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{"datasets_id": 161923, "wiki_id": "Q2575733", "sp": 2, "sc": 0, "ep": 6, "ec": 176} | 161,923 | Q2575733 | 2 | 0 | 6 | 176 | Sunny 16 rule | Example | Sunny 16 rule Example This is a scene of average brightness, in direct sunlight. It was shot at ISO 100, f/8 at 1/400 second - the recommended "sunny 16" exposure (which is what autoexposure gave). |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 2, "sc": 0, "ep": 6, "ec": 538} | 161,924 | Q16235438 | 2 | 0 | 6 | 538 | Taylor Heinicke | High school career | Taylor Heinicke High school career Heinicke played football under head coach Kevin Reach at Collins Hill High School in Suwanee, Georgia, where he was an all-state selection as a junior after guiding Collins Hill to a 10–4 record and a trip to the Class AAAAA semifinals. As a senior, Heinicke was named the Old Spice National Player of the Year in the state of Georgia. The award is presented annually to 50 high school varsity football athletes. He was also the Gwinnett Daily Post's Offensive Player of the Year after his record season when he threw for 4,218 yards, the |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 6, "sc": 538, "ep": 6, "ec": 1134} | 161,924 | Q16235438 | 6 | 538 | 6 | 1,134 | Taylor Heinicke | High school career | second most in state history, and 44 touchdowns, which is the third-best ever in Georgia, setting Gwinnett County single-season records for passing yards and touchdowns. He threw over 300 yards in nine games and also ran for 354 yards on 77 carries along with a pair of touchdowns. Following his senior season, Heinicke was invited to play at the North/South All-Star Football Classic, where he collected 254 yards and three touchdowns en route to MVP honors after helping the North to a 22–0 victory over the South. He appeared on the reality TV show The Ride featuring high school quarterbacks |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 6, "sc": 1134, "ep": 10, "ec": 526} | 161,924 | Q16235438 | 6 | 1,134 | 10 | 526 | Taylor Heinicke | High school career & College career | competing for a spot in the U.S. Army All-American Bowl. College career In 2011, Heinicke accepted an athletic scholarship to attend Old Dominion University, where he played for the Old Dominion Monarchs football team from 2011 to 2014.
Heinicke became the starter for Old Dominion in 2011. That year, he led the Monarchs to a 10–3 record in the Colonial Athletic Association, but lost in the second round of FCS playoffs against Georgia Southern. He passed for 2,385 yards, 25 touchdowns, and 1 interception, and he ran for 363 yards and 4 touchdowns. He also punted 4 times for 170 yards. |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 10, "sc": 526, "ep": 10, "ec": 1173} | 161,924 | Q16235438 | 10 | 526 | 10 | 1,173 | Taylor Heinicke | College career | Heinicke was named to the All-CAA 3rd team Offense and was the National Freshman Performer of the Year. Old Dominion finished ranked #10 in the Football Championship Subdivision.
In 2012, Heinicke led the Monarchs to an 11–2 record, losing in the playoffs quarterfinals to Georgia Southern. That year, Heinicke passed for an FCS-record 5,076 yards, 44 touchdowns, and 14 interceptions. He ran for 470 yards and 11 touchdowns. He additionally punted 11 times for 475 yards. On September 22, 2012, against New Hampshire, Heinicke passed for a Division I-record 730 yards and threw five touchdowns. In 2012, Heinicke was awarded All-American |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 10, "sc": 1173, "ep": 10, "ec": 1745} | 161,924 | Q16235438 | 10 | 1,173 | 10 | 1,745 | Taylor Heinicke | College career | honors, CAA Offensive Player of the Year, and the Walter Payton Award. Old Dominion finished ranked #6 in the FCS.
For the 2013 season, Old Dominion began a transition to Conference USA, meaning for the 2013 season, ODU was an independent team. Despite this, Heinicke led ODU to an 8–4 record against mostly FCS opponents. During the season, he passed for 4,022 yards, 33 touchdowns, and 8 interceptions. He ran for 348 yards and 5 touchdowns. He also punted 13 times for a total of 539 yards, also kicking the longest punt on the team for the season of 61 yards. |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 10, "sc": 1745, "ep": 14, "ec": 35} | 161,924 | Q16235438 | 10 | 1,745 | 14 | 35 | Taylor Heinicke | College career & Minnesota Vikings | During 2013, Heinicke became just the 18th quarterback from Division I to pass for 10,000 career yards and rush for 1,000. His 2013 season marks placed him in the top ten among FBS quarterbacks in passing yards, passing yards per game and touchdown passes.
For the 2014 season, Old Dominion played in Conference USA. Heinicke led ODU to a 6–6 record. During the season, he passed for 3,476 yards, 30 touchdowns, and 16 interceptions. He ran for 139 yards and 2 touchdowns. He also punted 14 times for a total of 661 yards. Minnesota Vikings Heinicke went undrafted in the 2015 |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 14, "sc": 35, "ep": 14, "ec": 678} | 161,924 | Q16235438 | 14 | 35 | 14 | 678 | Taylor Heinicke | Minnesota Vikings | NFL Draft, but signed with the Minnesota Vikings as an undrafted free agent. He competed against Mike Kafka to back up Vikings starting quarterback Teddy Bridgewater along with Shaun Hill. Kafka would get injured and was placed on injured reserve, making way for Heinicke to be the third string quarterback.
On September 3, 2016, Heinicke was placed on the reserve/NFI list with an off-the-field injury suffered between minicamp and training camp. He was activated to the active roster on November 8, 2016.
On September 2, 2017, Heinicke was waived/injured by the Vikings and was placed on the injured reserve. He was released |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 14, "sc": 678, "ep": 22, "ec": 407} | 161,924 | Q16235438 | 14 | 678 | 22 | 407 | Taylor Heinicke | Minnesota Vikings & New England Patriots & Houston Texans | with an injury settlement on September 11. New England Patriots On September 23, 2017, Heinicke was signed to the New England Patriots' practice squad. He was released on October 9, 2017. Houston Texans On November 29, 2017, Heinicke was signed to the Houston Texans' practice squad. He was promoted to the active roster on December 15, 2017, to back up T. J. Yates following an injury to Tom Savage. On December 25, 2017, Heinicke made his NFL debut against the Pittsburgh Steelers after Yates suffered a possible concussion. However, after completing his only pass attempt, Heinicke suffered a concussion and |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 22, "sc": 407, "ep": 26, "ec": 442} | 161,924 | Q16235438 | 22 | 407 | 26 | 442 | Taylor Heinicke | Houston Texans & Carolina Panthers | was replaced by Yates, who had just passed the concussion protocol. On April 13, 2018, Heinicke was waived by the Texans. Carolina Panthers On April 16, 2018, Heinicke was claimed off waivers by the Carolina Panthers. He was named starter for Week 16 of the 2018 season after starter Cam Newton was ruled out for the remainder of the season with a shoulder injury. In the game against the Atlanta Falcons, Heinicke went 33 for 53 for 274 yards, a touchdown and three interceptions, and also suffered an elbow injury. He was placed on injured reserve on December 26, 2018.
On |
{"datasets_id": 161924, "wiki_id": "Q16235438", "sp": 26, "sc": 442, "ep": 26, "ec": 557} | 161,924 | Q16235438 | 26 | 442 | 26 | 557 | Taylor Heinicke | Carolina Panthers | March 12, 2019, Heinicke re-signed with the Panthers. He was released during final roster cuts on August 30, 2019. |
{"datasets_id": 161925, "wiki_id": "Q68551245", "sp": 2, "sc": 0, "ep": 6, "ec": 563} | 161,925 | Q68551245 | 2 | 0 | 6 | 563 | Temascaltepec de González | History | Temascaltepec de González History The first people known to live in Temascaltepec area were the prehispanic group Matlatzincas and probably founded the village were the modern town stands. During the Spanish conquest, it was delegated to Andrés de Tapia in 1556, with its first church built in 1559. The town grew after the discovery of silver deposits in 1545, and the area was a rich provider of minerals, including silver during the colonial era until after the Mexican War of Independence. In 1858, by decree of the state government, Temascaltepec was elevated to the category of town, and in |
{"datasets_id": 161925, "wiki_id": "Q68551245", "sp": 6, "sc": 563, "ep": 6, "ec": 773} | 161,925 | Q68551245 | 6 | 563 | 6 | 773 | Temascaltepec de González | History | 1861 was named Temascaltepec de González in honor of Plutarco González, a leader in the time of La Reforma. However, it is still known simply as Temascaltepec. The population of the town as of 2005 was 2,253. |
{"datasets_id": 161926, "wiki_id": "Q7727278", "sp": 2, "sc": 0, "ep": 6, "ec": 571} | 161,926 | Q7727278 | 2 | 0 | 6 | 571 | The Concept of the Political | Summary | The Concept of the Political Summary For Schmitt, the political is reducible to the existential distinction between friend and enemy.
For Schmitt, the political arises from the fact of human diversity: identities and practices, beliefs and way of life can, in principle, be in conflict with one another whether there are actions being committed to against the other. Any differences that Schmitt calls substance can give rise to enmity, enmity gives rise to politics and this is a source of conflict because it can lead to war. One main aim of politics is to manage enmity. The domestic political is |
{"datasets_id": 161926, "wiki_id": "Q7727278", "sp": 6, "sc": 571, "ep": 6, "ec": 1303} | 161,926 | Q7727278 | 6 | 571 | 6 | 1,303 | The Concept of the Political | Summary | no longer so when a conflict becomes a revolution or civil war, this is polarized since it traverses politics, the issue and concept of the sovereignty as state borderlines is disputed and violence is used. This is the basis of the friend-enemy distinction.
Schmitt attacks the "liberal-neutralist" and "utopian" notions that politics can be removed of all warlike, agonistic energy, arguing conflict existed as embedded in existence itself, likewise constituting an ineradicable trait of anthropological human nature. Schmitt attempts to substantiate his ideas by referencing the declared anthropological pessimism of "realistic" Catholic (and Christian) theology. The anti-perfectibilist pessimism of Traditional Catholic |
{"datasets_id": 161926, "wiki_id": "Q7727278", "sp": 6, "sc": 1303, "ep": 6, "ec": 2049} | 161,926 | Q7727278 | 6 | 1,303 | 6 | 2,049 | The Concept of the Political | Summary | theology Schmitt considers esoterically relevant to the inner ontological being of politics and political activity in the contemporary world, modern people subconsciously secularizing theological intellectual ideas and concerns. Schmitt criticizes political "radicals" as basically ignorant, deluded, pseudo-messianic in mentality, and oblivious to the stark, hard knowledge of unveiled human nature, its esse, encoded in ancient theology, wherein Original Sin held central, axial place, intertwining his own ideas of meta-politics with a reformulated "metaphysics of evil".
“Sovereign is he who decides on the exception”. Schmitt says the borderline concept is of “one pertaining to the outermost sphere”. Schmitt says that although the |
{"datasets_id": 161926, "wiki_id": "Q7727278", "sp": 6, "sc": 2049, "ep": 6, "ec": 2667} | 161,926 | Q7727278 | 6 | 2,049 | 6 | 2,667 | The Concept of the Political | Summary | sovereign “stands outside the normally valid legal system, he nevertheless belongs to it”. Sovereignty is more than the technical, it is the personal privilege of the ruler. Schmitt states; "significant concepts of the modern theory of the state are secularized theological concepts".
Gulli suggests Schmitt's point of the concept as; "Sovereignty is decision and domination". The decision would make X arise to the level and status of sovereign, thus the decision is treated to be of the sovereign. The decision of the matter of the exception is always decided by the sovereign, and it always carries the |
{"datasets_id": 161926, "wiki_id": "Q7727278", "sp": 6, "sc": 2667, "ep": 10, "ec": 329} | 161,926 | Q7727278 | 6 | 2,667 | 10 | 329 | The Concept of the Political | Summary & Publication history | understated or explicitly stated (institutionally, politically motivated, or mandated) use of violence. The decision has with it the special powers and inherent power. The state of the 17th was able to codify all social customs, rituals and economics without it ever used politically. Publication history The Concept of the Political was first published in 1932 by Duncker & Humblot (Munich). It was an elaboration of a journal article of the same title, published in 1927. The 1932 version has significant, and controversial, revisions. However, it is likely that these revisions were made in response to the reaction of Leo Strauss. |
{"datasets_id": 161927, "wiki_id": "Q7728803", "sp": 2, "sc": 0, "ep": 14, "ec": 83} | 161,927 | Q7728803 | 2 | 0 | 14 | 83 | The Dance (1998 film) | Production & Release & Critical response | The Dance (1998 film) Production Kristín Atladóttir and Ágúst Guðmundsson wrote the script after William Heinesen's short story "Her skal danses". Ísfilm produced the film in collaboration with Oxford Film Company, Nordisk Film and Hamburger Kino Kompanie. The film was shot in the Faroe Islands with Icelandic actors. Release The film was screened at the 1998 Toronto International Film Festival, Festroia International Film Festival, the 21st Moscow International Film Festival and several other festivals. It was released in Icelandic cinemas on 23 September 1998. Critical response Guðmundur Ásgeirsson of Morgunblaðið described The Dance as "without a doubt one of |
{"datasets_id": 161927, "wiki_id": "Q7728803", "sp": 14, "sc": 83, "ep": 14, "ec": 710} | 161,927 | Q7728803 | 14 | 83 | 14 | 710 | The Dance (1998 film) | Critical response | the better films that have been made in this country" and compared it to the Danish film Babette's Feast. He found the dialogues to be of uneven quality while the fragmented narrative gave a lightness to the film. The critic wrote: "The Dance is the best Icelandic film of the last year and raises hopes of a brighter future for the industry."
Variety's Leonard Klady wrote:
Helmer's graceful, precise style contrasts sharply with the howling winds and fierce rains that pummel the characters. Tech credits are richly hued and amplified by a haunting score that incorporates traditional folk music. The cast is |
{"datasets_id": 161927, "wiki_id": "Q7728803", "sp": 14, "sc": 710, "ep": 18, "ec": 381} | 161,927 | Q7728803 | 14 | 710 | 18 | 381 | The Dance (1998 film) | Critical response & Accolades | vividly drawn, down to the tiniest part. Accolades The film won the prize for Best Cinematography at Festroia and Best Director at the Moscow International Film Festival.
At the 1999 Edda Awards, Þórunn María Jónsdóttir received the prize for Best Costumes. The film was also nominated for Best Film, Director and Actor (Dofri Hermannsson). It was nominated for the Norwegian Amanda Award the same year for Best Nordic Film. |
{"datasets_id": 161928, "wiki_id": "Q7733471", "sp": 2, "sc": 0, "ep": 6, "ec": 579} | 161,928 | Q7733471 | 2 | 0 | 6 | 579 | The Farrell Bros. | History | The Farrell Bros. History In 2002 the Farrell Bros. performed at the Dawson City Music Festival. They performed in clubs, bars and small concert venues in various Canadian cities, including Vancouver Toronto and Winnipeg. They independently released a number of CDs. The sound on band's 2005 album, This is a Riot, was compared to that of The Clash, and The Farrell Bros. contributed a track to The Clash tribute album. A later release was Dead End Boys in 2007.
The band's 2003 album, Rumble@the Opry, released on the Teenage Rampage label, received positive reviews for its songwriting. It was |
{"datasets_id": 161928, "wiki_id": "Q7733471", "sp": 6, "sc": 579, "ep": 6, "ec": 955} | 161,928 | Q7733471 | 6 | 579 | 6 | 955 | The Farrell Bros. | History | reissued in 2011 by the Transistor 66 label, and appeared on campus radio charts.
Two of the band's independent albums were re-released in England by Raucous Records, and in 2006 The Farrell Bros. completed a 30-stop tour in Europe in support them. They then set out on a tour in Canada to support their contribution to the Zombie Night in Canada compilation album. |
{"datasets_id": 161929, "wiki_id": "Q129083", "sp": 2, "sc": 0, "ep": 6, "ec": 547} | 161,929 | Q129083 | 2 | 0 | 6 | 547 | The Lusty Men | Plot | The Lusty Men Plot When longtime professional rodeo competitor Jeff McCloud (Robert Mitchum) is injured by a Brahma bull he was trying to ride, he decides to quit. He hitchhikes to his childhood home, a decrepit place now owned by Jeremiah (Burt Mustin). Run down as it is, it is the dream home for Wes Merritt (Arthur Kennedy) and his wife Louise (Susan Hayward). They are painstakingly saving up the money to buy it from Wes's meager wages as a cowhand. Wes recognizes Jeff as a once-prominent rodeo rider, and introduces himself, then helps Jeff gets a job at the |
{"datasets_id": 161929, "wiki_id": "Q129083", "sp": 6, "sc": 547, "ep": 6, "ec": 1154} | 161,929 | Q129083 | 6 | 547 | 6 | 1,154 | The Lusty Men | Plot | same ranch. Wes has competed in some local rodeos, but has the ambition to do more, and wants Jeff to help him improve his skills.
Wes enters a local rodeo behind his wife's back. When he does well, he decides to join the rodeo circuit, with Jeff as his partner and trainer. Louise is wholeheartedly against the idea, but goes along. She makes her husband promise to quit once they have saved enough for the house.
As Louise becomes acquainted with rodeo life, she becomes more and more disenchanted. Jeff's friend Booker Davis (Arthur Hunnicutt), once a champion competitor himself, is now |
{"datasets_id": 161929, "wiki_id": "Q129083", "sp": 6, "sc": 1154, "ep": 6, "ec": 1687} | 161,929 | Q129083 | 6 | 1,154 | 6 | 1,687 | The Lusty Men | Plot | a crippled old man with little to show for his efforts. When Buster Burgess (Walter Coy) is gored and killed by a bull, leaving a bitter widow (Lorna Thayer), Louise can no longer bear to watch her husband compete. However, Wes is seduced by his great success and the money he is winning. He refuses to quit when they have enough for the house.
Matters come to a head when Babs (Eleanor Todd) invites Wes to a party she is throwing and makes a play for him. Louise fights back by putting on her only good dress and going to |
{"datasets_id": 161929, "wiki_id": "Q129083", "sp": 6, "sc": 1687, "ep": 6, "ec": 2212} | 161,929 | Q129083 | 6 | 1,687 | 6 | 2,212 | The Lusty Men | Plot | the party with Jeff. She pours a drink on her rival's head before leaving. In the hallway, Jeff asks her if she could love another man, but she is true to Wes. Coming on the tail end of the conversation, Wes tells Jeff that he is tired of taking all the risks and giving him half the prize money.
Jeff decides to go back to the rodeo, despite not being in shape. He gains back Wes's respect by doing well. Then, in the bronc riding event, his foot gets stuck in the stirrup after a successful ride, and he is fatally |
{"datasets_id": 161929, "wiki_id": "Q129083", "sp": 6, "sc": 2212, "ep": 10, "ec": 451} | 161,929 | Q129083 | 6 | 2,212 | 10 | 451 | The Lusty Men | Plot & Critical reception | injured. Seeing this, Wes comes to his senses and quits. Critical reception This film currently holds 100% approval rating at Rotten Tomatoes, with the average 8.2/10. Dave Kehr of Chicago Reader calls it "A masterpiece by Nicholas Ray—perhaps the most melancholy and reflective of his films (1952)." Gary Tooze of DVDbeaver also highly praises the film: "This is one of the best westerns - period. Mitchum is at his very best. It carries a documentary-style presence at times but is steeped in emotion. Absolute masterpiece." |
{"datasets_id": 161930, "wiki_id": "Q7749848", "sp": 2, "sc": 0, "ep": 6, "ec": 509} | 161,930 | Q7749848 | 2 | 0 | 6 | 509 | The Man (Bill Drummond album) | Context | The Man (Bill Drummond album) Context In 1986, Drummond had announced his resignation from his position as an A&R man at record label WEA, citing that he was nearly 33.3 years old (33.3 rpm being significant to Drummond as the speed at which a vinyl LP revolves), and that it was "time for a revolution in my life. There is a mountain to climb the hard way, and I want to see the world from the top... ". His first move was to record and release The Man, and an accompanying spoken-word diatribe "The Manager's Speech".
In an interview in |
{"datasets_id": 161930, "wiki_id": "Q7749848", "sp": 6, "sc": 509, "ep": 6, "ec": 1054} | 161,930 | Q7749848 | 6 | 509 | 6 | 1,054 | The Man (Bill Drummond album) | Context | December 1990, Drummond recalled spending half a million pounds at WEA on the band Brilliant—for whom he envisioned massive worldwide success—only for them to completely flop. "At that point I thought 'What am I doing this for?' and I got out. I did an album myself, wrote the songs in five days, recorded it in five days, and put it out on Creation Records". Creation's founder, Alan McGee, named The Man his 5th favourite LP: "Bill's my pal, but I thought his record would be crap. He gave a cassette to me and I didn't play it for ages. Then |
{"datasets_id": 161930, "wiki_id": "Q7749848", "sp": 6, "sc": 1054, "ep": 6, "ec": 1617} | 161,930 | Q7749848 | 6 | 1,054 | 6 | 1,617 | The Man (Bill Drummond album) | Context | I put it on when I was in the bath one night—I nearly drowned. I laughed for about half an hour. It's the work of a complete nutter".
Drummond intended to focus on writing books once The Man had been issued but, as he recalled in 1990, "That only lasted three months, until I had an[other] idea for a record and got dragged back into it all". Calling upon Brilliant's former guitarist Jimmy Cauty, Drummond formed The Justified Ancients of Mu Mu with whom (most notably in their later incarnation as The KLF) he was to amass considerable fame and fortune |
{"datasets_id": 161930, "wiki_id": "Q7749848", "sp": 6, "sc": 1617, "ep": 10, "ec": 532} | 161,930 | Q7749848 | 6 | 1,617 | 10 | 532 | The Man (Bill Drummond album) | Context & Songs | until—in 1992—the cycle repeated itself and he quit the business once again. Songs During the recording of the album, Drummond was assisted by members of the bands The Triffids and Voice of the Beehive.
In the sardonic "Julian Cope Is Dead", Drummond outlined his fantasy of shooting the Teardrop Explodes frontman in the head to ensure the band's early demise and subsequent legendary status. The song could be seen as a reply to the Cope song "Bill Drummond Said" (from Cope's Fried).
Bill Drummond is a self-confessed fan of Scottish football club Queen of the South. "Queen of the South" is also |
{"datasets_id": 161930, "wiki_id": "Q7749848", "sp": 10, "sc": 532, "ep": 10, "ec": 602} | 161,930 | Q7749848 | 10 | 532 | 10 | 602 | The Man (Bill Drummond album) | Songs | the title of the 6th track on "The man". The song is an instrumental. |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 2, "sc": 0, "ep": 6, "ec": 586} | 161,931 | Q615944 | 2 | 0 | 6 | 586 | The Mary Tyler Moore Show | Kenwood Parkway house | The Mary Tyler Moore Show Kenwood Parkway house In 1995, Entertainment Weekly said that "TV's most famous bachelorette pad" was Mary's apartment. The fictitious address was 119 North Weatherly, but the exterior establishing shots were of a real house in Minneapolis at 2104 Kenwood Parkway. In the real house, an unfinished attic occupied the space behind the window recreated on the interior studio set of Mary's apartment. In January 2017, the house was marketed for a price of $1.7 million.
Once fans of the series discovered where exterior shots had been taken, the house became a popular tourist destination. According to |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 6, "sc": 586, "ep": 10, "ec": 215} | 161,931 | Q615944 | 6 | 586 | 10 | 215 | The Mary Tyler Moore Show | Kenwood Parkway house & Production | Moore, the woman who lived in the house was "overwhelmed" by people showing up and "asking if Mary was around". To discourage crews from filming additional footage of the house, the owners placed an "Impeach Nixon" sign beneath the window where Mary supposedly lived. The house continued to attract multiple tour buses a day more than a decade after production ended. Production When Moore was first approached about the show, she "was unsure and unwilling to commit, fearing any new role might suffer in comparison with her Laura Petrie character in The Dick Van Dyke Show, which also aired on |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 10, "sc": 215, "ep": 10, "ec": 803} | 161,931 | Q615944 | 10 | 215 | 10 | 803 | The Mary Tyler Moore Show | Production | CBS, and was already cemented as one of the most popular parts in TV history." Moore's character was initially intended to be a divorcée, but divorce was still controversial at the time. CBS was afraid viewers might think that Mary had divorced Rob Petrie, Laura's husband on The Dick Van Dyke Show, so the premise was changed to that of a single woman with a recently broken engagement. Notably, Van Dyke never guest starred in any episode, although his brother Jerry Van Dyke guest-starred in a couple of episodes during the third and fourth seasons. (Jerry had also regularly appeared |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 10, "sc": 803, "ep": 14, "ec": 255} | 161,931 | Q615944 | 10 | 803 | 14 | 255 | The Mary Tyler Moore Show | Production & Title sequences | on The Dick Van Dyke Show.)
According to co-creator Allan Burns, Minnesota was selected for the show's location after "one of the writers began talking about the strengths and weaknesses of the Vikings." A television newsroom was chosen for the show's workplace because of the supporting characters often found there, stated co-creator James Brooks. Title sequences The opening title sequence features many scenes filmed on location in Minneapolis in both summer and winter, as well as a few clips from the show's studio scenes. The sequence changed each season, but always ended with Mary tossing her hat into the air in |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 14, "sc": 255, "ep": 14, "ec": 834} | 161,931 | Q615944 | 14 | 255 | 14 | 834 | The Mary Tyler Moore Show | Title sequences | front of what was then the flagship Donaldson's department store at the intersection of South 7th Street and Nicollet Mall in downtown Minneapolis. The hat toss was ranked by Entertainment Weekly as the second greatest moment in television. On May 8, 2002, Moore was in attendance when basic cable network TV Land dedicated a statue to her that captured her iconic throw. In 2010, TV Guide ranked the show's opening title sequence #3 on a list of TV's Top Ten credit sequences, as selected by readers. In 2017, James Charisma of Paste ranked the show's opening sequence #15 on a |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 14, "sc": 834, "ep": 14, "ec": 1419} | 161,931 | Q615944 | 14 | 834 | 14 | 1,419 | The Mary Tyler Moore Show | Title sequences | list of The 75 Best TV Title Sequences of All Time.
Sonny Curtis wrote and performed the opening theme song, "Love Is All Around". The lyrics changed between the first and second seasons, in part to reflect Mary Richards having become settled in her new home. The later lyrics, which accompanied many more episodes at a time when the show's popularity was at a peak, are more widely known, and most covers of the song use these words. For Season 7, there was a slightly new musical arrangement for the opening theme, but the lyrics remained the same as Seasons 2-6.
No |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 14, "sc": 1419, "ep": 14, "ec": 2002} | 161,931 | Q615944 | 14 | 1,419 | 14 | 2,002 | The Mary Tyler Moore Show | Title sequences | supporting cast members are credited during the show's opening (though from the second season on, shots of them appear). The ending sequences show snippets of the cast, as well as any major guest stars in that episode, with the respective actors' names at the bottom of the screen. Other on-location scenes are also shown during the closing credits, including a rear shot of Mary holding hands with her date, played by Moore's then husband, Grant Tinker, and Moore and Valerie Harper feeding ducks on the bank of a pond in a Minneapolis park (this shot remained in the credits, even |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 14, "sc": 2002, "ep": 18, "ec": 395} | 161,931 | Q615944 | 14 | 2,002 | 18 | 395 | The Mary Tyler Moore Show | Title sequences & Impact on television | after Harper left the show). The ending sequence music is an instrumental version of "Love is All Around." The ending finishes with a cat meowing within the MTM company logo. Impact on television In 2007, Time magazine put The Mary Tyler Moore Show on its list of "17 Shows That Changed TV". Time stated that the series "liberated TV for adults—of both sexes" by being "a sophisticated show about grownups among other grownups, having grownup conversations". The Associated Press said that the show "took 20 years of pointless, insipid situation comedy and spun it on its heels. [It did this |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 18, "sc": 395, "ep": 18, "ec": 1044} | 161,931 | Q615944 | 18 | 395 | 18 | 1,044 | The Mary Tyler Moore Show | Impact on television | by] pioneer[ing] reality comedy and the establishment of clearly defined and motivated secondary characters."
Tina Fey, creator and lead actress of the 2006-debut sitcom 30 Rock, explained that Moore's show helped inspire 30 Rock's emphasis on office relationships. "Our goal is to try to be like The Mary Tyler Moore Show, where it's not about doing the news," said Fey. Entertainment Weekly also noted that the main characters of 30 Rock mirror those of The Mary Tyler Moore Show.
When the writers of the sitcom Friends were about to create their series finale, they watched several other sitcom finales. Co-creator Marta Kauffman |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 18, "sc": 1044, "ep": 22, "ec": 451} | 161,931 | Q615944 | 18 | 1,044 | 22 | 451 | The Mary Tyler Moore Show | Impact on television & Spin-offs, specials and reunions | said that the last episode of The Mary Tyler Moore Show was the "gold standard" and that it influenced the finale of Friends. Spin-offs, specials and reunions The show spun off three television series, all of which aired on CBS: the sitcoms Rhoda (1974–78) and Phyllis (1975–77), and the one-hour drama Lou Grant (1977–82). In 2000, Moore and Harper reprised their roles in a two-hour ABC TV-movie, Mary and Rhoda.
Two retrospective specials were produced by CBS: Mary Tyler Moore: The 20th Anniversary Show (1991) and The Mary Tyler Moore Reunion (2002). On May 19, 2008, the surviving cast members of |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 22, "sc": 451, "ep": 22, "ec": 1031} | 161,931 | Q615944 | 22 | 451 | 22 | 1,031 | The Mary Tyler Moore Show | Spin-offs, specials and reunions | The Mary Tyler Moore Show reunited on The Oprah Winfrey Show to reminisce about the series. Winfrey, a longtime admirer of Moore and the show, had her staff recreate the sets of the WJM-TV newsroom and Mary's apartment (seasons 1–5) for the reunion.
In 2013, the women of The Mary Tyler Moore Show – Cloris Leachman, Valerie Harper, Mary Tyler Moore, Betty White, and Georgia Engel – reunited on the TV Land sitcom Hot in Cleveland, which aired on September 4. Katie Couric interviewed the cast on Katie as they celebrated acting together for the first time in more than |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 22, "sc": 1031, "ep": 26, "ec": 490} | 161,931 | Q615944 | 22 | 1,031 | 26 | 490 | The Mary Tyler Moore Show | Spin-offs, specials and reunions & In popular culture | 30 years. It would be their final time on-screen together, as Mary Tyler Moore died in January 2017. In popular culture The show has remained popular since the final episode was broadcast in 1977. Several songs, films and other television programs, including The Simpsons, reference or parody characters and events from the show, including the memorable "...can turn the world on with her smile" line from the title song. Parodies were done on shows such as Saturday Night Live, MadTV, and Mystery Science Theater 3000 (which was produced in Minneapolis). Barbara Kessler and Relient K are two artists who have |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 26, "sc": 490, "ep": 26, "ec": 1058} | 161,931 | Q615944 | 26 | 490 | 26 | 1,058 | The Mary Tyler Moore Show | In popular culture | referred to the show in their songs. The show has been mentioned in film as well. In the film Anchorman: The Legend of Ron Burgundy, the name of Burgundy's dog, Baxter, refers to the character Ted Baxter, and the head of the newsroom staff is named Ed, honouring Ed Asner. In Romy & Michele's High School Reunion, the characters argue with each other while exclaiming "I'm the Mary and you're the Rhoda." Frank DeCaro of The New York Times wrote that this was the highlight of the film.
The show's Emmy-winning final episode has been alluded to many times in |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 26, "sc": 1058, "ep": 34, "ec": 249} | 161,931 | Q615944 | 26 | 1,058 | 34 | 249 | The Mary Tyler Moore Show | In popular culture & United States & Syndication | other series' closing episodes, such as the finale of St. Elsewhere (including the group shuffle to the tissue box), Mystery Science Theater 3000 and Just Shoot Me!. United States For most of its broadcasting run, the program was the lead-in for The Bob Newhart Show, which was also produced by MTM Enterprises. Syndication The show did not do well initially in syndication, never being shown in more than 25 percent of the United States at a time, according to Robert S. Alley, the co-author of a book about the series. In the fall of 1992, Nick at Nite began broadcasting |
{"datasets_id": 161931, "wiki_id": "Q615944", "sp": 34, "sc": 249, "ep": 38, "ec": 372} | 161,931 | Q615944 | 34 | 249 | 38 | 372 | The Mary Tyler Moore Show | Syndication & United Kingdom | the series nightly, launching it with a week-long "Mary-thon", and it became the network's top-rated series.
It is currently available on Hulu. United Kingdom The series was broadcast on BBC1 from February 13, 1971 to December 29, 1972. The BBC broadcast the first 34 episodes before the series was dropped. Beginning in 1975 a number of ITV companies picked up the series. Channel 4 repeated the first 39 episodes between January 30, 1984, and August 23, 1985. The full series was repeated on The Family Channel from 1993 to 1996. |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 2, "sc": 0, "ep": 6, "ec": 602} | 161,932 | Q83495 | 2 | 0 | 6 | 602 | The Matrix | Plot | The Matrix Plot In an abandoned hotel, a woman (later revealed to be Trinity) is cornered by a police squad but quickly overpowers them with superhuman abilities. She flees, pursued by the police and a group of mysterious suited Agents capable of similar superhuman feats. She answers a ringing public telephone and vanishes.
Computer programmer Thomas Anderson, known in the hacking scene by his alias "Neo", feels something is wrong with the world and is puzzled by repeated online encounters with the phrase "the Matrix." Trinity contacts him and tells him a man named Morpheus has the answers he seeks. The |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 602, "ep": 6, "ec": 1246} | 161,932 | Q83495 | 6 | 602 | 6 | 1,246 | The Matrix | Plot | Agents, led by Agent Smith, apprehend Neo and threaten him into helping them capture the "terrorist" Morpheus. Undeterred, Neo later meets Morpheus, who offers him a choice between two pills; red to show him the truth about the Matrix, and blue to return him to his former life. After Neo swallows the red pill, his reality disintegrates, and he awakens in a liquid-filled pod among countless others attached to an elaborate electrical system. He is retrieved and brought aboard Morpheus' hovercraft, the Nebuchadnezzar.
As Neo recuperates from a lifetime of physical inactivity, Morpheus explains the truth. In the 21st century, there |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 1246, "ep": 6, "ec": 1841} | 161,932 | Q83495 | 6 | 1,246 | 6 | 1,841 | The Matrix | Plot | was a war between humans and intelligent machines. When humans blocked the machines' access to solar energy, the machines responded by harvesting the humans' bioelectric power, keeping them pacified in the Matrix, a shared simulated reality modeled after the world as it was at the end of the 20th century. While the machines have taken over the world, the city of Zion still remains as the last refuge of free humans. Morpheus and his crew are a group of rebels who hack into the Matrix to "unplug" enslaved humans and recruit them; their understanding of the Matrix's simulated nature enables |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 1841, "ep": 6, "ec": 2474} | 161,932 | Q83495 | 6 | 1,841 | 6 | 2,474 | The Matrix | Plot | them to bend its physical laws, granting them superhuman abilities. Morpheus warns Neo that death within the Matrix also kills the physical body, and that the Agents he met are powerful sentient computer programs that eliminate threats to the system, while machines called Sentinels search to destroy humans in the real world. Neo's prowess during virtual combat training lends credibility to Morpheus' belief that Neo is "the One", an especially powerful human prophesied to free humanity and end the war.
The group enters the Matrix to visit the Oracle, the prophet who predicted the emergence of the One. She implies that |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 2474, "ep": 6, "ec": 3035} | 161,932 | Q83495 | 6 | 2,474 | 6 | 3,035 | The Matrix | Plot | Neo is not the One and warns that he will have to choose between Morpheus' life and his own. The group is ambushed by Agents and tactical police, tipped by Cypher, a disgruntled crew member who seeks to betray Morpheus in exchange for a comfortable life in the Matrix. Morpheus allows himself to be captured so the rest of the crew can escape. Cypher exits the Matrix first and murders several crew members as they lie defenseless in the real world. Before he can kill Neo, Tank, a crewman whom he had only wounded, kills him.
In the Matrix, the Agents |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 3035, "ep": 6, "ec": 3638} | 161,932 | Q83495 | 6 | 3,035 | 6 | 3,638 | The Matrix | Plot | interrogate Morpheus to learn his access codes to the mainframe computer in Zion. Tank proposes killing Morpheus to prevent this, but Neo resolves to return to the Matrix to rescue Morpheus; Trinity insists she accompany him. While rescuing Morpheus, Neo gains confidence in his abilities, performing feats comparable to the Agents'. Morpheus and Trinity exit the Matrix, but Smith ambushes and kills Neo before he can leave. As a group of Sentinels attack the Nebuchadnezzar, Trinity whispers to Neo that he can't be dead, because she loves him and the Oracle told her that she would fall in love with |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 6, "sc": 3638, "ep": 10, "ec": 188} | 161,932 | Q83495 | 6 | 3,638 | 10 | 188 | The Matrix | Plot & Development | the One. She kisses Neo and he revives with newfound power to perceive and control the Matrix. He effortlessly defeats Smith, and leaves the Matrix just in time for the ship's electromagnetic pulse to disable the Sentinels.
Later, Neo makes a telephone call inside the Matrix, promising the machines that he will show their prisoners "a world where anything is possible". He hangs up and flies into the sky. Development In 1994, the Wachowskis presented the script for the film Assassins to Warner Bros. Pictures. After Lorenzo di Bonaventura, the president of production of the company at the time, read the |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 10, "sc": 188, "ep": 10, "ec": 779} | 161,932 | Q83495 | 10 | 188 | 10 | 779 | The Matrix | Development | script, he decided to buy rights to it and included two more pictures, Bound and The Matrix, in the contract. The first movie the Wachowskis directed, Bound, then became a critical success. Using this momentum, the siblings later asked to direct The Matrix.
In 1996 the Wachowskis pitched the role of Neo to Will Smith. Smith explained on his YouTube channel that the idea was for him to be Neo, while Morpheus was to be played by Val Kilmer. He later explained that he didn't quite understand the concept and he turned down the role to instead film Wild Wild West.
Producer |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 10, "sc": 779, "ep": 10, "ec": 1407} | 161,932 | Q83495 | 10 | 779 | 10 | 1,407 | The Matrix | Development | Joel Silver soon joined the project. Although the project had key supporters like Silver and Di Bonaventura to influence the company, The Matrix was still a huge investment for Warner Bros, which had to invest $60 million to create a movie with deep philosophical ideas and difficult special effects. The Wachowskis therefore hired underground comic book artists Geof Darrow and Steve Skroce to draw a 600-page, shot-by-shot storyboard for the entire film. The storyboard eventually earned the studio's approval, and it was decided to film in Australia to make the most of the budget. Soon, The Matrix became a co-production of |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 10, "sc": 1407, "ep": 14, "ec": 570} | 161,932 | Q83495 | 10 | 1,407 | 14 | 570 | The Matrix | Development & Pre-production | Warner Bros. and the Australian company Village Roadshow Pictures. Pre-production The actors of the film were required to be able to understand and explain The Matrix. French philosopher Jean Baudrillard's Simulacra and Simulation was required reading for most of the principal cast and crew. Reeves stated that the Wachowskis had him read Simulacra and Simulation, Kevin Kelly's Out of Control: The New Biology of Machines, Social Systems, and the Economic World, and Dylan Evans’s ideas on evolutionary psychology even before they opened up the script, and eventually he was able to explain all the philosophical nuances involved. Moss commented that |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 14, "sc": 570, "ep": 14, "ec": 1201} | 161,932 | Q83495 | 14 | 570 | 14 | 1,201 | The Matrix | Pre-production | she had difficulty with this process.
The directors had also been admirers of Hong Kong action cinema for a long time, so they decided to hire the Chinese martial arts choreographer and film director Yuen Woo-ping to work on fight scenes. To prepare for the wire fu, the actors had to train hard for several months. The Wachowskis first scheduled four months for training. Yuen was optimistic but then began to worry when he realized how unfit the actors were.
Yuen let their body style develop and then worked with each actor's strength. He built on Reeves' diligence, Fishburne's resilience, Weaving's precision, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 14, "sc": 1201, "ep": 14, "ec": 1789} | 161,932 | Q83495 | 14 | 1,201 | 14 | 1,789 | The Matrix | Pre-production | and Moss's feminine grace. Yuen designed Moss' moves to suit her deftness and lightness. Prior to the pre-production, Reeves suffered a two-level fusion of his cervical spine which had begun to cause paralysis in his legs, requiring him to undergo neck surgery. He was still recovering by the time of pre-production, but he insisted on training, so Yuen let him practice punches and lighter moves. Reeves trained hard and even requested training on days off. However, the surgery still made him unable to kick for two out of four months of training. As a result, Reeves did not kick much |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 14, "sc": 1789, "ep": 18, "ec": 492} | 161,932 | Q83495 | 14 | 1,789 | 18 | 492 | The Matrix | Pre-production & Production design | in the film. Weaving had to undergo hip surgery after he sustained an injury during the training process. Production design In the film, the code that composes the Matrix itself is frequently represented as downward-flowing green characters. This code uses a custom typeface designed by Simon Whiteley, which includes mirror images of half-width kana characters and Western Latin letters and numerals. In a 2017 interview at CNET, he attributed the design to his wife, who's from Japan, and added, "I like to tell everybody that The Matrix's code is made out of Japanese sushi recipes". "The color green reflects the |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 492, "ep": 18, "ec": 1105} | 161,932 | Q83495 | 18 | 492 | 18 | 1,105 | The Matrix | Production design | green tint commonly used on early monochrome computer monitors". Lynne Cartwright, the Visual Effects Supervisor at Animal Logic, supervised the creation of the film's opening title sequence, as well as the general look of the Matrix code throughout the film, in collaboration with Lindsay Fleay and Justen Marshall. The portrayal resembles the opening credits of the 1995 Japanese cyberpunk film, Ghost in the Shell, which had a strong influence on the Matrix series (see below). It was also used in the subsequent films, on the related website, and in the game The Matrix: Path of Neo, and its drop-down effect |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 1105, "ep": 18, "ec": 1744} | 161,932 | Q83495 | 18 | 1,105 | 18 | 1,744 | The Matrix | Production design | is reflected in the design of some posters for the Matrix series. The code received the Runner-up Award in the 1999 Jesse Garson Award for In-film typography or opening credit sequence.
The Matrix's production designer, Owen Paterson, used methods to distinguish the "real world" and the Matrix in a pervasive way. The production design team generally placed a bias towards the Matrix code's distinctive green color in scenes set within the simulation, whereas there is an emphasis on the color blue during scenes set in the "real world". In addition, the Matrix scenes' sets were slightly more decayed, monolithic, and grid-like, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 1744, "ep": 18, "ec": 2367} | 161,932 | Q83495 | 18 | 1,744 | 18 | 2,367 | The Matrix | Production design | to convey the cold, logical and artificial nature of that environment. For the "real world", the actors' hair was less styled, their clothing had more textile content, and the cinematographers used longer lenses to soften the backgrounds and emphasize the actors.
The Nebuchadnezzar was designed to have a patched-up look, instead of clean, cold and sterile space ship interior sets as used on films like Star Trek. The wires were made visible to show the ship's working internals, and each composition was carefully designed to convey the ship as "a marriage between Man and Machine". For the scene when Neo wakes |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 2367, "ep": 18, "ec": 2985} | 161,932 | Q83495 | 18 | 2,367 | 18 | 2,985 | The Matrix | Production design | up in the pod connected to the Matrix, the pod was constructed to look dirty, used, and sinister. During the testing of a breathing mechanism in the pod, the tester suffered hypothermia in under eight minutes, so the pod had to be heated.
Kym Barrett, costume designer, said that she defined the characters and their environment by their costume. For example, Reeves' office costume was designed for Thomas Anderson to look uncomfortable, disheveled, and out of place. Barrett sometimes used three types of fabric for each costume, and also had to consider the practicality of the acting. The actors needed to |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 2985, "ep": 18, "ec": 3639} | 161,932 | Q83495 | 18 | 2,985 | 18 | 3,639 | The Matrix | Production design | perform martial art actions in their costume, hang upside-down without people seeing up their clothing, and be able to work the wires while strapped into the harnesses. For Trinity, Barrett experimented with how each fabric absorbed and reflected different types of light, and was eventually able to make Trinity's costume mercury-like and oil-slick to suit the character. For the Agents, their costume was designed to create a secret service, undercover look, resembling the film JFK and classic men in black.
The sunglasses, a staple to the film's esthetics, were commissioned for the film by designer Richard Walker from sunglass maker Blinde |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 18, "sc": 3639, "ep": 22, "ec": 584} | 161,932 | Q83495 | 18 | 3,639 | 22 | 584 | The Matrix | Production design & Filming | Design. Filming All but a few scenes were filmed at Fox Studios in Sydney, and in the city itself, although recognizable landmarks were not included in order to maintain the impression of a generic American city. The filming helped establish New South Wales as a major film production center. Filming commenced in March 1998 and wrapped in August 1998; principal photography took 118 days.
Due to Reeves' neck injury, some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion, such as |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 584, "ep": 22, "ec": 1214} | 161,932 | Q83495 | 22 | 584 | 22 | 1,214 | The Matrix | Filming | the scene in Thomas Anderson's office, the interrogation room, or the car ride in which Neo is taken to see the Oracle. Locations for these scenes included Martin Place's fountain in Sydney, half-way between it and the adjacent Colonial Building, and the Colonial Building itself. During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the bullet time process did not work. The bullet-time fight scene was filmed on the roof of Symantec Corporation building in Kent Street, opposite of Sussex Street.
Moss performed the shots featuring Trinity at the beginning |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 1214, "ep": 22, "ec": 1740} | 161,932 | Q83495 | 22 | 1,214 | 22 | 1,740 | The Matrix | Filming | of the film and all the wire stunts herself. The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of Dark City, which has prompted comments due to the thematic similarities of the films. During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 1740, "ep": 22, "ec": 2391} | 161,932 | Q83495 | 22 | 1,740 | 22 | 2,391 | The Matrix | Filming | it.
The dojo set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Because of Reeves's injury and his insufficient training with wires prior to the filming, he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel.
The filmmakers |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 2391, "ep": 22, "ec": 3004} | 161,932 | Q83495 | 22 | 2,391 | 22 | 3,004 | The Matrix | Filming | originally planned to shoot the subway scene in an actual subway station, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, Chad Stahelski, Reeves' stunt double, sustained several injuries, including broken ribs, knees, and a dislocated shoulder. Another stuntman was injured by a hydraulic puller during a shot where Neo was slammed into a booth. The office building in which Smith interrogated Morpheus was a large set, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 3004, "ep": 22, "ec": 3583} | 161,932 | Q83495 | 22 | 3,004 | 22 | 3,583 | The Matrix | Filming | and the outside view from inside the building was a large, three story high cyclorama. The helicopter was a full-scale light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had side mounted to it a real minigun, which was set to cycle at half normal full (3000 rounds per min) firing rate. The visual effect of the helicopters rotating blades was effected by using strobe lighting.
To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds and shaved his whole body to give Neo an |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 22, "sc": 3583, "ep": 26, "ec": 344} | 161,932 | Q83495 | 22 | 3,583 | 26 | 344 | The Matrix | Filming & Visual effects | emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography. According to The Art of the Matrix, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film. Visual effects As for artistic inspiration for bullet time, I would credit Otomo Katsuhiro, who co-wrote and directed Akira, which definitely blew me away, along with director Michel Gondry. His music videos experimented with a different type of technique called view-morphing and it was just part of the beginning of uncovering the creative approaches toward |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 344, "ep": 26, "ec": 989} | 161,932 | Q83495 | 26 | 344 | 26 | 989 | The Matrix | Visual effects | using still cameras for special effects. Our technique was significantly different because we built it to move around objects that were themselves in motion, and we were also able to create slow-motion events that 'virtual cameras' could move around – rather than the static action in Gondry's music videos with limited camera moves.
— John Gaeta
The film is known for popularizing a visual effect known as "bullet time", which allows a shot to progress in slow-motion while the camera appears to move through the scene at normal speed. Bullet time has been described as "a visual analogy for privileged moments of consciousness |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 989, "ep": 26, "ec": 1620} | 161,932 | Q83495 | 26 | 989 | 26 | 1,620 | The Matrix | Visual effects | within the Matrix", and throughout the film, the effect is used to illustrate characters' exertion of control over time and space. The Wachowskis first imagined an action sequence that slowed time while the camera pivoted rapidly around the subjects, and proposed the effect in their screenplay for the film. When John Gaeta read the script, he pleaded with an effects producer at Mass.Illusion to let him work on the project, and created a prototype that led to him becoming the film's visual effects supervisor.
The method used for creating these effects involved a technically expanded version of an old art photography |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 1620, "ep": 26, "ec": 2305} | 161,932 | Q83495 | 26 | 1,620 | 26 | 2,305 | The Matrix | Visual effects | technique known as time-slice photography, in which an array of cameras are placed around an object and triggered simultaneously. Each camera captures a still picture, contributing one frame to the video sequence, which creates the effect of "virtual camera movement"; the illusion of a viewpoint moving around an object that appears frozen in time.
The bullet time effect is similar but slightly more complicated, incorporating temporal motion so that rather than appearing totally frozen, the scene progresses in slow and variable motion. The cameras' positions and exposures were previsualized using a 3D simulation. Instead of firing the cameras simultaneously, the visual |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 2305, "ep": 26, "ec": 2896} | 161,932 | Q83495 | 26 | 2,305 | 26 | 2,896 | The Matrix | Visual effects | effect team fired the cameras fractions of a second after each other, so that each camera could capture the action as it progressed, creating a super slow-motion effect. When the frames were put together, the resulting slow-motion effects reached a frame frequency of 12,000 per second, as opposed to the normal 24 frames per second of film. Standard movie cameras were placed at the ends of the array to pick up the normal speed action before and after. Because the cameras circle the subject almost completely in most of the sequences, computer technology was used to edit out the cameras |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 2896, "ep": 26, "ec": 3545} | 161,932 | Q83495 | 26 | 2,896 | 26 | 3,545 | The Matrix | Visual effects | that appeared in the background on the other side. To create backgrounds, Gaeta hired George Borshukov, who created 3D models based on the geometry of buildings and used the photographs of the buildings themselves as texture.
The photo-realistic surroundings generated by this method were incorporated into the bullet time scene, and algorithms based on optical flow were used to interpolate between the still images to produce a fluent dynamic motion; the computer-generated "lead in" and "lead out" slides were filled in between frames in sequence to get an illusion of orbiting the scene. Manex Visual Effects used a cluster farm running |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 3545, "ep": 26, "ec": 4165} | 161,932 | Q83495 | 26 | 3,545 | 26 | 4,165 | The Matrix | Visual effects | the Unix-like operating system FreeBSD to render many of the film's visual effects.
Manex also handled creature effects, such as Sentinels and machines in real world scenes; Animal Logic created the code hallway and the exploding Agent at the end of the film. DFilm managed scenes that required heavy use of digital compositing, such as Neo's jump off a skyscraper and the helicopter crash into a building. The ripple effect in the latter scene was created digitally, but the shot also included practical elements, and months of extensive research were needed to find the correct kind of glass and explosives to |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 4165, "ep": 26, "ec": 4833} | 161,932 | Q83495 | 26 | 4,165 | 26 | 4,833 | The Matrix | Visual effects | use. The scene was shot by colliding a quarter-scale helicopter mock-up into a glass wall wired to concentric rings of explosives; the explosives were then triggered in sequence from the center outward, to create a wave of exploding glass.
The photogrametric and image-based computer-generated background approaches in The Matrix's bullet time evolved into innovations unveiled in the sequels The Matrix Reloaded and The Matrix Revolutions. The method of using real photographs of buildings as texture for 3D models eventually led the visual effect team to digitize all data, such as scenes, characters' motions and expressions. It also led to the development |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 26, "sc": 4833, "ep": 30, "ec": 256} | 161,932 | Q83495 | 26 | 4,833 | 30 | 256 | The Matrix | Visual effects & Sound effects and music | of "Universal Capture", a process which samples and stores facial details and expressions at high resolution. With these highly detailed collected data, the team were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras. Sound effects and music Dane A. Davis was responsible for creating the sound effects for the film. The fight scene sound effects, such as the whipping sounds of punches were created using thin metal rods and recording them, then editing the sounds. The sound of the pod containing |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 30, "sc": 256, "ep": 30, "ec": 891} | 161,932 | Q83495 | 30 | 256 | 30 | 891 | The Matrix | Sound effects and music | a human baby closing required almost fifty sounds put together.
The film's score was composed by Don Davis. He noted that mirrors appear frequently in the film: reflections of the blue and red pills are seen in Morpheus's glasses; Neo's capture by Agents is viewed through the rear-view mirror of Trinity's Triumph Speed Triple motorcycle; Neo observes a broken mirror mending itself; reflections warp as a spoon is bent; the reflection of a helicopter is visible as it approaches a skyscraper. Davis focused on this theme of reflections when creating his score, alternating between sections of the orchestra and attempting to |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 30, "sc": 891, "ep": 34, "ec": 198} | 161,932 | Q83495 | 30 | 891 | 34 | 198 | The Matrix | Sound effects and music & Box office | incorporate contrapuntal ideas. Davis' score combines orchestral, choral and synthesizer elements; the balance between these elements varies depending on whether humans or machines are the dominant subject of a given scene.
In addition to Davis' score, The Matrix soundtrack also features music from acts such as Rammstein, Rob Dougan, Rage Against the Machine, Propellerheads, Ministry, Deftones, Monster Magnet, The Prodigy, Rob Zombie, Meat Beat Manifesto, and Marilyn Manson. Box office The film earned $171,479,930 (37.0%) in the United States and Canada and $292,037,453 (63.0%) in other countries, for a worldwide total of $463,517,383. In North America, it became the fifth highest |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 34, "sc": 198, "ep": 38, "ec": 272} | 161,932 | Q83495 | 34 | 198 | 38 | 272 | The Matrix | Box office & Critical response | grossing film of 1999 and the highest grossing R-rated film of 1999. Worldwide it was the fourth highest grossing film of the year. As of 2012 it was placed 122nd on the list of highest grossing films of all time, and the second highest grossing film in the Matrix franchise after The Matrix Reloaded ($742.1 million). Critical response The Matrix was praised by many critics, as well as filmmakers, and authors of science fiction, especially for its "spectacular action" scenes and its "groundbreaking special effects". Some have described The Matrix as one of the greatest science fiction films of all time, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 272, "ep": 38, "ec": 977} | 161,932 | Q83495 | 38 | 272 | 38 | 977 | The Matrix | Critical response | Entertainment Weekly called The Matrix "the most influential action movie of the generation". There have also been those, including philosopher William Irwin, who have suggested that the film explores significant philosophical and spiritual themes. However, other reviewers described The Matrix as "simple-minded fun" and "another slice of overlong, high concept hokum". Review aggregator Rotten Tomatoes reported an 88% of positive reviews, with a weighted average score of 7.6/10 based upon a sample of 147 reviews. The site's critical consensus reads, "Thanks to the Wachowskis' imaginative vision, The Matrix is a smartly crafted combination of spectacular action and groundbreaking special effects". |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 977, "ep": 38, "ec": 1593} | 161,932 | Q83495 | 38 | 977 | 38 | 1,593 | The Matrix | Critical response | At Metacritic, which assigns a rating out of 100 to reviews from mainstream critics, the film received a score of 73 based on 35 reviews, indicating "generally favorable reviews." Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale. It ranked 323rd among critics, and 546th among directors, in the 2012 Sight & Sound polls of the greatest films ever made.
Philip Strick commented in Sight & Sound, if the Wachowskis "claim no originality of message, they are startling innovators of method," praising the film's details and its "broadside of astonishing images". Roger |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 1593, "ep": 38, "ec": 2281} | 161,932 | Q83495 | 38 | 1,593 | 38 | 2,281 | The Matrix | Critical response | Ebert praised the film's visuals and premise, but disliked the third act's focus on action. Similarly, Time Out praised the "entertainingly ingenious" switches between different realities, Hugo Weaving's "engagingly odd" performance, and the film's cinematography and production design, but concluded, "the promising premise is steadily wasted as the film turns into a fairly routine action pic ... yet another slice of overlong, high concept hokum."
Jonathan Rosenbaum of the Chicago Reader reviewed the film negatively, criticizing it as "simpleminded fun for roughly the first hour, until the movie becomes overwhelmed by its many sources ... There's not much humor to keep it |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 2281, "ep": 38, "ec": 2940} | 161,932 | Q83495 | 38 | 2,281 | 38 | 2,940 | The Matrix | Critical response | all life-size, and by the final stretch it's become bloated, mechanical, and tiresome."
Ian Nathan of Empire described Carrie-Anne Moss as "a major find", praised the "surreal visual highs" enabled by the bullet time (or "flo-mo") effect, and described the film as "technically mind-blowing, style merged perfectly with content and just so damn cool". Nathan remarked that although the film's "looney plot" would not stand up to scrutiny, that was not a big flaw because "The Matrix is about pure experience". Maitland McDonagh said in her review for TV Guide, the Wachowskis' "through-the-looking-glass plot... manages to work surprisingly well on a |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 2940, "ep": 38, "ec": 3627} | 161,932 | Q83495 | 38 | 2,940 | 38 | 3,627 | The Matrix | Critical response | number of levels: as a dystopian sci-fi thriller, as a brilliant excuse for the film's lavish and hyperkinetic fight scenes, and as a pretty compelling call to the dead-above-the-eyeballs masses to unite and cast off their chains... This dazzling pop allegory is steeped in a dark, pulpy sensibility that transcends nostalgic pastiche and stands firmly on its own merits."
Salon's reviewer Andrew O'Hehir acknowledged that although The Matrix is a fundamentally immature and unoriginal film ("It lacks anything like adult emotion... all this pseudo-spiritual hokum, along with the over-ramped onslaught of special effects—some of them quite amazing—will hold 14-year-old boys in |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 3627, "ep": 38, "ec": 4290} | 161,932 | Q83495 | 38 | 3,627 | 38 | 4,290 | The Matrix | Critical response | rapture, not to mention those of us of all ages and genders who still harbor a 14-year-old boy somewhere inside"), he concluded, "as in Bound, there's an appealing scope and daring to the Wachowskis' work, and their eagerness for more plot twists and more crazy images becomes increasingly infectious. In a limited and profoundly geeky sense, this might be an important and generous film. The Wachowskis have little feeling for character or human interaction, but their passion for movies—for making them, watching them, inhabiting their world—is pure and deep."
Filmmakers and science fiction creators alike generally took a complimentary perspective of |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 4290, "ep": 38, "ec": 4893} | 161,932 | Q83495 | 38 | 4,290 | 38 | 4,893 | The Matrix | Critical response | The Matrix. William Gibson, a key figure in cyberpunk fiction, called the film "an innocent delight I hadn't felt in a long time," and stated, "Neo is my favourite-ever science fiction hero, absolutely." Joss Whedon called the film "my number one" and praised its storytelling, structure and depth, concluding, "It works on whatever level you want to bring to it." Darren Aronofsky commented, "I walked out of The Matrix ... and I was thinking, 'What kind of science fiction movie can people make now?' The [Wachowskis] basically took all the great sci-fi ideas of the 20th century and rolled them into |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 4893, "ep": 38, "ec": 5510} | 161,932 | Q83495 | 38 | 4,893 | 38 | 5,510 | The Matrix | Critical response | a delicious pop culture sandwich that everyone on the planet devoured." M. Night Shyamalan expressed admiration for the Wachowskis, stating, "Whatever you think of The Matrix, every shot is there because of the passion they have! You can see they argued it out!". Simon Pegg said that The Matrix provided "the excitement and satisfaction that The Phantom Menace failed to inspire. The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 5510, "ep": 38, "ec": 6146} | 161,932 | Q83495 | 38 | 5,510 | 38 | 6,146 | The Matrix | Critical response | seen." Quentin Tarantino counted The Matrix as one of his twenty favorite movies from 1992 to 2009. James Cameron called it "one of the most profoundly fresh science fiction films ever made". Christopher Nolan described it as "an incredibly palpable mainstream phenomenon that made people think, Hey, what if this isn't real?". Chad Stahelski, who had been a stunt double on The Matrix prior to directing Reeves in the John Wick series, acknowledged the film's strong influence on the Wick films, and commented, "The Matrix literally changed the industry. The influx of martial-arts choreographers and fight coordinators now make more, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 38, "sc": 6146, "ep": 42, "ec": 429} | 161,932 | Q83495 | 38 | 6,146 | 42 | 429 | The Matrix | Critical response & Franchise | and are more prevalent and powerful in the industry, than stunt coordinators. The Matrix revolutionized that. Today, action movies want their big sequences designed around the fights." Franchise The film's mainstream success led to the making of two sequels, The Matrix Reloaded and The Matrix Revolutions, both directed by the Wachowskis. These were filmed back-to-back in one shoot and released on separate dates in 2003. The first film's introductory tale is succeeded by the story of the impending attack on the human enclave of Zion by a vast machine army. The sequels also incorporate longer and more ambitious action |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 42, "sc": 429, "ep": 42, "ec": 1050} | 161,932 | Q83495 | 42 | 429 | 42 | 1,050 | The Matrix | Franchise | scenes, as well as improvements in bullet time and other visual effects. On 20 August 2019, Warner Bros. Picture Group chairman Toby Emmerich officially announced that a fourth Matrix movie was in the works, with Keanu Reeves and Carrie-Anne Moss set to reprise their roles as Neo and Trinity respectively.
Also released was The Animatrix, a collection of nine animated short films, many of which were created in the same Japanese animation style that was a strong influence on the live action trilogy. The Animatrix was overseen and approved by the Wachowskis, who only wrote four of the segments themselves but |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 42, "sc": 1050, "ep": 42, "ec": 1678} | 161,932 | Q83495 | 42 | 1,050 | 42 | 1,678 | The Matrix | Franchise | did not direct any of them; much of the project was developed by notable figures from the world of anime.
The franchise also contains three video games: Enter the Matrix (2003), which contains footage shot specifically for the game and chronicles events taking place before and during The Matrix Reloaded; The Matrix Online (2004), an MMORPG which continued the story beyond The Matrix Revolutions; and The Matrix: Path of Neo (2005), which focuses on Neo's journey through the trilogy of films.
The franchise also includes The Matrix Comics, a series of comics and short stories set in the world of The Matrix, |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 42, "sc": 1678, "ep": 42, "ec": 2297} | 161,932 | Q83495 | 42 | 1,678 | 42 | 2,297 | The Matrix | Franchise | written and illustrated by figures from the comics industry. Most of the comics were originally presented for free on the official Matrix website; they were later republished, along with some new material, in two printed trade paperback volumes, called The Matrix Comics, Vol 1 and Vol 2.
In March 2017, Warner Bros. was in early stages of developing a relaunch of the franchise with Zak Penn in talks to write a treatment and interest in getting Michael B. Jordan attached to star. According to The Hollywood Reporter neither the Wachowskis nor Joel Silver were involved with the endeavor, although the studio |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 42, "sc": 2297, "ep": 46, "ec": 454} | 161,932 | Q83495 | 42 | 2,297 | 46 | 454 | The Matrix | Franchise & Home media | would like to get at minimum the blessing of the Wachowskis. Home media The Matrix was released on Laserdisc in its original aspect ratio of 2.35:1 on September 21, 1999 in the US from Warner Home Video as well as in a cropped 1.33:1 aspect ratio in Hong Kong from ERA Home Entertainment. It was also released on VHS in both fullscreen and widescreen formats followed on December 7, 1999. After its DVD release, it was the first DVD to sell more than one million copies in the US, and went on to be the first to sell more than |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 46, "sc": 454, "ep": 46, "ec": 1002} | 161,932 | Q83495 | 46 | 454 | 46 | 1,002 | The Matrix | Home media | three million copies in the US. By November 10, 2003, one month after The Matrix Reloaded DVD was released, the sales of The Matrix DVD had exceeded 30 million copies. The film was released on DVD on May 15, 2007. The Ultimate Matrix Collection was released on HD DVD on May 22, 2007 and on Blu-ray on October 14, 2008. The film was also released standalone in a 10th anniversary edition Blu-ray in the Digibook format on March 31, 2009, 10 years to the day after the film was released theatrically. In 2010, the film had another DVD release along |
{"datasets_id": 161932, "wiki_id": "Q83495", "sp": 46, "sc": 1002, "ep": 54, "ec": 135} | 161,932 | Q83495 | 46 | 1,002 | 54 | 135 | The Matrix | Home media & Influences & Film and television | with the two sequels as The Complete Matrix Trilogy. It was also released on 4K HDR Blu-ray on May 22, 2018. The film as part of The Matrix Trilogy was released on 4K Ultra HD Blu-Ray on October 30, 2018. Influences The Matrix draws from and alludes to numerous cinematic and literary works, and concepts from mythology, religion and philosophy, including the ideas of Buddhism, Christianity, Gnosticism, Hinduism, and Judaism. Film and television The pods in which the machines keep humans have been compared to images in Metropolis, and the work of M. C. Escher. and can be seen in |
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