document_title: Thor: Ragnarok

question_text: who plays thor sister in the new movie

question_tokens: who plays thor sister in the new movie

text: Thor: Ragnarok

text: Plot[edit]

text: Two years after the battle of Sokovia,[N 1] Thor has been unsuccessfully searching for the Infinity Stones, and is now imprisoned by the fire demon Surtur in Muspelheim. Surtur reveals that Thor's father Odin is no longer on Asgard, and that the realm will soon be destroyed in the prophesied Ragnarök, once Surtur unites his crown with the Eternal Flame that burns in Odin's vault. Thor defeats Surtur and claims his crown, believing he has prevented Ragnarök.

text: Thor returns to Asgard to find his brother Loki posing as Odin. Thor forces Loki to help him find their father, and with directions from Stephen Strange on Earth, they locate Odin in Norway. Odin explains that he is dying, and that his passing will allow his firstborn child, Hela, to escape from a prison she was sealed in long ago. Hela had been the leader of Asgard's armies, and had conquered the Nine Realms with Odin, but she had been imprisoned and written out of history after Odin feared that she had become too ambitious. Odin subsequently dies, and Hela, released from her imprisonment, appears. She destroys Thor's hammer Mjolnir, and when Thor and Loki attempt to flee through the Bifröst Bridge, she pursues them and forces them out into space to die. Hela arrives in Asgard, destroying its army and killing the Warriors Three. She then resurrects the ancient dead who once fought with her, including her giant wolf Fenris and appoints the Asgardian Skurge as her executioner. Hela plans to use the Bifröst to expand Asgard's empire, but Heimdall covertly steals the sword that controls the Bridge, and hides away with the rest of Asgard's citizens.

text: Thor crash-lands on Sakaar, a garbage planet surrounded by wormholes. A slave trader designated Scrapper 142 subdues him with an obedience disk and sells him as a gladiator to Sakaar's ruler, the Grandmaster, with whom Loki has already become ingratiated. Thor recognizes 142 as one of the Valkyrior, a legendary force of female warriors who were killed defending Asgard from Hela long ago. Thor is forced to compete in the Grandmaster's Contest of Champions, facing his old friend Hulk. Summoning lightning, Thor gets the upper hand on Hulk, but the Grandmaster sabotages the fight to ensure Hulk's victory. Still enslaved, Thor attempts to convince Hulk and 142 to help him save Asgard, but neither is willing. He soon manages to escape the palace and finds the Quinjet that brought Hulk to Sakaar. Hulk follows Thor to the Quinjet, where a recording of Natasha Romanoff makes him transform back into Bruce Banner for the first time since Sokovia.

text: The Grandmaster orders 142 and Loki to find Thor and Hulk, but the pair come to blows and Loki forces her to relive the deaths of her fellow Valkyrior at the hands of Hela. Deciding to help Thor, she takes Loki captive to prove her goodwill. Unwilling to be left behind, Loki provides the group with the means to steal one of the Grandmaster's ships. They then liberate the other gladiators who, led by Korg and Miek, stage a revolution. Loki attempts to again betray his brother to gain a reward from the Grandmaster, but Thor anticipates this and leaves him behind, where Korg and the gladiators soon find him. Thor, Banner, and 142 escape through a wormhole to Asgard, where Hela's forces are attacking Heimdall and Asgard's citizens for the sword that controls the Bifröst. Banner becomes Hulk again, defeating Fenris, while Thor and 142 battle Skurge and the resurrected warriors. Loki and the gladiators arrive to help, and the citizens board their ship; a repentant Skurge sacrifices himself to allow their escape. Thor, facing Hela, loses his right eye and then has a vision of Odin that helps him realize only Ragnarök can stop her. While Hela is distracted, Loki locates Surtur's crown and places it in the Eternal Flame. Surtur is reborn and destroys Asgard, seemingly killing Hela.

text: Thor and the others escape with Asgard's remaining citizens aboard the Grandmaster's vessel. Thor, now king, decides to take his people to Earth. In a mid-credits scene, they are intercepted by a large spacecraft.[N 2] In a post-credits scene, the Grandmaster encounters a group of his former subjects, who are still rebelling.

text: Cast[edit]

text:
Chris Hemsworth as Thor:
The crown prince of Asgard based on the Norse mythological deity of the same name, who has become a "lone gunslinger" searching for the Infinity Stones.[3][5] Hemsworth had become "a bit bored" with the character after portraying Thor four times previously, and wanted to take some risks and experiment: the character has shorter hair in the film, wears a different outfit, his hammer Mjolnir is destroyed,[6] and he loses an eye. Director Taika Waititi added that "stripping" the character down like this allowed him to become a refugee at the end of the film.[7] Waititi also wanted to use more of Hemsworth's comedic talents showcased in films like Vacation (2015) and Ghostbusters (2016),[8] and cited Kurt Russell's portrayal of Jack Burton from Big Trouble in Little China (1986) as an influence on the character.[9]
Tom Hiddleston as Loki:
Thor's adoptive brother and nemesis based on the deity of the same name.[10][11] Hiddleston was interested in how Loki's attitude has changed, saying, "he is always a trickster. It is trying to find new ways for him to be mischievous".[12] As the ruler of Asgard since the end of Thor: The Dark World (2013), Hiddleston notes that "Loki has devoted most of his efforts to narcissistic self-glorification. Not so much on good governance."[13] He also added that "the idea that Thor might be indifferent to Loki is troubling for him... it's an interesting development."[14]
Cate Blanchett as Hela:
Thor's older sister and the goddess of death, based on the deity Hel,[11][15][16] who is inadvertently released from prison.[17] Screenwriter Eric Pearson included the idea of Hela being Thor's sister in one of his drafts at the encouragement of executive producer Brad Winderbaum. The decision to make Hela related to Thor, as opposed to Loki as in the comics and Norse mythology, came from needing more impact with Hela and Thor's final confrontation. By making the change, Pearson felt Hela became "the thing that [represents] what it is to rule Asgard, [Thor's] family, what he's been told, what he hasn't been told."[18] Blanchett found it difficult to portray the character in a motion capture suit rather than costume, feeling Hela's headdress is "such a huge part of" the power of the character that she would have liked to wear it on set.[19] Hela's design was taken from the comic Thor: God of Thunder by Jason Aaron, while the character Gorr from that comic, who has the ability "to manifest an infinite number of weapons", inspired a similar ability for Hela.[20] Blanchett worked with stuntwoman Zoë Bell and Hemsworth's personal trainer Luke Zocchi, and studied capoeira for the role.[6][17]
Idris Elba as Heimdall:
The all-seeing, all-hearing Asgardian former sentry of the Bifröst Bridge, based on the deity of the same name, who has gone into self-imposed exile during Loki's reign.[11][21][22] After Hela invades Asgard, he helps to hide its vulnerable citizens. Describing Heimdall's character arc in the film, Winderbaum says, "he's gone from this elder statesmen, the gatekeeper to Asgard, to this badass warrior-wizard character who lives in the hills and kicks a lot of ass throughout the entire film."[22]
Jeff Goldblum as Grandmaster:
One of the Elders of the Universe,[13][23] who rules the planet Sakaar,[8] and enjoys manipulating lesser life-forms.[11][24] Goldblum described the character as "a hedonist, a pleasure-seeker, an enjoyer of life and tastes and smells". He also said that Waititi encouraged improvisation in order for Goldblum to "make [the character his] own".[25] Waititi explained that Grandmaster does not have blue skin in the film as the character does in the comics, because Goldblum had already played a blue-colored character in Earth Girls Are Easy (1988), and because Waititi did not want to detract from Goldblum's personality by concealing his appearance.[26] Grandmaster is the brother of Benicio del Toro's Collector from Guardians of the Galaxy (2014), and producer Kevin Feige expressed interest in seeing the two together in a future film.[27]
Tessa Thompson as Scrapper 142 / Valkyrie:
A tough, hard-drinking Asgardian slave trader,[8] based on the mythological being Brynhildr,[28] who was once a legendary warrior of the Valkyrior and now works for the Grandmaster under the designation "Scrapper 142".[22] Thompson said the various versions of the character from the comics "left us a lot of leeway" in creating the film version.[20] Waititi "wanted to make sure we weren't making a female character that was boring and pretty",[29] and Feige said Marvel wanted to pair Thor with a love interest more his equal than Jane Foster.[30] Co-screenwriters Craig Kyle and Christopher Yost's original draft of the film had more of a romantic relationship between Thor and Valkyrie. When Pearson started working on the film, he moved away from that storyline, instead focusing more on "the mutual respect" between the characters and Valkyrie "dealing with her PTSD. She's someone who's drowning her sorrows in the bottle, and I just thought that was such a cool thing that you don't often see".[18] Thompson stated that the character is bisexual, which she based on the character's comic book relationship with Annabelle Riggs, and convinced Waititi to shoot a glimpse of a woman walking out of Valkyrie's bedroom which was later cut from the film as Waititi thought that it distracted from the scene's exposition.[31] Thompson was inspired by pictures of Linda Hamilton as Sarah Connor in Terminator 2: Judgment Day (1991) while training for the role,[29] and worked with dialect coach Andrew Jack to create an Asgardian-sounding accent that was different enough to sound like she had been away from there for a long time.[32] Thompson will appear in future MCU films.[11][33]
Karl Urban as Skurge:
An Asgardian warrior,[11][24] who guards the Bifröst Bridge in Heimdall's absence and chooses to join Hela to survive.[19][21] Urban shaved his head for the role, and worked out to "get into the zone and feel" the part even though his body is hidden under a costume.[34] Urban said Skurge "makes a deal with the devil" and becomes Hela's "henchman. He does the dirty jobs. And that sort of is something he has to—it plays on his conscience."[21]
Mark Ruffalo as Bruce Banner / Hulk:
A genius scientist who transforms into a monster when enraged or agitated, after being exposed to gamma radiation. In the two years since Avengers: Age of Ultron (2015), he has become a successful and popular gladiator on Sakaar,[8][35] and has suppressed the Banner side in those years. He is forming the vocabulary "of a toddler",[13] with the level of Hulk's speech being "a big conversation" between Waititi and Marvel since it was taking into account future appearances for the character:[36] Ragnarok begins an arc for the character that continues in Avengers: Infinity War (2018) and its untitled sequel (2019).[37] Ruffalo felt Hulk had "a swagger" in the film, and was "much more of a character than the green rage machine" seen in the Avengers films.[8] Waititi provided additional motion capture for the Hulk after Ruffalo had completed his scenes.[38]
Anthony Hopkins as Odin:
The king of Asgard, father of Thor and Hela, and adoptive father of Loki, based on the deity of the same name.[11] The character is in exile on Earth, and was originally intended to be a "crazy-looking" hobo on the streets of New York City, but Waititi ultimately felt that this was tragic rather than funny given the character's death during the sequence. The sequence was changed to take place in Norway, to "honor" the character's past and be more authentic to his role as a king of Asgard.[39] Waititi was surprised by the improvisational ability of Hopkins after he was told "to be funny and to really destroy what's come before [with the role] and recreate it."[38]

text: Additionally, Tadanobu Asano, Ray Stevenson, and Zachary Levi reprise their roles as Hogun, Volstagg, and Fandral, respectively, members of the Warriors Three.[22][40] Feige called their appearances "noble ends" that served to establish the threat of Hela and the danger she poses to the main characters.[41] Benedict Cumberbatch reprises his role as Dr. Stephen Strange from the film Doctor Strange (2016).[42] Rachel House, who has appeared in several of Waititi's films, plays Topaz, the Grandmaster's bodyguard,[19][43] while Waititi portrays Korg, a gladiator who befriends Thor. Waititi provided a motion-capture performance for the character, who is made of rocks, and wanted to do something different by having the character be soft-spoken,[44][45] ultimately basing Korg's voice on that of Polynesian bouncers.[46] Waititi also provided the motion-capture performance for the fire demon Surtur, based on the mythological being Surtr, with Clancy Brown voicing the character.[47] Thor and Hulk co-creator Stan Lee makes a cameo appearance as a man on Sakaar who cuts Thor's hair.[48] There are also several cameos in a sequence where Asgardian actors perform a play based on the events of The Dark World: Sam Neill, with whom Waititi previously worked on Hunt for the Wilderpeople (2016), plays the Odin actor;[49][50] Luke Hemsworth, brother of Chris, plays the Thor actor;[50] and Matt Damon plays the Loki actor.[50]

text: Production[edit]

text: Development[edit]

text: While promoting the release of Thor: The Dark World in October 2013, Chris Hemsworth expressed willingness to portraying Thor for as long as "people wanted more", adding that he was contracted for another Thor film and two more Avengers films.[51] Producer Kevin Feige stated that the next Thor would build from elements at the end of The Dark World.[52] In January 2014, Marvel announced that Craig Kyle and Christopher Yost would write the screenplay for a third film, with Feige again producing;[53] the story was being outlined that July.[54] At the end of October 2014, Feige announced that the film would be titled Thor: Ragnarok, with a scheduled release date of July 28, 2017. Hemsworth and Tom Hiddleston were set to return as Thor and Loki, respectively.[3][10] Feige added that the film would be "very important" in Phase Three of the Marvel Cinematic Universe (MCU),[3] and also confirmed that, in the context of the film, the word Ragnarok means "the end of all things".[55] He felt that "people will [not] read into that title alone what the movie's going to be."[56]

text: In February 2015, Marvel pushed back the release date to November 3, 2017.[57] That April, Feige was expecting a draft for the film soon,[58] and a month later he stated that a director, additional screenwriter, and further casting announcements would be revealed "towards the end of the summer",[59] with filming set for June 2016.[60] The Dark World director Alan Taylor explained that he would not be returning, as "the Marvel experience was particularly wrenching because I was sort of given absolute freedom while we were shooting, and then in [post-production] it turned into a different movie. So, that is something I hope never to repeat and don't wish upon anybody else."[61] During the 2015 San Diego Comic-Con International, Jaimie Alexander said that she would reprise her role as Sif in "a very pivotal part" of the film.[62][63]

text:
I think the overall sense that I'm trying to give to the audience and what I want the audience to leave the cinema carrying with them is a sense of joy really... Sometimes I would stop and think, I'm doing a movie that's got Thor and Doctor Strange and The Incredible Hulk and Loki and every character is so strange and different... Civil War it's just humans, humans with human problems. Ours is creatures and beings and all these sorts of really different characters.

—Taika Waititi, director of Thor: Ragnarok[64]

tag: div

text: By October 2015, Taika Waititi entered negotiations to direct Thor: Ragnarok. Other directors under consideration included Ruben Fleischer, Rob Letterman, and Rawson Marshall Thurber.[65] Marvel presented the prospective directors with "the ten different ideas that we had for the movie", asking them all to come back with a clearer picture of what the film should be.[66] Waititi created "a sizzle reel for the tone, and some joke stuff" using clips from other films,[66][67] including Big Trouble in Little China,[68] and scored it with Led Zeppelin's "Immigrant Song".[69] This is a practice that Marvel discourages because it "oftentimes can be really terrible", but they thought Waititi's reel was "amazing",[66] particularly its use of that song which Feige felt "defined what Taika was going to do with this"; "Immigrant Song" was later used in the film itself, and for marketing it.[69] On why he decided to pursue directing the film, after stating in 2012 that he had no interest in "big features, where the art of the project was sacrificed for profit", Waititi said he felt "like a guest in Marvel's universe but with the creative freedom to do what I want".[70] Waititi was confirmed as director of the film by multiple news outlets later in October.[71][72][73]

text: Mark Ruffalo was also finalizing a deal that month, to reprise his role as Bruce Banner / Hulk from previous MCU films;[35] he soon confirmed that he would appear.[74] Hulk was last seen at the end of Avengers: Age of Ultron traveling in a Quinjet, which was originally planned to be shown flying near Saturn. Feige explained that this was changed to an Earth-based location to leave Hulk's fate ambiguous and dispel rumors that a film based on "Planet Hulk" was in development, since Marvel Studios had no plans to adapt the storyline at the time.[75] According to executive producer Brad Winderbaum, the idea to include Hulk in Ragnarok came early on in development, when the production team looked at the "Planet Hulk" storyline and felt it was a "no brainer" to integrate Hulk into the Thor franchise and explore "the idea of a planet where there's gladiatorial games as a Thor predicament. [That storyline] was a really cool idea to us."[76] Feige further explained that initial discussions had focused on doing "something totally different with Thor", and that centered on continuing the relationship with Loki and ideas for Hela, Valkyrie, Balder, and Beta Ray Bill, "but we were like, 'We need something big.'" This turned to discussing Thor going to space, and jokingly calling it "Planet Thor", which led to including Hulk in the film and revealing that he ultimately went to space at the end of Age of Ultron.[75]

text: Also in October, Australia's Minister for Foreign Affairs Julie Bishop announced that filming would take place in the country,[77] exclusively throughout the state of Queensland, including at Village Roadshow Studios in Oxenford, Gold Coast. According to Premier Annastacia Palaszczuk, the production was to spend over $100 million in Queensland and employ 750 Queenslanders.[78] Hemsworth had asked Marvel to produce the film in Australia, where he lives.[79] At the end of November 2015, Stellan Skarsgård, who portrayed Erik Selvig in the previous Thor films, said that he was contracted to appear should Marvel want to include him, but he was uncertain at the time if they did.[80] He later confirmed that he would not appear in Thor: Ragnarok.[81] The next month, Stephany Folsom was hired to work on the script, and Cate Blanchett entered final negotiations to join the cast.[15][82]

text: Pre-production[edit]

text: In January 2016, with the film beginning pre-production,[78][83] Ruffalo described it as a "road movie" and indicated that additional filming would take place in Sydney.[84] Waititi stated that he was working on the script "a little bit", mainly adding humor to the screenplay,[85] with Eric Pearson joining the project to rewrite the screenplay. Pearson felt joining presented many challenges, as "there were so many puzzle pieces already there," such as having Blanchett as Hela,[86] who was confirmed in the role a month later,[87] and including Hulk, Valkyrie, and Skurge, that he was asked to assemble. Pearson was told not to be restrained by anything from the previous films, and Waititi asked him to make the film fun and have Thor "be the coolest character."[86] Alexander said in early March that she was no longer sure if she would appear in the film, due to scheduling conflicts with her television series Blindspot.[88] She later indicated that this may not be the case,[24][89] but ultimately was unable to appear in the film due to the conflict.[90][91]

text: In April, Tessa Thompson was cast as Valkyrie,[11][33] with Natalie Portman not returning from the previous films as love interest Jane Foster.[92][93] Marvel never asked the screenwriters to include the Earth-based characters from the previous films,[94] and Feige said that Foster and Thor have broken up between films.[30] In May, Marvel confirmed Blanchett and Thompson for the film, announced the casting of Jeff Goldblum as Grandmaster and Karl Urban as Skurge, and revealed that Idris Elba and Anthony Hopkins would reprise their respective roles of Heimdall and Odin from the previous films.[11] In early June, Palaszczuk and Marvel Studios executive David Grant announced that filming would begin on July 4, 2016,[95] with Weta Workshop creating props for the film.[34] Before the sets for Marvel's Doctor Strange were demolished, Waititi wrote and filmed a scene for Ragnarok where Thor meets Benedict Cumberbatch's Stephen Strange. Marvel and Doctor Strange director Scott Derrickson felt the scene was "kind of perfect" to show Strange joining the wider MCU, so the scene also appears during the credits of Doctor Strange.[42][96][97]

text: Feige noted that Thor: Ragnarok would primarily take place in the "cosmos" rather than on Earth, a departure from the previous Thor films.[56][98] He expanded by saying, "Tonally and geographically there are a lot of different planets outside of the nine realms that we visit" in the film.[92] Waititi consulted with theoretical physicist Clifford Johnson on space travel. Johnson viewed early drafts of the script, and gave Waititi physics ideas that could "wink at some of the classic old [Thor] stuff"; Johnson previously consulted on the second season of the MCU television series Agent Carter.[99] Comic artist and Thor co-creator Jack Kirby was one of Waititi's major visual inspirations for the film.[100] Winderbaum also called Walt Simonson's "Ragnarok" story arc an inspiration for "really fun elements ... both stylistically and narratively", as well as Thor: God of Thunder by Jason Aaron, which was the inspiration for Hela's design and abilities.[20] Waititi said the planet Sakaar, which is featured in the "Planet Hulk" storyline, was "the biggest shift for the film and these characters",[100] with Winderbaum describing it as "the toilet of the universe", surrounded by "wormholes that have been spitting things out into this place for eons".[76] Also featured is Muspelheim, one of the Nine Realms, ruled by Surtur. Production designer Dan Hennah described it as a Dyson sphere, with the realm drawing power out of a dying star to energize its inhabitants.[101] Hennah hoped to give Asgard "more of a humanity" than in previous films, by adding smaller building perspectives to help the realm seem more practical and utilitarian. For Saakar's gladiator arena, Hennah looked at Roman gladiators, but differentiated from previous similar ideas by going "all alien with it". The arena is surrounded by "standing up bleachers".[102]

text: Waititi said that the film would reinvent the franchise, as "a lot of what we're doing with the film is, in a way, kind of dismantling and destroying the old idea and rebuilding it in a new way that's fresh. Everyone's got a slightly new take on their characters, so in that way, it feels like [this is] the first Thor (2011)."[8] He added that he had seen the other films and respected them, but wanted to focus on making a "standalone film because this could be the only time I do this. I just want to make it [my] version of a Marvel film in the best way possible."[9] This is something Hemsworth had hoped for, looking to have a lighter tone in Ragnarok compared to the previous Thor films, especially the second one, similar to Guardians of the Galaxy. He said, "I feel we had less of the sort of the naivety or fun or humor that the first [Thor] might have had. I wish we had more of that in the second [movie] ... We've done regal. We've done Shakespeare, and we've shown that. I think now it's time to go, 'Ok, cool. Let's try something different.'"[103] Hemsworth continued that in order to prevent the character or film from becoming "predictable", there was "definitely a goal to do something unexpected...I think we want to get back to more of a sense of adventure and fun".[104]

text: The events of Ragnarok are set four years after the events of Thor: The Dark World, two years after the events of Avengers: Age of Ultron,[3][105] and around the same time as the events of Captain America: Civil War (2016) and Spider-Man: Homecoming (2017), with Winderbaum noting that "things happen on top of each other now in Phase Three."[5] The events of Ragnarok also set up Avengers: Infinity War,[8] and Hemsworth spoke to Infinity War directors Anthony and Joe Russo before receiving the script for Ragnarok to see how it would link to Infinity War. He said Ragnarok "definitely bleeds nicely into those [films]",[5] and Winderbaum likened Ragnarok's impact on the larger MCU to that of Captain America: The Winter Soldier (2014), saying it would break down ideas regarding Asgard that were previously established similar "to how Winter Soldier broke down S.H.I.E.L.D."[5]

text: Filming[edit]

text: Principal photography began on July 4, 2016,[95][106] under the working title Creature Report,[107][108] at Village Roadshow Studios in Oxenford, Gold Coast, Queensland, Australia,[78] exclusively using all nine of the studios' sound stages.[109] Additional filming was to occur throughout the state of Queensland,[78] including Tamborine National Park.[22] The Brisbane central business district, where filming took place from August 22 to 25,[25][107][110] was used to double as New York City.[111] Javier Aguirresarobe served as cinematographer on the film,[106][112] describing his work on the film as "a rare combination of satisfaction and frustration", feeling that he was mostly there to service the director and visual effects supervisor, but felt "very happy to have been able to respond to such incredible technical requirements".[113]

text: Later in July, regarding the film's "buddy-style comedy" nature, Waititi said that the script had changed from then and it was still unclear what the final film would look like, but there "are buddy elements to it between Thor and the Hulk".[70] He said it would be a "'70s/'80s sci-fi fantasy" and "the most 'out there' of all the Marvel movies",[114] with the tone closest to that of Big Trouble in Little China.[68] Inspiration for the road-trip aspect of the film included 48 Hrs. (1982), Withnail and I (1987), and Planes, Trains and Automobiles (1987).[8] Waititi also asked the heads of each department to watch Flash Gordon (1980) before beginning work.[115] Concept art released at San Diego Comic Con 2016 revealed that the character Fenris Wolf would appear.[116][117]

text: By August, over 100 set and construction workers were given termination notifications, with some complaining that they had been promised work until October or November 2016, and that New Zealand crew members were receiving preferential treatment over the Australian locals. However, Premier Palaszczuk stated that the work for set builders simply "finished", and that other jobs would become available as actors arrived for filming.[118] Sets constructed for the film were for Sakaar, including the Grandmaster's palace and surrounding junkyard, as well as Asgard (based on the aesthetics of the previous Thor films).[22] The interior of the Avenger Quinjet, which was built for The Avengers (2012), was shipped to Australia.[108] Waititi, who is Māori, made hiring Indigenous and Aboriginal Australians, along with New Zealanders, a priority for the various departments, saying, "It's a responsibility you have to the Indigenous people. You're coming to a country and you're bringing money into the economy and creating jobs but I think you have an even bigger responsibility to look after the people that have less opportunities." He added that having these people on the crew "feel very much like family" and "helps calm me down and makes me feel relaxed". The Indigenous and Aboriginals were hired as part of an initiative by Screen Australia's Indigenous Department, whose mission is "to give Aboriginal and Torres Strait Islanders a foot in the door of the film industry".[119]

text: In mid-September 2016, concept art seen during a set visit indicated Midgard Serpent would appear,[120] and that Sif and the Warriors Three, allies of Thor in the previous two films, would be addressed in Ragnarok.[32] Towards the end of the month, Sam Neill, who worked with Waititi in Hunt for the Wilderpeople, revealed he had a role in the film.[49] Shortly after, Waititi teased the inclusion of the characters Korg,[121] who Waititi portrays through motion-capture,[44] and Miek,[122] who is not portrayed by an actor as he does not speak in the film, and is depicted as "a larva-like creature... [with] cybernetic legs and arms".[44] In mid-October, Waititi revealed that new camera technology had been used for a shot in the film, and that he had hoped to include John C. Reilly's Nova Corpsman Rhomann Dey in the film, but there was "no real way to pull it off".[114] Principal photography wrapped on October 28, 2016.[123] Second unit filming took place on Dirk Hartog Island off the coast of Australia, and in the South Island of New Zealand.[22] According to Waititi, 80 percent of the dialogue in Thor: Ragnarok was improvised, in order to create a "very loose and collaborate mood" among the cast and an attempt to replicate the tone and sensibility from his previous films. He stated, "My style of working is I'll often be behind the camera, or right next to the camera yelling words at people, like, 'Say this, say this! Say it this way!'"[124]

text: Post-production[edit]

text: In January 2017, it was revealed that Pearson would be receiving sole screenwriting credit on the film, with the story credited to Kyle, Yost, and Folsom.[125] These credits were later updated the following September, with Pearson as the screenwriter and story credit for Kyle and Yost. Folsom took issue with Marvel marketing the film with these credits, noting the Writers Guild of America (WGA) had yet to determine the final credits for the film.[126] She later said that Marvel had given her a story credit on the film, but was denied by the WGA due to their regulation that a maximum of two individuals can receive story credit, with an allowance for a writing team to count as one individual; Pearson and the team of Kyle and Yost received the story credit on Ragnarok. Folsom added that she planned to appeal the decision, and that Marvel has been supportive of her throughout her attempt to receive credit.[127] By the end of the month, the writing credits were updated once again, this time simply crediting Pearson, Kyle, and Yost as screenwriters.[86][90][128]

text: In February 2017, Rachel House said she had a small role in the film, having worked with Waititi before.[43] Additional filming took place in Atlanta in July 2017, over three weeks,[129][130] including filming post-credit scenes.[131] One of these introduces the spaceship Sanctuary II, which belongs to Thanos, in Avengers: Infinity War and its untitled sequel,[4] while the other, shown at the end of the credits, features the Grandmaster. Goldblum and Waititi improvised multiple versions of the latter scene; one unused version involved the singing of the Sakaarian national anthem, which was "made up on the spot".[132] Also filmed in Atlanta was the completion of a sequence where Asgardian actors perform a play based on the events of The Dark World. Neill appears in the sequence as the Odin actor, and Hemsworth's brother Luke portrays the Thor actor.[133] Explaining the sequence, Waititi said, "if I was Loki and I was ruling Asgard, I would write a play about myself and force everyone to go and see it—change the details of the play and get a huge celebrity to play myself." For the Loki actor, they "really wanted someone good and someone who's funny", and Chris Hemsworth suggested that Matt Damon, whom he knew personally, take on the role.[50] Damon was in New York City at the time, and flew to Atlanta just to shoot the cameo "on a lark".[50][133] Also changed during reshoots was the location of the sequence where Thor and Loki find Odin on Earth, and Hela subsequently destroys Mjolnir. Originally set in a New York City alley, Waititi decided that the environment was distracting from the emotions of the sequence. The location was changed to Norway, which Waititi felt gave more weight to the scenes, made Odin's storyline more "authentic", and also allowed the characters and the audience to "chill out for a second, and have that moment, because the rest of the film basically just runs at a clip".[39]

text: By the time the reshoots for the film were completed, the film had been cut down from Waititi's initial version of two hours and forty minutes to around ninety minutes, with that expected to increase slightly with the newly filmed scenes. However, after the film's 2017 Comic Con panel, it was decided to add back a lot of the jokes that had been removed, with the final runtime being two hours and ten minutes.[115] Joel Negron and Zene Baker served as editors on the film.[22][108] Waititi described the process of deciding exactly what jokes to keep as "very tricky ... sometimes it would be funny in the beginning of the film and then not funny at all [or] it was funny in the wrong places and in the end, we had to just keep testing jokes and testing parts of the film".[134] Ragnarok also clarifies that an Infinity Gauntlet seen in Thor was a fake. Feige expanded, saying that it had been included in Thor as an easter egg, since Marvel Studios was "working on The Avengers and trying to [put] that all together for the conclusion of Phase One." However, shortly after The Avengers released and the studio began to solidify plans for Avengers: Infinity War, they realized that the gauntlet seen in Thor could not be the actual one, creating an internal theory that it was fake; this resulted in the scene in Ragnarok, which was created "just [to have] the opportunity to call it a fake".[133]

text: Visual effects[edit]

text: Visual effects for the film were created by Industrial Light & Magic's (ILM) San Francisco and Vancouver studios,[135] with help from Base FX, Animatrik, and Virtuos; Framestore; Method Studios Vancouver; Digital Domain; Rising Sun Pictures; Luma Pictures; D Negative; Iloura; Image Engine; Trixter; The Secret Lab; WhiskeyTree Inc; Fin Designs + Effects; and Perception.[22] Previsualization work was provided by The Third Floor and Day for Nite.[22][136] Luma Pictures produced over 200 shoots in eight sequences, particularly for the characters Korg (receiving assets from Framestore) and Miek. Method Studios provided over 450 shots, including Thor's opening fight against Surtur in Muspelheim and Hela's fight against the Asgardian guards. D Negative worked on over 190 shots, creating the environment for the planet Sakaar, including its junkyard landscape and wormholes, with the wormholes also created through a collaboration with Digital Domain.[137]

text: ILM, who worked on previous incarnations of the Hulk, had to add much more detail to the character's facial features in Ragnarok due to the Hulk's increased dialogue. ILM visual effects supervisor Chad Wiebe explained that Ruffalo's expressions were captured fresh for the film using Medusa, a performance capture technology. With 90 different expressions captured, ILM "built an entirely new library that would allow [Hulk] to cover a full range of normal human visual characteristics."[137] To help create the Hulk, a person on set was covered in green body paint, and would replicate the intended motions of the character to aid the visual effect artists.[76] Additionally, stunt actor Paul Lowe, who is under 5 feet (1.5 m) tall, stood in for Hemsworth during some of his interactions with the Hulk so that the Hulk's stunt men would be proportionally correct. In some instances when Thor and the Hulk interacted, a digital double was used for Thor, also created by ILM, to have greater flexibility for the shots. ILM worked on all of the Hulk moments in the film outside the final fight sequence, which was completed by Framestore using ILM's assets, as Framestore was primarily responsible for rigging that sequence. Framestore completed nearly 460 shots, which featured digital doubles of Thor and Hela, Fenris, Korg, Miek, the giant Surtur at the end of the film, and over 9,000 buildings for Asgard, based on assets D Negative had from The Dark World, resulting in over 263 character, vehicle, prop, and crowd rigs.[137]

text: Rising Sun Pictures produced more than 170 visual effects shots for Thor: Ragnarok. They worked on the Valkyrie flashback sequence, with the sequence's surreal ethereal appearance achieved through a combination of motion capture, computer graphics, a 900 fps high-speed frame rate, and a special 360° lighting rig containing 200 strobe lights to bathe the scene in undulating patterns of light and shadow. Rising Sun also helped create the various CGI aspects of Hela, such as her "hair wipe transition" to her horns, and her original introduction in New York City. Following the reshoots, ImageEngine completed the new Norway introduction since Rising Sun was focused on the palace fight by then.[138]

text: Music[edit]

text: By August 2016, Mark Mothersbaugh was hired to score the film.[139][140] The synthesized score is influenced by the work of Jean-Michel Jarre.[19] Waititi stated he would have asked the band Queen to work on the soundtrack for the film if their lead singer Freddie Mercury was still alive, because the film is "a cool, bold, colorful cosmic adventure" which would have suited the "feel" of the band.[141] Additional music featured in the film include "Immigrant Song" by Led Zeppelin and "Pure Imagination" from the film Willy Wonka & the Chocolate Factory (1971). Patrick Doyle's themes from Thor and Brian Tyler's themes from The Dark World and Avengers: Age of Ultron, as well as Joe Harnell's "The Lonely Man" theme from The Incredible Hulk series, are also used in the film.[22] Hollywood Records released the film's soundtrack digitally on October 20, 2017, and physically on November 10, 2017.[142]

text: Release[edit]

text: Thor: Ragnarok had its world premiere at the El Capitan Theatre in Los Angeles on October 10, 2017,[143][144] and its Australian premiere took place on October 13, on the Gold Coast.[145] It was released in the United Kingdom on October 24, 2017,[146] with additional international releases on October 25,[105] and in Australia on October 26.[147] The film was released in the United States and Canada on November 3,[57] in 4,080 theaters, of which over 3,400 were 3D, 381 were IMAX and IMAX 3D, and 204 were D-Box.[148] The film opened in 1,187 IMAX theaters globally, which was a November opening weekend record.[149] It was originally scheduled for release on July 28, 2017.[3]

text: Marketing[edit]

text: At the 2016 San Diego Comic-Con, a physical model of Hulk's gladiator armor was revealed,[150] concept art and rough animatics were shown,[116] and a "mockumentary" short titled Team Thor was screened. Directed by Waititi, it showed what Thor and Banner were doing during the events of Civil War,[116][151] with Daley Pearson appearing as Thor's Australian flatmate Darryl Jacobson. The short released online in August 2016,[151] and with the digital download of Captain America: Civil War the following month.[152] Team Thor: Part 2 was released on the home media of Doctor Strange in February 2017, with Pearson reprising his role.[151][153] Footage and concept art for the film were shown at CinemaCon 2017.[154]

text: On April 10, 2017, the first teaser trailer was released. Sandy Schaefer of Screen Rant felt it was "a strong start" for the film, having "a distinctly playful vibe" by setting it to "Immigrant Song".[155] The Verge's Chaim Gartenberg said "this may be the weirdest Marvel movie to date" thanks to the costumes, makeup, and 80s aesthetic.[156] Michael Arbeiter for Nerdist was pleased with the teaser, stating, "nothing in the MCU thus far can hold a candle to the imagination promised by this ... have any of [the previous MCU films] felt this beholden to what we've always known and loved as the adventure genre?"[157] The teaser was viewed 136 million times in 24 hours, the third-highest in that time frame behind The Fate of the Furious (139 million) and It (197 million). It also became Disney and Marvel's most viewed trailer within that time period, surpassing Beauty and the Beast (127 million) and Captain America: Civil War (94 million), respectively.[158] The line from the trailer of Thor saying Hulk "is a friend from work" was suggested to Hemsworth by a Make-A-Wish child visiting the set on the day the scene was filmed.[159]

text: Props and costumes from the film were on display at D23 Expo 2017 along with set pieces for photo opportunities.[160] The costumes were also on display at the 2017 San Diego Comic-Con,[161] where Waitti and cast members promoted the film. Exclusive clips were shown, along with a new trailer.[13][23] Ethan Anderton of /Film felt "the blend of comedy and bright, vibrant comic book action" in the trailer was "incredible".[162] Collider's Haleigh Foutch was "in love with this trailer" and "all in" on the film.[163] Germain Lussier for io9 called the trailer "a two-and-a-half-minute ball of action, awesomeness, humor, and insanity that may be the most purely fun Marvel movie trailer we've ever seen."[164] The poster also released was praised, being called by Anthony Couto from Comic Book Resources as "quite stunning", "insanely colorful", and "perfectly symmetrical",[165] with Matt Goldberg of Collider feeling it "really [lets] you know that this Thor movie is going to be radically different than the first two".[166] Due to the Comic-Con presentation, Thor: Ragnarok generated over 264,000 new conversations on social media from July 17 to 23, the most out of any film during that time period, according to comScore and its PreAct service.[167] It remained the most-discussed film on social media for two more weeks.[168][169]

text: In August 2017, Marvel partnered with car manufacturer Renault on a commercial supporting the release of the Kwid in Brazil. Directed by Jonathan Gurvit and shot in São Paulo, it features the Hulk destroying a satellite headed towards the city. Framestore worked on visual effects for the commercial, building on the foundation they had from working on the character in previous films.[170][171] Also in August, Marvel, in partnership with Dolby Laboratories, Synchrony Bank, American Association for the Advancement of Science (AAAS), Broadcom Masters, and Society for Science & the Public, announced the "Superpower of STEM Challenge", aimed at females aged 15 through 18 in STEM (Science, Technology, Engineering, and Mathematics education) fields, to "create an original Do-It-Yourself project that can be replicated by others" and "help their family, community or the world be safer, healthier or happier". Five winners would attend the film's world premiere, receive a tour of Walt Disney Studios, and a $500 saving account from Synchrony Bank, with one grand prize winner attending "an immersive three-day mentorship in New York City with Disney Imagineering" to create a "professional-level video teaching other young people how to recreate" their winning project. They were also given the opportunity to demonstrate the project on Good Morning America.[172]

text: For the week of August 21, Ragnarok once again had the most social media conversations according to comScore and its PreAct service. New clips of Thor and Hulk fighting, released on the same day as the Floyd Mayweather Jr. vs. Conor McGregor fight, helped generate the 57,000 new conversations for the week.[173] From September 25 to October 15, Ragnarok had the second-most social media conversations according to the service,[174][175] and was once again first for the week of October 16 following the release of extended clips and plot details.[176] Beginning October 6, 2017, Disney California Adventure showed a sneak peek of the film at the Sunset Showcase Theater in Hollywood Land, presented in 3D with "special in-theater effects".[177] Ahead of the United States release of the film, Hemsworth, Hiddleston, Blanchett, Goldblum, Ruffalo, and Thompson appeared with James Corden on The Late Late Show with James Corden to present a "4D" version of the film, which was actually a stage play. The cast performed various scenes from the film live in low-budget costumes and with cardboard stage props.[178] Additional promotional partners of the film included Red Robin, United Healthcare, and Screenvision Media.[149]

text: Home media[edit]

text: Thor: Ragnarok was released on digital download by Walt Disney Studios Home Entertainment on February 20, 2018, and on Ultra HD Blu-ray, Blu-ray, DVD and On-Demand on March 6. The digital and Blu-ray releases include behind-the-scenes featurettes; audio commentary; deleted scenes; a blooper reel; and Team Darryl, a continuation of the "mockumentary" short films Team Thor and Team Thor: Part 2, in which the Grandmaster moves in with Darryl after Thor leaves.[179] In one of the deleted scenes, Michael Rooker makes an appearance as Yondu, reprising the role from the first two Guardians of the Galaxy films. James Gunn, writer and director of the Guardians films, clarified that the appearance of Yondu was never meant to appear in the final film, and that Rooker was on a nearby set recording material for the Halloween variant of the theme park attraction Guardians of the Galaxy – Mission: Breakout! and decided to stop by the Ragnarok set "to goof around".[180]

text: The film debuted at number one on the NPD VideoScan overall disc sales chart during its first week of release, which tracks combined DVD and Blu-ray disc unit sales, and a dedicated Blu-ray disc sales chart. Blu-ray accounted for 83% of unit sales, with 11% coming from Ultra HD Blu-ray. Thor: Ragnarok also debuted second on the Media Play News rental chart behind Coco.[181] In its second week, the film fell to number two on the NPD VideoScan chart, coming in behind Justice League, but rose to number one on the Media Play News rental chart.[182]

text: Reception[edit]

text: Box office[edit]

text: Thor: Ragnarok grossed $315.1 million in the United States and Canada, and $538.9 million in other territories, for a worldwide total of $854 million.[2] In September 2017, a survey from Fandango indicated that Ragnarok was the most anticipated fall film.[183] On the weekend of November 3, 2017, the film earned $25.4 million from IMAX showings, surpassing Doctor Strange as the largest for a November weekend.[149] The film had earned $650.1 million globally, surpassing the total grosses for Thor ($449.3 million) and Thor: The Dark World ($644.6 million), by the end of its third weekend.[184][185] It became the ninth highest-grossing film of 2017.[186] Deadline Hollywood calculated the net profit of the film to be $174.2 million, accounting for production budgets, P&A, talent participations and other costs, against box office grosses and ancillary revenues from home media, placing it eighth on their list of 2017's "Most Valuable Blockbusters".[187]

text: Thor: Ragnarok earned $46.8 million on its opening day in the United States and Canada (including $14.5 million from Thursday night previews), and had a total weekend gross of $122.7 million, which was the top film for the weekend, the sixth best November opening, and the largest opening for all Thor films. IMAX contributed $12.2 million, which was the second-best IMAX opening of 2017 and the third-best November opening. The film's earnings on Sunday ($32.1 million), was the second-best Sunday in November after The Hunger Games: Catching Fire (2013) ($34.5 million).[149] The film had been projected to gross $100–125 million in its opening weekend.[188][189] Ragnarok remained the number one film in its second weekend, having earned a total of $211.6 million, which surpassed the entire runs of Thor ($181 million) and The Dark World ($206.4 million).[190] In its third weekend, Thor: Ragnarok fell to third at the box office,[191] and fourth in its fourth and fifth weekends.[192][193] The film surpassed its projected total domestic gross of $280 million in its fifth weekend with $291.4 million,[193][194] Thor: Ragnarok was fifth in its sixth weekend,[195] and seventh in its seventh weekend, the final weekend it remained in the top 10.[196]

text: Outside the United States and Canada, the film opened in 36 markets in its first weekend, ranking first in all, and earning $109.1 million, $6 million of which came from 189 IMAX screens. The United Kingdom opening ($16.2 million) was the best October opening for a non-James Bond film. South Korea ($15.7 million), Australia ($8.4 million), Brazil ($8.1 million), Indonesia ($5.5M), Taiwan ($5.4M), the Philippines ($3.8M), Malaysia ($3.5M), New Zealand, Vietnam, Argentina, Colombia, Chile, Bosnia, Bulgaria, Croatia, and South Africa had the best October opening weekend ever, while France ($7.7 million) had the second-best. Brazil also had the third-best debut for an MCU film, while New Zealand's opening was the biggest of 2017.[197] In its second weekend, Ragnarok opened at number one in 19 more markets, with the largest November opening ever in China ($56.3 million, including $6 million from 446 IMAX screens), Mexico ($10.8 million), Germany ($8.9 million), and India ($5.5 million). It also remained at number one in many existing markets. The film earned an additional $13.2 million from 788 IMAX screens, the best November opening.[198] In its third weekend, the film remained at number one in over 30 countries, and became the highest-grossing superhero film in the Czech Republic.[185] By its fifth weekend, Ragnarok had become the highest grossing superhero film in central and eastern Europe.[199] As of December 10, 2017[update], the film's largest markets were China ($112 million), the United Kingdom ($40.4 million), and South Korea ($35.1 million).[186]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 92% approval rating based on 333 reviews, with an average score of 7.5 out of 10. The website's critical consensus reads, "Exciting, funny, and above all fun, Thor: Ragnarok is a colorful cosmic adventure that sets a new standard for its franchise – and the rest of the Marvel Cinematic Universe."[201] Metacritic, which uses a weighted average, assigned a score of 74 out of 100 based on 51 critics, indicating "generally favorable reviews".[202] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, the best of the Thor series, while PostTrak reported filmgoers gave it a 90% overall positive score and an 85% "definite recommend".[149]

text: Sheri Linden of The Hollywood Reporter praised Waititi's handling of "the clash-of-worlds CGI extravaganza", particularly for the lighter tone he brought, with "even the story's central bad guys [being] silly fun, hammed to the hilt by Cate Blanchett and Jeff Goldblum."[203] Alonso Duralde of TheWrap wrote, "Both the banter and the fighting, it should be noted, are excellent, so whether you go to superhero movies for the glossy escapism or the pulse-pounding action, you'll get your large soda's worth."[204] Peter Travers of Rolling Stone rated the film three stars out of four, described it as "the most fun you'll ever have at a Marvel movie" while praising the film's changing tone and direction, comparing it favourably to Guardians of the Galaxy.[205] The San Francisco Chronicle's Mick LaSalle lauded the performances of Hemsworth, Hiddleston, Blanchett, Thompson, Goldblum and Ruffalo, feeling the film "has confidence in its characters and in its own invention, and so it avoids repetition and stays fresh".[206]

text: Richard Roeper of the Chicago Sun-Times similarly praised the film, calling the performances of the ensemble cast "outstanding" and Waititi's direction "goofy and campy and marvelously self-referential". He also said the soundtrack that was used in the climactic battle sequence, particularly Led Zeppelin's "Immigrant Song" as being "perfectly synced".[207] Matt Zoller Seitz of RogerEbert.com gave the film three out of four stars, positively comparing Hemsworth's performance to Cary Grant: "Hemsworth's charisma holds [Thor: Ragnarok] together whenever it threatens to spin apart".[208] Justin Chang of Los Angeles Times praised Blanchett's performance of Hela, drawing a comparison of the portrayal of her character to other iconic villains such as Maleficent and Chernabog, and the film's similar themes and tone to Flash Gordon, Star Wars, (1977) and Willy Wonka & the Chocolate Factory.[209] The Daily Telegraph's Robbie Collin gave the film four out of five, hailed it as "one of [Marvel's] best films to date" while commending the performances and describing Mark Mothersbaugh's musical score as "turbo-charged".[210] Michael Phillips of the Chicago Tribune commended the performances of Hiddleston and Thompson as being "wonderfully matched". He also noted a similar directing style of Waititi to Edgar Wright's "parodic work" and labelled the film as "unusually lively and buoyant" while acknowledging the effect of a "Marvel Fatigue factor" towards the audiences.[211]

text: Peter Debruge of Variety called the movie "preposterous", but praised Goldblum's performance.[212] Stephanie Zacharek of Time magazine stated negatively that "Thor: Ragnarok is packed tight with zooming space vehicles and noisy thunder battles, but the movie's extravagant excess is more narcotizing than energizing." Zacharek further added that "Even poor Thor seems lost in all of it, and he's supposed to be its star" while criticizing the film's visual effects as being "an instance of fun overkill" and "a special-effects coma".[213] Manohla Dargis of The New York Times called the story "an uninteresting thicket of brawls, machinations and useful coincidences" but did feel that Hemsworth "looks happier and far more relaxed in Ragnarok than he did in the previous Thor vehicles, which is perhaps Mr. Waititi's truest achievement here."[214]

text: Accolades[edit]

text:
Year
Award
Category
Recipient(s)
Result
Ref(s)

2017
Washington D.C. Film Critics Awards
Best Motion Capture Performance
Taika Waititi
Nominated
[215]

2018
Golden Tomato Awards
Best Wide Release 2017
Thor: Ragnarok
10th Place
[216]

Best Comic Book/Graphic Novel Movie 2017
Thor: Ragnarok
3rd Place

Critics' Choice Awards
Best Action Movie
Thor: Ragnarok
Nominated
[217]

Best Actor in a Comedy
Chris Hemsworth
Nominated

Best Visual Effects
Thor: Ragnarok
Nominated

NAACP Image Awards
Outstanding Supporting Actress in a Motion Picture
Tessa Thompson
Nominated
[218]
[219]

Outstanding Supporting Actor in a Motion Picture
Idris Elba
Won

Visual Effects Society Awards
Outstanding Virtual Cinematography in a Photoreal Project
Hubert Maston, Arthur Moody, Adam Paschke, Casey Schatz for "Valkyrie's Flashback"
Nominated
[220]

Outstanding Compositing in a Photoreal Feature
Gavin McKenzie, David Simpson, Owen Carroll, Mark Gostlow for "Bridge Battle"
Nominated

Costume Designers Guild Awards
Excellence in Sci-Fi/Fantasy Film
Mayes C. Rubeo
Nominated
[221]

Empire Awards
Best Film
Thor: Ragnarok
Nominated
[222]

Best Sci-Fi/Fantasy
Thor: Ragnarok
Nominated

Best Director
Taika Waititi
Nominated

Best Female Newcomer
Tessa Thompson
Nominated

Best Production Design
Thor: Ragnarok
Nominated

Best Visual Effects
Thor: Ragnarok
Nominated

Best Costume Design
Mayes C. Rubeo
Nominated

Best Makeup and Hairstyling
Thor: Ragnarok
Nominated

Saturn Awards
Best Comic-to-Motion Picture Release
Thor: Ragnarok
Pending
[223]

Best Supporting Actress in a Film
Tessa Thompson
Pending

Hugo Award
Best Dramatic Presentation, Long Form
Thor: Ragnarok (Eric Pearson, Craig Kyle, Christopher Yost, Taika Waititi)
Pending
[224]

text: Future[edit]

text: By the release of Ragnarok, Waititi and Marvel had discussed a spin-off Marvel One-Shot short film following the characters Korg and Miek, but it was unfeasible due to Marvel's commitment to producing three feature films a year. Feige said Marvel still had plans for those characters, but did not specify.[225] In January 2018, Hemsworth indicated his interest in continuing to play Thor, despite his contract with Marvel Studios scheduled to end after the fourth Avengers film,[226] saying the next month "if there's another great script that comes along" he would consider playing the character again.[227] He and Waititi had discussed what they would want in a potential fourth Thor film by then.[228]

text: Notes[edit]

text:
Jump up ^ As depicted in the 2015 film Avengers: Age of Ultron.[3]
Jump up ^ According to producer Kevin Feige, the spaceship seen in the mid-credits scene is the Sanctuary II, which belongs to Thanos.[4]

tag: ol


document_title: List of The Andy Griffith Show characters

question_text: who played opie's friends on the andy griffith show

question_tokens: who played opie 's friends on the andy griffith show

root

text: The following is a list of characters of The Andy Griffith Show, an American sitcom television series, starring Andy Griffith. The series ran for eight seasons on CBS between October 3, 1960, and April 1, 1968.

tag: p

text: Main[edit]

text:
Character
Seasons
No. ofepisodes
Actor
Brief description

Andy Taylor
1–8
249
Andy Griffith
Sheriff of Mayberry; father (widower) of Opie

Opie Taylor
1–8
203
Ronny Howard
Son of Andy Taylor

Barney Fife
1–5 6-8 as guest
141
Don Knotts
Deputy Sheriff of Mayberry

Aunt Bee
1–8
175
Frances Bavier
Andy's paternal aunt

tag: table

text: Sheriff Andrew Jackson "Andy" Taylor is Sheriff and Justice of the Peace of Mayberry. He is genial, good-natured and endears himself to the townsfolk with an air of good will, polite charm and keeps the peace by using common sense. He refuses to wear a gun or formalize his uniform with a tie, as he feels a relaxed image makes him more approachable. Andy is a widower with a young son, Opie, and tries to raise him with good sense and good values. Also in his home is his paternal Aunt Bee who arrives in the home shortly after the previous housekeeper, Rose, marries and moves away. Although a widower, Andy has a steady string of girlfriends, but his longest-lasting relationship is with Helen Crump, Opie's teacher, whom he eventually marries, moves out of Mayberry with, becomes a U.S. Postal Inspector, and moves back to Mayberry and runs for Sheriff.

text: Opie Taylor is the son of Andy Taylor and his late wife. A good-hearted, normal little boy (about six when the series began), most of Opie's lessons come from his close relationship with his father and his Great Aunt Bee. He is not prone to get into trouble and spends a great deal of time around the jail. At one point, Aunt Bee considers this to be a bad influence, and when Opie runs away from home briefly, she relents and allows him to visit the jail after school on a conditional basis.

text: Deputy Bernard Milton "Barney" Fife is Deputy Sheriff of Mayberry. Thin, wiry and high-strung, Barney fancies himself an expert lawman even though—in reality—he is actually a bumbling goof. In episodes 001 and 002, Andy refers to him as "Cousin Barney". In episode 025, his middle name is said to be "Oliver"; in episode 082, his middle name according to his high school yearbook is "Milton", in episode 157 (season 5) his middle initial is repeated as "P". He considers his position to be essential to keeping Mayberry safe. Even though the town has very little crime, he dubs the town: "Mayberry, Gateway to Danger". Andy keeps Barney's crime-fighting shenanigans to a reasonable level, but tries to never step on his ego. For safety reasons, he only allows Barney to carry one bullet, which he keeps in his shirt pocket until needed. Often, when the bullet is employed, Barney accidentally shoots the bullet into the floor, narrowly missing his own foot. Like Andy, he has a steady stream of girlfriends, but his longest lasting relationship is with Thelma Lou. In episode 028, Barney has just met Thelma Lou at the "Junction Diner". In season five, he takes a job as a detective in Raleigh, leaving Mayberry, but returns in seasons six through eight for guest appearances.

text: Beatrice "Aunt Bee" Taylor is Andy's paternal aunt. Aunt Bee is a spinster in her late-50s who raised Andy. She was living alone in West Virginia when Andy invited her to come to live with him and Opie, after their housekeeper Rose got married and moved away. Aunt Bee is a motherly figure who takes the place of Opie's late mother and dotes over the boy, caring for his welfare and taking care of Andy as well. She is prominent in town, a respected lady who spends her time helping with social functions and church events. She is prone to spend time with her friends gossiping about the town's citizens.

text: Recurring[edit]

text:
Name
Seasons
No. ofepisodes
Played by
Brief character summary

Goober Pyle
4–8
86
George Lindsey
Auto mechanic and cousin of Gomer Pyle (Called Goober Beasley in Season 5 Episode 23 "TV or Not TV")

Floyd Lawson
1–7
80
Howard McNear
The barber

Helen Crump
3–8
66
Aneta Corsaut
School teacher and Andy's girlfriend in later episodes

Howard Sprague
6–8
37
Jack Dodson
The milquetoast county clerk

Otis Campbell
1–7
32
Hal Smith
The town drunk who lets himself into the jail to sleep it off

Clara Edwards
1–8
31
Hope Summers
aka Clara Johnson, Bertha Edwards; a widow who is Aunt Bee's best friend

Thelma Lou
1–6
26
Betty Lynn
Barney’s girlfriend. Her last name was never revealed.

Gomer Pyle
3–4
23
Jim Nabors
Dim-witted mechanic at Wally's Filling Station; a deputy when needed; joins the United States Marine Corps

Emmett Clark
8
16
Paul Hartman
Fix-it shop owner/operator

Ellie Walker
1
12
Elinor Donahue
Andy's first girlfriend of the series; pharmacist at drug store

Johnny Paul Jason
3–6
11
Richard Keith
Opie's best friend

Deputy Warren Ferguson
6
11
Jack Burns
Floyd's nephew; replaces Barney

Mayor Pike
1–2
11
Dick Elliott
Mayor of Mayberry

Judd Fletcher
1–7
8
Burt Mustin
Elderly citizen of Mayberry

Mayor Roy Stoner
3
7
Parley Baer
Mayor of Mayberry

Briscoe Darling
3–7
6
Denver Pyle
Head of The Darlings

Charlene Darling
3–7
5
Maggie Peterson
Briscoe Darling's daughter. Had a crush on Andy.

Reverend Hobart M. Tucker
3–8
6
William Keene
Pastor of All Souls Church

The Darling Boys
3–7
6
The Dillards
Musical brothers played by real-life bluegrass band

Ben Weaver
1–8
6
Will Wright/Tol Avery
Miserly old landlord and department store owner

Emma Watson
1–2
6
Cheerio Meredith
aka Emma Brand

Ernest T. Bass
3–6
5
Howard Morris
A troublemaking mountain man

Asa Breeney
3–5
5
Charles P. Thompson
The elderly (always sleeping) Mayberry Bank guard

John Masters
2–5
5
Olan Soule
Choir director and hotel manager

Leon
2–4
5
Clint Howard
Toddler in a cowboy outfit

Peggy McMillan
3
4
Joanna Moore
Andy's girlfriend and nurse

Sam Jones
8
4
Ken Berry
Widowed farmer

Rafe Hollister
2–3
3
Jack Prince
Local farmer and moonshiner

Wally
346
4
Norman Leavitt (2)Trevor BardetteCliff Norton
Owner of the filling station where Gomer and later Goober work

Martha Clark
8
3
Mary Lansing
Emmett's wife

Trey Bowden
4
3
David Alan Bailey
Opie's friend

Daphne
3–5
3
Jean Carson
One of “The Fun Girls”

Skippy
3–5
3
Joyce Jameson
The other “Fun Girl”

Malcolm Merriweather
3–6
3
Bernard Fox
English valet

Hilda Mae

1

3

Florence MacMichael

Girlfriend of Barney in season 1, replaced by Thelma Lou.

text:
Minor Characters

Name

No. Of episodes

Played by

Brief character summary

Rose

3

Mary Treen

Rose Was Opie's first house keeper and care take who got married and moved away, ( appeared in the pilot episode and two others)

text:
hidevteThe Andy Griffith Show
Characters
Episodes
Guest stars
Gomer Pyle, U.S.M.C.
Mayberry R.F.D.
Return to Mayberry

text: Lists of actors by comedy television series

tag: ul


document_title: Revolutionary Road (film)

question_text: where does the movie revolutionary road take place

text: Revolutionary Road (film)

text: Plot[edit]

text: In 1948, Frank Wheeler (DiCaprio) meets April (Winslet) at a party. He is a longshoreman, hoping to be a cashier; she wants to be an actress. Frank later secures a sales position with Knox Machines, for which his father worked for 20 years, and April and he marry. The Wheelers move to 115 Revolutionary Road in suburban Connecticut when April becomes pregnant.

text: The couple becomes close friends with their realtor Helen Givings (Bates) and her husband Howard Givings (Richard Easton), and neighbor Milly Campbell (Kathryn Hahn) and her husband Shep (David Harbour). To their friends, the Wheelers are the perfect couple, but their relationship is troubled. April fails to make a career out of acting, while Frank hates the tedium of his work. Meanwhile, Helen asks the couple to meet her son, John (Shannon), who had been declared insane, to try to help better his condition. They accept.

text: April wants new scenery and a chance to support the family so Frank can find his passion, so suggests that they move to Paris to start a new life away from the "hopeless emptiness" of their repetitive lifestyle.

text: The Givings (including John) talk with April and Frank. During the conversation, the Wheelers tell the Givings about their plans to live in Paris. Surprisingly, the only person who seems to comprehend their decision is John.

text: As the couple prepares to move, they are forced to reconsider. Frank is offered a promotion, and April becomes pregnant again. When Frank discovers she is contemplating having an abortion, he is furious and starts screaming at April, leading to a serious altercation, in which April says that they had their second child only to prove the first child was not a "mistake".

text: The next day, Frank takes the promotion and tries to accept his uneventful life. At the end of an evening at a jazz bar with the Campbells, Shep and April end up alone together and have sex in the car. Shep professes his long-held love for April, but she rejects his interest.

text: The following day, Frank confesses to having had an affair with a female assistant at his office, hoping to reconcile with April. To his surprise, April responds apathetically and tells him it does not matter as her love for him has gone, which he does not believe. The Givings come over for dinner, and Frank announces to the guests that their plans have changed, as April is pregnant. John harshly lambasts Frank for crushing April's hope, as well as his acceptance of his circumstances. Angered, Frank nearly attacks John, and the Givings hurry out. Afterwards, Frank and April have a severe verbal altercation, after which April flees the house.

text: Frank spends the night in a drunken stupor. The next morning he is shocked to find April in the kitchen, calmly making breakfast as if nothing happened. Frank, unsure of how to react, eats with her then leaves for work. April goes upstairs and performs a vacuum aspiration abortion. Afterwards, she discovers herself bleeding and calls an ambulance. Frank arrives at the hospital, distraught and being comforted by Shep. April soon dies in the hospital due to blood loss.

text: Frank, feeling deep guilt and now a hollow shell of his former self, moves to the city and starts selling computers. He spends all of his extra time with his children. A new couple, the Braces, buys the house and Milly tells the story of the Wheelers to them. Shep stops the story and walks out of the house, crying. When Milly asks Shep what is wrong, he asks her in return to never talk about the Wheelers ever again.

text: Helen talks to her husband years later about how the Braces seem to be the best-suited couple for the Wheelers' old house. When her husband mentions the Wheelers, Helen starts to talk about why she did not like them. As she continues talking about all of the things that she did not like about them, her husband turns off his hearing aid.

text: Cast[edit]

text:
Leonardo DiCaprio as Frank Wheeler
Kate Winslet as April Wheeler
Michael Shannon as John Givings, Jr.
Kathryn Hahn as Milly Campbell
David Harbour as Shep Campbell
Kathy Bates as Helen Givings
Ty Simpkins as Michael Wheeler
Richard Easton as Howard Givings
Ryan Simpkins as Jennifer Wheeler
Dylan Baker as Jack Ordway
Zoe Kazan as Maureen Grube
Max Casella as Ed Small
Jay O. Sanders as Bart Pollock

text: Development[edit]

text: After Richard Yates' novel was published in 1961, director John Frankenheimer considered filming it, but opted to make The Manchurian Candidate, instead.[2] Samuel Goldwyn, Jr., expressed an interest in making it into a film but others in his studio convinced him that it lacked commercial prospects.[3] In 1965, producer Albert S. Ruddy bought the rights but did not like the book's ending, and wanted to obscure April's death with "tricky camerawork".[3] He became involved in adapting The Godfather and, five years later, while a writer-in-residence at Wichita State University, Yates offered to adapt his work for the screen. Ruddy had other projects lined up at the time and demurred, eventually selling the rights to actor Patrick O'Neal. The actor loved the book and spent the rest of his life trying to finish a workable screenplay.[3] Yates read O'Neal's treatment of his novel and found it "godawful", but O'Neal refused the writer's repeated offers to buy back the rights. Yates died in 1992, O'Neal two years later.[2]

text: The project remained in limbo until 2001 when Todd Field expressed interest in adapting it for the screen. However, when told by the O'Neal estate he would be required to shoot O'Neal's script as written, Field stepped away from the material and opted to make Little Children instead.[4] David Thompson eventually purchased the rights for BBC Films.[5] In March 2007, BBC Films established a partnership with DreamWorks, and the rights to the film's worldwide distribution were assigned to Paramount Pictures, owner of DreamWorks. On 14 February 2008, Paramount announced that Paramount Vantage was "taking over distribution duties on Revolutionary Road".[6] The BBC hired Justin Haythe to write the screenplay because, according to the screenwriter, he was "hugely affordable".[3]

text: Kate Winslet sent producer Scott Rudin the script and he told her that her then husband, director Sam Mendes, would be perfect to direct it.[3] She gave Mendes Yates' novel and told him, "I really want to play this part".[7] He read Haythe's script and then the book in quick succession. Haythe's first draft was very faithful to the novel, using large parts of Yates' own language, but Mendes told him to find ways to externalize what Frank and April do not say to each other.[3]

text: Once Leonardo DiCaprio agreed to do the film, it went almost immediately into production.[3] DiCaprio said that he saw his character as "unheroic" and "slightly cowardly" and that he was "willing to be just a product of his environment".[8] DiCaprio prepared for the role by watching several documentaries about the 1950s and the origin of suburbs. He said that the film was not meant to be a romance and that he and Winslet intentionally avoided films that show them in romantic roles since Titanic.[8] Both DiCaprio and Winslet were reluctant to make films similar to Titanic because "we just knew it would be a fundamental mistake to try to repeat any of those themes".[9] To prepare for the role, Winslet read The Feminine Mystique by Betty Friedan.[10]

text: Mendes had the cast rehearse for three-and-a-half weeks before principal photography and shot everything in sequence and on location.[11] Actor Michael Shannon said that he did not feel that on the set of the film there were any stars, but "a group of people united by a passion for the material and wanting to honor the book".[12] He said that Winslet and DiCaprio could only make such a good performance as a couple because they had developed a friendship since their work on Titanic. For Shannon, it was more important to prepare for the moment when he walked on the set than being concerned about the movie stars he was working with.[12] On the fight scenes between him and Winslet, DiCaprio said, "So much of what happens between Frank and April in this film is what's left unsaid. I actually found it a real joy to do those fight scenes because finally, these people were letting each other have it."[9] The shoot was so emotionally and physically exhausting for DiCaprio that he postponed his next film for two months.[11]

text: Mendes wanted to create a claustrophobic dynamic and shot all of the Wheeler house interiors in an actual house in Darien, Connecticut. DiCaprio remembers, "it was many months in this house and there was no escaping the environment. I think it fed into the performances." They could not film in a period accurate house because it would have been too small to shoot inside.[13] Production Designer Kristi Zea is responsible for the "iconic, nostalgic images of quaint Americana", although she says that was "absolutely the antithesis of what we wanted to do".[13] Zea chose for the set of this film furnishings that "middle-class America would be buying at that time".[13]

text: During the post-production phase, Mendes cut 18 scenes, or 20 minutes to achieve a less literal version that he saw as more in the spirit of Yates' novel.[3]

text: Release[edit]

text: Revolutionary Road had a limited release in the United States at three theatres on December 26, 2008, and a wide release at 1,058 theatres on January 23, 2009. Revolutionary Road has earned $22.9 million at the domestic box office and $52.3 million internationally for a worldwide total of $75.2 million.[1]

text: Critical reception[edit]

text: Revolutionary Road received generally positive reviews from critics.

text: Kenneth Turan of the Los Angeles Times said:

text:
“
It takes the skill of stars Kate Winslet and Leonardo DiCaprio and director Sam Mendes to get this film to a place where it involves and moves us—which it finally does—but it is a near thing... Justin Haythe's screenplay does many good things, but it can't escape the arch lingo of the time... and that in turn makes the film's concerns initially feel dated and outmoded as well... Encouraged by Mendes' artful direction, his gift for eliciting naturalness, the core of this film finally cries out to us today, makes us see that the notion of characters struggling with life, with the despair of betraying their best selves because of what society will or won't allow, is as gripping and relevant now as it ever was. Or ever will be.[14]
”

text: Joe Neumaier of the New York Daily News said:

text:
“
[the film] comes close but falls short of capturing Richard Yates' terrific novel... the movie—two-thirds Mad Men, one-third American Beauty, with a John Cheever chaser—works best when focusing on the personal. Thankfully, it's there that Mendes and screenwriter Justin Haythe catch some of Yates' weighty ideas, and where Leonardo DiCaprio and Kate Winslet succeed in doing the heavy lifting... DiCaprio, round-shouldered and sleepy-eyed, and Winslet, watchful and alert, raise up each other and everything around them. Never once shadowed by Titanic, they suggest, often wordlessly, the box the Wheelers have found themselves in. Whereas the novel is told mostly from Frank's viewpoint, the movie is just as much April's, and Winslet, whether fighting back or fighting back tears, is sensational.[15]
”

text: Roger Ebert of the Chicago Sun-Times gave Revolutionary Road four stars out of four, commending the acting and screenplay and calling the film "so good it is devastating". He said of Winslet and DiCaprio, "they are so good, they stop being actors and become the people I grew up around."[16]

text: Todd McCarthy of Variety called the film "faithful, intelligent, admirably acted, superbly shot" and added, "It also offers a near-perfect case study of the ways in which film is incapable of capturing certain crucial literary qualities, in this case the very things that elevate the book from being a merely insightful study of a deteriorating marriage into a remarkable one... Even when the dramatic temperature is cranked up too high, the picture's underpinnings seem only partly present, to the point where one suspects that what it's reaching for dramatically might be all but unattainable—perhaps approachable only by Pinter at his peak."[17] McCarthy later significantly qualified his review, calling Revolutionary Road "problematic" and that it "has some issues that just won't go away".[18] He concludes that Revolutionary Road suffers in comparison to Billy Wilder's The Apartment and Richard Quine's Strangers When We Meet because of its "narrow vision", even arguing that the television series Mad Men handles the issues of conformity, frustration, and hypocrisy "with more panache and precision".[18]

text: David Ansen of Newsweek said the film "is lushly, impeccably mounted—perhaps too much so. Mendes, a superb stage director, has an innately theatrical style: everything pops off the screen a little bigger and bolder than life, but the effect, rather than intensifying the emotions, calls attention to itself. Instead of losing myself in the story, I often felt on the outside looking in, appreciating the craftsmanship, but one step removed from the agony on display. Revolutionary Road is impressive, but it feels like a classic encased in amber."[19]

text: Owen Gleiberman of Entertainment Weekly graded the film B+ and commented:

text:
“
The film is lavishly dark—some might say too dark—yet I'd suggest it has a different limitation: For all its shattering domestic discord, there's something remote and aestheticized about it. April brings a private well of conflict to her middle-class prison, but Winslet is so meticulous in her telegraphed despair that she intrigues us, moves us, yet never quite touches our unguarded nerves.[20]
”

text: Kirk Honeycutt of The Hollywood Reporter called the film a "didactic, emotionally overblown critique of the soulless suburbs" and added, "Revolutionary Road is, essentially, a repeat for Mendes of American Beauty... Once more, the suburbs are well-upholstered nightmares and its denizens clueless—other than one estranged male. Clearly, this environment attracts the dramatic sensibilities of this theater-trained director. Everything is boldly indicated to the audience from arch acting styles to the wink-wink, nod-nod of its design. Indeed his actors play the subtext with such fury that the text virtually disappears. Subtlety is not one of Mendes' strong suits."[21]

text: Rex Reed of The New York Observer called the film "a flawless, moment-to-moment autopsy of a marriage on the rocks and an indictment of the American Dream gone sour" and "a profound, intelligent and deeply heartfelt work that raises the bar of filmmaking to exhilarating."[22]

text: Peter Travers of Rolling Stone called the film "raw and riveting" and commented, "Directed with extraordinary skill by Sam Mendes, who warms the chill in the Yates-faithful script by Justin Haythe, the film is a tough road well worth traveling . . . DiCaprio is in peak form, bringing layers of buried emotion to a defeated man. And the glorious Winslet defines what makes an actress great, blazing commitment to a character and the range to make every nuance felt."[23]

text: Mick LaSalle of the San Francisco Chronicle voted the film as his best of 2008. He commented, "Finally, this is a movie that can and should be seen more than once. Watch it one time through her eyes. Watch it again through his eyes. It works both ways. It works in every way. This is a great American film."[24]

text: It holds a 68% rating from critics on review aggregate website Rotten Tomatoes, based on 203 reviews, with the consensus being "Brilliantly acted and emotionally powerful, Revolutionary Road is a handsome adaptation of Richard Yates' celebrated novel".[25] Metacritic lists it with a 69 out of 100, which indicates "generally favorable reviews", based on 38 reviews.[26]

text: Top ten lists[edit]

text: The film appeared on several critics' top ten lists of the best films of 2008.[27]

text:
1st – Mick LaSalle, San Francisco Chronicle
2nd – Rex Reed, New York Observer
6th – Joe Neumaier, New York Daily News
6th – Peter Travers, Rolling Stone
7th – Lou Lumenick, New York Post
8th – James Berardinelli, ReelViews
9th – David Denby, The New Yorker
Roger Ebert, Chicago Sun-Times (Ebert gave an alphabetical top 20 list)

text: Accolades[edit]

text:
Awards[28]

Award
Category
Recipient(s)
Outcome

Academy Awards
Best Supporting Actor
Michael Shannon
Nominated

Best Art Direction
Debra Schutt and Kristi Zea
Nominated

Best Costume Design
Albert Wolsky
Nominated

BAFTA Awards
Best Actress
Kate Winslet
Nominated

Best Costume Design
Albert Wolsky
Nominated

Best Production Design
Debra Schutt and Kristi Zea
Nominated

Best Adapted Screenplay
Justin Haythe
Nominated

Chicago Film Critics Association
Best Supporting Actor
Michael Shannon
Nominated

Costume Designers Guild
Best Costume Design – Period Film
Albert Wolsky
Nominated

Dallas–Fort Worth Film Critics Association
Best Actress
Kate Winslet
5th Place

Detroit Film Critics Society
Best Actor
Leonardo DiCaprio
Nominated

Best Actress
Kate Winslet
Won

Best Supporting Actor
Michael Shannon
Nominated

Best Cast

Nominated

Golden Globe Awards
Best Motion Picture – Drama

Nominated

Best Actor – Motion Picture Drama
Leonardo DiCaprio
Nominated

Best Actress – Motion Picture Drama
Kate Winslet
Won

Best Director – Motion Picture
Sam Mendes
Nominated

Houston Film Critics Society
Best Actor
Leonardo DiCaprio
Nominated

Best Actress
Kate Winslet
Nominated

Best Cinematography
Roger Deakins
Nominated

Best Original Score
Thomas Newman
Nominated

London Film Critics' Circle
Actress of the Year
Kate Winslet
(also for The Reader)
Won

New York Film Critics Circle
Best Actress
Kate Winslet
3rd Place

Online Film Critics Society
Best Actress
Kate Winslet
Nominated

Best Supporting Actor
Michael Shannon
Nominated

Palm Springs International Film Festival
Ensemble Cast
Leonardo DiCaprio, Kate Winslet, Michael Shannon, Kathryn Hahn, David Harbour, Kathy Bates, Dylan Baker and Zoe Kazan
Nominated

Satellite Awards
Best Film – Drama

Nominated

Best Actor – Motion Picture Drama
Leonardo DiCaprio
Nominated

Best Supporting Actor – Motion Picture
Michael Shannon
Won

Best Adapted Screenplay
Justin Haythe
Nominated

Best Art Direction and Production Design
Kristi Zea, Teresa Carriker-Thayer, John Kasarda and Nicholas Lundy
Nominated

Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Leading Role
Kate Winslet
Nominated

St. Louis Film Critics Association
Best Actor
Leonardo DiCaprio
Nominated

Best Actress
Kate Winslet
(also for The Reader)
Won

Best Supporting Actor
Michael Shannon
Nominated

Best Cinematography
Roger Deakins
Nominated

Vancouver Film Critics Circle
Best Actress
Kate Winslet
(also for The Reader)
Won

text: According to Academy rules, an actor or actress may receive only one nomination per category, and due to the difference in rules between the Golden Globes and Academy Awards, Kate Winslet's role in The Reader was considered a leading one by the Academy, while the Golden Globe regarded it a supporting role. So, as Winslet's performance in The Reader had been nominated for Best Actress in 2008 by the Academy, her performance in Revolutionary Road couldn't be nominated.[citation needed]


document_title: Not All Who Wander Are Lost

question_text: where does not all those who wander are lost come from

text: Not All Who Wander Are Lost

text: Not All Who Wander Are Lost may refer to:

text:
"Not all those who wander are lost", a line from the poem "All that is gold does not glitter", written by J. R. R. Tolkien for The Lord of the Rings
Not All Who Wander Are Lost (album), a 2001 album by Chris Thile
"Not All Who Wander Are Lost", a song on the 2007 album The Last Kind Words by American metal band Devildriver

text: Disambiguation page providing links to articles with similar titlesThis disambiguation page lists  articles associated with the title Not All Who Wander Are Lost.  If an internal link led you here, you may wish to change the link to point directly to the intended article.

text: Disambiguation pages

text: Disambiguation pages with short descriptionAll article disambiguation pagesAll disambiguation pages