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

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

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

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

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

History[link]

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

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

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

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

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

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

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

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

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

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

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

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

Theory[link]

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

Language[link]

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

Montage[link]

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

Criticism[link]

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

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

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

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

Industry[link]

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

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

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

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

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

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

Associated fields[link]

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

Terminology used[link]

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

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

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

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

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

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

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

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

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

Preview[link]

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

Trailer[link]

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

Film, or other art form?[link]

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

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

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

Education and propaganda[link]

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

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

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

Production[link]

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

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

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

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

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

Crew[link]

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

Technology[link]

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

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

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

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

Independent[link]

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

The Lumière Brothers

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

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

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

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

Open content film[link]

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

Fan film[link]

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

Distribution[link]

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

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

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

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

This section requires expansion with: optical disc distribution.

Animation[link]

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

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

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

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

Future state[link]

This unreferenced section requires citations to ensure verifiability.

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

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

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

See also[link]

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

• Lists

Film portal

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

Related topics

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

Notes[link]

References[link]

External links[link]

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

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• Allmovie – Information on films: actors, directors, biographies, reviews, cast and production credits, box office sales, and other movie data.
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Gary Oldman
Oldman at the London premiere of Tinker Tailor Soldier Spy, September 2011.
Born	Leonard Gary Oldman[1] (1958-03-21) 21 March 1958 (age 54) New Cross, London, England, UK
Occupation	Actor, filmmaker, musician
Years active	1979–present
Spouse	Lesley Manville (1987–1989) Uma Thurman (1990–1992) Donya Fiorentino (1997–2001) Alexandra Edenborough (2008–present)
Parents	Leonard Bertram Oldman Kathleen Cheriton
Family	Laila Morse (sister)

Gary Leonard Oldman (born 21 March 1958) is an English screen and stage actor, filmmaker and musician, who is the highest-grossing actor in the history of film.^[2] A successful theatre actor and former member of the Royal Shakespeare Company, Oldman gained mainstream recognition from the early 1980s to early 1990s for his portrayals of morally ambiguous characters in films including Meantime, Sid and Nancy, Prick Up Your Ears, The Firm, State of Grace, JFK and Dracula. He became a popular portrayer of villains by the mid 1990s,^[3] playing the antagonist of True Romance, Léon, The Fifth Element, Air Force One and The Contender. Since the millenium Oldman has starred in such films as the Harry Potter series, Christopher Nolan's Batman trilogy, Kung Fu Panda 2 and Tinker Tailor Soldier Spy. Aside from film acting, he has starred in television shows like Knots Landing and Friends, voiced various characters in the Call of Duty video game series, and wrote and directed Nil By Mouth, a film partially based on his own childhood.^[4]

Oldman has garnered widespread critical and peer respect;^[5] Tom Hardy once remarked, "Gary Oldman is, hands down, the greatest actor that's ever lived."^[6] Among other honours, Oldman has won two BAFTA Awards and a Saturn Award, and has been nominated for Academy-, Emmy-, Screen Actors Guild- and Independent Spirit Awards, as well as the Palme d'Or. Norman Stansfield, his overstated antagonist in Léon, has been named as one of cinema's greatest villains.^[7] In 2011, Oldman was voted an "Icon of Film" by Empire readers.^[8]

Early life[link]

Oldman was born in London, the son of Kathleen (née Cheriton; b. 28 November 1919), a housewife, and Leonard Bertram Oldman (21 May 1921 – October 1985), a former sailor who worked as a welder.^[9][10] He has said that his father was an alcoholic who left his family when Oldman was seven.^[11] Oldman attended the South East London Boys' School on Creek Road in Deptford, leaving school at 16 to work in a sports shop.^[12] He was an accomplished singer and pianist as a child, but gave up his musical aspirations to pursue an acting career.^[13] His inspiration was Malcolm McDowell's performance in 1970 film The Raging Moon.^[14][15] In a 1995 interview with Charlie Rose, Oldman said, "Something about Malcolm [McDowell] just arrested me, and I connected, and I said, 'I wanna do that'."^[16]

Acting career[link]

Theatre, early films and foray into American cinema (1979–1990)[link]

Oldman studied with the Young People's Theatre in Greenwich during the mid 1970s,^[17][18] while working jobs on assembly lines, as a porter in an operating theatre, selling shoes and beheading pigs in an abbatoir.^[17] He later won a scholarship to attend the Rose Bruford College of Speech and Drama in Sidcup, Kent, from which he graduated with a BA in Acting in 1979.^[18][19] Before enrolling at Rose Bruford, Oldman had unsuccessfully applied to the Royal Academy of Dramatic Art (RADA), who welcomed him to try again the following year, but advised him to find something else to do for a living^[16][19] (when asked by Charlie Rose if he had reminded RADA of this, Oldman joked, "the work speaks for itself"^[16]). He made his professional stage debut in 1979 as Puss, alongside Michael Simkins, in Dick Whittington and His Cat, at York's Theatre Royal. The play then ran in Colchester, then with Glasgow's Citizens Theatre;^[19] Oldman's work ethic and trademark intensity would make him a favourite with audiences in Glasgow during the 1980s.^[18] From 1980–1981, he appeared in The Massacre at Paris (Christopher Marlowe), Desperado Corner (Shaun Lawton), and Robert David MacDonald's plays Chinchilla and A Waste Of Time. He performed in a 6-month West End run of MacDonald's Summit Conference, opposite Glenda Jackson, in 1982.^[19] Also that year, Oldman made his film debut in Colin Gregg's Remembrance, and would have starred in Don Boyd's Gossip if that film had not collapsed. The following year, he landed a starring role as a skinhead in Mike Leigh's film Meantime, and moved on to Chesterfield to assume the lead role in Entertaining Mr Sloane (Joe Orton). Afterwards, he went to Westcliffe to star in Saved (Edward Bond).^[19]

Saved proved to be a major breakthrough for Oldman. He had written to Max Stafford-Clark, artistic director of the Royal Court Theatre, requesting that he watch the play. Impressed, Stafford-Clark cast Oldman as Scopey, the lead role of Bond's The Pope's Wedding, in 1984.^[19] For his acclaimed performance, he won two of British theatre's top honours: the Time Out Fringe Award for Best Newcomer, and the British Theatre Association's Drama magazine award for Best Actor—the latter of which was shared with future film co-star Anthony Hopkins.^[3][18][20] His turn in The Pope's Wedding led to a run of work with the Royal Court, and from 1984 to 1986 he appeared in Rat In the Skull (Ron Hutchinson), The Desert Air (Nicholas Wright), Cain and Abel, The Danton Affair (Pam Gems), Women Beware Women (Thomas Middleton), Real Dreams (Trevor Griffiths) and all three of Bond's The War Plays: Red Black and Ignorant, The Tin Can People and Great Peace.^[19] Oldman was a member of the Royal Shakespeare Company from 1985–1986.^[21] The 1984 production of The Pope's Wedding had been seen by director Alex Cox, who cast Oldman as ill-fated rocker Sid Vicious in the 1986 film Sid And Nancy. In 1987, Oldman gained his third starring film role as Joe Orton in Prick Up Your Ears, for which he received a BAFTA nomination for Best Actor. That same year, Oldman appeared in the plays The Country Wife (William Wycherley) and Serious Money (Caryl Churchill).^[20]

Oldman's performances in Sid and Nancy and Prick Up Your Ears were widely acclaimed, and paved the way for work in Hollywood. Prominent United States film critic Roger Ebert, on the basis of Oldman's work in those films, described him as "the best young British actor around".^[22] His portrayal of Vicious was applauded by many, perhaps most notably ex-Sex Pistols vocalist John Lydon, who despite questioning the authenticity of the film, described Oldman as a "bloody good actor".^[23] Oldman reportedly lost considerable weight for the role and was briefly hospitalised.^[24] His performance would go on to be ranked No. 62 in Premiere magazine's "100 Greatest Performances of All Time"^[25] and No. 8 in Uncut magazine's "10 Best actors in rockin' roles", the latter describing his portrayal as a "hugely sympathetic reading of the punk figurehead as a lost and bewildered manchild."^[26] After coming to prominence for his portrayals of Vicious and Orton, Oldman increased his profile during the late 1980s and early 1990s via starring roles in films such as Criminal Law (which marked Oldman's first use of an American accent), The Firm, Rosencrantz & Guildenstern Are Dead and State of Grace. Janet Maslin, another noted US film critic, referred to his work as "phenomenal".^[27] In late 1988, he starred opposite long-time hero^[16] Alan Bates in We Think the World of You, and alongside Dennis Hopper and Frances McDormand in the 1989 film Chattahoochee. In 1989, Oldman also starred as football hooligan Clive Bissel in British drama The Firm; in 2011, Total Film named Oldman's performance as the best of his career.^[28] Oldman moved to the United States in the early 1990s, where he has since lived.^[29] Oldman and other young British actors of the 1980s who were becoming established Hollywood film actors, such as Tim Roth, Bruce Payne, Colin Firth, Daniel Day-Lewis, and Paul McGann, were dubbed the 'Brit Pack', of which Oldman was de facto leader.^[6][30]

Villain roles and mainstream success (1991–2001)[link]

Oldman in 2000

In 1991, Oldman starred in what was at that point the most significant role of his career as Lee Harvey Oswald in Oliver Stone's JFK. The following year, he starred as Count Dracula in Francis Ford Coppola's romance-horror Dracula. A commercially successful film adaptation of Bram Stoker's 1897 novel,^[31] it was a box office success worldwide. Oldman's performance is regarded by many as a staple of the horror genre, and was recognised by the Academy of Science Fiction, Fantasy & Horror Films as the best male performance of 1992, who awarded Oldman the Best Actor award.^[32] Oldman would later become a popular portrayer of villains:^[3] he played violent pimp Drexl Spivey in True Romance (1993), a sadistic prison warden in Murder in the First (1995), a futuristic corporate tyrant in The Fifth Element (1997), and Dr. Zachary Smith/Spider Smith in the commercially successful but critically panned Lost in Space (1998). In 1994's Léon, he played corrupt DEA officer Norman Stansfield, which has since been named by multiple publications as one of the best villains of modern cinema.^[7] Oldman also displayed a skill for world accents; along with the Transylvanian Count Dracula, he played German-born Viennese composer Ludwig van Beethoven in Immortal Beloved, and Russian terrorist Ivan Korshunov in the 1997 blockbuster Air Force One. He portrayed another historical figure, Pontius Pilate, in Jesus (1999). He also appeared as the Devil in the 1993 promo video to the Guns N' Roses single "Since I Don't Have You",^[33] and served as a member of Jury at the 1993 Cannes Film Festival. Oldman's visibility as one of the foremost portrayers of villains in Hollywood became apparent when MTV's Celebrity Deathmatch aired a match between Oldman and Christopher Walken to determine the greatest cinematic villain.^[34]

Oldman appeared opposite Jeff Bridges as zealous Republican congressman Sheldon Runyon in The Contender (2000), in which he was also credited as a producer. He received a Screen Actors Guild Award nomination for his performance. In 2001, he starred opposite Anthony Hopkins in Hannibal, as Mason Verger, the only surviving victim of Hannibal Lecter. Oldman reportedly spent six hours per day in the make-up room to achieve the character's hideously disfigured appearance.^[35] It marked the second time Oldman had appeared opposite Hopkins, a personal friend who was part of the supporting cast of Dracula. Oldman is uncredited in the film, reportedly over a dispute regarding top billing, which was going to co-star Anthony Hopkins and Julianne Moore. He received an Emmy Award nomination for two guest appearances in Friends in May 2001, appearing in the two-part episode "The One With Chandler and Monica's Wedding" as Richard Crosby, a pedantic actor who insists that "real" actors spit on one another when they enunciate, leading to tension, then later friendship, between Joey Tribbiani (Matt LeBlanc) and himself. Oldman had met LeBlanc on the set of Lost in Space in 1998.

Career slump and mainstream resurgence (2001–present)[link]

Oldman at the 2009 San Diego Comic-Con International

Following his Friends appearance, Oldman did not appear in any significant roles until 2004. He starred in the generally well-received Interstate 60 (2002), as well as Tiptoes (2003) and Sin (2003), both of which were received poorly by critics. Although the film failed to impress critics, Oldman did garner critical acclaim for his portrayal of a man afflicted with dwarfism in Tiptoes: Variety described his work in the film as an "astonishingly fine" performance.^[36] Oldman starred as the Devil in the BMW short film, Beat The Devil (2002), and contributed voice acting to several video games. The Guardian described this time period as the "low point" of Oldman's career, consisting of "barrel-scraping roles".^[37]

In 2004, Oldman returned to prominence when he landed a significant role in the Harry Potter film series, playing Harry Potter's godfather Sirius Black. Oldman and star Daniel Radcliffe reportedly became very close during the filming of the series.^[38] The following year, Oldman starred as James Gordon in Christopher Nolan's commercially and critically acclaimed Batman Begins, a role he reprised in the even more successful sequel The Dark Knight (2008) and will reprise again in the upcoming instalment The Dark Knight Rises (2012). Oldman co-starred with Jim Carrey in the 2009 version of A Christmas Carol in which Oldman played three roles.^[39][40][41] He had a starring role in David Goyer's supernatural thriller The Unborn, released in 2009.^[42][43] In 2010, Oldman co-starred with Denzel Washington in The Book of Eli.^[44] He also played a lead role in Catherine Hardwicke's Red Riding Hood.^[45] Oldman voiced the role of villain Lord Shen and was nominated for an Annie Award for his performance in Kung Fu Panda 2.

Oldman earned Academy-, BAFTA Award nominations as well as numerous nominations from critics for his portrayal as British spy George Smiley in Tinker Tailor Soldier Spy (2011), a re-adaptation of the John le Carré novel, directed by Tomas Alfredson, also starring Colin Firth, Mark Strong and Tom Hardy.^[46]

He has also participated in the creation of The Legend of Spyro games produced by Sierra Entertainment, providing the voice to the Fire Guardian, Ignitus. He also voices Sergeant Reznov in the award-winning Call of Duty video game series.

Future Projects[link]

Oldman will star in John Hilcoat's Lawless as Floyd Banner, a big-hitting mobster. Lawless will be released in Aug 29.

Relativity Media has acquired US rights to IM Global's thriller Paranoia which stars Oldman in a supporting role along with Harrison Ford and Liam Hemsworth. Production begins in the summer of 2012. Oldman will also star in the revenge thriller Motor City along with Gerard Butler.

It was announced on March 23, 2012 that Oldman would appear upcoming remake of RoboCop as Norton, the scientist who created RoboCop. The film is set for released in August 2013.^[47]

Other ventures[link]

Filmmaking[link]

In 1997, Oldman directed, produced, and wrote the award-winning Nil by Mouth, a movie partially based on his own childhood.^[4] Nil By Mouth went on to win the BAFTA Alexander Korda Award for Best British Film (shared with Douglas Urbanski) and also the BAFTA Award for Best Screenplay, the Channel 4 Director's Award, and an Empire Award. In 1999, it was adjudged by the British Academy of Film and Television Arts as one of the one hundred best British films of the 20th century.^[48] Nil By Mouth was listed by Time Out as number twenty-one of the top 100 best British films ever.

Oldman and producing partner Douglas Urbanski formed the SE8 GROUP to produce Nil By Mouth. The company also produced The Contender, which also starred Oldman. He was also credited as a producer. Some media outlets reported that Oldman was unhappy with the finished product and felt that DreamWorks had heavily edited the film to reflect their pro-Democratic leanings. These claims were later debunked; Oldman, who is not a U.S. citizen, was described as "so uninvolved in politics, he has never even declared a party affiliation".^[49] Oldman has finished his latest screenplay, Chang & Eng, co-written with Darin Strauss, based on the author's book of the same name; SE8 Group will produce. In September 2006, Nokia Nseries Studio^[50] released the Oldman-directed short film Donut, with music by Tor Hyams. The film was shot with an N93 in order to promote the phone. Juliet Landau made a 25-minute documentary about the making of the video. In 2011, he directed a music video for Alex Eden's first single, "Kiss Me Like the Woman You Loved", for Side Tracked Records.

Music[link]

Oldman has had a keen interest in music from an early age. He is a proficient pianist and stated in a 1995 interview with Charlie Rose that he would rather be a musician than an actor.^[16] Oldman sang several tracks on the Sid and Nancy soundtrack, and sang and played live piano in the 1988 movie Track 29. He traced over Beethoven compositions in 1994's Immortal Beloved. He also tutored Harry Potter star Daniel Radcliffe on bass guitar.^[51] Oldman appeared on Reeves Gabrels' album The Sacred Squall of Now, performing a vocal duet with David Bowie on the track "You've Been Around".^[52] Recently, he produced a live performance by former White Stripes member, Jack White, in conjunction with the Vevo and Youtube.

Popularity and influence[link]

Oldman signing autographs at the Harry Potter premiere, 2007

Oldman has long established a cult following among film fans.^[29][53] He is known for playing the primary antagonist in a number of popular motion pictures,^[3][54] which has seen him referenced in popular culture. At the peak of his popularity in the 1990s, Oldman was dubbed by Empire magazine as Hollywood's "psycho deluxe",^[55] and was spoofed on popular television shows such as Fox comedy series In Living Color^[56] and MTV's Celebrity Deathmatch,^[34] as well as drafted in to appear on the first ever cover of Loaded magazine.^[57] In 1993, he had a cameo role as the Devil in the promo video to the Guns N' Roses single "Since I Don't Have You"^[33]—he also played the Devil in the 2002 BMW short Beat The Devil, alongside Clive Owen, James Brown and Marilyn Manson.^[58] On YouTube, Oldman is the subject of a number of tribute videos. In contrast to his often dark on-screen roles, Oldman's affable real-life demeanour has been noted,^[29] and he was named as one of Empire magazine's "100 Sexiest Stars in Film History" in 2007.^[59] Oldman contributed in a YouTube video posted by Jimmy Kimmel titled Movie: The Movie. He portrayed shortly a centaur at a medical clinic. Very many other famous actors were present at the trailer.^[60]

Allmovie has described Oldman as "capable of portraying almost any type of character", and as having "consistently amazed viewers with his ability to completely disappear into his roles."^[3] His performances during his career have provided inspiration for younger actors who would go on to enjoy successful Hollywood careers. Brad Pitt has described Oldman as his foremost acting "god",^[61] while Daniel Radcliffe has cited Oldman as the actor whose career he would most like to emulate.^[62] Tom Hardy has named Oldman as his "hero"^[63] and "hands down, the greatest actor that's ever lived";^[6] Ryan Gosling has also named Oldman as his favourite actor.^[64] Other actors who have been influenced by Oldman include: Shia LaBeouf,^[65] Joseph Gordon-Levitt,^[66] Johnny Depp,^[67] Chris Pine,^[68] Jason Isaacs^[69] and Michael Fassbender.^[6] Dracula and Hannibal co-star, Anthony Hopkins, has described Oldman as "multi-talented", and as possessing "a great genius and flair for creativity",^[70] while Tinker Tailor Soldier Spy co-star Colin Firth once said of Oldman, "He is as far as I'm concerned a very strong candidate for the world's best living actor."^[71] Harry Potter co-star Ralph Fiennes said of Oldman, "I love Gary Oldman's work. I just think he's a genius actor."^[72] In relation to Oldman's British peers, John Hurt called him "the best of the bunch."^[37]

Oldman has garnered critical acclaim for his diverse performances and portrayals of real-life historical figures^[73][74] and is noted for his avoidance of the Hollywood celebrity scene,^[73][75] often being referred to as an "actor's actor".^[9] Oldman's performances have gained the admiration of prominent film critics: Roger Ebert has hailed him as a "marvelous actor",^[76] and "one of the great actors, able to play high, low, crass, noble".^[77] In 1987, he had called Oldman "the best young British actor around", and said, "like a few gifted actors, he is able to re-invent himself for every role".^[22] Ebert's co-presenter on the film review television show, At the Movies, Gene Siskel, described Oldman as "wonderful"^[78] and one of "[his] favorite actors";^[79] following Siskel's death in 1999, Oldman said, "it's pretty overwhelming for a kid from South London to hear the two most important film critics in the world call you one of the greatest actors in the world."^[80] Janet Maslin of The New York Times has described him as a "phenomenal" actor who "since Sid and Nancy has taken on a string of new accents and dramatic identities with stunning ease."^[27] Sid Vicious' Sex Pistols bandmate Johnny Rotten called Oldman a "bloody good actor".^[12] Oldman's portrayals of eccentric characters – many of which Oldman has himself described as "wacky or strange"^[81] — have occasionally polarised critics.^[82] He has stated, however, that he seeks to play more reserved roles at this stage in his career.^[29][81][83] In reviewing The Dark Knight, where Oldman plays an honest, upright cop James Gordon, Peter Travers of Rolling Stone wrote that he "is so skilled he makes virtue look exciting". In response, Oldman said, "That's the best review I ever had... I'll put it on my tombstone."^[84] In his review of Tinker Tailor Soldier Spy, Travers described Oldman as "one of the best actors on the planet."^[85] Prior to his first Academy Award nomination for that film, Oldman was widely regarded as one of the greatest actors never nominated for such an award; Leigh Singer of The Guardian called him "arguably the best actor never Oscar-nominated."^{[86][87][88][89]} When he lost out on the award, The Globe and Mail ran an article entitled, "Overlooked: possibly the greatest actor of them all".^[90]

As of 15 September 2011, motion pictures starring Oldman as leading actor or supporting co-star have grossed over $3.2 billion at the United States box office, and over $8.4 billion worldwide.^[91] In December 2011, the Palm Springs International Film Festival announced that Oldman would be receiving its International Star Award, which honours "an actor or actress who has achieved both critical and commercial international recognition throughout their body of work." The PSIFF chairman called Oldman "a performer whose ability to portray the most extreme of characters is a testament to the enormity of his talent."^[92]

Personal life[link]

Oldman was born and brought up in London, England, and moved to the United States in the early 1990s.^[29] Despite numerous lead and supporting roles in major Hollywood productions, Oldman is intensely private with his personal life and is known for his stance on celebrity and the ideals of Hollywood, once stating that "being famous, that's a whole other career. And I haven't got any energy for it."^[29] His disenchantment with celebrity culture was reinforced when news reports of a physical altercation with Robert De Niro circulated in the 1990s; Oldman claims that he had never met De Niro at the time.^[93]

Marriages and family[link]

Oldman married his first wife Lesley Manville in 1987 but left her in 1989 three months after their son, Alfie, was born.^[94] He met American actress Uma Thurman on the set of State of Grace, and they were married in 1990, but it ended two years later.^[95] Oldman then settled into a relationship with actress and model Isabella Rossellini. The couple were rumoured to be engaged as of July, 1994 but separated two years later.^[96] Oldman was married to Donya Fiorentino from 1997 to 2001 and has sons Gulliver Flynn (b. 20 August 1997) and Charlie John (b. 11 February 1999) with her.^[94]

On 31 December 2008, Oldman married English jazz singer Alexandra Edenborough in Santa Barbara, California in a private, formal ceremony.^[97] Oldman currently lives in Los Angeles with his family.^[98] Oldman's sister, Laila Morse, is also an actress, best known as Mo Harris in the BBC's long-running series EastEnders; she also had a role in Oldman's directorial debut, Nil by Mouth. Oldman supports South East London football team Millwall.^[99]

Alcohol and legal problems[link]

His problems with alcohol were well known during the early 1990s. After a string of alcohol-fuelled debacles he checked himself into Marworth treatment facility in Waverly Township, Pennsylvania, for alcoholism treatment in 1993.^[100] In subsequent interviews Oldman acknowledged his problems with alcohol, and called himself a recovering alcoholic on a 2001 interview with Charlie Rose.^[101] In 2001, former wife Donya Fiorentino claimed that Oldman had a drug habit and abused her,^[102] a claim which was investigated by the family courts, child custody evaluator, the police, and Los Angeles city attorney. Oldman was awarded legal custody of their children; Fiorentino was granted short court-monitored visits. Today, Oldman lives a teetotal lifestyle and attributes his success in beating his addiction to Alcoholics Anonymous, and has since publicly praised the organisation.^[103]

Filmography[link]

Film and television[link]