased and uncynical", reflecting his motto of living "with a sense of joie de vivre"[8][9] whereby "we should always be very earnest with one's feelings, instead of hiding them or shielding ourselves."[6] He considered it an "uplifting film" about "being who you want to be and finding yourself into the gaze of the other in his or her otherness."[13]

text: The director tried to avoid the flaws he had seen in most coming-of-age films, in which growth is often portrayed as being a result of resolving preconceived dilemmas such as an enforced choice between two lovers.[14] He also wanted the story to follow two people in the moment, rather than focus on an antagonist or a tragedy[9]—an approach inspired by À nos amours (1983), directed by Maurice Pialat.[14][15] As someone who considers sex in film a representation of the characters' behavior and identity,[16] Guadagnino was not interested in including explicit sex scenes in the film.[17] He explained his intention: "I wanted the audience to completely rely on the emotional travel of these people and feel first love... It was important to me to create this powerful universality, because the whole idea of the movie is that the other person makes you beautiful—enlightens you, elevates you."[17]

text: Production[edit]

text: Development[edit]

text: Two of the film's producers—Peter Spears and Howard Rosenman, both American—saw an early proof of André Aciman's debut novel Call Me by Your Name in 2007 and bought the screen rights before its publication.[18] Rosenman first heard about the book through a friend after acting in Milk (2008) and described it as "divine".[19] Spears, moved by the novel and believing it deserved a cinematic adaptation, received his first credit as a producer from his work on the film.[20] They invited their friend James Ivory to work as an executive producer on the film adaptation.[21] Spears and Rosenman began production in 2008,[22] but the project was soon in "development hell".[23] The producers met with three sets of directors and writers—among them Gabriele Muccino, Ferzan Özpetek, and Sam Taylor-Johnson[24]—but could not find anyone who would commit to the project.[18][25] Scheduling filming in Italy during the summer also proved difficult.[18][25]

text: The producers contacted Guadagnino, their first choice to direct, but he declined, citing a busy schedule.[7][22] However, as Guadagnino lived in northern Italy, he was initially hired as a location consultant instead,[14][26] to help "put the movie together from the Italian side."[8] Guadagnino later suggested that he co-direct the film with Ivory but no contractual agreement was put in place.[8][23] Ivory accepted the offer to co-direct on the condition that he also write the film,[23] and so he spent between six and nine months in 2014 working on the screenplay.[21][27] During the process, Ivory put together more than 100 pages of notes on Aciman's book.[28] Guadagnino, who has described the novel as "a Proustian book about remembering the past and indulging in the melancholy of lost things,"[15] collaborated on the adaptation with Ivory and Walter Fasano.[8][12] Screenwriting took place at Ivory's house, Guadagnino's kitchen table in Crema, and sometimes in New York City.[29] Ivory hardly met Guadagnino during the process, for the latter was preoccupied making A Bigger Splash (2015).[27]

text: The screenplay was completed in late 2015.[27] Aciman approved it and commended the adaptation as "direct ... real and persuasive". He added, "as the writer I found myself saying, 'Wow, they've done better than the book.'"[18] The completed screenplay was vital in securing funding for the film.[21][23] Among the financiers were the production companies La Cinéfacture (France), Frenesy Film Company (Italy, owned by Guadagnino), M.Y.R.A. Entertainment (United States), RT Features (Brazil), and Water's End Productions (United States). The project was also supported by the Italian Ministry of Cultural Heritage and Activities and Tourism.[12][30][31] The backers deemed the production's initial estimates "too expensive",[32] so the production budget was reduced from $12 million to $3.4 million and the filming schedule was cut from 12 to 5 weeks.[31][33]

text: Ivory stepped down from a directorial role in 2016, leaving Guadagnino to helm the film alone.[7][8] According to Ivory, financiers from Memento Films International did not want two directors to be involved with the project because they "thought it would be awkward ... It might take longer, it would look terrible if we got in fights on the set, and so on."[21][27] Guadagnino said Ivory's version would have likely been "a much more costly [and] different film" that could not have been made because of "market realities".[14][26] Ivory became the sole-credited screenwriter[34] and later sold the rights to the screenplay to Guadagnino's company.[21][27] Call Me by Your Name was Ivory's first produced screenplay since Le Divorce (2003) and the only narrative feature he has written without also directing,[34] although he remained involved with other aspects of the production.[34] Guadagnino dedicated the film to his late friend Bill Paxton, who came to visit the set in Crema before his death in February 2017.[35]

text: Adaptation[edit]

text: The film differs from its source material in several ways. The novel serves as a memory-piece from Elio's perspective, but the filmmakers set the movie entirely in the present timeline, a "much more efficient" solution to help the audience understand the characters and "reflect the essence of the book", according to Guadagnino.[22][15] The setting was changed from Bordighera to the countryside of Crema, Lombardy, where Guadagnino lives.[b] Aciman felt that the town square selected for filming differed from the one he had pictured in his novel, which in his vision was "far smaller and stood high on a hill overlooking a windswept Mediterranean".[38] The arid climate and "spookily deserted" landscape in Crema suggested to him that the film would not correspond to the novel.[38] The director also changed the year of the events from 1987 to 1983. In his words, Guadagnino chose "the year—in Italy at least—where the '70s are killed, when everything that was great about the '70s is definitely shut down," but also a time when the characters could be "in a way untouched by the corruption of the '80s—in the U.S., [Ronald] Reagan, and in the UK, [Margaret] Thatcher".[29][36]

text: Guadagnino was tempted to remove the scene in which Elio masturbates into a pitted peach, finding it too explicit.[18][39] Timothée Chalamet was also nervous about the scene,[40] describing it as "a metamorphosis of some of the strongest ideas in the movie" and the key to illuminating the character's "overabundant sexual energy".[22][41] Both Guadagnino and Chalamet also believed it was implausible to masturbate with a peach, but each independently tested the method and found to their surprise that it worked, and so Guadagnino shot the scene and ultimately included it in the film.[42] A scene featuring Elio and Oliver dancing enthusiastically to The Psychedelic Furs song "Love My Way" in a small bar is not drawn from the book, but was inspired by Jonathan Demme's Something Wild (1986) and Guadagnino's experience of dancing by himself when he was young.[18][43] Ivory altered Mr. Perlman's profession from a classics scholar to "an art historian/archeologist type",[22][37] a decision that Aciman described as "perfect" and "more visual, [...] more exciting, as opposed to what a scholar does at his desk".[37]

text: When he was revising Ivory's draft of the script, Guadagnino removed the voice-over narration and much of the nudity[15][26]—he said that explicit nudity was "absolutely irrelevant" to his vision for the film,[44] and that he did not like the idea of having the main character tell the story retrospectively, stating that "it kills the surprise".[15] Towards the end of the novel, the two protagonists visit Rome together, a trip lasts an entire chapter and introduces new characters in multiple locations.[27][34] Because of the film's limited budget, Ivory and the producers wrote several variations, introducing an idea to leave the lead characters alone in the family's house.[27] Ultimately, the filmmakers settled on another trip—to Bergamo, rather than Rome—in which the characters spend much of their time alone together in a hotel room.[27] In his original script, Ivory depicted Elio's parents discussing HIV/AIDS in two scenes,[45] and Elio decorating a Christmas tree in his family's home in the final scene.[28][34] Ivory had to reduce the length of Mr. Perlman's speech but was committed to keeping it in the script.[46] He described the scene in which Elio conveys his feelings to Oliver as one of the moments that captures the "euphoric passion and nervousness" of their first love.[47] Aciman was surprised by Guadagnino's final scene where Elio is seen crying by the fireplace;[38] he wrote of the film adaptation:

text: Cinema can be an entirely magical medium. What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages. What I do is chisel a statue down to its finest, most elusive details. What a film director does is make the statue move.[38]

text: Many of the changes to Ivory's screenplay were made during the filming; the screenwriter was not present at the shooting set, as is typical in filmmaking.[28] In May 2018, Ivory said that he and Guadagnino discussed how to film the scenes involving nudity, but the director later dropped it.[45] In Ivory's view, some of the director's statements to the press had misrepresented the film's omission of nudity as a "conscious aesthetic decision", even though they had never discussed removing nudity from the screenplay.[45] Ivory said, "When people are wandering around before or after making love, and they're decorously covered with sheets, it’s always seemed phoney to me."[45] By contrast, Ivory cited scenes from his earlier film Maurice (1987)—a gay romantic drama that includes male nudity—as "a more natural way of doing things than to hide them, or to do what Luca did, which is to pan the camera out of the window toward some trees."[45] Speaking about this disagreement with Ivory, Guadagnino had said: "I understand that for James [explicit nudity] would have been relevant but that is his vision, what is clear is that we had no limitations on what we wanted to do."[44]

text: Casting[edit]

text: In 2015, Shia LaBeouf and Greta Scacchi were reportedly set to be cast in the film.[48] In September 2016, Ivory confirmed they were no longer involved in the project. Ivory said he got along with LaBeouf, who had read for the film in New York City, but the production company later felt the actor was unsuitable after his personal "troubles".[49] Ivory thought Scacchi and LeBeouf "had good scenes together" and could have made it into the film, but the company disagreed.[49]

text: Guadagnino paid attention to Armie Hammer upon seeing his performance in The Social Network (2010).[8][42] The director found him to be a "sophisticated actor, with a great range" and considered him for the role of Oliver.[8] Hammer met with Guadagnino seven years before the film went into production, when the director was promoting I Am Love.[43] Hammer almost turned down the role after reading the draft script because it contained nudity. He said, "I did want to pass; it scared me"[50] and "There's a lot of stuff here that I've never done on film before. But there's no way I can't do this [film], mostly because it scares me so much."[51] According to Guadagnino, Hammer was going to pass on the role through his agent, but then changed his mind at the end of their conversation.[8][52] Call Me by Your Name became the third film in which Hammer played an LGBT character, following his roles in J. Edgar (2011) and Final Portrait (2017).[39][53]

text: In 2013, Swardstrom—Spears's husband and agent—introduced Chalamet to Guadagnino,[8][16] who immediately felt the actor had "the ambition, the intelligence, the sensitivity, the naivety, and the artistry" to play Elio.[15] Chalamet read Aciman's novel by the time he was 17 and described it as "a window into a young person".[40] Chalamet, who had played piano and guitar for years, arrived in Italy five weeks early to prepare for his part by working with composer Roberto Solci.[22][31] His character, 17-year-old Elio, is fluent in three languages: English, French and Italian.[31] Upon his arrival in Italy, Chalamet—who already spoke French fluently[54]—prepared for his role with a schedule of daily lessons in Italian, piano and guitar, and gym workouts three times a week.[22]

text: Michael Stuhlbarg was cast as Mr. Perlman, Elio's father.[51][55] Stuhlbarg did not start reading the book until he had already joined the production.[56] He was moved by the "many beautiful sentiments expressed" in the script, including Mr. Perlman's "sense of generosity and love and understanding".[57] Esther Garrel was contacted by Guadagnino when he was in Paris for the promotion of A Bigger Splash.[58] Garrel was cast as Marzia without any formal audition, and she chose not to read the book before shooting.[58] Towards the end of the film, Marzia asks Elio, "Friend for life?"—a line taken from J'entends plus la guitare (1991), directed by the actress's father, Philippe Garrel.[32] "I like the idea of talking virtually with Philippe Garrel through her", Guadagnino said.[32] During shooting, Garrel spoke French with Chalamet on set and watched the American sitcom Friends with English subtitles to improve her English.[58]

text: Guadagnino chose Amira Casar, whom he had known for twenty years, for the role of Elio's mother Annella.[32][55] In an interview with French magazine Télérama, Guadagnino expressed his admiration of Casar's "sense of transgression" and called her "the most audacious" in European art cinema (in the original French, "le cinéma d'art d'essai européen," a term encompassing independent and arthouse films).[32] Casting director Stella Savino met Vanda Capriolo when Capriolo was bicycling in the countryside. Capriolo, who was not an actor, was chosen to play Mafalda, the Perlmans' maid.[43][59] Aciman and Spears also appear briefly in cameo roles as Mounir and Isaac, an openly gay couple who attend a dinner party.[22][37] Aciman was asked to be in the movie after actors became unavailable. "It was a last-minute decision", Spears recalled, "Andrė turns out to be a phenomenal actor! So comfortable, not nervous at all. His wife was sitting there and said, 'I had no idea!'"[60] In dialogue, the characters switch between English, French, Italian,[61] and in one scene Annella reads a German translation of 16th-century French literature.[62]

text: Hammer and Chalamet both signed contracts prohibiting the film from showing them with full-frontal nudity. Ivory, whose original screenplay contained nudity, was dismayed by the decision, criticizing what he saw as an "American" attitude and saying, "Nobody seems to care that much or be shocked about a totally naked woman. It's the men."[23][26] Guadagnino, who remained involved in the casting,[51] picked actors based on their performances and chemistry rather than choosing to "investigate or label" their sexuality.[17] He said, "The idea that you have to cast only someone who has a certain set of skills, and worse, a certain gender identity in any role: that's oppressive to me."[7]

text: Production design and costume[edit]

text: The main location set for the Perlmans' residence was Villa Albergoni, an uninhabited 17th-century mansion in Moscazzano.[22][63] Guadagnino wanted to buy the house but could not afford it, so he made a film there instead.[31][64] A landscape designer was hired to construct an orchard in the mansion's garden.[59] A pergola was built on the patio, and apricot and peach trees were placed in the garden.[63][65]

text: Guadagnino said he did not want the film to "look like a reflection on the 80s, the way cinema usually does when it becomes [a period piece]," as he believes it is "very difficult to resist the temptation of thinking of a period from our perspective, our idea of the 80s."[14] Six weeks before production, the crew—including production designer Samuel Dehors and first-time set decorator Violante Visconti di Modrone—gradually decorated the house with furniture and objects inspired by the characters.[22][64] Much of the furniture, including the dishes and glassware from the 1950s, belonged to Guadagnino and di Modrone's parents. Di Modrone said, "That made it cozy and personal ... I wanted to give it the sense of time passing by".[66] Many paintings, maps, and mirrors influenced by Asian art came from an antiques shop in Milan.[65][66] Books seen in the background were all published before 1982.[59] The swimming pool used in the film was recreated from a watering trough common in the area.[22][66]

text: The filmmakers set up faded political billboards in public places to reflect the Italian general election in 1983[59] and re-created a newsstand full of magazines of that time.[59] His team researched extensively with help from the residents of Crema, entering people's houses and collecting pictures of the 1980s.[14][67] Chen Li, the film's graphic designer, created a handwritten typeface for the opening credits, which were shown over the director's title sequence of photocopied images of statues alongside Mr. Perlman's personal items.[59]

text: Costume designer Giulia Piersanti avoided using period costumes; instead, he wanted to provide "a sense of insouciant adolescent sensuality, summer heat and sexual awakening" to the characters.[66] Several costume pieces were made from scratch.[59] The costumes were influenced by the French films Pauline at the Beach (1983), A Tale of Springtime (1990) and A Summer's Tale (1996).[66] For the Perlmans' wardrobe, Piersanti took inspiration from her parents' photograph albums. For Oliver's "sexy, healthy American" image, Piersanti referred to "some of Bruce Weber's earliest photographs".[66] Oliver's clothes change throughout the film as "he's more able to free himself".[59] Aiming to emphasize Elio's confident style, she chose several Lacoste costumes and a distinctive, New Romantic-looking shirt in the final scene.[14][66] For Elio's other costumes, Piersanti picked some items from her husband's closet, including the polo shirt and Fido Dido T-shirt.[66]

text: Principal photography[edit]

text:
CremaPandinoMoscazzanoGrottoes of CatullusCascate del SerioBergamoPizzighettone
Filming locations for Call Me by Your Name, mapped within Lombardy and Italy

text: Principal photography on Call Me by Your Name began on May 9, 2016, and wrapped in June 2016,[49][68][69] lasting around 33 days.[59][70] Reports on the filming only appeared after the process had already been underway for two weeks.[71][72][73] The film was shot primarily in Crema and the surrounding province of Cremona.[8][11][74][75] Photography took place during an unexpected, heavy rainstorm in Italy that was described by Spears as "the coldest, wettest, stormiest time in 200 years in Europe".[20][70] Scenes set in the nearby villages Pandino and Moscazzano were filmed between May 17 and 19 before moving to Crema on June 1.[76][77][78] Additional outdoor scenes were shot on December 4, 2016.[79][80] The City of Crema invested €18,000 for the film, including a publicity campaign costing €7,500.[81][82]

text: The arch of Torrazzo at Crema Cathedral and several historical locations in the streets of Crema and Pandino were chosen during production.[63][76] Businesses requested compensation for financial losses caused by the closure, which was scheduled for May 30 and 31.[83] Two days' filming at the cathedral were postponed due to rainy weather.[84] Filming also took place in the Lodigiano area near Crespiatica and in two small towns near Crema, Montodine and Ripalta.[63][22][79] The archaeological discovery scene was filmed at the Grottoes of Catullus in Sirmione on the Brescian shores of Lake Garda.[63] The trip to Bergamo was filmed at the exterior of multiple historical buildings, including Bergamo Cathedral, the Santa Maria Maggiore, the courtyard of Liceo Classico Paolo Sarpi in Piazza Rosate and the University of Sciences, Letters and Arts.[63] The train station scenes were filmed at Pizzighettone.[85] Because of security concerns, the production team was only granted permission to film at the Cascate del Serio in Valbondione for half an hour.[63][74][86]

text: Before and during filming, the actors lived in Crema and were able to experience small-town life.[22] Guadagnino engaged with the cast and filmmakers, and often cooked and showed films for them in his house.[18] Hammer and Chalamet, who did not have to do a screen test together,[15][87] met for the first time during production in Crema.[22][69] Before filming began, they spent a month together, watching Mike Tyson documentaries and going to local restaurants to build character development.[6][52][69] "We'd hang out with each other all the time, because we were pretty much the only Americans there, and we were able to defend one another and really get to know one another", Chalamet said.[54] During the first two days of production, Guadagnino read the script with the cast.[29] Hammer and Chalamet went to the kissing scene during the first rehearsal.[19][87] The actors rehearsed their scenes every night before filming and spent several days filming nude.[88] "I've never been so intimately involved with a director before. Luca was able to look at me and completely undress me", Hammer said.[42]

text:
Photos of selected filming locations

The Villa Albergoni

The arch of Torrazzo at the Crema Cathedral

The Grottoes of Catullus, on the Brescian shore of Lake Garda

The Bergamo Cathedral

The Piazza Vittorio Emanuele in Pandino

Cascate del Serio

The South portal of Santa Maria Maggiore, Bergamo

The Station of Pizzighettone

text: Guadagnino shot the film in chronological order,[29][89] which allowed the filmmakers to "witness the onscreen maturity of both protagonist and actor".[90] The scene in which Mr. Perlman delivers an emotional speech to Elio was filmed on the penultimate day of filming.[6][29] Stuhlbarg spent months preparing for the scene,[6][57] which Guadagnino wanted to make "as simple as possible" by shooting fewer takes and "let[ting] the actors be."[13] According to Fasano, the scene took three takes to film and Stuhlbarg was "on three different levels of getting emotional".[90] Garrel said she enjoyed filming her sex scene with Chalamett, which she described as filled with "joy and simplicity".[58] Chalamet was listening to "Visions of Gideon", one of the original songs written by Sufjan Stevens for the film, in an earpiece while filming the final sequence;[91][92] the director asked him to perform three variations of the scene, one per take.[93] The camera was set in the fireplace with nobody behind it. "It was bit of an acting experiment", Chalamet said.[43]

text: At the Piazza Vittorio Emanuele,[85] a memorial to the victims of the battle of the Piave located in Pandino,[38] the filmmakers laid a long camera dolly track to film the scene in which Elio tells Oliver of his feelings for him in a single long take, providing the flexibility and "flow of emotion" a cut scene could not.[94] The scene was observed by Aciman in his first day on set.[38] During the dancing sequence, Hammer had to perform to a click track in front of 50 off-camera extras with the music turned down so the dialogue could be recorded.[43][52] In preparation for the scene, Guadagnino arranged for Hammer to practice with a dance coach.[43] Hammer said that it was "the worst scene" he had ever filmed.[95] Choreographer Paolo Rocchi, who was contacted by the Frenesy Film Company in June 2016, described the routine as "awkward and realistic".[96] Rosenman considered the scene one of the most emotional moments; he said "It embodied and encapsulated, for me, what teenage love is all about, what desire is all about."[19]

text: Sayombhu Mukdeeprom, who had previously collaborated with Guadagnino on Ferdinando Cito Filomarino's Antonia (2015), served as the director of photography.[16][73] He had read Aciman's novel before receiving the script and walked around filming locations to "get a feeling for everything ... to see the color, to see how the light changed during the day, and input it into my data".[97] Mukdeeprom had to use artificial lighting to capture the Northern Italian summer atmosphere for Call Me by Your Name,[8] compensating for heavy rains that lasted throughout the shoot.[16][70] While filming of the confrontation scene between Oliver and Elio, Mukdeeprom cried in a corner of the room after they finished the first take, overwhelmed by a feeling of profound empathy for the actors.[8] The film was made using 35 mm celluloid film and a single lens,[98] a decision influenced by the work of David Cronenberg to "solidif[y] the point of view"[9] and make "the tension of the performance come off the screen"—even if it meant increasing the production budget above the cost of shooting in digital.[98] Guadagnino praised Jean-Pierre Laforce, the film's sound designer and mixer, for his "wonderful" and "pivotal" contributions. Guadagnino, who had previously worked with Laforce on A Bigger Splash, said he was "able to create a sort of Cathedral of sound without overwhelming the movie."[13]

text: Post-production[edit]

text: Fasano collaborated with Guadagnino during the post-production.[99][31] They had worked together for 25 years since Guadagnino's debut feature The Protagonists (1999).[31] Fasano described working with Guadagnino as "atypical [and] very demanding, but it's a great experience."[99] Post-production took only a month, between June and July[8]—the fastest they had edited.[69] Fasano cited the films of Bernardo Bertolucci and the "fast and unexplained" storytelling in Pialat's À nos amours as inspiration.[99]

text: Guadagnino and Fasano's first cut of the film ran three hours and 20 minutes long,[99][100] Fasano described the first cut as his favorite and said it made him "lose [him]self in the story and the images."[99] The final cut lasts two hours and 10 minutes with a shooting ratio of 1:25.[99]

text: Several notable changes were made, or almost made, near the end of post-production. The monologue sequence with Elio's father once had piano playing underneath. The scene where the two protagonists bike to a courtyard almost failed to make the final cut after one of the producers said it was inconsequential.[90] Hammer revealed that some scenes were digitally altered to fix wardrobe malfunctions caused by his short shorts.[101][102] Guadagnino has discussed several scenes that did not make the final cut. There was a "well-acted" scene where Elio and Oliver were "teasing one another" under a lime tree, which the director felt was "too precious".[39] A scene where Elio's parents make love in the bedroom while Elio and Oliver are kissing under the moonlight in the garden was also cut.[39] The latter scene was shown in a screening in Castiglioncello in June 2018, which also revealed a deleted scene of Elio inviting Oliver to tour the village.[103]

text: Music[edit]

text: Guadagnino selected the music for Call Me by Your Name himself.[22] He wanted to find an "emotional narrator to the film" through music, in a "less heavy, less present, and more enveloping" way than voice and text.[29] He was inspired by the films Barry Lyndon (1975), The Magnificent Ambersons (1942), and The Age of Innocence (1993).[29] Guadagnino wanted the film's music to be connected to Elio, a young pianist who enjoys transcribing and adapting piano pieces and uses music to deepen his relationship with Oliver.[15] Music is used in the film to reflect the period setting, the characters' family life and their level of education, and "the kind of canon they would be a part of".[15] Guadagnino also researched which pop songs had been frequently played on local radio stations that summer.[15][104]

text: Impressed by the lyricism of American songwriter Sufjan Stevens,[16] Guadagnino asked Stevens to record an original song for Call Me by Your Name and to narrate the film from the perspective of Elio at an older age.[16][91] Stevens declined the voiceover role[91] but contributed three songs to the soundtrack: "Mystery of Love", "Visions of Gideon", and a re-recording of his song "Futile Devices" from The Age of Adz (2010).[15] Stevens was inspired by the film's script, the novel and conversations with Guadagnino about the characters.[16] He submitted the songs a few days before filming began. Surprised by the result, Guadagnino listened to them on-set with the actors and editor Walter Fasano.[22][69] The project marks the first time Stevens had written songs explicitly for a feature-film soundtrack.[105][106]

text: A soundtrack album was released in digital formats by Madison Gate Records and Sony Classical on November 3, 2017,[107] and in physical formats on November 17, 2017.[108] It features songs by Stevens, The Psychedelic Furs, Franco Battiato, Loredana Bertè, Bandolero, Giorgio Moroder, Joe Esposito, and F. R. David, as well as music by John Adams, Erik Satie, Ryuichi Sakamoto, Johann Sebastian Bach, and Maurice Ravel.[109] As of  February 1, 2018[update], the soundtrack has sold 9,000 copies and garnered 29 million on-demand audio streams for its tracks in the United States, according to Nielsen SoundScan.[110]

text: Release[edit]

text: Call Me by Your Name had its world premiere on January 22, 2017, at the Sundance Film Festival.[111][112] Sony Pictures Classics had acquired U.S. distribution rights for $6 million.[113] The deal was negotiated by WME Global and UTA Independent Film Group.[114] International distribution rights were purchased by Memento Films International, a French company that showed the promo reel at the American Film Market in November 2016.[30][115] The film was screened at the Berlin International Film Festival on February 13, 2017;[55] Toronto International Film Festival on September 7, 2017;[8][69][116] and New York Film Festival on October 3, 2017.[117] At the Beijing International Film Festival, it was originally scheduled for April 2018, but was removed from the official program with no explanation; Patrick Brzeski of The Hollywood Reporter wrote that the decision reflected the government's "consistent stance of intolerance toward gay content".[118][119] That year, the film was tributed at the Crema Film Festival: Aciman met with the public on June 23 and Garrel joined the screening at the Crema Cathedral on June 30.[120]

text: Call Me by Your Name opened in limited release in the United Kingdom on October 27, 2017,[11] and the United States on November 24, 2017.[3] It expanded from four to thirty locations in the U.S. on December 15, 2017,[121] then to 114 theaters on December 22.[122] It screened in 174 theaters in January 2018[123] before going into wide release in 815 theaters a few days before the Oscar nomination announcement ceremony on January 19, 2018.[124][125] On Oscars weekend, the film screened in 914 theaters, its widest release in the U.S.[126]

text: Warner Bros. Entertainment released the film in Italy on January 25, 2018.[127][128][129] Special screenings and a public meet-and-greet with Guadagnino, Hammer and Chalamet took place in Crema between January 27 and 30.[129][130][131] The film opened in Brazil on January 18[132] and in France on February 28.[133] In March 2018, a distributor in Tunisia reported that the Ministry of Culture had banned the film as an "attack on liberties" because of its subject matter.[134][135] In Ireland, it became the longest-running film shown at the Light House Cinema in early June 2018, after a 30-week run.[136] In the Philippines, the film will be screened accompanied by a live performance of its soundtrack as performed by the Manila Symphony Orchestra on October 28.[137]

text: Marketing[edit]

text: Sony Pictures Classics released an official poster for Call Me by Your Name on July 27, 2017.[138] The first theatrical trailer was released on August 1, 2017.[139][140] On October 11, 2017, Sony Pictures Classics released a teaser titled "Dance Party" to celebrate National Coming Out Day.[141] The 42-second clip, consisting of a single take of Hammer and Chalamet dancing to "Love My Way" in a bar, became a meme on Twitter.[142][143][144]  Because of its use in the clip, "Love My Way" gained popularity on music-streaming websites and rose 13% on on-demand streams during the two months before the film's release. In the week ending November 30, 2017, the song collected 177,000 on-demand streams, its biggest streaming week in the U.S.[145]

text: Reaction to the advertisement on social media was somewhat negative, largely because of Sony Pictures' misleading use of an image of Chalamet and Garrel instead of a focus on the protagonists' relationship.[146] Daniel Megarry of Gay Times described it as "an attempt to 'straight-wash' the movie's predominant same-sex romance".[147] Benjamin Lee of The Guardian called the ad a "disastrous attempt to push Oscar-buzzed Call Me by Your Name as a straight love story", and said the advert "belies an industry awkwardly denying queerness".[148] Sony Pictures Classics later aired several commercial spots to promote the film during its U.S.-wide expansion on January 19, 2018.[124] To promote the film in South Korea, Sony Pictures released several never-before-seen set photos and pastel promotional posters illustrated by Son Eunkyoung in March 2018.[149][150]

text: Home media[edit]

text: A pirated copy of an awards-screener DVD of Call Me by Your Name, along with copies of Last Flag Flying and fellow Oscar nominees I, Tonya and Lady Bird, were leaked onto file-sharing websites by the hacker group Hive-CM8 on December 24, 2017.[151][152][153] The film was officially released for digital download on February 27, 2018.[154] It was released on Blu-ray and DVD on March 13, 2018, with two bonus featurettes ("In Conversation with Armie Hammer, Timothée Chalamet, Michael Stuhlbarg & Luca Guadagnino" and "Snapshots of Italy: The Making of Call Me by Your Name"), an audio commentary track by Chalamet and Stuhlbarg, and the music video for "Mystery of Love".[95][154][155] The film made $1,336,207 in DVD sales and $1,713,563 in Blu-ray sales in the United States, for a total of $3,049,770 in home media sales.[156] In the United Kingdom, the DVD charted at number 7 and the Blu-ray at number 4 on Top 100 sales for both formats.[157][158]

text: Reception[edit]

text: Box office[edit]

text: Call Me by Your Name grossed $18.1 million in the United States and Canada, and $23.8 million in other territories, for a worldwide total of $41.9 million against a production budget of $3.4 million.[3] The film was Sony Pictures Classics' third-highest-grossing release of 2017.[159]

text: In the United States, Call Me by Your Name began its limited run on November 24, 2017, at The Paris Theater and Union Square Theatre in New York City, and the ArcLight Hollywood and Landmark Theater in Los Angeles.[160] The film made $404,874 in its opening weekend—a per-theater average of $101,219.[161][162] It was the highest average of 2017—the biggest since the opening of La La Land the previous December[163]—and had the best per-screen opening for a gay romance film since Brokeback Mountain (2005).[161][164] In its second weekend, the film grossed $281,288,[165][166] with an "excellent" per-screen average of $70,320.[167][168] The film expanded to nine theaters in its third weekend, grossing $291,101 for a "solid" $32,345 per-theater average.[169] It earned $491,933 from 30 theaters in its fourth weekend, averaging $16,398.[121] The film expanded to 114 theaters in its fifth week and grossed $850,736, averaging $7,463 per screen.[122] It crossed $6 million in its seventh weekend, earning $758,726 from 115 locations.[170] It grossed $715,559 from 174 theaters in its eighth weekend, averaging $4,185 per screen.[123]

text: In the film's nationwide release week—its ninth weekend overall—the film grossed $1.4 million from 815 theaters, an under-performance compared to "some of its competition with similar theater counts," according to Deadline Hollywood.[124][125] The following weekend, after the announcement of its four Oscar nominations, the film's revenues dropped 6 percent to $1.3 million.[171][172] With a total gross revenue of $9,370,359 by the week of January 23, 2018, Call Me by Your Name was the second-lowest-grossing film among that year's Best Picture nominees.[173] However, the online ticketing company Fandango reported that the film had experienced a 56 percent increase in ticket sales through its service since its Best Picture nomination was announced.[2] Regarding the film's "lagging" box-office performance, Tom Brueggemann of IndieWire commented that Sony Picture Classic "has done an able job so far", and said "at some point the film and the reaction to it is something no distributor can overcome".[174] It grossed $919,926, averaging $1,006, from 914 theaters during the Oscar weekend,[126] and went on to earn $304,228 from 309 theaters in its sixteenth weekend.[175]

text: Call Me by Your Name opened at number 7 in Italy with €781,000 and obtained the best per-theater average of the week.[176] It made €49,170 on February 6 and reached €2 million by the end of the week.[177] It re-entered at number 10 on March 13 by making another €13.731 at the box office.[178] As of  July 6, 2018[update], the film had grossed $3,925,137 in Italy.[156] It attracted 17,152 viewers in France on its first day of screening, with an "excellent" per-theater average of 184 entries.[179] It went on to attract 108,500 viewers in the opening weekend, earning 1,167 viewings—the second-best average that week[180]—and 238,124 viewers in its third weekend.[181] As of  April 17, 2018[update], the film had grossed $2,652,781 in France.[156] In the United Kingdom, the film earned £231,995 ($306,000) from 112 screens in its opening weekend,[182] including £4,000 from previews.[183] After ten days, it had made £568,000 ($745,000),[184] before reaching the $1 million mark (£767,000) in its third weekend.[185][186] As of  May 21, 2018[update], the film had grossed $2,372,382 in the United Kingdom.[156]

text: Critical response[edit]

text: At its premiere at the Sundance Film Festival, Call Me by Your Name received a standing ovation.[187] When it screened at Alice Tully Hall as part of the New York Film Festival, it received a ten-minute ovation, the longest in the festival's history.[36][188] On review aggregator Rotten Tomatoes, the film has an approval rating of 95% based on 302 reviews, with an average rating of 8.7/10. The website's critical consensus reads, "Call Me by Your Name offers a melancholy, powerfully affecting portrait of first love, empathetically acted by Timothée Chalamet and Armie Hammer."[189] It was the best-reviewed limited release and the second-best-reviewed romance film of 2017 on the site.[190][191] On Metacritic, the film has an average weighted score of 93 out of 100, based on 51 critics, indicating "universal acclaim".[192] It was the year's fifth-best rated film on Metacritic.[193]

text: Writing for The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual ... intimate and piercingly honest" adaptation of Aciman's novel, and called Chalamet's performance "the true breakout of the film".[194] Peter Debruge of Variety believed the film "advances the canon of gay cinema" by portraying "a story of first love ... that transcends the same-sex dynamic of its central couple". He compared Guadagnino's "sensual" direction with the films of Pedro Almodóvar and François Ozon, and put Call Me by Your Name "on par with the best of their work".[112] David Ehrlich of IndieWire also praised Guadagnino's directing, which he said helped the film "match the artistry and empathy" of Carol (2015) and Moonlight (2016).[195] Sam Adams of BBC stated that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore", and called it "one of his finest" to date. He extolled the film as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné".[196]

text: Ty Burr of The Boston Globe gave the film three-and-a-half stars, commended the director for "broaden[ing] his embrace of humanity while hitting new heights of cinematic bliss" and said that the film "may be a fantasy but it's one that's lovely and wise."[197] David Morgan of CBS praised the cinematography, production design and costuming for "making a summer in the 1980s palpably alive again." He found Stuhlbarg's character "the most forward-thinking parent in movie history".[198] Richard Lawson wrote that Guadagnino's adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[199] Chicago Tribune's Michael Phillips was pleased by the "wonderfully paradoxical" visual interests from the director and said Stevens's songs "work like magic on your sympathies regarding Elio's emotional awakening." He praised Hammer's performance as "some of the most easy-breathing and relaxed best work of his career."[200]

text: The Economist noted the tension "between pain and pleasure" in the film and praised Chalamet, stating that he "evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage".[201] Kate Taylor of The Globe and Mail, who gave the film two-and-a-half stars, also enjoyed Chalamet's effort in capturing "first love and its inevitable heartbreak" and said the "multilingual, almost-pre-AIDS idyll does not stretch credulity ... but it can try the patience".[202] Ken Eisner of The Georgia Straight said that "Guadagnino's lyrical excesses ... can alternate wildly between the poetically incisive and the indulgently preposterous."[203] In a negative review, Kyle Turner of Paste wrote, "The details of the film are too small for anyone, perhaps particularly a queer person, to see," a visual distance that "suggests that the film, in the beginning, is as terrified as Elio initially is. It never gets over that hesitation."[204] Armond White of Out called the movie "craven commercialism" and a "super-bourgeois fantasy" that "exploit[s] the queer audience's romantic needs by packaging them and falsifying them."[205] Luke Y. Thompson of Forbes criticized its length and called it an "excruciatingly boring travelogue".[206]

text: Accolades[edit]

text: Call Me by Your Name was selected by the National Board of Review and the American Film Institute as one of the top 10 films of the year.[207][208] At the 90th Academy Awards, it was nominated for Best Picture, Best Actor (Chalamet), Best Original Song ("Mystery of Love"), and Best Adapted Screenplay, winning the latter.[209][210] Chalamet became the youngest Best Actor nominee since 1939, and Ivory became the oldest winner in any competitive category.[211]  The film received four nominations at the 71st British Academy Film Awards, including Best Film and Best Direction, and won Best Adapted Screenplay for Ivory.[212][213] At the 75th Golden Globe Awards, it was nominated for Best Motion Picture – Drama, Best Actor – Motion Picture Drama for Chalamet, and Best Supporting Actor for Hammer.[214]

text: The film received eight nominations at the 23rd Critics' Choice Awards; Ivory won Best Adapted Screenplay.[215] The film led the 33rd Independent Spirit Awards with six nominations, winning Best Male Lead for Chalamet and Best Cinematography for Mukdeeprom.[216][217] At the 24th Screen Actors Guild Awards, Chalamet received a nomination for Outstanding Performance by a Male Actor in a Leading Role.[218] The film won the GLAAD Media Award for Outstanding Film – Wide Release at its 29th ceremony.[219] In Italy, Fasano won Best Editing at the 73rd Nastro d'Argento Awards and 33rd Golden Ciak Awards.[220][221] The National Board of Review, the Gotham Independent Film Awards and the Hollywood Film Awards each awarded Chalamet with their Breakout Actor Awards.[222][223]

text: Sequel[edit]

text: Guadagnino has deliberated over the idea of a sequel since the film's premiere at Sundance, when he said he realized the characters "could go beyond the boundaries of the film."[39] In October 2017, he said he hoped to make a sequel to the film in 2020 that might be in the style of François Truffaut's The Adventures of Antoine Doinel series, telling the story of Oliver and Elio as they age. "If I paired the age of Elio in the film with the age of Timothée, in three years' time, Timothée will be 25, as would Elio by the time the second story was set", he said.[224][225] In the novel, Elio and Oliver reunite 15 years later when Oliver is married. Guadagnino said that in the sequel, "I don't think Elio is necessarily going to become a gay man. He hasn't found his place yet ... I believe that he would start an intense relationship with Marzia again."[226] Guadagnino has expressed interest in the politics of the 1990s, saying, "It is the time of the fall of Communism and the start of the new world order and so-called 'end of history' that Francis Fukuyama established then ... the beginning of the [Silvio] Berlusconi era in Italy and it would mean dealing with the [first Gulf War] of Iraq."[226][227] In November 2017, Guadagnino shared his intention to make a series of five films, in which the audience could "see those actors grow older, embodying those characters."[39] A month later, he was reported to have begun writing a script for a sequel that would reveal more about Oliver and resemble Michael Apted's Up series.[228][229] Hammer and Chalamet have expressed interest in appearing in a sequel,[230] but Ivory has no interest in the material, saying "that's fine, good. But I don't know how they're going to get a 40-year-old [Chalamet]!"[34]

text: In January 2018, Guadagnino revealed the sequel will be set "right after the fall of Berlin Wall and that great shift that was the end of ... the USSR",[13] and that the first scene in the film could depict Elio watching Paul Vecchiali's Once More (1988)—the first French film to deal with AIDS—in a movie theater.[231] In March 2018, Guadagnino confirmed he will work with Aciman on the sequel, which will take place "five or six years afterwards" with "a different tone" than the first film.[232] He also said that Hammer and Chalamet will reprise their roles with a different backdrop, where they "go around the world".[232] Hammer said he was pitched the script by Guadagnino, saying: "it's not a finished script, but he's got all the ideas for it".[233] In April 2018, Aciman said in an interview for The Sydney Morning Herald that he and Guadagnino were "not sure" about the sequel, saying "[Guadagnino] has quite a few projects in line and so do I. So we are flirting with each other about the sequel but I don't know if we are very serious."[234] In July 2018, Stuhlbarg said that Guadagnino and Aciman were excited the project, and that the director was "serious" about it. He expressed enthusiasm to reprise his role in the sequel, saying "I think it would have to be some kind of unique thing from what it was, but I would absolutely be game for trying."[235] Two months later, Hammer said of the sequel in an interview for Variety: "It will happen because there are already people working on it and trying to make it happen."[236]

text: In an interview for Time in October 2018, Chalamet compared the sequel to Richard Linklater's Boyhood (2014) and said that Hammer, Aciman and Guadagnino were all intended to return for the next film.[237] That same month, Guadagnino revealed that he has asked frequent collaborator Dakota Johnson to play Oliver's wife in the sequel. He described her character as "a New England kind of hoochie woman" who might also have children with Oliver. The director said the film's title is "the only problem" because "It cannot be Call Me by Your Name Two".[238]

text: Notes[edit]

text:
Jump up ^ Mr. Perlman's full name is mentioned in the film as Samuel "Sammy" Perlman.[5]

Jump up ^ Liguria and Sanremo were once depicted as the main setting in the book.[22][36] Aciman, however, declared that the novel takes place in Bordighera, saying "I didn't want to name it in the book, but it's known. I go back to Bordighera all the time".[37] During his time as a location consultant, Guadagnino suggested Liguria as the main setting to the producers.[32]

tag: ol


document_title: List of Vice-Presidents of India

question_text: who held the office of the vice president of india for two consecutive terms

text: List of Vice-Presidents of India

text: List[edit]

text: The complete list of Vice-Presidents of India includes the persons sworn into the office as Vice-President of India, following the adoption of the Constitution of India in 1950.[4]

text:
№
Name
(birth–death)
Portrait
Elected
(% votes)
Took office
Left office
Term (in years)
Notes
President(s)
Candidate of

1
Sarvepalli Radhakrishnan
(1888–1975)

1952
(Unopposed)

1957
(Unopposed)

13 May 1952
12 May 1962
10
Radhakrishnan was a prominent scholar. Besides being awarded the Bharat Ratna he also held the position of vice-chancellor in the Banaras Hindu University and the Andhra college. He served as the Vice-President for two terms.
Rajendra Prasad

Independent

2
Zakir Husain
(1897–1969)
—
1962
(97.59)
13 May 1962
12 May 1967
5

Sarvepalli Radhakrishnan

Independent

3
Varahagiri Venkata Giri
(1894–1980)
—
1967
(71.45)
13 May 1967
3 May 1969
2

Zakir Husain

Independent

4
Gopal Swarup Pathak
(1896–1982)
—
1969
—
31 August 1969
30 August 1974
5

Varahagiri Venkata Giri (1969–1974)

Fakhruddin Ali Ahmed (1974)

Independent

5
Basappa Danappa Jatti
(1912–2002)
—
1974
(78.70)
31 August 1974
30 August 1979
5

Fakhruddin Ali Ahmed (1974–1977)

Neelam Sanjiva Reddy (1977–1979)

Indian National Congress

6
Mohammad Hidayatullah
(1905–1992)
—
1979
(Unopposed)
31 August 1979
30 August 1984
5

Neelam Sanjiva Reddy (1979–1982)

Giani Zail Singh (1982–1984)

Independent

7
Ramaswamy Venkataraman
(1910–2009)

1984
(71.05)
31 August 1984
24 July 1987
3

Giani Zail Singh

Indian National Congress

8
Shankar Dayal Sharma
(1918–1999)

1987
(Unopposed)
3 September 1987
24 July 1992
5

Ramaswamy Venkataraman

Indian National Congress

9
Kocheril Raman Narayanan
(1920–2005)

1992
(99.86)
21 August 1992
24 July 1997
5

Shankar Dayal Sharma

Indian National Congress

10
Krishan Kant
(1927–2002)
—
1997
(61.76)
21 August 1997
27 July 2002
4

Kocheril Raman Narayanan (1997–2002)

A. P. J. Abdul Kalam (2002)

Janata Dal

11
Bhairon Singh Shekhawat
(1923–2010)

2002
(59.82)
19 August 2002
21 July 2007
5

A. P. J. Abdul Kalam

Bharatiya Janata Party

12
Mohammad Hamid Ansari
(1937–)

2007
(60.51)

2012
(67.31)
11 August 2007
11 August 2017
10

Pratibha Patil (2007–2012)

Pranab Mukherjee (2012–2017)

Ram Nath Kovind (2017)

Indian National Congress

13
Muppavarapu Venkaiah Naidu
(1949–)

2017
(67.89)
11 August 2017
Incumbent
—

Ram Nath Kovind

Bharatiya Janata Party

text: † Died in office


document_title: Russell Boulter

question_text: actor who played john bolton in the bill

text: Russell Boulter

text: This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2016) (Learn how and when to remove this template message)

text:
Russell BoulterBorn
 (1963-04-07) 7 April 1963 (age 55)Liverpool, EnglandOccupation
Actor

text: Russell Boulter (born 7 April 1963 in Liverpool) is an English actor and documentary narrator. He is a communications coach.[1]

text: Career[edit]

text: As a teenager he was one of the original members of the Concrete Theatre Company which toured several theatre productions across the North West of England in pubs, schools and theatres. He played the Kid in Gimme Shelter, Mark in Kennedy's Children, and starred in Sam o Shanker, The Puny Little Life Show, Steve Vortex and the Land Beyond Time, So You Think You're Supposed to Win?, the 1984 Minus 2 Show and The Fosdyke Saga. With Happenstance Theatre Company he played the Doc in Doc Hickory's Spell Binding Adventures.

text: Boutler trained at London Academy of Music and Dramatic Art (LAMDA),[citation needed] graduating in 1984 playing the title role in Richard III.

text: He began his professional career at the Royal Shakespeare Company in January 1985. He stayed with the company for two years starring in six productions. He played small roles and understudied 40 characters as well as mounting several fringe shows at The Other Place and Almeida Theatre.

text: His first lead role was as Angel Clare in Tess at Farnham Repertory theatre. He appeared at the Edinburgh Festival several times in the 1980s, eventually producing the ACG venue at St Paul's and St George's which included the UK premier of Maxim Gorky's play Vassa Zheleznova.

text: In 1990 he worked in the West End playing Mickey in Blood Brothers at the Phoenix.

text: He played the male lead in Noël Coward's Star Quality at the Apollo Theatre and The Madness of George Dubba at the Players' Theatre.

text: He played the titles roles in Hamlet at the Birmingham Stage Company, 'Pal Joey at the Bristol Old Vic Theatre and Macbeth at the Stafford Festival Theatre. As well as a lead role in Air Guitar at the Bristol Old Vic Studio, Boulter played Michael Brennan in BBC Radio 4's drama series Citizens from October 1987 to July 1989. He has appeared in numerous Radio 4 drama productions. He played Chris,[2] Malcolm's assistant in series four of the Granada Television sitcom Watching from December 1989 to January 1990. He also appeared in three episodes of The Darling Buds of May as the character Roger McGarry, and in five episodes of Heartbeat as Inspector Crossley during 1993 and 1994.[3]

text: He played DS John Boulton in ITV's The Bill for five years. During which time he set up the production company The 4 Amigos with fellow cast members .His production of Lone Star opened at The Old Red Lion in Islington and went on to tour Australia and played at the Sydney Opera House. He also produced and starred in a short film called Crush.

text: Boulter was a regular in Casualty for a year,[4] and appeared in Judge John Deed,[5] EastEnders, Waking the Dead, Mobile and Doctors. He also starred in Murder in Suburbia and Where the Heart Is.

text: He played Mark in the West End touring production of Art. He directed the play They Came to a City at the Hen and Chickens Theatre in London's fringe.[citation needed]

text: He has worked extensively as a documentary narrator for the BBC, Channel 4, Channel 5, and the National Geographic and Discovery Channels. Narrating the series of Deep Wreck Mysteries on the History Channel, A Short History of Fatherhood on Channel 4 and the Revealed series on Channel 5. He narrated for the BBC Natural History Unit and is the worldwide narrator for Blue Planet 2. He has recorded over 30 titles for BBC Audio Books including The Lives of John Lennon and Charles Dickens' A Christmas Carol.[citation needed]

text: He presented the documentaries Who is this Jesus?[6] and Discovering the Bible.[7] He also coaches ordinands during preaching workshops.[8]

text: Since 2008, he has worked as a communications coach with business people.[1][9] He designs and runs training courses for corporate level executives which focus on pitching, leadership, and personal impact.

text: He is a partner at GSB comms, a global consultancy.[citation needed]

text: He taught improvisation and acting technique at Bristol Old Vic Theatre School between 2008 and 2010.[citation needed] He qualified as a clinical hypnotherapist in 2009 and is a neuro-linguistic programming (NLP) practitioner.[citation needed]