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!gostream! Movie Watch My Boyfriend's Meds

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  1. audience Score: 160 vote
  2. Story: My Boyfriend's Meds is a movie starring Marco Antonio Aguirre, Jason Alexander, and Pamela Almanza. A woman's island getaway with her boyfriend is thrown for a loop when he forgets to take his prescription medications along
  3. Year: 2020
  4. creator: Gary Marks, Diego Kaplan
  5. Marco Antonio Aguirre, Pamela Almanza


1:15 made me get second hand embarrassment

This movie was awkward. It reminded me of Temptation and the movie Unfaithful with Richard Gere and Diane Lane. This movie was on the Blacklist of scripts in 2018. Okay, Im definitely curious. That last scare was the least scary thing in the whole trailer. I got the vibes of My Big Fat Greek Wedding. and just after that. From the makers of. Rest is history 😊. William levy is addiction... 😍🔥🔥🔥. Finally a movie worthy of my money.

I want to see this, only because I graduated 10 years ago lol. Okay it seems like im the only one that REALLY LOVED this trailer lol. When u and the hubby both stop by lowes/home depo for new keys.


Author: Jorge Carreon
Info: World citizen. Clio Award-winning producer/interviewer. Proud Latinx. The rest is just words and punctuation.


!gostream! Movie Watch My Boyfriend s Meds
7.7 out of 10 stars - 808 votes

[megavideo] Phoenix, Oregon Movie

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Resume: Which dystopian future is this? I need to plan my outfit.

Genre=Comedy. Gary Lundgren. Directed by=Gary Lundgren. Score=42 vote. Country=USA. Because that's what I wanted. Almost 10 minutes of Avengers and the same scenes. Warren I love what you are doing and it makes me want to learn about the laws in my area and do this. Phoenix oregon elementary school. Phoenix 2c oregon news. Phoenix oregon mexican.

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The producers told me that the "R" rating was for the use of the "f" word 1x. I don't even remember hearing it. Hahaha.

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Phoenix 2c oregon time. Phoenix oregon animal shelter. Got to catch Phoenix, Oregon when it screened in SF recently. What a delightful movie. The acting is great, the storyline is heart-felt without being too sentimental, and there are a cast of unexpected characters that are funny and believable. Go see it in theatre or catch it when it comes to Netflix.

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Phoenix 2c oregon park. It's a darn good movie. No chase scenes or special effects, just a good plot, great character actors, and an interesting setting. The movie offers a believable story, a message that is not trite, and more than a few good laughs along the way. I suspect we will hear much more about this movie as it gets exposure, but go and see it as soon as you get a chance. Phoenix 2c oregon day. Theres videos here on youtube that shows people not being able to get there guns out from under there shirts and getting shot with sim rounds without ever getting the gun out of the holster.

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Dont tell them that so he can put it on youtube No i wont. you little rascal

Phoenix 2c oregon today. Wolverine in the matrix with a sprinkle of groundhogday. You sir are my hero. MoHanna, this video was so rad! Really really enjoyed each pov of the riding and the trails. So beautiful. And dusty flew like a missle! Cant wait for next adventure! 😄. Phoenix oregon library.

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This seems more like a tribute to the movie. Would anyone go to see any of these movies, honestly. Phoenix oregon churches. Phoenix oregon map. 1:56 Detroit becomes human. Like what you see and want to help support the channel? Find us on Patreon: Not a fan of Patreon. Phoenix oregon mexican restaurant. Phoenix oregon high school. Its happening, the Babylon Whirlwind Prophecy. Phoenix, oregon ducks. I live really close to that shooting. If I had a gun (which I don. I would do my best to stop them. Phoenix oregon post office. Phoenix oregon zip code. Phoenixoregon Phoenix, Oregon stars James Le Gros (Drugstore Cowboy, Living in Oblivion), Lisa Edelstein (Girlfriends' Guide to Divorce, House), Jesse Borrego (Fame, Blood In Blood Out), Reynaldo Gallegos (Triple Frontier, American Sniper), Diedrich Bader (Napoleon Dynamite, Office Space, Veep), and Kevin Corrigan (The Departed, Pineapple Express, True Romance).


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Runtime: 1 H 37 M casts: Vlad Ivanov 7,1 / 10 Stars Corneliu Porumboiu Comedy Liked It: 1258 votes.
Hello nekem az lenne a kérdésem hogy lesz e magyar szinkron.
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Na most már tudom kire lehet fogni a fingást :D. A szinkron hang az idegesítő főleg mikor Emmáznak. van véleményünk és ki is írjuk magunkból! Akinek nem tetszik az ne olvassa. A hegyek szigete teljes film. Szia ez az egy filmed van csak tob nincsen neked nem tenel fel filmeket tobet szia utolag boldog uj evet kivanok neked angliabol szia 🙌👍🙋🙆😪😴🙅🙌😎💙. A hegyek szigete.

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Vegre valami izgalmasabb a sok megszokott szarhoz kepest

Valószínű, annyira szar a film, hogy az összes jó jelenetet láttuk az előzetesben, a maradék, meg annyira gagyi, mint a barátok közt 1 - 1 millió összes. Dude, thanks for uploading Could you please upload a version in english. Straight off, this movie is totally different to what you may be used when thinking about Romanian movies. Starting with the story, the cast (Catrinel Marlon is magnificent) the scenery, smart humor and hidden little gems (references to various famous scenes in other movies) this film makes you think you're watching more of a Hollywood movie than a Romanian one, although, as a downside, I must say certain characters seem to be portrayed a bit simplistic.
The story is, to some extent, a typical police one, but the twist of using the whistling language from Gomera Island enriches the plot all around as it unfolds.
I really liked the movie and I would be happy if it sets the new trend in Romanian Cinema.


Jó volt csak kár hogy pont annak a csajnak a nem élte túl a barátja. dzs

Ojan mind a the forest. A hegyek szigete film. Ez egy teljes film lesz? Elég érdekesnek tűnik. 00:25 xdd. Ennél idesítőbb filmet még nem láttam. Köszönöm a feltöltést. A hegyek szigete kritika. Ez a film olyan kicsit mint a másnaposok. A hegyek sziget. Predator copy ! Am jo film! Legjobban a szegeny kutyat sajnalom. Nem is nézem végig az előzetest, mert úgyis lelövik a poént. Tetszik, hogy Elisabeth Moss szinkronhangja megszokott.


#indavideo #szinkron #magyarul #hungary #magyar #teljes #myspy #videa #mafab #film #2019 #mozi #spy #myMy Spy Magyar szinkronMy Spy Magyar szinkron The My Spy …, 2020. Mi van kritikusok?Ha valakink nem tetszik,az ne nézze meg! Ilyen egyszerű. Vagány...


Bagolyköpet tanulj meg írni. Hulyekocsog kösz a filmet, jó volt. Jó lessz... Igyál órán ( az iskolában) esetleg verd is agyon a tanárod mert ez nagyon menő... aztán fogod meg az utcán idegen nőket... a buli egy kicsit tovább is mehet nyugodtan meg is erőszakolhatjátok majd nemes egyszerűséggel meglékelhetitek a koponyáját és elkaparhatjátok valahol mert ez MENŐ. ez a falka! Micsoda film ez kérem szépen ígyál drogozzál mint egy állat! tiporj átt mindenkin ez a MENŐSÉG! jaj de imádom ezt a filmet! EZT KELL HÍRDETNI. Szegény kutya őt sajnáltam a legjobban emléke  szívünkben él tovább!  Amúgy jó film nézd meg. Jó nagy rakás szart érték emberek,értékelhetik, hogy valaki ingyenes motor tiltott fel, borzasztó selejtek lehettek az életben is remélem ilyen helyen fogtok élni. Ujabb zs kategorias fos.

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reviews: Lost in America is a movie starring Rosario Dawson, Halle Berry, and Tiffany Haddish. A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of


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Reminds me of a good old friend and a special time when i was younger! cheers to this awesome inging back some good memories. thanks alice cooper. Didn't know Rambo can rock that guitar lol 🤘. Lost in america trailer. Lost in america albert brooks. Lost in america 1985. My grandma had cassete with this song and i was listening to it when i was 4 XD. Lost in america full movie. I was made for lovin' you baby. great song and always in your head <3.

The best song of my life. Lost in america alice cooper live. Lost in america imdb. MOVIES 6:17 AM PDT 3/15/2018 by Photofest Julie Hagerty and Albert Brooks in 1985's 'Lost in America' Too often, things are simply too painfully accurate to be particularly funny. On March 15, 1985, Albert Brooks unveiled his R-rated, dark road-trip comedy Lost in America in theaters. The Hollywood Reporter's original review of the Warner Bros. film is below. Lost in America  faces an uphill route to its box-office destination. Former  Saturday Night Live  filmmaker Albert Brooks’ third feature (after  Real Life  and  Modern Romance) is a wry satire of modern-day social malaise, but the deadpan cerebral humor of this Geffen Co. release through Warner Bros. is likely to leave most audiences waiting for the punch line. Brooks (who co-authored the script with partner Monica Johnson) and  Airplane ’s Julie Hagerty play a bored, well-to-do Los Angeles couple who impulsively trade in their Mercedes for a motor home and embark on a journey of self-discovery a la  Easy Rider. But their odyssey, which begins with wifey sacrificing the family’s entire nest egg to a Vegas roulette wheel and terminates in a windswept Arizona trailer park, soon comes to more closely resemble an upper-tax-bracket edition of  National Lampoon’s Vacation. The difference — and the problem — is that Brooks’ movie is often too realistic for its own good. His antiseptic visuals, which perfectly convey the characters’ vapid environments, have an almost harrowing believability. Eric Saarinen’s unobtrusive location photography and the casting of unfamiliar faces in supporting roles (including producer Garry Marshall in a convincing cameo as a casino pit boss) further reinforce the picture’s unnerving documentary quality. Too often, things are simply too painfully accurate to be particularly funny. Still, it’s hard to fault Brooks’ resolutely adult intelligence, and Lost in America  — almost in spite of itself, really — is easily his most consistently amusing work to date. The director’s own rather bland screen persona, in most cases a hindrance, here works to particularly identifiable advantage. Indeed the movie’s comic highlights derive from Brooks’ periodic losses of equanimity, outbursts of righteous indignation that demonstrate an uproarious mastery of the slow-burn principle. Brooks has additionally been well served by a capable crew — cinematographer Saarinen, editor David Finfer, production designer Richard Sawyer, composer Arthur Rubinstein — who lends his efforts considerable polish. The filmmakers’ greatest asset, however, is Hagerty. Discarding her customary winsomeness, she imbues an unattractively written role with a sort of tarnished naivete that is perhaps the happiest find of this Lost in America.  — Kirk Ellis, originally published on Feb. 13, 1985.

Lost in america gathering field. | Roger Ebert March 15, 1985 Every time I see a Winnebago motor home, I have the same fantasy as the hero of "Lost in America. " In my dream, I quit my job, sell everything I own, buy the Winnebago and hit the open road. Where do I go? Look for me in the weather reports. I'll be parked by the side of a mountain stream, listening to Mozart on Compact Discs. All I'll need is a wok and a paperback. In "Lost in America, " Albert Brooks plays an advertising executive in his 30s who realizes that dream. He leaves his job, talks his wife into quitting hers, and they point their Winnebago down that long, lonesome highway. This is not, however a remake of "The Long, Long Trailer. " Brooks puts a different spin on things. Advertisement For example, when movie characters leave their jobs, it's usually because they've been fired, they've decided to take an ethical stand or the company has gone broke. Only in a movie by Brooks would the hero quit to protest a "lateral transfer" to New York. There's something intrinsically comic about that: He's taking a stand, all right, but it's a narcissistic one. He's quitting because he wants to stay in Los Angeles, he thinks he deserves to be named vice president and he doesn't like the traffic in New York. "Lost in America" is being called a yuppie comedy, but it's really about the much more universal subjects of greed, hedonism and panic. What makes it so funny is how much we can identify with it. Brooks plays a character who is making a lot of money, but not enough; who lives in a big house, but is outgrowing it; who drives an expensive car, but not a Mercedes-Benz; who is a top executive, but not a vice president. In short, he is a desperate man, trapped by his expectations. On the morning of his last day at work, he puts everything on hold while he has a long, luxurious telephone conversation with a Mercedes dealer. Brooks has great telephone scenes in all of his movies, but this one perfectly captures the nuances of consumerism. He asks how much the car will cost - including everything. Dealer prep, license, sticker, add-ons, extras, everything. The dealer names a price. "That's everything? " Brooks asks. "Except leather, " the dealer says. "For what I'm paying, I don't get leather? " Brooks asks, aghast. "You get Mercedes leather. " "Mercedes leather? What's that? '' "Thick vinyl. " This is the kind of world Brooks is up against. A few minutes later, he's called into the boss's office and told that he will not get the promotion he thinks he deserves. Instead, he's going to New York to handle the Ford account. Brooks quits, and a few scenes later, he and his wife ( Julie Hagerty) are tooling the big Winnebago into Las Vegas. They have enough money, he conservatively estimates, to stay on the road for the rest of their lives. That's before she loses their nest egg at the roulette tables. "Lost in America" doesn't tell a story so much as assemble a series of self-contained comic scenes, and the movie's next scene is probably the best one in the movie. Brooks the adman tries to talk a casino owner ( Garry K. Marshall) into giving back the money. It doesn't work, but Brooks keeps pushing, trying to sell the casino on improving its image. ("I'm a high-paid advertising consultant. These are professional opinions you're getting. ") There are other great scenes, as the desperate couple tries to find work to support themselves: An interview with an unemployment counselor, who listens, baffled, to Brooks explaining why he left a $100, 000-a-year job because he couldn't "find himself. " And Brooks's wife introducing her new boss, a teenage boy. "Lost in America" has one strange flaw. It doesn't seem to come to a conclusion. It just sort of ends in midstream, as if the final scenes were never shot. I don't know if that's the actual case, but I do wish the movie had been longer and had arrived at some sort of final destination. What we do get, however, is observant and very funny. Brooks is especially good at hearing exactly how people talk, and how that reveals things about themselves. Take that line about "Mercedes leather, " for example. A lot of people would be very happy to sit on "Mercedes leather. " But not a Mercedes owner, of course. How did Joni Mitchell put it? "Don't it always seem to go, that you don't know what you've got, till it's gone. " Reveal Comments comments powered by.

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When I think of a few ex girlfriends lol. Love the ending

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Say hello to Eric for me. Lost in america - film. In this hysterical satire of Reagan-era values, written and directed by Albert Brooks, a successful Los Angeles advertising executive (Brooks) and his wife (Julie Hagerty) decide to quit their jobs, buy a Winnebago, and follow their Easy Rider fantasies of freedom and the open road. When a stop in Las Vegas nearly derails their plans, they’re forced to come to terms with their own limitations and those of the American dream. Brooks’s barbed wit and confident direction drive Lost in America, an iconic example of his restless comedies about insecure characters searching for satisfaction in the modern world that established his unique comic voice and transformed the art of observational humor. Special Features New, restored 2K digital transfer, supervised by director Albert Brooks, with uncompressed monaural soundtrack on the Blu-ray New conversation with Brooks and filmmaker Robert Weide New interviews with actor Julie Hagerty, executive producer Herb Nanas, and filmmaker and screenwriter James L. Brooks Trailer PLUS: An essay by critic Scott Tobias New cover by F. Ron Miller based on an original theatrical poster Cast & Credits Albert Brooks David Howard Julie Hagerty Linda Howard Michael Greene Paul Dunn Garry K. Marshall Casino manager Maggie Roswell Patty Tom Tarpey Brad Tooley Ernie Brown Pharmacist Joey Coleman Skippy Art Frankel Employment agent Donald Gibb Ex-convict Raynold Gideon Ray Charles Boswell Highway patrolman Michael Cornelison Hotel clerk Radu Gavor Bellman Herb Nanas Mercedes driver Director Written by Monica Johnson Producer Marty Katz Executive producer Director of photography Eric Saarinen Editor David Finfer Production design Richard Sawyer Sound Bill Nelson Music by Arthur B. Rubinstein Casting Barbara Claman Set decorator Richard Goddard Costumes Julie Glick Makeup Rick Sharp Hair Ramsey Still photographer Bruce Birmelin A scene from Lost in America Lost in America with Albert Brooks One of the wittiest chroniclers of modern American life, Albert Brooks talks with filmmaker Robert Weide about how he arrived at the concept for Lost in America. Also: a few words from James L. Brooks. Lost in America: The $100, 000 Box Albert Brooks brings the gift for comic deconstruction he honed in his stand-up career to this uproarious satire of baby boomer values.

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Won 2 Oscars. Another 26 wins & 58 nominations. See more awards  » Learn more More Like This Comedy | Drama Fantasy 1 3 4 5 6 7 8 9 10 7. 3 / 10 X After wishing to be made big, a teenage boy wakes the next morning to find himself mysteriously in the body of an adult. Director: Penny Marshall Stars: Tom Hanks, Elizabeth Perkins, Robert Loggia Adventure Romance 7. 8 / 10 A FedEx executive undergoes a physical and emotional transformation after crash landing on a deserted island. Robert Zemeckis Helen Hunt, Paul Sanchez Action Mystery Thriller 6. 6 / 10 A murder inside the Louvre, and clues in Da Vinci paintings, lead to the discovery of a religious mystery protected by a secret society for two thousand years, which could shake the foundations of Christianity. Ron Howard Audrey Tautou, Jean Reno 7. 7 / 10 When a man with HIV is fired by his law firm because of his condition, he hires a homophobic small time lawyer as the only willing advocate for a wrongful dismissal suit. Jonathan Demme Denzel Washington, Roberta Maxwell Biography Crime The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the U. S. -flagged MV Maersk Alabama, the first American cargo ship to be hijacked in two hundred years. Paul Greengrass Barkhad Abdi, Barkhad Abdirahman An Eastern European tourist unexpectedly finds himself stranded in JFK airport, and must take up temporary residence there. Steven Spielberg Catherine Zeta-Jones, Chi McBride 6. 7 / 10 Harvard symbologist Robert Langdon works with a nuclear physicist to solve a murder and prevent a terrorist act against the Vatican during one of the significant events within the church. Ewan McGregor, Ayelet Zurer 7. 4 / 10 The story of Chesley "Sully" Sullenberger (Tom Hanks), an American pilot who became a hero after landing his damaged plane on the Hudson River in order to save the flight's passengers and crew. Clint Eastwood Aaron Eckhart, Laura Linney 6. 8 / 10 A recently widowed man's son calls a radio talk-show in an attempt to find his father a partner. Nora Ephron Meg Ryan, Ross Malinger Two business rivals who despise each other in real life unwittingly fall in love over the Internet. Greg Kinnear 6. 2 / 10 A detective must adopt a rambunctious dog in order to help him find a killer. Roger Spottiswoode Mare Winningham, Craig T. Nelson History 7. 6 / 10 During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers. Mark Rylance, Alan Alda Edit Storyline Based on the true story of the ill-fated 13th Apollo mission bound for the moon. Astronauts Lovell, Haise and Swigert were scheduled to fly Apollo 14, but are moved up to 13. It's 1970, and The US has already achieved their lunar landing goal, so there's little interest in this "routine" flight.. until that is, things go very wrong, and prospects of a safe return fade. Written by Rob Hartill Plot Summary Plot Synopsis Taglines: Houston, we have a problem. See more  » Details Release Date: 30 June 1995 (USA) Also Known As: Apollo 13: The IMAX Experience Box Office Budget: $52, 000, 000 (estimated) Opening Weekend USA: $25, 353, 380, 2 July 1995 Cumulative Worldwide Gross: $355, 237, 933 See more on IMDbPro  » Company Credits Technical Specs Runtime: 140 min 106 min (IMAX Version) See full technical specs  » Did You Know? Goofs When CapCom Andy says "Roger Odyssey, we copy your venting. " the shot ends with him sitting down. Immediately following this, there is a closer shot of him sitting down again. See more » Quotes Jim Lovell: Houston, uh, we... we sure could use the re-entry procedure up here. When can we expect that? William 'Bill' Pogue, CAPCOM: Uh, that's coming real soon, Aquarius. Uh, Houston, we... we... we just can't just throw this together at the last minute. So here's what you're gonna do. You're gonna get the procedure up to us, whatever it is, and we're gonna go over it step by step so that there's no foul-ups. I don't have to tell you we're all a little tired up here. The world's getting awfully big in the window. See more » Alternate Versions A digitally remastered IMAX-format version was released in September 2002. It is about 20 minutes shorter in running time than the original theatrical version. Some of the missing scenes are the dinner that the astronauts have aboard the ship that results in Fred Haise being sick into a plastic bag, and Marilyn Lovell telling the off the press. See more » Connections Referenced in Armageddon  (1998) Soundtracks Blue Moon Written by Richard Rodgers, Lorenz Hart Performed by The Mavericks Courtesy of MCA Records, Inc See more » Frequently Asked Questions See more ».

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Apollo 13 Theatrical release poster Directed by Ron Howard Produced by Brian Grazer Screenplay by William Broyles Jr. Al Reinert Based on Lost Moon by Jim Lovell Jeffrey Kluger Starring Tom Hanks Kevin Bacon Bill Paxton Gary Sinise Ed Harris Kathleen Quinlan Music by James Horner Cinematography Dean Cundey Edited by Daniel P. Hanley Mike Hill Production company Imagine Entertainment Distributed by Universal Pictures Release date June 30, 1995 (United States) Running time 140 minutes Country United States Language English Budget $52 million [1] Box office $355. 2 million [2] Apollo 13 is a 1995 American space docudrama film directed by Ron Howard and starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris. The screenplay by William Broyles Jr. and Al Reinert dramatizes the aborted 1970 Apollo 13 lunar mission and is an adaptation of the book Lost Moon: The Perilous Voyage of Apollo 13 by astronaut Jim Lovell and Jeffrey Kluger. The film depicts astronauts Lovell, Jack Swigert, and Fred Haise aboard Apollo 13 for America's third Moon landing mission. En route, an on-board explosion deprives their spacecraft of most of its oxygen supply and electric power, forcing NASA 's flight controllers to abort the Moon landing, and turning the mission into a struggle to get the three men home safely. Howard went to great lengths to create a technically accurate movie, employing NASA 's technical assistance in astronaut and flight controller training for his cast, and obtaining permission to film scenes aboard a reduced gravity aircraft for realistic depiction of the " weightlessness " experienced by the astronauts in space. Released to cinemas in the United States on June 30, 1995, [3] Apollo 13 was nominated for nine Academy Awards, including Best Picture (winning for Best Film Editing and Best Sound). [4] In total, the film grossed over $355 million worldwide during its theatrical releases. The film was very positively received by critics. Plot [ edit] In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong 's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface. Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard 's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to German Measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off. On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the command module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket. Three days into the mission, the crew makes a television transmission, which the networks decline to broadcast live. After Swigert turns on the liquid oxygen tank stirring fans as requested, one of the tanks explodes, emptying its contents into space and sending the craft tumbling. The other tank is soon found to be leaking. They attempt to stop the leak by shutting off fuel cells #1 and #3, but to no avail. With the fuel cells closed, the Moon landing must be aborted, and Lovell and Haise must hurriedly power up Aquarius to use as a "lifeboat" for the return home, as Swigert shuts down Odyssey before its battery power runs out. In Houston, Kranz rallies his team to come up with a plan to bring the astronauts home safely, declaring "failure is not an option". Controller John Aaron recruits Mattingly to help him invent a procedure to restart Odyssey for the landing on Earth. As Swigert and Haise watch the Moon pass beneath them, Lovell laments his lost chance of walking on its surface, then turns their attention to the business of getting home. With Aquarius running on minimal electrical power, the crew suffers freezing conditions, and Haise contracts a urinary infection and resulting fever. Swigert suspects Mission Control is withholding their inability to get them home; Haise angrily blames Swigert's inexperience for the accident; and Lovell quickly squelches the argument. When carbon dioxide approaches dangerous levels, ground control must quickly invent a way to make the command module's square filters work in the Lunar Module's round receptacles. With the guidance systems on Aquarius shut down, the crew must make a difficult but vital course correction by manually igniting the Lunar Module's engine. Mattingly and Aaron struggle to find a way to turn on the command module systems without drawing too much power, and finally transmit the procedure to Swigert, who restarts Odyssey by transferring extra power from Aquarius. When the crew jettisons the service module, they are surprised to see the extent of the damage. As they release Aquarius and re-enter the Earth's atmosphere, no one is sure that Odyssey ' s heat shield is intact. The tense period of radio silence due to ionization blackout is longer than normal, but the astronauts report all is well and splash down in the Pacific Ocean. As helicopters bring the three men aboard the recovery ship USS Iwo Jima for a hero's welcome, Lovell's voice-over describes the subsequent investigation into the explosion, and the careers of Haise, Swigert, Mattingly, and Kranz. He wonders if and when mankind will return to the Moon. Cast [ edit] Hanks, Bacon and Paxton portray the astronauts Lovell, Swigert and Haise respectively. Apollo Flight Crew: Tom Hanks as Apollo 13 Commander Jim Lovell: Jim Lovell stated that before his book Lost Moon was even written, the movie rights were being shopped to potential buyers [5] and that his first reaction was that Kevin Costner would be a good choice to play him. [5] However, by the time Howard acquired the director's position, Costner's name never came up in serious discussion, and Hanks had already been interested in doing a film based on Apollo 13. When Hanks' representative informed him that a script was being passed around, he had the script sent to him. [5] John Travolta was initially offered the role of Lovell, but declined. [7] Kevin Bacon as Apollo 13 backup Command Module Pilot Jack Swigert [8] Bill Paxton as Apollo 13 Lunar Module Pilot Fred Haise Mission Control: Gary Sinise as Apollo 13 prime Command Module Pilot Ken Mattingly: Sinise was invited by Howard to read for any of the characters, and chose Mattingly. [5] Ed Harris as White Team Flight Director Gene Kranz: Harris described the film as "cramming for a final exam. " Harris described Gene Kranz as "corny and like a dinosaur", but respected by the crew. [5] Apollo 13 would be Harris' second space travel-themed movie; he had starred as pioneering astronaut John Glenn in 1983's The Right Stuff. Chris Ellis as Director of Flight Crew Operations Deke Slayton Joe Spano as "NASA Director", a composite character loosely based on Chris Kraft Marc McClure as Black Team Flight Director Glynn Lunney Clint Howard as White Team Electrical, Environmental and Consumables Manager (EECOM) Sy Liebergot Ray McKinnon as White Team Flight Dynamics Officer Jerry Bostick Todd Louiso as White Team Flight Activities Officer Loren Dean as EECOM John Aaron Jim Meskimen as White Team Telemetry, Electrical, EVA Mobility Unit Officer (TELMU) David Andrews as Apollo 12 Commander Pete Conrad Christian Clemenson as Flight Surgeon Dr. Charles Berry Ben Marley as Apollo 13 backup Commander John Young Brett Cullen as Capsule Communicator (CAPCOM) 1 Ned Vaughn as CAPCOM 2 Carl Gabriel Yorke as SIM (Simulator) 1 Arthur Senzy as SIM 2 Civilians: Kathleen Quinlan as Marilyn Gerlach Lovell, Jim's wife Xander Berkeley as Henry Hurt, a fictional NASA Office of Public Affairs staff member [9] Tracy Reiner as Haise's wife Mary Mark Wheeler as Neil Armstrong, Apollo 11 Commander Larry Williams as Buzz Aldrin, Apollo 11 Lunar Module Pilot Mary Kate Schellhardt as Lovell's older daughter Barbara Max Elliott Slade as Lovell's older son James (Jay), who attended military school at the time of the flight Emily Ann Lloyd as Lovell's younger daughter Susan Miko Hughes as Lovell's younger son Jeffrey The real Jim Lovell appears as captain of the recovery ship USS Iwo Jima; Howard had intended to make him an admiral, but Lovell himself, having retired as a captain, chose to appear in his actual rank. Horror film director Roger Corman, a mentor of Howard, appears as a congressman being given a VIP tour by Lovell of the Vehicle Assembly Building, as it had become something of a tradition for Corman to make a cameo appearance in his protégés' films. [10] The real Marilyn Lovell appeared among the spectators during the launch sequence. CBS News anchor Walter Cronkite appears in archive news footage and can be heard in newly recorded announcements, some of which he edited himself to sound more authentic. In addition to his brother, Clint Howard, several other members of Ron Howard's family appear in the movie: Rance Howard (his father) appears as the Lovell family minister. Jean Speegle Howard (his mother) appears as Lovell's mother Blanch. Cheryl Howard (his wife) and Bryce Dallas Howard (his daughter) appear as uncredited background performers in the scene where the astronauts wave goodbye to their families. Brad Pitt was offered a role in the film, but turned it down to star in Se7en. [12] Reportedly, the real Pete Conrad expressed interest in appearing in the film. Jeffrey Kluger appears as a television reporter. Production [ edit] Preproduction and props [ edit] The screenplay by William Broyles Jr. and Al Reinert was rewritten by John Sayles after Hanks had been cast and construction of the spacecraft sets had begun. [13] While planning the film, director Ron Howard decided that every shot of the film would be original and that no mission footage would be used. [14] The spacecraft interiors were constructed by the Kansas Cosmosphere and Space Center 's Space Works, which also restored the Apollo 13 command module. Two individual Lunar Modules and two command modules were constructed for filming. While each was a replica, composed of some of the original Apollo materials, they were built so that different sections were removable, which enabled filming to take place inside the capsules. Space Works also built modified Command and Lunar Modules for filming inside a Boeing KC-135 reduced-gravity aircraft, and the pressure suits worn by the actors, which are exact reproductions of those worn by the Apollo astronauts, right down to the detail of being airtight. When suited up with their helmets locked in place, the actors were cooled by air pumped into the suits, and so that they could breathe, exactly as in launch preparations for the real Apollo missions. [15] The real Mission Control Center consisted of two control rooms located on the second and third floors of Building 30 at the Johnson Space Center in Houston, Texas. NASA offered the use of the control room for filming, but Howard declined, opting instead to make his own replica from scratch. [14] Production designer Michael Corenblith and set decorator Merideth Boswell were in charge of the construction of the Mission Control set at Universal Studios. The set was equipped with giant rear-screen projection capabilities and a complex set of computers with individual video feeds to all the flight controller stations. The actors playing the flight controllers were able to communicate with each other on a private audio loop. [15] The Mission Control room built for the film was on the ground floor. [14] One NASA employee, who was a consultant for the film, said that the set was so realistic that he would leave at the end of the day and look for the elevator before remembering he was not in Mission Control. By the time the film was made, the USS Iwo Jima had been scrapped, so her sister ship, the USS New Orleans, was used as the recovery ship instead. [14] For actors, being able to actually shoot in zero gravity as opposed to being in incredibly painful and uncomfortable harnesses for special effects shots was all the difference between what would have been a horrible moviemaking experience as opposed to the completely glorious one that it actually was. —Tom Hanks [15] Howard anticipated difficulty in portraying weightlessness in a realistic manner. He discussed this with Steven Spielberg, who suggested using a KC-135 airplane, which can be flown in such a way as to create about 23 seconds of weightlessness, a method NASA has always used to train its astronauts for space flight. Howard obtained NASA's permission and assistance in filming in the realistic conditions aboard multiple KC-135 flights. [16] Cast training and filming [ edit] In Los Angeles, Ed Harris and all the actors portraying flight controllers enrolled in a Flight Controller School led by Gerry Griffin, an Apollo 13 flight director, and flight controller Jerry Bostick. The actors studied audiotapes from the mission, reviewed hundreds of pages of NASA transcripts, and attended a crash course in physics. [14] [15] Astronaut Dave Scott was impressed with their efforts, stating that each actor was determined to make every scene technically correct, word for word. [5] Scott was the chief technological consultant for the film. [17] Soundtrack [ edit] Apollo 13: Music From The Motion Picture Soundtrack album by James Horner Released June 27, 1995 Genre Soundtrack Length 77: 41 Label MCA Professional ratings Review scores Source Rating AllMusic [18] [19] SoundtrackNet [20] Tracksounds [21] The score to Apollo 13 was composed and conducted by James Horner. The soundtrack was released in 1995 by MCA Records and has seven tracks of score, eight period songs used in the film, and seven tracks of dialogue by the actors at a running time of nearly seventy-eight minutes. The music also features solos by vocalist Annie Lennox and Tim Morrison on the trumpet. The score was a critical success and garnered Horner an Academy Award nomination for Best Original Score. [22] All music is composed by James Horner, except where noted. Apollo 13: Original Motion Picture Soundtrack No. Title Length 1. "Main Title" 1:32 2. "One Small Step" 0:42 3. " Night Train " (performed by James Brown, written by Jimmy Forrest, Lewis Simpkins and Oscar Washington) 3:27 4. " Groovin' " (performed by The Young Rascals) 2:26 5. " Somebody to Love " (performed by Jefferson Airplane) 2:55 6. " I Can See for Miles " (performed by The Who) 4:09 7. " Purple Haze " (performed by The Jimi Hendrix Experience) 2:48 8. "Launch Control" 3:28 9. "All Systems Go/The Launch" 6:39 10. "Welcome to Apollo 13" 0:38 11. " Spirit in the Sky " (performed and written by Norman Greenbaum) 3:50 12. "House Cleaning/Houston, We Have a Problem" 1:34 13. "Master Alarm" 2:54 14. "What's Going On? " 0:34 15. "Into the L. E. M. " 3:43 16. "Out of Time/Shut Her Down" 2:20 17. "The Darkside of the Moon" (performed by Annie Lennox) 5:09 18. "Failure is Not an Option" 1:18 19. " Honky Tonkin' " (performed and written by Hank Williams) 2:42 20. " Blue Moon " (performed by The Mavericks, written by Richard Rodgers and Lorenz Hart) 4:09 21. "Waiting for Disaster/A Privilege" 0:43 22. "Re-Entry & Splashdown" 9:05 23. "End Titles" (performed by Annie Lennox) 5:34 Release [ edit] The film was released on June 30, 1995 in North America and on September 22, 1995 in the UK. In September 2002 the film was re-released in IMAX. It was the first film to be digitally remastered using IMAX DMR technology. [23] Box-office performance [ edit] The film was a box-office success, bringing in $355, 237, 933 worldwide. [2] The film's widest release was 2, 347 theaters. [2] The film's opening weekend and the following two weeks placed it at #1 with a US gross of $25, 353, 380, which made up 14. 7% of the total US gross. [2] Apollo 13 box office revenue Source Gross ( US$)% Total All-time rank (unadjusted) North America $173, 837, 933 [2] 48. 9% 229 [2] Foreign $181, 400, 000 [2] 51. 1% N/A Worldwide $355, 237, 933 [2] 100. 0% 282 [2] Reception [ edit] Review aggregator Rotten Tomatoes reports that the film has an overall approval rating of 95%, based on 88 reviews, with a weighted average rating of 8. 2/10. The site's critical consensus reads, "In recreating the troubled space mission, Apollo 13 pulls no punches: it's a masterfully told drama from director Ron Howard, bolstered by an ensemble of solid performances. " [24] Metacritic, which assigns a normalized rating to reviews from mainstream critics, gave the film an average score of 77 out of 100, based on 22 critics, indicating "generally favorable reviews". [25] Roger Ebert of the Chicago Sun-Times praised the film in his review saying: "A powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and acted without pumped-up histrionics. " [26] Richard Corliss of Time highly praised the film, saying: "From lift-off to splashdown, Apollo 13 gives one hell of a ride. " [27] Edward Guthmann of San Francisco Chronicle gave a mixed review and wrote: "I just wish that Apollo 13 worked better as a movie, and that Howard's threshold for corn, mush and twinkly sentiment weren't so darn wide. " [28] Peter Travers of Rolling Stone praised the film and wrote: "Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film. " [29] Janet Maslin made the film an NYT Critics' Pick, calling it an "absolutely thrilling" film that "unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding true story. " According to Maslin, "like Quiz Show, Apollo 13 beautifully evokes recent history in ways that resonate strongly today. Cleverly nostalgic in its visual style ( Rita Ryack 's costumes are especially right), it harks back to movie making without phony heroics and to the strong spirit of community that enveloped the astronauts and their families. Amazingly, this film manages to seem refreshingly honest while still conforming to the three-act dramatic format of a standard Hollywood hit. It is far and away the best thing Mr. Howard has done (and Far and Away was one of the other kind). " [30] The academic critic Raymond Malewitz focuses on the DIY aspects of the "mailbox" filtration system to illustrate the emergence of an unlikely hero in late 20th-century American culture—"the creative, improvisational, but restrained thinker—who replaces the older prodigal cowboy heroes of American mythology and provides the country a better, more frugal example of an appropriate 'husband'. " [31] Marilyn Lovell praised Quinlan's portrayal of her, stating she felt she could feel what Quinlan's character was going through, and remembered how she felt in her mind. [5] Home media [ edit] A 10th-anniversary DVD of the film was released in 2005; it included both the theatrical version and the IMAX version, along with several extras. [32] The IMAX version has a 1. 66:1 aspect ratio. [33] In 2006, Apollo 13 was released on HD DVD and on April 13, 2010 it was released on Blu-ray disc as the 15th-anniversary edition on the 40th anniversary of the Apollo 13 accident. [32] The Film was released on 4K UHD Blu-Ray on October 17, 2017. [34] Accolades [ edit] Year Award Category Recipient Result Ref. 1996 Academy Awards (1996) Best Film Editing Mike Hill and Daniel Hanley Won [4] Best Sound Rick Dior, Steve Pederson, Scott Millan, and David MacMillan Best Actor in a Supporting Role Ed Harris (lost to Kevin Spacey in The Usual Suspects) Nominated Best Actress in a Supporting Role Kathleen Quinlan (lost to Mira Sorvino in Mighty Aphrodite) Best Art Direction Art Direction: Michael Corenblith; Set Decoration: Merideth Boswell (lost to Restoration) Best Original Dramatic Score James Horner (lost to Il Postino) Best Picture Brian Grazer (lost to Braveheart) Best Visual Effects Robert Legato, Michael Kanfer, Leslie Ekker, and Matt Sweeney (lost to Babe) Best Adapted Screenplay William Broyles Jr. and Al Reinert (lost to Sense and Sensibility) American Cinema Editors (Eddies) Best Edited Feature Film Mike Hill, Daniel P. Hanley American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases Dean Cundey BAFTA Film Awards Best Production Design Michael Corenblith Outstanding Achievement in Special Visual Effects Robert Legato, Michael Kanfer, Matt Sweeney, Leslie Ekker Best Cinematography Best Editing Mike Hill, Daniel Hanley David MacMillan, Rick Dior, Scott Millan, Steve Pederson Casting Society of America (Artios) Best Casting for Feature Film, Drama Jane Jenkins, Janet Hirshenson Chicago Film Critics Association Awards Apollo 13 Directors Guild of America Outstanding Directorial Achievement in Motion Pictures Ron Howard, Carl Clifford, Aldric La'Auli Porter, Jane Paul Golden Globe Awards Best Supporting Actor – Motion Picture Ed Harris as Gene Kranz Best Supporting Actress – Motion Picture Kathleen Quinlan as Marilyn Lovell Best Director – Motion Picture Ron Howard Best Motion Picture – Drama Heartland Film Festival Studio Crystal Heart Award Jeffrey Kluger Hugo Awards Best Dramatic Presentation MTV Movie Awards Best Male Performance Tom Hanks as Jim Lovell Best Movie PGA Awards Motion Picture Producer of the Year Award Brian Grazer, Todd Hallowell Saturn Awards Best Action / Adventure / Thriller Film Apollo 13 (lost to The Usual Suspects) Screen Actors Guild Awards Outstanding Performance by a Male Actor in a Supporting Role Outstanding Performance by a Cast Kevin Bacon, Tom Hanks, Ed Harris, Bill Paxton, Kathleen Quinlan, and Gary Sinise Space Foundation's Douglas S. Morrow Public Outreach Award Best Family Feature – Drama [35] Writers Guild of America Awards Best Screenplay Adapted from Another Medium William Broyles Jr., Al Reinert Young Artist Awards 2005 American Film Institute AFI's 100 Years... 100 Movie Quotes "Houston, we have a problem. " (#50) [36] 2006 AFI's 100 Years... 100 Cheers Apollo 13 (#12) Technical and historical accuracy [ edit] Apollo 13 space capsule prop from the film The film depicts the crew hearing a bang quickly after Swigert followed directions from mission control to stir the oxygen and hydrogen tanks. In reality, the crew heard the bang 93 seconds later. [37] The film portrays the Saturn V launch vehicle being rolled out to the launch pad two days before launch. In reality, the launch vehicle was rolled out on the Mobile Launcher using the crawler-transporter weeks before the launch date. [ citation needed] The movie depicts Swigert and Haise arguing about who was at fault. The show The Real Story: Apollo 13 broadcast on the Smithsonian Channel includes Haise stating that no such argument took place and that there was no way anyone could have foreseen that stirring the tank would cause problems. [38] The dialogue between ground control and the astronauts was taken nearly verbatim from transcripts and recordings, with the exception of one of the taglines of the film, " Houston, we have a problem. " (This quote was voted #50 on the list " AFI's 100 Years... 100 Movie Quotes ". ) According to the mission transcript, the actual words uttered by Jack Swigert were "Hey, we've got a problem here" (talking over Haise, who had started "Okay, Houston"). Ground control responded by saying "This is Houston, say again please. " Jim Lovell then repeated, "Houston, we've had a problem. " [39] One other incorrect dialogue is after the re-entry blackout. In the movie, Tom Hanks (as Lovell) says "Hello Houston... this is Odyssey... it's good to see you again. " In the actual re-entry, the Command Module's transmission was finally acquired by a Sikorsky SH-3D Sea King recovery helicopter which then relayed communications to Mission Control. CAPCOM and fellow astronaut Joe Kerwin (not Mattingly, who serves as CAPCOM in this scene in the movie) then made a call to the spacecraft "Odyssey, Houston standing by. Over. " Jack Swigert, not Lovell, replied "Okay, Joe, " and unlike in the movie, this was well before the parachutes deployed; the celebrations depicted at Mission Control were triggered by visual confirmation of their deployment. [40] The tagline "Failure is not an option", stated in the film by Gene Kranz, also became very popular, but was not taken from the historical transcripts. The following story relates the origin of the phrase, from an e-mail by Apollo 13 Flight Dynamics Officer Jerry Bostick: As far as the expression "Failure is not an option, " you are correct that Kranz never used that term. In preparation for the movie, the script writers, Al Reinart and Bill Broyles, came down to Clear Lake to interview me on "What are the people in Mission Control really like? " One of their questions was "Weren't there times when everybody, or at least a few people, just panicked? " My answer was "No, when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution. " I immediately sensed that Bill Broyles wanted to leave and assumed that he was bored with the interview. Only months later did I learn that when they got in their car to leave, he started screaming, "That's it! That's the tag line for the whole movie, Failure is not an option. Now we just have to figure out who to have say it. " Of course, they gave it to the Kranz character, and the rest is history. [41] In the film, Flight Director Gene Kranz and his White Team are portrayed as managing all of the essential parts of the flight, from liftoff to landing. Consequently, the actual role of the other flight directors and teams, especially Glynn Lunney and his Black Team, were neglected. In fact, it was Flight Director Lunney and his Black Team who got Apollo 13 through its most critical period in the hours immediately after the explosion, including the mid-course correction that sent Apollo 13 on a "free return" trajectory around the Moon and back to the Earth. Astronaut Ken Mattingly, who was replaced as Apollo 13 Command Module Pilot at the last minute by Jack Swigert, later said: If there was a hero, Glynn Lunney was, by himself, a hero, because when he walked in the room, I guarantee you, nobody knew what the hell was going on. Glynn walked in, took over this mess, and he just brought calm to the situation. I've never seen such an extraordinary example of leadership in my entire career. Absolutely magnificent. No general or admiral in wartime could ever be more magnificent than Glynn was that night. He and he alone brought all of the scared people together. And you've got to remember that the flight controllers in those days were—they were kids in their thirties. They were good, but very few of them had ever run into these kinds of choices in life, and they weren't used to that. All of a sudden, their confidence had been shaken. They were faced with things that they didn't understand, and Glynn walked in there, and he just kind of took charge. [42] A DVD commentary track, recorded by Jim and Marilyn Lovell and included with both DVD versions, [32] mentions several inaccuracies included in the film, all done for reasons of artistic license: We were working and watching the controls during that time. Because we came in shallow, it took us longer coming through the atmosphere where we had ionization. And the other thing was that we were just slow in answering. —Jim Lovell, on the real reason for the delay in replying after Apollo 13's four-minute re-entry into Earth's atmosphere [43] In the film, Mattingly plays a key role in solving a power consumption problem that Apollo 13 was faced with as it approached re-entry. Lovell points out in his commentary that Mattingly was a composite of several astronauts and engineers—including Charles Duke (whose rubella led to Mattingly's grounding)—all of whom played a role in solving that problem. When Jack Swigert is getting ready to dock with the LM, a concerned NASA technician says: "If Swigert can't dock this thing, we don't have a mission. " Lovell and Haise also seem worried. In his DVD commentary, the real Jim Lovell says that if Swigert had been unable to dock with the LM, he or Haise could have done it. He also says that Swigert was a well-trained Command Module Pilot and that no one was really worried about whether he was up to the job, [43] but he admitted that it made a nice subplot for the film. What the astronauts were really worried about, Lovell says, was the expected rendezvous between the Lunar Module and the Command Module after Lovell and Haise left the surface of the Moon. A scene set the night before the launch, showing the astronauts' family members saying their goodbyes while separated by a road, to reduce the possibility of any last-minute transmission of disease, depicted a tradition that did not begin until the Space Shuttle program. The film depicts Marilyn Lovell dropping her wedding ring down a shower drain. According to Jim Lovell, this did occur, [43] but the drain trap caught the ring and his wife was able to retrieve it. Lovell has also confirmed that the scene in which his wife had a nightmare about him being "sucked through an open door of a spacecraft into outer space" also occurred, though he believes the nightmare was prompted by her seeing a scene in Marooned, a 1969 film they saw three months before Apollo 13 launched. [43] See also [ edit] From the Earth to the Moon, a 1998 docudrama mini-series based around the Apollo missions Gravity, a 2013 film about astronauts stranded in Earth orbit Marooned, a 1969 film directed by John Sturges, about astronauts marooned in an Apollo command and service module Other survival films References [ edit] This article incorporates  public domain material from websites or documents of the National Aeronautics and Space Administration. ^ "CNN Showbiz News: Apollo 13". CNN. Retrieved April 9, 2009. ^ a b c d e f g h i "Apollo 13 (1995)". Box Office Mojo. Retrieved April 9, 2009. ^ "Apollo 13". June 30, 1995. Retrieved September 11, 2016. ^ a b "Academy Awards, USA: 1996". Archived from the original on July 23, 2008. Retrieved April 8, 2009. ^ a b c d e f g "Lost Moon: The Triumph of Apollo 13". Retrieved January 1, 2012. ^ "Film Casting that Might Have Been for John Travolta and Richard Gere". Archived from the original on July 28, 2014. Retrieved January 1, 2012. ^ Ebert, Robert (June 30, 1995). "America's Derring-Do Resurrected". The Record. Hackensack, New Jersey. p. 43 – via ^ The character in the film is a composite of protocol officer Bob McMurrey, who relayed the request for permission to erect a TV tower to Marilyn Lovell, and an unnamed OPA staffer who made the request on the phone, to whom she personally denied it as Quinlan did to "Henry" in the film. "Henry" is also seen performing other OPA functions, such as conducting a press conference. Kluger, Jeffrey; Jim Lovell (July 1995). Lost Moon: The Perilous Voyage of Apollo 13 (First Pocket Books printing ed. ). New York: Pocket Books. pp.  118, 209–210, 387. ISBN   0-671-53464-5. ^ "Repertoire Of Horrors: The Films Of Roger Corman". Retrieved January 1, 2012. ^ "Brad Pitt – A Quick Overview". Retrieved January 1, 2012. ^ Johnson, Mary; Neff, Renfreu; Mercurio, Jim; Goldsmith, David F. (April 15, 2016). "John Sayles on Screenwriting". Creative Screenwriting. Retrieved October 2, 2017. ^ a b c d e Apollo 13: 2-Disc Anniversary Edition (Disc 1), Production Notes (DVD). Universal Studios. March 19, 2005. ^ a b c d "Production Notes (Press Release)" (PDF). IMAX. Archived from the original (PDF) on June 4, 2011. Retrieved April 9, 2009. ^ "Ron Howard Weightless Again Over Apollo 13's DGA Win". Archived from the original on October 7, 2011. Retrieved December 16, 2011. ^ Nichols, Peter M. (September 6, 1998). "Television; From Earth to the Moon and Back, for More Bows". The New York Times. ^ Apollo 13 at AllMusic ^ "Filmtracks: Apollo 13 (James Horner)".. ^ review Archived June 5, 2008, at the Wayback Machine ^ Tracksounds review Archived April 1, 2009, at the Wayback Machine ^ Apollo 13 soundtrack review at Filmtracks. Retrieved 24 February 2011. ^ "History of IMAX". Retrieved February 11, 2011. ^ "Apollo 13". Rotten Tomatoes. Archived from the original on August 20, 2010. Retrieved August 24, 2010. ^ "Apollo 13 Reviews". Metacritic. Retrieved September 25, 2011. ^ "Apollo 13: Roger Ebert". Chicago Sun-Times. Retrieved April 11, 2009. ^ "Apollo 13: Review". Time. July 3, 1995. Retrieved April 11, 2009. ^ Guthmann, Edward (June 30, 1995). "Apollo 13 Review: Story heroic, but it just doesn't fly". San Francisco Chronicle. Retrieved April 11, 2009. ^ "Apollo 13 Review: Rolling Stone". Rolling Stone. Retrieved April 11, 2009. ^ Maslin, Janet (June 30, 1995). " Apollo 13, a Movie for the Fourth of July". The New York Times. Retrieved September 30, 2011. ^ Malewitz, Raymond (September 5, 2014). "getting Rugged With Thing Theory". Stanford UP. Retrieved September 30, 2014. ^ a b c "Apollo 13 Blu-Ray Release". Retrieved September 29, 2011. ^ "Apollo 13 (DVD - 2005)". Lethbridge Public Library. Retrieved December 30, 2011. ^ "Apollo 13 - 4K Ultra HD Blu-ray Ultra HD Review | High Def Digest".. Retrieved December 22, 2017. ^ "Symposium Awards". National Space Symposium. Archived from the original on February 3, 2009. Retrieved April 26, 2009. ^ a b "AFI's 100 years... 100 quotes" (PDF). AFI. Archived (PDF) from the original on March 26, 2009. Retrieved April 13, 2009. ^ Apollo 13 Timeline, Apollo by the Numbers: A Statistical Reference, NASA History Series, Office of Policy and Plans, Richard W. Orloff, Sept. 2004. See "Oxygen tank #2 fans on. Stabilization control system electrical disturbance indicated a power transient. 055:53:20. " ^ The Real Story: Apollo 13, Season 4, Episode 3, 2012. See this section beginning at 15:18. ^ "Page 231 of Apollo 13's transcript at NASA Johnson Space Center" (PDF). Retrieved August 8, 2015. ^ "Apollo 13's re-entry transcript on Spacelog". ^ "Origin of Apollo 13 Quote: "Failure Is Not an Option. " ".. Retrieved April 4, 2010. ^ Ken Mattingly, quoted in Go, Flight! The Unsung Heroes of Mission Control, 1965-1992, Rick Houston and Milt Heflin, 2015, University of Nebraska Press, p. 221 ^ a b c d William, Lena (July 19, 1995). "In Space, No Room For Fear". Retrieved September 30, 2011. External links [ edit] Apollo 13 on IMDb Apollo 13 at the TCM Movie Database Apollo 13 at AllMovie Apollo 13 at Rotten Tomatoes Apollo 13 at Box Office Mojo.

Start watching Apollo 13 Add STARZ® to any Hulu plan for an additional $8. 99/month. Get unlimited access to the largest streaming library with no ads Watch on your favorite devices Switch plans or cancel anytime Download from thousands of titles to watch offline Available add-ons HBO® SHOWTIME® CINEMAX® STARZ® Get unlimited access to the largest streaming library with limited ads Watch on your favorite devices Switch plans or cancel anytime Available add-ons No Ads HBO® SHOWTIME® CINEMAX® STARZ® Get unlimited access to the largest streaming library with limited ads Stream 65+ top Live and On-Demand TV channels Record live TV with 50 hours of Cloud DVR storage Watch Live TV online and on supported devices Switch plans or cancel anytime Available add-ons Enhanced Cloud DVR Unlimited Screens HBO® SHOWTIME® CINEMAX® STARZ® Entertainment Add-on Español Add-on.

Free movies apollo 13. Just love Commander Lovell and Mrs. Lovell. American Treasures. Thank You for Your Service and generosity to share of these Amazing Times. Apollo 13 movie free stream. Apollo 13 free 123 movie. The story of American race to the Moon is incomparable. At first it was a try to catch up with the Soviets, after that pass them. JFK knew well what he did. He wanted to settle that the democracy is superior to communism. He proved it also in outer space. One of Nasa achievements was saving lives of the crew of Apollo 13. And this is the story. Due to incompetence and neglect the crew of Apollo 1 died during a routine count down. Due to the human intelligence and good fortune Jim Lovell and his crew returned safely home. The movie is excellent. There are technical flaws of course but most of them are covered by live Lovell's commentary. And the story is about how every human being, sometimes against all odds, can survive activating the human will of survival and powers of our mind. The visual effects are of minor importance here. It's the actors, their faces, tone of their voices, their moves tell us the story. They did well. After I read Lovell's 'Lost Moon' and Kranz's 'Failure is Not an Option' which quote was spitefully used on the NYT after the tragedy of Columbia/ I liked the movie even more. Dust in the wind we are. Such achievements like the conquest of the cosmos give our lives a bit of meaning, due to possible harvesting the assets by our children. Apollo 13 is a kind of record of such heroic efforts. Worth watching and thinking about.

39:10 and God saw that it was good. Free Movie Apollo 13 ans. They entered the atmosphere at 24,800mph with only 40 minutes of electrical power left and pyrotechnic batteries that didn't have very much juice in them and in my opinion they were lucky the chutes deployed at 22,000ft. Free Movie Apollo 137. This banner text can have markup. web books video audio software images ABOUT CONTACT BLOG PROJECTS HELP DONATE JOBS VOLUNTEER PEOPLE Search metadata Search text contents Search TV news captions Search archived web sites Advanced Search upload UPLOAD person SIGN IN Search the history of over 411 billion web pages on the Internet. search Search the Wayback Machine Featured texts All Books All Texts latest This Just In Smithsonian Libraries FEDLINK (US) Genealogy Lincoln Collection Books to Borrow Top American Libraries Canadian Libraries Universal Library Community Texts Project Gutenberg Biodiversity Heritage Library Children's Library Open Library Halesowen Chronicle Newspaper Books by Language Mk News Newspaper Kidderminster Chronicle Newspaper Harlow Star Newspaper Additional Collections movies All video Prelinger Archives Democracy Now! Occupy Wall Street TV NSA Clip Library TV News Animation & Cartoons Arts & Music Computers & Technology Cultural & Academic Films Ephemeral Films Movies News & Public Affairs Understanding 9/11 Spirituality & Religion Sports Videos Television Videogame Videos Vlogs Youth Media Regent Park TV audio All audio Grateful Dead Netlabels Old Time Radio 78 RPMs and Cylinder Recordings Live Music Archive Audio Books & Poetry Community Audio Computers & Technology Music, Arts & Culture News & Public Affairs Non-English Audio Spirituality & Religion Librivox Free Audiobook Fat Tuesday Podcasts software All software Old School Emulation MS-DOS Games Historical Software Classic PC Games Software Library Internet Arcade Kodi Archive and Support File Community Software Vintage Software APK MS-DOS CD-ROM Software CD-ROM Software Library Console Living Room Software Sites Tucows Software Library Shareware CD-ROMs CD-ROM Images Software Capsules Compilation ZX Spectrum DOOM Level CD image All images Flickr Commons Occupy Wall Street Flickr Cover Art USGS Maps Metropolitan Museum NASA Images Solar System Collection Ames Research Center Brooklyn Museum Movies Preview favorite Flag this item for Graphic Violence Graphic Sexual Content Topics Apollo 13 Addeddate 2017-12-31 07:11:07 Identifier Apollo_13 Scanner Internet Archive HTML5 Uploader 1. 6. 3 plus-circle Add Review comment Reviews There are no reviews yet. Be the first one to write a review. 15, 242 Views 8 Favorites DOWNLOAD OPTIONS download 1 file H. 264 download ITEM TILE download MATROSKA download OGG VIDEO download TORRENT download download 147 Files download 6 Original SHOW ALL IN COLLECTIONS Community Video Uploaded by Kloof on December 31, 2017 SIMILAR ITEMS (based on metadata) Terms of Service (last updated 12/31/2014).

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Runtime: 93m. creator: Alla Kovgan. country: USA. Directed by: Alla Kovgan. Release date: 2019. Awesome i wish to see more strong voices tho like Tom Figgins and Tor miller! And some more uniques like Trevor Sensor thats what got me hooked on these sessions. Cunningham movie online stream. Someone wanna trade me a cunningham. plz. A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.
Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009.
At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018.
Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

0:09 why does it sound like “burn the gays” and I oOp. Cunningham movie online movie. Merce Cunningham Merce Cunningham in 1961 Born Mercier Philip Cunningham April 16, 1919 Centralia, Washington Died July 26, 2009 (aged 90) New York, New York Occupation Dancer, choreographer Years active 1938–2009 Partner(s) John Cage [1] Website Mercier Philip " Merce " Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, Radiohead, artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, Jasper Johns, and costume designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher and leader of the Merce Cunningham Dance Company, [2] Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. [3] Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Biography [ edit] Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, [4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. [5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. [6] During this time, Martha Graham saw Cunningham dance and invited him to join her company. [7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his lifelong romantic partner and frequent collaborator until Cage's death in 1992. [8] In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events, " or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center 's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday. [9] Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. [10] Merce Cunningham Dance Company [ edit] Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work. [11] MCDC made its first international tour in 1964, visiting Europe and Asia. [11] From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. [12] In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham's site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011 [13] with a performance at the Park Avenue Armory. [14] Artistic philosophy [ edit] Collaboration [ edit] Still frame from Loops, a digital art collaboration with Cunningham and The OpenEnded Group that interprets Cunningham's motion-captured dance for the hands. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another. [15] After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth. [16] The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous "Combines" reflect the approach he used to create décor for a number of MCDC's early works, served as the Company's resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol. Chance operations [ edit] John Cage and I became interested in the use of chance in the 50s. I think one of the very primary things that happened then was the publication of the " I Ching, " the Chinese book of changes, from which you can cast your fortune: the hexagrams. Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance. I was working on a title called, "Untitled Solo, " and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff. —  Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000 Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. [17] Although the use of chance operations was considered an abrogation of artistic responsibility, [18] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end. [17] [19] Examples in works [ edit] In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections. In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired. In Story (1963) Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre. Suite by Chance (1953) was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements. Canfield (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly. [20] Use of technology [ edit] Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974) in collaboration with filmmaker Charles Atlas [17] In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce. [21] Perspective [ edit] The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's own studio, for instance, audiences are seated in an L-shaped configuration). The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. [22] Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life. [17] Most of Cunningham's choreographic process works to break the boundaries of "putting on a show, " the removal of center stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not. Legacy Plan [ edit] The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. [23] In addition, the plan outlined a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. The final performance of the Merce Cunningham Dance Company was on December 31, 2011, at the Park Avenue Armory in New York City. The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village. [24] Exhibitions [ edit] There have been numerous exhibitions dedicated to Cunningham's work. In addition, his visual art is represented by Margarete Roeder Gallery. The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007. Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007. A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida. A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum Moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d'Arte Contemporanea, Castello di Rivoli, Turin, 2000. Works [ edit] Cunningham choreographed almost 200 works for his company. [25] Suite for Five (1956–1958) Music: John Cage, Music for Piano Costumes: Robert Rauschenberg [26] Lighting: Beverly Emmons Crises (1960) Music: Conlon Nancarrow (from Rhythm Studies for Player Piano) Costumes, Lighting: Robert Rauschenberg Rainforest (1968) Music: David Tudor Décor: Andy Warhol (Silver Clouds) Costumes: Jasper Johns (uncredited) Lighting: Richard Nelson Second Hand (1970) Music: John Cage, (Cheap Imitation) Décor & Costumes: Jasper Johns Lighting: Richard Nelson (1970) Christine Shallenberg (2008) Sounddance (1975) Music: David Tudor, Toneburst & Untitled (1975/1994) Décor, Lighting, Costumes: Mark Lancaster Fabrications (1987) Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr Décor, Costumes: Dove Bradshaw Lighting: Josh Johnson CRWDSPCR (1993) Music: John King, blues 99 Ocean (1994) Music: David Tudor, Soundings: Ocean Diary and Andrew Culver, Ocean 1–95 Décor, Lighting, Costumes: Marsha Skinner BIPED (1999) Music: Gavin Bryars, Biped Décor: Paul Kaiser, Shelley Eshkar Costumes: Suzanne Gallo Lighting: Aaron Copp Split Sides (2003) Music: Radiohead, Sigur Rós Décor: Robert Heishman, Catherine Yass Costumes: James Hall Lighting: James F. Ingalls Views on Stage (2004) Music: John Cage, ASLSP and Music for Two Décor: Ernesto Neto, Other Animal eyeSpace (2006) Music: Mikel Rouse, International Cloud Atlas Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves Costumes: Henry Samelson eyeSpace (2007) Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug Décor: Daniel Arsham, ODE/EON Costumes: Daniel Arsham XOVER (2007) Music: John Cage, Aria (1958) and Fontana Mix (1958) Décor & Costumes: Robert Rauschenberg, Plank Nearly Ninety (2009) Music: John Paul Jones, Takehisa Kosugi, Sonic Youth Décor: Benedetta Tagliabue Costumes: Romeo Gigli for io ipse idem Lighting: Brian MacDevitt Video Design: Franc Aleu Honors and awards [ edit] 2009 Jacob's Pillow Dance Award Skowhegan Medal for Performance 2008 Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY 2007 Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York Montgomery Fellow (Arts and Literature), Dartmouth College, Hanover NH 2006 Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA 2005 Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN Praemium Imperiale, Tokyo 2004 Officier of the Légion d'Honneur, France 2003 Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH 2002 Kitty Carlisle Hart Award for Outstanding Achievement in the Arts ( Arts & Business Council), New York NY MATA (Music at the Anthology) Award, New York NY Medal of the City of Dijon, France 2001 Coat of Arms of the City of Mulhouse, France La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris Career Transition for Dancers Award, New York NY Herald Archangel Award, Glasgow, Scotland Village Award, Greenwich Village Society for Historic Preservation, New York Honorary degree from Edith Cowan University, Perth, Western Australia 2000 Nijinsky Special Prize, Monaco The Dorothy and Lillian Gish Prize, New York NY Named a "Living Legend" by the Library of Congress, Washington DC 1999 Premio Internazionale "Gino Tani, " Rome Handel Medallion from the Mayor of New York City NY Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA Fellow of the Academy of Performing Arts, Hong Kong The key to the City of Montpellier, France 1998 Bagley Wright Fund Established Artists Award, Seattle WA 1997 Barnard College Medal of Distinction, New York NY Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France 1996 Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA 1995 Honorary degree from Wesleyan University, Middletown CT Carina Ari Award (Grand Prix Video Danse with Elliot Caplan), Stockholm, Sweden Golden Lion of the Venice Biennale, Italy 1993 Inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY Dance and Performance Award for Best Performance by a Visiting Artist, London, England Medal of Honor from the Universidad Complutense of Madrid, Spain (With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH New York Dance and Performance Award ("Bessie"), New York NY Tiffany Award from the International Society of Performing Arts Administrators, New York NY 1990 National Medal of Arts, Washington DC Porselli Prize, Italy Digital Dance Premier Award, London, England Award of Merit from the Association of Performing Arts Presenters, New York NY 1989 Chevalier of the Légion d'Honneur, France 1988 Dance/USA National Honor, New York NY 1987 Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX 1985 Laurence Olivier Award for Best New Dance Production (Pictures), London, England Kennedy Center Honors, Washington DC MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL 1984 Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY 1983 The Mayor of New York's Award of Honor for Arts and Culture, New York NY 1982 The Samuel H. Scripps/American Dance Festival Award, Durham NC Commandeur de l'Ordre des Arts et des Lettres, France 1977 Capezio Award, New York NY 1975 New York State Award, Albany NY 1972 BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL 1966 Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris 1964 Medal of the Society for the Advancement of Dancing in Sweden, Stockholm 1960 Dance Magazine Award, New York NY 1959 & 1954 Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY Footnotes [ edit] ^ "Merce Cunningham obituary". Telegraph (UK). July 27, 2009. Retrieved 2010-01-26. Merce Cunningham who died on July 26 aged 90, was a 20th-century choreographer; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York ^ "Merce Cunningham Dance Company". Archived from the original on 2009-07-13. Retrieved 2010-01-26 {{inconsistent citations}} ^ "Legacy Plan". Cunningham Dance Foundation. Retrieved 2010-01-26 {{inconsistent citations}} ^ "Cunningham, Merce (1919-2009), Choreographer". Retrieved 2014-09-26. ^ Merce Cunningham. Cunningham Dance Foundation, 1980. VAST: Academic Video Online. Alexander Street Press. Accessed 27 June 2015. ^ Interview with Merce Cunningham. MacNeil-Lehrer Productions, 1999. Dance in Video: Volume II. Accessed 27 June 2015. ^ "Merce Cunningham". 2013. Retrieved 2013-03-13. ^ Kaufman, Susan (30 August 2012). "John Cage, with Merce Cunningham, revolutionised music, too". Washington Post. Retrieved 28 June 2015. ^ Vaughan, David (July 27, 2009). "Merce Cunningham". The Guardian. London. Retrieved May 12, 2010. ^ "Entertainment | Arts & Culture | Dance great Cunningham dies at 90". BBC News. 2009-07-28. Retrieved 2012-11-18. ^ a b "History". Merce Cunningham Trust. Retrieved 28 June 2015. ^ Macauley, Alistair (23 March 2008). "aryshnikov's Artistry, Behind the Camera". The New York Times. Retrieved 28 June 2015. ^ Village Voice, Deborah Jowitt, Wednesday, September 7, 2011. ^ Macaulay, Alastair (2011-12-30). "Merce Cunningham Dance Company at Park Avenue Armory". ISSN   0362-4331. Retrieved 2019-01-14. ^ "Merce Cunningham". Retrieved 28 June 2015. ^ Vadukul, Alex (April 20, 2009). "Sonic Youth, John Paul Jones Give Merce Cunningham's Dance Show a Fierce Soundtrack". Rolling Stone. Retrieved 31 January 2012. ^ a b c d Au, Susan. Ballet and Modern Dance. ^ Johnston, Jill (1996). Jasper Johns: Privileged Information. New York: Thames and Hudson. ISBN   0500017360. Quoted in Glueck, Grace (9 Feb 1997). "Hiding Behind the Flag". The New York Times Book Review. Retrieved 29 June 2015. ^ Au, Susan. Ballet and Modern Dance. Thames & Hudson. p. 156. ISBN   978-0-500-20352-1. ^ Au, Susan. Ballet and Modern Dance (2nd ed. ). ISBN   978-0-500-20352-1. ^ Mondays with Merce ^ Au, Susan (2012). London, England: Thames & Hudson world of art. ISBN   978-0-500-20411-5. ^ Daniel J. Wakin (June 9, 2009), Merce Cunningham Sets Plan for His Dance Legacy New York Times. ^ "Sutton's Law: A Final Goodbye". 2012-03-18. Retrieved 2012-11-18. ^ "Merce Cunningham Dance Company – Biography". 2009. Archived from the original on 2006-10-01. Retrieved 2009-07-28. ^ "Robert Rauschenberg", Wikipedia, 2019-01-08, retrieved 2019-01-14 Sources [ edit] Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York. " (Biography, 368 pp, in German). Schott Music, Mainz, Germany. ISBN   978-3-7957-0800-9 (Biography on pianist Grete Sultan, John Cages's and Merce Cunningham's close friend. Many aspects regarding Cage and Cunningham! ) Bremser, M. (Ed) (1999), Fifty Contemporary Choreographers. Routledge. ISBN   0-415-10364-9 Cunningham, Merce (1968), Changes/Notes on Choreography. Something Else Press. Cunningham, M. and Lesschaeve, J. (1992), The Dancer and the Dance. Marion Boyars Publishers. ISBN   0-7145-2931-1 Vaughan, David (1999), Merce Cunningham: Fifty Years. Aperture. ISBN   0-89381-863-1 Vaughan, D. and Cunningham, M. (2002), Other Animals. ISBN   978-0-89381-946-0 Kostelanetz, R. (1998), Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN   0-306-80877-3 Brown, Carolyn (2007), Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN   978-0-394-40191-1 Biography 53750 External links [ edit] Merce Cunningham Trust Merce Cunningham Dance Company Archival footage of the Merce Cunningham Dance Company performing in Sounddance in 2009 at Jacob's Pillow. DLAR Artists bio PBS:American Masters biography Kennedy Center biography Archive footage of the Merce Cunningham Dance Company performing Cunningham's piece Banjo in 1955 at Jacob's Pillow American Ballet Theater biography Merce Cunningham Film & Video at Electronic Arts Intermix Merce Cunningham ìn the Mediateca Media Art Space Merce Cunningham on IMDb Merce Cunningham — Daily Telegraph obituary Guardian Obituary Obituary in the Star-Gazette New York Times Obituary 28 July 2009.

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Excellent and insightful film on the creative genius, Merce Cunningham. I will recommend to all my friends. From Wikipedia, the free encyclopedia Jump to navigation Jump to search Cunningham is a surname of Scottish origin, see Clan Cunningham. Notable people sharing this surname [ edit] A–C [ edit] Aaron Cunningham (born 1986), American baseball player Abe Cunningham, American drummer Alan Cunningham, British Second World War general Alexander Cunningham (1814–1893), British archaeologist, father of the Archaeological Survey of India Alexander Cunningham, 1st Earl of Glencairn (1426–1488), a Scottish nobleman Alexander Cunningham, 5th Earl of Glencairn (died 1574), a Scottish nobleman and covenanter Alfred Austell Cunningham, aviation pioneer Allan Cunningham (disambiguation) or Allen Cunningham, several people Andrew Cunningham, 1st Viscount Cunningham of Hyndhope, British Second World War admiral Andrew Cunningham (disambiguation) or Andy Cunningham, several people Archibald Cunningham (1879–1915), Scottish footballer Bertram Cunningham, British Anglican priest and academic Bill Cunningham (disambiguation), several people Bill Cunningham (talk show host), American radio talk show host Billy Cunningham, American basketball player and coach Birgit Cunningham, Anglo-American activist Bob Cunningham (disambiguation), several people Briggs Cunningham, American racing driver and team owner, sports car designer and manufacturer Brysson Cunningham, Scottish harbour engineer and author on dock and harbour engineering and operation Cal Cunningham (born 1973), Democratic state senator in North Carolina Charles Cunningham (disambiguation), several people, including: Charles Cunningham, Royal Navy admiral Charles Milton Cunningham, American newspaper editor and politician Chris Cunningham, British director and video artist Clare Cunningham (athlete), British athlete Claire Cunningham, British choreographer Colin Cunningham (swimmer), British swimmer D–J [ edit] Daniel John Cunningham, Scottish anatomist Darryl Cunningham, English cartoonist David Cunningham (disambiguation), several people David Loren Cunningham, film producer Dominick Cunningham (born 1995), British artistic gymnast Ebenezer Cunningham, British mathematician Edward Francis Cunningham, Scottish painter Edwin Cunningham (disambiguation), several people Elaine Cunningham, American fantasy and science-fiction author Elmer T. Cunningham, American entrepreneur and businessman, specializing in vacuum tubes and radio manufacturing E. V. Cunningham, pseudonym of Howard Fast, an American writer Francis Cunningham (painter) Gary Cunningham (born 1940/1941), American basketball coach and athletic director Gina Cunningham (born 1955), American multidisciplinary artist Glenn Cunningham (disambiguation), several people Graeme Cunningham (cricketer), Australian Cricketer Graeme Cunningham (Scottish footballer), Scottish footballer Hugh Cunningham, former British Army officer Imogen Cunningham (1883–1976), American photographer J. Cunningham, American poet Jack Cunningham, Baron Cunningham of Felling (born 1939), British politician James Cunningham (disambiguation), several people, including: James Cunningham (director), New Zealand film director James Cunningham, 7th Earl of Glencairn, Scottish peer and member of the Privy Council of Scotland James Cunningham, 14th Earl of Glencairn, Scottish nobleman James Cunningham (Canadian politician) (1834–1925), former member of the Canadian House of Commons from British Columbia James B. Cunningham, American diplomat, formerly the acting US ambassador to the UN James Cunningham (Australian politician), Australian politician and President of the Senate Jason D. Cunningham, US Air Force pararescue medic Jason Cunningham, English boxer Jean Wooden Cunningham, American politician and lawyer Jeff Cunningham, American association football player Jim Cunningham (politician) (born 1941), Labour MP in the United Kingdom Jim Cunningham (ice hockey) (born 1956), ice hockey player in the National Hockey League Jim Cunningham (American football), former NFL running back for the Washington Redskins Jimmy Cunningham, former return specialist and wide receiver in the Canadian Football League and the XFL John Cunningham (officer), Anglo-Irish soldier of the 17th century John Cunningham (VC 1916), East Yorkshire Regiment John Cunningham (VC 1917), Prince of Wales's Leinster Regiment John Cunningham (RAF officer), RAF night fighter ace (known as Cat's Eyes Cunningham) John Cunningham (Royal Navy officer), British Second World War admiral; First Sea Lord John W. Cunningham, author of Western novels and stories Johnny Cunningham, (1957–2003), Scottish folk musician K–Z [ edit] Keiron Cunningham, British rugby league player Kenny Cunningham, Irish footballer Korey Cunningham, American football player Kristan Cunningham, American interior designer and television personality Larry Cunningham (1938–2012), Irish country music singer Larry Cunningham (1951–2019), American R&B singer, member of the vocal group The Floaters Laurie Cunningham, English former footballer Leland Cunningham, American astronomer and electronic computing authority Liam Cunningham, an Irish actor Loren Cunningham, American-born missions statesman and founder of Youth With A Mission Marta Cunningham (1869–1937), American-born European-based soprano-singer and philanthropist Melvin Cunningham (born 1973), American football player Merce Cunningham (1919–2009), American choreographer Michael Cunningham, award-winning American novelist, author of The Hours Michael R. Cunningham, Chancellor National University System Milton Joseph Cunningham, American politician Myrna Cunningham, Miskita feminist and indigenous rights activist from Nicaragua Owen Cunningham, Australian rugby league footballer Patrick Cunningham (1878–1960), Irish politician Phil Cunningham (folk musician), Scottish accordionist with the folk group Silly Wizard Phil Cunningham (rock musician), English musician Randall Duke Cunningham, U. S. Representative from California Randall Cunningham, American football player Redmond Cunningham, Irish officer in the British Army Richie Cunningham (American football) (born 1970), American football placekicker Robert Cunningham (disambiguation), any of several people Ross Cunningham, Scottish footballer Scott Cunningham, writer Sean S. Cunningham, film producer and director Sederrik Cunningham, American football player Sophie Cunningham (born 1963), Australian writer and editor Sophie Cunningham (basketball) (born 1996), American basketball player Stacey Cunningham, 67th President of the New York Stock Exchange Sumner Archibald Cunningham (1843–1913), American Confederate veteran and newspaper editor Tony Cunningham (footballer), Jamaican former footballer Walter Cunningham, astronaut Wade Cunningham, New Zealand racing driver Ward Cunningham, founder of the first wiki William Cunningham (disambiguation) W. Peyton Cunningham, American lawyer and state legislator Zach Cunningham (born 1994), American football player Notable fictional characters sharing this surname [ edit] Max Cunningham, character from Hollyoaks Howard Cunningham, character from Happy Days Joanie Cunningham, character from Happy Days Marion Cunningham, character from Happy Days Richie Cunningham, character from Happy Days Tom Cunningham, character from Hollyoaks The Cunningham family in To Kill a Mockingbird by Harper Lee Mr and Alec Cunningham in the Sherlock Holmes story " The Adventure of the Reigate Squire ".

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