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The Phantom of the Opera (2004 film)
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The Phantom of the Opera
Theatrical release poster
Directed by
Joel Schumacher
Produced by
Andrew Lloyd Webber
Screenplay by
Andrew Lloyd Webber
Joel Schumacher
Based on
The Phantom of the Opera
by Andrew Lloyd Webber
Charles Hart
Richard Stilgoe
Le Fantôme de l'Opéra by Gaston Leroux
Starring
Gerard Butler
Emmy Rossum
Patrick Wilson
Miranda Richardson
Simon Callow
Ciarán Hinds
Minnie Driver
Jennifer Ellison
Music by
Andrew Lloyd Webber
Cinematography
John Mathieson
Edited by
Terry Rawlings
Production
company
Joel Schumacher Productions
Really Useful Films
Scion Films
Distributed by
Warner Bros. Pictures (United States)
Odyssey Entertainment (International)
Release date
10 December 2004 (2004-12-10) (United Kingdom)
22 December 2004 (2004-12-22) (United States)
Running time
143 minutes[1]
Country
United Kingdom
United States
Language
English
Budget
$70 million[2]
Box office
$154.6 million[2]
The Phantom of the Opera is a 2004 musical drama film based on Andrew Lloyd Webber's 1986 musical of the same name, which in turn is based on the French novel Le Fantôme de l'Opéra by Gaston Leroux. Produced and co-written by Lloyd Webber and directed by Joel Schumacher, it stars Gerard Butler in the title role, as the Phantom. Emmy Rossum as Christine Daaé, Patrick Wilson as Raoul, Miranda Richardson as Madame Giry, Minnie Driver as Carlotta Giudicelli, and Jennifer Ellison as Meg Giry.
The film was announced in 1989 but production did not start until 2002 due to Lloyd Webber's divorce and Schumacher's busy career. It was shot entirely at Pinewood Studios, with scenery created with miniatures and computer graphics. Rossum, Wilson and Driver had singing experience, but Butler had none and so had music lessons. The Phantom of the Opera grossed $154.6 million worldwide and received mixed to negative reviews from critics, but was very well received by audiences. Critics praised the visuals and acting (particularly Rossum's performance) but criticized the writing and directing.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Filming
4 Reception
4.1 Release and awards
4.2 Critical reception
5 See also
6 References
7 External links
Plot[edit]
In 1919, the Opéra Populaire holds a public auction to clear the theatre's vaults. Raoul, Viscount de Chagny purchases a papier-mâché music box in the shape of a monkey and eyes it sadly as Madame Giry, an aged woman dressed in black, inspects him. The auctioneer then presents a shattered chandelier as the next item up for bid, claiming that it once played a key role in "the strange affair of the Phantom of the Opera". As it flickers to life and slowly ascends to its original place in the rafters, the auction is transported back in time to the year 1870.
Back to this time, while the company rehearses for a performance of the grand opera Hannibal, manager Monsieur Lefèvre announces that he has decided to retire and that the opera has been purchased by Richard Firmin and Gilles André, two men who have no experience with the arts whatsoever. When resident soprano Carlotta Giudicelli begins to sing for the managers, a backdrop collapses and causes everyone to blame the "Opera Ghost", a mysterious figure who is rumored to live in the catacombs beneath the theater. Carlotta refuses to sing and storms offstage, leaving Firmin and André no choice but to cancel the performance. At the last minute, ballet mistress Madame Giry suggests that dancer Christine Daaé take Carlotta's place as she has been "well taught." The managers reluctantly agree and, to their surprise, Christine wins them over.
Later that night, after Christine's triumphant stage debut, she explains to Madame Giry's daughter, Meg, that she is being coached by a mysterious tutor who she refers to as the "Angel of Music"; a tutor who her late father said would teach her to sing. Christine returns to her dressing room to find Raoul, the opera's new patron and her former childhood sweetheart, waiting for her. The two reminisce about their youth as Christine tells Raoul her secret, only for him to laugh at her "fantasy" and invite her to dinner despite her protests. Unbeknownst to everyone, except Madame Giry, the Phantom of the Opera locks Christine in her dressing room and reveals himself in her mirror to her before hypnotizing her and taking her to his subterranean lair.
The Phantom reveals to her that he loves her and wants her to love him back. He shows Christine a bust of herself, wearing a wedding dress and veil, causing her to faint, and the Phantom places her in a bed. The next morning she awakes to find the Phantom writing music. She approaches him and removes his mask out of curiosity. He bursts into a fit of rage, covering his face with his hand. He at first says she must stay forever because she saw his deformities, revealing that he "dreams of beauty". Pitying him Christine hands him back his mask and the two have a moment of understanding. He then decides to return her to the opera house.
That morning, the two managers lament Christine's disappearance, as well as series of notes they received from the Opera Ghost trying to blackmail them for his payment and ordering them on how to run the opera house. When Carlotta returns, she is furious to find a note sent to her saying if she sang as the countess in Il Muto that night instead of Christine, then disaster "beyond [their] imagination" would occur. Firmin and André ignore the ghost's warnings and give Carlotta the lead role. That night, the Phantom interrupts the performance and criticizes their failure to follow his orders.
Carlotta continues to sing, but her voice croaks (as a result of the Phantom tampering with her throat spray) and the lead role is given to Christine. While the ballet is being performed, the Phantom, not realizing the performance change, encounters the chief stagehand Joseph Buquet and strangles him before hanging him from above, creating chaos. Christine flees to the roof with Raoul. She reveals to him that she has seen the Phantom's face and fears him, but also pities him because of his sadness. Raoul tells Christine he loves her and will protect her forevermore. Christine returns his love, kissing him passionately and they both leave the roof. The Phantom, who witnessed the scene, becomes heartbroken. He then hears them both singing together. Growing furious at Raoul, he vows revenge on them both.
Three months later, a masquerade party ensues in the opera house. At the party, Christine wears her new engagement ring from Raoul. The event is interrupted once again by the Phantom, who is dressed as Red Death. The Phantom brings his own composition, Don Juan Triumphant, and orders the managers to stage the opera. Raoul exits the room and Christine approaches the Phantom. At the sight of the engagement ring, the Phantom rips it from Christine and disappears into a trap on the floor. Raoul tries to follow him but is stopped by Madame Giry, who privately tells him the story of the Phantom's past. When she was a little girl, she went to a freak circus where they featured a deformed child in a cage. The child was beaten while everyone watched and laughed. The ringmaster then removed a burlap sack covering the child's face, revealing his deformity. Only the young Madame Giry pitied him. She was the last to leave and saw the child strangle the ringmaster with a rope. Chased by the police, Madame Giry helped him escape and found shelter for him beneath the opera house, where she has hidden him from the world ever since.
Christine takes a carriage to visit her father's grave, but the Phantom secretly takes over the reins. Raoul follows when he realizes she's gone. Christine arrives and laments over her father's death. The Phantom tries to win her back by pretending to be her father's angel, but Raoul arrives and stops him. A sword fight ensues in the cemetery, where Raoul eventually disarms the Phantom and is about to kill him, but Christine pleads for him not to. His rage seemingly augmented, the Phantom watches angrily as Christine and Raoul ride away.
Christine admits she is afraid of the Phantom and tells Raoul he will never stop trying to recapture her. Raoul realizes that they can use the Phantom's opera to capture him, as he will surely attend. Don Juan Triumphant is performed, and the Phantom makes his entrance (having secretly replaced the lead) with Christine. Raoul can do nothing but watch from his box as Christine falls for the Phantom yet again. However, she once again removes his mask, revealing his deformities to the entire audience, who scream in fear. He escapes with her by dropping the chandelier and setting the opera house on fire. An angry mob gathers in the opera house to hunt him.
The Phantom brings Christine back down to his lair. Madame Giry shows Raoul where the Phantom lives hopeful he can beat the mob and rescue Christine safely. The Phantom forces her to don the wedding dress and once again professes his love, and orders Christine to marry him. Christine tries to convince the Phantom that she does not fear his ugliness, but rather his anger and willingness to kill to get what he wants. Just then, Raoul enters the lair, and the Phantom ties him to a gate and threatens to kill him if Christine refuses to marry him. Christine reflects over the impossible choice before passionately kissing the Phantom to show him he is not alone in the world. The Phantom is shocked from experiencing real human love for the first time in his life. Ashamed of his murderous actions, and hearing the echo of the angry mob approaching his lair, he tells Christine and Raoul to immediately leave and orders them to never return. He finds comfort in a little monkey music box. Christine approaches the Phantom, who tells her that he loves her, and she silently gives him the diamond ring from her finger to remember her by. After Christine and Raoul leave, the Phantom smashes every mirror in his underground lair and disappears through a secret passage behind a velvet curtain just before the mob arrives. Upon entering, Meg finds only the Phantom's white mask.
Moving back to 1919, the elderly Raoul visits Christine's gravesite and places the music box near her tombstone. He stands in silence for a moment and then turns to leave, but stops upon noticing a fresh red rose with a black ribbon tied around the stem with Christine's engagement ring attached to it; implying that the Phantom is alive, and still loves Christine.
Cast[edit]
Gerard Butler as The Phantom
Emmy Rossum as Christine Daaé
Patrick Wilson as Viscount Raoul de Chagny
Miranda Richardson as Madame Giry
Minnie Driver as Carlotta Giudicelli
Margaret Preece as Carlotta's singing voice except for "Learn to Be Lonely"
Simon Callow as Gilles André
Ciarán Hinds as Richard Firmin
Victor McGuire as Ubaldo Piangi
Jennifer Ellison as Meg Giry
Murray Melvin as Monsieur Reyer
Kevin McNally as Joseph Buquet
James Fleet as Monsieur Lefèvre
Ramin Karimloo as Gustave Daaé
Production[edit]
Development[edit]
Warner Bros. purchased the film rights to The Phantom of the Opera in early 1989, granting Andrew Lloyd Webber total artistic control.[3] Despite interest from A-list directors, Lloyd Webber and Warner Bros. instantly hired Joel Schumacher to direct; Lloyd Webber had been impressed with Schumacher's use of music in The Lost Boys.[4] The duo wrote the screenplay that same year,[5] while Michael Crawford and Sarah Brightman were cast to reprise their roles from the original stage production. Filming was set to begin at Pinewood Studios in England in July 1990, under a $25 million budget.[6]
However, the start date was pushed to November 1990 at both Babelsberg Studios in Munich, Germany and Barrandov Studios in Prague, Czech Republic.[7] Production for The Phantom of the Opera was stalled with Lloyd Webber and Brightman's divorce.[8] "Everything got tied up in settlements", Schumacher reflected. "Then my career took off and I was really busy."[9] As a result, The Phantom of the Opera languished in development limbo for Warner Bros. throughout the 1990s.[10] In February 1997, Schumacher considered returning, but eventually dropped out in favour of Batman Unchained, Runaway Jury and Dreamgirls.[11] The studio was keen to cast John Travolta for the lead role,[12] but also held discussions with Antonio Banderas, who undertook vocal preparation and sang the role of the Phantom in the TV special Andrew Lloyd Webber: The Royal Albert Hall Celebration.[13]
Schumacher and Lloyd Webber restarted development for The Phantom of the Opera in December 2002.[5] It was then announced in January 2003 that Lloyd Webber's Really Useful Group had purchased the film rights from Warner Bros. in an attempt to produce The Phantom of the Opera independently.[13] As a result, Lloyd Webber invested $6 million of his own money.[14] The Phantom of the Opera was produced on a $55 million budget. A further $15 million was used for marketing, bringing the final budget to $70 million.[2] Warner Bros. was given a first look deal for distribution; the studio did not sign on until June 2003, when the principal cast was chosen.[15]
Casting[edit]
Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing. "They rang to ask about my availability", Jackman explained in an April 2003 interview, "probably about 20 other actors as well. I wasn't available, unfortunately. So, that was a bummer."[16] "We needed somebody who has a bit of rock and roll sensibility in him", Andrew Lloyd Webber explained. "He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger."[5] Director Joel Schumacher had been impressed with Gerard Butler's performance in Dracula 2000.[17] Prior to his audition, Butler had no professional singing experience and had only taken four voice lessons before singing "The Music of the Night" for Lloyd Webber.[3]
Katie Holmes, who began working with a vocal coach, was the front-runner for Christine Daaé in March 2003.[18] She was later replaced by Anne Hathaway, a classically trained soprano, in 2004. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement, which she was contractually obligated to make.[19] Hathaway was then replaced with Emmy Rossum. The actress modeled the relationship between the Phantom and Christine after Suzanne Farrell and George Balanchine.[14] Patrick Wilson was cast as Raoul based on his previous Broadway theatre career. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna. Despite also lacking singing experience, Ciarán Hinds was cast by Schumacher as Richard Firmin; the two had previously worked together on Veronica Guerin.[4] Ramin Karimloo also briefly appears as the portrait of Gustave Daaé, Christine's father. Karimloo later played the Phantom as well as the role of Raoul on London's West End.
Filming[edit]
Principal photography lasted from 15 September 2003 to 15 January 2004. The film was shot entirely using eight sound stages at Pinewood Studios,[20] where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.[4] Cinesite also created a miniature falling chandelier, since a life-size model was too big for the actual set.[21]
Production designer Anthony D. G. Pratt was influenced by French architect Charles Garnier, designer of the original Paris opera house, as well as Edgar Degas, John Singer Sargent, Gustave Caillebotte, the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti. Schumacher was inspired by Jean Cocteau's Beauty and the Beast (1946), where a hallway is lined with arms holding candelabra. The cemetery was based on the Père Lachaise and Montparnasse.[22] Costume designer Alexandra Byrne utilised a limited black, white, gold and silver colour palette for the Masquerade ball.[4]
Reception[edit]
Release and awards[edit]
The Phantom of the Opera was released in the United States on 22 December 2004. With a limited release of 622 theaters, it opened at tenth place at the weekend box office, grossing $6.5 million across five days.[23] After expanding to 907 screens on 14 January 2005[24] the film obtained the 9th spot at the box office,[25] which it retained during its 1,511 screens wide release on 21 January 2005.[26][27] The total domestic gross was $51,225,796. With a further $107 million earned internationally, The Phantom of the Opera reached a worldwide total of $158,225,796.[2] A few foreign markets were particularly successful,[28] such as Japan, where the film's ¥4.20 billion ($35 million) gross stood as the 6th most successful foreign film and 9th overall of the year.[29][30] The United Kingdom and South Korea both had over $10 million in receipts, with $17.5 million and $11.9 million, respectively.[2][31]
Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction, as was John Mathieson for Cinematography. However, both categories were awarded to The Aviator. Andrew Lloyd Webber and lyricist Charles Hart were nominated for the Academy Award for Best Original Song ("Learn to Be Lonely") but lost to "Al otro lado del río" from The Motorcycle Diaries.[32] The song was also nominated for the Golden Globe but it lost to Alfie's "Old Habits Die Hard". In the same ceremony, Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy, losing to Annette Bening in Being Julia.[33] At the Saturn Awards, Rossum won for Best Performance by a Younger Actor,[34] while The Phantom of the Opera was nominated for Best Action/Adventure/Thriller Film and Alexandra Byrne was nominated for Costume Design.[35]
The soundtrack of the film was released in two separate CD formats on 23 November 2004 as a two-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition.
The film had its initial North America video release on DVD and VHS on 3 May 2005, following its first digital release on HD-DVD on 18 April 2006 and a Blu-ray edition on 31 October 2006.
Critical reception[edit]
The film received mixed to negative reviews from film critics but received highly positive reviews from audiences. Rotten Tomatoes gives it 32% rotten with an average score of 5/10. "The music of the night has hit something of a sour note: Critics are calling the screen adaptation of Andrew Lloyd Webber's popular musical histrionic, boring and lacking in both romance and danger", the consensus read. "Still, some have praised the film for its sheer spectacle".[36] By comparison, Metacritic calculated an average score of 40/100 from its 39 reviews collected.[37] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while it currently holds a 7.3/10 rating on IMDB.
"The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for."
— Andrew Lloyd Webber[5]
Despite having been impressed with the cast, Jonathan Rosenbaum of Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever."[38] Stephanie Zacharek of Salon.com believed that Phantom of the Opera "takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."[39]
In a mixed review for Newsweek, David Ansen praised Rossum's performance, but criticized the filmmakers for their focus on visual design rather than presenting a cohesive storyline. "Its kitschy romanticism bored me on Broadway and it bores me here—I may not be the most reliable witness. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo-Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming."[40] Owen Gleiberman of Entertainment Weekly believed Schumacher did not add enough dimension in adapting The Phantom of the Opera. "Schumacher, the man who added nipples to Batman's suit, has staged Phantom chastely, as if his job were to adhere the audience to every note".[41]
Roger Ebert reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific. There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed."[42] In contrasting between the popularity of the Broadway musical, Michael Dequina of Film Threat magazine explained that "it conjures up this unexplainable spell that leaves audiences sad, sentimental, swooning, smiling—in some way transported and moved. Now, in Schumacher's film, that spell lives on."[43]
See also[edit]
The Phantom of the Opera (2004 soundtrack)
The Phantom of the Opera
References[edit]
Jump up ^ "Andrew Lloyd Webber's The Phantom of the Opera (12A)". British Board of Film Classification. 2004-08-26. Retrieved 2013-03-04.
^ Jump up to: a b c d e "The Phantom of the Opera (2004)". Box Office Mojo. Retrieved March 18, 2013.
^ Jump up to: a b Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25.
^ Jump up to: a b c d The Making of The Phantom of the Opera, [DVD, 2005], Warner Home Video
^ Jump up to: a b c d DVD production notes
Jump up ^ Susan Heller Anderson (1990-03-31). "Chronicle". The New York Times.
Jump up ^ Lawrence Van Gelder (1990-08-10). "At the Movies". The New York Times.
Jump up ^ Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25.
Jump up ^ Todd Gilchrist (2004-12-20). "Interview: Joel Schumacher". IGN. Retrieved 2009-09-26.
Jump up ^ Michael Fleming (2003-04-01). "'Phantom' cues Wilson for tuner's adaptation". Variety. Retrieved 2009-09-20.
Jump up ^ Michael Fleming (1997-02-21). "Helmer's 3rd At Bat". Variety. Retrieved 2009-09-19.
Jump up ^ Michael Fleming (1997-05-15). "Krane Takes Bull By Horns". Variety. Retrieved 2009-09-19.
^ Jump up to: a b Michael Fleming (2003-01-09). "Lloyd Webber back on 'Phantom' prowl". Variety. Retrieved 2009-09-19.
^ Jump up to: a b Phoebe Hoban (2004-12-24). "In the 'Phantom' Movie, Over-the-Top Goes Higher". The New York Times.
Jump up ^ Adam Dawtrey (2003-06-13). "'Phantom' pic announces latest castings". Variety. Retrieved 2009-09-20.
Jump up ^ Michelle Zaromski (2003-04-29). "An Interview with Michael Jakson". IGN. Retrieved 2009-09-25.
Jump up ^ Lynn Hirschberg (2005-03-13). "Trading Faces". The New York Times.
Jump up ^ Michael Fleming (2003-03-13). "'Men' treads carefully into sequel territory". Variety. Retrieved 2009-09-20.
Jump up ^ "Anne Hathaway: Biography". TV Guide. Retrieved October 19, 2009.
Jump up ^ Staff (2003-10-01). "Production Commences On 'Andrew Lloyd Webber's The Phantom of the Opera'". Box Office Mojo. Retrieved 2009-09-26.
Jump up ^ Skweres, Mary Ann (2004-12-22). "Phantom of the Opera: A Classic in Miniature". Animation World Network. Retrieved 2009-12-23.
Jump up ^ Missy Schwartz (2004-11-05). "Behind the Music". Entertainment Weekly. Retrieved 2009-09-25.
Jump up ^ Gentile, Gary (2004-12-28). "Audiences glad to 'Meet the Fockers'". Associated Press. Retrieved 2011-02-16. [dead link]
Jump up ^ Snyder, Gabriel (2005-01-13). "'Fockers' finds foes". Variety. Retrieved 2011-02-16.
Jump up ^ Blank, Ed (2005-01-18). "'Coach Carter' tops local, national box office in slow weekend". Pittsburgh Tribune-Review. Archived from the original on 2012-12-16. Retrieved 2011-02-16.
Jump up ^ Gans, Andrew (2005-01-21). ""The Phantom of the Opera" Opens Nationwide Jan. 21". Playbill. Archived from the original on June 29, 2011. Retrieved 2011-02-16.
Jump up ^ "Weekend Box Office Results for January 21–23, 2005". Box Office Mojo. Retrieved 2011-02-16.
Jump up ^ Bresnan, Conor (2005-02-02). "Around the World Round Up: 'Fockers' Inherit the World". Box Office Mojo. Archived from the original on July 8, 2011. Retrieved 2011-02-16.
Jump up ^ "MOVIES WITH BOX OFFICE GROSS RECEIPTS EXCEEDING 1 BILLION YEN". Motion Picture Producers Association of Japan. Retrieved 2011-02-16.
Jump up ^ "2005 Japan Yearly Box Office". Box Office Mojo. Retrieved 2011-02-16.
Jump up ^ "The Phantom of the Opera - International Box Office Results". Box Office Mojo. Retrieved 2011-02-16.
Jump up ^ "The Phantom of the Opera". Academy of Motion Picture Arts and Sciences. Archived from the original on July 14, 2014. Retrieved October 14, 2009.
Jump up ^ "Phantom of the Opera, The". Hollywood Foreign Press Association. Archived from the original on December 15, 2009. Retrieved 2009-10-14.
Jump up ^ "Past Saturn Awards". Academy of Science Fiction, Fantasy & Horror Films. Archived from the original on February 7, 2008. Retrieved 2009-10-14.
Jump up ^ "2005 Saturn Awards Nominations". Academy of Science Fiction, Fantasy & Horror Films. Archived from the original on February 28, 2009. Retrieved 2009-10-14.
Jump up ^ "The Phantom of the Opera". Rotten Tomatoes. Retrieved 2009-09-19.
Jump up ^ "The Phantom of the Opera". Metacritic. Retrieved 2009-09-19.
Jump up ^ Jonathan Rosenbaum (2004-12-20). "The Phantom of the Opera". Chicago Reader. Retrieved 2009-10-06.
Jump up ^ Stephanie Zacharek (2004-12-22). "The Phantom of the Opera". Salon.com. Archived from the original on September 4, 2009. Retrieved 2009-10-06.
Jump up ^ David Ansen (2004-12-20). "The Phantom of the Opera: Into the Night". Newsweek. Retrieved 2009-10-09.
Jump up ^ Owen Gleiberman (2005-01-15). "The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-10-09.
Jump up ^ Roger Ebert (2004-12-22). "The Phantom of the Opera". Chicago Sun-Times. Retrieved 2009-10-09.
Jump up ^ Michael Dequina (2004-12-22). "Andrew Lloyd Webber's The Phantom of the Opera". Film Threat. Archived from the original on 2005-04-11. Retrieved 2009-10-09.
External links[edit]
Wikiquote has quotations related to: The Phantom of the Opera (2004 film)
Official website
The Phantom of the Opera on IMDb
The Phantom of the Opera at the TCM Movie Database
The Phantom of the Opera at Box Office Mojo
The Phantom of the Opera at Rotten Tomatoes
The Phantom of the Opera at Metacritic
Michael Williams; Benedict Carver (1998-04-05). "Banderas drawn to 'Phantom'". Variety.
[show]
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Opera (1987)
The Phantom of the Opera (1989)
Phantom of the Mall: Eric's Revenge (1989)
The Phantom of the Opera (1990)
The Phantom Lover (1995)
The Phantom of the Opera (1998)
The Phantom of the Opera (2004)
The Phantom of the Opera at the Royal Albert Hall (2011)
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[show]
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The Incredible Shrinking Woman (1981)
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Simon Helberg
From Wikipedia, the free encyclopedia
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Simon Helberg
Helberg at PaleyFest 2013 for The Big Bang Theory
Born
Simon Maxwell Helberg
(1980-12-09) December 9, 1980 (age 37)
Los Angeles, California, U.S.
Alma mater
New York University Tisch School of Arts
Occupation
Actor, comedian, musician[1][2]
Years active
1999–present
Television
The Big Bang Theory
Spouse(s)
Jocelyn Towne (m. 2007)
Children
2
Parent(s)
Sandy Helberg (father)
Harriet B. Birnbaum (mother)
Simon Maxwell Helberg[3] (born December 9, 1980) is an American actor, comedian, and musician. He is best known for his role as Howard Wolowitz in the sitcom The Big Bang Theory (2007–present), for which he won a Critics' Choice Television Award for Best Supporting Actor in a Comedy Series, and as Cosmé McMoon in the film Florence Foster Jenkins (2016), which earned him a Golden Globe Award nomination for Best Supporting Actor in a Motion Picture.
Helberg has appeared on the sketch comedy series MADtv and is also known for his role as Moist in Joss Whedon's web miniseries Dr. Horrible's Sing-Along Blog (2008). He has further performed in films such as Old School (2003), Good Night, and Good Luck (2005), Walk Hard: The Dewey Cox Story (2007) and A Serious Man (2009).
Contents
[hide]
1 Early life
2 Career
3 Personal life
4 Filmography
4.1 Film
4.2 Television
5 References
6 External links
Early life[edit]
Helberg was born on December 9, 1980, in Los Angeles.[3] He is the son of actor Sandy Helberg and casting director Harriet Helberg (née Birnbaum).[4][3] He was raised in Judaism, "Conservative to Reform but more Reform as time went on."[5][6]
Helberg attended middle and high school at the Crossroads School in Santa Monica, California, with Jason Ritter, who later became his roommate at New York University.[7] He attended New York University's Tisch School of the Arts,[8] where he trained at the Atlantic Theater Company.[4]
Career[edit]
Since the early 2000s, Helberg performed with comedian Derek Waters as the sketch comedy duo Derek & Simon.[9] In 2007, the two starred together in Derek & Simon: The Show, a web series they created with comedian Bob Odenkirk for the comedy website Super Deluxe. They also made two short films "Derek & Simon: The Pity Card" (co-starring Zach Galifianakis and Bill Hader) and "Derek & Simon: A Bee and a Cigarette" (co-starring Casey Wilson and Emily Rutherfurd) and had a pilot deal with HBO in 2005. One of Helberg's earliest jobs in television was briefly joining the cast of MADtv for one season in 2002.
Helberg appeared in the 2002 feature film Van Wilder as one of the geeky students for whom Van Wilder was throwing a party. He had a minor role in the 2003 movie Old School. In 2004, he was in two episodes of Reno 911!: Student Driver in Raineesha X and Hooker Buying Son in Not Without My Mustache. He had a small role in the sixth episode of Quintuplets, Get a Job, as a man called Neil working behind the counter at a shoe shop where Paige and Patton were working.
In 2004, he appeared in the film A Cinderella Story, starring Hilary Duff and Chad Michael Murray. Helberg played the minor role of Simon in George Clooney's 2005 film Good Night, and Good Luck, where he had one line. In 2005, he had a bit part on Arrested Development as Jeff, an employee of the film studio where Maeby worked. From 2006–07, he had a minor supporting role as Alex Dwyer in the drama Studio 60 on the Sunset Strip. In 2006, he appeared in a series of comical TV commercials for Richard Branson's UK financial services company Virgin Money. He played a small role in the 2007 film Walk Hard: The Dewey Cox Story as a Jewish record producer.
In 2007, Helberg was cast as Howard Wolowitz,[5][10] in the CBS comedy series The Big Bang Theory.
He appeared as the character Moist in Dr. Horrible's Sing-Along Blog, and had a small role in the pilot episode of the Judd Apatow-produced sitcom Undeclared. In the 2009 Coen brothers film A Serious Man, he played junior Rabbi Scott Ginsler. He had a minor role in the season 4 finale of The Guild as one of the Game Masters.
In 2016, Helberg starred alongside Meryl Streep and Hugh Grant in Florence Foster Jenkins, directed by Stephen Frears; he played pianist Cosmé McMoon and his performance was nominated for the Golden Globe Award for Best Supporting Actor – Motion Picture.[11]
Personal life[edit]
Helberg married actress Jocelyn Towne on July 15, 2007.[12] Towne's uncle is screenwriter Robert Towne.[13] Helberg and Towne's first child, daughter Adeline, was born on May 8, 2012.[14] A son, Wilder Towne Helberg, was born on April 23, 2014.[15]
On May 14, 2013, Helberg revealed on Norm Macdonald Live that he has a black belt in karate.
Filmography[edit]
Film[edit]
Year
Title
Role
Note
1999 Mumford College Roommate
2002 Van Wilder Vernon
2003 Old School Jerry
2004 A Cinderella Story Terry Andersons
2005 Good Night, and Good Luck. CBS page
2006 Derek & Simon: A Bee and a Cigarette Simon Short film; also writer and producer
2006 The Pity Card Simon Short film; also writer and producer
2006 Bickford Shmeckler's Cool Ideas Al
2006 The TV Set TJ Goldman
2006 For Your Consideration Junior Agent
2007 Careless Stewart
2007 Evan Almighty Staffer
2007 Mama's Boy Rathkon
2007 Walk Hard: The Dewey Cox Story Dreidel L'Chaim
2009 A Serious Man Rabbi Scott Ginsler
2011 The Selling Young Husband
2011 Let Go Frank
2013 I Am I Seth Also executive producer
2014 We'll Never Have Paris Quinn Berman Also director, writer and producer
2015 Hollywood Adventures Translator
2016 Florence Foster Jenkins Cosmé McMoon Nominated—Golden Globe Award for Best Supporting Actor – Motion Picture
Television[edit]
Year
Title
Role
Note
2001 Popular Gus Latrine Episode: "Coup"
2001 Cursed Andy Tinker Episode: "And then Jack Became the Voice of Cougars"
2001 Ruling Class Fred Foster Pilot
2001 Son of the Beach Billy Episode: "It's Showtime at the Apollo 13!"
2001 Undeclared Jack Episode: "Prototype"
2002 Sabrina, the Teenage Witch The Spokesman Episode: "Time After Time"
2002 The Funkhousers Donnie Funkhouser Pilot
2002–2003 MADtv Various 5 episodes
2003 Less than Perfect Arthur Episode: "It Takes a Pillage"
2003 Tracey Ullman in the Trailer Tales Adam Television special
2004 Quintuplets Neil Episode: "Get a Job"
2004 Reno 911! Various 2 episodes
2005 Unscripted Various 2 episodes
2005 Life on a Stick Stan / Vinnie 2 episodes
2005 Arrested Development Jeff Episode: "Meat the Veals"
2004–2006 Joey Seth Tobin 4 episodes
2006 The Jake Effect Bill Skidelsky Episode: "Flight School"
2006–2007 Studio 60 on the Sunset Strip Alex Dwyer 14 episodes
2007 Derek and Simon Simon 13 Episodes; also co-creator, writer and producer
2007 The Minor Accomplishments of Jackie Woodman Matt Menard Episode: "Bad Luck Brad"
2007–present The Big Bang Theory Howard Wolowitz Critics' Choice Television Award for Best Supporting Actor in a Comedy Series (2013)
Nominated—Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series (2012–2015)
Nominated—Teen Choice Award Choice TV: Male Scene Stealer (2010)
2008 Dr. Horrible's Sing-Along Blog Moist 3 episodes
2010 The Guild Kevinator- Official Game Master Episode: "Guild Hall"
2010–2012 Kick Buttowski: Suburban Daredevil Ronaldo (voice)
2011–2016 Kung Fu Panda: Legends of Awesomeness Bian Zao (voice) 8 episodes
2013 Drunk History Frank Mason Robinson Episode: "Atlanta"
2014 The Tom and Jerry Show Napoleon (voice) 3 episodes
2015 Comedy Bang! Bang! Himself Episode: "Simon Helberg Wears a Sky Blue Button Down and Jeans"
References[edit]
Jump up ^ "Simon Helberg". Twitter. Retrieved January 5, 2015.
Jump up ^ Goldberg, Lesley. "'Big Bang Theory's' Kate Micucci on Howard's 'Song for Bernadette': Simon Helberg 'Nailed It' in One Take (Video)". The Hollywood Reporter. Retrieved January 5, 2015.
^ Jump up to: a b c "Simon Helberg". TVGuide.com. Retrieved January 4, 2015.
^ Jump up to: a b "The Big Bang Theory Cast: Simon Helberg". CBS. Archived from the original on January 23, 2014. Retrieved October 19, 2012.
^ Jump up to: a b Miller, Gerri (September 4, 2007). "Fall TV Preview: Simon Helberg". American Jewish Life. Archived from the original on October 2, 2013. Retrieved October 19, 2012.
Jump up ^ Bloom, Nate (January 26, 2012). "Jewish Stars 1/27". Cleveland Jewish News.
Jump up ^ Lindhome, Riki. "Making It #1: Jason Ritter". Nerdist. Retrieved July 26, 2011.
Jump up ^ "Eight Tisch Alumni Nominated for 18th Annual Screen Actors Guild Awards". NYU.edu. Tisch School of the Arts, New York University. Archived from the original on January 11, 2014. Retrieved October 19, 2012.
Jump up ^ Fox, Jesse David (September 1, 2015). "Bob Odenkirk Talks to Derek Waters About Drunk History, Drinking With David Simon, and the State of Sitcoms". Vulture.
Jump up ^ Quillard, Bobby (August 16, 2010). "Talk Nerdy to Me: Simon Helberg of The Big Bang Theory". Venus Zine. Archived from the original on July 17, 2011. Retrieved October 19, 2012.
Jump up ^ "Florence Foster Jenkins". IMDb.com. Internet Movie Database. Retrieved August 12, 2016.
Jump up ^ Raz, Gali (March 12, 2014). "Simon Helberg Gets Together With His Real Life Wife Jocelyn Towne To Direct A Movie – On Their Romance". Jewish Business News. Archived from the original on July 12, 2014. Retrieved January 4, 2015. Note: Webber, Us Weekly (below), gives marriage year as 2012.
Jump up ^ Bowerman, Jeanne Veillette (August 18, 2011). "Balls of Steel: I Am I ... and Then Some – Script Magazine". Scriptmag.com. Archived from the original on November 9, 2014. Retrieved 2014-05-09.
Jump up ^ Michaud, Sarah; Rizzo, Monica (January 27, 2012). "Baby on the Way for Simon Helberg". People. Retrieved January 27, 2012.
Jump up ^ Webber, Stephanie (June 24, 2014). "Simon Helberg and Wife Jocelyn Towne Welcome Second Child, Baby Boy Wilder Towne Helberg". Us Weekly. Retrieved January 4, 2015.
External links[edit]
Wikimedia Commons has media related to Simon Helberg.
Simon Helberg on IMDb
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TGIF
From Wikipedia, the free encyclopedia
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Look up TGIF in Wiktionary, the free dictionary.
TGIF may refer to:
Thank God It's Friday (also Thank Goodness It's Friday), a common expression
Arts and media[edit]
TGIF (ABC), a former two-hour programming block on the American television network ABC
"Last Friday Night (T.G.I.F.)," a 2011 single by Katy Perry
"T.G.I.F. (Thank God I'm Fresh)", a song from the Kid Cudi album Man on the Moon: The End of Day
Science and technology[edit]
Tgif (program), an interactive 2-D drawing tool under X11 for Unix and the file format it uses, .tgif
Tactical Ground Intercept Facility, a US Military Intelligence collection platform
Transforming growth interacting factor
Other uses[edit]
TGIF, Google's "all-hands" meeting
T.G.I. Friday's, an American restaurant chain
This disambiguation page lists articles associated with the title TGIF.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "https://en.wikipedia.org/w/index.php?title=TGIF&oldid=818308595"
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Fundamental analysis
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2014) (Learn how and when to remove this template message)
Financial markets
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Exchange · Securities
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Fundamental analysis, in accounting and finance, is the analysis of a business's financial statements (usually to analyze the business's assets, liabilities, and earnings); health;[1] and its competitors and markets. It also considers the overall state of the economy and factors including interest rates, production, earnings, employment, GDP, housing, manufacturing and management. There are two basic approaches that can be used: bottom up analysis and top down analysis.[2] These terms are used to distinguish such analysis from other types of investment analysis, such as quantitative and technical.
Fundamental analysis is performed on historical and present data, but with the goal of making financial forecasts. There are several possible objectives:
to conduct a company stock valuation and predict its probable price evolution;
to make a projection on its business performance;
to evaluate its management and make internal business decisions and/or to calculate its credit risk.
to find out the intrinsic value of the share.[3]
Contents
[hide]
1 The two analytical models
2 Use by different portfolio styles
3 Top-down and bottom-up approaches
4 Procedures
5 Automation
6 Criticisms
7 See also
8 References
9 External links
The two analytical models[edit]
There are two basic methodologies investors rely upon when the objective of the analysis is to determine what stock to buy and at what price, :
Fundamental analysis maintains that markets may incorrectly price a security in the short run but that the "correct" price will eventually be reached. Profits can be made by purchasing the wrongly priced security and then waiting for the market to recognize its "mistake" and reprice the security.
Technical analysis maintains that all information is reflected already in the price of a security. Technical analysts look at trends and believe that sentiment changes predate and predict trend changes. Investors' emotional responses to price movements lead to recognizable price chart patterns. Technical analysts also evaluate historical trends to predict future price movement.[4]
Investors can use one or both of these complementary methods for stock picking. For example, many fundamental investors use technicals for deciding entry and exit points. Similarly, a large proportion of technical investors use fundamentals to limit their universe of possible stock to "good" companies.
The choice of stock analysis is determined by the investor's belief in the different paradigms for "how the stock market works".For explanations of these paradigms, see the discussions at efficient-market hypothesis, random walk hypothesis, capital asset pricing model, Fed model Theory of Equity Valuation, market-based valuation, and behavioral finance.
Fundamental analysis includes:
Economic analysis
Industry analysis
Company analysis
The intrinsic value of the shares is determined based upon these three analyses. It is this value that is considered the true value of the share. If the intrinsic value is higher than the market price, buying the share is recommended. If it is equal to market price, it is recommended to hold the share; and if it is less than the market price, then one should sell the shares.
Use by different portfolio styles[edit]
Investors may also use fundamental analysis within different portfolio management styles.
Buy and hold investors believe that latching on to good businesses allows the investor's asset to grow with the business. Fundamental analysis lets them find "good" companies, so they lower their risk and the probability of wipe-out.
Value investors restrict their attention to under-valued companies, believing that "it's hard to fall out of a ditch". The values they follow come from fundamental analysis.
Managers may use fundamental analysis to correctly value "good" and "bad" companies. "Bad" companies' stock prices will eventually fluctuate, which can create opportunities for profit.
Managers may also consider the economic cycle in determining whether conditions are "right" to buy fundamentally suitable companies.
Contrarian investors hold that "in the short run, the market is a voting machine, not a weighing machine".[5] Fundamental analysis allows a broker to make his or her own decision on value, while ignoring the opinions of the market.
Managers may use fundamental analysis to determine future growth rates for buying high priced growth stocks.
Managers may include fundamental factors along with technical factors in computer models (quantitative analysis).
Top-down and bottom-up approaches[edit]
Investors using fundamental analysis can use either a top-down or bottom-up approach.
The top-down investor starts their analysis with global economics, including both international and national economic indicators. These may include GDP growth rates, inflation, interest rates, exchange rates, productivity, and energy prices. They subsequently narrow their search to regional/ industry analysis of total sales, price levels, the effects of competing products, foreign competition, and entry or exit from the industry. Only then do they refine their search to the best business in the area being studied.
The bottom-up investor starts with specific businesses, regardless of their industry/region, and proceeds in reverse of the top-down approach.
Procedures[edit]
The analysis of a business's health starts with a financial statement analysis that includes financial ratios. It looks at dividends paid, operating cash flow, new equity issues and capital financing. The earnings estimates and growth rate projections published widely by Thomson Reuters and others can be considered either "fundamental" (they are facts) or "technical" (they are investor sentiment) based on perception of their validity.
Determined growth rates (of income and cash) and risk levels (to determine the discount rate) are used in various valuation models. The foremost is the discounted cash flow model, which calculates the present value of the future:
dividends received by the investor, along with the eventual sale price; (Gordon model)
earnings of the company;
or cash flows of the company.
The amount of debt a company possesses is also a major consideration in determining its health. It can be quickly assessed using the debt-to-equity ratio and the current ratio (current assets/current liabilities).
The simple model commonly used is the P/E ratio (price-to-earnings ratio). Implicit in this model of a perpetual annuity (time value of money) is that the "flip" of the P/E is the discount rate appropriate to the risk of the business. The multiple accepted is adjusted for expected growth (which is not built into the model).
Growth estimates are incorporated into the PEG ratio. Its validity depends on the length of time analysts believe the growth will continue. IGAR models can be used to impute expected changes in growth from current P/E and historical growth rates for the stocks relative to a comparison index.
Computer modelling of stock prices has now replaced much of the subjective interpretation of fundamental data (along with technical data) in the industry. Since about the year 2000, a new job role has been invented with computers now able to crunch vast amounts of data . At some funds (Quant Funds) managers' decisions have been replaced by proprietary mathematical models.
Automation[edit]
The process of fundamental analysis has significantly dropped in difficulty over the past 10 years. Ever since computers became a household product, people have built software designed to make the investor's life easier. Fundamental analysis is one of the most time consuming forms of analysis. Furthermore, with the fast paced trading style of the 21st century, where markets are dominated by HFT firms and day traders, it is difficult to keep up with the market in a timely fashion. One way to go about cutting down analysis time, is to subscribe to either free or paid screening services. Screening services will allow you to search the entire market for stocks that match the quantitative fields you are looking for. These types of software then automatically give you results, hence cutting down on time spent sifting through SEC filings.
Reference - Fundamental Analysis Software for more information on fundamental analysis software.
Criticisms[edit]
Economists such as Burton Malkiel suggest that neither fundamental analysis nor technical analysis is useful in outperforming the markets[6]. This is especially true of low liquidity markets or securities.[7]
See also[edit]
Lists of valuation topics
Security analysis
Piotroski F-Score
Stock selection criterion
John Burr Williams #Theory
Mosaic theory
Chepakovich valuation model
References[edit]
Jump up ^ "Technical Analysis vs. Fundamental Analysis". Market Technicians Association. Retrieved 6 March 2015.
Jump up ^ "An Introduction to Fundamental Analysis and the US Economy". InformedTrades.com. 2008-02-14. Retrieved 2009-07-27.
Jump up ^ "Fundamental and Technical analysis | Fundamentals of Accounting". 2016-07-07. Retrieved 2016-07-07.
Jump up ^ Murphy, John J. (1999). Technical analysis of the financial markets : a comprehensive guide to trading methods and applications (2nd ed.). New York [u.a.]: New York Institute of Finance. ISBN 0735200661.
Jump up ^ Graham, Benjamin; Dodd, David (December 10, 2004). Security Analysis. McGraw-Hill. ISBN 978-0-07-144820-8.
Jump up ^ "Financial Concepts: Random Walk Theory". Investopedia.
Jump up ^ Dzanic, Enis (2013-05-10). "Correlation of Change in Fundamental Indicators and Stock Price Movements on Sarajevo Stock Exchange". Rochester, NY.
External links[edit]
MIT Financial-Management course notes
Fundamental Analysis Works
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Financial markets
Types of markets
Primary market
Secondary market
Third market
Fourth market
Types of stocks
Common stock
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Share capital
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Net asset value
Security characteristic line
Security market line
T-model
Trading theories
and strategies
Algorithmic trading
Buy and hold
Contrarian investing
Day trading
Dollar cost averaging
Efficient-market hypothesis
Fundamental analysis
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Market timing
Modern portfolio theory
Momentum investing
Mosaic theory
Pairs trade
Post-modern portfolio theory
Random walk hypothesis
Sector rotation
Style investing
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Technical analysis
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Block trade
Cross listing
Dark pool
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DuPont analysis
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Flight-to-quality
Haircut
Initial public offering
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Margin
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Mean reversion
Momentum
Open outcry
Position
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Reverse stock split
Share repurchase
Short selling
Slippage
Speculation
Stock dilution
Stock market index
Stock split
Trade
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Volatility
Voting interest
Yield
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