Jumper is a 2008 American science fiction film, loosely based on the 1992 science fiction novel of the same name by Steven Gould. The film is directed by Doug Liman and stars Hayden Christensen, Samuel L. Jackson, Jamie Bell, Rachel Bilson, Max Thieriot, AnnaSophia Robb, and Diane Lane. The film follows a young man capable of teleporting as he is chased by a secret society intent on killing him.

The script went through a rewrite prior to filming and the roles for the main characters were changed during production. Jumper was filmed in 20 cities in 14 countries between 2006 and 2007. The film was released on February 14, 2008 and a soundtrack was released on February 19. The film held the first position in its opening weekend with $27.3 million, but despite this success, reviews from critics were generally negative.

Plot[link]

In Ann Arbor, Michigan, teenager David Rice (Max Thieriot) gives his crush, Millie (Annasophia Robb), a snow globe containing the Eiffel Tower, knowing her dreams of traveling someday. A bully, Mark, throws the globe onto the ice near a river. While trying to retrieve it, David falls through the ice and is pulled away by the current. He suddenly finds himself in the local library with drenched clothes. He discovers he can "Jump", or teleport, disappearing from one place and instantly appearing in another. Unhappy with his life, he runs away and is believed dead by his alcoholic father.

Eight years later, an adult David (Hayden Christensen) has settled into a life of adventure. He spends his days jumping around various continents, doing various sports and living lavishly using money stolen from banks via his jumping abilities. We also see him observing a natural disaster on the TV news, but not even consider using his power to save the people. After a day of hedonistic jumping, including seducing and sleeping with a woman in London, he is ambushed in his home by Roland Cox (Samuel L. Jackson). Cox tries to trap him with a system of high-voltage cables, which prevent him from being able to jump. David escapes and returns home to Ann Arbor, seeking the now adult Millie (Rachel Bilson). He is attacked by Mark and purposely teleports him into a bank vault. He leaves him there and returns to Millie, inviting her to travel with him (by conventional means) to Rome. Roland – who we see heads an organisation dedicated to killing these "abominations" because "only God should have the power to be everywhere" – later discovers Mark in police custody and so learns David's identity.

David and Millie arrive in Rome, David attempting to keep his true nature as a thief and his power a secret from her. After talking, they have steamy intercourse. David and Millie visit the Colosseum, only to find it closed. David uses his ability to unlock a door from the inside, telling a skeptical Millie the door was already unlocked. While opening another door, he discovers another Jumper, Griffin (Jamie Bell). He warns David that "Paladins" are coming – an extremist group which has been tracking down and killing Jumpers from "the beginning". Several Paladins show up and attack them. Griffin kills one and teleports, taking the body with him. David tries to leave with Millie, but is detained by Italian police and questioned about the death. While waiting for a magistrate to arrive, David's mother Mary (Diane Lane), who had left David when he was five, appears and throws him the keys to his handcuffs. She tells him he has very little time to leave. David tries to follow her, but she says if he wants the girl to live he must leave now. David tells Millie the police let him go and they leave together. Millie, now very suspicious, demands the truth. David declines and puts her on a plane home.

David jumps to Griffin's lair, asking where to find Roland. Griffin explains that Paladins are religious fanatics who believe Jumpers are an affront to God and have been hunting them for centuries. He also says that Paladins will kill Jumpers by targeting their loved ones. He has been trying to kill Roland for years, as the Paladins killed his parents when he was a child and have tried to kill him several times. David teleports to his father, finds him bleeding and teleports him to a hospital. He returns to Griffin and convinces him to go with him to the airport to greet Millie. Upon arriving, they realize her flight landed an hour earlier. Griffin returns to his lair to get weapons while David searches for Millie. He breaks into her apartment, angering Millie, who tells him to leave. Through the living room window David sees Roland arriving and shows her what he can do, and saves her, by teleporting her back to Griffin's lair. The Paladins follow using a machine that keeps the "jump scar" (wormhole) open and fight with David and Griffin. Roland is chased back through the portal, but snatches Millie back to her apartment with a cable.

Griffin decides to take a bomb to Millie's apartment and kill everyone. David refuses, wanting to save Millie. They fight through several locations, and David traps Griffin with power lines in a war zone. Griffin warns that if he faces the Paladins alone he will be outnumbered. He goes anyway and is quickly trapped by Roland's electric cables. David cannot escape as he is physically tied to the apartment by the cables. Using his teleporting powers David separates the apartment from the rest of the building and teleports that section away, along with Roland, Millie and himself, back to the river into which he fell through the ice as a child. Once free of the cables (while still underwater) David teleports to the library with Millie, as well as an unwelcome Roland. David then grabs Roland and takes him to a cave in the Grand Canyon, abandoning him there, and telling him that he could have been killed instead.

David visits his mother and is stunned when a girl, his half-sister, Sophie (Kristen Stewart), answers the door. Mary tells David she has known he was a Jumper since he was five, when Jumpers make their first Jump. She is a Paladin, and had to either kill David or leave. She again allows him to leave, allowing him a "head start". He meets with Millie outside and they jump to an unknown location.

Cast[link]

Rachel Bilson and Hayden Christensen filming in Rome in November 2006

• Hayden Christensen (Max Thieriot, teenage) as David Rice, the film's protagonist. He's a young man who discovers the ability to teleport or "jump". David turns rebellious when he is caught in the middle of the century war between the Paladins and Jumpers.
• Rachel Bilson (Annasophia Robb, teenage) as Millie Harris, David's childhood friend and crush who later becomes his girlfriend.
• Samuel L. Jackson as Roland Cox, the leader of the Paladins whose goal is to kill Jumpers. Roland serves as the film's main antagonist.
• Jamie Bell as Griffin, a renegade jumper who tracks down and eliminates Paladins.
• Diane Lane as Mary Rice, David's mother who separated from her son when he was five years old.
• Teddy Dunn (Jesse James, teenage) as Mark Kobold, David's childhood bully.
• Michael Rooker as William Rice, David's father.
• Kristen Stewart as Sophie.

Production[link]

Script and storyboards[link]

In November 2005, New Regency Productions hired director Doug Liman to helm the film adaptation of the science fiction novel Jumper by Steven Gould. Screenwriter Jim Uhls was hired to rewrite an adapted screenplay by David S. Goyer.^[2] However, Liman desired another rewrite and Simon Kinberg assisted in completing the script.^[2] Liman said about using the novel for developing the script: "This is 100% Steven Gould's story, it's just reinvented as a movie."^[3] In an interview, Gould revealed that he approved of the deviations from the novel.^[3] Before filming was to begin, the studio announced plans to develop a trilogy based on the novel's premise.^[4]

While other films tend to use only one storyboard artist, Jumper required six, who each worked on an individual action sequence. The artists were given specific instruction on the rules of the teleportation used in the film, to ensure accuracy in the storyboarding. One of them, Rob McCallum, reflected on the instructions: "I was just thinking, 'How would a guy that can teleport fight?' So you were really pushing yourself to try to think of inventive, cool, spectacular ways that you could use this jumping talent that these characters have."^[5]

Casting[link]

In April 2006, actors Tom Sturridge, Teresa Palmer, and Jamie Bell were cast for Jumper with Sturridge in the lead role (who won the role over Heath Ledger, Devon Sawa, Eminem, Joseph Gordon-Levitt, and Jared Padalecki).^[6] The following July, actor Samuel L. Jackson was cast as an NSA agent, with producer Simon Kinberg rewriting the original screenplay draft by Goyer. Principal photography was scheduled to take place in Tokyo, Rome, Toronto, and New York.^[7] Production was stopped in June 2006 after producer Tom Rothman told Liman "The lead is 18. Wouldn't the movie be better if he was 25? You have a huge movie here and adults won't go and see an 18-year-old. They'll consider it a children's movie. You could make a bigger movie than that."^[8] Liman agreed on casting older actors for furthering the romantic aspect of the film.^[9] In August, actor Hayden Christensen replaced Sturridge in the lead role as David just two weeks before the beginning of shooting, as the studio "became concerned about not having a more prominent actor in their trio of young stars."^[10] After Christensen was recast for the lead role, Liman replaced Palmer with Rachel Bilson.^[8]

Filming[link]

In September 2006, Jumper was filmed at various locations in Peterborough, Ontario and principal photography began in Toronto in October.^[2][11] In December 2006, Liman negotiated with the Rome Film Commission for rare access to film for three days in the Colosseum. The scene in the Colosseum was originally written for the Pantheon, at which exterior shots were also filmed. The crew was required to keep equipment off the ground by using harnesses and had to rely on natural light for filming.^[12] Filming took place for 45 minutes in the morning and in the evening so as not to disturb the public touring the amphitheater throughout the day.^[13] In order to maximize the short period for filming, four steadicams were set up to ensure time was not wasted in reloading the camera.^[8] A visual effects supervisor explained how visual effects were needed for various aspects after filming: "There were three kinds of shots: there were shots where they were able to get most of what they needed in the Coliseum [sic] itself; and then there were shots on a set that needed extensions beyond the limits of the set; and then there were shots where we needed to create the Coliseum basically from scratch."^[14]

After filming in Rome, scenes were filmed in Toronto during December 2006 to January 2007 and wrapped at the Canadian location on January 19. On January 26 in Toronto, 56-year-old David Ritchie, a set dresser, was fatally struck by frozen debris while dismantling an outdoor set in wintry conditions.^[2][15] Another worker was injured and was sent to a hospital with serious head and shoulder injuries.^[16] After Toronto, the cast and crew traveled to Tokyo to film scenes. One scene required over 30 shoots as the scene could only be filmed in between traffic light changes.^[8] As a result of director Liman insisting Christensen perform his own stunts, the actor injured his hand, split open his ear, and developed a hyperdilated pupil that required hospital care while filming various scenes.^[9][17]

In February 2007, the next filming site was set up at Gallup Park in Ann Arbor, Michigan. Sixty students from the nearby Huron High School were cast as extras for the film.^[18] Since additional filming was required of the area, twenty other students were used for a day of filming in September.^[19] Altogether, filming took place in 20 cities in 14 countries.^[20]

Visual effects[link]

The New Zealand visual effects studio Weta Digital was initially selected to assist in creating a preview clip for the 2007 Comic-Con Convention.^[14] The studio's 100 employees later developed the visual effects for 300 of the 600 shots in the film.^[9][14][21] In total, there are more than 100 jumps in the film, and each jump was modified based on the distance and location the character(s) jumped.^[22] The jumps were developed using Nuke and Shake software;^[14] many, including those to Big Ben and the Sphinx were created with Maya.^[22] Weta's VFX supervisor Erik Winquist explained how the visual effects of the jumps were created: "The concept of what a jump looks like changed and evolved a little over the course of post production. There are shots in the film that use still array footage but not in the same way that we saw in The Matrix. The Matrix was largely about stopping time whereas this was about using slow shutter speeds on those still array cameras to end up with a streaky motion-blurred image as the perspective was changing, which is a pretty interesting look."^[22] Other visual effects studios that assisted with the film include Hydraulx, Digital Domain, and Pixel Magic.^[14]

Critical reception[link]

The film received generally negative reviews from critics. Rotten Tomatoes reported that 16% of critics gave the film positive reviews, based on 156 reviews, with an average score of 4/10; the consensus was "An erratic action pic with little coherence and lackluster special effects."^[23] Metacritic reported the film had an average score of 35 out of 100, based on 36 reviews.^[24] Austin Chronicle's Marc Salov called the film "...pretty slick, entertaining stuff, well-crafted by Liman, edited into a tight, action-packed bundle of nerviness."^[25] Edward Douglas of ComingSoon.net wrote that the film was "An impressive feat as a vehicle for Doug Liman to pull out the stops with some of the most jaw-dropping stunts shot in some of the most amazing locations on earth."^[26] Empire had a verdict of "[Doug] Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built." Australian film reviewer David Stratton was far less kind, stating that "this film represents a new [watershed] in the history of the cinema because it's got no plot, it's got no characters, it's got no action scene that makes any kind of sense", and awarded it half a star out of five.^[27]

Despite negative critical reception, the movie was a public and box office success, grossing over $220 million worldwide.

Box office[link]

The film was released Thursday, February 14, 2008 in the United States and Canada, in the hopes of pulling in business on Valentine's Day.^[28] The film was targeted at an audience of both males and females below the age of 25.^[1] Jumper grossed $27.3 million on 4,600 screens in 3,428 theaters from Friday to Sunday, ranking first for the weekend at the box office.^[1][29] In its first weekend, the film set the record for the largest February release in Korea and had the first place position in 11 of the 30 markets it was released in.^[30] For the first two weekends of its release, the film maintained its number one position in international markets, while slipping to the second position in the United States to the release of Vantage Point.^[31] The film's worldwide gross is $221,231,186 with $80,172,128 from the box office in the United States and Canada and $142,059,058 from other territories.^[32] It was the 28th highest-grossing film worldwide for 2008.^[33]

Novel tie-ins[link]

Steven Gould, the author of Jumper and Reflex also wrote Jumper: Griffin's Story as a tie-in for the film. The novel, released on August 21, 2007, focuses on the character Griffin which was created by screenwriter David Goyer specifically for the film. Because Griffin had not appeared in the two prior novels, Gould developed Jumper: Griffin's Story as a backstory of the character's early childhood before the film. When writing the novel, Gould had to work closely with a producer of the film to ensure that the story did not conflict with the film's premise.^[34]

Oni Press released a graphic novel, Jumper: Jumpscars, that portrays several back stories related to the film.^[35] The novel was released on February 13, 2008, one day before the film's wide release. A publisher for Oni Press commented on the tie-in to the film, stating: "The world that was being built around these characters was so well-realized and the mythology so interesting that other stories about this conflict would be plentiful and add to what the filmmakers were building."^[35] The novel was written by Nunzio DeFilippis and Christina Weir and illustrated by Brian Hurtt.

Soundtrack[link]

Professional ratings
Review scores
Source	Rating
Allmusic	[36]

The score for the film was released on February 19, 2008, after the film's release in theaters. The tracks were all written by John Powell. The music was conducted by Brett Weymark and performed by the Sydney Symphony Orchestra.^[37]

Video game release[link]

A video game titled Jumper: Griffin's Story was made for the Xbox 360, PlayStation 2, and Wii consoles. The storyline focuses on the character Griffin as he attempts to avenge the death of his parents. Nicholas Longano of the video game publisher Brash Entertainment stated, "From the very first script read, we knew this had to be made into a game. The teleportation elements make for some very compelling gameplay."^[38] The game was released on February 12, 2008, two days before the film's wide release.^[39] Game Rankings gave the Xbox 360 version of the game a 28% positive rating, based on 12 reviews.^[40] The PlayStation 2 version received a 35% positive rating while the Wii version had a 23% positive rating.^[40] Daemon Hatfield of IGN reviewed the Xbox 360 version and gave it a negative review: "Low production values, monotonous gameplay, and lackluster visuals make this a story you can jump past."^[41]

Home media[link]

The film was released on Blu-ray Disc and DVD in North America on June 10, 2008 and internationally on June 16.^[42] Special features include a commentary, deleted scenes, an animated graphic novel, featurettes, and a digital copy allowing consumers to watch the film on portable devices.^[42]

Sequel[link]

Prior to the film's release, Hayden Christensen reflected on the possibility of one or more sequels: "This has definitely been set up in a way that will allow for more films, and Doug has been careful to make sure that he's created characters that will have room to grow."^[9] Lucas Foster during production of the film stated in an interview: "The ideas got so large, that they really couldn't fit into, you know, one or two movies, they needed to evolve over at least three movies. So we planned the story out over three movies and then we sliced it up in such a way as to leave room for the other two movies."^[3]

In response to the film's box office performance, director Doug Liman has spoken of his ideas for a sequel. Among them are that Jumpers can reach other planets and travel in time, as well as their capacity for espionage. He has also stated that Rachel Bilson's character will learn how to jump (hinted by David falling unconscious before the jump from the river to the library), just as in Gould's sequel, Reflex.^[43] In interviews that followed the release of film (as well as some of the featurettes on the DVD), Jamie Bell was critical of the finished product of Jumper, describing his frustration while they were shooting the film.^[44]

References[link]

External links[link]

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

Look up jumper or jumpers in Wiktionary, the free dictionary.

Jumper may refer to:

Clothing[link]

• Sweater or heavy sweater pulled on over the head, used in the UK, Ireland, and Commonwealth
• Jumper (dress), in the USA, is any, shoulder to thigh length article of women's outer clothing that a woman "jumps into," i.e., is applied from the ankles up; including the sleeveless, collarless dress, known elsewhere as a pinafore or pinafore dress
• Part of the uniform of the United States Navy and Royal Navy uniform

Computers and software[link]

• Jumper 2.0, open source collaborative enterprise search software
• Jumper (computing), an electrical connector

Media and entertainment[link]

• Jumper (novel), a novel by Steven Gould
  • Jumper (film), a 2008 film adaptation of the novel
  • Jumper: Griffin's Story, a video game based on the film
  • Jumper: Griffin's Story (novel), a novel based on the film
• Jumpers, a play by Tom Stoppard
• Puddle jumper, a spacecraft in the fictional Stargate universe

Music[link]

• "Jumper" (song), a song by Third Eye Blind
• "Jumpers", a song by Sleater-Kinney on the album The Woods
• Jumper, a song by capsule on the album More! More! More!

Religious groups[link]

• A member of the Welsh Methodist Revival
• A faction of the Molokan religious sect

People[link]

• John P. Jumper (born 1945), former Chief of Staff of the United States Air Force

Sports[link]

• Jumper (basketball)
• Show jumper, a type of equestrian competition or the horses that compete in same.
• A person who participates in parachuting

Other meanings[link]

• Jumper (suicide), a person who kills himself by jumping from a height.
• Citroën Jumper, a French van
• Jumper cables

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.

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since July 2010. Its citation style may be unclear. The references used may be made clearer with a different or consistent style of citation, footnoting or external linking. Tagged since July 2010. It may not represent a worldwide view of the subject. Tagged since December 2009.

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:
May 18: Disco diva Donna Summer dies at 63 April 10: Manson Family leader Charles Manson to seek parole in California murders March 26: San Francisco Museum of Modern Art buys Edward Hopper valued at over $25 million October 22: Canadian actress Barbara Kent dies at age 103

• 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.

Mark Kermode
Kermode performing with the Dodge Brothers in 2009.
Born	Mark Fairey (1963-07-02) 2 July 1963 (age 48) Barnet, North London, England
Residence	Brockenhurst, New Forest, Hampshire, England
Nationality	British
Citizenship	British
Education	PhD (English)
Alma mater	University of Manchester
Occupation	Film critic, presenter, musician
Employer	BBC, The Observer, Sight and Sound
Known for	Kermode and Mayo's Film Reviews, The Culture Show, The Dodge Brothers

Mark Kermode (born 2 July 1963) is an English film critic, musician and a member of the British Academy of Film and Television Arts. He contributes to Sight and Sound magazine, The Observer newspaper and BBC Radio 5 Live, where he presents Kermode and Mayo's Film Reviews with Simon Mayo on Friday afternoons.^[1] He also co-presents the BBC Two arts programme The Culture Show and discusses other branches of the arts for the BBC Two programme Newsnight Review. Kermode writes and presents a film-related video blog for the BBC.

Early life and education[link]

Kermode, born Mark Fairey^[2][3] in Barnet, North London, England,^[4] attended Haberdashers' Aske's Boys' School, an independent boys' school in Elstree, a few years ahead of comedians Sacha Baron Cohen, Matt Lucas and David Baddiel and in the same year as actor Jason Isaacs.^[5] He was raised as a Methodist, and is now a member of the Church of England.^[6]

Mark Fairey's parents divorced when he was in his early 20s and he subsequently changed his surname to his GP mother's maiden name by deed poll.^[7] (Neither of them is related to the literary critic Frank Kermode.^[8])

He earned his PhD in English at the University of Manchester in 1991, writing a thesis on horror fiction.^[4] Kermode has stated that "I was a revolutionary communist affiliate in the 80s", but that "none of us had any respect for Stalin".^[9]

Personal life[link]

Kermode lives in Brockenhurst with his wife, Linda Ruth Williams, a professor who lectures on film at the University of Southampton and has written The Erotic Thriller in Contemporary Cinema and co-edited Contemporary American Cinema.^[10] In October to November 2004, they jointly curated a History of the Horror Film season and exhibition at the National Film Theatre in London.^[10] Kermode and Williams have two children.^[7] Kermode has been described as "a feminist, a near vegetarian (he eats fish), a churchgoer and a straight-arrow spouse who just happens to enjoy seeing people's heads explode across a cinema screen".^[11]

Career[link]

Horror specialisation[link]

Kermode is a visiting fellow at the University of Southampton, having gained a PhD at the University of Manchester in modern English and American horror fiction.^[12] He has also contributed to Fangoria magazine,^[13] authored the monograph The Exorcist (BFI Modern Classics), and worked on film-related documentaries like The Fear of God; 25 Years of the Exorcist, Hell on Earth: The Desecration and Resurrection of Ken Russell's The Devils, The Edge of Blade Runner, and The Cult of The Wicker Man.^[14] He calls The Exorcist (1973) "the best film ever made".^[15] He recommends The Witch Who Came From the Sea as one of the best video nasties of the 1970s.^[16]

Kermode is sometimes critical of the British Board of Film Classification (BBFC), the censor for film in the UK, calling for horror films from abroad to be shown in their uncut versions. However, in recent years, he has stated on numerous occasions that the BBFC do a good job in an impossible situation, and expressed his approval of their decisions.^[17]

Print media[link]

Kermode began his film career as a print journalist, writing for Manchester's City Life, and then Time Out and the NME in London. He has also written for The Independent, Vox, Empire, Flicks, Fangoria and Neon.^[18] Until September 2005, Kermode reviewed films each week for the New Statesman.^[19] Since 2009 Kermode has written "Mark Kermode's DVD round-up" for The Observer, a weekly review of the latest releases.^[20] He sometimes writes for the British Film Institute's Sight and Sound magazine.^{[citation needed]}

In February 2010, Random House released his autobiography, It's Only a Movie, which he describes as being "inspired by real events".^[21] Its publication was accompanied by a UK tour.^[22] In September 2011 he released a follow-up book entitled The Good, the Bad and the Multiplex, in which he puts forth his opinion on the good and bad of modern films, and vehemently criticizes the modern multiplex experience and the 3D film craze of the early 2000s.^[23]

Radio[link]

Kermode began working at BBC Radio 1 in 1993, on a regular Thursday night slot called Cult Film Corner on Mark Radcliffe's Graveyard Shift session.^[24] He later moved to Simon Mayo's BBC Radio 1 morning show. He also hosted a movie review show with Mary Anne Hobbs on Radio 1 on Tuesday nights called Cling Film.^[25] Between February 1992 and October 1993, he was the resident film reviewer on BBC Radio 5's Morning Edition with Danny Baker.

Kermode also co-hosted an early 1990s afternoon magazine show on BBC Radio 5 called A Game of Two Halves alongside former Blue Peter presenter Caron Keating.^[26]

He currently reviews and debates new film releases each Friday afternoon with Simon Mayo on Mayo's BBC Radio 5 Live show, which is also available as a podcast.^[27] The programme won Gold in the Speech Award category at the 2009 Sony Radio Academy Awards on 11 May 2009. The judges' citation was:^[28]

The winner of the Gold Award made the judges laugh out loud. They found this programme witty and entertaining, cheeky and irreverent, and they admired the sustained passion and energy of its presenters who made listening an effortless and rollercoaster pleasure.

His derisive review of the Christopher Columbus film Percy Jackson & the Olympians: The Lightning Thief inspired the Australian comedy film Benjamin Sniddlegrass and the Cauldron of Penguins.

Television[link]

Kermode is currently a regular presenter on BBC Two's The Culture Show. He also appears regularly on Newsnight Review and Film 24 on BBC News. It was during a 2006 interview with Kermode for The Culture Show in Los Angeles that Werner Herzog was shot by an air rifle. Herzog appeared unflustered, later stating "It was not a significant bullet. I am not afraid".^[29][30] On 19 May 2007 he was featured on the show playing with his skiffle band, The Dodge Brothers, in which he plays the double bass.

Kermode is also a film critic and presenter for Film4 and Channel 4, presenting the weekly Extreme Cinema strand. He also writes and presents documentaries for Channel 4.^[18] Once a week, he reviews films for BBC News at Five.

Kermode rarely watches television, calling it "trivial" and stating that "I have been doing my best to avoid [TV] for the last 20 years."^[31] On being challenged by The Observer to watch TV, he admitted "if there's one thing I've learned from agreeing to take up the Observer's TV challenge this summer, it's that an awareness of what's going on in television is probably helpful to an understanding of movies. Worse, it may even be essential".^[31]

Kermode appeared in a cameo role as himself in the revival of the BBC's Absolutely Fabulous on January 1, 2012.^[32]

Other work[link]

As of April 2008, Kermode has started a twice-weekly video blog hosted on the BBC website, where he posts clips of himself talking about films and telling anecdotes.^[33]

Kermode has recorded DVD audio commentaries for Tommy, The Ninth Configuration, The Wicker Man^[34] and (with Peter O'Toole) Becket.^[35] He also appears in the DVD extras of Lost in La Mancha, interviewing Terry Gilliam. Kermode has written books, published by the BFI in its Modern Classics series, on The Exorcist^[36] and The Shawshank Redemption^[37][38] and his documentary for Channel 4, Shawshank: The Redeeming Feature, is on the film's 10th anniversary special edition DVD.^[39]

Opinions[link]

Kermode's appreciation of genre cinema is not always in line with popular taste. He dislikes all four Pirates of the Caribbean films,^[41] all of the live action Transformers films, and considers the Star Wars series to be a "gross infantalisation of the dark hearted 'serious' sci-fi" that he grew up with.^[42] Kermode has also expressed his dislike of director Chris Columbus, labelling him an "accountant director" and producing a negative analysis of the first two Harry Potter films, which Columbus directed. However, Kermode says he has "grown into the Potter story" as the films have advanced in their mature themes and content.^[43] He dislikes 3D films, and is particularly disdainful of the trend for what he calls "retrofitting" 2D movies into 3D,^[44] and he also detests the Cannes Film Festival. Kermode's emphasis on genre cinema has also meant he often expresses a liking for films panned by other critics, such as Basic Instinct 2 (2006)^[45] because it follows genre expectations. Kermode has been critical of documentary maker Michael Moore (despite praising Capitalism: A Love Story on his radio show), accusing him of "feeding his own ego".^[46]. However he expressed his admiration for The Twilight Saga: Eclipse, directed by David Slade, a film dismissed by the majority of critics. Kermode has very strong views and is well known for his rants against certain blockbuster movies such as the Michael Bay films mentioned above, often citing the director as a bad example of filmmaking.

Music[link]

Kermode played double-bass for a skiffle/rockabilly band called The Railtown Bottlers in the early 1990s. The Railtown Bottlers were also the house band on the BBC show Danny Baker After All for a series, starting in 1993,^[47][48] where he performed with Madness lead singer, Suggs.^[49] He currently plays bass in skiffle quartet The Dodge Brothers.^[48]

Awards and other recognition[link]

Kermode is 75th on The Guardian's Film Power 100;^[52] According to The Screen Directory, Kermode is tenth in the list of the best film critics, in company that includes Alexander Walker, Pauline Kael, Roger Ebert, David Thomson, and James Agee.^[40]

Kermode is a patron of the Phoenix Cinema in North London.^[53]

References[link]

External links[link]

• Profile of Mark Kermode at the University of Southampton
• Archive of selected articles by Kermode in Critics / Authors Review and Articles at Rotten Tomatoes
• Mark Kermode at BBC Programmes
• Kermode Uncut: Mark Kermode's Movie Blog at BBC Online
• Interview with Mark Kermode at subtitledonline.com
• Video interview with Mark Kermode regarding The Good, The Bad and The Multiplex at subtitledonline.com

Jim Carrey
Carrey at the 2009 Cannes Film Festival
Born	James Eugene Carrey (1962-01-17) January 17, 1962 (age 50) Newmarket, Ontario, Canada
Occupation	Actor, comedian, producer
Years active	1979–present
Height	6' 2"
Spouse	Melissa Womer (1987–1995) Lauren Holly (1996–1997)
Partner	Jenny McCarthy (2005–2010) Anastasia Vitkina (2011–present)
Children	1
Website
JimCarrey.com

James Eugene "Jim" Carrey (born January 17, 1962) is a Canadian-American actor, comedian, and producer. Carrey has received four Golden Globe Award nominations, winning two. Known for his highly energetic, slapstick performances, he has been described as one of the biggest movie stars in Hollywood.^[1]

Carrey first gained recognition in 1990 after landing a recurring role in the sketch comedy In Living Color. His first leading roles in major productions came with Ace Ventura: Pet Detective (1994), Dumb and Dumber (1994), The Mask (1994), and Ace Ventura: When Nature Calls (1995). In 1997, he gave a critically acclaimed performance in Liar Liar, which earned him a Golden Globe Award nomination for Best Actor. He then starred in the critically acclaimed hits The Truman Show (1998) and Man on the Moon (1999), both garnering him two Golden Globe Awards for Best Actor.

In 2000, he gained further recognition for his portrayal of the The Grinch in How the Grinch Stole Christmas. Three years later, Carrey starred in the major blockbuster film Bruce Almighty (2003). The following year he starred in Eternal Sunshine of the Spotless Mind (2004), for which he received another Golden Globe nomination in addition to a BAFTA Award nomination. He then starred in popular productions Lemony Snicket's A Series of Unfortunate Events (2004), Fun with Dick and Jane (2005), Yes Man (2008), A Christmas Carol (2009), and Mr. Popper's Penguins (2011).

He is set to star in Burt Wonderstone in 2013 as Steve Gray, in addition to reprising his role as Lloyd Christmas in Dumb and Dumber 2 in 2014. He is also set to star as Mr. Applegate in a film adaption of the broadway musical Damn Yankees.

Early life[link]

Carrey was born in Newmarket, Ontario, the son of Kathleen (née Oram), a homemaker, and Percy Carrey, a musician and accountant.^[2][3] He has three older siblings, John, Patricia, and Rita. He was raised Roman Catholic.^[4][5] His mother was of French,  Irish,  and Scottish descent^[6] and his father was of French Canadian ancestry (the family's original surname was Carré).^[7][8] After his family moved to Scarborough, Ontario, when Carrey was 14 years old, he attended Blessed Trinity Catholic School, in North York, for two years, enrolled at Agincourt Collegiate Institute for another year, then briefly attended Northview Heights Secondary School for the remainder of his high school career (all together, he spent three years in Grade 10).

Carrey lived in Burlington, Ontario, for eight years and attended Aldershot High School, where he once opened for 1980s new wave band Spoons. In a Hamilton Spectator interview (February 2007), Carrey remarked, "If my career in show business hadn't panned out I would probably be working today in Hamilton, Ontario at the Dofasco steel mill." When looking across the Burlington Bay toward Hamilton, he could see the mills and thought, "Those were where the great jobs were."^[9] At this point, he already had experience working in a science testing facility in Richmond Hill, Ontario.

Career[link]

Early work[link]

While struggling to obtain work and making a name for himself, Carrey's father decided to help the young comedian put together a stage act, driving him to Toronto to debut at comedy club Yuk Yuk's.^[10] Unfortunately, Carrey's impersonations bombed and this gave him doubts about his capability as a professional entertainer. His family, at the time, were struggling financially meaning it was difficult for them to support Carrey's ambitions. Eventually, the family's financial problems were soon dealt with and they moved into a new home.^[10] With a now more domestic stability, Carrey worked up the nerve to return to the stage with a more polished act. In a short period of time, Carrey went from open mic nights to regular paid shows; a growing reputation building in the process. One reviewer in the Toronto Star raved that Carrey was "a genuine star coming to life."^[11] Carrey was soon noticed by comedian Rodney Dangerfield, who signed the young comedian to open Dangerfield's tour performances.^[12] He eventually brought Carrey to Las Vegas, after which he decided to move to Hollywood. Carrey began performing at The Comedy Store and in 1982, appeared on the televised stand-up show An Evening at the Improv.^[13] The following year, he debuted his act on The Tonight Show.^[14]

Despite his increasing popularity as a stand-up comedian, Carrey turned his attention to the film and television industries, auditioning to be a cast member for the 1980–1981 season of NBC's Saturday Night Live. Carrey was not selected for the position (although he did host the show in May 1996, and again in January 2011^[15] ). He was, after a period of time, cast in seveal low-budget films: Rubberface (1981) playing a struggling young comic, and Copper Mountain (1983) playing a sex-starved teen, the latter including his impersonation of Sammy Davis Jr. Since the film had a less than one hour runtime consisting largely of musical performances by Rita Coolidge and Ronnie Hawkins, it was not considered a full-length feature film.

In 1984, Carrey was soon cast, surprisingly, as the lead in the NBC sitcom The Duck Factory, in which he played a quirky young artist alongside Jay Tarses. However, the show was unceremoniously cancelled during its first season. Despite the sudden cancellation, Carrey landed supporting roles in several low-budget films: Once Bitten (1985), Peggy Sue Got Married (1986), and The Dead Pool (1988). When Carrey returned to stand-up, he retired his old act vowing that he didn't want to be famous for imitating other people; "Some nights it was a melee, literally, where I'd be standing trying to defend myself for what I was doing. People would be screaming at me to do my old act, and getting actually violent and angry at me,".^[14] While many thought he was "crazy" for retiring his old act, others were increasingly interested in what Carrey was attempting to do, Judd Apatow in particular. The pair struck up a friendship and soon began writing material together.

Carrey continued to land small roles in film and television productions, which led to a friendship with fellow comedian Damon Wayans, who co-starred with Carrey as an extraterrestrial in 1989's Earth Girls Are Easy. Damon soon introduced Carrey to his brother Keenen, who at the time, was creating a sketch comedy show known as In Living Color, for the new Fox network. Carrey eventually landed a recurring role in the show which first aired on April 15, 1990. By the third season, Carrey was one of the few remaining original cast members and was ready to move onto bigger things, after agreeing to take on his first lead role in a Hollywood blockbuster film.

Rise to fame[link]

Carrey did not experience true stardom until landing the lead role in the slapstick comedy Ace Ventura: Pet Detective (1994), which premiered only months before In Living Color ended. Despite agreeing to play the title character, Carrey would only take the role if he was allowed to rewrite the script, mostly to suit his over-the-top visions. The film, while dismissed by most critics, was an international hit, and transformed Carrey into a bankable box-office star overnight. In that same year, he landed two lead roles in The Mask and Dumb and Dumber, respectively. The Mask garnered him his first Golden Globe Award for Best Actor nomination, with Roger Ebert of the Chicago Sun-Times praising him for his "joyful performance".^[16] Well-received by critics, Dumb and Dumber was a commercial success, grossing over $270 million worldwide,^[17] and again boosting Carrey's fanbase.

Carrey in Madrid, Spain on December 13, 2008.

In 1995, Carrey starred in the Joel Schumacher-directed superhero film Batman Forever, in which Batman tries to stop Two-Face and the Riddler (played by Carrey) in their villainous scheme to drain information from all the brains in Gotham City. The feature received reasonable reviews upon release with most criticism aimed towards the movie's "blatant commercialism", as stated by Peter Travers.^[18] In that same year, Carrey reprised his role as Ace Ventura in Ace Ventura: When Nature Calls. Like the original film, it was well-received by the public but heavily criticised by critics. However, it was a huge box-office success, earning $212 million worldwide in addition to breaking records, with a $40 million opening weekend.^[19] Carrey earned $20 million for his next film, The Cable Guy (1996). Directed by Ben Stiller, Carrey played a lonely, slightly menacing cable TV installer who infiltrates the life of one of his customers (played by Matthew Broderick). The film tested Carrey's boundaries of his tried and true "hapless, hyper, overconfident" characters that he is known for regularly playing. However, it did not fare well with critics, many reacting towards Carrey's change of tone to previous films.^[20] Despite the reviews, The Cable Guy grossed $102 million worldwide.^[21]

He soon bounced back in 1997 with the critically acclaimed comedy Liar Liar, playing Fletcher Reede, an incredibly successful lawyer who has built his career on lying, regularly breaking promises that he makes to his son Max. Max soon makes a birthday wish that for just one day, his dad can't tell a lie. Carrey was praised for his performance, earning a second Golden Globe Award nomination for Best Actor. Janet Maslin of The New York Times said, "Well into his tumultuous career, Mr. Carrey finally turns up in a straightforward comic vehicle, and the results are much wilder and funnier than this mundane material should have allowed."^[22]

Critical acclaim[link]

The following year he decided to take a pay cut to play the serious role of Truman Burbank in the satirical comedy-drama film The Truman Show (1998).^[23] The film was highly praised and brought Carrey further international acclaim, leading many to believe he would be nominated for an Oscar.^[24] However, he did pick up his first Golden Globe Award for Best Actor in a Motion Picture Drama. The Truman Show was a commercial success also, earning $264 million worldwide against a budget of $60 million.^[25][26] According to a Film4 critic, the film, "...allows Carrey to edge away from broad comedy." but nonetheless called it "A hilarious and breathtakingly conceived satire..."^[27] That same year, Carrey appeared as a fictionalized version of himself on the final episode of Garry Shandling's The Larry Sanders Show, in which he deliberately ripped into Shandling's character. In 1999, Carrey had the lead role in Man on the Moon. He portrayed comedian Andy Kaufman to critical acclaim,^[28] with many believing that Carrey would finally be nominated for Best Actor. He again received his second Golden Globe Award for the second consecutive year. Kenneth Turan of the Los Angeles Times commented on Carrey's performance stating, "A brilliant, almost terrifying impersonation."

In 2000, Carrey reteamed with the Farrelly Brothers, who had directed him in Dumb and Dumber, in the comedy classic, Me, Myself & Irene, a film that received mixed reviews^[29] but enjoyed box office success. Carrey played the role of state trooper Charlie Baileygates, who has multiple personalities and romances a woman portrayed by Renée Zellweger. That same year, Carrey starred in the second highest grossing Christmas film of all time, How the Grinch Stole Christmas, playing the title character, for which he received praise and criticism.^[30] The film garnered him his third Golden Globe Award nomination in addition to countless other nominations and several wins.

For his next feature film, Carrey starred opposite Jennifer Aniston and Morgan Freeman in Tom Shadyac's international hit comedy Bruce Almighty (2003). Carrey played a TV newsman who unexpectedly receives God's omnipotent abilities when the deity decides to take a break. The film received mixed reviews upon release^[31] but despite this was a financial success, earning over $484 million worldwide, and going on to become the seventeenth highest-grossing live action comedy of all time. The film has since gained a cult following.^[19][32] In 2004, Carrey starred in Eternal Sunshine of the Spotless Mind. The film received overwhelming acclaim upon release; Carrey was highly praised for his portrayal of Joel Barish, in addition to his co-star Kate Winslet, who received an Oscar nomination. According to CNN's reviewer Paul Clinton, Carrey's performance was "the best, most mature and sharply focused performance ever."^[33] He received his fourth Golden Globe Award nomination, and was also nominated for his first BAFTA Award for Best Actor in a Leading Role.

Carrey at the Yes Man premiere in 2008

Carrey's next appearance was in the 2004 black comedy drama film Lemony Snicket's A Series of Unfortunate Events, which was based on the popular children's novels of the same name. The film received a positive reception, with Desson Thomson from The Washington Post commenting on Carrey's approach to the character of Count Olaf, stating "Olaf is a humorless villain in the book. He's not amusing like Carrey at all. To which I would counter: If you can't let Carrey be Carrey, put someone boring and less expensive in the role. In his various disguises he's rubbery, inventive and improvisationally inspired. I particularly liked his passing imitation of a dinosaur."^[34][35] That same year, Carrey was inducted into the Canadian Walk of Fame.^[36] In 2005, Carrey starred in a remake of Fun with Dick and Jane, playing Dick, a husband who becomes a bank robber after he loses his job. The film was dismissed by most critics but did manage to become a box office hit.

Continued success[link]

In 2007, Carrey reunited with Joel Schumacher, director of Batman Forever, for The Number 23, a psychological thriller co-starring Virginia Madsen and Danny Huston. In the film, Carrey plays a man who becomes obsessed with the number 23, after finding a book about a man with the same obsession. The film was lauded by critics and did not fare well at the box office. The following year Carrey provided his voice for Dr. Seuss' Horton Hears a Who! (2008). Carrey voiced the beloved elephant for the CGI-animated feature, which received overwhelmingly positive reviews and delivered family crowds en masse. The film was also a box office success raking in over $290 million worldwide.^[37] Later in the year, Carrey returned to live action comedy, starring opposite Zooey Deschanel and Bradley Cooper in Yes Man (2008). Carrey played down-and-out man, Carl Allen, who had gone nowhere in life, thanks to always saying no to everything, until he signs up for a self-help program that teaches him the power of saying yes. Despite reviews being mixed, Rene Rodriquez of The Miami Herald stated, "Yes Man is fine as far as Jim Carrey comedies go, but it's even better as a love story that just happens to make you laugh."^[38] The film had a decent performance at the box office, earning $225 million worldwide.

Since 2009, Carrey's work has included a leading role in Glenn Ficarra and John Requa's I Love You Phillip Morris, premiering in January 2009 at the Sundance Film Festival before receiving a wide release in February 2010. Carrey portrayed Steven Jay Russell, a con artist, imposter and multiple prison escapee who falls in love with his fellow inmate, Phillip Morris (played by Ewan McGregor). The film received largely positive reviews with Damon Wise of The Times giving the film four stars out of five, stating, "I Love You Phillip Morris" is an extraordinary film that serves as a reminder of just how good Carrey can be when he's not tied into a generic Hollywood crowd-pleaser. His comic timing remains as exquisite as ever."^[39]

For the first time in his career, Carrey portrayed multiple characters in Disney's 3D animated take on the classic Charles Dickens tale, A Christmas Carol (2009), voicing Ebenezer Scrooge and the Ghosts of Christmas Past, Present, and Future. Directed by Robert Zemeckis, the film also starred Robin Wright Penn, Bob Hoskins, Colin Firth, Gary Oldman and Cary Elwes. The film received reasonable reviews and was a financial success. In 2011, Carrey landed the lead role in Mr. Popper's Penguins, playing Thomas "Tom" Popper Jr. a realtor who becomes the caretaker of a family of penguins. The film received a mixed reception upon release.^[40] He is set to star alongside former co-star Steve Carell in the Don Scardino-directed comedy film Burt Wonderstone (2013). Carrey will play Steve Gray, a dangerous street magician who overshadows Burt Wonderstone (played by Carell), a formerly successful magician whos partnership with another magician ends; Gray must convince Burts old partner to return to the act. Carrey entered negotiations for the role in October 2011. Principal photography began on January 10, 2012 and concluded on March 13. The film is currently in post-production.

On April 1, 2012 it was confirmed that Carrey, along with Jeff Daniels, would return for Dumb and Dumber 2. Bobby and Peter Farrelly are scheduled to direct and write the script, with the movie going into production in September 2012.^[41]

As of April 2012, Carrey's films have grossed over $4.6 billion worldwide, unadjusted for inflation.^[42]

Personal life[link]

Relationships[link]

Carrey with his family at the Horton Hears a Who! premiere in 2008.

Carrey has been married twice. His first marriage was to former actress and Comedy Store waitress Melissa Womer, whom he married on March 28, 1987. The two divorced in 1995. A year later Carrey married his Dumb and Dumber co-star Lauren Holly, on September 23, 1996; the marriage lasted less than a year.^[43] In the late 1990s and early 2000s, Carrey was involved in a series of relationships, including Laurie Holden, January Jones, and Anine Bing. In addition, Carrey had a much-publicized yet short-lived romance with his Me, Myself and Irene co-star Renée Zellweger, whom he dated, and at one point engaged, from 1999 to 2000.^[44]

Carrey met model and actress Jenny McCarthy in 2005 and made their relationship public in June 2006. In April 2010, the two ended their near five-year relationship.^[45] Despite the split and media circulations, McCarthy stated in October 2010 that, "Jim and I are still good friends".^[46]

Family[link]

Carrey has one child, a daughter named Jane Erin Carrey (born September 6, 1987 in Los Angeles County) from his first marriage.^[47] Carrey announced via his Twitter account on February 27, 2010, in Los Angeles^[48] that his daughter had given birth to her first child with musician husband Alex Santana. He announced that his grandson's name was Jackson Riley Santana.

Citizenship[link]

Carrey received U.S. citizenship in October 2004 and remains a dual citizen of both the United States and his native Canada.^[49]

Beliefs[link]

Carrey has been a critic of the scientific consensus that no evidence links the childhood MMR vaccination to the development of autism, and wrote an article questioning the merits of vaccination and vaccine research for the Huffington Post.^[50] With former partner Jenny McCarthy, Carrey led a "Green Our Vaccines" march in Washington, D.C., to advocate for the removal of toxins from children's vaccines, out of a belief that children had received "too many vaccines, too soon, many of which are toxic".^[51]

Filmography[link]

Actor[link]