Blow is a 2001 biopic about the American cocaine smuggler George Jung, directed by Ted Demme. David McKenna and Nick Cassavetes adapted Bruce Porter's 1993 book Blow: How a Small Town Boy Made $100 Million with the Medellín Cocaine Cartel and Lost It All for the screenplay. It is based on the real life stories of George Jung, Pablo Escobar, Carlos Lehder, and the Medellín Cartel. The film's title comes from a slang term for cocaine.

Plot[link]

The film opens to a young George (Johnny Depp) and his parents Fred (Ray Liotta) and Ermine (Rachel Griffiths) of Weymouth, Massachusetts. When George is ten years old, Fred files for bankruptcy and loses everything, but tries to make George realize that money is not important.

As an adult, George moves to Southern California with his friend "Tuna" (Ethan Suplee); they meet Barbara (Franka Potente), an airline stewardess, who introduces them to Derek Foreal (Paul Reubens), the main dealer. With Derek's help, George and Tuna make a lot of money. Kevin Dulli (Max Perlich), a college student back in Boston, visits them and tells them of the enormous market — and demand — for pot in Boston. With Barbara's help, they start bringing the drugs to Boston.

As the demand grows, they decide to start buying the drugs directly from Mexico with the help of a few minor Mexican drug lords. But two years later, George is caught in Chicago trying to import 660 pounds of marijuana and is sentenced to two years. After unsuccessfully trying to plead his innocence (by reciting the lyrics of Bob Dylan's "It Ain't Me Babe" and insisting that he did no more than "cross an imaginary line with a bunch of plants"), George skips bail to take care of Barbara, who is suffering from, and eventually succumbs to, cancer.

While hiding from the authorities, George visits his parents back in New England. While he is having a heart-to-heart talk with his father, George's mother calls the police, who come and arrest him.

George is now sentenced to 26 months in a federal prison in Danbury, Connecticut. His cellmate Diego Delgado (Jordi Molla) has contacts in the Medellín cocaine cartel and convinces George to help him go into business. Upon his release from prison, George violates his parole conditions and heads down to Cartagena, Colombia to meet up with Diego. They meet with cartel officer Cesar Rosa to negotiate the terms for smuggling 15 kilograms to establish "good faith". As the smuggling operation grows, Diego gets arrested, leaving George to find a way to sell 50 kilos (110 lbs) and get the money in time. George reconnects with Derek in California, and the two successfully sell all 50 kilos in 36 hours, amassing a $1.35 million profit. George is then whisked off to Medellín, Colombia, where he finally meets the group's leader, Pablo Escobar (Cliff Curtis), who agrees to go into business with them. With the help of main middleman Derek, the pair becomes Escobar's top US importer. However, Diego resents George for keeping Derek's identity secret and pressures George to reveal his connection. George eventually discovers that Diego has betrayed him by cutting him out of the connection with Derek. Inspired by the birth of his daughter and chastened by a subsequent drug-related heart attack, George severs his relationship with the cartel and vows to leave the drug business forever.

All goes well with George's newfound civilian life for five years, until his wife Mirtha (Penelope Cruz) organizes a 38th birthday party for him. Many of his former drug associates attend, including Derek, who reveals that Diego eventually cut him out as well. The party is raided by the FBI and George is arrested. Following his conviction, he becomes a fugitive. Meanwhile, his bank account — heretofore under Manuel Noriega's protection in Panama — is seized. One night, he and Mirtha get into a fight while driving. They are pulled over by police and Mirtha tells them Jung is a fugitive and has stashed a kilogram of cocaine in his trunk. He is sent to jail for three years, during which Mirtha divorces him and takes custody of their nine-year-old daughter, Kristina Sunshine Jung (Emma Roberts). On his release he finds himself struggling to keep his relationship with his daughter on good terms.

George promises Kristina a vacation in California and seeks one last deal to garner enough money for the trip. George completes a deal with former accomplices but learns too late that the deal had been set up by the FBI and DEA, with Dulli and Derek having leaked the nature and location of the action in exchange for pardons for their involvement in his prior action. George is sentenced to 60 years at Otisville Correctional Facility in upstate New York. He explains in the end that neither the sentence nor the betrayal bothered him, but that he can never forgive himself for having to break a promise to his daughter.

While in prison, George requests a furlough to see his dying father. His unforgiving mother denies the request, saying a visit would only upset George's father. He is given a tape recorder to record a final message to his father. In the message, George recounts his memories of working with his father, his run-ins with the law, and finally, too late, his understanding of what his father meant when he said that money is not "real".

The film closes with George as an old man in prison, imagining that his daughter (Jaime King) finally comes to visit him. She slowly fades away as a guard calls for George. The film concludes with notes indicating that Jung's sentence will not expire until 2015, and that his daughter has yet to visit him (though his daughter did finally visit him a year after the film's release).^[2] The film's final image is a photograph of the actual George Jung.

Cast[link]

• Johnny Depp as "Boston George" Jacob Jung
  • Jesse James as Young George
• Penélope Cruz as Mirtha Jung, George's wife
• Franka Potente as Barbara "Barbie" Buckley, George's stewardess girlfriend/fiancée who dies of cancer
• Rachel Griffiths as Ermine Jung, George's mother
• Paul Reubens as Derek Foreal, George's middleman in the drug business. He is based on Richard Barile.
• Jordi Molla as Diego Delgado, George's partner in the cocaine business. He is based on Carlos Enrique Lehder Rivas.
• Cliff Curtis as Pablo Emilio "El Patrón" Escobar Gaviria
• Max Perlich as Kevin Dulli, one of George's childhood best friends and partners in the drug business
• Miguel Sandoval as Augusto Oliveras
• Ethan Suplee as "Tuna," one of George's childhood best friends and partners in the weed business
  • Alan James Morgan as Young "Tuna"
• Ray Liotta as Frederick "Fred" Jung, George's father
• Kevin Gage as Leon Minghella
• Tony Amendola as Sanchez
• Emma Roberts as Kristina Sunshine Jung, George and Mirtha's daughter
  • James King as Older Kristina

Soundtrack[link]

Blow's soundtrack is a compilation of songs and artists from the 1970s, such as: "Can't You Hear Me Knocking" by The Rolling Stones, "All the Tired Horses" by Bob Dylan, "Rumble" by Link Wray, "Glad and Sorry" by Faces, "Strange Brew" by Cream, "Black Betty" by Ram Jam, "Blinded By the Light" by Manfred Mann's Earth Band, "Let's Boogaloo" by Willie Rosario, "Keep It Comin' Love" by KC & the Sunshine Band, "That Smell" by Lynyrd Skynyrd, "Can't You See" by The Marshall Tucker Band, and "Push & Pull" by Nikka Costa.

Graeme Revell also composed the original score for the film. However, his work was not released in the soundtrack CD. For example, the music in the scene where George and Mirtha have sex, a track titled "Little Ditty", written and performed by Paul Wagner, is missing in the soundtrack album.

Reception[link]

Blow was a minor box office success. With a budget of roughly $53 million, it managed to rake in just under $53 million domestically, but raised just over $30 million internationally for a worldwide total of $83,282,296.^[1] Reviews for Blow were decidedly mixed. The film holds an approval rating of 55% at Rotten Tomatoes based on 135 reviews (74 positive, 61 negative), where the consensus is: "With elements that seem borrowed from movies like Goodfellas and Boogie Nights, Blow is pretty much been-there-done-that despite another excellent performance from Johnny Depp. It also becomes too sentimental at the end."^[3]

Rob Gonsalves from eFilmCritic.com gave the film 4 out of 5 stars stating: "Blow isn't really a classic, but it's a sobering story well-told."^[4] Roger Ebert gave the film 2½ out of 4 stars, but questioned the value about making Jung the subject of this film, stating: "That's the thing about George [Jung]. He thinks it's all about him. His life, his story, his success, his fortune, his lost fortune, his good luck, his bad luck. Actually, all he did was operate a toll gate between suppliers and addicts. You wonder, but you never find out, if the reality of those destroyed lives ever occurred to him."^[5] David Nusair of Reel Films also questioned making a film about Jung, stating "The biggest problem with Blow is that Jung is such a complete moron." Nusair concludes that while it "is not a bad film ... the central character of George Jung just doesn't seem worthy to be the center of attention."^[6] Christopher Smith from Bangor Daily News gave the film a "D+", stating "Blow is ultimately more about charisma than it is about truth, more about Depp’s smooth strut and tousled hair than it is about George Jung’s fatal flaws — his stupidity, desperation, ego and small-town greed."^[7]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Blow

• Official website
• Blow at AllRovi
• Blow at Box Office Mojo
• Blow at the Internet Movie Database
• Blow at Metacritic
• Blow at Rotten Tomatoes

Look up blew, blow, or blown in Wiktionary, the free dictionary.

Blow may refer to:

• Exhalation
• Strike (attack)
• Cocaine

In film and television[link]

• Blow (film), a 2001 American film about drug trafficking
• "Blow" (My Name Is Earl), an episode of My Name is Earl
• Blown, a 2009 American film starring Jim Caviezel and Samuel L. Jackson

In music[link]

• The Blow, a Portland, Oregon music group
• B.l.o.w., a blues-rock band from the UK, active in the mid 1990s.
• Blow (Red Lorry Yellow Lorry album)
• Blow (Heather Nova album)
• Blow (Straitjacket Fits album)
• Blow (Ghinzu album)
• Blew (EP), an EP by Nirvana
• Blow (Lil Wayne mixtape)
• "Blow" (song), by Kesha from Cannibal
• "Blow", a song by Atreyu
• "Blow", song by Rick Ross
• "Blow", song by Tyler the Creator

In other uses[link]

• Blow (drink), a brand of energy drink
• Blow job, a type of oral sex
• Blowing or insufflation, a method of ingesting cocaine
• Blown, an erotic novel by Philip José Farmer

See also[link]

• Blew (surname)
• Blow (surname)
• Blow Job (disambiguation)
• Blow up (disambiguation)
• Blowout (disambiguation)
• Blow by Blow, a 1975 album by Jeff Beck
• Blown save, a baseball term
• Bloo, a character in Foster's Home for Imaginary Friends
• Blows Heroin: Regionally, in Chicago, when used in plural form, i.e. Rocks and Blows refers to crack-cocaine (rocks) and heroin (blows).

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This article may be expanded with text translated from the corresponding article in the French Wikipedia. (January 2012) Don't speak French? Click here to read a machine-translated version of the French article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|fr|Cinéma}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

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This 16 mm spring-wound Bolex "H16" Reflex camera is a popular entry level camera used in film schools.

A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating – or indoctrinating – citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photo-play and flick. A common name for film in the United States is movie, while in Europe the term film is preferred. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies.

History[link]

A clip from the Charlie Chaplin silent film The Bond (1918)

Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.

With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name.^[1] This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

A frame from Roundhay Garden Scene, the world's earliest film produced using a motion picture camera, by Louis Le Prince, 1888

By the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. The first public exhibition of projected motion pictures in America was shown at Koster and Bial's Music Hall in New York City on the 23rd of April 1896.

Ignoring W. K. L. Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell a story. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience with noise of early cinema projectors, theater owners would hire a pianist or organist or a full orchestra to play music that would cover noises of projector. Eventually, musicians would start to fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.

A shot from Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D. W. Griffith in The Birth of a Nation (1914) and Intolerance (1916). However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural color", which meant color that was photographically recorded from nature rather than being added to black-and-white prints by hand-coloring, stencil-coloring or other arbitrary procedures, although the earliest processes typically yielded colors which were far from "natural" in appearance. While the addition of sound quickly eclipsed silent film and theater musicians, color replaced black-and-white much more gradually. The pivotal innovation was the introduction of the three-strip version of the Technicolor process, which was first used for short subjects and for isolated sequences in a few feature films released in 1934, then for an entire feature film, Becky Sharp, in 1935. The expense of the process was daunting, but continued favorable public response and enhanced box-office receipts increasingly justified the added cost. The number of films made in color slowly increased year after year.

In the early 1950s, as the proliferation of black-and-white television started seriously depressing theater attendance in the US, the use of color was seen as one way of winning back audiences. It soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and the sale of color television sets boomed. The strong preference of the general public for color was obvious. After the final flurry of black-and-white film releases in mid-decade, all major Hollywood studio film production was exclusively in color, with rare exceptions reluctantly made only at the insistence of "star" directors such as Peter Bogdanovich and Martin Scorsese.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 2000s. 3D technology increased in usage and has become more popular since the early 2010s.

Theory[link]

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.

Language[link]

Film is considered to have its own language. James Monaco wrote a classic text on film theory titled "How to Read a Film". Director Ingmar Bergman famously said, "[Andrei] Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor's right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past.

Montage[link]

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film^{[citation needed]} to even more complex incorporation of musical counterpoint together with visual counterpoint through mise en scene and editing, as in a ballet or opera; e.g., as illustrated in the gang fight scene of director Francis Ford Coppola’s film, Rumble Fish.

Criticism[link]

Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

Industry[link]

Cate Blanchett at the Berlin International Film Festival. Around 20,000 professionals from over 130 countries attend the event in Berlin.

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898^{[citation needed]} was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.^[2] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.^{[citation needed]} Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.

Associated fields[link]

Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects of a flashing soda can during a screening. These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as product placement in advertising.

Terminology used[link]

Although the words "film" and "movie" are sometimes used interchangeably, "film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class and "movies" more often refers to entertainment or commercial aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Lets Go to the Movies" would be about the history of entertaining movies. "Motion pictures" or "Moving pictures" are films and movies. A "DVD" is a digital format which may be used to reproduce an analog film, while "videotape" ("video") was for many decades a solely analog medium onto which moving images could be recorded and electronically (rather than optically) reproduced. Strictly speaking, "Film" refers to the media onto which a visual image is shot, and to this end it may seem improper for work in other "moving image" media to be referred to as a "film" and the action of shooting as "filming", though these terms are still in general use. "Silent films" need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. "Talkies" refers to early movies or films having audible dialogue or analog sound, not just a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or is roughly synonymous with "Film", both capitalized when referring to a category of art. The "silver screen" refers to classic black-and-white films before color, not to contemporary films without color.

The expression "Sight and Sound", as in the film journal of the same name, means "film". The following icons mean film: a "candle and bell", as in the films Tarkovsky, of a segment of film stock, or a two faced Janus image, and an image of a movie camera in profile.

"Widescreen" and "Cinemascope" refers to a larger width to height in the frame, compared to an earlier historic aspect ratios.^[3] A "feature length film", or "feature film", is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.^[4] A "short" is a film that is not as long as a feature length film, usually screened with other shorts, or preceding a feature length film. An "independent" is a film made outside of the conventional film industry.

A "screening" or "projection" is the projection of a film or video on a screen at a public or private theater, usually but not always of a film, but of a video or DVD when of sufficient projection quality. A "double feature" is a screening of two independent, stand-alone, feature films. A "viewing" is a watching of a film. A "showing" is a screening or viewing on an electronic monitor. "Sales" refers to tickets sold at a theater, or more currently, rights sold for individual showings. A "release" is the distribution and often simultaneous screening of a film. A "preview" is a screening in advance of the main release.

"Hollywood" may be used either as a pejorative adjective, shorthand for asserting an overly commercial rather than artistic intent or outcome, as in "too Hollywood", or as a descriptive adjective to refer to a film originating with people who ordinarily work near Los Angeles.

Expressions for Genres of film are sometimes used interchangeably for "film" in a specific context, such as a "porn" for a film with explicit sexual content, or "cheese" for films that are light, entertaining and not highbrow.

Any film may also have a "sequel", which portrays events following those in the film. Bride of Frankenstein is an early example. When there are a number of films with the same characters, we have a "series", such as the James Bond series. A film which portrays events that occur earlier than those in another film, but is released after that film, is sometimes called a "prequel", an example being Butch and Sundance: The Early Days.

Credits is a list of the people involved in making the film. Before the 1970s, credits were usually at the beginning of a film. Since then, the credits roll at the end of most films.

A Post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credit scene in which Ferris tells the audience that the movie is over and they should go home.

Preview[link]

A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections (Audience response).

Trailer[link]

Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.

Film, or other art form?[link]

Film may be combined with performance art and still be considered or referred to as a "film", for instance, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a midnight movies screening of The Rocky Horror Picture Show, where the audience dresses up in costume from the film and loudly does a karaoke-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.

The act of making a film can, in and of itself, be considered a work of art, on a different level from the film itself, as in the films of Werner Herzog.

Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of Tarkovsky. A "road movie" can refer to a film put together from footage from a long road trip or vacation.

Education and propaganda[link]

Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.

Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Eisenstein. They may also be works of political protest, as in the films of Wajda, or more subtly, the films of Andrei Tarkovsky.

The same film may be considered educational by some, and propaganda by others, such as some of the films of Michael Moore.

Production[link]

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or without it, such as Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

1. Development
2. Pre-production
3. Production
4. Post-production
5. Distribution

This production cycle usually takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are not only artistic works, but for-profit business entities.

Crew[link]

A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.

Technology[link]

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.

Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).^[5] When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some moviemakers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still shot on film.

Independent[link]

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

The Lumière Brothers

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).^[6] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie, and Microsoft's Windows Movie Maker make movie-making relatively inexpensive.

Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.

Open content film[link]

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.

Fan film[link]

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Distribution[link]

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles,^[7] and Pittsburgh's Nickelodeon, established 1905.^[8] Thousands of such theaters were built or converted from existing facilities within a few years.^[9] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").

Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters.^{[citation needed]} In 1967, videocassettes of movies became available to consumers to watch in their own homes.^[10] Recording technology has since enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision – see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as a television movie or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own movie studios upon completion are distributed through these markets.

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.^[11] The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).^[11]

This section requires expansion with: optical disc distribution.

Animation[link]

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.^[12]

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

Future state[link]

This unreferenced section requires citations to ensure verifiability.

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon^{[clarification needed]} of fine arts. In the 1950s, when television became widely available, industry analysts^[who?] predicted the demise of local movie theaters.^{[citation needed]} Despite competition from television's increasing technological sophistication over the 1960s and 1970s^{[citation needed]} such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content.^{[citation needed]} In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.^{[citation needed]}

In the 1990s and 2000s, the development of DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction.^{[citation needed]} These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 21st century and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.^{[citation needed]} The cinema now faces a new challenge from home video by the likes of a new high definition (HD) format, Blu-ray, which can provide full HD 1080p video playback at near cinema quality.^{[citation needed]} Video formats are gradually catching up with the resolutions and quality that film offers; 1080p in Blu-ray offers a pixel resolution of 1920×1080, a leap from the DVD offering of 720×480 and the 330×480 offered by the first home video standard, VHS.^{[citation needed]} Ultra HD, a future digital video format, will offer a resolution of 7680×4320. However, the nature and structure of film prevents an apples-to-apples comparison with regard to resolution.^[13] The resolving power of film, and its ability to capture an image which can later be scanned to a digital format, will ensure that film remains a viable medium for some time to come.^{[citation needed]} Currently the super-16 format is seeing use as a capture medium, with digital scanning and post-production providing good results.^[14][15] Despite advances in digital capture, film still offers unsurpassed ability to capture fine detail beyond what is possible with digital image sensors. A 35 mm film frame, with proper exposure and processing, still offers an equivalent resolution in the range of 500 mega pixels.^[13]

Despite the rise of all-new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many^[who?] expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future.^{[citation needed]}

See also[link]

• Genre
• Fiction film basic genre
• Documentary basic genre
• Docufiction hybrid genre

• Lists

Film portal

• List of film awards
• List of film festivals
• List of film journals and magazines
• List of film topics
• List of video-related topics
• List of years in film
• Lists of films

Related topics

• Cinematic techniques
• Digital cinema
• Lost film
• Web film

Notes[link]

References[link]

External links[link]

Find more about Film on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

	Wikinews has related Film news:
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• Allmovie – Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
• Film Site – Reviews of classic films
• Movies at the Open Directory Project
• Rottentomatoes.com – Movie reviews, previews, forums, photos, cast info, and more.
• The Internet Movie Database (IMDb) – Information on current and historical films and cast listings.

Graeme Revell (born 23 October 1955) is a New Zealand film score composer.^[1]

Revell attended Auckland Grammar School, where he finished his final year in 7A. He is relatively unknown to most New Zealanders, despite having worked in the film business for 30 years, compared to fellow Hollywood New Zealanders such as Anna Paquin, Sam Neill and Zoë Bell.

Revell is a classically trained pianist and French horn player, but also graduated from the University of Auckland with degrees in economics and political science. He worked as a regional planner in Australia and Indonesia and as an orderly in an Australian psychiatric hospital. Later, he was a founding member of the industrial music band SPK, playing keyboards and percussion. The SPK single "In Flagrante Delicto" was the basis for his first film score, for Dead Calm, which won him an Australian Film Industry award.

His musical style is very much electronic and computer-based in nature, yet often utilizes classical instruments or entire arrangements for certain pieces, much like his contemporary counterparts Hans Zimmer and Mark Isham. His orchestral scores throughout the years of his career changes, from Bernard Herrmann-like to Ennio Morricone-like. His music is often re-used from movie to movie and in more recent times he has collaborated with other artists on their albums. After the success of his soundtrack on Red Planet where he used the voice of French singer Emma Shapplin to back up and often lead his score, he collaborated with her on her own album Etterna, producing all of her songs. He has recently been interviewed for the independent documentary Finding Kraftland.

He has been assisted in sound design by dark ambient composer Lustmord.^[2]

On 18 May 2005, Revell was honored at the BMI annual Film & TV Awards with the Richard Kirk Award for Outstanding Career Achievement. ^[3]

Credited soundtracks[link]

Film[link]

Television and video[link]

• Bangkok Hilton (1988) (mini-series)
• Down Came a Blackbird (1995)
• Tomb Raider (1996)
• Dennis the Menace Strikes Again! (1998)
• Bats Abound (1999)
• Frank Herbert's Dune (2000) (mini-series)
• Anne Frank: The Whole Story (2001)
• CSI: Miami (2002)
• Kung Faux (2003)
• Legends (2004)
• The Forgotten (2009)
• The River (2011)

Video games[link]

• Call of Duty 2 (2005)
• Call of Duty 2: Big Red One (2005)

References[link]

External links[link]

• Official website
• Graeme Revell at the Internet Movie Database

Johnny Depp
Depp in October 2011
Born	John Christopher Depp II (1963-06-09) June 9, 1963 (age 49) Owensboro, Kentucky, U.S.
Occupation	Actor, screenwriter, director, producer, musician
Years active	1984–present
Spouse	Lori Anne Allison (1983–1985)
Partner	Sherilyn Fenn (1985–1988) Winona Ryder (1989–1993) Kate Moss (1994–1998) Vanessa Paradis (1998–present)
Children	2[1]

John Christopher "Johnny" Depp II (born June 9, 1963) is an American actor, producer and musician. He has won the Golden Globe Award and Screen Actors Guild award for Best Actor. Depp rose to prominence on the 1980s television series 21 Jump Street, becoming a teen idol. Dissatisfied with that status, Depp turned to film for more challenging roles; he played the title character of Edward Scissorhands (1990) and later found box office success in films such as Sleepy Hollow (1999), Charlie and the Chocolate Factory (2005), Rango (2011) and the Pirates of the Caribbean film series (2003–present). He has collaborated with director and friend Tim Burton in eight films, most recently with Dark Shadows (2012).

Depp has gained acclaim for his portrayals of people such as Ed Wood, in Ed Wood, Joseph D. Pistone in Donnie Brasco, Hunter S. Thompson in Fear and Loathing in Las Vegas, George Jung in Blow, and the bank robber John Dillinger in Michael Mann's Public Enemies. Films featuring Depp have grossed over $3.1 billion at the United States box office and over $7.6 billion worldwide.^[2] He has been nominated for top awards many times, winning the Best Actor Awards from the Golden Globes for Sweeney Todd: The Demon Barber of Fleet Street and from the Screen Actors Guild for Pirates of the Caribbean: The Curse of the Black Pearl. He also has garnered a sex symbol status in American cinema, being twice named as the "Sexiest Man Alive" by People magazine^[3] in 2003 and 2009. He has been listed in the 2012 Guinness Book of World Records as the highest paid actor, with $75 million.^[4]

Early life[link]

1960s–1970s[link]

Depp was born in Owensboro, Kentucky, the son of John Christopher Depp, Sr., a civil engineer, and his wife, the former Betty Sue Wells, a waitress.^[5] He has one brother and two sisters. His brother Daniel is a novelist and his sister Christie works as his manager. Depp is descended from a French Huguenot immigrant, Pierre Deppe or Dieppe, who settled in Virginia around 1700,^[6] part of a refugee colony situated above the falls on the James River. Depp has surmised that he is part Native American, saying in 2011, "I guess I have some Native American [in me] somewhere down the line. My great-grandmother was quite a bit of Native American, she grew up Cherokee or maybe Creek Indian. Makes sense in terms of coming from Kentucky, which is rife with Cherokee and Creek."^[7][8]

The family moved frequently during Depp's childhood, and he and his siblings lived in more than 20 different locations, settling in Miramar,^[9] Florida, in 1970. In 1978, Depp's parents divorced.^[9] His mother married, as her second husband, Robert Palmer (died 2000), whom Depp called "an inspiration to me".^[10] Depp engaged in self-harm when he was young, due to the stress of dealing with family problems, which resulted in several self-inflicted scars. In a 1993 interview, he reflected on his self-injury by saying "My body is a journal in a way. It's like what sailors used to do, where every tattoo meant something, a specific time in your life when you make a mark on yourself, whether you do it yourself with a knife or with a professional tattoo artist".^[11]

1980s[link]

With the gift of a guitar from his mother when he was twelve, Depp began playing in various garage bands.^[9] A year after his parents' divorce, Depp dropped out of high school to become a rock musician.^[9] He attempted to go back to school two weeks later, but the principal told him to follow his dream of being a musician.^[9] He played with The Kids, a band that enjoyed modest local success. The Kids set out together for Los Angeles in pursuit of a record deal, changing their name to Six Gun Method, but the group split up before signing a record deal. Depp subsequently collaborated with the band Rock City Angels^[12] and co-wrote their song "Mary", which appeared on Rock City Angels' debut for Geffen Records titled Young Man's Blues.

On December 24, 1983, Depp married Lori Anne Allison, the sister of his band's bass player and singer. During Depp's marriage, his wife worked as a makeup artist, while he worked a variety of odd jobs, including a telemarketer for pens. His wife introduced him to actor Nicolas Cage, who advised Depp to pursue an acting career.^[9] Depp and his wife divorced in 1985. Depp later dated and was engaged to actress Sherilyn Fenn (whom he met on the set of the 1985 short film Dummies). Both Fenn and Depp auditioned for the 1986 film Thrashin' and they were both cast, with Depp being chosen by the film's director to star as the lead, which would have been Depp's second major role. Depp was later turned down by the film's producer, who rejected the director's decision.^[13][14]

Acting career[link]

Johnny Depp at the 1992 Cannes Film Festival

Television[link]

Depp starred in a lead role on the Fox television series, 21 Jump Street, which premiered in 1987.^[9] Depp accepted this role to work with actor Frederic Forrest, who inspired him. Depp's long time friend Sal Jenco joined the cast as a semi-co-star as the janitor named Blowfish. The series' success turned Depp into a popular teen idol during the late 1980s.^[9] Despite this success, Depp felt "forced into the role of product."^[15] Depp subsequently decided to appear only in films that he felt were right for him.^[15] Depp and his co-stars, Peter DeLuise and Holly Robinson, briefly reprised their roles in cameo appearances in the series' 2012 feature film adaptation, which featured a much more comedic tone than the series.

Film roles[link]

Depp's first major role was in the 1984 classic horror film A Nightmare on Elm Street, playing the boyfriend of the heroine, Nancy Thompson (played by Heather Langenkamp) and one of Freddy Krueger's victims.^[9] Depp was the first choice and was cast to star in the 1986 American skater drama film Thrashin', chosen and cast by the director but ultimately rejected by the film's producer.^[13][14] In 1986, he appeared in a secondary role as a Vietnamese-speaking private in Oliver Stone's Platoon. In 1990, he undertook the quirky title role of the Tim Burton film, Edward Scissorhands. The film's success began his long association with Burton.^[9]

Depp, a fan and long-time friend of writer Hunter S. Thompson, played a version of Thompson (named Raoul Duke) in 1998's Fear and Loathing in Las Vegas, based on the writer's pseudobiographical novel of the same name. Depp accompanied Thompson as his road manager on one of the author's last book tours.^[16] In 2006, Depp contributed a foreword to Gonzo: Photographs by Hunter S. Thompson, a posthumous biography published by ammobooks.com. In 2008, he narrated the documentary film Gonzo: The Life and Work of Dr. Hunter S. Thompson. Depp paid for most of Thompson's memorial event, complete with fireworks and the shooting of Thompson's ashes by a cannon, in Aspen, Colorado, where Thompson lived.^[17] He returned to Thompson's work with a film adaptation of the novel The Rum Diary, released in 2011.

Critics have described Depp's roles as characters who are "iconic loners."^[18] Depp has noted this period of his career was full of "studio defined failures" and films that were "box office poison,"^[19] but he thought the studios never understood the films and did not do a good job of marketing.^[18] Depp has chosen roles which he found interesting, rather than those he thought would succeed at the box office.^[18]

Depp wearing a mustache and goatee similar to the style used in Pirates of the Caribbean: The Curse of the Black Pearl

The 2003 Walt Disney Pictures film Pirates of the Caribbean: The Curse of the Black Pearl was a major success,^[18] in which Depp's performance as the suave but shambling pirate Captain Jack Sparrow was highly praised. Studio bosses were more ambivalent at first,^[20] but the character became popular with the movie-going public.^[18] According to a survey taken by Fandango, Depp was a major draw for audiences.^[21] The film's director, Gore Verbinski, has said that Depp's character closely resembles the actor's personality, but Depp said he modeled the character after The Rolling Stones guitarist Keith Richards.^[22] Depp was nominated for an Academy Award for Best Actor for the role.

In 2004, he was nominated for an Academy Award for Best Actor, for playing Scottish author J. M. Barrie in the film Finding Neverland. Depp next starred as Willy Wonka in the 2005 film Charlie and the Chocolate Factory, a major success at the box office and earning him a nomination for the Golden Globe Award for Best Actor in a Musical or Comedy.^[22][23]

Depp returned to the role of Jack Sparrow for the sequel Pirates of the Caribbean: Dead Man's Chest, which opened on July 7, 2006 and grossed $135.5 million in the first three days of its U.S. release, breaking a box office record of the highest weekend tally.^[24] The next sequel to Pirates of the Caribbean, At World's End, was released May 24, 2007. Depp has said that Sparrow is "definitely a big part of me", and he wants to play the role in further sequels.^[25] Depp voiced Sparrow in the video game, Pirates of the Caribbean: The Legend of Jack Sparrow.^[26] Johnny Depp's swashbuckling sword talents as developed for the character of Jack Sparrow, were highlighted in the documentary film Reclaiming the Blade. Within the film, Swordmaster Bob Anderson shared his experiences working with Depp on the choreography for The Curse of the Black Pearl. Anderson described in the film Depp's ability as an actor to pick up the sword to be "about as good as you can get."^[27]

Depp and Gore Verbinski were executive producers of the album Rogues Gallery, Pirate Ballads, Sea Songs and Chanteys. Depp played the title role of Sweeney Todd in Tim Burton's film adaptation of the musical, for which he won a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. Depp thanked the Hollywood Foreign Press Association and praised Tim Burton for his "unwavering trust and support."^[28]

Depp played the former Heath Ledger character in the 2009 film, The Imaginarium of Doctor Parnassus along with Jude Law and Colin Farrell. All three actors gave their salaries from the film to Ledger's daughter, Matilda.^[29] He portrayed the Mad Hatter in Burton's Alice in Wonderland, and the titular character in Rango.

In 2007, Depp accepted Warner Bros.' proposal to make a film of the gothic soap opera Dark Shadows, a series that aired on ABC from 1966 to 1971. He had been a fan as a child. Depp and Graham King produced the movie with David Kennedy, who ran Dan Curtis Productions inc. until Curtis died in 2006.^[30]

Future roles[link]

Depp will film a documentary about Keith Richards. Depp will star in and produce an adaptation of the comic book Rex Mundi.^[31][32] Depp will collaborate with Pirates of the Caribbean: On Stranger Tides director Rob Marshall again to create a remake of The Thin Man.^[33] Depp also showed interest in starring in the next Sin City films, with Robert Rodriguez wanting him to star as Wallace.^[34] Depp was going to star as Tonto in an upcoming Lone Ranger film, but the project had been shelved due to budgetary concerns as well as a lacklustre response to a recently-released Western-genre film (Cowboys & Aliens).^[35] The project was revived and the film will be released on May 31, 2013.^[36] Depp plans to star as Carl Kolchak in the project Night Stalker,^[37] and has bought rights to the comic book The Vault^{[disambiguation needed ]}.^[38]

Collaborations with Tim Burton[link]

Depp has collaborated with director and close friend Tim Burton in eight films, beginning with Edward Scissorhands (1990), opposite Winona Ryder and Vincent Price. His next role with Burton was in the 1994 film, Ed Wood.^[9] Depp later said that "within 10 minutes of hearing about the project, I was committed."^[39] At the time, the actor was depressed about films and filmmaking. This part gave him a "chance to stretch out and have some fun"; he said working with Landau "rejuvenated my love for acting".^[39]

Producer Scott Rudin once said, "Basically Johnny Depp is playing Tim Burton in all his movies,"^[40] although Burton personally disapproved of the comment. Depp, however agrees with Rudin's statement. According to Depp, Edward Scissorhands represented Burton's inability to communicate as a teenager. Ed Wood reflected Burton's relationship with Vincent Price (very similar with Edward D. Wood, Jr. and Béla Lugosi).

Depp's Hollywood Walk of Fame star received on November 19, 1999

Depp's next venture with Burton was the role of Ichabod Crane in Sleepy Hollow (1999), opposite Christina Ricci. Sleepy Hollow reflected Burton's battle with the Hollywood studio system.^[41] For his performance, Depp took inspiration from Angela Lansbury, Roddy McDowall and Basil Rathbone.^[40] Depp stated, "I always thought of Ichabod as a very delicate, fragile person who was maybe a little too in touch with his feminine side, like a frightened little girl."^[42]

Depp did not work with Burton again until 2005 in Charlie and the Chocolate Factory, in which he played Willy Wonka. Depp modeled the character's hair on Anna Wintour.^[43] The film was a box office success and received positive critical reception.^[44][45] Gene Wilder, who played Willy Wonka in the 1971 film, initially criticized this version.^[46] Charlie and the Chocolate Factory was released in July, followed by Corpse Bride, for which Depp voiced the character Victor Van Dort, in September.

Sweeney Todd: The Demon Barber of Fleet Street (2007) followed, bringing Depp his second major award win, the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy as well as his third nomination for the Academy Award for Best Actor. Burton first gave him an original cast recording of the 1979 stage musical in 2000. Although not a fan of the musical genre, Depp grew to like the tale's treatment. He cited Peter Lorre in Mad Love (1935) as his main influence for the role, and practiced the songs his character would perform while filming Pirates of the Caribbean: At World's End.^[47] Although he had performed in musical groups, Depp was initially unsure that he would be able to sustain Stephen Sondheim's lyrics. Depp recorded demos and worked with Bruce Witkin to shape his vocals without a qualified voice coach. In the DVD Reviews section, Entertainment Weekly's Chris Nashawaty gave the film an A minus, stating, "Depp's soaring voice makes you wonder what other tricks he's been hiding... Watching Depp's barber wield his razors... it's hard not to be reminded of Edward Scissorhands frantically shaping hedges into animal topiaries 18 years ago... and all of the twisted beauty we would've missed out on had [Burton and Depp] never met."^[48] In his introduction to Burton on Burton, a book of interviews with the director, Depp called Burton "...a brother, a friend,...and [a] brave soul".^[49] The next Depp-Burton collaboration was Alice in Wonderland (2010). Depp played the Mad Hatter alongside Helena Bonham Carter, Anne Hathaway and Alan Rickman. In 2012, he starred in the Burton-directed Dark Shadows, a film based on the 1966-1971 gothic soap opera of the same name, alongside fellow Tim Burton regular Helena Bonham Carter, as well as Michelle Pfeiffer and Eva Green.

Production company[link]

In 2004, Depp formed his production company Infinitum Nihil to develop projects where he will serve as actor and/or producer. Depp is the founder and CEO, while his sister, Christi Dembrowski, serves as president.^[50] The company's first production came in 2011 with The Rum Diary, adapted from the novel of the same name by Hunter S. Thompson. The film is written and directed by Bruce Robinson. Also in 2011, Hugo, directed by Martin Scorsese, was released. Dark Shadows, directed by Tim Burton, was released in 2012.

Other interests[link]

During the Paris premiere of Public Enemies in July 2009

Music[link]

As a guitar player, Depp has played slide guitar on the Oasis song "Fade In-Out" (from Be Here Now, 1997), as well as on "Fade Away (Warchild Version)" (b-side of the "Don't Go Away" single). He also played acoustic guitar in the movie Chocolat and on the soundtrack to Once Upon a Time in Mexico. He is a friend of The Pogues' Shane MacGowan, and performed on MacGowan's first solo album. He was also a member of P, a group featuring Butthole Surfers singer Gibby Haynes, Red Hot Chili Peppers bassist Flea and Sex Pistols guitarist Steve Jones. He has appeared in Tom Petty & The Heartbreakers' music video "Into the Great Wide Open" and The Lemonheads "It's a Shame About Ray" music video. He made a cameo as the Mad Hatter in the music video for Avril Lavigne's "Alice" in 2010. He performed lead guitar and drums for a cover of Carly Simon's "You're So Vain", which appeared as a bonus track on some editions of Marilyn Manson's 2012 album Born Villain.^[51][52], also performing live with Marilyn Manson in the Revolver Golden Gods Awards 2012, performing various songs of Marilyn Manson.^[53] He also appeared in the music video of "My Valentine" from the album Kisses on the Bottom by Paul McCartney released in February 2012, along with Natalie Portman.^[54]

Winemaker and restaurateur[link]

Depp and Paradis grow grapes and have wine making facilities in their vineyard in Plan-de-la-Tour north of Saint-Tropez.^[55][56][57] He is known for a fondness of French wines: among Depp's favorites are the Bordeaux wines Château Calon-Ségur, Château Cheval Blanc and Château Pétrus, and the Burgundy wine Domaine de la Romanée-Conti. Interviewed in Madame Figaro, he stated, "With those wines, you reach nirvana".^[58] Along with Sean Penn, John Malkovich and Mick Hucknall, Depp co-owned the French restaurant-bar Man Ray, located near the Champs-Élysées.^[59]

Personal life[link]

Family and relationships[link]

Depp in April 2011

Depp was married to Lori Anne Allison from 1983 to 1985. He became involved with Sherilyn Fenn in 1985; this relationship also lasted 3 years. Depp met Winona Ryder at the Great Balls of Fire! premier in July 1989, and became engaged to her for three years beginning in July 1990.^[60] The relationship was highly publicized and received much scrutiny by the media and tabloid press.

Since 1998, following a four year relationship with British supermodel Kate Moss, Depp has been in a relationship with Vanessa Paradis, a French actress and singer whom he met while filming The Ninth Gate.^[61]

The couple have two children. Daughter Lily-Rose Melody Depp was born May 27, 1999, and son John "Jack" Christopher Depp III was born April 9, 2002.^[1] In 2007, his daughter recovered from a serious illness, an E. coli infection that began to cause her kidneys to shut down and resulted in an extended hospital stay.^[62] To thank Great Ormond Street Hospital, Depp visited the hospital in November 2007 dressed in his Captain Jack Sparrow outfit and spent 4 hours reading stories to the children. In 2008 he donated £1 million (about $2 million) to the hospital.^[63]

Although Depp has not remarried, he has stated that having children has given him "real foundation, a real strong place to stand in life, in work, in everything."^[25] "You can't plan the kind of deep love that results in children. Fatherhood was not a conscious decision. It was part of the wonderful ride I was on. It was destiny; kismet. All the math finally worked." The family divides its time between their home in Meudon, located in the suburbs of Paris, 2 homes in Los Angeles^[64], an island he bought in The Bahamas, and their villa in Le Plan-de-la-Tour, a small town 20 km from Saint-Tropez, in the south of France.^[65][66] Depp also acquired a vineyard estate in the Plan-de-la-Tour area in 2007.^[55] Several reports indicated Depp bought Burnham Westgate Hall in Norfolk, England, a 13-bedroom Georgian country house, in June 2011.^[67][68][69]

Legal issues[link]

In 1994, Depp was arrested and questioned by police for allegedly causing serious damage to a New York City hotel suite.^[70]

He was arrested again in 1999 for brawling with paparazzi outside a restaurant while dining in London with Paradis.^[71]

Tattoos[link]

Depp has around 13 tattoos, many of them signifying important persons or events in his life. They include a Native American in profile and a ribbon reading "Wino Forever" (originally "Winona Forever", altered after his breakup with Winona Ryder) on his right biceps, "Lily-Rose" (his daughter's name) over his heart, "Betty Sue" (his mother's name) on his left biceps, and a sparrow flying over water with the word "Jack" (his son's name; the sparrow is flying towards him rather than away from him as it is in Pirates of the Caribbean) on his right forearm.

Controversy[link]

Comments on U.S.[link]

In 2003, Depp's comments about the United States appeared in Germany's Stern magazine: "America is dumb, is something like a dumb puppy that has big teeth — that can bite and hurt you, aggressive."^[72] Although he later asserted that the magazine misquoted him and the quotation was taken out of context, Stern stood by its story, as did CNN.com in its coverage of the interview. CNN added his remark that he would like his children "to see America as a toy, a broken toy. Investigate it a little, check it out, get this feeling and then get out."^[73] The July 17, 2006 edition of Newsweek reprinted the "dumb puppy" quotation, verbatim, in the context of a Letter to the Magazine. Depp has also disagreed with subsequent media reports that perceived him as a "European wannabe", saying that he likes the anonymity of living in France and his simpler life there.^[72]

In 2011, Depp became a U.S. resident again, because France wanted him to become a permanent resident, which he said would require him to pay income tax in both countries.^[74]

Comanche Adoption[link]

Depp was adopted as an honorary son by LaDonna Harris, a member of the Comanche Nation, on May 22, 2012; this makes him an honorary member of Harris's family, but not an enrolled member of the Nation.^[75] Harris, president of Americans for Indian Opportunity, invited him to join her family after hearing he would be reprising the role of Tonto as a Comanche in the movie version of The Lone Ranger. The ceremony took place at Harris’s home; Comanche Nation Tribal Administrator Johnny Wauqua was in attendance. Depp was presented with gifts by the family, which he then presented to the attendees, as per tradition.^[75] This adoption, and Depp's portrayal of a Native American character, has not been without controversy.^[75] Depp was not raised in any Native American community, nor has any ancestry from these communities been confirmed, but has said he "guesses" he may have some distant Cherokee or Creek ancestry.^[7] In the original Radio Broadcast, Tonto was identified as being from the Potawatomi Tribe.

Awards and nominations[link]

Some of the awards that Depp has won include honors from the London Film Critics Circle (1996), Russian Guild of Film Critics (1998), Screen Actors Guild Awards (2004) and a Golden Globe for Best Actor. At the 2008 MTV Movie Awards, he won the award for "Best Villain" for his portrayal of Sweeney Todd and "Best Comedic Performance" for Jack Sparrow. Depp has been nominated for three Academy Awards, in 2004 for Pirates of the Caribbean: The Curse of the Black Pearl, in 2005 for Finding Neverland, and in 2008 for Sweeney Todd: The Demon Barber of Fleet Street. Depp won his first Golden Globe for his portrayal of Sweeney Todd in 2008.

Filmography[link]

References[link]