title: Wong Kar-wai

text: Wong has an unusual approach to film making, starting production without a script and generally relying on instinct and improvisation rather than pre-prepared ideas. He has said he dislikes writing and finds filming from a finished script "boring". According to Stokes & Hoover, he writes as he shoots, "drawing inspiration from the music, the setting, working conditions, and actors". In advance, the cast are given a minimal plot outline and expected to develop their characters as they film. To capture naturalness and spontaneity, Wong does not allow for rehearsals while improvisation and collaboration are encouraged. He similarly does not use storyboards or plan camera placement, preferring to experiment as he goes. His shooting ratio is therefore very high, sometimes forty takes per scene, and production typically goes well over schedule and over budget. Tony Leung has commented that this approach is "taxing on the actors", but Stokes & Hoover speculate that Wong's collaborators endure it because "[the] results are always unexpected, invigorating, and interesting."


title: Wong Kar-wai

text: Though Wong admits to being controlling, and oversees every aspect of the film making process, he has formed several long-lasting partnerships and close collaborators. In 2013, he said: "It is always good to work with a very regular group of people because we know how high we can fly and what are the parameters, and it becomes very enjoyable." Two men have been instrumental in developing and achieving his aesthetic: production designer William Chang and cinematographer Christopher Doyle. Chang has worked on every Wong film and is a trusted confidant, responsible for all set design and costuming. Doyle photographed seven of his projects, all from "Days of Being Wild" to "2046". Stephen Schneider writes that he deserves "much credit" in Wong's success, as his "masterful use of light and colour renders every frame a work of art". Wong's other regular colleagues include writer-producer Jeffrey Lau, producer Jacky Pang, and assistant director Johnnie Kong.


title: Wong Kar-wai

text: Wong often casts the same actors. He is strongly associated with Tony Leung Chiu-wai, who has appeared in seven of Wong’s feature length films. Wong describes him as a partner, stating, "I feel like there is a lot of things between me and Tony that is beyond words. We don’t need meetings, talks, whatever, because a lot of things are understood." Other actors who have appeared in at least three of his films are Maggie Cheung, Chang Chen, Leslie Cheung, Jacky Cheung, and Carina Lau.


title: Wong Kar-wai

text: Wong is known for producing art films focussed on mood and atmosphere, rather than following convention. His general style is described by Teo as "a cornucopia overflowing with multiple stories, strands of expression, meanings and identities: a kaleidoscope of colours and identities". Structurally, Wong's films are typically fragmented and disjointed, with little concern for linear narrative, and often with interconnected stories. Critics have commented on the lack of plot in his films, such as Burr who says: "The director doesn't build linear story lines so much as concentric rings of narrative and poetic meaning that continually revolve around each other". Similarly, Brunette says that Wong "often privileges audio/visual expressivity over narrative structure". Wong has commented on this, saying "in my logic there is a storyline."


title: Wong Kar-wai

text: Key to Wong's films is the visual style, which is often described as beautiful and unique. The colours are bold and saturated, the camerawork swooning, resulting in what Brunette calls his "signature visual pyrotechnics". One of his trademarks is the use of step-printing, which alters film rates to "[liquefy] hard blocks of primary colour into iridescent streaks of light." Other features of the Wong aesthetic include slow motion, off-centre framing, the obscuring of faces, rack focus, filming in the dark or rain, and elliptical editing. Schneider writes of Wong's fondness for "playing with film stock, exposure, and speed the way others might fiddle with a script."


title: Wong Kar-wai

text: Another trademark of Wong's cinema is his use of music and pop songs. He places great importance on this element, and Biancorosso describes it as the "essence" of his films; a key part of the "narrative machinery" that can guide the rhythm of the editing. He selects international songs, rarely cantopop, and uses them to enhance the sense of history or place. According to film scholar Julian Stringer, music "proved crucial to the emotional and cognitive appeal" of Wong's films.


title: Wong Kar-wai

text: Wong's dependence on music and his heavily visual and disjointed style has been compared to music videos, but detractors claim that they are "all surface and no depth". Academic Curtis K. Tsui argues that style "is" the substance in Wong's film, while Brunette believes that his "form remains resolutely in the service of character, theme, and emotion rather than indulged in for its own sake".


title: Wong Kar-wai

text: Wong is an important figure in contemporary cinema, regarded as one of the best filmmakers of his generation. His reputation as a maverick began early in his career: in the 1996 "Encyclopedia of Chinese Film", Wong was described as having "already established a secure reputation as one of the most daring avant-garde filmmakers" of Chinese cinema. Authors Zhang and Xiao concluded that he "occupies a special place in contemporary film history", and had already "exerted a sizeable impact". With the subsequent release of "Happy Together" and "In the Mood for Love", Wong's international standing grew further, and in 2002 voters for the British Film Institute named him the third greatest director of the previous quarter-century. In 2015, "Variety" named him an icon of arthouse cinema.


title: Wong Kar-wai

text: The East Asian scholar Daniel Martin describes Wong's output as "among the most internationally accessible and critically acclaimed Hong Kong films of all time". Because of this status abroad, Wong is seen as a pivotal figure in his local industry; Julian Stringer says he is "central to the contemporary Chinese cinema renaissance", Gary Bettinson describes him as "a beacon of Hong Kong cinema" who "has kept that industry in the public spotlight", and Film4 designate him the filmmaker from China with the greatest impact. Together with Zhang Yimou, Wong is seen by the historian Philip Kemp as representing the "internationalisation" of East Asian cinema. Domestically, his films were generally not financial successes, but he has been consistently well-awarded by local bodies. From early on, he was regarded as Hong Kong's "enfant terrible" and one of their most iconoclastic filmmakers. Despite this, he has been recognised in both cult and mainstream circles, producing art films that receive commercial exposure. He is known for confounding audiences, as he adopts established genres and subverts them with experimental techniques.


title: Wong Kar-wai

text: Both Stringer and Nochimson claim that Wong has one of the most distinctive filmmaking styles in the industry. From his first film "As Tears Go By", he made an impact with his "liquid" aesthetic, which Ungerböck claims was completely new and quickly copied in Asian film and television. His second film, "Days of Being Wild", is described by Brunette as "a landmark in Hong Kong cinema" for its unconventional approach. Nochimson writes that Wong's films are entirely personal, making him an auteur, and states, "Wong has developed his own cinematic vocabulary, with an array of shot patterns connected with him". Stringer argues that Wong's success demonstrates the importance of being "different".


title: Wong Kar-wai

text: Wong's films frequently appeared on best-of lists domestically and internationally. On the Hong Kong Film Awards Association's 2005 list of The Best 100 Chinese Motion Pictures, all except one of his films up to that time made the list. "Days of Being Wild" (1990) placed at number three, the highest position for a post-1980s film; other films ranked were "Chungking Express" (22), "Ashes of Time" (35), "As Tears Go By" (88), "Happy Together" (89), and "In the Mood for Love" (90). In the 2012 "Sight & Sound" poll, whereby industry professionals submit ballots to determine the greatest films of all time, "In the Mood for Love" was ranked 24th, the highest-ranked film since 1980 and the sixth greatest film by a living director. "Chungking Express" and "Days of Being Wild" both ranked in the top 250; "Happy Together" and "2046" in the top 500; and "Ashes of Time" and "As Tears Go By" also featured (all but two of Wong's films at the time).


title: Wong Kar-wai

text: Wong's influence has impacted contemporary directors including Quentin Tarantino, Sofia Coppola, Lee Myung-se, Tom Tykwer, Zhang Yuan, Tsui Hark, and Barry Jenkins. In 2018, he was awarded an Honorary Doctor of Arts degree by Harvard University.


title: Wong Kar-wai

text: Wong's oeuvre consists of ten directed features, 16 films where is he credited only as screenwriter, and seven films from other directors that he has produced. He has also directed commercials, short films, and music videos, and contributed to two anthology films. He has received awards and nominations from organisations in Asia, Europe, North America, and South America. In 2006, Wong accepted the National Order of the Legion of Honour: Knight (Lowest Degree) from the French Government. In 2013, he was bestowed with the title of a Commander of the Ordre des Arts et des Lettres, the highest order, by French Foreign Minister Laurent Fabius. The International Film Festival of India gave Wong a Lifetime Achievement Award in 2014.


title: Hostel (2005 film)

text: Hostel is a 2005 horror film written and directed by Eli Roth. It stars Jay Hernandez, Derek Richardson, Eyþór Guðjónsson, and Barbara Nedeljáková. It was produced by Mike Fleiss, Roth, and Chris Briggs, and executive produced by Boaz Yakin, Scott Spiegel, and Quentin Tarantino. The film follows a group of American tourists, as they end up in Slovakia where they are eventually taken one-by-one by an organization that allows people to torture and kill others.


title: Hostel (2005 film)

text: "Hostel" was released theatrically in the United States by Lions Gate Films and Sony Pictures Releasing's Screen Gems on January 6, 2006, and in the Czech Republic by Falcon. The film received divisive reviews from critics, but grossed $82 million worldwide on a $4.8 million budget. It is the first installment of the "Hostel" trilogy, followed by "" (2007) and "" (2011).


title: Hostel (2005 film)

text: Two college students, Paxton Rodriguez and Josh Brooks, travel across Europe with their Icelandic friend Óli Eriksson. In the Netherlands, they visit an Amsterdam nightclub, followed by a brothel. Unable to get back into their hostel because of a curfew, they accept the offer of a man named Alexei to stay at his apartment. He convinces them that, instead of going to Barcelona, they should visit a hostel in Slovakia filled with beautiful women.


title: Hostel (2005 film)

text: The three board a train to Slovakia, where they encounter a Dutch businessman, who touches Josh's leg. Josh yells at him, causing him to leave. Arriving in Slovakia, they find that their roommates in the hostel are two women, Natalya and Svetlana. The women invite them to a spa, and later to a disco. Josh has a run in with a gang of local criminal kids. The Dutch businessman intervenes to defend him. Josh apologizes for his reaction on the train.


title: Hostel (2005 film)

text: Paxton and Josh have sex with Natalya and Svetlana, while Óli leaves with the desk girl, Vala. The next morning, Óli does not return. The two are approached by a Japanese woman named Kana, who shows them a photo of Óli and her friend Yuki, who is also missing. Elsewhere, Óli has been decapitated, while Yuki is being tortured. Josh is anxious to leave, but Paxton convinces him to stay one more night with Natalya and Svetlana. Both women slip the men tranquilizers. Josh faints on his bed. The ill Paxton ends up locked in the pantry.


title: Hostel (2005 film)

text: Josh wakes up in a dungeon-like room, where the Dutch businessman begins maiming him with a drill, making holes in Josh's body, slicing his achilles tendons, then slitting his throat. Paxton wakes up in the disco and returns to the hostel, where he learns that he had supposedly checked out. He is greeted by two women who invite him to the spa. Suspicious, he locates Natalya and Svetlana; Natalya takes Paxton to an old factory, where he sees Josh's mutilated corpse being stitched together by the Dutch businessman. Two men drag Paxton down a hallway, passing by several rooms where other people are being tortured. Paxton is restrained and prepped to be tortured by a German client named Johann.


title: Hostel (2005 film)

text: While cutting off a few of Paxton's fingers with a chainsaw, Johann unintentionally severs his hand restraints. Johann falls over, accidentally severing his own leg with the chainsaw. Paxton shoots Johann in the head with a gun. He then kills a guard, changes into business clothes, and finds a business card for the Elite Hunting Club, an organization that allows its clientele to pay to kill and mutilate tourists. Paxton also discovers Kana, whose face is being disfigured with a blowtorch by an American client. Paxton kills the man and rescues Kana and they flee in a stolen car, pursued by guards. Paxton runs over Natalya, Svetlana, and Alexei, killing two of them while the pursuing car finishes off the third. He also encounters the delinquents from earlier and gives them a big pack of candy and gum. They then attack and kill the men pursuing Paxton with concrete blocks.


title: Hostel (2005 film)

text: The two make it to the train station. Kana, seeing her disfigured face, kills herself by leaping in front of an oncoming train, which attracts attention and allows Paxton to board another train unnoticed. Aboard, Paxton hears the voice of the Dutch businessman. When the train stops in Vienna, Austria, Paxton follows the Dutch businessman into a public restroom and makes him suffer and kills him in revenge for his friends’ deaths and suffering he caused him before boarding another train.


title: Hostel (2005 film)

text: In the director's cut of the film, Paxton follows the Dutch businessman being accompanied by his young daughter into a public restroom of a train station. After finding her teddy bear in the women's restroom, the Dutch businessman frantically searches the crowd for his missing daughter. Paxton is then seen aboard the moving train with the Dutch businessman's daughter, whom he has kidnapped.


title: Hostel (2005 film)

text: After the release of "Cabin Fever" (2002), Eli Roth was met with praise from several industry figures, including Quentin Tarantino, who placed the film in his 'Top 10' of the year and immediately reached out to Roth in hopes of working with him on a future project. Roth was offered many studio directing jobs, mostly in the form of horror remakes such as "The Last House on the Left", "The Fog", and a film in the "Texas Chainsaw Massacre" franchise, among several others, but Tarantino advised him to turn down those offers to instead create an original horror story. While swimming in Tarantino's pool, Roth brainstormed an idea for a low-budget horror film based on a Thai "murder vacation" website he came across on the dark web. Tarantino loved the idea and encouraged Roth to immediately start writing a draft that day, which later formed the basis for "Hostel".


title: Hostel (2005 film)

text: Roth had originally debated creating the film in the style of a fake documentary that would incorporate real people and locations from supposed real underground "murder vacation" spots. When hardly any credible information could be found on the topic, the idea was scrapped in favor of a traditionally flowing narrative using fictional locations and characters. Principal photography took place in the Czech Republic, and many scenes were shot in Český Krumlov. The torture chamber scenes were filmed in the wing of a Prague hospital that had been abandoned since 1918.


title: Hostel (2005 film)

text: The original music score was composed by Nathan Barr, who previously scored "Cabin Fever", and commissioned The Prague FILMharmonic Orchestra to perform the score over a four-day period in October 2005.


title: Hostel (2005 film)

text: Another one of Roth's ideas was that it would have an NC-17 rating, which he hoped would help boost the film's notoriety and marketing. When finished, the first cut of the film successfully received an NC-17 rating from the MPAA board mostly for its nudity and sexual content; the film originally had a real sex scene between two actors, including a real orgasm, which violated MPAA regulations. Over 20 minutes of footage had to be cut in order for the film to receive an R-rating. The film is rated 18 by the British Board of Film Classification.


title: Hostel (2005 film)

text: "Hostel" opened theatrically on January 6, 2006, in the United States and earned $19.6 million in its first weekend, ranking number one at the box office. By the end of its run, six weeks later, the film grossed $47.3 million in the US box office and $33.3 million internationally for a worldwide total of $80.6 million.


title: Hostel (2005 film)

text: Review aggregation website Rotten Tomatoes gives the film an approval rating of 59% based on 110 reviews and an average rating of 6.1/10. The site's critics consensus reads, "Featuring lots of guts and gore, "Hostel" is a wildly entertaining corpse-filled journey—assuming one is entertained by corpses, guts, and gore, that is." On Metacritic, the film had a weighted average score of 55 out of 100 based on 21 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "C–" on an A+ to F scale.


title: Hostel (2005 film)

text: "Entertainment Weekly"s film critic Owen Gleiberman commended the film's creativity, saying "You may or may not believe that slavering redneck psychos, of the kind who leer through Rob Zombie's "The Devil's Rejects", can be found in the Southwest, but it's all too easy to envision this sort of depravity in the former Soviet bloc, the crack-up of which has produced a brutal marketplace of capitalistic fiendishness. The torture scenes in "Hostel" (snipped toes, sliced ankles, pulled eyeballs) are not, in essence, much different from the surgical terrors in the "Saw" films, only Roth, by presenting his characters as victims of the same world of flesh-for-fantasy they were grooving on in the first place, digs deep into the nightmare of a society ruled by the profit of illicit desire."


title: Hostel (2005 film)

text: German film historian Florian Evers pointed out the Holocaust imagery behind "Hostel"s horror iconography, connecting Roth's film to the Nazi exploitation genre.


title: Hostel (2005 film)

text: "The Guardian" film critic Peter Bradshaw wrote that "Hostel" was "actually silly, crass and queasy. And not in a good way". David Edelstein of "New York Magazine" was equally negative, deriding director Roth with creating the horror subgenre "torture porn", or "gorno", using excessive violence to excite audiences like a sexual act. Jean-François Rauger, a film critic for "Le Monde", a French newspaper, and programmer of the Cinémathèque Française, listed "Hostel" as the best American film of 2006, calling it an example of modern consumerism. "Hostel" won the 2006 Empire Award for Best Horror Film.


title: Hostel (2005 film)

text: The film's release was accompanied by strong complaints from Slovakia and the Czech Republic. Slovak and Czech officials were both disgusted and outraged by the film's portrayal of their countries as undeveloped, poor, and uncultured lands suffering from high criminality, war, and prostitution, fearing it would "damage the good reputation of Slovakia" and make foreigners feel it was a dangerous place to be. The tourist board of Slovakia invited Roth on an all-expenses-paid trip to their country so he could see it is not made up of run-down factories, ghettos, and kids who kill for bubble gum. Tomáš Galbavý, a Slovak Member of Parliament from the Slovak Democratic and Christian Union – Democratic Party, commented: "I am offended by this film. I think that all Slovaks should feel offended."


title: Hostel (2005 film)

text: Defending himself, Roth said the film was not meant to be offensive, arguing, "Americans do not even know that this country exists. My film is not a geographical work but aims to show Americans' ignorance of the world around them." Roth argued that despite "The Texas Chainsaw Massacre" series, people still travel to Texas.


title: Suzanne Pleshette

text: Suzanne Pleshette (January 31, 1937 – January 19, 2008) was an American theatre, film, television, and voice actress. Pleshette started her career in the theatre and began appearing in films in the late 1950s and later appeared in prominent films such as "Rome Adventure" (1962), Alfred Hitchcock's "The Birds" (1963), and "Spirited Away" (2001). She later appeared in various television productions, often in guest roles, and played Emily Hartley on "The Bob Newhart Show" from 1972 until 1978, receiving several Emmy Award nominations for her work.


title: Suzanne Pleshette

text: Pleshette was born on January 31, 1937, in Brooklyn Heights, New York to Geraldine (née Kaplan) and Eugene Pleshette. Her parents were Jewish, the children of emigrants from Russia and Austria-Hungary. Her mother was a dancer and artist who performed under the stage name Geraldine Rivers. Her father was a stage manager of the Paramount Theater in Manhattan and of the Paramount Theater in Brooklyn, and later, a network executive. She graduated from Manhattan's High School of Performing Arts and attended Syracuse University for one semester, then transferred to Finch College. She later graduated from Manhattan's prestigious acting school, the Neighborhood Playhouse School of the Theatre and was under the tutelage of renowned acting teacher Sanford Meisner.


title: Suzanne Pleshette

text: "The Boston Globe" described her appearance and demeanor as sardonic and her voice as sultry. She began her career at age 20 as a stage actress. She made her Broadway debut in Meyer Levin's 1957 play "Compulsion", adapted from his novel inspired by the Leopold and Loeb case.


title: Suzanne Pleshette

text: The following year, she performed in the debut of "The Cold Wind and the Warm" by S. N. Behrman at the Shubert Theatre in New Haven, Connecticut, directed by Harold Clurman and produced by Robert Whitehead. In 1959, she was featured in the comedy "Golden Fleecing", starring Constance Ford and Tom Poston. (Poston would eventually become her third husband.)


title: Suzanne Pleshette

text: That same year, she was one of two finalists for the role of Louise/Gypsy in the original production of "Gypsy". During the run of "The Cold Wind and the Warm", she spent mornings taking striptease lessons from Jerome Robbins for the role in "Gypsy". In his autobiography, Arthur Laurents, the play's author stated, "It came down to between Suzanne Pleshette and Sandra Church. Suzanne was the better actress, but Sandra was the better singer. We went with Sandra."


title: Suzanne Pleshette

text: In February 1961, she succeeded Anne Bancroft as Anne Sullivan Macy opposite 14-year-old Patty Duke's Helen Keller in "The Miracle Worker".


title: Suzanne Pleshette

text: Her early screen credits include "The Geisha Boy", "Rome Adventure", "Fate Is the Hunter", and "Youngblood Hawke", but she was best known at that time for her role in Alfred Hitchcock's suspense film "The Birds". Immediately following "The Birds", Pleshette was cast in "40 Pounds of Trouble", a comedy film co-starring Tony Curtis and Phil Silvers, which Curtis was producing through his own film production company, Curtis Enterprises. "40 Pounds of Trouble" was the first motion picture ever filmed at Disneyland, and was distributed by Universal-International Pictures in late 1962.


title: Suzanne Pleshette

text: She worked with Steve McQueen in the 1966 western drama film "Nevada Smith", was nominated for a Laurel Award for her starring performance in the comedy "If It's Tuesday, This Must Be Belgium" opposite Ian McShane, and co-starred with James Garner in a pair of films, the drama "Mister Buddwing" and the western comedy "Support Your Local Gunfighter". She starred in a number of Walt Disney family films, most notably in "The Shaggy D.A." (1976). She was the lead actress in "Hot Stuff" (1979) and "Oh, God! Book II" (1980).


title: Suzanne Pleshette

text: Pleshette provided the voices of Yubaba and Zeniba in the English dub of Japanese director Hayao Miyazaki's Academy Award-winning film "Spirited Away" and the voice of Zira in Disney's direct-to-video film "" and sang the song "My Lullaby".


title: Suzanne Pleshette

text: Pleshette's first screen role was in the episode "Night Rescue" (December 5, 1957) of the CBS adventure/drama television series "Harbormaster", starring Barry Sullivan and Paul Burke. Other early television appearances include "Playhouse 90", "Decoy", "Have Gun – Will Travel", "", "Riverboat", "Alfred Hitchcock Presents", "The Tab Hunter Show", "Channing", "Ben Casey", "Naked City," "Wagon Train", the pilot episode of "The Wild Wild West", and "Dr. Kildare", for which she was nominated for her first Emmy Award. She guest-starred more than once as different characters in each of the following 1960s TV series: "Route 66", "The Fugitive", "The Invaders", "The F.B.I.", "Columbo" (1971) and "The Name of the Game".


title: Suzanne Pleshette

text: On May 19, 1971, TV producers saw her on "The Tonight Show Starring Johnny Carson" and noticed a certain chemistry between Suzanne and Johnny. She was cast as the wife of Newhart's character on the popular CBS sitcom "The Bob Newhart Show" (1972–1978) for all six seasons, as part of CBS television's Saturday night lineup. She was nominated twice for the Emmy for Outstanding Lead Actress in a Comedy Series. She reprised her role of Emily Hartley in the final episode of Newhart's subsequent comedy series, "Newhart", in which viewers discovered that the entire later series had been her husband Bob's dream when he awakens next to her in the bedroom set from the earlier series.


title: Suzanne Pleshette

text: Her 1984 situation comedy, "Suzanne Pleshette Is Maggie Briggs", was canceled after seven episodes. In 1989, she played the role of Christine Broderick in the NBC drama, "Nightingales", which lasted one season. In 1990, Pleshette portrayed Manhattan hotelier Leona Helmsley in the television movie "Leona Helmsley: The Queen of Mean", which garnered her Emmy and Golden Globe Award nominations. In addition, she starred opposite Hal Linden in the 1994 sitcom "The Boys Are Back".


title: Suzanne Pleshette

text: She had a starring role in "Good Morning, Miami", as Mark Feuerstein's grandmother Claire Arnold in season one and played the mother of Katey Sagal's character in the ABC sitcom "8 Simple Rules for Dating My Teenage Daughter" following John Ritter's death, and appeared as the estranged mother of Megan Mullally's character Karen Walker in three episodes of "Will & Grace". The role would prove to be her last.


title: Suzanne Pleshette

text: From 1969 to 1980, Pleshette designed sheets for J.P. Stevens & Co. She also wrote screenplays under a pen name.


title: Suzanne Pleshette

text: Pleshette's 1964 marriage to her "Rome Adventure" and "A Distant Trumpet" co-star Troy Donahue ended in divorce after six months.


title: Suzanne Pleshette

text: Her second husband was oilman Tom Gallagher, to whom she was married from 1968 until his death from lung cancer on January 21, 2000. She suffered a miscarriage during her marriage to Gallagher, and they were childless. Asked about children in an October 2000 interview, Pleshette stated: "I certainly would have liked to have had Tommy’s children. But my nurturing instincts are fulfilled in other ways. I have a large extended family; I'm the mother on every set. So if this is my particular karma, that's fine."


title: Suzanne Pleshette

text: In 2001, Pleshette married fellow actor Tom Poston. Poston had been a recurring guest star on "The Bob Newhart Show" in the 1970s and a "Newhart" cast member. But long before they worked together on television, Poston and Pleshette had been involved romantically in 1959, when they acted together in the Broadway comedy "Golden Fleecing". During the subsequent 40 years, they married others but remained friends. After they were both widowed, the deaths of their spouses brought Poston and Pleshette together again, and they married in 2001. They remained married until his death from respiratory failure in Los Angeles on April 30, 2007. She died the following year, and they are buried close to each other.


title: Suzanne Pleshette

text: On August 11, 2006, Pleshette's agent Joel Dean announced that she was being treated for lung cancer at Cedars-Sinai Medical Center. Three days later, "The Herald-Palladium" reported that Dean claimed the cancer was the size of "a grain of sand" when it was found during a routine X-ray, that the cancer was "caught very much in time," that she was receiving chemotherapy as an outpatient and that Pleshette was "in good spirits."


title: Suzanne Pleshette

text: She was later hospitalized for a pulmonary infection and developed pneumonia which caused her to remain in the hospital for an extended period of time. She arrived at a "Bob Newhart Show" cast reunion in September 2007 in a wheelchair, which raised concern about her health although she insisted that she was "cancer-free." (She was seated in a regular chair during the actual telecast.) During an interview in "USA Today" given at the time of the reunion, Pleshette stated that she had been released four days earlier from the hospital where, as part of her cancer treatment, part of one of her lungs had been removed.


title: Suzanne Pleshette

text: Pleshette died in the early evening of January 19, 2008, twelve days before her 71st birthday, in her Los Angeles home. She is buried close to her third husband, Tom Poston (who died the previous year), in the Hillside Memorial Park Cemetery in Culver City, California. She received a star on the Hollywood Walk of Fame for Television on January 31, 2008, the walk's 2,355th star, which was placed (at her request) in front of Frederick's of Hollywood. Bob Newhart, Arte Johnson, and Marcia Wallace spoke at the star's unveiling which had been planned before Pleshette's death. Tina Sinatra accepted the star on Pleshette's behalf.


title: Gulf Cooperation Council

text: The Cooperation Council for the Arab States of the Gulf (), also known as the Gulf Cooperation Council (GCC; ), is a regional, intergovernmental, political, and economic union comprising Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates. The council's main headquarters is located in Riyadh, the capital of Saudi Arabia. The Charter of the GCC was signed on 25 May 1981, formally establishing the institution.


title: Gulf Cooperation Council

text: All current member states are monarchies, including three constitutional monarchies (Qatar, Kuwait, and Bahrain), two absolute monarchies (Saudi Arabia and Oman), and one federal monarchy (the United Arab Emirates, which is composed of seven member states, each of which is an absolute monarchy with its own emir). There have been discussions regarding the future membership of Jordan, Morocco, and Yemen.


title: Gulf Cooperation Council

text: During the Arab Spring in 2011, Saudi Arabia proposed to transform the GCC into a "Gulf Union" with tighter economic, political and military coordination, a move considered to be intended to counterbalance Iranian influence in the region, however objections were raised by other countries. In 2014, Bahraini prime minister Khalifa bin Salman Al Khalifa said that current events in the region highlighted the importance of the proposal. The Peninsula Shield Force is the military arm of the GCC, formed in 1984.


title: Gulf Cooperation Council

text: The idea was brought upon by Jaber Al Ahmed he visited Abu Dhabi to meet with sheikh Zayed bin Sultan Al Nahyan and a meeting was created to announce the union comprised Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates (UAE). The unified economic agreement between the countries of the Gulf Cooperation Council was signed on 11 November 1981 in Abu Dhabi, UAE. These countries are often referred to as "the GCC states".


title: Gulf Cooperation Council

text: Oman announced in December 2006 that it would not be able to meet the 2010 target date for a common currency. Following the announcement that the central bank for the monetary union would be located in Riyadh, Saudi Arabia, rather than in the UAE, they announced their withdrawal from the monetary union project in May 2009. The name Khaleeji has been proposed as a name for this currency. If realized, the GCC monetary union would be the second-largest supranational monetary union in the world, measured by the GDP of the common-currency area.


title: Gulf Cooperation Council

text: The area has some of the fastest-growing economies in the world, mostly due to a boom in oil and natural gas revenues coupled with a building and investment boom backed by decades of saved petroleum revenues. In an effort to build a tax base and economic foundation before the reserves run out, the UAE's investment arms, including Abu Dhabi Investment Authority, retain over US$900 billion in assets. Other regional funds have several hundreds of billions of dollars of assets under management.


title: Gulf Cooperation Council

text: The region is an emerging hotspot for events, including the 2006 Asian Games in Doha, Qatar. Doha also submitted an unsuccessful application for the 2016 Summer Olympics. Qatar would later host the 2022 FIFA World Cup.


title: Gulf Cooperation Council

text: Recovery plans have been criticized for crowding out the private sector, failing to set clear priorities for growth, failing to restore weak consumer and investor confidence, and undermining long-term stability.


title: Gulf Cooperation Council

text: The logo of the GCC consists of two concentric circles. On the upper part of the larger circle, the Bismillah phrase is written in Arabic, which means "In the name of God", and on the lower part of the circle the council's full name is written in Arabic. The inner-circle contains an embossed hexagonal shape representing the six countries. The inside of the hexagon shows a map encompassing the Arabian Peninsula, on which the areas of the member countries are colored in brown, borderless. On the edge of the hexagon are colors representing the flags of the six-member countries.


title: Gulf Cooperation Council

text: A common market was launched on 1 January 2008, easing movement of goods and services, with plans to create a fully integrated single market. Implementation later lagged behind, after the 2009 financial crisis. The creation of a customs union began in 2003, and was completed and fully operational by 1 January 2015. In January 2015, the common market was also further integrated, covering full equality among GCC citizens to work in government and private sectors, the ability to access social insurance and retirement coverage, real estate ownership rights, capital movement, and access to education, health and other social services, in all member states. However, some barriers remained in the free movement of goods and services. The coordination of taxation systems, accounting standards and civil legislation is currently in progress. The interoperability of professional qualifications, insurance certificates and identity documents is also underway.


title: Gulf Cooperation Council

text: In 2014, Bahrain, Kuwait, Qatar, and Saudi Arabia took major steps to ensure the creation of a single currency. Kuwait's finance minister said the four members are pushing ahead with the monetary union but said some "technical points" need to be cleared. He added, "A common market and common central bank would also position the GCC as one entity that would have great influence on the international financial system". The implementation of a single currency and the creation of a central bank is overseen by the Monetary Council.


title: Gulf Cooperation Council

text: There is currently a degree to which a nominal GCC single currency already exists. Businesses trade using a basket of GCC currencies, just as before the Euro was introduced, the European Currency Unit (ECU) had been used as a nominal medium of exchange. Plans to introduce a single currency had been drawn up as far back as 2009, however due to the financial crisis of 2007–2008 and political differences, the UAE and Oman withdrew their membership.


title: Gulf Cooperation Council

text: Companies and investors from GCC countries are active in mergers and acquisitions. Since 1999, more than 5,200 transactions with a known value of US$573 billion had been announced. Investors include a number of sovereign wealth funds.


title: Gulf Cooperation Council

text: The GCC launched common economic projects to promote and facilitate integration. Member states have connected their power grids, and a water connection project was launched with plans to be in use by 2020. A project to create common air transport was also unveiled.


title: Gulf Cooperation Council

text: The GCC has also launched major rail projects, to connect the peninsula. The railways are expected to fuel intra-regional trade while helping reduce fuel consumption. Over US$200 billion will be invested to develop about of rail network across the GCC, according to Oman's Minister of Transport and Communications. The project, estimated to be worth $15.5 billion, is scheduled to be completed by 2021. According to Ramiz Al Assar, Resident World Bank advisor for the GCC, it will link the six member states as a regional transport corridor, further integrating with the national railway projects, deepening economic social and political integration, and it is developed from a sustainable perspective.


title: Gulf Cooperation Council

text: Saudi Arabian Railways, Etihad Rail, and national governments have invested 15 billion dollars as of early 2015 into railway infrastructure to create rail networks for transporting freight, connecting cities, and reducing transport times.


title: Gulf Cooperation Council

text: The GCC Supreme Council is composed of the heads of state of the member states. It is the highest decision-making entity of the GCC, setting its vision and goals. Decisions on important issues require unanimous approval, while issues on procedural matters require a majority. Each member state has one vote. The presidency rotates based on the alphabetical order of the names of the member states.


title: Gulf Cooperation Council

text: The Ministerial Council is composed of the Foreign Ministers of all the member states. It convenes every three months. It formulates policies, and makes recommendations to promote cooperation and achieve coordination among the member states, when implementing ongoing projects. Decisions are submitted in the form of recommendations, which the Supreme Council can approve. The Ministerial Council is also responsible for preparations of meetings of the Supreme Council and its agenda. The voting procedure in the Ministerial Council is the same as in the Supreme Council.


title: Gulf Cooperation Council

text: The Secretariat is the executive arm of the Gulf Cooperation Council. It takes decisions within its authority, and implements decisions approved by the Supreme or Ministerial Council. The Secretariat also compiles studies relating to cooperation, coordination, and planning for common actions, and occasionally releases reports regarding the work done by the GCC as a whole, and the implementation of its own decisions. The current Secretary-General is Nayef Falah Mubarak Al Hajraf, and his deputies include Abdulaziz Al Auwaishig and Khalifa Alfadhel.


title: Gulf Cooperation Council

text: On 15 December 2009, Bahrain, Kuwait, Qatar, and Saudi Arabia announced the creation of a Monetary Council, to introduce a single currency for the union. The board of the council, which set a timetable and action plan for establishing a central bank and chose a currency regime, met for the first time on 30 March 2010. Kuwaiti foreign minister Mohammad Sabah Al-Sabah said on 8 December 2009 that a single currency may take up to ten years to establish. Oman and the UAE later announced their withdrawal from the proposed currency.


title: Gulf Cooperation Council

text: In 2014, major moves were taken to ensure the launch of a single currency. Kuwait's finance minister stated that a currency should be implemented without delay. Negotiations with the UAE and Oman to expand the monetary union were renewed.


title: Gulf Cooperation Council

text: The GCC Patent Office was approved in 1992, and established soon after in Riyadh, Saudi Arabia. Applications are filed and prosecuted in the Arabic language before it and grants patents valid in all GCC member states, but is a separate office from the Saudi Arabian Patent Office. The first GCC patent was granted in 2002. As of 2013, it employed about 30 patent examiners.


title: Gulf Cooperation Council

text: Amidst the Bahraini uprising, Saudi Arabia and the UAE sent ground troops to Bahrain in order to protect vital infrastructure such as the airport and highway system. Kuwait and Oman refrained from sending troops. Instead, Kuwait sent a navy unit.


title: Gulf Cooperation Council

text: The secretary-general of the GCC strongly endorsed the use of international force in Libya. GCC member states joined coalition efforts to enforce the no-fly zone.


title: Gulf Cooperation Council

text: In September 2014, GCC members Saudi Arabia, Bahrain, UAE and Qatar, and pending member Jordan commenced air operations against the Islamic State of Iraq and the Levant (ISIL) in Syria. Saudi Arabia and the UAE, however, are among the states that oppose the Muslim Brotherhood in Syria, whereas Qatar has historically supported it. They also pledged other support including operating training facilities for Syrian rebels, in Saudi Arabia, and allowing the use of their airbases by other countries fighting ISIL. Some GCC countries also send some troops to fight the opposition government in Yemen.


title: Gulf Cooperation Council

text: The GCC Standardization Organization is the standardization organization of the GCC. Yemen is also a member of the GCC Standardization Organization.


title: Gulf Cooperation Council

text: The Gulf Organization for Industrial Consulting (GOIC) was founded in 1976 by the six GCC member states; Yemen joined the organization in 2009. It is headquartered at Doha, Qatar. The organization chart of GOIC includes the board members and the General Secretariat. The Board is formed by member state representatives appointed by their governments.


title: Gulf Cooperation Council

text: The associate membership of Iraq in certain GCC-related institutions was cancelled after the invasion of Kuwait.


title: Gulf Cooperation Council

text: Yemen was in negotiations for GCC membership in 2007, and hoped to join by 2016. Yemen is already a member of the GCC Standardization Authority, the Gulf Organization for Industrial Consulting (GOIC), the GCC Auditing and Accounting Authority, the Gulf Radio and TV Authority, the GCC Council of Health Ministers, the GCC Education and Training Bureau, the GCC Council of Labour & and Social Affairs Ministers, and The Gulf Cup Football Tournament. The Council issued directives that all the necessary legal measures be taken, so that Yemen would have the same rights and obligations of GCC member states in those institutions.


title: Gulf Cooperation Council

text: The union has served as a grouping for sports co-operation and competition. The GCC states have an annual meeting of the Youth and Sports Ministers of each state to boost youth and sports initiatives in the region. The promotion of the hosting of international sports events has also served an economic purpose for the union's countries, leading to investment and development in the region.


title: Gulf Cooperation Council

text: The GCC Games, a quadrennial multi-sport event, was established by the union and first held in 2011. There are numerous long-running GCC Championships for individual sports, including: the Gulf Cooperation Council Athletics Championships (first held in 1986; youth section from 2000) sailing, basketball, swimming, tennis, gymnastics (senior and youth levels), weightlifting, futsal, snooker, and table tennis.


title: Gulf Cooperation Council

text: Qatar's support for the Muslim Brotherhood across the Middle East-North Africa (MENA) region, Hamas and radical Islamists in Libya, has led to increasing tensions with other Arab states of the Persian Gulf. These tensions came to a head during a March 2014 meeting of the GCC, after which the UAE, Saudi Arabia and Bahrain recalled their ambassadors to Qatar.


title: Gulf Cooperation Council

text: Some financial economists have interpreted the 2014 Saudi–Qatari rift as a tangible political sign of a growing economic rivalry between oil and natural gas producers, which could "have deep and long-lasting consequences" beyond MENA.


title: Gulf Cooperation Council

text: On 5 June 2017, Bahrain, Saudi Arabia, UAE and Egypt had officially cut diplomatic ties with Qatar. Saudi Arabia said it took the decision to cut diplomatic ties due to Qatar's "embrace of various terrorist and sectarian groups aimed at destabilising the region", including the Muslim Brotherhood, al-Qaeda, ISIL and Iran-supported groups in Saudi Arabia's eastern province of Qatif. Political researcher Islam Hassan viewed this as a continuation of Qatar's foreign policy rivalry with Saudi Arabia and UAE.


title: Gulf Cooperation Council

text: In June 2017, Saudi Arabia, the United Arab Emirates, and Bahrain put a ban on Qataris and their businesses. Qataris were not allowed to enter or live in Saudi Arabia, the United Arab Emirates, or Bahrain, unless they have a spouse living there, and they must carry a visa in order to enter these countries. Qatar Airways aircraft were also not allowed to fly over these countries. Saudi Arabia stated that they would turn its land border into a canal, known as the Salwa Canal in 2018. The plan was abandoned in 2019.


title: Gulf Cooperation Council

text: On 4 January 2021, Kuwait National TV announced that Saudi Arabia would restore all diplomatic ties with Qatar, air space would be opened for Qatari aircraft and the reopening of the Qatar - Saudi land border.


title: Gulf Cooperation Council

text: Later that evening, it was announced that Bahrain, the United Arab Emirates, and Egypt agreed to restore ties with Qatar. On 4 January 2021 it was made official at the Al-Ula summit, where the blockading countries, along with Qatar, signed an official agreement and ended the rift after 3 years and 7 months.


title: Gulf Cooperation Council

text: Since the creation of the council in 1981 its membership has not expanded, with all members being Arab monarchies.


title: Gulf Cooperation Council

text: Some GCC countries have land borders with Iraq, Jordan or Yemen, and sea borders with Iran, Egypt, Sudan, Eritrea or Somalia.


title: Gulf Cooperation Council

text: Only the Sinai Peninsula of Egypt lies in the Arabian Peninsula. In 2011, Bahrain's Foreign Minister called for Egypt to be admitted as a member of the GCC.


title: Gulf Cooperation Council

text: Iraq is the only Arab country bordering the Persian Gulf that is not a member of the GCC, despite the societal, political and historical differences between Iraq and its neighboring Gulf states, in 2012, former Iraqi Defence Minister Saadoun Al-Dulaimi stated that Iraq wanted to join the GCC. Kuwait supported Iraq joining the GCC, however no progress has been made.


title: Gulf Cooperation Council

text: At the December 2012 Manama summit, the GCC states called for an end to Iranian interference in their internal affairs.


title: Gulf Cooperation Council

text: In May 2011, Jordan's request to join the GCC, which had been first submitted 15 years earlier, was accepted and Morocco was invited to join the union. In September 2011, a five-year economic plan for both countries was put forward after a meeting between the foreign ministers of both countries and those of the GCC states. Although a plan for accession was being looked into, it was noted that there was no timetable for either's accession, and that discussions would continue.


title: Gulf Cooperation Council

text: As Jordan and Morocco are the only two Arabic-speaking monarchies not currently in the council, the current members see them as strong potential allies. Jordan borders Saudi Arabia and is economically connected to the Persian Gulf States. Although Morocco is not near the Persian Gulf, the Moroccan foreign minister Taieb Fassi Fihri notes that "geographical distance is no obstacle to a strong relationship".


title: Gulf Cooperation Council

text: Yemen was in negotiations for GCC membership, and hoped to join by 2015. Although it has no coastline on the Persian Gulf, Yemen lies in the Arabian Peninsula and shares a common culture and history with other GCC members.


title: Gulf Cooperation Council

text: In May 2017, the Gulf Cooperation Council rejected the formation of a transitional political council in southern Yemen, which called for the separation of Southern Yemen, siding with Yemen President Abd-Rabbu Mansour Hadi in doing so.


title: Gulf Cooperation Council

text: The GCC members and Yemen are also members of the Greater Arab Free Trade Area (GAFTA). However, this is unlikely to affect the agenda of the GCC significantly as it has a more aggressive timetable than GAFTA and is seeking greater integration.


title: Terence Stamp

text: Terence Henry Stamp (born 22 July 1938) is an English actor. Stamp is known for his sophisticated villain roles. He was named by "Empire Magazine" as one of the 100 Sexiest Film Stars of All Time in 1995. He has received various accolades including a Golden Globe Award, a Cannes Film Festival Award, and a Silver Bear as well as nominations for an Academy Award and two BAFTA Awards.


title: Terence Stamp

text: After training at the Webber Douglas Academy of Dramatic Art in London, he started his acting career in 1962. He was called the "master of the brooding silence" by "The Guardian". His performance in the title role of "Billy Budd", his film debut, earned him an Academy Award nomination for Best Supporting Actor and a BAFTA nomination for Best Newcomer. Associated with the Swinging London scene of the 1960s – during which time he was in high-profile relationships with actress Julie Christie and supermodel Jean Shrimpton – Stamp was among the subjects photographed by David Bailey for a set titled "Box of Pin-Ups". He starred opposite Christie in "The Collector" (1965), and "Far from the Madding Crowd" (1967).


title: Terence Stamp

text: He gained wider fame for his role as archvillain General Zod in "Superman" (1978) and "Superman II" (1980). For his leading role in "The Adventures of Priscilla, Queen of the Desert" (1994) he earned BAFTA Award and Golden Globe Award nominations. He then starred in "The Limey" (1999) earning an Independent Spirit Award nomination. Other films include "" (1999), "The Haunted Mansion" (2003), "Elektra" (2005), "Wanted" (2008), "Get Smart" (2008), "Yes Man" (2008), "Valkyrie" (2008), "Big Eyes" (2014) and "Last Night in Soho" (2021).


title: Terence Stamp

text: Stamp, the eldest of five children, was born on 22 July 1938 in Stepney, London, England, the son of Ethel Esther (née Perrott; 1914–1987) and Thomas Stamp (1912–1982), who was a tugboat stoker. His early years were spent in Canal Road, Bow, in the East End, but later in his childhood the family moved to Plaistow, West Ham, Essex (now in Greater London), where he attended Plaistow County Grammar School. His father was away for long periods with the Merchant Navy and the young Stamp was mostly brought up by his mother, grandmother, and aunts. He grew up idolising actor Gary Cooper after his mother took him to see "Beau Geste" (1939) when he was three years old. He was also inspired by the 1950s method-trained actor James Dean.


title: Terence Stamp

text: Growing up in London during World War II Stamp endured the Blitz as a child (he would later aid "Valkyrie" director Bryan Singer in staging a scene where the von Stauffenbergs hide from the Allied bombings). After leaving school, Stamp worked in a variety of advertising agencies in London, working his way up to earning a reasonable salary. In the mid‑1950s, he also worked as an assistant to professional golfer Reg Knight at Wanstead Golf Club in east London. He describes this period of his life positively in his autobiography "Stamp Album".


title: Terence Stamp

text: Stamp won a scholarship to train at the Webber Douglas Academy of Dramatic Art, then performed in various provincial repertory theatres, most notably in a national tour of Willis Hall's play "The Long the Short and the Tall" alongside another young cockney actor Michael Caine. Caine moved in with Stamp, and they began hanging out with Peter O'Toole in the London party scene. Stamp made his film debut in Peter Ustinov's film adaptation of Herman Melville's "Billy Budd" (1962). His portrayal of the title character brought him not only an Academy Award nomination but also international attention. He then appeared opposite Laurence Olivier in "Term of Trial" (1962).


title: Terence Stamp

text: Stamp collaborated with some of the most revered filmmakers. He starred in William Wyler's adaptation of John Fowles' "The Collector" (1965), opposite Samantha Eggar, and in "Modesty Blaise" (1966), for director Joseph Losey and producer Joe Janni. Stamp reunited with producer Janni for two more projects: John Schlesinger's adaptation of Thomas Hardy's "Far from the Madding Crowd" (1967) starring Julie Christie, and Ken Loach's first feature film "Poor Cow" (1967).


title: Terence Stamp

text: He was approached to play the role of James Bond when Sean Connery retired from the role, but did not receive a second call from producer Harry Saltzman because, in Stamp's opinion, "my ideas about [how the role should be portrayed] put the frighteners on Harry. I didn't get a second call from him."


title: Terence Stamp

text: Stamp then travelled to Italy to star in Federico Fellini's "Toby Dammit", a 50-minute portion of the Edgar Allan Poe film adaptation "Histoires extraordinaires" (1968, aka "Spirits of the Dead"). Stamp lived in Italy for several years, during which time his film work included Pier Paolo Pasolini's "Teorema" (1968) opposite Silvana Mangano, and "A Season in Hell" (1971). Stamp was considered for the title role of "Alfie" (1966), but turned it down in favour of "Modesty Blaise" (1966).


title: Terence Stamp

text: His subsequent film credits included "The Mind of Mr. Soames" (1970), "A Season in Hell" (1971), "Meetings with Remarkable Men" (1979), and "The Hit" (1984), which won a Mystfest Award for Best Actor, shared with John Hurt and Tim Roth. Also in 1984, he had the opportunity to play the Devil in a cameo in "The Company of Wolves". He also appeared in "Link" (1986), "Legal Eagles" (1986), "The Sicilian" (1987), and a cameo as Sir Larry Wildman in "Wall Street" (1987). He played the ranch owner, John Tunstall, in "Young Guns" (1988). His film "Beltenebros" (1992) (aka "Prince of Shadows"), was awarded the Silver Bear at the 42nd Berlin International Film Festival. Stamp began his fourth decade as an actor wearing some of the choicest of Tim Chappel's Academy Award-winning costumes for the comedy "The Adventures of Priscilla, Queen of the Desert" (1994) which co-starred Guy Pearce and Hugo Weaving.


title: Terence Stamp

text: In 1999, Stamp played a lead role in "The Limey" to widespread critical acclaim at the Cannes Film Festival. For his performance, Stamp received nominations for Best Male Lead at the 2000 Independent Spirit Awards and for Best British Actor at the London Film Critics' Circle (ALFS) Awards. Also in 1999, Stamp appeared in the blockbuster "" as Chancellor Finis Valorum (an experience he later described as 'boring'), followed by "Bowfinger" (1999) and "Red Planet" (2000). He also appeared in Damian Pettigrew's award-winning documentary, "" (2002), offering ideas into the mind and working methods of Italian director Federico Fellini with whom Stamp had worked in the 1960s.


title: Terence Stamp

text: Stamp portrayed the Kryptonian supervillain General Zod in Richard Donner's "Superman" (1978), in which he appeared in a scene with Marlon Brando. The film and its first sequel were originally conceived as one film, with Zod and his evil conspirators returning later in the film to challenge Superman, but the screenplay was so long that the producers elected to split it into two parts. Both parts began shooting simultaneously, but production on the sequel was halted partway through due to budget and time constraints. Stamp reappeared as General Zod in the second part, "Superman II" (1980), as the movie's primary villain. Donner was replaced as director on the sequel with Richard Lester, who completed the film using portions of Donner's original footage combined with newly filmed scenes. "Total Film" magazine ranked Stamp's portrayal of General Zod #32 on their "Top 50 Greatest Villains of All Time" list in 2007.


title: Terence Stamp

text: On the occasion of Superman's fiftieth anniversary in 1988, Stamp introduced the BBC Radio special "Superman On Trial", which was produced by Dirk Maggs and starred Stuart Milligan as Superman. In 2003, Stamp returned to the "Superman" franchise in a new role, by portraying the voice of Clark Kent's biological father Jor-El in the WB/CW television series "Smallville". He also provided the scream of Zod (being exorcised from the body of Lex Luthor) in the sixth-season premiere episode "Zod". In 2006, he appeared as Zod once again in "" (a retooled version of the 1980 film which features footage shot by Donner, the film's original director).


title: Terence Stamp

text: In recent years, Stamp has appeared in the films "Ma femme est une actrice" (aka "My Wife Is An Actress", 2001), "My Boss's Daughter" (2003), Disney's "The Haunted Mansion" (2003), and the superhero fantasy "Elektra" (2005). In 2008, he appeared in the film remake of the spy comedy "Get Smart"; another comedy about the man who says yes to everything "Yes Man", opposite Jim Carrey; with Angelina Jolie, James McAvoy and Morgan Freeman in "Wanted"; and with Tom Cruise in "Valkyrie", based on the true story of Colonel Claus von Stauffenberg's failed attempt to assassinate Adolf Hitler.


title: Terence Stamp

text: Entering in the 2010s, Stamp appeared in "The Adjustment Bureau" (2011), an American romantic science fiction thriller film loosely based on the Philip K. Dick short story, "Adjustment Team", opposite Matt Damon. In 2012, Stamp appeared in the Peter Serafinowicz-directed music video for the Hot Chip song "Night & Day", portrayed a grumpy husband called Arthur in Paul Andrew Williams' "Song for Marion" (2012), opposite Gemma Arterton and a heist comedy "The Art of the Steal" (2013), with Kurt Russell, Matt Dillon and Jay Baruchel.


title: Terence Stamp

text: In 2014, Stamp appeared in Tim Burton's drama film "Big Eyes", with Amy Adams and Christoph Waltz. In 2016, Stamp appeared in another Tim Burton film, "Miss Peregrine's Home for Peculiar Children", where played Abe, the grandfather of the film's protagonist Jake.


title: Terence Stamp

text: Stamp's next project was "Crooked House" (2017), directed by Gilles Paquet-Brenner and starring Christina Hendricks, Gillian Anderson and Glenn Close. He also appears in George Mendeluk's "Bitter Harvest", opposite Max Irons, Samantha Barks, Barry Pepper, and Aneurin Barnard.


title: Terence Stamp

text: In addition to his acting career, Terence Stamp is an accomplished writer and author. He has published three volumes of his memoirs including "Stamp Album" (written in tribute to his late mother), a novel entitled "The Night", and a cookbook co-written with Elizabeth Buxton to provide alternative recipes for those who are wheat- and lactose-intolerant. Stamp's recent projects include the video game "", where he voiced the villainous cult leader Mankar Camoran; and the films "Zombie Island" and "These Foolish Things". Stamp voiced the Prophet of Truth in "Halo 3", replacing Michael Wincott. In 2005, Stamp also narrated the BBC Four documentary "Jazz Britannia", which chronicles the evolution of British jazz music.


title: Terence Stamp

text: Stamp read the book "Perfect Brilliant Stillness" by David Carse for SilkSoundBooks. In his introductory reading, Stamp describes his love for this book by saying, "Greater love hath no man". Stamp appeared in the music video for "At the Bottom of Everything" by Bright Eyes. Stamp appeared as the featured 'castaway' on BBC Radio's long-running "Desert Island Discs" in June 1987, and made a second appearance in March 2006 with a different selection of music.


title: Terence Stamp

text: In 2002 Stamp provided the narration for "History of Football: The Beautiful Game", a series on all aspects of the world's most popular sport. Stamp attended every England game (including the final) at the 1966 FIFA World Cup, and in July 2016 he narrated "1966 – A Nation Remembers" shown on ITV, marking the 50th anniversary of England's World Cup victory.


title: Terence Stamp

text: On 7 July 2007, Stamp gave a speech on climate change at the British leg of Live Earth in Wembley Stadium before introducing Madonna. His memoir, "The Ocean Fell into the Drop", was published by Repeater Books in 2017. Stamp also narrated the BBC's "The Story of Only Fools and Horses" in 2017.


title: Terence Stamp

text: In the 1960s, Stamp shared a house with actor Michael Caine in Wimpole Street, London, before and during their rise to fame. In his autobiography, "What's it All About", Caine stated "I still wake up sweating in the night as I see Terence agreeing to accept my advice to take the role in "Alfie"".


title: Terence Stamp

text: Stamp received extensive media coverage of his romances in the 1960s with film star Julie Christie and supermodel Jean Shrimpton. He and Shrimpton were one of the most-photographed couples of Mod London. After Shrimpton ended her relationship with Stamp, he moved to India and spent time at the ashram of Krishnamurti.


title: Terence Stamp

text: Stamp's brother Chris became a rock music impresario credited with helping to bring The Who to prominence during the 1960s and co-founding Track Records.


title: Terence Stamp

text: In 1984, the band The Smiths released their third single, "What Difference Does It Make?" The single cover was a photograph taken on the set of the film "The Collector" (but not depicted in the film). Originally, Stamp refused permission for the still to be used, and some pressings featured lead singer Morrissey in a re-enacted scene. In the re-enactment Morrissey is holding a glass of milk, as opposed to the chloroform pad of the original. Eventually, Stamp changed his mind, and the original cover was reinstated.


title: Terence Stamp

text: On New Year's Eve 2002, Stamp married at the age of 64. His 29-year-old bride was Elizabeth O'Rourke, whom Stamp first met in the mid-1990s at a chemist's shop in Bondi, New South Wales. Of Australian and Indian-Singaporean parentage, O'Rourke was brought up in Singapore before moving to Australia in her early twenties to study pharmacology. The couple divorced on the grounds of his "unreasonable behaviour" in April 2008.


title: Treasure Planet

text: Treasure Planet is a 2002 American animated science fiction action-adventure film produced by Walt Disney Feature Animation and distributed by Walt Disney Pictures. The 43rd Disney animated feature film, it is a science fiction adaptation of Robert Louis Stevenson's adventure novel "Treasure Island" (1883), and it is the third retelling of the story in an outer space setting, following "The Treasure Planet" (1982) and the miniseries "Treasure Island in Outer Space" (1987). It is the third Disney adaptation of the novel, following "Treasure Island" (1950) and "Muppet Treasure Island" (1996). In the film's setting, spaceships are powered by solar sails and resemble the 18th-century sailing vessels of the original "Treasure Island".


title: Treasure Planet

text: The film was co-written, co-produced and directed by John Musker and Ron Clements, and features the voices of Joseph Gordon-Levitt, Brian Murray, David Hyde Pierce, Martin Short, Roscoe Lee Browne, Emma Thompson, Michael Wincott, Laurie Metcalf, and Patrick McGoohan (in his final film role). The musical score was composed by James Newton Howard, while a couple of songs were written and performed by John Rzeznik. It marks Clements and Musker's first non-musical film since "The Great Mouse Detective" (1986). The duo pitched the concept for the film at the same time, where they worked on another Disney animated feature, "The Little Mermaid" (1989). It employs a novel technique of hand-drawn 2D traditional animation set atop 3D computer animation. With a budget of $140 million, it is the most expensive traditionally animated film to date.


title: Treasure Planet

text: "Treasure Planet" was premiered on Paris, France and Cinerama Dome in November 6 and 17, 2002, and received a wide theatrical release on November 27. It was the first film to be released simultaneously in regular and IMAX theaters. The film was a box-office bomb, earning $38 million in the United States and Canada and $110 million worldwide, but received generally positive reviews from critics and audiences. It was nominated for Best Animated Feature at the 75th Academy Awards, but lost to "Spirited Away" (2001). The film has gained a cult following.


title: Treasure Planet

text: On the planet Montressor, young Jim Hawkins is enchanted by stories of space pirate Captain Flint and his ability to strike suddenly and disappear without a trace, hiding his loot on the fabled "Treasure Planet". Twelve years later, Jim has grown into an aloof troublemaker after his father abandoned him. He reluctantly helps his mother Sarah run the Benbow Inn, and is caught by police after recklessly skysurfing with a rocket-powered sailboard. A spaceship crashes near the inn, and the dying pilot, Billy Bones, gives Jim a sphere and warns him to "beware the cyborg". Pirates attack, burning down the inn, and Jim flees with his mother and their dog-like friend, Dr. Delbert Doppler. Jim discovers that the sphere contains a holographic star map, leading to the location of Treasure Planet, and decides to seek out the legendary fortune.


title: Treasure Planet

text: Doppler commissions the ship RLS "Legacy", commanded by feline Captain Amelia and stone-skinned first mate Mr. Arrow. The motley crew is secretly led by half-robot cook John Silver, whom Jim suspects is the cyborg he was warned about. Sent to work in the galley, Jim is supervised by Silver and his shape-shifting pet, Morph, and they form a tenuous father-son relationship. When the ship encounters a supernova, Jim secures the crew's lifelines. As a black hole forms, ruthless insectoid crew member Scroop cuts Mr. Arrow's lifeline, sending him to his death. The ship rides the shock waves to safety, and Jim is framed for neglecting Arrow's lifeline, but is comforted by Silver.


title: Treasure Planet

text: Reaching Treasure Planet, Jim discovers the crew are indeed pirates led by Silver, and a mutiny erupts. Doppler, Amelia, and Morph abandon ship, and Jim retrieves the map, while Silver cannot bring himself to shoot Jim, allowing him to escape with the others. The group are shot down, injuring Amelia, and discover that the map is Morph in disguise, with the real map still on the ship. The group meet B.E.N., an abandoned navigational robot with knowledge of Flint and his treasure, but missing much of his memory. Cornered by the pirates, Jim, Morph, and B.E.N. hijack a longboat and return to the "Legacy" to retrieve the map. Scroop attacks them, and the artificial gravity is disabled; Scroop attempts to cut Jim loose, but Jim kicks him overboard into deep space. Returning, they are caught by Silver and his crew, who have already captured Doppler and Amelia.


title: Treasure Planet

text: Silver forces Jim to use the map, directing them to a portal that opens to any location in the universe, allowing Flint to conduct his raids. They open the portal to the core of Treasure Planet, which is actually an ancient machine Flint commandeered to stow his treasure, but trip a hidden sensor. As the pirates collect the loot, Jim finds the skeletal remains of Flint, holding the missing component to B.E.N.'s cognitive computer. He reinserts it, and B.E.N. immediately recalls that Flint rigged the planet to explode upon the treasure's discovery. As the planet collapses, Silver attempts to escape with a boatload of treasure, but abandons it to save Jim. The survivors board the "Legacy", which becomes damaged and unable to escape the planet in time. Jim rigs a makeshift sailboard and rides ahead, setting the portal to Montressor Spaceport as he and the others clear the planet's explosion.


title: Treasure Planet

text: Jim finds Silver below decks and allows him to escape, and Silver gives him Morph and a handful of treasure, to pay for rebuilding the inn, believing Jim will "rattle the stars". Sometime later, a party is hosted at the rebuilt Benbow Inn; Doppler and Amelia are married with children; B.E.N. has become a waiter at the inn; and Jim, matured under Silver's mentorship, has become an interstellar cadet, and sees an image of Silver in the clouds.


title: Treasure Planet

text: "Treasure Planet" took roughly four and a half years to create, but the concept for "Treasure Planet" (which was called "Treasure Island in Space" at the time) was originally pitched by Ron Clements in 1985 at the "Gong Show" meeting wherein he and John Musker also pitched "The Little Mermaid". The pitch was rejected by Michael Eisner, who knew Paramount Pictures was developing a "Star Trek" sequel with a "Treasure Island" angle (which eventually went unproduced). The idea was pitched again in 1989 following the release of "The Little Mermaid", but the studio still expressed disinterest. Following the release of "Aladdin", the idea was pitched for a third time, but Jeffrey Katzenberg, who was the chief of Walt Disney Studios at the time, "just wasn't interested" in the idea. Angered at the rejection, Clements and Musker approached Feature Animation chairman Roy E. Disney who backed the filmmakers and made his wishes known to Eisner, who in turn agreed that the studio should produce the movie. In 1995, their contract was re-negotiated to allow them to commence development on "Treasure Planet" when "Hercules" reached completion.


title: Treasure Planet

text: Since Musker and Clements wanted to be able to move "the camera around a lot like Steven Spielberg or James Cameron," the delay in production was beneficial since "the technology had time to develop in terms of really moving the camera." Principal animation for the film began in 2000 with roughly 350 crew members working on it. In 2002, Roy Conli estimated that there were around 1,027 crew members listed in the screen credits with "about four hundred artists and computer artists, about a hundred and fifty musicians and another two hundred technologists". According to Conli, Clements wanted to create a space world that was "warm and had more life to it than you would normally think of in a science fiction film", as opposed to the "stainless steel, blue, smoke coming from the bowels of heavily pipe laden" treatment of science fiction. In order to make the film "fun" by creating more exciting action sequences and because they believed that having the characters wear space suits and helmets "would take all the romance out of it", the crew created the concept of the "Etherium," an "outer space filled with atmosphere" and the characters wear 18 century clothing much like in the original Treasure Island.


title: Treasure Planet

text: Several changes were made late in the production to the film. The prologue of the film originally featured an adult Jim Hawkins narrating the story of Captain Flint in first person, but the crew considered this to be too "dark" and felt that it lacked character involvement. The crew also intended for the film to include a sequence showing Jim working on his solar surfer and interacting with an alien child, which was intended to show Jim's more sensitive side and as homage to "The Catcher in the Rye". Because of the intention to begin the film with a scene of Jim solar surfing, the sequence had to be cut.


title: Treasure Planet

text: Writer Rob Edwards stated that "it was extremely challenging" to take a classic novel and set it in outer space, and that they did away with some of the science fiction elements ("things like the metal space ships and the coldness") early on. Edwards goes on to say that they "did a lot of things to make the film more modern" and that the idea behind setting the film in outer space was to "make the story as exciting for kids now as the book was for kids then".


title: Treasure Planet

text: With regard to adapting the characters from the book to film, Ron Clements mentioned that the Jim Hawkins in the book is "a very smart, very capable kid", but they wanted to make Jim start out as "a little troubled kid" who "doesn't really know who he is" while retaining the aforementioned characteristics from the original character. This was change made after Joe Ranft suggested the idea. The "mentor figures" for Jim Hawkins in the novel were Squire Trelawney and Dr. Livesey, whom John Musker described as "one is more comic and the other's very straight"; these two characters were fused into Dr. Doppler. Clements also mentions that though the father-son relationship between Jim Hawkins and John Silver was present "to some degree" in the book, they wanted to emphasize it more in the film.


title: Treasure Planet

text: Terry Rossio, who worked on the script, later argued the filmmakers made a crucial mistake turning Jim Hawkins into an adolescent. ""Treasure Island", the book, is a boy's adventure, about a young cabin boy who matches wits with a crew of bloodthirsty pirates. All of the key scenes are made more dramatic by the fact that it's a young kid who is in danger... "Treasure Planet" made the kid into a young man. Which dilutes the drama of all the situations, start to finish... Instead of being an amazing and impressive kid, he became a petulant unimpressive teen."


title: Treasure Planet

text: Casting director Ruth Lambert held a series of casting auditions for the film in New York, Los Angeles, and London, but the crew already had some actors in mind for two of the major characters. The character of Dr. Doppler was written with David Hyde Pierce in mind, and Pierce was given a copy of the "Treasure Planet" script along with preliminary sketches of the character and the film's scenic elements while he was working on Pixar's "A Bug's Life" (1998). He stated that "the script was fantastic, the look was so compelling" that he accepted the role. Jeff Goldblum and Hugh Grant were also considered before Pierce secured the part. Likewise, the character of Captain Amelia was developed with the idea that Emma Thompson would be providing her voice. "We offered it to her and she was really excited," Clements said. Musker said, "This is the first action adventure character that Emma has ever played and she was pregnant during several of the sessions. She was happy that she could do all this action and not have to train for the part" There were no actors initially in mind for the characters of John Silver and Jim Hawkins; Brian Murray (John Silver) and Joseph Gordon-Levitt (Jim Hawkins) were signed after months of auditions. Gordon-Levitt stated that he was attracted to the role because "it's a Disney animated movie and Disney animated movies are in a class by themselves," and that "to be part of that tradition is unbelievable to me". Musker mentioned that Gordon-Levitt "combined enough vulnerability and intelligence and a combination of youthfulness but incompleteness" and that they liked his approach. Patrick McGoohan was cast as Billy Bones at the suggestion of Corey Burton who played the smaller role of Onus in the film after having done an impression of him for a temp track. It marked his final acting role.


title: Treasure Planet

text: Among the big-name actors, only Pierce and Short had experience with voice acting prior to the making of "Treasure Planet". Conli explained that they were looking for "really the natural voice of the actor", and that sometimes it was better to have an actor with no experience with voice work as he utilizes his natural voice instead of "affecting a voice". The voice sessions were mostly done without any interaction with the other actors, but Gordon-Levitt expressed a desire to interact with Murray because he found it difficult to act out most of the scenes between Jim Hawkins and John Silver alone.


title: Treasure Planet

text: While designing for "Treasure Planet", the crew operated on rule they call the "70/30 Law" (an idea that art director Andy Gaskill has credited to Ron Clements), which meant that the overall look of the film's artwork should be 70% traditional and 30% sci-fi. The overall look of "Treasure Planet" was based on the art style promoted by illustrators associated with the Brandywine School of Illustration (such as Howard Pyle and N.C. Wyeth), whose illustrations have been described by the film's crew as being the "classic storybook illustration," having a painterly feel to it, and being composed of a warm color palette.


title: Treasure Planet

text: There were around forty animators on the crew, and were further divided into teams; for example, sixteen animators were assigned to Jim Hawkins because he appeared on the screen the most, and twelve were assigned to John Silver. To ensure "solidity" in illustration and personality, each major character in the film had a team of animators led by one supervisor. Conli mentioned that the personalities of the supervisors affect the final character, citing Glen Keane (the supervisor for John Silver) as well as John Ripa (the supervisor for Jim Hawkins) as examples. The physical appearance, movements, and facial expressions of the voice actors were infused into the characters as well.


title: Treasure Planet

text: When asked if they drew inspiration from the previous film adaptations of "Treasure Island" for the character designs, Glen Keane stated that he disliked looking at previous portrayals of the character in order to "clear his mind of stereotypes", but that he drew some inspiration for the manner by which Silver spoke from actor Wallace Beery, whom he "loved because of the way he talked out of the side of his mouth." For the characterization and design for Jim Hawkins, John Ripa cited James Dean as an important reference because "there was a whole attitude, a posture" wherein "you felt the pain and the youthful innocence", and he also cited the film "Braveheart" because "there are a lot of close-ups on characters...who are going through thought processes, just using their eyes."


title: Treasure Planet

text: Animators also used maquettes, small statues of the characters in the film, as references throughout the animation process. Character sculptor Kent Melton mentioned that the first Disney film to use maquettes was "Pinocchio" (1940), and that this paved the way to the formation of an entire department devoted to character sculpting. Keane noted that maquettes are not just supposed to be "like a mannequin in a store", but rather has to be "something that tells you [the character's] personality" and that maquettes also helped inspire the way actors would portray their roles.


title: Treasure Planet

text: The animators took "Deep Canvas", a technology which they had initially developed for "Tarzan" (1999), and came up with a process they called "Virtual Sets," wherein they created entire 360 degree sets before they began staging the scenes. They combined this process with traditionally-drawn characters in order to achieve a "painted image with depth perception" and enabled the crew to place the camera anywhere in the set and maneuver it as they would maneuver a camera for a live-action film. In order to test how a computer-generated body part (specifically John Silver's cyborg arm) would mesh with a traditionally animated character, the crew took a clip of Captain Hook from "Peter Pan" (1953) and replaced his arm with the cyborg arm.


title: Treasure Planet

text: One of the film's goals was to blend different mediums of animation into one film to have such a seamless finish to the point you could not tell the difference between what was two-dimensional hand drawing or computer-generated 3D animations and environments. For the animation of the "Treasure Planet", there are three main elements that were essential to the production of this film. The traditional 2D character animation that Disney is known for, three-dimensional character animation, and the computer-generated or CG environments.


title: Treasure Planet

text: The "70/30 Law" of "70% traditional and 30% sci-fi" was not only applied to the visual designs for the film, but also for the sound effects and music. Sound designer Dane Davis mentioned that he and his team "scoured hobby shops and junk stores for antique windup toys and old spinning mechanisms" in order to create the sound effects for John Silver to "avoid sounding slick or sci-fi". The team did some experimentation with the sound used in dialogues, especially with the robot B.E.N., but opted to keep Short's natural voice because everything they tried "affected his comedy", and "the last thing you want to do in a story like this is affect performances".


title: Treasure Planet

text: The music from the film is largely orchestral in nature, although it includes two moderately successful pop singles ("I'm Still Here" and "Always Know Where You Are") from The Goo Goo Dolls frontman John Rzeznik and British pop-rock group, BBMak. Both songs were written and performed by John Rzeznik in the film, but BBMak recorded "Always Know Where You Are" for the soundtrack. The score was composed by James Newton Howard, who said that the score is "very much in the wonderful tradition of Korngold and Tiomkin and Steiner." The score has been described as a mixture of modern "classical style" music in the spirit of "Star Wars" and Celtic music. Scottish fiddler Alasdair Fraser is credited as the co-composer of the track "Silver Leaves", and is also listed as a soloist in the film's credits. Walt Disney Records released the film's soundtrack album on November 19, 2002. Jerry Goldsmith was also considered to compose the score.


title: Treasure Planet

text: In the April of 2002, a teaser trailer for "Treasure Planet" was officially released online. It would then debut in theaters within the next few weeks, starting with "Spider-Man" on May 3, 2002, followed by "" two weeks later. Prior to and during its theatrical run, "Treasure Planet" had promotional support from McDonald's, Pepsi-Cola, Dreyer's, and Kellogg Company. McDonald's included promotional items such as action figures and puzzles in their Happy Meals and Mighty Meals, Pepsi-Cola placed promotional film graphics onto the packaging of a number of their soft drinks (Mountain Dew, Code Red Sierra Mist, Mug Root Beer, Orange Slice, and Lipton Brisk), Dreyer's used their delivery truck panels to promote ice cream flavors inspired by the film (such as "Galactic Chocolate" and "Vanilla Treasure"), and Kellog included film-branded spoons in their cereal boxes. Hasbro also released a lineup of "Treasure Planet" action figures and toys.


title: Treasure Planet

text: "Treasure Planet" held its world premiere at the Cinerama Dome in Hollywood on November 17, 2002, though it was also screened in Paris, France on November 6, 2002. The film is "the first major studio feature" to be released in regular and IMAX theaters simultaneously; this was done in the light of the success of Disney films that were re-released in IMAX format, such as "Beauty and the Beast" and "Fantasia 2000". Dick Cook, then-chairman of Walt Disney Studios, also mentioned that the simultaneous release was a good way to distinguish themselves during the competitive holiday season.


title: Treasure Planet

text: "Treasure Planet" was released on VHS and DVD in the United States and Canada by Walt Disney Home Entertainment on April 29, 2003. The DVD includes behind-the-scenes featurettes, a visual commentary, deleted scenes, teaser and theatrical trailers, the music video for the song "I'm Still Here" by John Rzeznik, and a virtual tour of the RLS Legacy. This THX certified release also contains an Easter egg in the Set Up menu. The viewer can highlight any listing and press right to reveal a clapperboard. Selecting this icon will reveal the DVD credits. The DVD retained the number one spot in "Billboard"s top sales for two weeks and the VHS was number one in sales for three weeks. By July 2003, "Treasure Planet" brought in $64 million in DVD sales.


title: Treasure Planet

text: It is officially the last Disney animated feature to be presented in fullscreen on its VHS release, as the VHS releases of "Brother Bear" (2003) and "Home on the Range" (2004) are presented in widescreen. However, the Disney Movie Club exclusive VHS release of "Chicken Little" (2005) is presented in fullscreen.


title: Treasure Planet

text: "Treasure Planet" would go down in history as one of the biggest animated box office bombs of all time. The film grossed over $12 million on its debut weekend, ranking at fourth place behind "Harry Potter and the Chamber of Secrets", "Die Another Day", and Disney's own "The Santa Clause 2". During the five-day Thanksgiving holiday weekend, the film grossed just $16.5 million worldwide. The film ended up grossing $38.1 million domestically and $71.4 million internationally for a $109.5 million worldwide gross. Its failure became apparent early on, as Disney's Buena Vista Distribution arm reduced its fourth-quarter earnings by $47 million within a few days of the film's release. In 2014, the "Los Angeles Times" listed the film as one of the most expensive box office failures of all time.


title: Treasure Planet

text: The review aggregator website Rotten Tomatoes reported that of critics have given the film a positive review based on reviews, with an average rating of . The site's critics consensus states "Though its characterizations are weaker than usual, "Treasure Planet" offers a fast-paced, beautifully rendered vision of outer space." Metacritic assigned the film a weighted average score of 60 out of 100 based on 30 reviews from mainstream critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.


title: Treasure Planet

text: Stephen Hunter of "The Washington Post", who gave it 4 stars out of 5, stated that the film "boasts the purest of Disney raptures: It unites the generations, rather than driving them apart". Leah Rozen of "People" stated that the film "has imagination, humor aplenty and moves briskly", and that "the animation, combining traditional and digital techniques, is ravishing." Claudia Puig of "USA Today" said that the film's most noteworthy feature is "the artful way it combines the futuristic and the retro", and went on to say that the film does not have the "charm of "Lilo & Stitch"" nor the "dazzling artistry of "Spirited Away"", but concluded that "Treasure Planet" is "a capable and diverting holiday season adventure for a family audience." Kim Hollis of Box Office Prophets stated that "there's plenty to recommend the film – the spectacular visuals alone make "Treasure Planet" a worthwhile watch," though expressing disappointment because she felt that the characters were "not all that creatively rendered".


title: Treasure Planet

text: Roger Ebert of the "Chicago Sun-Times" gave it 2.5 stars out of 4; he felt that a more traditional take on the story would have been "more exciting" and "less gimmicky". Andy Klein of "Daily Variety Gotham" complained about the script, describing it as "listless" and remarked, "If only its script were as amusing as its visuals." A. O. Scott of "The New York Times" described the film as "less an act of homage than a clumsy and cynical bit of piracy", and went on to say that it is "not much of a movie at all" and a "brainless, mechanical picture". Owen Gleiberman of "Entertainment Weekly" described the film as "all cutesy updated fripperies and zero momentum."


title: Treasure Planet

text: In 2012, Ricky Brigante of InsideTheMagic considered the film “may not hold up to the standards set by so many timeless musicals, (but) it’s an adventure that is worth seeing,"praising it for its themes and characters. In 2020, Petrana Radulovic, writing for "Polygon", praised the characters of Jim and Sliver, as well as the "I’m Still Here." sequence and stated, the film “is a visual delight, a time capsule of the early 2000s in a way that perhaps no other animated movie of the era is. It boldly, unapologetically pushes the visual limits of genre expectation in a way no Disney movie has since.”


title: Treasure Planet

text: The film was nominated for the Academy Award for Best Animated Feature along with "Lilo & Stitch", "Ice Age" and "", but all four films lost to "Spirited Away" (2001). It was also nominated for a number of Annie Awards.


title: Treasure Planet

text: Before "Treasure Planet" premiered in cinemas, Thomas Schumacher, then-president of Walt Disney Feature Animation, mentioned the possibilities of having direct-to-video releases for "Treasure Planet" as well as a television series. He stated that they already had "a story and some storyboards and concepts up and a script for what a sequel to ["Treasure Planet"] could be," and that they also had a "notion" of what the series would be.


title: Treasure Planet

text: Director Jun Falkenstein and screenwriter Evan Spiliotopoulos began early development on "Treasure Planet 2". In the sequel, Jim Hawkins and Kate, his love interest and classmate at the Royal Interstellar Academy, must team with Long John Silver to stop the villainous Ironbeard from freeing the inmates of Botany Bay Prison Asteroid. Willem Dafoe was set to voice Ironbeard. Tommy Walter was asked to write and perform songs for the film. However, the sequel was canceled when "Treasure Planet" did poorly at the box office.


title: Treasure Planet

text: Following the box office failure of "" (2001), Disneyland planned a second attempt to revive its Submarine Voyage ride with a "Treasure Planet" theme. These plans were scrapped due to the film experiencing the same financial performance as its predecessor. The attraction ultimately reopened in 2007 as the Finding Nemo Submarine Voyage, being themed to the 2003 Disney·Pixar animated film "Finding Nemo".


title: Treasure Planet

text: Several "Treasure Planet" video games were released. In October 2002, Disney Interactive released the naval strategy game "" for the PC, while in November, Sony Computer Entertainment released two separate "Treasure Planet" 3D platform action video games for the PlayStation (developed by Magenta Software) and PlayStation 2 (developed by Bizarre Creations). Bizarre Creations used Softimage's XSI engine for modeling, texturing and animation, and released a Making-of video on their Facebook page in 2008. A Game Boy Advance game based on the film was also released.


title: Treasure Planet

text: A series of games collectively called "Disney's Treasure Planet: Training Academy" (or "Disney's Treasure Planet Collection") was also released in 2002. It was composed of three games ("Broadside Blast", "Treasure Racer", and "Etherium Rescue"), and players with all three games could unlock a fourth game ("Ship Shape").


title: Treasure Planet

text: The game was met with mixed to negative reception upon release. GameRankings and Metacritic gave it a score of 66.43% and 68 out of 100 for the Game Boy Advance version; 64% and 61 out of 100 for the PlayStation 2 version; and 57.14% and 44 out of 100 for the PlayStation version.


title: Treasure Planet

text: On November 27, 2022, Disney D23 posted on Twitter: "It has been 20 years since Jim Hawkins rattled the stars in


title: Treasure Planet

text: @DisneyAnimation's Treasure Planet! Happy anniversary to this stellar film!" A limited commemorative pin was also released by the company for the anniversary as well as a Sketchbook Ornament. Many members of the crew who worked on the film including directors John Musker and Ron Clements as well as actor Corey Burton also celebrated its anniversary by doing a 3-hour livestream through several platforms in an event organized by fans of the film, which was planned in advance.


title: Bernie Taupin

text: Bernard John Taupin (born 22 May 1950) is an English songwriter, singer and visual artist. He is best known for his long-term collaboration with musician Elton John, a songwriting partnership that is one of the most successful in history. Taupin has written the lyrics for most of John's songs.


title: Bernie Taupin

text: In 1967, Taupin answered an advertisement in the music paper "New Musical Express" placed by Liberty Records, a company that was seeking new songwriters. John responded to the same advertisement and they were brought together, collaborating on many albums since. Taupin and John were inducted into the Songwriters Hall of Fame in 1992.


title: Bernie Taupin

text: Taupin was born at Flatters House, a farmhouse located between the village of Anwick and the town of Sleaford, in the southern part of Lincolnshire, England, the son of Robert Taupin and Daphne, daughter of John Leonard Palchett "Poppy" Cort, a University of Cambridge-educated classics teacher and former rector at Sale, Greater Manchester (then counted as in Cheshire). His paternal grandparents were French, the Taupin family having come to London at the turn of the twentieth century to set up a wine-importing business. Taupin's father was educated in Dijon and was employed as a stockman by a large farm estate near the town of Market Rasen. Taupin's mother spent most of the Second World War living in Switzerland; on her return to London, she worked as a governess for the Taupin family, in which connection she met Robert Taupin, whom she married in 1947. The family later moved to Rowston Manor, where they lived rent-free due to Robert's promotion to farm manager. This was a significant step up from Flatters farmhouse, which had no electricity.


title: Bernie Taupin

text: In 1959, Taupin's father decided to try independent farming, and the family moved to the north-Lincolnshire village of Owmby-by-Spital, where they lived at the run-down 10-acre Maltkiln Farm, the income from which derived from battery-farming chickens for eggs. The house lacked heating and up-to-date plumbing. Taupin's 11-year-younger brother, Kit, was born there.


title: Bernie Taupin

text: Unlike his older brother, Tony, who attended a grammar school (selective secondary school) and later went to university, Taupin was not a diligent student, although he showed an early flair for writing. At age 15, he left school and started work as a trainee in the print room of the local newspaper, "The Lincolnshire Standard", with aspirations of becoming a journalist. Taupin soon left that job, and spent the rest of his teenage years hanging out with friends, hitchhiking the country roads to attend youth club dances in the surrounding villages, playing snooker in the Aston Arms pub in Market Rasen and drinking. Taupin had worked at several part-time jobs when, at age 17, he answered the advertisement that eventually led to his collaboration with Elton John.


title: Bernie Taupin

text: Taupin's mother had studied French literature, and his maternal grandfather John Leonard Palchett "Poppy" Cort, a classics teacher and graduate of the University of Cambridge, instilled in him an appreciation for nature and literature and narrative poetry, both of which influenced his early lyrics.


title: Bernie Taupin

text: In 1967, Taupin answered an advertisement for talent that was placed in the "New Musical Express" by Liberty Records A&R man Ray Williams. Elton John answered the same advert. Neither Taupin nor John passed the audition for Liberty Records. Elton told the man behind the desk that he could not write lyrics, so the man handed Elton a sealed envelope from the pile of people submitting lyrics, which he opened on the London Underground ride home. The envelope contained poems by Taupin.


title: Bernie Taupin

text: The duo have collaborated on more than thirty albums to date. The team took some time off from each other for a while between 1977 and 1979, while Taupin worked with other songwriters, including Alice Cooper, and John worked with other lyricists, including Gary Osborne and Tom Robinson. (The 1978 single-only A side "Ego" was their only collaboration of note during the period, although John/Taupin B-sides such as "Lovesick" and "I Cry at Night" were issued with the respective singles "Song for Guy" and "Part-time Love" from the album "A Single Man".)


title: Bernie Taupin

text: John and Taupin resumed writing together on an occasional basis in 1980, with Taupin contributing lyrics to several songs on albums such as "The Fox", "21 at 33" and "Jump Up!". However, by 1983's "Too Low for Zero", the two renewed their partnership on a full-time basis and from that point forward Taupin was again John's primary lyricist for his solo releases. John often works with other lyricists on specific theatrical or film projects such as 1994's "The Lion King" and 2000's "Aida", both of which featured lyrics by Tim Rice, and 2005's "Billy Elliot", which has script and lyrics by the original film's screenwriter, Lee Hall. Hall also wrote the screenplay for Elton John biopic "Rocketman", in which Taupin features as a major character.