title: Jean-Luc Godard

text: From the beginning of his career, Godard included more film references in his movies than any of his New Wave colleagues. In "Breathless", his citations include a movie poster showing Humphrey Bogart—from "The Harder They Fall", his last film (whose expression the lead actor Jean-Paul Belmondo tries reverently to imitate)—visual quotations from films of Ingmar Bergman, Samuel Fuller, Fritz Lang, and others; and an onscreen dedication to Monogram Pictures, an American B-movie studio. Quotations from, and references to literature, include William Faulkner, Dylan Thomas, Louis Aragon, Rilke, Françoise Sagan, and Maurice Sachs. The film also contains citations in images or on the soundtrack—Mozart, Picasso, J. S. Bach, Paul Klee, and Auguste Renoir. "This first-person cinema invoked not the director's experience but his presence".


title: Jean-Luc Godard

text: Godard wanted to hire the American actress Jean Seberg, who was living in Paris with her husband François Moreuil, a lawyer, to play the American woman. Seberg had become famous in 1956 when Otto Preminger had chosen her to play Joan of Arc in his "Saint Joan", and had then cast her in his acidulous 1958 adaptation of "Bonjour Tristesse". Her performance in this film had not been generally regarded as a success—"The New York Times"s critic called her a "misplaced amateur"—but Truffaut and Godard disagreed. In the role of Michel Poiccard, Godard cast Belmondo, an actor he had already called, writing in "Arts" in 1958, "the Michel Simon and the Jules Berry of tomorrow." The cameraman was Raoul Coutard, choice of the producer Beauregard. Godard wanted "Breathless" to be shot like a documentary, with a lightweight handheld camera and a minimum of added lighting; Coutard had experience as a documentary cameraman while working for the French army's information service in Indochina during the French-Indochina War. Tracking shots were filmed by Coutard from a wheelchair pushed by Godard. Though Godard had prepared a traditional screenplay, he dispensed with it and wrote the dialogue day by day as the production went ahead. The film's importance was recognised immediately, and in January 1960 Godard won the Jean Vigo Prize, awarded "to encourage an auteur of the future". One reviewer mentioned Alexandre Astruc's prophecy of the age of the "caméra-stylo", the camera that a new generation would use with the efficacy with which a writer uses his pen—"here is in fact the first work authentically written with a "caméra-stylo".


title: Jean-Luc Godard

text: In 1960 Godard shot "Le petit soldat" ("The Little Soldier"). The cast included Godard's future wife Anna Karina. At this time Karina had virtually no experience as an actress. Godard used her awkwardness as an element of her performance. Godard and Karina were a couple by the end of the shoot. She appeared again, along with Belmondo, in Godard's first color film, "A Woman Is a Woman" (1961), their first project to be released. The film was intended as a homage to the American musical. Adjustments that Godard made to the original version of the story gave it autobiographical resonances, "specifically in regard to his relationship with Anna Karina." The film revealed "the confinement within the four walls of domestic life" and "the emotional and artistic fault lines that threatened their relationship".


title: Jean-Luc Godard

text: Godard's next film, "Vivre sa vie" ("My Life to Live", 1962), was one of his most popular among critics. Karina starred as Nana, an errant mother and aspiring actress whose financially strained circumstances lead her to the life of a streetwalker. It is an episodic account of her rationalisations to prove she is free, even though she is tethered at the end of her pimp's short leash. In one scene, within a café, she spreads her arms out and announces she is free to raise or lower them as she wishes.


title: Jean-Luc Godard

text: The film was a popular success and led to Columbia Pictures giving him a deal where he would be provided with $100,000 to make a movie, with complete artistic control.


title: Jean-Luc Godard

text: "Le petit soldat" was not released until 1963, the first of three films he released that year. "Le petit soldat" dealt with the Algerian War of Independence. It was banned by the French government for the next two years due to its political nature. The 'little soldier' Bruno Forestier was played by Michel Subor. Forestier was a character close to Godard himself, an image-maker and intellectual, 'more or less my spokesman, but not totally' Godard told an interviewer.


title: Jean-Luc Godard

text: The film begins on 13 May 1958, the date of the attempted putsch in Algeria, and ends later the same month. In the film, Bruno Forestier, a photojournalist who has links with a right-wing paramilitary group working for the French government, is ordered to murder a professor accused of aiding the Algerian resistance. He is in love with Veronica Dreyer, a young woman who has worked with the Algerian fighters. He is captured by Algerian militants and tortured. His organisation captures and tortures her. In making "Le petit soldat", Godard took the unusual step of writing dialogue every day and calling the lines to the actors during filming – a technique made possible by filming without direct sound and dubbing dialogue in post-production.


title: Jean-Luc Godard

text: His following film was "Les Carabiniers", based on a story by Roberto Rossellini, one of Godard's influences. The film follows two peasants who join the army of a king, only to find futility in the whole thing as the king reveals the deception of war-administrating leaders.


title: Jean-Luc Godard

text: His final film of 1963 and the most commercially successful film of his career was "Le Mépris" ("Contempt"), starring Michel Piccoli and one of France's biggest female stars, Brigitte Bardot. The film follows Paul (Piccoli), a screenwriter who is commissioned by Prokosch (Jack Palance), an arrogant American movie producer, to rewrite the script for an adaptation of Homer's "Odyssey", which the Austrian director Fritz Lang has been filming. Lang's 'high culture' interpretation of the story is lost on Prokosch, whose character is a firm indictment of the commercial motion picture hierarchy.


title: Jean-Luc Godard

text: In 1964, Godard and Karina formed a production company, Anouchka Films. He directed "Bande à part" ("Band of Outsiders"), another collaboration between the two and described by him as ""Alice in Wonderland" meets Franz Kafka." It follows two young men, looking to score on a heist, who both fall in love with Karina, and quotes from several gangster film conventions. While promoting the film, Godard wrote that according to D. W. Griffith, all one needs to make a film is "a girl and a gun."


title: Jean-Luc Godard

text: "Une femme mariée" ("A Married Woman", 1964) followed "Band of Outsiders". It was a slow, deliberate, toned-down black-and-white picture without a real story. The film was shot in four weeks and was "an explicitly and stringently modernist film". It showed Godard's "engagement with the most advanced thinking of the day, as expressed in the work of Claude Lévi-Strauss and Roland Barthes" and its fragmentation and abstraction reflected also "his loss of faith in the familiar Hollywood styles." Godard made the film during the planning phase for "Pierrot le Fou" (1965).


title: Jean-Luc Godard

text: In 1965, Godard directed "Alphaville", a futuristic blend of science fiction, film noir, and satire. Eddie Constantine starred as Lemmy Caution, a detective who is sent into a city controlled by a giant computer named Alpha 60. His mission is to make contact with Professor von Braun (Howard Vernon), a famous scientist who has fallen mysteriously silent, and is believed to be suppressed by the computer. His next film was "Pierrot le Fou" (1965). , an author, critic, and president of the Cannes Film Festival, called it both a "retrospective" and recapitulation. He solicited the participation of Jean-Paul Belmondo, by then a famous actor, in order to guarantee the necessary amount of funding for the expensive film. Godard said the film was "connected with the violence and loneliness that lie so close to happiness today. It's very much a film about France."


title: Jean-Luc Godard

text: "Masculin Féminin" (1966), based on two Guy de Maupassant stories, "La Femme de Paul" and "Le Signe", was a study of contemporary French youth and their involvement with cultural politics. An intertitle refers to the characters as "The children of Marx and Coca-Cola." Although Godard's cinema is sometimes thought to depict a wholly masculine point of view, Phillip John Usher has demonstrated how the film, by the way it connects images and disparate events, seems to blur gender lines.


title: Jean-Luc Godard

text: Godard followed with "Made in U.S.A" (1966), the source material for which was Richard Stark's "The Jugger". A classic New Wave crime thriller, it was inspired by American Noir films. Anna Karina stars as the anti-hero searching for her murdered lover and the film includes a cameo by Marianne Faithfull. A year later came "Two or Three Things I Know About Her" (1967), in which Marina Vlady portrays a woman leading a double life as housewife and prostitute, considered to be "among the greatest achievements in filmmaking."


title: Jean-Luc Godard

text: "La Chinoise" (1967) saw Godard at his most politically forthright so far. The film focused on a group of students and engaged with the ideas coming out of the student activist groups in contemporary France. Released just before the May 1968 events, the film is thought by some to have foreshadowed the student rebellions that took place.


title: Jean-Luc Godard

text: That same year, Godard made a more colourful and political film, "Week End". It follows a Parisian couple as they leave on a weekend trip across the French countryside to collect an inheritance. What ensues is a confrontation with the tragic flaws of the over-consuming bourgeoisie. The film contains an eight-minute tracking shot of the couple stuck in an unremitting traffic jam as they leave the city, cited as a technique Godard used to deconstruct bourgeois trends. Startlingly, a few shots contain extra footage from, as it were, before the beginning of the take (while the actors are preparing) and after the end of the take (while the actors are coming out of character). "Week End"<nowiki>'</nowiki>s enigmatic and audacious end title sequence, which reads "End of Cinema", appropriately marked an end to the narrative and cinematic period in Godard's filmmaking career.


title: Jean-Luc Godard

text: Godard was known for his "highly political voice", and regularly featured political content in his films. One of his earliest features, "Le petit soldat", which dealt with the Algerian War of Independence, was notable for its attempt to present the complexity of the dispute; the film was perceived as equivocating and as drawing a "moral equivalence" between the French forces and the National Liberation Front. Along these lines, "Les Carabiniers" presents a fictional war that is initially romanticised in the way its characters approach their service, but becomes a stiff anti-war metonym. In addition to the international conflicts to which Godard sought an artistic response, he was also very concerned with the social problems in France. The earliest and best example of this is Karina's potent portrayal of a prostitute in "Vivre sa vie".


title: Jean-Luc Godard

text: In 1960s Paris, the political milieu was not overwhelmed by one specific movement. There was, however, a distinct post-war climate shaped by various international conflicts such as colonialism in North Africa and Southeast Asia. Godard's Marxist disposition did not become abundantly explicit until "La Chinoise" and "Week End", but is evident in several films—namely "Pierrot" and "Une femme mariée".


title: Jean-Luc Godard

text: Godard was accused by some of harbouring anti-Semitic views: in 2010, in the lead-up to the presentation of Godard's honorary Oscar, a prominent article in "The New York Times" by Michael Cieply drew attention to the idea, which had been circulating through the press in previous weeks, that Godard might be an anti-Semite, and thus undeserving of the accolade. Cieply makes reference to Richard Brody's book "Everything is Cinema: The Working Life of Jean-Luc Godard", and alluded to a previous, longer article published by the "Jewish Journal" as lying near the origin of the debate. The article also draws upon Brody's book, for example in the following quotation, which Godard made on television in 1981: "Moses is my principal enemy...Moses, when he received the commandments, he saw images and translated them. Then he brought the texts, he didn't show what he had seen. That's why the Jewish people are accursed."


title: Jean-Luc Godard

text: Immediately after Cieply's article was published, Brody made a clear point of criticising the "extremely selective and narrow use" of passages in his book, and noted that Godard's work approached the Holocaust with "the greatest moral seriousness". Indeed, his documentaries feature images from the Holocaust in a context suggesting he considers Nazism and the Holocaust as the nadir of human history. Godard's views become more complex regarding the State of Israel. In 1970, Godard travelled to the Middle East to make a pro-Palestinian film he didn't complete and whose footage eventually became part of the 1976 film "Ici et ailleurs". In this film, Godard seems to view the Palestinians' cause as one of many worldwide Leftist revolutionary movements. Elsewhere, Godard explicitly identified himself as an anti-Zionist but denied the accusations of anti-Semitism.


title: Jean-Luc Godard

text: Godard produced several pieces that directly address the Vietnam War. Furthermore, there are two scenes in "Pierrot le fou" that tackle the issue. The first is a scene that takes place in the initial car ride between Ferdinand (Belmondo) and Marianne (Karina). Over the car radio, the two hear the message "garrison massacred by the Viet Cong who lost 115 men". Marianne responds with an extended musing on the way the radio dehumanises the Northern Vietnamese combatants. The war is present throughout the film in mentions, allusions, and depictions in newsreel footage, and the film's style was affected by Godard's political anger at the war, upsetting his ability to draw from earlier cinematic styles.


title: Jean-Luc Godard

text: Notably, he also participated in "Loin du Vietnam" (1967). An anti-war project, it consists of seven sketches directed by Godard (who used stock footage from "La Chinoise"), Claude Lelouch, Joris Ivens, William Klein, Chris Marker, Alain Resnais, and Agnès Varda.


title: Jean-Luc Godard

text: Godard's engagement with German poet and playwright Bertolt Brecht stems primarily from his attempt to transpose Brecht's theory of epic theatre and its prospect of alienating the viewer ("Verfremdungseffekt") through a radical separation of the elements of the medium (theatre in Brecht's case, but in Godard's, film). Brecht's influence is keenly felt through much of Godard's work, particularly before 1980, when Godard used cinematic expression for specific political ends.


title: Jean-Luc Godard

text: For example, "Breathless"<nowiki>'</nowiki>s elliptical editing, which denies the viewer a fluid narrative typical of mainstream cinema, forces the viewers to take on more critical roles, connecting the pieces themselves and coming away with more investment in the work's content. In many of his most political pieces, specifically "Week-end", "Pierrot le Fou", and "La Chinoise", characters address the audience with thoughts, feelings, and instructions.


title: Jean-Luc Godard

text: A Marxist reading is possible with most if not all of Godard's early work. Godard's direct interaction with Marxism does not become explicitly apparent, however, until "Week End", where the name Karl Marx is cited in conjunction with figures such as Jesus Christ. A constant refrain throughout Godard's cinematic period is that of the bourgeoisie's consumerism, the commodification of daily life and activity, and man's alienation—all central features of Marx's critique of capitalism.


title: Jean-Luc Godard

text: In an essay on Godard, philosopher and aesthetics scholar Jacques Rancière states, "When in "Pierrot le fou", 1965, a film without a clear political message, Belmondo played on the word 'scandal' and the 'freedom' that the Scandal girdle supposedly offered women, the context of a Marxist critique of commodification, of pop art derision at consumerism, and of a feminist denunciation of women's false 'liberation', was enough to foster a dialectical reading of the joke and the whole story." The way Godard treated politics in his cinematic period was in the context of a joke, a piece of art, or a relationship, presented to be used as tools of reference, romanticising the Marxist rhetoric, rather than being solely tools of education.


title: Jean-Luc Godard

text: "Une femme mariée" is also structured around Marx's concept of commodity fetishism. Godard once said that it is "a film in which individuals are considered as things, in which chases in a taxi alternate with ethological interviews, in which the spectacle of life is intermingled with its analysis". He was very conscious of the way he wished to portray the human being. His efforts are overtly characteristic of Marx, who in his "Economic and Philosophical Manuscripts of 1844" gives one of his most nuanced elaborations, analysing how the worker is alienated from his product, the object of his productive activity. Georges Sadoul, in his short rumination on the film, describes it as a "sociological study of the alienation of the modern woman".


title: Jean-Luc Godard

text: The period which spans from May 1968 into the 1970s has been given various labelsfrom his "militant" period, to his "radical" period, along with terms as specific as "Maoist" and as vague as "political". In any case, the period saw Godard employ consistent revolutionary rhetoric in his films and in his public statements.


title: Jean-Luc Godard

text: Inspired by the May 68 upheaval, Godard, alongside François Truffaut, led protests that shut down the 1968 Cannes Film Festival in solidarity with the students and workers. Godard stated there was not a single film showing at the festival that represented their causes. "Not one, whether by Milos [Forman], myself, [Roman] Polanski or François. There are none. We're behind the times."


title: Jean-Luc Godard

text: Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically." Though many of his films from 1968 to 1972 are feature-length films, they are low-budget and challenge the notion of what a film can be. In addition to abandoning mainstream filmmaking, Godard also tried to escape the cult of personality that had formed around him. He worked anonymously in collaboration with other filmmakers, most notably Jean-Pierre Gorin, with whom he formed the Dziga-Vertov cinema collective. During this period Godard made films in England, Italy, Czechoslovakia, Palestine, and the U.S., as well as France. He and Gorin toured with their work, attempting to create discussion, mainly on college campuses. This period came to a climax with the big-budget production "Tout Va Bien", which starred Yves Montand and Jane Fonda. Owing to a motorcycle accident that severely incapacitated Godard, Gorin ended up directing this most celebrated of their work together almost single-handedly. As a companion piece to "Tout va bien", the pair made "Letter to Jane", a 50-minute "examination of a still" showing Jane Fonda visiting with the Viet Cong during the Vietnam War. The film is a deconstruction of Western imperialist ideology. This was the last film that Godard and Gorin made together.


title: Jean-Luc Godard

text: In 1978 Godard was commissioned by the Mozambican government to make a short film. During this time his experience with Kodak film led him to criticise the film stock as "inherently racist" since it did not reflect the variety, nuance or complexity in dark brown or dark skin. This was because Kodak Shirley cards were only made for Caucasian subjects, a problem that was not rectified until 1995.


title: Jean-Luc Godard

text: In 1972, Godard and his life partner, Swiss filmmaker, Anne-Marie Miéville started the alternative video production and distribution company Sonimage, based in Grenoble. Under Sonimage, Godard produced "Comment ca va", "Numéro Deux" (1975) and "Sauve qui peut (la vie)" (1980). In 1976, Godard and Miéville, his wife, collaborated on a series of innovative video works for European broadcast television, titled "Six fois deux/Sur et sous la communication" (1976) and "France/tour/détour/deux/enfants" (1978). From the time that Godard returned to mainstream filmmaking in 1980, Anne-Marie Miéville remained an important collaborator.


title: Jean-Luc Godard

text: After the events of May 1968, when the city of Paris saw a total upheaval in response to the "authoritarian de Gaulle", and Godard's professional objective was reconsidered, he began to collaborate with like-minded individuals in the filmmaking arena. His most notable collaborator was Jean-Pierre Gorin, a Maoist student of Louis Althusser, Michel Foucault, and Jacques Lacan (who later became a professor of Film Studies at the University of California at San Diego), with a passion for cinema that attracted Godard's attention.


title: Jean-Luc Godard

text: Between 1968 and 1973, Godard and Gorin collaborated to make a total of five films with strong Maoist messages. The most prominent film from the collaboration was "Tout Va Bien" (1972). The film starred Jane Fonda, who was, at the time, the wife of French filmmaker Roger Vadim. Fonda was at the height of her acting career, having won an Academy Award for her performance in "Klute" (1971), and has gained notoriety as a left-wing anti-war activist. The male lead was the legendary French singer and actor Yves Montand, who had appeared in prestigious films by Georges Clouzot, Alain Résnais, Sacha Guitry, Vincente Minelli, George Cukor, and Costa-Gavras.


title: Jean-Luc Godard

text: The small group of Maoists that Godard had brought together, which included Gorin, adopted the name Dziga Vertov Group. Godard had a specific interest in Dziga Vertov, a Soviet filmmakerwho was known for a series of radical documentaries titled "Kino Pravda" (literally, "film truth") and the late silent-era feature film "Man with a Movie Camera" (1929). Vertov was also a contemporary of both Soviet montage theorists, notably Sergei Eisenstein, and Russian constructivist and avant-garde artists such as Alexander Rodchenko and Vladimir Tatlin. Part of Godard's political shift after May 1968 was toward a proactive participation in the class struggle and he drew inspiration from filmmakers associated with the Russian Revolution.


title: Jean-Luc Godard

text: Towards the end of this period of his life, Godard began to feel disappointed with his Maoist ideals and was abandoned by his wife at the time, Anne Wiazemsky. In this context, according to biographer Antoine de Baecque, Godard attempted suicide on two occasions.


title: Jean-Luc Godard

text: Godard returned to somewhat more traditional fiction with "Sauve qui peut (la vie)" (1980), the first of a series of more mainstream films marked by autobiographical currents: it was followed by "Passion", "Lettre à Freddy Buache" (both 1982), "Prénom Carmen" (1983), and "Grandeur et décadence d'un petit commerce de cinéma" (1986). There was, though, another flurry of controversy with "Je vous salue, Marie" (1985), which was condemned by the Roman Catholic Church for alleged heresy, and also with "King Lear" (1987), an essay film on William Shakespeare and language. Also completed in 1987 was a segment in the film "Aria" which was based loosely from the plot of Armide; it is set in a gym and uses several arias by Jean-Baptiste Lully from his famous "Armide".


title: Jean-Luc Godard

text: His later films were marked by great formal beauty and frequently a sense of requiem: "Nouvelle Vague" ("New Wave", 1990), the autobiographical "JLG/JLG, autoportrait de décembre" ("JLG/JLG: Self-Portrait in December", 1995), and "For Ever Mozart" (1996). "Allemagne année 90 neuf zéro" ("Germany Year 90 Nine Zero", 1991) which is a quasi-sequel to "Alphaville", but done with an elegiac tone and focus on the inevitable decay of age. In 1990, Godard was presented with a special award from the National Society of Film Critics. Between 1988 and 1998, he produced the multi-part series "Histoire(s) du cinéma", a monumental project which combined all the innovations of his video work with a passionate engagement in the issues of twentieth-century history and the history of film itself.


title: Jean-Luc Godard

text: In 2001, "Éloge de l'amour" ("In Praise of Love") was released. The film is notable for its use of both film and video—the first half captured in 35 mm black and white, the latter half shot in color on DV—and subsequently transferred to film for editing. The film is also noted for containing themes of ageing, love, separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the four stages of love. In "Notre musique" (2004), Godard turned his focus to war, specifically, the war in Sarajevo, but with attention to all war, including the American Civil War, the war between the U.S. and Native Americans, and the Israeli–Palestinian conflict. The film is structured into three Dantean kingdoms: Hell, Purgatory, and Paradise. Godard's fascination with paradox is constant in the film. It opens with a long, ponderous montage of war images that occasionally lapses into the comic; Paradise is shown as a lush wooded beach patrolled by U.S. Marines.


title: Jean-Luc Godard

text: Godard's film "Film Socialisme" (2010) premiered in the Un Certain Regard section at the 2010 Cannes Film Festival. It was released theatrically in France in May 2010. Godard was rumoured to be considering directing a film adaptation of Daniel Mendelsohn's "", an award-winning book about the Holocaust. In 2013, Godard released the short "Les trois désastres" ("The Three Disasters") as part of the omnibus film "3X3D" with filmmakers Peter Greenaway and Edgar Pera. "3X3D" premiered at the 2013 Cannes Film Festival. His 2014 film "Goodbye to Language", shot in 3-D, revolves around a couple who cannot communicate with each other until their pet dog acts as an interpreter for them. The film makes reference to a wide range of influences such as paintings by Nicolas de Staël and the writing of William Faulkner, as well as the work of mathematician Laurent Schwartz and dramatist Bertolt Brecht—one of Godard's most important influences. It was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival, where it won the Jury Prize. Godard's non-traditional script for the film was described as a collage of handwritten text and images, and a "artwork" itself.


title: Jean-Luc Godard

text: In 2015 J. Hoberman reported that Godard was working on a new film. Initially titled "Tentative de bleu", in December 2016 Wild Bunch co-chief Vincent Maraval stated that Godard had been shooting "Le livre d'image" ("The Image Book") for almost two years "in various Arab countries, including Tunisia" and that it is an examination of the modern Arab World. "Le livre d'image" was first shown in November 2018. On 4 December 2019, an art installation piece created by Godard opened at the Fondazione Prada in Milan. Titled "Le Studio d'Orphée", the installation is a recreated workspace and includes editing equipment, furniture, and other materials used by Godard in post-production.


title: Jean-Luc Godard

text: In 2020 Godard told "Les Inrockuptibles" that his new film would be about a Yellow vest protestor, and indicated that along with archival footage "there will also be a shoot. I don't know if I will find what are called actors...I would like to film the people we see on news channels but by plunging them into a situation where documentary and fiction come together." In March 2021 he said that he was working on two new films during a virtual interview at the International Film Festival of Kerala. Godard stated "I'm finishing my movie life yes, my moviemaker life by doing two scripts...After, I will say, 'Goodbye, cinema.


title: Jean-Luc Godard

text: In July 2021, cinematographer and long time collaborator Fabrice Aragno said that work on the films was going slowly and Godard was more focused on "books, on the ideas of the film, and less in the making." Godard suggested making a film like Chris Marker's "La Jetée" in order to "come back to his origin." Much of the film would be shot on 35mm, 16mm and 8mm film, but the expense of celluloid film stock and the COVID-19 pandemic stalled production. Aragno expected to shoot test footage that fall. He added that the second film was for the Arte channel in France.


title: Jean-Luc Godard

text: Aragno said that he didn't think that either film would be Godard's last film, adding "I say this often that "Éloge de l'amour" was the beginning of his last gesture. These five, or six or seven films are connected to each other in a way, they're not just full stops. It's not just one painting."


title: Jean-Luc Godard

text: Godard has been recognised as one of the most influential filmmakers of the 20th century and one of the leaders of the French New Wave.


title: Jean-Luc Godard

text: Filmmaker Quentin Tarantino named a production company he founded A Band Apart, a reference to Godard's 1964 film.


title: Jean-Luc Godard

text: Italian director Bernardo Bertolucci included a homage to "Band of Outsiders" in his film "The Dreamers".


title: Jean-Luc Godard

text: Godard's works and innovations were praised by notable directors such as Michelangelo Antonioni, Satyajit Ray, and Orson Welles. Fritz Lang agreed to take part in Godard's film Le Mépris due to his admiration of Godard as a director. Akira Kurosawa listed 'Breathless' as one of his 100 favourite films. Political activist, critic, and filmmaker Tariq Ali listed Godard's film Tout Va Bien as one of his ten favourite films of all time in the 2012 Sight and Sound critics' poll. American film critic Armond White listed Godard's film Nouvelle Vague as one of his top ten favourite films in the same poll.


title: Jean-Luc Godard

text: Godard's films have influenced and inspired many directors, including Martin Scorsese, Quentin Tarantino, Francis Ford Coppola, George Lucas, David Lynch, David Cronenberg, Peter Bogdanovich, Brian De Palma, Oliver Stone, William Friedkin, Steven Soderbergh, Andrei Tarkovsky, Andrei Konchalovsky, Alejandro Jodorowsky, Abbas Kiarostami, Lars von Trier, Atom Egoyan, D. A. Pennebaker, Claire Denis, Robert Altman, Jim Jarmusch, Takeshi Kitano, Gaspar Noé, John Waters, Mamoru Oshii, Shane Carruth, Stan Brakhage, Ken Loach, Kevin Macdonald, Abel Ferrara, Luca Guadagnino, Terence Davies, Paul Schrader, Rainer Werner Fassbinder, Wong Kar-wai, Edward Yang, Hou Hsiao-hsien, Wim Wenders, Chantal Akerman, Bela Tarr, Theo Angelopoulos, Raoul Peck, Glauber Rocha, Fernando Solanas, Octavio Getino, Emir Kusturica, Terrence Malick, Paul Thomas Anderson, Wes Anderson, Richard Linklater, Harmony Korine, Darren Aronofsky, Bernardo Bertolucci, Dušan Makavejev, Marco Bellocchio, and Pier Paolo Pasolini.


title: Jean-Luc Godard

text: Four of Godard's films are included on the 2022 edition of the British Film Institute (BFI) Sight and Sound magazine list of 100 Greatest Films: Breathless (13), Le Mépris (21), Pierrot le Fou (42), and Histoire(s) du cinéma (48).


title: Jean-Luc Godard

text: The 60th New York Film Festival which was held in 2022 paid tribute to Goddard who died earlier that year.


title: Jean-Luc Godard

text: Godard was married to two of his leading women: Anna Karina (1961–1965) and Anne Wiazemsky (1967–1979). Beginning in 1970, he collaborated personally and professionally with Anne-Marie Miéville. Godard lived with Miéville in Rolle, Switzerland, from 1978 onwards, and was described by his former wife Karina as a "recluse". Godard married Miéville in the 2010s, according to Patrick Jeanneret, an adviser to Godard.


title: Jean-Luc Godard

text: His relationship with Karina in particular produced some of his most critically acclaimed films, and their relationship was widely publicised: "The Independent" described them as "one of the most celebrated pairings of the 1960s". "Filmmaker" magazine called their collaborations "arguably the most influential body of work in the history of cinema." Late in life, however, Karina said they no longer spoke to each other.


title: Jean-Luc Godard

text: In 2017, Michel Hazanavicius directed a film about Godard, "Redoubtable", based on the memoir "One Year After" (; 2015) by Wiazemsky. It centers on his life in the late 1960s, when he and Wiazemsky made films together. The film premiered at the Cannes Film Festival in 2017. Godard said that the film was a "stupid, stupid idea".


title: Jean-Luc Godard

text: Agnes Varda's 2017 documentary "Faces Places" culminates with Varda and co-director JR knocking on Godard's front door in Rolle for an interview. Godard agreed to the meeting but he "stands them up". His nephew and assistant Paul Grivas directed the 2018 documentary "Film Catastrophe", which included behind-the-scenes footage, shot on the "Costa Concordia" cruise ship by Grivas during the making of "Film Socialism", of Godard working with actors and directing the film. Godard participated in the 2022 documentary "". Director Mitra Farahani initiated an email exchange between Godard and Iranian filmmaker Ebrahim Golestan, with emailed text letters from Golestan and "videos, images, and aphorism" responses from Godard.


title: Jean-Luc Godard

text: At the age of 91, Godard died on 13 September 2022, at his home in Rolle. His death was reported as an assisted suicide procedure, which is legal in Switzerland. Godard's legal advisor said that he had "multiple disabling pathologies", but a family member said that "He was not sick, he was simply exhausted". Miéville was at his side when he died. His body was cremated and there was no funeral service.


title: Jean-Luc Godard

text: Godard had a lasting friendship with Manfred Eicher, founder and head of the German music label ECM Records. The label released the soundtracks of Godard's "Nouvelle Vague" (ECM NewSeries 1600–01) and "Histoire(s) du cinéma" (ECM NewSeries 1706). This collaboration expanded over the years, leading to Godard's granting ECM permission to use stills from his films for album covers, while Eicher took over the musical direction of Godard films such as "Allemagne 90 neuf zéro", "Hélas Pour Moi", "JLG", and "For Ever Mozart". Tracks from ECM records have been used in his films; for example, the soundtrack for "In Praise of Love" uses Ketil Bjørnstad and David Darling's album "Epigraphs" extensively. Godard also released on the label a collection of shorts he made with Anne-Marie Miéville called "Four Short Films" (ECM 5001).


title: UEFA Women's Euro 2022

text: The 2022 UEFA European Women's Football Championship, commonly referred to as UEFA Women's Euro 2022 or simply Euro 2022, was the 13th edition of the UEFA Women's Championship, the quadrennial international football championship organised by UEFA for the women's national teams of Europe. It was the second edition since it was expanded to 16 teams. The tournament was hosted by England, and was originally scheduled to take place from 7 July to 1 August 2021. However, the COVID-19 pandemic in Europe in early 2020 resulted in subsequent postponements of the 2020 Summer Olympics and UEFA Euro 2020 to summer 2021, so the tournament was rescheduled for 6 to 31 July 2022. England last hosted the tournament in 2005, which had been the final tournament to feature just eight teams.


title: UEFA Women's Euro 2022

text: Defending champions Netherlands, who won UEFA Women's Euro 2017 as hosts, were eliminated in the quarter-finals by France. Hosts England won their first UEFA Women's Championship title by beating Germany 2–1 after extra time in the final, held at Wembley Stadium in London. As winners, they will compete in the inaugural 2023 Women's Finalissima against Brazil, winners of the 2022 Copa América Femenina.


title: UEFA Women's Euro 2022

text: The video assistant referee (VAR), as well as goal-line technology, were used in the final tournament.


title: UEFA Women's Euro 2022

text: England were the only country to submit a bid before the deadline. They were confirmed as hosts at the UEFA Executive Committee meeting in Dublin, Republic of Ireland, on 3 December 2018.


title: UEFA Women's Euro 2022

text: A total of 48 UEFA nations entered the competition (including Cyprus which entered for the first time at senior women's level, and Kosovo which entered their first Women's Euro), and with the hosts England qualifying automatically, the other 47 teams competed in the qualifying competition to determine the remaining 15 spots in the final tournament. Different from previous qualifying competitions, the preliminary round had been abolished and all entrants started from the qualifying group stage. The qualifying competition consists of two rounds:


title: UEFA Women's Euro 2022

text: The draw for the qualifying group stage was held on 21 February 2019 in Nyon. The qualifying group stage took place from August 2019 to December 2020, while the play-offs took place in April 2021, previously scheduled for October 2020.


title: UEFA Women's Euro 2022

text: In February 2022, the Russian team was suspended following their country's invasion of Ukraine. UEFA later announced on 2 May 2022 that Russian teams were banned from every European competition, disqualifying Russia from the Women's Euro 2022. Portugal, whom Russia defeated in the play-off, would take part instead.


title: UEFA Women's Euro 2022

text: 14 of the 16 qualified teams had also taken part in the 2017 edition. Northern Ireland was the only team to make its debut at the 2022 finals. Finland meanwhile returned after missing the previous tournament. Scotland was the only team present in 2017 that failed to qualify for these finals apart from the banned Russia.


title: UEFA Women's Euro 2022

text: The 16 teams were drawn into four groups of four teams. The hosts were assigned to position A1 in the draw while the other teams were seeded according to their coefficient ranking following the end of the qualifying stage, calculated based on the following:


title: UEFA Women's Euro 2022

text: Meadow Lane in Nottingham and London Road in Peterborough were initially included on the list of stadiums when the Football Association submitted the bid to host the tournament. These were changed with the City Ground in Nottingham and St Mary's in Southampton due to UEFA requirements. The City Ground was replaced by Leigh Sports Village when the final list of venues was confirmed in August 2019. On 23 February 2020, Old Trafford in Trafford (Greater Manchester) was confirmed as the venue of the opening match featuring England, with Wembley Stadium to host the final. For Euro 2022, UEFA announced 10 venues.


title: UEFA Women's Euro 2022

text: Criticism arose regarding the geographical distribution of the host venues, with no stadiums being chosen in the North East or the Midlands. Stadium size was also criticised, with major complaints coming from Iceland's Sara Björk Gunnarsdóttir; the 7,000 capacity Etihad Academy Stadium being the main focus, which would be limited to 4,700 capacity for the tournament due to UEFA restrictions preventing the use of standing capacity. The decision to include the stadium was labelled "embarrassing" and "disrespectful", and did not reflect the growth of women's football. The Leigh Sports Village would also be restricted to 8,100 instead of its typical 12,000 capacity due to the same restrictions.


title: UEFA Women's Euro 2022

text: On 19 April 2022, UEFA announced the selected match officials for the tournament. On 27 April, Belgian official Ella De Vries was added as an assistant VAR.


title: UEFA Women's Euro 2022

text: Each national team had to submit a squad of 23 players, three of whom must be goalkeepers. If a player was injured or ill severely enough to prevent her participation in the tournament before her team's first match, she could be replaced by another player.


title: UEFA Women's Euro 2022

text: The provisional match schedule was confirmed by the UEFA Executive Committee during their meeting in Nyon, Switzerland on 4 December 2019.


title: UEFA Women's Euro 2022

text: In the group stage, teams were ranked according to points (3 points for a win, 1 point for a draw, 0 points for a loss), and if tied on points, the following tiebreaking criteria were applied, in the order given, to determine the rankings (Regulations Articles 18.01 and 18.02):


title: UEFA Women's Euro 2022

text: In the knockout stage, extra time and a penalty shoot-out were used to decide the winner if necessary.


title: UEFA Women's Euro 2022

text: UEFA's technical observer team was given the objective of naming a team of the best eleven players from the tournament. Four players from the winning England squad were named in the team as well as five from runners-up Germany.


title: UEFA Women's Euro 2022

text: The Player of the Tournament award was given to Beth Mead, who was chosen by UEFA's technical observers.


title: UEFA Women's Euro 2022

text: The Young Player of the Tournament award was open to players born on or after 1 January 1999. The inaugural award was given to Lena Oberdorf, as chosen by UEFA's technical observers.


title: UEFA Women's Euro 2022

text: The top scorer award, sponsored by Grifols, was given to the top scorer in the tournament. Beth Mead won the award with six goals scored in the tournament. Though she finished level with Alexandra Popp on goals, Mead had more assists in the tournament. The ranking was determined using the following criteria: 1) goals, 2) assists, 3) fewest minutes played, 4) goals in qualifying.


title: UEFA Women's Euro 2022

text: The Goal of the Tournament was decided by UEFA's Technical Observer panel. On 5 August 2022, UEFA announced that England forward Alessia Russo's goal against Sweden had been named the goal of the tournament.


title: UEFA Women's Euro 2022

text: The Technical Observer panel ranked a list of the top ten goals of the tournament, five of which were scored by England. Two goals each from Russo and Germany's Alexandra Popp were included:


title: UEFA Women's Euro 2022

text: Russo's goal against Sweden was also voted the Goal of the Tournament by fans on 5 August 2022; the top ten list was put to a fan vote, which produced a fan-voted top three. While the top goal selected by the Technical Observer panel was also voted the top goal by fans, the goals ranked tenth and ninth were voted as second and third by fans:


title: UEFA Women's Euro 2022

text: In September 2021, UEFA announced that the prize money for the UEFA Women's Euro 2022 championship will be €16 million, double the amount of the UEFA Women's Euro 2017 prize money.


title: UEFA Women's Euro 2022

text: The prize money is cumulative; as champions England also won all three of their group matches, they received a total of €2,085,000.


title: Sidemen (YouTube group)

text: The Sidemen is a British YouTube group consisting of Internet personalities KSI, Miniminter, Zerkaa, TBJZL, Behzinga, Vikkstar123, and W2S. The group produce videos of various challenges, sketches, and video game commentaries across their YouTube channels, which have a combined total of over 138 million subscribers .


title: Sidemen (YouTube group)

text: Some of the members knew each other before the group was formed. Bradley and Brown both attended Bexley Grammar School in London and Olatunji and Minter both attended Berkhamsted School in Hertfordshire.


title: Sidemen (YouTube group)

text: The group originates from a Rockstar Games Social Club group made on 19 October 2013 in "Grand Theft Auto Online", called "The Ultimate Sidemen", which included all the members except for Lewis. In January 2014, Bradley met Lewis while at a "FIFA" gaming event in New York City and invited him to join the group. Describing the group name, Minter said in a video that "A sideman is basically someone's bitch who just follows them around [...] I was basically JJ's bitch that followed him around."


title: Sidemen (YouTube group)

text: In February 2014, Olatunji, Minter, Bradley, and Barn moved into a house together near London, which they referred to as the "Sidemen House", which allowed them to collaborate more often.


title: Sidemen (YouTube group)

text: On 1 December 2020, the group's eponymous YouTube channel surpassed 10 million subscribers. Each member of the group was awarded their own Diamond Play Button by YouTube to mark their milestone.


title: Sidemen (YouTube group)

text: The group has five YouTube channels, Sidemen, MoreSidemen, SidemenReacts, SidemenShorts and Sidemen en Español across which it publishes a variety of videos including challenges, sketches and video game commentaries.


title: Sidemen (YouTube group)

text: , the Sidemen channel has over 16.9 million subscribers and 4.4 billion views, MoreSidemen has over 7 million subscribers and 2.8 billion views, SidemenReacts has over 4.8 million subscribers and 1.7 billion views, and SidemenShorts has over 1.8 million subscribers and 1 billion views.


title: Sidemen (YouTube group)

text: On 18 June 2018, the group released a web television series titled "The Sidemen Show", available exclusively on YouTube Premium. It comprises seven 30-minute episodes filmed around the world alongside a number of celebrity guests.


title: Sidemen (YouTube group)

text: In March 2020, the Sidemen released a twenty-minute YouTube video titled "#StayHome". The video featured the Sidemen and more than one hundred other YouTube video creators and other celebrities raising awareness of the UK's "stay at home" campaign which aimed to reduce the spread of COVID-19 in the UK. All of the advertising revenue generated from the video was donated to the NHS.


title: Sidemen (YouTube group)

text: On 18 October 2016, the group released a book titled "Sidemen: The Book", published by Coronet Books, and embarked on a UK-wide promotional tour. A number one best-seller in the UK, the book sold 26,436 copies within the first three days of its release.


title: Sidemen (YouTube group)

text: In 2021, the Sidemen launched a subscription service known as Side+. They also launched a restaurant chain known as Sides, and a vodka known as XIX Vodka.


title: Sidemen (YouTube group)

text: The group has hosted four football events to raise money for various charitable causes. In all matches so far, the group's seven members and various affiliated YouTubers competed as Sidemen Football Club, while various other YouTubers competed as the YouTube Allstars. The first match, in 2016, was held at St Mary's Stadium, Southampton, raising over £110,000 for the Saints Foundation. All subsequent matches since were held at The Valley, London. The second and third matches, in 2017 and 2018, respectively raised £210,000 for the NSPCC and the Charlton Athletic Community Trust, and £65,747 for the Young Minds Trust and the Charlton Athletic Community Trust. The fourth match, in 2022, raised over £1,000,000 for CALM, Teenage Cancer Trust, Rays of Sunshine and M7 Education.


title: Hugo (film)

text: Hugo is a 2011 American adventure drama film directed and produced by Martin Scorsese, and adapted for the screen by John Logan. Based on Brian Selznick's 2007 book "The Invention of Hugo Cabret", it tells the story of a boy who lives alone in the Gare Montparnasse railway station in Paris in the 1930s, only to become embroiled in a mystery surrounding his late father's automaton and the pioneering filmmaker Georges Méliès.


title: Hugo (film)

text: "Hugo" is Scorsese's first film shot in 3D, about which the filmmaker remarked, "I found 3D to be really interesting, because the actors were more upfront emotionally. Their slightest move, their slightest intention is picked up much more precisely." The film was released in the United States on November 23, 2011.


title: Hugo (film)

text: "Hugo" received 11 Academy Award nominations (including Best Picture), more than any other film that year, winning five: Best Cinematography, Best Art Direction, Best Sound Mixing, Best Sound Editing, and Best Visual Effects. It was also nominated for eight BAFTAs, including a Best Director nomination (for Scorsese) and winning two, and was nominated for three Golden Globe awards, earning Scorsese his third Golden Globe Award for Best Director. Despite receiving acclaim from critics, the film was considered a box office failure, grossing just $185 million against its estimated $150 million budget.


title: Hugo (film)

text: In 1931 Paris, 12-year-old Hugo Cabret lives with his widowed father, a clockmaker who works at a museum. Hugo's father finds a broken automaton – a mechanical man created to write with a pen. He and Hugo try to repair it, documenting their work in a notebook. When his father dies in a fire, Hugo goes to live with his father's alcoholic brother, Uncle Claude, who maintains the clocks at Gare Montparnasse railway station. When Claude goes missing, Hugo continues maintaining the clocks, fearing that the Station Inspector named Gustave Dasté will send him away if Claude's absence is discovered. Hugo attempts to repair the automaton with stolen parts, believing it contains a message from his father, but the machine requires a heart-shaped key.


title: Hugo (film)

text: Hugo is caught stealing parts from a toy store, and the owner, Georges, takes his notebook, threatening to destroy it. Georges' goddaughter Isabelle suggests that Hugo confront Georges and demand it back. Georges proposes that Hugo work at his toy store as recompense, and after some time he might return the notebook. Hugo accepts and commences work, in addition to his job maintaining the clocks. Isabelle and Hugo become fast friends, and Hugo is astonished to see she wears a heart-shaped key, given to her by Georges. Hugo shows her the automaton, which they activate with the key. It draws a scene from the 1902 film "A Trip to the Moon", once described to Hugo by his father. Isabelle identifies the drawing's signature as that of "Georges Méliès" – her godfather. She sneaks Hugo into her home, where they find a hidden cache of drawings, but they are discovered by Georges.


title: Hugo (film)

text: Several days later, at the Film Academy Library, Hugo and Isabelle find a book about the history of cinema that praises Méliès' contributions. They meet the book's author, René Tabard, a film expert who is surprised to hear Méliès is alive, as he disappeared after World War I along with the copies of his films. Excited at the chance to meet Méliès again, René agrees to meet Isabelle and Hugo at Georges' home to show his copy of "A Trip to the Moon".


title: Hugo (film)

text: Finding the heart-shaped key on the station railway tracks, Hugo drops down to the track to retrieve it, and is run over by an out-of-control train that smashes through the station. He wakes up from the nightmare, but hears an ominous ticking emanating from himself, and discovers he has been turned into the automaton. Hugo wakes up again: it was only another nightmare.


title: Hugo (film)

text: At Georges’ home, his wife Jeanne allows them in after René recognises her as Jeanne d'Alcy, an actress in many of Méliès' films. They play the film, waking Georges, who is finally convinced to cherish his accomplishments rather than regret his lost dreams. Georges recounts that, as a stage magician, he was fascinated by motion pictures and used film to create imaginative works through his Star Film Company. Forced into bankruptcy after the war, he closed his studio and sold his films. He laments that even an automaton he built and donated to a museum was lost; Hugo realizes it is the one he has repaired.


title: Hugo (film)

text: Hugo races to the station to retrieve the automaton but is caught by Gustave, who has learned of Claude's death. Gustave threatens to take Hugo to the orphanage. Hugo runs away and manages to evade Gustave by hiding on the outer face of the clock tower, precariously balancing hundreds of feet above the ground. After climbing back down, Hugo races to escape the station but drops the automaton on the tracks. He jumps down to retrieve it and is almost run over by a train, but Gustave saves him and the automaton. Georges arrives and tells Gustave, "This boy belongs to me."


title: Hugo (film)

text: Sometime later, Georges is named a professor at the Film Academy, and is paid tribute through a showcase of his films recovered by René. Hugo and his new family celebrate at the apartment, and Isabelle begins to write down Hugo's own story.


title: Hugo (film)

text: GK Films acquired the screen rights to "The Invention of Hugo Cabret" shortly after the book was published in 2007. Initially, Chris Wedge was signed in to direct the adaptation and John Logan was contracted to write the screenplay. The film was initially titled "Hugo Cabret". Several actors were hired, including Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz, and Helen McCrory. Jude Law, Ray Winstone, Christopher Lee, Frances de la Tour, and Richard Griffiths later joined the project. "Hugo" was originally budgeted at $100 million, but ran over with a final budget between $156 million and $170 million. In February 2012, Graham King summed up his experience of producing "Hugo": "Let's just say that it hasn't been an easy few months for me—there's been a lot of Ambien involved".


title: Hugo (film)

text: Principal photography began in London on June 29, 2010; the first shooting location was at the Shepperton Studios. The Nene Valley Railway near Peterborough also lent their original Compagnie Internationale des Wagons-Lits rolling stock to the studio.


title: Hugo (film)

text: In August 2010, production moved to Paris for two weeks. Locations included the Sainte-Geneviève Library, the Sorbonne (where a lecture hall was converted into a 1930s cinema hall) in the 5th arrondissement, and the Théâtre de l'Athénée and its surrounding area in the 9th. High school Lycée Louis-le-Grand served as the film's base of operations in Paris; its cafeteria served 700 meals a day for the cast and crew.


title: Hugo (film)

text: The film's soundtrack includes an Oscar-nominated original score composed by Howard Shore, and also makes prominent use of the Danse macabre by Camille Saint-Saëns and "Gnossienne No. 1" by Erik Satie. Additional music was provided uncredited by French pianist and composer Jean-Michel Bernard. The singer Zaz performs on track 20, "Cœur volant".


title: Hugo (film)

text: The film premiered at the NYFF on October 10, 2011, was theatrically released on November 23, 2011, by Paramount Pictures, and was released on DVD and Blu-ray on February 28, 2012, by Paramount Home Entertainment. Hugo was also the final film to feature the 2002–2011 Paramount Pictures logo, as the studio adopted a new opening logo for its 100th anniversary beginning the next month on December 7, 2011. "Hugo" has grossed $34.3 million in home video revenue.


title: Hugo (film)

text: The film had its UK premiere at the Royal Film Performance, an event held in aid of the Film & TV Charity, on November 28, 2011, at the ODEON Leicester Square. It was attended by the Prince of Wales and The Duchess of Cornwall.


title: Hugo (film)

text: The backstory and primary features of Georges Méliès' life as depicted in the film are largely accurate: He became interested in film after seeing a demonstration of the Lumière brothers' camera; he was a magician and toymaker; he experimented with automata; he owned a theatre (Théâtre Robert-Houdin); he was forced into bankruptcy; his film stock was reportedly melted down for its celluloid; he became a toy salesman at the Montparnasse station, and he was eventually awarded the Légion d'honneur medal after a period of terrible neglect. Many of the early silent films shown in the movie are Méliès' actual works, such as "Le voyage dans la lune" (1902). However, the film does not mention Méliès' two children, his brother Gaston (who worked with Méliès during his film-making career), or his first wife Eugénie, who was married to Méliès during the time he made films (and who died in 1913). The film shows Méliès married to Jeanne d'Alcy during their filmmaking period, when in reality they did not marry until 1925.


title: Hugo (film)

text: The automaton's design was inspired by the Maillardet's automaton made by the Swiss watchmaker Henri Maillardet, which Selznick had seen in the Franklin Institute, Philadelphia, as well as the Jaquet-Droz automaton "the writer". A portion of the scene with Harold Lloyd in "Safety Last!" (1923), hanging from the clock, is shown when the main characters sneak into a movie theater. Later, Hugo, like Lloyd in "Safety Last!", hangs from the hands of a large clock on a clock tower to escape from a pursuer.


title: Hugo (film)

text: Several viewings of the 1895 film "L'Arrivée d'un train en gare de La Ciotat" are portrayed, depicting the shocked reaction of the audience—although this view is in doubt.


title: Hugo (film)

text: Emil Lager, Ben Addis, and Robert Gill make cameo appearances as the father of Gypsy jazz guitar, Django Reinhardt, the Spanish surrealist painter, Salvador Dalí, and the Irish writer James Joyce, respectively. The names of all three characters appear towards the end of the film's cast credit list.


title: Hugo (film)

text: The book that Monsieur Labisse gives Hugo as a gift, "Robin Hood le proscrit" (Robin Hood the outlaw), was written by Alexandre Dumas in 1864 as a French translation of an 1838 work by Pierce Egan the Younger in England. The book is symbolic, as Hugo must avoid the "righteous" law enforcement (Inspector Gustave) to live in the station and later to restore the automaton both to a functioning status and to its rightful owner. The particular copy given to Hugo looks like the 1917 English-language edition (David McKay publisher, Philadelphia, United States) with cover and interior illustrations by N.C. Wyeth, but with "Le Proscrit" added to the cover by the prop department. The film also depicts the Montparnasse derailment, when at 4:00 pm on 22 October 1895, the Granville–Paris Express overran the buffer stop at its Gare Montparnasse terminus.


title: Hugo (film)

text: In their confrontation with the Station Inspector, Isabelle claims she named her cat after the famous poet Christina Rossetti, as Isabelle then begins to recite the first lines of Rossetti's poem "A Birthday". Near the end of the film, Georges is in a discussion about the origins of filmmaking, and he and Jeanne mention the "cave pictographs in Niaux". This is a reference to the Cave of Niaux archeological site, which feature ancient wall paintings that are thought to be made 17,000 to 11,000 years ago.


title: Hugo (film)

text: "Hugo" earned $15.4 million over its Thanksgiving weekend debut. It went on to earn US$73,864,507 domestically and $111,905,653 overseas, for a worldwide gross of $185,770,160. Despite praise from critics, "Hugo" was cited as one of the year's notable box-office flops. Its perceived failure was due to competition with Disney's "The Muppets" and Summit's "". The film was estimated to have had a net loss of $100 million. Producer Graham King said that the film's box-office results were painful. "There's no finger-pointing—I'm the producer and I take the responsibility," he said. "Budget-wise, there just wasn't enough prep time and no one really realized how complicated doing a 3D film was going to be. I went through three line-producers because no one knew exactly what was going on. Do I still think it's a masterpiece that will be talked about in 20 years? Yes. But once the schedule started getting out of whack, things just spiraled and spiraled and that's when the avalanche began."


title: Hugo (film)

text: On review aggregator Rotten Tomatoes the film holds an approval rating of 93% based on 230 reviews, with an average rating of 8.30/10. The website's critical consensus reads, ""Hugo" is an extravagant, elegant fantasy with an innocence lacking in many modern kids' movies, and one that emanates an unabashed love for the magic of cinema." Metacritic assigned the film a weighted average score of 83 out of 100, based on 41 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: Hugo (film)

text: Roger Ebert of the "Chicago Sun-Times" gave the film four out of four stars, saying that the film "is unlike any other film Martin Scorsese has ever made, and yet possibly the closest to his heart: a big-budget, family epic in 3-D, and in some ways, a mirror of his own life. We feel a great artist has been given command of the tools and resources he needs to make a movie about—movies." Peter Rainer of "The Christian Science Monitor" gave it a "B+" grade and termed it as "an odd mixture: a deeply personal impersonal movie" and concluded that ""Hugo" is a mixed bag but one well worth rummaging through." Christy Lemire said that the film had an "abundant love of the power of film; being a hardcore cinephile (like Scorsese) might add a layer of enjoyment, but it certainly isn't a prerequisite for walking in the door" besides being "slightly repetitive and overlong". Michael Phillips of the "Chicago Tribune" give it three stars and described it as "rich and stimulating even when it wanders," explaining "every locale in Scorsese's vision of 1931 Paris looks and feels like another planet. The filmmaker embraces storybook artifice as wholeheartedly as he relays the tale's lessons in the importance of film preservation." Joe Morgenstern of "The Wall Street Journal" said that "Hugo" "visually ... is a marvel, but dramatically it's a clockwork lemon".


title: Hugo (film)

text: "Hugo" was selected for the Royal Film Performance 2011 with a screening at the Odeon, Leicester Square, in London on 28 November 2011 in the presence of the Prince of Wales and the Duchess of Cornwall in support of the Cinema and Television Benevolent Fund. Richard Corliss of "Time" named it one of the Top 10 Best Movies of 2011, saying that "Scorsese's love poem, rendered gorgeously in 3-D, restores both the reputation of an early pioneer and the glory of movie history—the birth of a popular art form given new life through a master's application of the coolest new techniques". James Cameron called "Hugo" "a masterpiece" and that the film "had the best use of 3D [he] had seen," surpassing even his own acclaimed films.


title: 12 Monkeys

text: 12 Monkeys is a 1995 American science fiction film directed by Terry Gilliam, inspired by Chris Marker's 1962 short film "La Jetée", starring Bruce Willis, Madeleine Stowe, and Brad Pitt, with Christopher Plummer and David Morse in supporting roles. After Universal Studios acquired the rights to remake "La Jetée" as a full-length film, David and Janet Peoples were hired to write the script.


title: 12 Monkeys

text: Under Gilliam's direction, Universal granted the filmmakers a $29.5 million budget, and filming lasted from February to May 1995. The film was shot mostly in Philadelphia and Baltimore, where the story was set.


title: 12 Monkeys

text: The film was released to critical praise and grossed $168.8 million worldwide. Pitt was nominated for the Academy Award for Best Supporting Actor, and he won a Golden Globe Award for his performance. The film also won and was nominated for various categories at the Saturn Awards.


title: 12 Monkeys

text: A deadly virus, released in 1996, wipes out almost all of humanity, forcing survivors to live underground. A group known as the Army of the Twelve Monkeys is believed to have released the virus.


title: 12 Monkeys

text: In 2035, James Cole is a prisoner living in an underground compound beneath Philadelphia. Cole is selected to be sent back in time to find the original virus to help scientists develop a cure in exchange for a reduced sentence. Meanwhile, Cole is troubled by dreams involving a foot chase and shooting at an airport.


title: 12 Monkeys

text: Cole arrives in Baltimore, 1990, not 1996 as planned; he is arrested and incarcerated at a mental hospital on the diagnosis of Dr. Kathryn Railly. There he encounters Jeffrey Goines, a mental patient with environmentalist and anti-corporatist views. Cole is interviewed by a panel of doctors where he tries to explain that the virus outbreak has already happened.


title: 12 Monkeys

text: After an escape attempt, Cole is sedated and locked in a cell, but he disappears, waking up back in 2035. Cole is interrogated by the scientists who play a distorted voicemail message that asserts the association of the Army of the Twelve Monkeys with the virus. He is also shown photos of numerous people suspected of being involved, including Goines. The scientists offer Cole another chance to complete his mission and send him back in time. Cole accidentally arrives at a battlefield during World War I, is shot in the leg and then transported to 1996.


title: 12 Monkeys

text: In 1996, Railly gives a lecture about the Cassandra complex to a group of scientists. At the post-lecture book signing, Railly meets Dr. Peters who tells her that apocalypse alarmists represent the sane vision while humanity's gradual destruction of the environment is the real lunacy.


title: 12 Monkeys

text: Cole arrives at the venue after seeing flyers publicizing it and, when Railly departs, he kidnaps her and forces her to take him to Philadelphia. They learn that Goines is the founder of the Army of the Twelve Monkeys before they set out in search of him. When Cole confronts Goines, he denies any involvement with the group and says that, in 1990, Cole originated the idea of wiping out humanity with a virus stolen from Goines' virologist father, Dr. Leland Goines.


title: 12 Monkeys

text: Cole is transported back to 2035 where he reaffirms to the scientists his commitment to his mission. But when he finds Railly again in 1996, he tells her he now believes himself crazy as she had suggested. Meanwhile, Railly has discovered evidence of his time travel which she shows him, believing he is sane. They decide to depart for the Florida Keys before the onset of the plague.


title: 12 Monkeys

text: They learn that the Army of the Twelve Monkeys was not the source of the epidemic; the group's major act of protest is releasing animals from a zoo and placing Goines' father in an animal cage. At the airport, Cole leaves a message telling the scientists that following the Army of the Twelve Monkeys is the wrong track and he will not return. Cole is confronted by Jose, his cell mate from his own time, who gives Cole a handgun and instructs him to follow orders.


title: 12 Monkeys

text: Railly spots Dr. Peters at the airport and recognizes him from a newspaper as an assistant of Goines' father. Peters is about to embark on a tour of several cities that match the locations of the viral outbreaks.


title: 12 Monkeys

text: Cole forces his way through a security checkpoint in pursuit of Peters. After drawing his gun, Cole is shot by police. As Cole lies dying in Railly's arms, Railly suddenly begins to scan the crowd around her. Railly finally makes eye contact with a small boy—the young James Cole witnessing the scene of his own death, which will replay in his dreams for years to come. Peters, aboard the plane with the virus, sits down next to Jones, one of the scientists from the future, who comments that her job is "insurance." The young Cole watches the plane take off from the ground outside the airport.


title: 12 Monkeys

text: The genesis of "12 Monkeys" came from executive producer Robert Kosberg, who had been a fan of the French short film "La Jetée" (1962). Kosberg persuaded that film's director, Chris Marker, to let him pitch the project to Universal Pictures, seeing it as a perfect basis for a full-length science fiction film. Universal agreed to purchase the remake rights and hired David and Janet Peoples to write the screenplay. Producer Charles Roven chose Terry Gilliam to direct, because he believed the filmmaker's style was perfect for "12 Monkeys" nonlinear storyline and time travel subplot. Gilliam had just abandoned a film adaptation of "A Tale of Two Cities" when he signed to direct "12 Monkeys". The film also represents the second film for which Gilliam did not write or co-write the screenplay. Although he prefers to direct his own scripts, he was captivated by Peoples' "intriguing and intelligent script. The story is disconcerting. It deals with time, madness and a perception of what the world is or isn't. It is a study of madness and dreams, of death and re-birth, set in a world coming apart."


title: 12 Monkeys

text: Universal took longer than expected to approve "12 Monkeys", although Gilliam had two stars (Willis and Pitt) and a firm budget of $29.5 million (low for a Hollywood science fiction film). Universal's production of "Waterworld" (1995) had resulted in various cost overruns. To get "12 Monkeys" approved for production, Gilliam persuaded Willis to lower his normal asking price. Because of Universal's strict production incentives and his history with the studio on "Brazil", Gilliam received final cut privilege. The Writers Guild of America was skeptical of the "inspired by" credit for "La Jetée" and Chris Marker.


title: 12 Monkeys

text: Gilliam's initial casting choices were Nick Nolte as James Cole and Jeff Bridges as Jeffrey Goines, but Universal objected. Gilliam, who first met Bruce Willis while casting Jeff Bridges' role in "The Fisher King" (1991), believed Willis evoked Cole's characterization as being "somebody who is strong and dangerous but also vulnerable".


title: 12 Monkeys

text: Gilliam cast Madeleine Stowe as Dr. Kathryn Railly because he was impressed by her performance in "Blink" (1994). The director first met Stowe when he was casting his abandoned film adaptation of "A Tale of Two Cities". "She has this incredible ethereal beauty and she's incredibly intelligent", Gilliam said of Stowe. "Those two things rest very easily with her, and the film needed those elements because it has to be romantic."


title: 12 Monkeys

text: Gilliam originally believed that Pitt was not right for the role of Jeffrey Goines, but the casting director convinced him otherwise. Pitt was cast for a comparatively small salary, as he was still relatively unknown at the time. By the time of "12 Monkeys" release, "Interview with the Vampire" (1994), "Legends of the Fall" (1994), and "Se7en" (1995) had been released, making Pitt an A-list actor, which drew greater attention to the film and boosted its box-office standing. In Philadelphia, months before filming, Pitt spent weeks at Temple University's hospital, visiting and studying the psychiatric ward to prepare for his role.


title: 12 Monkeys

text: Principal photography lasted from February 8 to May 6, 1995. Shooting on location in Philadelphia and Baltimore (including the Senator Theatre) in winter was fraught with weather problems. There were also technical glitches with the futuristic mechanical props. Because the film has a nonlinear storyline, continuity errors occurred, and some scenes had to be reshot. Gilliam also injured himself when he went horseback riding. Despite setbacks, the director managed to stay within the budget and was only a week behind his shooting schedule. "It was a tough shoot", acknowledged Jeffrey Beecroft ("Mr. Brooks", "Dances with Wolves"), the production designer. "There wasn't a lot of money or enough time. Terry is a perfectionist, but he was really adamant about not going over budget. He got crucified for "Munchausen", and that still haunts him."


title: 12 Monkeys

text: The filmmakers were not allowed the luxury of sound stages; thus, they had to find abandoned buildings or landmarks to use. The exteriors of the climactic airport scene were shot at the Baltimore–Washington International Airport, while the interior scenes were shot at the Pennsylvania Convention Center (formerly Reading Terminal). Filming at the psychiatric hospital was done at the Eastern State Penitentiary and Girard College. Some shots took place in abandoned motels in Camden, New Jersey.


title: 12 Monkeys

text: Gilliam used the same filmmaking style as he had in "Brazil" (1985), including the art direction and cinematography (specifically using fresnel lenses). The appearance of the interrogation room where Cole is being interviewed by the scientists was based on the work of Lebbeus Woods; these scenes were shot at three different power stations (two in Philadelphia and one in Baltimore). Gilliam intended to show Cole being interviewed through a multi-screen interrogation TV set because he felt the machinery evoked a "nightmarish intervention of technology. You try to see the faces on the screens in front of you, but the real faces and voices are down there and you have these tiny voices in your ear. To me that's the world we live in, the way we communicate these days, through technical devices that pretend to be about communication but may not be."


title: 12 Monkeys

text: The art department made sure that the 2035 underground world only used pre-1996 technology as a means to depict the bleakness of the future. Gilliam, Beecroft, and Crispian Sallis (set decorator) went to several flea markets and salvage warehouses looking for materials to decorate the sets. The majority of visual effects sequences were created by Peerless Camera, the London-based effects studio that Gilliam founded in the late 1970s with visual effects supervisor Kent Houston ("The Golden Compass", "Casino Royale"). Additional digital compositing was done by The Mill, while Cinesite provided film scanning services.


title: 12 Monkeys

text: Janet Maslin wrote in "The New York Times", "Since "12 Monkeys" has the junk heap aesthetic that Mr. Gilliam favors, nothing in the film is sleek or foolproof, certainly not its time-travel apparatus."


title: 12 Monkeys

text: The film's score was composed, arranged, and conducted by English musician Paul Buckmaster. The main theme is based on Argentine tango musician/composer Astor Piazzolla's "Suite Punta del Este".


title: 12 Monkeys

text: "12 Monkeys" studies the subjective nature of memories and their effect on perceptions of reality. Examples of false memories include Cole's recollection of the airport shooting, altered each time he has the dream, and a "mentally divergent" man at the asylum who has false memories.


title: 12 Monkeys

text: References to time, time travel, and monkeys are scattered throughout the film, including the Woody Woodpecker cartoon "Time Tunnel" playing on the TV in a hotel room, the Marx Brothers film "Monkey Business" (1931) on TV in the asylum, and the subplots involving monkeys (drug testing, news stories and animal rights). The film is also intended to be a study of people's declining ability to communicate in modern civilization due to the interference of technology.


title: 12 Monkeys

text: "12 Monkeys" is inspired by the French short film "La Jetée" (1962); as in "La Jetée", characters are haunted by the images of their own deaths. Like "La Jetée", "12 Monkeys" contains references to Alfred Hitchcock's "Vertigo" (1958). Toward the end of the film, Cole and Railly hide in a theater showing a 24-hour Hitchcock marathon and watch scenes from "Vertigo" and "The Birds". Railly then transforms herself with a blonde wig, as Judy (Kim Novak) transforms herself into blonde Madeleine in "Vertigo"; Cole sees her emerge within a red light, as Scottie (James Stewart) saw Judy emerge within a green light. Brief notes of Bernard Herrmann's film score can also be heard. Railly also wears the same coat Novak wore in the first part of "Vertigo". The scene at Muir Woods National Monument, where Judy (as Madeleine) looks at the growth rings of a felled redwood and traces back events in her past life, resonates with larger themes in "12 Monkeys". Cole and Railly later have a similar conversation while the same music from "Vertigo" is repeated. The Muir Woods scene in "Vertigo" is also reenacted in "La Jetée". In a previous scene in the film, Cole wakes up in a hospital bed with the scientists talking to him in chorus. This is a direct homage to the "Dry Bones" scene in Dennis Potter's "The Singing Detective".


title: 12 Monkeys

text: James Cole is a notable Christ figure in film. The film is significant in the genre of science-fiction film noir, and it alludes to various "canonical noir" films.


title: 12 Monkeys

text: Universal Pictures released "12 Monkeys" on VHS on January 28, 1997. They also released a "Signature Collection" LaserDisc of the film on February 18, 1997, containing an audio commentary by director Terry Gilliam and producer Charles Roven, "The Hamster Factor and Other Tales of Twelve Monkeys" (a making-of documentary), an archive of production art, and production notes.


title: 12 Monkeys

text: They released a Collector's Edition DVD on March 31, 1998, containing the same extras as the LaserDisc. They released a Special Edition DVD on May 10, 2005, with a new transfer of the film and identical extras. They released an HD DVD on March 4, 2008, with the same extras. They released a Blu-ray Disc on July 28, 2009, with the same extras. Arrow Films released a new Blu-ray of the film on October 15, 2018, containing a new transfer of the film, remastered in 4K from the original negative, all of the previous extras, as well as a vintage 1996 interview with Terry Gilliam, and an interview with Gilliam scholar Ian Christie.


title: 12 Monkeys

text: In the beginning of the film, Cole is brought into the interrogation room and told to sit in a chair attached to a vertical rail on the wall. A sphere supported by a metal armature is suspended directly in front of him, probing for weaknesses as the inquisitors interrogate him. Architect Lebbeus Woods filed a lawsuit against Universal in February 1996, claiming that his work "Neomechanical Tower (Upper) Chamber" was used without permission. Woods won his lawsuit, requiring Universal to remove the scenes, but he ultimately allowed their inclusion in exchange for a "high six-figure cash settlement" from Universal.


title: 12 Monkeys

text: After the release of "The Zero Theorem" in 2013, claims were made that Gilliam had meant it as part of a trilogy. A 2013 review for "The Guardian" newspaper said, "Calling it ["The Zero Theorem"] the third part of a trilogy formed by earlier dystopian satires "Brazil" and "Twelve Monkeys" [sic]"; but in an interview with Alex Suskind for "Indiewire" in late 2014, Gilliam said, "Well, it's funny, this trilogy was never something I ever said, but it's been repeated so often it's clearly true [laughs]. I don't know who started it but once it started it never stopped".


title: 12 Monkeys

text: "12 Monkeys" was given a limited release in the United States on December 29, 1995. When the 1,629-theater wide release came on January 5, 1996, the film earned $13.84 million in its opening weekend. "12 Monkeys" eventually grossed $57.1 million in the US and $111.7 million in other countries, for a worldwide total of $168.8 million. The film held the No. 1 spot on box office charts for two weeks in January, before dropping due to competition from "From Dusk till Dawn", "Mr. Holland's Opus" and "Black Sheep".


title: 12 Monkeys

text: On Rotten Tomatoes, the film holds an approval rating of 88% based on 74 reviews, with an average rating of 7.60/10. The site's critics consensus reads: "The plot's a bit of a jumble, but excellent performances and mind-blowing plot twists make "12 Monkeys" a kooky, effective experience." Metacritic assigned the film a weighted average score of 74 out of 100, based on 20 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: 12 Monkeys

text: Roger Ebert found "12 Monkeys" depiction of the future similar to "Blade Runner" (1982; also scripted by David Peoples) and "Brazil" (1985; also directed by Terry Gilliam). "The film is a celebration of madness and doom, with a hero who tries to prevail against the chaos of his condition, and is inadequate", Ebert wrote. "This vision is a cold, dark, damp one, and even the romance between Willis and Stowe feels desperate rather than joyous. All of this is done very well, and the more you know about movies (especially the technical side), the more you're likely to admire it. [...] And as entertainment, it appeals more to the mind than to the senses."


title: 12 Monkeys

text: Desson Thomson of "The Washington Post" praised the art direction and set design. "Willis and Pitt's performances, Gilliam's atmospherics and an exhilarating momentum easily outweigh such trifling flaws in the script", Thomson wrote. Peter Travers from "Rolling Stone" magazine attributes the film's success to Gilliam's direction and Willis' performance. Internet reviewer James Berardinelli believed the filmmakers had an intelligent and creative motive for the time-travel subplot. Rather than being sent to change the past, James Cole is instead observing it to make a better future. Richard Corliss of "Time" magazine felt the film's time-travel aspect and apocalyptic depiction of a bleak future were clichés. "In its frantic mix of chaos, carnage and zoo animals, "12 Monkeys" is "Jumanji" for adults", Corliss wrote.


title: 12 Monkeys

text: Brad Pitt was nominated for the Academy Award for Best Supporting Actor, but lost out to Kevin Spacey for his performance in "The Usual Suspects". Costume designer Julie Weiss was also nominated for her work, but lost out to James Acheson of "Restoration". However, Pitt won the Golden Globe Award for Best Supporting Actor in a Motion Picture. Terry Gilliam was honored for his direction at the 46th Berlin International Film Festival.


title: 12 Monkeys

text: The film also received positive notices from the science fiction community. It was nominated for the Hugo Award for Best Dramatic Presentation and the Academy of Science Fiction, Fantasy and Horror Films awarded it the Saturn Award for Best Science Fiction Film at the 22nd Saturn Awards. Pitt and Weiss won awards at the ceremony as well; Gilliam, Bruce Willis, Madeleine Stowe, and writers David and Janet Peoples also received nominations.


title: 12 Monkeys

text: On August 26, 2013, "Entertainment Weekly" announced that Syfy was developing a "12 Monkeys" television series based on the film. Production began in November 2013. The pilot was written by Terry Matalas and Travis Fickett, who had written for the series "Terra Nova". Due to the series being labeled as "cast contingent", the series did not move forward until the roles of Cole and Goines were cast. In April 2014, Syfy green-lighted the first season, which consisted of 13 episodes, including the pilot filmed in 2013. The series premiered on January 16, 2015. On March 12, 2015, the series was renewed for a second season that began airing in April 2016. On June 29, 2016, the series was renewed for a 10-episode third season, set to premiere in 2017. In a surprising move, the entire third season aired over three consecutive nights. A fourth and final season was announced on March 16, 2017. The eleven-episode fourth season ran from June 15 to July 6, 2018 for four straight weeks.


title: Jamal Musiala

text: Jamal Musiala (born 26 February 2003) is a German professional footballer who plays as an attacking midfielder or winger for club Bayern Munich and the Germany national team.


title: Jamal Musiala

text: Born in Germany to a Nigerian father and German mother, he was raised from the age of seven in England. Musiala represented both Germany and England at youth level, and eventually pledged his allegiance to the Germany national team for future games in February 2021, representing the side at UEFA Euro 2020 and the 2022 FIFA World Cup.


title: Jamal Musiala

text: Musiala was born in Stuttgart, Germany to a British-Nigerian Yoruba father and German mother of Polish roots. He lived in Fulda until the age of seven, before moving to England with his family, where he remained for the rest of his childhood. He went to primary school at the Corpus Christi School in New Malden. For secondary school he went to the Whitgift School in Croydon. He was in the Chelsea academy for the last years of his childhood.


title: Jamal Musiala

text: In July 2019, aged 16, Musiala left Chelsea to join Bundesliga club Bayern Munich. On 3 June 2020, Musiala made his professional debut, coming on as a substitute for Bayern Munich II in their 3–2 win over Preußen Münster in the 3. Liga. On 20 June 2020, he made his Bundesliga debut against SC Freiburg, and he became the youngest player to play a match for Bayern in the Bundesliga, aged 17 years and 115 days.


title: Jamal Musiala

text: Musiala was a part of the squad that won the 2019–20 UEFA Champions League, although he did not make any appearances in the tournament.


title: Jamal Musiala

text: On 18 September 2020, Musiala scored his first Bundesliga goal in an 8–0 win over Schalke, to become Bayern's youngest goalscorer, aged 17 years 205 days, breaking the previous record of Roque Santa Cruz, aged 18 years 12 days. On 3 November, Musiala made his Champions League debut as a substitute to Thomas Müller in a 6–2 away win over Red Bull Salzburg. On 1 December, he started his first Champions League match in a 1–1 away draw against Atlético Madrid. On 23 February 2021, Musiala scored his first Champions League goal in a 4–1 away win over Lazio in the first leg of the round of 16 tie, becoming the competition's youngest goalscorer of both English and German nationalities. On 5 March, he signed his first professional contract at Bayern Munich until 2026.


title: Jamal Musiala

text: On 25 August 2021, Musiala scored his first two goals of the season in a 12–0 DFB Pokal away win over Bremer SV. Three days later, he then scored his first Bundesliga goal of the season in a 5–0 win over Hertha BSC. On 8 December 2021, Musiala scored his first Champions League goal of the season in a 3–0 win over Barcelona. On 23 April 2022, Musiala's strike sealed the title in a 3–1 victory over Borussia Dortmund in Der Klassiker, giving Bayern their tenth straight Bundesliga title.


title: Jamal Musiala

text: Musiala, who was also eligible to play for Nigeria via his father, represented both England and Germany at youth international level.


title: Jamal Musiala

text: In November 2020, Musiala was called up to the England under-21 squad for the first time for their 2021 UEFA European Under-21 Championship qualification matches. He made his U21 debut as a substitute during a 3–1 victory over Andorra under-21s at Molineux Stadium on 13 November 2020. He scored his first under-21 goal during a 5–0 win over Albania at Molineux Stadium on 17 November 2020. After choosing to represent England's under-21s, the German football association indicated that they had stopped pursuing Musiala, with youth team coach Meikel Schonweitz stating: "He has clearly signalled to us that he currently sees his future with the English national teams. We accept his decision and wish him all the best for his sporting career." Musiala had previously indicated that he felt more comfortable playing for England at youth level than for Germany, as he grew up as a footballer at Chelsea with other English players, whereas for Germany he did not know any of the other players.


title: Jamal Musiala

text: On 24 February 2021, Musiala announced he had decided to represent his birth nation, Germany, for full international matches. He subsequently received his first call up to the senior team for 2022 FIFA World Cup qualifiers in March 2021, making his debut on 25 March 2021 as a 79th minute substitute in a 3–0 win against Iceland.


title: Jamal Musiala

text: On 19 May 2021, Musiala was selected to the squad for the UEFA Euro 2020. On 23 June 2021, he became the youngest German player to feature in a major tournament in a 2–2 draw with Hungary in Euro 2020, aged 18 years and 117 days. During the match, Musiala set up Leon Goretzka's late equalizer which sent Germany through to the round of 16. In doing so, he received praise from pundits and fans worldwide.


title: Jamal Musiala

text: On 11 October 2021, Musiala scored his first goal in a 4–0 win over North Macedonia during the 2022 World Cup qualification, becoming the second-youngest player to score for Germany, aged 18 years and 227 days, only behind Marius Hiller, aged 17 years and 241 days, in 1910.


title: Jamal Musiala

text: On 10 November 2022, Musiala received a call-up for the 2022 FIFA World Cup in Qatar. On 23 November, he made his World Cup debut by starting against Japan, to become the first German teenager to feature in the competition since 1958, and the fourth youngest German player, aged 19 years and 270 days, in all World Cup participations, only behind: Karl-Heinz Schnellinger, Leopold Neumer and Edmund Conen. In the same match, Youssoufa Moukoko was subbed on in the 90th minute, to be the youngest ever, and Musiala became the fifth. On 1 December, he completed 13 dribbles, two shy of Jay-Jay Okocha's record of 15 in 1994, in a 4–2 win over Costa Rica, yet Germany was eliminated from the group stage as they finished third in their group.


title: Jamal Musiala

text: As a versatile player, Musiala plays both on the wings and at all positions of the midfield. According to Hansi Flick, who gave Musiala his debut at FC Bayern Munich, "He has a great eye and feeling for choosing the right spaces. He is very confident on the ball and can play well between the lines."


title: Anton LaVey

text: Anton Szandor LaVey (born Howard Stanton Levey; April 11, 1930 – October 29, 1997) was an American author, musician, and Satanist. He was the founder of the Church of Satan and the religion of Satanism. He authored several books, including "The Satanic Bible", "The Satanic Rituals", "The Satanic Witch", "The Devil's Notebook", and "Satan Speaks!" In addition, he released three albums, including "The Satanic Mass", "Satan Takes a Holiday", and "Strange Music". He played a minor on-screen role and served as technical advisor for the 1975 film "The Devil's Rain" and served as host and narrator for Nick Bougas' 1989 mondo film "Death Scenes".


title: Anton LaVey

text: Historian of Satanism Gareth J. Medway described LaVey as a "born showman", with anthropologist Jean La Fontaine describing him as a "colourful figure of considerable personal magnetism". The academic scholars of Satanism Per Faxneld and Jesper Aagaard Petersen described LaVey as "the most iconic figure in the Satanic milieu". LaVey was labeled many things by journalists, religious detractors, and Satanists alike, including "The Father of Satanism", the "St. Paul of Satanism", "The Black Pope", and the "evilest man in the world".


title: Anton LaVey

text: LaVey was born Howard Stanton Levey on April 11, 1930 in Chicago, Illinois. His father, Michael Joseph Levey (1903–1992), from Chicago, married LaVey's mother, Gertrude Augusta née Coultron, born to a Georgian father and Ukrainian mother, both of whom immigrated to Ohio in 1893 and became naturalized American citizens in 1900. His parents supported his musical interests, as he tried a number of instruments; his favorites were keyboards such as the piano and accordion. Anton played piano in a Baptist church as a boy, and played oboe in high school. He attended Tamalpais High School in Mill Valley, California, until the age of 16. LaVey claimed he left high school at age 16 to join the Clyde Beatty Circus and later carnivals, first as a roustabout and cage boy in an act with the big cats, then as a musician playing the calliope. He played tunes such as "Harlem Nocturne" by Earle Hagen. LaVey later claimed to have seen that many of the same men attended both the bawdy Saturday night shows and the tent revival meetings on Sunday mornings, which reinforced his increasingly cynical view of religion. In the foreword to the German language edition of "The Satanic Bible", he cites this as the impetus to defy Christian religion as he knew it. He explains why church-goers employ moral double standards. However, journalist Lawrence Wright investigated LaVey's background and found no evidence LaVey ever worked in a circus either as a musician or a cage boy.


title: Anton LaVey

text: In the winter of 1948, LaVey began to work as an organist in bars, lounges, and nightclubs. His "genius" on keyboards helped him attain gigs. While playing organ in Los Angeles burlesque houses, he allegedly had a brief affair with then-unknown Marilyn Monroe, when she was a dancer at the Mayan Theater. This is challenged by those who then knew Monroe, as well as the manager of the Mayan, Paul Valentine, who said she had never been one of his dancers, nor had the theater ever been used as a burlesque house.


title: Anton LaVey

text: According to his biography, LaVey moved back to San Francisco. In 1950, LaVey met Carole Lansing. They married the following year, when Lansing was fifteen years old. Lansing gave birth to LaVey's first daughter, Karla LaVey, born in 1952. In order to avoid the Korean War draft, he studied criminology at City College of San Francisco. LaVey then attained a job as a photographer for the San Francisco Police Department (SFPD), where he worked for three years. He dabbled as a psychic investigator, looking into "800 calls" referred to him by SFPD. Later biographers questioned whether LaVey ever worked with the SFPD, as there are no records substantiating the claim.


title: Anton LaVey

text: During this period, LaVey was friends with a number of writers associated with "Weird Tales" magazine; a picture of him with George Haas, Robert Barbour Johnson, and Clark Ashton Smith appears in Blanche Barton's biography "The Secret Life of a Satanist".


title: Anton LaVey

text: LaVey and Carole divorced in 1960, after LaVey became entranced by Diane Hegarty. Hegarty and LaVey never married, however she was his companion for 24 years and mothered his second daughter, Zeena Galatea Schreck ("nee" LaVey) (born in 1963). At the end of their relationship, Hegarty sued for palimony.


title: Anton LaVey

text: Anton Lavey became a local celebrity in San Francisco through his paranormal research and live performances as an organist, including playing the Wurlitzer at the Lost Weekend cocktail lounge. He was also a publicly noticeable figure; he drove a coroner's van around town, and he walked his pet black leopard, named Zoltan. He attracted many San Francisco notables to his parties. Guests included Carin de Plessin, Michael Harner, Chester A. Arthur III, Forrest J Ackerman, Fritz Leiber, Cecil E. Nixon, and Kenneth Anger. LaVey formed a group called the Order of the Trapezoid, which later evolved into the governing body of the Church of Satan. According to Faxneld and Petersen, the Church of Satan represented "the first public, highly visible, and long-lasting organisation which propounded a coherent Satanic discourse".


title: Anton LaVey

text: LaVey began presenting Friday night lectures on the occult and rituals. A member of this circle suggested that he had the basis for a new religion. According to LaVey himself, on Walpurgisnacht, April 30, 1966, he ritualistically shaved his head, allegedly "in the tradition of ancient executioners", declared the founding of the Church of Satan and proclaimed 1966 as "the Year One", Anno Satanas, the first year of the Age of Satan (it was later demonstrated that LaVey in fact shaved his head because he lost a bet and made up the "ancient executioners" story after the fact). LaVey's image has been described as "Mephistophelian," and may have been inspired by an occult-themed episode of the television show The Wild Wild West titled "The Night of the Druid's Blood" which originally aired on March 25, 1966 and starred Don Rickles as the evil


title: Anton LaVey

text: magician and Satanic cult leader Asmodeus, whose Mephistophelean persona is virtually identical to that which LaVey adopted one month later. Media attention followed the subsequent Satanic wedding ceremony of journalist John Raymond to New York City socialite Judith Case on February 1, 1967. The "Los Angeles Times" and "San Francisco Chronicle" were among the newspapers that printed articles dubbing him "The Black Pope". LaVey performed Satanic baptisms (including the first Satanic baptism in history for his three-year-old daughter Zeena, dedicating her to Satan and the Left-Hand Path, which garnered worldwide publicity and was originally recorded on "The Satanic Mass" LP) and Satanic funerals (including one for naval Machinist-Repairman Third-Class Edward Olsen, complete with a chrome-helmeted honor guard), and released a record album entitled "The Satanic Mass".


title: Anton LaVey

text: In the late 1960s and early 1970s, LaVey melded ideological influences from Friedrich Nietzsche, Ayn Rand, H. L. Mencken, and Social Darwinism with the ideology and ritual practices of the Church of Satan. He wrote essays introduced with reworked excerpts from Ragnar Redbeard's "Might Is Right" and concluded with "Satanized" versions of John Dee's "Enochian Keys" to create books such as "The Complete Witch" (re-released in 1989 as "The Satanic Witch"), and "The Satanic Rituals". The latter book also included rituals drawing on the work of H. P. Lovecraft. Admitting his use of "Might is Right", LaVey stated that he did so in order to "immortalize a writer who had profoundly reached me".


title: Anton LaVey

text: In 1972, the public work at LaVey's Black House in San Francisco was curtailed and work was continued via sanctioned regional "grottoes". In early 1975 LaVey announced that higher degrees of initiation could be given in return for a financial contribution. In June 1975, editor of the Church's newsletter, Michael Aquino, left the Church of Satan and formed the theistic Temple of Set, claiming to take an unknown number of dissenters with him. The Church maintains this policy announcement was designed to "clean house" of members who didn't understand Satanic philosophy.


title: Anton LaVey

text: In 1980 the FBI interviewed LaVey in connection with an alleged plot to murder Ted Kennedy. LaVey told the agents that most of the church's followers were "fanatics, cultists, and weirdos". The agents reported that LaVey’s "interest in the Church of Satan is strictly from a monetary point of view," and that he spent "most of his time furnishing interviews, writing material, and lately has become interested in photography."