• • The Phantom of the Opera is a musical with music by and lyrics by and. Lloyd Webber and Stilgoe also wrote the musical's book together. Based on the French novel by, its central plot revolves around a beautiful soprano,, who becomes the obsession of a mysterious, disfigured musical genius living in the subterranean labyrinth beneath the Opera Populaire. The musical opened in London's in 1986, and on in 1988. It won the 1986 and the 1988 for Best Musical, and (in the title role) won the Olivier and Tony Awards for Best Actor in a Musical. It is the by a wide margin, and celebrated its 10,000th Broadway performance on 11 February 2012, the first production ever to do so. It is the, after, and the third longest-running West End show overall, after. With total estimated worldwide gross receipts of over 5.6 billion and total Broadway gross of $845 million, Phantom was the most financially successful entertainment event until surpassed it in 2014. By 2011, it had been seen by over 130 million people in 145 cities across 27 countries, and continues to play in London and New York. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Development [ ] Idea [ ] In 1984, Lloyd Webber contacted, the co-producer of and, to propose a new musical. He was aiming for a romantic piece, and suggested Gaston Leroux's book as a basis. They screened both the and the motion picture versions, but neither saw an effective way to make the leap from film to stage. Later, in New York, Lloyd Webber found a second-hand copy of the original, long-out-of-print Leroux novel, which supplied the necessary inspiration to develop a musical: 'I was actually writing something else at the time, and I realised that the reason I was hung up was because I was trying to write a major romantic story, and I had been trying to do that ever since I started my career. Then with the Phantom, it was there!' Lyricists [ ] Lloyd Webber first approached to write the lyrics because of his 'dark obsessive side', but he declined in order to fulfill his commitments on a album. Was then recruited, but he became seriously ill after joining the project and was forced to withdraw; none of his contributions (mostly involving the song 'Masquerade') are credited in the show., the lyricist for, wrote most of the original lyrics for the production., a young and then-relatively unknown lyricist, later rewrote many of the lyrics, along with original lyrics for 'Think of Me'. Some of Stilgoe's original contributions are still present in the final version, however. Score [ ] Inspired in part by an of the same story by, Lloyd Webber's score is sometimes operatic in style but maintains the form and structure of a musical throughout. The full-fledged operatic passages are reserved principally for subsidiary characters such as Andre and Firmin, Carlotta, and Piangi. The Phantom was a modified VCX-series auxiliary starfighter that could dock with its mothership. They are also used to provide the content of the fictional 'operas' that are taking place within the show itself, viz., Hannibal, Il Muto, and the Phantom's masterwork, Don Juan Triumphant. 'Here, Lloyd Webber pastiched various styles from the grand operas of through to and even.' These pieces are often presented as musical fragments, interrupted by dialogue or action sequences in order to clearly define the musical's 'show within a show' format. The musical extracts from the Phantom's opera, 'Don Juan Triumphant', during the latter stages of the show, are dissonant and modern—'suggesting, perhaps, that the Phantom is ahead of his time artistically'. Design, direction, and choreography [ ] designed the sets and over 200 costumes, including the elaborate gowns in the 'Masquerade' sequence. Her set designs, including the chandelier, subterranean gondola, and sweeping staircase, earned her multiple awards., director of,,, and Lloyd Webber's, directed the production, while, associate director and choreographer of, provided the integral musical staging and choreography. First preview at Sydmonton [ ] A preview of the first act was staged at Sydmonton (Lloyd Webber's home) in 1985, starring Colm Wilkinson (later the star of the Toronto production) as the Phantom, as Kristin (later Christine), and Clive Carter (later a member of the London cast) as Raoul. This very preliminary production used Richard Stilgoe's original unaltered lyrics, and many songs sported names that were later changed, such as 'What Has Time Done to Me' ('Think of Me'), and 'Papers' ('Notes'). The Phantom's original mask covered the entire face and remained in place throughout the performance, obscuring the actor's vision and muffling his voice. Björnson designed the now-iconic half-mask to replace it, and the unmasking sequence was added. Clips of this preview performance were included on the DVD of the 2004 film production. West End [ ] Phantom began previews at in London's West End on 27 September 1986 under the direction of Hal Prince, then opened on 9 October. It was choreographed by and the sets were designed by Maria Björnson, with lighting. Starred in the title role with Sarah Brightman as Christine and as Raoul. The production, still playing at Her Majesty's, celebrated its 10,000th performance on 23 October 2010, with Lloyd Webber and the original Phantom, Michael Crawford, in attendance. It is the second longest-running musical in West End (and world) history behind, and third overall behind. A was held in London on 1 and 2 October 2011 at the and was screened live in cinemas worldwide. The production was produced by, directed by Laurence Connor, musical staging & choreography by, set design by Matt Kinley, costume design by Maria Björnson, lighting design by Patrick Woodroffe, and sound design by Mick Potter. The cast included as the Phantom, as Christine, as Raoul, as Piangi, Wendy Ferguson as Carlotta, as Monsieur Firmin, Gareth Snook as Monsieur Andre, as Madame Giry, and Daisy Maywood as Meg Giry. Lloyd Webber and several original cast members, including Crawford and Brightman, were in attendance. A DVD and Blu-ray of the performance was released in February 2012, and it began airing in March 2012 on 's 'Great Performances' television series. In March 2012, a new production directed by Laurence Connor began a UK and Ireland tour to commemorate the 25th anniversary of the show, beginning at the Theatre Royal Plymouth and travelled to, Bristol,,, Edinburgh,,, and. And Earl Carpenter alternated as the Phantom with Katie Hall and Olivia Brereton as Christine and Simon Bailey as Raoul. Broadway [ ] Phantom began previews at the on 9 January 1988 and opened on 26 January. Crawford, Brightman, and Barton reprised their respective roles from the West End. The production continues to play at the Majestic, where it became the first Broadway musical in history to surpass 10,000 performances on 11 February 2012. On 26 January 2013, the production celebrated its 25th anniversary with its 10,400th performance. It is, by over 3,500 performances,. By November 2016, Phantom had been staged over 12,000 times over 28 years. Amateur productions [ ] In 2013, the rights to perform 'Phantom' were released to non-professional groups. CLOC musical theatre staged the world amateur premiere in May 2013 at the National Theatre in Melbourne, Australia. In June 2013, Windmill Theatre Company staged the production at the Drum Theatre in. Also in June 2013, Wellington Musical Theatre debuted the New Zealand premiere starring Chris Crowe and Barbara Graham. Synopsis [ ] Prologue [ ] In 1905 Paris, the Opéra Populaire hosts an auction of old theatrical props. Among the attendees is the Vicomte Raoul de Chagny, who purchases a music box and eyes it sadly, saying that the details are 'exactly as she said.' The auctioneer describes 'a chandelier in pieces' as the next item up for bid, alluding to a connection with 'the Phantom of the Opera'. As the porters remove the drop cloth covering the fixture, it flickers to life and ascends to the ceiling as the auditorium's former grandeur is restored ('Overture'). Act I [ ] It is now 1881 and the cast of a new production, Hannibal, are rehearsing onstage when they learn that new owners, Firmin and André, are taking over the Opéra Populaire. Carlotta, the Opéra's resident soprano, begins to perform an aria for the new managers when a backdrop inexplicably falls from the flies, barely missing her and prompting anxious chorus girls to whisper, 'He's here! The Phantom of the Opera!' The managers try to downplay the incident, but Carlotta angrily insists that such things happen all the time and she storms out. Madame Giry, the Opéra's ballet mistress, informs Firmin and André that, a chorus girl and orphaned daughter of a prominent violinist, has been 'well taught' and can sing Carlotta's role. With cancellation of the sold out show being their only other alternative, the managers reluctantly audition Christine and are surprised to discover that she is indeed up to the challenge. As Christine sings the aria during the evening performance, the Opéra's new patron, Raoul, the Vicomte de Chagny, recognizes her as his childhood friend and playmate ('Think of Me'). Michael Crawford and Sarah Brightman performing the title song Backstage after her triumphant début, Christine confesses to her best friend Meg (Madame Giry's daughter) that she knows her mysterious teacher only as an invisible 'Angel of Music' ('Angel of Music'). Raoul pays a visit to Christine's dressing room. The two reminisce about the 'Angel of Music' stories that her late father used to tell them and Christine confides that the Angel has visited her and taught her to sing ('Little Lotte'). Raoul indulges what he assumes are fantasies and insists on taking Christine to dinner. When Raoul leaves to fetch his hat, Christine hears the jealous Phantom's voice and she entreats him to reveal himself. The Phantom obliges by appearing as a ghostly, partially masked face in her mirror ('The Mirror/Angel of Music (Reprise)'). Believing him to be the Angel of Music sent by her deceased father, Christine is irresistibly drawn through the mirror to the Phantom, who leads her down into the cellars of the Opéra house. The two then board a small boat and cross a subterranean lake to his secret lair ('). The Phantom explains that he has chosen Christine to sing his music and serenades her. When he reveals a mirror that reflects an image of her in a wedding dress, the figure in the mirror gestures to Christine and she faints. The Phantom then covers her tenderly with his cloak ('). As the Phantom is composing music at his organ, Christine awakens to the sound of the monkey music box ('I Remember'). Overcome with curiosity, she slips behind the Phantom, lifts his mask, and beholds his grotesquely disfigured face. The Phantom rails at her prying gesture, as Christine hides in fear. He then ruefully expresses his longing to look normal, and to be loved by her ('Stranger Than You Dreamt It'). Moved by pity, Christine returns the Phantom's mask to him and the Phantom shepherds her back above ground. Meanwhile,, the Opéra's chief stagehand, regales the chorus girls with tales of the 'Opéra Ghost' and his terrible ('Magical Lasso'). Madame Giry arrives and warns Buquet to exercise restraint or face the Phantom's wrath. In the managers' office, André and Firman read notes from the Phantom aloud and are interrupted by Raoul, who accuses them of sending him a note saying that he should make no attempt to see Christine again. Carlotta and Piangi then burst into the office, demanding to know who sent Carlotta a note saying that her days at the Opera Populaire are numbered. As André and Firmin try to calm the distressed Carlotta, Madame Giry delivers another note from the Phantom: he demands that Christine replace Carlotta in the new opera,, lest they face a 'disaster beyond imagination' ('Notes.' Firmin and André dismiss the threat and assure an enraged Carlotta that she will remain their star ('Prima Donna'). The première of Il Muto initially goes well, until the voice of the Phantom suddenly cuts through the performance, enraged that Box 5 was not kept empty for him. As Christine whispers that she knows the Phantom is near, Carlotta reminds her that her role is silent, calling her a 'little toad'. The Phantom states that it is Carlotta who is the toad and reduces Carlotta's voice to a frog-like croak. Firmin quickly tries to calm the situation by telling the audience that Christine will take over the starring role, moving forward the ballet to keep the audience entertained. Suddenly, the corpse of Joseph Buquet drops from the rafters, hanging from the Punjab lasso. Firmin and André plead for calm as mayhem erupts and the Phantom's diabolical laughter is heard throughout the auditorium ('Poor Fool, He Makes Me Laugh'). In the ensuing chaos, Christine escapes with Raoul to the roof and tells him about her subterranean encounter with the Phantom ('Why Have You Brought Me Here?/Raoul, I've Been There'). Raoul is skeptical but promises to love and protect her, and Christine reciprocates his vow ('). The heartbroken Phantom, having overheard their entire conversation, angrily vows revenge before returning to the auditorium and sending the chandelier crashing to the stage during the curtain call ('All I Ask of You (Reprise)'). Steve Barton and Sarah Brightman in the final scene Six months later, in the midst of a, the Phantom makes his first appearance since the chandelier disaster, in costume as the. He announces that he has written an opera entitled and demands that it be produced immediately, with Christine (who is now secretly engaged to Raoul) in the lead role, and he warns of dire consequences if his demands are not met ('Masquerade/Why So Silent?' Noticing an engagement ring on a chain around Christine's neck, the Phantom angrily pulls it from her and vanishes in a blinding flash of light. As the masquerade attendees scatter in fear, Raoul accosts Madame Giry and demands that she reveal what she knows about the Phantom. Giry reluctantly explains that the Phantom is actually a brilliant scholar, magician, architect, inventor, and composer who was born with a terrifyingly deformed face. Feared and reviled by society, he was cruelly exhibited in a cage as part of a travelling fair until he eventually escaped and disappeared. He has since taken refuge beneath the opera house, which has now become his home. During rehearsals, Raoul – tired of the tyranny with which the Phantom rules the Opera – thinks to use the première of Don Juan Triumphant as a trap to capture the Phantom and put an end to his reign of terror once and for all. Carlotta falsely accuses Christine of being the mastermind and that it is her plan so she can be the star. Christine angrily defends herself, saying she is not the Phantom's accomplice, but his victim. Raoul, knowing of the Phantom's obsession with his fiancée, asserts that the Phantom will be sure to attend the opera's première, and begs Christine to help him lure the Phantom into the trap ('Notes/Twisted Every Way'). Torn between her love for Raoul and her fear of the Phantom, Christine visits her father's grave, longing for his guidance but understanding that she must move on ('Wishing You Were Somehow Here Again'). The Phantom appears atop the mausoleum, again under the guise of the Angel of Music ('Wandering Child'), and sings to Christine. Christine, tired and heartbroken, once again accepts her 'Angel' as a friend, nearly succumbing to the Phantom's influence, but Raoul arrives to both rescue her and confront The Phantom. The Phantom taunts Raoul, hurling fire balls at him until Christine begs Raoul to leave with her ('Bravo Monsieur'). Furious, the Phantom declares war upon them both and causes flames to spring up around the mausoleum. With armed policemen having secured the auditorium and watching for the Phantom, Don Juan Triumphant premieres with Christine and Piangi singing the lead roles. During Don Juan's and Aminta's duet, Christine comes to the sudden realization that she is singing not with Piangi, but with the Phantom himself ('The Point of No Return'). Mimicking Raoul's vow of devotion on the rooftop, the Phantom once again expresses love for Christine and forces his ring onto her finger; Christine rips off his mask, exposing his horrifically deformed face to the shocked audience. The opera house is plunged into chaos. Piangi's garroted body is revealed backstage, the cast and audience fly into a state of panic, and the Phantom seizes Christine and flees the theatre. An angry mob, vowing vengeance for the murders of Buquet and Piangi, searches the theatre for the Phantom, while Madame Giry tells Raoul how to find the Phantom's subterranean lair, and warns him to beware his magical lasso.('Down Once More/Track Down This Murderer'). In the lair, Christine is forced to don a wedding dress. Raoul finds the lair and attempts to persuade the Phantom to spare Christine, begging him to show compassion. The Phantom refuses, and captures Raoul with the Punjab lasso. The Phantom tells Christine that he will free Raoul if she agrees to stay with him forever, but if she refuses, Raoul will die. Christine, heartbroken, tells the Phantom that it is his soul that is deformed, not his face. As the Phantom and Raoul both plead to her, Christine mournfully wonders what kind of life the Phantom has known. She tells the Phantom that he is not alone and kisses him, showing him compassion for the first time in his life. The Phantom, having experienced kindness at last, understands that he cannot compel Christine to love him, and sets them both free. Raoul hurries Christine out of the lair, but she returns alone to give the Phantom back his ring. The Phantom tells Christine he loves her, before she tearfully exits with Raoul. The weeping Phantom huddles on his throne and covers himself with his cloak. The mob, led by Meg, enters the lair. Meg pulls the Phantom's cloak from the throne, finding only his mask on the seat. She lifts the mask up into the light and gazes at in wonder as the curtain falls. • Entr'acte – Orchestra • 'Masquerade/Why So Silent?' Allegations of plagiarism [ ] In 1987 the heirs of charged in a lawsuit that the climactic phrase in 'Music of the Night' closely resembled a similar phrase in the sequence 'Quello che tacete' from Puccini's opera. The litigation was settled out of court for an undisclosed amount. In 1990 a Baltimore songwriter named filed a lawsuit alleging that the title song from Phantom was based on a song that he wrote in 1978 called 'Till You'. After eight years of litigation – including an unsuccessful countersuit by Lloyd Webber claiming that 'Till You' was itself a plagiarism of 'Close Every Door' from – the jury found in Lloyd Webber's favour. Former vocalist has repeatedly claimed in interviews that the signature descending/ascending half-tone chord progression from Phantom's title song was plagiarised from the bass line of a track on the 1971 Pink Floyd album called '. He has never taken any legal action. 'Life's too long to bother with suing Andrew fucking Lloyd Webber,' he said. 'I think that might make me really gloomy.' Other productions [ ] Phantom has been translated into several languages and produced in over 28 countries on 6 continents. With only the exception of Czech Republic, Estonia, Finland, Hungary, New Zealand, Panama, Poland, Romania, and the 25th Anniversary UK and US Tours, these productions have all been 'clones', using the original staging, direction, sets, and costume concepts. Notable international productions include the following: • Australia: 1990–1998: Melbourne, Sydney,,, and; 2007–2009: Melbourne, Brisbane, Sydney, Auckland, Perth and Adelaide, both starring. Starred as Christine in the original production. In the original Australian production, later took over the title role. The final leg of the recent tour was staged in in an arena format featuring giant screens on either side of the stage that presented footage shot simultaneously with the performance. 2013: starring Michael Cormick as The Phantom and with Julie Lea Goodwin starring as Christine from 9 to 23 August 2013. Goodwin had previously played the role, as the 'Alternate Christine', in the 2007 to 2009 national tour. • Austria: The German language production premiered at the in December 1988. • Canada: The Canadian production of Phantom ran from 20 September 1989 to 31 October 1999 in Toronto at the Pantages Theatre, with originating the role of Phantom. The Canadian International Touring Company toured the musical in Canada, Hawaii, Alaska, Hong Kong, and Singapore from 11 March 1991 to October 1995. The Music Box Tour (Third US National Tour) played dates across Canada in 2006–2007 including, Vancouver,, Winnipeg, Toronto, and. • China: The Shanghai production played 97 performances at the. The World Tour had their sixth season at the Culture Plaza Theatre at Shanghai Culture Square from 3 December 2013 to 26 January 2014. The World Tour returned to China at the in Guangzhou from 26 September to 10 October 2015 and performed its final season at the Tianqiao Performing Arts Center in Beijing from 17 November 2015 to 10 January 2016. •: Production in Estonian language (but with English and Finnish subtitles) featuring original sets, costumes, and direction premiered on 4 October 2014 at Theatre in. In first season 2014/2015 there were 24 performances in total, eight of which took place in capital at Nordea Concert Hall (premiered there on 30 October 2014). In spring 2017 there will be further 12 performances (two of which in Tallinn). • Finland: A Finnish production premiered in in 2015 at the in English. • Germany: 'Das Phantom der Oper' opened at the Stage Neue Flora Theatre, from 1990 to 2001, the Palladium Theatre in from 2002 to 2004, and at the Colosseum Theatre in from 2005 to 2007. A second Hamburg production ran from December 2013 until September 2015 at the Stage Theatre Neue Flora. A production in is currently running at the from 17 November 2015. • Hungary: Madách Theatre,. This production, which began in 2003, was the first to modify the original staging with new sets, costumes and direction. The five hundredth performance on 20 September 2007 featured four successive sets of casts. • New Zealand: Opened at the in in 1997 and at The Civic, The Edge-Auckland in 2008. A local production (with new designs) opened on 13 June at the St. James Theatre in and closed on 16 July 2013. • Panama: For the first time in Central America, 'El Fantasma de la Opera' played in Spanish at the Teatro Anayansi of the Atlapa Convention Center from 23 to 25 September 2016, directed. Starred in the role of The Phantom, with Maria Fernanda Achurra as Christine and Leo Almengor as Raoul. • Romania: The Romanian premiere was in January 2015 produced by the Romanian National Opereta. This new non-replica production was performed in Romanian with a local cast led by a British creative team. • Russia: Moscow production cooproduced by and Really Useful Group premiered on 4 October 2014 in the MDM-theatre starring and Dmitri Ermak as The Phantom. The stalls and the stage were modernised specially for the production. The premiere was attended by and. • Serbia: The Serbian premiere was in October 2017 produced by Belgrade based.Production is performed in Serbian with a local cast. • Singapore: First tour at the Kallang Theatre from 26 February 1995 to 20 May 1995, second tour at the from 23 March 2007 to 20 May 2007. • Turkey: The World Tour played in at the from 7 April to 17 May 2015. • United States: Los Angeles (1989–1993), San Francisco (1993–1999). A US National tour commenced in 1991 in Los Angeles, and closed on 31 October 2010 at the in Hollywood, California, after nearly two decades. The closing night performance was attended by many former cast and crew members, including Andrew Lloyd Webber and Sarah Brightman. Film version [ ] A, directed by and starring as the Phantom, as Christine, as Raoul, as Carlotta, and as Madame Giry, opened on 22 December 2004 in the US. Phantom: The Las Vegas Spectacular [ ] An edited production renamed Phantom: The Las Vegas Spectacular opened 24 June 2006 at in Las Vegas, Nevada, in a theatre built specifically for the show to resemble the in Paris. The production ran 95 minutes with no intermission, and was directed and choreographed by Harold Prince and Gillian Lynne, with scenic designs. The show featured updated technology and effects, including a re-engineered chandelier capable of reassembling in midair during the overture while the entire interior of the venue (not merely the stage) returned to its 1880s halcyon days. Almost 45 minutes' worth of material was eliminated, such as the Don Juan Triumphant rehearsal. 'Poor Fool, He Makes Me Laugh' and 'The Point of No Return' were significantly shortened. Other changes resembled those in the, such as staging the chandelier crash at the plot's climax (during performance of 'The Point of No Return') rather than mid-story. The Las Vegas production closed on 2 September 2012. Copyright release [ ] In 2011 (copyright owners of Phantom) released certain rights to the play in celebration of its 25th anniversary. In March 2011 in Braidwood, Illinois, became the first school to perform Phantom under the new rights. Later in 2011, in became the first school in the UK to perform the show. Awards and nominations [ ] Original London production [ ] Year Award Ceremony Category Nominee Result 1986 Won Won Nominated 2002 Won Original Broadway production [ ] Year Award Ceremony Category Nominee Result 1988 Nominated Won Nominated Won Won David Cullen and Won Won Won Won Won Won Won Won and Nominated, and Nominated Won Won Won Nominated Sequel [ ]. Main article: The sequel to Phantom, written by Lloyd Webber,, and, is called. It was loosely adapted from the 1999 novel, by Forsyth. Set in 1907 (a decade after the conclusion of Phantom according to the production's announcement, but actually 26 years later, as the original show was set in 1881 ), Christine is invited to perform at Phantasma, a new attraction at, by an anonymous impresario. With her husband, Raoul, and son, Gustave, in tow she journeys to, unaware that it is the Phantom who has arranged her appearance at the popular beach resort. The original production was directed by Jack O'Brien and choreographed by with set and costume designs by, and opened at the in the West End on 9 March 2010. Though it ran for over 17 months and closed on 27 August 2011, the production received mixed reviews. A scheduled Broadway opening in November 2010 was postponed until Spring 2011 and later cancelled. A revamped Australian production, starring Ben Lewis and Anna O'Byrne, opened 21 May 2011 at the in to more favourable notices. After the Melbourne run ended on 12 December 2011 the production moved to the in Sydney where it played from January to April 2012. See also [ ] • • • • Notes [ ]. Really Useful Licensing. Retrieved 26 April 2012. • Rich, Frank (27 January 1988).. New York Times. Archived from on 30 May 2011. • Gerald Martin Bordman (2004). Oxford University Press. 'A British musical based on Leroux's famous novel'. • Londonist.com. Retrieved 11 February 2012 • p.266. Scarecrow Press, 2009 • Smith, Tim (11 April 2010) • Trueman, Matt (10 April 2012).. The Guardian. • ^, BroadwayWorld.com, 5 October 2011 • ^ Jones, Kenneth (25 January 2006)... Retrieved 23 April 2008. • Gans, Andrew., Playbill, 22 September 2014. • Andrew Lloyd Webber, Martin Knowlden Pavilion, 2007 • Bright, Spencer (8 December 1996).. Sunday Times. Retrieved 9 July 2007. • Citron, Stephen. Sondheim and Lloyd-Webber (2001), Oxford University Press US,, p. 330 • Behr, Edward. The Complete Book of Les Misérables (1993),Arcade Publishing,, p. 62 • ^ Behind the Mask documentary, on the DVD • Evans, Everett (2 December 1990).. Houston Chronicle. • Coveney, M. Cats on a Chandelier: The Andrew Lloyd Webber Story. New York, Hutchinson (1999). • Snelson, J. Andrew Lloyd Webber (Yale Broadway Masters Series). New Haven, Yale University Press (2009), p. • Maria Bjornson Dies; Theatre Production Designer was 53 (16 December 2002). 22 March 2012 at the. Retrieved 3 April 2011. • Maria Bjornson obituary. Retrieved 3 April 2011. • Phantom of the Opera DVD (2004 film). Retrieved 3 April 2011. 14 September 2009. Andrew Lloyd Webber's Really Useful Group. Archived from on 11 April 2008. Retrieved 23 April 2008. • Glendinning, Lee (3 May 2008).. The Guardian. Retrieved 5 May 2008. The Phantom of the Opera. Archived from on 1 January 2015. Retrieved 27 March 2015. Retrieved 28 January 2015. • 17 February 2012 at the. • Lloyd Webber had hoped to open in Toronto prior to Broadway but political pressure forced the change., at the Internet Broadway Database. Retrieved 31 January 2008 • Jones, Kenneth 16 April 2012 at the., Playbill.com, 11 February 2012 •. Archived from on 8 February 2013. Retrieved 27 January 2013. • playbill.com, 28 November 2016 •. Newcastle Herald. Retrieved 20 February 2014 • BWW New Desk (5 September 2011).. Retrieved 19 April 2012. Track Listing, Disc 1.Original London Cast – Prologue (The Stage of Paris Opera House, 1905) •. 5 April 2012. Retrieved 19 April 2012. Tracklist.Prologue: The Stage of the Paris Opéra, 1905 • ^ • Perry, George. 'The Complete Phantom of the Opera'. Owl Books, 1991,. • 8 March 2009 at the., phantom-media.info – accessed 10 May 2009 • • • The Phantom of the Opera: opening night production credits. Retrieved 16 September 2010. • ^ Westley, Christine: 'Phantom – The Las Vegas Spectacular. Retrieved 16 September 2010. • ^ Casting: Retrieved 8 September 2011 • • • •.. • Keith Caulfield.. Retrieved 7 January 2016. Enter Phantom of the Opera in the search field and then press Enter. IFPI Switzerland. • (in German).. • Murray, Rebecca.... Retrieved 3 December 2012. The Phantom of the Opera. 7 September 2011. Archived from on 1 January 2015. Retrieved 28 January 2015. • BWW News Desk.. Retrieved 28 January 2015. Retrieved 7 August 2012. • Scapolo, Dean (2007). The Complete New Zealand Music Charts: 1966–2006. Wellington: Dean Scapolo and Maurienne House. • (in Polish).. Retrieved 7 August 2012. • (PDF) (in Swedish).. Retrieved 7 August 2012. Retrieved 7 August 2012. Enter Phantom of the Opera in the search field and then press Enter. Retrieved 7 August 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH • (in German). Retrieved 7 August 2012. Enter Diverse in the field Interpret. Enter Phantom der Oper in the field Titel. Select album in the field Format. Click Suchen •.. Retrieved 7 August 2012. • (in German).. Retrieved 8 August 2012. • (in German).. Retrieved 8 August 2012. • (PDF) (in Swedish).. Retrieved 1 November 2012. IFPI Switzerland. Retrieved 7 August 2012. Retrieved 7 August 2012. IFPI Switzerland. Retrieved 7 August 2012. Retrieved 7 August 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH • Hear the Opera Andrew Lloyd Webber Allegedly Plagiarized. 11 February 2015 at the. Retrieved 10 September 2010. • Who's Listening to Lloyd Webber? 5 April 2012 at the. Retrieved 7 November 2011 • HOW THE WEST WON THE MET (13 June 2010). San Jose Mercury News (CA). Article ID: 1408078 • LET'S HEAR 'GIRL OF THE GOLDEN WEST' SING (12 June 2010) San Jose Mercury News (CA). Article ID: 1408152 • 28 July 2011 at the. • Andrew Lloyd Webber Loses Round in Battle Over Allegedly Stolen Song (5 December 1996). Retrieved 10 September 2010. • Lloyd Webber Wins Phantom Battle. Retrieved 10 September 2010. November 1992. Archived from on 22 October 2015. Retrieved 20 November 2009. Theater Madách. Retrieved 23 April 2008. Retrieved 5 October 2014. Retrieved 13 October 2013. Retrieved 23 April 2008. • Playbill (29 October 1999), retrieved 26 September 2016. 26 January 2014. Retrieved 28 January 2015. Retrieved 20 January 2016. Retrieved 20 January 2016. Retrieved 14 October 2013. Retrieved 20 January 2016. Retrieved 28 January 2015. 4 December 2012. Retrieved 28 January 2015. Retrieved 26 September 2016. Retrieved 31 August 2016. 6 October 2014. Retrieved 28 January 2015. Retrieved 28 January 2015. Retrieved 5 October 2017. • Yong, Yvonne (3 October 2006).. Channel NewsAsia. Retrieved 23 April 2008. Retrieved 20 January 2016. • 'Phantom' To Close at Pantages. Retrieved 27 January 2011. Retrieved 31 January 2008 •. Really Useful Group/Mackintosh Ltd. Retrieved 23 April 2008. • McKenzie, Kristine (3 October 2006).. Retrieved 23 April 2008. • Jessica Boyd (20 March 2011).. Retrieved 12 December 2016. Penarth Times. 15 December 2011. Retrieved 2017-06-28. Retrieved 19 July 2010. Retrieved 19 July 2010. Retrieved 19 July 2010. LoveNeverDies.com Official Site. Archived from on 12 July 2010. Retrieved 19 July 2010. Archived from on 18 January 2010. Love Never Dies (official site). Archived from on 14 February 2010. • Bamigboye, Baz. Ramin Karimloo originated the Phantom, and Sierra Boggess played Christine. Joseph Millson, Summer Strallen, and Charlie Manton were all in the original cast of Love Never Dies as well. 3 April 2009. 10 March 2010. Archived from on 23 March 2010. 7 April 2010. • Healy, Patrick (7 April 2010).. • Gans, Andrew (6 April 2010).. Archived from on 9 April 2010. Retrieved 27 March 2015. • Bedford, Angie.. The Theatre Channel at Webwombat. Retrieved 27 September 2011. • Solomon, Les (30 May 2011): 'Australia's Creative Pride.' Retrieved 22 August 2001 • Herbert, Kate (30 May 2011): 'Australia Never Dies' review. Retrieved 22 August 2011 • Boyd, Chris (30 May 2011): Phantom sequel spectacularly unmasked. Retrieved 22 August 2011 • BWW News Desk.. Retrieved 27 March 2015. Archived from on 4 January 2014. Retrieved 27 March 2015. External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to. • • at Playbill Vault • at the • • on the 's 'Working in the Theatre' series. Preceded by 2006–present Succeeded by —.
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Feel free to change whatever you want. These errors can pop up for a couple of different reasons. The first is that the hardware acceleration feature may be disabled. On systems with an Intel CPU, the Intel VT-x feature can be disabled via a firmware setting. In fact, it’s often disabled by default on new computers. On systems with an AMD CPU, this won’t be a problem. The AMD-V feature is always enabled, so there’s no BIOS or UEFI setting to change. The other reason these errors can pop up is if you’re trying to use a virtualization app like VMWare or VirtualBox when you already have Microsoft’s Hyper-V installed. Hyper-V takes over those hardware acceleration features and other virtualization apps won’t be able to access them. So, let’s take a look at how to fix these issues. Try Uninstalling Hyper-V If you have Hyper-V installed, it gets greedy and won’t let other virtualization apps access hardware acceleration features. This more often happens with Intel VT-x hardware, but can also happen with AMD-V on occasion. If this is the case, you’ll see an error messages in your virtualization app to the effect that Intel VT-x (or AMD-V) is unavailable, even though it is enabled on your computer. Find all downloads offered by VT Virtual Technology in ZDNet's Software Directory. VT XRun sits in the system tray, ready to launch any kind of object. Rear Running Lights Mod Posted by Bare| Last Updated May 27, 2014. Honda VTX Turn Signal Run Brake Turn Conversion I also choose to. To solve this problem, you just need to uninstall Hyper-V. Hyper-V is an, so uninstalling it is a little different than uninstalling a regular app. Head to Control Panel > Uninstall a Program. In the “Programs and Features” window, click “Turn Windows features on or off.” In the “Windows Features” window, clear the “Hyper-V” checkbox and then click “OK.” When Windows is done uninstalling Hyper-V, you’ll need to restart your PC and then you can try using VirtualBox or VMware again. Turn Intel VT-x On in Your BIOS or UEFI Firmware If you have an Intel CPU and uninstalling Hyper-V didn’t solve your problem—or your virtualization app reported that Intel VT-x was disabled—you’ll need to access your computer’s BIOS or UEFI settings. PCs made prior to the release of Windows 8 probably use BIOS. PCs made after Windows 8 came out may use UEFI instead, and the likelihood of using UEFI grows the more modern the PC. On a UEFI-based computer, you can’t necessarily just press a key while the computer is booting. Instead, you’ll need to follow these instructions to. Hold down the Shift key as you click Restart in Windows to reboot straight to that menu. Whether your PC uses BIOS or UEFI, once you’re in the settings menu, you can begin looking around for an option labeled something like “Intel VT-x,” “Intel Virtualization Technology,” “Virtualization Extensions,” “Vanderpool,” or something similar. Often, you’ll find the option under a “Processor” submenu. That submenu may be located somewhere under a “Chipset,” “Northbridge,” “Advanced Chipset Control,” or “Advanced CPU Configuration” menu. Enable the option and then select “Save and Exit” or the equivalent feature to save your settings changes and reboot your PC. After the PC restarts, you can try using VirtualBox or VMware again. What to Do If You Don’t See the Intel VT-x Option in BIOS or UEFI Unfortunately, some laptop manufacturers and motherboard manufacturers don’t include an option in their BIOS or UEFI settings for enabling Intel VT-x. If you don’t see the option, try performing a web search for the model number of your laptop—or your, if it’s a desktop PC—and “enable Intel VT-x”. You need VT-x to run Hyper-V, and it works great on my i5 4300M SP3. Just enable Hyper-V in the options and have fun. I would however highly recommend upgrading to 10 if you plan on using Hyper-V, they added some awesome features like 10 Pro being able to have remoteFX for local connections (only enterprise and Server before) Do you mean that I need VT-x only and don't need VT-d to run Hyper-V? Your CPU i5-4300M has VT-x and VT-d both. My CPU i5-4200M has VT-x only, no VT-d. I heard that type 1 hypervisor Hyper-V needs VT-x and VT-d both to be enabled to run. I just need confirmation. See this link. Do you mean that I need VT-x only and don't need VT-d to run Hyper-V? Your CPU i5-4300M has VT-x and VT-d both. X.Org X Server 1.16.1 Release Date: 2014-09-21 X Protocol Version 11, Revision 0 Build Operating System: Linux 3.16.1-1-ARCH x86_64 Current Operating System: Linux james-optiplex-gx620 3.16.3-1-ck #1 SMP PREEMPT Sat Sep 20 00:50:59 CDT 2014 x86_64 Kernel command line:. My CPU i5-4200M has VT-x only, no VT-d. I heard that type 1 hypervisor Hyper-V needs VT-x and VT-d both to be enabled to run. I just need confirmation. See this link: Yes the 4300U has VT-d, which means I can configure wireless for virtual machines, but my i5 3570K workstation doesn't, and that's my primary virtualization station. You ONLY need VT-x with SLAT, which all chips in the last 5 years support, for Client Hyper-V. You won't be able to use certain features like TPM or VM dedicated network cards, but you don't need them outside Server systems anyway. Do you mean that I need VT-x only and don't need VT-d to run Hyper-V? Your CPU i5-4300M has VT-x and VT-d both. My CPU i5-4200M has VT-x only, no VT-d. I heard that type 1 hypervisor Hyper-V needs VT-x and VT-d both to be enabled to run. I just need confirmation. See this link: Yes the 4300U has VT-d, which means I can configure wireless for virtual machines, but my i5 3570K workstation doesn't, and that's my primary virtualization station. You ONLY need VT-x with SLAT, which all chips in the last 5 years support, for Client Hyper-V. You won't be able to use certain features like TPM or VM dedicated network cards, but you don't need them outside Server systems anyway. Thanks for your clarification on this. I am currently running Linux as guest on the Virtualbox. But I cannot get wireless on the guest to do update or install apps on my Linux. I am thinking of switching from Virtualbox to Hyper-V to get around this. I mean to run Linux guest on Hyper-V instead of Virtualbox. Would I be able to get wireless to passthrough so I can see the wireless connection on my Linux guest? Thanks for your clarification on this. I am currently running Linux as guest on the Virtualbox. But I cannot get wireless on the guest to do update or install apps on my Linux. I am thinking of switching from Virtualbox to Hyper-V to get around this. I mean to run Linux guest on Hyper-V instead of Virtualbox. Would I be able to get wireless to passthrough so I can see the wireless connection on my Linux guest? Not without VT-d, but you don't need to. All you have to do is set up a virtual switch and then your VM will have a network connection. You might have to play around with settings, but you can certainly use linux as if it was connected to an ethernet port. You should probably install the VM integration software in linux though, it makes management a bit easier. Only thing to know is that it's impossible to use Connected Standby on Windows 8 with Hyper-V enabled. Works just fine on Win 10 though. 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They are competing against some very good free offerings. Some parts of the presentation are confusing - many folk have commented that they are not sure exactly what it will delete. Hope the developers take that on board as useful feedback. Ric Well.de FACTO vs de JURE. De fact is it runs very well under XP SP3 32 bit. And while folk are absolutely right to point out you can go 'here' and delete internet browser history.and you can go 'there' and delete old activeX bits.this little util simply presents it in one graphically pleasant area. There are many system cleaners out there - some I prefer to this & way more far reaching in capability - but this is an ok little product. I wouldn't BUY it at USD 80 or whatever it was, but free, yes it's 'nice'. They would probably make some money out of it at USD10 or so. They are competing against some very good free offerings. Some parts of the presentation are confusing - many folk have commented that they are not sure exactly what it will delete. Hope the developers take that on board as useful feedback.|. #23 I use the free version of CCleaner. With the Pro version of Privacy Eraser being featured I thought I would try it. For any of these cleaners/erasers I only use them to help save time clearing stuff. I do not honestly believe they will erase/remove everything so hackers will not still some tidbit of information. I ran both cleaners side by side to see what each found. CCleaner found a little over 500 MB, Privacy Eraser found over 800 MB. Not being a techie person I was amazed that Privacy Eraser found so much more. Well I let Privacy Eraser do its thing and when finished I ran CCleaner again. It found less than 20 kb of data that needed removing. So I thought everything would be great. I restarted my computer and started my regular running programs again. Upon opening Firefox (my preferred and favorite browser) I noticed that all my pinned tabs were gone. Nothing was saved. I did go in and unchecked the boxes for sessions & site preference. The two that I do not want changed. I am wondering why these two things were changed that were suppose to be left alone. Maybe I did not actually uncheck the box. Feb 26, 2014. Remove Internet and PC activity tracks Privacy Eraser is a privacy cleaner to remove common Internet tracks, junk files and traces of recent computer activities. The program can quickly erase your browser cache, cookies, browsing history, website history, typed URLs, auto-complete forms data, index.dat. Privacy Eraser Free, free and safe download. Privacy Eraser Free latest version: Protecting your privacy. In the digital age, privacy is key but ever harder to achieve. Privacy Eraser Free aims to help y. Dec 02, 2017 Free Download Privacy Eraser Free 4.31.0 Build 2421 - Clean up browsing history, typed URL addresses, passwords and temporary files in a. Download Privacy Eraser Free. Privacy Eraser is an all-in-one privacy suite that protects your privacy by cleaning up all your Internet history tracks and past computer activities. So I opened the program back up and yes sessions & site preferences were unchecked. Maybe there is something different in how browsers are changed. I don't know but just beware that you will lose everything when you Erase everything. One of my problems after starting this program was where to put the registration code. For anyone else who is looking for this click on Help and you will see Upgrade to Pro. Then click on that and you can add everything. I do not know if I will keep this program or not. I do know that I would not pay $80 for this program. Sorry developers that price is just a little to steep for me. I mean I am just buying a program to erase some data not MS Office that I can use hundreds of different ways. Thanks GAOTD and Cybertron Software. I use the free version of CCleaner. With the Pro version of Privacy Eraser being featured I thought I would try it. For any of these cleaners/erasers I only use them to help save time clearing stuff. I do not honestly believe they will erase/remove everything so hackers will not still some tidbit of information. I ran both cleaners side by side to see what each found. CCleaner found a little over 500 MB, Privacy Eraser found over 800 MB. Not being a techie person I was amazed that Privacy Eraser found so much more. Well I let Privacy Eraser do its thing and when finished I ran CCleaner again. It found less than 20 kb of data that needed removing. So I thought everything would be great. I restarted my computer and started my regular running programs again. Upon opening Firefox (my preferred and favorite browser) I noticed that all my pinned tabs were gone. Nothing was saved. I did go in and unchecked the boxes for sessions & site preference. The two that I do not want changed. I am wondering why these two things were changed that were suppose to be left alone. Maybe I did not actually uncheck the box. So I opened the program back up and yes sessions & site preferences were unchecked. Maybe there is something different in how browsers are changed. I don't know but just beware that you will lose everything when you Erase everything. One of my problems after starting this program was where to put the registration code. For anyone else who is looking for this click on Help and you will see Upgrade to Pro. Then click on that and you can add everything. I do not know if I will keep this program or not. I do know that I would not pay $80 for this program. Sorry developers that price is just a little to steep for me. I mean I am just buying a program to erase some data not MS Office that I can use hundreds of different ways. Thanks GAOTD and Cybertron Software.|. #22 Nothing against Privacy Eraser Pro, CCleaner etc., *from a more purist standpoint*, AFAIK the only way to not leave tracks on your device is to run the OS in volatile RAM [memory], so everything's gone when it's turned off. Most use a RAM disk to accomplish that -- think virtual hard disk created entirely in RAM. You can create a boot CD/DVD that loads a modified copy of Windows to a RAM disk [visit reboot.pro] -- a USB stick will work, but you cannot write to a closed CD/DVD so there's no possibility of anything being left over -- or in Windows you could copy the virtual hard disk storing a VM [Virtual Machine] to a Ram disk & run it from there. You can save a copy of a VM, then erase the VM's virtual hard disk after use, replacing it with a fresh copy next time you want to run it, but particularly if you use a SSD drive, at least theoretically you could leave some small bit of data behind. IMHO that's what lead many to use Truecrypt [or nowadays something like Veracrypt] with a *nested* hidden virtual hard disk, complete with its own OS, inside an encrypted virtual hard disk, plus that way you don't lose everything like when you destroy a virtual hard disk. Online you'd need to use a VPN [Virtual Private Network] -- wikipedia.org/wiki/Virtual_private_network -- that did not keep records, & that had not been compromised by someone else to record who used it to go where & do what. In books & movies you see hackers etc. Using public networks, e.g. Internet cafes, hacking into a network to use their online connection, or buying & paying for an Internet connection using fake names & credentials to avoid that uncertainty. The idea is that regardless who tracks what, it doesn't lead to the person's real ID. Along those lines every network chip has its own ID called the MAC address, & it is visible online -- no matter how many devices are connected to a network that's connected to the Internet, all sharing the same IP address visible on the Internet, that MAC address IDs the specific device. There are apps or tools for MAC address spoofing, to change the ID that's reported, &/or you can change & use randomized MAC addresses used by a VirtualBox VM. Encryption, which is often in the news with federal agencies pushing for back doors etc., is a somewhat separate approach. No one can even look for anything on an encrypted drive they can't unlock, so problem solved. Problems come from refusing to give up the key, which depending on the circumstances, e.g. Who's demanding the key & maybe where you're located, may bring severe consequences. All of which is Not to say don't use Privacy Eraser Pro or similar, CCleaner etc., but only to temper expectations. Privacy Eraser Pro may well meet your needs -- just don't expect any privacy app to be 100% bulletproof if someone with forensic expertise takes a good look at your drive(s). And/or a privacy app may be overkill. If for example your main concern is online tracking by various companies, you can set Firefox, & to a lesser degree Internet Explorer, to not retain records, history etc., with Firefox there are extensions like 'Self-Destructing Cookies', and you can most always use private or incognito or InPrivate browser windows, depending on the browser you use. That said, if you want to double check the thoroughness of a privacy app, nirsoft.net has a number of utilities like MUICacheView, ShellBagsView, & UserAssistView, that will show data stored in Windows registry re: what files, folders, apps etc. Have been recently used. There's less reason to do without the convenience of last or frequently used apps or files because your privacy app deleted that stuff, if it's all there in the registry anyway. Do note however that security apps often do not like many [or in some cases any] of the free Nirsoft tools -- they're pretty popular so you should be able to vet them online without much trouble. Nothing against Privacy Eraser Pro, CCleaner etc., *from a more purist standpoint*, AFAIK the only way to not leave tracks on your device is to run the OS in volatile RAM [memory], so everything's gone when it's turned off. Most use a RAM disk to accomplish that -- think virtual hard disk created entirely in RAM. You can create a boot CD/DVD that loads a modified copy of Windows to a RAM disk [visit reboot.pro] -- a USB stick will work, but you cannot write to a closed CD/DVD so there's no possibility of anything being left over -- or in Windows you could copy the virtual hard disk storing a VM [Virtual Machine] to a Ram disk & run it from there. You can save a copy of a VM, then erase the VM's virtual hard disk after use, replacing it with a fresh copy next time you want to run it, but particularly if you use a SSD drive, at least theoretically you could leave some small bit of data behind. IMHO that's what lead many to use Truecrypt [or nowadays something like Veracrypt] with a *nested* hidden virtual hard disk, complete with its own OS, inside an encrypted virtual hard disk, plus that way you don't lose everything like when you destroy a virtual hard disk. Online you'd need to use a VPN [Virtual Private Network] -- wikipedia.org/wiki/Virtual_private_network -- that did not keep records, & that had not been compromised by someone else to record who used it to go where & do what. In books & movies you see hackers etc. Using public networks, e.g. Internet cafes, hacking into a network to use their online connection, or buying & paying for an Internet connection using fake names & credentials to avoid that uncertainty. The idea is that regardless who tracks what, it doesn't lead to the person's real ID. Along those lines every network chip has its own ID called the MAC address, & it is visible online -- no matter how many devices are connected to a network that's connected to the Internet, all sharing the same IP address visible on the Internet, that MAC address IDs the specific device. There are apps or tools for MAC address spoofing, to change the ID that's reported, &/or you can change & use randomized MAC addresses used by a VirtualBox VM. Encryption, which is often in the news with federal agencies pushing for back doors etc., is a somewhat separate approach. No one can even look for anything on an encrypted drive they can't unlock, so problem solved. Problems come from refusing to give up the key, which depending on the circumstances, e.g. Who's demanding the key & maybe where you're located, may bring severe consequences. All of which is Not to say don't use Privacy Eraser Pro or similar, CCleaner etc., but only to temper expectations. Privacy Eraser Pro may well meet your needs -- just don't expect any privacy app to be 100% bulletproof if someone with forensic expertise takes a good look at your drive(s). And/or a privacy app may be overkill. If for example your main concern is online tracking by various companies, you can set Firefox, & to a lesser degree Internet Explorer, to not retain records, history etc., with Firefox there are extensions like 'Self-Destructing Cookies', and you can most always use private or incognito or InPrivate browser windows, depending on the browser you use. That said, if you want to double check the thoroughness of a privacy app, nirsoft.net has a number of utilities like MUICacheView, ShellBagsView, & UserAssistView, that will show data stored in Windows registry re: what files, folders, apps etc. Have been recently used. There's less reason to do without the convenience of last or frequently used apps or files because your privacy app deleted that stuff, if it's all there in the registry anyway. Do note however that security apps often do not like many [or in some cases any] of the free Nirsoft tools -- they're pretty popular so you should be able to vet them online without much trouble.|. Sanchez RE: Cookies etc., you might want to research that more thoroughly. And aside from whatever data they may or may not contain, they can be used to build useful profiles of you, your habits, your interests etc. RE: Web History, Unless you use a VPN, ISPs certainly can keep records of every bit of the data going back & forth across your Internet connection, but you have to ask: 'Why would they?' Storing data may be cheap but it isn't free -- it costs the ISP money to monitor anything, let alone store that data. IOW maybe research what your ISP retains, whether it's their policy, required by law where you live etc. RE: using privacy tools just for ego, different people have different needs. Sometimes all that's wanted/needed is to remove stuff that might be embarrassing or cause problems at work or home -- not anything that would withstand forensic examination. Sometimes it's just to help prevent the profiling mentioned earlier. Sanchez RE: Cookies etc., you might want to research that more thoroughly. And aside from whatever data they may or may not contain, they can be used to build useful profiles of you, your habits, your interests etc. RE: Web History, Unless you use a VPN, ISPs certainly can keep records of every bit of the data going back & forth across your Internet connection, but you have to ask: 'Why would they?' Storing data may be cheap but it isn't free -- it costs the ISP money to monitor anything, let alone store that data. IOW maybe research what your ISP retains, whether it's their policy, required by law where you live etc. RE: using privacy tools just for ego, different people have different needs. Sometimes all that's wanted/needed is to remove stuff that might be embarrassing or cause problems at work or home -- not anything that would withstand forensic examination. Sometimes it's just to help prevent the profiling mentioned earlier.|. Sanchez Quote: 'makes it very inconvenience next time you surf the web, I had to search and type everything again to re-visit my favorites sites.' Do you know anything about bookmarking? About having a Favorites toolbar with one-click buttons that will open your favourite sites? Fair criticism of a developer or its software is acceptable, but moaning on here because you don't know how to surf the web, something else. As to your assertion that 'there is nothing in those cookies that identify you' oh, please... Don't tell me you allow 'em to build up on your machine because they don't have your name on them???? Sanchez Quote: 'makes it very inconvenience next time you surf the web, I had to search and type everything again to re-visit my favorites sites.' Do you know anything about bookmarking? About having a Favorites toolbar with one-click buttons that will open your favourite sites? Fair criticism of a developer or its software is acceptable, but moaning on here because you don't know how to surf the web, something else. As to your assertion that 'there is nothing in those cookies that identify you' oh, please... Don't tell me you allow 'em to build up on your machine because they don't have your name on them????|. #12 +1 WRT 'Privacy Fortress' 'Privacy Maximizer' 'Privacy ENHANCER' 'TRACK Eraser' Definitely not 'Privacy Eraser' - given the intention is opposite Having now used it, I'd say 'System Cleaner' is more accurate. Installed OK XP SP3 (that last reasonable offering out of MS) Privacy eraser has changed a lot since I last used it. Very complete user interface now - pretty informative home screen. Scans and presents info on what it has found (# of files, size etc) No idea how you select or de-select the bits you want cleaned or excluded. All items scanned are ticked so it suggests they all get cleaned - surely there is the ability to leave bits like 'recent files' in place if thats what YOU want. Nothing I tried would select/de-select sub items from the scan/home page. Similar products offer a selectable tick box for this. You can right click on a single object and select quick clean and it does appear to just do that object/group. I selected bits left over from Google Earth and it cleaned just that area ok. I don't have time to let it destroy my system so didn't let it loose on everything. Underneath the HOME option there are sub sections - WINDOWS, BROWSERS, APPLICATIONS etc Under those sections you CAN narrow down what you want the cleaner to look at or leave alone - so these sub areas certainly have selectable buttons. Offers file shredder, disk eraser, startup manager, uninstaller.usual clean up tools I didn't see any mention or offer of a backup before it cleans things like the registry - I understand that for 'privacy' you probably wouldn't want that.but what if it breaks your registry, or you are not yet sure just what this code will do! It will take some time to play with this util and see its full potential - I think it does a lot more than a quick glance shows. I'd suggest having a backup plan (restore point) until confidence is gained in the product. Other cleaners (some free) like Cleanup, Privazer, Bleachbit seem to offer a no fuss way of cleaning up privacy issues on a system - without destroying it. Possibly an ok product - will take time to try it out fully - it's more than just a track eraser - it's more of system clean-up tool too (non privacy related matters, just clutter) The product is up against some pretty good free offerings on the net - why would you buy this? Good luck at USD80. Well - in its defence, this does offer a little bit more. The ability - from this one util - to see a little bit more - eg what add-ons your browser has and to deal with them as you wish very easily - so it gives a slightly more complete system clean-up kit perhaps,along with the usual privacy enhancing track erasers. In the few minutes I used it, it did highlight (clearly) some bits (activeX etc) that I had left over and I was able to easily remove them with this tool. - offer backup/restore (folk can use a memory stick to take the backup off the system) - portable version - make items found on the home/scan page selectable - explain more - use popup comment boxes or more informative headings Thanks for the Giveaway - it's not bad from what I can see. Kinda like it even. +1 WRT 'Privacy Fortress' 'Privacy Maximizer' 'Privacy ENHANCER' 'TRACK Eraser' Definitely not 'Privacy Eraser' - given the intention is opposite Having now used it, I'd say 'System Cleaner' is more accurate. Installed OK XP SP3 (that last reasonable offering out of MS) Privacy eraser has changed a lot since I last used it. Very complete user interface now - pretty informative home screen. Scans and presents info on what it has found (# of files, size etc) No idea how you select or de-select the bits you want cleaned or excluded. All items scanned are ticked so it suggests they all get cleaned - surely there is the ability to leave bits like 'recent files' in place if thats what YOU want. Nothing I tried would select/de-select sub items from the scan/home page. Similar products offer a selectable tick box for this. You can right click on a single object and select quick clean and it does appear to just do that object/group. I selected bits left over from Google Earth and it cleaned just that area ok. I don't have time to let it destroy my system so didn't let it loose on everything. Underneath the HOME option there are sub sections - WINDOWS, BROWSERS, APPLICATIONS etc Under those sections you CAN narrow down what you want the cleaner to look at or leave alone - so these sub areas certainly have selectable buttons. Offers file shredder, disk eraser, startup manager, uninstaller.usual clean up tools I didn't see any mention or offer of a backup before it cleans things like the registry - I understand that for 'privacy' you probably wouldn't want that.but what if it breaks your registry, or you are not yet sure just what this code will do! It will take some time to play with this util and see its full potential - I think it does a lot more than a quick glance shows. I'd suggest having a backup plan (restore point) until confidence is gained in the product. Other cleaners (some free) like Cleanup, Privazer, Bleachbit seem to offer a no fuss way of cleaning up privacy issues on a system - without destroying it. Possibly an ok product - will take time to try it out fully - it's more than just a track eraser - it's more of system clean-up tool too (non privacy related matters, just clutter) The product is up against some pretty good free offerings on the net - why would you buy this? Good luck at USD80. Well - in its defence, this does offer a little bit more. The ability - from this one util - to see a little bit more - eg what add-ons your browser has and to deal with them as you wish very easily - so it gives a slightly more complete system clean-up kit perhaps,along with the usual privacy enhancing track erasers. In the few minutes I used it, it did highlight (clearly) some bits (activeX etc) that I had left over and I was able to easily remove them with this tool. - offer backup/restore (folk can use a memory stick to take the backup off the system) - portable version - make items found on the home/scan page selectable - explain more - use popup comment boxes or more informative headings Thanks for the Giveaway - it's not bad from what I can see. Kinda like it even.|. #10 Well, on an over crowded field as 'privacy cleaners', I'll say, this piece of software is price tagged in the high end. Now, it's going to be exiting to see, what it finds, when CCleaner (with CCleaner Enhancer), PrivaZer and DiskMax (all freeware) has done their cleaning. I expect, a program like this, price tagged like this will tells exactly, what's selected for keeping my privazy intact. Thanks, to the developer and the team behind GAOTD for letting us try yet another piece of software for free. Greets from Denmark. PrivaZer: DiskMax. Well, on an over crowded field as 'privacy cleaners', I'll say, this piece of software is price tagged in the high end. Now, it's going to be exiting to see, what it finds, when CCleaner (with CCleaner Enhancer), PrivaZer and DiskMax (all freeware) has done their cleaning. I expect, a program like this, price tagged like this will tells exactly, what's selected for keeping my privazy intact. Thanks, to the developer and the team behind GAOTD for letting us try yet another piece of software for free. Greets from Denmark. PrivaZer: DiskMax:|. #5 I'd like to address the publisher of this software: Your software might be fabulous--I don't know, as I haven't tried it yet, although I plan to check it out later today. However, one thing that you may want to reevaluate is the name of the program itself: 'Privacy Eraser' does not inspire the least bit of confidence. For one, it is semantically nonsensical. Your program is attempting to increase privacy, not 'erase' it! In other words, privacy is the state we are trying to attain or achieve; it is the lack of privacy (i.e., the state of exposure, vulnerability, etc.) that we want to eliminate, or 'erase.' I happen to understand what your program seeks to do, however the name contradicts its underlying purpose. I'm going to assume that English is not the development team's native language. There is, of course, no crime in that. But I see this issue all the time with desktop and mobile software, and I don't understand why a company wouldn't see it as a priority to hire or consult with someone who's conversant in the language of the country where you are attempting to market a product. (And I have some experience in this arena.I used to work at a company developing software with a large clientele in France, and we wouldn't dream of releasing major revisions before they had been vetted by a native French speaker--it was just a normal cost of business) It's bad enough when ad copy doesn't make sense, but you are severely handicapping sales when the actual product name can be made subject to ridicule. And please keep in mind that even if others intuitively understand what the software does, as I did, just the fact that the product could be named so ineptly drastically lowers confidence in it (and the company behind it), which is particularly unfortunate if the software actually is very good. I sincerely didn't mean to berate anyone at Cybertron or belabor the point further, but did want to make it clear that the name 'Privacy Eraser' is ill-advised. It would be like a bank or financial institution coming out with an investment product called 'The Money Eraser,' or a diet product entitled 'Weight Stimulator.' Anyway, I'm no ad-man, but perhaps a step in the right direction would be a name like 'Privacy Maximizer', or conversely 'Exposure Eliminator.' Something like. 'Privacy Fortress' has a nice strong ring to it. But I respectfully suggest your team at Cybertron spend some time thinking it over and give this issue some thought. Anyway, good luck with the giveaway. I'd like to address the publisher of this software: Your software might be fabulous--I don't know, as I haven't tried it yet, although I plan to check it out later today. However, one thing that you may want to reevaluate is the name of the program itself: 'Privacy Eraser' does not inspire the least bit of confidence. For one, it is semantically nonsensical. Your program is attempting to increase privacy, not 'erase' it! In other words, privacy is the state we are trying to attain or achieve; it is the lack of privacy (i.e., the state of exposure, vulnerability, etc.) that we want to eliminate, or 'erase.' I happen to understand what your program seeks to do, however the name contradicts its underlying purpose. I'm going to assume that English is not the development team's native language. There is, of course, no crime in that. But I see this issue all the time with desktop and mobile software, and I don't understand why a company wouldn't see it as a priority to hire or consult with someone who's conversant in the language of the country where you are attempting to market a product. (And I have some experience in this arena.I used to work at a company developing software with a large clientele in France, and we wouldn't dream of releasing major revisions before they had been vetted by a native French speaker--it was just a normal cost of business) It's bad enough when ad copy doesn't make sense, but you are severely handicapping sales when the actual product name can be made subject to ridicule. And please keep in mind that even if others intuitively understand what the software does, as I did, just the fact that the product could be named so ineptly drastically lowers confidence in it (and the company behind it), which is particularly unfortunate if the software actually is very good. I sincerely didn't mean to berate anyone at Cybertron or belabor the point further, but did want to make it clear that the name 'Privacy Eraser' is ill-advised. It would be like a bank or financial institution coming out with an investment product called 'The Money Eraser,' or a diet product entitled 'Weight Stimulator.' Anyway, I'm no ad-man, but perhaps a step in the right direction would be a name like 'Privacy Maximizer', or conversely 'Exposure Eliminator.' Something like. 'Privacy Fortress' has a nice strong ring to it. But I respectfully suggest your team at Cybertron spend some time thinking it over and give this issue some thought. Anyway, good luck with the giveaway.|. Robert Garofalo Perhaps we make cut them some slack. In the world of I.T. (as in many other spheres of business) where products are being created; the name is often governed by trademark requirements. There are legal obligations in relation to trademarks, that control the choice of name. You may have the greatest privacy protector: but if another product is already using that name or similar: then you may need to tread carefully. The last thing a company wants, is to embroiled in a lawsuit pertaining to trademark naming rights. In the meantime: perhaps consider it a creative oxymoron. Robert Garofalo Perhaps we make cut them some slack. In the world of I.T. (as in many other spheres of business) where products are being created; the name is often governed by trademark requirements. There are legal obligations in relation to trademarks, that control the choice of name. You may have the greatest privacy protector: but if another product is already using that name or similar: then you may need to tread carefully. The last thing a company wants, is to embroiled in a lawsuit pertaining to trademark naming rights. In the meantime: perhaps consider it a creative oxymoron.|. Robert Garofalo To be honest, Privacy Eraser Pro needs to do a darn sight more than merely getting its name right. It needs to get its pricing right, too. This is not complex software developed to handle a complex task but a relatively simple single-purpose app whose download size from its website is a mere 4.66Mb. How on earth that relates to the text on this page: 'The program is available for $79.95, but it will be free for our visitors as a time-limited offer' is a mystery... Not least because on its own website, Privacy Eraser PRO is listed at $19.95 for a 12-month license or $59.95 for lifetime usage. Candidly, this kind of silliness -- by any developer -- sends me running for the hills. That's especially the case here, because if Cybertron Software can neither get the name of its product nor the price of that product right in a marketing promotion, the prospects for it getting anything else right in actual operation don't look too rosy. What is especially baffling is that this $79.95 or $59.95 or $19.95 product is a commercial offering in a field dominated by freeware that either singly or in tandem achieves everything that Privacy Eraser claims to deliver. CCleaner, for example, is just as user-chooser manageable: choose what you want to delete and what you want to keep -- including cookies -- and that's that. Want to ensure a deletion process that's better than standard? Simple: go to CCleaner Options / Settings and select 3, 7, or 35-pass 'Secure Deletion' and that's that done, too. Want to wipe free space on your hard drive, where all the stuff you thought you'd deleted may actually still be there? Again, simple: select 7-pass secure deletion, select wipe free space, turn the computer monitor off, go to bed, and come back in the morning to find CCleaner has laundered everything. If you'd like to undertake secure file deletion on the fly -- without having to go to the bother of actually opening an eraser program -- then just install the outstanding File Shredder from Pow Tools. Right click on a file in Windows Explorer then click on 'secure delete' and that's it, the file will be instantly shredded according to however many passes you've set up in your operational preferences. Finally: Bothered about your browsing cache? I haven't used Internet Explorer for years nor recommended anyone else to, either, and I certainly wouldn't go within a country mile of Google and its Chrome. I do know though that it took me all of 30 seconds in my Firefox settings to ensure that the browser is set to (a) never save history and (b) automatically clear cache on closure. All the above -- CCleaner, File Shredder, and Firefox (and PrivaZer, too) -- cost precisely nothing. As today's developer must surely be aware of that, I'd assumed it would be justifying the mind-boggling prices it is asking by offering a product which out-performs existing, well-established freeware. Sadly, nothing I've seen on its own website nor from any external review indicates that. On which basis, therefore, I'd politely suggest to Cybertron Software that it goes back to the drawing board and starts again. Whether its product's name is right or wrong is of minor consequence compared to the fact that there's never going to be a future for any paid-for software of any name which can't do better than the stuff any computer user can readily get for free, and for life. Robert Garofalo To be honest, Privacy Eraser Pro needs to do a darn sight more than merely getting its name right. It needs to get its pricing right, too. This is not complex software developed to handle a complex task but a relatively simple single-purpose app whose download size from its website is a mere 4.66Mb. How on earth that relates to the text on this page: 'The program is available for $79.95, but it will be free for our visitors as a time-limited offer' is a mystery... Not least because on its own website, Privacy Eraser PRO is listed at $19.95 for a 12-month license or $59.95 for lifetime usage. Candidly, this kind of silliness -- by any developer -- sends me running for the hills. That's especially the case here, because if Cybertron Software can neither get the name of its product nor the price of that product right in a marketing promotion, the prospects for it getting anything else right in actual operation don't look too rosy. What is especially baffling is that this $79.95 or $59.95 or $19.95 product is a commercial offering in a field dominated by freeware that either singly or in tandem achieves everything that Privacy Eraser claims to deliver. CCleaner, for example, is just as user-chooser manageable: choose what you want to delete and what you want to keep -- including cookies -- and that's that. Want to ensure a deletion process that's better than standard? Simple: go to CCleaner Options / Settings and select 3, 7, or 35-pass 'Secure Deletion' and that's that done, too. Want to wipe free space on your hard drive, where all the stuff you thought you'd deleted may actually still be there? Again, simple: select 7-pass secure deletion, select wipe free space, turn the computer monitor off, go to bed, and come back in the morning to find CCleaner has laundered everything. If you'd like to undertake secure file deletion on the fly -- without having to go to the bother of actually opening an eraser program -- then just install the outstanding File Shredder from Pow Tools. Right click on a file in Windows Explorer then click on 'secure delete' and that's it, the file will be instantly shredded according to however many passes you've set up in your operational preferences. Finally: Bothered about your browsing cache? I haven't used Internet Explorer for years nor recommended anyone else to, either, and I certainly wouldn't go within a country mile of Google and its Chrome. I do know though that it took me all of 30 seconds in my Firefox settings to ensure that the browser is set to (a) never save history and (b) automatically clear cache on closure. All the above -- CCleaner, File Shredder, and Firefox (and PrivaZer, too) -- cost precisely nothing. As today's developer must surely be aware of that, I'd assumed it would be justifying the mind-boggling prices it is asking by offering a product which out-performs existing, well-established freeware. Sadly, nothing I've seen on its own website nor from any external review indicates that. On which basis, therefore, I'd politely suggest to Cybertron Software that it goes back to the drawing board and starts again. Whether its product's name is right or wrong is of minor consequence compared to the fact that there's never going to be a future for any paid-for software of any name which can't do better than the stuff any computer user can readily get for free, and for life.|. #4 Installed and registered, if I recall correctly registration is done by clicking upgrade to pro on the help menu. A readable but mud coloured interface; under Settings it is worth changing the Update selection which is under General, Automation. A quick scan found many residual bits of information on my system, unfortunately there was not enough information about each of them to make me feel comfortable in removing them. At $79 and more in-depth understanding of what will be removed should in my opinion the included and because it isn't I haven't the confidence to use this program. Installed and registered, if I recall correctly registration is done by clicking upgrade to pro on the help menu. A readable but mud coloured interface; under Settings it is worth changing the Update selection which is under General, Automation. A quick scan found many residual bits of information on my system, unfortunately there was not enough information about each of them to make me feel comfortable in removing them. At $79 and more in-depth understanding of what will be removed should in my opinion the included and because it isn't I haven't the confidence to use this program.|. #3 Be careful when erasing cookies as websites save log-in info in cookies (Fortunately, it appears this software allows one to choose which cookies to delete). Also, much of the data that these privacy erasers delete is not particularly sensitive, like browsing history, search history, etc and some can be helpful to your computer. However, if there are other people using your PC and you want to keep them from poking around and looking at what websites you visit and the like this software can be useful (though the average user usually doesn't have the expertise to do so). Be careful when erasing cookies as websites save log-in info in cookies (Fortunately, it appears this software allows one to choose which cookies to delete). Also, much of the data that these privacy erasers delete is not particularly sensitive, like browsing history, search history, etc and some can be helpful to your computer. However, if there are other people using your PC and you want to keep them from poking around and looking at what websites you visit and the like this software can be useful (though the average user usually doesn't have the expertise to do so).|. Hardgirl Wow! I haven't commented here for a while, but I just have to weigh in on that concept. Hardgirl, please, please, please do not ever do what you are suggesting. Do not carry around a thumb drive with portable system utilities on it. And, if I allow you to use a device on my computer system, do not plug in that thumb drive and run those utilities, as you see fit? Including deleting files, as you see fit? In my country, the law refers to such actions as 'Unauthorized Physical Damage', a criminal offense. If the resulting costs to repair my computer system are low, it would be a misdemeanor offense. But, it could be considered a felony offense, if the costs were substantial. And they likely would be substantial, as you would be on the hook for the considerable costs incurred to have a professional company do the forensic analysis and other remedial measures to analyze my entire computer network and retrieve and restore my data and my computer system to its original state. You would also be liable for any damages resulting from any disruption caused to my own activities on my computer system. Please understand, if I grant you access to my computer system, I AM NOT also authorizing you to alter or delete any cache, cookies, logs, history files, index files, etc. And, like Lofty, I would be upset with you, as well, for mucking up my computer. Please just leave that thumb drive at home. Hardgirl Wow! I haven't commented here for a while, but I just have to weigh in on that concept. Hardgirl, please, please, please do not ever do what you are suggesting. Do not carry around a thumb drive with portable system utilities on it. And, if I allow you to use a device on my computer system, do not plug in that thumb drive and run those utilities, as you see fit? Including deleting files, as you see fit? In my country, the law refers to such actions as 'Unauthorized Physical Damage', a criminal offense. If the resulting costs to repair my computer system are low, it would be a misdemeanor offense. But, it could be considered a felony offense, if the costs were substantial. And they likely would be substantial, as you would be on the hook for the considerable costs incurred to have a professional company do the forensic analysis and other remedial measures to analyze my entire computer network and retrieve and restore my data and my computer system to its original state. You would also be liable for any damages resulting from any disruption caused to my own activities on my computer system. Please understand, if I grant you access to my computer system, I AM NOT also authorizing you to alter or delete any cache, cookies, logs, history files, index files, etc. And, like Lofty, I would be upset with you, as well, for mucking up my computer. Please just leave that thumb drive at home. Shegeek72 You are missing the point. It is not a matter of whether or not her actions are nefarious. Her intent is to plug in a thumb drive and run a covert utilty that allows her to capture and analyze ALL of the cookies, history files, logs, etc. On my computer. It is immaterial that she just wants to delete records that pertain to her use of my computer. Absolutely an invasion of my privacy. Where I should draw the line about what she should be allowed to do to my system files. I dont think you don't understand what this software can do. It can do far more than just delete a few cookies. First, please consider what you just said. 'Selectively delete'. Meaning she is running covert software on my machines that will allow her to analyze all of my system files and then 'selectively delete' anything she believes should not be there. One, she has absolutely no right to isolate and analyze all of my system files. Two, if she truly wants to remove all traces of her using my computer, we are not just talking about cookies that are used for browsing. Shegeek72 You are missing the point. It is not a matter of whether or not her actions are nefarious. Her intent is to plug in a thumb drive and run a covert utilty that allows her to capture and analyze ALL of the cookies, history files, logs, etc. On my computer. It is immaterial that she just wants to delete records that pertain to her use of my computer. Absolutely an invasion of my privacy. Where I should draw the line about what she should be allowed to do to my system files. I dont think you don't understand what this software can do. It can do far more than just delete a few cookies. First, please consider what you just said. 'Selectively delete'. Meaning she is running covert software on my machines that will allow her to analyze all of my system files and then 'selectively delete' anything she believes should not be there. One, she has absolutely no right to isolate and analyze all of my system files. Two, if she truly wants to remove all traces of her using my computer, we are not just talking about cookies that are used for browsing.|. Eraser is an advanced security tool, which allows you to completely remove sensitive data from your hard drive by overwriting it several times with carefully selected patterns. You can drag and drop files and folders to the on-demand eraser, use the convenient Explorer shell extension or use the integrated scheduler to program overwriting of unused disk space or, for example, browser cache files to happen regularly, at night, during your lunch break, at weekends or whenever you like. The patterns used for overwriting are based on Peter Gutmann's paper 'Secure Deletion of Data from Magnetic and Solid-State Memory' and they are selected to effectively remove the magnetic remnants from the hard disk. Other methods include the one defined in the National Industrial Security Program Operating Manual of the US Department of Defense and overwriting with pseudorandom data. You can also define your own overwriting methods. For the Mitch Albom novel, see. Wheelchair accessible The Timekeeper (also known as From Time to Time and Un Voyage à Travers le Temps) was a film that was presented at three around the world. It was the first Circle-Vision show that was arranged and filmed with an actual plot and not just visions of landscapes, and the first to utilize. The film featured a cast of European film actors of France, Italy, Belgium, Russia, and England. The film was shown in highly stylized circular theaters, and featured historic and futuristic details both on the interior and exterior. The Timekeeper and its original European counterpart Le Visionarium marked the first time that the Circle-Vision film process was used to deliver a narrative story line. This required a concept to explain the unusual visual characteristics of the Theater, hence the character Nine-Eye. Nine-Eye was sent through Time by The Timekeeper, so that she could send back the surrounding images as she recorded them in whichever era she found herself in. Timekeeper has 1847 ratings and 567 reviews. Lola said: He was a boy of air and dust and sunlight. Everything that had gone into the making of the wor. The European attraction was also known by its film name as Un Voyage à Travers le Temps, while the Japanese version was simply named 'Visionarium', with the caption From Time to Time on the poster. The American Film Theater was known as 'Transportarium' for a period of six months after it debuted, but the name was later dropped in lieu of 'Tomorrowland Metropolis Science Center', or formally 'The Timekeeper'. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • History [ ] Le Visionarium (the original title) was the first Circle-Vision 360° film in which Imagineers wanted to tell an immersive story and attempt a light-hearted dialog without just switching between scenes of landscapes, as had been done in all of the previous Circle-Vision films. The original concept for the film had included Jules Verne and the culture of past and present European history and events, and new inventions. Along with the previous elements, the story had to do with the idea of Time Travel with one concept including a child that explored the story of the great European scientists of the past on an intelligent computer. However, to keep the audience focused and use imagination to depict situations and places that do not cater to the average person, the number of visions of the past and extreme situations of the plot kept increasing all the time for the project. The film first premiered in at on April 12, 1992 as Le Visionarium. It was an extravagant attraction, and was touted by then-Disney as the showcase attraction of the land at the time. However, TIME Magazine derided the film as a 'flop' of a 'wan drama' in its review of Disneyland Paris. The next year, the third incarnation of the ride opened at, as part of that park's 10th Anniversary Celebration. The attraction had long been on the Discoveryland USA proposal for the at the. However, when financial difficulties arose because of the EuroDisney Project, this Discoveryland project was canceled. At one point, the attraction was to be extended into a restaurant featured next door to the attraction. The Plaza Pavilion was to receive a makeover as the 'Astronomer's Club', where a stage would have featured actors portraying famed scientists such as,, or, who would appear in the restaurant, and then be called back to the past by either Nine-Eye or Timekeeper. However, the film was named From Time to Time and opened in the Magic Kingdom's Circle-Vision Theater, rechristened 'Transportarium' on November 21, 1994 as part of the expansion. Six months later, the attraction underwent some name changes. The Theater was renamed 'Tomorrowland Metropolis Science Center', and the film was formally known as The Timekeeper. In 2001, the attraction was moved to the seasonal list of attractions along with. In February 2006, the Walt Disney World Resort reported that The Timekeeper was to be closed on February 26, 2006. Walt Disney World's version was the last version of the attraction to be closed. Both the Tokyo Disneyland and Disneyland Paris Visionarium films had closed in 2002 and 2004, respectively. Pre-show synopsis [ ] European pre-show [ ] Guests were ushered into a dimly-lit library-like chamber, complete with several artifacts, such as models of Jules Verne's Nautilus from and Albatross from, Da Vinci's flying machine, or the first balloon ever created. A short movie about the history of making cars is shown (until this company dropped its sponsorship in 2002). Guests were introduced to Timekeeper, who told them they were about to join him in an experimentation by viewing his last and greatest invention: his extraordinary machine to explore Time. Before he introduced it, he gave a short speech on how his machine would change the world just as the ones that surrounded guests in the pre-show room. He even sang briefly about visionaries. After that, he introduced the crowd to 'Nine-Eye', and explained how she would travel through Time first and let guests see this through her eyes. Guests then watched Nine-Eye's training videos, which included a plunge over, a flight into a barn full of dynamite in, a swirling ride aboard a centrifugator, and lastly, hitching a ride on a space shuttle. Japanese pre-show [ ] This pre-show scene was similar to the European version, however with some differences. Instead of the dark circular enclave as in the Paris location, a bright open area was present. The wall that separated the building from the Tomorrowland corridor was a large stained-glass mural featuring 22 famous inventors and visionaries. More news for TimeKeeper. This browser does not meet minimum standards for connection to the timekeeping system. Please update your browser version by NOVEMBER 1, 2017 for continued access to. Also featured was the Timekeeper's study, library, and laboratory. The pre-show area also featured a 20-foot model of Da Vinci's Heliocentric Solar System, the Nautilus from Verne's, the Albatross from Verne's, a real 1920s from, and an actual copy of Verne's novel, 20,000 Leagues Under the Sea. This location's film focused on Verne and H.G. Wells, explaining how their work changed history. Then, Nine-Eye was introduced to guests. American pre-show [ ] Before the actual show, guests were introduced to the invention of the show, 'Circumvisual PhotoDroid', more frequently referred to as 'Nine-Eye'. The nine eyes she had represented the nine cameras used in filming the show in the round, thus showing the view from one of her 'eyes' on each of the nine movie screens. She was the latest development by The Timekeeper, the inventor of the Time Machine. Guests were invited to be witnesses of the first use ever of the newly invented Machine. Guests also watched Nine-Eye's training videos, which included a plunge over, a flight into a barn full of in, a swirling ride aboard a centrifugator, and lastly, hitching a ride on a. Attraction synopsis [ ] The film [ ]. The Timekeeper animatronic at Disneyland Paris. After guests entered the Theatre, Timekeeper (voiced by ) came to life and had Nine-Eye prepared for the journey through Time. Timekeeper then turned on the Machine for its first use, then watched from his control panel as Nine-Eye was thrust back to the period in. She narrowly escaped a hungry as Timekeeper sent her to the last great about 12,000 years ago. As she started freezing up, Timekeeper sent her to 1450, for what should have been a demonstration of 's Printing Press. However, Timekeeper messed up and sent her to a Scottish battlefield in which one warrior came after her. Finally once the kinks of the Time Machine got worked out, Timekeeper sent Nine-Eye to the year 1503, at the height of the. The Machine was placed right in the middle of 's workshop, where he was painting the and working on a model of his Flying Machine. Nine-Eye, being curious, picked up an item close to her, and was quickly noticed by Leonardo, who became fascinated by the strange machine, and started drawing it on paper. However, the meeting between Nine-Eye and Da Vinci was cut short. Her next stop in Time was 1763 in a French castle, where a child named gave a musical performance to a crowd, which included and. The meeting was once again cut short as she was noticed by the people, who started chasing her through various hallways. Timekeeper then decided to send her to the, but the Machine was stuck on fast forward, so she witnessed a Paris skyline in such a motion that the progress of the, the symbol of the, was shown in the background. Finally Timekeeper had the Machine stopped in 1900, just in time for the. Timekeeper announced that guests were just in time for a meeting between and. Nine-Eye hid from the fair-goers but not so that Verne and Wells were hidden. After a brief conversation about their conflicting visions of the Future, Wells walked away, leaving Verne with a model of his Time Machine, which Verne had just criticized as impossible. After a sarcastic comment about time travel from Verne, Nine-Eye rebutted his claim and appeared to the author. Jules Verne decided to take a closer look at her and tried to grab her. Timekeeper, seeing this, tried to bring her back to the present, but accidentally took Verne as well. Timekeeper and Nine-Eye, realizing their mistake, tried to send him back, but he refused after discovering he had finally arrived in the future he had always dreamed of. He begged for them to show him the world of the present in 10 minutes or less, so he could return to 1900 and deliver his speech at the Exhibition (which made Timekeeper ironically reply that he did it in 80 days). They agreed, and Timekeeper set the Machine for the present date. He sent Verne and Nine-Eye to a dark tunnel, which Verne believed to be a 'dark future'. They were unaware they were standing in a railroad tunnel. The next thing to happen was a collision between Jules Verne and a French train, with Verne becoming a new hood ornament. From the train, Jules Verne and Nine-Eye explored the modern streets of Paris (with Verne walking among the traffic, nearly causing an accident), which led Verne, curious, to try driving. As such, Timekeeper put him in the front seat of a, and Verne took off, albeit in the wrong direction. Verne then enjoyed a bobsled run. After this bobsled run, Timekeeper sent Verne and Nine-Eye to the bottom of the sea to show Verne how his novel came to life. The scene then changed, going from being underwater to flying. Jules Verne now stood in a balloon soaring over in Moscow, sharing it with a Russian couple on their honeymoon. Since Verne's presence was inconvenient, Timekeeper sent him to near Paris. The two Russian lovers were accidentally taken to Paris as well, where they could start their honeymoon. As Verne witnessed planes (the 'flying wagons' as he called them), he begged for Timekeeper to let him fly. An employee soon arrived, discovered Nine-Eye, and started talking to her. However, Verne, who ventured far from there, was arrested by policemen. With the help of the employee and Timekeeper's grip on time, Verne was freed (these two scenes were not part of Orlando's version). The screen then showed a flight through the air above various European countrysides featuring castles and mountains. Verne was shown in a, sitting dangerously close to its open door. After flying over,, various scenes of the English countryside, and New York City's skyline (only in Orlando's version), Verne requested to go even higher. They took him to space, in order to show that another dream of his, space travel, had come true from his book. Time began to run out, so Timekeeper and Nine-Eye returned Verne to the site of the of the 1900 Exposition Universelle. However, Timekeeper made one mistake in the wrong year; Verne being in the right place, but at the wrong time, in the 1990s (the present day when the attraction opened). When they finally returned Verne to 1900, H.G. Wells happened to go back to the site of his discussion with Verne, and therefore saw all that went on with the Timekeeper. Wells was flabbergasted, and Verne and Nine-Eye exchanged goodbyes as Wells struggled to understand what just happened. Nine-Eye returned to the present time, and now that guests had witnessed a 'flawless' demonstration of his Time Machine, Timekeeper decided to send Nine-Eye into the future along with a few guests that volunteered to travel with her. Timekeeper then sent Nine-Eye and selected guests to 2189, 300 years after the Exposition Universelle of 1889 and the completion of the (both evidenced by the Timekeeper's clock and by the appearance of the number '300' on the Eiffel Tower). As they explored a futuristic Paris aboard a flying car named Reinastella, they saw Jules Verne and H.G. Wells appearing in what looked like Wells' Time Machine from 1900. A stunned Nine-Eye questioned how they got there, to which Verne replied, 'In the future, anything is possible!' The show ended as they jetted off, and Timekeeper wished everyone well. As guests left, Timekeeper made plans to see other important events in history and in the future with his Machine and Nine-Eye. Voice cast [ ] Character Voice actor (American) Voice actor (French) Voice actor (Japanese) Timekeeper Nine-Eye Film cast [ ] Character Actor Jules Verne H.G. Wells Leonardo da Vinci Mona Lisa Louis XV Madame de Pompadour Roissy Employee Mr. Verne's Translator Filming locations [ ]. See also: After being placed on a seasonal schedule in April 2001, The Timekeeper at Walt Disney World was open on a sporadic schedule during the busy seasons. Some attribute it to the following criticisms, which the overseas versions of the attraction had not been faced with: • Obese or elderly guests may have found it hard to stand or strainful on the eyes • The lack of familiar Disney characters • The building's entrance was very inconspicuous and did not feature a large rotating globe icon or full title. After the events of in the United States, the attraction faced even harder times, due in part to a general decline in tourism due to the terrorist acts. The fact the film featured a scene of New York that still included the now-destroyed prompted a change that saw the Timekeeper′s clock in this segment register the 'current year' as 2000. However, the attraction lasted five more years. During the time when construction was occurring on, it was open more frequently along with Walt Disney's Carousel of Progress. On days when the show was not opened, the queue was a meet-and-greet for Disney characters such as Stitch and characters, and Mr. Incredible, Elastigirl, and Frozone from. Until February 2006, The Timekeeper in Walt Disney World Resort was the last Timekeeper still operating, as the Tokyo Disneyland version closed in 2002 and was replaced with in 2004, and the Disneyland Paris version closed in 2004 and was replaced by in 2006, although the Disneyland Paris version closed mainly because it lost its sponsor, Renault [ ]. In early 2007, the former location of The Timekeeper became home to. The attraction building still retains most of the elements of the previous tenant, including the water columns in the queue and the basic Circle-Vision theater. However, the Theater floor has been modified to include seating and several of the screens are now covered by other elements. Failed proposal for the Disneyland Resort [ ] During the early 1990s, then Disney-Executive, Michael Eisner released ambitious plans for changes to the parks. 'Tomorrowland 2055' was planned for a remake of Tomorrowland and the in. The Timekeeper was to be a showcase attraction, along with and Plectu's Fantastic Intergalactic Revue. One promotional brochure had sponsoring the film. But these plans were later scrapped due to financial difficulties within the Parks & Resorts division, most stemming from the billion dollar losses incurred with the EuroDisney project. However, some clips of The Timekeeper could be seen in the queue for, which utilized the Circle-Vision 360° Theater. Other information placed Visionarium as an opening-day attraction at the unbuilt park next to Disneyland,. The show would have been housed in a European Renaissance building in a European section of the WestCOT version of World Showcase. However, like the 'Tomorrowland 2055' plan, this did not occur either. Technical aspects [ ] • Film negative format (mm/video inches) • 9 x 35 mm • Cinematographic process • Circle-Vision 360 • Printed film format • 9 x 35 mm • Aspect ratio • 12.00: 1 Soundtrack notes [ ] Audio dialogue [ ] The three versions of the attraction featured a soundtrack of dialogue in each park's country's native tongue (French, Japanese, and English). Both the Tokyo Disneyland and Disneyland Paris versions featured guest-selectable translations on headset, which included: • For Paris: • English • German • Spanish • Italian • Dutch • For Tokyo: • English • Mandarin Chinese Since both the European and Japanese versions opened before Orlando's version was created, the voicecast and dialogue are completely different. The American-style dialogue was not present in these versions, and it was a close translation of the French dialog. Featured music [ ] • While the American version received a different soundtrack from the other versions, they were both scored. • During the scene of the conversation between Verne and Wells at the Exposition Universelle, the song heard in the background is called, or Band of Students Waltz. It was composed in 1883. • When Verne returns to the Exhibition building in the 1990s, ' by can be heard in the background. It was meant to represent popular music at the time of filming. The song can be found on their 1991 debut album. Foreign language titles [ ] • French: • Japanese: ビジョナリアム - Visionarium Renault's involvement with the film [ ] The French automobile company Renault is heavily featured throughout the attraction, since it sponsored it in Europe between 1992 and 2002. • In the film: • In the scene where Jules Verne steps off the curb into a busy street in front of the Arc de Triomphe, the car that almost hits him is a five-door hatchback,, at the time of filming the newest model in Renault's fleet of cars. • In the Formula 1 scene, where Jules Verne drives a race car, he is seated and drives the Renault F1 vehicle. • The flying car carrying a family in the scene of Paris in the future was imagined by Renault and is called a 'Reinastella'. • In front of the building in Paris: • A Reinastella model was displayed near the entrance, but it was removed in 2002, when Renault dropped sponsorship. However it remained in the final scene of the film. The prototype car was then seen around Europe in auto shows, most recently on display at Renault's showroom on the Champs-Élysées. • When the prop sat outside the theater, a plaque beneath it read: Blast into the Future by checking out the Renault Reinastella! The Reinastella's futuristic design features a vocal command system that makes steering wheels and accelerators a thing of the past. With a cruising height that ranges from 15 centimetres (5.9 in) to 150 metres (490 ft) above surfaces, the Reinastella flies up to 300 kilometres per hour (190 mph). The next time you're traveling through time, stop into the 24th century and test drive a Renault Reinastella! References [ ]. • (2005-09-01). The Imagineering Field Guide to the Magic Kingdom at Walt Disney World. Disney Editions. • Jean de Lutèce.. Archived from on March 18, 2006. Retrieved December 18, 2006. • Richard Corliss (April 20, 1992).. Retrieved December 1, 2007. • ^ JT Cent.. Archived from on April 16, 2004. Retrieved December 26, 2006. Retrieved December 18, 2006. Retrieved December 18, 2006. Retrieved December 18, 2006. • Tony Baxter.. Retrieved December 18, 2006. • Shaun Finnie.. Archived from on December 17, 2006. Retrieved December 18, 2006. • 'Timekeeper (USA) – Disney Theme Parks / Circle-vision' & 'From Time to Time (Euro Disney / Japan) – Disney Theme Parks / Circle-Vision' External links [ ] English information [ ] • on Attraction history [ ] • • • Editorials [ ] • Photos [ ] • Disneyland Paris • / / Media [ ] • French information [ ] Note: All of the following links are in French. 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Running time 114 minutes (Theatrical Cut) 145 minutes () Country United States Language English Budget $50–55 million Box office $159.8 million Alien 3 (stylized as ALIEN³) is a 1992 American directed by and written by, and, from a story. It is the third film installment in the. The film stars reprising her role as. She and an Alien organism () are the only survivors of the Colonial Marine spaceship 's escape pod's crash on a planet housing a penal colony populated by violent male inmates. Additional roles are played by,,,,,,,, and Danielle Edmond. The film faced problems during production, including shooting without a script, with various screenwriters and directors attached. Fincher, in his, was brought in to direct after a proposed version with as director was cancelled well into preproduction. Alien 3 was released on May 22, 1992. While it underperformed at the American box office, it earned over $100 million outside North America. The film received polarized reviews and was regarded as inferior to previous installments. Fincher has since disowned the film, blaming studio interference and deadlines. It was nominated for an for, seven (, for Weaver, for Dutton, for Fincher, and for Giler, Hill, and Ferguson), a for, and an for Best Action Sequence. [ ] In 2003, a revised version of the film known as the was released without Fincher's involvement, and received a warmer reception. A sequel,, was released in 1997. Contents • • • • • • • • • • • • • • • • • • • • • Plot [ ] In 2179 a fire starts aboard the Colonial Marine spaceship. The computer launches an escape pod containing, the young girl Newt, Hicks, and the damaged Bishop; all four are in. Scans of the crew's show a attached to one member. The pod crash-lands on Fiorina 'Fury' 161, a facility and inhabited by male inmates with, a genetic mutation present in some males in the 22nd century which gives the afflicted individual a predisposition for brutal antisocial behavior such as rape and murder. The inmates, who live and work on Fiorina 'Fury' 161 due to their dangerous nature and histories of violence, recover the crashed pod and its passengers. The same facehugger is seen approaching inmate Murphy's dog, Spike. Ripley is awakened by Clemens, the prison doctor, who informs her that she is the sole survivor. She is warned by the prison warden, Harold Andrews, that her presence may have disruptive effects. Ripley insists that Clemens perform an on Newt, secretly fearing that Newt may be carrying an alien embryo. Despite protests from the warden and his assistant '85' Aaron, the autopsy is conducted and no embryo is found. The bodies of Newt and Hicks are cremated. Elsewhere in the prison, a quadrupedal alien bursts from Spike. Growing to full size, the alien kills Murphy, Boggs, and Rains and returns outcast prisoner Golic to his previously psychopathic state — Golic dubs the alien 'Dragon'. Ripley finds the damaged Bishop in the prison's garbage dump. Just as she is leaving the area, four inmates appear and attempt to rape her, but inmate leader Dillon intervenes and beats the others with a crowbar. Ripley returns to the infirmary and re-activates Bishop, who confirms that a facehugger came with them to Fiorina in the escape pod. Ripley informs Andrews of and suggests everyone work together to hunt down and kill it. The highly skeptical Andrews does not believe her story, and explains that even if he were hearing the truth, the facility is without weapons; their only hope is the rescue ship being sent for Ripley by the Weyland-Yutani Corporation. The Dragon ambushes Ripley and Clemens in the prison, where it kills Clemens. It initially threatens Ripley but then mysteriously spares her and retreats. Andrews orders Aaron to take her back to the infirmary, but the warden himself is dragged into the vents and killed by the monster. Ripley rallies the inmates and proposes they pour flammable toxic waste into the ventilation system and ignite it to flush out the extraterrestrial. However, its intervention causes a premature explosion and several inmates are killed. With Aaron's help, Ripley scans herself using the escape pod's medical equipment and discovers the embryo of a growing inside her. She also discovers that Weyland-Yutani hopes to turn the Aliens into. Deducing that the creature will not kill her because of the embryo she carries, Ripley begs Dillon to kill her; he agrees only if she helps the inmates kill the alien first. They form a plan to lure the Dragon into the foundry's molding facility, trap it via a series of closing doors, and drown it in molten lead. The bait-and-chase plan results in the deaths of all the remaining prisoners except Dillon and Morse. Dillon remains in the mold to distract the antagonist, allowing it to tear him apart as Morse pours the molten lead onto them. Although the beast is covered in molten metal, it escapes the mold but Ripley activates the fire sprinklers, causing its molten metal exoskeleton to cool rapidly and shatter, killing it. The Weyland–Yutani commando team arrives, including a man who looks identical to Bishop, who explains that he is Bishop's creator. He tries to persuade Ripley to undergo surgery to remove the queen embryo, which he falsely claims will be destroyed, but which in reality would be used as a biological weapon. Ripley refuses and steps back onto a mobile platform, which Morse positions over the furnace. The Weyland–Yutani team shoot Morse in the leg in a late effort to stop him; Aaron strikes the Bishop look-a-like with a wrench and is shot dead. Ignoring Bishop's pleas to give them the embryo, Ripley throws herself into the furnace as the infant queen erupts from her chest. Ripley grabs it to prevent it from escaping as they both fall into the furnace. The facility is closed and Morse, the sole survivor, is led away as Ripley's recording from the first film plays for the final time in the EEV. • as, reprising her role from the previous two Alien films. Ripley crash-lands on Fiorina 161 and is once again burdened with the task of destroying another of the alien creatures. • as Dillon, one of Fiorina's inmates who functions as the spiritual and de facto leader amongst the prisoners and attempts to keep the peace in the facility. • as Jonathan Clemens, a former inmate who now serves as the facility's doctor. He treats Ripley after her escape pod crashes at the start of the film and forms a special bond with her. Before he is killed, Clemens laments to Ripley why he was originally sent to Fiorina, describing it as 'more than a little melodramatic.' Fincher initially offered the role to, hoping to reunite him with co-stars Ralph Brown and Paul McGann. • as Harold Andrews, the prison warden. He believes Ripley's presence will cause disruption amongst the inmates and attempts to control the rumors surrounding her and the creature. He rejects her claims about the existence of such a creature, only to be killed by it. • as Aaron, the assistant of Superintendent Andrews. The prisoners refer to him by the nickname '85', after his score, which annoys him. He opposes Ripley's insistence that the prisoners must try to fight the alien, and repudiates her claim that Weyland-Yutani will collect the alien instead of them. A mass-murderer and outcast amongst the prison population, Golic becomes very disturbed after being assaulted by the alien in the prison's underground network of tunnels, gradually becoming more and more obsessed with the alien. In the Assembly Cut of the film, his obsession with and defense of the creature lead to murder, and his actions jeopardize the entire plan. • as Morse, an acerbic, self-centered, and cynical prisoner. Although he is wounded by the Weyland–Yutani team, Morse is the only survivor of the entire incident. • as the voice of the damaged Bishop android, as well as playing a character credited as Bishop II, who appears in the film's final scenes, claiming to be the human designer of the android, who wants the Alien Queen that was growing inside Ripley for use in Weyland-Yutani's bioweapons division. The character is identified as 'Michael Bishop Weyland' in tie-in materials to Alien. • as the alien known as. This Alien is different from the ones in previous installments due to its host being quadrupedal (a dog in the theatrical cut, an ox in the assembly cut). Initially a supervisor, Woodruff decided to take the role of the creature after his company, Amalgamated Dynamics, was hired by Fox. Woodruff said that, following Sigourney Weaver's advice, he approaches the role as an actor instead of a stuntman, trying to make his performance more than 'just a guy in a suit.' He considered the acting process 'as much physical as it is mental.' • as David, an inmate smarter than most who is killed by the creature in the bait-and-chase sequence. • as Junior, the leader of the group of inmates who attempt to rape Ripley. He has a tattoo of a tear drop underneath his left eye. In the Assembly Cut, he sacrifices himself to trap the alien as redemption. • as Gregor, one of the inmates who attempts to rape Ripley, he is bitten in the neck and killed by the Alien during the bait-and-chase sequence. • Danielle Edmond as Rebecca 'Newt' Jorden, the child Ripley forms a maternal bond with in the previous film who briefly returns as a corpse being autopsied. Was unable to reprise her role as Newt as she was too old for the part so Danielle Edmond took over the role in this installment for the brief autopsy scene with Newt's corpse. • as Murphy • as Kevin • Vincenzo Nicoli as Jude • as Boggs • as Rains • as Eric • Hi Ching as Company Man • Carl Chase as Frank • as William • as Arthur • Paul Brennen as Troy • as Corporal Dwayne Hicks (archive picture only) Development [ ] With the success of Aliens, approached on further sequels. But Brandywine was less than enthused with an Alien 3 project, with producer later explaining he and partners and wanted to take new directions as 'we wouldn't do a reheat of one and two'. The trio opted to explore the duplicity of the Weyland-Yutani Corporation, and why they were so intent in using the as. Various concepts were discussed, eventually settling on a two-part story, with the for the third film featuring 'the underhanded Weyland-Yutani Corporation facing off with a militarily aggressive culture of humans whose rigid socialist ideology has caused them to separate from Earth's society.' 's Corporal Hicks would be promoted to protagonist in the third film, with Sigourney Weaver's character of reduced to a cameo appearance before returning in the fourth installment, 'an epic battle with alien warriors mass-produced by the expatriated Earthlings.' Weaver liked the metaphor, and agreed to a smaller role, particularly due to a dissatisfaction with Fox, who removed scenes from Aliens crucial to Ripley's backstory. 'I felt that Ripley was going to become a burden to the story. There are only so many aspects to that character you can do.' Sigourney Weaver, concerning the future of Ripley. Although 20th Century Fox were skeptical about the idea, they agreed to finance the development of the story, but asked that Hill and Giler attempt to get, director of, to make Alien 3. They also asked that the two films be shot back to back to lessen the production costs. While Scott was interested in returning to the franchise, it did not work out due to the director's busy schedule. 1987–1989 [ ] In September 1987, Giler and Hill approached author to write the script for the third film. Gibson, who told the producers his writing was influenced by Alien, accepted the task. Fearful of by the, Brandywine asked Gibson to deliver a screenplay by December. Gibson drew heavily from Giler and Hill's treatment, having a strong interest in the 'Marxist space empire' element. The following year, Finnish director was approached by Fox based on his work in. Harlin wanted to go in different directions from the first two movies, having interest in both visiting the Alien homeworld or having the Aliens invading Earth. Gibson's script was mockingly summed up by him as 'Space commies hijack alien eggs – big problem in Mallworld'. The story picked up after Aliens, with the Sulaco drifting into an area of space claimed by the 'Union of Progressive Peoples'. The ship is boarded by people from the U.P.P., who are attacked by a facehugger hiding in the entrails of Bishop's mangled body. The soldiers blast the facehugger into space and take Bishop with them for further study. The Sulaco then arrives at a space station-shopping mall hybrid named Anchorpoint. With Ripley put in a coma, Hicks explores the station and discovers Weyland-Yutani are developing an Alien army. In the meantime, the U.P.P. Are doing their own research, which led them to repair Bishop. Eventually Anchorpoint and the U.P.P stations are overrun with the Aliens, and Hicks must team up with the survivors to destroy the parasites. The film ends with a teaser for a fourth movie, where Bishop suggests to Hicks that humans are united against a common enemy, and they must track the Aliens to their source and destroy them. The screenplay was very action oriented, featuring an extended cast, and is considered in some circles as superior to the final film and has a considerable following on the Internet. The producers were on the whole unsatisfied with the screenplay, which Giler described as 'a perfectly executed script that wasn't all that interesting', particularly for not taking new directions with the initial pitch. They still liked certain parts, such as the subtext making the Alien a metaphor for the, but felt it lacking the human element present in Aliens and Gibson's trademark cyberpunk aesthetic. Following the end of the WGA strike, Gibson was asked to make rewrites with Harlin, but declined, citing various other commitments and 'foot dragging on the producers' part.' Following Gibson's departure, Harlin suggested screenwriter, writer of the cult horror films and. Red worked less than two months to deliver his draft on February 1989, which led him to later describe his Alien 3 work as 'the one script I completely disown because it was not 'my script'. It was the rushed product of too many story conferences and interference with no time to write, and turned out utter crap.' His approach had a completely new set of characters and subplots, while also introducing new breeds of the Alien. The plot opened with a team of Special Forces marines boarding the Sulaco and finding that all survivors had fallen victim to the aliens. Afterwards it moved into a small-town USA city in a type of bio-dome in space, culminating in an all-out battle with the townsfolk facing hordes of Alien warriors. Brandywine rejected Red's script for deviating too much from their story, and eventually gave up on developing two sequels simultaneously. Writer was next to work on the project, being instructed to start with Gibson's script. Once the made the Cold War analogies outdated, Twohy changed his setting to a prison planet, which was being used for illegal experiments on the aliens for a Biological Warfare division. Harlin felt this approach was too similar to the previous movies, and, tired of the, walked out on the project, which lead Fox to offer Harlin. Twohy's script was delivered to Fox president, who did not like the idea of Ripley being removed, declaring that 'Sigourney Weaver is the centerpiece of the series' and Ripley was 'really the only female warrior we have in our movie mythology.' Weaver was then called, with a reported $5 million salary, plus a share of the box office receipts. She also requested the story to be suitably impressive, original and non-dependent on guns. Twohy duly set about writing Ripley into his screenplay. Start-up with Vincent Ward [ ] Once Hill attended a screening of, he decided to invite its director,. Ward, who was in London developing, only accepted the project on the third call as he at first was uninterested in doing a sequel. Twohy's script was met with Ward's derision, so he had another idea, involving Ripley's escape pod crash landing on a monastery-like satellite. Developing this pitch on his flight to Los Angeles, once Ward got with the studio executives he saw his idea approved by the studio. Ward was hired to direct Alien 3, and writer John Fasano was hired to expand his story into a screenplay. Once Twohy discovered through a journalist friend that another script was being written concurrently to his, he went after Fox and eventually left the project. Ward envisioned a planet whose interior was both wooden and archaic in design, where -like monks would take refuge. The story begins with a monk who sees a 'star in the East' (Ripley's escape pod) and at first believes this to be a good omen. Upon arrival of Ripley, and with increasing suggestions of the Alien presence, the monk inhabitants believe it to be some sort of religious trial for their misdemeanors, punishable by the creature that haunts them. By having a woman in their monastery, they wonder if their trial is partially caused by sexual temptation, as Ripley is the only woman to be amongst the all-male community in ten years. To avoid this belief and (hopefully) the much grimmer reality of what she has brought with her, the Monks of the 'wooden satellite' lock Ripley into a dungeon-like sewer and ignore her advice on the true nature of the beast. The monks believe that the Alien is in fact the Devil. Primarily though, this story was about Ripley's own soul-searching complicated by the seeding of the Alien within her and further hampered by her largely solo attempts to defeat it. Eventually Ripley decides to sacrifice herself to kill the Alien. Fox asked for an alternate ending where the character survived, but eventually Sigourney Weaver said she would only do the movie if Ripley died. Magazine described Ward's 'Wooden Planet' concept as 'undeniably attractive – it would have been visually arresting and at the very least, could have made for some astonishing action sequences.' In the same article, Norman Reynolds – Production Designer originally hired by Ward – remembers an early design idea for 'a wooden library shaft. You looked at the books on this wooden platform that went up and down'. 'Imagine the kind of vertical jeopardy sequence that could have been staged here – the Alien clambering up these impossibly high bookshelves as desperate monks work the platform'.: 156 Sigourney Weaver described Ward's overall concept as 'very original and arresting.' : 153 Former journalist David Hughes included Ward's version of Alien 3 amongst 'The Greatest Sci-Fi Movies Never Made' in his book of this title. However, the concept was divisive among the production crew. The producers at Brandywine discussed on the logical problems of creating and maintaining a wooden planet in space, while Fox executive considered Ward's vision to be 'more bent on the artsy-fartsy side than the big commercial one' that Ridley Scott and James Cameron employed. Ward managed to dissuade the producers of their idea of turning the planet into an ore refinery and the monks into prisoners, but eventually Fox asked a meeting with the director imposing a list of changes to be made. Refusing to do so, Ward was fired. The main plot of the finished film still follows Ward's basic structure. Walter Hill and David Giler's script [ ] Hill and Giler did a first draft trying to enhance the story structure on the Fasano script, and feeling creatively drained hired as a. Ferguson's work was not well received in the production, particularly by Sigourney Weaver, who felt Ferguson made Ripley sound like 'a pissed-off gym teacher'. Short on time before filming was due to commence, producers Walter Hill and David Giler took control of the screenplay themselves, melding aspects of the Ward/Fasano script with Twohy's earlier prison planet screenplay to create the basis of the final film. Sigourney Weaver had also had a clause written into her contract stating the final draft should be written by Hill and Giler, believing that they were the only writers (besides James Cameron) to write the character of Ripley effectively. Fox approached music video director to replace Ward. Fincher did further work on the screenplay with author, and despite Pickett being fired and Hill and Giler writing the final draft of the screenplay, he revised most of the work done by the previous authors. Production [ ] Filming [ ] Filming began on January 14, 1991 at without a finished script and with $7 million already having been spent. While a majority of the film was shot at Pinewood, some scenes were shot at in Northumberland, UK. The purpose of these shots were to show the exterior of the planet. Worked only for two weeks before he started suffering from, and was forced out of the film by a line producer who had lost his father to the disease several years previously, and knew that if anything, the demanding schedule would likely take a fatal toll on Cronenweth's health. He was replaced. Visual effects [ ], responsible for creature effects in Aliens, was approached but was not available. Winston instead recommended Tom Woodruff, Jr. And Alec Gillis, two former workers of his studio who had just started their own company,. Even before principal photography had begun, the practical effects crew was developing models of the Alien and the corpses of the Sulaco victims. 's was hired for and other post-production effects. A small number of shots contain, most notably the cracking alien head once the sprinklers cause thermal shock. Other CGI elements include shadows cast by the rod puppet alien, and airborne debris in outdoor scenes. David Fincher wanted the alien to be, 'more of a puma, or a beast' as opposed to the upright, humanoid posture of the previous films, so the designer of the original alien,, was contacted to generate new sketch ideas. His revisions included longer, thinner legs, the removal of 'pipes' around the spine, and an idea for a sharp alien 'tongue' in place of the secondary jaws. Working from his studio in Zurich, Giger produced these new sketches which he faxed to Cornelius de Fries who then created their model counterparts out of. The only one of Giger's designs that wound up in the final project was a 'Bambi Burster' Alien that had long legs and walked on all fours. ADI also built a full-scale -style puppet of this design which was operated on-set as an in-camera effect. Scenes using this approach were cut from the final release due to the limitations of chemical compositing techniques, making it exceedingly difficult to remove the puppeteers from the background plate, but can be seen in the 'Assembly Cut' of the film. The Alien is portrayed by both Woodruff, Jr. In a suit and a filmed against and into the live-action footage, with the rods removed. A mechanical alien head was also used for. The suit adapted the design used in Aliens so Woodruff could walk on all fours. Woodruff's head was contained in the neck of the suit, because the head was filled with to move the mouth of the Alien. Fincher suggested that a be dressed in an alien costume for on-set of the alien, but the visual effects team was dissatisfied with the comical result and the idea was dropped in favor of the puppet. The rod-puppet approach was chosen for the production rather than which did not provide the required smoothness to appear realistic. As a result, the rod-puppet allowed for a fast alien that could move across surfaces of any orientation and be shot from any angle. This was particularly effective as it was able to accomplish movements not feasible by an actor in a suit. The 1/3 scale puppet was 40 inches long and cast in foam rubber over a bicycle chain armature for flexibility. For moving camera shots, the on-set cameras were equipped with digital recorders to track, pan, tilt, and dolly values. The data output was then taken back to the studio and fed into the motion control cameras with the linear dimensions scaled down to match the puppet. To make syncing the puppet's actions with the live-action shots easier, the effects team developed an instant compositing system using. This allowed takes to be quickly overlaid on the background plate so the crew could observe whether any spatial adjustments were required. Laine Liska was hired to lead a team of puppeteers in a new process dubbed 'Mo-Motion' where the rod puppet would be simultaneously manipulated and filmed with a moving. Depending on the complexity of the shot, the puppet was operated by 4–6 people. Sparse sets were created as they provided freedom of motion for the puppeteers as well as large, solid surfaces for the puppet to act within a three dimensional space. The crew were pushed to make the movements of the Alien as quick as possible to the point where they were barely in control, and this led to, according to Edlund, 'the occasional serendipitous action that made the alien have a character.' The ease of this setup allowed the crew to film 60–70 takes of a single scene. Hoping to give the destroyed Bishop a more complex look that could not be done by simple make-up, the final product was done entirely through animatronics, while a playback of Lance Henriksen's voice played to guide Sigourney Weaver. Scenes of the Emergency Escape Vehicle were shot with a 3.5-foot against a blue-screen and composited onto large scale traditional of the planet's surface. To make the clouds glow from within as the EEV entered the atmosphere, the painting's values were digitally reversed and animated frame-by-frame. The scene in which the EEV is moved by a crane-arm (also a miniature) was created by projecting a video of actors onto pieces of cardboard and then compositing them into the scene as silhouettes against the matte painted background. Main article: The film's composer,, spent a year composing the score by working closely with Fincher to create music based primarily on the surroundings and atmosphere of the film itself. The score was recorded during the, which Goldenthal later claimed contributed to the score's disturbing nature. Reception [ ] Box office [ ] The film was released in the United States on May 22, 1992. The film debuted at number two of the box office, behind, with a Memorial Day weekend gross of $23.1 million. It screened in 2,227 theaters, for an average gross of $8,733 per theater. The film was considered a flop in North America with a total of $55.4 million, although it grossed $104.3 million internationally for a total of $159.7 million. It is the second highest earning Alien film, excluding the effect of inflation, and had the 28th highest domestic gross in 1992. Critical reception [ ] The film initially received mixed reviews from critics, who were generally disappointed and who compared it negatively to the preceding two films in the franchise. Review aggregation website gives the film a score of 46% based on 46 reviews. Audiences polled by gave the film an average grade of 'C' on an A+ to F scale. In his review of, wrote 'I lost interest [in Alien 3], when I realized that the aliens could at all times outrun and outleap the humans, so all the chase scenes were contrivances.' A number of cast and crew associated with the series, including actor, previous director, and novelist, expressed their frustration and disappointment with the film's story. Cameron, in particular, regarded the decision to kill off the characters of Bishop, Newt and Hicks as a 'slap in the face' to him and to fans of the previous film. Upon learning of Hicks' demise, Biehn demanded and received almost as much money for the use of his likeness in one scene as he had been paid for his role in Aliens. Further information: The film's visual effects were nominated for an, losing to. The film was also nominated for seven and a. The film was also nominated for an MTV Movie Award for Best Action Sequence. Adaptations [ ] A novelization of the film was authored. His adaptation includes many scenes that were cut from the final film, some of which later reappeared in the Assembly Cut. Foster wanted his adaptation to differ from the film's script, which he disliked, but Walter Hill declared he should not alter the storyline. Foster later commented: 'So out went my carefully constructed motivations for all the principal prisoners, my preserving the life of Newt (her killing in the film is an obscenity) and much else. Embittered by this experience, that's why I turned down.' Also released a three-issue of the film. Was developed by, and released for multiple formats by, and, including,,,, and. Rather than being a faithful adaptation of the film, it took the form of a basic platform action game where the player controlled Ripley using the weapons from the film Aliens in a green-dark ambient environment. The version, developed by, was different from the console game, being a top-down adventure game. Also developed an arcade loosely based on the film's events,, which was released in 1993. A cartoon series titled Operation: Aliens was conceived by Fox to coincide with the film's release but was ultimately abandoned. Animation on the pilot episode was carried out by a Korean animation studio. Footage has never surfaced, but still images have leaked online. Some merchandising was also released. Home media [ ] Alien 3 has been released in various formats and packages over the years. The first of these were on and, and several subsequent VHS releases were sold both singly and as throughout the 1990s. A VHS boxed set titled The Alien Trilogy containing Alien 3 along with Alien and Aliens was released in facehugger-shaped carrying cases, and included some of the deleted scenes from the Laserdisc editions. When Alien Resurrection premiered in theaters in 1997, another boxed set of the first three films was released titled The Alien Saga, which included a Making of Alien Resurrection tape. A few months later, this set was re-released with the Alien Resurrection film taking the place of the making-of video. In 1999, Alien 3 was released on, both singly and packaged with the other three Alien films as The Alien Legacy boxed set. This set was also released in a VHS version and would be the last VHS release of the film. In 2003, Alien 3 would be included in the 9-disc Alien Quadrilogy DVD set which contained two versions of the film (see below). The first three films were also later packaged as the Alien Triple Pack DVD set (this release was identical to the 1999 Alien Legacy set but excluding Alien Resurrection). Alien 3 was first released on in 2010, as part of the 6-disc Alien Anthology boxed set which included all of the features from the Alien Quadrilogy DVD set and more. The film was also released as a single Blu-ray disc in 2011. The bonus disc for Alien 3 in the 2003 Quadrilogy set includes a documentary of the film's production, that lacks Fincher's participation as clips where the director openly expresses anger and frustration with the studio were cut. The documentary was originally named 'Wreckage and Rape' after one of the tracks of Goldenthal's soundtrack, but Fox renamed it simply 'The Making of Alien 3'. These clips were restored for the 2010 Blu-ray release of the Anthology set, with the integral documentary having a slightly altered version of the intended name, 'Wreckage and Rage'. 2003 Assembly Cut [ ] An alternate version of Alien 3 (officially titled the 'Assembly Cut') which included 37 minutes and 12 seconds of new and alternate footage was released on the 9-disc Alien Quadrilogy box-set in 2003, and later in the Alien Anthology Blu-ray set in 2010. The film's extended and alternate footage includes alternate key plot elements, extended footage and deleted scenes. Director David Fincher was the only director from the franchise who declined to participate in the box-set releases. The 'Assembly Cut' has several key plot elements that differ from the theatrical release. The alien gestates in an ox rather than a dog, and one of the inmates discovers a dead. Ripley's unconscious body washes up on the shore of the planet in the Assembly Cut instead of being found in the ship's wreckage as in the theatrical cut. Some scenes are extended to focus more on the religious views of the inmates. The inmates succeed in their attempt to trap the alien, but it is later released by the disturbed inmate Golic. In this version, the alien Queen does not burst from Ripley's chest as she falls into the furnace. There is also a scene in the prison's assembly hall in which one of the inmates suggests to Dillon that they lead the creature to the furnace so that they can incinerate it. One notable scene that was not restored for the DVD or Blu-ray extended versions was the full autopsy scene., who worked on the special make-up effects, said in the Alien Quadrilogy special features that, 'I saw the rough cut of the film, uncut, and there were some scenes in there that were pretty gross. There was an autopsy scene on the girl [Newt] and I like certain gore in the films. I do it [professionally], and it made me sick. It really grossed me out and I remember people got up and left, walked out of the theatre and I was just thinking, 'This will never be in the film. They can't show this stuff.' It was just too much I thought. And when the film came out, it wasn't in the film.' Some of the audio in the additional footage included in the original Alien Quadrilogy DVD version of the 'Assembly Cut' is of noticeably poorer quality. This was because by the original actors was not recorded for this footage, since it had been cut from the film by the time the film was being dubbed. For the 2010 Alien Anthology release, this dialogue was re-recorded by the original castmembers, making it on par with the original theatrical footage. See also [ ]. Retrieved December 15, 2014. Retrieved December 15, 2014. Retrieved December 15, 2014. • Baldwin, Daniel (May 2, 2016)... Retrieved August 5, 2016. • The Arrow (June 5, 2012)... Retrieved August 5, 2016. Retrieved July 8, 2016. Audiences Everywhere. Retrieved July 8, 2016. The Drunken Odyssey. Retrieved July 8, 2016. • The alien species is defined as 'xenomorph' within the previous film, and is later referred to as 'xenomorph by Ripley when she is sending an email to Weyland-Yutani. • Identified as Michael Bishop Weyland in tie-in materials. • Hewitt-McManus, Thomas (2006). Withnail & I: Everything You Ever Wanted to Know But Were Too Drunk to Ask.:. • Alien 3 audio commentary, Alien Quadrilogy boxset • ^. Icons of Fright.com. Shock Till You Drop. April 14, 2008. • ^ Wreckage and Rage: The Making of Alien 3 (Blu-Ray). Alien Anthology Disk 5: Twentieth Century Fox Home Entertainment. November 1997. Retrieved September 4, 2008. May 29, 1992. From the original on October 13, 2008. Retrieved October 12, 2008. From the original on December 30, 2006. Retrieved December 18, 2006. • Luke Savage.. Retrieved 2016-11-15. Retrieved June 2, 2012. Retrieved 2016-11-15. • Bibbiani, William (August 17, 2011)... Retrieved August 4, 2016. • ^ Jolin, Dan (December 2008).. Empire: 150–156. • Stovall, Ada, (September 24, 2013).. Creative Screenwriting. Retrieved August 4, 2016. • vincentwardfilms.com, Alien 3 Unrequited Vision, retrieved on 2009:10:30 •. Retrieved 2016-11-15. • Pearce, Garth (1991)... Archived from on July 3, 2015. • Richardson, John H. 'Mother from Another Planet'. In Knapp, Laurence F. David Fincher: Interviews. Conversations with Filmmakers Series. Jackson, Miss.:. SINE Project (Structural Images of the North East).. Archived from on March 12, 2008. Retrieved June 9, 2008. Archived from on January 23, 2009. Retrieved January 20, 2009. • Wreckage and Rape: The Making of Alien 3 – Stasis Interrupted: David Fincher's Vision and The Downward Spiral: Fincher vs. Fox ( Alien 3 Collector's Edition DVD) • ^ Fredrick Garvin (Director) (2003). The Making of Alien 3 (DVD). United States: Twentieth Century Fox Home Entertainment. • Xeno-Erotic: The H.R. Giger Redesign' (DVD). Alien Quadrilogy (Alien 3) bonus disc: Twentieth Century Fox Home Entertainment. • ^ David Fincher (Director) (2003). Alien Quadrilogy (Alien 3) bonus disc 'Optical Fury' (DVD). United States: Twentieth Century Fox Home Entertainment. Imagi-Movies Magazine. • 'Music, Editing and Sound'; Alien 3 bonus disc, Alien • Hochman, David (December 5, 1997).. Entertainment Weekly. From the original on October 1, 2008. Retrieved October 12, 2008. Retrieved 7 June 2017. • Ebert, Roger (1997-11-26).. From the original on December 26, 2007. Retrieved 2008-01-24. • Wreckage and Rape: The Making of Alien 3 – Development Hell: Concluding The Story ( Alien 3 Collector's Edition DVD) • Kirk, Jeremy.. Retrieved August 4, 2017. Retrieved September 30, 2010. • Alan Dean Foster (April 2008). 'Planet Error'.. • (w), Christopher Taylor (p). Alien 3 1–3 (June – July 1992), •.. July 9, 2005. Retrieved January 6, 2012. The Digital Bits. Retrieved January 15, 2013. • Latchem, John (July 22, 2010)... Retrieved August 4, 2016. Archived from on August 10, 2011. Retrieved July 19, 2011. Archived from on June 13, 2009. Retrieved December 16, 2009. Retrieved December 16, 2009. Further reading [ ] • Gallardo C., Ximena; and C. Jason Smith (2004).. • Murphy, Kathleen. 'The Last Temptation of Sigourney Weaver.' Film Comment 28. 4 (July–August 1992): 17-20. • Speed, Louise. 'Alien3: A Postmodern Encounter with the Abject.' Arizona Quarterly 54.1 (Spring 1998): 125-51. • Syonan-Teo, Kobayashi. 'Why Sigourney is Jesus: Watching Alien3 [sic] in the Light of Se7ven.' The Flyng Inkpot. • Taubin, Amy. 'Invading Bodies: Aliens3 [sic] and the Trilogy.' Sight and Sound (July -August 1992): 8-10. Reprinted as 'The 'Alien' Trilogy: From Feminism to AIDS.' Women and Film: A Sight and Sound Reader. Pam Cook and Philip Dodd. Philadelphia: Temple University Press, 1993. • Thomson, David. 'The Bitch is Back.' December 1997: 56-7. • Vaughn, Thomas. 'Voices of Sexual Distortion: Rape, Birth, and Self-Annihilation Metaphors in the Alien Trilogy.' The Quarterly Journal of Speech 81. 4 (November 1995): 423-35. • Williams, Anne. 'Inner and Outer Spaces: The Alien Trilogy.' Art of Darkness: A Poetics of Gothic. Chicago: University of Chicago Press, 1995. External links [ ] Wikimedia Commons has media related to. 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