title: Doctor Strange (2016 film)

text: On April 12, 2016, the first teaser trailer for the film debuted on "Jimmy Kimmel Live!". Clark Collis of "Entertainment Weekly" compared the "series of kaleidoscopic, world-bending scenes" featured in the trailer to the film "Inception", as did Scott Mendelson of "Forbes". Forbes added that the structure of the trailer resembled early marketing for the film "Batman Begins". "The Hollywood Reporter"s Graeme McMillian criticized these similarities, as well as similarities to "The Matrix" and between Cumberbatch's American accent and that of Hugh Laurie's Gregory House from "House", calling them not "necessarily a real problem, of course ... [but] there's nothing there outside the derivative aspects: due to the nature of the trailer, there's no story beyond the 'white man finds enlightenment in Asia' trope and barely any dialogue to let audiences decide that maybe the performances will elevate the material." McMillian did enjoy the visual effects and the visual of "Tilda Swinton literally knock[ing] Benedict Cumberbatch's soul out of his body," but concluded, "as an introduction to not only a brand new franchise for Marvel, but a potential new genre, this feels far less bold and assured" than the first trailer for "Guardians of the Galaxy".


title: Doctor Strange (2016 film)

text: In July 2016, Marvel Comics released a prelude tie-in comic written by Will Corona Pilgrim, with art by Jorge Fornés. The issue sees four Masters of the Mystic Arts–Kaecilius, Wong, Tina Minoru and Daniel Drumm–pursue a woman who has stolen a mystical relic. A second issue, centered on the Ancient One training apprentices in the magical arts at Kamar-Taj, was released a month later. Derrickson, Cumberbatch, Swinton, Ejiofor, McAdams, Mikkelsen, and Wong attended San Diego Comic-Con 2016, where they debuted an exclusive clip and the second trailer for the film. The next month, the same Comic-Con clip was screened at the Asia Pop Comic Convention Manila. In September 2016, an additional prelude comic was released, centered on Kaecilius, while behind the scenes footage was released as a special feature on the "" Blu-ray. Also in September, Marvel, in partnership with Dolby Laboratories, Broadcom, Synchrony Bank, and Society for Science & the Public, announced "The Magic of STEM Challenge", aimed at females aged 15 through 18 in STEM fields. The challenge was for contestants to submit videos of them finding mentors to explore ideas once thought to only be possible with magic. Five winners would attend the world premiere of the film, and receive a tour of Walt Disney Studios, as well as a $1,000 saving account from Synchrony Bank, with one grand prize winner receiving a mentorship with Walt Disney Studio's Digital Team.


title: Doctor Strange (2016 film)

text: On October 10, 2016, approximately 15 minutes of footage was screened at 115 IMAX 3D locations in North America, and select 3D and IMAX 3D locations worldwide. Fans attending the event received an exclusive IMAX poster for the film. Umberto Gonzales of "TheWrap" called the footage "stunning to behold". He added that a sequence shown in which the Ancient One sends Strange "on his first trippy tour through the multiverse" was "where the IMAX 3D really shines. The audience is given an incredible visual tour of the multiverse which features other dimensions and other realities. It really is something to behold in IMAX 3D," concluding that "after being shown only 15 minutes of incredible preview footage, IMAX 3D is the definitive format to see the film." Britt Hayes for Screen Crush felt the footage was "dizzying" and "far weirder and wilder than [the] trailers are letting on," though felt it was a bit difficult "to judge some of what was shown out of context (especially earlier scenes)". Regarding the same sequence where the Ancient One sends Strange through the multiverse, Hayes said, "Seth Rogen's comedic drug trip sequences have nothing on the psychedelic visuals employed here. It's astounding, elaborate stuff, and easily provides the most entertaining moments in the footage." IGN's Terri Schwartz said the sequences shown were where "Derrickson's horror aesthetics shine through".


title: Doctor Strange (2016 film)

text: Marvel provided Twitter stickers, Giphy content, Facebook Live, Snapchat lenses and filter, Tumblr stunts, and Instagram special content related to the film. Additionally, Microsoft Surface had a promotional sponsorship of the film, due to the use of the device in the filmmaking process. A partnership with Google's Tilt Brush app featured a "Mixed Reality" "stunt with artists across Los Angeles, London, and Hong Kong, inspired by different dimensions in "Doctor Strange" and recreating the worlds in VR for an immersive visual experience.


title: Doctor Strange (2016 film)

text: "Doctor Strange" held its world premiere in Hong Kong on October 13, 2016, and had its premiere in Hollywood at the TCL Chinese Theatre and El Capitan Theatre on October 20, 2016. The film was released in the United Kingdom on October 25, 2016, alongside a total of 33 markets in its first weekend, with 213 IMAX screens in 32 of those markets. It was screened at the EW PopFest on October 28, 2016, in Los Angeles. "Doctor Strange"s North America release on November 4 took place in 3,882 venues, of which 3,530 were in 3D, along with 379 IMAX theaters, 516 premium large-format (Disney's biggest release in that format to date), and 189 D-Box locations. Overall, "Doctor Strange" had the widest IMAX release ever globally, along with being the first film to release on more than 1,000 IMAX screens. It was previously reported to have been scheduled for a July 8, 2016, release, before the production schedule shifted to accommodate Cumberbatch's other commitments. "Doctor Strange" is part of Phase Three of the MCU.


title: Doctor Strange (2016 film)

text: "Doctor Strange" was released on digital download by Walt Disney Studios Home Entertainment on February 14, 2017, and on Blu-ray, Blu-ray 3D and DVD on February 28, 2017. The digital and Blu-ray releases include behind-the-scenes featurettes; audio commentary; deleted scenes; a blooper reel; an exclusive preview of the Phase Three films "Guardians of the Galaxy Vol. 2", "Thor: Ragnarok", "Black Panther", and ""; and "Team Thor: Part 2", a continuation of the "mockumentary" short film "Team Thor", that was directed by Waititi. Best Buy released an exclusive collector's edition steelbook case for the regular and 3D Blu-ray release, featuring art based on the Book of Cagliostro and the Eye of Agamotto. Target's Blu-ray versions have an additional exclusive featurette, while the digital version also features an exclusive featurette. The IMAX Enhanced version of the film was made available on Disney+ beginning on November 12, 2021.


title: Doctor Strange (2016 film)

text: "Doctor Strange" grossed $232.6 million in the United States and Canada and $445.2 million in other territories, for a worldwide total of $677.8 million. The film became the biggest IMAX opening in November domestically ($12.2 million), internationally ($24 million), and globally ($24.2 million), overtaking "Interstellar"s records. By November 27, 2016, the film had become the biggest single-character introduction film in the MCU. "Deadline Hollywood" calculated the film's net profit as $122.65 million, accounting for production budgets, marketing, talent participations, and other costs; box office grosses and home media revenues placed it 11th on their list of 2016's "Most Valuable Blockbusters".


title: Doctor Strange (2016 film)

text: "Doctor Strange" earned $32.6 million on its opening day in the United States and Canada, including Thursday previews, with a total weekend gross of $85.1 million; IMAX contributed $12.2 million to the opening weekend gross, with 3D contributing $24 million. The film was the number one film for the weekend, and became the second largest opening in November for Disney. Initial projections for the film in late August 2016 had it earning as low as $50 million to as high as $88 million in its opening weekend, with projections revised to $65–75 million closer to the film's release. "Doctor Strange" remained the top film in its second weekend, and fell to second in its third, behind "Fantastic Beasts and Where to Find Them". In its fourth weekend, "Doctor Strange" was the third highest-grossing film, behind "Fantastic Beasts" and "Moana". It fell to fifth in its fifth and sixth weekends, and by its seventh weekend had fallen to the ninth-highest-grossing place. It was projected to earn $255 million for its total domestic gross.


title: Doctor Strange (2016 film)

text: Outside the United States and Canada, "Doctor Strange" earned $87.7 million in its first weekend from 33 markets, becoming the top film in all markets except Lithuania and Finland. South Korea was the top market overall with $18.1 million, locally the biggest opening weekend ever for an original Marvel release, along with an all-time best opening for an IMAX film. IMAX garnered a record $7.8 million, the best international IMAX debut for a film in the month of October, with Russia seeing its biggest Saturday IMAX gross for a Marvel film. Additionally, Hong Kong ($3.2 million), Thailand ($2.5 million), Malaysia ($2.4 million), and Singapore ($2.2 million) also had the biggest opening weekend ever for an original Marvel film. In its second weekend, the film opened in 22 additional markets, becoming the top film in China with $44.4 million, the highest 3-day opening weekend for a first installment superhero film there. China's opening was also the third highest for an MCU film, behind "Avengers: Age of Ultron" and "Captain America: Civil War", as well as the best 3-day opening for an IMAX film in November with $6.3 million. IMAX also set November opening records in India, Chile, Colombia and Ecuador. Brazil was also a top market, earning $7.9 million.


title: Doctor Strange (2016 film)

text: "Doctor Strange" remained the number one film in its third weekend for the third consecutive week in Denmark, the Netherlands, the United Kingdom, Australia, Hong Kong, South Korea, Malaysia, New Zealand, and Singapore, and number one for the second week in China and Russia. It also became the highest-grossing original MCU release in India, Hong Kong, South Korea, the Philippines, Singapore, Thailand and Vietnam. Its fourth weekend saw China's total gross surpass $100 million, "an increasingly rare feat in 2016." The next weekend, "Doctor Strange" opened in Argentina, where it was the number one film and earned $1 million. The film's fourteenth weekend saw it open in Japan, where it was number one with $4.5 million. , the film's largest markets were China ($110.3 million), South Korea ($41.3 million), and the United Kingdom and Ireland ($27.9 million).


title: Doctor Strange (2016 film)

text: The review aggregator Rotten Tomatoes reported an approval rating of , with an average score of , based on reviews. The website's critical consensus reads, ""Doctor Strange" artfully balances its outré source material against the blockbuster constraints of the MCU, delivering a thoroughly entertaining superhero origin story in the bargain." On Metacritic, the film holds a score of 72 out of 100, based on reviews from 49 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it a 91% overall positive score and a 73% "definite recommend".


title: Doctor Strange (2016 film)

text: "The Hollywood Reporter"s Todd McCarthy called "Doctor Strange" "an engaging, smartly cast and sporadically eye-popping addition" to the franchise, adding "this action movie ostensibly rooted in the mind-expanding tenets of Eastern mysticism is different enough to establish a solid niche alongside the blockbuster combine's established money machines." McCarthy, in addition to praising the acting, felt that there were certain sequences that "go far beyond ["Inception"] in visual spectacle" and that the time manipulation sequences, "seen to outstanding advantage in 3D, [were what] mind-trip-seeking audiences back in Doctor Strange's origin days would have called 'far-out' but today's fans will simply deem 'amazing'." Peter Debruge of "Variety" called the film "Marvel's most satisfying entry since "Spider-Man 2"," and wrote that despite having "the same look, feel, and fancy corporate sheen" as the other MCU films, it "boasts an underlying originality and freshness missing from the increasingly cookie-cutter comic-book realm of late." Debruge also praised the casting along with the multitude of visual effects the film was able to achieve.


title: Doctor Strange (2016 film)

text: Alonso Duralde, reviewing for TheWrap said, "True, "Doctor Strange" is an origin story, and occasionally hemmed in by the genre's narrative requirements, but it's smart enough to bring in great British actors to make the predictable paces and life lessons feel fresh and fascinating." Regarding the film's visuals, Duralde praised them, exclaiming, "In a year where bloated, empty spectacles have induced a crushing level of CG fatigue, this funny, freaky adventure reminds us of how effective VFX can be when they've got some imagination behind them." Manohla Dargis of "The New York Times" said, "The giddily enjoyable "Doctor Strange" ... is part of Marvel's strategy for world domination, yet it's also so visually transfixing, so beautiful and nimble that you may even briefly forget the brand." Justin Chang of the "Los Angeles Times" said, "Within the familiar narrative contours of the origin story, writer-director Scott Derrickson crams in enough out-of-body experiences, spatial-temporal shenanigans and dazzlingly kaleidoscopic visuals to make you wonder if he and his co-writers ... were dropping acid behind the scenes."


title: Doctor Strange (2016 film)

text: Conversely, Angelica Jade Bastién, writing for RogerEbert.com, said, "For all of its wondrous world-building and trippy effects, "Doctor Strange" isn't the evolutionary step forward for Marvel that it needs to be storytelling-wise. Underneath all of its improvements, the core narrative is something we've seen countless times." Mara Reinstein of "US Weekly" called the film "joyless" and wrote, "Despite [Benedict Cumberbatch's] alluring powers, he can't save an overly convoluted film that relies on a galaxy of derivative 3-D special-effect tricks... Nobody is having much fun here – save for the doctor's Cloak of Levitation that has its own devilish personality and can whisk him out of scary situations." Rex Reed of "The New York Observer" called "Doctor Strange" "an awkwardly cliché-riddled mix of hamstrung imagination and bizarro reality" and said, "None of it makes any sense... For characterization, dialogue, narrative arc, acceptable acting and coherence, go elsewhere." Adam Graham of "The Detroit News" said, "Cumberbatch is wildly charismatic in the lead role... But that's the thing: He's a better party guest than he is a host. "Doctor Strange" is a fine introduction, but by the end, you're not sad to be headed for the door."


title: Doctor Strange (2016 film)

text: "Doctor Strange in the Multiverse of Madness" was released on May 6, 2022. Sam Raimi replaced Derrickson as director, with a script written by Michael Waldron. Cumberbatch, Wong, Ejiofor, and McAdams reprised their roles, with Elizabeth Olsen also reprising her role of Wanda Maximoff / Scarlet Witch from other MCU media.


title: Sally Field

text: Sally Margaret Field (born November 6, 1946) is an American actress. She has received many awards and nominations, including two Academy Awards, three Primetime Emmy Awards, two Golden Globe Awards, a Screen Actors Guild Award, a Cannes Film Festival Award for Best Actress, and nominations for a Tony Award and for two British Academy Film Awards.


title: Sally Field

text: Field began her career on television, starring in the comedies "Gidget" (1965–1966), "The Flying Nun" (1967–1970), and "The Girl with Something Extra" (1973–1974). In 1967, she was also in the western "The Way West". In 1976, she attracted critical acclaim for her performance in the television film "Sybil", for which she received the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie. Her film debut was as an extra in "Moon Pilot" (1962). Her film career escalated during the 1970s with starring roles in films including "Stay Hungry" (1976), "Smokey and the Bandit" (1977), "Heroes" (1977), "The End" (1978), and "Hooper" (1978). During the 1980s she won the Academy Award for Best Actress twice for "Norma Rae" (1979) and "Places in the Heart" (1984), and she appeared in "Smokey and the Bandit II" (1980), "Absence of Malice" (1981), "Kiss Me Goodbye" (1982), "Murphy's Romance" (1985), "Steel Magnolias" (1989), "Soapdish" (1991), "Mrs. Doubtfire" (1993), and "Forrest Gump" (1994).


title: Sally Field

text: In the 2000s, Field returned to television with a recurring role on the NBC medical drama "ER", for which she won the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series in 2001 and the following year made her stage debut with Edward Albee's "The Goat, or Who Is Sylvia?". For her portrayal of Nora Walker in the ABC television family drama series "Brothers & Sisters" (2006-2011), Field won the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series. She starred as Mary Todd Lincoln in "Lincoln" (2012), for which she was nominated for the Academy Award for Best Supporting Actress, and she portrayed Aunt May in "The Amazing Spider-Man" (2012) and its 2014 sequel, with the first being her highest-grossing release. In 2015, she portrayed the title character in "Hello, My Name Is Doris", for which she was nominated for the Critics' Choice Movie Award for Best Actress in a Comedy. In 2017, she returned to the stage after an absence of 15 years with the revival of Tennessee Williams's "The Glass Menagerie," for which was nominated for the Tony Award for Best Actress in a Play. In 2014, she was presented with a star on the Hollywood Walk of Fame and in 2019, she received the Kennedy Center Honor.


title: Sally Field

text: Sally Field was born on November 6, 1946, in Pasadena, California, to Margaret Field ("née" Morlan), an actress, and Richard Dryden Field, who served in the Army during World War II. Her brother is Richard D. Field, a physicist and an academic. Her parents were divorced in 1950; afterward, her mother married Jock Mahoney, an actor and a stuntman. Field said in her 2018 memoir that she was sexually abused by Mahoney during her childhood.


title: Sally Field

text: As a teen, Field attended Portola Middle School and Birmingham High School in Van Nuys, where she was a cheerleader. Her classmates included financier Michael Milken, actress Cindy Williams, and talent agent Michael Ovitz.


title: Sally Field

text: Field got her start on television as the boy-crazy surfer girl in the sitcom "Gidget" (1965–1966). The show was not an initial success and was cancelled after a single season; however, summer reruns garnered respectable ratings, making the show a belated success. Wanting to find a new starring vehicle for Field, ABC next produced "The Flying Nun" with Field cast as Sister Bertrille for three seasons, from 1967 to 1970. In an interview included on the Season One DVD release, Field said that she thoroughly enjoyed "Gidget" but hated "The Flying Nun" because she was not treated with respect by the show's directors. Field was then typecast, finding respectable roles difficult to obtain. In 1971, Field starred in the ABC television film "Maybe I'll Come Home in the Spring", playing a discouraged teen runaway who returns home with a bearded, drug-abusing hippie (played by David Carradine). She made several guest television appearances through the mid-1970s, including a role on the Western "Alias Smith and Jones", a popular series starring "Gidget" co-star Pete Duel. She also appeared in the episode "Whisper" on the thriller "Night Gallery".


title: Sally Field

text: In 1973, Field was cast in a starring role opposite John Davidson in the short-lived series "The Girl with Something Extra" that aired from 1973 to 1974. Following the series' cancellation, Field studied at the Actors Studio with acting teacher Lee Strasberg. Strasberg became a mentor to Field, helping her move past her television image of the girl next door. During this period, Field divorced her first husband in 1975.


title: Sally Field

text: Soon after studying with Strasberg, Field landed the title role in the 1976 television film "Sybil", based on the book by Flora Rheta Schreiber. Her dramatic portrayal of a young woman afflicted with dissociative identity disorder earned her an Emmy Award for Outstanding Lead Actress in a Special Program – Drama or Comedy in 1977 and enabled her to break through the typecasting of her sitcom work.


title: Sally Field

text: In 1977, Field co-starred with Burt Reynolds, Jackie Gleason, and Jerry Reed in the year's second-highest-grossing film, "Smokey and the Bandit". In 1979, she played the titular union organizer in "Norma Rae", a film that established her as a dramatic actress. Vincent Canby, reviewing the film for "The New York Times", wrote: ""Norma Rae" is a seriously concerned contemporary drama, illuminated by some very good performances and one, Miss Field's, that is spectacular." For her role in "Norma Rae", Field won the Best Female Performance Prize at the Cannes Film Festival and the Academy Award for Best Actress.


title: Sally Field

text: Field appeared with Reynolds in three more films: "The End", "Hooper", and "Smokey and the Bandit II". In 1981, she continued to change her image, playing a foul-mouthed prostitute opposite Tommy Lee Jones in the South-set film "Back Roads". She was nominated for a Golden Globe for the 1981 drama "Absence of Malice" and the 1982 comedy "Kiss Me Goodbye".


title: Sally Field

text: Then came a second Oscar for her starring role in the 1984 drama "Places in the Heart". Field's acceptance speech has since been both admired as earnest and parodied as excessive. She said, "Oh Benton, what you did for me. You changed my life, truly! This means so much more to me this time. I don't know why, I think the first time I hardly felt it because it was all so new. I owe a lot to the cast, to my players. To Lindsay and John and Danny, and Ed and Amy, and my little friends, Gennie and Yankton. I owe a lot to my family for holding me together and loving me and having patience with this obsession of me. But I want to 'thank you' to you. I haven't had an orthodox career. And I've wanted more than anything to have your respect. The first time I didn't feel it, but this time I feel it. And I can't deny the fact that you like me...right now...you like me! (applause) Thank you!" Field was making a humorous reference to dialog from her role in "Norma Rae", but many people missed the connection. Field later parodied herself when she delivered the line (often misquoted as "You like me, you "really" like me!") in a Charles Schwab commercial.


title: Sally Field

text: In 1985, she co-starred with James Garner in the romantic comedy "Murphy's Romance". In A&E's biography of Garner, she cited her on-screen kiss with Garner as the best cinematic kiss she ever had. The following year, Field appeared on the cover of the March 1986 issue of "Playboy" magazine, in which she was the interview subject. She did not appear as a pictorial subject in the magazine, although she did wear the classic leotard and bunny-ears outfit on the cover. That year, she received the Women in Film Crystal Award. For her role as matriarch M'Lynn in the film version of "Steel Magnolias" (1989), she was nominated for a 1990 Golden Globe Award for Best Actress.


title: Sally Field

text: Field had supporting roles in a number of other movies, including "Mrs. Doubtfire" (1993), in which she played the wife of Robin Williams's character and the love interest of Pierce Brosnan's character. She then played Tom Hanks's mother in "Forrest Gump" (1994), even though she was only 10 years older than Hanks, with whom she had co-starred six years earlier in "Punchline".


title: Sally Field

text: Field's other 1990s films included "Not Without My Daughter", a controversial thriller based on the real-life experience of Betty Mahmoody's escape from Iran with her daughter Mahtob; and "Soapdish", a comedy in which she played a pampered soap-opera star and was joined by an all-star cast, including Kevin Kline, Whoopi Goldberg, Elisabeth Shue, and Robert Downey, Jr. In 1996, Field reprised her role as Sassy in "" and later that year, she received the Berlinale Camera award at the 46th Berlin International Film Festival for her role as a grieving vigilante mother in director John Schlesinger's film "Eye for an Eye". In 1997, Field guest starred on the "King of the Hill" episode "Hilloween", in which she voiced religious woman Junie Harper, who contends with Hank Hill (Mike Judge) to ban Halloween. She co-starred with Natalie Portman in "Where the Heart Is" (2000), and appeared opposite Reese Witherspoon in "".


title: Sally Field

text: Field had a recurring role on "ER" in the 2000–2001 season as Dr. Abby Lockhart's mother, Maggie, who suffers from bipolar disorder, a role for which she won an Emmy Award in 2001. After her critically acclaimed stint on the show, she returned to the role in 2003 and 2006. She also starred in the very short-lived 2002 series "The Court".


title: Sally Field

text: Field's directorial career began with the television film "The Christmas Tree" (1996). In 1998, she directed the episode "The Original Wives' Club" of the critically acclaimed TV miniseries "From the Earth to the Moon", also playing a minor role as Trudy, the wife of astronaut Gordon Cooper. In 2000, she directed the feature film "Beautiful".


title: Sally Field

text: Field was a late addition to the ABC drama "Brothers & Sisters", which debuted in September 2006. In the show's pilot, the role of matriarch Nora Walker was played by Betty Buckley. However, the show's producers decided to take the character in another direction, and offered the part to Field, who won the 2007 Emmy Award for Outstanding Lead Actress in a Drama Series for her performance. The drama also starred Calista Flockhart and Rachel Griffiths as Nora's adult daughters. In November 2009, Field appeared on an episode of "The Doctors" to talk about osteoporosis and her Rally With Sally Foundation.


title: Sally Field

text: She portrayed Aunt May in the Marvel Comics films "The Amazing Spider-Man" (2012) as well as the 2014 sequel. Field's widely praised portrayal of Mary Todd Lincoln in Steven Spielberg's film "Lincoln", also in 2012, brought her Best Supporting Actress Award nominations at the Oscars, Golden Globes, BAFTA, and Screen Actors Guild.


title: Sally Field

text: On May 5, 2014, Field received a star on the Hollywood Walk of Fame for her contributions to motion pictures. Her star is located in front of the Hollywood Wax Museum. In January 2015, it was announced that she would co-host TCM. The same year, Field portrayed the titular character in "Hello, My Name Is Doris", for which she was nominated for the Critics' Choice Movie Award for Best Actress in a Comedy.


title: Sally Field

text: In 2017, Field reprised her role as Amanda Wingfield in "The Glass Menagerie" on Broadway at the Belasco Theatre. Performances began on February 7, 2017, in previews, and officially opened on March 9. The production closed on May 21, 2017. Field had previously played the role in the Kennedy Center production in 2004. She was nominated for a Tony Award for Best Actress in a Play for her performance. Her memoir, "In Pieces", was published by Grand Central Publishing in September 2018.


title: Sally Field

text: Field returned to episodic television in 2018, starring in the Netflix miniseries "Maniac". Subsequently, in 2020, Field starred in the AMC series "Dispatches from Elsewhere".


title: Sally Field

text: In 2022, it was announced that Field would be a co-star in an upcoming comedy movie entitled "80 for Brady", which would star NFL quarterback Tom Brady along with fellow actresses Jane Fonda, Lily Tomlin and Rita Moreno.


title: Sally Field

text: Field was married to Steven Craig from 1968 to 1975, though they separated in 1973. The couple had two sons: Peter Craig, a novelist and screenwriter; and Eli Craig, an actor and director.


title: Sally Field

text: From 1976 to 1980, Field had a relationship with Burt Reynolds, during which time they co-starred in four films: "Smokey and the Bandit", "Smokey and the Bandit II", "The End", and "Hooper". Following their 1980 breakup, Field and Reynolds continued to date on and off before splitting permanently in 1982.


title: Sally Field

text: Field married her second husband, Alan Greisman, in 1984. Together, they had one son, Sam, in 1987. Field and Greisman divorced in 1994.


title: Sally Field

text: On October 29, 1988, at Aspen/Pitkin County Airport in Colorado, Field and three members of her family were in a private plane owned by media mogul Merv Griffin when it lost power and rejected takeoff, slamming into parked aircraft. They all survived with minor injuries.


title: Sally Field

text: In 2005, Field was diagnosed with osteoporosis. Her diagnosis led her to create the "Rally with Sally for Bone Health" campaign with support from Roche and GlaxoSmithKline that controversially co-promoted Boniva, a bisphosphonate treatment for osteoporosis. Field's campaign encouraged the early diagnosis of such conditions through technology such as bone-density scans.


title: Sally Field

text: In 2005, Field received the Golden Plate Award of the American Academy of Achievement presented in recognition of her lifetime of contributions to the arts as well as her dedication as a social activist.


title: Sally Field

text: During her acceptance speech at the 2007 Emmy Awards, when she won for Outstanding Lead Actress in a Drama Series, Field said: "If the mothers ruled the world, there would be no goddamn wars in the first place." Fox Broadcasting Company, which aired the show, cut the sound and picture after the word "god" and did not return camera/sound to the stage until after Field finished talking. An e-mail statement from the company the day after the incident explained that the censorship of Field's speech (among two other censorship incidents during the award ceremony) occurred because "some language during the live broadcast may have been considered inappropriate by some viewers. As a result, Fox's broadcast standards executives determined it appropriate to drop sound and picture during those portions of the show."


title: Sally Field

text: Field is an advocate for women's rights. She has served on the board of directors of Vital Voices Global Partnership, an international women's NGO, and has co-hosted the Global Leadership Awards six times. A Democrat, Field supported Hillary Clinton's bid for the Democratic Party nomination in the 2008 presidential election.


title: Sally Field

text: Field is also an advocate for gay rights, and won the Human Rights Campaign's Ally for Equality Award in 2012. Her youngest son, Samuel Greisman, is gay.


title: Sally Field

text: Field was arrested on December 13, 2019, while attending Jane Fonda's weekly Friday climate change protests in Washington, D.C.


title: Fight Club

text: Fight Club is a 1999 American film directed by David Fincher and starring Brad Pitt, Edward Norton, and Helena Bonham Carter. It is based on the 1996 novel of the same name by Chuck Palahniuk. Norton plays the unnamed narrator, who is discontented with his white-collar job. He forms a "fight club" with soap salesman Tyler Durden (Pitt), and becomes embroiled in a relationship with a mysterious woman, Marla Singer (Bonham Carter).


title: Fight Club

text: Palahniuk's novel was optioned by Fox 2000 Pictures producer Laura Ziskin, who hired Jim Uhls to write the film adaptation. Fincher was selected because of his enthusiasm for the story. He developed the script with Uhls and sought screenwriting advice from the cast and others in the film industry. It was filmed in and around Los Angeles from July to December 1998. He and the cast compared the film to "Rebel Without a Cause" (1955) and "The Graduate" (1967), with a theme of conflict between Generation X and the value system of advertising.


title: Fight Club

text: Studio executives did not like the film, and they restructured Fincher's intended marketing campaign to try to reduce anticipated losses. "Fight Club" failed to meet the studio's expectations at the box office, and received polarized reactions from critics. It was ranked as one of the most controversial and talked-about films of 1990s. The film later found commercial success with its home video release, establishing "Fight Club" as a cult classic and causing media to revisit the film. In 2009, on the tenth anniversary of the film's release, "The New York Times" dubbed it the "defining cult movie of our time."


title: Fight Club

text: The Narrator (who is not named in the movie) is unfulfilled by his job as an automobile recall specialist, and he suffers from chronic insomnia. As a substitute for therapy, he attends support groups for problems he doesn't really have, such as alcoholism and cancer. Another impostor, Marla Singer, begins attending the same groups, for the same reason. When they encounter each other, it reminds them that they're lying, so they agree to divide which groups they attend.


title: Fight Club

text: On a flight home from a business trip, the Narrator meets Tyler Durden, a soap salesman, who tells him he is trapped by consumerism. The Narrator's apartment and all of his belongings are destroyed by an explosion, so he moves into Tyler's dilapidated house in an industrial area. The two start having fistfights in the parking lot of a bar, which attracts other men and eventually leads to the formation of Fight Club, which meets in the bar's basement. Marla overdoses on pills and the Narrator ignores her phone call for help, but Tyler saves her and they begin a sexual relationship.


title: Fight Club

text: The Narrator quits his job and blackmails his boss for the company's assets to support Fight Club. More members join Fight Club, and Tyler recruits them to his new organization, Project Mayhem, which engages in acts of vandalism. When the Narrator complains about being excluded, Tyler reveals that he was the one who caused the explosion at the Narrator's condo. Tyler disappears, and when Paulson is killed by the police during a sabotage operation, the Narrator tries to stop Project Mayhem. He follows a paper trail to cities Tyler had visited and finds that Project Mayhem has spread throughout the country. Marla and the Project members address the Narrator as "Mr. Durden," and he realizes that Tyler and he are the same person.


title: Fight Club

text: The Narrator learns that Tyler plans to erase debt by destroying buildings that contain credit card records. He tries to warn Marla and the police, but they do not believe him. He is threatened by the police officers, who are part of Project Mayhem, and escapes to try to disarm the explosives in one building. However, Tyler subdues him and holds him at gunpoint on the top floor. The Narrator realizes that he is holding the gun and shoots himself in the mouth, shooting through his cheek. Tyler stands motionless and vanishes, and Marla arrives to find the Narrator badly wounded but alive. The Narrator tells her that she met him "at a very strange time" in his life, and they both hold hands and watch as the buildings around them explode.


title: Fight Club

text: Fincher said "Fight Club" was a coming of age film, like the 1967 film "The Graduate" but for people in their 30s. Fincher described the narrator as an "everyman"; the character is identified in the script as "Jack", but left unnamed in the film. Fincher outlined the Narrator's background: "He's tried to do everything he was taught to do, tried to fit into the world by becoming the thing he isn't." He cannot find happiness, so he travels on a path to enlightenment in which he must "kill" his parents, god, and teacher. By the start of the film, he has "killed off" his parents. With Tyler Durden, he kills his god by doing things they are not supposed to do. To complete the process of maturing, the Narrator has to kill his teacher, Tyler Durden.


title: Fight Club

text: The character is a 1990s inverse of the "Graduate" archetype: "a guy who does "not" have a world of possibilities in front of him, he has "no" possibilities, he literally cannot imagine a way to change his life." He is confused and angry, so he responds to his environment by creating Tyler Durden, a Nietzschean "Übermensch", in his mind. While Tyler is who the Narrator wants to be, he is not empathetic and does not help the Narrator face decisions in his life "that are complicated and have moral and ethical implications". Fincher explained: "[Tyler] can deal with the concepts of our lives in an idealistic fashion, but it doesn't have anything to do with the compromises of real life as modern man knows it. Which is: you're not really necessary to a lot of what's going on. It's built, it just needs to run now." While studio executives worried that "Fight Club" was going to be "sinister and seditious", Fincher sought to make it "funny and seditious" by including humor to temper the sinister element.


title: Fight Club

text: Screenwriter Jim Uhls described the film as a romantic comedy, explaining: "It has to do with the characters' attitudes toward a healthy relationship, which is a lot of behavior which "seems" unhealthy and harsh to each other, but in fact does work for them—because both characters are out on the edge psychologically." The Narrator seeks intimacy, but avoids it with Marla Singer, seeing too much of himself in her. While Marla is a seductive and negativist prospect for the Narrator, he embraces the novelty and excitement that comes with befriending Tyler. The Narrator is comfortable being personally connected to Tyler, but becomes jealous when Tyler becomes sexually involved with Marla. When the Narrator argues with Tyler about their friendship, Tyler tells him that being friends is secondary to pursuing the philosophy they have been exploring. When Tyler implies that Marla is a risk they should remove, the Narrator realizes he should have focused on her and begins to diverge from Tyler's path.


title: Fight Club

text: The Narrator, an unreliable narrator, is not immediately aware that he is mentally projecting Tyler. He also mistakenly promotes the fight clubs as a way to feel powerful, though the Narrator's physical condition worsens while Tyler Durden's appearance improves. While Tyler desires "real experiences" of actual fights like the Narrator at first, he manifests a nihilistic attitude of rejecting and destroying institutions and value systems. His impulsive nature, representing the id, is seductive and liberating to the Narrator and the members of Project Mayhem. Tyler's initiatives and methods become dehumanizing; he orders around the members of Project Mayhem with a megaphone similar to camp directors at Chinese re-education camps. The Narrator pulls back from Tyler and arrives at a middle ground between his conflicting selves.


title: Fight Club

text: "Fight Club" examines Generation X angst as '"the middle children of history". Norton said it examines the value conflicts of Generation X as the first generation raised on television: this generation had "its value system largely dictated to it by advertising culture", and was told one could achieve "spiritual happiness through home furnishing". His character walks through his apartment while visual effects identify his many IKEA possessions. Fincher described the Narrator's immersion: "It was just the idea of living in this fraudulent idea of happiness." Pitt said, ""Fight Club" is a metaphor for the need to push through the walls we put around ourselves and just go for it, so for the first time we can experience the pain."


title: Fight Club

text: "Fight Club" also parallels the 1955 film "Rebel Without a Cause"; both probe the frustrations of the people in the system. The characters, having undergone societal emasculation, are reduced to "a generation of spectators". A culture of advertising defines society's "external signifiers of happiness", causing an unnecessary chase for material goods that replaces the more essential pursuit of spiritual happiness. The film references consumer products such as Gucci, Calvin Klein, and the Volkswagen New Beetle. Norton said of the Beetle, "We smash it ... because it seemed like the classic example of a Baby Boomer generation marketing plan that sold culture back to us." Pitt explained the dissonance: "I think there's a self-defense mechanism that keeps my generation from having any real honest connection or commitment with our true feelings. We're rooting for ball teams, but we're not getting in there to play. We're so concerned with failure and success—like these two things are all that's going to sum you up at the end."


title: Fight Club

text: The violence of the fight clubs serves not to promote or glorify combat, but for participants to experience feeling in a society where they are otherwise numb. The fights represent a resistance to the impulse to be "cocooned" in society. Norton believed the fighting strips away the "fear of pain" and "the reliance on material signifiers of their self-worth", leaving them to experience something valuable. When the fights evolve into revolutionary violence, the film only half-accepts the revolutionary dialectic by Tyler Durden; the Narrator pulls back and rejects Durden's ideas. "Fight Club" purposely shapes an ambiguous message whose interpretation is left to the audience. Fincher said: "I love this idea that you can have fascism without offering any direction or solution. Isn't the point of fascism to say, 'This is the way we should be going'? But this movie couldn't be further from offering "any" kind of solution."


title: Fight Club

text: The novel "Fight Club" by Chuck Palahniuk was published in 1996. Before its publication, a Fox Searchlight Pictures book scout sent a galley proof of the novel to creative executive Kevin McCormick. The executive assigned a studio reader to review the proof as a candidate for a film adaptation, but the reader discouraged it. McCormick then forwarded the proof to producers Lawrence Bender and Art Linson, who also rejected it. Producers Josh Donen and Ross Bell saw potential and expressed interest. They arranged unpaid screen readings with actors to determine the script's length, and an initial reading lasted six hours. The producers cut out sections to reduce the running time, and they used the shorter script to record its dialogue. Bell sent the recording to Laura Ziskin, head of the division Fox 2000, who listened to the tape and purchased the rights to "Fight Club" from Palahniuk for $10,000.


title: Fight Club

text: Ziskin initially considered hiring Buck Henry to write the adaptation, finding "Fight Club" similar to the 1967 film "The Graduate", which Henry had adapted. When a new screenwriter, Jim Uhls, lobbied Donen and Bell for the job, the producers chose him over Henry. Bell contacted four directors to direct the film. He considered Peter Jackson the best choice, but Jackson was too busy filming the 1996 film "The Frighteners" in New Zealand. Bryan Singer received the book but did not read it. Danny Boyle met with Bell and read the book, but he pursued another film. David Fincher, who had read "Fight Club" and had tried to buy the rights himself, talked with Ziskin about directing the film. He hesitated to accept the assignment with 20th Century Fox at first because he had an unpleasant experience directing the 1992 film "Alien 3" for the studio. To repair his relationship with the studio, he met with Ziskin and studio head Bill Mechanic. In August 1997, 20th Century Fox announced that Fincher would direct the film adaptation of "Fight Club".


title: Fight Club

text: Producer Ross Bell met with actor Russell Crowe to discuss his candidacy for the role of Tyler Durden. Producer Art Linson, who joined the project late, met with Pitt regarding the same role. Linson was the senior producer of the two, so the studio sought to cast Pitt instead of Crowe. Pitt was looking for a new film after the domestic failure of his 1998 film "Meet Joe Black", and the studio believed "Fight Club" would be more commercially successful with a major star. The studio signed Pitt for US$17.5 million.


title: Fight Club

text: For the role of the unnamed Narrator, the studio desired a "sexier marquee name" such as Matt Damon to increase the film's commercial prospects; it also considered Sean Penn. Fincher instead considered Norton based on his performance in the 1996 film "The People vs. Larry Flynt". Other studios were approaching Norton for leading roles in developing films like "The Talented Mr. Ripley" and "Man on the Moon". He was cast in "Runaway Jury", but the film did not reach production. 20th Century Fox offered Norton $2.5 million for "Fight Club". He could not accept the offer immediately because he still owed Paramount Pictures a film; he had signed a contractual obligation with Paramount to appear in one of the studio's future films for a smaller salary. Norton later satisfied the obligation with his role in the 2003 film "The Italian Job".


title: Fight Club

text: In January 1998, 20th Century Fox announced that Pitt and Norton had been cast. The actors prepared by taking lessons in boxing, taekwondo, grappling, and soapmaking. Pitt voluntarily visited a dentist to have pieces of his front teeth chipped off so his character would not have perfect teeth. The pieces were restored after filming concluded.


title: Fight Club

text: Fincher's first choice for the role of Marla Singer was Janeane Garofalo. While Fincher initially stated that she turned it down because she objected to the film's sexual content, in an interview in 2020, Garofolo revealed she did accept the part but was dropped because Norton believed she was poorly suited to the part. The filmmakers considered Courtney Love and Winona Ryder as early candidates. The studio wanted to cast Reese Witherspoon, but Fincher felt she was too young. He chose to cast Bonham Carter based on her performance in the 1997 film "The Wings of the Dove".


title: Fight Club

text: Uhls started working on a draft of the adapted screenplay, which excluded a voice-over because the industry perceived the technique as "hackneyed and trite" at the time. When Fincher joined the film, he thought that the film should have a voice-over, believing that the film's humor came from the Narrator's voice. He described the film without a voice-over as seemingly "sad and pathetic". Fincher and Uhls revised the script for six to seven months and by 1997 had a third draft that reordered the story and left out several major elements. When Pitt was cast, he was concerned that his character, Tyler Durden, was too one-dimensional. Fincher sought the advice of writer-director Cameron Crowe, who suggested giving the character more ambiguity. Fincher also hired screenwriter Andrew Kevin Walker for assistance. He invited Pitt and Norton to help revise the script, and the group drafted five revisions in the course of a year.


title: Fight Club

text: Palahniuk praised the faithful film adaptation of his novel and applauded how the film's plot was more streamlined than the book's. Palahniuk recalled how the writers debated if film audiences would believe the plot twist from the novel. Fincher supported including the twist, arguing, "If they accept everything up to this point, they'll accept the plot twist. If they're still in the theater, they'll stay with it." Palahniuk's novel also contained homoerotic overtones, which Fincher included in the film to make audiences uncomfortable and accentuate the surprise of the twists. The bathroom scene where Tyler Durden bathes next to the Narrator is an example of the overtones; the line, "I'm wondering if another woman is really the answer we need," was meant to suggest personal responsibility rather than homosexuality. Another example is the scene at the beginning of the film in which Tyler Durden puts a gun barrel down the Narrator's mouth.


title: Fight Club

text: The Narrator finds redemption at the end of the film by rejecting Tyler Durden's dialectic, a path that diverged from the novel's ending in which the Narrator is placed in a mental institution. Norton drew parallels between redemption in the film and redemption in "The Graduate", indicating that the protagonists of both films find a middle ground between two divisions of self. Fincher considered the novel too infatuated with Tyler Durden and changed the ending to move away from him: "I wanted people to love Tyler, but I also wanted them to be OK with his vanquishing."


title: Fight Club

text: Studio executives Mechanic and Ziskin planned an initial budget of US$23 million to finance the film, but by the start of production, the budget was increased to $50 million. Half was paid by New Regency, but during filming, the projected budget escalated to US$67 million. New Regency's head and "Fight Club" executive producer Arnon Milchan petitioned Fincher to reduce costs by at least US$5 million. Fincher refused, so Milchan threatened Mechanic that New Regency would withdraw financing. Mechanic sought to restore Milchan's support by sending him tapes of dailies from "Fight Club". After seeing three weeks of filming, Milchan reinstated New Regency's financial backing. The final production budget was $63–65 million.


title: Fight Club

text: The fight scenes were heavily choreographed, but the actors were required to "go full out" to capture realistic effects such as having the wind knocked out of them. Makeup artist Julie Pearce, who had worked for Fincher on the 1997 film "The Game", studied mixed martial arts and pay-per-view boxing to portray the fighters accurately. She designed an extra's ear to have cartilage missing, inspired by the boxing match in which Mike Tyson bit off part of Evander Holyfield's ear. Makeup artists devised two methods to create sweat on cue: spraying mineral water over a coat of Vaseline, and using the unadulterated water for "wet sweat". Meat Loaf, who plays a fight club member who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts. He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him.


title: Fight Club

text: Filming lasted 138 days from July to December 1998, during which Fincher shot more than 1,500 rolls of film, three times the average for a Hollywood film. The locations were in and around Los Angeles and on sets built at the studio in Century City. Production designer Alex McDowell constructed more than 70 sets. The exterior of Tyler Durden's house was built in Wilmington, California, while the interior was built on a sound stage at the studio's location. The interior was given a decayed look to illustrate the deconstructed world of the characters. Marla Singer's apartment was based on photographs of apartments in downtown LA. Overall, production included 300 scenes, 200 locations, and complex special effects. Fincher compared "Fight Club" to his subsequent, less complex film "Panic Room": "I felt like I was spending all my time watching trucks being loaded and unloaded so I could shoot three lines of dialogue. There was far too much transportation going on."


title: Fight Club

text: Fincher used the Super 35 format to film "Fight Club" since it gave him maximum flexibility to compose shots. He hired Jeff Cronenweth as cinematographer; Cronenweth's father Jordan Cronenweth had been cinematographer for Fincher's 1992 film "Alien 3," but left midway through production due to Parkinson's disease. Fincher explored visual styles in his previous films "Seven" and "The Game", and he and Cronenweth drew elements from these styles for "Fight Club".


title: Fight Club

text: Fincher and Cronenweth applied a lurid style, choosing to make people "sort of shiny". The appearance of the Narrator's scenes without Tyler were bland and realistic. The scenes with Tyler were described by Fincher as "more hyper-real in a torn-down, deconstructed sense—a visual metaphor of what [the Narrator is] heading into". The filmmakers used heavily desaturated colors in the costuming, makeup, and art direction. Bonham Carter wore opalescent makeup to portray her romantic nihilistic character with a "smack-fiend patina". Fincher and Cronenweth drew influences from the 1973 film "American Graffiti", which applied a mundane look to nighttime exteriors while simultaneously including a variety of colors.


title: Fight Club

text: The crew took advantage of both natural and practical light. Fincher sought various approaches to the lighting setups; for example, he chose several urban locations for the city lights' effects on the shots' backgrounds. The crew also embraced fluorescent lighting at other practical locations to maintain an element of reality and to light the prostheses depicting the characters' injuries. On the other hand, Fincher also ensured that scenes were not so strongly lit so the characters' eyes were less visible, citing cinematographer Gordon Willis' technique as the influence.


title: Fight Club

text: "Fight Club" was filmed mostly at night, and Fincher filmed the daytime shots in shadowed locations. The crew equipped the bar's basement with inexpensive work lamps to create a background glow. Fincher avoided stylish camerawork when filming early fight scenes in the basement and instead placed the camera in a fixed position. In later fight scenes, Fincher moved the camera from the viewpoint of a distant observer to that of the fighter.


title: Fight Club

text: The scenes with Tyler were staged to conceal that the character was a mental projection of the unnamed Narrator. Tyler was not filmed in two shots with a group of people, nor was he shown in any over-the-shoulder shots in scenes where Tyler gives the Narrator specific ideas to manipulate him. In scenes before the Narrator meets Tyler, the filmmakers inserted Tyler's presence in single frames for subliminal effect. Tyler appears in the background and out of focus, like a "little devil on the shoulder". Fincher explained the subliminal frames: "Our hero is creating Tyler Durden in his own mind, so at this point he exists only on the periphery of the Narrator's consciousness."


title: Fight Club

text: While Cronenweth generally rated and exposed the Kodak film stock normally on "Fight Club", several other techniques were applied to change its appearance. Flashing was implemented on much of the exterior night photography, the contrast was stretched to be purposely ugly, the print was adjusted to be underexposed, Technicolor's ENR silver retention was used on a select number of prints to increase the density of the blacks, and high-contrast print stocks were chosen to create a "stepped-on" look on the print with a dirty patina.


title: Fight Club

text: Fincher hired visual effects supervisor Kevin Tod Haug, who worked for him on "The Game", to create visual effects for "Fight Club". Haug assigned the visual effects artists and experts to different facilities that each addressed different types of visual effects: CG modeling, animation, compositing, and scanning. Haug explained, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way, we never had to play to a facility's weakness." Fincher visualized the Narrator's perspective through a "mind's eye" view and structured a myopic framework for the film audiences. Fincher also used previsualized footage of challenging main-unit and visual effects shots as a problem-solving tool to avoid making mistakes during the actual filming.


title: Fight Club

text: The film's title sequence is a 90-second visual effects composition that depicts the inside of the Narrator's brain at a microscopic level; the camera pulls back to the outside, starting at his fear center and following the thought processes initiated by his fear impulse. The sequence, designed in part by Fincher, was budgeted separately from the rest of the film at first, but the sequence was awarded by the studio in January 1999. Fincher hired Digital Domain and its visual effects supervisor Kevin Mack, who won an Academy Award for Visual Effects for the 1998 film "What Dreams May Come", for the sequence. The company mapped the computer-generated brain using an L-system, and the design was detailed using renderings by medical illustrator Katherine Jones. The pullback sequence from within the brain to the outside of the skull included neurons, action potentials, and a hair follicle. Haug explained the artistic license that Fincher took with the shot, "While he wanted to keep the brain passage looking like electron microscope photography, that look had to be coupled with the feel of a night dive—wet, scary, and with a low depth of field." The shallow depth of field was accomplished with the ray tracing process.


title: Fight Club

text: Other visual effects include an early scene in which the camera flashes past city streets to survey Project Mayhem's destructive equipment lying in underground parking lots; the sequence was a three-dimensional composition of nearly 100 photographs of Los Angeles and Century City by photographer Michael Douglas Middleton. The final scene of the demolition of the credit card office buildings was designed by Richard Baily of Image Savant; Baily worked on the scene for over fourteen months.


title: Fight Club

text: Midway through the film, Tyler Durden points out the cue mark—nicknamed "cigarette burn" in the film—to the audience. The scene represents a turning point that foreshadows the coming rupture and inversion of the "fairly subjective reality" that existed earlier in the film. Fincher explained: "Suddenly it's as though the projectionist missed the changeover, the viewers have to start looking at the movie in a whole new way."


title: Fight Club

text: Fincher was concerned that bands experienced in writing film scores would be unable to tie the themes together, so he sought a band which had never recorded for film. He pursued Radiohead, but singer Thom Yorke declined as he was recovering from the stress of promoting their album "OK Computer". Fincher instead commissioned the breakbeat producing duo Dust Brothers, who created a post-modern score encompassing drum loops, electronic scratches, and computerized samples. Dust Brothers performer Michael Simpson explained the setup: "Fincher wanted to break new ground with everything about the movie, and a nontraditional score helped achieve that." The climax and end credits feature the song "Where Is My Mind?" by the Pixies.


title: Fight Club

text: Filming concluded in December 1998, and Fincher edited the footage in early 1999 to prepare "Fight Club" for a screening with senior executives. They did not receive the film positively and were concerned that there would not be an audience for the film. Executive producer Art Linson, who supported the film, recalled the response: "So many incidences of "Fight Club" were alarming, no group of executives could narrow them down." Nevertheless, "Fight Club" was originally slated to be released in July 1999 but was later changed to August 6, 1999. The studio further delayed the film's release, this time to autumn, citing a crowded summer schedule and a hurried post-production process. Outsiders attributed the delays to the Columbine High School massacre earlier in the year.


title: Fight Club

text: Marketing executives at Fox Searchlight Pictures faced difficulties in marketing "Fight Club" and at one point considered marketing it as an art film. They considered that the film was primarily geared toward male audiences because of its violence and believed that not even Pitt would attract female filmgoers. Research testing showed that the film appealed to teenagers. Fincher refused to let the posters and trailers focus on Pitt and encouraged the studio to hire the advertising firm Wieden+Kennedy to devise a marketing plan. The firm proposed a bar of pink soap with the title "Fight Club" embossed on it as the film's main marketing image; the proposal was considered "a bad joke" by Fox executives. Fincher also released two early trailers in the form of fake public service announcements presented by Pitt and Norton; the studio did not think the trailers marketed the film appropriately. Instead, the studio financed a $20 million large-scale campaign to provide a press junket, posters, billboards, and trailers for TV that highlighted the film's fight scenes. The studio advertised "Fight Club" on cable during World Wrestling Federation broadcasts, which Fincher protested, believing that the placement created the wrong context for the film. Linson believed that the "ill-conceived one-dimensional" marketing by marketing executive Robert Harper largely contributed to "Fight Club"s lukewarm box office performance in the United States.


title: Fight Club

text: The studio held "Fight Club"s world premiere at the 56th Venice International Film Festival on September 10, 1999. For the American theatrical release, the studio hired the National Research Group to test screen the film; the group predicted the film would gross between and in its opening weekend. "Fight Club" opened commercially in the United States and Canada on October 15, 1999 and earned in 1,963 theaters over the opening weekend. The film ranked first at the weekend box office, defeating "Double Jeopardy" and "The Story of Us", a fellow weekend opener. Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale. The gender mix of audiences for "Fight Club", argued to be "the ultimate anti-date flick", was 61% male and 39% female; 58% of audiences were below the age of 21. Despite the film's top placement, its opening gross fell short of the studio's expectations. Over the second weekend, "Fight Club" dropped 42.6% in revenue, earning . In its original theatrical run, the film grossed in the United States and Canada, and in other territories, for a worldwide total of . (With subsequent re-releases, the film's worldwide gross increased to .) The underwhelming North American performance of "Fight Club" soured the relationship between 20th Century Fox's studio head Bill Mechanic and media executive Rupert Murdoch, which contributed to Mechanic's resignation in June 2000.


title: Fight Club

text: The British Board of Film Classification reviewed "Fight Club" for its November 12, 1999 release in the United Kingdom and removed two scenes involving "an indulgence in the excitement of beating a (defenseless) man's face into a pulp". The board assigned the film an 18 certificate, limiting the release to adult-only audiences in the UK. The BBFC did not censor any further, considering and dismissing claims that "Fight Club" contained "dangerously instructive information" and could "encourage anti-social (behavior)". The board decided, "The film as a whole is—quite clearly—critical and sharply parodic of the amateur fascism which in part it portrays. Its central theme of male machismo (and the anti-social behaviour that flows from it) is emphatically rejected by the central character in the concluding reels." The scenes were restored in a two-disc DVD edition released in the UK in March 2007.


title: Fight Club

text: Fincher supervised the composition of the DVD packaging and was one of the first directors to participate in a film's transition to home media. The film was released on DVD on June 6, 2000, in one and two-disc editions. The movie disc included four commentary tracks, while the bonus disc contained behind-the-scenes clips, deleted scenes, trailers, theater safety PSAs, the promotional music video "This is Your Life", Internet spots, still galleries, cast biographies, storyboards, and publicity materials. Fincher worked on the DVD as a way to finish his vision for the film. Julie Markell, 20th Century Fox's senior vice president of creative development, said the DVD packaging complemented Fincher's vision: "The film is meant to make you question. The package, by extension, tries to reflect an experience that you must experience for yourself. The more you look at it, the more you'll get out of it." The studio developed the packaging for two months. The two-disc special edition DVD was packaged to look covered in brown cardboard wrapper. The title "Fight Club" was labeled diagonally across the front, and packaging appeared tied with twine. Markell said, "We wanted the package to be simple on the outside, so that there would be a dichotomy between the simplicity of brown paper wrapping and the intensity and chaos of what's inside." Deborah Mitchell, 20th Century Fox's vice president of marketing, described the design: "From a retail standpoint, [the DVD case] has incredible shelf-presence." It was the first DVD release to feature the THX Optimode.


title: Fight Club

text: "Fight Club" won the 2000 Online Film Critics Society Awards for Best DVD, Best DVD Commentary, and Best DVD Special Features. "Entertainment Weekly" ranked the film's two-disc edition in first place on its 2001 list of "The 50 Essential DVDs", giving top ratings to the DVD's content and technical picture-and-audio quality. When the two-disc edition went out of print, the studio re-released it in 2004 because of fans' requests. The film sold more than 6 million copies on DVD and video within the first ten years, making it one of the largest-selling home media items in the studio's history, in addition to grossing over $55 million in video and DVD rentals. With a weak box office performance in the United States and Canada, a better performance in other territories, and the highly successful DVD release, "Fight Club" generated a US$10 million profit for the studio.


title: Fight Club

text: The Laserdisc edition was only released in Japan on May 26, 2000 and features a different cover art, as well as one of the very few Dolby Digital Surround EX soundtracks released on LD. The VHS edition was released on October 31, 2002, as a part of 20th Century Fox's "Premiere Series" line. It includes a featurette after the film, "Behind the Brawl".


title: Fight Club

text: "Fight Club" was released in the Blu-ray Disc format in the United States on November 17, 2009. Five graffiti artists were commissioned to create 30 pieces of art for the packaging, encompassing urban aesthetics found on the East Coast and West Coast of the United States as well as influences from European street art. The Blu-ray edition opens with a menu screen for the romantic comedy "Never Been Kissed" starring Drew Barrymore before leading into the "Fight Club" menu screen. Fincher got permission from Barrymore to include the fake menu screen.


title: Fight Club

text: An online release in China from Tencent censored the bomb blasts at the end and replaced the ending with a message that Project Mayhem was thwarted, with Tyler Durden being arrested by law enforcement and placed in an insane asylum until 2012, adapting the ending of the original "Fight Club" novel. Weeks later, Tencent released a version of the film restoring 11 of the 12 minutes that had previously been cut.


title: Fight Club

text: When "Fight Club" premiered at the 56th Venice International Film Festival, the film was fiercely debated by critics. A newspaper reported, "Many loved and hated it in equal measures." Some critics expressed concern that the film would incite copycat behavior, such as that seen after "A Clockwork Orange" debuted in Britain nearly three decades previously. Upon the film's theatrical release, "The Times" reported the reaction: "It touched a nerve in the male psyche that was debated in newspapers across the world." Although the film's makers called "Fight Club" "an accurate portrayal of men in the 1990s," some critics called it "irresponsible and appalling." Writing for "The Australian", Christopher Goodwin stated: ""Fight Club" is shaping up to be the most contentious mainstream Hollywood meditation on violence since Stanley Kubrick's "A Clockwork Orange"." Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.


title: Fight Club

text: Janet Maslin, reviewing for "The New York Times", praised Fincher's direction and editing of the film. She wrote that "Fight Club" carried a message of "contemporary manhood", and that, if not watched closely, the film could be misconstrued as an endorsement of violence and nihilism. Roger Ebert, reviewing for the "Chicago Sun-Times", gave "Fight Club" two stars out of four, calling it "visceral and hard-edged", but also "a thrill ride masquerading as philosophy", whose promising first act is followed by a second that panders to macho sensibilities and a third he dismissed as "trickery". Ebert later acknowledged that the film was "beloved by most, not by me". He was later requested to have a shot-by-shot analysis of "Fight Club" at the Conference on World Affairs; he stated that "[s]eeing it over the course of a week, I admired its skill even more, and its thought even less." Jay Carr of "The Boston Globe" opined that the film began with an "invigoratingly nervy and imaginative buzz", but that it eventually became "explosively silly". "Newsweek"s David Ansen described "Fight Club" as "an outrageous mixture of brilliant technique, puerile philosophizing, trenchant satire and sensory overload" and thought that the ending was too pretentious. Richard Schickel of "Time" described the mise en scène as dark and damp: "It enforces the contrast between the sterilities of his characters' aboveground life and their underground one. Water, even when it's polluted, is the source of life; blood, even when it's carelessly spilled, is the symbol of life being fully lived. To put his point simply: it's better to be wet than dry." Schickel applauded the performances of Pitt and Norton, but criticized the "conventionally gimmicky" unfolding and the failure to make Bonham Carter's character interesting.


title: Fight Club

text: "Cineaste"s Gary Crowdus reviewed the critical reception in retrospect: "Many critics praised "Fight Club", hailing it as one of the most exciting, original, and thought-provoking films of the year." He wrote of the negative opinion, "While "Fight Club" had numerous critical champions, the film's critical attackers were far more vocal, a negative chorus which became hysterical about what they felt to be the excessively graphic scenes of fisticuffs ... They felt such scenes served only as a mindless glamorization of brutality, a morally irresponsible portrayal, which they feared might encourage impressionable young male viewers to set up their own real-life fight clubs in order to beat each other senseless."


title: Fight Club

text: "Fight Club" was nominated for the 2000 Academy Award for Best Sound Editing, but it lost to "The Matrix". Bonham Carter won the 2000 Empire Award for Best British Actress. The Online Film Critics Society also nominated "Fight Club" for Best Film, Best Director, Best Actor (Norton), Best Editing, and Best Adapted Screenplay (Uhls). Though the film won none of the awards, the organization listed "Fight Club" as one of the top ten films of 1999. The soundtrack was nominated for a BRIT Award, losing to "Notting Hill".


title: Fight Club

text: On Rotten Tomatoes, "Fight Club" holds an approval rating of 79% based on 181 reviews, with an average rating of 7.40/10. The site's consensus reads, "Solid acting, amazing direction, and elaborate production design make "Fight Club" a wild ride." On Metacritic, the film has a weighted average score of 66 out of 100 based on 35 critics, indicating "generally favorable reviews".


title: Fight Club

text: "Fight Club" was one of the most controversial and talked-about films of the 1990s. The film was perceived as the forerunner of a new mood in American political life. Like other 1999 films "Magnolia", "Being John Malkovich", and "Three Kings", "Fight Club" was recognized as an innovator in cinematic form and style, since it exploited new developments in filmmaking technology. After "Fight Club"s theatrical release, it became more popular via word of mouth, and the positive reception of the DVD established it as a cult film that David Ansen of "Newsweek" conjectured would enjoy "perennial" fame. The film's success also heightened Palahniuk's profile to global renown.


title: Fight Club

text: Following "Fight Club"s release, several fight clubs were reported to have started in the United States. A "Gentleman's Fight Club" was started in Menlo Park, California, in 2000 and had members mostly from the tech industry. Teens and preteens in Texas, New Jersey, Washington state, and Alaska also initiated fight clubs and posted videos of their fights online, leading authorities to break up the clubs. In 2006, an unwilling participant from a local high school was injured at a fight club in Arlington, Texas, and the DVD sales of the fight led to the arrest of six teenagers. An unsanctioned fight club was also started at Princeton University, where matches were held on campus. The film was suspected of influencing Luke Helder, a college student who planted pipe bombs in mailboxes in 2002. Helder's goal was to create a smiley pattern on the map of the United States, similar to the scene in "Fight Club" in which a building is vandalized to have a smiley on its exterior. On July 16, 2009, a 17-year-old who had formed his own fight club in Manhattan was charged with detonating a homemade bomb outside a Starbucks Coffee shop in the Upper East Side. The New York City Police Department reported the suspect was trying to emulate "Project Mayhem".


title: Fight Club

text: "Fight Club" had a significant impact on evangelical Christianity, in the areas of Christian discipleship and masculinity. A number of churches called their cell groups "fight clubs" with a stated purpose of meeting regularly to "beat up the flesh and believe the gospel of grace". Some churches, especially Mars Hill Church in Seattle, whose pastor Mark Driscoll was obsessed with the film, picked up the film's emphasis on masculinity, and rejection of self-care. Jessica Johnson suggests that Driscoll even called on "his brothers-in-arms to foment a movement not unlike Project Mayhem."


title: Fight Club

text: A "Fight Club" video game was released by Vivendi Universal Games in 2004 for the PlayStation 2, Xbox, and for mobile phones. The game was a critical and commercial failure, and was panned by such publications and websites as GameSpot, "Game Informer", and IGN. The video game "Jet Set Radio", initially released in 2000 for Sega's Dreamcast console, was inspired by the film's anti-establishment themes.


title: Fight Club

text: In 2003, "Fight Club" was listed as one of the "50 Best Guy Movies of All Time" by "Men's Journal". In 2004 and 2006, "Fight Club" was voted by "Empire" readers as the eighth and tenth greatest film of all time, respectively. "Total Film" ranked "Fight Club" as "The Greatest Film of our Lifetime" in 2007 during the magazine's tenth anniversary. In 2007, "Premiere" selected Tyler Durden's line, "The first rule of fight club is you do not talk about fight club," as the 27th greatest movie line of all time. In 2008, readers of "Empire" ranked Tyler Durden eighth on a list of the 100 Greatest Movie Characters. "Empire" also identified "Fight Club" as the 10th greatest movie of all time in its 2008 issue "The 500 Greatest Movies of All Time".


title: Fight Club

text: In 2010, two viral mash-up videos featuring "Fight Club" were released. "Ferris Club" was a mash-up of "Fight Club" and the 1986 film "Ferris Bueller's Day Off". It portrayed Ferris as Tyler Durden and Cameron as the narrator, "claiming to see the real psychological truth behind the John Hughes classic". The second video "Jane Austen's Fight Club" also gained popularity online as a mash-up of "Fight Club"s fighting rules and the characters created by 19th-century novelist Jane Austen.


title: Timothy Olyphant

text: Timothy David Olyphant ( ; born May 20, 1968) is an American actor. He made his acting debut in an off-Broadway theater in 1995, in "The Monogamist", and won the Theatre World Award for his performance, and then originated David Sedaris' "The Santaland Diaries" in 1996. He then branched out to film; in the early years of his career, he was often cast in supporting villainous roles, most notably in "Scream 2" (1997), "Go" (1999), "A Man Apart" (2003), "Gone in 60 Seconds" (2000), and "The Girl Next Door" (2004). He came to the attention of a wider audience with his portrayal of Sheriff Seth Bullock in HBO's western "Deadwood" (2004–2006), later reprising the role in "" (2019). He had starring roles in such films as "Catch and Release" (2006), "Hitman" (2007), "A Perfect Getaway" (2009), and "The Crazies" (2010), and he played the main antagonist, Thomas Gabriel, in "Live Free or Die Hard" (2007). Olyphant was a recurring guest star in season two of the FX legal thriller "Damages" (2009).


title: Timothy Olyphant

text: From 2010 to 2015, Olyphant starred as Deputy U.S. Marshal Raylan Givens in FX's modern-day Kentucky southern gothic "Justified", a performance for which he was nominated for a Primetime Emmy Award for Outstanding Lead Actor in a Drama Series in 2011. Since the end of "Justified", Olyphant has starred in films such as "Mother's Day", "Snowden" (both 2016), "Once Upon a Time in Hollywood" (2019), and "Amsterdam" (2022). He has also had notable guest appearances in numerous television sitcoms including "The Office" (2010), "The Mindy Project" (2013), and "The Grinder" (2015–2016), for which he won a Critics' Choice Award. He also starred in the Netflix comedy series "Santa Clarita Diet" (2017–2019). In 2020, he played himself in a brief cameo, parodying his "Justified" character, in the NBC award-winning show "The Good Place". In the same year, he guest starred in season 10 of "Curb Your Enthusiasm", as well as in the fourth season of "Fargo" and the second season of "The Mandalorian" in the episode "" as Cobb Vanth, a role he later reprised in "The Book of Boba Fett".


title: Timothy Olyphant

text: Olyphant was born in Honolulu, Hawaii, but moved to Modesto, California, at the age of two. His parents are Katherine (née Gideon) and John Vernon Bevan Olyphant, who worked as vice president of production at Gallo Winery. He has an older brother, Andrew, and a younger brother, Matthew. His parents divorced when Olyphant was a teenager; both remarried. He is of English, German, Scottish, Dutch, Irish, and one-eighth Russian-Jewish ancestry.


title: Timothy Olyphant

text: Olyphant is a descendant of the Vanderbilt family of New York. His paternal fourth great-grandfather was family patriarch Cornelius Vanderbilt; his third great-grandfather was William Henry Vanderbilt, who doubled the family's railroad fortune; his great-grandmother was socialite Emily Vanderbilt Sloane; and his great-uncle was music producer John Hammond. The surname Olyphant is of Scottish origin. Another paternal fourth great-grandfather, Dr. David Olyphant, was born in Scotland and served as director-general of the Southern hospitals during the American Revolutionary War. His third great-grandfather, David Olyphant, and great-great-grandfather, Robert Morrison Olyphant, were both prominent businessmen.


title: Timothy Olyphant

text: Olyphant attended Modesto's Fred C. Beyer High School. Growing up, he was "embarrassed" by the idea of acting, but enjoyed art and drawing. He swam competitively throughout his childhood and was a finalist at the 1986 Nationals, in the 200m Individual Medley. He was then recruited to the University of Southern California by USC Trojans swimming coach Peter Daland. When Olyphant first visited the campus as part of a recruitment trip, he hoped to study architecture but was told it would be unmanageable with his training schedule.


title: Timothy Olyphant

text: Instead, he opted to earn a Bachelor of Fine Arts. However, Olyphant left university one elective shy of a degree; he returned to finish the degree 30 years later, taking an online course during the COVID-19 pandemic. In 1990, he planned to finish his degree and apply for a master's degree in fine arts and half-heartedly considered a career in commercial art. While working as a swimming coach at Irvine Novaquatics, Olyphant decided to move to New York to explore other options. He initially performed stand-up comedy: "I'd dabbled [before] and then there was a six-month period where I did it with a certain commitment. Then I'd occasionally go back." Ultimately, he decided to become an actor. In his final year of college, he had taken an acting class as an elective at UC Irvine and found it "really enjoyable". He completed a two-year acting program at New York's William Esper Studio and began auditioning for roles.


title: Timothy Olyphant

text: Olyphant's first paid acting job was in a 1995 WB television pilot based on "77 Sunset Strip". Phyllis Huffman cast him in the role but he did not have an opportunity to meet the show's producer, Clint Eastwood, who quit days before filming began. Later that year, he made his professional Off Broadway debut in the Playwrights Horizons' production of "The Monogamist" and received the Theatre World Award for Outstanding Debut Performance. He starred in the world premiere of "The SantaLand Diaries" (1996) at the Atlantic Theater Company, a one-man play based on David Sedaris' essay about working as a Macy's department store Christmas elf. Ben Brantley of "The New York Times" felt the "charming" Olyphant did "a wonderful job" when imitating other characters but had "a harder time finding a convincing style for the running narrative." Howard Kissell of "The New York Daily News" remarked that he delivered "all the drollery with a perfect deadpan and a twinkle" while David Patrick Stearns of "USA Today" described him as "an excellent young actor who successfully projects the world-weariness of a young 20-something who slowly evolves into somebody who just might believe in Christmas."


title: Timothy Olyphant

text: Olyphant made his feature film debut in "The First Wives Club" (1996) as an eager young director who attempts to cast Elise Elliot (Goldie Hawn) – who thinks she will be playing the leading lady – in the role of the elderly mother. Airing on the same day of that film's release, he made his television debut in the pilot of the CBS spy series "Mr. & Mrs. Smith". In 1997, Olyphant made a guest appearance as Officer Brett Farraday in three episodes of the ABC police drama "High Incident" and returned to New York's Playwrights Horizons to play a supporting role in "Plunge". He also had minor roles in the romantic comedy "A Life Less Ordinary" and the CBS television film "Ellen Foster". Olyphant's most high-profile role of 1997 was as a film student in the successful horror film "Scream 2", bringing "a degree of wild-eyed flair to the role," according to "HitFix"s Chris Eggertsen. He later described the role as "a gift. I had virtually nothing on my resume at that point. I'm sure some of it was made up."


title: Timothy Olyphant

text: Olyphant returned to television in 1998 for a guest starring role in an episode of the HBO sitcom "Sex and the City", playing a love interest for Carrie Bradshaw. Sarah Jessica Parker later said the episode, "Valley of the Twenty Something Guys", was her favorite of the series. Also that year, he had supporting roles in the HBO war film "When Trumpets Fade" and the independent ensemble drama "1999". Two little-seen films were released in 1999: the drama "Advice from a Caterpillar", in which Olyphant played the bisexual love interest of Cynthia Nixon's character, and the offbeat ensemble comedy "No Vacancy", in which he starred with Christina Ricci. Olyphant received positive notices for portraying a drug dealer in the cult comedy "Go" (1999). Janet Maslin of "The New York Times" noted that the role was "played with offbeat flair" while Todd McCarthy of "Variety" described it as a "deftly etched" performance. He was set to star in the fantasy film "Practical Magic", but he was replaced by Aidan Quinn.


title: Timothy Olyphant

text: After Olyphant's performance in "Go", the film's producer Mickey Liddell offered him his choice of parts in his next project "" (2000), a romantic comedy about a group of gay friends living in West Hollywood. "The Village Voice"s Dennis Lim commented that his leading performance was better than the film deserved: "Olyphant is charismatic enough for his worst lines not to stick." However, Mick LaSalle of the "San Francisco Chronicle" felt he played the part "like a straight actor gaying it up." Olyphant played a detective in the successful action film "Gone in 60 Seconds" (2000) and joked in an interview about the challenges of playing "second fiddle to a car"; his performance reminded the "Washington Post"s Stephen Hunter of a young Bill Paxton.


title: Timothy Olyphant

text: Olyphant was offered a starring role for a character called Dominic Toretto in another car film called "Redline" – that would later be retitled "The Fast and the Furious". According to Sony producer Neal H. Moritz, "The studio said, 'If you can get Timothy Olyphant to play that role we will greenlight the movie.'" Olyphant declined the role, which went to Vin Diesel. The film went on to be a massive success with eight sequels to date. Olyphant later discussed passing on a lot of roles earlier in his career. In 2011, when asked by "The Hollywood Reporter" what was the most absurd project he had ever been pitched, he replied, "I've passed on absurd projects and they have become enormous, enormous hits spawning numerous sequels, and I'm not in them." In 2018, he reflected on passing on the role of Toretto in "The Fast and the Furious", thinking it would be "stupid" and would bomb at the box office.


title: Timothy Olyphant

text: Olyphant also had supporting roles in the musical comedy "Rock Star", the crime drama "Auggie Rose", and the romantic comedy "Head Over Heels" (all 2001). He starred in the short film "Doppelganger" (2001) and appeared in an episode of the Sci-Fi Channel horror series "Night Visions" (2002).


title: Timothy Olyphant

text: The independent drama "Coastlines" made its debut at the 2002 SXSW Festival, but failed to find a distributor until 2006. Olyphant starred opposite Josh Brolin as an ex-con who returns to his Florida hometown to collect a $200,000 debt. Kevin Crust of the "Los Angeles Times" wrote that he "possesses the kind of thousand-yard stare that suggests something deeper going on," while Owen Gleiberman of "Entertainment Weekly" remarked that "Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command." However, Todd McCarthy of "Variety" felt his performance "sort of floats along."


title: Timothy Olyphant

text: Olyphant's most high-profile role of 2003 was in the Vin Diesel-starring action film "A Man Apart". Desson Howe of the "Washington Post" remarked that Olyphant "gets a kudo or two for [having] the good sense to realize he's playing one of the movie's many one-dimensional characters, so he might as well have insane fun." Similarly, Mick LaSalle of the "San Francisco Chronicle" noted that "the most lively character in "A Man Apart" turns out [to be] a middling drug dealer played to the hilt by Timothy Olyphant." He appeared in the film adaptation of Stephen King's horror novel "Dreamcatcher" as one of four friends attacked by parasitic aliens. The film was poorly reviewed, with David Rooney of "Variety" remarking: "Only Lee and Olyphant come close to hitting the right note of tongue-in-cheek humor that might have made all this palatable. Unfortunately, they're the first to go." Also in 2003, he appeared in the independent ensemble drama "The Safety of Objects".


title: Timothy Olyphant

text: Olyphant received widespread praise for his 2004 performance as a porn film producer in the comedy "The Girl Next Door". He was initially reluctant to audition for the part, feeling it was too similar to some of his previous roles but, "as my manager dutifully reminded me, not many people saw those movies." Mick LaSalle of the "San Francisco Chronicle" described the character of Kelly as "a leering, magnetic, frightening, glad-handing, easily-amused, hyper-sensitive, utterly deceitful, maddeningly likable wild man. When Olyphant is on screen, there's the feeling that things might go anywhere." A.O. Scott of "The New York Times" remarked that the part was played with "a throwaway inventiveness" while Kenneth Turan of the "Los Angeles Times" felt it was played "with wonderful comic zest." David Edelstein of "Slate" enjoyed his "spaced-out volatility. Olyphant's Kelly is a brilliant synthesis of poses." Joe Leydon of "Variety" said he "strikes an impressively deft balance of hearty amiability and understated menace in his scene-stealing turn."


title: Timothy Olyphant

text: In a 2015 interview, Olyphant reflected on the early stages of his film career, and not getting the leading roles that would have possibly led to major fame: "I got great opportunities right off the bat. And at the same time I either passed or failed to get things that would have made things ridiculously quick. I passed on enormous opportunities only to end up playing the supporting role in the next film. And then I'd think to myself, "What the fuck am I doing? Why did I do that?" But sometimes I feel like I got away with some things, because I've been able to work for a long time and I haven't had to deal with any kind of fame issues."


title: Timothy Olyphant

text: Olyphant came to the attention of a wider audience when he was cast as Sheriff Seth Bullock in HBO's acclaimed western "Deadwood", which aired for three seasons from 2004 to 2006. While he had previously been typecast "as a talkative, Jack Nicholson–styled, funny bad boy," in the words of "Vulture"s Matt Zoller Seitz, "Deadwood" gave him the opportunity to play a righteous, brooding lawman. The show's creator, David Milch, said of the casting choice: "Bullock's uprightness is an alternative to going medieval on people. You can see that same fire and that possibility in Tim, even at his most genial ... I'm not sure which poet talked about 'thoughts too deep for words,' but he brings that idea alive ... Tim is a guy that doesn't let himself be known easily."


title: Timothy Olyphant

text: While Bullock was initially introduced as "Deadwood"s protagonist, Emily VanDerWerff of "The A.V. Club" noted that the character of Al Swearengen came to "dominate the show ... This is not to slight Timothy Olyphant. He's a fine actor, and his portrayal of Bullock is frequently very, very good. Bullock is still unquestionably one of the most important characters on the show but the character of a Wild West lawman, no matter how revisionist it was in its portrayal of that lawman as someone who seemed barely in control at all times, just ended up not having as much to do in a blatantly revisionist Western about how chaos gives way to civilization." Matt Feeney of "Slate" described Bullock as "laconic, feral, hot-tempered and a little vain", and said the character was "not so much played as embodied by Olyphant". Alan Sepinwall of "HitFix" found his performance "fierce and commanding" while Jeremy Egner of "The New York Times" said that he showed "a capacity for explosive, nuanced performance barely suggested by earlier roles." The cast were nominated for the 2006 Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series.


title: Timothy Olyphant

text: Years later, Olyphant remarked that "Deadwood" "almost has done more for me since we wrapped than while it was on. I continue to draw from it, to steal from it. I'm much better at my job now because of the things I learned while doing it. David Milch is one of the greatest writers, storytellers, directors, creative forces I've ever been around." He has been somewhat critical of his own performance: "Frankly, the show is much better than my performance ... Ian was like a little kid, playing with the props and playing with the language and he never lost the sense of fun of it all. I wasn't operating at that same level."


title: Timothy Olyphant

text: Also in 2006, he made a guest appearance in an episode of the NBC comedy "My Name Is Earl". In 2007, Olyphant starred in the romantic comedy "Catch and Release". He knew co-star Jennifer Garner from their days as struggling actors in New York, and was excited for the opportunity to play a romantic lead. Lael Loewenstein of "Variety" felt "Olyphant clearly has a bright future" while Desson Thomson of the "Washington Post" described him as "the strongest performer here" but that he was "entirely misplaced, an estimable actor caught in a thankless, frilly role." Scott Tobias of "The A.V. Club" remarked: "Olyphant's trademark volatility makes him a livelier romantic lead than the usual stuffed shirt." Similarly, Stephanie Zacharek of "Salon" found him "effective here precisely because he seems a little sharp and dangerous. He's not your typical cuddly romantic lead."


title: Timothy Olyphant

text: Olyphant's first post-"Deadwood" roles were the action movies "Live Free or Die Hard" and "Hitman" (both 2007). ("Coastlines" was first screened during the Sundance Film Festival in 2002 while "Catch and Release" was filmed in 2005.) He had bought a house in the weeks before "Deadwood"s cancellation and he later admitted his job choices during this period were for "purely financial reasons." In "Live Free or Die Hard", he played a villainous cybersecurity expert. Both he and Bruce Willis have said his role was underwritten in the script, and he enjoyed working with Willis to develop the character. Peter Travers of "Rolling Stone" declared him "a master at smiling menace", while Mick LaSalle of "The San Francisco Chronicle" found him "perfectly ice cold." However, Manohla Dargis of "The New York Times" remarked: "Mr. Olyphant has many charms, but annihilating menace is not one of them." He next starred in "Hitman", a video game adaptation, as the assassin Agent 47. He was hired to replace Vin Diesel six weeks before filming began and reluctantly agreed to shave his head. The film was commercially successful, grossing over $100 million, but received negative reviews. Todd McCarthy of "Variety" described Olyphant as "an actor capable of portraying subtle ambiguities and thought, which suggests he ought to branch out to play something other than baddies." Nick Schager of "Slant Magazine" was disappointed to see the actor "reduced to glowering and posing with pistols" while Manohla Dargis of "The New York Times" felt he was "strangely, at times ridiculously, miscast." In 2008, he had a supporting role as a Lieutenant Colonel in the Iraq War drama "Stop-Loss", played a pompous newscaster in the little-seen comedy "Meet Bill", voiced the character Cowboy in the video game "Turok" and made a guest appearance on the first season of the ABC sitcom "Samantha Who?" with Christina Applegate.


title: Timothy Olyphant

text: Olyphant had a new outlook when choosing his 2009 projects, influenced by his experience with "Hitman": "It motivated me to take a little more responsibility with what I was doing ... I was very fond of the director and a lot of the people that worked on the film but there was definitely a part of me that was like, "What am I doing here?'" He starred as a morphine addict in the little-seen independent heist comedy "High Life", with Derek Elley of "Variety" praising his "terrific" performance. He had a starring role in the thriller "A Perfect Getaway" as a possible serial killer of fellow holidaymakers in Hawaii. Manohla Dargis of "The New York Times" enjoyed "the regrettably underemployed" actor's performance, Ty Burr of the "Boston Globe" found him "delightfully confident" while Lisa Schwarzbaum of "Entertainment Weekly" noted he "has a heckuva good time telegraphing macho mania." He was nominated for the Toronto Film Critics Association Award for Best Supporting Actor. He returned to the stage for one night to appear in "Standing on Ceremony: The Gay Marriage Plays", benefiting the Human Rights Campaign. Also in 2009, he appeared in 11 episodes of the FX legal thriller "Damages", as a morally ambiguous love interest for Rose Byrne's character. Byrne later said he was her favorite "Damages" guest star, while FX president John Landgraf sent him the pilot script for another FX project, "Lawman" (later renamed "Justified"). In 2010, he starred as the town sheriff in the horror film "The Crazies". Peter Bradshaw of "The Guardian" was impressed by the "saturnine screen presence of Timothy Olyphant – that formidable actor who deserves a lead role to match his potential." "The Hollywood Reporter"s Michael Rechtshaffen found him "convincing" while Claudia Puig of "USA Today" enjoyed the "smart, stoic and sympathetic" performance. He also appeared in the independent comedy "Elektra Luxx" (2010).


title: Timothy Olyphant

text: Olyphant starred in FX's modern-day western series, "Justified", as Deputy U.S. Marshal Raylan Givens, who is reassigned to his native Eastern Kentucky following a "justified", but questionable, quick-draw shooting of a criminal in Miami. There, he encounters many outlaw figures from his childhood, including his father and Boyd Crowder, with whom he dug coal as a teenager. Olyphant was initially drawn to "the ease and the charm and the sort of old-fashionedness" of the character but has said he does not consider him a "good guy." The character of Raylan Givens was created by novelist Elmore Leonard, appearing in his short story "Fire in the Hole" (2001) and the novels "Pronto" (1993) and "Riding the Rap" (1995). Leonard was an executive producer of "Justified" and befriended Olyphant; his final novel, "Raylan" (2012), was inspired by the television show.