title: Ryan Sessegnon

text: Sessegnon was born in Roehampton, Greater London into a family of Beninese descent. He has a twin brother, Steven, who plays for Charlton Athletic on loan from Fulham, while their elder brother, Chris, is a semi-professional footballer. Sessegnon is also a cousin of the Beninese international footballer Stéphane Sessègnon.


title: Ryan Sessegnon

text: As a child, Sessegnon, alongside brother Steven, played for local club Wandgas FC. In 2008, at the age of nine, the pair signed for Fulham, initially joining their under-9s side. Originally a central striker at youth level, he was moved to left back as he progressed. He has cited fellow left-sided players Luke Shaw and Gareth Bale as players he looked up to when he was young, saying, 'when Shaw was at Southampton he was a left-back and I loved watching him bomb up and down the wing, create goals, score goals, so I think I try to emulate that.'


title: Ryan Sessegnon

text: Sessegnon attended Coombe Boys' School in New Malden, London, close to Fulham's Motspur Park training ground. With both brothers in the team, Coombe Boys won youth competition the ESFA PlayStation Schools' Cup in both 2014 and 2015, Ryan scoring twice in the 2015 final. By the 2015–16 season, Sessegnon had become a regular for Fulham's Under-18 side, despite only being 15.


title: Ryan Sessegnon

text: Having started training with the first team, still aged 15, in March 2016, Sessegnon was promoted to the senior squad by manager of the year Slavisa Jokanovic for the 2016–17 pre-season. He scored his first senior goal on 19 July in a 3–0 friendly win over Brighton and Hove Albion.


title: Ryan Sessegnon

text: On 9 August, Sessegnon made his first-team debut in an EFL Cup match against Leyton Orient aged 16 years and 81 days. On 16 August, he made his league debut in a Championship match against Leeds United in a 1–1 draw. On 20 August, he scored his first professional goal in a league match against Cardiff City, becoming the first professional footballer in the English leagues to have been born in the 2000s to score a goal in a first-team game and the youngest player to score in a Championship match. He scored the winner on his FA Cup debut, also against Cardiff, on 8 January, becoming one of the youngest goalscorers in the history of the competition.


title: Ryan Sessegnon

text: On 11 March, Sessegnon scored twice in an away match against eventual league champions Newcastle United, with former Newcastle player Alan Shearer praising his performance as "brilliant". In total, Sessegnon made 30 appearances in all competitions, including in the second leg of Fulham's play-off semi-final defeat against Reading, scoring seven goals, and was named in the PFA Championship Team of the Year, the youngest player ever included.


title: Ryan Sessegnon

text: Media interest in Sessegnon grew as his debut season progressed. In February 2017, Italian newspaper "La Gazzetta dello Sport" ranked Sessegnon as one of the top 30 Under-20s players in Europe, while in May 2017, "Sports Illustrated" named him as the 19th-best under-20 player in world football. Fulham striker Neeskens Kebano called him "the future of English football", with teammate Stefan Johansen saying it was "99% certain he will be one of the top left-backs in the world".


title: Ryan Sessegnon

text: As the summer transfer window approached, interest was reported from numerous Premier League clubs, including Everton, Liverpool and Manchester United, with Sessegnon potentially available for a compensation fee of £2 million as Football Association rules meant he could not sign professional terms until his 17th birthday on 18 May 2017. However, on 28 June 2017, it was announced Sessegnon had signed his first professional contract with Fulham, committing him to the club until 2020. Sessegnon cited the likelihood of playing regularly in the first team as his reason, saying, "Last season I got a lot of opportunities so I want to continue that. When you are young you just want to play as many games as you can."


title: Ryan Sessegnon

text: On 28 July 2017, Fulham announced that Sessegnon would wear the number 3 shirt, moving from his previous number 30. He scored his first goal of the season in a 1–1 draw with Cardiff on 9 September. In November 2017, "FourFourTwo" included Sessegnon in their 100 Best Teenagers in the World list, comparing him with Ashley Cole and David Alaba. On 21 November 2017, Sessegnon marked his 50th appearance for Fulham by scoring his first professional hat-trick in a 5–4 away victory against Sheffield United – becoming the first seventeen-year-old to score a hat-trick in the top four tiers of English league football since Dele Alli in 2014. After netting six goals in January 2018, courtesy of braces against Ipswich Town, Burton Albion and Barnsley, Sessegnon was named PFA and Championship Player of the Month. On 19 February, Sessegnon was named tenth in the most promising under 20 prospects in the whole of Europe. Sessegnon featured in a prestigious list by CIES with the likes of Milan goalkeeper Gianluigi Donnarumma featuring in 1st place and Paris Saint-Germain striker Kylian Mbappé in 3rd place.


title: Ryan Sessegnon

text: In April 2018 he was nominated for the EFL Championship Player of the Season and Young Player of the Season awards. He also became the first Championship player to be nominated for the PFA Young Player of the Year award. On 15 April, Sessegnon won an unprecedented five awards when he was named Championship Player of the Season, Young Player of the Season, Apprentice of the Year, and named in the Team of the Season and EFL Club Developed XI.


title: Ryan Sessegnon

text: The signing of Matt Targett in the January transfer window was crucial as it allowed Sessegnon to play regularly as a left winger instead of a left back, where he was able to focus more on his extremely good anticipation and finishing instead of his weaker defensive side of the game.


title: Ryan Sessegnon

text: Fulham finished the league season in third place, allowing them to advance to the play-offs, where Sessegnon helped his side secure a place in the play-off final by scoring the opening goal and assisting the game-winning goal in the semi-final second leg against Derby County. On 26 May, Sessegnon assisted Tom Cairney's 23rd-minute goal in a 1–0 win against Aston Villa in the Championship play-off final at Wembley to secure Fulham's promotion to the Premier League.


title: Ryan Sessegnon

text: Sessegnon made his first Premier League appearance on 11 August 2018, the opening day of the new league campaign, in a 2–0 home defeat to Crystal Palace. On 20 October, he scored his first Premier League goal in a 4–2 away loss to Cardiff City, becoming the first player born in the 2000s to score in the competition. He made his 100th appearance for the club on 8 December, starting in a 4–1 league loss to Manchester United.


title: Ryan Sessegnon

text: On 8 August 2019, Sessegnon signed for Tottenham Hotspur on a five-year-deal with an optional one-year extension. The deal was reported to be worth £25 million which also saw Josh Onomah go to Fulham. Due to injury Sessegnon did not make his debut for Tottenham until the beginning of November. He came on late into injury time in a match against Everton which ended 1–1. His Champions League debut came in the following match, as he came off of the bench against Red Star Belgrade and assisted a goal for Christian Eriksen. He had his first start in a Tottenham shirt in the Champions League away against Bayern Munich in December, where he scored his first goal for the club, becoming the youngest Spurs player to score in a Champions League game.


title: Ryan Sessegnon

text: Sessegnon scored his first league goal for Tottenham in a 4–1 victory against Southampton on the opening day of the 2022–23 Premier League season. He would score the opener in a 3-2 win against Bournemouth F.C in which Spurs came back from two goals down.


title: Ryan Sessegnon

text: On 5 October 2020, Sessegnon joined 1899 Hoffenheim on a season-long loan deal. Hoffenheim fans voted him player of the month for November.


title: Ryan Sessegnon

text: In 2016, Sessegnon played up an age group to represent England in the U17 Euros. He scored his first goal for England Under-19s against Luxembourg in a European Under-19 Championship qualifier on 10 November 2016, scoring the second goal in a 2–0 win.


title: Ryan Sessegnon

text: On 26 June 2017, Sessegnon was named in the final 18-man squad for the Euro U19s finals. He went on to score three goals, including two in a 4–1 win over Germany, finishing the tournament as joint-top scorer as England were crowned champions for the first time. He was subsequently included in the team of the tournament.


title: Ryan Sessegnon

text: Aged 17, Sessegnon made his debut for England Under-21s on 27 March 2018, starting in a 2–1 European Under-21 Championship qualifier win over Ukraine.


title: Ryan Sessegnon

text: On 27 May 2019, Sessegnon was included in England's 23-man squad for the 2019 UEFA European Under-21 Championship.


title: Ryan Sessegnon

text: On 27 May 2019, Sessegnon achieved the Guinness World Records title for 'Fastest time to hit both football goal posts and crossbar', doing so in just 7.75 seconds.


title: The Man Who Killed Don Quixote

text: The Man Who Killed Don Quixote is a 2018 adventure-comedy film directed by Terry Gilliam and written by Gilliam and Tony Grisoni, loosely based on the 1605/1615 novel "Don Quixote" by Miguel de Cervantes. Gilliam tried to make the film many times over 29 years, which made it an infamous example of development hell.


title: The Man Who Killed Don Quixote

text: Gilliam started work on the film in 1989 but was unable to secure funding until 1998 when it entered full pre-production with a budget of $32.1 million without American financing, with Jean Rochefort as Quixote, Johnny Depp as Toby Grummett, a 21st-century marketing executive thrown back through time and Vanessa Paradis as the female lead. Shooting began in 2000 in Navarre, but difficulties such as sets and equipment being destroyed by flooding, the departure of Rochefort due to illness, problems obtaining insurance for the production and other financial difficulties led to a sudden suspension of the production and its subsequent cancellation. The original production was the subject of the documentary film "Lost in La Mancha", which was intended to be a making-of but was released on its own in 2002.


title: The Man Who Killed Don Quixote

text: Gilliam tried to relaunch production between 2003 and 2016, which included Depp, Ewan McGregor and Jack O'Connell as Toby and Robert Duvall, Michael Palin and John Hurt as Quixote. All were cancelled for various reasons, such as failing to secure funds, Depp's busy schedule and eventual loss of interest in the project and Hurt being diagnosed with cancer that eventually led to his death. After yet another failed attempt, it was unexpectedly reported in March 2017 that filming had finally started, with Adam Driver, who was confirmed as Toby in 2016 and helped secure funding, and Jonathan Pryce as Quixote. On 4 June 2017, Gilliam announced that the shooting of the film was complete, 17 years after it originally started.


title: The Man Who Killed Don Quixote

text: "The Man Who Killed Don Quixote" premiered on 19 May 2018, simultaneously acting as the closing film at the 2018 Cannes Film Festival and being released in French theaters. Gilliam faced difficulties in the process of releasing the film worldwide, partially due to a lengthy legal dispute with former producer Paulo Branco. Subsequently, the film was only released in a few other countries, including Belgium, Spain and Portugal; it was released in the United States and Canada on 10 April 2019 and in the United Kingdom and Ireland on 31 January 2020.


title: The Man Who Killed Don Quixote

text: Toby Grummett, a director, is in rural Spain, struggling with the production of a commercial featuring Don Quixote and Sancho Panza. After an unsuccessful day of shooting, Toby's superior, the Boss, introduces him to a Romani street merchant who sells him an old DVD of "The Man Who Killed Don Quixote". By coincidence, Toby wrote and directed the film ten years earlier as a student. Toby watches the film while in bed with the Boss's wife, Jacqui. When the Boss returns to the hotel room, Toby barely escapes without being recognized.


title: The Man Who Killed Don Quixote

text: A flashback shows student Toby casting elderly cobbler Javier Sanchez as Don Quixote. Javier initially falters in his characterization, but upon rushing to defend Angelica when a member of Toby's crew plays a prank on the teenage waitress, succeeds in embodying that "I am Don Quixote".


title: The Man Who Killed Don Quixote

text: Toby realizes that his current shoot is near the shooting location of "The Man Who Killed Don Quixote". Taking a motorbike to Los Sueños, he learns that Angelica has moved away from her father Raul. Toby meets Javier, now working as a tourist attraction. He discovers that Javier has become convinced that he is the real Don Quixote, and that Toby is his squire, Sancho Panza. Quixote accidentally causes a fire that spreads through the town, as Toby escapes on the motorbike.


title: The Man Who Killed Don Quixote

text: On the set, police are investigating the "break in" of Jacqui's room. The police notice that Toby's bike was the one spotted in Los Sueños and take him in for questioning. En route, they encounter Don Quixote on his horse Rocinante, who demands that the officers release Toby. When they dismiss him, Quixote attacks, culminating in one of the officers being shot and the Romani man stealing the police car. Quixote supplies Toby with a donkey and clothes from the set, and they set off for adventures.


title: The Man Who Killed Don Quixote

text: Quixote notices a windmill and believes it is a giant attacking a woman. Receiving a head wound after being knocked by one of the windmill's blades, Quixote and Toby are led by the woman to a decrepit ruin occupied by impoverished people. The leader, Barbero, welcomes them warmly but locks them in an attic. That night, Toby comes to suspect that they are secretly terrorists, but soon finds that the ruin has transformed into a 17th-century village and its inhabitants are "Moriscos" hiding their muslim faith from the Spanish Inquisition. Toby manages to evade the inquisitors, then awakens the next morning, the night's events having seemingly been a dream, and learns that the residents are not terrorists but fearful undocumented immigrants. Quixote, having experienced Toby's "dream", is regaling them with a tale of it.


title: The Man Who Killed Don Quixote

text: Moving on with Quixote, Toby finds a bag of old Spanish gold and attempts to hide it, but accidentally falls down a ravine into a cave. There he re-encounters Angelica, who tells him that she works as an escort. She mounts a horse and rides off, with Toby chasing her.


title: The Man Who Killed Don Quixote

text: Quixote finds Toby, and joins him on a quest to find Angelica, but soon enters a jousting match with the "Knight of Mirrors", revealed to be Raul. He and several Los Sueños townspeople had been disguising themselves in an attempt to get Javier to come home. After Quixote rides off, Raul punches Toby for indirectly causing his daughter to become an escort.


title: The Man Who Killed Don Quixote

text: Waking up, Toby finds Quixote whipping himself with thorns to prove his love to Dulcinea del Toboso. Healing his wounds by a river, Toby is found by Jacqui on horseback, dressed for a costume party thrown by Alexei Miiskin, a Russian vodka company owner entering a business deal with the Boss. Arriving at Miiskin's castle, Toby learns that Angelica is Miiskin's "property" and sees him behave cruelly towards Angelica and Quixote. Toby tries to convince both of them to leave but Quixote refuses and Angelica is captured. Toby rescues Angelica, but finds it is Jacqui wearing a mask, who reveals that Angelica is being burned alive by Miiskin as part of his entertainment. Toby accidentally knocks Quixote out of a window; dying on the ground, Quixote regains his sanity, asserting he is shoemaker Javier Sanchez and gives Toby his sword, telling him that he never truly saw him as lowly. Angelica's burning is shown to be a special effect and Quixote dies while Toby recalls Quixote's claim of immortality.


title: The Man Who Killed Don Quixote

text: The next morning, Toby and Angelica are returning Javier's body to his village for burial. Toby, now Quixote, attacks three windmills, believing them to be giants, with Angelica at his side. The two agree to call her Sancho Panza and they ride into the sunset.


title: The Man Who Killed Don Quixote

text: Terry Gilliam first read the novel in 1989, and started conceptualizing an adaptation right away. He saw a personal project in adapting "Don Quixote", as it embodies many of the themes that run through his own work—such as the individual versus society, and the concept of sanity. Instead of a literal adaptation, Gilliam's film was about "an old, retired, and slightly kooky nobleman named Alonso Quixano [who] reads too many chivalric romances. Taking leave of his senses, he sets out to fix the world and revive chivalry, clad in makeshift armor and accompanied by a donkey-owning farmer named Sancho Panza, who serves as his squire".


title: The Man Who Killed Don Quixote

text: Gilliam signed a deal with Phoenix Pictures as the studio to make the film in 1990 under the name "Don Quixote". Sean Connery was in talks to star as Quixote, but Gilliam disliked the idea because "Quixote is air and Sean is earth". Nigel Hawthorne and Danny DeVito were also in talks to star as Quixote and Panza respectively. However, Gilliam ultimately decided that the budget the studio offered him was too low and dropped from the project to focus on "The Defective Detective", another film he ultimately failed to make. Phoenix Pictures chose Fred Schepisi to replace Gilliam, with John Cleese as Quixote and Robin Williams as Panza, and Steven Haft, Quincy Jones and David Salzman as producers. This version would have been based on an old screenplay by Waldo Salt. However, it was officially cancelled in 1997.


title: The Man Who Killed Don Quixote

text: In 1997, Gilliam stated, "The years I wasted on this one! I was so frustrated with Hollywood, I went after European money, needing $20 million. And they said, 'You're on.' But I found out I needed more money. [...] That really hurts, that I let a project I'm convinced I'm the best director on the planet to do, slip by."


title: The Man Who Killed Don Quixote

text: After Schepisi's project collapsed, Gilliam resumed working on the film with co-writer Tony Grisoni, giving it the new name "The Man Who Killed Don Quixote". Instead of featuring a man named Alonso Quixano and Sancho Panza, this new version would instead feature Toby (in early versions "Toby Grisoni", as a joke between Gilliam and co-writer Tony Grisoni), a 21st-century marketing executive thrown back through time and who meets Don Quixote. Their version would also have borrowed elements from Mark Twain's 1889 novel "A Connecticut Yankee in King Arthur's Court", including its time travel elements; after having failed "Don Quixote"s original attempt, Gilliam had unsuccessfully tried to adapt "A Connecticut Yankee in King Arthur's Court" into a film.


title: The Man Who Killed Don Quixote

text: Gilliam announced "Don Quixote" to be his next project at the UK premiere of "Fear and Loathing in Las Vegas" in 1998, with pre-production starting the same year. Gilliam, tired with Hollywood wanting creative control on his films, had decided to make the film in Europe instead, which according to him was "one big monstrous problem". It was set to have been one of the biggest continental European films ever made, with a budget of $32.1 million that had been scaled back from an original $40 million, and would have been filmed in Spain and throughout Europe. It was to have been one of Gilliam's most ambitious films, produced without any American financing; according to Gilliam, this budget was "half the money we need". René Cleitman was one of the film's producers. At the time, Gilliam stated, "I hope it's going to be fun. It's been such a long slog to get to this point today." Working Title Films was offered the project, but turned it down because of the needed budget.


title: The Man Who Killed Don Quixote

text: Jean Rochefort was picked to play Don Quixote, in preparation for which he spent seven months learning English. Toby was to be played by Johnny Depp, who had starred in "Fear and Loathing in Las Vegas", and Vanessa Paradis would have been his love interest. Other actors who were to appear in the film included Miranda Richardson, Christopher Eccleston, Rossy de Palma, Jonathan Pryce, and Sally Phillips.


title: The Man Who Killed Don Quixote

text: Filming started in September 2000, with Nicola Pecorini as cinematographer. The first location shoot was at Bardenas Reales, a scenic, barren area in Navarre, Spain, near a NATO military base. Shortly before filming, the crew unexpectedly found out that several actors had conflicting schedules that would not match each other, making it unsure how and when to film scenes that would feature those same actors at the same time. On the very first day of shooting, F-16 fighter aircraft flew overhead repeatedly, ruining the audio recording and mandating a later re-dubbing in post-production. A flash flood then followed on the second day of filming, washing away and destroying significant portions of equipment and changing the color of the barren cliffs, making previously filmed material unusable due to continuity issues. The crew spent the next days trying to recover the equipment or obtain new supplies, but it eventually turned out that the film's insurance did not cover the damage caused by the flood. Several actors also did not show up on set for filming.


title: The Man Who Killed Don Quixote

text: On the fifth day, filming resumed, but when Rochefort, an able horseman, attempted to ride and act, he was obviously wincing in pain, and required assistance dismounting and walking; he notably suffered from prostate issues, which proved very problematic when riding a horse. This made the newly filmed footage unusable, as Rochefort's pain was obvious on camera, and production was suspended while Rochefort flew hurriedly to his doctor in Paris, where he was additionally diagnosed with a double herniated disc. For several days the crew attempted to shoot scenes that did not involve Rochefort – including a scene with Depp at Monasterio de Piedra – but as time passed, it became unclear whether Rochefort would be able to return or not. Pecorini stated at the time "Never in 22 years of being in this business have I seen such a sum of bad luck." Gilliam was very disappointed by this, as he had spent two years trying to cast the perfect actor for Quixote. Despite his continued efforts, production was finally cancelled in November 2000.


title: The Man Who Killed Don Quixote

text: After the production had been cancelled, an insurance claim was filed on behalf of the film's investors. US$15 million were reportedly paid, and the rights to the screenplay passed on to the insurance companies. From 2003 on, Gilliam kept on trying to make the film, but to no avail. His first new attempt, six months after the release of "Lost in La Mancha", was quickly turned down. In 2005, Gilliam voiced his interest in re-casting the role of Don Quixote with Gérard Depardieu. The film quickly gained the reputation of being cursed, notably after the release of "Lost in La Mancha", making it even harder for Gilliam to find financial support.


title: The Man Who Killed Don Quixote

text: In the meantime, Gilliam made other films, stating, "Every film I've done since then has been because I couldn't get "Quixote" made." Those other productions mostly collapsed, like the Nicolas Cage-led "The Defective Detective" or an adaptation of Terry Pratchett and Neil Gaiman's novel "Good Omens" (which was cancelled after the September 11 attacks due to the content being judged too dark), or were also met with significant issues: he notably clashed with producers Bob and Harvey Weinstein on the making of "The Brothers Grimm", leading to them firing his cinematographer Nicola Pecorini, and had to replace "The Imaginarium of Doctor Parnassus"s lead actor Heath Ledger after his death halfway through filming.


title: The Man Who Killed Don Quixote

text: In July 2006, after nearly six years of legalities between the French producers and German insurers, the issue over the rights was settled. Terry Gilliam announced this at the Munich International Documentary Film Festival, saying that the production company was willing to give Gilliam the rights, and that Jeremy Thomas was still interested in producing. In August 2006, Gilliam indicated at a post-screening Q&A for "Tideland" that the complex legal case concerning the film's collapse was finally being wrapped up, and that the rights to the script would hopefully be given back to Gilliam and co-writer Grisoni in the near future. He stated his intention to completely reshoot the film.


title: The Man Who Killed Don Quixote

text: Johnny Depp was at times still connected to the project, but it remained unclear if Depp's filming schedule would have allowed for his participation and if he wanted to join the production at all. During a press junket in 2009 for his film "Public Enemies", Depp stated: [Gilliam and I] have talked about it. But to be honest, the thing about Terry... I love Terry, and I'd do anything the guy wants to do. But with "Quixote"... my dance card is pretty nutty for the next couple of years. So I'd hate to put him in a position—or ask to be in a position—where he'd have to wait for me. That would be wrong. But also, I feel like we went there and tried something, and whatever it was—the elements and all the things that got up underneath us—were there and happened and were documented well in that film "Lost in La Mancha". So I don't know if it's right for me to go back there. I don't know if it's right for Terry too, but if he wants to...


title: The Man Who Killed Don Quixote

text: In 2008, Gilliam restarted preliminary work on a new version of the film. The film would be reshot completely, and Rochefort's role had been recast. In 2008, Michael Palin reportedly entered talks with Gilliam to step in for Rochefort and play Don Quixote. In November 2009, Gilliam said he had finished re-casting the role, but he refused to disclose the actor's identity. In a December 2009 interview with Collider, Robert Duvall claimed on-camera to be Gilliam's new choice for Don Quixote; this was later confirmed by Gilliam, with Depp still attached to co-star as Toby. Since Depp was signed for two Disney films, further production delays were suspected, but commencement of shooting was scheduled for early 2010. Whether the production timetable would have been maintained is unknown, because Depp stated that he would not make room in his tight schedule for Gilliam's film. Depp even noted that he was not sure if he wanted to revisit the revived film project at all. The film was to be produced by Jeremy Thomas for Recorded Picture Company. International sales would have been handled by HanWay Films. On 17 May 2010, it was announced Ewan McGregor had been cast in the film.


title: The Man Who Killed Don Quixote

text: Gilliam entered main pre-production once again in 2009. After finally retrieving the rights to the screenplay, Gilliam and Grisoni started to rewrite the plot in January 2009 and hoped to be finished within a month. In 2010, Gilliam stated that primary casting was finalised, with Duvall and McGregor still attached; however on 5 September of the same year, he revealed that funding had collapsed a month and half earlier and as a result shooting was delayed. By 2012, Duvall was still potentially attached to the film, but not McGregor, with Tony Grisoni commenting the same year "Us survivors of "Don Q" are a strange kind of dysfunctional family. Every year since we have rewritten the screenplay. And we've got quite good at it. You will be pleased to hear the Don is back up and in the saddle and ready to ride under new colours." In November 2013 during the promotion of "The Zero Theorem" at the Venice Film Festival, Gilliam told "Variety" "I'm going to try to do it again, [...] We'll see if it happens. I just want to make it and get rid of it. Get it out of my life."


title: The Man Who Killed Don Quixote

text: In January 2014, Gilliam published on his Facebook page that "Dreams of Don Quixote have begun again. [...] Will we get the old bastard back on his horse this year?" In an interview with "Empire"s website, Gilliam stated that production would start up again 29 September 2014 in the Canary Islands. Spanish producer Adrián Guerra was on board to fund the project. Gilliam said of Guerra, "He's really smart, loves movies. He's young enough to still love movies, but we've still got to cast it and get the money but other than that, that's the deal." New concept art by Gilliam collaborator Dave Warren was also released. In August 2014, in an interview with TheWrap, Gilliam revealed that he had received funding, and that the plot of the film has changed: "Our main character actually made a Don Quixote movie a lot earlier in his history, and the effect it had on many people wasn't very nice. Some people go mad, some people turn to drink, some people become whores." In September 2014, actor John Hurt confirmed he had become attached to the film in the titular role of Quixote, replacing Robert Duvall.


title: The Man Who Killed Don Quixote

text: In a September 2014 interview with "Rolling Stone", Gilliam said that making "Don Quixote" next "[...] is my plan, but plans have nothing to do with reality. We shall see what happens. I really can't say anything at the moment, because there's been a little hiccup — once again. The Sisyphean rock that keeps rolling back. Just as we almost get to the top of the mountain... We'll see what happens. I'm not a happy camper at the moment." When asked why he continues to attempt making the film, Gilliam said, "Oh, I don't know, pigheadedness, stupid – I really don't know anymore. I'm beginning to actually think, 'If it doesn't work this time, I'm gonna dump it.' I've wasted far too much of my life doing it. If you're going to do Quixote, you have to become as mad as Quixote. [...] I've wasted how many years? Fifteen? Yeah, there's a certain point. It's kind of the determination to be crazy and unreasonable. Every intelligent person around me says, 'Walk away from it.' But those are reasonable people." In November 2014, Jack O'Connell was cast as Toby. Commenting on the changes on the script compared to the original version, Gilliam stated, "It all takes place now, it's contemporary. It's more about how movies can damage people."


title: The Man Who Killed Don Quixote

text: On 9 June 2015, Gilliam obtained a deal with Amazon Studios to release the film theatrically, followed by a streaming Amazon début. Gilliam said of the deal: "I'm intrigued by their way of doing it. They go into the cinemas first and then a month or two afterwards they go into streaming. And I think that's good because you get a chance to see it on the big screen, and yet I know that more people have seen my films on DVD than they have in the cinemas and that's the reality of life now." In September 2015, the film's production was suspended once again, due to Hurt being diagnosed with pancreatic cancer shortly before filming. He eventually died from his cancer on 25 January 2017. Gilliam paid homage to him on Facebook, stating, "Sadly, the earthly marvel that was John Hurt has departed us. Two years ago, he and I were off to make "The Man Who Killed Don Quixote" when he was diagnosed with a particularly evil brand of cancer. Despite the terrible prognosis he was determined to carry on working. And he did. Right to the final curtain. In the end, cancer was the windmill that he couldn't defeat. John was not just a phenomenal actor, but a wickedly wonderful human being. I felt honoured to be a friend." That same year, original Quixote portrayer Jean Rochefort also died. Gilliam also paid homage to him: "When I saw him a couple of years ago he seemed to be growing younger, not older. I imagined that, like Quixote, he was capable of living forever. That he should be gone is unbelievably sad. Farewell, Jean."


title: The Man Who Killed Don Quixote

text: At the 66th Berlin International Film Festival in February 2016, Gilliam, in need of a minimum 16 million euros for the budget in order to make the film, was introduced to Portuguese producer Paulo Branco, who promised that he would obtain the needed budget by September, a few weeks before they would start the eleven weeks-long shoot.


title: The Man Who Killed Don Quixote

text: With the film having entered pre-production once again, Gilliam cast Palin as Quixote, Adam Driver as Toby, and Olga Kurylenko as the female lead. Reportedly, Driver would have been paid 610,000 euros for the film, with Palin being paid 285,000 euros. Both of them took equitation lessons for the film shortly after being hired. Gilliam hired his daughter Amy Gilliam as unit production manager. The new version would be set in modern day, with Toby as a director shooting a commercial and coming across a copy of his old student film, a re-telling of the famous Don Quixote story, which leads him back to the little Spanish village where he shot it back in the days, only to get embroiled in a series of adventures and catastrophes.


title: The Man Who Killed Don Quixote

text: Tensions soon arose, with Branco wanting creative control over the project; however, and despite having been warned against working with Branco, Gilliam believed that he had no other choice than to collaborate with him if he wanted "Don Quixote" to be filmed in the year, encouraged by Branco's successful financing of David Cronenberg's 2012 film "Cosmopolis". Similarly, Branco felt that Gilliam had "a deep hate towards producers". Shortly before the 2016 Cannes Film Festival, Amazon withdrew from the project because of Branco's reputation as producer, with Amazon representative Matthew Heintz sending a mail stating that "in regard of the interactions we had with [Branco], we do not wish to pursue further negotiations with him". Nevertheless, Gilliam stated during the Cannes Film Festival that the film would start shooting in October 2016.


title: The Man Who Killed Don Quixote

text: Conflict escalated further when Branco tried to reduce the budget down from the promised 16 million. He also cut Palin's pay from 285,000 euros to 100,000 euros, which deeply angered Palin; when Gilliam wrote to Branco to complain that Palin's unexpected salary cut felt like a "slap on the face", Branco answered that the film needed "a true producer", referring to himself as the "captain" of the project. On 29 April 2016, Gilliam signed a deal where in exchange for producing the film, Branco would earn, in addition to his own salary, the salary of 750,000 euros Gilliam would have been paid for writing and directing the film. In addition to severing ties with several other production companies interested in the project, Branco soon tried to reduce the salaries of other crew members, including the hair stylist, the assistant director, and Amy Gilliam. He also tried to push Palin away from the project, considering him too old, to have his own sister hired as costume designer, to have filming moved forward by several months, and to have the film shot in digital instead of the 35 mm Gilliam wanted. Some of the film's other producers and its distributor stated that Branco told Gilliam "Either you make this film my way, or you irremediably compromise the feasibility of the project and your film is condemned. It will never see the light of day."


title: The Man Who Killed Don Quixote

text: Ultimately, Branco did not provide the promised funds for the film. When Gilliam complained, Branco answered that he "would not accept this kind of spoiled kid behavior." On 6 August, Branco sent a mail to Gilliam urging him to accept his conditions, including a reduced budget, and to give Branco full creative control over the project, threatening to cancel the project altogether and fire the entire crew and cast otherwise. Terry Gilliam answered that those demands were unacceptable, and "incompatible with the contract I have signed", while Amy Gilliam called Branco's actions "the behavior of a tyrant and a bully". In response, Branco officially suspended production on 2 October. Gilliam kept on working, however, with new producers, stating, "We should be here [at the Cannes Film Festival] next year with the finished film, and then you can ask me why I made such a mess of it or why I made such a wonderful film."


title: The Man Who Killed Don Quixote

text: Over the years, Gilliam and Grisoni kept on re-writing "The Man Who Killed Don Quixote" as they kept on trying to make the film. The most notable change was the removal of the time travelling element central to the original 2000 production; instead of the character of Toby being thrown back through time, the film would instead take place in modern times, with the "period elements" being characters having a party dressed like in the ancient times. Toby would be revisiting a Spanish village he had once filmed a student film in and discover that the shoemaker he had cast in the title role all those years ago has been living as Quixote ever since.


title: The Man Who Killed Don Quixote

text: Gilliam stated, "I'm incorporating the idea of the damage that films do to people, so it's become a bit more autobiographical." Jonathan Pryce, who was a part of both the original and final productions, stated, "from what I can remember of the original script, this is an altogether better version. It's a clearer story. Terry's done a lot of rewrites – and he's had a lot of time to do rewrites."


title: The Man Who Killed Don Quixote

text: After Gilliam found new producers, he started production once again. Driver and Kurylenko were still attached as Toby and the female lead, with Pryce cast as Don Quixote. Pryce had previously starred in Gilliam's films "Brazil" (1985), "The Adventures of Baron Munchausen" (1988), and "The Brothers Grimm" (2005), and was also cast in the original 2000 production of "The Man Who Killed Don Quixote" in a different role. Gilliam stated, "Jonathan has been wanting to [play Quixote] for 15 years – he's been making my life a misery. And now he's here and he's just extraordinary. The editor, who is Spanish, says that she can never imagine another Quixote. So it's as if the time was right: everything seemed to be ready to make this thing."


title: The Man Who Killed Don Quixote

text: Gilliam stated that Driver was the perfect cast choice for Toby, calling him "the guy I've been looking for all these years." Cast members later announced included Joana Ribeiro, Óscar Jaenada, Jason Watkins, Rossy de Palma, and Jordi Mollà.


title: The Man Who Killed Don Quixote

text: Having found new producers who obtained the needed budget, Gilliam unexpectedly announced in March 2017 that filming had started for the first time since the original 2000 attempt; the announcements of Pryce's role, and Driver and Kurylenko still being attached to their roles, soon followed.


title: The Man Who Killed Don Quixote

text: During filming in May, Gilliam stated, "In the end, we're doing this for much less money than we honestly need. But everyone involved, from the cast to the crew, are all working their asses off for a fraction of what they would normally be paid, because they just want to see this thing done. It's odd how being obsessive and not giving up can inspire other people to get involved. Fools that they are!" He also stated, "It was terrifying starting shooting this film finally after, well it originally started in 1989. That's a long time ago! To be thinking, dreaming it, writing and rewriting it, it was a horrible feeling... Yet what's interesting about a film – at a certain point it starts making itself. So it's not actually the film I set out to make. This is a slightly different film. It's doing its own work, and I'm just holding on for dear life!" Driver stated that "Terry couldn't control his enthusiasm, nor how deeply ingrained this movie was within his body. It seemed like an exorcism, every day we were making it." During filming, Gilliam commented on how well they were doing: "I still worry. We've had too much luck, so it could go wrong at any moment. Today, the clouds are building. They'll probably block out the light and we'll have to go home."


title: The Man Who Killed Don Quixote

text: On 4 June 2017, Gilliam announced that filming had finally been completed, 17 years after it originally started.


title: The Man Who Killed Don Quixote

text: Only a few crew members constantly worked on the film between 2000 and the final product, including Gilliam, his daughter Amy (who co-produced the film), co-writer Tony Grisoni, cinematographer Nicola Pecorini, and production designer Benjamin Fernandez.


title: The Man Who Killed Don Quixote

text: In November 2017, Gilliam stated that editing was nearly complete: "We're just fiddling now, figuring out a few things here and there so it's pretty much what it is. We've got still months of work to do on visual effects, sound, music. But as far as the tale, it's pretty tight now and it's surprisingly wonderful". On 23 December he stated "The year is almost finished.. and so is "The Man Who Killed Don Quixote"."


title: The Man Who Killed Don Quixote

text: In May 2018, at the same time Amazon Studios dropped from the project, Gilliam suffered a minor medical complication that was erroneously reported as a stroke.


title: The Man Who Killed Don Quixote

text: During filming in Portugal, Gilliam's team was accused of damaging public properties, as well as the Convent of Christ, a notable convent in Tomar and a UNESCO World Heritage Site. The accusation came from a report by Portuguese news channel RTP1, who stated that the crew had "left behind chipped masonry, broken roof tiles and uprooted trees at the 12th-century Convent of Christ in Tomar, central Portugal." Gilliam denied the accusations, stating, "I think the Convent of Christ is one of the most glorious buildings I have ever seen. Everything we did there was to protect the building from harm... and we succeeded. Trees were not cut down, stones were not broken. [...] There was not an iota of disrespect involved. People should begin by getting the facts before howling hysterically." An investigation by the Portuguese government took place during the following weeks to determine if the news report was accurate, with the presence of "some damage" being acknowledged, which was catalogued by the convent officials who monitored the filming. The destruction of the trees was determined to have occurred during the production of an earlier, unrelated film. On 4 July 2017, Portuguese authorities ruled that Gilliam's crew was only responsible for "insignificant damage", adding that the accusations "lacked rigor and revealed a lack of scientific knowledge".


title: The Man Who Killed Don Quixote

text: Paulo Branco, a former producer of the film, stated in June 2017 that this new version was "illegal" and that he, not Gilliam, owned the rights to the film, and that as such, any content shot for the film was the property of Alfama Films, one of the film's former production companies. Branco was a producer on the film during Gilliam's previous attempt at making it in 2016, and was supposed to find funds for the film; in exchange, Gilliam would give his salary as writer-director to Branco. Eventually, Branco did not provide the funds promised and suspended production only a few weeks before filming, leading Gilliam to find other producers with whom he was able to make the film. However, Branco claimed that he still owned the rights and was still owed Gilliam's salary despite not providing financial backing for the film as planned: according to Gilliam and the film's producers, he asked to be paid a total of 3.5 million euros, with 2 million before the release and 1.5 million afterwards.


title: The Man Who Killed Don Quixote

text: Considering that Branco's failure to secure funds nullified their deal, Gilliam tried to have the legal contract invalidated in court twice in early 2017, once in Paris and once in London, so he could use the money from his salary to make the film; however, the court ruled in Branco's favor both times. In spring 2017, Gilliam attempted once again to nullify the contract, but the court of first instance ruled against it. Branco also accused Gilliam of having obtained the new funds for the film illegally, which Gilliam denied, claiming that HM Revenue and Customs was well-aware of the nature of said funds.


title: The Man Who Killed Don Quixote

text: The film's current producers answered that Branco's claims were "preposterous" and that he had "no rights whatsoever to "Don Quixote"". Recorded Picture Company CEO Peter Watson stated, "Senhor Branco's interpretation of the law borders on the picaresque. If he really wants to kill the venerable don, I suggest he takes up jousting." Gilliam himself stated that Branco "wallows in his dark twisted madness dreaming megalomanic triumphs while spreading lies and threats", while Branco stated that Gilliam was "mad and mythomaniac".


title: The Man Who Killed Don Quixote

text: As of April 2018, Branco still claimed that the film could not be released without his permission, leading to the issue being debated in court; as a result, the premiere of the film at the 2018 Cannes Film Festival was cancelled. Both Gilliam's lawyer and Océan Films, the French distributor of the film, stated that Branco was actively trying to prevent the film from being included in festivals to pressure the producers into paying him so the issue could be settled in time for festivals, with Océan Films stating that Branco "was never, is not and never will be the producer of Terry Gilliam's "Don Quixote"" and adding that the producers and distributors "would not yield to this attempt at intimidation". They also stated that Branco had previously attempted to have filming cancelled, but that his claim had been rejected by the court on 19 May 2017.


title: The Man Who Killed Don Quixote

text: The verdict was originally expected to be delivered on 15 May 2018, but was later delayed to 18 May, one day only before the possible release, where it was ultimately ruled that the film would be authorized to premiere in French cinemas. Branco immediately stated that he would keep on pursuing legal action against Gilliam and the film's release.


title: The Man Who Killed Don Quixote

text: Additionally, Branco was also trying to prevent the film from premiering at the Cannes Film Festival, with a hearing taking place on 7 May to decide whether or not the film would be authorized to air at the festival. On 9 May, it was announced that the film would be allowed to premiere at Cannes.


title: The Man Who Killed Don Quixote

text: The festival's organizers answered Branco's claims by stating, "The Festival de Cannes' mission is to choose works purely on artistic grounds and the selection must, above all, be with the agreement of the film's director. This is the case here. Past experience had made us aware of possible legal action and of the risks we were running, but as it happens, when we took our decision, there was no opposition to the screening of the film at the festival." They added, "Our entire profession knows that 'forcing matters' has always been Mr. Branco's favorite method, and we should recall that he organized a press conference a few years ago where he denounced the Festival de Cannes because it had not kept a 'promise to select' one of his films. This was an accusation which didn't go anywhere, because the festival does not make promises to select films."


title: The Man Who Killed Don Quixote

text: In June 2018, the Paris Court of Appeal ruled in favor of Branco owning all rights to the film; Branco explained that he will seek damages from not only Gilliam (who the Court demanded pay €10,000 ($11,600) to Branco's production company), but to all parties involved in the making, completion, promotion, and screenings of the film: "The ruling means that the rights to the film belong to Alfama. Any exploitation of the film up until now has been completely illegal and without the authorisation of Alfama," said Branco. "We will be seeking damages with interest from all the people involved in this illegal production and above all, all those who were complicit in its illegal exploitation. We're holding everyone responsible. [...] the film's producers, [Paris-based sales company and producer] Kinology, all the others who supported the film, including those who distributed the film in France [Ocean Films] and the Cannes Film Festival, everyone." Branco said he found it "astounding" that all these parties had continued with the production and exploitation of the film without holding the rights. "The film belongs in its entirety to Alfama. The film was made illegally. It's the first time, I've ever seen so many people embark on a mission to produce and exploit a film, without holding the rights. It's a unique case."


title: The Man Who Killed Don Quixote

text: Later that month, it was reported that although the Court ruled in favor of Branco, producer Mariela Busuievsky clarified that Gilliam in fact still retains the rights to the film, saying that Branco overstated his victory in the ruling. Gilliam never shot a frame of the film under the deal with Branco, and as such, the former producer does not own any rights. However, since Gilliam did a poor job of terminating his contract with Branco, there will be a financial settlement that will have to be made between the two parties and the ex-producer has been using this to claim a right to the finished film. Busuievsky went on to say that the latest ruling does say that Gilliam owes €10,000 and there will probably be more money required to settle. However, these financial issues don't affect the film's release. According to the producer, they chose to remain quiet about the actual major details because it didn't feel necessary, but when Branco went public with his victory and claimed rights to the film, they felt they had to step forward and air all the "dirty laundry". The producer said in 2018 that they were making plans for European territories, with US distribution to follow shortly. She said that "there are many options" in regards to US distributors.


title: The Man Who Killed Don Quixote

text: The first image of the film, showing Don Quixote and Toby riding horses, was released on 21 February 2018. The first trailer was released for the French market on 5 April, featuring French text and subtitles, followed by an English-language trailer the following day.


title: The Man Who Killed Don Quixote

text: The film premiered on 19 May 2018 as the closing film of the 2018 Cannes Film Festival (where it received a standing ovation), and was released in French theaters the same day.


title: The Man Who Killed Don Quixote

text: Paulo Branco, whose legal dispute with Gilliam prevented the film from competing for the Palme d'Or at the Cannes Film Festival, attempted to prevent the film from both being released in France and from being shown at Cannes. A hearing took place on 7 May to debate if the film could be shown at the festival, with the decision expected two days later. On 9 May, the court ruled in favor of the film being shown at Cannes. On May 18, court ruled in Gilliam's favor once again and authorized the film to be released in French theaters the following day; it would have a limited release, and would be shown in 255 theaters across the country. Critics at the Cannes Film Festival received an early screening the day before the release.


title: The Man Who Killed Don Quixote

text: On 8 May 2018, despite contributing significant funding to the production, Amazon Studios confirmed that they would no longer distribute the film in the United States. It was released in Spain on 1 June 2018.


title: The Man Who Killed Don Quixote

text: The film premiered in Belgium on 20 June at the Brussels international Film Festival, before being released nationwide on 25 June. It was released in China via the Turbo Film production company. On 17 September, Gilliam announced that the film would premiere in the United States on 20 September at Fantastic Fest. On 17 December, Screen Media Films acquired the North American rights to the film and set a March 2019 release. The film was released in the US and Canada on April 10, 2019 as a one night only showing in select theaters through Fathom Events.


title: The Man Who Killed Don Quixote

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of , based on reviews, with an average rating of . The website's critical consensus reads, ""The Man Who Killed Don Quixote" may not live up to long-gestating expectations, but it bears enough of director Terry Gilliam's signature creative stamp to satisfy fans." Metacritic gives the film a weighted average rating of 58 out of 100, based on 25 critics, indicating "mixed or average reviews".


title: The Man Who Killed Don Quixote

text: Peter Debruge with "Variety" called the film "a loud, belligerent, barely coherent mess", stating "the result feels like evidence of someone [Gilliam] who spent too long obsessing over Don Quixote, losing sight somewhere along the way of whatever attracted him in the first place." Gregory Ellwood at "Collider" felt that the film "simply doesn't live up to its storied legacy in the annals of Hollywood film development", giving it a C rating.


title: The Man Who Killed Don Quixote

text: Ben Croll writing for "TheWrap" called "The Man Who Killed Don Quixote" "an awful lot of fun. Of course, the fun can be far from perfect. The film is also messy and hysterical in places, and by running an exhausting 132 minutes, it rather insistently overstays its welcome [...] We're so thrilled by the film's improbable existence that we're willing to go wherever Gilliam wants to take us, but respond with an extra degree of disappointment whenever he stumbles along the way." He summarized by saying, "It's too much, it's out of step with today and it's oddly endearing."


title: The Man Who Killed Don Quixote

text: Robbie Collin for "The Daily Telegraph" felt that:"Even when the film feels like a circuitous, effortful mess, it's often an intentional one – and for everything in the film that doesn't quite connect, that element of self-portraiture, with the artist as sap, strikes a wistful chord. [...] Driver and Pryce fling themselves at everything with beady resolve, just as Gilliam gives it everything he has. Around 50 percent of it sticks – and to pretend the film was any more successful than that would do a disservice to this director's truly great films, not least "Brazil". But after everything "Quixote" has been through, 50 percent feels like enough." Peter Bradshaw at "The Guardian" stated: "It may not be Gilliam's masterpiece, but it is a movie with sprightliness, innocence and charm and it is a morale boost to anyone who cares about creativity that Gilliam has got the film made at all. His own intelligence and joy in his work shine out of every frame, and his individuality is a delight when so much of mainstream cinema seems to have been created by algorithm."


title: The Man Who Killed Don Quixote

text: In the years that followed its original cancellation, "The Man Who Killed Don Quixote" became widely recognized as one of the most infamous examples of development hell in film history, and as one of the most famous films never made, even gaining the reputation of being cursed. IndieWire called the film "one of the most troubled productions in the history of cinema", while "/Film" believed they "could write a book about the movie's problems", stating, "Heaven and hell seemed to unite in defiance of Terry Gilliam's "The Man Who Killed Don Quixote".


title: The Man Who Killed Don Quixote

text: Commenting on the making of the film, "The Guardian" commented on "Mr Gilliam's visionary project disintegrating like a slow-motion car crash. The double hernia and slipped disc that zonked his lead actor, Jean Rochefort, the flash floods that swept away his camera equipment, the overhead NATO jets which wrecked his soundtrack, the actors who didn't show up, and finally, the implacable money-men who declared that the star's indisposition was not covered by insurance as it was an Act of God. The Act of a furious Old Testament God with a serious grudge against Terry Gilliam". "Geeks of Doom" called the film's failure a "legendary collapse", while the BBC stated that the film is "synonymous with sustained and calamitous misfortune".


title: The Man Who Killed Don Quixote

text: When the final film encountered legal issues due to the dispute with Paulo Branco in 2018, several journalists commented on the issue by stating that regarding the infamously complicated history of the film, its current legal issues were relatively inconsequential, with "The Guardian" stating, "It's another bump in the long road for this most troubled of productions, though given the director has waited nearly two decades to see his magnum opus on screen, he can stand to hold on for a few more months." The BBC stated before the film's release "It is almost unbelievable that "The Man Who Killed Don Quixote" is still being wounded by the slings and arrows of outrageous fortune" while "Vox" stated "It remains to be seen whether the film is any good. But at this point, it almost doesn't matter. It will be a long time before "The Man Who Killed Don Quixote" can be seen just as a movie, separate from its long saga of dreams and woes and catastrophes—which may actually be beneficial in the case of a movie about a knight with a foolish dream. The behind-the-scenes saga is part of the film's mystique and history, and whether it's great, terrible, or somewhere in between, that story is what historians, critics, and crowds will remember, long after the movie leaves theaters."


title: The Man Who Killed Don Quixote

text: Gilliam himself admitted in May 2017 that the film's legendary reputation added more pressure on him: "The problem is that people have very high expectations. And a lot of people say I'm a fool to make the film, and that it would have been better to let people imagine how great it would have been, rather than making it a reality and disappointing them. People love Roman ruins because they're not complete and you can imagine them. So I may be making a great mistake. Maybe the film would be better as a fantasy."


title: The Man Who Killed Don Quixote

text: After his 1988 film "The Adventures of Baron Munchausen" was almost abandoned, Gilliam decided to document the making of all his films in case one of them was canceled. For "The Man Who Killed Don Quixote", he asked Keith Fulton and Louis Pepe, who had been in charge of the making-of of his film "12 Monkeys", to film what should have ultimately been its making-of; however, after "Don Quixote" was canceled, "Lost in La Mancha" was released in 2002 as a stand-alone documentary film about Gilliam's failed attempt at making the film.


title: The Man Who Killed Don Quixote

text: The documentary received critical praise for its relevance on the difficulties inherent to filmmaking, and for its depiction of Gilliam as an artist. BBC called the film "painful to watch: an astonishing 'un-making of' documentary which defines the phrase 'catalogue of disasters'". Olga Kurylenko, who starred in the eventual 2018 film, stated about "Lost in La Mancha", "You watch and you think, poor Terry. Why does this have to happen to this wonderful man? He doesn't deserve this. It's just crazy. But it wasn't meant to be, I guess. It wasn't the moment."


title: The Man Who Killed Don Quixote

text: Keith Fulton and Louis Pepe, the writers and directors of "Lost in La Mancha", released a follow-up film, titled "He Dreams of Giants", which covers the entire history of the film's making, with particular focus on what happened after the events depicted in "Lost in La Mancha". The documentary film was released on November 10, 2019. Pepe said that the film is "more introspective" than "Lost in La Mancha": "This is more a film about an internal struggle in an artist's mind. What is it like for an artist to be standing on the brink of actually finishing this project finally? [...] Even on the set we would say the conflicts raging around Terry right now of making the movie are not nearly as interesting as what's going on inside his head."


title: Plague doctor costume

text: The clothing worn by plague doctors was intended to protect them from airborne diseases during outbreaks of bubonic plague in Europe. It is often seen as a symbol of death and disease. However, the costume was worn by a comparatively small number of late Renaissance and early modern physicians studying and treating plague patients.


title: Plague doctor costume

text: The typical costume consists of an ankle-length overcoat and a bird-like beak mask, often filled with sweet or strong-smelling substances (commonly lavender), along with gloves, boots, a wide-brimmed hat, and an outer over-clothing garment.


title: Plague doctor costume

text: The typical mask had glass openings for the eyes and a curved beak shaped like a bird's beak with straps that held the beak in front of the doctor's nose. The mask had two small nose holes and was a type of respirator which contained aromatic items. The beak could hold dried flowers (commonly roses and carnations), herbs (commonly lavender and peppermint), camphor, or a vinegar sponge, as well as juniper berry, ambergris, cloves, labdanum, myrrh, and storax. The purpose of the mask was to keep away bad smells, known as miasma, which were thought to be the principal cause of the disease. Doctors believed the herbs would counter the "evil" smells of the plague and prevent them from becoming infected.


title: Plague doctor costume

text: The wide-brimmed leather hat indicated their profession. Doctors used wooden canes in order to point out areas needing attention and to examine patients without touching them. The canes were also used to keep people away and to remove clothing from plague victims without having to touch them.


title: Plague doctor costume

text: The exact origins of the costume are unclear, as most depictions come from satirical writings and political cartoons. The beaked plague doctor inspired costumes in Italian theatre as a symbol of general horror and death, though some historians insist that the plague doctor was originally fictional and inspired the real plague doctors later. Depictions of the beaked plague doctor rose in response to superstition and fear about the unknown source of the plague. Often, these plague doctors were the last thing a patient would see before death; therefore, the doctors were seen as a foreboding of death.


title: Plague doctor costume

text: The garments were first mentioned by a physician to King Louis XIII of France, Charles de L'Orme, who wrote in a 1619 plague outbreak in Paris that he developed an outfit made of Moroccan goat leather, including boots, breeches, a long coat, hat, and gloves modeled after a soldier's canvas gown which went from the neck to the ankle. The garment was impregnated with similar fragrant items as the mask. L'Orme wrote that the mask had a "nose half a foot long, shaped like a beak, filled with perfume with only two holes, one on each side near the nostrils, but that can suffice to breathe and to carry along with the air one breathes the impression of the drugs enclosed further along in the beak."


title: Plague doctor costume

text: The Genovese physician, Jean-Jacques Manget, in his 1721 work "Treatise on the Plague" written just after the Great Plague of Marseille, describes the costume worn by plague doctors at Nijmegen in 1636–1637. The costume forms the frontispiece of Manget's 1721 work. Their robes, leggings, hats, and gloves were also made of Morocco leather. This costume was also worn by plague doctors during the Naples Plague of 1656, which killed 145,000 people in Rome and 300,000 in Naples.


title: Plague doctor costume

text: The costume is also associated with a "commedia dell'arte" character called "Il Medico della Peste" (lit.: "The Plague Doctor"), who wears a distinctive plague doctor's mask. The Venetian mask was normally white, consisting of a hollow beak and round eye-holes covered with clear glass, and is one of the distinctive masks worn during the Carnival of Venice.


title: Niggas in Paris

text: "Niggas in Paris" (edited for radio as "In Paris" or simply "Paris"; censored on the album as "Ni**as in Paris") is a song by American rappers Jay-Z and Kanye West from their collaborative album "Watch the Throne" (2011). The song is built around a synth bell loop from the "Dirty South Bangaz" music library and also contains vocal samples from "Baptizing Scene" by Reverend W.A. Donaldson, an interpolation of "Victory" by Puff Daddy featuring The Notorious B.I.G. and Busta Rhymes, and dialogue excerpts from the 2007 film "Blades of Glory". On the week of the album's release, "Niggas in Paris" debuted at number 75 on the "Billboard" Hot 100 eventually peaking at number five. Outside of the United States, "Niggas in Paris" peaked within the top ten of the charts in the United Kingdom. As of 2018, it has sold 6.7 million archetype digital units in the United States. The song won Best Rap Performance and Best Rap Song at the 55th Annual Grammy Awards.


title: Niggas in Paris

text: The artwork for "Niggas in Paris" features the flag of France with a black third substituted for the blue one and is exactly the same cover used for Kanye West and Jay-Z's song "Why I Love You" which was released to radios simultaneously with "Niggas in Paris" on September 13, 2011. Alternative artwork, similar to the album cover, was used on Pandora.


title: Niggas in Paris

text: The official remix features rapper T.I. Remixes or freestyles on the production created by other artists include a remix by Chris Brown and T-Pain, a freestyle by Game titled "Niggas in Compton", a freestyle by Meek Mill which appeared on his mixtape Dreamchasers, a remix by Busta Rhymes, a remix by Chevy Woods titled "Taylors in Paris", a freestyle by Trey Songz which appeared on his mixtape "#LemmeHolDatBeat2" titled "Trigga In Africa", a remix by E.S.G. titled "Niggas in Houston", and a remix by Felony titled "Niggas in Harris. Mos Def made a freestyle to the song called "Niggas in Poorest". Other rappers that did freestyles include Young Jeezy, Lil Wayne, Freddie Gibbs, Emilio Rojas, Traphik, and Romeo Miller. Casper has at times performed a German version of the track at concerts.


title: Niggas in Paris

text: In March 2012, Katy Perry performed a clean version cover of the track as part of a Live Lounge special for Fearne Cotton's show on BBC Radio 1.


title: Niggas in Paris

text: American alternative metal band Faith No More covered the song live in 2012. The British rap metal/progressive metal/djent band Hacktivist released a cover of the song with an accompanying video in August 2013. Watsky released a freestyle of the song called "Ninjas in Paris".


title: Niggas in Paris

text: On December 13, 2011, after their last Los Angeles stop at Staples Center on their Watch the Throne Tour, Jay-Z announced that the live performance would be used for the song's music video. The video, which was produced by Good Company, was released on February 9, 2012, through VEVO and was directed by West himself. The video features the live concert footage treated with strobe effects, kaleidoscopic mirrored images, inserts of jungle cats, and imagery of Paris landmarks (prominently Notre Dame de Paris). As with the track itself, the video also features a brief snippet of footage from "Blades of Glory". Kid Cudi, Hit-Boy, and King Chip make brief appearances in the video.


title: Niggas in Paris

text: The video received a nomination for Video of the Year at the 2012 BET Awards, losing to the duo's other song Otis "Niggas in Paris" received two nominations at the 2012 MTV Video Music Awards for Best Editing and Best Hip-Hop Video. The song was also nominated for Best International Urban Video at the 2012 UK Music Video Awards.


title: Niggas in Paris

text: The song received universal acclaim from critics. "Rolling Stone" commented on the song by saying "Jay and Ye come in hard over a slow, menacing beat and icy synthesizer notes, but regardless, this cut is mostly memorable for including an unexpected sample of dialogue from the Will Ferrell/Jon Heder ice-skating comedy "Blades of Glory". 'No one knows what it means, but it's provocative,' says Ferrell with deep conviction, essentially summing up the art of hip-hop lyrics." Erika Ramirez of "Billboard" commented on the song by saying, "Kanye steals the show on the Hit-Boy produced club anthem. A sampling of dialogue from the 2007 film "Blades of Glory" is tucked in between." "The Guardian" called the song a standout track on the album and also commented by saying "This percolating track could have been produced by Wiley, with sick sub-bass and a snare that sounds like static. Both rappers are in excellent form, with West repeating 'That shit cray'. Kanye begins in half-time and speeds up. Among the lines that jump out: "I'm suffering from realness" and 'Don't let me get in my zone.' A standout track." "Pitchfork" complimented that the song possessed great moments by Kanye West and said the following: "It also features this great Kanye moment, 'Doctors say I'm the illest because I'm suffering from realness/Got my niggas in Paris, and they going gorillas.'"


title: Niggas in Paris

text: Pitchfork named "Niggas In Paris" the 12th best track of 2011 and "Rolling Stone" named it the second best of the year. XXL named "Niggas In Paris" the best song of 2011 as well as the "hottest beat" of 2011. Digital Spy placed this song on their 24th spot of the best songs of 2011. It was voted number 98 in Australia's annual Triple J Hottest 100, 2011. "XXL" named it one of the top five hip hop songs of 2011. "The Village Voice"s Pazz & Jop annual critics' poll ranked "Niggas in Paris" at number five to find the best music of 2011. Amazon named it the eighth best song of 2011. "Consequence of Sound" placed it 13th on its list of the top 50 songs of 2011.


title: Niggas in Paris

text: "NME" named "Niggas in Paris" the eighty-first best song of all time in 2014 and then later in the year, the best track of the decade thus far. In 2014, "Fact" ranked it 64th on their list of the 100 best songs of the decade. In 2015, "Billboard" listed it as the fifth best song of the 2010s. The song was chosen for the year 2011 in The Rap Year Book, which deconstructed the most important rap song from every year since 1979. The song was nominated for Anthem of the Summer at the 2013 UK Festival Awards In 2018, "Rolling Stone" named "Niggas in Paris" the 58th best song of the 21st century.


title: Niggas in Paris

text: The song has been performed on the Watch the Throne Tour. MTV News said with "the track's Will Ferrell intro ("We're gonna skate to one song and one song only") brought on the moment that everyone was waiting for." "USA Today" commented "at one point, as Jay-Z and West performed "Niggas in Paris" from their new hit CD, "Watch the Throne", West exhorted the audience to "Bounce! Bounce!" The resulting stomping had Philips Arena rocking and shaking in a way that it hasn't for the Hawks in a long time."


title: Niggas in Paris

text: In early stops, the song was performed three times. Kanye West and Jay-Z began performing the song more than thrice at the Miami show at American Airlines Arena by performing the song five times. The song was played six times at the TD Garden in Boston on November 21, 2011 setting a record for the tour at the time. It was then broken when it was performed seven times at The Palace of Auburn Hills. It was again broken on December 1, 2011 at the United Center in Chicago, Illinois when the duo performed the song 8 times.


title: Niggas in Paris

text: On December 12, 2011 at the Staples Center in Los Angeles, California, the song was played a total of 9 times, a record which would stand until the next night, when the duo performed the song 10 times. The crowd was also told that cameras had been brought to the concert for the record breaking December 13th performance to film the music video for the song. The song was also performed live as part of the 2011 Victoria's Secret Fashion Show. During the Final Tour Stop in Vancouver the aforementioned record was met again with the duo performing the song ten times on the final night, December 18 at Rogers Arena, despite several newspaper articles claiming that it was performed a total of eleven times.


title: Niggas in Paris

text: On June 1, 2012 during their first date in Paris, at the Palais Omnisports de Paris-Bercy, they actually broke the record, performing the song 11 times. They claimed themselves that the record was held by Los Angeles, when Jay-Z said: "The record is held by L.A. with ten times. [..] But this song isn't called "Niggas in Los Angeles". [...] We gotta break that record and bring it to 11", thus ending the rumors concerning the record being broken in Vancouver. The last record (established in Paris as well) has been broke again on June 18, 2012, performed 12 times in Paris at Palais Omnisports de Paris-Bercy. The song was performed live at BBC Radio 1's Hackney Weekend on 23 June 2012 as part of the London 2012 Festival.


title: Niggas in Paris

text: "Niggas in Paris" was also performed in Kanye's Israel concert at Ramat Gan Stadium on 30 September 2015.


title: Niggas in Paris

text: On August 27, 2011, "Niggas in Paris" made its debut on the US "Billboard" Hot 100 at number 75, making it the second highest debut for any non-single on the album behind only "Who Gon Stop Me". On the US "Billboard" Hot Digital Songs the song debuted at number 58 even before it was released as a single from the album. It eventually peaked at number five on the "Billboard" Hot 100, becoming the 11th top five hit for Jay-Z, and 10th for West. It was the third song on which they've teamed to make the top five, following "Swagga Like Us" and "Run This Town". The song had sold two million copies by February 2012, and reached three million in sales in the United States by December 2012. The song had the second most Rhythmic, and sixth most Mainstream R&B/Hip-Hop radio songs spins in the 2010s decade.


title: Niggas in Paris

text: In the United Kingdom, the song peaked at number ten on the UK Singles Chart on March 18, 2012 ― for the week ending date March 24, 2012 ― spending ten weeks in the top 40 of the chart, selling 200,000 copies. According to the Official Charts Company, the song sold 432,000 copies in the United Kingdom in 2012. The song was the 17th most streamed song of 2012 in the UK. As of October 24, 2019, "Niggas in Paris" has sold 650,000 copies in the UK and is ranked as West's fifth most successful track of all time on the UK Singles Chart.


title: Niggas in Paris

text: In April 2017, Official Charts Company revealed "Niggas in Paris" was the 18th highest-selling hip-hop song of all time in the United Kingdom.


title: C. N. Annadurai

text: Conjeevaram Natarajan Annadurai (15 September 1909 – 3 February 1969), popularly known as Anna also known as Arignar Anna or Perarignar Anna ("Anna, the scholar" or "Elder Brother"), was an Indian Tamil politician who served as the fourth and last Chief Minister of Madras State from 1967 until 1969 and first Chief Minister of Tamil Nadu for 20 days (after Madras State was renamed Tamil Nadu) before his death. He was the first member of a Dravidian party to hold either post.


title: C. N. Annadurai

text: He was well known for his oratorical skills and was an acclaimed writer in the Tamil language. He scripted and acted in several plays. Some of his plays were later made into movies. He was the first politician from the Dravidian parties to use Tamil cinema extensively for political propaganda. Born in a middle-class family, he first worked as a school teacher, then moved into the political scene of the Madras Presidency as a journalist. He edited several political journals and enrolled as a member of the Dravidar Kazhagam. As an ardent follower of Periyar E. V. Ramasamy, he rose in stature as a prominent member of the party.


title: C. N. Annadurai

text: Due to differences looming with Periyar, on issues of separate independent state of Dravida Nadu and union with India, he crossed swords with his political mentor. The friction between the two finally erupted when Periyar married Maniammai, who was much younger than him. Angered by this action of Periyar, Annadurai with his supporters parted from Dravidar Kazhagam and launched his own party, Dravida Munnetra Kazhagam (DMK). The DMK initially followed the same ideologies as its parent, Dravidar Kazhagam. But with the evolution of national politics and the constitution of India after the Sino-Indian war in 1962, Annadurai dropped the claim for an independent Dravida Nadu. Various protests against the ruling Congress government took him to prison on several occasions; the last of which was during the Madras anti-Hindi agitation of 1965. The agitation itself helped Annadurai to gain popular support for his party. His party won a landslide victory in the 1967 state elections. His cabinet was the youngest at that time in India. He legalised Self-Respect marriages, enforced a two language policy (in preference to the three language formula in other southern states), implemented subsidies for rice, and renamed Madras State to Tamil Nadu.


title: C. N. Annadurai

text: However, he died of cancer just two years into office. His funeral had the highest attendance of any to that date. Several institutions and organisations are named after him. A splinter party launched by M. G. Ramachandran in 1972 was named after him as All India Anna Dravida Munnetra Kazhagam.


title: C. N. Annadurai

text: Annadurai was born in a Tamil Sengunthar family on 15 September 1909 in Conjeevaram, Madras Presidency, in a lower-middle-class family. His father Natarajan Mudaliar was a weaver and his mother was Bangaru Ammal. He was raised by her sister Rajamani Ammal.


title: C. N. Annadurai

text: At the age of 21, he married Rani while he was still a student. The couple had no children of their own, so they later adopted and raised Rajamani's grandchildren. He attended Pachaiyappa's High School, but left school to work as a clerk in the town's Municipal office to assist with the family finances.


title: C. N. Annadurai

text: In 1934, he graduated with a B.A. degree from Pachaiyappa's College in Chennai. He then earned an MA degree in economics and politics from the same college. He worked as an English teacher in Pachaiyappa High School. Later he quit the teaching job and began involving himself in journalism and he served as an editor in few weekly magazine and then he indulged into politics.


title: C. N. Annadurai

text: Though Annadurai was an atheist in his personal life as he took oath as the Chief Minister of the state in the 'name of conscience' rather than in the 'name of god', he proclaimed as "Only one race, Only one God" ("Ondre Kulam Oruvanae Devan") from tamil novel thiruvasagam penned by thirumoolar in order to unify the people of Tamil Nadu. Though secular to the core, he later described himself as a Hindu sans the sacred ash, a Christian minus the holy cross, and a Muslim without the prayer cap.


title: C. N. Annadurai

text: Annadurai would attack superstitions and religious exploitation but would never fight against the spiritual values of society. He once explained his stance towards God and religion as "I do not break coconuts for Pillaiyar, (a form of worship) neither do I break his idols." ("Nan Thengayum udaipathillai; Pillaiyarum Udaipathillai")


title: C. N. Annadurai

text: Annadurai's interest in politics made him join the Justice party in 1935. The Justice party was formed by non-Brahmin elites in 1917.


title: C. N. Annadurai

text: The Justice party originated with the "Madras United League" which was initially started as a work group that helped non-Brahmin students in Madras with accommodation and later grew into a political party under the efforts of leaders like C. Natesa Mudaliar, Sir Pitti Theagaroya Chetty and Dr. T. M. Nair. The party was named "South Indian Liberal Federation (S. I. L. F.)" – popularly known as Justice party. The party had been in power in Madras Presidency since self-governance was introduced in 1920, until it was defeated by the Indian National Congress in 1937. By the time Annadurai joined the Justice party, Periyar E. V. Ramasami was the party president. Annadurai served as the sub-editor of the Justice magazine. He later became the editor for "Viduthalai" ("Freedom" in English) and was also associated with the Tamil weekly paper, "Kudi Arasu". He started his own journal "Dravida Nadu" (named after the Dravida Nadu – an independent state that the party called for). In 1944, Periyar renamed the Justice party to Dravidar Kazhagam and gave up contesting in the elections.


title: C. N. Annadurai

text: The Indian National Congress, which had been fighting for the independence of India from colonial British rule, was dominated by Brahmins. Periyar assumed that independent India would bring South Indians, especially Tamils, under the dominance of Brahmins and North Indians.


title: C. N. Annadurai

text: For these reasons Periyar called for 15 August 1947, the day of Indian independence, to be a day of mourning.


title: C. N. Annadurai

text: Annadurai opposed this move and the schism between his supporters and Periyar widened. He saw the gaining of independence as an overall achievement of India rather than solely that of Aryan North. Moreover, Periyar's decision on giving up participating in democratic elections was also opposed by Annadurai, in reaction to which he walked out of a party meeting in 1948. Periyar considered that candidates in elections must compromise their ideologies. Moreover, it was Periyar's idea that social reformation can be better achieved outside politics, through education and canvassing the masses, rather than governments. Eventually, when Periyar married Maniammai, who was 40 years younger than he, the personal differences between Annadurai and Periyar split their supporters. Annadurai launched his own party with his party fragment, along with E. V. K. Sampath (Periyar's nephew and until then considered his political heir). The new party was named Dravida Munnetra Kazhagam. DMK's presence was initially restricted to urban centres and its surrounding areas. But by appealing to the urban lower, lower middle and working classes, students, Dalits and lower castes, Annadurai was able to accelerate its growth and spread. He fought for the social justice of the lower castes and thus rapidly gained popular support.


title: C. N. Annadurai

text: During his days in Dravida Kazhagam, Annadurai had supported Periyar's call for an independent Dravida Nadu. The claim for such an independent state stayed alive in the initial days of DMK. E. V. K. Sampath, who had earlier forfeited his inheritance from Periyar to join DMK, saw the call for Dravida Nadu as an unrealistic goal. Responding to Sampath's concern, Annadurai said


title: C. N. Annadurai

text: Sampath's opposition to using film stars made him cross swords with many other members of the party. Eventually, with looming differences with Annadurai and other leaders on Dravida Nadu, Sampath left the DMK and formed his own party, the Tamil Nationalist Party, in 1961. In 1962, Annadurai said in the Rajya Sabha that "Dravidians want the right of self-determination ... We want a separate country for southern India".


title: C. N. Annadurai

text: However, the reorganisation of states in India on linguistic basis removed Kannada, Telugu and Malayalam speaking regions from the Madras Presidency leaving behind a predominantly Tamil Madras State. Giving in to realities, Annadurai and his DMK changed the call of independent "Dravida Nadu for Dravidians" to independent "Tamil Nadu for Tamils". Annadurai felt that remaining in the Indian Union meant accepting linguistic domination and economic backwardness. Nevertheless, the Sino-Indian war brought about changes in the Indian constitution. The Sixteenth Amendment (most popularly known as the "Anti-Secessionist Amendment") banned any party with sectarian principles from participating in elections. When this amendment was presented in the Parliament of India, Annadurai was one of its members. He vehemently debated against the amendment, but eventually could not stop it from being passed. Faced with the new constitutional changes, Annadurai and his DMK left the call for an independent Tamil homeland on the back burner.


title: C. N. Annadurai

text: From then on Annadurai and his DMK aimed at achieving better co-operation between the southern states and claimed more autonomy for Tamil Nadu.


title: C. N. Annadurai

text: Hindi was first recommended to be an apt language for official purposes in India by a committee headed by Motilal Nehru in 1928. This move was opposed by people and politicians of Tamil Nadu, since they considered that it would make them second class citizens when compared to that of native Hindi speaking North Indians.


title: C. N. Annadurai

text: In 1938, the Congress government in Madras Presidency headed by C. Rajagopalachari (popularly known as Rajaji) proposed the use of Hindi language as a compulsory language in schools. This move was opposed by Tamil leaders. Annadurai, along with other Tamil scholars including the poet Bharathidasan, held demonstrations. Annadurai participated in the first Anti Hindi imposition conference held in Kanchipuram on 27 February 1938. Two members of the protest, Thalamuthu and Natarajan, died as a consequence of police beating the same year. With overwhelming opposition, the government of Madras Presidency finally withdrew the order in 1940. he stated that "you learn english for world communication and learn hindi for communication in india,it seems like big door for big cat and small door for small cat, why not let the small cat also enter in big door"


title: C. N. Annadurai

text: When India became a republic with its own constitution in 1950, the constitution had given special status to the Hindi language, which was to gain official status after 15 years in 1965. This move was regarded with anxiety by students in Tamil Nadu. Speaking of making Hindi as official language of India, Annadurai said "It is claimed that Hindi should be the common language because it is spoken by the majority. Why should we then claim the tiger as our national animal instead of the rat which is so much more numerous? Or the peacock as our national bird when the crow is ubiquitous?". In view of continued threat to impose Hindi, the DMK held an open-air conference against Hindi imposition at Kodambakkam, Chennai in August 1960, which Annadurai presided over. He gave black flags to leading functionaries, to be shown to the President of India during his visit to the state. Sensing an uprising, Prime Minister Jawaharlal Nehru assured in the Parliament that English would continue to be the official language of India, as long as non-Hindi speaking people desire. DMK gave up the plan of showing black flags and Annadurai appealed to the Union Government to bring about a constitutional amendment incorporating the assurance.


title: C. N. Annadurai

text: With no constitutional amendment done, Annadurai declared 26 January 1965, the 15th Republic Day of India and also the day the Constitution, which in essence enshrined Hindi as the official language of India, came into practice, as a day of mourning. This move was opposed by the then Chief Minister of Madras State, Bhakthavatchalam, as blasphemous. Hence Annadurai, who by then had been trying to shake off the secessionist image of his party, declared 24 January as a day of mourning. He also replaced the slogan of the protests to "Down with Hindi; Long live the Republic". Nevertheless, violence broke out on 26 January, initially in Madurai which within days spread throughout the state. Robert Hardgrave Jr, professor of humanities, government and Asian studies, suggests that the elements contributing to the riots were not instigated by DMK or Leftists or even the industrialists, as the Congress government of the state suggested, but were genuine frustrations and discontentment which lay beneath the surface of the people of the state.


title: C. N. Annadurai

text: With violence surging, Annadurai asked the students to forfeit the protests, but some DMK leaders like Karunanidhi kept the agitations going. Nevertheless, Annadurai was arrested for instigating the agitation. Although the violence were not directly instigated by the DMK, the agitation itself aided DMK to win the 1967 elections and Annadurai became the new Chief Minister of Madras State.


title: C. N. Annadurai

text: Annadurai was known as one of the best Tamil orators during his time. He developed a style in Tamil public speaking using metaphors and pleasing alliterations, both in spoken and written language. Anna was also best known for his extempore speaking ability being very well affluent on rhetoric skills.


title: C. N. Annadurai

text: He has published several novels, short stories and plays which incorporate political themes. He himself acted in some of his plays during his time in the Dravidar Kazhagam.


title: C. N. Annadurai

text: He introduced movie media as a major organ for propaganda of Dravidian politics. In total Annadurai scripted six screen plays.


title: C. N. Annadurai

text: His first movie "Nallathambi" (Good Brother, 1948) which starred N. S. Krishnan promoted cooperative farming and abolition of zamindari system. His novels such as "Velaikaari" (Servant Maid, 1949) and "Or Iravu", which were later made into movies, carried the hallmarks of propaganda for Dravidian politics. On "Velaikari", Annadurai said that the movie


title: C. N. Annadurai

text: "Velaikari" made direct references against the suppressive landlords who were traditionally allied with Jawaharlal Nehru and Gandhi. His movies had some elements of Dravidian political ideologies like anti-Brahminism and messages differing against Congress with detailed reasons and scenarios behind. Popular stage and cine actors who stood by Anna in early years were D. V. Narayanasamy, K. R. Ramasamy, N. S. Krishnan, S. S. Rajendran, Sivaji Ganesan and M. G. Ramachandran.


title: C. N. Annadurai

text: Some of his books had a social approach and its content were debatable, such as "Arya Mayai" (Aryan Illusion) in which he highlighted the view point of bringing an equal living society regardless of any caste dominance and especially drawing similarities which existed by then of the upper-caste Brahmin (Aryan) people. He was fined INR 700 for sedition and was also sent to prison.


title: C. N. Annadurai

text: Some of his well-known works are his books "Annavin Sattasabai Sorpolivukal" (Anna's speeches at the state legislative, 1960), "Ilatchiya varalaru" (History of Ideals, 1948), "Valkkaip puyal" (Storm of life, 1948) and "Rankon rata" (Radha from Rangon). His work "Kambarasam" criticises Ramayana of Kamban. His works of fiction such as "Kapothipura kathal" (Love in the city of Blind), "Parvathy B.A.," "Kalinga rani" (Queen of Kalinga) and "Pavayin payanam" (Travels of a young lady) carried elements of political propaganda.


title: C. N. Annadurai

text: At times when Dravida Munnetra Kazhagam was extensively using movies for its propaganda, censorship crippled the process. To evade censorships, DMK movies used Annadurai's popular nickname "Anna", which also means elder brother in Tamil, as a pun. When praises were bestowed on the "Anna" on screen, the crowd would break into applause. Kannadasan has criticised Anna's works that apart from "Sivaji Kanda Hindu Rajyam" and "Needhi Devan Mayakkam", the rest lacked even a plot


title: C. N. Annadurai

text: The provincial conference of the DMK was held at Tiruchirappalli in May 1956. Annadurai stepped down from the General Secretaryship of the party, and Nedunchezhian was elected to that position. It was at the Tiruchirappalli conference that the party decided to contest free India's second general elections which were to be held in 1957. The DMK secured 15 Assembly seats and two parliamentary seats. Anna was elected from his home constituency, Kanchipuram for the first time to the Madras Legislative Assembly. In that election, the DMK won 15 seats and Annadurai became the leader of the opposition in the state. In 1962, the DMK emerged as the major political party in the state outside the Congress, winning 50 seats in the Assembly. Although Annadurai himself lost the elections, he was nominated as a member of parliament to the upper house (Rajya Sabha).


title: C. N. Annadurai

text: In 1967, the Congress lost nine states to opposition parties, but it was only in Madras state that a single non-Congress party majority was achieved. The electoral victory of 1967 is also reputed to an electoral fusion among the non-Congress parties to avoid a split in the Opposition votes. Rajagopalachari, a former senior leader of the Congress party, had by then left the Congress and launched the right-wing Swatantra Party. He played a vital role in bringing about the electoral fusion amongst the opposition parties to align against the Congress.


title: C. N. Annadurai

text: Annadurai legalised Self-respect marriages for the first time in the country. Such marriages were void of priests to preside over the ceremony and thus did not need a Brahmin to carry out the wedding. Self-respect marriages were a brainchild of Periyar, who regarded the then conventional marriages as mere financial arrangements which often caused great debt through dowry. Self-Respect marriages, according to him, encouraged inter-caste marriages and caused arranged marriages to be replaced by love marriages. Annadurai was also the first to use subsidising of the price of rice for election victory. He promised one rupee a measure of rice, which he initially implemented once in government, but had to withdraw later. Subsidising rice costs are still used as an election promise in Tamil Nadu.


title: C. N. Annadurai

text: It was Annadurai's government that renamed the Madras State to its present-day form declaring officially as Tamil Nadu. The name change itself was first presented in the upper house (Rajya Sabha) of the Parliament of India by Bhupesh Gupta, a communist MP from West Bengal, but was then defeated. With Annadurai as chief minister, the state assembly succeeded in passing the bill renaming the states.


title: C. N. Annadurai

text: Anna was instrumental in organising the World Tamil Conference under the aegies of UNESCO in 1967. Another major achievement of Annadurai's government was to introduce a "two language policy" over the then popular three language formula. The three language formula, which was implemented in the neighbouring states of Karnataka, Andhra Pradesh and Kerala, entitled students to study three languages: the regional language, English and Hindi. It was during the period of his Chief Ministership that the Second World


title: C. N. Annadurai

text: Conference was conducted on a grand scale on 3 January 1968. Nevertheless, when a commemorative stamp was released to mark the Tamil conference, Annadurai expressed his dissatisfaction that the stamp contained Hindi when it was for Tamil. Annadurai also issued an order for the removal of the pictures of gods and religious symbols from public offices and buildings. He proceeded on a world tour as an invitee of the Yale University's Chubb Fellowship Programme and was also a guest of the State Department in the US in April–May 1968. He was awarded the Chubb Fellowship at Yale University, being the first non-American to receive this honour. The same year he was awarded an honorary doctorate from Annamalai University.


title: C. N. Annadurai

text: On 10 September 1968 Annadurai travelled to New York for medical treatment and he was operated for Cancer in the gullet at the Memorial Sloan Kettering Cancer Center. He returned to Chennai in November and continued to address several official functions against medical advice. His health deteriorated further and he died on 3 February 1969. His cancer was attributed to his habit of chewing tobacco. His funeral had the highest number of attendees until then, as registered with "The Guinness Book of Records". An estimated 15 million people attended it. His remains were buried in the northern end of Marina Beach, which is now called Anna Memorial.


title: C. N. Annadurai

text: After his electoral success with his DMK in 1967, the Congress has not yet returned to power in Tamil Nadu. His government was the first in the country to be from a non-Congress party with full majority. When the DMK later split, with M. G. Ramachandran forming his own Dravidian party, the rebel fragment was named after Annadurai as Anna DMK. Anna Nagar, a residential neighbourhood in Chennai is named after him. Sri Lankan Tamil nationalist leaders and writers are considered to be influenced by Annadurai's chaste Tamil movement. Anna University, a premier institution in science and technology was named after him. DMK's current head office built in 1987 is named after him as "Anna Arivalayam." One of the major roads in Chennai was named in his honour, Anna Salai—it was previously called Mount Road, and a statue of Annadurai now stands there. The central government issued a commemorative coin of 5 denomination to mark the centenary celebrations of him on 15 September 2009 in Chennai. Jawaharlal Nehru hailed him as one of the great parliamentarians for speeches in Rajya Sabha. Selig Harrison, a US-based analyst of South Asian and East Asian politics and journalism commented,


title: C. N. Annadurai

text: The magazine "India Today" has listed Annadurai in its "Top 100 people who shaped India by thought, action, art, culture and spirit". In 2010, Anna Centenary Library was established in Chennai in remembrance of Annadurai.


title: C. N. Annadurai

text: A life-size statue of Annadurai was unveiled on 1 October 2002 in the Parliament House by then President of India, A.P.J. Abdul Kalam in his honour and the function was attended by notable politicians.


title: C. N. Annadurai

text: On 31 July 2020, Alandur metro station in Chennai has been renamed as Arignar Anna Alandur Metro by Government of Tamil Nadu to honor him.